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sábado, 8 de marzo de 2014
Good News of guitarist Adam Smale!
martes, 4 de marzo de 2014
Jon Di Fiore CD Release Event “Yellow Petals” @ Kitano Wed., May 14th - Today in Street
| Jon Di Fiore CD Release Event “Yellow Petals” @ Kitano Wed., May 14th Featuring
Jon DiFiore-Drums
Adrian Moring-Bass Billy Test-Piano The Kitano - New York 66 Park Ave. at East 38th St. New York, NY For reservations call: (212) 885-7119 Shows at 8 pm and 10 pm NEW CD “Yellow Petals”  (Third Freedom Music 1003) Street Date: March 4,2014 |
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 True synergy is a most sought-after substance for an ensemble that pursues the more adventurous elements of creative music. Composer/drummer Jon Di Fiore’s trio demonstrates synergy at its finest on his new CD, Yellow Petals(Third Freedom Music). Along with pianist Billy Test and bassist Adrian Moring, Jon’s trio has been performing together extensively for four years and has clearly developed an ensemble identity that should be a model for all ensembles in pursuit of the transcendent.There is often an erroneous perception that pushing the boundaries results in a diminishing of the qualities of musicality and beauty that have been hallmarks of great jazz since the days in which Ellington, Armstrong and Hawkins were setting the parameters for the serious art of jazz. While some adventurers choose elements of chaos and discordance in their quests for innovation, that is never the thrust of this trio. The influence of modern piano trios led by Bud Powell, Andrew Hill, Mal Waldron, Brad Mehldau and particularly Bill Evans are entwined into the outlook of Jon’s trio. Nevertheless, the singular expressiveness of these three individuals is always at the core of all nine of the outstanding Di Fiore originals on this excellent recording. Each of them provides a fertile canvas for the type of exploration that is fundamental for the innovative and urgent substances that are essential to jazz at its most creative. A superior composer, Jon creates works that are quite modern, but highly lyrical; each of them delineating a definite structure, but leaving a great deal of room for exploration and development. There is a sense of equality among the musicians that never feels as if someone is simply soloing over basic support. Rather, all three play as one, allowing the music to shift colors and rhythms most organically, never veering off track. It is sometimes difficult to know when the composed sections end and improvisation takes over, as sheer musicality is always the dominant factor. Even Jon’s drums are tuned to provide a totally sonorous texture – much in the manner of highly musical drummers like Max Roach and Joe Chambers. A certain level of virtuosity is essential to playing this music and all three of these musicians are truly remarkable. However, technical prowess is only the entry point, as all great jazz demands that a story be told; and told with emotion and beauty. On Yellow Petals enthralling stories are told. But as Duke stated in no uncertain terms: “It don’t mean a thing if it ain’t got that swing.” This music swings. Jon’s drumming is in constant motion; prodding, accenting, coloring, driving, shimmering and steering – always fully on point. Moring’s bass playing is deeply wooded, powerfully rhythmic, crisply defined and remarkably fluent. Test’s piano is dynamic, spans the emotional spectrum from ethereal to explosive and reflects the entire history of the past 60 years of jazz piano artistry – along with clear familiarity with the Western Classical methodology. Every piece on the album is clearly constructed with a definitive direction and destination in mind, but the journey within is always filled with surprises and delights, shifting harmonically, rhythmically and emotionally from moment to moment without ever losing its direction or essence. Each of the compositions is rooted by a particular inspirational source, whether a personal relationship, a musical source, a composer or even architecture, the depiction is vivid in its display. The album opens with Demise, adapted from Chopin’s Prelude Opus 28, Number 4, and immediately the stunning interplay of the trio lets the listeners know that they are in for quite a fascinating ride. Composer/pianist Guillermo Klein – a key influence on Di Fiore – inspired InKleined, built upon a fractured ostinato bass line that creates a delicious tension for an atmospheric exploration and dynamic climax. Minimalism is the source on Where Does the Wind Blow, producing an unabashedly hard driving piece stoked by vibrantly walking bass, dancing drums and a brilliantly constructed Bud Powell-ish piano solo. Environments provided the launching points for three other pieces. The music of North Africa inspired Silver. Like InKleined this is essentially a through-composed piece with patches of space for improvisation. In this case it’s highly rhythmic, exotic, free-flowing and modal, with sinuous piano that swirls like a musette in the solo, later blending with the bass to create a dramatic drone under Jon’s sparkling drum solo. Spanish music is the source for Orange, launched by Jon’s cajón-like drum intro. Built on a bass heartbeat, it features an exciting piano solo that swirls and swings. Shotgun House – provoked by low-income New Orleans architecture – opens as an ethereal ballad and then deftly moves between easy swing and fiery jubilation. Personal relationships are the roots for three pieces. Live for Tomorrow, Forget Today, a dedication to Jon’s parents, is mostly free improvisation following the lovely melody, built on ostinato bass and shimmering cymbals. An exciting piece, it features a blistering piano solo of fiery single note runs, thunderous block chords and glowing cascades. Companion (described by Jon as “written for the one I love”) is a lovely, highly lyrical paean that builds to a series of ascending climaxes. The album closes with the title track Yellow Petals, in memory of Jon’s mother. A beautifully evocative piece, it opens with filigree solo piano, later buoyed by bass and drums of gently whispering subtlety – a heartfelt expression of love, joy and sorrow, and a most luminescent ending to a scintillating and uplifting album. Hopefully this trio will remain together for many years to come and continue to expand upon the powerful music contained on Yellow Petals. Artist Website: www.jondifiore.com |
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Upcoming Events
Ph: 845-986-1677 / jim@jazzpromoservices.com |
jueves, 27 de febrero de 2014
World's greatest guitarist Paco de Lucia dies at 66 : His great legacy the consolidation of Flamenco Jazz!
Paco de Lucia, the world's greatest guitarist who dazzled audiences with his lightning-speed flamenco rhythms and finger work, has died in Mexico, Spanish officials said Wednesday. He was 66. De Lucia suffered a heart attack while on vacation at the Caribbean beach resort of Playa del Carmen and died in a hospital, Quintana Roo state attorney general Gaspar Armando Garcia told Mexico's Enfoque Radio. "Paco lived as he wished and died playing with his children beside the sea," said a statement from de Lucia's family published on the websites of Spanish newspapers. Describing the death as unexpected and premature, Spanish Education and Culture Minister Jose Ignacio Wert said de Lucia was "a unique and unrepeatable figure." De Lucia — whose real name was Francisco Sanchez Gomez — was best-known for flamenco but also experimented with other musical genres. One of his most famous recordings was "Friday Night in San Francisco," recorded with fellow guitarists John McLaughlin and Al Di Meola in 1981. During the 1960s and 1970s, he formed an extremely popular duo with late flamenco singer legend Camaron de la Isla, with the two working together on 10 records. His 1973 rumba "Entre Dos Aguas" (Between Two Waters) became one of the most popular recordings in Spain. De Lucia was awarded the Spanish Culture Ministry's Fine Arts Gold Medal in 1992 and the prestigious Prince of Asturias prize for the Arts in 2004. He was granted a Doctor Honoris Causa degree by Berklee College of Music in 2010. His last studio album "Cositas buenas" (Good Things) earned him his first Latin Grammy in 2004 while his 2012 live recording "En Vivo" (Live) received a second. Born Dec. 21, 1947, de Lucia was immersed in flamenco music from an early age, with his father, Antonio, and two brothers playing guitar and a third brother an accomplished flamenco singer. He took his artistic name from that of his Portuguese mother, Lucia. From a poor background, de Lucia's formal schooling ended when he was 11, and he was soon playing flamenco in local bars. At 14 he made his first record with his brother Pepe, "Los Chiquitos de Algeciras" (Kids of Algeciras). Although de Lucia had no formal musical training, from an early age he impressed people with his remarkable dexterity, hand strength and technique that allowed him to produce machine-gun-like "picado" riffs so characteristic of flamenco guitar. "I have always found that the more technique you have the easier it is to express yourself," he told Spain's El Pais newspaper in an interview in 2004. Arguably the most influential flamenco artist ever, he infused new life into the traditional form and is credited with modernizing it by introducing influences from other musical forms such as jazz, bossa nova, classical and salsa. Although some of this drew criticism from flamenco purists, de Lucia defined his own influential sound by staying true to his flamenco roots. His own sextet, formed in 1981, includes bass, drums and saxophone. In addition to his work with McLaughlin and Di Meola, his high-profile collaborations included work with guitarist Larry Coryell, and pianist Chick Corea, who joined Paco's sextet for the album "Zyryah" in 1990. "Paco's moving on leaves a gigantic hole in the musical life of this world which his friends who have been inspired by him must fill with even more creativity," said jazz pianist Chick Corea. "Paco inspired me in the construction of my own musical world as much as Miles Davis and John Coltrane, or Bartok and Mozart." In 1995 he played with Bryan Adams on the song "Have You Ever Really Loved a Woman." "Paco was and will be a universal artist, who took the guitar and flamenco sentiment to the heart of the whole world," said Jose Luis Acosta, president of the Spanish Artists and Editors Society. - (R.I.P.)
lunes, 24 de febrero de 2014
Baritone Saxophonist B.J. Jansen @ INFUSE 51 Sunday May 4th
 Baritone Saxophonist B.J. Jansen New CD "Ronin" New CD Featuring B.J. Jansen-baritone sax Mamiko Watanabe-piano Mike Boone-bass Amanda Ruzza-bass Chris Beck Dorota Piotrowska-drums  (Artist Recording Collective ARC-2529) Street Date March 4, 2014 |
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 Track Listing, Time and Composer:
1) RONIN 6:04 (B.J. Jansen)
2) Rose for Noriko 5:06 (B.J. Jansen)
3) Best Fiend 8:44 (B.J. Jansen)
4) The Cost 6:06 (B.J. Jansen)
5) Blues for C.P. 6:05 (B.J. Jansen)
6) Manhattan Trane’in 5:22 (B.J. Jansen)
7) Brother Sid 7:16 (B.J. Jansen)
8) Diamonds for Lil 5:10 (B.J. Jansen)
9) The Code 4:16 (B.J. Jansen)
Recording Dates: October 9th & 27th 2013
Artists Home Market: New York City
Musicians: B.J. Jansen - baritone saxophone, Mamiko Watanabe - piano, Mike Boone - bass, Amanda Ruzza - bass, Chris Beck - drums, Dorota Piotrowska - drums
During the feudal period in Japan (1185-1868), a Ronin was a samurai (knight) with no lord or master. A samurai could become masterless from the death or political fall of his master, or simply by the loss of his master's favor. Ronin amassed during periods of long peace when their warrior training was not needed. Some Lords released samurai for strictly financial reasons during these periods. By law a Samurai was forbidden to have a job, so many fell into poverty and lives of crime to feed themselves and their families. Others, simply disgraced committed suicide. The plight of the Ronin draws many similarities to what I have observed with those of us who adopt the way, or follow a life of the study of the art and craft of instrumental improvised music. Live performance and revenue streams have become
increasingly scarce as society and technology have changed. However, like the Ronin, we artists persist as warriors and keepers of the flame, devoting our lives to the propagation of the Music. We have become drifters, outsiders, masterless and seeking the truth of who we are as artists and people.
“Rising Jazz Star"- Andy Hardy, Jazz Host on George Jazz FM, New Zealand “B. J. Jansen and his articulate baritone sax leads his group Conjura into some immaculate ensemble and solo playing... There is no compromising here just straight ahead Jazz… B.J., originally from Cincinnati now living in the NY area is knowledgeable, bold, aggressive, and determined to make great jazz music and jazz happenings.... talented musician… a truly experienced soul!"
- Ty Bailey, Host of "Just Jazz" Radio Show on WVST FM
"A baritone saxophone-led quartet takes a lot of guts. The beauty of this recording lies in both its period approach and the superb sonics captured by modern recording. Jansen... proves his chops on his solid original repertoire. Ronin is a solid bop outing."
- AllAboutJazz
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Media Contact For B.J. Jansen
Jim Eigo Jazz Promo Services Ph: 845-986-1677 / jim@jazzpromoservices.com |
martes, 18 de febrero de 2014
Chicago Sessions release today Album of multi-instrumentalist and composer wind Shawn Maxwell and his Alliance
To a remarkable degree, Shawn Maxwell has the urge—a quality fundamental to those who create improvised music on a nightly basis. In this way, it is not enough to simply create, but the need to innovate that guides each note. His art lies in addressing the ordinary modalities of life in an extraordinary way, placing notes in their most complimentary places with precision and enthusiasm. Of course, there’s the way he plays. Maxwell’s style was built around swelling harmonic runs while painting complex melodies across an expansive canvas. Each harmony he creates is purposeful in form as well as function.
By all accounts, Shawn Maxwell formed his style early on the tough and tumultuous streets of Joliet, Illinois. From the time a saxophone first touched his lips, Maxwell knew that music was his calling. With conviction and abilities that belied his age, it was equally clear to others that Shawn Maxwell was destined to be a musician. He quickly became a celebrated performer in the Joliet Central High School band program where his prowess as a soloist was on regular display. Shawn further refined his art in a post-secondary setting, absorbing all that his instructors could teach – earning a Bachelor’s Degree in Music from Millikin University in 1999. Shawn then signed with the prestigious and legendary Conn-Selmer Company to join their Performance and Educational Artist Roster.
After starting his professional career touring Internationally, across the Mediterranean and the Caribbean, Maxwell returned home to conquer the Windy City. With equal parts genius and toil, Maxwell has become one the preeminent performers in the Chicago jazz landscape. His multi-instrumental talents have been lauded by fellow musicians and critics alike.
In late 2004, Maxwell took his group, The Shawn Maxwell Quartet, into the studio to record the tracks for what would eventually become his debut release, “Originals”. The album showcased Maxwell’s composition, arranging, and production skills while also highlighting the impressive skills of his group. Brad Walseth, of jazzchicago.net wrote that the album “…is like a refreshing burst of fresh air through the jazz world that can often seem closed and stale.”
2008 brought the release of his second album, “Originals II,” consisting of twelve compositions that further highlight Shawn’s maturation as a musician and band leader. In 2010 Shawn recorded his first CD, "Maxwell’s House," for the Chicago Sessions Jazz Label. "Maxwell’s House" features his current quartet performing ten new originals. In addressing the album, Neil Tesser wrote, "His alto timbre sits in a lineage exemplified by past giants like Jackie McLean and Eric Dolphy, and by such latter-day players as Arthur Blythe and Steve Slagle."
2011 marked the release of his second album, “Urban Vigilante” on the Chicago Sessions record label. Heralded at 3 stars by Downbeat Magazine, this album continues to race up the charts while garnering critical praise. The Shawn Maxwell Quartet can be seen performing at some of the most celebrated clubs and festivals across Chicago and the world, perhaps even a venue near you.
Now Maxwell met in Chicago where he lives and works a great group of musicians to form friends Shawn Maxwell's Alliance.
Keep in mind that Chicago, after New York, is one of the cities largest number of nesting vibrant jazz prodigies.
With its highly original compositions and this group of friends Chris Greene (soprano sax), Keri Johnsrud (voice), Stephen Lynerd (vibraphono, percussion), Mitch Corso (guitar), Rachel Maxwell (french horn), Meghan Fulton (french horn ) Stacy McMichael (bass), Marc Piane (bass) and Paul Townsend (drums), may issue our criteria for a CD that will give much to talk about their creative quality.
Today Shawn Maxwell's Alliance in Chicago Sessions company goes to market for fans of jazz.
www.chicagosessions.com
www.jazzpromoservices.com
jim@jazzpromoservices.com
viernes, 14 de febrero de 2014
Carol Fredette proposes romance without sadness in his CD "No Sad Songs for Me"
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National Publicity Campaign
Jim Eigo Jazz Promo Services Ph: 845-986-1677 / jim@jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
National Radio Campaign
KATE SMITH PROMOTIONS of CHICAGO
814.482.0010
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