jueves, 30 de abril de 2015

Denny Zeitlin & George Marsh "Riding The Moment" Due June 9th on Sunnyside Records!

Denny Zeitlin & George Marsh
"Riding The Moment"
Duo Electro-Acoustic Improvisations

Denny Zeitlin
electronic instruments& acoustic piano

George Marsh

(Sunnyside SSC 1408)
Street Date: June 9, 2015

It is easy to be confounded and amazed while marveling at the changes that happen over time. The changes in oneself and the world are not as astounding as the probability that one will usually come full circle, back to a theory or practice reached long ago that can bring as much inspiration as it did when first arrived upon.

It is a paradox that keeps many musicians honing their craft and revisiting past methods, perhaps with new techniques and tools, to create new and rewarding works. The legendary pianist/composer Denny Zeitlin has always been adept at transitioning from one musical idiom to another, as he has found inspiration in the  sounds of the acoustic piano in different groupings, and electronic music.

On the new recording Riding the Moment, Zeitlin returns to spontaneous composing utilizing electronic instruments along with the acoustic piano. His co-creator is the prodigious drummer and musical conceptualist George Marsh, with whom he collaborated on his first foray into the world of electronics during the late 1960s and 1970s.

In the mid 1960s, Zeitlin recorded a handful of well-received trio records for Columbia Records. Marsh had heard and digested these records while in Chicago and, upon his arrival in San Francisco in 1968, he called Zeitlin to show his enthusiasm for the pianist’s work and hopeful collaboration. It was during this time that Zeitlin was becoming increasingly interested in electronics and synthesizers, after becoming frustrated with the limitations of the acoustic format. He went as far as taking time off from public performance to explore and develop this new area.

In Marsh, Zeitlin found a ready and open-minded collaborator, a drummer who shared his interest in integrating  all types of music, from jazz to classical to funk to rock to free music. And Marsh was open to Zeitlin’s approach to electronics to create a larger palette for expression. Together with bassist Mel Graves and later Ratzo Harris, a trio was created to develop, perform and record their new, complex music that lasted until 1978, the year Zeitlin released his extraordinary score to the remake of Invasion of the Body Snatchers.

The exhausting work of generating the film score led to Zeitlin’s return to the acoustic format for over two decades until the advancement in synthesized sounds lured him back into his home electronic studio. In the early 2000s, he began a major upgrade, acquiring new computers, synths and sound modules. The culmination of his initial work can be heard on his 2013 Sunnyside solo release, Both/And.

Later in 2013, Zeitlin was inspired to reach out to his old friend and musical partner Marsh in order to expand his explorations. He felt that a duo would be perfect as it presented him the freedom to go wherever he wanted melodically and harmonically but would also provide him with added drive from a drummer who could handle anything and who was a great creative initiator.

The duo began meeting together regularly on weekends at Zeitlin’s studio. Their initial meetings found them increasingly invigorated by the music they were creating on the fly. They both knew that the next step would be to record and preserve these improvisations, as what they were doing felt so organic and rewarding.

Of course, the music that they created was inspired. The two would record without a preconceived plan. A physical sound barrier prevented visual cues; neither one would know who would start or stop, it was all shared musical vision and intuition. The rapport felt telepathic. At the beginning of a piece, Zeitlin, working from a menu of thousands of sounds, would have roughly thirty preset patches set up that he could access, mix, and modulate quickly from his multiple keyboards, changing direction as the inspiration sprang. Ninety-five percent of the recording was done in real-time, Zeitlin only adding overdubs when physical limitations blocked a melodic or textural idea that he felt would be appropriate.

The pieces that the duo presents on Riding the Moment are dynamic and varied. From track to track, the listener will hear an integration of classic jazz elements, modern classical flourishes, funk, and the colors of a galactic universe. There are moments of surprise and those of beauty that only a meeting of creative minds such as Zeitlin and Marsh could provide.

Time advances and it allows us to look back. It is left to true innovators to see both sides of the equation in order to keep their art evolving. Denny Zeitlin and George Marsh have revisited a collaboration they had nearly four decades ago when they were on the cutting edge of new technology and improvisation. Riding the Moment is a continuation and a furthering of their work into the future, as they create their own paths into new sounds and expression. 



miércoles, 29 de abril de 2015

International Jazz Day - April 30, 2015 (Webcast on jazzday.com from Paris)

April 30 is International Jazz Day 
Webcast on JazzDay.com of All-Star Global Concert from Paris
1pm NY | 7pm Paris | 2am Tokyo (May1)
The fourth annual International Jazz Day will be celebrated in more than 185 countries with hundreds of events from concerts and jam sessions to workshops and film screenings and master classes.
Presented each year on April 30th in partnership with UNESCO and the Thelonious Monk Institute of Jazz, International Jazz Day encourages and highlights intercultural dialogue and understanding through jazz, uniting people in all corners of the globe. The celebration is recognized on the official calendars of both UNESCO and the United Nations.
In Paris, there will be a daylong series of jazz education programs, performances, and community outreach, culminating in the 2015 All-Star Global Concert at UNESCO Headquarters, which will be webcast across the world via JazzDay.com and on Intl JazzDay's Facebook as well as on UNESCO and United Nations websites. In addition, the webcast will stream on UNESCO Goodwill Ambassador Herbie Hancock's Facebook, UNESCO Artist for Peace Marcus Miller's Facebook and guitarist Lee Ritenour's Facebook.

This highly anticipated event will bring together over two-dozen renowned artists and personalities on one stage in celebration of jazz and cultural diplomacy and will feature performances by A BuJohn Beasley (Musical Director)Dee Dee BridgewaterTil BrönnerIgor ButmanTerri Lyne CarringtonMino CineluAvishai CohenEliane EliasAntonio FaraòJames GenusHerbie HancockAl JarreauFemi KutiAnnie LennoxGrégoire MaretHugh Masekela,Marcus MillerGuillaume PerretRudy PerezDianne ReevesLee RitenourClaudio RoditiIsfar SarabskiWayne ShorterDhafer Youssef and Ben Williams, and many more..

We hope you'll all join in the celebration on April 30
Show the world that Jazz is alive and thriving!

Website: Jazzday.com
Like us on Facebook
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Tweet on April 30 #JazzDay


lunes, 27 de abril de 2015

Payne / Lindal / Liebowitz CD Release Party Fri, May 8th 8pm

Line Art Records, a new label
dedicated to creative improvised music,
is thrilled to announce its first release
— the debut recording of Payne Lindal Liebowitz.

Line Art Records (LA1001)

Bill Payne, clarinet
Eva Lindal, violin
Carol Liebowitz, piano
Bill PayneEva Lindal, and Carol Liebowitz take this most classic group of instruments — piano, violin, and clarinet — and turn it on its head, unleashing music that is 100% improvised.

With nothing preconceived, they each listen intently and spontaneously respond to each other creating music with a deeply felt mix of lyricism and intensity.

Though far apart geographically (Bill in Las Vegas, Eva in Stockholm, and Carol in New York), their very first sounds as a trio clearly signalled that theirs was an unusually close connection.

Release Date: June 5, 2015
UPC: 888295252829

All selections by
Bill Payne, Eva Lindal and Carol Liebowitz
1. ever since
2. it happened this way
3. unspoken
4. B/E
5. if then
6. glissade
7. preludes
8. holus bolus
9. what we are saying
10. blue flame
11. ’til always

Bill Payneclarinet 
Bill Payne was raised in Harvey, Illinois and began playing clarinet at age 10, later studying with Don Kramer and Lewis Wyatt. He as experienced a unique life on the road with theatre companies, Broadway shows, big bands, and traveling circuses. Bill’s improvisations have received spectacular reviews noting his originality, range, beauty of sound and deep expression. 
He cites meeting Connie Crothers as a major turning point in his musical life, leading to their outstanding performances and recordings. Other artists he has worked with include Eva Lindal, Carol Liebowitz, poet Mark Weber, Richard Tabnik, Roger Mancuso, Kevin Norton, Bud Tristano, Cheryl Richards, Michael Vlatkovich, William Roper, Chris Garcia, and Harry Scorzo. Recent performances have been at The Stone in New York City, The Outpost Performance Space in Albuquerque, NM, and Connie Crothers’ Loft Concert Series in Brooklyn.

Payne’s clarinet moves like a leaf buffeted by the wind... —Ed Hazell, Point of Departure 
This is improvised music at it’s finest! —Marc Medwin, AllAboutJazz-New York
Bill Payne and Connie Crothers CD “Conversations” was voted one of the “Best 10 Jazz CD’s Released in 2008” by Bill Shoemaker (DownBeat) and Art Lange (Point of Departure) in the Village Voice Jazz Critics Poll

Eva Lindal, violin
Eva Lindal was born in Stockholm in 1958. She studied at the Royal College of Music in Stockholm (1973–76), with further studies in Switzerland and Banff (Canada). In 1998 she met and began studying improvisation with Connie Crothers, and has continued this association. During 1986–2000 Eva was a member of the Swedish Radio Symphony Orchestra. Since then she has been a freelance musician, with a special focus on improvisation and contemporary music, as well as the baroque era. Eva is a member of Katzen Kapell (“One of Sweden’s best bands”—Camilla Lundberg, Expressen), Rebaroque, and also the contemporary groups MA and KammarensembleN. She regularly performs with improvising artists, in a trio with Bill Payne (clarinet) and Carol Liebowitz (piano), and in various groups with Nick Lyons (alto sax), Lorenzo Sanguedolce (tenor sax), Anna Lindal (violin), Mattias Windemo (guitar), and Filip Auguston (bass). Recorded with the contemporary group Sonanza on their CD “Unheard of Again” that was awarded the Swedish Grammy as “Best Classical Albume 2010.” In the winter/spring season of 2011, Eva played the part of the violinist “Rose” in John and the Mushrooms: a “happening” about the music and philosophy of John Cage at the Royal Dramatic Theatre in Stockholm. Recent CD releases include “We,” a trio with Mattias Windemo and Jonny Axelsson on Mowinde, and “Viva Black,” a trio on Found You Recordings with Filip Auguston and Christopher Cantillo.

Pianist and singer Carol Liebowitz brings a uniquely expressive and personal sound to the jazz and free improvisation scene. After focusing on classical repertoire at the High School of Performing Arts and NYU, her musical direction turned to improvisation and she began studying with Connie Crothers. Other influential teachers have included Sal Mosca, Jay Clayton and Sheila Jordan. She has performed in Europe and throughout the New York City metropolitan area in venues such as Roulette, The Stone, Cornelia Street Cafe, ibeam, The Firehouse Space, Arts for Art, Spectrum, Galapagos and Birdland. In addition to frequent solo concert appearances, Carol has worked in various groups — from duos to sextet — with musicians including Daro Behroozi, Adam Caine, Daniel Carter, Bill Chattin, Claire de Brunner, Maryanne de Prophetis, Ken Filiano, Birgitta Flick, Guillermo Gregorio, Ratzo Harris, Ron Horton, Will Jhun, KenYa Kawaguchi, Adam Lane, Eva Lindal, Nick Lyons, Adam Melville, Don Messina, Ryan Messina, Bill Payne, John Pietaro, Lorenzo Sanguedolce, John Wagner, Andrea Wolper, and dancer Michiru Inoue. Along with her latest CD, “Payne Lindal Liebowitz” on Line Art Records, Carol has two releases on the New Artists label: “Waves of Blue Intensities,” a duo with tenor saxophonist Bob Field, and “Time on My Hands,” a voice and guitar duo with Andy Fite. 

“It quite simply was one of the greatest solo piano concerts I’ve ever witnessed...” —Mark Weber, poet
“...she doesn’t sound much like anyone but herself.” —Chris Kelsey



sábado, 25 de abril de 2015

Chris Biesterfeldt "Phineas" CD Release Show Monday, May 4th ShapeShifter Lab 7pm

18 Whitwell Place
(between Carroll and 1st St., 
one block from and parallel to 3rd Ave.), 
Brooklyn, NY  11215
Chris Biesterfeldt New CD
(BR 1002)
Street Date: January 6, 2015
Chris Biesterfeldt-guitar, Matthew Rybicki-bass, Jared Schonig-drums

Track listing, track times 
1. Harlem Blues 3:55 
2. Sugar Ray 5:45 
3. Cookin’ At The Continental 4:21 
4. The Midnight Sun Will Never Set 5:44 
5. Caravan 7:49 6. Reflection 4:58 
7. Juicy Lucy 5:19 
8. Domingo 5:23 
9. Phineas 6:47
10. Manteca 5:47
11. Sweet And Lovely 5:46
12. Theme For Basie 4:13
13. Blues From Phineas 3:43

 On his new CD “Phineas” guitarist Chris Biesterfeldt explores the artistry of legendary jazz pianist Phineas Newborn Jr. One of the most technically skilled and brilliant pianists in all of jazz Phineas Newborn Jr. spent most of his career in Memphis, TN where he played in R&B bands along side his brother the guitarist Calvin Newborn. His studio recordings for RCA Victor, Atlantic and the Contemporary labels established his reputation and influenced many jazz pianists like Harold Mabern and James Williams, and continues to inspire many younger pianists too, including Mulgrew Miller, Donald Brown and Geoff Keezer to name a few.
“Not one to take the easy way out Chris Biesterfeldt follows up his jazz mandolin recording by adapting the great Phineas Newborn Jr. on the guitar. It’s nice to hear a fresh take on Phineas’s music through Chris’s guitar.” —Dave Stryker
Guitarist Chris Biesterfeldt earned his Masters Degree in Jazz Performance from the University of Tennessee, where he studied with Donald Brown and Jerry Coker.
Chris currently lives in Brooklyn, NY where he works as a freelance musician. In addition to playing jazz he does session work (Sesame Street, AT&T, etc.) and plays in orchestras for shows (Radio City Christmas Spectacular, Pippin, Mamma Mia, etc.)
In addition to his guitar skills Chris is equally adept on the mandolin. His debut CD “Urban Mandolin” received many critical raves;
Chris Biesterfeldt’s freshman recording “Urban Mandolin” boasting “his train-songish rendition of the classic 70’s Weather Report jazzfusion fave “Teen Town” is dead-on, laugh out loud accurate, and one of the freshest acoustic string jazz interpretations you’ll hear.” The heavily in demand Broadway multi-instrumentalist orchestra veteran’s CD is now available for purchase from your favorite online resources and we highly recommend purchasing your copy as soon as you can. The 16 song collection of mostly classic bebop with some stirring pop side trips is a fret barn burner.
—Ted Eschliman jazzmando.com
Available from Amazon, iTunes & CDBaby



miércoles, 22 de abril de 2015

Steve Cromity tomorrow 4/23 @ MILK RIVER CD PARTY CONTINUES

Joining me on Thursday will be Richard Clements, piano; Eric Wyatt, tenor; Alex Layne, bass;
Larry Johnson, drums
And it's Velvets birthday!
Here's a video of the last show:

Artist Website: www.stevecromity.com
Release Date: MARCH 3, 2015
UP Code: 040232190667

Track listing, track times 
1. Old Devil Moon 5:08 
2. When Lights Are Low 3:33 
3. All My Tomorrows 5:29 
4. Sugar 4:16 
5. My Little Boat 3:34 6. Where Do You Start 6:23 
7. Jeannine 3:42 
8. How Little We Know 3:08 
9. I Was Telling Her 5:30 
10. Without A Song 3:40

Steve Cromity –vocals, Patience Higgins-reeds & flute, Kenyatta Beasley-trumpet, Eric Wyatt-tenor sax Marcus Persiani-piano & music director Eric Lemon-bass, Darryl Green-drums 

Producer: Rob Crocker Executive Producer: Steve Cromity Sound Engineer:
Michael Brorby
Mixed and recorded at: Acoustic Sound Recording, 279 Sterling Place, Brooklyn Recorded on: June, 17, 18 2014 Sound Engineer: Michael Brorby 

This is my second CD, it’s a recording of some of my favorite songs. They include a variety of standards, most of them firmly established in the jazz genre. My choice of the upbeat tunes was based on their natural swinging rhythm, and I love to swing. I chose the ballads because I can feel the lyrics composed by the song writers. I consider them poignant and touching. 

Then there are two other selections, one a really beautiful Bossa (“My Little Boat”), which is just so romantic, and the other (“How little We Know”), gives some important insight into the nature of human relations. I’m proud to say that this music we call jazz is a passion for me, as I know it is for many others. 

I believe this CD upholds the best tradition of the music, by way of a quality production. Certainly, my band gave me all the support I needed and I was blessed to have had some of the baddest cats with me on the NYC scene today. I was particularly honored to have special guests Patience Higgins, Kenyetta Beasley, and Eric Wyatt (my nephew) commanding the horn section on the date. Their addition to my regular world-class rhythm section of Marcus Persiani, Eric Lemon, and Darrell Green made the session a joy. In addition, Michael Broby’s recording studio ensured that the sound was done right. Finally, the orchestration of our studio sessions and much of the success of this project was due to Rob Crocker, radio personality on WBGO-FM. Enjoy! 

Media Contact
Jim Eigo



martes, 21 de abril de 2015

Perry Beekman S'Wonderful Sings and Plays Gershwin Apr 27th, new CD @ The Bar Next Door

April 27th  8:30 to 11:45 PM
The Bar Next Door - NYC
The Perry Beekman Trio
          For the third part of his continued quest to fully explore the Great American Songbook, the remarkable guitarist/vocalist Perry Beekman embraces George and Ira Gershwin with the very aptly titled S’Wonderful.  Following up on the critical and popular success of the first two albums in the series – Bewitched (Rodgers & Hart) and So in Love (Cole Porter) – Perry and his longtime associates, pianist Peter Tomlinson and Lou Pappas on bass, offer 15 of the Gershwins’ best loved classics.

            With each new recording project and the prolific live performing schedule they maintain, the trio’s synergy and unity of purpose become increasingly apparent.  The sheer joy and the sparkling sense of discovery they exhibit in playing together has never been more palpable than on this album.

            The easygoing and joyous nature of the music almost obscures the sophistication and inventiveness of Perry’s brilliant arrangements, which perfectly frame these familiar songs.  While remaining totally faithful to the composers’ visions, they provide a freshness and flair that makes them new again.  One of the most captivating elements of the arrangements is the creation of written improvisational lines and chordal passages played in unison by guitar and piano that link the imaginative solos with the return to the theme on a number of tracks.  The effect is exhilarating and further enhances the constant lyricism in the solos, tying them in even more seamlessly with the unforgettable melodies.

            Perry always cites the enormous influence that the immortal Nat ‘King’ Cole has had upon both his music and his singing.  The former is manifested in the use of the master’s guitar/piano/bass format – a constant in Perry’s live performances and all his recordings.  As for the singing, while Perry’s dulcet voice is not like Nat’s (although in the lower tones that sound of liquid velvet is manifested), his impeccable phrasing and flawless intonation both hold true to the great man’s style. 
            Instrumentally, Perry’s consummate guitar artistry is consistently on display, but so perfectly entwined with the songs that his virtuosity is understated.  The fluidity of the Barney Kessel/Herb Ellis style of swing; the blazing Johnny Smith-tinged runs and that Grant Green soulfulness are all inextricably coiled into the music.  Tomlinson’s mastery is a perfect complement to Perry’s, his solos consistently inspired and their interplay always exemplary, while Pappas’ deeply wooded tone, rhythmic vibrancy and consistently tasteful musicality provide the core to every piece.

            There’s something about the way that Perry sings the lyrics that also calls to mind the man whose name was on George Gershwin’s lips as his last utterance – Fred Astaire.  Like Astaire – a vastly underrated vocalist – Perry’s delivery of IraS’Wonderful lyrics allows them to tell the story on their own, unobscured by stylish invention for its own sake.  And his guitar and vocals are so symbiotic that they resemble the right and left hand of a pianist in their singularity of purpose.

            The 15 songs contained here are all staples of the majestic Gershwin legacy, but of course only a small part of it – a further reminder of the depth and scope of the prolific composer’s output in his tragically short life.  Many of them have been played by jazz artists for more than 75 years; and many more have been adapted into now-classic jazz originals – none more often than I Got Rhythm.  Here Perry offers his own variation, slotted into the innards of his faithful rendition with one of those aforementioned guitar/piano unison items.  A somewhat ironic atmospheric rubato intro sets up this unabashedly swinging version, also marked by his beautifully constructed solo.

            On another rhythm note, Fascinating Rhythm is one of two instrumentals, treated with almost jump-style buoyancy, with fluid guitar and piano solos, and a lively trading of fours with the bass, all further stoked by some of Perry’s guitar body “conga” percussion.  But Not for Me features a nicely suspended version of the winsome melody and a guitar solo that covers the full range of the instrument.

            It’s just voice and guitar on I’ve Got a Crush on You, featuring a highly compelling chord melody arrangement followed by a poignant vocal interpretation.  Beautiful balladry is on tap for two more pieces.  How Long Has This Been Going On lets Perry demonstrate that low-range Nat-like silkiness with his touching vocal. Someone to Watch Over Me includes its often-ignored intro, used here to build a tantalizing tension before Perry offers the utterly gorgeous melody, stretching his tones languorously along the bridge.  A beauteously delicate piano solo is another highlight on this highly emotive and deeply moving piece.

            In true tribute to the Gershwins, Perry includes intros on three other pieces as well, both in a talking/singing style.  Nice Work If You Can Get It talks its way into a bluesy groove, with baroque unison lines punctuating a soulful guitar solo, the piano flirting with barrelhouse and a nicely rhythmic bass solo over Freddie Green-ish comping.  Love is Here to Stay follows the intro with an easy swinging vocal over a walking bass before joined by deep blue piano.  Perry’s subtly deliberate solo is rooted in potent chordal style; and Peter’s blues-drenched turn follows a similar route. The intro to Let’s Call the Whole Thing Off transforms the whimsical piece into a playful jaunt, with a spirited angular guitar solo.

            Whimsy of a more classical sort is heard on Oh Lady Be Good, with a quote from Rhapsody in Blue rolled into the introduction, and a fresh take on the chord structure with a touch of big band sound.  Audaciousness is at play on S’Wonderful, with its bossa feel, bold suspensions and daringly elongated rhythms on the head; and features a crystalline guitar solo that falls like a gentle rain.

            Undiluted swing is the recipe for the other four pieces.  Liza is in a punchy, vigorous mood featuring an articulately melodious guitar solo.  Love Walked In struts in an easy but emphatic gait with Perry in glowing single note runs on the first chorus and cascades on the second.  Soon is a surging kicker, with briskly punctuated vocal, a fiery guitar solo and smoking piano (with some more “conga” accompaniment); and They All Laughed is an infectiously buoyant jaunt with a terrific guitar solo that blends blistering runs with deliciously suspended chords, and Tomlinson cooking in Teddy Wilson swing fashion.

            With the huge Gershwin repertoire, one can only hope that this album is a volume one, as there’s really just one way to properly describe it:  S’Wonderful.

For more information visit www.perrybeekman.com 



domingo, 19 de abril de 2015

Lauren White EXPERIMENT inspired by the recordings of Irene Kral May 6th @ Catalina Jazz Club

Release Date: JUNE 5, 2015
UPC Code: 724101778926

Track listing 
3. BETTER THAN ANYTHING (Duet With Mitch Ellis) 3:11 
5. GENTLE RAIN 4:16 
6. IT ISN’T SO GOOD 3:31 
8. SHOW ME 3:03 
9. WINTER MOON 5:18 
12. LUCKY TO BE ME 4:01 
13. EXPERIMENT 4:53 
14. YOU ARE THERE 3:37 
15. RAIN 0:33

Musicians: LAUREN WHITE vocals, QUINN JOHNSON piano, TREY HENRY bass, RAY BRINKER drums
With Special Guests MITCH ELLIS and JODI BURNETT

Produced by: Quinn Johnson Executive Producer: Clifford Bell

Lauren is a popular Los Angeles vocalist, who has performed extensively in venues throughout the city such as Catalina Jazz Club, Upstairs At Vitello’s, “Feinstein’s At The Cinegrill” at the legendary Hollywood Roosevelt. “Experiment” is the second collaboration for Lauren with Quinn Johnson producing. Their previous cd, “Meant To Be”, is highly regarded for it’s adventurous spirit and exquisite arrangements and received considerable airplay.
Quinn Johnson is the longtime Musical Director for Steve Tyrell and frequently appears in the The Clare Fischer Band, which recently won a recent Latin Grammy for best album. Acclaimed musicians, Trey Henry on bass and Ray Brinker, on drums complete the trio.
Special Guest Appearance by Mitch Ellis, son of the legendary guitarist Herb Ellis and “Chambers, Herbert & Ellis” dueting with Lauren on "Better Than Anything" and Jodi Burnett, an accomplished cellist and the daughter of Irene Kral.

Media Contact
Jim Eigo