Tomorrow continues the Jazz festival in Europe!

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Cristina Morrison in the race for the 58th Grammy Award for Best Jazz Vocal and Best Song of the Year!

Cristina Morrison 

For Your
Consideration 

It is our pleasure to announce that Cristina Morrison's second production, an eclectic cross genre world jazz record, BARONESA, is up

FOR YOUR GRAMMY® CONSIDERATION. 

An album under the Jazzheads label and produced by Misha Piatigorsky can be found under the following categories:

Best Vocal Jazz - Baronesa
Best Song of the Year - Princesa Baronesa

Best Solo - La del Estribo - Joel Frahm 

You may visit the MAKING OF BARONESA at 

https://www.youtube.com/watch?v=bmH7S5n60m0 

And read a recent review at ALL ABOUT JAZZ

http://www.allaboutjazz.com/baronesa-cristina-morrison-jazzheads-review-by-edward-blanco.php  

Listen to Baronesa at http://cristinamorrison.com/music/ 

The Music Beat of Galapagos wishes you luck on all your categories and appreciates your time.

Thank you!

 

http://cristinamorrison.com/ 

Cristina Morrison - Facebook 

Jazzheads.com  

Twitter: baronesaNY   

photo credit:

top - Anna Weber

bottom - Enrique Aviles 

   

Press Contact: Scott Thompson PR

www.scottthompsonpr.com

scott@scottthompsonpr.com

jazzglobalbeat@gmail.com

The Liberation Music Collective Celebrate The Release of their new CD "Siglo XXI" (tomorrow) Wed., Nov. 4th @ Wells-Metz Theatre, Indiana University Bloomington

The Liberation Music Collective Celebrate The Release of their new CD "Siglo XXI" Wed., Nov. 4th @ Wells-Metz Theatre Opening Act/House Band for The Moth  7:00-7:30, and then there is another set at intermission 8:30-9:00 A storytelling session at IU More Info HERE Wells-Metz Theatre  275 North Jordan Bloomington IN 47401  (Intersection of E 7th Street and N Jordan Avenue) (812) 855-5832 Tickets & Info

Next Appearance Bear's Place on November 19th 1316 E 3rd St, Bloomington, IN 47401 (at the corner of E 3rd St and Jordan Avenue)  Band Personnel Trumpets: 1) Jess Henry (lead) 2) Tim Fogarty 3) Matt Riggen Trombones: 1) Sean Weber (lead) 2) Miro Sobrer* 3) Brennan Johns (bass), doubles on French horn Saxes 1) Matthew Setzler (alto) 2) Sam Motter (tenor) 3) Durand Jones (baritone) Rhythm Section 1) Evan Main (piano) 2) Kyle Schardt (guitar) 3) Hannah Fidler (bass), doubles on voice 4) Sam Bryson (drums) Latin Percussion: TBD 21st Century Jazz + Social Consciousness =  Ambitious Debut from Liberation Music Collective From the start, jazz has embodied social commentary. You find it in the lament against bigotry that simmers under such early recordings as Louis Armstrong’s “Black And Blue,” and in the pioneering statement of pride that is Duke Ellington’s Black, Brown and Beige. It girds the explosive freedom cries of the 1950s, when Charles Mingus brought a highly-charged political sensibility to his compositions, and the early 60s – when John Coltrane’s “Alabama” and Max Roach’s We Insist! Freedom Now Suite propelled jazz into the American civil rights movement – and it extends to the Liberation Music Orchestra of Charlie Haden and Carla Bley, who from the late 1960s until the present day championed the cause of freedom for downtrodden peoples across the globe. From that tradition now springs The Liberation Music Collective, a group of Indiana University students who have borrowed the name of Haden’s influential orchestra to advance the same objectives through their own new music. Siglo XXI, their ambitious and audacious debut recording, unveils “a socially conscious big band dedicated to performing original compositions about contemporary issues,” to quote the band’s statement of purpose. Toward that end, LMC co-founders Hannah Fidler (bass) and Matt Riggen (trumpet) did extensive research on each topic covered by the album – from racial profiling to climate change, religious intolerance to women’s rights to our culture’s predisposition to war and imprisonment – in preparation for the nine mesmerizing and expansive compositions that they present. Fidler and Riggen state that “In addition to the jazz canon, we draw from the plurality of genres present in America, including hip-hop, Afro-Cuban music, Sacred Harp hymns, Islamic liturgy, and post-modern classical music. By focusing on social issues and embracing this plurality of styles within a jazz context, we hope to bring jazz back into the socially provocative music of our era.” The results are charged with emotion but grounded in the facts of brutality and injustice. And yet – thanks to the strength of its music and the transformational power of art – Siglo XXI leaves an impactful impression of hope and commitment rather than despair or apathy. Says Wayne Wallace, the GRAMMY®-nominated trombonist and Indiana University professor, who has mentored Fidler and Riggen, “They both worked in my big bands, where I always leave a door open for original compositions. They came through without any arm-twisting; they were first in line with music that was not only ambitious but also adventurous. They decided on their own that they wanted to do this project. It’s ‘retro’ in the sense that they really embrace the tradition of Charlie Haden and Carla Bley. But they definitely push the conversation forward.” While consciously placing their repertoire along a continuum that includes such classic “message” works as Mingus’s “Fables of Faubus” and Rahsaan Roland Kirk’s “Volunteered Slavery,” the Liberation Music Collective aims to reach younger listeners who may be unfamiliar with jazz’s ability to bring attention to extra-musical issues. As Fidler and Riggen insightfully state: “Many young people who are into music consume jazz​ in small doses. They may have been in jazz band in high school, and occasionally enjoy a live jazz concert, and are at least peripherally appreciative of the richness of the jazz tradition. However, they have probably never heard jazz blend with other modern styles of music, let alone comment upon social issues that are near and dear to our generation.” To that end, and in what may be the project’s most innovative touch, Fidler and Riggen have skillfully interposed candid interviews, with folks of their own generation, on subjects they then tackle in their compositions. Thus, the startlingly effective “Herstory” – which uses a meld of hip-hop poetry and orchestral jazz to dissect society’s treatment of women – is preceded by a male speaker discussing his views on feminism. An admittedly “pretty religious” woman expresses her tolerance for people whose sexual orientation differs from her own, before the composition “Wedding Hymn,” which the band dedicates to “the love and devotion of LGBTQ+ couples.” And “Black and Red” – which commemorates victims of the steady stream of police shootings that have roiled America over the last year – follows a statement from a young black man who explains how he tailors his appearance in public to appear less “suspicious.” This especially affecting work includes lyrics taken from a poem written by Fidler shortly after the 2014 deaths of Michael Brown (in Ferguson, Missouri) and Eric Garner (in New York City): they baptize the asphalt with blood, and wash away their sins with sprinklers on the golf course. holy trinity bang bang bang another pavement christened sanctimonious black & red. “Black And Red” also interpolates audio snippets of speeches by Malcolm X and Troy Jackson, and the cell phone footage of Eric Garner’s final struggle to breathe – difficult to hear, but impossible to turn away from. Siglo XXI translates as 21st Century – an appropriate title, given the music’s emphasis on issues facing the contemporary world. For Fidler, the decision to render the title in Spanish helps convey the project’s essential idea of embracing change. As she explains, “The 19th-century Cuban revolutionary José Martí wrote a hugely influential essay called Nuestra América, or Our America,that posited two Americas – the exploitative hypocrite North America, and then the rest of [the] America[s]. If we ever want there to be just one, equitable ‘nuestra América,’ the USA. will have to embrace a lot of change – and to start, we might need to get comfortable with the fact that the 21st century is just as validly ‘siglo XXI.’ To me, Spanish in America is the language of change, and our record is all about the change we want to see in this century.” Conceived in the blazing crucible of political awakening, and executed with a maturity way beyond its leaders’ years, Siglo XXI does more than bring the band’s contemporaries closer to this vital tributary of the jazz tradition. It also signals to lifelong listeners that (to reference rock icons The Who), “The kids are all right” – and that the music is in really good hands governed by sharp minds and open hearts. With this video you can learn even more, The Liberation Music Collective:

The Liberation Music Collective "Siglo XXI" (Ad Astrum Records AD12614) 
Street Date August 29, 2015
Trumpets: Jess Henry (lead), Joe Anderson, Matt Riggen
Trombones: Brennan Johns (bass and French horn), Sean Weber, Felipe Brito
Saxophones: Sam Motter (tenor), Matthew Setzler (alto), Durand Jones (bari)
Latin Percussion: Julian Loida (congas), Kristin Olson (timbales), Cole Stover (chequere)
Rhythm section: Ben Lumsdaine (drums), Evan Main (piano), Joel Tucker (guitar), Hannah Fidler (bass)

www.liberationmusiccollective.wordpress.com

jim@jazzpromoservices.com         www.jazzpromoservices.com

KATE SMITH PROMOTIONS 

                               katesmithpromotions.kate@gmail.com                 www.katesemithpromotions

jazzglobalbeat@gmail.com

Bill Cole's Untempered Ensemble new CD "SunSum" live!

"After 12 years away from recording studios, Bill Cole with Untempered Ensemble invites us on a journey rich Asian and African ancestors live with this production "-

Luis Raul Montell, Jazz Global Beat

The CD:

Track Listing: 1.- Grounded; 2.- The Dove Finds Peace Everywhere; 3.- Great Loss Is Yours If Your Love For Another Is Not Returned; 4.- A Scar Is Never So Smooth As Natural Skin; 5.- Evil Sown By A Man Will Grow On His Children’s Heads

Personnel:

Bill Cole: digeridoo, Korean piri, East Indian Shenai, East Indian nagaswarm, Chinese sona; Joseph Daley: euphonium; tuba, percussion 
Ras Moshe: tenor saxophone, flute, percussion 
Gerald Veasley: bass guitar 
Lisette Santiago: hand drums, percussion 
Warren Smith: drum kit, percussion

The Group:

The Untempered Ensemble was founded in 1992 by Bill Cole as a trio.  The first members of the group were Bill Cole, Warren Smith and Joe Daley.  Later, in the 1990's, bassist William Parker and multi-instrumentalist Cooper-Moore joined the group.  Soon after that, the reed player Sam Furnace was asked to join and then, at the end of the 1990's, Cole's son Atticus became a member of the group, playing hand drums.  This group recorded four CDs for Boxholder Records during the early 2000's and gave numerous performances, including at the Weil Recital Hall at Carnegie Music Hall in New York.

Following his untimely death in 2003, Sam Furnace was replaced by flute, alto and soprano sax player Ras Moshe.

The Untempered Ensemble had appeared in the Vision Festival in New York City seven times when, in 2009, the organizer of the Festival invited the group to appear again, but this time asked whether the group could include a vocalist.  So, for the Vision Festival performance that year, Cole's daughter Althea SullyCole was added to the group. She would later also join the group with her kora.

Most recently, percussionist Lisette Santiago and bassist Gerald Veasley have respectively replaced Atticus Cole and William Parker's successor, Shayna Dulberger.

In 2012 the Ensemble will have been in existence for 20 years.  During all of these years Bill, Warren, and Joe have been members and have formed the foundation of the Ensemble.  We hope that the Ensemble will exist for at least 20 more...

Notes of Bill Cole:

is an American jazz musician, composer, educator and author. An admired innovator, Cole successfully combines the sounds of untempered instruments with an American art form – jazz. Cole specializes in non-Western wind instruments, especially double reed horns: including Chinese sonas, Korean hojok and piri; Indian nagaswarm and shenai and Tibetan trumpet; as well as the Australian digeridoo and Ghanaian flute. Cole is the leader of the Untempered Ensemble, a group he founded in 1992. He has performed with Sam Rivers, Billy Bang, Jayne Cortez, Julius Hemphill, Ornette Coleman, James Blood Ulmer, William Parker, Fred Ho, Gerald Veasley and others; at Carnegie Hall, Lincoln Center, Town Hall, Symphony Space and venues around the U.S. and in Europe; and has recorded for Boxholder Records.

We want to share with you this video of Bill Cole's untempered Ensemble, the most recent in a presentation in Brooklyn, NY:

www.billcole.org

KATE SMITH PROMOTIONS

www.katesmithpromotions.com       katesmithpromotions.kate@gmail.com

jazzglobalbeat@gmail.com

These are the Jazz Festivals in Europe from today until next week

jazzglobalbeat@gmail.com

Billie Davies - Her New Avant-Garde Treasure CD "Hand In Hand In The Hand of The Moon"

A Jazz Symphony!

Art Inspired By Music, Music Inspired By Art 

"Hand In Hand In The Hand Of The Moon" 

Billie Davies 

"Hand In Hand In The Hand Of The Moon"

Inspired by Artist Serge Vandercam 

     

Drummer Billie Davies pays homage to Danish-born Belgian artist Serge Vandercam in this exciting free-form adventure.   "Hand In Hand In The Hand Of The Moon" is a musical symphony inspired by Vandercam's exquisite creations.  Davies says it is, "The painter influenced by the drummer and the drummer influenced by the painter over a period of three days of the full moon."  Born in Belgium and now living in New Orleans, she continues "A collaborative work, conceived in 1995 resulting 20 years later in a series of 8 paintings and a jazz symphony of eight musical movements."

This music was recorded 'live' in one take on an afternoon in April.  For each movement, the corresponding actual painting was hanging on the wall, visible to all musicians, in bright light.  True art.

Musicians: 

Alex Blaine - tenor sax
Branden Lewis - trumpet
Evan Oberla - trombone
Ed Strohsahl - upright bass
Billie Davies - drums

Billie Davies Bio: 

Billie Davies is an American female jazz drummer and composer best known for her Avant Garde and Avant-garde jazz compositions since the mid nineties, and her improvisational drumming techniques she has performed in Europe and in the US.

Davies was born in Brugge, Belgium and mostly grew up on the Belgian Coast, Europe, at the North Sea. Her grandfather, Maurice Clybouw, was the first influence in her life to introduce her to the drums when Billie was about three years old. She has had a love relationship with rhythm and drums ever since.
Full bio, click here.

Billie Davies on Twitter, click here.
Billie Davies on Facebook, click here.
Billie Davies contact, click here.

Press Contact: Scott Thompson PR

www.scottthompsonpr.com

scott@scottthompsonpr.com

203-400-1818

jazzglobalbeat@gmail.com

Saturday October 24 divine vocalist Sharon Marie Cline offered in House Music & Entertainment, Beverly Hills, CA, the romantic concert of the year!

"Sharon Marie Cline is undoubtedly one of the great singers of the moment, being romantically sweet as his repertoire", Luis Raul Montell - Jazz Global Beat

Sharon Marie Returns to House of Music and Entertainment a year after the release of her internationally acclaimed CD Release-- THIS IS WHERE I WANNA BE. Join us for a night of Swinging jazz, Sultry Bossa Nova, Lush vocals.... A night of Romance and Laughter with songs from The Great American Song Book all in the setting of the classic old world setting of the Supper Club called H.O.M.E.

Sharon Marie Cline-- Vocals
Rich Eames-- Piano
Gary Wicks-- Bass
Jon Stuart -- Drums
Jonathan Dane --Trumpet

The latest production of Sharon Marie Cline "There Is Where I Wanna Be" is heard all over the radio, ballrooms and constituted a total success. 

The show, which will give the sensational vocalist Sharon Marie Cline, is such that we share with you the allegorical concert posters:

Love and not love ... do not miss this Saturday October 24!!

www.sharonmariecline.ning.com

www.home90210.com                        www.thisiswhereiwannabe.com

www.jazzglobalbeat.blogspot.com

jazzglobalbeat@gmail.com