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Braithwaite & Katz Communications
Ann Braithwaite: ann@bkmusicpr.com
www.jazzglobalbeat@blogspot.com jazzglobalbeat@gmail.com
miércoles, 30 de marzo de 2016
Aruán Ortiz Trio on tour with "Hidden Voices"
martes, 29 de marzo de 2016
President Obama dancing the Tango at the Argentina State Dinner!
¡¡Viva The Latin Jazz!!
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
lunes, 21 de marzo de 2016
The Isley Brothers next sensation at Aruba Soul Beach Music Festival
As usual in the calendar of events Aruba, for 16 years, from 25 to 30 May 2016 will be held on Aruba Soul Beach Music Festival. This edition will feature The Isley Brothers, Ronald and Ernest Isley, Miguel, Jazmine Sullivan and Fantasia singer.
The Aruba Soul Beach Music Festival has been listed as one of the 10 best music festivals in the Caribbean by Jet- in September Magazine, because it is an event that combines concerts with great exponents of soul music and R & B, comedy nights and parties the beach.
"It is an honor to receive this kind of so talented and dynamic in our Happy Island artists," said Otmar Oduber, Minister for Tourism, Transport, Primary Sector and Culture of Aruba. "Tourists will not only enjoy first-rate performances during the festival, but also have unique cultural experiences on the island during their stay."
The Isley Brothers will be responsible for initiating the festival, part of the Rock and Roll Hall of Fame and Roll, winners of numerous music awards and have successful records for five-decade career. While the singer Miguel, who has been acclaimed by critics and nominated for Grammy awards for his third album "Wildheart" which has occupied the first place in the R & B Billboard Billboard.
Fantasia's newest album, "Back to Me", has sold nearly 1.5 million digital copies. The first single "No time for it", which premiered in January, and occupies one of the top of the Billboard Billoboard.
Jazmine Sullivan also be present at the Aruba Soul Beach Music Festival in 2016 was nominated for two Grammy awards and is recognized as one of the leading young voices of R & B. His first single "Need U Bad" produced by Missy Elliott, reached number one on the Billboard Hot R & B uy in Hip-Hop, while simple his second, "Bust Your Windows" produced by Salaam Remi, peaked in number four.
"This year, the Aruba Soul Beach Music Festival will feature artists from different generations and with the most important voices of the industry Soul and R & B music," said Mark Adkins, executive producer of the festival.
Isley Brothers - For the love of you (live):
Isley Brothers - For the love of you (live):
www.soulbeach.net www.aruba.com
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
jueves, 17 de marzo de 2016
Timbazo and Cabo Cuba Jazz concerts from tomorrow!
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¡¡Viva The Latin Jazz!!
www.timbazo.com www.cabocubajazz.com
www.jazzglobalbeat.blogspot.com
lunes, 14 de marzo de 2016
Lina Orfanos beautiful tribute CD "Essentially Ella" and next presentation
"The ever-present Lady of Jazz Ella Fitzgerald should feel happy with this heartfelt tribute,
passionate and interpretive excellence offered his personal stamp by the mezzo-soprano vocalist Lina Orfanos"- Luis Raul Montell, Jazz Global Beat
On December 4, 2015 on this website, jazzglobalbeat.blogspot.com, published "Essentially Ella - New CD - Lina Orfanos & Special Guests - Metropolitan Room (Dec. 6, 13 and 26)" really were meeting our dear friend Lina, great voice, who managed to gather some excellent musicians, including bassist John Benitez wonderful, and now we can repeat that nice to hear Lina Orfanos who is released sentimentally, but with a special romance that leads all to divine love.
His performances at the Metropolitan Room in New York City led to joy and satisfaction for the world-all attendees came lover-now St. Patrick's Day, on 17 March this month will be singing with his group Perspectives Theater, NYC.
Acclaimed international vocalist and recording artist Lina Orfanos is a mezzo-soprano who sings in popular, classical, jazz, and world musical styles. She has a lush voice with faultless intonation and great rhythmic footing. Lina is immersed in the sonorous cultures of the United States, Latin America, and the Mediterranean. Singing in English, French, Greek, Hebrew, Italian, and Spanish comes easily to her. Whether performing an old Greek folk lament, paying tribute to Ella Fitzgerald’s version of “Night and Day,” or inspiring a young composer to set Spanish poems to music for her, Lina proves that songbirds can soar.
The Muse whispered into Lina’s ear when she was a small girl on the stage of the Metropolitan Opera with the Children’s Chorus. Since that time, she has worked hard at developing her art with private lessons, studio and university studies, and solo performances in New York City venues such as the Cathedral of St. John the Divine and Town Hall. A serious illness in adolescence, however, derailed her for a few years but then she returned to her vocal art with the purpose of the consummate artist that she is. Moreover, her health crisis has taught Lina about trauma and how music can help mend wounds of all kinds.
Always enjoying live performances and engagement with audiences, Lina put her remarkable recital skills, high quality repertoire, and vocal expressiveness in full throttle in her first studio album Enchanted Night (2007). Recording old and recent songs by Greece’s most famous composer, Mikis Theodorakis, Enchanted Night has been presented to audiences around the world. She has received high praise not only for her selections but for what Theodorakis himself says about Lina’s “beautiful lyricism and interpretive perfection!”
Lina holds the exclusive honor of being invited personally by Theodorakis to cross the Atlantic twice and sing on the huge concert stages of the Herodion Theater at Acropolis in 2007 and Lycabettus Hill in Athens in 2010. The composer found her singing “thrilling” and critics said that when she sang, “How lovely is my love in her everyday dress…” from The Mauthausen Cantata (1965) an invisible trembling wave moved across the theater stage and settled amid the 4,000 listeners.
Last year, Lina recorded and premiered the Ay Amor song cycle composed specifically for her voice by the gifted Dimitris Maramis. A lyrical song cycle based on Spanish poetry, Ay Amor has been received with great enthusiasm. For the world premiere at Symphony Space, Lina and the composer himself joined forces and brought Andalusian and Athenian passion to the Upper West Side of Manhattan. This year, they are premiering Ay Amor in the great city of Thessaloniki in Greece. Following the concerts, Lina is recording one of Theodorakis’s most meaningful and popular song cycles The Mauthausen Cantata. At the request of the 89 year old composer, Lina will be recording the four haunting songs in Hebrew. Songs are once again making history and Lina is offering her artistic vitality to the Muse of history.
¡¡Amor y Jazz!!
www.linaorfanos.com
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
jueves, 10 de marzo de 2016
Mary D'Orazi release his CD "To Brasil and Bacharach - A Tribute" in Chapel of the Chimes, Oakland, March 20, 2016
Mary D’Orazi isn’t the first jazz singer beguiled by the luscious melodies and intoxicating rhythms of Brazil, but few have followed their passion to musical destinations as beautiful and interesting. Possessing a crystalline tone and supple rhythmic feel, D’Orazi worked closely with pianist/arranger and producer Marcos Silva and some of the Bay Area’s best musicians to craft her impressive debut album To Brasil and Bacharach - A Tribute.
A supremely sophisticated pianist and accompanist with vast knowledge of the Brazilian songbook’s back pages, Silva introduced D’Orazi to songs far beyond the usual bossa nova and MPB hits (though they interpret Jobim’s eternal “Fotografia”). The album opens with “Chico Hipocondria,” an obscure, jazzy gem by Aécio Flávio, a Brazilian pop artist who’s largely unknown in North America. A second Flávio tune, “Coração Vira Lata,” suggests there might be mu h more gold to be mined from this songwriter’s recordings. Lush and lithe, the melody sounds like Steely Dan’s Walter Becker and Donald Fagen losing their LA paranoia in Rio, complete with a winsome alto sax solo by Harvey Wainapel, a true Brazilian music devotee.
From the pen of the brilliant guitarist Toninho Horta, a musician with whom Silva has deep ties, D’Orazi artfully navigates “Meu Canario Vizinho Azul,” a lovely song that recalls Horta’s essential role in Milton Nascimento’s Clube da Esquina in Belo Horizonte. Colin Hogan’s accordion introduces Ivan Lins and Vitor Marins’ “Vieste,” a gorgeous soaring melody that stands out even amidst this exceptional company. And Silva’s own “Barra-Joá,” which features a sparkling wordless vocal by D’Orazi, serves as a compelling reminder that a new album focusing on the pianist’s originals is well overdue.
While it’s no surprise to find an American jazz singer delving into Brazilian music, D’Orazi and Silva weave a much more complex tapestry here, alternating the songs in Portuguese with Bacharach/David hits filtered through a Brazilian lens. “I’ve always loved Burt’s music,” D’Orazi says. “It’s so beautiful and appealing and well written. At one point I had gotten a gig and I remember saying to Marcos what about doing some arrangements of Burt Bacharach songs? He was very excited to try them out.”
Bacharach famously drew on bossa nova in his music, but the arrangements often foreground a latent Brazilian pulse, drawing out what Silva calls “the Brazilian DNA” in these songs. “I Say a Little Prayer” ascends heavenward on Silva’s scintillating piano solo, while “A House Is Not a Home” aches with that untranslatable bittersweet Brazilian emotion saudade. In the same way, D’Orazi’s version of “Alfie,” a song that’s often given a light and breezy treatment, digs into David’s searching lyric (and like “A House” features beautifully calibrated violin work by Hande Erdem). The album closes with a dreamy version of “(They Long To Be) Close To You,” a sensuous vibe heightened by Erik Jekabson’s caressing flugelhorn.
One reason that the album works so well is that Silva recruited a stellar cast of musicians for the project. Electric bassist Scotty Thompson and drummer Phil Thompson (no relation) have more than a decade of experience together as a superlative rhythm section tandem. Together they’ve worked with many of Brazil’s greatest musicians, including Chico Pinheiro, Toninho Horta, Leny Andrade, and Jovino Santos Neto (ace jazz drummer Greg German holds down the drum chair on about half the tracks).
“Scott and Phil have been playing music with Marcos for so many years,” D’Orazi says. “They know the music really well. Greg is my husband, and I love his drumming. He’s been studying Brazilian music for the last five years, and he’s on all the ballads.”
It’s impossible to overstate Silva’s role on the Bay Area music scene. He’s introduced several generations of players to Brazilian music, including many who have gone on to immerse themselves in it, such as vocalists Dee Bell, Sandy Cressman, and Emy Tseng. He came up as a teenager in the midst of Rio’s second wave of bossa nova, and he’s served as music director, arranger, and keyboardist for Flora Purim and Airto, Toninho Horta, Paquito D'Rivera, Bud Shank, Ricardo Silveira, Edu Lobo, and numerous Caymmi siblings (namely Dori, Nana, and Danilo). Like so many musicians before her, D’Orazi describes meeting Silva as a musical epiphany “that changed my world,” she says.
As a child she fell in love with the songs on the hit album Sérgio Mendes & Brazil ‘66, but it wasn’t until decades later when she was attending Jazz Camp West that she decided to study Brazilian music after meeting Silva, who was on faculty. “I took some of the classes with him at the Jazzschool when it was above La Note Café,” D’Orazi says, referring to the institution now accredited as the California Jazz Conservatory (where Silva is head of the Brazilian music program). “The intricacies, the melodies and harmonic complexities just hooked me.”
Growing up in a musical household with Italian immigrant parents, D’Orazi watched her father writing songs throughout her childhood. A doctor by day, he spent his free time composing on the ukulele at night. She took eight years of piano lessons and sang in various choirs throughout her adolescence, but by the time she enrolled in college her musical pursuits had fallen by the wayside. Eventually her long suppressed desire to sing bubbled up when a friend asked her what she most wanted to do with her life. “I answered, ‘Be a singer,’ which kind of shocked me,” she says. In her mid-30s she started taking private voice lessons. Always interested in jazz, she found her niche when she joined the Oakland Jazz Choir under the direction of Greg Murai.
“Greg brought a lot of energy and excitement to the choir,” D’Orazi recalls. I “And I met a lot of musicians. This was a jumping off place for me, a jolt into a new life. I was kind of hidden in the back at first, but I ended up doing some solos out front, and eventually realized ti was time to move on and focus on solo work.”
She started gigging widely around the Bay Area, and formed an early alliance with guitarist Terrence Brewer, with whom she recorded the duo CD Where There Is Love (under the name Mary Freeberg). But it was her creatively charged relationship with Marcos Silva that set her on her present course. While she still considers herself a student of jazz and Brazilian music, D’Orazi grew from dedicated student to musical colleague, performing at major concerts series and venues around Northern California with Silva. With To Brasil and Bacharach - A Tribute D’Orazi leaves no doubt that she’s a formidable artist in her own right who has honed a body of songs unlike anyone else on the scene.
The CD:
"To Brasil and Bacharach - A Tribute"
Tracks:
1. Chico Hipocondria; 2. I Say a Little Prayer; 3. Fotografia; 4. Coracao Vira Lata; 5. A House is Not a Home; 6. Da Licenca; 7. Walk on By; 8. Alfie; 9. Meu Canario Vizinho Azul; 10. Vieste; 11. Barra-Joa; 12. (They Long to Be) Close to You
The Musicians:
Mary D'Orazy (vocals)
Marcos Silva (piano, synthesizer, Pecussion, guitar, vocal); Scott Thompson (electric bass); Phil Thompson (drums); Greg German (drums 1); special guest: Erik Jekabnson (fluglelhorn 7, 12); Harvey Wainapel (alto sax 4, 11); Colin Hogan (accordion 3, 10); Edgardo Cambon (congas 11); Ian Faquini (acoustic guitar 3); Hande Erdem (violin 5, 8)
The release of the CD "To Brazil and Bacharach - A Tribute" will take place next March 20 at Club de Jazz Chapel of Chimes in Oakland, from 2:00 p.m.
Mary D’Orazi’s warm, lyrical, mezzo soprano voice can color melodies across various genres. She possesses a crystalline tone, strong rhythmic sensibility and thoughtful phrasing. On a rhythmically complex, highly syncopated Brazilian song, her vocal lightness and flexibility come into play. In vocal harmony, singing jazz or pop, she has the aural sensitivity to blend, nuance and dance with other voices.
Brazilian music has become a solid landing place for Mary, who has sung various styles throughout her life, and it seems to be a natural fit for her in terms of feel and expression. Over the past decade, Mary has devoted most of her practice to learning an expanse of Brazilian repertoire, with Rio-born pianist/composer Marcos Silva as her mentor. As someone who doesn’t speak Portuguese, Mary’s pronunciation has fooled many a native Brazilian and she will give credit to lots of practice, a bit of language study, a good ear and assistance from Silva.
As a child she fell in love with the songs on the hit album Sérgio Mendes & Brazil ‘66, but it wasn’t until decades later when she was attending Jazz Camp West that she decided to study Brazilian music after meeting Silva. “I took some classes with him at the Jazzschool,” Mary says, referring to the institution now accredited as the California Jazz Conservatory (where Silva is head of the Brazilian music program). “The intricacies, the melodies, harmonic complexities and the poetry of the lyrics hooked me.”
Born in Oakland, CA and growing up in a musical household with Italian immigrant parents, Mary watched her father writing songs throughout her childhood. A doctor by day, he spent his free time composing on the ukulele at night. She took eight years of piano lessons and sang in various choirs throughout her adolescence, but by the time she enrolled in college her musical pursuits had fallen by the wayside. Eventually her long suppressed desire to sing bubbled up when a friend asked her what she most wanted to do with her life. “I answered, ‘Be a singer,’ which kind of shocked me,” she says. In her mid-30s she started taking private voice lessons.
Always interested in jazz, she found her niche when she joined the Oakland Jazz Choir under the direction of Greg Murai. “Greg brought a lot of energy and excitement to the choir,” she recalls. “And I met a lot of musicians. This was a jumping off place for me, a jolt into a new life. I was kind of hiding in the back at first, but I ended up doing some solos out front, and eventually realized it was time to move on and focus on solo work.”
She started gigging widely around the Bay Area, and formed an early alliance with guitarist Terrence Brewer, with whom she recorded the duo CD Where There Is Love (under the name Mary Freeberg). But it was her creatively charged relationship with Silva that set her on her present course. While she still considers herself a student of jazz and Brazilian music, Mary grew from dedicated student to musical colleague, performing at major concerts series and venues around Northern California with Silva.
Draw conclusions from what is Mary D'Orazi as a vocalist and his group:
¡¡Viva The Latin Jazz!!
www.marydorazi.com
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
miércoles, 9 de marzo de 2016
Notes of Laurindo Almeida and Clair De Lune (Bebussy)
The Brazilian guitarist,
Laurindo Almeida (Laurindo de Almeida), started his music career playing the
guitar at serestas(serenades).
In 1935, he moved to Rio de Janeiro, where he performed in two of the most
prominent music venues of that period - Casino da Urca and Rádio Mayrink Veiga.
He was also a prolific composer and wrote several choros and waltz tunes, some of which included the
collaboration of the renowned guitarist Garoto. He was famous in his native
country as a classical Spanish guitar player.
¡¡Viva The Latin Jazz!!
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
domingo, 6 de marzo de 2016
Multifaceted in Jazz meets composer and pianist Fahir Atakoglu in his two new CDs
Fahir Atakoğlu releases his latest CD "Live at Umbria Jazz" (Far & Here label) on January 19, which is the 17th album in Fahir's vast catalogue of music with plans for a 2016 world tour underway.
Atakoğlu has worked to blend his own native music with sounds from the wider world, incorporating Cuban rhythms, Middle Eastern melodies, and improvisation as perfected by American jazz artists. Fahir's three previous U.S. jazz releases and his CDs have made it to #1 (three times) on the JazzWeek World Music Chart as we as charting high on the JazzWeek Jazz Chart
Fahir's Turkish melodies smoothly blend into the context of a precision-balanced, high-powered jazz trio consisting of Fahir on piano, the great Cuban drummer Horacio "El Negro" Hernandez and renown Canadian bass player Alain Caron.
In the CD liner notes, Grammy® Award winner for album notes, Neil Tesser writes "... True to his roots, Atakoğlu has used his birthright as inspiration for many of these songs.
Amongst the wide palate, 'Gypsy In Me' sounds a bit like what might have resulted had Thelonious Monk visited the Topkapi Palace...
The moody, introspective 'Connection' has a Turkish foundation, expressed in its introductory measures; but the main melody hews closer to a modern American standard, and its rhythms range from a bossa-nova tinge to a touch of tango.
'Connection' forges a bridge between east and west. More than anything else, that connection defines his music."
See more at www.jazzcaribe.blogspot.com
This is a multi-faceted fusion of Jazz, Funk, Deephouse, Electronic and Turkish Music that are additionally interpreted by vocalists and rappers who span the musical genres that illuminates the feelings of what the Art of Banksy evoke in Fahir Atakoglu.
The concept and script, created by Fahir is a coming together of the philosophy and Art of Banksy and the philosophy and poetry of the revered Persian Poet, Rumi.
“Musical Reflections of the Art of Banksy” was composed for “The Art of Banksy” exhibition in Istanbul. For the recording, Fahir Atakoğlu created a 6 part 25 minute length musical composition. The lyrics are a compilation of Rumi’s poems and Banksy quotes.
Banksy is British graffiti artist, political activist and film director whose real identity is unknown. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.
Rumi is a 13th century Persian poet, jurist, Islamic scholar, theologian and Sufi mystic. His influence transcends national borders and ethnicities. He has been described as the “most popular and best selling poet” in the United States. Rumi inspires love, unity, freedom of the soul, who we are as individuals and our value and purpose in this universe.
“The Art of Banksy” exhibition in Istanbul is curated by Steven Lazarides and was organised by IEG (Istanbul Entertainment Group).
“Musical Reflections of the Art of Banksy “was recorded in Istanbul and in the U.S.A. with a combination of Turkish and American musicians and actors.
Artists, rappers & singers: Awa Sal Secka, Theresa Cunningham, Thony Mena, Louis Davis
Musicians: Fretless guitar & ebow, Fatih Ahiskali – Ney, Eyup Hamis – Gazel, Bekir Unluataer, Aliye; Trumpet & Flugelhorn, Gary Winters – Saxophones, David Milzow.
All music composed, arranged and produced by Fahir Atakoğlu.
Fahir with Sertab Erener singer "La'l" in concert:
www.fahiratakoglu.com
www.jazzglobalbeat.blogspot.com jazzglobalbeat@gmail.com
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