martes, 13 de marzo de 2018

Composer and Saxophonist Sharel Cassity Announces the Release of her Fourth Album as a Leader Evolve

Featuring her newest group Elektra Due Out April 6, 2018 on Relsha Music
Saxophonist and bandleader Sharel Cassity is proud to announce the April 6threlease of her fourth album as a leader and the debut release from her ensemble Elektra, Evolve. Comprised of a rich sonic landscape ranging from soul and jazz to rock and electronica Elektra's mission is to create groove based creative music that appeals to a modern audience. Cassity's material for this project includes both original music as well as crafty reincarnations of popular songs. Elektra includes some of the most renowned musicians in the industry today including trumpeters Ingrid Jensen, Marcus Printup and Freddie Hendrix, bassist Linda Oh, guitarist Mark Whitfield, pianists MikiHayama and Richard Johnson, vocalist Christie Dashiell, drummers Jonathan Barber and Lucianna Padmore and harpist Riza Printup. Evolve is indeed a celebration of evolution, and Cassity, with the help of this melting pot of talented musicians, delves into three separate stems of this particular subject. Showcasing a collection of artful originals and reimagined compositions by Alicia Keys and Bjork, Cassityconfronts the evolution of music, her own personal and artistic evolution and a push for evolution of the social climate (race and gender) in the United States.
From performing with jazz fusion big bands such as the Revive Big Band led by Igmar Thomas and Nicholas Payton’s Television Studio Orchestra, to recording with folk singer Natalie Merchant to listening to Roy Hargrove’s RH Factor, Kenny Garrett, late Miles Davis, A Tribe Called Quest, Q Tip, Bjork and Robert Glasper, Sharel Cassity, throughout her decade-long career, has been exposed to an array of inspiring influences. Upon realizing that by continuing to only pursue traditional jazz, she would never totally fulfill her own abilities, Cassity began creating modern, relevant music that although still rooted in the rich jazz history, was innovative, creative and evolutionary. “I had to be honest to all of the music that had influenced me, that made up who I am in this day and time,” explains Cassity.
Simultaneously, she also became aware of the fact that she had subconsciously classified herself as a “musician, a saxophonist” and now desired to explore every other potential pathway she could take, away from solely being a performing musician. She says, “I realized that I could create in any direction that I wished, go where I wished, do what I wanted--and that music would always be there no matter where I went.”
Following a performance alongside Herbie Hancock and Jimmy Heath, Cassityrecorded Evolve the next day and that night flew to the middle east to perform at Jazz@Lincoln Center Doha and teach at Qatar Music Academy. Being away, building a new life with her husband and starting a family fueled more of her creativity than she had ever expected.

Many of the songs on this album are anthems and prayers for change, love and hope, and so highlights the evolution of the current social climate. Cassitystands against any form of racism hate, discrimination or negativity and continues to hope for a universal agreement and unity on this particular stance. “Armed with information from our elders, paired with our own creativity, musicians have a responsibility to create music that reflects and reaches listeners in the current world we live in,” says Cassityin Evolve’s liner notes, adding, “I want to put out music that encourages the world to fight against that; to encourage people to dream for better, because there is always better.”

¡¡Amor & Jazz!!

miércoles, 7 de marzo de 2018


March Is Women’s History Month

New CD From

Label: Tzigart/Promiseland PL0012
Release Date: JANUARY  2018
Artist Website:
UPC Code: 3 760100 040159

Clotilde : vocals, flute
Alexandre Saada : Piano, Rhodes, Clavinette, back vocals
All arrangements by : Madeleine & Salomon

Track listing w/ track time
1. Image (Nina Simone, William Waring Cuney) 1:55
2. Swallow song (Mimi Farina, Richard Farina) 2:16
3. All the Pretty Horses (Traditional) 3:19
4. No Government/High School Drag (Nicolette, Philip Anthony Johnson
/ Mel Welles) 4:52
5. At seventeen (Janis Ian) 2:23
6. Strange Fruit (Billie Holiday, Abel Meeropol) 3:09
7. Save the children (Al Cleveland, Renaldo Benson, Marvin Gaye) 4:32
8. Bain libre 1 (Alexandre Saada, Clotilde) 0:22
9. Little Girl Blue (Richard Rodgers, Lorenz Hart) 2:19
10. The End of Silence/Mercedes Benz (Elaine Brown/Janis Joplin) 4:25
11. Les eurs (Charles Stepney, Richard Rudolph) 2:07
12. Bain Libre 1 (Alexandre Saada, Clotilde) 0:51
13. Four women (Nina Simone) 6:35
14. Vous Faites Partie de Moi (Cole Porter, Josephine Baker) 2:39
15. Le Jour né de la Femme (Alexandre Saada, Clotilde) 3:54

Madeleine & Salomon is the meeting of two artists with well-established musical visions: the vocalist and flutist Clotilde and the pianist, composer, multi-instrumentalist, Alexandre Saada.
Long-term friends, they discovered, during a tour of Asia, in 2014, that they shared a common musical aesthetic and decided to form the duo Madeleine & Salomon with its minimalist music stamped in impressionist poetry.

They took advantage of the Melbourne Recital Centre (Australia) invitation in June 2015 to rethink the American Songbook in their decidedly original fashion, and record their first album A Woman’s Journey. This homage to American female protest songstresses is enriched on stage by free improvisations inspired by dreamlike short films specifically edited from stock shots.

A lonely voice, surveying a minor scale and reciting fundamentally feminist lines. Thus commences this first album of Madeleine & Salomon, “A Woman’s Journey”.  A minimalist and delicate duo tackling a humanist and rebellious repertoire. Madeleine sings, Salomon sits at the piano. Madeleine & Salomon, a duo with a natural elegance, “less is more” their essence.

The epic and libertarian duo Madeleine & Salomon embraces with ardor the feminist American songbook to cover it with loving-kindness tinged with a minimalistic music and with a deep and incandescent chant. Their 1st album A Woman’s Journey reveals a graceful and unexpected reinterpretation of a humanist and rebellious repertoirefrom Nina Simone to Janis Joplin to Billie Holiday to Josephine Baker.

Vocalist and flutist Clotilde (CLOW-TEELD) completed her studies in jazz and improvised music at the IACP and EDIM schools. She also explored world music vocal techniques ,developing an original approach to the voice as a multifaceted and narrative instrument. In 2007, Clotilde released Live au 7 Lézards. Accompanied by guitarist Hugo Lippi, the album was acclaimed by Jazzman, Jazzmag and Jazzhot magazines.

Pianist , composer, and multi - instrumentalist Alexandre Saada [SAH - AH - DAH]
studied classical music for ten years before expanding to include jazz, pop, and song, stud ying under Michel Petrucciani. Since his installation in Paris in 1999 he has not only carved out his own career of compos ing, performing and lead ing but has also worked alongside many artists as Leonore Boulanger, Electricdiva and Malia. In 2010 he performed solo at the Saint - Germain Jazz Festival. He has compose d for cinema, garnering a purse of the Sacem. In 2014 h e released Continuation to the end , followed by Portraits in 2015 . 

¡¡Amor & Jazz!!

martes, 6 de marzo de 2018

Ori Dagan SXSW Sat., March 17th Midnight @ The Elephant Room and new CD!!

Ori Dagan Notes:
Award-winning jazz singer, songwriter and recording artist Ori Dagan is taking jazz to new and exciting places. His rich baritone voice and impressive abilities as an improviser produces an instantly recognizable sound. In live performance, I have surrounds himself with Canada's finest musicians, performing an engaging mix of material which is always fresh and in the moment. Dagan's critically acclaimed releases "S'Cat Got My Tongue" (2009) and "Less Than Three <3" (2012) established a daring musical adventure on the global jazz landscape. In recent years he has won numerous accolades for his witty original songs, from "Googleable," his ode to a search engine, to the anthem for the rhythmically challenged, "Clap on the 2 and the 4." The latter of these was screened at 15 film festivals worldwide, netting "Best Educational Jazz Short" at the inaugural New York City Jazz Film Festival.

Dagan's third recording, Nathaniel: A Tribute to Nat King Cole (2017 Winner: Silver Medal for "Best Album" at the Global Music Awards) is a unique homage to the legendary jazz musician and pop icon. The recording features 5 original songs inspired by facets of Cole's life, music and legacy, with highly esteemed special guests Sheila Jordan, Alex Pangman and Jane Bunnett. In a career move as bold as Ori's singing, "Nathaniel" is the first visual album in the jazz genre: a collection of 12 music videos.

New CD

Ori Dagan "Nathaniel: A Tribute to Nat King Cole"
(ScatCat Records ODCD03) 

Ori Dagan - vocals (all tracks), Mark Kieswetter - piano (all tracks), Nathan Hiltz - guitar (all tracks, Ross MacIntyre - bass (all tracks), Jane Bunnett - soprano sax (6, 9) flute (11), Mark Kelso - drums (5, 6, 8, 9, 11), Magdelys Savigne - percussion (6, 11), Sheila Jordan - vocals (5), Alex Pangman - vocals (8)

¡¡Amor & Jazz!! •

miércoles, 28 de febrero de 2018

Grammy Nominated© Jazzmeia Horn Makes her Jazz Standard Debut!

"A si
nger who stands apart from many of her peers because she takes on every song she sings so naturally. Jazzmeia is a performer for whom every word, gesture, and ornament becomes an expression of her total conviction and she completely comes alive in the moment" 
-London Jazz News

It was a promising coming-out party for the most talked-about jazz vocalist to emerge since Cecile McLorin Salvant and Gregory Porter"
-NY Times

"The woman has a beautiful, supple vocal instrument with a tremendous range and an intonation that has elements of some of her influences-Sarah Vaughan, Betty Carter and Nancy Wilson."
-The Huffington Post
Notes JazzMeaia Horn:
Jazzmeia Horn is a Grammy Nominated © artist for her outstanding debut "A Social Call".  Also Winner of the 2015 Thelonius Monk International Vocal Jazz Competition and 2013 Sarah Vaughan International Jazz Vocal Competition, Jazzmeia Horn has a name that speaks for itself capturing her very essence. Hailing from the great Dallas, Texas Jazzmeia has already earned a reputation in New York as a “Rising Star.” 

¡¡Amor & Jazz!!

facebook: jazzmeia horn 

domingo, 25 de febrero de 2018

Vocalist Keri Johnsrud and Pianist/Arranger Kevin Bales Announce the Release of “Beyond the Neighborhood: The Music of Fred Rogers”

Featuring Billy Thornton (Bass) & Marlon Patton (Drums)
Due Out March 20, Fred Rogers’ Birthday!
Chicago-based vocalist Keri Johnsrud and GRAMMY nominated pianist KevinBales have come together once again for the March 20th release of Beyond the Neighborhood: The Music of Fred Rogers. With the help of an esteemed rhythm section featuring Billy Thornton on bass and Marlon Patton on drums, Johnsrud and Bales have succeeded in reimagining and rearranging the music that has been heard by numerous generations on the beloved children’s television program Mister Rogers Neighborhood. The songs, which up until now were specifically tailored for a child’s ear, are now presented as reinvented gems that are wise and wistful, simple but not simplistic, and even, in some cases, a bit sultry. In this collection, Mister Rogers’ songs not only relate to adults; they seem to have been written for adults in the first place.
Fred McFeely Rogers – the cardigan-wearing, sneaker-shod, quintessentially gentle Presbyterian minister known as Mister Rogers on the awards-winning children’s TV show that aired for nearly 35 years – also wrote the songs he sang on his program. He wrote a lot of songs, and he wrote them well. As a kid, you might not have noticed the craftsmanship of these songs, but as an adult, you can’t miss it. These songs left their mark on three generations of children who made Mister Rogers’ Neighborhood part of their after-school routine.
This project began over two years ago when Johnsrud and Bales discovered that they had a deep mutual love and admiration for Fred Rogers, while having a conversation about children’s programs they used to watch growing up. It was obvious to them that music played an integral part in the programming of Mister Rogers’ Neighborhood and were amazed at how that music remains relevant today. Most songs written for youngsters try to impart messages about love and family, friendship and sharing, belief in one’s self-confidence but respect for others – messages that too many adults seem to have forgotten.
“We wanted to take these songs, which we grew up with as kids, and make them relatable – more accessible – to adults as well. We discovered that a lot of Fred Rogers’ music cannot translate across the generations; those songs very much catered to children. We took the songs that could be heard as adults, the songs that he implanted in our brains when we were children and that are still poignant to us now,” Johnsrud explains.
What a lot of people don’t know is that Fred Rogers composed all of the music heard on his programs (The Children’s Corner, The MisteRogers Show, Mister Rogers’ Neighborhood). In fact, Kevin’s first introduction to jazz was listening to the music performed live by pianist and musical director Johnny Costa and his trio on Mister Rogers’ Neighborhood. With that said, Keri and Kevin wanted to compile a list of songs that may be familiar to some and unfamiliar to others to showcase the depth of Fred’s songwriting talent. The pair also wanted to arrange these tunes in a way that could appeal to all generations, so that families could listen to this music together. The beauty of these compositions lies in the simple messages found in each of his songs (those of self-worth, acceptance, and kindness) and can apply to all, whether young or old.
When Fred Rogers sang “Just For Once” it expressed the desire of two kids to explore friendship on their own, minus the meddling ministrations of parents and adults. Now, against the exotic rhythm that jazz musicians know as “the ‘Poinciana’ beat,” Johnsrud’s smoldering interpretation transforms it into a song that channels the simmering ambitions of new lovers. Several of Rogers’ compositions make the transition from friendship to chaste romance. He wrote the lovely “When The Day Turns Into Night” as a comforter, girding tots against the separation anxiety that many feel at bedtime, when the lights go out and parents leave the room; here it has the heartfelt yearning of a Cole Porter meditation on separated lovers. The hard-swinging opener, “It’s You I Like,” carried a basic childhood message about accepting people for who they are, rather than how they look; Johnsrud and Bales turn it into a peppy, even flirty thing, suggesting the warmth and wonder of an emergent romance. And “I Like To Be Told” comes across as a love song conveying unabashed honesty and vulnerability – even though it began life as a child’s plea for respectful truth from elders. Johnsrud credits the quality of Rogers’ writing for smoothing the way on this album. “He’s certainly very underrated as a composer,” she says, adding that the success of these “translations” from kidspeak to adulthood owes to that. “Look And Listen” could have come from pretty much any Frank Loesser musical of the 1950s; Bales instills a New Orleans beat and then adds a terrific solo to boot. On “Find A Star,” Johnsrud’s graceful ease with the lyric reveals a song that would instantly improve the quality of almost any modern Broadway show. (Marlon Patton’s Latin-tinged rhythm and a standout bass solo from Billy Thornton, certainly help.)
“It will be interesting to see which adults are attracted to this, and it’s just refreshing to have his work out there – especially in the current climate. We’d like to introduce his music to a younger audience as well, but largely through parents listening with their children, because these messages can appeal to all generations. We hope, in some small way, to carry on the legacy of Fred Rogers through this recording. Thank you for taking the time to support this endeavor and may it be a beautiful day in your neighborhood.”
A highly appealing jazz singer with a quietly expressive voice and a deep understanding of the lyrics that she interprets, Keri Johnsrud has been an important part of the Chicago jazz scene for the past 15 years. With headlining appearances at Chicago’s top venues including the historic Green Mill Cocktail Lounge and Jazz Showcase, Keri has built a strong reputation and following among peers and fans, alike. While having a solid regional presence, she continues to perform across the country (including regular appearances in Atlanta and New York City) and has enjoyed singing in Iowa before a hometown audience of fans and friends. In addition to finding success with her own group, Johnsrud also lends her voice to the critically acclaimed jazz ensemble Shawn Maxwell’s Alliance. Singing since she was seven years old and born and raised in Iowa alongside professional vocalists, Keri’s plans for the future are as direct and as logical as her music; “I plan to keep singing, writing, teaching and performing as much as possible and want to take the music wherever it needs to go.”
By some measures, Kevin Bales was a latecomer to jazz, already 17 when he encountered the sounds and structures and became captivated by the freedom and corresponding challenges of the music. But if late to the party, he wasted no time in immersing himself in the celebration, declaring total commitment to what would be his life’s work and backing his announcement by resigning his job and designated career in computer programming. Kevin could commit to jazz with a reasonable degree of expectation. He was already an accomplished pianist, with classical chops refined since the age of 10. So accomplished he was invited to audition for the Atlanta Symphony Orchestra, at age 16. Kevin’s initial career move was to the University of North Florida and a budding if little-known jazz program. There he met and performed with, and went on to record and tour with, a number of monumental artists, including Wynton Marsalis, Louie Bellson, Eddie Daniels, James Moody, Ben Tucker, Ira Sullivan, Sam Rivers, and Nat Adderley. He counts among his mentors bassist Ben Tucker, multi-instrumentalist Ira Sullivan, guitar legends Nathen Page and Jack Petersen, and the fiercely individual saxophonist Bunky Green. His meeting with Bunky Green led to five years of tours. His encounter with guitarist Nathen Page blossomed into 15 years of spot tours and four albums. And his work with trumpeter extraordinaire Marcus Printup has become a lifetime association that has included recordings on Blue Note/Capital records. Ten years touring and recording with vocal iconoclast Rene Marie culminated in a Grammy Nominated album. Few artists have the patience for teaching – as are few teachers accomplished players. But Kevin has amassed a reputation for his prowess in both professions. While still a senior at North Florida he was drafted into a full teaching load, and continued to be an integral part of the school’s jazz program for upwards of a decade. Today, Kevin manages his own jazz program, overseeing an ambitious schedule of jazz students. Kevin has accumulated a long list of awards and a reputation as one of the finest jazz pianists performing anywhere. In 1994, less than a decade into jazz, he won the American Pianist Association’s Jazz Piano Competition. In addition to nearly every important jazz venue in the South, he has performed in some of the most acclaimed clubs and festivals in America and around the world: the JVC Jazz Festival in New York, The Bakery in Los Angeles, The Kennedy Center and Lincoln Center jazz series, the Toronto and Edinburgh jazz festivals, and the Moscow Center for the Performing Arts.

¡¡Amor & Jazz!!

jueves, 22 de febrero de 2018

Vibraphonist Steve Hobbs new CD + Upcoming Live Appearances

Vibraphonist Steve Hobbs
Upcoming Live Appearances
Feb 23-24 
The Umstead Hotel
Raleigh's premier 5 star hotel
no cover

100 Woodland Pond Dr
Cary, NC 27513

Steve Hobbs with Drew Lile-guitar and bass

March 15 and March 29
The Red Monkey
4325 Glenwood Ave
Raleigh, NC
(919) 896-7412

Ben Palmer/bass, Todd Proctor/drums,
and special guest tba

New CD

Steve Hobbs “Tribute to Bobby”
(Challenge Catalog CR73433)
Street Date: January 5, 2018

Steve Hobbs-Marimba, vibes, Adam Kolker-soprano and tenor saxes, Bill O'Connell-piano, Peter Washington-bass, John Riley-drums, Carol Ingbretsen, Maurice Myers and Marvin Thorne-vocals

What The Press Is Saying About Steve Hobbs “Tribute to Bobby”

""I have valued Steve as a colleauge and friend since the day we met in 1993, and for me, Tribute to Bobby, his  lates project, represents his playing and writing at it's very best.  I am very happy to have been a part of it."  Peter Washinton/bassist extraordinaire( Milt Jackson, Bobby Hutcherson, Art Blakey, Tommy Flannagan and more).  January 2018

"This is a top notch release by one of the very best vibes and marimba players around today, bar none.  Great playing, great musicans, top quality sound and very attractive choice of material.  Highly recommended."  Randy Johnston/guitarist extradonaire (Lionel Hampton, Lou Donaldson, Dr. Lonnie Sm

"Everything about this issue is first rate."  Larry Hollis, Cadence magazine, January, 2018

"Mcherson."  Grady Harp, Hall of Fame Reviewer, Amazon, January, 2018

"Hobbs does Hutcherson and fans a service on this one."  George Harris, Jazz Weekly, November, 2017
asterful playing, terrific compositions and a fine tribute to Bobby Hut
"Smoking Stuff that has all the right vibes, this is a nice solid, mainstram groovers delight.  Hot stuff throughout.  Shris Spector, Midwest Record, October, 2017ith and more).  January,2018

"With Hobbs behind the behind the mallets on Tribute to Bobby, the marimba gets an exhilarating and rejunvenating workout.  Instances of profound eloquence and stunning chops abound.  This is a proper tribute to Hutcherson if there ever was one."  Downbeat Magazines "Editor's Pick" January 2018 by Ed Enright

Notes Steve Hobbs:

Steve Hobbs is the son of retired professional dancers. He started hand drums at age 7, and trumpet and drumset at 11. He switched from trumpet to vibes at age 17. Hobbs received a Bachelor of Music in Percussion Performance from Berklee College of Music in 1978. He received a Master of Music in Jazz Mallet Performance from the University of Miami in 1982.

As a vibist, Hobbs has toured with the pop group "Janice," which performed internationally and was featured on the Red Fox Show in 1979. He has also toured with Tom Harrell, Randy Johnston, Art Van Damme and many others. Steve recorded both as a leader and sideman with Kenny Barron, Tom Harrell, Bob Malach, Bruce Forman, Rufus Reid, Eddie Marshall, John Patitucci, Alan Broadbent, Joe LaBarbera, Victor Lewis, Peter Washington, John Riley, Steve Berrios, Bob Sheppard, Luis Conti, and many more.

Steve Hobbs has released seven CD's as a leader, and has been featured over 30 recordings. All five of the CD's released under his name reached the top ten in the US jazz charts and have been released in Europe and Asia. His latest release titled "Steve Hobbs/Spring Cycle," hit number 3 on the jazz charts in June of 2005. It was also nominated for jazz CD of the year by the Jazz Journalists Association of America.

In 1998, Steve was listed in the BMG All Music Guide to Jazz as one of the ten most influential jazz vibists in the world during the 1980's and 1990's. He was added to the New Grove Dictionary of Jazz in 2005.

Hobbs has been featured on jazz radio across America, the Bob Parlocha Show, Music Choice Cable TV, Jazz After Hours with Jim Wilke, The David Sanborn Show, Downbeat Magazine, Jazziz Magazine, Jazz Times Magazine, Cadence Magazine, The London Observer, The New York Times, All About Jazz Magazine, and many more.

Steve endorses Yamaha vibes and Innovative Percussion mallets and has taught master classes at Duke University, Yale University, Cincinnati Conservatory, University of Akron, Cleveland State University, The Cornish Institute, Whittman College, Eastern Washington University, Florida State University, Radford University, Virginia Tech, Georgia Tech, and many more.

¡¡Amor & Jazz!!

lunes, 19 de febrero de 2018

Susan Records Presents Ocean Av, The Haunting Third Album from Singer-Songwriter Emma Frank

Featuring Aaron Parks (Piano), Jim Black (Drummer), Rick Rosato (Bass) and Franky Rousseau (Guitar/Producer)
Brooklyn-based record label Susan Records, is proud to announce the February 16th, 2018 release of singer-songwriter Emma Frank’s third studio album, Ocean Av. Emotionally honest and raw, Ocean Av confronts both the calm and the chaotic points of life that lead to new paths of self-discovery. Emma will be presenting Ocean Av on February 18th at Rockwood Music Hall in NYC. 
On this 10-track collection of heartfelt original compositions, Frank is joined by widely-acclaimed pianist Aaron Parks, with whom Frank workshopped Ocean Av for over a year. “I’ve never felt as musically supported as I do with Aaron, or felt so much trust sharing my songs and shaping them with him,” says Frank. Joining Parks is drummer Jim Black, bassist Rick Rosato and guitarist FrankyRousseau with guest appearances by trumpeter Simon Millerd and PedroBarquinha on electronics.
Written over a two year period, Ocean Av tells a journey of self-discovery prompted by a move from Montreal, where Frank had established herself as a prominent figure on the music scene during a fruitful ten-year period, to Brooklyn, New York.   “I didn’t know where I was going to end up, or what I needed to do, I just didn’t feel at home in my life anymore,” she explains. These feelings poured into one of Ocean Av’s most beautifully emotive offerings, “Good Morning, Good Night”. Within a month of penning the track, Frank made her stateside move.
This life-change serves as the backdrop for much of Ocean Av, which takes it’s name from the border between Frank’s new neighborhood of Lefferts Garden and Prospect Park. Standout tracks include the rhodes-heavy first single “Best Friend,” an anthem for independence and self-reliance, and the stunning “One With”, where Parks’ harmonic chops shine. Perhaps the most addictive track on the record, “Enough,” chronicles Frank’s struggles to make art in New York City while spending so much of her time waitressing.  “I was reminding myself not only that there are no guarantees when it comes to following your dreams, but also that we have to keep following them anyway, and finding the reasons to do so - like community and a need to create,” she says. 
Ocean Av serves as the follow up to Frank’s critically acclaimed 2015 release The People We’re Becoming which helped solidify Frank’s status as one the most sought after vocalists on the Montreal music scene after she emerged in 2014 with her debut For Being Apart. Her warm, gossamer voice, aptly described by award-winning Canadian songwriter Leif Vollebekk as  “leather on silk” has brought her to stages of the Montreal Jazz Festival, the Toronto Jazz Festival, Pop Montreal, and NXNE, among others.
With the help of her A-list backing musicians, Frank has created an outstanding work that showcases intricate arrangements, confessional, beautifully honest lyrics and her beguiling vocals.

¡¡Amor & Jazz!!

viernes, 16 de febrero de 2018

Pianist & Composer Rob Clearfield To Release Solo Piano Album Wherever You’re Starting From on Woolgathering Records

Due Out February 26th, 2018
Woolgathering Records is proud to announce the February 26, 2018 release of Wherever You’re Starting From, the fourth album by imaginative and innovative pianist Rob ClearfieldWherever You’re Starting From is available for pre-order now on
On the Chicago native’s second solo piano endeavor, Clearfield explores his fascination for a compositional approach to improvisation, which is highlighted through the albums distinct and dynamic sonic landscape.

“My hope is that some of the music sounds through-composed, some sounds like simple songs, and all of it sounds spontaneous.”
Clearfield’s compositions have been strongly influenced by his friend and colleague Makaya McCraven, the great Chicago-based drummer whose 2015 double LP In The Moment (International Anthem) is comprised of excerpts from live improvised performances. While touring together, Clearfield and Makaya had an in-depth discussion about an intriguing and innovative new approach to composing; improvising complete pieces by focusing more on individual moments.
“If a beginning or ending is slow to arrive, but a fully-formed spontaneous idea is captured in the middle, it's a success!”
This new idea gave way to a renewed sense of freedom, both in the studio and during the editing process by allowing Clearfield to develop a strong ear for the elements of a piece that worked, and to then utilise, edit and produce them to a high standard, regardless of the other parts that didn’t make the cut. As a result, two tracks off the album begin with a fade-in, and one ends with a fade-out, highlighting short pieces which were originally inside larger pieces. The prologue and epilogue of the album were also chosen with this unique improvisational production approach at the forefront. Clearfield introduces and closes Wherever You're Starting From with two takes of the same song.
Clearfield’s progressive and virtuosic compositional skill is rooted in both classical and jazz influences. Since the release of his debut album A Thousand Words in 2009, the established composer spent a considerable amount of time studying the canon of classical piano music, particularly the romantics (Brahms, Chopin, Rachmoninoff) and the impressionists (Ravel, Debussy).
“Their influence, particularly in regards to the textural palette of the piano, is at the forefront of the sound of this record.”
This 12-track opus includes two freshly interpreted tracks by two of Clearfield’s musical heroes: Johannes Brahms and John Coltrane. The inclusion of their music in this project represents the varied musical traditions Clearfield has spent his life studying: classical and jazz, composition and improvisation, solo piano and group playing, European music and Black-American music. While the Brahms piece is played in a straightforward manner, sans improvisation, Coltrane’s “Giant Steps” is only faintly recognizable at first; the melody doesn't enter for several minutes, and the rhythm is stripped away almost completely.
Called “…one of [Chicago’s] most enjoyably unpredictable players” by Neil Tesser, Clearfield has taken part in a number of highly creative and genre-bending releases since his emergence on the scene over a decade ago. They including several releases with Matt Ulery (including 2016’s Festival, with Ulery’s Loom/Large, 2014’s In The Ivory, and 2006’s Music Box Ballerina, to name just a few), as well as with Dan Bruce (2017’s Earthshine), Adam Larson (last year’s Second City), and Jon Deitemyer (2016’s Tall Tales), among others. Clearfield’s previous releases include Islands (2016) on ears&eyes Records, The Long And Short of It (2013), a collaborative EP with Bethany Hamilton The Beauty That We Live In (2010)  and his debut A Thousand Words (2009).
With each of his musical endeavours, Clearfield has always strived to be as expressive and as personal as possible. However, Wherever You’re Starting From represents a new level of vulnerability and exposure, that until now, Clearfield had not yet experienced with any past venture.  
“Ultimately, I came to view this work as an autobiography of sorts. My trio and quintet records are like works of fiction, creating new worlds and characters in my own image. This, on the other hand, is more of a documentary. What you're hearing is who I am, nothing more and nothing less.”
In anticipation of the February release, Clearfield is delighted to announce a mid-west Spring tour.

Sun. Feb 25
Grand Rapids, MI
Heritage Hausmusik

Mon. Feb 26
Kalamazoo, MI
Kalamazoo Piano Company

Wed. Feb 28
South Bend, IN
Merriman's Playhouse

Thurs. Mar 1st
Fort Wayne, IN
University of Saint Francis

Fri. Mar 2nd
Willis, MI
Willis Sound

Sat. Mar 3rd
Chicago IL

¡¡Amor & Jazz!!