domingo, 28 de diciembre de 2014
martes, 23 de diciembre de 2014
From Jazz Promo Services
To All Our Friends, Colleagues and Clients We Extend The Warmest Wishes For This Holiday Season And Continued Success For All Your Endeavors In 2015!
For Your Holiday Listening Pleasure:
lunes, 22 de diciembre de 2014
Everywhere that Laura Fygi visits, she is a veritable vision of exotica. In her home country of the Netherlands, they know her as the woman who was raised in Uruguay as the daughter of an Egyptian belly dancer; in the Far East she is the emancipated Western lady who many others aspire to be. But wherever she may be, there’s one common factor in all of those locations: that instantly recognisable voice which has won her hearts all over the globe.
Now, in this day of Christmas party, enjoy this beautiful video in the company of family and friends:
domingo, 21 de diciembre de 2014
Jim Eigo: www.jazzpromoservices.com
sábado, 20 de diciembre de 2014
|Greg Spero Special Guest|
w/Frank Russell Band and Third Coast Fuse
Sat, Dec 20th 8:00 PM
Tickets Available Here:
Greg's New CD
Bass: Junius Paul, Drums: Makaya McCraven, Piano/Synthesizers/Vocals: Greg Spero
Track listing, track times
1. Introduction: Turn It Up 1:21
2. Raga 5:09
3. Up Too Late 5:31
4. Interlude 3 2:08
5. Blackbird 5:58
6. Song 21 5:59
7. Interlude 21 2:02
8. No Rest for the Weary 5:08
9. Interlude 4 1:28
10. Fly 5:29
11. Somewhere Over the Rainbow 5:21
“At first listen of Greg Spero’s debut release, Acoustic I wrote that I found it difficult to imagine how he could surpass his first offering to the world of jazz. After listening to Electric, I realized that it’s not about “surpassing” oneself in a competitive sense, but rather, more about one’s own inner-travel and the attentive harvesting of the experiences.
Greg’s highly refined musical statement on this album is but a reflection of his own personal evolution while on a path of restless exploration beyond the mundane. Greg accomplishes this with the very tasteful and imaginative layering of electronic elements juxtaposed with deeply rooted foundational acoustic beds-- to create glimpses into multi-dimensional soundscapes. With Electric, Greg invites us on an engaging kaleidoscopic journey that pierces the outer edges of rhythmic, harmonic and melodic possibilities. On this journey we are also fortunate that Greg has wisely chosen to share the pure innocence of his voice in the pristine interpretation of three classic songs.
My only question for his next project will be where will his travels take him next?”
—Robert Irving III, Miles Davis producer/director
jueves, 18 de diciembre de 2014
|THE GEORGE GEE SWING ORCHESTRA|
CD RELEASE EVENT FOR
"Swing Makes You Happy"
SUN., FEB. 1st
@ SMALLS 4:30pm-7pm
George Gee - bandleader
David Gibson - trombone, music director
Hilary Gardner - vocals
John Dokes - vocals
Ed Pazant - alto sax
Michael Hashim - tenor sax
Tony Lustig - baritone sax
Freddie Hendrix, Andy Gravish - trumpets
Willard Dyson - drums
Marcus McLaurine - string bass
Steve Einerson - piano
Smalls Jazz Club
183 West 10th Street
New York, NY 10014
George Gee Swing Orchestra "Swing Makes You Happy!"
(Rondette Jazz RJ1009) Street Date January 15, 2015
Featuring the compositions and arrangements of music director/ trombonist David Gibson and vocals by Hilary Gardner and John Dokes.
Swing Makes You Happy is not only the title of the George Gee Swing Orchestra’s outstanding new album, it’s the motto by which they live. And they bring home that message in ebullient fashion on every one of the 19 tracks on this Rondette Jazz release - George’s eight album, but his first for Rondette.
George and his collaborator and musical director – the brilliant composer, arranger and trombonist David Gibson – share a common vision . As George states “David and I are truly kindred spirits who agree that swing music is a living, growing and evolving art form.” The music here proves that over and over again. Although the orchestra is firmly entrenched in the deepest foundations of the swing tradition, the music is thoroughly contemporary and of the moment.
Much of this is due to the consummate talent of Gibson, who provides five originals and all of the arrangements, plus three excellent transcriptions from Chick Webb’s repertoire. Equal credit can go to the marvelous musicianship of the 9-piece ensemble that sounds like a group twice as large; and sometimes like a tight little band that cooks like the Jazz Messengers.
Immortal band leaders Charles Mingus and Randy Weston have been able to achieve an orchestral sound with units of only five or six horns. The key to that is a combination of dynamic arrangements and hornmen with big, bold sounds. Both of those elements are at play here. Gibson’s trombone anchors the brass section with trumpeters Freddie Hendrix and Andy Gravish. The powerful saxophone section consists of Ed Pazant, Michael Hashim and Tony Lustig on alto, tenor and baritone respectively; and a sterling rhythm section of Steve Einerson on piano, upright bassist Marcus McLaurine and Willard Dyson on drums completes the package.
As with the Mingus and Weston groups, all of the hornmen share in the soloing – as does pianist Einerson – and always totally within the structure of the music, never grandstanding or exhibiting their virtuosity for its own sake. Added to the mix are two wonderful vocalists, Hilary Gardner and John Dokes, both of whose participation is totally enmeshed within the structure of the music, despite their featured roles on nearly half the album.
Another point of shared perception between Gee and Gibson is their deep love and respect for Count Basie, who George is proud to call his mentor from the time he formed his big band in Pittsburgh in 1980. The orchestra does follow the classic blueprint of the Basie tradition – relentless swing, unfettered exuberance and perfect execution, with full emphasis upon the freshness of adventurous expression.
Included in the delightful repertoire are four items associated with Basie, three of which include vocalist Dokes. On I’d Rather Drink Muddy Water – with an appropriately Basie-ish jump-swing arrangement – Dokes’ robust baritone certainly invokes the jubilance of the legendary Joe Williams, with whom the song is so deeply connected. But there’s also a gospel-tinged quality contained that fuels the fire, adding a special luster to two songs more associated with Jimmy Rushing’s raucous blues holler, the deliciously grooved Baby Won’t You Please Come Home and the vigorously punchy Evenin’. His deeply expressive and profusely rhythmic treatment of Nature Boyis buoyed by an incandescent arrangement that surrounds him with a warm swirl of sumptuous colors. On the Frank Loesser classic If I Were A Bell, John is joined by Hilary for a stimulating duo as they exchange verses in this spirited unabashed swinger.
Like Dokes, Hilary’s singing is beautifully resonant – crisp, articulate and flawless in phrasing and intonation. With a sensual voice that forges a space somewhere between Lady Day and Anita O’Day, her vivacious stylings smoke on the joyfully up-tempo Sweet Pumpkin, the rollicking That’s No Joke, and the sprightly syncopated You Say You Care. She conveys an evocatively sinuous quality on the final Basie item No Moon At All, with its bluesy groove and suspended angular horn voicings.
While the band is fully entwined on all the vocal pieces, shading and pushing the vocalists, while adding excitement with luminous ensemble work and sparkling solos, the five Gibson originals provide an expansive context for exploration. David’s writing is complex, adventurous and challenging, but always vitally rhythmic and fluid. The ensemble traverses the terrain with energy and agility, swinging the intricate lines with command and excitement. Comin’ Home (a dedication to Nelson Mandela) opens the album, clearly staking the territory the album will cover, combining the fiery radiance of a big band with the dexterity of a hard bop sextet. Dyson even takes a Blakey-like approach to the drums. The Blakey vibe is again present on The Road To Roscoe’s, a funky jaunt in the Moanin’ vernacular. The bluesy Hash Mash, with its ingenious harmonics, the explosive Bedrock and the viscerally swinging I Knows are built upon stirring arrangements profusely peppered with highly impressive solos. All of these pieces provide a fertile environment for the exciting, pungent alto of Pazant, the burly fluidity of Lustig’s bari, the gutty blues-drenched tenor of Hashim, the full-bodied resonance and dynamic articulate trumpets of Hendrix and Gravish, and the earthy, euphonious opulence of Gibson’s trombone. The rhythm section, exemplary throughout this entire album, offers the ideal canvas for the soloists while driving the music with passion and urgency.
There is a pair of showcase pieces for two of the musicians. The modern Sinatra classic It Was A Very Good Year is a feature for Michael Hashim, fully suitable for a tenor/organ joint, with the orchestra providing a tightly-knit Hammond B3-type coloring for Michael’s deeply soulful tenor. Herbie Hancock’s A Tribute to Someone is a stately ballad, a tour de force for Freddie Hendrix’s round-toned and resplendent Clifford Brown-ish lyricism – impassioned, yet serene.
But the overarching message of George Gee – the timelessness and immediacy of Swing – may best be exemplified by the three Chick Webb transcriptions. Lindy Hopper’s Delight, delightful indeed with its bouncy, potent swing; Midnight In A Madhouse, an all-cylinder excursion in edgy, but controlled frenzy; and the album’s closer, the smoldering, utterly captivating Blue Minor are revelations. Nearly 80 years after these pieces drove Chick’s nightly audiences at the Savoy Ballroom wild, this music is still immediate, urgent and sensationally vital. Played without a hint of nostalgia or even the vaguest whiff of parody, the George Gee Swing Orchestra offers them with total respect, as perfect examples of the music’s immortal profundity with an emphasis on the fun at the core of that word.
For over 30 years now, George Gee has been delighting audiences all over the world, and will soon be celebrating his 18th year in residency at SWING46 Jazz and Supper Club in NYC’s Times Square. The driving force behind this remarkable ensemble, George expresses his role in humble terms “I try to create a canvas and environment where the very special artists with whom I surround myself can excel at their art.” David offers a finer perspective. “When I joined George's band, it was evident that GG had a passion for the music and his audience. He's employed his vision to create an organization that provides audiences with access to high quality music and musicians. He is all-at-once a CEO, community organizer and interlocutor steering his organization toward his swinging destination.” The splendid results are eminently clear.
With consistent personnel, some for more than 20 years, the George Gee Swing Orchestra also demonstrates the time-proven fact that the more a group performs together, the more transcendent the music becomes. As David Gibson states about this extraordinary recording “The results have exceeded the boundaries of my imagination” …. and now the listeners get to expand their own; and to dance to their hearts’ content!
The George Gee Swing Orchestra Can Also Be Seen
Every Tuesday 830pm-1130pm
Celebrating Their 18th Year @
miércoles, 17 de diciembre de 2014
|"Promises to Burn"|
Tall Grass Records congratulates jazz vocalist Janice Borla, whose highly-acclaimed CD Promises to Burn (TG 8281) was just listed in the December issue of DownBeat Magazine as one of the "Best CDs of 2014."
This is her second consecutive release to be so honored. Her previous CD From Every Angle (Blujazz BJ3350) was similarly named among DownBeat's "Best of the Year."
The CD also features such stellar musicians as Scott Robinson (saxophone/flute), Art Davis (trumpet), John McLean (guitar), Bob Bowman (bass) and Jack Mouse (drums).
Promises to Burn is available at CDBaby, iTunes, Amazon, and other fine music retailers. Check out the reviews below…
* * * * "Borla pulls off a hat trick on this disc: She's on equal footing with her instrumentalists but remains the focal point with stellar performances…An impressive musical feat. 4 stars!"
~ Kirk Silsbee, DownBeat
"Among the best, boldest and most innovative vocalists around…Working exclusively with Borla's arrangements, the sextet exercises its fervent cohesion across a marvelously wide-ranging playlist…vocal-based jazz symbiosis rarely reaches such splendor."
~ Christopher Loudon, Jazz Times
"Meaty…Here is a 'jazz singer' who understands what a jazz sextet is; my kind of singer and my kind of group."
~ Robert Rusch, Cadence Magazine
"Here's a lady that really defines 'jazz vocalist.' A wonderful album…You're going to LOVE this one!"
~ George W. Harris, Jazz Weekly
"This is terrific jazz music making from a queen of scat as well as pure vocal beauty…Her ensemble couldn't be better. Another winner, here."
~ Grady Harp, Amazon.com
"Superb album…One of the best singers in the Chicago area…Her scat singing is quite inventive, revealing a deep knowledge of jazz harmony."
~ Tom Cunniffe, Jazz History Online
"…Her voice is an instrument to be reckoned with. She is a force of nature."
~ Jack Goodstein, BlogCritics
* * * * "…Again demonstrates her impressive versatility as a musician…Her sheer vocal audacity…pinpoint precision…striking notes as truly as any instrument, (and) her wordless vocalizing, flaunted to full effect…"
~ Sally Evans-Darby, Jazz Journal (UK)
"Superb! Janice's voice is a jewel, and her group shows that it's a pleasure to play with her."
~ Serge Warin, Radio Grand Brive, France
"…Round and polished performances showing off Borla's impressive scat and vocalese capabilities…Borla has chops to spare."
~ C. Michael Bailey, All About Jazz
"Janice makes clear with her full, rich vocal sound and her superb musicianship that jazz singing is in more than capable hands."
~ Bruce Crowther, Jazz Mostly
"Her) scatting…is irresistible. The entire album is wonderful! Great arrangements."
~ Randy Morse, The Best of Brazil
"Always hipster-cool, literati inventive, and friendly while dancing on the outskirts of traditional forms."
~ Mark Tucker, AcousticMusic.com
"What a quandary…Which track to play from a CD that is perfect!"
~ Tony Soley, 10Radio, UK
"Most highly recommended, particularly for folks who love vocals with substance. Vocal jazz that you can listen to over and over again."
~ Rotcod Zzaj
New CD: Janice Borla Group "Promises to Burn". Recomended at www.jazzglobalbeat.blogspot.com (March 26, 2014)
lunes, 15 de diciembre de 2014
GAIL BOYD ARTIST MANAGEMENT PRESENTS
A SHOWCASE THAT SPANS THE GLOBE!
Association of Performing Arts Presenters Showcase
NEW YORK HILTON HOTEL
REGENT PARLOR, 2ND FLOOR
1335 Sixth Ave, New York, NY
January 11, 2015 2PM - Midnight