From today until next week, Jazz Caribe and Jazz Global Beat, as on previous occasions, have confirmed a musical tour to several sites and jazz clubs in New York City where they played some of our musicians and best friends .
Our Directors, Licenseds Luis Raul Montell Arab and Juliana Olivares de Montell , already in the world's capital vacationing, and ready to collect and share all the experiences of these days, of course with the help of God.
Tomorrow, Friday 16, the action begins at Trumpets Jazz Club in Montclair, New Jersey, where Steven Kroon will be celebrating his birthday with his Latin Jazz Sextet, friends and fans from 8:00 pm.
With Kroon, on congas and percussion, also will be: Igor Atalita (k); Waldo Chavez (b); Bryan Carrott (VIB); Craig Rivers (sax & flute) and Vince Cherico (d).
On Saturday 17, at 4 pm at Westin New York at Times Square, under the American Chamber Music Showcase, will be performing Gregor Huebner, also known as "El Violin Latino" with his band Sirius.
CMA Showcase: Sirius Quartet
Saturday, January 17, 2015 4pm Westin New York at Times Square
Sirius Quartet showcases three recent compositions from members GregorHuebner, Fung Chern Hwei and Jeremy Harman. These works put the group's fiery energy and otherworldly precision at center stage.
Tango Jazz: one of the valuable musical expression that has been imposed by the quality and tenacity of its performers, creativity fusion, has performers such as the pianist, composer, arranger and band leader Emilio Solla (nominated for a Grammy 57) who accompany: Raul Jaurena (bandoneon); Meg Okura (Violin); Pedro Giraudo (bass). Also Pablo Aslan will be over there.
This will be in Zinc Bar on Sunday 18 at 9 pm, but will be able to arrive before taking dance lessons tango jazz.
There will be visits to National Jazz Museum in Harlem, Lincoln Center Jazz (Dizzy Club Coca Cola), Jazz Gallery, to continue on Wednesday 21 with a double batch.
First Caffe Vivaldi where we can appreciate the music of a great lover of South American music: Roger Davidson, pianist, composer and Soundbrush Records label owner.
Jan. 21 7:15 pm
ROGER DAVIDSON TRIO
Roger Davidson, piano
David Finck, bass
Adriano Santos, drums
with Special Guest
Aaron Heick
And then the party moved to Don Coqui in New Rochelle, where Steve vibraphonist Pouchie in the company of his great ally conga player Wilson "Chembo" Corniel and His Latin Jazz Ensemble, will please the audience again with music from his recent CD "North by Northeast", from 8 pm.
While Linda Presgrave has been an important part of the New York jazz scene since 1998, displaying consistent originality as both a pianist and composer, traveling overseas has long been a significant part of her career. Along The Path introduces suites inspired by her visits to Asia and France.
For this project, Linda gathered together some of her favorite musicians including several who she has worked with many times before. “Harvie S, who was on my first CD In Your Eyes, has been on every one of my CDs. He is a brilliant bassist, his creativity adds so much to the music, and I always feel very comfortable playing with him. This is the third time that I have recorded with drummer Allison Miller including on my last CD Inspiration. She always inspires us. Todd Herbert is a terrific saxophonist who deserves wider recognition. Vincent Herring, the great alto player, is a good friend of mine and I feel honored that he played a couple of pieces with us. I work with vocalist MJ Territo’s group Ladies Day; she wrote the words to “Bird Of Céret”. As for Stan Chovnick, he is not only a great soprano sax player and the producer but my husband. I wrote a lot of the pieces with him in mind.”
The four-part Asian Suite began to come together during a trip to Hong Kong a few years ago. Linda was walking on a path in Ngong Ping Village and she noticed a sign listing how many miles it was to the United States and to other countries of the world. “It made me think about the coming together of east and west.” “Along The Path,” which serves as the overture to the suite, has a distinctive melody and a catchy rhythm. Linda’s ability to open her jazz playing to the Asian influence and her direct and melodic playing are a little reminiscent in spots of Horace Silver. Her arrangement includes a straight ahead section for Stan Chovnick’s soprano plus short spots for Harvie S and Allison Miller.
“Where East Meets West” is an homage to Macau, a city that was originally a Portuguese colony in China. The arrangement mixes together the cultures of China and Portugal in an inventive and very musical fashion “Harbor Lights” is a light melodic piece that was written in tribute to the scenic views of Hong Kong and the popularity of pop/jazz in that international city. Stan’s soprano takes the melody and Linda’s chordal solo perfectly fits the piece. “Asakusa View” is named after a hotel in Tokyo where Linda and Stan stayed. “When we opened the curtain in the room, we saw the magnificent Sensoji Temple.” The melody for this closing movement in the Asian Suite is particularly memorable as are the powerful soprano solo, Linda’s piano playing and the drum breaks.
The French Suite was inspired by Linda’s 2006 tour in France. The six-part work has a trio number, three quartet pieces (each with a different horn), a song with all three horn players, and the final number with a vocalist.
Collioure is a seaside town in Southern France that is filled with artists. “Colors Of Collioure” is an attractive waltz that features Linda’s piano playing at its most beautiful. Céret is also in France’s Catalan region. Linda was inspired to create “Bird Of Céret” while sitting on the balcony of her hotel room and hearing a local bird’s song. Stan’s soprano embraces the haunting melody. “You Just Never Know” received its name when Linda thought about how “you just never know what is going to happen in the future or how things will fit together and cause other events to happen.” The high-powered romp features a hard-swinging tenor solo by Todd Herbert that is worthy of John Coltrane, a swinging solo for the pianist and a colorful tradeoff by Harvie S and Allison Miller. Vincent Herring puts plenty of passion into “Blues For A Rainy Night,” a dark blues-drenched ballad. All three saxophonists get a chance to take heated solos on “Place Picasso” which is named after a lively plaza in the town of Céret. Pablo Picasso had spent time in that city and it has an important modern art museum. The French Suite ends with a second version of ‘Bird Of Céret ,” featuring the voice and lyrics of MJ Territo who tells Linda’s story of how the song came into existence.
Stan Chovnick’s “Universal Freedom” (Stan and Linda’s hope for the future) is a bonus track that concludes Along The Path. The minor-toned blues in ¾ time has passionate solos by Stan, Linda, Todd Herbert and Allison Miller along with a feeling of optimism.
Along The Path, which is filled with colorful solos and rich melodies, is one of Linda Presgrave’s finest recordings and is a strong step forward for the talented pianist-composer.
~Scott Yanow, author of 11 books including The Great Jazz Guitarists, The Jazz Singers, Jazz On Film and Jazz On Record 1917-76
LIST OF SONGS:
The Asian Suite
1. Along the Path - 7:34
2. Where East Meets West (Macau) - 5:23
3. Harbor Lights (Hong Kong) - 5:01
4. Asakusa View (Tokyo) - 7:40
The French Suite
5. Colors of Collioure - 5:47
6. Bird of Ceret - 7:14
7. You Just Never Know - 6:20
8. Blues for a Rainy Night - 7:39
9. Place Picasso - 7:15
10. Bird of Ceret (The Story) - 3:48
Our Hope for the Future
11. Universal Freedom - 8:39
Total time: 72:40
Tracks 1 - 10 composed by Linda Presgrave (Metro Records Publishing Company) (BMI)
"Universal Freedom" composed by Stan Chovnick (Metro Records Publishing Company) (BMI)
"Bird of Ceret (The Story)" lyrics written by MJ Territo - (Hollie Jollie Music) (ASCAP)
MUSICIANS
Linda Presgrave - piano/arranger/composer
Harvie S - acoustic & electric bass
Allison Miller - drums & gongs
Stan Chovnick - soprano sax (1,3,4,6,9,11)
Todd Herbert - tenor sax (7,9,11)
Vincent Herring - alto sax (8,9)
MJ Territo - voice (10)
Rez Abbasi Acoustic Quartet RAAQ "Intents And Purposes" (ENJA Records ENJ-9621-2) Street Date: February 10, 2015
Rez Abbasi-steel string, fretless & baritone acoustic guitars, Bill Ware-vibraphone, Stephan Crurmp-bass, Eric McPherson-drums
A fluent guitarist whether playing electric or acoustic, Rez Abbasi creates a pioneering album that challenges jazz convention with IntentsandPurposes. Performed by his celebrated group, RAAQ, comprised of Bill Ware, vibes; Stephan Crump, acoustic bass; and Eric McPherson, drums, IntentsandPurposes re-imagines such ‘70s jazz-rock classics as Weather Report’s “Black Market,” Tony Williams’ “There Comes A Time,” Herbie Hancock’s “Butterfly” and Pat Martino’s “Joyous Lake.” But far from a slavish sycophancy to a style of jazz that is now over 40 years old (and ripe for reappraisal), Abbasi -- who had no interest in “fusion” as a young guitarist growing up in southern California -- extracts the essential elements of these equally venerated and maligned jazz-rock gems, and transforms them into lithe vehicles for melodic extrapolation and instrumental improvisation on this all acoustic outing.
RAAQ’s dual melodic front line: Abbasi’s Guild Songbird steel-string acoustic guitar and Ware’s vibraphone, is a first for acoustic jazz-rock interpretation. Throughout, Crump and McPherson’s interaction is elastic, and consummately supportive. Interpreting ‘70s jazz-rock standards with an acoustic quartet recasts the music, exposing in high-relief its durable, memorable melodies and bold improvisatory capabilities, realized anew by RAAQ.
“These tunes are very fresh to me,” says the 48-year-old Abbasi, “and that’s one of the reasons behind the album - pure inspiration in discovering something that has long existed for many musicians but is new to me. That’s a rare dichotomy and I wanted to take advantage of it. In 1982, I discovered jazz through the likes of Parker, Coltrane and many others. I had little interest in listening to non-acoustic music and pretty much bypassed listening to the entire fusion songbook all the while playing electric guitar.”
In preparation for recording IntentsandPurposes, Abbasi’s days were spent listening to 100s of albums of what for him was new jazz-rock material. Revisiting tunes that caught his ear and selecting those that he thought best suited RAAQ, Abbasi created a new approach to the vintage jazz-rock idiom.
“Because of my lack of prior experience with ‘70s jazz,” Abbasi says, “there’s very little nostalgia involved with this project, allowing for a clarity that may not have been possible otherwise. That clarity ultimately helped me decide which tunes to chose purely based on aesthetics.”
The familiar strains of Joe Zawinul’s “Black Market” open the album, the melody sounding remarkably delicate via Abbasi’s flowing guitar. “When I discovered ‘Black Market’ I couldn't get it out of my head,” Rez notes. The song unfurls in a series of surprises, from McPherson’s dancing punctuations to Ware’s gorgeous, atmospheric harmonies. Hancock’s “Butterfly” is instantly recognizable and entrancing. Abbasi plays a fretless steel-string guitar on the track. Its ability to bend notes adds a sense of mystery to an already memorable composition. Abbasi recalls, “I had an extra acoustic around the house and for years wanted to de-fret it but only until now I truly had a reason.”
“’Joyous Lake’ is very different from the other tunes,” Rez notes. “It wasn’t overtly ‘fusion’ and played out more like a jazz standard with beautiful harmony.”
Mahavishnu Orchestra’s “Resolution” seems the most unlikely selection of the album, given the original version’s plodding bombardment of a slow groove. Here, RAAQ expands on the original song’s essence. “It’s such a harmonically captivating tune and Mahavishnu didn’t improvise over that harmony,” Rez recalls. “I wanted to extend it. We came up with the idea of Stephan and I setting up the tune with an improvised intro and then having Bill solo over the unfolding of the melody. It builds very organically.”
Bill Ware introduces RTF’s “Medieval Overture” as if was written for him, and RAAQ’s interpretation is strikingly gorgeous. Billy Cobham’s “Red Baron” recalls RAAQ’s take on “Resolution,” coming to the Spectrum classic slowly, then directly.
Larry Coryell’s “Low-Lee-Tah” provides Rez a chance to shine in a duo with himself. “Larry sent me the accompaniment part which I transposed a perfect fourth lower to be played on Baritone guitar. I felt that would create more mystery within a guitar duo setting.
IntentsandPurposes closes with Tony Williams’ “There Comes A Time,” from The Tony Williams’ Lifetime album, Ego. A trance-like tune that Rez makes his own with a fretless guitar rendition.
Abbasi’s critically acclaimed albums have covered the gamut of stylistic possibility in a similarly original spirit as heard on IntentsandPurposes. Born in Karachi, Pakistan, raised in Southern California, educated at the University of Southern California and the Manhattan School of Music in jazz and classical music (along with an Indian pilgrimage under the guidance of master percussionist, Ustad Alla Rakha), Abbasi’s talents have previously found expression in four acclaimed recordings. 2009’s Things to Come, with his boundary-breaking group Invocation, featuring an illustrious band of Rudresh Mahanthappa, Vijay Iyer, Johannes Weidenmueller, Dan Weiss and Kiran Ahluwalia; 2010’s NaturalSelection, the debut by the Rez Abbasi Acoustic Quartet (RAAQ); 2011’sSunoSuno, Invocation’s ecstatic nod to the Qawwali music of Pakistan, and 2012’sContinuousBeat, Abbasi’s first trio album with long-time cohorts John Hébert and Satoshi Takeishi. Throughout Abbasi’s work, he taps fresh ideas with novel arrangements and inspiring collaborations.
“On this album”, says Abbasi, “I didn't want to obscure the original character of the tunes with flashy arrangements, re-harmonizations and such. Supporting the compositions with an acoustic-centric vision while taking away their surface electronic identity was enough of a change. It’s worth noting - often when jazz artists do covers they turn to pop and rock but this project is unique because not only are these covers within the jazz lineage, our renditions are polar-opposites of the originals. I should also add, the idea for this record arose due in large part to the fact that I had this group. Bill Ware, Stephan Crump and Eric McPherson are unique and as a collective that has a strong history, I knew we had the tools to approach the project with respect while moving these tunes into the 21stcentury. “
In closing, Abbasi states, “This album is not a historic perspective of the ‘70s jazz-rock scene. The compositions I chose were simply based on my aesthetic and a vetting process that in its own way became an exercise in liberation. Not only did I thoroughly enjoy the process, I learned a lot and as it turns out, have a newfound appreciation for this music in any form.”
Enjoy this pleasant panoramic video with the music of Rez Abbasi:
LAUREN MECCIA "Inside Your Eyes" (Spirit Music) STREET DATE: January 6, 2015
Lauren Meccia - vocals and saxophone Donald Vega - piano Mike Frost - bass With John Miceli, percussion (track 1); Jeremy Roberson, drums (track 1); Brian Czach, drums and percussion (tracks 2-12); Edwin Hamilton, percussion (tracks 4 and 8); Sarah Land, violin (track 11); Ryan Knott, cello (track 11).
2015 looks like a really exciting year. I just finished the Brazilian part of my new El Violin Latino – Vol. 2 CD. Here's a picture from that recording session of me, Lincoln Goines, Portinho & Klaus Mueller. I’m starting to prepare the 3rd part – the Argentinean/Tango section.
Sirius Quartet is extremely psyched for our show at Joe's Pubnext Monday, January 12. Soon after Joe's Pub we have a showcase at the Chamber Music Conference.
Then for the rest of January I will be on tour in Europe with my El Violin Latino Quartet.
I am also writing for a new ensemble called the Munich Composers Collective.
I wish you all the best for 2015 and hope to see you at some of my concerts.
Regards, Gregor
Sirius Quartet is kicking off 2015 with a dynamite performance atJoe's Pub featuring original compositions and arrangements by members of the quartet, Jeremy Harman, Gregor Huebner, andFung Chern Hwei. Also sharing the bill is the fabulous Inuit throat singer Tanya Tagaq, winner of the 2014 Polaris Award.
Monday, January 12 at 7pm Joe's Pub 425 Lafayette - New York, NY TICKETS
CMA Showcase: Sirius Quartet
Saturday, January 17, 2015 4pm
Westin New York at Times Square
Sirius Quartetshowcases three recent compositions from members Gregor Huebner, Fung Chern Hwei and Jeremy Harman. These works put the group's fiery energy and otherworldly precision at center stage.
28.1.2015 20:00 Stuttgart Theaterhaus 29.1.2015 20:00 München Bar Gabany
30.1.2015 20:00 Hechingen Alte Synagoge
31.1.2015 20:00 Heilbronn Jazzclub Cave
El VIOLIN LATINO - VOL. 2 UPDATE In December we recorded the BRAZILIAN session for EL VIOLIN LATINO - Vol. 2. We will record the ARGENTINIAN TANGO session in March. We are aiming to have the album completed in the Fall of 2015. Until then, see us perform LIVE!
Matt Lavelle and John Pietaro have found the answer in their excellent releaseHarmolodic Monk, where they infuse Thelonious Monk's compositions withOrnette Coleman's harmolodic philosophy. It's a natural combination for both Lavelle and Pietaro, who have long enjoyed a fascination with Monk's music, and now finds themselves in mid-career increasingly intrigued by Monk's distinctive melodies and wide-interval blues-swing. Lavelle has also studied with Coleman for many years, both formally and informally, a relationship that has initiated Lavelle in the harmolodic universe as well as allowed him to find his own voice. In addition, Lavelle plays with the grand master Bern Nix, the guitarist in Coleman's groundbreaking group Prime Time, providing a hands-on education in the art of free swing.
The combination of Monk and Coleman is delectable enough, but the duo adds other elements that invigorate the music. Monk used tenor sax and occasionally trumpet in his groups, so Lavelle's alto clarinet, cornet, and flugelhorn saturate the tunes in a wider array of colors. They also dispense with piano and instead Pietaro plays vibraphone, which adds a pleasing dimension to the music, an airy openness that sets up beautiful resonances throughout. In addition to his vibraphone chops, Pietaro is a fine percussionist, adding tasteful accents on a range of instruments including the congas and the bodhrán (Irish frame drum). The duet format is also refreshing, allowing the brilliant corners of these melodies plenty of light to shine without unnecessary embellishment.
All rows from beginning to end, "Harmolodic Monk", have respective improvisations that keep expectations passionate Jazz.
Lavelle & Pietaro performed live in Brecht Forum, NYC, running the famous piece 'Blue Monk', part of this production, this are result:
BILL O’CONNELL & The Latin Jazz All-Stars "Imagine"
Appearing @ Birdland Tue, Jan 6th Sets 8:30pm & 11pm
Featuring
Bill O’Connell, piano & arrangements The Latin Jazz All-Stars are: Conrad Herwig, trombone Steve Slagle, soprano & alto saxophone Luques Curtis, bass Adam Cruz, drums Roman Diaz, percussion
Track Listing: Optimism • Stepping Stones • Imagine • Shaman's Dance • Missing Mr. Berrios • Jigsaw • 25 Years • Willow Weep for Me • Whitecaps TT = 59:26
When you visit a franchise restaurant, you always know what will be on the menu and what it will taste like. When you listen to a Bill O'Connell recording you may not know what is on the menu, but you're guaranteed it'll be a gourmet delight. Mr. O'Connell's Imagine serves up a 9-course feast of fascinating sounds that will please even the most discerning ears. As in O'Connell's previous recording (Zocálo Savant SCD 2129), the gifted veterans and leaders in their own right, Conrad Herwig on trombone and saxophonist Steve Slagle add their prowess to the mix. On the bass is the amazingly talented young man, one of NYC's first call bassists, Luques Curtis who was also part of Bill's prior CD, as was percussionist Richie Flores, who has been playing with O'Connell for more than a decade. The newcomer to the group is drummer Richie Barshay who has an impressive résumé that includes a stint with Herbie Hancock. O’Connell gives his arranging chops a real workout with interesting takes on “Willow Weep for Me” and John Lennon’s “Imagine,” and penned some new originals specifically for this recording from a powerful voice in Latin Jazz.
Catch the Bill O'Connell Trio with special guest Steve Slagle @ The Unofficial Jazz Connect After Party Friday, January 9, 2015 6pm to 9pm @ Somethin' Jazz Club
