Zzaj Happenings!!

–Zzaj Happenings——————————————-HEADER————————————–\\\———————————-

jazzLogo.jpg
April 23, 2018

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Bobby Ramirez
New CD Release
“Yo Soy RITMO! DANZON
– Homenaje a Miguel Failde”


Listen Here

shem.gif
Our journey of YO SOY RITMO! DANZON began in 2013. Inspired by Glenda R Mujer Esperanza’s love for this music and her Cuban roots, we noticed that no one was actively promoting the Cuban classic Danzón. And thus, our quest began with the mission of rescuing the Cuban Danzón.

“Yo Soy RITMO! Danzón – Homenaje a Miguel Failde” is not a musical or historical study of the Danzón. It is a re-connection with our rhythmic roots, organized in chronological order–taking us from the gestation, formation, birth, development and maturity of the rhythmic Pearl of the Americas, the Danzón. 

It is also a loving tribute of recognition of all the great musicians and dancers who contributed to the Cuban Danzón; thus becoming the musical basis and matrix of a rhythm and culture that went on to influence and characterize the cultural and social landscape of many Latin American countries. 

We are also grateful to Mexico which keeps the Danzón alive. Even today, millions of Mexicans enjoy the Danzón since the first joyful rhythm of the Cuban Charanga was heard in Veracruz, Yucatán and the Federal District.

Most importantly, this musical production is a loving tribute to the creator of the Danzón; the first Danzón was premiered in 1879 by the musician Miguel Faílde “Las Alturas de Simpson” at the Liceo de Matanzas with the orchestra he directed.

Beyond the music, we were determined to reconstruct all the historical visual imagery, elegance, and pageantry of this unique Cuban folklore. Today, we continue to rescue, preserve, promote and educate about the authentic Cuban Danzón.

“Yo Soy RITMO! Danzón – Homenaje a Miguel Failde” is a labor of love that was initiated with respect, meticulous attention to detail and dedication. We hope this musical work brings the listener great pleasure as much as we enjoyed producing it.

Born in Camajuani, Santa Clara, Cuba, virtuoso performing artist, flutist, saxophonist, composer, arranger, vocalist and bandleader, Maestro Bobby Ramirez was raised in Hialeah (Miami) Florida where he initiated his musical career, expanding 4 decades since 1978. www.maestrobobbyramirez.com

A powerful performer and improviser on the saxophone and flute, Ramirez holds a firm command of the language of jazz drawing from an intensive vocabulary of colorful sounds and rhythms, as well as equally capable with his skills as a Jazz composer and arranger. Mr. Ramirez currently has over 30 music recordings listed on iTunes ranging from Jazz to classical music works.

While Maestro Bobby Ramirez keeps a busy schedule of performances, he has donated his time and talent to many local South Florida charities. Mr. Ramirez also serves the South Florida community as the creative visionary, Founder and President of the non-profit Jazz Museum of Florida, Inc (dba JAZZONIAN), currently located at Excelsior Language Academy in Hialeah (Miami, Florida). www.jazzonina.org

One of Bobby’s most notable achievements was establishing the JAZZONIAN Kids Club, an educational initiative that inspires family values and leadership principals as part of a Jazz and music curriculum at Excelsior Language Academy where Bobby works with kids as a volunteer every week, taking Jazz to where there is none.

The Bobby Ramirez Foundation is dedicated to children’s charities, providing music performances, workshops, as well as donating instruments, and music arrangements. Ramirez is a noted speaker inspiring kids in local schools to become high achievers. “Jazz has the potential to inspire a kid to become exceptional in whatever he/she decides to do in life.” br

Executive Producer:
Glenda R Mujer Esperanza

Production by:
Yorgis Goiricelaya

Post Production Team:
Bobby Ramirez
Yorgis Goiricelaya
Livan Mesa

Musicians:
Bobby Ramirez, flute, vocals, music director
Yorgis Goiricelaya, bass guitar
Livan Mesa, piano
Antonio “Pacha” Portuono, timbales
Amaurys Reinoso Perdomo, guiro, congas
Luis Aguilar Torres, violins, bk vocals
Glenda R Mujer Esperanza, bk vocals

All musical arrangements by:
Bobby Ramirez

Initial Live Group Recording at:
Critical Recording Studios, Miami, FL
Engineer: Marcio Scheer

Flute and Violins Recorded at:
RITMO!CITY STUDIOS
Hialeah, FL

Front and back cover photographs by:
Barbara Hershey
Inside group photo by:
Alejandro Martinez
Photo of Bobby Ramirez inside by:
Jill Kahn

More information at:
http://www.ritmodanzon.com/
www.retretacubana.com

For CD reviews and press requests, contact:
info@ritmodanzon.com
ritmocity@yahoo.com
305-298-2380

This E Mail is being sent by:

Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO HERE

—————————————————————————————————————————————

View this email in your browser

KARI-ON PRODUCTIONS, LLC
kari@karionproductions.com || 706.993.2223|| karionproductions.com

IMMEDIATE RELEASE
New England Jazz Ensemble
Peter and the Wolf

LABEL: Self-Released
Street Date: April 22, 2018
A very special project, Tracks 1 & 2 are the full Orchestrated Score for Peter and the Wolf, performed in a jazz vernacular, narrated by Giacomo Gates.  Tracks 3,4,5 and 6 are jazz tracks that are a combination of original compositions and adapted Sergei Prokofiev compositions.
For nearly three decades, the New England Jazz Ensemble (NEJE) has been at the forefront of contemporary jazz ensemble performance, collaboration and education in the northeastern U.S. With a book of original compositions and arrangements penned from within its ranks, the NEJE delivers on its mission to promote the jazz ensemble as a uniquely American art form. A not-for-profit organization the NEJE commissions new work , does extensive concertizing and collaborates with music educators in public schools and universities to perpetuate the jazz art form. And as you will hear, they can really lay it down too.

The New England Jazz Ensemble was created in 1991 as a weekly rehearsal band and a forum for new compositions. It was founded by trumpeter Mike Jones; Walt Gwardyak, pianist and composer/arranger, has been the music director from the beginning. Compositions by Gwardyak, John Mastroianni, Jeff Holmes, JP Merz, and others form the band’s book. The 16-piece big band has a loyal following and sells its music through on-line CD sales and downloads far and wide.

In just its fourth year, 1994, the band received an NEA grant to travel to the 10th annual jazz festival in Corinth, Greece. Following that trip, Walt Gwardyak composed an original piece “Blouzo” for the band, with extended solos for the trombone section. The composition is included on the ensemble’s debut recording, and marks the beginning of a legacy of creativity for.this modern big band and its stable of composers/arrangers.

The band now has six albums ( CDs, if you prefer) to its name, two of which are ‘live’ performances. Its latest release includes Gwardyak’s 2018 arrangement of “Peter and the Wolf;’ the first new big-band re-imagination of Prokofiev’s masterpiece in more than 50 years. It is also the first to have an original libretto: in this case, a “hip” narrative written and delivered by Giacomo Gates. In addition to concerts showcasing the work around New England, the NEJE has been awarded a grant from the Greater Hartford Arts Council to develop lesson plans and curriculum to accompany the use of this new music in public schools.

The band’s previous release, It’s a Grand Night for Swinging was recorded live in performance with guest artists John Abercrombie, Giacomo Gates and Ali Ryerson. Jeff Holmes’ rousing arrangement of Billy Taylor’s “A Grand Night for Swinging” is one of the band’s most-requested numbers. The previous release, Live at the Pitts.field City Jazz ‘ Festival, ushered in the inaugural Pittsfield.

Massachusetts festival-now the longest-standing jazz festival in the Berkshires– in 2005. A Christmas CD featuring the Duke Ellington Nutcracker and original treatments of other holiday jazz selections was recorded in 2003 and is frequently performed in concert or in collaboration with ballet companies throughout New England. The band’s first two CDs, Storm before the Calm and its breakout Version 3.0 continue to sell, thanks.to widespread airplay and streaming.

After his review of Version 3.0 (“These gentlemen can flat out play”, he wrote) Jack Bowers, put that release on his desert island top twenty albums of the year (1995).

. .. the music presented by the NEJE is fresh and timeless, as any admirable music should be. As such, it remain.s warmly recommended.” -Jack Bowers, All About Jazz

Reimagining “PETER AND THE WOLF”
 
“It’s a great sound and I really love the way it’s recorded.”
– Mark Ruffin SiriusXM; 2018 Jazz Congress’ Jukebox JurySergei Prokofiev composed “Peter and the Wolf” to help introduce symphonic music, and instruments, to young audiences. The narrative and musical adaptation of the animal sounds served to interest young audiences in the classical music of the day.

A large jazz ensemble provides an equally compelling setting, and a tool for introducing jazz styles and genres, to all audiences. In one extended work, arranger Walt Gwardyak explores many different jazz styles including Blues, Salsa, New Orleans Jazz, Cool Jazz, Jazz Waltz, etc., and uses different instruments or combinations to represent the characters in the story. In and of itself, it’s a fascinating and engaging exercise; the benefit of using “Peter And The Wolf” to introduce jazz to new audiences is an added bonus. Today, the much-heralded vocalist Giacomo Gates composed a hipper version of the libretto, which lends additional stylistic interest and accessibility to the work.

In Prokofiev’s mid-1930s world, the story engaged audiences right from the top; as an added benefit, the music was a stealthy way to get children’s attention without even realizing they were attending a classical performance. Today’s jazz audiences are unlikely to find a current musical parallel anywhere.
Completing this recording are original compositions by two other members of the ensemble’s composition staff. Inspired by things lupine, and often based on melodic lines of Prokofiev, they include “Serge’s Birds” and “Wolves”, both by Jeff Holmes, and “Waltzin’ with Wolves” and “Power Serge”, by John Mastroianni.

“Music is a language. This translation takes a familiar story from 20th century European classical music and retells it in the vernacular 21st century American jazz. The styles I used are like an anthology, touching on music that influenced my entire career of writing and playing. The story is the same one that Serge Prokofiev imagined. We have just reimagined it for more modern ears.”
– Walt Gwardyak

About the composers

WALT GWARDYAK
Walt Gwardyak is a founding member, the music director, and pianist for the New England Jazz Ensemble, which has received accolades for their presentation of original jazz compositions and arrangements.  He has written original compositions and arrangements the NEJE’s five CDs before the latest project, all of which have been praised in the press. Walt’s portfolio is as wide-ranging as they come, from touring with Buddy Rich to recording with Hermin’s Hermits, backing Sonny Costanzo’s orchestra to serving as Dean of Music for the Hartford Conservatory. He also played in the Hartford Symphony Orchestra’s jazz ensemble, and continues to write original music for the HSO. On “Peter and the Wolf” Walt also showcases his accordion playing talents on the sinister track “Wolves” by Jeff Holmes.

JEFF HOLMES
Jeff Holmes is a nationally published and commissioned composer/arranger (B.M.I.), and a multiple recipient of National Endowment for The Arts Jazz Composition Grants. He has written music for John Abercrombie, Ernie Watts, Max Roach, Doc Severinsen, and the Big Apple Circus, among others, as well as numerous works for professional, military, collegiate, high school and junior high jazz, concert, and marching ensembles. Professor of Music and  Director of Jazz and African American Music Studies at the University of Massachusetts, he has received the Lifetime Achievement Award from the Massachusetts Association of Jazz Educators. He is also known for his lead trumpet playing, and is an outstanding drummer and pianist. He is also the Artistic Director of the Jazz In July Summer Workshops at UMASS. His 2012 album, Of Ones Own leading his quintet and including many original works received critical acclaim.

JOHN MASTROIANNI
John Mastroianni has performed and/or recorded with artists such as Mel Lewis, the Vanguard Jazz Orchestra, Smokey Robinson, Louie Bellson, Tony Bennett, and too many others to name here. He has performed with symphony orchestras and in show bands at the Foxwoods, Mohegan Sun, Shubert, Palace, Goodspeed Opera House and Oakdale theaters. His three recordings as a leader have all earned him critical acclaim. In addition to being a freelance musician, John performs with his own quartet, and leads his own sixteen piece jazz orchestra, for which he composes and arranges all the music. He was named the 2014 Connecticut Teacher of the Year, capping an illustrious career in the Connecticut public schools.

Track Names and Times and Composer:

1. Introduction [1:54]

2. Peter and the Wolf [33:42]
Original Music by Sergei Prokofiev,
Arranged by Walter Gwardyak, Modern “Jazzbretto” written and narrated by Giacomo Gates.  Score conducted by and edited for recorded and live performances by Jeff Holmes

3. Serge’s Birds [6:03]
Melodic lines by Sergei Prokofiev, Adapted and re-set by Jeff Holmes
Soloists: John Mastroianni, flute; Jeff Holmes, piccolo trumpet

4. Power Serge [7:29]
Melodic lines by Sergei Prokofiev. Adapted and re-set by John Mastroianni
Soloists: Mike Leventhal, tenor sax; John Mastroianni, alto sax

5. Waltzin’ with Wolves [8:37]
Composed and Arranged by John Mastroianni
Soloists: Tim Atherton and Peter McEachern, trombones; Steve Bulmer, bass; Steven Fitzko, trumpet

6. Wolves [7:23]
Composed and Arranged by Jeff Holmes,
Copyright 2014 Jeffrey Wayne Holmes, BMI Jeffrey Wayne Holmes Music
Soloists: Jeff Holmes, trumpet, Walt Gwardyak, accordion

Produced by Steven Bulmer www.stevenbulmer.com
Performed by New England Jazz Ensemble www.neje.org
Recorded at The Rotary Records, Warren Amerman, Owner/ Engineer
Artwork and layout by Jeffrey Williams

The New England Jazz Ensemble
Giacomo Gates, Narrator and Peter and the Wolf “Jazzbretto” Author (tracks 1,2)
John Mastroianni, Soprano Sax and “Chirp” soloist, Alto Sax, Flute, Clarinet
Bob DePalma, Alto Sax, Flute, Clarinet
Michael Leventhal, Tenor Sax, Clarinet, Tenor Sax soloist
Larry Dvorin, Tenor Sax, Clarinet
Lisa LaDone, Baritone Sax, Bass Clarinet, “Cat” soloist
Jeff Holmes, Trumpet and Quacker” soloist, Piccolo Trumpet, Flugelhorn,
Steven Fitzko, Trumpet, Harmon soloist, Flugelhorn
Donald Clough, Trumpet, Flugelhorn
Adam Mejaour, Trumpet, Flugelhorn
Hank Zorn, Trumpet, Flugelhorn (tracks 1,2)
Tim Atherton, Trombone and “Wolf”
Peter McEachern, Trombone and “Wolf”
Ben Griffin, Trombone and “Wolf” (tracks 1,2)
David Sporny, Trombone (tracks 3,4,5,6)
David Wampler, Bass Trombone and “Wolf”
Walter Gwardyak, Piano, Accordion
Steve Bulmer, Upright Bass, Electric Bass, and “Grandfather” Soloist
Jon Mele, Drums and “The Hunters” Soloist

Copyright © 2018 Kari-On Productions, All rights reserved.
We are happy to service the physical product, just give us a shout.Our mailing address is:

Kari-On Productions

P.O. Box 3154

Evans, Ga 30809

Add us to your address book

————————————————————————————————————————————

April 22, 2018

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Willie Oteri and Dark Matter Horns

Release First in a Series of EP Albums – Narratives Vol. 1

Tracks:  1. “2 12 18”  2. Just Lettin’ It Be  3. Shaman’s Tale

NOTE: THIS IS A DIGITAL ALBUM – WE WILL BURN PERSONAL CDR COPIES FOR THOSE WISHING THEM FOR REVEIW

OR YOU MAY REQUEST DIGITAL FILES EMAILED VIA WETRANSFER.COM

Contact: Sue – booking@willieoteri.com

Official Release Date for Volume 1 –
May 15. 2018   Dark Matter Horns – Narratives

Available for streaming and downloads at popular outlets including
iTunes, Google Play, CD Baby, etc.

Willie Oteri – Tenor Sax and Flute

Steve Mankenberg – Drums and Percussion

Dave Laczko – Trumpet and FX

shem.gif

A series of EP albums titled Narratives by Willie Oteri’s Dark Matter Horns will be the first officially released recordings to focus on Oteri’s tenor sax and flute work. He is joined here by long time friend  Dave Laczko on trumpet and veteran Austin drummer Steve Mankenberg.  Recorded live in studio using only 4 tracks during the winter of 2018. This is totally improvised music that will appeal to fans of Free Jazz, Avant Garde and Experimental styles as well as to fans of more melodic jazz offerings.

 

Oteri has several guitar based albums to his namewith some very fine musicians including, Scott Amendola, Giko Pavan, Tony Levin, J.A. Deane and others, 1999s Jazz Gunn Concepts of MateMaToot featured A-Team players Brannen Temple, Michael Malone, Chris Maresh, and second guitarist Chris Tondre, the uniquely original 2003 release Spiral Out produced by Ronan Chris Murphy which featured prog rockers Tony Levin, Pat Mastelotto and Mike Keneally in a free improvised jazz setting with trumpet master Ephraim Owens, two critically acclaimed Avant-Garde WD-41 albums followed with electric trumpet player Dave Laczko, the second incorporating the talents of Dino J.A. Deane with drummer Scott Amendola and Shrunken Head Shop taken from a series of live recordings from a tour through Germany.

 

Always driven to reinvent and create, Oteri is now focusing on sax and flute after putting these instruments on the back burner for many years.

 

Promotional copies for review may be requested at booking@willieoteri.com

 

For more information on Willie Oteri please visit,

www.willieoteri.com and https://musicians.allaboutjazz.com/willieoteri

 

This E Mail is being sent by:

Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO HERE

Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2018 All rights reserved.

Jazz Promo Services

Warwick, Ny 10990

——————————————————————————————————————————

View this email in your browser

Carol Liebowitz & Birgitta Flick
April 2018 appearances in Berlin

Saturday, April 21 @ 5pm
Carol Liebowitz – piano, voice
Birgitta Flick – tenor saxophone
Haus Kladower Forum
Kladower Damm 387
14089 Berlin

Sunday, April 22 @ 6pm
Carol Liebowitz /Birgitta Flick Duo
followed by Jam session
Fournos by Terzo Mondo
Grolmanstraße 28
10623 Berlin
Telefon: +49 30 881 52 61Monday, April 23 @ 9pm
Andreas Schmidt & Friends
featuring
Andreas Schmidt – piano
Carol Liebowitz – piano
Birgitta Flick – tenor saxophone
Mareike Weining – drums
A-Trane
Bleibtreustraße 1 / Ecke Pestalozzistraße
10625 Berlin – Charlottenburg
Telefonische Reservierung: 030 / 313 25 50VIDEO:
https://www.youtube.com/watch?v=jFK9-wFgl48NEW DUO RECORD COMING SOON!
More information to follow…
LISTEN ON SOUNDCLOUD:
https://soundcloud.com/birgittaflick/52-song

Birgitta Flick, tenor saxophone 

Birgitta Flick is a saxophonist and composer and lives in Berlin. She studied saxophone and Jazz at the Jazz-Institut Berlin (UdK) and the Royal College of Music, Stockholm. Current projects—besides her Duo with Carol Liebowitz—are her Berlin-based quartet and the German-Swedish-Finnish band Flickstick, with whom she won the 2012 Jazz Baltica Förderpreis and released the 2nd album in January 2018. Ms. Flick’s other work includes playing in the Nico Lohmann Quintet, and in drummer Sebastian Voegler’s Stockholm-based band Fluxmaschine and the German Women’s Jazz Orchestra.

In 2011–12 her research and composition project on traditional Swedish music was sponsored by the Elsa Neumann Scholarship of the Country of Berlin. The resulting suite for the Swedish singer Lina Nyberg, Silke Eberhard (bass clarinet), Nico Lohmann (alto saxophone, flute) and the Birgitta Flick Quartet was released in April 2016 by Double Moon Records. The quartet’s debut CD, “Yingying” was released in 2013 by Jazz thing Next Generation. Further CD productions include those with the Nico Lohmann quintet (“Merging Circles” in 2016 and “Miraculum” in 2013), amongst others.

Her concert tours have taken her to Sweden, the USA, Bahrain and the Middle East, and in winter 2014–15, to New York for a three month stay including private studies with Connie Crothers. Festival concert appearances include XJazz Berlin, Elbjazz in Hamburg, JazzBaltica, Jazzwoche Burghausen, Jazzahead German Jazz Meeting and Cairo Jazz Festival. Since 2013 Birgitta also contributes to the monthly Psalmton Jazz Pop Services at Kaiser-Wilhelm-Gedächtnis-Kirche in Berlin—both as a performer, composer and coordinator. Since 2015 she also serves as the musical coordinator of the summer concert series “In Spirit“ at the Kaiser-Wilhelm-Gedächtnis- Kirche.

In 2017 she received a scholarship of the City of Berlin to realize a new improvisation project and CD recording together with Carol Liebowitz.

“An excellent tenor-saxophonist based in Berlin, Birgitta Flick has an original sound on her horn, not sounding like any of her historical predecessors.” —Scott Yanow

“The large scale of Flick’s music is testimony to her rich orchestral experience, and this album first of all surprises the listener with her outstanding talent as a composer.” —Kayo Fushiya, JazzTokyo

Carol Liebowitz, piano

Pianist Carol Liebowitz brings a uniquely expressive and personal sound to the jazz and free improvisation scene. After focusing on classical repertoire at the High School of Performing Arts and NYU, her musical direction turned to improvisation and she began studying with Connie Crothers. Other influential teachers have included Sal Mosca, Jay Clayton and Sheila Jordan. She has performed in Europe and throughout the New York City metropolitan area in venues such as Roulette, The Stone, Cornelia Street Cafe, IBeam, The Firehouse Space, Arts for Art, Spectrum, and Birdland. In addition to frequent solo concert appearances, Carol has worked in various groups with musicians including Tom Blancarte, Adam Caine, Daniel Carter, Claire de Brunner, Maryanne de Prophetis, Andrew Drury, Ken Filiano, Andy Fite, Birgitta Flick, Ratzo Harris, Ron Horton, Louise D.E. Jensen, Adam Lane, Eva Lindal, Nick Lyons, Ryan Messina, Kevin Norton, Bill Payne, John Pietaro, Lorenzo Sanguedolce, John Wagner, Michael Wimberly, and Andrea Wolper.

Her CD “Payne Lindal Liebowitz” on Line Art Records with clarinetist Bill Payne and violinist Eva Lindal was voted one of the Top Ten Jazz CDs in the 2015 NPR Jazz Critics Poll by Art Lange. Also on Line Art Records are “First Set” (a duo with alto saxophonist Nick Lyons), and “Poetry from the Future” (To Be Continued, a quartet with Claire de Brunner, Daniel Carter, and Kevin Norton). Carol has two releases on the New Artists label: “Waves of Blue Intensities,” a duo with tenor saxophonist Bob Field, and “Time on My Hands,” a voice/guitar duo with Andy Fite.

CD projects for 2018 include a duo with tenor saxophonist Birgitta Flick, a live concert recording with Bill Payne (also featuring poet Mark Weber), and a trio recording with bassist Adam Lane and percussionist Andew Drury.

“It quite simply was one of the greatest solo piano concerts I’ve ever witnessed…” —Mark Weber, poet

“…chords that brim with ardent energy and hypnotic beauty.” — Hrayr Attarian, All About Jazz

carolliebowitz.com
birgittaflick.com
lineartrecords.com

 

Copyright © 2018 Jazz Promo Services, All rights reserved.
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!Our mailing address is:

Jazz Promo Services

Warwick, Ny 10990

Add us to your address book

—————————————————————————————————————————————-

Watch a one minute film on the making of Tramontana
Colombian Composer/Bandleader Juan Andrés Ospina Captures the Soul-Stirring Grace and Inspiring Power of the Mediterranean Wind Known as Tramontana on his Big Band Debut available April 20, 2018


Tramontana realizes a decade-long dream with a multi-national ensemble and guest appearances by Cuban sax legend Paquito D’Rivera and Colombian vocalist Lucia Pulido
“It’s very hard to get a personal, identifiable sound when orchestrating for a Big Band, but – almost miraculously – Juan Andrés Ospina makes it happen. Bingo!” – Paquito D’Rivera

 

Powerful yet invisible, momentarily ferocious yet leaving behind idyllic, crystal clear skies; the Tramontana is a true force of nature, a gale force wind that lashes Spain’s Catalan coastline. It serves as an apt inspiration for composer and bandleader Juan Andrés Ospina, who has experienced its strength and beauty firsthand and has translated the wind’s stirring and awe-invoking qualities into music for Tramontana, the debut release by his phenomenal big band. Soul-stirring and vigorous, a family affair as well as a multinational congregation, the Juan Andrés Ospina Big Band embodies the contradictory essence of this formidable natural phenomenon.

Due out April 20, 2018 Tramontana is the extraordinary fulfillment of nearly a decade of dreaming and a lifetime’s immersion in music. Born into a musical and artistic family in Bogotá, Colombia, Ospina chanced into his gift for big band composing and arranging while a student at Boston’s Berklee College of Music. The album’s realization follows a successful, inventive Kickstarter campaign and the enthusiastic encouragement of renowned bandleaders Paquito D’Rivera and Maria Schneider. It brings together a gifted ensemble of artists of ten different nationalities, performing Ospina’s striking originals, one radically transformed standard, and a passionate song by Colombian singer Lucia Pulido.

“This is something that I’ve felt for a long time that I had to do,” Ospina says. “I just needed to find the courage to finally do it.”

One listen to the majestic and richly textured pieces that make up Tramontana and it’s obvious why Ospina felt so compelled to pursue the daunting task of assembling a big band to record his music. He never set out to become a bandleader on this scale, however; his first piece for big band, in fact, was nothing more than a classroom assignment. It was under the tutelage of Greg Hopkins at Berklee that Ospina crafted the dramatic rendition of “Like Someone In Love” that appears on the album, reharmonized and with the well-known melody stretched to unrecognizable lengths, creating something that feels both familiar and fresh.

That description also applies to the ensemble itself, which combines longtime collaborators and new acquaintances. Several of them were on stage alongside him when Ospina premiered his original big band pieces at his Berklee graduation in 2007; others met for the first time in the studio when these tracks were recorded. The members of the band hail from such far-flung locales as the U.K., Cuba, Canada, Israel, Switzerland, Greece, Portugal and Argentina, as well as Ospina’s native Colombia and his adopted home of New York (he splits his time between the two when not on tour).

“I thought it would be interesting to have so many different nationalities playing in this band, all bringing their influences to the music in some way,” Ospina says. “It’s something that might be very common in New York, but from a Colombian perspective it’s pretty crazy.”

Ospina’s homeland is well represented on the album; aside from one turn by Ospina himself, the piano chair is filled either by Colombia native Carolina Calvache or by the composer’s brother Nicolás Ospina, with whom he collaborates in a comedy-music duo that’s found viral success online. Their sister Silvia designed the artwork for the album. Acclaimed Colombian singer Lucia Pulido’s heart-wrenching vocals bring the album to a stirring close on her own “Ver Llover,” one of three pieces in Ospina’s repertoire commissioned by Bogotá’s Jazz al Parque festival. The composition is based on the currulao rhythm from the Pacific coast of Colombia, for which Ospina invited Argentinean drummer Franco Pinna, a master of that tradition, to join the band.

The soaring wordless vocals on the opening title track are by the remarkable Portuguese singer Sofia Ribeiro. Ospina has been a key member of Ribeiro’s band for seven years, serving as musical director and producer as well as pianist for her last two albums. Two other members of that ensemble also join Ospina for Tramontana: Greek bassist Petros Klampanis, who appears on “Recuerdos de un Reloj de Pared,” and percussionist Marcelo Woloski. “She’s an incredible singer and her music is amazing,” Ospina says of Ribeiro. “Working with her has been one of my most important musical experiences.”

“Todavía No,” an Ospina composition based on the Pasillo rhythm found in Colombia’s Andes Mountains, originally appeared in a small band arrangement on Ospina’s 2009 debut, BBB: Barcelona, Bogotá, Boston. Christopher Lyndon of Radio Open Source called the album, “a landmark. It stands with authority as a milestone pointing back and forward [and marks] the ‘arrival’ of Juan Ospina as a young master already having a uniquely valuable impact on listeners, professional musicians and ambitious artists of all kinds.” David Sumner of All About Jazz hailed BBB as “an absolutely welcome addition to the jazz landscape.”

It was there – after discovering the pianist through one of the comic videos he made with his brother – that Cuban jazz great Paquito D’Rivera first heard the song and decided to add it to his own repertoire. Ospina expanded the tune with D’Rivera in mind, and the legendary saxophonist contributes a graceful yet fervent soprano solo for the occasion. “It’s so inspiring for someone that has so much experience and has been on the music scene for more than 50 years is still so thirsty for new sounds,” says Ospina, who seized the opportunity to put down his conductor’s baton and take over the keyboard for one tune. “Paquito has a very strong personal identity that comes out in every single nuance that he adds to the melody, the small details or grace notes that add so much to the music.”

Paquito D’Rivera and Juan Andrés Ospina   © Stella K
The simmering tension of “102 Fahrenheit” was born from the arduous experience of its own composition. Ospina wrote the piece in an un-air conditioned apartment during a summer heatwave in New York City, with deadlines looming and technology refusing to cooperate. “It was a very stressful month,” he recalls. “My computer was crashing all the time it was crazy hot. I couldn’t open the windows because so much noise was coming from the street that I couldn’t concentrate, but if I closed them it was like a sauna. The intensity of the tune came from the stress of having to meet a deadline and not being able to work in comfort.” That personal experience of extreme weather led him to create a piece that comments on the more global issue of climate change and the urgently needed (but too widely neglected) response.

“Recuerdos de un Reloj de Pared,” which translates as “Memories of a Grandfather Clock,” was inspired by a timepiece that has stood watch in the house of the composer’s grandmother for decades, a silent witness to generations of stories. The recording features the expressive accordion of Magda Giannikou, who also co-produced the album. The two have worked together since 2005, with Ospina playing in her ensemble Banda Magda. She, along with guitarist Nadav Remez and drummer Dan Pulgach (both from Israel), all played the same piece ten years ago at its Berklee premiere.

The recording of the album at New York City’s iconic Sear Sound Studio was filmed by Grammy-winning director Andy LaViolette, who has produced a series of videos to accompany the release. Far from simple “music videos,” these pieces combine candid interviews with the composer set against the backdrop of the city, interspersed with key moments from the studio. The videos reveal a picture of an emerging composer as he crafts his modern take on big band music, as well as what it takes to pull off an independent project on such a massive scale.”

© Aline Fournier
Juan Andrés Ospina
Currently living in between New York and Bogotá, Colombia, pianist, composer, arranger and producer Juan Andrés Ospina is one of the most active and prominent exponents of an outstanding generation of Colombian musicians. His debut album as a leader, BBB: Barcelona, Bogotá, Boston (Armored Records, 2009) was named one of the “best jazz albums of the year” by the prestigious All About Jazz website. In the past several years, Ospina has produced, arranged and played the piano for Colombian singer Marta Gómez’ Este Instante (2015), which won a Latin Grammy; Portuguese singer Sofia Ribeiro’s Mar Sonoro (2016) and Ar (2012) – which won the “Revelation” prize from the prestigious French magazine Jazzman; and Portuguese singer Luisa Sobral’s debut CD, The Cherry on my Cake (2011), which went Platinum and garnered two Golden Globe nominations. He also co-leads the comedy/musical duo “Inténtalo Carito” with his brother Nicolás Ospina. Together they composed the famous song “Qué difícil es hablar el español,” and their YouTube Channel has garnered more than 22 million views to date. Ospina started his musical studies at the Universidad Javeriana (Bogotá), then moved to Barcelona, Spain, where he continued his classical and jazz studies at the Escola D’Angel Soler and the Taller de Musics. In 2005 he received a scholarship to attend the prestigious Berklee College of Music, where he studied with musicians such as Danilo Pérez, Maria Schneider, Greg Hopkins and Dave Samuels among many others.
Juan Andrés Ospina
braithwaitekatz
Copyright © 2018 Braithwaite & Katz, All rights reserved.
Hello, you are receiving this email because we have recently updated our MailChimp account.Our mailing address is:

——————————————————————————————————————————————

 

 

jazzLogo.jpg
April 20, 2018

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

CD Release Party for
Michael Moss / Accidental Orchestra:
HELIX
Friday, May 18, 2018
7-10 PM
Westbeth Community Room
155 Bank Street entrance
(between West St. and Washington St.)
New York, NY 10014
Tickets:
$10 donationNew CD
shem.gif
Michael Moss the Accidental Orchestra HELIX
(4th Stream Records ERG 10013)
Street Date: March 24, 2018
Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei (violins), Stephanie Griffin (viola), Lenny Mims and Carol Buck (cellos), Steve Swell (trombone), Vincent Chancey (French horn), Waldron Mahdi Ricks (trumpet), Richard Keene (oboe), Elliott Levin (flute, tenor saxophone), Ras Moshe Burnett (soprano and tenor saxophones), Michael Lytle (bass clarinet), and myself, Michael Moss (Bb clarinet), Steve Cohn (piano), Billy Stein (guitar), Rick Iannacone (ambient guitar), Larry Roland (string bass), Warren Smith (percussion, vibraphones), Badal Roy (tabla), Chuck Fertal (drums),
and Michael Wimberly (djembe, African bells and percussion).Listen On Bandcamp

Free Jazz Composer Michael Moss Debuts Two Major Compositions On His New Release HELIX.

Multi-instrumentalist/composer Michael Moss, a veteran of New York’s free jazz scene, has assembled a brand-new band, the Accidental Orchestra, featuring 22 of the most exciting improvisers on the jazz scene today. His new CD HELIX is the premiere recording of a pair of his latest extended compositions.

HELIX kicks off with “The Old One,” which gets its title from Einstein’s name for God. Moss describes this five-piece suite as “an initiation into sacred ground.” He views it as part of a musical tradition stretching from the earliest ritual over the dead to Bach’s Mass in B Minor, through Native American rites of passage into the spirit world, the Jewish mourner’s Kaddish, and Buddhist funeral rituals.

Moss wrote “See Sharp or Be Flat/C# or Bb” while recovering from a fracture suffered in tripping over a curb. The composer brings a quirky sense of humor to the situation, right down to deciding to name his ensemble the Accidental Orchestra in memory of the incident. Moss aimed to let the band swing on this contrapuntal theme and variations mixing jazz, rhythm and blues, and the joy of dance. “Throughout I refer to Norwegian Wood (The Beatles), I Feel Good (James Brown), and Bags Groove (the Modern Jazz Quartet), but do not resort to familiar big band tropes,” Moss explains. “This is a type of string orchestra, but with lots of jazz musicians pushing the boundaries.”

The Chicago-born, Madison, Wisconsin-educated Michael Moss has been an active member of the New York jazz scene for 50 years, earning recognition for his skill and imagination as a multi-reed player, and for the freshness and intensity of his writing. The self-described “farthest-out cat” was a mainstay of Manhattan’s famed loft jazz scene, playing with Sam Rivers, Dave Liebman, Paul Bley, Annette Peacock, McCoy Tyner, Elvin Jones, Richie Beirach and scores of others. He’s equally at home from a duo setting to an orchestra of 50-plus players.

As a composer, Moss assigns time signatures to segments of his pieces, but the final form of any given composition depends entirely on the interaction of the musicians.  A sense of space marks much of his work.  Though, like most avant artists he shifts tempos frequently and sometimes drops the meter altogether, he and the group under his direction tend to listen more and play in the openings.  Though his music clearly arises from the jazz tradition, Moss draws heavily from disparate folk idioms.  American blues and Latin rhythmic influences are obvious in his work, but Israeli folk melodies (out of his own Jewish origins) or Tibetan chants (appropriated on a trip to India) are equally likely to emerge in his performances.  Listeners can’t help but be captivated by what they hear, as they accompany Moss and the Accidental Orchestra on this life-long journey.

“Playing free, but still playing together–it’s a question of moving forward by moving backwards and sideways at the same time,” Moss says obliquely, and yet the music seems to do just this, and makes sense. Robert LaBrasca, Press Connection and Rolling Stone writer (1986).

“Moss’ music is conceptually complex and musically brilliant, reaching across ages, cultures and continents for rhythms, phrases, melodies, and harmonics to produce a sound which is fascinating yet unsettling because it is foreign but so familiar.” Fred Waitzkin liner notes Michael Moss/Four Rivers Cross Current (1978).

What The Press Is Saying About HELIX 

“This is a stunning achievement – one that demands our attention.”
Grady Harp, Amazon, April 2, 2018

“This fantastic album gets a MOST HIGHLY RECOMMENDED from me, with an “EQ” (energy quotient) rating of 4.99.”
“The 20:37 “C# or Bb” is not only my choice from this album, it’s also my personal favorite improvised set (yet) in 2018!  All the players in the orchestra challenge the boundaries on this one, & I’ve no doubt that those of you who thrive on music that stimulates creativity (in many different directions at once) will be playing this one over & over & OVER again!”
“The orchestra Michael assembled for this stunning trip is amazing in and of itself…over fifteen minutes of far-out fun for all.”
“If it’s etherspace you’re craving for in your listening adventures, you’ll find “Mind Of God” the perfect blend of cool and cacophonous.”
Rotcod Zzaj,Dick Metcalf, editor, Contemporary Fusion ReviewsFebruary 27, 2018

Michael Moss Uses Experimental Jazz To Bring Helix To Life
“While there are swing elements and other traditional jazz elements, but the form here is completely experimental. This is jazz of big ideas. And probably not for beginning jazz fans. Still, there is an energy and perceptiveness that keeps audiences listening, and that might be the most important thing of all.”
“From folk melodies to Renaissance orchestras, to Latin, blues and more, Moss has a nearly encyclopedic array of musical influences. According to Moss, he wants to stretch America’s musical heritage into the future while acknowledging its past innovators such as Louis Armstrong and Scott Joplin. With “Helix” it sounds as though he is doing exactly that.”
“The album succeeds as an experimental album based on a theme – – listeners with traditional expectations of jazz will be surprised or disappointed. But putting traditional restraints on free-flowing experimental jazz is to miss the point of the form.”
Dodie Miller-Gould, lemonwire, February 15, 2018

“If Avant Garde, free-form jazz is your preference, you will enjoy listening to the outer limits of Dr. Michael Moss’s artistic creativity. Michael Moss is a 50-year veteran of the New York “free” jazz scene. He’s a multi-instrumentalist and a composer, Chicago-born. At times, this music reminds me of the Chicago Art Ensemble, except that this production features a twenty-two piece orchestra. The Moss production is all over the place, spewing energy and combining instruments and notes in a unique and often dissonant manner.”
“I was particularly drawn to the final “SEE SHARP OR BE FLAT” composition that features a provocative violin solo with complimentary string ensemble support. This composition gives more opportunity for individual players to step forward and solo. I found the guitar solo to be outstanding with Warren Smith’s percussion bright and tasty beneath it.”
“If you have a taste for a project that’s out-of-the-ordinary, the Accidental Orchestra will soothe your palate.”
Dee Dee McNeil,February 28, 2018

“It is a work to be heard without prejudices, reminiscent of certain episodes of the music of Anthony Braxton.”
“There is everything from the more traditional jazz, with a swing of the rhythm section, to more material and abstract moments like in the long Inception, with instruments like the djembe or the tabla that give a sense of world, or the oboe of Richard Keene, with his nasal sound that stands out on the whole set.”
“Between moments more free and others more tied to the mainstream Moss demonstrates its music culture and the ability to consistently put together moments inspired by different historical periods.”
“A great record of this big band.”
Vittorio Lo Conte, Music Zoom, April, 2018

“The music and albums of this native of Chicago are always distinguished by their originality, and often the use of elements of various ethnic musical cultures.”
“In general – an excellent album for advanced fans of jazz music and, probably, quite a complex work for neophytes.”
Leonid Auskern, Nestor Media, March, 2018

“Sun Ra-ish Swing”
“The Accidental Orchestra is comprised of a “Who’s Who” of the New York Improvised Music Scene.”
“A dissonant, yet strangely colorful and delightful series of chords emerge with a startling intensity.”
“See Sharp or Be Flat”begins with a shout of joy. It’s a jazz expression of an acceptance of all the good and bad things life throws at us.”
“Bridge”swings, walks, and flows like a rich liquid, as if it is urging you to follow its path.”
“Moss cultivates an intricate musical garden, then allows it to run wild, knowing quite well the trajectories each living thing will take.”
“A master of multiple reed instruments, and compositions . . . Moss knows how to handle himself. His musical inspirations are not limited by genre, culture, or historical period.  To transcend the constant danger of self indulgence and perform music that serves to communicate real ideas and real experiences in service of higher ideals is the sign of a master. Michael Moss and the Accidental Orchestra have accomplished this.”
Dawoud Kringle,DooBeeDooBeeDoo NY, March, 2018

“MICHAEL MOSS/Helix:  The loft jazz mainstay puts together an Accidental Orchestra, in which the gang is all here, and sets out for places only hinted at in “Metal Machine Music’.  Using Einstein’s name for God as the jumping off point, I’ll bet this how things sound in heaven when Metatron dawdles over a second cup of coffee.”
Chris Spector, Editor and Publisher, Midwest Record 
This E Mail is being sent by:

Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO HERE

 

——————————————————————————————————————————————

April 20, 2018

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Acclaimed classic jazz guitarist Vinny Raniolo celebrates the release of his new CD, Air Guitar, with April 27 concert at
Long Island’s Cradle of Aviation MuseumWith Air Guitar, his long-awaited debut album as a leader, stellar guitarist Vinny Raniolo displays his passion for early jazz and flyingFriday, April 27th 7pm-11pm
The Reckson Center Museums
at Mitchel – Cradle of Aviation
Garden City, NY

Vinny Raniolo – Guitar, Elias Bailey – Bass
shem.gif

Virtuoso guitarist Vinny Raniolo has built a widespread global fan base, thanks to his engaging approach to early jazz, his regular appearances on PBS specials, and his collaborations with six-string giants including Bucky Pizzarelli, Frank Vignola and Tommy Emmanuel.

Vinny’s love of flying is just about on par with his devotion to music, and with the release of his brand-new CD, Air Guitar, the 6-string wizard and pilot has found a way to connect his two passions.

Air Guitar, Raniolo’s much-anticipated debut recording as a leader, features a cache of 15 classic tunes related to flying and the wild blue yonder, by composers ranging from Benny Goodman to John Denver. The selections travel from the birth of aviation (the 1910 rarity “Come Josephine in My Flying Machine”), through gypsy jazz (into the clouds with Django Reinhardt’s “Nuages”) to the easy swing of Jimmy Van Heusen (“Come Fly With Me”). Raniolo also delves into the Great American Songbook with classic tunes by Cole Porter, Irving Berlin, Hoagy Carmichael, and more.

Though Air Guitar is Vinny’s first album as a leader, he’s far from a newcomer to jazz. The Nassau County guitarist got interested in jazz at age 16 after a teacher introduced him to to records by masters of jazz guitar such as Joe Pass, John Pizzarelli, Bucky Pizzarelli, Herb Ellis and others. Vinny fell in love with the music immediately and realized, “That’s what I want to do.” He began gigging as a teen, and his career really took off when he paired up with fellow guitarist Frank Vignola at age 22.

Since then, Vinny Raniolo has garnered widespread attention and praise from critics and fans alike for his playing with Four Generations of Guitar, Rhythm Future Quartet and other ensembles. He maintains a busy international touring schedule, and appears on numerous albums, including duos with Vignola, and as a sideman and a sought-out accompanist for singers. Vinny is also recognized as an educator and is the author of several instruction books.

As for his other obsession, Vinny grew up around pilots, flight instructors and planes, but the flying bug didn’t bite till recently. He was hooked from his first lesson, about three years ago; now the brilliant guitarist is also an instrument-rated pilot, currently working toward obtaining a commercial license.

The flying guitarist’s passions are more closely connected than they might seem. “My background in music definitely helps with my overall understanding. It’s learning another language, and there are a lot of crossover skills such as coordination and math,” Vinny points out. “ I think that in life we are always playing jazz: You are alert to the environment around you and quickly improvise based on your knowledge of the situation. Just like music, aviation is a lifelong study and takes a lot of dedication.”

The choice of concert venue is as special and as personal as the music: Audience members will have a chance to view a full exhibition of aviation history during a pre-concert cocktail hour, with hors d’œuvres, plus a cash bar.

Bassist Elias Bailey, an in-demand player who has performed and studied with many of the top names in jazz, joins Vinny on Air Guitar, and onstage at the Reckson Center at the Cradle of Aviation Museum concert, as they celebrate the release of the new CD.

This special event takes place at the Reckson Center at the Cradle of Aviation Museum in Garden City, Long Island, April 27, 7 p.m. to 11 p.m.

Vinny Raniolo “Air Guitar” (Self Produced) Street Date: April 27, 2018
Vinny Raniolo – Guitar, Elias Bailey – Bass
http://vinnyraniolo.com
https://store.cdbaby.com/cd/vinnyranioloMedia Contact
Jim Eigo
Jazz Promo Services
Ph: 845-986-1677
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

 

 

 

 

This E Mail is being sent by:

Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO HERE

———————————————————————————————————————————————-

Watch the EPK
San Diego Pianist/Composer Danny Green Spins Alluring Tales with his Trio Plus Strings on One Day It Will


“Richly engaging and utterly brilliant…a musical mind of rare sensitivity and rigor.” – CD Hotlist

“…a vibrant, top-notch piano trio.” – All About Jazz

CD Release Concerts:  • Thursday, April 26 in Portland, OR • Friday, April 27 in Seattle, WA
Saturday, April 28 in Victoria, BC • Sunday, April 29 in Vancouver, BC • Friday, May 4 in San Diego, CA  Sunday, June 9 in Baltimore, MD • Sunday, June 10 in Oxon Hill, MD • Wednesday, June 13 in NY, NY • Thursday, June 14 in Buffalo, NY Friday, June 15 in Middletown, CT • Saturday, June 16 in Cambridge, MA Friday, June 22 in San Francisco, CA • Saturday, June 23 in Oakland, CA • Sunday, June 24 in Los Altos Hills, CA • June 27 in Los Angeles, CA Thursday, July 19 in Temecula, CA
Sunday, October 7 in Sedona, AZ

 

Over the past decade, Danny Green has earned recognition as a bandleader possessing a lyrically charged vision and as a composer with a gift for spinning supple, absorbing narratives. The San Diego pianist’s storytelling goes deeper than ever with his fifth album One Day It Will, scheduled for release by OA2 Records on April 20, 2018. Building on his acclaimed 2016 album Altered Narratives, which included several tracks pairing his longtime trio with strings, One Day It Will is a full chamber jazz melding of his working band and a highly responsive string quartet.
“All of the songs on this album were initially written for the trio and the strings parts were subsequently added,” Green says. “The process for arranging each song began with my thinking about where the strings should take the lead melody, where they should play background lines or harmonies, and what else I could do to make the strings essential to the arrangement. Over time, each piece took on its own shape and in many cases, the process of arranging for strings resulted in adding entirely new sections to the compositions.”
Like all of his previous recordings, One Day It Will flows from the quietly intense musical bonds uniting Green with bassist Justin Grinnell and drummer Julien Cantelm, two of Southern California’s most sought after players. The expanded instrumentation seems to accentuate the responsive nature of the trio, which seamlessly flows from through-composed sections to improvised passages.
The album opens with the gorgeous “Time Lapse to Fall,” a spritely piece that swings briskly in 4/4 with the ebullient buzz of a summer day then transitions into the minor key melancholy of autumn. Pizzicato strings introduce “As the Parrot Flies” followed by an insistent question and answer dialogue with Green’s piano. The title track is an anthem about striving for hope in dark times, a piece that builds toward the striking string harmonies flowing around Green’s shimmering lines.
Green takes us to church on “Lemon Avenue,” a waltz with a gospel feel that features some of his sleekest string parts. An introspective journey, the thoughtful ballad “Sifting Through the Silence” reaches a similarly meditative space via a very different route. No piece better illustrates the way Green’s writing for strings can transform a composition than “October Ballad,” a sumptuous melody that he introduced with the trio on Altered Narratives.
The expanded orchestration is like adding a new character into a play who both comments on the action taking place and heightens the drama. The gently caressing “Snowy Day in Boston” picks up like the second movement of a suite, starting in the same key as “October Ballad” concludes. The album closes with “Down and Out,” a bluesy jaunt that surges with infectious energy. One Day It Will comes across as a unified statement, programmatically, texturally and harmonically.
Like many jazz pianists, Green became enamored with the idea of combining piano trio and strings after hearing the classic 1966 Verve album Bill Evans Trio with Symphony Orchestra. But he’s also inspired by more recent recordings, particularly Herbie Hancock’s 1998 Verve project Gershwin’s World, which features some breathtaking piano improvisation on Ravel’s Piano Concerto in G major.
“Hearing the recordings of Bill Evans and Herbie Hancock with symphony orchestra was a major revelation to me,” says Green. “I was immediately drawn to the sound, and I was intrigued by the possibilities of integrating classical harmony and form into the jazz context. While string quartet is a much more paired down configuration than a full orchestra, what I love about it is that it can sound lush when it needs to, and alternately, it can fit right into the pocket of the rhythm section with fast paced, syncopated lines.”

The album’s cohesive feel stems from the deeply interactive nature of the trio. Green introduced the combo with Grinnell on 2009’s With You In Mind, which won the San Diego Music Award for Best Jazz Album. A bandleader in his own right who leads a quartet featuring the brilliant LA pianist Josh Nelson, Grinnell possesses a warm, woody tone and compelling sense of swing. Drummer Cantelm joined the trio on Green’s second release, 2012’s A Thousand Ways Home, a trio session with guest artists including Brazilian stars Claudia Villela (vocals) and Chico Pinheiro (guitar), Eva Scow (mandolin), Peter Sprague (guitar), Dusty Brough (guitar), and Tripp Sprague (saxophone).

Cantelm has carved out a niche as a drummer equally adept in jazz, Brazilian, Cuban, Balkan, funk, and rock styles of music. He has toured extensively throughout the United States and Europe with his trio, Kelp Giant, which he co-leads with guitarist Dusty Brough. Cantelm has performed with notable artists including Geoffrey Keezer, Peter Sprague, Chico Pinheiro, Sheila E., and Pete Escovedo.

“One of the best aspects of playing together with Justin and Julien for so long is the friendship that we have developed,” Green says. “We always have a great time together, both on and off the bandstand, and I think this plays a huge role in our sound as a trio. Justin is an extremely accomplished bass player. While he has plenty of chops to spare, he always puts the music first. As a result, he is able to realize that perfect balance between playing supportively and interactively. Julien is an incredibly musical drummer. He has so much finesse and facility on the drums, and he always seems to know exactly where I’m going with my solos. Having such a wide array of musical interests, Julien is able to come up with completely unique grooves that work perfectly for my music.”

The string quartet features San Diego Symphony violinists Kate Hatmaker and Igor Pandurski, violist Travis Maril, and cellist Erica Erenyi. “I am so fortunate to have such highly talented string players on this album,” comments Green. “Beyond capturing every detail in the music, they brought the music to life with their beautiful interpretation.”

© Jon Naugle
Born in San Diego in 1981, Green grew up in an academic family. Now retired, his mother was a longtime ESL teacher and his father was a professor of biology at the University of California, San Diego. He started piano lessons at age 5 and kept at it until 12, when he came under the sway of grunge rock. After two years teaching himself Nirvana tunes, Green got interested in ska and joined a band with some fellow friends. “Ska was my first exposure to music that featured improvisation, and I remember feeling so excited listening to the solos,” Green recalls.

Green experienced something of an epiphany around the turn of the century when he caught The Buena Vista Social Club documentary, which sparked a passion for Cuban son. He delved into Latin music working in local salsa bands, while writing in the Latin jazz idiom. Green earned a B.A. in Piano Performance from UC San Diego, where he studied jazz piano with Grammy-winning producer Kamau Kenyatta (who played a key role in the rise of vocalist Gregory Porter), and classical piano with John Mark Harris and Luciane Cardassi.
A class on Brazilian music at UCSD turned his passion southwards. Looking for direct experience with Brazilian masters, he started attending California Brazil Camp in the redwoods of Cazadero in western Sonoma County. He credits legendary guitarist/composer Guinga, Marcos Silva, Chico Pinheiro, and drummers Edu Ribeiro and Marcio Bahia as particularly important influences. Green went on to earn a Master’s Degree in Jazz Studies at San Diego State University, where he studied under Rick Helzer. He was awarded “Outstanding Graduate,” and several years later, “Alumni to Watch.”
In following his various musical interests, Green has carved out a singular niche as a bandleader and recording artist, honing a sound unlike anyone else on the scene. “As a composer, I always strive to tell stories through music,” says Green. “Adding strings to my music provides new and exciting ways for me to expand on those stories and heighten the emotional impact.”

© Sasha Israel
Danny Green
braithwaitekatz
Copyright © 2018 Braithwaite & Katz, All rights reserved.
Hello, you are receiving this email because we have recently updated our MailChimp account.Our mailing address is:

——————————————————————————————————————————————————-

Hey there Dick

Check out some incredible performances from The 16th annual Independent Music Awards:

Watch NOW

More performances and interviews are on their way.

Enjoy!

The IMAs

 

To Your Great Success,

The IMAs
32 Ann Street, Clifton, NJ 07013, USA

——————————————————————————————————————————————————-

9:04 AM (2 hours ago)
to me

 

 

jazzLogo.jpg
April 20, 2018

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Antonio Gómez
New CD Release
“Lights, Camera, Version!”
Listen On Spotify
shem.gif

Lights, Camera, Version! is a tribute album to the most popular soundtracks in the history of film such as “2001: A Space Odyssey”, “The Magnificent Seven” or “Mission: Impossible”. The value of this recording lies not only in its musicians, some of them internationally acclaimed, but also in the original arrangements made by Antonio Gómez by transforming the orchestral format of the original themes into jam beat with different styles of popular urban music, jazz and also flamenco.

This alnum is dedicated to the memory of the great drummer, teacher and friend Kim Plainfield who passed away a year ago with whom I had the privilege of studying at The Collective School of Music and recording a song for this album.

Another important artist that appears in this record is the flautist and saxophonist Jorge Pardo (Paco de Lucia, Chick Corea)

This is the complete list of Musicians that appear on this album:

Antonio Gómez

Producción / Production Arreglos / Arrengements Guitarras / Guitars

Bajo / Bass (4,6,7,11) Programaciones / Programming (1,2,3,8,11) 

Jorge Pardo

Flauta / Flute (3)

Santi Ibarretxe

Flauta / Flute (9)

Octavio Santos

Violonchelo / Cello (12)

Arecio Smith

Órgano Hammond

/ Hammond Organ (9)

Jose María Pedraza “Petaca”

Piano / Piano (10) Teclados / Keyboard (2,3,4)

Ramón García

Teclados / Keyboard (6)

Bob Quaranta

Piano / Piano (5)

Francesco Beccaro

Bajo / Bass (5)

Joan Masana

Bajo / Bass (1,3,9)

Guillermo Morente

Contrabajo / Double Bass (12)

Juan San Martín

Bajo / Bass (2,10)

David León

Coproducción / Co-Production Percusión / Percussion (7)

Batería / Drums (1,4,6,8,11) Cajón & Palmas / Cajón & Clapping (3)

José San Martín

Batería / Drums (2,10)

Pancho Brañas

Batería / Drums (9)

Kim Plainfield

Batería / Drums (5)

Epi Pacheco

Palmas / Clapping (3) 

This E Mail is being sent by:

Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO HERE

 

————————————————————————————————————————————————-

                  THANK YOU!!!

Fans, friends, family,

Thanks you so much for your support of my newest release Whatever Possessed Me!
For those of you who have not had a chance to hear the music you can purchase cd’s, t shirts, and download cards at www.mfbass.com or you can stream the album from your favorite digital service.
We still have one more tour date in Baltimore at one of the best listening rooms in the country An Die Musik April 27th so get your tix now!

If you stream – I ask that you please support via likes, clicks, comments, shares, views, plays, etc. In the current digital marketplace these are as valuable as your hard earned dollars.

In case you missed it…..

If you coulnd’t make any of the tour dates I am always posting live video on my youtube page, facebook page, and website.

Upcoming:

I am very excited to continue workshopping my new project of original music May 20th at Twins Jazz in Washington D.C. featuring a tremendous band: Dana Hawkins on drums, Asher Kurtz on guitar, and Morgan Guerrin on sax. To check out a sample of the music click here!

——————————————————————————————————————————————————

Watch the EPK
Pianist-Composer Edward Simon Presents the Album
Sorrows and Triumphs, Featuring Afinidad, His Quartet with Alto Saxophonist David Binney, Bassist Scott Colley and Drummer Brian Blade
The richly textured Sorrows and Triumphs is also colored by very special guests: vocalist Gretchen Parlato, guitarist Adam Rogers and chamber quintet Imani Winds“One of the strongest pianists of his generation, with intuitive empathy and drum-like ingenuity, Simon solos compositionally with passionate elegance.”
— DownBeatPianist Edward Simon – a native of Venezuela who has made a name for himself over decades in America as a jazz pianist, bandleader and composer-arranger, along with being a Guggenheim Fellow and member of the hit SFJAZZ Collective – presents his latest album, Sorrows and Triumphs, via Sunnyside Records on April 20, 2018. The recording showcases his virtuoso quartet Afinidad, featuring alto saxophonist David Binney, bassist Scott Colley and drummer Brian Blade; the album’s color-rich arrangements also include special guests: vocalist Gretchen Parlato, guitarist Adam Rogers and the chamber quintet Imani Winds, along with percussionists Rogerio Boccato and Luis Quintero. The album’s material blends two bodies of music commissioned by Chamber Music of America’s New Jazz Works program: the suites “Sorrows and Triumphs” and “House of Numbers,” their individual movements re- sequenced to form a holistic listening experience that brims with a lyricism both intimate and majestic. This release follows Simon’s Latin American Songbook, with the four-and-a-half-star DownBeat review for that 2016 album praising its “grand and sophisticated” sound. Latin American Songbook also won Simon an NAACP Image Award for Outstanding Jazz Album. JazzTimes has said: “Simon is less talked about than many other important jazz pianists from the Caribbean and South America, but he may be the most complete creative artist among them.”The three tracks on Sorrows and Triumphs drawn from the original title suite – “Equanimity,” “Rebirth” and “Triumphs” – feature Afinidad with Parlato, Rogers and Baccato, the compositions inspired by Simon’s studies of Buddhism over two decades. Afinidad first performed the “Sorrows and Triumphs” suite in 2009 at Walton Performing Arts Center in Arkansas and later at New York’s Jazz Standard, with performances broadcast on NPR’s Jazz Set. “The music isn’t narrative in any way,” Simon explains. “But it was inspired intuitively by the effects Buddhist practice has had on me, the perspective and the little bits of enlightenment that come every day. I wrote my own words for ‘Triumphs,’ but Gretchen has also studied Buddhism, so when I asked her to contribute lyrics to ‘Rebirth,’ she knew exactly how to convey the message. Gretchen is such a special singer, who has the gift making the most of small details to expressive effect. She knows that just a whisper can have a big impact. As for the compositions, I wanted them to bring joy to the listener, to be direct and accessible, with singable melodies.”The album’s tracks taken from the suite “House of Numbers” – “Uninvited Thoughts,” “Triangle,” “Chant” and “Venezuela Unida” – feature Afinidad with Quintero and award-winning classical group Imani Winds. The ballad highlight “Chant” also includes words and vocals by Parlato. Simon’s compositions explore the cross-cultural resonance of numerology, as well as the musical possibilities that arise when jazz and classical artists combine. The music draws on traditions from Europe, Africa, North America and South America, blending composed structures with sections for improvisation; the numbers 3, 4, 5 and 7 – and their cultural and musical implications – form the basis of the suite’s four pieces. The composer explains: “The number 3, for instance, can suggest triple meters, such as 3/4, 6/4 or 6/8, which in turn can suggest certain grooves, particularly in the music of South America. It can also point to the use of triads and three-bar phrases. Above all, the number 3 points to the even distribution of forces into three equal parts, which suggests balance – an ideal in nature and life.” Afinidad and Imani Winds unveiled House of Numbers in 2016 at California’s University of the Pacific.Simon Rowe, executive director of Roots, Jazz & American Music at the San Francisco Conservatory of Music, attended the premiere of “House of Numbers,” saying afterward that the blend of the five Imani Winds with Simon’s jazz quartet was “mesmerizing,” as the “writing juxtaposed the lyrical and often dense textures of the quintet with the ever- changing, percolating rhythmic drive of Afinidad.” Reviewing Afinidad’s music-making, All About Jazz described the band’s sound as “wonderful, accessible and deep.” Simon remarks on his bandmates: “Their musicality, openness, and breadth give me the greatest freedom as a composer. I write with the sound and sensibilities of Dave, Scott and Brian in mind, and I depend on our instant empathy and almost wordless communication in the studio. It is our artistic bond of trust, built over many years, that underpins and encourages my exploration in these pieces.” Simon and Binney co-founded Afinidad in 2000, with the kindred-spirit rhythm section of Colley and Blade there from the start. The quartet has previously released the albums Afinidad (Red Records, 2001) and Océanos (Criss Cross, 2007).Simon and Binney share a 25-year affinity, their musical visions as simpatico as their personalities. “Dave is eclectic, open to all sorts of influences, and has the ability to put them together into something personal, as a player and as a composer,” Simon remarks. “We have both composed for Afinidad over the years, even though this album is mine as a composer. But David’s sharp ear for aesthetic beauty makes him a great sounding board in the studio – in addition to being a featured player, he has real producing chops. He co-produced the track ‘Triumphs’ with me, adding electronics.” For his part, Binney says: “I’ve always enjoyed Ed’s sensitive musicality. His musical concept sums up the way I hear things, and because of his Latin American roots, his rhythmic sense is very strong, which complements the way I play. Sometimes I play with more abandon, and he locks things in. And his compositions have such thought behind them.” About Colley and Blade, who are leaders in their own right, Simon adds: “Musicians who are composers interpret other people’s music in a more informed way, so Scott and Brian have the sensibility to articulate my music with sensitivity to space, to quality of sound, to textural nuance.”Guitarist Adam Rogers has been part of the extended Afinidad family for years. “He’s such a strong improver,” Simon explains, “and his versatility as a player, whether on electric or acoustic, adds a lot to what we can do texturally.” About the extra percussion of Boccato and Quintero, Simon adds: “Groove has always been a vital aspect of music for me, and with a lot of this music influenced by classical minimalism – especially Steve Reich – the extra percussion helps articulate the groove. And in ‘Venezuela Unida,’ Luis plays the culo’e puya, a long, narrow drum, played in sets of three, associated with Afro-Venezuelan music. This composition is dedicated to my homeland. Venezuela has undergone tremendous socio-economic and political changes during the past decade. It pains me to see the strong divisions that have emerged as a result and the great difficulty people are going through. I wish for my fellow Venezuelans to elevate themselves beyond differences in views and hope they manage to find peace, understanding and unity once again.”
© Scott Chernis
Edward Simon

Edward Simon – who first came to the U.S. in 1981 at age 12, then settled permanently stateside after attending the Performing Arts School in Philadelphia – grew up in a musical family in the oil-refinery town of Punta Cardón, Venezuela. His father planted a musical seed with young Edward and his siblings, the kids raised on the strains of their dad playing guitar and singing boleros with his drinking buddies. Chucho Valdés was Simon’s first big influence on piano, then he got the jazz bug watching a VHS tape of Dizzy Gillespie and Stan Getz playing at the White House – with “the freedom of jazz” forever instilled in him as an ideal. After graduating from the Performing Arts School at age 15, Simon received a music scholarship from the University of the Arts where he studied classical music. Later, he transferred to the Manhattan School of Music where he studied jazz piano. During his stint as a young jazzer in New York City, Simon was inspired by the innovative Nuyorican jazz of Jerry Gonzalez & the Fort Apache Band, eventually playing with the group.

As a young striver, Simon took the piano chair in Bobby Watson’s band Horizon (1989-94), later moving to the Terence Blanchard Group (1994-2002). Simon made his debut album as a leader in 1994 with Beauty Within (Audioquest). The same year, he placed third in the Thelonious Monk International Jazz Competition, with the albums Edward Simon (Kokopelli, 1995) and La Bikina (Mythology, 1998) to follow. Simon co-founded the quartet Afinidad with David Binney, releasing the discs Afinidad (Red Records, 2001) and Océanos (Criss Cross, 2007) with the rhythm duo of Scott Colley and Brian Blade. Simon and Binney also released the duo album Fiestas de Agosto (Red Records, 2008). In 2010, Simon was named a Guggenheim Fellow, and he became a member of the SFJAZZ Collective, which comprises what The New York Times called “eight of today’s most in-demand” performer-composers.

Following his leader discs The Process (Criss Cross, 2003) and Simplicitas (Criss Cross, 2005), Simon recorded several albums featuring his All-Star Trio with Blade and bassist John Patitucci; complementing the studio discs Unicity (CamJazz, 2006) and Poesía (CamJazz, 2009), the group’s most recent release is the 2013 Sunnyside album Trio Live, recorded at New York’s Jazz Standard. The New York Times praised Simon’s “warm touch” as a pianist, while Jazz Journal International singled out his “deep emotional statements” as a composer. With the folk-accented compositions of his album Venezuelan Suite (Sunnyside, 2014), Simon garnered some of the most glowing reviews of his career, including a rating of four-and-a-half out of five stars from DownBeat. With Venezuelan Suite, the pianist blended the tuneful, buoyant sounds of his native country with the harmonically sophisticated, forward-looking manner of jazz. The compositions – written on a grant from Chamber Music America – featured star saxophonist Mark Turner alongside virtuosos of the Venezuelan folk tradition. All About Jazz marveled over the album: “Venezuelan Suite is pianist Edward Simon’s love letter to his homeland, but that’s not all it is; it’s the perfect confluence of Venezuelan ideals, jazz language and chamber-esque sophistication. In short, it’s a masterpiece.”

Latin American Songbook (Sunnyside, 2016) saw Simon create artful piano-trio arrangements of such classics as Astor Piazzolla’s “Libertango” and Antônio Carlos Jobim’s “Chega de Saudade,” as well as the Cuban ballad “En La Orilla Del Mundo” (On the Edge of the World). NPR’s All Things Considered said: “This recording works because an expert musician applies himself so sincerely to songs that were formative for him. Simon puts his head and heart into Latin American Songbook, and the album gives Latin standards a rightful and joyful place at the center of instrumental jazz.” In fall 2017, Simon, Colley and Blade released their first album as a cooperative trio, the eponymous Steel House.

 


Sorrows and Triumphs

1. “Incessant Desires”
2. “Uninvited Thoughts” 3. “Equanimity”
4. “Triangle”
5. “Chant”
6. “Venezuela Unida”
7. “Triumphs”
8. “Rebirth”

Produced and composed by Edward Simon
“Triumphs” co-produced by Edward Simon & David Binney
Lyrics for “Chant” and “Rebirth” by Gretchen Parlato
Edward Simon, piano; David Binney, alto saxophone; Scott Colley, double-bass; Brian Blade, drums
Gretchen Parlato, vocals; Adam Rogers, guitars; Imani Winds: Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; Monica Ellis, bassoon; Mark Dover, clarinet; Jeff Scott, French horn
Rogerio Baccato, percussion (3, 7); Luis Quintero, percussion (2, 4, 6)

 

Edward Simon
braithwaitekatz
Sunnyside Records
Copyright © 2018 Braithwaite & Katz, All rights reserved.
Hello, you are receiving this email because we have recently updated our MailChimp account.Our mailing address is:

—————————————————————————————————————————————————

The first volume of the sprawling five-part “Outside the Box” collection, prolific David Garfield (www.DavidGarfield.com) presides over a stellar army of accomplished musicians on his first-ever straight-ahead jazz album, “Jazz Outside the Box.” We sent you the recently released 15-track CD produced and arranged by Garfield that is a homecoming of sorts for the keyboardist-pianist whose five-decade career playing with the giants of jazz, R&B, pop and rock began professionally at age nineteen when he accompanied bebop trumpeter Freddie Hubbard. Along with introducing four of his own compositions, Garfield serves up grand interpretations of classics composed by Duke Ellington, Horace Silver, Joe Sample (one of Garfield’s mentors), Rodgers & Hammerstein, Oliver Nelson and Joe Zawinul, and cloaks a coupling of Sting tunes in modern jazz.

 

In addition to the keyboard artistry and masterful musicianship throughout the carefully crafted “Jazz Outside the Box” exhibited by Garfield and an assemblage of first-call session aces and noted sidemen, the curator shares the spotlight equitably with prominent soloists including Wallace Roney, Poncho Sanchez, Randy Brecker, Michael McDonald, Tom Scott, Eric Marienthal, Pete Christlieb, Bennie Maupin, The DoorsJohn Densmore, Brian Auger, Will Lee, Airto Moreira, Steve Jordan, Charlie Bisharat’s String Quartet and an orchestra conducted by John Clayton. The disc also contains farewell performances by the late guitar greats Chuck Loeb and Larry Coryell.

 

As cuts from “Jazz Outside the Box” gather spins from straight-ahead jazz radio, simultaneously Garfield has tracks from the next two volumes in the series shining in other formats. His “Go Home” hit No. 2 on the Billboard Smooth Jazz Songs chart and the follow up single, “Jamming,” is presently ascending the Top 20. Both singles preview this summer’s “Jamming Outside the Box,” an all-star session mining the contemporary side of jazz. Providing a glimpse of the vocal set “Vox Outside the Box” is “I Lied,” a brokenhearted ballad that Garfield wrote with legend Smokey Robinson currently climbing the Music Row and Billboard country singles charts.

 

Garfield, George Benson’s long-serving musical director, has unique personal connections, history and stories behind each song and every musician he thoughtfully selected for “Outside the Box.” With motivations ranging from realizing the long-held desire to record with long-admired peers to reuniting one more time, the prevailing feeling permeating this ambitious series of recordings is the desire to leave an enduring musical legacy that will cap a diverse, genre-crossing career at the highest level. Garfield is happy to share details in interviews and we ask you to please consider “Jazz Outside the Box” for feature and review coverage. Let me know what you need to move forward. Thanks for your consideration.

 

 

Peace, love, hope & joy,

 

 

Rick Scott

Great Scott P.R.oductions

310.306.0375

www.greatscottpr.com

www.twitter.com/greatscottpr

www.facebook.com/rick.scott

https://plus.google.com/+RickScottGSP

https://www.linkedin.com/in/rick-scott-aa51911/

——————————————————————————————————————————————–

Side Stories – Sortie/ Release le 25 Mai 2018 – Label Jazz Eleven
Après 30 ans de carrière en tant que « sideman », Thomas Bramerie, l’un des contrebassistes les plus demandés de la scène jazz, décide de prendre la parole en tant que leader. Il le fait en musique… et avec des mots. Chacune des compositions originales de cet album s’accompagne d’un texte où il nous présente sa vision du jazz… et de la société en général. Dans ce premier album personnel (Label Jazz Eleven), il s’entoure de deux des plus remarquables jeunes musiciens de la toute nouvelle génération du jazz hexagonal, le pianiste Carl-Henri Morisset et Elie Martin-Charrière à la batterie. Ceci dans la grande tradition de transmission de la musique de Jazz par les aînés. Il s’adjoint aussi la précieuse collaboration de quelques illustres compagnons de route, Éric Legnini, Stéphane Belmondo et Jacky Terrasson.
After 30 years as a sideman, Thomas Bramerie, one of the most popular bassists on the jazz scene, decides to speak as a leader. He does it in music… and with words. Each of the original compositions of this album is accompanied by a text where he presents his vision of jazz… and society in general. In this first personal album (Label Jazz Eleven), he surrounds himself with two of the most remarkable young musicians of the new generation of French jazz, Carl-Henri Morisset on piano and Elie Martin-Charrière on drums. Hence following the great tradition of jazz music transmitted by the elders. Illustrious fellow travelers, Éric Legnini, Stéphane Belmondo and Jacky Terrasson collaborate with him.
Découvrir l’Album / Discover the Album
My Buzz Productions Roster 18/19/20