jueves, 27 de febrero de 2014

World's greatest guitarist Paco de Lucia dies at 66 : His great legacy the consolidation of Flamenco Jazz!

Paco de Lucia, the world's greatest guitarist who dazzled audiences with his lightning-speed flamenco rhythms and finger work, has died in Mexico, Spanish officials said Wednesday. He was 66. De Lucia suffered a heart attack while on vacation at the Caribbean beach resort of Playa del Carmen and died in a hospital, Quintana Roo state attorney general Gaspar Armando Garcia told Mexico's Enfoque Radio. "Paco lived as he wished and died playing with his children beside the sea," said a statement from de Lucia's family published on the websites of Spanish newspapers. Describing the death as unexpected and premature, Spanish Education and Culture Minister Jose Ignacio Wert said de Lucia was "a unique and unrepeatable figure." De Lucia — whose real name was Francisco Sanchez Gomez — was best-known for flamenco but also experimented with other musical genres. One of his most famous recordings was "Friday Night in San Francisco," recorded with fellow guitarists John McLaughlin and Al Di Meola in 1981. During the 1960s and 1970s, he formed an extremely popular duo with late flamenco singer legend Camaron de la Isla, with the two working together on 10 records. His 1973 rumba "Entre Dos Aguas" (Between Two Waters) became one of the most popular recordings in Spain. De Lucia was awarded the Spanish Culture Ministry's Fine Arts Gold Medal in 1992 and the prestigious Prince of Asturias prize for the Arts in 2004. He was granted a Doctor Honoris Causa degree by Berklee College of Music in 2010. His last studio album "Cositas buenas" (Good Things) earned him his first Latin Grammy in 2004 while his 2012 live recording "En Vivo" (Live) received a second. Born Dec. 21, 1947, de Lucia was immersed in flamenco music from an early age, with his father, Antonio, and two brothers playing guitar and a third brother an accomplished flamenco singer. He took his artistic name from that of his Portuguese mother, Lucia. From a poor background, de Lucia's formal schooling ended when he was 11, and he was soon playing flamenco in local bars. At 14 he made his first record with his brother Pepe, "Los Chiquitos de Algeciras" (Kids of Algeciras). Although de Lucia had no formal musical training, from an early age he impressed people with his remarkable dexterity, hand strength and technique that allowed him to produce machine-gun-like "picado" riffs so characteristic of flamenco guitar. "I have always found that the more technique you have the easier it is to express yourself," he told Spain's El Pais newspaper in an interview in 2004. Arguably the most influential flamenco artist ever, he infused new life into the traditional form and is credited with modernizing it by introducing influences from other musical forms such as jazz, bossa nova, classical and salsa. Although some of this drew criticism from flamenco purists, de Lucia defined his own influential sound by staying true to his flamenco roots. His own sextet, formed in 1981, includes bass, drums and saxophone. In addition to his work with McLaughlin and Di Meola, his high-profile collaborations included work with guitarist Larry Coryell, and pianist Chick Corea, who joined Paco's sextet for the album "Zyryah" in 1990. "Paco's moving on leaves a gigantic hole in the musical life of this world which his friends who have been inspired by him must fill with even more creativity," said jazz pianist Chick Corea. "Paco inspired me in the construction of my own musical world as much as Miles Davis and John Coltrane, or Bartok and Mozart." In 1995 he played with Bryan Adams on the song "Have You Ever Really Loved a Woman." "Paco was and will be a universal artist, who took the guitar and flamenco sentiment to the heart of the whole world," said Jose Luis Acosta, president of the Spanish Artists and Editors Society. -  (R.I.P.)

lunes, 24 de febrero de 2014

Baritone Saxophonist B.J. Jansen @ INFUSE 51 Sunday May 4th

Baritone Saxophonist B.J. Jansen

New CD "Ronin"

New CD Featuring
B.J. Jansen-baritone sax
Mamiko Watanabe-piano
Mike Boone-bass
Amanda Ruzza-bass
Chris Beck
Dorota Piotrowska-drums

(Artist Recording Collective ARC-2529)
Street Date March 4, 2014
Track Listing, Time and Composer:
1) RONIN 6:04 (B.J. Jansen)
2) Rose for Noriko 5:06 (B.J. Jansen)
3) Best Fiend 8:44 (B.J. Jansen)
4) The Cost 6:06 (B.J. Jansen)
5) Blues for C.P. 6:05 (B.J. Jansen)
6) Manhattan Trane’in 5:22 (B.J. Jansen)
7) Brother Sid 7:16 (B.J. Jansen)
8) Diamonds for Lil 5:10 (B.J. Jansen)
9) The Code 4:16 (B.J. Jansen)
Recording Dates: October 9th & 27th 2013
Artists Home Market: New York City
Musicians: B.J. Jansen - baritone saxophone, Mamiko Watanabe - piano, Mike Boone - bass, Amanda Ruzza - bass, Chris Beck - drums, Dorota Piotrowska - drums

During the feudal period in Japan (1185-1868), a Ronin was a samurai (knight) with no lord or master. A samurai could become masterless from the death or political fall of his master, or simply by the loss of his master's favor. Ronin amassed during periods of long peace when their warrior training was not needed. Some Lords released samurai for strictly financial reasons during these periods. By law a Samurai was forbidden to have a job, so many fell into poverty and lives of crime to feed themselves and their families. Others, simply disgraced committed suicide.

The plight of the Ronin draws many similarities to what I have observed with those of us who adopt the way, or follow a life of the study of the art and craft of instrumental improvised music. Live performance and revenue streams have become
increasingly scarce as society and technology have changed. However, like the Ronin, we artists persist as warriors and keepers of the flame, devoting our lives to the propagation of the Music. We have become drifters, outsiders, masterless and seeking the truth of who we are as artists and people. 

“Rising Jazz Star"- Andy Hardy, Jazz Host on George Jazz FM, New Zealand 

“B. J. Jansen and his articulate baritone sax leads his group Conjura into some immaculate ensemble and solo playing... There is no compromising here just straight ahead Jazz… B.J., originally from Cincinnati now living in the NY area is knowledgeable, bold, aggressive, and determined to make great jazz music and jazz happenings.... talented musician… a truly experienced soul!"
- Ty Bailey, Host of "Just Jazz" Radio Show on WVST FM
 "A baritone saxophone-led quartet takes a lot of guts. The beauty of this recording lies in both its period approach and the superb sonics captured by modern recording. Jansen... proves his chops on his solid original repertoire. Ronin is a solid bop outing."
 - AllAboutJazz

Media Contact For B.J. Jansen
Jim Eigo Jazz Promo Services

Ph: 845-986-1677 / 

martes, 18 de febrero de 2014

Chicago Sessions release today Album of multi-instrumentalist and composer wind Shawn Maxwell and his Alliance

Makaya McCraven

To a remarkable degree, Shawn Maxwell has the urge—a quality fundamental to those who create improvised music on a nightly basis. In this way, it is not enough to simply create, but the need to innovate that guides each note. His art lies in addressing the ordinary modalities of life in an extraordinary way, placing notes in their most complimentary places with precision and enthusiasm. Of course, there’s the way he plays. Maxwell’s style was built around swelling harmonic runs while painting complex melodies across an expansive canvas. Each harmony he creates is purposeful in form as well as function. 

By all accounts, Shawn Maxwell formed his style early on the tough and tumultuous streets of Joliet, Illinois. From the time a saxophone first touched his lips, Maxwell knew that music was his calling. With conviction and abilities that belied his age, it was equally clear to others that Shawn Maxwell was destined to be a musician. He quickly became a celebrated performer in the Joliet Central High School band program where his prowess as a soloist was on regular display. Shawn further refined his art in a post-secondary setting, absorbing all that his instructors could teach – earning a Bachelor’s Degree in Music from Millikin University in 1999. Shawn then signed with the prestigious and legendary Conn-Selmer Company to join their Performance and Educational Artist Roster. 

After starting his professional career touring Internationally, across the Mediterranean and the Caribbean, Maxwell returned home to conquer the Windy City. With equal parts genius and toil, Maxwell has become one the preeminent performers in the Chicago jazz landscape. His multi-instrumental talents have been lauded by fellow musicians and critics alike. 

In late 2004, Maxwell took his group, The Shawn Maxwell Quartet, into the studio to record the tracks for what would eventually become his debut release, “Originals”. The album showcased Maxwell’s composition, arranging, and production skills while also highlighting the impressive skills of his group. Brad Walseth, of jazzchicago.net wrote that the album “…is like a refreshing burst of fresh air through the jazz world that can often seem closed and stale.” 

2008 brought the release of his second album, “Originals II,” consisting of twelve compositions that further highlight Shawn’s maturation as a musician and band leader. In 2010 Shawn recorded his first CD, "Maxwell’s House," for the Chicago Sessions Jazz Label. "Maxwell’s House" features his current quartet performing ten new originals. In addressing the album, Neil Tesser wrote, "His alto timbre sits in a lineage exemplified by past giants like Jackie McLean and Eric Dolphy, and by such latter-day players as Arthur Blythe and Steve Slagle." 

2011 marked the release of his second album, “Urban Vigilante” on the Chicago Sessions record label. Heralded at 3 stars by Downbeat Magazine, this album continues to race up the charts while garnering critical praise. The Shawn Maxwell Quartet can be seen performing at some of the most celebrated clubs and festivals across Chicago and the world, perhaps even a venue near you. 

Shawn Maxwell -clinician

Now Maxwell met in Chicago where he lives and works a great group of musicians to form friends Shawn Maxwell's Alliance.
Keep in mind that Chicago, after New York, is one of the cities largest number of nesting vibrant jazz prodigies.
With its highly original compositions and this group of friends Chris Greene (soprano sax), Keri Johnsrud (voice), Stephen Lynerd (vibraphono, percussion), Mitch Corso (guitar), Rachel Maxwell (french horn), Meghan Fulton (french horn ) Stacy McMichael (bass), Marc Piane (bass) and Paul Townsend (drums), may issue our criteria for a CD that will give much to talk about their creative quality.
Today Shawn Maxwell's Alliance in Chicago Sessions company goes to market for fans of jazz.


viernes, 14 de febrero de 2014

Carol Fredette proposes romance without sadness in his CD "No Sad Songs for Me"

soundbrush logo 
"Vocal jazz at the highest level of execution requires a combination of musicality, timing, phrasing, creativity and intelligence.  Carol Fredette has an abundance of these ingredients, and they all shine through on No Sad Songs for Me."  - Jersey Jazz
"Carol Fredette knows how to lay out a nightcub blueser with the best of 'em" - acousticmusic.com
 "... pristine vocal delivery of this most attractive recital." allaboutjazz.com
 "Witty, conversational, and swinging, devoid of self-indulgent gymnastics, and high on interpretive insight! Salty and smart, Carol Fredette hits you between the eyes, but also reaches your heart." -  Amazon 
National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / 
"Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

National Radio Campaign 

lunes, 10 de febrero de 2014

Great Adventure of Lenny Sendersky and Tony Romano with Randy Brecker, Joe Locke and Cleve Douglass

Lenny Sendersky-Tony Romano Group
February 2014 CD Release Tour Dates, Russia


Lenny Sendersky-Sax
Tony Romano-Guitar
Cleve Douglas –Vocals
Sergey Vasiliev-bass
Alexandr Zinger-drums

Russian Tour Dates
February 2014

13.02 Durov club (Moscow)

15.02 Ekaterinburg Philharmonic Hall (Ekaterinberg)

17:02 Master Class
          Tchaikovsky College (Ekaterinberg)

18.02 Stariy Royal Club (Kazan)

19.02 Smolensk Philharmonic hall (Smolensk)

20.02 Gorka club  (Yaroslavl)

22.02 Igor Butman Club (Moscow)

23.02 JFC Jazz Club (St. Petersburg)

24.02 Master Class – JM School (St. Petersburg)

Lenny Sendersky And Tony Romano
“Desert Flower”

(LeTo Records)
Street Date: February 4, 2014
Lenny Sendersky-Alto and Soprano Saxophone
Tony Romano-Guitar
Randy Brecker-Trumpet
Joe Locke-Vibes
Cleve Douglass-Vocals
Steve LaSpina-Bass
Matt Kane-Drums
Artist: Lenny Sendersky and Tony Romano
Title: Desert Flower
Label: LeTo Records
Catalog Number: Self Produced
UPC Code: 8 84501 98376 1
Release Date: 2/4/2014

Track listing, track times and composer:
1. Chet (feat. Joe Locke) 5:46 (T. Romano)
2. Sitting Under the Tree 6:38 (L. Sendersky)
3. Desert Flower 3:23 (L. Sendersky)
4. Horizons (feat. Randy Brecker) 6:40 (T. Romano)
5. Promise (feat. Joe Locke) 5:58 (T. Romano)
6. My Father’s Island (feat. Cleve Douglass) 4:21(D. Ellington)
7. Sophie (feat. Randy Brecker) 8:08 (L. Sendersky)
8. Fruit Tea (feat. Joe Locke) 4:28 (L. Sendersky)
9. Nature Boy (feat. Cleve Douglass) 5:07 (Eden Ahbez)
10. Tango 2:54 (T. Romano)

Recording Dates: May 13 & 14, 2013
Artists Home Market: New York City

Musicians: Lenny Sendersky-Alto and Soprano Saxophone, Tony Romano-Guitar, Randy Brecker-Trumpet, Joe Locke-Vibes, Cleve Douglass-Vocals, Steve LaSpina-Bass, Matt Kane-Drums

Desert Flower is a culmination of the sound that Lenny and Tony have been working on over the last few years. After meeting and playing together at a jam session at the Christiania Jazz Club In Copenhagen, Denmark in June of 2010, they partnered up and began touring together in Russia. This recording documents some of the original music they have played in the last 2 years, as well as some new music written specifically for this recording.

Lenny Sendersky is from St.Petersburg, Russia. There he completed his formal musical training, college education and gained his experience as a visionary, performer and producer. In order to launch his international career, Lenny chose to invest a couple years into living, working and developing his craft in Denmark. In 2011, Sendersky immigrated to Israel, gradually and confidently established himself in the jazz scene of his new home by performing and successfully producing projects featuring Israeli, American and European jazz artists.

“There’s a strong sense of liberation that fuels Sendersky’s alto/soprano sax playing on the record; it glimmers with life and personality, free from any creative restraints”. —All About Jazz 

Guitarist Tony Romano has been a vital part of the New York City music scene for over twenty years, and has had the privilege of touring, performing and recording with the world’s finest musicians. Tony is adjunct faculty at Five Towns College, and a Teaching Artist for the Kupferberg Center at Queens College. 

“His tone is beautiful and soulful, and his remarkable technique is a servant to his rich musical imagination and broad harmonic palette.”
— Just Jazz Guitar Magazine
What The Press Is Saying About "Desert Flower"

“This date just falls right into the easy going, mainstream pocket and never wears out it’s welcome. Simply one of those snappy records that just catches you by surprise and makes sure you have a good time.  Well done”. Chris Spector, Midwest Record

Because Tony Romano is an unusually sensitive and responsive accompanist, his strong profile as a soloist (on both acoustic and electric guitars) and a composer of sophisticated yet accessible tunes doesn’t consistently get the appreciation it deserves. This disc surely will correct that situation, as well as remind jazz fans of alto/soprano sax master Lenny Sendersky's flexible lyricism as an improvisor, and his gift for penning deceptively simple yet edgier-than-they-appear tunes. Both musicians are abetted by Steve LaSpina's seasoned support (those deliciously rubbery Ron Carter-like long notes!) and drummer Matt Kane's busy yet totally unobtrusive polyrhythmic aplomb. Vibraphonist Joe Locke's colorful, discreet constributions blend well on three tracks, while Randy Brecker's familiar trumpet work (on Horizons and Sophie) has lost nothing in melodic focus and tonal warmth over the years. Cleve Douglass' timbre, timing and willingness to take chances has considerably evolved over the two decades since we recorded Duke Ellington Boulevard together, and his two guest tracks (My Father's Island and Nature Boy) whet the appetite for a long belated new solo disc from this beautiful, undervalued singer. While the engineering is overly close and spotlit for my taste (I'd prefer more group blend and room tone, given the musicians' chamber-like interplay), the variety in programming and mood add up to a rewarding listening experience. Highly recommended. - Jed Distler, writer for Gramophone

“Sendersky, whether he is playing alto or soprano, has a sweet tone, but he can growl with the best of them when necessary. Romano is a guitarist with imagination and the chops to go with it” – Jack Goodstein

By Leonid Auskern
четыре страны – Израиль, США, Россию и Данию. В Израиле живет с 2011 года, играет на саксофоне, сочиняет музыку и продюсирует различные музыкальные проекты один из авторов проекта данного – Ленни Сендерски. Другой автор, американец Тони Романо, играет на гитаре и преподает тонкости джазового мастерства в Куинс Колледж. Россия здесь важна, потому что Ленни Сендерски родился, вырос и получил музыкальное образование в Санкт-Петербурге. Именно по России Ленни и Тони недавно совершили концертный тур. Вы можете задать вопрос: ну, а Дания-то тут причем? Дело в том, что именно в этой стране пересеклись творческие пути обоих музыкантов. Именно в Дании Ленни, еще до эмиграции в Израиль, совершенствовал свое исполнительское мастерство. В 2010 году в одном из джазовых клубов Копенгагена, на джем-сешн, познакомились и впервые сыграли вместе Сендерски и Романо.

С тех пор они работают вместе, а альбом Desert Flower подводит некий итог двухлетнему этапу сотрудничества музыкантов. Его программу составили как ранее исполнявшиеся ими композиции, так и пьесы, специально сочиненные для этого проекта. Desert Flower – альбом почти полностью авторский: каждый из его создателей представлен здесь четырьмя композициями. Есть еще на диске и два кавера, но о них чуть позже, а сначала о гостях проекта. Надо сказать, что помимо ритм-группы, Ленни и Тони удалось пригласить в свой проект мастеров экстра-класса: в двух пьесах здесь играет на трубе легендарный Рэнди Брэкер, а в других трех звучит вибрафон не менее известного Джо Локка. А вот теперь о каверах: композиция My Father’s Island великого Эллингтона и Nature Boy, хит Нэт Кинг Коула, сочиненный колоритным Иденом Ахбезом, словно сошедшим со страниц книг Керуака – это вокальные треки, где к инструменталистам присоединяется певец Клив Дуглас (он, кстати, присоединялся к Ленни и Тони и во время тура по России).

Голос Клива с его какими-то африканскими интонациями вносит приятное разнообразие в программу альбома. Но эпитет «приятный» относится не только к вокальным трекам. Приятна, комфортна, хорошо «ложится на ухо» и вся музыка Desert Flower. Наверное, у многих после этих строк мелькнет в сознании термин smooth-jazz? Одним этот стиль нравится, другие считают его пародией на джаз настоящий, но, на мой взгляд, к smooth-jazz музыка Сендерски и Романо отношения все же не имеет. Это все же мэйнстрим на основе пост-бопа, но сочиненный и исполненный столь тонко и изящно, что Ленни и Тони успешно пронесли свой «Цветок пустыни» (так можно перевести название альбома) по узкому песчаному бархану (стараюсь соблюсти пустынный колорит) между джазом и его лакированным подобием. Порукой тому – отличные дуэты саксофона и трубы, напряженные диалоги гитары и вибрафона, да и просто - подлинно джазовый feeling, присущий практически каждому треку альбома. Другой вопрос, что, наверное, не только стремление к творческому самовыражению, но и мысли о максимальном количестве потенциальных слушателей владели авторами при работе над этим диском. Мне кажется, им удалось успешно соединить в одно целое обе эти задачи.


Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / 

domingo, 9 de febrero de 2014

El Jazz hace feliz a los niños: Les P''tits Loups du Jazz

Desde 1992 viene funcionando en Montpellier (Francia), bajo la direccion de Olivier Caillard la banda-coro infantil-junior de Jazz "Les P'tits Loups du Jazz", una formacion integrada por niños entre 6 y 14 años.

Los niños cantan y versionan con verdadera admiracion a Leyendas del Jazz como: Duke Ellington, George Gershwin, Charlie Parker Thelonious Monk y mas.

Los coros son animados, acompañados y dirigidos por musicos profesionales para preparar las numerosas actuaciones que les son requeridas, ya no solo en su propio pais, sino fuera de el. Desde su fundacion, "Les P'tits Loups du Jazz" han grabado seis CD de enorme exito y sus presentaciones alcanzan a los mas prestigiosos escenariios franceses, entre los que podemos citar: el Teatro de Suresnes, el Teatro Olympia de Paris, el Casino de Paris,el Teatro de los Campos Eliseos, el Festival de Jazz de Paris y el de Coutances, el Teatro Quaternaire de Nimes, entre otros.

En este video, que esperamos disfruten, "Les P'tits Loups du Jazz", interpretan de manera por demas precioso y emocionante la famosa composicion de Cesar Portillo de La Luz "Contigo en la Distancia", en frances, y con un swing latino de pronosticos.

¡¡Vivan Los Niños!!...¡¡Viva The Latin Jazz!!

Este es el mas reciente album lanzado por los afamados "Les P'tits Loups du Jazz":

martes, 4 de febrero de 2014

Guitarist PJ Rasmussen presents his "Another Adventure" in various scenarios

PJ Rasmussen
New CD
"Another Adventure"
Upcoming Live Appearances

New CD
PJ Rasmussen's second album--Another Adventure--debuted at number 17 on theJazz Week charts!


PJ Rasmussen-guitar
Jim Ridl-Piano
Steve Davis-Trombone
Nate Giroux-Tenor Saxophone
Ben Hankle-Trumpet 
Jon Difiore-Drums
Adrian Moring-Bass
Special Guests: Scott Robinson and
Lauren Sevian

(Third Freedom Music 1002) 
Street Date March 4, 2014

Upcoming Live Appearances

42 Howard St, Albany, NY
9 PM-12 AM
No Cover

Nate Giroux/PJ Rasmussen Duo
PJ Rasmussen Octet - 7--8 PM
18 Whitwell Place
Brooklyn, New York, 11215
Price: $10

PJ Rasmussen- Guitar
Steve Davis- Trombone
Lauren Sevian- Bari Sax
Nate Giroux- Alto/Tenor Sax
Ben Hankle- Trumpet
Jim Ridl- Piano
Adrian Moring- Bass
Jon Di Fiore- Drums
PJ Rasmussen Trio - 7-10 PM; 8-10 Open Session
119 N Washington Ave
Dunellen, New Jersey, 08812
Price: $5 Cover

PJ Rasmussen: Guitar
Jon Difiore: Drums
Adrian Moring: Bass
           PJ Rasmussen’s musical aspirations are sharply focused and straightforward.  He wants to take the listener on an adventurous journey that makes the heart race, the blood pump and the feet move.  His latest CD,Another Adventure on Third Freedom Music, hits that target dead-center.  Following up on his highly acclaimed debut album Adventures in Flight, the outstanding composer/guitarist has created a remarkable CD that demonstrates a deep commitment to the jazz tradition.  And that includes a sometimes neglected element, the need to move the music forward in a manner that is both bold and urgent – which Rasmussen often does with in-your-face audacity.

            For Another Adventure PJ has again assembled a stellar cast.   Returning from the debut CD are tenorman Nate Giroux and bassist Adrian Moring.  Pianist Jim Ridl and drummer Jon Di Fiore anchor the rhythm, while trombonist Steve Davis and trumpeter Ben Hankle join Nate in the horn section.  Scott Robinson’s tenor and soprano are also featured on two tracks alongside Lauren Sevian on baritone sax.

            Drawing inspiration from the classic Blue Note tradition, PJ has created a unified ensemble approach, rooted in richly textured and cohesively structured compositions from which solos emerge fully integrated into the context of each piece.  The result: enthralling stories that take the listeners on a journey similar to that of the cinematic experience.

            Many of the stylistic forms that characterized the Blue Note sound are included here.  Funky and straight-ahead hard bop, soul jazz, structured avant-garde, and alluring ballads are all part of the mix - deftly blended into PJ’s overall vision of the conceptual narrative.  Each composition is fully conceived and never just a melodic structure that sandwiches solos. Riffing and ensemble participation are consistently at play creating a kaleidoscopic effect of continuous motion.  But lyricism and rhythm are never sacrificed for the sake of innovation or adventurousness. Moods and rhythms switch seamlessly inside the compositional structures at play within each piece, consistently holding the listeners’ rapt attention as the overall tale unfolds.

            To properly deliver this kind of musical message, superb musicianship is essential. The subtle dynamics, sensitivity and rhythmic diversity of Di Fiore, the highly creative and deeply wooded bass heartbeat of Moring, and Ridl’s brilliantly empathetic piano stylings provide the fertile foundation for all of PJ’s marvelous compositions.  The horn playing is exemplary, whether carrying melodic lines, providing textural support or soloing. Rasmussen, an exceptional guitarist whose skills were developed in the blues and rock tradition along with jazz, is a commanding and highly inventive soloist.  But this is not a guitar solo dominated album by any means.  While he offers a number of scintillating solos, it’s the overall musical vision and composing that delineates his leadership; evidence of a maturity far beyond his 23 years.

            The album opens in spirited fashion with the aptly titled Full Speed Ahead, launched upon a sinuous baritone sax line.  An R&B tinged driver with hotly syncopated horn lines, the piece encompasses a variety of elements – hollerin’ horn lines, sparkling bari and tenor solos by Sevian and Robinson, spacey free-improv, electrifying chords – all tied together into a vividly told story.

            Sevian and Robinson (this time on soprano) are back on the extended title cut.  A lovely soprano theme over piano and arco bass smoothly shifts into a deep groove built on a delicious ostinato baritone and tension-filled horn lines, setting the tone for lively trumpet, tenor and guitar solos.  Another Adventure moves to an entirely different destination from where it began, closing with soprano fully transformed by the journey.

            A more traditional hard bop feel marks two pieces.  Love Birds is an angular item with a cool jazz vibe, built on solid wood walking bass. Giroux, Hankle and Davis solo in a straight ahead groove and PJ calls up the spirit of Grant Green.  A Study in Scarlet has a jaunty, bouncy theme with a Stolen Moments feel that would have been ideal for Blakey’s early ‘60s Jazz Messengers.  Lyrically mellow trombone, trumpet and bass solos sustain the mood, and PJ soars over the horns on the way out.

            A more atmospheric approach is taken with Under a Wave, which is somewhat reminiscent of Herbie Hancock’s Speak Like a Child album.  The piano states the theme within the warm embrace of the horns.  Buoyantly lyrical tenor and trombone solos, emphatic guitar and a dynamically structured piano solo are highlights.

            Spanish modes are in play on The Seven Seas. Flamenco-esque guitar, dulcet trumpet and staccato piano set the tone for a smoldering piece that builds in Bolero-like intensity, with each “release” adding to the fire.  The slow burn approach is also in play on Out of Phase, a daring angular piece with a punchy Latin-ish horn line.  An incisive piano solo sets the place for a fiery Rasmussen exploration. A tensely exciting collective horn improvisation over darkly luminescent guitar concludes the story.

            Two evocative compositions round out Another Adventure.  A soul ballad paints the lovely portrait of Ruthie. PJ shows his roots in the Eric Clapton/Stevie Ray Vaughan tradition, gently supported by the lush horns, exuding the kind of soulfulness one would expect from Memphis or Muscle Shoals.  For David, concludes the adventure. A touching ballad stated by imploring piano and arco bass, joined in the final chorus by PJ’s highly evocative and deeply moving take on the beautiful theme.  A profound ending to a radiant album.

With two powerfully conceived and flawlessly executed albums, PJ Rasmussen has established himself as a force that promises amazing things to come.

PJ Rasmussen's Debut CD Adventures in Flight  Picked As one of Best for 2013  By Scott Albin

Artist Website: www.pjrasmussen.com

National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / 
"Specializing in Media Campaigns for the music community, artists, labels, venues and events.” 

lunes, 3 de febrero de 2014

The Latin Jazz Youth Ensemble of San Francisco this of "Transito" enjoying!

Jazz Global Beat and allied Jazz Caribe and Jazzven feel immense pleasure and pride to present this extraordinary Youth Orchestra playing Latin Jazz. 
Enjoy it! 
¡¡Viva The Latin Jazz!!,
Luis Raul Montell

The Latin Jazz Youth Ensemble of San Francisco, or LJYE, is a performing group of talented musicians ages ten to 18. They play Latin jazz classics and original compositions at a level that has landed them gigs at the San Jose Jazz Festival, the KCSM Jazz Festival, KGO Radio, Yerba Buena Gardens, SF Museum of Modern Art, Paramount's Great America and the world-renown jazz club, Yoshi’s.

The LJYE has shared the stage with legendary performers such as the great Cuban bassist, Cachao; piano virtuoso Chuchito Valdes; Latin jazz heavyweights Poncho Sanchez and Clare Fischer; and the Grammy Award-winning Spanish Harlem Orchestra. Their mission is to preserve the traditions of Latin jazz and Afro-Cuban music by teaching it to youth and to create role models for aspiring student musicians.  The group has won numerous performance awards and is honored to be Youth Artists-in-Residence at San Francisco's Yerba Buena Gardens Festival since 2005.

Music Director: John Calloway
Managing Director: Arturo Riera
Co-Chair: Sylvia Ramirez

John Callaway, Ph.D - Director Musical
A multi-instrumentalist, award-winning composer, arranger, educator and performer, John is a virtuoso flutist in demand for recording sessions and performances in the U.S. and internationally. He has worked with many of the leading Latin and jazz artists of our time, including Max Roach, Israel "Cachao" Lopez, and Pete Escovedo. He is a founding member of the Grammy nominated Machete Ensemble, led by John Santos, and has composed and arranged much of their material. John teaches music in the San Francisco Unified School District, at San Francisco State University and at professional workshops and clinics. With his band, Diaspora, he has released two CD's, Diaspora and The Code. John has a M.A. Degree in music education and a Ph.D. in multi-cultural and international education. He is a member of the San Francisco Arts Commission.  As co-founder and music director of the Latin Jazz Youth Ensemble, he selects the student members by audition, rehearses the group and creates compositions and arrangements for the ensemble. 

sábado, 1 de febrero de 2014

DownBeat Rising Star Tenor Saxophonist, Thelonious Monk Competition winner Jon Irabagon releases new trio CD It Takes All Kinds January 2014 on Irabbagast Records and Jazzwerkstatt

Jon Irabagon and Barry Altschul continue their musical partnership, this time behind eight of Irabagon's brand new originals, featuring Altschul's longtime rhythm teammate and bass virtuoso Mark Helias. It Takes All Kinds was recorded live at the Peitz Festival in Germany in June 2013 and will be released via a partnership between Irabagon's new Irabbagast Records and Germany's Jazzwerkstatt label.

Irabagon and Altschul's recorded work started with one of 2010's most celebrated recordings, Foxy (Hot Cup), and recently continued with Altschul's TUM Records release The 3Dom Factor. Altschul states, "The Foxy project was about keeping up an constant energy flow, in and out of defined time. With this new project, I'm freer and able to be more conceptual, catapulted by the directions of the compositions. I feel I use the entirety of my musical vocabulary, as do Jon and Mark. It's very liberating."

"Barry has been an inspiration to me ever since I bought Dave Holland's Conference of the Birds back in high school," Irabagon says. "His complete integration of the drum set and percussion instruments was a revelation, and for this record I wanted to make sure that some of his percussion options were available." The quicksilver interaction between that percussion and saxophone is on full display on tunes like Wherewithal and Vestiges, while the trio's ability to move like-mindedly and shift gears between uptempo swing and open, free time can be found on songs like Quintessential Kitten and Cutting Corners. All of these new compositions were written with Altschul and Helias in mind and provide open-ended jumping off points for group improvisation. Both the opener, Wherewithal, and the closer, Pause and Flip, feature compositional sections that blend seamlessly into open improvisations. Wherewithal draws from 20th century minimalism-the main improvisation section features an open Altschul solo over minutely shifting repeated lines from sax and bass.

This marriage of composition and improvisation is a top priority in this trio. "If Conference of the Birds was a catalyst for the open-minded music I would gravitate towards starting in high school, Mark Helias' record New School really keyed me in on the level of subtle interaction a consistently working trio can achieve. Seeing this growth in my own music on gigs and tours has been incredible."  The group's empathetic interaction is evident in the opening solo of Vestiges, where Irabagon and Altschul dovetail in and out of short solo phrases.  OnQuintessential Kitten, bass wizard Helias and Irabagon trade open-ended phrases before Irabagon takes off on a stunning, spur-of-the-moment circular-breathing sixteenth note barrage.

Altschul and Helias have been a solid rhythm team since the late '70s, when they released several records as part of the Barry Altschul Trio. "Though I came to their music separately, I knew Barry and Mark have played together a lot, and I wanted to be in the middle of that interaction," Irabagon says. Altschul adds, "Playing with Mark is easy for me. We are able to move and change directions easily due to Mark being very flexible with a very large musical vocabulary and musical taste, as well as having the technique to play whatever he hears. Most importantly, whatever style of music is being played, Mark swings." This swagger is found in the Arabic-fueled Unconditional (where Altschul takes an open drum intro that references the entire history of the drums' role in jazz and improvised music), the medium bounce ofCutting Corners, the odd-metered Elusive and the understated, wide interval and chord extension-utilizing accompaniment of Sunrise.

Helias has plenty of room to showcase his diverse array of expression-various articulations, wide range slides, high and low extended techniques, masterful bow work and in-depth 20th century classical music and counterpoint knowledge-throughout the record, but nowhere more than on his two features, Elusive and Sunrise. On Cutting Corners, Helias gracefully pulls the kinetic energy that Irabagon leaves at the end of his solo down, while he prods both Irabagon and Altschul on the program closer Pause and Flip during the extended solo sections, drawing unique group improvisations from them. Irabagon states, "Many of the magical moments here were completely unplanned and have never happened before or since." The impromptu jump swing section in Wherewithal, the simultaneous high harmonics in the bass and melodic sax multiphonics in Elusive and the use of almost four octaves on sax on Cutting Corners are all unique moments from this concert from an 800 year old castle in rural Germany.

On this record, the third release on Irabbagast Records and the first collaboration with Jazzwerkstatt, Irabagon continues his search for all-inclusive, boundary-stretching improvisation, bringing together this coveted rhythm team for the first time on record in over twenty years.

Winner of the Thelonious Monk Saxophone Competition and recently named Rising Star Tenor Saxophonist in DownBeat Magazine, Jon Irabagon launched his own record label, Irabbagast Records, in November 2012, releasing Outright! Unhinged and I Don't Hear Nothin' but the Blues Volume 2 simultaneously to rave reviews.  He was recently named one of New York City's 25 Jazz Icons by Time Out NY, and has recently been touring with the Dave Douglas Quintet, the Mary Halvorson Quintet and Mostly Other People Do the Killing.

Mark Helias is a renowned bassist and composer who has performed throughout the world for more than three decades. A prolific composer, Helias has written music for two feature films as well as chamber pieces and works for large ensemble and big band. He has over 12 albums as a leader to his credit. His trio, Open Loose with Tony Malaby and Tom Rainey, has become an archetypal improvising ensemble on the New York scene. He continues performing and recording with BassDrumBone, a three-decade-long collaboration with Gerry Hemingway and Ray Anderson. Mr. Helias performs solo bass concerts and can also be heard in the innovative bass duo, "The Marks Brothers," with fellow bassist Mark Dresser.

Barry Altschul has been a force in the creative music scene for over five decades. His initial work with the Paul Bley Trio led to his involvement with Chick Corea, Anthony Braxton and Dave Holland in the legendary group Circle, which released several albums on ECM. Also a part of the ARC trio, the Dave Holland Quartet, Anthony Braxton Quartet and the Sam Rivers Trio, Altschul effortlessly draws from all genres of the creative music spectrum, calling to mind Beaver Harris' phrase "from ragtime to no time." Altschul released his first album as a leader last year on TUM Records, with two more on the way.

Ann Braithwaite
Braithwaite & Katz Communications
248 South Great Road
Lincoln, MA 01773
Ph: 781-259-9600
Fax: 781-259-9606