Tuesday, April 7, 2015

Composer-Arranger Oded Lev-Ari - Producer of Anat Cohen, Marty Ehrlich, Duchess and More - Makes Leader Debut with Inspired Chamber Jazz of Threading


FOR IMMEDIATE RELEASE:
      



 
Composer-Arranger Oded Lev-Ari - Producer of Anat Cohen, Marty Ehrlich, Duchess and More - Makes Leader Debut with Inspired Chamber Jazz of Threading
 
Available on iTunes 

Threading - to be released via Anzic Records on April 28, 2015 - presents Lev-Ari's instrumental and vocal works played by an all-star 11-piece band including Anat Cohen and Matt Wilson


"Putting lightning in a bottle is what Oded Lev-Ari specializes in."
- DownBeat Magazine


Composer-arranger-producer Oded Lev-Ari has crafted acclaimed albums by the likes of hit band 3 Cohens, clarinet icon Anat Cohen and woodwind sage Marty Ehrlich, as well as rising-star singers Amy Cervini, Melissa Stylianou and vocal trio Duchess. Now the Tel Aviv-born, New York-based Lev-Ari steps out with the first recording under his own name: Threading, to be released by Anzic Records on April 28, 2015. The album presents six inspired Lev-Ari compositions - instrumental and vocal - performed by an all-star 11-piece New York band that includes Anat Cohen and the ace Matt Wilson on drums, as well as guest vocalists Alan Hampton and Jo Lawry. Along with Lev-Ari's own pieces, the disc includes his artful instrumental and vocal arrangements of songwriter Gordon Jenkins' classic "Goodbye." The chamber-jazz sound of Threading - which features not only winds, trumpet and a textured rhythm section but also three cellos - hints at varied sonic worlds, from jazz sound painters Gil Evans and Maria Schneider to tango nuevo king Astor Piazzolla and contemporary classical composers. Ultimately, though, Lev-Ari has his own, individual soundprint, one of cinematic richness and open-hearted lyricism.

Lev-Ari, a student of the great composer-arranger Bob Brookmeyer, says what he appreciated most about his teacher was his intrepid musical sensibility. "I love Bob's music, even if mine doesn't really sound anything like his," Lev-Ari says. "He was such an inspiring figure, particularly how courageous he was in the kind of music he let himself make. He was a keen admirer of contemporary classical, and he let that into his work, unafraid to incorporate new sounds into the big-band palette. That sort of open mind and ear is something to aspire to."

With Threading, "space and personality" were bywords in the studio for Lev-Ari and his engineering partner, James Farber. "James and I had worked before on several albums together, and he really knows the studio we used, Sear Sound in Manhattan," Lev-Ari explains. "We're on the same page in terms of quality of sound, with space around the instruments being key. We also share a production credo, in that it's not about perfection - it's about expression, telling a story in music. The goal is capturing the essence of the music, especially in those moments where it builds organically to an emotional impact. We had a band of amazing musicians, who naturally invest personality into everything they play - and that's what makes music come alive, off the page and into the air."
 
The title track of Threading opens the album with irresistible shades of Piazzolla in the writing for strings and piano; then there's Anat Cohen's dynamic clarinet, her solo building to a peak as it traces lines with Nadje Noorduis's trumpet. There are indigo echoes of Oliver Nelson's "Stolen Moments" in "Lost and Found," with cool-toned solos from Will Vinson's alto sax and Brian Landrus's baritone. "Voices," incorporating a titular and textural homage to contemporary Latvian composer Peteris Vasks, resonates with a dark lyricism, the collective soloing in its middle section a priceless instance of session spontaneity; the bridge of the piece, with the composer voicing a minimalist melody on piano as winds trace arabesques above, is one of the album's most ravishing passages. There's more Vasks-esque writing for the three cellos in "Black Crow," as well as an evocation of Oded's Israeli roots. Lev-Ari's kindred-spirit connection with Anat Cohen - they have been friends and collaborators since high school in Tel Aviv - is mirrored in her Eastern European-tinged lines. "Black Crow" also features a characteristically musical drum solo by Matt Wilson.

"E and A," the title referencing the first initials of Lev-Ari's two children (with singer Amy Cervini), brims with pastoral loveliness, as well as a mix of Old World and New World influences. A melody-rich highlight of Threading comes with "The Dance," a vocal piece for which Lev-Ari wrote both music and lyrics; the gorgeous vocal combination of Alan Hampton (a collaborator with Gretchen Parlato, among others) and Jo Lawry (Sting's go-to backing singer) sees their voices twining around each other to tell an emotional story. Then there are the two versions of "Goodbye," the Gordon Jenkins song made famous by Frank Sinatra on his LP Only the Lonely. Cohen's clarinet takes a vocal role in the instrumental, after a limpid introduction by guitarist Gilad Hekselman. And if Lev-Ari's subtle arrangement is both earthier and airier than the vintage treatment Nelson Riddle made for Sinatra, Hampton's singing is less theatrical, more conversational. Lev-Ari says: "It's an intimate piece of music that I love, and Alan has this quality to his voice that makes it seem as if he were singing just to you, revealing something very personal."

Even with such moments of magic, Lev-Ari called the album Threading to evoke the sense of craftsmanship that goes into making music. "A work of art really is a magical thing, and people don't always want to know how the trick is done," he explains. "But writing, arranging and recording can be exacting, almost physical work, like sewing or weaving. That's something that always comes to mind when I'm writing, particularly for a larger ensemble. I wanted to hint at the tradesman-like craft of the work, those aspects of loving, hard-won detail that you hope add up to something beautiful."


Oded Lev-Ari: Threading
1. "Threading" 2. "Lost and Found" 3. "Goodbye" (vocal version) 4. "Voices" 5. "Black Crow" 6. "E and A" 7. "The Dance" 8. "Goodbye" (instrumental version)

All compositions by Oded Lev-Ari, except for "Goodbye" (by Gordon Jenkins)

Anat Cohen: clarinet; Will Vinson: alto & soprano saxophone; Brian Landrus: baritone saxophone & bass clarinet; Nadje Noordhuis: trumpet & flugelhorn; Alex Waterman, Yoed Nir & Noah Hoffeld: cello; Oded Lev-Ari: piano; Gilad Hekselman: guitar; Joe Martin: double-bass; Matt Wilson: drums; Alan Hampton: voice (3, 7); Jo Lawry: voice (7)



https://vimeo.com/104534642
"My debut album Threading will be released by Anzic Records on April 28, 2015. The cover art for the release is a beautiful photo by James Stenson. James also used music from the CD (My tune E & A and my arrangement of Gordon Jenkins' Goodbye with beautiful vocals by Alan Hampton) for a short film called Reflections which you can watch here." - Oded Lev-Ari




www.odedlevari.com
www.anzicrecords.com



Press Enquiries on Oded Lev-Ari & Anzic Records:
Jason Paul Harman Byrne at Red Cat Publicity
646 259 2105; Redcatjazz@mac.com
www.redcatontheloose.blogspot.com


 

Friday, March 27, 2015

RED PIANO RECORDS To Release The Debut Recording From: Pianists/Composers FRANK CARLBERG & LEO GENOVESE SHADOWS and REFLECTIONS


FOR IMMEDIATE RELEASE:
    

 
RED PIANO RECORDS
To Release The Debut Recording From:
Pianists/Composers FRANK CARLBERG & LEO GENOVESE
SHADOWS and REFLECTIONS
Available on April 21, 2015


Brooklyn-based Red Piano Records is proud to announce the release of Shadows and Reflections from pianists/composers Frank Carlberg and Leo Genovese. The recording sessions for this album came about in an atmosphere of friendship, common musical interests, and in anticipation of great fun. Carlberg (also a partner in Red Piano Records) commented, "I've known Leo for many years and have always admired his playing and attitude. Playing with him is very easy and always fun!" Genovese added, "Frank Carlberg is one of my favorite players and composers. I learned so much music when I had the chance many years ago to study with him at Berklee, and every time I hear him play I learn lots of music."

Genovese and Carlberg are two artists who possess very open personalities that embrace everything around them. "The session was so fun and deep as we got a chance to play music from our hearts and to be able to reach higher spiritual ground through the act of listening and playing together," said Genovese. Carlberg added that, "Leo radiates positivity and helps make others reach further. This for me was very inspiring; and when the inspiration threatened to run out we had some claret libations from Mendoza and Patagonia to help steer us right back in to the playing. It is simply so much fun to play with Leo!"

The duo entered into the studio with the notion to accept whatever was happening in the moment, and not impose an agenda or specific direction for the music. "We had not really even decided what instruments we were going to play but made impulsive decisions about that as the session unfolded," said Carlberg. The repertoire was dominated by their mutual interest and love of Monk. "Playing Monk together was like speaking about an old friend while still learning new things about him. A truly exhilarating experience! Both Leo and I seem to have maybe a somewhat cinematic bent to our music so I had also sketched out a few things for us to elaborate on that I suspected would take us on little journeys. Finally, there was the music of the Argentine songwriter Cuchi Leguizamón. Leo knows many of Cuchi's songs while I know only a couple so we decided to play Zamba Para La Viuda, a song that I learned through my association with the great Argentine singer Roxana Amed. Leo helped me see facets of this song that I could only have dreamed of before," said Carlberg.

"Recording Shadows and Reflections was a truly delightful experience and I am grateful to Leo for sharing this music with me." - Frank Carlberg

"I feel so happy and honored to be able to explore sound and textures with Frank in this setting of piano, electric piano and organs. The recording was a very magical night. With a little malbec friend, we became music and sound." - Leo Genovese


  

More on Frank Carlberg and Leo Genovese:
Originally a native of Helsinki, Finland, Frank Carlberg has carved himself quite a niche in the New York City jazz community. As a leader, he has released almost twenty albums, and his groups include the Frank Carlberg Quintet (performing settings of a wide variety of texts including poetry), the Tivoli Trio (a classic jazz piano trio playing an eclectic mix of Carlberg's compositions drawn from cinematic and circus inspirations), and the Frank Carlberg Big Band (performing original compositions as well as arrangements and re-compositions of standards and folk materials), Monk Dreams, Hallucinations and Nightmares (a large ensemble project with the music of Monk as its central source both in terms of reinterpretations of Monk's music and inspiration for new original compositions), as well as recent collaborations with Argentine vocalist Roxana Amed, and the Dutch Clazz Ensemble.

In addition to his own bands, the Brooklyn-based pianist has been involved in many crossover projects throughout the years, and some of his most notable collaborations have included performances and recordings with the likes of saxophonist Steve Lacy, trombonist Bob Brookmeyer and trumpeter Kenny Wheeler.  Carlberg has been commissioned to compose music for big bands, small ensembles, symphony orchestras as well as modern dance companies. In addition to his playing and composing activities the pianist also serves on the faculty at the New England Conservatory. He is also a member of the Douglass Street Music Collective and a partner in Red Piano Records, an artist run cooperative label in Brooklyn, NY.

Early on Carlberg came under the influence of jazz masters such as Paul Bley, Ran Blake, Geri Allen and Jimmy Giuffre.  The music and thinking of these musicians had a profound impact on Carlberg and set him on a path in search of a personal expression.

Leo Genovese was born in Argentina in the farmlands of Venado Tuerto, Argentina. His first encounters with music and freedom where in the Genovese family band, where the spectrum of sonic possibilities is as wide you want to imagine and without limits, if you wish. Leo was, and is, a student of music in history, ecology, politics and economics around the clock and around the world. Genovese went on to study at the Berklee College of Music where he learned from masters such as Hal Crook, Frank Carlberg and Danilo Perez. He has also had the opportunity to make some noise and go crazy with some amazing people on the scene today, such as Esperanza Spalding, Wayne Shorter, Jack DeJohnette, Milton Nascimento, Herbie Hancock and many others.




# # # #


Please Visit:
www.RedPianoRecords.com
www.frankcarlberg.com


Press Enquiries on Red Piano Records: 
Please Contact Jason Paul Harman Byrne at Red Cat Publicity
NEW Tel # 646 259 2105, Redcatjazz@mac.com
www.redcatontheloose.blogspot.com


RED PIANO RECORDS To Release The New Recording From: Pianist/Composer RAN BLAKE & vocalist CHRISTINE CORREA: The Road Keeps Winding

 
 



RED PIANO RECORDS
To Release The New Recording From:
Pianist/Composer RAN BLAKE & Vocalist CHRISTINE CORREA
The Road Keeps Winding, the second volume in their ongoing tribute to Abbey Lincoln
Available on April 21, 2015


Brooklyn-based Red Piano Records is proud to announce the release of
The Road Keeps Winding from pianist/composer Ran Blake and vocalist Christine Correa.
This album represents the second volume in the duo's ongoing, respectful and creative tribute to the late, great Abbey Lincoln. In addition to paying tribute to Lincoln, The Road Keeps Winding is the latest yield from Blake and Correa's remarkable friendship and superlative musical collaboration that has thrived for more than three decades.

Blake and Correa are a united force in paying tribute to Abbey Lincoln. Correa is able to capture the unique timbre of Abbey's voice, yet still retain her own uniqueness. Together, they capture the raw emotion ("Love Lament") and abundant confidence of Abbey's delivery, and the drama of her demonstrative vocalizations (most notable on "The River" and "In The Red"). Blake's pianism on "Throw It Away" (perhaps made even more poignant as Blake plays it solo, sans vocals), which has possibly become Abbey's best-known composition, is sublime, passionate and fierce, much like Abbey Lincoln herself.

Abbey Lincoln holds a special place in the hearts and souls of these artists; a place where her music, her sound and her aesthetic, resonates resoundingly. Blake said, "The fact is that Abbey always spoke the truth, nothing but the truth, openly, unabashedly, honestly, unreservedly, and most importantly, with dignity and conviction. Abbey had raw anger ("Driva Man"/"Triptych"), immortal vision ("Down Here Below" - title track from Blake and Correa's first tribute to Lincoln,
Down Here Below, also on Red Piano Records), passionate displays of the great American tragedy ("Retribution" and "In The Red"), and also addressed issues of memories lost and gained ("Throw It Away"). I listened to a lot of Abbey's music when I was a student at Bard College. I particularly liked the album Abbey is Blue, but was astounded when she and Max Roach brought out the
Freedom Now Suite. Around late October 1960, Roach and his group were hired at The Jazz Gallery.  The group which included Julian Priester, Booker Little, and a man who eventually became my teacher, Mal Waldron, performed at the club for five or six weeks. The entire Freedom Suite was performed, as was the entire material from the Straight Ahead album.  Although Abbey didn't scat or improvise dramatically, there were nights when her lyrics were more pungent, others when they were more tragic.  Often I would leave the club at 3:30 or 4:00 AM to catch the IRT Broadway line back home, trying to recreate in my head much of the material I had heard earlier that evening. The last time Abbey and I met was in February 2006 at Scullers.  She came over to the table for a cognac, mentioning she had adopted a dog called Sako and had moved to Riverside Drive and then she publicly thanked me . . ."

Correa elaborated, "my first exposure to Abbey Lincoln was in 1979 through Ran Blake, almost as soon as I arrived in the U.S.  I had never before listened to anything as intense as the Freedom Now Suite and Straight Ahead recordings.  Abbey's delivery was passionate and expressive and she had a power all her own! Beginning with her association with Max Roach, her style and repertoire changed from a nightclub act ("The Heel"), featuring selections from the Great American Songbook to performing songs with a social context ("Freedom Now Suite", "Mendacity", "Straight Ahead"). Her later meditations on life and humanity showed yet another facet to this remarkable artist. Abbey's powerful voice had a lasting effect on me, and her music has continued to be a source of inspiration. It seems only fitting to record a second tribute album, as she was a presence, a great singer, musician, actress, poet and human being.  For me this project with Ran is a dream come true."

More on Ran Blake and Christine Correa:
In a career that now spans five decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions and themes from classic Film Noir, Blake's singular sound has earned him a dedicated following across the world. In the tradition of two of his idols, Ellington and Monk, Blake has incorporated and synthesized several otherwise divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. Ran Blake is a recipient of the MacArthur "Genius" grant. He was the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at New England Conservatory in Boston, MA.

Christine Correa has been involved in a variety of improvisational contexts and is currently teaching in The Louis Armstrong Jazz Performance Program at Columbia University. She has been widely recognized as a leading interpreter of the works of a range of modern American and European poets as set to music by some of today's most innovative jazz composers, such as Frank Carlberg, Nicholas Urie, Sam Sadigursky, and Steve Grover among others. Correa has also recorded and/or performed with artists such as Steve Lacy and John LaPorta and appeared at numerous festivals, concert halls and clubs in the US, Europe, the Middle East, Africa, South America and India. She is currently at the faculty in the jazz department at Columbia University in New York City.



# # # #


Please Visit:
www.RedPianoRecords.com
www.christinecorrea.com
www.ranblake.com



Press Enquiries on Red Piano Records: 
Please Contact Jason Paul Harman Byrne at Red Cat Publicity
NEW Tel # 646 259 2105, Redcatjazz@mac.com
www.redcatontheloose.blogspot.com


Thursday, March 19, 2015

Motema Music Proudly Announces The Release of JOE LOCKE'S Most Personal & Emotive Work To Date, LOVE IS A PENDULUM

               
FOR IMMEDIATE RELEASE:
   
 
Motema Music Proudly Announces The Release of 
JOE LOCKE'S Most Personal & Emotive Work To Date 
LOVE IS A PENDULUM 
Available May 26, 2015

  

Featuring Joe Locke (compositions, vibes), Robert Rodriguez (piano),
Ricardo Rodriguez (bass), Terreon Gully (co-­producer, drums)
With Special Guests Rosario Giuliani, Donny McCaslin (saxes), Paul Bollenback (guitar), Victor Provost (steel pan) and Theo Bleckmann (voice)


***SEE TOUR DATES BELOW!***



Joe Locke - Love Is A Pendulum Official EPK:
https://www.youtube.com/watch?v=N7mGeXvtYdI&feature=youtu.be



Joe Locke is a musician's musician, an artist for the ages, a man who has been gracing stages and studios with his immense talent, and uplifting spirit, since he was fifteen. Locke is a man who has gathered no moss as he evolved into a communicator, a conceptualist, a composer, and a modern virtuoso who defies categorization, creating music with small groups to symphony orchestras, and with artists as diverse as Cecil Taylor and The Beastie Boys. Derk Richardson said of Locke in The San Francisco Bay Guardian that, "not only has he mastered an instrument that has catapulted only a handful of players to the forefront of modern jazz - but he has done so in a way that transcends mere technique and establishes him as a unique and adventurous musical voice." With more than thirty acclaimed recordings to his credit, it is no wonder The Times (London, U.K.) proclaimed that, "there seems little doubt that Locke, with his ability to play cool and funky, heady and relaxed, is set to become the pre-eminent vibraphonist in jazz." Joe Locke's new recording, Love Is A Pendulum (available on the Motema Music imprint on May 26, 2015), is just over an hour in length, but has taken a lifetime to make, as it encompasses all of Locke's joys and sorrows, and utilizes all of his slings and arrows.

Love Is A Pendulum is an arresting collection of all original music, the centerpiece of which is a five movement suite, based on a poem by the writer and musician Barbara Sfraga (from her Subway Series work), a multi-dimensional artist who Locke has long admired. Locke explains further, "each verse begins with a metaphor describing love - its properties and tendencies - and how (possibly) to navigate them. As is so often the case in my composing process, the genesis of a musical idea comes from words, whether it be a novel, a poem, or even a simple phrase uttered in a certain way. I feel that Love Is A Pendulum is my best work thus far and I am eternally grateful to Barbara for the inspiration her poem has provided."





This recording is the most personal, most compositional and most emotive work of Locke's career, and it features a hand-picked cast of outstanding musicians that bring Locke's vision to life in spectacular fashion: special guests Rosario Giuliani, Donny McCaslin (saxes), Paul Bollenback (guitar), Victor Provost (steel pan) and Theo Bleckmann (voice), with Locke's core working quartet, featuring Robert Rodriguez (piano), Terreon Gully (drums and co-producer) & Ricardo Rodriguez (basses). Locke commented in the liner notes about the musicians featured on Love Is A Pendulum, "as tightly composed as much of this music is, it would not have risen off the page without the creative contributions of the musicians here. Robert, Terreon and Ricky, the core of this group, have been hugely important to the realization of this project. Working together with a great natural chemistry, they sculpted the shape of each piece into something beyond what I had imagined. Their ability to deal with the written material while at the same time injecting it with soul and spontaneity was (and continues to be) remarkable. I'm also grateful that all of my first choices were available (with a bit of juggling!) to be guests on Love Is A Pendulum."


More on the music from Love Is A Pendulum:
Variation On Wisdom is a through-composed chamber piece and a re-working of the material from "Last Ditch Wisdom" (track #7). On Love Is The Tide, "I wanted to convey the surging power described in this particular verse of the poem. There are a lot of shifting rhythms occurring, but its essence is the Blues," said Locke. Love Is A Planchette (featuring Theo Bleckmann) depicts the movement of a planchette as it moves across a ouija board. This melody is beautiful and gentle rather than spooky, as it, "describes the light touch we must keep on love in order for it to move us from one place to another," explained Locke. Love Is A Pendulum was the first movement Locke composed for the suite. As with the movement of a pendulum, the band goes back and forth between the sections of this composition. Played as a rubato ballad, Love Is Letting Go is a meditation on love's eternal nature. "For the beginning of Love Is Perpetual Motion I wanted a wide open canvas for the two saxophones to have a conversation, interspersed with written material. The main melody of the piece does not occur until after the 4:20 mark, where it emerges from 3/4 time into a 9/4 clave, followed by vibes/pan trading and a piano solo before a restatement of the melody," explained Locke. For Jesse Mountain is dedicated to Locke's nephew Jesse. "Big man, big heart," said Locke. Last Ditch Wisdom speaks for itself - "NYC hardball, start to finish." The album concludes with the lovely ballad, Embrace, a composition based on George Gershwin's "Embraceable You", and conceived by Locke as a vehicle for Victor Provost. Pianist Robert Rodriguez's lyrical ride, on top of Gully's creative groove, concludes the recording on a consonant note.


More on Joe Locke:
Joe Locke is widely considered to be one of the major voices of his instrument. Long known to be a soloist capable of stunning physical power and broad emotional range, it was not until the last decade that he emerged as the composer, bandleader and conceptualist that he is considered today.

This is in no small part due to his recent solo projects, notably the three distinct albums he has released since joining Motema Music in 2011, which display his immense stylistic versatility and ability to create artistic depth in a variety of contexts: Signing (2012, the long awaited follow-up studio album of Live In Seattle), Wish Upon A Star (2012, Locke's first ever symphonic project, featuring Locke's Quartet with the Symphony Orchestra of Lincoln, Nebraska), and Lay Down My Heart (2013, jazz radio chart's #1 Blues & Ballads album). Locke's latest Motéma release, Love Is A Pendulum is already being hailed the most important work of his career. Other notable recordings in Locke's extensive discography (more than thirty albums as a leader) include, Four Walls of Freedom (Sirocco), a six movement suite featuring the late tenor saxophonist Bob Berg; Live in Seattle (Origin) by The Joe Locke/Geoffrey Keezer Group, which won the 2006 Ear Shot award for Concert of the Year, and his eloquent and vibrant quartet, Force Of Four (Origin).

Locke has won numerous awards and polls, including the 2006, 2008 and 2009 "Mallet Player of the Year" award from the Jazz Journalists Association, and the 2013 Hot House NYC Jazz Awards for best Vibes Player. He is active as a clinician and educator in the United States and Europe and has been the International Vibraphone Consultant at the Royal Academy of Music, London, on a visiting basis since 2008, holding the title of Honorary Associate of The Royal Academy of Music since 2013. Locke endorses Malletech instruments, and Love Is A Pendulum is the first recording to feature the innovative OmegaVibe (also endorsed by Stefon Harris, Tony Miceli and Warren Wolf).


Joe Locke - Love Is A Pendulum
All compositions by Joe Locke
1. Variation On Wisdom 2. Love Is The Tide 3. Love Is A Planchette 4. Love Is A Pendulum 5. Love Is Letting Go 6. Love Is Perpetual Motion 7. For Jesse Mountain 
8. Last Ditch Wisdom 9. Embrace 



UPCOMING TOUR DATES:
April 11 - Fayetteville, AR, Walton Arts Center

April 12 - Columbia, MO, Murry's

April 18 - Kansas City, MO, The Gem Theater

April 24 - Germantown, NY, Jazz Workshop at Germantown High School
April 25 - Germantown, NY, Central House Historic Hotel

CD RELEASE CELEBRATION:
May 29-30 - Cape May, NJ, Exit 0 International Jazz Festival

June 3 - Ocean Grove, NJ, Leigh Howard Stevens 36th Summer Marimba Sem.

CD RELEASE CELEBRATION:
June 8 - Burlington, VT, Discover Jazz Festival

CD RELEASE CELEBRATION:
June 9 & 10 - NYC, The Jazz Standard

June 13 & 14 - Hollywood, CA, The Hollywood Bowl  
(Joe Locke with Eddie Palmieri Group)

CD RELEASE CELEBRATION:
June 22 - Rochester, NY,  Xerox Rochester Int'l Jazz Festival

July 10-12 - NYC, Smoke Jazz Club - special guest with the Jim Rotondi Group

July 30 - NYC, 92nd Street Y - Swing Into Summer Series
(Joe Locke performing with Bill Charlap)


# # # #


Please Visit: www.Motema.com & www.JoeLocke.com


Press Enquiries on Joe Locke and Love Is A Pendulum
Please Contact: Jason Paul Harman Byrne at Red Cat Publicity
347 578 7601; Redcatjazz@mac.com
www.redcatontheloose.blogspot.com



Wednesday, March 11, 2015

Trombonist/Composer JOE FIEDLER Announces The Release of His New Trio Recording, I'M IN


FOR IMMEDIATE RELEASE:

 www.REDCATPUBLICITY.com
  


Trombonist/Composer JOE FIEDLER Announces
The Release of His New Trio Recording, I'M IN
Featuring Joe Fiedler (trombone)
Rob Jost (bass) & Michael Sarin (drums)
Available on Multiphonics Music on April 7, 2015


CD Release Celebrations!!:
Sunday 4/6: Quinn's, Beacon, NY, 2 sets starting at 8 PM

Friday 4/10: Official CD release show @ The Jazz Gallery, NYC, 
2 sets at 8 & 10 PM

Wednesday 4/22: Juniper at Hotel Vermont, Burlington, VT, 
2 sets starting at 8:30 PM

Thursday 4/23: Lilypad, Cambridge, MA, 2 sets starting at 7 PM

Friday, 4/24: Firehouse 12, New Haven, CT, 2 sets at 8:30 & 10 PM

Sunday 4/26: Why Not Jazz Room, NYC, 2 sets starting at 7 PM



"Pointing a way toward the future of the trombone."
- Stephen Loewy/Cadence Magazine

"Trombonist Joe Fiedler has been an MVP in configurations that range fromsalsa bands to the jazz avant-garde."
- Time Out New York

"With only three instruments, these extremely talented musicians have made a thoroughly enjoyable album that will appeal to fans of mainstream, bluesy jazz."
- All Music Guide

"Fiedler's latest, Sacred Chrome Orb, the leader seasons the mix with a remarkable array of timbral effects, including mind-bending multiphonics inspired by his idol, Albert Mangelsdorff."
- Time Out New York
 


From the opening notes of I'm In, trombonist, composer, bandleader Joe Fiedler, bassist Rob Jost and drummer Michael Sarin make it clear that this is going to be an adventurous, imaginative, funky and fun listen. Fiedler's new recording, the fourth from his trio, and the second album on his label, Multiphonics Music, presents a departure from his previous trio sessions, as Fiedler set out to play tunes with more traditional jazz forms, and that possessed more blues elements. With I'm In Fiedler has once again used his curious mind and explorer's heart to great advantage, finding brilliant new approaches on his horn, and new heights of mastery with his composer's pen.   

I'm In follows Fiedler's highly acclaimed trio recordings, Plays The Music of Albert Mangelsdorff, The Crab and Sacred Chrome Orb, so it is an album that has a lot to live up to; and it delivers brilliantly on many levels. The repertoire is as perfectly balanced as a culinary masterpiece, with just the right amount of Latin tunes ("Erstwhile", "In Walked Cleo" - written for his daughter), funky explorations ("Completely 'Peccable"), swing ("I'm In"), and more than a dash of free improvisation for good measure ("Moving In Silence").

I'm In also provided an opportunity for Fiedler to utilize, to great effect, several extended trombone techniques that he has mastered. He elaborated, "I wanted to return to my use of the plunger mute, which I really love, and to explore all of its textural properties with this trio, which is showcased on the first tune, 'Grip'. Another example is the melody to 'Erstwhile'; as I got deeper into it I thought it would be great to have the entire melody ride over a long drone. But instead of having the bass play the drone I chose to play it myself using circular breathing and having the bass play arco, doubling the sung/multiphonic melody, down an octave." Although an expert at using multiphonics, Fiedler still found ways to challenge himself on this recording. He commented, "for this album I wanted to return to some free improvisation that had been missing on some previous recordings of mine. On 'Moving In Silence' I incorporate some multiphonics to build the drama of the composition, and as it turned out what I wrote was the most challenging use of multiphonics that I have ever attempted."
 

Other highlights on I'm In include "The New Denizens", a Fiedler composition that incorporates two of his loves in music, free playing and Latin. Fiedler said, " I wanted to try and capture the tongue-in-cheek, yet still serious vibe that predominated many groups in the early 90's downtown scene, like the Jazz Passengers. I've always dug that. But the structure was influenced by my love of the music of Carla Bley"; "The Box", which challenged Fiedler, and sent him to the shed for a spell. He commented, "The box is the name that I gave to my little writing/practicing studio at my house. I was thinking very pianistically when writing this tune. The trouble was that once it was done I had to figure out where to breathe when playing it on the trombone. In the studio Rob and Michael commented that the melody was like overlapping horn sections from a Latin band, but with all of the parts played by me! Needless to say, this one took some time in the shed to bring to life"; and "Tensegrity", a blues with a bridge, set up amazingly with a drum intro by drummer Michael Sarin, that wraps up I'm In in a thrilling way.

More on Joe Fiedler: Few musicians possess the incredibly diverse and vast resume that trombonist/composer Joe Fiedler boasts. The perennially in-demand artist has worked with "everyone", from Wycleff Jean, Jennifer Lopez, to Celia Cruz, Ralph Irizarry, Eddie Palmieri, and from Andrew Hill, Lee Konitz, Maria Schneider, to Borah Bergman, Anthony Braxton and Cecil Taylor. He is also an active member of some of the most revered ensembles working today, including Fast 'n Bulbous - The Captain Beefheart Project, the Satoko Fujii Big Band, David Weiss and Endangered Species, the Jason Lindner Ensemble, The Mingus Band, the Ed Palermo Big Band, the Charles Tolliver Big Band and many others. Suffice it to say, it would be a challenge to meet a musician today that hasn't crossed paths on stage or in studio with Mr. Fiedler.

In addition to this bustle of activity that comes with being one of the first call trombonists in the world (his eclectic discography easily exceeds 100 recordings), Fiedler has been making his mark with a string of compelling recordings under his own name, including, Sackbut Stomp (on his own Multiphonics Music), Big Sackbut & Sacred Chrome Orb (both on the Yellow Sound Label), and Joe Fiedler Plays the Music of Albert Mangelsdorff and The Crab (both on Clean-Feed). Fiedler is also in the planning stages for a solo trombone project, and is a regular contributor to The Mingus Big Band. Fiedler's "day job" is Music Director: Arrangements (serving as arranger, orchestrator and trombonist) for Sesame Street. Over four seasons he has written more than 400 arrangements and crafted more than 4000 underscoring cues.
   

 
Please visit www.JoeFiedler.com
Please visit www.redcatontheloose.blogspot.com



Press Enquiries on Joe Fiedler,
Please contact: Jason Paul Harman Byrne @ Red Cat Publicity
Tel 347 578 7601, Email RedCatJazz@mac.com

Monday, January 12, 2015

Drummer/Composer ERNESTO CERVINI Flies High With His New CD TURBOPROP





FOR IMMEDIATE RELEASE:


Drummer/Composer ERNESTO CERVINI 
Flies High With His New CD TURBOPROP
Available On Anzic Records - February 3, 2015

  
Please visit: www.Anzicrecords.com
For more information and tour dates please click on: www.ErnestoCervini.com
Press/media: Physical & digital copies avail., please write to Redcatjazz@mac.com to request your copy


"Cervini recalls such old-schoolers as Art Blakey and Billy Higgins...his robust, magnetic personality fascinates consistently." 
- Ken Micallef - Modern Drummer Magazine

"Drummer Ernesto Cervini plays with such conviction and fire that it's easy to give him your ears and time. His music makes for a worthwhile investment of both." 
- Glen Hall, Exclaim Magazine

"It's quite enthralling when the band is playing flat out . . . There's no shortage of energetic, swinging music . . ."
- Peter Hum, The Ottawa Citizen



On February 3, 2015, Anzic Records proudly releases the much-anticipated fourth recording from drummer/composer Ernesto Cervini, titled Turboprop. On the heels of his third album, There, which featured his quartet recorded live at the Cellar Jazz Club in Vancouver, BC, Cervini added two incredible musicians to the fold to create an exciting new sextet he calls Turboprop. The band is comprised of his working quartet with Joel Frahm (tenor saxophone), Adrean Farrugia (piano), Dan Loomis (bass) & Ernesto Cervini (drums), plus Tara Davidson (alto & soprano saxophone) and William Carn (trombone). The sound of Turboprop, produced by Oded Lev-Ari, is sophisticated and soaring, reminiscent of the hard swinging Jazz Messenger bands of Art Blakey, and able to offer an extraordinarily wide range of repertoire; from Charlie Parker to Claude Debussy, plus originals from all the band members. Turboprop has already toured Canada to rave reviews, and will be celebrating the release with concerts across Canada and the U.S. (see below for dates).

Cervini, who Hank Shteamer of Time Out New York called, "a tastefully buoyant drummer as well as a sharp composer and bandleader", conceived of Turboprop as blades of a propeller that work together in synergy, moving an aircraft powerfully through the sky. Cervini elaborates, "by combining the experience and artistry of these musicians, the music takes flight with a force and energy that only a sextet can bring. This band has been a wonderful conduit for my compositions and arrangements and all of the members have taken a very personal approach to the pieces, embracing the emotion and sentiment that this group brings to every note we play." Producer Lev-Ari added that, "I was really excited to produce this album, as I love a 3-piece front line, and it's a sound that is rarely heard anymore. I knew it would be a strong vehicle for Ernesto's writing and arranging. Since the band had just gotten back from a tour days before getting into the studio, the music was well-rehearsed and had this unmistakable 'live' feeling. We captured great performances, and could easily fill two albums with strong music. Ernesto is simply an incredible musician and bandleader and this recording really captures his essence as a multifaceted creative force."

Highlights on Turboprop include, "Cheer Up Charlie", a lovely ballad from the film Charlie and The Chocolate Factory, that Cervini and his wife sing to their baby boy; "Three Angels", another very special piece for Cervini, composed for his three nieces who passed away unexpectedly; and the third ballad on the album called "Marion Theresa", which was written for Cervini's grandmother.

Turboprop however is anything but an all ballads album, and, "Cervini exemplifies 'float like a butterfly, sting like a bee' . . . turning drums into a rainforest symphony"- Ken Micallef, DownBeat Magazine. Sprinkled around these emotional compositions are upbeat, anthemic tunes including, "Unnecessary Mountain", which was named after a mountain in the Rockies; "Bindi Bop", inspired by Cervini's trip to Australia; "Fear of Flying", which Cervini wrote for all those with Pteromerhanophobia; and "De Molen", a great burner by saxophonist Joel Frahm.

In addition to the compelling originals, Turboprop also sunk their teeth into some "standard" tunes that they love to play, including "Red Cross" by Charlie Parker, and "The Windup" by Keith Jarrett, and Cervini's arrangement of the gorgeous Claude Debussy piano etude, "The Engulfed Cathedral".

There's an old saying in aviation; "Accidents happen when you run out of experience." In the case of Turboprop, the music is clearly in good hands.


 
More on Ernesto Cervini: Innovative and electrifying, Toronto jazz drummer Ernesto Cervini, who has shared the stage with many legendary musicians such as Joe Lovano, Clark Terry, Benny Golson, Cleo Laine, Pat LaBarbera, Dick Oatts, Buddy DeFranco, Eddie Daniels, Scott Robinson, Dave Binney, Jim McNeely, and many others, has energy to burn, whether radiating it from behind his drums or working on any number of musical and educational projects. Cervini's diversity as a musician (he is also an excellent pianist and clarinetist) has allowed him to travel throughout the world, performing in some of the world's greatest jazz venues such as Smalls, Birdland, The Jazz Standard, The 55 Bar, The Montreal Bistro, The Top Of the Senator, The Rex Jazz and Blues Club, and also many of the world's most prestigious concert halls, such as Massey Hall, The Glen Gould Theatre, The St. Lawrence Center for the Arts and the Sugita Theatre in Yokohama, Japan. His second album, Little Black Bird, recorded with his quartet was celebrated loudly by DownBeat Magazine with a four-star review. His joyous and engaging third recording, There, released in 2011, is now followed up on with the artist's most irresistible work to date, Turboprop (Anzic Records, February 3, 2015).


Ernesto Cervini - Turboprop - CD Release Celebrations:
February 19th - 21st - The Jazz Bistro, Toronto, ON
February 28th - The Jazz Room, Kitchener, ON
March 13 - The Yardbird Suite, Edmonton, AB
March 14 - The Bassment, Saskatoon, SK
March 17 - The Arts Station, Fernie, BC
March 19 - The Avalanche Bar & Grill - Georgia Straight Jazz Society, Courtenay, BC March 20 - Hermann's - Victoria Jazz Society, Victoria, BC
March 21 - Pat's Pub, Vancouver, BC
 
  



For more information on Turboprop & Ernesto Cervini please contact: Jason Paul Harman Byrne at Red Cat Publicity:
Tel (347) 578-7601
Email Redcatjazz@mac.com
Website www.redcatontheloose.blogspot.com
 

Monday, January 5, 2015

Trombonist/Composer MARSHALL GILKES To Release KÖLN FEATURING THE WDR BIG BAND

                        


FOR IMMEDIATE RELEASE:

 

  
Trombonist/Composer MARSHALL GILKES To Release KÖLN
FEATURING THE WDR BIG BAND
Available February 10, 2015 on Alternate Side Records


"Compelling, harmonically intriguing and ferociously swinging"
- Bill Milkowski, JazzTimes Magazine

"Marshall Gilkes is the best trombonist to come into jazz in the new millennium"
- Thomas Conrad, Stereophile Magazine

"Remarkable for both his easefully modern compositions and for the cohesion of this ensemble"
- Nate Chinen, The New York Times


On February 10, 2015, trombonist/composer MARSHALL GILKES proudly releases his fourth album as a leader, simply titled for the home base of The WDR Big Band, KÖLN. This set of stunning compositions marks Gilkes first recording fronting a big band, but he is no stranger to this setting, being a regular member of Maria Schneider's Grammy Award-winning orchestra, (Schneider describes him as, "one of those musicians who continually just drops my jaw and leaves me shaking my head in disbelief"), and also due to his four years (2010 - 2013) as a full-time member of the Grammy Award-winning ensemble featured on Köln, The WDR Big Band.

Köln (to be released on Gilkes' label, Alternate Side Records, marking the label's eighth release) features seven original compositions from Gilkes that exhibits the artist's astounding ability to blend his many influences and experiences into a singular, distinctive voice. The compositions, and Gilkes arrangement of the standard, "My Shining Hour", combines the spontaneous invention of jazz with the elegant architecture of classical composition; straight-ahead swing with adventurous modernism; and virtuosic technique with passionate emotion. It's a rare combination that has made Gilkes an in-demand performer, composer, sideman, and clinician since his arrival in New York City in the late 1990s.

The origins of this album started with Gilkes joining The WDR Big Band (he has since resigned to engage in leading his own bands and high profile sideman work). After a long audition process that included several weeks of performances, Gilkes received an invitation to be a full-time member - a rare opportunity that he accepted immediately. In addition to first-class musicianship, Gilkes explains, "the WDR Big Band rehearses in a fully operational recording studio with full-time engineers and copyists - a truly unique operation. When the band plays in the Kölner Philharmonie, it is generally sold out, all 2,000 seats, with enthusiastic fans." As a WDR band member, he performed his final concert in December 2013, but, at the request of the band's producer, he returned the following month for a farewell concert of the material heard on Köln. Calling the experience "one of the highlights of my career," Gilkes eventually titled the album after the city where he lived during his four-year tenure with the WDR. "It is a vibrant city," he notes, "with an incredible music scene for such a small town. The jazz scene is booming, and young jazz musicians can be heard playing music at a very high level almost every night of the week."
 
  

About The Music on Köln:
"My Shining Hour" is a tune that Gilkes would often practice, up-tempo, in all 12 keys as well. "I decided to write a big band arrangement of it that sort of ended up being a bit of a 'theme and variations on My Shining Hour'", said Gilkes. Solo: Marshall Gilkes (trombone)

"Vesper" was written during a period of Gilkes having to make difficult decisions. He elaborates, "I would come home and write in the evening during this period and find it to be good therapy. I decided to call it 'Vesper' which is an evening prayer", said the artist. Solos: Frank Chastenier (piano), John Marshall (flugelhorn)

Gilkes composed "4711 Special" specifically with the WDR Big Band in mind. The piece was originally titled "Gill-kiz". Gilkes explains, "German is a language that is written like it sounds and sounds like it is written. I used to tell German people my name Gilkes (correct pronunciation is "jilx") and they would correct me on the pronunciation. It happened so often that people started calling me Gill-kiz as a joke. However, I thought the tune deserved a better title and finally changed it to "4711 Special", which is a number one sees all over Cologne, representing the number of the famous perfume that comes from Cologne. Solos: Ludwig Nuss (trombone), Johan Hörlen (alto saxophone)

"Edenderry" is the title track from Gilkes debut release as a leader, which he decided to expand and turn it into a brass chorale, creating quite a breathtaking variation on the original. "I was inspired by the pandiatonic harmonies of Aaron Copland. The intro begins with flugelhorns and trombones. The woodwinds enter later, and the chorale enters again before the closing vamp. Solo: Marshall Gilkes (trombone)

Gilkes composed "Plant Bassed" for the great WDR bassist John Goldsby, who happens to be a vegan. Gilkes explains, "my mom is also a vegan and is always talking about plant based diets. I tried to take some ideas that John uses in his improvisations and use them as a basis for the melody." Solos: John Goldsby (bass), and special guest Michael Rodriguez (trumpet)

"Mary Louise" was written for Gilkes' mom. "When I was a kid my mom was a piano and voice teacher and there was one particular exercise that she would work on with her students that has stuck with me all these years. I recall playing video games and hearing her practice this exercise with the syllables 'Zee-ee', singingbetween root and third, root and fourth, and root and fifth. I decided to try harmonizing that exercise and that serves as the intro to the composition, and reoccurs throughout the piece", said Gilkes. Solos: Special guest Michael Rodriguez (flugelhorn), Frank Chastenier (piano)

"End in Sight" is a tune from Gilkes second album Lost Words. The first half is very much an expansion of the original, however, the second half (tenor solo) floats over the same groove, but with brand new harmonies. Solos: Karolina Strassmayer (alto saxophone), Paul Heller (tenor saxophone)

"Downtime" is a composition from Gilkes' third album Sound Stories. This arrangement was written in 2012 for the WDR Big Band project featuring members of the band called "Very Personal". It is an expansion on the original that has an alternate introduction, and a new interlude as well. Solo: Marshall Gilkes (trombone)


Personnel on Köln: Marshall Gilkes: composer, arranger, conductor, trombone, special guest Michael Rodriguez: trumpet/flugelhorn, Johan Hörlen & Karolina Strassmayer-alto saxophone/flute/clarinet, Olivier Peters-tenor saxophone/clarinet, Paul Heller-tenor saxophone/clarinet/bass clarinet, Jens Neufang-baritone saxophone/bass clarinet, Ludwig Nuss, Shannon Barnett & Andy Hunter-trombones, Mattis Cederberg-bass trombone, Wim Both, Rob Bruynen, Andy Haderer & John Marshall-trumpet/flugelhorn, Frank Chastenier-piano, Paul Shigihara-guitar, John Goldsby-bass, Hans Dekker-drums
 
Portions of the press release excerpted from the album's liner notes by Sascha Feinstein

 
    


Upcoming Appearances:

01/10/15
Edmar Castañeda Trio
New York, NY
Le Poisson Rouge

01/22/15 - 01/23/15
Guest Artist
Bloomington, IL
Illinois Wesleyan University Jazz Festival

01/23/15
Guest Artist
Bloomington, IL
Illinois Wesleyan University Jazz Festival

01/24/15
Guest Artist
Bloomington, IL
Illinois Wesleyan University Jazz Festival

01/24/15
Ryan Truesdell's Gil Evans Project
Champaign Urbana, IL
Krannert Center for the Arts (University of Illinois at Urbana-Champaign)

02/06/15 - 02/07/15
Guest Artist
Ft. Lauderdale, FL
Broward College

02/15/15
Maria Schneider Orchestra
Istanbul, Turkey

02/17/15 - 02/24/15
Guest Artist
Madrid, Spain

02/26/15 - 03/01/15
Rufus Reid's Quiet Pride Big Band
New York, NY
Jazz Standard

03/02/15 - 03/03/15
Artist in Residence
Boston, MA
Berklee College of Music

03/06/15 - 03/07/15
Guest Artist
Lawrence, KS
University of Kansas Jazz Festival

03/24/15 - 03/28/15
Guest Artist
Normal, IL
Illinois State University

04/06/15 - 04/08/15
Artist in Residence
Boston, MA
Berklee College of Music

04/09/15 - 04/10/15
Guest Artist
Albuquerque, New Mexico
University of New Mexico Jazz Festival

04/16/15 - 04/17/15
Guest Artist
Sioux City, Iowa
Morningside College Tri-State Trombone Festival

05/06/15
Edmar Castañeda
Vienna, Austria
Wiener Konzerthaus

05/09/15
Samuel Torres
Bogota, Colombia
Biblioteca Luis Angel Arango

06/02/15 - 06/06/15
Maria Schneider Orchestra
New York, NY
Birdland Jazz Club




Please visit: www.MarshallGilkes.com

For more information on Marshall Gilkes & Kölnplease contact:
Jason Paul Harman Byrne at Red Cat Publicity, Tel (347) 578-7601, 
Email Redcatjazz@mac.com
Website www.redcatontheloose.blogspot.com