Paquito D'Rivera added another accolade to his successful career the 2014 Grammy for his album "Song for Maura"

In one of the most brilliant careers of some Latin American musician, for the world, Paquito D'Rivera overcame a Latin Jazz stars such as Wayne Wallace, Omar Sosa, Roberto Fonseca and vocalist Buika feeling of the moment. 

D'Rivera was to support "Song for Maura" the Brazilian Trio Corrente and thus add valuable prizes to those already obtained, the Grammy 2014 goes to showcase the great artist. 

Hear it live with the theme of the same name from Barranquijazz Album Winner 2013 (Colombia). 

¡¡Viva The Latin Jazz!!

Guitarist Jack Hertzog friends with excellent musicians in various scenarios today premiering their new album "Throwback"

Jake Hertzog @NAMM Appearing and performing at Aalberg Audio Booth 7627 during the entire show (Jan 23-26th) with special guests Eric Udel, Hayes Greenfield, John Mader and more!  Also performing with Eric Udel at the GHS Strings booth Friday 24th at 3:45pm Jake Hertzog Trio special San Francisco showcase for Aalberg Audio at RUNWAY.  January 30th 6-8:30pm 1355 Market St. Suite #488 San Francisco Special guests John Mader and Dewayne Pate NEW Zoho CD Watch our new live version of "Hands On"  from the new Zoho album THROWBACK. What The Press Is Saying About Jake Hertzog's "Throwback" The expectations have been set high for Jake Hertzog since he had gotten off to such a nice start to his career. Throwback meets those lofty expectations. - S. Victor Aaron, Something Else Reviews Throwback emerges as a major milestone in Hertzog's young career - Glenn Astarita, All About Jazz  Zoho Media Contact: Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com http://www.jazzpromoservices.com/

Gypsy Jazz con la sazon de Ole Swing en Madrid el 25/01/2014

CONCIERTO DE 

OLE SWING
Canción Española + Gypsy-Jazz & Swing

Sábado, 25 de enero de 2012 a las 22:30 h
en la Sala García Lorca, Fundación Casa Patas.
Cañizares 10, 2ª planta, 28012 Madrid.
Teléfono reservas: 91 429 84 71.
Entrada: 15 €.

Paco Rivas (Guitarra), Fernando Bellver (Guitarra), Raúl Márquez (Violín) y Gerardo Ramos (Contrabajo), cuatro de los músicos más importantes de la última generación del Jazz español, formados en la interpretación de distintos estilos y géneros musicales – Jazz, Blues, Rock, Flamenco - y cómplices habituales de figuras de la talla de Jorge Pardo, Diego “El Cigala”, Joaquín Cortés, Antonio Serrano,Jerry González, Rafael Amargo, Eva Durán, Pasión Vega, Antonio Carmona, La Cabra Mecánica, Tito Alcedo o Nono García, unen sus fuerzas en OLE SWING, uno de los proyectos más originales, apasionantes y personales de la música popular española en los últimos años. El reto no es pequeño: Hallar el punto de encuentro entre dos líneas musicales paralelas, el nexo imposible entre dos territorios a un tiempo cercanos y remotos: La Copla – nuestra Copla - y el chispeante Gypsy Jazz francés del periodo de entreguerras (también conocido como “Jazz Manouche”), que el mundo enteró conoció a través de la colosal figura del guitarrista Django Reinhardt y su mítico Quinteto del Hot Club de Francia. Así, clásicos inmortales de ADN profundamente cañí como“Ojos Verdes” (Miguel de Molina), “El Emigrante” (Juanito Valderrama), “Pena, Penita, Pena” (Lola Flores), “La Morena De Mi Copla” (Concha Piquer), y hasta piezas “serias” de profundo sabor español como “El Amor Brujo”, de Manuel de Falla, se ven mágica y deliciosamente transformadas en irresistibles piezas de Swing parisién, sin perder un ápice de su esencia y su maravillosa singularidad. Mención aparte merecen las participaciones especiales de la cantaora Eva Durán en una deliciosa interpretación de “Te Lo Juro Yo” llena de embrujo arrabalero, y Toni Zenet, recreando magistralmente - como solo él sabe - esa pieza eterna y legendaria que es “La Bien Pagá” Dos estilos nacidos en tiempos turbulentos, al calor de los focos de los clubs nocturnos, que han sobrevivido a los incontables vaivenes de los tiempos y las modas, profundamente arraigados en el corazón del Pueblo. Dos mundos aparentemente alejados, que comparten, sin embargo, la pasión, el desgarro, la verdad, y la orgullosa arrogancia características de las músicas callejeras, que los cuatro componentes de OLE SWING, más que “fusionar”, re-inventan y re-construyen desde sus mismos cimientos. Una música nueva, viva y dinámica, que combina la fuerza rítmica del Swing con la intensidad emocional de la Copla y la urgencia vital de las tendencias musicales contemporáneas.

Paco Rivas: Guitarra Fernando Bellver: Guitarra Roberto Jabonero: Violín Josemi Garzón: Contrabajo Síguenos en  www.oleswing.es

The Big Picture - A Cinematic Concert, Music Performed by Krakauer

Premiere: Wednesday, January 29, 2014
Extended Run: Wednesdays at 7:30 P.M. on February 5, 12, 19 and Sundays at 2 P.M. on February 2, 9, 16, 23

At the Museum of Jewish Heritage in
Downtown Manhattan

Clarinet virtuoso David Krakauer showcases his new project, The Big Picture, a multimedia production at the Museum of Jewish Heritage in Downtown Manhattan.

Accompanied by original films created for this show, this cinematic concert tells Krakauer's story of cultural heritage in an artful marriage of music and the moving image. The clarinetist re-imagines themes from iconic films with Jewish content from the last 50 years.

Krakauer's sextet delves into sensual, soaring, and daring interpretations of the music from movies integral to our collective memories, such as Fiddler on the Roof, Sophie's Choice, Life is Beautiful, Cabaret, The Producers and Funny Girl.

"The Big Picture is a special kind of project," says Krakauer. "It's a tour through Jewish history, and an exploration of how the movies show us the universality of our individual quests. I want this experience to serve as an opportunity for all. I am privileged to be the tour guide for this incredible voyage."

The Museum of Jewish Heritage, overlooking New York Harbor, serves as a compelling location.

The CD will be released nationwide on February 18, but is available as a special pre-sale at all performances.

The concert line up is David Krakauer, clarinet; Rob Schwimmer, piano, various keyboards and theremin; Sara Caswell, violin; Mark Helias, double bass; Sheryl Bailey, guitar; and John Hadfield, drums and percussion.

Eddie Daniels & Roger Kellaway Receive The Grand Prix de l'Académie du Jazz For "Duke at the Roadhouse Live in Santa Fe"

Eddie Daniels & Roger Kellaway Receive The Grand Prix de l'Académie du Jazz For "Duke at the Roadhouse Live in Santa Fe" (IPO Recordings)

IPO Recordings is pleased to announce that Eddie Daniels & Roger Kellaway's recording "Duke at the Roadhouse Live in Santa Fe" (IPO IPOC1024) has been awarded the Grand Prix de l'Académie du Jazz . The award recognizes the best record of the year in France. Photo Eddie Daniels & François Lacharme (President of the Jazz Academy) Photo by Philippe Marchin Links to coverage in the French press Le Monde French Daily Liberation Culturejazz   About Duke at the Roadhouse             A pair of undisputable Jazz masters taking on a slice of Duke Ellington’s unparalleled repertoire for artistic interpretation is in itself a formula for greatness.  But when those masters are men like clarinetist/tenor saxophonist Eddie Daniels and pianist Roger Kellaway, that’s simply not enough of a challenge.  So for their third IPO duet recording Duke at the Roadhouse: Live in Santa Fe, these two brilliant collaborators have selected five of Duke’ most popular compositions (and two more heavily associated with him) as a springboard for unique exploration.  And what better way to pay tribute to a man like Ellington.                       Simply concentrating orchestral works into a duo format is a most formidable challenge.  And adding a third voice to the proceedings in the outstanding cellist James Holland on four pieces is a stroke of genius that adds as wholly different orchestral timbre.  But apart from that, serious thought and focus has gone into each selection, providing an angle of perspective to the Ellington canon that is truly arresting.                      Anyone familiar with the histories of these two artists would not be surprised.  Coming to age during the incredibly fertile period of the 1960s, both men matured in that era’s environment of unlimited exploration, best expressed with a foundation of solid roots in the tradition.  On this wonderful recording, a broad palette of Jazz expression is on full display, but never losing sight of the central mantra of Duke Ellington’s imperative – It Don’t Mean a Thing if It Ain’t Got That Swing!                      The album was recorded live at a benefit concert in New Mexico for a group called “Santa Fe Center for Therapeutic Riding” which utilizes horses to help young people with disabilities. Performing in the beautiful Lensic Theater, the visceral audience response that can be heard after (and sometimes during) each track clearly demonstrates how the music created the spontaneous and intimate aura of a club.                     Daniels focuses primarily on the clarinet, an appropriate choice; not only considering the importance of that voice in Duke’s music and the long history of amazing clarinetists - like Barney Bigard, Jimmy Hamilton, Russell Procope and so many others - but also because Eddie has his own reputation of being one of Jazz’ greatest clarinetists.  Kellaway is one of the extremely rare pianists – along with the late Jaki Byard – who can demonstrate the entire history of Jazz piano within any four bars, moving from barrelhouse and stride elements into explosive Cecil Taylor-like chord clusters in an eye blink, without ever departing from the essence of the musical context.  The sheer virtuosity on this recording is astonishing, but in the greatest tradition of Jazz, only there to serve the music, not the ego.                     From the opening track, I’m Beginning To See The Light, a breathtaking tour de force that embraces so many elements of Jazz expression – abstraction, sheer swing, juxtaposition of unison and counterpoint, complexity, spontaneity, trading 4s, 8s and choruses – the jubilation is in full display.  This is followed by a total contrast in one of Duke’s oldest classics, Creole Love Call.  Dulcet clarinet over a bluesy barrelhouse is interspersed with a free-time airiness in this splendid offering.                   The addition of cellist James Holland on four tracks exponentially alters the atmosphere, essentially cubing the energy not just adding another voice.  All of his parts are written by Kellaway (Roger has been highly acclaimed for his earlier Cello Quartets), but Holland’s feel for Jazz is fully apparent and most essential for the music.  With his presence, Perdido – a piece that is too often tossed off playfully – is treated with a stunning arrangement that is highly dramatic, with an episodic chamber-like exposition.  One of Duke’s most beautiful pieces In A Sentimental Mood becomes a chamber suite, launched by a tension-building rolling rhythm stoked by Latin-grooved ostinato piano and transforming through a vast array of palpable textures and moods. Another early Ellington gem, Mood Indigo receives a daring and unusual treatment, an intricately and lovingly structured blend of clarinet, cello and piano that glides around the theme in bits and pieces, only stating it fully in the closing moments of this highly evocative rendition.      In a Mellow Tone finds Daniels equally formidable on tenor, soulfully stating the theme alongside the plaintive cello.  Unaccompanied tenor and piano solos sometimes fragment the time into delightful abstractions, but never losing Duke’s “mellow” intent. Eddie’s tenor also highlights another beautiful ballad, Sophisticated Lady, opening with a solo excursion that teases the beautiful melody before Roger joins in for an extremely soulful portrait of Duke’s elegant Lady, which deftly shifts back and forth between deep blues and evocative balladry.                Daniels and Kellaway each contributed one original apiece dedicated to Duke.  Eddie’s Duke at the Roadhouse is a swirling unison theme featuring outstanding back-to-back solos in straightforward fashion.  Roger’s Duke in Ojai’s descending pattern initially calls to mind Coltrane’s Giant Steps and is an ideal vehicle for superb interplay by the two longtime collaborators who truly enjoy playing music together.               This exceptional album closes with a fascinating rendition of It Don’t Mean a Thing.  Highly impressionistic, with an almost Baroque approach it settles into a deeply hewn groove that clearly adheres to the title.               This is a marvelous album that offers a most singular interpretation of Ellingtonia.

Jim Eigo Jazz Promo Services 272 Ste Route 94 S #1  Warwick, NY 10990 T: 845-986-1677 / F: 845-986-1699 E-Mail: jim@jazzpromoservices.com  Web Site: www.jazzpromoservices.com/

The Matthew Finck Jonathan Ball Project NYC CD Release Party Tonight @ The Cutting Room 8:00 p.m.

The Matthew Finck Jonathan Ball Project NYC CD Release Party Tonight! Monday, January 20th, 2014 8:00PM $15 @ The Cutting Room 44 E. 32nd ST.  New York , US 10016 Purchase Tickets HERE   featuring Matthew Finck-guitar Jonathan Ball –saxophone, Jay Anderson-bass Adam Nussbaum-drums New CD The Matthew Finck Jonathan Ball Project "It's Not That Far" CLICK HERE TO LISTEN NOW

Matthew Finck guitar Jonathan Ball saxophone Randy Brecker trumpet tracks 2, 5, and 7 Jay Anderson bass, Adam Nussbaum drums Produced by: Matthew Finck and Jonathan Ball Track listing: 1. It’s Not That Far 5:58 (Jonathan Ball) 2. Gentle Soul 6:47 (Matthew Finck) 3. Levin’s Impression 5:24 (Jonathan Ball) 4. I Thought You Had Gone 4:57 (Matthew Finck) 5. Conundrum 5:17 (Jonathan Ball) 6. East 86th 6:29 (Matthew Finck) 7. Geppetto 7:27 (Jonathan Ball) 8. The Way You Look Tonight 5:27 (Jerome Kern) 9. Get Up! 4:25 (Matthew Finck) Matthew Finck, guitar, and Jonathan Ball, tenor saxophone, with their new album “It’s Not That Far,” continue the vast and varied range of collaborations between their instruments, expanding their conversations, and on three tracks, enriching their sound with the trumpet and flugelhorn of Randy Brecker. Their collective experience reaches back deep to the blues, gospel, and R&B, is grounded in bebop, and draws from sources as disparate as funk, rock, Bossa Nova and fusion. Matthew Finck (b.1972), has collaborated in the past with Roswell Rudd, John Medeski, and Steve Wilson among many. Jonathan Ball (b.1968), has teamed up with Ira Coleman, Randy Gillespie, Giovanni Hildago, Charles Flores, and Dafnis Prieto, to name just a few. Randy Brecker (b.1945), with two dozen albums under his belt as a leader, and countless albums as a sideman, displays versatility and flawless storytelling that speaks for itself. The rhythm section, anchored by Jay Anderson (b.1955), bass, and Adam Nussbaum (b.1955), drums, delivers a percussive and unerringly consistent pulse that is highly textured and finely layered. Both Jay and Adam have played, and continue to play with, a virtual “Who’s Who” in jazz, performing locally and around the world. Jay notably so with Red Rodney, Joe Sample, and the Maria Schneider Orchestra; Adam with Stan Getz, Dave Liebman, Michael Brecker, and John Scofield. The nine tunes on the album “It’s Not That Far,” are the result of an inspired collaboration between all musicians involved. In Jay and Adam, the co-leaders engage a rhythm section that contributes vast musical experience, complexity, and depth. “From the beginning we knew we wanted Jay and Adam to anchor the group. The music simply would not be what it is absent their contributions. The two day recording session was a pure joy from our perspective; relaxed, collaborative, and exciting all at the same time. They are a perfect foil for any creative musical endeavor. Their advice and sensibilities are priceless and what you get is an interplay 30 years in the making.” The nine tracks offered here prove the case in point convincingly. While this album marks a major milestone in the careers both of Matthew and Jonathan, as performers and as composers, it also allows a look forward. Future collaborations are already being sketched out; maybe change the sound texture a bit, perhaps add a Hammond B3 to the mix. Up next is developing original compositions, exercising and fine-tuning them on the bandstand until they’re ripe and ready  or the next recording. Live audiences will be in good hands, and so is the legacy of the collaboration between jazz guitar and tenor saxophone. Be on the lookout for the next Finck-Ball partnership production – it’s not that far.

Jim Eigo Jazz Promo Services 272 State Route 94 South #1 Warwick, NY 10990-3363 Ph: 845-986-1677 / Fax: 845-986-1699 Cell / text: 917-755-8960 Skype: jazzpromo jim@jazzpromoservices.com www.jazzpromoservices.com

NEA 2014 Jazz Masters’ investiture photo gallery

Jamey Abersold’s “Ornithology” onstage at the Allen Room, Jazz at Lincoln Center; photo by Sánta István Csaba

Anthony Braxton; photo by Sánta István Csaba

Soledad O’Brien

However, many controversies could arise from the program. The most notable within the Allen Room itself as the evening unfolded concerned new Jazz Master Anthony Braxton’s 40+ minute peroration. I’ve followed Braxton’s music for more than 40 years, and wonder what else than a long, spirited, self-referential improvised speech one could expect from a musician whose first record release, For Alto, was a two-LP set of solo sax improvisations? If a stage manager had wanted Braxton to conclude, co-MC Soledad O’Brien could have easily been asked to step up and help Braxton offstage. But the producer’s advance message to each Master receiving their Award was: “It’s your show . . .”

Prior to the program that was streamed, many formerly inducted Jazz Masters participated in a group photo:

rear row, from l. – Randy Weston, Jamey Aebersold, Anthony Braxton, Keith Jarrett, Richard Davis
2nd row: Eddie Palmieri, Dave Liebman, Muhal Richard Abrams, Jimmy Owens, Dan Morgenstern, Kenny Barron
Front row: Candido, Annie Ross, Jason Marsalis, Sheila Jordan, Jimmy Heath, David Baker
at side: NEA Senior Deputy Chairman Joan Shigekawa

 It was more fun to meet the Masters up close and personal –

Richard David, bassist

Jamey Aebersold, saxophonist and educator

Keith Jarrett, improvising pianist

Eddie Palmieri

Cecil Taylor, pianist

from l.: Annie Ross, Dave Liebman, Jon Hendricks, Jimmy Owens, Sheila Jordan

Music highlights included a beautiful rendition of the late Master Frank Wess’ composition “Placidtude” –

Jimmy Owens and Kenny Barron

Joe Lovano and young musicians drawn from JALC circles performed “Blue Bossa” by the late Jazz Master Kenny Dorham –

bassist Yasushi Nakamura, Lovano, drummer Mark Whitfield Jr. 

Jimmy Heath and Melissa Aldana, winner of the 2013 Thelonious Monk saxophone competition, ended the event with Heath’s “New Picture” –

Melissa Aldana and Jimmy Heath

 Wynton Marsalis,   Jazz Master and JALC managing/artistic director, co-hosted the program –