All Nite Soul Sunday, October 7, 2012 Honoring the Vanguard Jazz Orchestra

The Jazz Ministry at Saint Peter’s Church announces Jerry Dodgion, Jon Faddis, Rufus Reid and Kenny Werner featured with The Vanguard Jazz Orchestra and Over 80 Musicians Performing at All Nite Soul 2012 Sunday, October 7 Saint Peter’s Church, 619 Lexington (at 54th Street), New York City

New York, NY — On this, the 42nd Anniversary of All Nite Soul, the Jazz Ministry of Saint Peter’s Church — the Jazz Church — is thrilled to announce that Jerry Dodgion (alto saxophone), Jon Faddis (trumpet), Rufus Reid (bass), and Kenny Werner (piano) will be featured with the 16-piece Vanguard Jazz Orchestra in two sets at the 7 PM concert on Sunday, October 7, 2012.  The concert will be preceded by Jazz Vespers at 5 PM with Fabian Almazan with Strings Group and the 15-member BerlinVokal choir. Over 80 musicians will perform at the 7 PM concert that continues into the early hours of October 8, including: Jon Faddis; Jerry Dodgion; Rufus Reid; Kenny Werner; Vanguard Jazz Orchestra: Nick Marchione / Tanya Darby, Joe Magnarelli / Scott Wendholt / John Mosca / Luis Bonilla / Jason Jackson / Douglas Purviance / Dick Oatts / Billy Drewes / Walt Weiskopf / Ralph LaLama / Gary Smulyan / Michael Weiss / Andy Watson and David Wong; Arturo O’Farrill / Zack O’Farrill; Harlem Blues and Jazz Band: Ruth Brisbane / Art Baron / Michael ”Max” Fleming/ Joey Morant / Reynold “Zek” Mullins / Fred Staton / Jackie Williams and Bill Wurtzel; TAJA: T.K. Blue / James Weidman / James Cammack and Alvin Atkinson / Dee Daniels / Sarah McLawler and Les Jazz Femmes: Sarah McLawler / Carol Sudhalter /Melissa Slocum, Bernice Brooks / Annette A. Aguilar; BerlinVokal (choir): Michael Betzner-Brandt / Monika Stienecker / Daniela Ulsamer, Doortje Muller / Kirsten Peters / Elvira Maisch-Vogts / Beatrix Kirsch / Bettina Pauck / Katja Evers / Astrid Franz / Sabine Metzner / Jurgen Fuerhoff / George Gillert / Karsten Lohan / Ulrich Osterland and Andreas Hannay; Keisha St. Joan / Bertha Hope / Gene Bertoncini / Sara Caswell /David Demsey / Michael Webster / Ingrid Jensen / Chris Dingman / Jesse Lewis / Ike Sturm / Jared Schonig / Tim Keiper / Kaoru Watanable / Mat Kilmer; Streetbeat: Jason Wiseman / Jeff Fairbanks / James Rogers and Vin Scialla; Ken Simon / Yoichi Uzecki / Jonah Jonathan / Ken Crutchfield / Carol Morgan / Alexis Cole; Sabor de Tres: Eiko / Richie Robles / Paul Rivera and Cindy Bobe; Pat Foster / Elaine Zammett.   David Demsey and Dee Daniels are the concert emcees. The Legend Wall, an “exhibit wall” in Saint Peter’s Living Room, will tell the story of the Vanguard Jazz Orchestra from its inception to its current day activities with memorabilia, including photographs organized by photo archivist Tad Hershorn of Rutgers University Institute of Jazz Studies.  The exhibit will also feature memorabilia from the Thad Jones archives at William Paterson University provided by archivist David Demsey.  “The Vanguard Jazz Orchestra (VJO,) which has played at the Village Vanguard (New York City) nearly every Monday since 1966 is the most influential jazz big band of the contemporary era: This is the band in which every student musician dreams of playing, the band that virtually every college jazz orchestra tries to sound like. Nearly every band of the last 40 years is an unabashed spin-off of the VJO, and at least one club in every major metropolitan area has a "Monday night band" that follows the VJO business model. Indeed, it's a safe bet that a majority of all the big bands in the world right now emulate the VJO.”  Will Friedwald – New York Sun The Jazz Ministry at Saint Peter’s Church is a home for diverse individuals and communities which celebrates the dignity and vitality of Jazz, provides vibrant liturgy and pastoral care, and through intersecting partnerships, offers jazz programs, education and services.  An outreach program of Saint Peter’s Lutheran Church in New York City, The Jazz Ministry was founded in 1965 by the late Reverend John Garcia Gensel who created Jazz Vespers, a worship service featuring a wide range of jazz musicians that is held each Sunday at 5:00 PM.  Our pastors include Amandus Derr, Jared Stahler, Kaji Spellman, Bill Eschen, and Jazz Pastor Emeritus Dale Lind.   Ike Sturm, bassist, is our Director of Music for the Jazz Ministry. The Jazz Ministry thrives today with many events and programs such as All Nite Soul, Prez Fest, Jazz on the Plaza, Seminars for Musicians, Midtown Jazz at Midday, memorials, tributes, concerts, and others yet to be developed, to serve the jazz community. “All Nite Soul 2012 – Honoring The Vanguard Jazz Orchestra” takes place on Sunday, October 7, 2012 at Saint Peter’s Church, 619 Lexington Avenue (at 54th Street), NYC, 212 935 2200.  “E” train to Lexington Avenue or “#6” to 51st Street 5:00 PM: Jazz Vespers Free Will Offering 7:00 PM:  All Nite Soul Concert — $25 Suggested Ticket Donation — in advance atwww.saintpeters.org/events or at the door. Check out the Vanguard Jazz Orchestra exhibit and The Hungry Souls Café! ###

http://www.saintpeters.org/events

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com http://www.jazzpromoservices.com/

Trumpeter/Composer Allen Vizzutti's "Ritzville" CD Due Oct. 16

Trumpeter/Composer Allen Vizzutti
To Release "Ritzville"
October 16
Vizzutti Is Joined by Special Guests
Chick Corea & Stanley Clarke
Plus
Pianists Darrell Grant & Laura Vizzutti,
Guitarist Mike Miller, & Others

September 27, 2012

Trumpet virtuoso Allen Vizzutti has enjoyed a prolific career as performer and educator in both the jazz and classical fields since his early days with Woody Herman's big band and his notable four-year tenure with Chick Corea. The release of Vizzutti's superb new CD Ritzville, on October 16, is an especially welcome event because the in-demand trumpeter/composer has recorded all too infrequently as a leader. Ritzville brings the focus back to his primary passion of "performing music I love with my jazz group."
Contributions from Vizzutti's marquee-name friends Stanley Clarke and Chick Coreaare featured on the boppish "Ticklish" and the up-tempo ballad "Amara" respectively, while the rest of the band includes old friends (the guitarist Mike Miller) and new (Portland-based pianist Darrell Grant) performing an array of standout Vizzutti originals, most of them written specifically for the Ritzville session. Pianist Laura Vizzutti, the trumpeter's wife, is showcased on her namesake "Laura's Blues," one of four selections on which an 11-piece string section was added.

Recorded in Seattle, where Vizzutti has been based since 1990, Ritzville contains so many stylistic crossings, from groove-tight fusion updates to string orchestrations to acoustic ballads, the leader became concerned during the recording of it that the music was more varied than he had intended. Whether by serendipity or design, however, the songs fit together seamlessly, adding up to an invigorating statement by a multifaceted artist who is in command in all stylistic situations.

Author of the definitive trumpet method books that bear his name, Allen Vizzutti started on the horn with lessons from his father Lido, a self-taught trumpeter. As he was growing up in Missoula, Montana, young Allen played in school bands and, at 16, won a concerto competition that sent him to Interlochen, where he was awarded first chair in the World Youth Symphony Orchestra. He went on to study at the Eastman School of Music in Rochester, NY.

After a period of gaining bandstand experience ranging from Ice Follies shows to Bach chamber orchestras, Vizzutti had to choose between two tempting offers: lead trumpeter with Woody Herman and first chair trumpet with the San Antonio Symphony. He became a member of Herman's Thundering Herd.

"The big band experience, which so many young players now never get, is so valuable in so many ways, and not just musical," said Vizzutti. "We had people like Dizzy Gillespie and Tony Bennett andMarian McPartland joining us all the time. You got to see how great musicians handled themselves, handled rehearsals, bantered with the audience. You learned about timing, about stretching out musical moments to maximize their impact."

Vizzutti met Chick Corea during rehearsals for a piece the pianist wrote for Herman. Corea later invited Vizzutti to join him for a three-month tour with his 13-piece ensemble, featuring strings and horns. The trumpeter also played with Corea sextets featuring Joe Farrell, Dave Liebman, andSteve Kujala and is featured on three Corea albums: Secret Agent (1978), Tap Step (1980), and Touchstone (1982).

In 1978, Vizzutti moved to Los Angeles. He joined Doc Severinsen and the Tonight Show Band, and played on more than 150 film and TV soundtracks as well as albums by Frank Sinatra, Barbra Streisand, and Prince. His own unique jazz-fusion band Red Metal made two recordings and performed regularly in L.A. and on tour over the next eight years. After his relocation to Seattle, he recorded several albums as a leader, including Trumpet Summit (1995) andSkyrocket (1996), both for Summit. It's to be hoped that Ritzville marks the beginning of a new period of recording activity for this charismatic and virtuosic artist.

"I'm very grateful for my musically rich life," says Vizzutti. "It's exciting and a lot of fun to continue to improve as a player and performer. Ritzville is a calling card for a fresh new musical chapter about to unfold."

Photo: Lido Vizzutti 

Web Site:
www.vizzutti.com


Media Contact:Terri Hinte
510-234-8781
hudba@sbcglobal.net
www.terrihinte.com
Follow: 

Arturo O'Farrill and the Afro Latin Jazz Orchestra Present: Falafel, Freilach, and Frijoles: From Mambo to Borscht - November 2 & 3 at Symphony Space

GRAMMY® Award Winners Arturo O'Farrill and the Afro Latin Jazz Orchestra Present: Falafel, Freilach, and Frijoles: From Mambo to Borscht Program Examines Relationship Between  Jewish and Latino Communities Through Music   First Concert of 2012/13 Season at  Symphony Space, November 2 & 3, 2012 @ 8pm Recent coverage of the Afro Latin Jazz Orchestra: CBS Evening News, The New York Times, The Wall Street Journal,  The Village Voice,   NY1, Jazziz and Downbeat. New York, New York -- The Afro Latin Jazz Alliance is pleased to announce the inaugural performance of the 11th season of the GRAMMY® Award-winning Afro Latin Jazz Orchestra (ALJO), directed by Arturo O'Farrill.  The program, titled Falafel, Freilach, and Frijoles: From Mambo to Borscht, will be presented at Symphony Space on Manhattan's Upper West Side on November 2 & 3, 2012.  Join us for a pre-performance discussion on Friday, November 2 at 7PM as we explore a convergence of cross-cultural musical styles from the Catskills, Northern Africa, Iberia, and the Middle East.  The Orchestra's sixth season at Symphony Space exemplifies the Alliance's commitment to presenting a large and diverse picture of Afro Latin jazz that acknowledges and celebrates its past, while embracing innovation and experimentation that propels the music forward. General Admission is $50/$40/$30, Students/Seniors/Children $15, Symphony Space Members $40/$32/$24.  Take advantage of this special subscription offer: purchase two concert tickets for the 2012/2013 season and get a third concert admission for free! For tickets go to: www.symphonyspace.org, call 212.864.5400, or visit the box office.  For subscriptions, call or visit the box office.  Symphony Space is located at 95th Street and Broadway in Manhattan.    Falafel, Freilach, and Frijoles: From Mambo to Borscht will examine the long and venerable relationship between the Latino and Jewish communities.  The relationship between Jewish culture and Latin music dates back to Iberia prior to the Spanish Inquisition, and continued to pre-Castro Cuba - an era when Jewish families would visit the island and its nightclubs.  In the decades to follow, resorts started to pop up in the Catskills, and the Jewish community flocked to the Borscht Belt to dance to bands led by Tito Puente, Joe Cuba, and Eddie Palmieri, among others.  The burgeoning scene attracted musicians and fans alike and has been described as a "mecca for Latin music," resulting in the mambo being called "the Jewish waltz."  The ALJO will also explore the themes common to the larger Jewish and Latino communities, including a journey to the Middle East, the Mediterranean, and North Africa. "Afro Latin Jazz has been deeply impacted by the support of the Jewish community, particularly in the New York region and especially by what is commonly called the Borscht Belt, a popular area for Jewish resorts in upstate New York," explains O'Farrill.  "This will be a deep exploration of the relationship between two great Diasporas encompassing the Semitic traditions that stretch from the Middle East to Miami Beach, from the tip of North Africa to the Bronx, and from the mountains of Russia to the Catskills." Falafel, Freilach, and Frijoles: From Mambo to Borscht is loosely based on the famous album by Irving Fields, Bagels & Bongos, as well as the recording, Mazel Tov, Mis Amigos.  The evening will cast Jewish and Yiddish classics in Afro Latin big band versions, and set Latin classics in traditional Klezmer settings.  The Orchestra will feature original music and performances by guest artist trumpeter/slide trumpeter, composer Steven Bernstein, and that of ALJO member trombonist/composer, Israeli-born Rafi Malkiel.  "El Judio Maravilloso" Larry Harlow will be featured with the Orchestra performing classic Yiddish and Latin jazz compositions. ABOUT LARRY HARLOW    Larry Harlow is a true living legend of Afro-Cuban music. Affectionately nicknamed "el Judio Maravilloso" (The Marvelous Jew), Harlow is a renowned salsa bandleader and multi-instrumentalist, most noted as a pianist.  His earliest performances as a teenage bandleader were at the resorts in the Catskill Mountains.  Harlow, who is known for his innovative blend of Afro-Cuban and jazz styles of piano playing, studied music in the 1950s in Cuba, but was unable to complete his degree before the Cuban Revolution forced him to leave the island.  Orquesta Harlow was the second orchestra signed to the Fania label.  Harlow was the first piano player for the legendary salsa group known as the Fania All-Stars, and Fania's first record producer.  He produced over 260 albums for Fania Records between 1972 and 1976, including the acclaimed albums Sorpresa La Flauta, La Música Brava, El Campesino, and Latin Fever.  He has also produced over 106 albums for various artists and over 50 albums independently.  In 2008, he was presented with a Latin GRAMMY® Lifetime Achievement Award.  Harlow continues to lead and perform with Larry Harlow and the Fania Latin Legends. ABOUT STEVEN BERNSTEIN   Steven Bernstein is a trumpeter/slide trumpeter, bandleader, arranger, and composer who lives outside of musical convention.  He has released four critically acclaimed CDs:Diaspora Soul, Diaspora Blues (featuring the Sam Rivers Trio),Diaspora Hollywood, and Diaspora Suite.  All four are on John Zorn's Tzadik label.  Bernstein has played trumpet with a diverse group of artists including My Morning Jacket; Linda Ronstadt; David Murray; David Berger; Digable Planets; Sting; Medeski, Martin, and Wood; Courtney Love; Ryuichi Sakamoto; Don Byron; and Mocean Worker.  The trumpeter is also known for his work with The Lounge Lizards, Sex Mob (nominated for a 2006 GRAMMY® Award), Spanish Fly, and the Millennial Territory Orchestra.     ABOUT RAFI MALKIEL Composer, trombonist, and euphonium player Rafi Malkiel, from Israel, has performed with artists such as Willie Colon, Arturo O'Farrill, Ray Anderson, and with Colombian singer Toto La Momposina. He also participated in Reggie Workman's John Coltrane Africa Brass Live project and Jason Lindner's Big Band.  He has recorded over forty Jazz, Latin, and Rock albums with artists such as Ray Anderson, Salsa Picante, Toto La Momposina, and Lauryn Hill.  In 2003 he formed The Rafi Malkiel Ensemble, a group of virtuosic musicians living in New York City that play original compositions and arrangements by Malkiel, fusing Jazz and Latin American standards with Afro Caribbean rhythms.  His debut album, My Island, features legendary tuba player Howard Johnson, bassist Andy González, clarinetist Anat Cohen, and many more.    ABOUT ARTURO O'FARRILL Arturo O'Farrill, pianist, composer, educator, and founder of the nonprofitAfro Latin Jazz Alliance, was born in Mexico, grew up in New York, and was educated at the Manhattan School of Music, Brooklyn College Conservatory, and the Aaron Copland School of Music at Queens College.  O'Farrill played piano with the Carla Bley Big Band from 1979 through 1983.  He then went on to develop as a solo performer and collaborate with a wide spectrum of artists including Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, Wynton Marsalis, and Harry Belafonte. In 1995 Mr. O'Farrill agreed to direct the band that preserved much of his father's music, the Chico O'Farrill Afro Cuban Jazz Orchestra, which recently concluded a 15-year residency at Birdland.  In 2002 he created the ALJO for Jazz at Lincoln Center due to a large body of music in the genre of Latin and Afro Cuban jazz that deserves to be more widely appreciated.  His debut album with the Orchestra, Una Noche Inolvidable, earned a GRAMMY® Award nomination in 2006, and the Orchestra's second album, Song for Chico, earned a GRAMMY® Award for Best Latin Jazz Album in 2009.  The ALJO's new album, 40 Acres and a Burro, was released to critical acclaim and was nominated for a 2012 GRAMMY® Award for Best Large Jazz Ensemble Album. O'Farrill recently released his first solo piano recording, The Noguchi Sessions.  He is a Steinway artist.   ABOUT THE AFRO LATIN JAZZ ORCHESTRA (ALJO) The GRAMMY® Award-winning Afro Latin Jazz Orchestra, soon to start its 11th season, was founded in 2002 by musician, composer, and educator Arturo O'Farrill.  The ALJO performs the full repertory of big band Afro Latin jazz, and commissions new works to advance this culturally rich genre.  The ALJO was a resident orchestra at Jazz at Lincoln Center from 2002 to 2007.  In 2007 the ALJO left Lincoln Center to pursue the twin goals of developing new audiences for big band Afro Latin jazz, and creating a robust educational program for young performers.  The ALJO performs an annual season at Symphony Space on Manhattan's Upper West Side, plays at the famed jazz club Birdland every Sunday evening as part of an ongoing residency, and continues to tour nationally and internationally to critical acclaim.   ABOUT THE AFRO LATIN JAZZ ALLIANCE (ALJA) Founded in 2007, the nonprofit Afro Latin Jazz Alliance is dedicated to preserving the music and heritage of Afro Latin jazz, supporting its performance for new audiences, commissioning new work, and educating young people in the understanding and performance of this important cultural treasure.  The Alliance maintains a world-class collection of Latin jazz musical scores and recordings, and provides institutional support for the GRAMMY® Award-winning Afro Latin Jazz Orchestra.  As the ALJO celebrates its 11th season, the ALJA's educational and community outreach programs continue to flourish. For more information on the ALJA, ALJO, and Education Programs, visit:www.afrolatinjazz.org.   The ALJO's 2012-13 Symphony Space season is sponsored by:        The work of the ALJA is made possible with support from: Foundations: Arnhold Foundation, Leonard Bernstein Family Foundation, BMI Foundation, Brenner Family Foundation, D'Addario Music Foundation, Fund for the City of New York, New Yankee Stadium Community Benefits Fund, New York Community Trust/Lila Acheson Wallace Fund for the Arts, Fan Fox and Leslie R. Samuels Foundation; Corporate: Capital One, Colgate/Palmolive, Con Edison, Goya, WABC-TV; Public: City Council Member Gale Brewer, 1199/SEIU, and other generous individual donors. For more information, please contact: DL Media· (610)667-0501 Amy Miller· amy@dlmediamusic.com   Afro Latin Jazz Alliance· (212)866-6634   Nina Olson· nolson@afrolatinjazz.org   ###

5th Annual Sunny Isles Beach Jazz Fest Will Feature Headliner David Benoit

The City of Sunny Isles Beach is excited to announce the line-up for the 5th Annual Sunny Isles Beach Jazz Fest three-day festival. David Benoit headlines the main event on Saturday, October 13, 2012 at 6:30 pm at Heritage Park (19200 Collins Avenue). Following tradition, the weekend will be filled with a variety of musical events, at various venues in Sunny Isles Beach.

The City of Sunny Isles Beach is excited to announce the line-up for the 5th Annual Sunny Isles Beach Jazz Fest three-day festival. David Benoit headlines the main event on Saturday, October 13, 2012 at 6:30 pm at Heritage Park (19200 Collins Avenue).

Following tradition, the weekend will be filled with a variety of musical events, at various venues in Sunny Isles Beach. On Friday, October 12th, join us for an Evening of Jazz at Acqualina Resort and Spa (17875 Collins Avenue) from 8pm – 11pm. Tony Sona Trio with special guest Gail Robin will be the featured artists. Tickets range from $25 - $65 and valet parking is $8 per vehicle. To purchase tickets call the resort at 305.918.8000.

On Saturday, October 13th, enjoy a Jazz BBQ on the Beach, at Sole on the Ocean (17315 Collins Avenue). This event, from 12pm – 4pm, will feature the Oriente Band, a cool Afro Cuban Blues and Soul group. The event is accessible from the beach, and FREE, however the BBQ food will be available for purchase.

The main event will take place Saturday evening, October 13th, from 6:30pm – 10pm at Heritage Park (19200 Collins Avenue). The City proudly presents opening act, Ira Sullivan, bop jazz trumpeter, flugelhornist, flautist, saxophonist and composer. Performing after Ira will be Rose Max & Ramatis Brazilian Jazz. Ramatis plays a masterful acoustic guitar complimented with beautiful vocals by Rose. Playing alongside Ramatis and Rose is special guest, renowned Brazilian bassist Dorio Ferreira. The headliner for Saturday’s event is David Benoit, known worldwide for his soulful jazz piano performances.

Gates open at 6:00 pm for Saturday’s main event and the $25 (general admission) ticket can be purchased at the SIB Visitor Center (18070 Collins Avenue) and Pelican Community Park (18115 North Bay Road) or at the door on that night. This event will take place rain or shine. Patrons should bring a chair or blanket for open seating. Seats can also be rented. Food, wine and beer are available to purchase at the park. Alcohol sales will benefit Joshua’s Heart Foundation.

Finally, the weekend will close out with a Glorious Buffet Brunch at Alba Seaside Italian (in Sole on the Ocean). This event, from 12pm – 4pm on Sunday, October 14, 2012, will include an incredible Italian American Inspired Brunch with action stations and unlimited Mimosas and Bloody Mary’s. Ticket price is $40 per person, and valet parking is $5 with validation. Expect Joy, Food, and Love. For tickets, call the hotel at 786.923.9300.

For additional event information, please contact the Cultural & Community Services Department at 305.792.1706 or log onto http://www.sunnyislesbeachjazz.com

Sunny Isles Beach, FL (PRWEB) September 25, 2012

Trumpeter John Daversa Returns with Crackling Small Group Outing “Artful Joy”(BFM Jazz) a Potent Follow up to Junk Wagon: The Big Band Album With special guests Bob Mintzer and Gretchen Parlato

On the heels of 2011’s high-energy, take-no-prisoners, boundary-stretching Junk Wagon: The Big Band Album, acclaimed L.A.-based trumpeter-composer-arranger John Daversa scales things back for his upbeat follow up, Artful Joy. “It was difficult trying to find the right album name for this one,” says Daversa, who has been leading a big band and small group concurrently for the past six years. “I didn’t realize how much in the spirit of deep happiness and joy that it was until it was done. It’s been a very fertile, wonderful year and I think this album is a reflection of that.”

Special guests Bob Mintzer and Gretchen Parlato appear on two tracks alongside Daversa’s working group of tenor saxophonist Robby Marshall, keyboardists Tommy King and Brandon Coleman, guitarist Zane Carney, bassist Jerry Watts and drummer Gene Coye. Together they take listeners on a musical journey that travels from the opening go-for-it jam “Seven Grand” (named for the club in downtown Los Angeles where the band regularly performs) to the gospel-tinged “No Frets, No Worries,” the raucous, tambourine-shaking second line number “C’mon Robby Marshall!” (a showcase for the outstanding tenor player), the hard-boppish “Rhythm Changers” (featuring Mintzer on bass clarinet) and the anthemic closer “Some Happy S*#t.” Other highlights on Artful Joy include the gently moving “Hara Angelina” (written for Daversa’s newborn daughter and featuring the affecting wordless vocals of Parlato), the thoughtful waltz-time ballad “Moonlight Muse,” the ultra-slow-grooving “Flirty Girl” and the mysterious soundscape-ish “Players Only” (featuring some beautiful muted trumpet playing by the leader).

One other tune on Artful Joy, the emotionally-charged “Good to be Alive,” was directly inspired by a session that Daversa played on for an album by gospel great Andraé Crouch. “I found it to be one of the most inspiring moments for me,” he says. “The track that we played on had this kind of Dixieland vibe, with Bob Mintzer playing clarinet. That was a lot of fun, but the track they played right after that completely blew my mind. It was just so joyful and positive and it just felt so incredible that I said to myself, ‘I want to do something that feels like that!’ And the next day I wrote ‘Good to be Alive.’” He credits singer Hillary Johnson as co-composer of that uplifting number. “She was a student of mine at the University of Southern California,” he explains. “We had a lesson together the day after I wrote out the initial sketch for ‘Good to be Alive’ and I said to her, ‘Sing something on top of this form.” And she came up with the beautiful melody that I ended up playing on the album.”

While Daversa says that there is some gear shifting involved in piloting both the big band and small group, he feels that they both convey the same spirit in the music. “To state the obvious, the small band allows a lot more room for improvisatory exploration and for the personalities to be even more developed. With the big band, we have our road map in front of us so we always know where we’re going. There’s some definition to the chaos. One of the wonderful things about a smaller band is it can be much more open, the improvisations can really take off and there’s more room for different things to happen. So the challenge with the small band is to make sure that we harness that energy, that we always still play the song and stay reverent to whatever that particular moment is.”

Daversa takes full advantage of the benefits that his small group presents on Artful Joy. The aggressive opener “Seven Grand,” is a snippet from an extended jam in the studio that serves as a kind of overture for the project. Daversa’s trumpet is positively bristling on this urgent number. “Shelley’s Guitar” opens with some otherworldly synth sounds by the leader on Electronic Valve Instrument (EVI) before segueing to some searing exchanges of eights between trumpet and tenor over a swinging groove. The thoughtful “No Frets, No Worries” features some nice harmony lines between Daversa’s flugelhorn and Marshall’s tenor and is buoyed by the gospel-drenched piano playing of Brandon Coleman. The tender “Hara Angelina,” another vehicle for Daversa’s EVI, has rising star Gretchen Parlato doubling the tender melody with her ethereal wordless vocals. “She’s so wonderful,” says Daversa. “Gretchen and I went to school together in L.A. way back when. It had been a while since we connected but I heard her so clearly singing the melody on that song. And she just sounded so beautiful. I wrote the song for my daughter when she was born and I told Gretchen what it was about, and she just went deep with it from note one. That’s what she can do. She’s just really special that way.”

Tenor man Marshall wails with blustery tones on his namesake piece “C’mon Robby Marshall!” and burns on the hard boppish romp “Rhythm Changers,” which features a guest turn from the Yellowjackets’ Bob Mintzer on bass clarinet. “I just love the way Bob plays bass clarinet,” says Daversa. “There's just a certain wonderful sense of time that he has on any instrument, and I love the way it comes out on bass clarinet. It was so much fun to hear him play on this tune, and I especially liked the little fugue-like moment where it breaks down just between the two of us. Bob is as much a composer when he plays as he is an improviser, and I’ve always admired that about his musicianship. I certainly try to be that way myself, so it was really fun to get to do that song with him.”

Daversa, who played in Mintzer’s big band on a recent tour of Japan, adds, “We’ve been playing together more and more lately so we’re getting to know each other as musicians. Of course, he’s also a big band composer and arranger-orchestrator, so he thinks in that kind of head as well. There are a lot of parallels in our musical interests. He’s someone who has been just an invaluable, incredible, wonderful mentor for me. And I really admire him for his commitment to his craft. He’s always learning and always growing and asking questions. I find that to be very inspirational. It’s so much fun to be around him because you learn something every time.”

“Moonlight Muse” is a lyrical number in 3/4 time underscored by Gene Coye’s sensitive brushwork and buoyed by Jerry Watts’ melodic bass playing. The piece opens up midway for some highly expressive solos by Marshall, Daversa and Watts. “Players Only” opens with an ambient intro with Daversa playing muted trumpet and resolves to a haunting soundscape that gradually builds in intensity until reaching a big backbeat crescendo with Daversa wailing on harmonizer-infused trumpet and Brandon Coleman adding some dazzling piano lines. “That recording is the first time we ever played it like that,” says the composer. “That just happened. And that’s the advantage of a small band…it’s different every time.”

“Flirty Girl” oozes along on a slow progression that recalls one of Miles Davis’ latter day tunes, “New Blues.” Says Daversa, “It’s one of my favorites on that album because it’s so wonderfully patient and economical. There’s nothing on there that doesn’t need to be on there. It’s just very honest, very in-the-moment. There’s nothing to prove. I think that’s the kind of spirit we were trying to play with there. It’s just music. It’s so slow and fun and flirty.”

Throughout the album, and particularly on the emotionally charged “Good to be Alive,” Daversa demonstrates a tight chemistry with his frontline partner, saxophonist Robby Marshall. “I’ve always just loved his musical personality because he’s fearless and there’s so much integrity in everything that he plays,” says the leader of his right-hand man on tenor. He’s just going for the heart with every note. There’s not one note that he’s just trying to really reach a higher place with. And those are the people that I want to play with. I’ve known Robby since he was in college, in his early 20s. And he had that then. The first time I heard him I knew that I was going to see him more. And now after years of getting to play with one another, we have this thing together where I know that whatever I play, he’s going to be there right with me. When we play live I’m very open to going to different places, and he’s always right there with me. Because he’s in the spirit of the moment, he’s not locked into what it should be or what it was or what it’s supposed to be. He’s just in the now. So it’s an irreplaceable kinship.”

The joyful “Some Happy S*#t,” conveys the same upbeat spirit that Joe Zawinul concocted on his hit song for Weather Report, “Birdland.” It concludes Artful Joy on a note that is decided on the goodfoot. A dynamic project from start to finish, Artful Joy shows another side of Daversa’s writing and arranging. And all the players elevate the proceedings with inspired playing from track to track.

For more information, tour dates and bio on John Daversa go to: http://www.johndaversa.com

Los Angeles, CA (PRWEB) September 25, 2012

JAZZ FOR OBAMA 2012

TUESDAY OCTOBER 9th
featuring
RON CARTER
DEE DEE BRIDGEWATER
JIM HALL
ROY HAYNES
KENNY BARRON
JOE LOVANO
KENNY GARRETT
CHRISTIAN MCBRIDE
JIMMY HEATH
JEFF "TAIN" WATTS
CLAUDIA ACUÑA
RAVI COLTRANE
GRETCHEN PARLATO

AND VERY SPECIAL GUESTS....

OCTOBER 9 @ 7:30pm
Symphony Space
Broadway at 95th Street
(Doors open 6:45 pm)

ALL PROCEEDS BENEFIT THE OBAMA FOR AMERICA PRESIDENTIAL CAMPAIGN

TICKETS AND ALL INFORMATION AVAILABLE ONLY AT:

www.jazzforobama2012.com

Ilia Skibinsky-The Passage (Mythology Records 2012)

All original music rooted in jazz with each track influenced by a different style such as modern classical, cinematic music, Middle Eastern, Jewish, Far East, Balkan and more. The concept of the album is to present jazz in its various forms and beyond.
This album is a compilation of compositions that were written over the course of the last decade. Some of them were written as long as 11 years ago while others were composed very recently. The concept of the album is to present compositions which will differ in style from track to track while maintaining unity through jazz language and improvisation.

Track 1 and 2 comprise a two part piece, which with the lack of a better definition would be described as modern jazz with various Latin influences in the tradition of Chick Corea, Michael Brecker and others.
Track 3 is a composition based on Jewish and Klezmer rhythms and motives.
Track 4 is a downscale arrangement of a symphonic classical piece adopted for a standard jazz quartet + a string quartet.
It has strong influences of modern cinematic music.
Track 5 could be described as modern jazz which would be heard in the last decade by such artist as Kurt Rosenwinkel, Mark Turner and others.
Track 6 has influences of music from the Far East an features Indian percussion instruments.
Track 7 is modern Jazz with subtle hip-hop influences.
Track 8 is influenced by a mix of Middle Eastern, Russian and Balkan folklore.
Track 9 is a straight ahead jazz ballad.

While all the compositions differ vastly in style, they are deeply rooted in jazz and the intent was to create a seamless flow through harmonic language, structure and improvisation. The emphasis is on elaborate forms and the order of the tracks has a significance since certain compositions are a direct continuation of the one that comes before it through the use of similar musical material in a changed state. This record is a journey. It is The Passage.

About the Artist:

Saxophonist, Pianist, Composer and Producer - Ilia Skibinsky has been described by his peers and colleagues alike, as someone who possessed the unique ability to navigate through an array of musical styles, while maintaining a unique voice. Born in Russia, he immigrated with his family to Israel in 1993. While in Israel, aside from regularly performing with the elite of the local jazz artists, Ilia participated in some of the top scale productions such as the Israeli adaptations of the TV shows “American Idol” and “Dancing with Stars” which aired on nation wide prime time TV as well as full Broadway productions of “Chicago” and “Guys & Dolls” at the Bet Lessin Theater.
In 2007, Ilia relocated to New York. Since his arrival he had the chance to share the stage with such artists as Joanne Brackeen (Art Blakey), Bobby Sanabria, Larry Graham (Sly and the family stone) and many others. In 2008, Ilia has been invited to play with one of the productions of the world-renown Cirque Du Soleil on their show entitled “Corteo”. He performed as a saxophonist and keyboardist with the production in US, Canada and Japan completing over 500 shows. In September 2011, Ilia performed at the prestigious Colonial theater (Berkshires, MA) in a program that featured his original compositions written for a classical chamber ensemble.
Mr. Skibinsky compositional and production works for TV have been featured on PBS and Discovery Channels.
Ilia has been awarded a scholarship from the America-Israel Cultural Foundation Award (AICF) for 4 (four) consecutive years.  cdbaby