Orbert Davis' Chicago Jazz Philarmonic carried the Havana Jazz Plaza Festival his new Album "Sketches of Spain (Revisited)"

The Chicago Jazz Philharmonic, celebrating its upcoming tenth anniversary year, releases its second full-length album, Sketches Of Spain [Revisited], an orchestral transformation of the 1960 iconic original by Miles Davis and Gil Evans. For this reinterpretation of the 1960 classic recording, CJP artistic director and composer Orbert Davis created two new compositions, incorporated traditional African and Middle Eastern instruments, and made numerous modifications in ensemble orchestration. The result is an intimate yet powerful performance that transports the listener to a different world.

Davis’ involvement with Sketches Of Spain began in the 1990’s when, as a trumpeter in Bill Russo’s Chicago Jazz Ensemble, he was asked to perform the solo trumpet part originally played by Miles Davis (no relation). A particular challenge was to disregard the expectations of some purists that the original performance would be re-created. “However,” Orbert notes, “What Miles played is not intended to be duplicated. Miles reached past the technical aspects of his instrument and played from the depths of his soul. I took that approach to freely create during the improvised sections.”

Orbert Davis’ version of the classic work developed over many subsequent performances and years of studying the original recording, as well as Spanish music and culture. From the first performance with his own Chicago Jazz Philharmonic in 2011, Orbert introduced new elements to reflect the Moorish influences on Spanish culture, introduces new infectious jazz grooves, and highlights the unique talents of individual musicians in his ensemble.

Working together, the musicians have created a sound based on Spanish culture that is a blend of classical aesthetic and jazz sensibility, revealing an emotional depth that is universally recognizable. “I hope that the listener will be able to identify with the passion and emotion expressed in this work”, says Davis. “There is a story behind the music, and each person needs to interpret that story for themselves.”

The theme of creatively reinterpreting a classic is carried out on the album’s cover, which features original artwork created as part of a CD Cover Art Contest held by CJP in the spring of 2014. The contest required Chicago area students to interpret different visual aspects of Spanish culture: a matador, a flamenco dancer, and a mountain village scene. The winning entry was submitted by Jaylyn Scott, a 14-year-old Orland Junior High School student. As contest winner, Jaylyn was awarded a cash prize and will receive royalties on the sale of all related merchandise like posters, mugs and t-shirts. The multi-talented Jaylyn is also a student in the CJP Summer Jazz Academy where she studies the saxophone.

Orbert Davis and Chicago Jazz Philharmonic have been invited to the Havana Jazz Plaza Festival, one of the most important events of the genre in the Caribbean area, and as always is done before Christmas, so that attendees can not only enjoy "Sketches of Spain" but also of the versions they do "Havana Blues".

Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquin Rodrigo's Concierto de Aranjuez is included, as well as a song called "Will o' the Wisp", from the ballet El amor brujo by Manuel de Falla. Sketches of Spain is an exemplary recording of Third Stream, a musical fusion of jazz, European classical, and styles of world music.

The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other projects, on a program of compositions largely derived from the Spanish folk tradition. Evans explained: [We] hadn't intended to make a Spanish album. We were just going to do the Concierto de Aranjuez. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It's such a strong song. I was so thrilled with that.

www.jazzpromoservices.com

jim@jazzpromoservices.com

jazzglobalbeat@gmail.com

A Duo: Harmonica and Piano - Hendrik Meurkens and Misha Tsiganov producing beautiful melodies on "Junity"

Hendrik Meurkens, the celebrate harmonica master, explains on "Junity": It's a play on word between the english word 'unity', wich means the state of being united, and the brazilian word 'junto', wich means together".

The title is appropiate because, Meurkens, a musician known for his superb artistry and his quick wit, and Misha Tsiganov, a russian pianist of remarkable proficiency, have been collaborating for nearly a decade. These thirteen tracks document the magic that transpires when teo become one.

Virtuoso instrumentalist and composer Hendrik Meurkens began his career in Germany playing vibes. At 19, he heard Toots Thielemans play harmonica, which totally changed his musical life. 

His career has taken him from Brazil to Germany, then throughout the European continent where he became a pivotal force on the studio and jazz scene, performing, composing, recording, and touring extensively with his own ensembles as well as with visiting legends Harry Sweets Edison and Buddy Tate.

In 1989, he returned to Brazil to record his first album as a leader, "Samba Importado". In 1992, a trip to California led to his signing with the Concord label, and the resulting six recordings established him as the first major new voice on the harmonica since Toots Thielemans. 

He moved to New York in 1992 where he has lived ever since. His 24 CDs have received rave reviews and strong airplay, and established his immediately recognizable style of Brazilian Jazz. In 2014 he won the Brazilian International Press Award. 

Critics and the jazz listening public alike have recognized Meurkens' incredible talent, listing him repeatedly in the Downbeat and Jazziz Polls. 

Meurkens has worked with Ray Brown, Paquito D'Rivera, Oscar Castro-Neves, Herb Ellis, Herbie Mann, James Moody, Charlie Byrd, Jimmy Cobb, Ivan Lins, Monty Alexander, Manfredo Fest, Herb Ellis, Dori Caymmi, Toninho Horta, Harry 'Sweets' Edison, Buddy Tate, Joyce, Astrud Gilberto, Roberto Menescal, Antonio Adolfo, Emilio Santiago, and many others.

Misha Tsiganov was born in St. Petersburg, Russia, into a family of artists, with his father a sculptor and his mother, a music teacher. He began to play piano at the age of six and graduated from Mussorgsky College of Music. Over the years Misha has studied piano with Valentina Nikiforova, Basya Kapustianskaya, Alexei Istrashkin, Evgeni Gashkov, Ella Volpe, Eugene Maslov. 

In 1989 Misha was invited by major russian record label Melodiya and recorded an album “To My Friends”. 
In 1990 Misha received prize-winner-diploma of the All-Russia Jazz Competition. 
In 1991 he was invited to study at the Berklee College of Music in Boston by legendary vibraphonist Gary Burton and two years later he moved to New York. 
Misha worked and recorded with following projects: 
1998 - 2008 - with Norman Hedman's Tropique, recorded an album “Taken By 
Surprise” 2000 on Palmetto records and "Garden Of Forbidden Fruit" 2003 on PowerLight Media, 
2002 - present - with Johnny Colon, recorded an album "Keeping It Real" 2007, 
2002 - present - with Willie Martinez, recorded an album "I Remember You" 2002, "Family" 2005 and "After Winter, Spring" 2008, 
2003, 2004 - with Chico Freeman, recorded an album “Out Of Many Comes The 
One” 2003 on Arabesque records, 
2004 - Misha recorded an album “NGFOOT” (Nine Guys From Out Of Town), produced and directed by Stu Gardner, feat. Michael Brecker, Randy Brecker and Dave Valentin, 
2004 - 2008 - with Joe Chambers, recorded an album "The Outlaw" 2005 on Savant records. In 2005 Misha performed 7 days in Half Note Jazz Club in Athens, Greece with Joe Chambers Quartet featuring Gary Bartz. 
2007 - present - with Papo Pepin, 
2007 - present - with Jed Levy, recorded an album "Travelogue" 2011, 
2007 - present - with Hendrik Meurkens, recorded an album "Samba To Go" 2009 on Zoho records, "A Night In Jakarta" 2010 on Jawo Records, "Live at Bird's Eye" 2011 on Zoho records and Hendrik Meurkens - Gabriel Espinosa "Celebrando" 2012 on Zoho records. 

Meurkens & Tsiganov have combined their talents to produce beautiful melodies. They also participate in some rows: Oleg Osenkov (bass) and Willard Dyson (drums).

Two months before going to the recording studios Meurkens and Tsiganova presented in the exclusive site of Jazz Blue Note, this was the March 10, 2013, and here in this video he is captured live execution live 'Luiza' Original of Tom Jobim composition that is part of the CD "Junity".
Enjoy,


¡¡Viva The Latin Jazz!!

www.jazzpromoservices.com
jim@jazzpromoservices.com

jazzglobalbeat@gmail.com

Band of Bones: The Great Band of Trombones and something more...!

The Constitution and validity of Band of Bones, in these times is a great achievement. To remain United small bands is difficult, it will be a big band.

When Band of Bones materialise, with their leader Dave "David" Chamberlain, his debut in 2010 were already aware that would be durable and progressive.

The influence of Latin music in them has been a determining factor for their production; but still curious style, its rhythm, its arrangements, its conformation as Orchestra.

This Big Band of Dave Chamberlain since its inception has its own personality and his own swing. We cannot say categorically because the topics that run is the Latin American repertoire be Latin Jazz, have a particular combination that much attention..

In his first CD "Band of Bones" recorded themes such as "Girl From Ipanema", "El Manisero", "A Night in Tunisia", "Bolivia" that were pointing to the Guide; and having also a man of Afro-Caribbean rhythm as Wilson "Chembo" Corniel.

Now, Band of Bones, continuing vigorously launched on March 11 of this year "Caravan", at Zinc Bar, NYC, great job involving also trombonist Steve Turre (sanctified shells) and Hendrik Meurkens harmonica Wizard

You discern right away that Dave Chamberlain and his Band of Bones have a clean windshield and a full tank of gas.

Their "Caravan" is occupied by nine trombones, a rhythm section built for synergy, a passioned singer and a couple of special guests who wouldn't miss the ride for the world!

For this trip, Band of Bones has packed nine tunes with new clothes they are anxious to show off.

 They start off at full speed, with Jeff Fairbanks' arrangement of the Dizzy Gillespie/Chano Pozo classic "Manteca." As percussionist Chembo Corniel channels Pozo, and drummer Mike Campenni lights a fire, trombonist Nate Mayland and the leader on flute carry on a brisk call-and-response with the ensemble.

Next up is guest harmonicat Hendrik Meurkens' "Slidin", which is also the title track of his 1994 Concord release. Here the tune finds new territory with Chris Rinaman's arrangement, giving this 4/4 chart a nice space for Meurkens' harmonica and Dale Turk's trombone to set the melody for Max Siegel's bass trombone solo.

"When marimba rhythms start to play, dance with me, make me sway, who will it be?" The answer is Dave Chamberlain, arranging "Sway" (Quien Sera), the Pablo Beltran Ruiz classic. Here Chamberlain and Rinaman bring their bones to the front alongside singer Kat Gang, sure to bring out your best mambo moves.

J.J. Johnson's "Lament" is one of the outstanding ballads in the jazz canon. Trombonist John Yao's arrangement shows off the ensemble feel for Matt McDonald and Mark Patterson to take gorgeous solo turns. You also understand why the group's annual J.J. Johnson salute in New York isn't to be missed.

We first became aware of the vocal talents of Kat Gang with her "Copycats And Wannabees" and "Laughing At Loneliness" recordings. With a 4 octave range, her vocal instrument is right there, alongside Nate Mayland on his offering "El Grito de la Culebra" (the Snake's Shout).

"Mr. Johnson" is a muscular tune by pianist Harold Mabern in tribute to J.J., who Mabern worked with in the mid 60's. John Yao's boiling arrangement excites the ensemble, with outstanding solos from bass trombonist Max Siegel and pianist Kenny Ascher.

Trombone master Steve Turre has said  of Band of Bones, "This group makes the listener appreciate the beauty and majesty of the sound of the trombone in an ensemble setting."  After bassist  Jerry Devore's haunting intro,  special guest Steve Turre steps out  on his tune "V.O.," shining as always on trombone and shells,   grooving nicely with Charley Gordon as the ensemble moves through this latin-tinged special.

Steve Turre and Luis Raul Montell

Juan Tizol's "Caravan", arranged by Bob Suttmann, features Matt McDonald out front, who brings us back home from a trip you now know this group thoroughly enjoyed.

Already "Caravan" of Band of Bones is heard everywhere and there is widespread as cheerful and pimientoso comment of this tasty swing.

¡¡Viva The Latin Jazz!!

Jazz festivals increase even more the temperatures in Europe: posters and logos of festivals of Jazz, which start tomorrow in different locations of the Old Continent

Leo Gandelman & Eduardo Farias: Phenomenal Duo

Experience and youth are combined perfectly to confirm that everything is possible and the contributions of one or the other are always important.



This situation arises in the case of Leo Gandelman, an acclaimed saxophonist, composer and arranger, and the novel talented pianist Eduardo Farias, both from Rio de Janeiro - Brazil, which resolved to become a phenomenal duo and give birth to "Music of Fronteira" a production where these values of Brazilian music presents a selection of valuable pieces of renowned composers of Brasil.

We want invite you to enjoy this video where Gandelman and Farias interpret "Lapinha" (original of Baden Powell and Paulo Cesar Pinheiro)... that Nice execution:



¡¡Viva The Latin Jazz!!

contato@erikabreno.com.br
www.erikabreno.com.br

jazzglobalbeat@blogspot.com
www.jazzglobalbeat.blogspot.com

Six photos that show the joy of Freihofer's Saratoga Jazz Festival 2014 + video Earth, Wind and Fire in live!

They were two days, 28 and 29 June 2014, excellent music in Saratoga, NY. The presence of great performers, bands and orchestras have been thrilled attendees. Here we present six photos accomplished in action and is certainly evidence of the musical passion... of the Jazz. 

Latin musicians gave their best and put the note emblematic of the Nice Festival.

Too offer them, hot video, made in the presentation of one of the legendary groups of jazz rock fusion latin: Earth, Wind and Fire...!

¡¡Amor y Jazz!!

Melissa Aldana

Pablo Menares

Francisco Mela

Eddie Palmieri

Anat Cohen

Luques Curtis

New Release: Music for Peter Gunn by Harmonie Ensemble New York / Steven Richman(2)

Music for Peter Gunn by Harmonie Ensemble New York Steven Richman (Harmonia Mundi HMU 907624) Street Date: August 12, 2014

In 1958, the legendary composer/arranger Henry Mancini electrified the world of television music with his dynamic soundtrack for the detective series Peter Gunn.  Not only did he introduce a compelling jazz element into the genre, but he also created a context for the symbiotic relationship between narrative action and its aural environment. The Emmy-winning score - and its double Grammy-awarded album - was performed by an all-star ensemble of some of the West Coast jazz scene’s finest musicians.  Now, for the first time in more than half a century, the Harmonie Ensemble/New York under the direction of Grammy-nominated conductor Steven Richman takes a new look at this iconic music in the new harmonia mundi release Music for Peter Gunn.              One of the most profound elements of the jazz tradition is that the musicians’ pursuit of personal and singular sounds allows each fresh interpretation of classic works to have a new life of its own.  The great orchestral composers like Ellington, Strayhorn, Charles Mingus and George Russell were able to perform the same arrangements of their musical creations over and over, creating entirely new versions freshly sculpted by the personae of the musicians who played it.  This recording provides that same substance to these timeless original Henry Mancini compositions and arrangements, proving this music to be as vital and vibrant as it was more than 50 years ago.             This is the twelfth album by Mr. Richman and the Harmonie Ensemble/New York, and his third forharmonia mundi, following up on 2010’s Gershwin by Grofé and last year’s Nutcracker Suites Tchaikovsky / Duke Ellington & Billy Strayhorn.  As with those two outstanding and highly acclaimed albums, Mr. Richman has assembled the ideal cast of musicians to interpret this music, blending their superb command of ensemble playing with brilliant soloing skills. His deep appreciation of the music and commitment to the highest artistic ideals created the fertile environment that makes this recording so successful. A French horn player before he devoted himself fully to conducting, Mr. Richman had the opportunity to play with Henry Mancini many times. For him, this was truly a labor of love.             “I grew up watching and listening to that great TV show. Everyone knows the Peter Gunn theme but far fewer seem to know there is about an hour and a half of gorgeous music recycled in various forms throughout the show’s three seasons. Even our musicians were in the dark about this. They were happily surprised at the wonderful music, so skillfully written and arranged. We were all thrilled to play it.”               A key figure is pianist Lincoln Mayorga, who was featured on the Gershwin by Grofé album and had played for Mancini on some of the great composer’s road trips.  The remarkable tenor saxophonist and flautist Lew Tabackin – whose presence was so vital to the Nutcracker recording – anchors the highly impressive reed section along with Ronnie Cuber, Mark Gross, Lawrence Feldman and Lino Gomez.  The eminent Lew Soloff heads a trumpet section of Stanton Davis, Dominic Derasse and Joe Giorgianni; with a trombone foursome of Larry Farrell, John Fedchock, Mark Patterson and Frank Cohen.  The French horns, so essential to the sumptuous and mellifluous textures that are so intrinsic to Mancini’s sound are played by RJ Kelley, Alexandra Cook, Eric Davis and David Peel.             Much of the action in Peter Gunn took place in Mother’s, the waterfront roadhouse that was both Gunn’s hangout and meeting place.  The five-piece group that played there set the tone for a good deal of the show’s music and therefore those musicians are of paramount importance to this music.  Joining Mayorga in the stellar rhythm section are Bob Mann on guitar, Christos Rafalides on vibes, and the bass/drums tandem of Francois Moutin and Victor Lewis.             Under Mr. Richman’s brilliant direction, this exceptional group of musicians brings the perfect combination of flawlessly tight ensemble playing with the easygoing looseness and vivid spontaneity that makes each solo shine brightly – and always in the proper context, with no grandstanding or virtuosity for its own sake.  Although the music remains totally faithful to the original arrangements, the vibrancy and immediacy of today is fully evident.  Mann’s guitar solos have a slightly rock-ish element and the horn solos have a somewhat edgier quality.  The delivery of the written lines add a bit more soulfulness to the soulful; bluesiness to the blue; and even a touch more savagery to the drive.  The two versions of the immortal theme that bookend the 16 tracks are absolutely explosive – with the reprise opening up the thematic structure and providing an opportunity for the soloists to really strut their stuff.             This recording features all but one track from the first Mancini Peter Gunn album, along with four tracks from the second. One of these is My Manne Shelly, a dedication to the longtime Mancini collaborator and icon of West Coast jazz. Here Victor Lewis pays his own homage to the legendary Shelly Manne in the delightful call and response motif of the piece, also highlighted by a burly baritone solo by Cuber.             That small group roadhouse feel is offered in sublime fashion with The Floater, A Profound Gass andBrief and Breezy – all evoking the fluid George Shearing sound and featuring jaunty guitar and vibes solos.  An easy-swinging, hip groove – as suave and sophisticated as the title character – is front and center withSorta Blue and The Brothers Go to Mother’s.             Three ballads offer a romantic setting with the appropriately named Dreamsville fueled by guitar and alto; Soft Sounds, built on a slow walking bass; and Blues for Mother’s, marked by a deeply soulful alto sax. A raunchier blues groove of the growling sort is the vibe for the slow-boogie of Spook and the drawling brass-fueled Slow and Easy, featuring a gutty trombone solo out of the Lawrence Brown school; while Session at Pete’s Pad pushes the pedal a bit harder into a smooth stomp.             Designed for the hard-boiled action and chase scenes, there are two virile and impassioned pieces. Blue Steel is a dramatic item filled with hollerin’ brass, call and response incantations and a vehement Tabackin solo.  Fallout, opening with briskly walking bass leading into searing flutes, slow boils into a frenzy of growling trombones, wailing French horns and screaming trumpets.             While this is landmark music that broke ground for many fine scores to follow, one thing stands high above it all.  This is spectacular music played by an extraordinary group of musicians – timeless, powerful and moving. www.harmoniamundi.com  jim@jazzpromoservices.com www.jazzpromoservices.com jazzglobalbeat@gmail.com

CHICAGO JAZZ PHILHARMONIC RELEASES NEW ALBUM “SKETCHES OF SPAIN (Revisited)"

New Rendition of the 1960 Miles Davis and Gil Evans Classic Recording Incorporates Jazz Elements, Traditional Instruments, and New Compositions

The Chicago Jazz Philharmonic, celebrating its upcoming tenth anniversary year, releases its second full-length album, Sketches Of Spain [Revisited], an orchestral transformation of the 1960 iconic original by Miles Davis and Gil Evans. For this reinterpretation of the 1960 classic recording, CJP artistic director and composer Orbert Davis created two new compositions, incorporated traditional African and Middle Eastern instruments, and made numerous modifications in ensemble orchestration.  The result is an intimate yet powerful performance that transports the listener to a different world. “If you’re going to reconceptualize a work as iconic as Sketches Of Spain – daring to change the original instrumentation, and even to replace some movements with new compositions – you’d better do one spectacular job of it. Orbert Davis has dared, and succeeded.”  Neil Tesser, Grammy-Award Winning Jazz Journalist Davis’ involvement with Sketches Of Spain began in the 1990’s when, as a trumpeter in Bill Russo’s Chicago Jazz Ensemble, he was asked to perform the solo trumpet part originally played by Miles Davis (no relation). A particular challenge was to disregard the expectations of some purists that the original performance would be re-created.  “However,” Orbert notes, “What Miles played is not intended to be duplicated. Miles reached past the technical aspects of his instrument and played from the depths of his soul.  I took that approach to freely create during the improvised sections.” Orbert Davis’ version of the classic work developed over many subsequent performances and years of studying the original recording, as well as Spanish music and culture. From the first performance with his own Chicago Jazz Philharmonic in 2011, Orbert introduced new elements to reflect the Moorish influences on Spanish culture, introduces new infectious jazz grooves, and highlights the unique talents of individual musicians in his ensemble.  - More - “One has to think that Miles Davis would have been intrigued, given his own history of ignoring rules and continuously reinventing his music.” Howard Reich, Chicago Tribune Working together, the musicians have created a sound based on Spanish culture that is a blend of classical aesthetic and jazz sensibility, revealing an emotional depth that is universally recognizable. “I hope that the listener will be able to identify with the passion and emotion expressed in this work”, says Davis.  “There is a story behind the music, and each person needs to interpret that story for themselves.” The theme of creatively reinterpreting a classic is carried out on the album’s cover, which features original artwork created as part of a CD Cover Art Contest held by CJP in the spring of 2014. The contest required Chicago area students to interpret different visual aspects of Spanish culture: a matador, a flamenco dancer, and a mountain village scene.  The winning entry was submitted by Jaylyn Scott, a 14-year-old student at Orland Junior High School.  As the contest winner, Jaylyn earned a prize fee and will receive royalties on the sale of all related merchandise like posters, mugs or t-shirts. The multi-talented Jaylyn is also a student in the CJP Summer Jazz Academy where she studies the saxophone. Orbert Davis Orbert Davis is co-founder, conductor and Artistic Director of Chicago Jazz Philharmonic, a 55+ piece jazz-symphonic orchestra and a 16-piece chamber group dedicated to multi-genre projects.  He is also the co-founder of “Jazz Alive,” an interdisciplinary enrichment program that focuses on teaching life and academic skills through music, currently providing weekly music and band instruction to hundreds of Chicago Public School students. One of Chicago’s busiest and most sought after musicians, Davis was commissioned in 2012 to create a new work for Chicago Symphony Center’s city-wide “Rivers Festival.”  He was named Artist-In-Residence for the Chicago Jazz Festival in 2011, an honor held by only one other Chicagoan in its history. In that same year Davis won an Emmy Award for the composition and production of an original score for the national PBS documentary, DuSable to Obama: Chicago’s Black Metropolis. In 2010 he received the “Arts Legend Award” from the Arts Alliance Illinois, a statewide arts advocacy group, recognizing his mission-based accomplishments in both performance and education. Davis has a Bachelor’s degree in trumpet performance from DePaul University and a Masters degree in Jazz Pedagogy from Northwestern University. Chicago Jazz Philharmonic Founded in 2004 by Orbert Davis and Mark Ingram as America’s definitive “Third Stream” orchestra, Chicago Jazz Philharmonic provides rich, accessible, multi-cultural music experiences that bridge gaps in jazz and classical genres. The CJP performs works from the standard jazz big band to the classical symphony, while creating a “new aesthetic” in cross-genre collaborations. The organization also provides music education through Jazz Alive, a weekly music and band education program for Chicago Public School students, and the Summer Jazz Academy, a two-week immersion program in music theory and practice. The Chicago Jazz Philharmonic will celebrate its tenth anniversary season with a series of concerts and special events beginning in September 2014. Support for the Chicago Jazz Philharmonic comes from The Chicago Community Trust, Lloyd A. Fry Foundation, Polk Bros. Foundation, Crown Family Philanthropies, The Joyce Foundation, Illinois Arts Council, Seabury Foundation, Gaylord and Dorothy Donnelley Foundation, City Arts Grants, WDCB 90.9FM and Chicago Jazz Magazine. jim@jazzpromoservices.com www.jazzpromoservices.com

New Jazz of Lindsey Blair Quartet...'A New Dawn'

Bob Stewart - Connections-Mind The Gap release in August

BOB STEWART CONNECTIONS-MIND THE GAP The Double Quartet PUBLIQuartet & First Line Band Release Date: August 5, 2014 CD Release Party - September 29, 2014 at Dizzy's Club Coca-Cola The career of a jazz tuba player will, in all likelihood, be diverse. The great Bob Stewart has made a name for himself in numerous eclectic settings, from the blues of Taj Mahal, to Mingus's demanding compositions and the free explorations of Arthur Blythe. On his new recording Connections - Mind The Gap, Stewart bridges his own arrangements of compositions of his peers and heroes with movements from a special chamber piece entitled "In Color" that he commissioned from Jessie Montgomery for the PUBLIQuartet string ensemble. Musicians: Bob Stewart - tuba Curtis Stewart - violin Jannina Norpoth - violin Nick Revel - viola Amanda Goekin - cello Jerome Harris - guitar Matt Wilson - drums Randall Haywood - trumpet Nick Finzer - trombone Bob Stewart Bio - www.bobstewartuba.com Bob Stewart on Facebook CD Release Party - September 29 - Dizzy's Club Coca-Cola Click here for reservations.  212-258-9595 Master tuba player and educator Bob Stewart recognizes how fortunate he has been to be affiliated with musical legends and peers who have displayed generosity in allowing him to present his unique conception of tuba playing to receptive audiences. His new recording - Connections - Mind The Gap - (Sunnyside Records) is at once a tribute to those artists representing various styles with whom Stewart was able to ply and develop his trade and it is also a forum to suggest and increase the repertoire for aspiring tuba players. Connections - Mind The Gap is a varied collection of pieces that range from a five movement piece entitled "In Color" that Stewart commissioned from young composer Jessie Montgomery to pieces written by or performed by talented musicians the tuba player has played with over his forty year career. Though the compositions span classical, blues and jazz, the common denominator and uniting element is the tuba. Stewart hardly needs an introduction. His career has been one of seeking challenges and passing on knowledge. His tuba has been featured on recordings from the jazz mastery of musicians like Gil Evans, Charles Mingus and Lester Bowie to the rock and blues inflections of Taj Mahal and Elvis Costello. Stewart has also been an active educator for just as long and has recently become a faculty member at the Juilliard School in New York City. Stewart has been leading his own ensemble - First Line Band - since 1989. The current iteration of the group includes longtime member/guitarist Jerome Harris and the highly regarded drummer Matt Wilson, both of whose intuitive styles are perfect foils for Stewart's playing. Stewart also includes his son, the fantastic violinist Curtis Stewart, in the ensemble. Keeping with the original brass led formation of the First Line Band, Stewart adds trumpeter Randall Haywood and trombonist Nick Finzer for a number of tracks. In addition to the First Line Band, Stewart introduces the PUBLIQuartet, a string quartet (of which his son is a founding member), which accompanies Stewart on a five-part composition entitled "In Color" composed by former member, violinist Jessie Montgomery. The piece was commissioned by Stewart and was written with his abilities as the focus: Montgomery and Stewart held multiple listening sessions where she studied Stewart's extended harmonics and other techniques that she would incorporate into her compositions. This makes these tone poems about Stewart as much as they are about Montgomery. On the recording, the classical and jazz materials enable each other. There are aural elements that tie the performances together, most importantly the tuba. There are intentional elemental and spatial "gaps," however. Obviously, there are stylistic leaps from jazz to classical to blues but there are also spaces between tracks that signal stylistic departures, thus the title. The recording begins with the fifth movement of Montgomery's "In Color," "Red," a short, somber rhapsody with a wide timbral array, which is followed by Frank Foster's "Simone," a supple piece Stewart played as a part of Foster's Loud Minority band in the 1970s. The first movement "Aqua" is a deep piece featuring Stewart's upper harmonics balanced by sweeping strings, while Arthur Blythe's dancing "Bush Baby" is a wonderful display of First Line's dynamic interplay. "Fishin' Blues" is a laidback blues tune written by Henry Thomas, which was covered famously by Taj Mahal, another great supporter/collaborator of Stewart. The second movement is "The Poet," which features an active tuba melody over a steady string accompaniment. The mysterious "Odessa" is another Blythe composition and features the moving violin of Curtis Stewart. Astor Piazzolla's "Libertango" suits the ensemble and the tuba well, with its 2/4-tango feeling, fitting the big horn perfectly. "Purple" is the third movement and features wonderful textures between strings and tuba. Thelonious Monk's "Monk's Mood" is a great piece for tuba as the wide intervals in the melody allow the tuba to really speak, while Stewart's romantic "Nothing To Say" speaks volumes with subtlety. The fourth movement of "In Color" is entitled "Makina" and features the strings at their most avant-garde, creating a soundscape of scrapes and plucks with various interjections by Stewart. Jerome Harris's "Hand By Hand" is a wonderfully emotive tune featuring Harris on vocals. Similar to the Monk composition, Charles Mingus's "Jump Monk" lends itself extremely well to tuba with its intervallic leaps and moving bass line. The recording concludes with "Red 2," a recapitulation of the introduction as a fitting bookend to the album. Bob Stewart has been a proponent for the development of tuba repertoire and experimentation for quite some time. His new recording Connections - Mind The Gap is a tremendous collection of compositions that shows the vast musical landscape the horn can cover while in the expert hands of a tuba pioneer like Stewart.   CONNECTIONS Cover Art: "Steal Away" by Jeff Schlanger, musicWitness® 2014 Now, although it has some years, we want to offer you this video where Bob Stewart excels playing the tuba in the company of his Quartet consisting of: Jerome Harris (guitar), Curtis Stewart (violin) and Matt Wilson (drums), at Cornelia Street Cafe in New York City. Look at these magnificent musicians still together in this new production here discussed. Enjoy, in this video, during the launch of "Connections-Mind The Gap":

Press Contact: Scott Thompson PR

scott@scottthompsonpr.com
www.scottthompsonpr.com 

jazzglobalbeat@gmail.com
www.jazzglobalbeat.blogspot.com