lunes, 30 de junio de 2014

Introducing Dot Time Records: Paul Jost, Julia Karusi, Chiara Izzi and more...!

Dot-Time Records is the new Jazz and World music label launched in 2012, Dot-Time releases feature exciting virtuoso artists, both established and newly discovered from around the globe.

The branding of Dot-Time Records can be found in the creativity, artistry, passion
and energy of these artists and musicians.
Paul Jost "Breaking Through” (Dot Time Records  DT9030) STREET DATE: Sept 15, 2014
Paul Jost (vocals, keyboards, guitar and body percussion), Frank Strauss-piano, Steve Varner-bass, Dan Monaghan-drums, Mark Adler-flute (Track 4), Jim Ridil-piano (Tracks 5 & 12), Tim Lekan-bass (Tracks 5 & 12), Bob Shomo-drums (Tracks 5, 7 & 12), Andy Lalasis-bass (Track 7), Tony Miceli-vibes Tracks 9 & 10),  and Kevin MacConnell-bass (Track 10), Keith Hollis-drums (Track 11), Phyllis Chapell-spoken word (Track 11)

Paul Jost is a rare talent and one of the best kept secrets in the jazz world. He is an eclectic artist with great skill as a vocalist, drummer, composer and arranger.

“Breaking Through” is his first solo release and features a well put together set of jazz standards, presented in a non-standard way.

The CD’s title “Breaking Through” is highly appropriate. On this release Paul breaks through every boundary, tradition and convention producing one of the most exciting jazz CD’s of the year.

Júlia Karosi "Hidden Roots” (Dot Time Records DT9028) STREET DATE: Sept 15, 2014
Júlia Karosi, Vocal | Áron Tálas, Piano, Vocal | Ádám Bögöthy, Bass | Bendegúz Varga, Drums | Tobias Meinhart, Tenor Saxophone | Linda Kovács, Vocal

Julia Karosi is one of Hungary’s top jazz vocalists. After graduating from the Franz Liszt Music Academy in Budapest, Julia founded her own quartet in 2011. “Hidden Roots” is her second CD as a leader and the follow-up to the successful “Stroller of the City Streets” released in February, 2012.

“Hidden Roots” contain’s a number of Julia’s new compositions and as the name eludes to, arrangements of Hungarian folk songs. The compositions are beautifully and intelligently written, performed with great inspiration, crossing all boundaries of jazz.

Chiara Izzi  “Motifs” (Dot Time Records DT9026) STREET DATE: Sept 15, 2014
Chiara Izzi-vocals, Andrea Rea-piano, Nicola Corso-bass, Gino del Prete-drums

Dot Time Records is proud to release the debut CD “Motifs” from young Italian vocalist Chiara Izzi. Chiara caught the attention of Quincy Jones and was awarded 1st prize at the Montreux Jazz Festival Vocal Competition in 2011.

Chiara together with Andrea Rea (piano), Nicola Corso (bass) and Gino del Prete (drums) have put together a impressive set that not only show’s her versatility, but also leaves no doubt that she will become a force to be reckoned with in the coming years.

sábado, 28 de junio de 2014

Miguel Zenon scoop "Identities are Changeable" with video and tour



Saxophonist/Composer Zenón is Multiple Grammy Nominee
and Guggenheim and MacArthur Fellow

This is home
in the sense that
these are the streets
I grew up in,
this is where my friends are.
 that's home
because that's where my parents came from
and they always talk about that
and I dream about it.
-- Juan Flores

Alto saxophonist and composer Miguel Zenón asked his friends the question he had been asking himself:

What does it mean to be Puerto Rican in 21st-century New York City?

That was the point of departure for Identities Are Changeable, the startlingly original album by Miguel Zenón, who grew up in the island's main city of San Juan and came to New York in 1998 to pursue a career in music.

Zenón's experience of moving via the air bridge from the small Antillean island to the landing strip 1600 miles north is something he shares with hundreds of thousands of other "Puerto Rican-New Yorkers."

Puerto Ricans are not immigrants in the United States: for nearly a century - since 1917 - Puerto Ricans have, unlike other natives of Latin America, been US citizens, able to come and go as they please between the island of Puerto Rico and the mainland. When they come north, overwhelmingly they go to
New York City. After different waves of migration over the decades - most numerously in the 1950s - about 1.2 million "Puerto Rican-Americans" were living in the greater New York area as of 2012.

* * *

Miguel Zenón has become one of jazz's most original thinkers. Today, at the age of 37, he's one of the best-known alto saxophonists in jazz. The quartet he leads has been working together for more than ten years, building its ensemble coherence on stages all over the world. But Zenón's more than a great musician and bandleader.

One of only a handful of jazz musicians to be chosen for the coveted MacArthur fellowships (in 2008), he's at the forefront of a new movement that in recent years has brought the composer to a new prominence in jazz. But beyond his facility at writing and playing music, there is a great intellectual subject at the center of Miguel Zenón's artistic world: the complexity of Puerto Rican culture.

Beginning with his third album as a leader, Jíbaro (2005), and continuing with Esta Plena (2009) and Alma Adentro: The Puerto Rican Songbook(2011) (both Grammy-nominated), and Oye!!! Live In Puerto Rico (2013), Miguel Zenón has created a series of thoughtfully framed works that interpret different facets of Puerto Rican culture. Zenón's Puerto Rico is a bit like Gabriel García Márquez's Colombia or Gilberto Gil's Brazil: the highly focused center of an imaginative universe that looks to the world while being rooted at home. It serves a springboard for his personal style: no one else's Puerto Rico - and no one else's jazz - sounds like Miguel Zenón's.

Identities Are Changeable, Zenón's powerful new composition, is a song cycle for large ensemble, with his longtime quartet (Luis Perdomo, piano; Hans Glawischnig, bass; Henry Cole, drums) at the center, incorporating recorded voices from a series of interviews conducted by Zenón. Commissioned as a multi-media work by Montclair State University's Peak Performances series, it has a multi-media element with audio and video footage from the interviews, complemented by a video installation created by artist David Dempewolf. It's been performed at such prestigious venues as the New England Conservatory's Jordan Hall in Boston, The SFJAZZ Center in San Francisco, and Zankel Hall in the Carnegie Hall complex in New York City.

The album version of Identities Are Changeable is a labor of love, produced by Miguel Zenón without commercial backing. It will be released November 4, 2014 as only the second title on his personal label, Miel Music.

I think more and more people are realizing
that you can be more than one cultural self
at the same time,
and you're at the crossings of those.
Rather than being just squarely in one,
you'll be at the crossings.
-- Juan Flores

The core of Identities Are Changeable is a series of English-language interviews Miguel Zenón conducted with seven New Yorkers of Puerto Rican descent. His initial impetus for the project came from reading The Diaspora Strikes Back: Caribeño Tales of Learning and Turning, a book by cultural theorist Juan Flores based on interviews with Puerto Ricans who had returned to the island after living on the mainland. Zenón turned the tables and interviewed Flores, whose insightful commentary grounds Zenón's finished work.

Other interviewees who weave in and out of the musical texture are Miguel Zenón's sister Patricia Zenón; the young musicians Luqués Curtis and Camilo Molina; actress Sonia Manzano; poet Bonafide Rojas; and family friend Alex Rodríguez. This is speech as music: their recorded voices, speaking off-the-cuff in their own surroundings with the sound of the city around them, tell the story. Writing about it in The Wall Street Journal, jazz journalist Larry Blumenfeld quoted Zenón:

"I asked pretty much the same things to everyone," [Zenón] said, "the essential question being 'What does it mean to be Puerto Rican?'" As Mr. Zenón analyzed his footage, themes emerged: Do you speak English or Spanish? How is tradition passed on?

Zenón identified key excerpts from the interviews and grouped them into six thematically related clusters: national identity, home, blackness, language, the next generation, and music. As he began writing instrumental music to support the voices, those clusters became six fully elaborated musical movements, plus an intro and outro, making for a 75-minute work of symphonic dimensions.

I always thought I was the blackest Puerto Rican.
Because I was a Black Panther
before I was a Young Lord,
because I liked Hendrix
before I liked Hector Lavoe.
-- Bonafide Rojas

Identities Are Changeable showcases Miguel Zenón's most ambitious instrumental writing yet. It's scored for a 16-piece large ensemble, consisting of Zenón's working quartet supplemented by five saxes, four trumpets, and three trombones.

If you think you already know what that sounds like, think again: though this pulsating, percolating music is intensely rhythmic, it's not achieved through the now traditional mambo-style section writing. It's still Latin, and it's still jazz, but this sonority - Zenón's first big-band score - presents a different kind of compositional and orchestrational challenge, and a different kind of polyrhythm. It's more like modern symphonic writing, with layered multiple meters that give new meaning to the term "harmonic rhythm" as they create a translucent texture.

Zenón explains: "all of the compositions explore the idea of multiple rhythmic structures coexisting with each other (e.g., 5 against 7, 3 against 2, 5 against 3)." Drummer Henry Cole has his hands (and feet) full holding down the simultaneous time streams, as does Zenón when he conducts the group live. The players are a selected elite team - hear John Ellis's tenor solo on "Same Fight," or Tim Albright's trombone feature on "First Language." There's no way to convey in words the impact of the orchestral effects, but reviewing the Zankel Hall performance for The New York Times, Ben Ratliff writes:

"[The] sound and language didn't directly suggest traditional Puerto Rican music or traditional jazz. Its rhythm was phrased almost completely in stacked or odd meter, with parts of the band shifting into double or half time, and Mr. Zenón's saxophone darting around the chord changes or resting on top, in long tones.
There was drama and momentum in the music's developing harmonic movement; at times a shift to a new chord felt like an event. All the music was deeply hybridized and original, complex but clear."

It's all at the service of Zenón's relentless curiosity, as he writes in the album's liner notes:

When I first came into contact with Puerto Rican communities in this country, I was shocked to meet second and third generation Puerto Ricans who were as connected to the traditions of their parents/grandparents and as proud to be Puerto Rican as the people I knew back home.  Where was this sense of pride coming from? What did they consider their first language? Their home? What did it mean to them to be Puerto Rican? What are the elements that help us shape our national identity?

If the music doesn't directly answer these questions, it provides a way into thinking about them. Like Zenón's other music, it's about an entire society, but it's deeply personal.
TRACK LISTING1. ¿De Dónde Vienes? (Overture) (4:26) / 2. Identities are Changeable (11:47) /
3. My Home (11:25) / 4. Same Fight (12:25) / 5. First Language (12:29)
6. Second Generation Lullaby (11:20) / 7. Through Culture and Tradition (10:30)
8. ¿De Dónde Vienes? (Outro) (1:20)
Miguel Zenón Quartet:
 Miguel Zenón, alto saxophone / Luis Perdomo, piano / Hans Glawischnig, bass / Henry Cole, drums.

Identities Big Band: Will Vinson, Michael Thomas, alto saxophones / Samir Zarif, John Ellis (solo on "Same Fight"), tenor saxophones / Chris Cheek, baritone saxophone / Mat Jodrel, Michael Rodriguez, Alex Norris, Jonathan Powell, trumpets / Ryan Keberle, Alan Ferber, Tim Albright (solo on "First Language"), trombones.

About Miguel Zenón
Multiple Grammy nominee and Guggenheim and MacArthur Fellow Miguel Zenón is one of a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has released eight recordings as a leader, including Oye!!! Live in Puerto Rico (2013), Rayuela (2012) and the Grammy nominated Alma Adentro (2011). As a sideman he has worked with jazz luminaries such as The SFJAZZ Collective, Charlie Haden, David Sánchez, The Mingus Big Band, Bobby Hutcherson, Fred Hersch, Kenny Werner and Steve Coleman. Zenón has been featured in publications such as The New York Times, The Wall Street Journal, The Los Angeles Times, as well as gracing the cover of DownBeat. He has also toped the Rising Star Alto Sax category of theDownBeat Critic's Poll on four different occasions. As a composer he has been commissioned by SFJAZZ, The New York State Council for the Arts, Peak Performances, Chamber Music America, The John Simon Guggenheim Foundation, and many of his peers. Zenón has given hundreds of lectures and master classes at institutions all over the world, and is a permanent faculty member at New England Conservatory in Boston, MA. In 2011 he founded Caravana Cultural, a program which presents free-of-charge jazz concerts in rural areas of Puerto Rico.

In April 2008 Zenón received a fellowship from the prestigious John Simon Guggenheim Foundation. Later that year, he was one of 25 distinguished individuals chosen to receive the coveted MacArthur Fellowship, also known as the "Genius Grant."

Identities are Changeable, his ninth recording as a leader, will be released November 4th, 2014.
For more info:

Miguel Zenón- Tour Dates2014
JULY 12:  Miguel Zenón Quartet @ Festival de Jazz en Jalisco, Guadalajara, Mexico

AUG 1:  Miguel Zenón Identities Big Band @ Newport Jazz Festival, Newport, RI
AUG 30:   Miguel Zenón Quartet @ UW-Stevens Point Festival, Stevens Point, WI  
AUG 31:   Miguel Zenón Quartet @ Chicago Jazz Festival, Chicago, IL 

SEPT 27:  Miguel Zenón Quartet, Beantown Jazz Festival, Boston, MA

NOV 2:  Miguel Zenón Quartet @ Princeton Jazz Nights, Princeton, NJ
NOV 5:       Miguel Zenón Quartet @ The Atlas, Washington, DC
NOV 6:         Miguel Zenón Quartet @ Outpost, Albuquerque, NM
NOV 7:  Miguel Zenón Quartet @ Clifton Center, Louisville, KY 
NOV 8 & 9:   Miguel Zenón Quartet @ Dazzle, Denver, CO
NOV 10:         Miguel Zenón Quartet @ Earshot Jazz, Seattle, WA
NOV 12:       Miguel Zenón Quartet @ Redwood Jazz Alliance, Arcata, CA

NOV 14:       Miguel Zenón Quartet @ Jimmy Mak's, Portland, OR
NOV 15:         Miguel Zenón Quartet @ Broad Stage, Los Angeles, CA
NOV 18-23: Miguel Zenón Quartet @ Village Vanguard, New York, NY

2015FEB 12:     Miguel Zenón Quartet @ Bimhuis, Amsterdam, The Netherlands
FEB 13:      Miguel Zenón Quartet @ Paradox, Tilbourg, The Netherlands
FEB 14:        Miguel Zenón Quartet @ AMR Geneve, Geneva, Switzerland
FEB 18:   Miguel Zenón Quartet @ Pannonica, Nantes, France
FEB 20:         Miguel Zenón Quartet @ San Severo, Italy
FEB 21:         Miguel Zenón Quartet @ Jazz Club Ferrara, Ferrara, Italy
FEB 26:         Miguel Zenón Quartet @ Jazz Club Singen, Singen, Germany
FEB 27:         Miguel Zenón Quartet @ Birdland, Neuberg, Germany

MAR 5  Miguel Zenón Quartet @ JazzSchule Jazz Club, Basel, Switzerland
MAR 20:  Miguel Zenón Quartet @ + Video, Hostos College, New York, NY
MAR 21:     Miguel Zenón Quartet @ Montgomery  Community College, Blue Bell, PA
MAR 26-29:  Miguel Zenón Quartet @ Jazz Showcase, Chicago, IL

Ann Braithwaite
Braithwaite & Katz Communications

viernes, 27 de junio de 2014

Jazz & Wine Bordeaux fête les 200 ans du saxophone (27 Juin to 27 Août, 2014)

Adolphe-SaxC’est en 1814 qu’est né Adolphe Sax, le fameux facteur d’instruments belge. Avant d’inventer le saxophone dans les années 1840, Adolphe Sax se consacre à l’amélioration de la clarinette, dont il devient un Maître après plusieurs années d’études au Conservatoire Royal de Bruxelles.

Mais Adolphe Sax est aussi à l’origine de nombreux autres instruments, parmi lesquels le tuba wagnérien, créé à la demande du compositeur Richard Wagner.

Adolphe Sax obtient un poste d’enseignant au Conservatoire de Paris en 1857, où il prend la direction de la nouvelle classe de saxophone.
Il décède en 1894 et repose au cimetière de Montmartre.

marcel-muleHéritier d’Adolphe Sax et du grand Marcel Mule, Jean-Marie Londeix, né à Libourne en 1932, est le représentant de l’école Française du Saxophone.
Il remporte le 1er Prix du Conservatoire de Paris en 1953, après avoir été l’élève de Marcel Mule, qui forma de nombreux professeurs de saxophone influents en France, comme à l’étranger, entre 1942 et 1968.
Jean-Marie Londeix a enseigné le saxophone au Conservatoiore de Dijon pendant 18 ans, avant de devenir Professeur au Conservatoire de Bordeaux.
Au cours de sa carrière, Londeix a apporté une grande contribution au nouveau répertoire du saxophone.
En 1971, il fonde «La Première Association d’instrumentistes jamais fondée dans le Monde», selon ses propres termes, l’Association des Saxophonistes de France.

Certains des saxophonistes les plus importantes sont: Paquito D'Rivera, Ravi Coltrane, Joe Lovano, Chris Porter, Gato Barbieri, Michael Brecker, Joe Lovano, C
harlie Parker et Ed Calle.

jueves, 26 de junio de 2014

New Release: Jason Paul Curtis “Faux Bourgeois Café”

Jason Paul Curtis
“Faux Bourgeois Café”
(Self Produced)
Street Date June 20, 2014
Trumpet/vocals: Jason Paul Curtis, Piano: Ray Mabalot, Bass: Ephriam Woffolk, 
Drums: Woody Hume, Woodwinds: Dave Schiff, Guitar: John Albertson

Track listing, track times and composer:
1. Phone 2:32
2. American Gypsy 3:16
3. Speak Softly, Love 5:39
4. Pane e Vino 4:02
5. Brooklyn July 3:08
6. Every Time 5:44
7. Back of my Mind 3:18
8. Longest Day 5:30
9. Summer Star 5:24
*Bonus Track* One More Kiss, Dear 6:11
(Vangelis, from the soundtrack of Bladerunner)
All songs and lyrics written by Jason Paul Curtis except “Speak Softly
Love” (Nina Rota, Larry Kusik) and
“One More Kiss, Dear” (Vangelis)
Arranged and Produced by: Jason Paul Curtis and Ron Vento
at NightSky Studios, Waldorf, MD
            For his eagerly anticipated second album, Faux Bourgeois Café, the outstanding vocalist, songwriter and trumpeter Jason Paul Curtis described his focus in straightforward terms:  “I wanted original gypsy-jazz- that moves and makes you move.”  It definitely is that – and a good bit more.  Following up on his highly acclaimed 2012 debut, Lovers Holiday, Jason serves up a delightful menu of Django-inspired originals, sumptuous ballads, sublime Brazilian and unfettered swing – an ideal soundtrack to the sultry nights of summer.
              Returning from the previous album is the brilliant piano-drum tandem of Ray Mabalot and Woody Hume, both members of Jason’s regular trio – along with the remarkable multi-reedman/flautist Dave Schiff.  Joining them for this journey are guitarist John Albertson and bassist Ephriam Wolfolk, Jr., both of whose consummate skills contribute powerfully to this extraordinary album.  The vast array of distinguished artists with whom these exemplary musicians have performed is a veritable Who’s Who of jazz and popular music, including Tony Bennett, Natalie Cole, Mel Torme, the Mills Bothers, Buddy Rich, Sonny Stitt, Sir Roland Hanna, Ahmad Jamal, Anita O’Day, Stevie Wonder, Ray Charles and so many more.
             Together, these fine artists bring a glowing vitality and a spirited synergy to Jason’s musical vision.  His background in musical theater and opera in his native Texas, coupled with the influences of Nat ‘King’ Cole, Harry Connick Jr. and the Manhattan Transfer – along with a clear touch of Chet Baker and the Chairman of the Board, Frank Sinatra – have resulted in a beautiful vocal style, marked by flawless intonation and impeccable phrasing.  But beyond his talents as a singer, Jason’s songwriting and arranging talents are exceptional, as fully evidenced throughout Faux Bourgeois Café. Comprising eight original compositions and two unexpected but perfectly complementary songs, the album is an aural delight from beginning to end, further enhanced by his inspired and compelling lyrics.

            The album opens on a vehement gypsy-jazz one-two punch, both of which are stoked by Albertson’s Django-like chords.  Phone is a fiery piece in jump mode, richly syncopated and marked by a jubilant scat vocal/soprano sax call and response.  American Gypsy follows in an unabashedly swinging and playful fashion, with Jason’s muted trumpet punctuating the lyrics.  A false ending teases into a swirling frenzy of tastefully overdubbed vocal chorus and raucous klezmer-like clarinet.

In an even more up-tempo groove is Brooklyn July, an infectious hard-swinging jaunt with sizzling solos by guitar, alto sax and piano. Jason’s sparkling lyrics paint a sharply-hewn portrait of the legendary town that reflects both its uniqueness and its continuously transitory state. What appears to be a gentle ballad morphs into a slithering funk piece with Pane e Vino.  Seductive and sinuous, with singing flute obbligato and subtly effective overdub vocal shadowing, Jason tells his story not only with his imaginative lyrics, but with his Spanish style trumpet solo.

            Jason’s arrangements for all four of these pieces take a highly modernistic approach, a prime element in Jason’s personal artistic vision. “Look, can’t vocal jazz be visceral and intelligent? There are so many interesting ways to sing about contemporary life with energy and wit that can still get you down on the floor.”
Of course, the rich traditions of the vocal form are also important to Jason, as aptly demonstrated by the two pure ballads that are included. Back of My Mind has that late night club feeling that starts out with a Teddy Wilson-esque intro by Mabalot, some Freddie Green-like strumming by Albertson and subtly dynamic brush work by Hume.  Jason’s relaxed delivery of his heartfelt lyrics and a deeply soulful tenor solo by Schiff complete the homage to this mode of timeless jazz expression.  Another version of jazz balladry is fully at play on Longest Day, a gem of filigreed delicacy and poignant intimacy.  With only Mabalot’s touching piano and Wolfolk’s deeply wooded bass in support, Jason offers a heart-wrenching performance, evoking that most sensitive sound of Chet Baker at the end.

            Another tender ballad is offered by way of Brazil with Summer Star, a samba that conjures up the feel of a moonlit beach in Rio.  Jason’s impassioned vocal met by Schiff’s Getz-like tenor updates the Stan Getz/Joao Gilberto collaborations of half a century ago.  A Bossa Nova mood is the heart ofEvery Time, gentle but insistent and colored by Schiff’s fluttering flute obbligato and his beautifully lyrical solo.

            The two non-Curtis originals close out the album.  Nino Rota’s theme from The Godfather - Speak Softly Love (lyrics by Larry Kusik) - is re-imagined in a most scintillating manner.  Following the clarinet driven intro, the guitar stoked gypsy-jazz style takes over for a vivaciously swinging rendition that simmers and bubbles briskly in a wicked groove.

            Another film instigated the final track – the stunning Vangelis score for the science fiction noir classic Bladerunner.  Ridley Scott’s futuristic masterpiece had a profound effect on Jason.  Although it had less than 20 seconds of screen time, the gorgeous One More Kiss, Dear made a lasting impression. A clear departure from the rest of the album – with its ethereal synthesized backdrop, hypnotic bongos and dreamlike atmosphere – this haunting and dramatic interpretation has been added as a bonus track.

          Like this spectacular album, it’s a further sign of the limitless creativity and marvelous imagination of Jason Paul Curtis.

lunes, 23 de junio de 2014

Small All Stars that looks immense: Tito Puente, Dr. Bobby Rodriguez, Cachao, Alex "Tormenta" Diaz ... La Clave

This gathering of superstars Latin Jazz occurred some years ago, it was at night club Village Gate (from .
1958), located in Greenwich Village, NYC, unfortunately we do not have to Tito Puente and Cachao, but always remember them with great affection and respect for the legacy he left us; but we can still enjoy live and music CD's of Dr. Bobby Rodriguez, Alex "Tormenta" Diaz, Ruben Rodriguez, John" Dandy" Rodriguez.

¡¡Viva The Latin Jazz!!

jueves, 19 de junio de 2014

Doug Munro "Loop-Mania!" CD release and announces upcoming presentations

Doug Munro’s Loop-Mania
+ Upcoming Appearances

Doug Munro TALKS ABOUT Loop Mania! on YouTube
Artist: Doug Munro
Title: Doug Munro’s Loop-Mania!
Label: GotMusic Records
Catalog Number: GMR-1003
UPC Code: 888295043058
Release Date: June 3, 2014
Track listing, track times and composer:
1. Joy 2013 (Doug Munro) 5:53
2. Ricardo’s Rhumba (Doug Munro) 4:56
3. Psycho Samba (Doug Munro) 5:15
4. Six For Mariano (Doug Munro) 5:08
5. Take Me With You (Doug Munro) 5:02
6. Blues For Harry (Doug Munro) 5:10
Musicians: Doug Munro: Godin Multiac Nylon Duet guitar
Master guitarist Doug Munro has created an exciting in-depth musical experience
with his multi media presentation of six new compositions.

Part performance
video, part instructional video, part CD and part book, Loop-Mania! delivers 3 hours of HD videos containing the live recordings of each song plus a “Nuts and Bolts” section where Doug takes you behind the scenes to show you how each
song was crafted and performed. There are downloadable MP3’s for your portable
music player as well as downloadable PDF files of each song. As long time musician/educator Doug is as well known for sharing his knowledge and love of
music with others as he is for his impressive recording and performance career. This is solo guitar playing presented in a way that you may not have heard or seen
before. They say, seeing is believing, and what you’ll hear and see here was done live with no overdubs. Doug Munro intuitively utilizes loop technology as an
additional writing and improvisational tool to create a very powerful and personal musical statement.
Master musician and guitar virtuoso Doug Munro is an established veteran of the New York music scene. Since 1987 he has released 14 albums as a leader and
has appeared on over 75 recordings as a sideman, producer, and arranger working with a diverse array of artists including Dr. John, Michael Brecker, and Dr. Lonnie
Smith. Doug has over 75 original published compositions and over 300 recorded arrangements performed by some of the finest players in the world.
In the performance arena Doug covers a lot of ground. He has released recordings in many jazz styles including: Soul-Jazz, Organ Trio, Latin and Gypsy Jazz. In the
recording field Doug has received two Grammy nominations and two NAIRD awards. picked Boogaloo to Beck , on which Doug performed, arranged,
and co-produced, as one of its Top Ten Jazz CD’s of 2003. Doug also did orchestration work on the Oscar winning documentary When We Were Kings.
Doug has written 4 books on jazz improvisation for Alfred Music Publications, including one entitled, From Swing to Bebop, that won the Music and Sound Retailers
i nstructional book of the year award in 2000.
As an educator Doug created and was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002. He continues to
teach there as Director Emeritus. This esteemed jazz program boasts a faculty that includes John Abercrombie, Todd Coolman, Jon Faddis, Eric Alexander, John
Riley and many other top jazz performers. Having worked with a veritable Who’s Who of Jazz and Soul artists Doug has garnered high praise from both his fellow
artists and the press.

Doug Munro…well he can flat out play !—
Dr. Lonnie Smith

Upcoming concerts Doug Munro:

Comwall, Sunday June 22, 2-6 p.m.

Pleasantville Farmers Market, Saturday June 28, 10 a.m.

White Plains Lunchtime Concerts Series, Thursday July 3, 12-1 p.m.

Mohonk Music Festival, Friday July 25, 9 p.m.

Danbury City Center, Saturday July 26, 7 p.m. 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail:

This is the excitement it generates, anywhere in the world, a Latin Jazz Festival!

¡¡Viva The Latin Jazz!!

miércoles, 18 de junio de 2014

New Book: Jazz Novel "Outside In" by Scott Shachter

Paperback: 334 Pages
Publisher: StarBeat Press (January 22, 2013)
Language: English
Catalog Number: GMR-1003
ISBN-10: 0988459906
ISBN-13: 978-0988459908
Shawn is a hard-luck saxophonist with an unearthly muse. His demented neighbors, a mob boss and a choir of inter dimensional aliens with sharp teeth are not the only things that stand between Shawn and jazz stardom. A bigger problem is no one likes his crazy music. Worst of all, it scares off Carole, the woman he loves more than anyone. It even scares himself because he knows one day he’ll follow his reckless muse until he goes insane, and Carole will stay away forever. When his soul collides with reality, Shawn must choose between his art and his love.

About Scott Shachter
Scott Shachter has been playing his flutes, clarinets and saxophones on Broadway since 1988.
He’s performed in nearly seventy shows, 
includingPippin, Kinky Boots, Chicago, Cinderella, Newsies, Porgy and Bess, Billy Elliot, A Chorus Line, 42nd Street, Assassins, Gypsy, and Phantom. His versatility with styles and instruments has enabled him to perform with groups ranging from the American Symphony to Manhattan Transfer.

Through it all Scott has been a storyteller. OUTSIDE IN, his first novel, was inspired by his encounters with immensely talented performers who seemed unable to relate to anyone, as if they were separate life forms.

This jazz fiction comedy puts the reader inside the wacky life of a working class musician, and explores the “crazy genius” in us all. OUTSIDE IN is a finalist in the 2014 Next Generation Indie Book Awards. It also reached the quarterfinals in the 2011 Amazon Breakthrough Novel Award and received Honorable Mention in the 2011 Leapfrog Press Fiction Contest.

“Scott Shachter’s Outside In is indeed a jazz novel—continually swinging with surprises and insights into human exceptionalism, both inspiring and desperate. It got so inside me I had to go back and read it again for more kicks.” 
—Nat Hentoff, legendary columnist/social historian and author of 32 books, including At the Jazz Band Ball: Sixty Years on the Jazz Scene, and Jazz Is.

“An intriguing fantasy from inside the jazz world, all narrated by the main character, Shawn.
‘Playing’ Shawn is professional saxophonist Scott 
Shachter, a storyteller who makes you want to know what will happen next.” 
—Ira Gitler, distinguished jazz historian and producer, and
author of Swing to Bop and Jazz Masters of the Forties and with Leonard Feather, The Biographical Encyclopedia of Jazz.

“Scott Shachter’s Outside In is a funny and warm novel which joins an intriguing genre of ‘jazz fantasies’. . . [taking] a music based on passion, skill, interaction and abstraction as a fast-shifting lens through which to look at ineffable questions of identity, ambition, the wills of the heart and maybe even the nature of reality itself.” 
—Howard Mandel, president of the Jazz Journalists Association and author of Future Jazz, and Miles, Ornette, Cecil: Jazz Beyond Jazz.


Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: