Monday, March 11, 2019

USA: MCG Jazz: SJMO w/Hubert Laws : Chicago 3/14/2019


FOR IMMEDIATE RELEASE
MCG Jazz Presents
The Smithsonian Jazz Masterworks Orchestra in Concert:
 “Jazz Beyond Borders” in Chicago March 14
in partnership with the Jazz Institute of Chicago
and featuring Hubert Laws

Tickets & Info


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CHICAGO February 22, 2019 - MCG Jazz is pleased to announce a special engagement featuring The Smithsonian Jazz Masterworks Orchestra (SJMO), the 19-piece big band orchestra in-residence at the Smithsonian’s National Museum of American History, in Chicago, IL,  on Thursday, March 14, 2019. In partnership with the Jazz Institute of Chicago, the performance will take place at the Studebaker Theater, 
410 S. Michigan Ave, at 7:30PM.

NEA Jazz Master and internationally renowned flutist Hubert Laws will join the SJMO, under the direction of artistic director Charlie Young, for a one-of-a-kind concert experience at Studebaker Theater to present a collection of music ranging from historic Duke Ellington arrangements from the Smithsonian archives to new compositions and new arrangements for jazz orchestra of classic Hubert Laws compositions. For more information and to purchase tickets, please visit here.

“We are thrilled to bring the SJMO to the city of Chicago,” said Young, adding “We are creating a bespoke concert tailored to the community. Jazz bridges cultures and promotes democracy, cultural diversity and innovation and through authentic collaboration, we create something much greater than the sum of its parts.”

“It is an honor to partner with the Smithsonian and SJMO who understand the role of this important American icon that we call jazz, “ says Heather Ireland Robinson, Executive Director of Jazz Institute of Chicago. “We are further glad to host NEA Jazz Master Hubert Laws in Chicago.”

The Smithsonian Jazz Masterworks Orchestra was founded in 1990 with an appropriation from the U.S. Congress in recognition of the importance of jazz in American culture and its status as a national treasure. A cornerstone of the Smithsonian’s commitment to jazz, the SJMO, led by Conductor and Artistic Director Charlie Young, has performed for audiences across the United States, Canada, Europe, the Middle East and Africa. Its concerts, by the full orchestra and smaller groups, include transcribed works, as well as new arrangements, commissioned works and programs that illuminate the contributions of small ensembles and jazz masters who contributed to the development of American jazz and defined the music’s character. For information about the SJMO is available at
http://americanhistory.si.edu/smithsonian-jazz. And more information about Hubert Laws can be found here.

Hubert Laws

Internationally renowned flutist Hubert Laws is one of the few classical artists who has also mastered jazz, pop, and rhythm-and-blues genres; moving effortlessly from one repertory to another. He has appeared as a soloist with the New York Philharmonic under Zubin Mehta, with the orchestras of Los Angeles, Dallas, Chicago, Cleveland, Amsterdam, Japan, Detroit and with the Stanford String Quartet. He has given annual performances at Carnegie Hall, and has performed sold out performances in the Hollywood Bowl with fellow flutist Jean-Pierre Rampal and was a member of the New York Philharmonic and Metropolitan Opera Orchestras. In addition, he has appeared at the Montreux, Playboy, and Kool Jazz festivals; he performed with the Modern Jazz Quartet at the Hollywood Bowl in 1982 and with the Detroit Symphony in 1994. His recordings have won three Grammy nominations.

Mr. Laws has been involved in unique projects such as collaborations with Quincy Jones, Bob James, and Claude Bolling for Neil Simon’s comedy California Suite, a collaboration with Earl Klugh and Pat Williams on the music for How to Beat the High Cost of Living: and film scores for The Wiz, Color Purple, A Hero Ain't Nothing but a Sandwich, and Spot Marks the X.

There are 23 albums in Mr. Laws’ discography for such record companies as: Atlantic, CBS, CTI, and for the Music Masters record label.

Mr. Laws also maintains his own publishing companies, Hulaws Music and Golden Flute Music, and he founded Spirit Productions in 1976 to produce his own albums and those of promising new artists. He was selected the #1 Flutist by Downbeat’s readers' poll for 11 years in a row including 2015.  Laws received his National Endowment for the Arts Jazz Masters award in 2011.


The Jazz Institute of Chicago Celebrates 50 Years:
With a 50-year history of nurturing and promoting jazz in all its forms through concerts, public events and educational programming, the JIC will celebrate this golden anniversary throughout 2019 with a year-long celebration of jazz music. Our goal is to reach the minds and hearts and souls of as many as possible with special concerts, a jazz film festival, a listening and speakers series, family programming, art exhibitions, a house+jazz dance party and a weekend-long birthday bash at the Logan Center for the Arts that showcases the diversity of jazz and our community, our cultural partners and the foundations upon which the organization has grown. For more information on our programs, visit ww.jazzinchicago.org.

About MCG Jazz:
MCG Jazz is a social enterprise supporting the education programs of the Manchester Craftsmen’s Guild, a nonprofit in Pittsburgh, PA whose mission is to preserve, present and promote jazz. In addition to presenting one of the nation’s longest running jazz subscription series, the MCG Jazz label has won five GRAMMY® Awards. For more information about Manchester Craftsmen’s Guild, please visit their web site at www.mcgjazz.org.

Media Contact:
Heather Ireland Robinson
(312) 427-1676 x 5
Mobile: (773) 808-8096
heather@jazzinchicago.org

Marty Ashby
Executive Producer
(412) 322-1773 ext. 121
mashby@manchesterbidwell.org
Facebook.com/mcgjazz
Twitter: @mcgjazz

ITALY: Luca Sguera ‎– AKA(AUAND 2019)

AKA (CD, Album) album cover

Luca Sguera “AKA” RELEASE: STREET Feb 1, 2019 DIGITAL Feb 1, 2019 Luca Sguera piano, vocals on #6 Francesco Panconesi tenor saxophone Alessandro Mazzieri electric bass Carmine Casciello drums featuring Dan Kinzelman vocals #6 Produced by Luca Sguera and Dan Kinzelman Executive Producer: Marco Valente Recorded at Siena Jazz – Italy Engineer: Dan Kinzelman Cover Photo: Kenji Yanagawa

Sunday, March 10, 2019

GREECE: Nikolas Skordas -Alexandros Aivaliotis: Facing Infinity(2019)

Facing InfinityFACING INFINITY

Nikolas Skordas soprano sax, tarogato, traditional flutes.
Alexandros Aivaliotis shakuhachi, hocchicu.
With guest Sophia Koroxenou, voice track 12

This second SLAM CD by Nikolas Skordas (see SLAMCD 582 Ships and Shepherds with Alex Maguire) features him with fellow original improviser Alexandros Aivaliotis in the duo ON, creating an intriguing and beautiful combination of textures and voices from a mixture of international cultures. Nikolas and Alexandros write: 

 The musical interaction between the mellow, inner, simple sound of the Japanese vertical flute, the shakuhachi, and the sharp, but also sweet sound of the soprano saxophone, the most wildcat of the sax family, creates an untold journey to unconventional places and times of the human experience.

 Regarding the name of the duet, we underline the multidimensional meaning of the word "on", (Greek: sentient being), the human entity, the concept of "is-be", inside us. The same phonetic sequence "on", in Japanese stands for "sound", as the original form of the frequency creation through air. The above ideogram consists of two others, meaning "stand up" and "sun", as "the rising of the light". 

 Those two denotations present the concept of sound as something vivid, fresh and authentic, beyond the boundaries of common knowledge and views about music. East and west, together present a new musical proposal through a rare duet! On the one hand, we have the soprano sax, an instrument capable to produce different voices, hard to play, weird and inexplicably indomitable but beautiful, a tool that requires full commitment and patience. On the other hand, the old meditation tool of ancient Japan, a root end bamboo made flute with only five holes, one of the hardest traditional flutes to master, vibrates the atmosphere in a unique way, imitating even the human voice and producing sounds from the depth of the human existence. Listen!

Also available through all digital outlets, including

NORWAY/SWEDEN: RYMDEN-Reflections and Odysseys(2019)



While Bugge Wesseltoft is a musician with a keen appreciation of music wherever it comes from, and the unity among people that music can bring, he also appreciates music as an expression of an identity. His championing of the cause of "European Jazz as its own art form" sees him return to the piano trio format with the Swedish rhythm section consisting of Magnus Öström and Dan Berglund. The groups New Conception of Jazz and e.s.t. (esbjorn svensson trio) moved in different orbits around the same musical planet, and produced some of the best recorded music and performances that spanned the 90s into the new millennium.

The influence of both groups was profound and can still be seen and heard today in the emerging young talents from Scandinavia and beyond, many of whom have found encouragement and a home on Wesseltoft's Jazzland Recordings label. e.s.t. remain regarded as one of the best live acts of the era, and they hold their position as the most successful artist on the Munich-based ACT record label. Both groups were explorers, experimenters testing the limits of existing forms or trying to discover new ones.

 That a crossover between these two powerhouses of 21st century European jazz should occur is not surprising, although perhaps long overdue. With the formation of RYMDEN (meaning "space" – as in "outer space" or "universe"), we are presented with a music that is innately Scandinavian in mood and attitude. This is not the "Scandinavian sound" one might picture: this is not music for meditating over a view of frozen mountains or tranquil fjords (although the listener is free to do so!): This is music that reflects all aspects of the Scandinavian milieu of the 21st century. This is music filled with rugged dynamism, extended playing techniques, brooding or melancholic atmospheres. It offers cinematic and epic sounds, cascading drama, crashing and splashing, tension and release. It delivers melodic, high-octane unison riffs,

Minimalism immersed in rich improvised tapestries, vocal doubling of melodies, and moments of growling menace. It does this with minimal electronic trickery, with Wesseltoft moving between piano and Rhodes, and Berglund and Öström coaxing just about every possible sound from their instruments.

USA: Bassist Allen Carman and a masterful collective team to define their own brand of music they call "Carmanology"




Bassist Allen Carman and a masterful collective team to define their own brand of music they call “Carmanology”

Grammy-winning guitar legend Nile Rodgers ignites “State of Mine,” the explosive new single from The Allen Carman Project’s debut album dropping April 5.

TAMPA (21 February 2019): It started out as just a few friends having fun making music together but grew into a recording project that to date has placed three singles on the Billboard chart with a fourth, “State of Mine,” certain to follow suit, in part due to the distinctive rhythmic riffing of Grammy-winning guitar legend Nile Rodgers. Bassist Allen Carman shelved his music aspirations twenty years ago only to rekindle them after reconnecting with percussionist Gumbi Ortiz and keyboardist Philippe Saisse a couple years ago. Joined by drummer Luis Alicea, the quartet became The Allen Carman Project, a band scrapbooking contemporary jazz, R&B, Latin, Afro Cuban, funk and fusion with a bolt of added star power from prominent soloists: Rodgers, saxophonist Andy Snitzer, trumpeter Rick Braun and guitarist Marc Antoine. In the process, the “Carmanology” album, produced by Ortiz and Saisse and featuring eight original songs, introduces the sound of an exciting and creative collaborative that will drop their debut disc April 5 on the ACP Music label.      

When Ortiz convinced Carman to work on some new tracks with him and Saisse, expectations were modest. Saisse penned the premiere single “Groove Salad,” a nourishing blend of contemporary jazz tossed with generous servings of Snitzer’s zesty sax. The title track dropped next, defining the outfit’s sound palette as an inventive mix of future meets familiar on a cut that portrays a vividly-realized fantasy where kinetic go-go beats and horn-powered funk coexist with vibrant jazz piano and sax theatrics. On the third single, Snitzer rampages through “Hearsay,” stirring a maelstrom amidst taunting bass, cascading rhythms and exuberant harmonies. Fourth up, Braun’s muted trumpet lends atmospheric elements to “Morning After” while Snitzer’s bellowing saxophone testifies in emphatic support of Carman’s elastic basslines and Saisse’s rapturous keyboard vocalizations. Other highlights on the “Carmanology” collection include the breezy Latin-jazz oeuvre “Carisma” on which Antoine’s nylon guitar leads the exotic exploration; a sprawling aural adventure through “El Fanfaron” boosted by Carman’s boundless bass, Ortiz’s exhilarating percussion attack and the combustive horns of Don Harris and Bill Harris; and just when you think you’ve got the band’s sonic trajectory figured out, they augment “Bodega” with Evan Garr’s mind-blowing electric violin.  

“When Gumbi and I started talking about making a record, I was super excited. My only expectation was to make a great record with great musicians. This album has far exceeded those expectations. It has always been a dream of mine to make a record with top-quality musicians and good songs. I put that dream on hold many moons ago when I joined the ‘civilian’ world and became a lawyer. However, I always felt like a musician first and a lawyer second. I never gave up on my passion to play,” said Carman, a South Jersey native who first met Ortiz in the mid-80s on the Tampa music scene when they played in local bands.

Ortiz, Saisse and Alicea established their chemistry years ago while backing guitar great Al Di Meola. Garr was also part of that band. Before deciding to go to law school, Carman toured extensively, performing with an array of artists. He’s looking forward to touring with The Allen Carman Project during a spring trek in support of the record release.

“I can’t wait to get out on the road with these fabulous musicians and play for live audiences. It will be magical.”  

“Carmanology” contains the following songs:

“Groove Salad”
“Hearsay”
“Carisma”
“State of Mine”
“Morning After”
“Carmanology”
“El Fanfaron”
“Bodega”
“River”

For more information, please visit https://theallencarmanproject.com.



USA: Re Discover Johnny Costa on Chiaroscuro Records(Chiaroscuro Records 2019)

Re-Discover Johnny Costa.

The recent Fred Rogers film Won't You Be My Neighbor has become the highest grossing biographic documentary of all time. For most Mister Rogers' neighborhood's 31 season run, pianist Johnny Costa provided the jazzy accompaniment that millions grew up on. Wynton Marsalis says Costa was called "Baby [Art] Tatum."

Costa recorded four outstanding solo piano albums for Chiaroscuro that highlights his imagination and artistry.

Click albums to purchase on iTunes.
These releases are available at retail outlets through MVD. Also available to purchase at Amazon.
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interpretation of Beethoven's 'Moonlight Sonata'

USA: Art Pepper- MUCHO CALOR (Vsop Records 2019)



Born in 1925 in Gardena, CA, and raised in San Pedro, CA. Incredible life can't be summarized here! Read all about it in STRAIGHT LIFE at Amazon. Read what it was like being married to him in ART: Why I Stuck with a Junkie Jazzman. Amazon ditto. lauriepepper.net

AllMusic Review by Scott Yanow
This recording brings back an obscure session from the long defunct Andex label that was probably recorded around 1956. The emphasis is on Latin jazz with altoist Art Pepper, trumpeter Conte Candoli, tenor saxophonist Bill Perkins, pianist Russ Freeman, bassist Ben Tucker, and drummer Chuck Flores interacting with the percussion of Jack Costanza and Mike Pacheko. With arrangements by Bill Holman, Johnny Mandel, Benny Carter, and Pepper, the music is quite jazz-oriented if a touch lightweight. Worth investigating by fans of the idiom.