tag:blogger.com,1999:blog-77541560144126215092024-03-05T11:07:55.776-08:00Jazz and BossaJazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.comBlogger238125tag:blogger.com,1999:blog-7754156014412621509.post-34021971990382147932020-06-27T07:09:00.001-07:002020-06-27T07:09:07.913-07:00FESTIVAL INTERNATIONAL DE JAZZ DE MONTRÉAL PRESENTED BY TD BANK GROUP IN COLLABORATION WITH RIO TINTO IS BACK THIS SUMMER WITH A SPECIAL ALL DIGITAL EDITION JUNE 27-30, 2020!<div style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; text-align: center;">
<strong><span style="color: #9900ff;">FESTIVAL INTERNATIONAL DE JAZZ DE MONTRÉAL PRESENTED BY TD BANK GROUP IN COLLABORATION WITH RIO TINTO IS BACK THIS SUMMER WITH A SPECIAL ALL DIGITAL EDITION JUNE 27-30, 2020! </span></strong><br /><br /><strong>A VARIETY OF LOCAL LUMINARIES TO PERFORM AT L’ASTRAL FOR A VIRTUAL EDITION… LET’S #JAZZTOGETHER!<br /><br />IT’S ALL HAPPENING AT <a data-saferedirecturl="https://www.google.com/url?q=https://soundcloud.us13.list-manage.com/track/click?u%3D5fbad09697b9417adec6747d1%26id%3D8a772aefde%26e%3D4b42e829ed&source=gmail&ust=1593352694166000&usg=AFQjCNHYBfYOVJx3cpFIgkMzmmtiB7v1aw" href="https://soundcloud.us13.list-manage.com/track/click?u=5fbad09697b9417adec6747d1&id=8a772aefde&e=4b42e829ed" style="color: #007c89; font-weight: normal;" target="_blank">MONTREALJAZZFEST.COM</a> </strong></div>
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<strong>The Festival International de Jazz de Montréal</strong> presented by <strong>TD Bank Group</strong> in collaboration with <strong>Rio Tinto</strong> is pleased to announce some very good and welcome news: This summer, <strong>there will be live music! From June 27th to 30th, 2020, the Festival International de Jazz de Montréal presents a special edition of the Festival on our digital platforms</strong>. <br /><br />As an exclusive treat for music fans from all over the world this summer, the Festival will be taking digital platforms by storm, offering unique and dynamic musical content featuring many of the Festival’s favorite local artists performing live, <strong>filmed with extremely high-quality production value, worthy of the Festival standard</strong>. With invaluable support from <strong>TD Bank Group</strong> and <strong>Rio Tinto</strong> and our <strong>public partners</strong> the <strong>Government of Canada</strong>, the <strong>Government of Québec</strong> and the <strong>city of Montreal</strong>, this special edition of the Festival aims to create unique and memorable moments for loyal Festival goers, accessible via <a data-saferedirecturl="https://www.google.com/url?q=https://soundcloud.us13.list-manage.com/track/click?u%3D5fbad09697b9417adec6747d1%26id%3Dca5a2862e5%26e%3D4b42e829ed&source=gmail&ust=1593352694166000&usg=AFQjCNGdK1GOAfvOqqoFQhCFqQRUoLe7CA" href="https://soundcloud.us13.list-manage.com/track/click?u=5fbad09697b9417adec6747d1&id=ca5a2862e5&e=4b42e829ed" style="color: #007c89;" target="_blank">montrealjazzfest.com</a>. The digital shift for 2020 allows the Festival to maintain its role as a prominent platform for jazz music by continuing to reach more communities while adhering to the government's safety guidelines during the Covid-19 crisis. </div>
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<br /><strong>This special edition of the Festival is a gift for Montreal fans, the jazz community, the Festival team, partners, and to all the passionate music lovers all over the world who revel in the opportunity to be moved by something as magical as live music. </strong><br /><br />The digital edition of the Festival includes a takeover of Montreal’s iconic <strong>L’Astral</strong>, on the ground floor of La Maison des Festivals in the heart of Quartier des Spectacles (home of the Festival), which has been transformed into <strong>a bespoke broadcast studio for this unique series of performances</strong>. For 4 days, some of the Festival’s favourite local artists will perform special sets that will be available for <strong>FREE</strong> online, which can be viewed by fans from the comfort of their own homes! <br /><br />Starting June 27th, on <strong>Canadian Multicultural Day</strong>, and for the duration of this special edition, the Festival will be celebrating once again this year with a dynamic lineup of artists showcasing the diverse talents and cultures that make up our country. Performances will take place every evening starting with the <strong>Apéros SAQ</strong> - a series of unique performances courtesy of some of the Festival's favourite artists, broadcast LIVE from L'Astral. There will then be exclusive sets, the <strong>Sessions TD</strong> and the <strong>Rythmes Rio Tinto</strong>, which are sure to please music fans of all ages, also filmed at L'Astral. This will be followed by a gem from the Festival archives of legendary concerts from past editions of the Festival. What’s more, the opening night will wrap up with a party, the <strong>Fin de soirée Loto-Québec</strong>, which everyone is invited to join. This special edition of the Festival on our digital platforms will feature <strong>the same high standard of production quality that attendees of the Festival have come to expect with a multi camera setup, helmed by director Maxime Théoret-Bissonnette (Bonsoir, Bonsoir -- Radio-Canada)</strong>. Of course, all of this will be done while respecting all the public health guidelines established by the government for everyone working in the venue. <br /><br />The lineup of talent participating in the digital Festival is a veritable who’s who of local luminaries and some of the best artists the city has to offer. Fans will be wowed by unique performances from the likes of Quebec superstar <strong>Charlotte Cardin</strong>; piano wiz <strong>Jean-Michel Blais</strong>; Indie rock and blues champs <strong>The Barr Brothers</strong>; JUNO and Polaris Music prize-nominated singer-songwriter <strong>Dominique Fils-Aimée</strong>; Inuk singer, the soulful <strong>Elisapie</strong>; fan and Festival favourite <strong>Jordan Officer</strong>, as well as <strong>Pierre Kwenders; Alain Caron trio avec Paul Brochu et John Roney; Jeremy Dutcher; Jack Broadbent; Fredy V. & The Foundation; Clerel; Malika Tirolien; Jacques Kuba Séguin; Bïa; Rafael Zaldivar; Marianne Trudel; Naya Ali; Djely Tapa; Carl Mayotte;</strong> and <strong>Mateo</strong>. The full schedule will be announced in the coming days.<br /><br />“It is of the utmost importance for us to continue to bring the jazz Festival to the people”, <strong>says the Festival’s General Manager Jacques K. Primeau</strong>, “and despite the challenging circumstances this year, we are thrilled to be able to offer an innovative solution to get the music out to the fans! We are also extremely proud to offer artists a chance to do what they do best, perform for all of us!” <br /><br />All the exclusive live performances will also be available on demand separately on all the Jazz fest digital platforms right after the live broadcast each night. <br /><br />The Festival would like to extend a huge thank you to its collaborators, <strong>TD Bank Group</strong>, <strong>Rio Tinto</strong>, the <strong>Government of Canada</strong>, the <strong>Government of Québec</strong> and <strong>the city of Montreal</strong> for believing in the project and for making this digital version of the Festival possible. <br /><br />‘It’s because of collaborators like TD Bank Group, Rio Tinto and the support of our public partners that we’re able to bring this special edition to Festival goers from across the globe… #JazzTogether is truly a community and a family affair! It’s incredible to see it all come together!” added <strong>Jacques K. Primeau.</strong><br /><br />''Music brings us together and reminds us that we are all connected through shared passions and ideas even when we’re apart, mentions <strong>Sylvie Demers</strong>, Chair, Quebec Market, <strong>TD Bank Group</strong>. That is why we are proud to support this special and unique edition of the Montreal International Jazz Festival''<br /><br /><strong>The Festival would also like to extend its gratitude to all public and private partners and collaborators for supporting the Festival over the past 40 years</strong>: <br /><br />Thanks to the Festival’s presenting sponsor <strong>TD Bank Group</strong> and our co-presenting sponsor <strong>Rio Tinto</strong> for their renewed trust. As well as, <strong>Loto-Québec</strong>, la <strong>Société des Alcools du Québec</strong>, <strong>Heineken</strong>, <strong>Hyundai</strong>, <strong>Les Producteurs de lait du Québec</strong> and other collaborators.<br /><br />The Festival would also like to thank the three levels of government and to the organizations for their constant support: the <strong>Government of Canada — Canada Economic Development, the Department of Canadian Heritage and the Musicaction Foundation —, the Government of Québec — the Secrétariat à la région métropolitaine and the SODEC —</strong>, as well as the <strong>city of Montréal</strong> and <strong>Tourisme Montréal</strong>.<br /><br />The Festival would also like to highlight the support of its media partners: <strong>Radio-Canada</strong>, <strong>La Press</strong> & <strong>98.5</strong>.<br /><br />A warm and big <strong>THANK YOU</strong> to the entire Festival team under the leadership of <strong>Jacques K. Primeau</strong> and <strong>Laurent Saulnier</strong> for contributing to the production of this special edition of the Festival on our digital platforms and who work all year round to bring the magic of the Festival to life! To the artists whose collaboration in making this Festival so unique is tremendously appreciated, and above all, thanks to the fans, who will help the <strong>Festival International de Jazz de Montréal </strong>presented by <strong>TD Bank Group</strong> in collaboration with Rio Tinto with to shine again in 2021 and for many years to come. <br /><br />We are thrilled that the power of music is there to unite us once again! <strong>From June 27th to 30th 2020, Le Festival International de Jazz de Montréal’s</strong> special edition on our digital platforms is coming! </div>
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-5187765235566376552020-05-23T15:10:00.003-07:002020-05-23T15:10:29.132-07:00Visionary vocalist/songwriter Esperanza Spalding and renowned pianist/composer Fred Hersch announce a 5-song duo EP to benefit musicians impacted by the COVID-19 pandemic<div style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px; margin-bottom: 10px; margin-top: 10px; padding: 0px; text-align: center;">
<strong>Visionary vocalist/songwriter Esperanza Spalding and renowned pianist/composer Fred Hersch announce a 5-song duo EP to benefit musicians impacted by the COVID-19 pandemic</strong></div>
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<strong>Released to raise funds for the Jazz Foundation of America, <em>Live at the Village Vanguard</em> will be available exclusively at Bandcamp ONLY throughout the month of June</strong></div>
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The COVID-19 pandemic is having a devastating effect on the jazz community, leaving countless musicians to face an uncertain future. Visionary vocalist, bassist and songwriter <strong>Esperanza Spalding</strong> and iconic pianist/ composer <strong>Fred Hersch</strong> have committed to do their part to help fellow musicians in need with the limited release of <strong><em>Esperanza Spalding & Fred Hersch: Live at the Village Vanguard - Rough Mix EP</em></strong>, a five-song EP captured during the duo’s 2018 run at the iconic New York City nightclub. The EP is a live rough mix with no edits. </div>
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<br />The EP will be offered exclusively for download through <strong>Bandcamp</strong>, with all proceeds benefitting the <strong>Jazz Foundation of America</strong> and the organization’s efforts to assist members of the jazz community impacted by this ongoing crisis. Released on <strong>May 29</strong>, the scintillating performance will be <strong>available only through the month of June</strong> for a minimum of<strong> $17, </strong>with additional donations encouraged on a pay-what-you-wish basis. Purchase the album here: <a data-saferedirecturl="https://www.google.com/url?q=https://esperanzaspaldingfredhersch.bandcamp.com&source=gmail&ust=1590357547939000&usg=AFQjCNEFHSGqu_VvL9ZuNDYMTgHHzxG5eQ" href="https://esperanzaspaldingfredhersch.bandcamp.com/" style="color: #007c89;" target="_blank">https://<wbr></wbr>esperanzaspaldingfredhersch.<wbr></wbr>bandcamp.com</a><br /><br />“All of my musician friends are in the same boat,” Hersch laments. “People who rely on gigs to make ends meet have seen entire tours cancelled. What opportunities may come – and when – remains a huge question mark.”<br /><br />Besides raising much-needed funds for a vital cause, <em>Live at the Village Vanguard </em>provides a rare opportunity for listeners to enjoy this singular and thrilling collaboration. Spalding and Hersch have convened for only a handful of NYC performances since their first meeting during Hersch’s annual duo series at the Jazz Standard in 2013. In that limited time the pair has developed a wholly unique approach, not only in the annals of piano-voice duets but in their own already distinctive practices.<br /><br />“This recording feels like you’ve got the best seat in the house for a very live experience,” Hersch says. “You can really feel the energy of the room, of the audience, and of our interplay, and I think it’ll make people feel really good to hear it.”<br /><br />“I think there’s a lot of joy and beauty in this music that Fred and I made,” adds Spalding. “Beyond collecting money for musicians in need, sharing the beauty in our hearts can have a healing effect as well.”<br /><br />The five pieces included on <em>Live at the Village Vanguard </em>span a vast spectrum of repertoire, from original compositions to a Brazilian classic to familiar standards offered with a stunningly fresh perspective. A determined original in her own music, Spalding rarely sings standards, and her approach here is unique to her partnership with Hersch. Her improvisation on the Gershwins’ “But Not For Me” becomes a witty, poetic extemporization on the lyric itself, examining the changes in language represented by the original’s sometimes archaic terminology. Neal Hefti and Bobby Troup’s chauvinistic ditty “Girl Talk” comes under barbed scrutiny from not only a feminist but also an eco-conscious perspective.<br /><br />Hersch’s “Dream of Monk” has been a staple of the duo’s sets since the beginning. With lyrics penned by the pianist himself, the tune is a dedication to one of Hersch’s most indelible influences. “Some Other Time” is a Sammy Cahn/Jule Styne song, less well known than the Leonard Bernstein classic of the same name but a favorite of Hersch, who weaves an elegant and vivid tapestry during his mesmerizing solo. The set closes with Egberto Gismonti’s “Loro,” launched by Spalding’s unconventional scatting, which she eventually uses to engage in a nimble dance with Hersch’s jaunty piano.<br /><br />“Playing with Fred feels like we’re in a sandbox,” Spalding says. “He takes his devotion to the music as serious as life and death, but once we start playing, it’s just fun. I like to live on the edge in my music, but I find myself trying things that I usually wouldn’t when I play with him, finding new spaces to explore in the realm of improvised lyrics.”<br /><br />“I don’t think anybody’s heard Esperanza sing like this,” Hersch says, returning the compliments. “She’s fearless, and is one of the smartest people I know. She’s got a huge reach in her intellectual knowledge and is a big thinker in her projects and in her outlook.”<br /><br />This particular music, recorded October 19-21, 2018, has already made a restorative impact on the two dauntless artists who created it. Though it’s hard to believe given the buoyant spirits and playful interaction of the performances, both Spalding and Hersch were working through pain that weekend. Although the stint ended on a celebratory note with the occasion of Hersch’s 63<sup>rd</sup> birthday, he was also scheduled to enter the hospital the very next day for hip replacement surgery.<br /><br />“I was in a lot of pain and walking with a crutch,” he recalls. “Just getting down the famous stairs to the Vanguard was an ordeal.”<br /><br />Spalding, meanwhile, was struggling with family issues while juggling an intense schedule that included writing an opera with the legendary Wayne Shorter and beginning a teaching position at Harvard University. “I was going through a very difficult time in my life,” she admits. “I was miserable every day when I got to the Vanguard, so I had to decide to plug into the capacity for this music to heal. I wanted to emanate something positive even though I was feeling so horrible. Neither of us were feeling well in our lives outside of the music, so the stage of the Vanguard became an alchemizing place for both of us, and I think you can feel that in the music.”</div>
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<strong>Esperanza Spalding</strong></div>
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Four-time Grammy Award-winning visionary Esperanza Spalding aims to ignite and portray various hues of vital human energies through composition, singing, bass playing and live performance. A lover of all music, especially improvisation-based musics emerging from black American culture, Spalding’s musical aesthetic is prismatic. With projects like <em>Radio Music Society, Chamber Music Society</em>, <em>Emily’s D+ Evolution </em>and her latest album, <em>12 Little Spells</em>, she has inventively combined and reimagined influences from jazz, funk, rock, musical theater and beyond. She has taught at Berklee College of Music and Harvard University, and is in the process of writing an opera in collaboration with Wayne Shorter.</div>
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<strong>Fred Hersch</strong></div>
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A select member of jazz’s piano pantheon, Fred Hersch is an influential creative force who has shaped the music’s course over more than three decades. A fifteen-time Grammy nominee, Hersch has long set the standard for expressive interpretation and inventive creativity. A revered improviser, composer, educator, bandleader, collaborator and recording artist, Hersch has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” by The New Yorker. For decades Hersch has been firmly entrenched as one of the most acclaimed and captivating pianists in modern jazz, whether through his exquisite solo performances, as the leader of one of jazz’s era-defining trios, or in eloquent dialogue with his deeply attuned duo partners. His brilliant 2017 memoir, <em>Good Things Happen Slowly</em>, was named one of 2017’s Five Best Memoirs by the Washington Post and The New York Times.</div>
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<strong><em>Esperanza Spalding & Fred Hersch:<br />Live at the Village Vanguard – Rough Mix EP</em></strong></div>
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Recorded Oct. 19-21, 2018</div>
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<strong>Release date May 29, 2020</strong></div>
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<span style="font-size: 14px;"><strong>Available exclusively for download via Bandcamp only through June 2020</strong></span></div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-51143702524164401132020-05-21T18:39:00.000-07:002020-05-21T18:39:15.595-07:00Dutch street named after Rosetta Reitz<div style="font-family: Arial, Helvetica, sans-serif; font-size: 12px; text-align: center;">
<span style="font-size: 14px;"><span style="font-size: 16px;"><strong>Dutch street named after Rosetta Reitz</strong></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br />Rosetta Reitz, jazz historian, author and record producer has been honored with a street dedicated to her in Leiden, Netherlands.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br />We heard the news from her daughter, Rebecca. A group of community activists in Leiden, Netherlands live in or near a street called ReitzStraat (Reitz Street) that was named for a leader in the Boer War, Francis W. Reitz.<br /><br />They decided to change the dedication of the street for two reasons:<br />1) To rethink the role the Boers played as colonists and their link to rise of apartheid.<br />2) There are not enough streets named after women.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br /><br />In their research to find a woman named Reitz, the Dutch activists quickly discovered Rosetta and were impressed with her all accomplishments. They especially loved <strong><span style="color: blue;"><a data-saferedirecturl="https://www.google.com/url?q=https://jazzbash.us2.list-manage.com/track/click?u%3D3186fe64133adb244b1010be2%26id%3D73469aec97%26e%3D5b50fc7648&source=gmail&ust=1590196926752000&usg=AFQjCNGZwYFDZhRmkN3RCTp4p-ElG0U-0w" href="https://jazzbash.us2.list-manage.com/track/click?u=3186fe64133adb244b1010be2&id=73469aec97&e=5b50fc7648" style="color: black;" target="_blank">Rosetta Records</a>,</span></strong> </span><a href="https://rosettatribute.weebly.com/rosetta-records.html">https://rosettatribute.weebly.com/rosetta-records.html</a> <span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;">the label she established in 1980 where she retrieved lost women’s blues and jazz. The double fold albums were lavishly illustrated with photos of the women. Rosetta wrote about the historical context of the music in liner notes that presented a new view from a woman's perspective.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br />This thoughtful group found the <u><strong><span style="color: blue;"><a data-saferedirecturl="https://www.google.com/url?q=https://jazzbash.us2.list-manage.com/track/click?u%3D3186fe64133adb244b1010be2%26id%3Dd161782274%26e%3D5b50fc7648&source=gmail&ust=1590196926752000&usg=AFQjCNHz07Qu_BzbbGYrkSISOt38KgwWOA" href="https://jazzbash.us2.list-manage.com/track/click?u=3186fe64133adb244b1010be2&id=d161782274&e=5b50fc7648" style="color: black;" target="_blank">tribute website</a>, </span></strong></u></span><a href="https://rosettatribute.weebly.com/">https://rosettatribute.weebly.com/</a> <span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;">that her daughter Rebecca created and also discovered her book on Menopause and other meaningful achievements. They went ahead and created a new street sign that they placed over the old one. They will also go through the official Council channels.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br />“To replace an imperialist warrior with a feminist historian is EXACTLY the kind of grassroots effort that my mother, Rosetta, would have loved,” said Rebecca. “Rosetta spent her life and creative energy correcting wrongs and giving women the chance to be heard. And now, this group has acknowledged her efforts in a most delightful and important manner.”</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;">Source: </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;">Jim Eigo Jazz Promo Services</span><br />
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-69461917355148323432020-05-19T06:50:00.003-07:002020-05-21T09:36:31.223-07:002020 JJA Jazz Awards winners!<h2 style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom-color: rgb(102, 102, 102); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: initial; border-top-style: initial; border-width: 0px 0px 1px; color: #840000; font-family: Georgia, "Times New Roman", Times, serif; font-size: 1.8em; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 20px 0px; outline: 0px; padding: 0px 0px 8px; vertical-align: baseline;">
2020 JJA Jazz Awards winners!</h2>
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May 18th, 2020 | By <a href="https://news.jazzjournalists.org/author/editor-2/" rel="author" style="background: transparent; border: 0px; color: #840000; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Posts by JJA Editor">JJA Editor</a></div>
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Carla Bley, composer-arranger-bandleader and pianist, has won the 2020 JJA Jazz Award for Lifetime Achievement in Jazz in the 25<span style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">th</span> annual honors for excellence in music and music journalism.</div>
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Stanley Crouch, author, essayist, novelist, advisor to Jazz at Lincoln Center and president of the Louis Armstrong Educational Foundation, is winner of Lifetime Achievement in Jazz Journalism. </div>
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This year’s Awards for instrumentalists advance a multi-year trend by the JJA’s voting members to recognize accomplished women among the multiple nominated finalists. Drummer and educator <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Terri Lyne Carrington</strong> (Musician of the Year), pianist-composer <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Kris Davis</strong> (Composer and Pianist of the Year), saxophonist <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Lakecia Benjamin</strong> (Up & Coming Musician of the Year), drummer-composer <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Allison Miller’s Boom Tic Boom </strong>(for Mid-Size Ensemble of the Year), baritone saxophonist <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Lauren Sevian </strong>and harpist <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Brandee Younger</strong> (Player of Instruments Rare in Jazz), and several other women were voted Best of the Year for their achievements in 2019. For the first time, women won half the instrumentalists’ categories.</div>
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Not that men are ignored in this year’s Jazz Awards. <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Miguel Zenón</strong> won Arranger of the Year and Alto Saxophonist of the year, <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Branford Marsalis’ quartet</strong> won Record of the Year for <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Secret Between the Shadow and the Soul</em>, <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Christian Scott aTundé Adjuah</strong> was named Trumpeter of the Year and <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Joel Ross</strong> was Mallet Player of the Year, both for the first time.<strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Mark Stryker’s </strong><em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Jazz From Detroit</strong> </em>(University of Michigan Press) was voted Best Book About Jazz, San Francisco Bay Area radio show host <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Richard Hadlock </strong>and New York-based photographer <strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Richard Conde</strong> won, respectively, the Marian McPartland-Willis Conover Award for Lifetime Achievement in Broadcasting, and the Lona Foote-Bob Parent Award for Lifetime Achievement in Photography.</div>
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“The JJA is pleased to congratulate these winners, and indeed all the musicians nominated in our two-stage voting process,” said Howard Mandel, president of the JJA. “Especially with listeners largely confined to home, it’s important to let artists know they’re being heard, and to advise music fans about the best current jazz creativity, as jazz journalists do.”</div>
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The Jazz Awards was initiated in 1996, and follows on the JJA’s Jazz Heroes Awards for “activists, advocates altruists, aiders and abettors of jazz (which are being promoted via interactive broadcasts featuring Boston hero Ran Blake on May 23, and Los Angeles Hero Billy Mitchell on May 28 (see details elsewhere on JJANews.org). Since mid-March, the JJA has also published international reports, <a href="https://news.jazzjournalists.org/category/jazz-on-lockdown/" style="background: transparent; border: 0px; color: #840000; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">JazzOnLockdown</a>, about responses to the coronavirus.</div>
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Winners of JJA Jazz Awards have previously been presented with engraved statuettes before audiences at summer performances. This year’s winners will receive hand-printed scrolls certifying their Awards.</div>
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2020 Winners</h3>
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Congratulations to all the winners of the 25th annual Jazz Journalists Association Jazz Awards, listed below. Professional journalist members of the JJA made open nominations in a first-selection round; those who received the most nominations advanced to the finalists' ballot, and JJA's professional members voted on them to arrive at these honorees.<br /><br />Our congratulations, of course, to <i>all</i> the <a href="https://www.jjajazzawards.org/p/2020.html" style="color: #7f6000; text-decoration-line: none;">2020 Nominees in all categories</a>. And please click the photos to expand them -- some wonderful images here reward much larger presentation.</div>
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2020 WINNERS FOR JAZZ PERFORMANCE & RECORDINGS</h1>
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<span style="color: #7f6000; font-size: large;">Lifetime Achievement<br />Award in Jazz</span></h3>
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CARLA BLEY</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXVpYgtzI1B7QqJ6_WmZ8jJJ4wGR3jIlP4fpYVGV7Dw8OsJOg14ElOSPwhAUv2p0uYWqGpN3dGs7HFi8pwFF4WF6mcUX483wC2SJbZATDi2eXffKp4hVw0vteOslLMwUxYK6TRGx7O-lA/s1600/cert11_r1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="627" data-original-width="868" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXVpYgtzI1B7QqJ6_WmZ8jJJ4wGR3jIlP4fpYVGV7Dw8OsJOg14ElOSPwhAUv2p0uYWqGpN3dGs7HFi8pwFF4WF6mcUX483wC2SJbZATDi2eXffKp4hVw0vteOslLMwUxYK6TRGx7O-lA/s320/cert11_r1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsfygRzemi1x4lfj-m_xWafhgT-xx4eCyS1Rob_wmssF5vZpwb3nPtMtk3TsWkJKOMHPUCPJIgBIljweAlkP4fRQonAIZEyLgipmBKqbPlt5kRPsyJehw5p1BfMOcrimjgGX8rL3H29us/s1600/CalraBley.jpeg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="CARLA BLEY" border="0" data-original-height="1106" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsfygRzemi1x4lfj-m_xWafhgT-xx4eCyS1Rob_wmssF5vZpwb3nPtMtk3TsWkJKOMHPUCPJIgBIljweAlkP4fRQonAIZEyLgipmBKqbPlt5kRPsyJehw5p1BfMOcrimjgGX8rL3H29us/s320/CalraBley.jpeg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="CARLA BLEY" width="230" /></a></div>
<span style="font-size: xx-small;">Photo by Mark Marnie</span><br /><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Musician of the Year</span></h3>
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TERRI LYNE CARRINGTON</h4>
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<span style="color: #7f6000; font-size: large;">Up and Coming<br />Musician of the Year</span></h3>
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LAKECIA BENJAMIN</h4>
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<span style="color: #7f6000; font-size: large;">Composer of the Year</span></h3>
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KRIS DAVIS</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7XcXi7UNAUy-65SJDoCmbAJt8ZGnewa1fq2AunFIS2JxrzBBTo0n9fqQFuZN0v83vfZaM1fpUyR4f6M_u8PVjBTtdjEjOJAEmIJGUQkBnwlGtbeAE9y_9i_DJ34Y5JdNtagFWeqnY_q0/s1600/KrisDavisFeaturedCropped.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="1067" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7XcXi7UNAUy-65SJDoCmbAJt8ZGnewa1fq2AunFIS2JxrzBBTo0n9fqQFuZN0v83vfZaM1fpUyR4f6M_u8PVjBTtdjEjOJAEmIJGUQkBnwlGtbeAE9y_9i_DJ34Y5JdNtagFWeqnY_q0/s320/KrisDavisFeaturedCropped.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Arranger of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
MIGUEL ZENÓN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL0urxMleltK3Cyt7jgFQ1eeNmt5-yUQ0kfmmuvHXdTDsFALp5pZ6O0CPgxAcMsZQg2tHSu-ZjdgF8Mv-1RNj7bT7A2eGQgc5FYkniKM9ViVLlaICjghF1115pESNFFjPzKkxa1H22Tgc/s1600/MiguelZenon1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="MIGUEL ZENÓN" border="0" data-original-height="583" data-original-width="600" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL0urxMleltK3Cyt7jgFQ1eeNmt5-yUQ0kfmmuvHXdTDsFALp5pZ6O0CPgxAcMsZQg2tHSu-ZjdgF8Mv-1RNj7bT7A2eGQgc5FYkniKM9ViVLlaICjghF1115pESNFFjPzKkxa1H22Tgc/s320/MiguelZenon1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="MIGUEL ZENÓN" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Jimmy Katz</span><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Record of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
<i>THE SECRET BETWEEN THE SHADOW AND THE SOUL</i></h4>
Branford Marsalis Quartet (OKeh)<br /><div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxSkdlwXTUWF53_Px1sarWIbWHd3EiPrJTZd3b5rLhDn0wOu-cNNvL8r6fL4B1KFL1tbOa1lKn3e1oq7tNqawKoTlBQbBLWpHiRRHLW5-u6BJn0UCVh6UqxA7CGm-t6niUbTev3zgRMs/s1600/SecretBetweenTheShadowAndSoul.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="THE SECRET BETWEEN THE SHADOW AND THE SOUL" border="0" data-original-height="1100" data-original-width="1100" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxSkdlwXTUWF53_Px1sarWIbWHd3EiPrJTZd3b5rLhDn0wOu-cNNvL8r6fL4B1KFL1tbOa1lKn3e1oq7tNqawKoTlBQbBLWpHiRRHLW5-u6BJn0UCVh6UqxA7CGm-t6niUbTev3zgRMs/s320/SecretBetweenTheShadowAndSoul.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="THE SECRET BETWEEN THE SHADOW AND THE SOUL" width="320" /></a></div>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Historical Record of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
<i>MUSICAL PROPHET: THE EXPANDED 1963 NEW YORK STUDIO SESSIONS</i></h4>
Eric Dolphy (Resonance Records)<br /><br /><div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfpiOSCjBnfCsCjMmGIgP7jwJ_TZFRblOoARWHJNFl0S79PGdjDHzWTKRSap16psOvDVDuKNG0S03w8Im0hAHIjSQV9p-3FvHaUz6DcHLLu_1cti-R4JOZ5OiRsm20ZDNaIfgLfTeZIkk/s1600/MusicalProphet.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="MUSICAL PROPHET: THE EXPANDED 196 NEW YORK STUDIO SESSION" border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfpiOSCjBnfCsCjMmGIgP7jwJ_TZFRblOoARWHJNFl0S79PGdjDHzWTKRSap16psOvDVDuKNG0S03w8Im0hAHIjSQV9p-3FvHaUz6DcHLLu_1cti-R4JOZ5OiRsm20ZDNaIfgLfTeZIkk/s320/MusicalProphet.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="MUSICAL PROPHET: THE EXPANDED 196 NEW YORK STUDIO SESSION" width="320" /></a></div>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Record Label of the Year</span></h3>
<h3 style="margin: 0px; position: relative;">
<span style="font-size: large;">ECM</span></h3>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Male Vocalist of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
KURT ELLING</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaW1SB4FcD2CcXJB_4LtxjTPViEVuVoQn3IYfYiil2jdAg68Z2_Ga3SkreegvWGNj8KErYObPtZd04_LijlxyXn71yYMynYHP9-U5UiFT_IpLtmhI75JjlZ4pbDxD-Wcv9ZAUIIbUgfu0/s1600/KurtElling.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="KURT ELLING" border="0" data-original-height="1178" data-original-width="1500" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaW1SB4FcD2CcXJB_4LtxjTPViEVuVoQn3IYfYiil2jdAg68Z2_Ga3SkreegvWGNj8KErYObPtZd04_LijlxyXn71yYMynYHP9-U5UiFT_IpLtmhI75JjlZ4pbDxD-Wcv9ZAUIIbUgfu0/s320/KurtElling.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="KURT ELLING" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Anna Webber</span><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Female Vocalist of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
CÉCILE MCLORIN SALVANT</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu7l6aktOR05QAsmpgDK7oiK1KuHSsdrhMy11-IP_IZrWzaQyczwvVsO6RczXyCTHCEnNbqhzrF3p3VFJdQEHBZi3U_gJsXUde_OJqkIXztyEDLgUUgCZQsme7iiwNpnIB54TpajLRZfs/s1600/CecileMcLorinSalvant1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="CÉCILE MCLORIN SALVANT" border="0" data-original-height="787" data-original-width="817" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu7l6aktOR05QAsmpgDK7oiK1KuHSsdrhMy11-IP_IZrWzaQyczwvVsO6RczXyCTHCEnNbqhzrF3p3VFJdQEHBZi3U_gJsXUde_OJqkIXztyEDLgUUgCZQsme7iiwNpnIB54TpajLRZfs/s320/CecileMcLorinSalvant1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="CÉCILE MCLORIN SALVANT" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Hector Perez</span><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Large Ensemble of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
THE ART ENSEMBLE OF CHICAGO 50TH ANNIVERSARY</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpBTl8x5rNzyhQkctrPHN-yrbpY1Hux8KbjnJYHUSADXOT58WLIzYu6uUKem08rfpoI-t540Jh1qUXC0-te3WImrKJDSw5OHnI-a0Oqv8G6YZ3vGjUudLgd_q9GbAV5RpA0-mp0AOsk4/s1600/AEC+2019+Po.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="808" data-original-width="1200" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpBTl8x5rNzyhQkctrPHN-yrbpY1Hux8KbjnJYHUSADXOT58WLIzYu6uUKem08rfpoI-t540Jh1qUXC0-te3WImrKJDSw5OHnI-a0Oqv8G6YZ3vGjUudLgd_q9GbAV5RpA0-mp0AOsk4/s320/AEC+2019+Po.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Marc PoKempner</span><br /><div class="separator" style="clear: both;">
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<br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Mid-Size Ensemble of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
ALLISON MILLER'S BOOM TIC BOOM</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Jvj6ltNTQ8WTIJbGPJe7wtGJz6vd11G_bVrBiChVjbi2GxeJqyx14Nn578zg9icXKyvZ-2MBziVyc8Ot_TeUv-u8EuR6DYCjPuhX5g0WQG5H2Zld8vKk4l7wtBrCgraUqxQRTn3GMKQ/s1600/BBAND-m.jpeg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="750" data-original-width="998" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Jvj6ltNTQ8WTIJbGPJe7wtGJz6vd11G_bVrBiChVjbi2GxeJqyx14Nn578zg9icXKyvZ-2MBziVyc8Ot_TeUv-u8EuR6DYCjPuhX5g0WQG5H2Zld8vKk4l7wtBrCgraUqxQRTn3GMKQ/s320/BBAND-m.jpeg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
<span style="font-size: xx-small;">Allison Miller's Boom Tic Boom; from left,</span><br /><span style="font-size: xx-small;">Jeff Lederer, bass clarinet; Kirk Knufke, trumpet; Jenny Scheinman, violin;</span><br /><span style="font-size: xx-small;">Myra Melford, piano; Todd Sickafoose, bass; Miller, drums.</span><br /><span style="font-size: xx-small;">Photo by Marc PoKempner</span><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Trumpeter of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
CHRISTIAN SCOTT ATUNDÉ ADJUAH</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY4q2SkrakwDgdwnsEXi-mjx1b2f9P2gO0182sr_z_WTPTA6zW9l7gS1G74jQN9N0UNbRDvAtSr7kURZU53BpPR8DFeWSlHMYhqd8Ht5oEOXyzZ97m_HTBO3TY4qC66y1iU9ZFN4k9huA/s1600/ChristianScottaTundeAdjuah.png" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="1193" data-original-width="1600" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY4q2SkrakwDgdwnsEXi-mjx1b2f9P2gO0182sr_z_WTPTA6zW9l7gS1G74jQN9N0UNbRDvAtSr7kURZU53BpPR8DFeWSlHMYhqd8Ht5oEOXyzZ97m_HTBO3TY4qC66y1iU9ZFN4k9huA/s320/ChristianScottaTundeAdjuah.png" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Trombonist of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
WYCLIFFE GORDON</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPQmSG00chNSfdcjnVqPqIBsRzp-J0i3M7jfyXFLUaw3vmTzswazV1cHdh0lMluYBFhkstAlffRNnvi6srUNFx19ZxUJOhlIl0wCPxoOjDOK2vnzexQQxEBKGrMbV9vyYAwPK4KENyGM/s1600/WycliffeGordon.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="WYCLIFFE GORDON" border="0" data-original-height="796" data-original-width="1024" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPQmSG00chNSfdcjnVqPqIBsRzp-J0i3M7jfyXFLUaw3vmTzswazV1cHdh0lMluYBFhkstAlffRNnvi6srUNFx19ZxUJOhlIl0wCPxoOjDOK2vnzexQQxEBKGrMbV9vyYAwPK4KENyGM/s320/WycliffeGordon.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="WYCLIFFE GORDON" width="320" /></a></div>
<br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Multiple Reeds Player of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
JOE LOVANO</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKdmvpV_vi3Gqxx_QdX05R4c-0eqA8ulkcDs5kd93IhjTtnR1b7DI-nRnzMiuvsi00IEUa-qYf8P6yu7yUWENTj3H6BevXb9fxyf24mTi2ksqxnN5cMKzBwiDsFIG_ROSghSjAfgcQcR4/s1600/JoeLovano_Katz_Q3C1358-1358362043_web.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="JOE LOVANO" border="0" data-original-height="800" data-original-width="1000" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKdmvpV_vi3Gqxx_QdX05R4c-0eqA8ulkcDs5kd93IhjTtnR1b7DI-nRnzMiuvsi00IEUa-qYf8P6yu7yUWENTj3H6BevXb9fxyf24mTi2ksqxnN5cMKzBwiDsFIG_ROSghSjAfgcQcR4/s320/JoeLovano_Katz_Q3C1358-1358362043_web.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="JOE LOVANO" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Jimmy Katz</span><br /><br /><h3 style="margin: 0px; position: relative;">
<span style="color: #7f6000; font-size: large;">Alto Saxophonist of the Year</span></h3>
<h4 style="margin: 0px; position: relative;">
MIGUEL ZENÓN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1A44qtS2wNQscFD5l9T3O20F8MnQCQ8eLeL1rVjwWhflkw5k0hkfBWBkh6V8PpougB6U6wpGZYtaNK52tGUCFjAkKU38IKabx64PXrx-2Zu0RQS_Pes8cuPqpINK-T5uFtOsMCSZyL4/s1600/MiguelZenon1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="MIGUEL ZENÓN" border="0" data-original-height="583" data-original-width="600" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1A44qtS2wNQscFD5l9T3O20F8MnQCQ8eLeL1rVjwWhflkw5k0hkfBWBkh6V8PpougB6U6wpGZYtaNK52tGUCFjAkKU38IKabx64PXrx-2Zu0RQS_Pes8cuPqpINK-T5uFtOsMCSZyL4/s320/MiguelZenon1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="MIGUEL ZENÓN" width="320" /></a></div>
<span style="font-size: xx-small;">Photo by Jimmy Katz</span><br /></div>
<h3 style="margin: 0px; position: relative; text-align: center;">
<span style="color: #7f6000; font-size: large;">Tenor Saxophonist of the Year</span></h3>
<h4 style="margin: 0px; position: relative; text-align: center;">
CHRIS POTTER</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6pe1rbF3YxQdTUKtlk1ouTHxJ9bdtGtooUlUg8tW-fwTmO3-hmxoxAd-ixSzuhOUdt6TthzgBQM8hyphenhyphen2TV5lz243WqQT5Jj0k6uCTBxiIpdEITrYuRboHfgR4Cjm5zHyxeKbAk5VQuwc/s1600/Chris-Potter-Saxophone_Dave-Stapleton.png" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="1564" data-original-width="1600" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6pe1rbF3YxQdTUKtlk1ouTHxJ9bdtGtooUlUg8tW-fwTmO3-hmxoxAd-ixSzuhOUdt6TthzgBQM8hyphenhyphen2TV5lz243WqQT5Jj0k6uCTBxiIpdEITrYuRboHfgR4Cjm5zHyxeKbAk5VQuwc/s320/Chris-Potter-Saxophone_Dave-Stapleton.png" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">Photo by Dave Stapleton</span></div>
<br /><br /><h3 style="clear: both; margin: 0px; position: relative; text-align: center;">
<span style="color: #7f6000; font-size: large;">Baritone Saxophonist of the Year</span></h3>
<h4 style="clear: both; margin: 0px; position: relative; text-align: center;">
LAUREN SEVIAN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRAXg-Juial9YVMSYC8XdLMA6gxVaDka3lk4ygHTRyoqywBEwqWeD56CNUbhmePuC8CBEp7sZOx5vMZSy9mDMV3SZk3_rBZet9P2ETDzr28iH6ulbEzNI_6BVkbM4T2LFbOVJgWEkH0B8/s1600/LaurenSevian.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="1024" data-original-width="683" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRAXg-Juial9YVMSYC8XdLMA6gxVaDka3lk4ygHTRyoqywBEwqWeD56CNUbhmePuC8CBEp7sZOx5vMZSy9mDMV3SZk3_rBZet9P2ETDzr28iH6ulbEzNI_6BVkbM4T2LFbOVJgWEkH0B8/s320/LaurenSevian.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="212" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">Photo by Guinara Khamatova</span></div>
<br /><br /><h3 style="clear: both; margin: 0px; position: relative; text-align: center;">
<span style="color: #7f6000; font-size: large;">Soprano Saxophonist of the Year</span></h3>
<h4 style="clear: both; margin: 0px; position: relative; text-align: center;">
JANE IRA BLOOM</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge7VKYHp55HCwFJcYXY7Bm4HrsiHhpyN2wkmvsLXpojJPoaST46jUrTUh8M6u9yUSI5ZYHNEakjD6aAe0WGRg3UL2i06oaYP6kD3lFnzCEHxB9VjRPjOgqJEGGe0KO4uouBuH4K1Ccfkw/s1600/JaneIraBloom1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="450" data-original-width="410" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge7VKYHp55HCwFJcYXY7Bm4HrsiHhpyN2wkmvsLXpojJPoaST46jUrTUh8M6u9yUSI5ZYHNEakjD6aAe0WGRg3UL2i06oaYP6kD3lFnzCEHxB9VjRPjOgqJEGGe0KO4uouBuH4K1Ccfkw/s320/JaneIraBloom1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="289" /></a></div>
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<span style="color: #7f6000; font-size: large;">Flutist of the Year</span></h3>
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NICOLE MITCHELL</h4>
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<span style="color: #7f6000; font-size: large;">Clarinetist of the Year</span></h3>
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ANAT COHEN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii1mcZghgLaqJ-QJ6McU4SqGMIspTnySvWClKEvTYert1aCPijCTycQbTp4i-huPJkb3bbjX2B9VrXR-QkWPbJ_Lzwk0pKtuYtN_QcH7vtX35L3oaIhGxuxSVvRu2d-QKNdhYRGzw9gDo/s1600/AnatCohen1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="ANAT COHEN" border="0" data-original-height="743" data-original-width="810" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii1mcZghgLaqJ-QJ6McU4SqGMIspTnySvWClKEvTYert1aCPijCTycQbTp4i-huPJkb3bbjX2B9VrXR-QkWPbJ_Lzwk0pKtuYtN_QcH7vtX35L3oaIhGxuxSVvRu2d-QKNdhYRGzw9gDo/s320/AnatCohen1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="ANAT COHEN" width="320" /></a></div>
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<span style="font-size: xx-small;">Photo by Jimmy Katz</span></div>
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<span style="color: #7f6000; font-size: large;">Guitarist of the Year</span></h3>
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BILL FRISELL</h4>
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<span style="color: #7f6000; font-size: large;">Pianist of the Year</span></h3>
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KRIS DAVIS</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBMWGI0KMyK3Gn4ZkDYw30zWiqxBhkSArb1pmuszwW9qbOK4juox0FjFxnsXsHki9IwuXoJfzcgkpIZoRliahoJabEyw30sXgJV92iE-ZG580K7gv__y8SBcLL4vlN-wkJslHG9zS1_3Q/s1600/KrisDavisFeaturedCropped.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="KRIS DAVIS" border="0" data-original-height="1067" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBMWGI0KMyK3Gn4ZkDYw30zWiqxBhkSArb1pmuszwW9qbOK4juox0FjFxnsXsHki9IwuXoJfzcgkpIZoRliahoJabEyw30sXgJV92iE-ZG580K7gv__y8SBcLL4vlN-wkJslHG9zS1_3Q/s320/KrisDavisFeaturedCropped.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="KRIS DAVIS" width="320" /></a></div>
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<span style="color: #7f6000; font-size: large;">Keyboardist of the Year</span></h3>
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HERBIE HANCOCK</h4>
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<span style="font-size: xx-small;">Photo by Douglas Kirkland</span></div>
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<span style="color: #7f6000; font-size: large;">Bassist of the Year</span></h3>
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LINDA MAY HAN OH</h4>
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<span style="color: #7f6000; font-size: large;">Strings Player of the Year</span></h3>
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TOMEKA REID</h4>
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<span style="font-size: xx-small;">Photo by Tony Smith</span></div>
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<span style="color: #7f6000; font-size: large;">Percussionist of the Year</span></h3>
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ZAKIR HUSSAIN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgww6KIzhRXXy9fLuXw5cxnRkUK26Vjr9IA6hskdfka576R_ILU5BwB62eIi7bIHVpiQkl86AJkygfw8HmitwNPlzMLs-NT2XOkrxLXqV26cSvOhTn2qk9GSCwtwzgfrK_0NKkK3jC3ZCA/s1600/ZakirHussain1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="ZAKIR HUSSAIN" border="0" data-original-height="1194" data-original-width="988" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgww6KIzhRXXy9fLuXw5cxnRkUK26Vjr9IA6hskdfka576R_ILU5BwB62eIi7bIHVpiQkl86AJkygfw8HmitwNPlzMLs-NT2XOkrxLXqV26cSvOhTn2qk9GSCwtwzgfrK_0NKkK3jC3ZCA/s320/ZakirHussain1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="ZAKIR HUSSAIN" width="264" /></a></div>
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<span style="font-size: xx-small;">Photo by Jim McGuire</span></div>
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<span style="color: #7f6000; font-size: large;">Mallet Player of the Year</span></h3>
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JOEL ROSS</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfKSF378FH6h2qo-RiAVijKQxgOtyaGVuhCVulZ3abRx1lTfW9bN7Agn_uOt2zFY5Kip2f0RWdp4uvVMztnFPBuNz_ctrLMO7Zyq9fNNL_RT4_kEcNaQ_5XWAjV0nzNrXhDUcCgbo074/s1600/cropper+for+IN+Joel+Ross.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="JOEL ROSS" border="0" data-original-height="1290" data-original-width="1600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfKSF378FH6h2qo-RiAVijKQxgOtyaGVuhCVulZ3abRx1lTfW9bN7Agn_uOt2zFY5Kip2f0RWdp4uvVMztnFPBuNz_ctrLMO7Zyq9fNNL_RT4_kEcNaQ_5XWAjV0nzNrXhDUcCgbo074/s320/cropper+for+IN+Joel+Ross.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="JOEL ROSS" width="320" /></a></div>
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<span style="font-size: xx-small;">Photo by Lauren Desberg</span></div>
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<span style="color: #7f6000; font-size: large;">Drummer of the Year</span></h3>
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TERRI LYNE CARRINGTON</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVLh3VF6fAretwYJy5UU0yVohwnz03KnG29SVDvZhpvJ9vTVpUfKVRXhTnian8cEVPWw5O62crgkj3YwXu2JGikW9hMVTt3abud3L5DBPlaYMEKL23OxLyKFWStm-9-czXifm8ua7KCak/s1600/TerriLyneCarrington.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="TERRI LYNE CARRINGTON" border="0" data-original-height="960" data-original-width="1440" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVLh3VF6fAretwYJy5UU0yVohwnz03KnG29SVDvZhpvJ9vTVpUfKVRXhTnian8cEVPWw5O62crgkj3YwXu2JGikW9hMVTt3abud3L5DBPlaYMEKL23OxLyKFWStm-9-czXifm8ua7KCak/s320/TerriLyneCarrington.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="TERRI LYNE CARRINGTON" width="320" /></a></div>
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<span style="color: #7f6000; font-size: large;">Player of Instruments Rare in Jazz</span></h3>
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BRANDEE YOUNGER, Harp</h4>
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2020 WINNERS IN JAZZ JOURNALISM</h1>
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<span style="color: #7f6000; font-size: large;">Lifetime Achievement in Jazz Journalism</span></h3>
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STANLEY CROUCH</h4>
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<span style="font-size: xx-small;">Photo by Zack Zook</span></div>
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<strong style="font-family: arial; font-size: 13px; text-align: left;">Stanley Crouch</strong><span style="font-family: arial; font-size: 13px; text-align: left;"> is a cultural critic, author, curator and recreational drummer. Based in New York City since 1975, he booked avant-garde jazz for the Tin Palace, wrote for the Village Voice from 1980-88, and became artistic consultant to Wynton Marsalis at Jazz at Lincoln Center. He's been a columnist for the New York Daily News, syndicated and commissioned by many periodicals, including a column for JazzTimes. His books include </span><em style="font-family: arial; font-size: 13px; text-align: left;">Notes of a Hanging Judge: Essays and Reviews, 1979-1989; The All-American Skin Game, or, The Decoy of Race: The Long and the Short of It, 1990-1994; Kansas City Lightning: The Rise and Times of Charlie Parker; The Artificial White Man: Essays on Authenticity;</em><span style="font-family: arial; font-size: 13px; text-align: left;">and</span><em style="font-family: arial; font-size: 13px; text-align: left;">Considering Genius: Writings on Jazz.</em><span style="font-family: arial; font-size: 13px; text-align: left;">He speaks in </span><em style="font-family: arial; font-size: 13px; text-align: left;">Ken Burns' Jazz</em><span style="font-family: arial; font-size: 13px; text-align: left;"> and other documentaries, and has been President of the Louis Armstrong Educational Foundation.</span></div>
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<span style="color: #7f6000; font-size: large;">Publication of the Year</span></h3>
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JAZZTIMES</h4>
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<span style="color: #7f6000; font-size: large;">Blog of the Year</span></h3>
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WBGO.org</h4>
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<span style="font-weight: normal;">Nate Chinen, Director of Editorial Content</span></h4>
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<span style="color: #7f6000; font-size: large;">Robert Palmer-Helen Oakley Dance Award for Excellence in Writing in 2019</span></h3>
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NATE CHINEN</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5j4N9jqjPICVIQLfo2tvYn-9GMFzfLRI-VSGGptFsvlK7fJnV1hewa-RYsoKlbl89tM0EExoZlLH-i2t8fHvcPsoOqNhfO3iKrVzX2dUqO2Sf6cZuc45fncjXvGiV2YB9L99LkqDMrFw/s1600/NateChinen.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="NATE CHINEN" border="0" data-original-height="806" data-original-width="1000" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5j4N9jqjPICVIQLfo2tvYn-9GMFzfLRI-VSGGptFsvlK7fJnV1hewa-RYsoKlbl89tM0EExoZlLH-i2t8fHvcPsoOqNhfO3iKrVzX2dUqO2Sf6cZuc45fncjXvGiV2YB9L99LkqDMrFw/s320/NateChinen.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="NATE CHINEN" width="320" /></a></div>
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<span style="font-size: xx-small;">Photo by Michael Lionstar</span></div>
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<span style="color: #7f6000; font-size: large;">Marian McPartland-Willis Conover Award for Lifetime Achievement in Broadcasting</span></h3>
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RICHARD HADLOCK</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLWkqrAxV6tJrMoK0iewklg6i_TGcsshdFKsE6qqfnMPxNdd4kGjurhvjdqrIRD-XdcJORSya0ITZubTAKmknWNcrjX2MCXWLutskMrtRaViugjWrbzo0IiJAi93EK9NA6SuC7031W5Vs/s1600/RichrdHadlock1.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" data-original-height="280" data-original-width="480" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLWkqrAxV6tJrMoK0iewklg6i_TGcsshdFKsE6qqfnMPxNdd4kGjurhvjdqrIRD-XdcJORSya0ITZubTAKmknWNcrjX2MCXWLutskMrtRaViugjWrbzo0IiJAi93EK9NA6SuC7031W5Vs/s320/RichrdHadlock1.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" width="320" /></a></div>
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<span style="color: #7f6000; font-size: large;">Book of the Year About Jazz</span></h3>
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<i>JAZZ FROM DETROIT</i> (<span style="font-weight: normal;">University of Michigan Press) by </span>Mark Stryker</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FX0xSShxzGGrYxAPAooPgi3ieXa_MZvnD2V77W9NjjnyCvvU4P9bYSjCU3w9X5ycB2K_W60ByBC_wwQi4R-o4KCY8yqTiHLdIAyiLQ_Eq5OGJ6sIvsUpQC57PwcYnZQmu4x5jr-tVd4/s1600/JazzFromDetroit.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="Jazz From Detroit" border="0" data-original-height="1000" data-original-width="667" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FX0xSShxzGGrYxAPAooPgi3ieXa_MZvnD2V77W9NjjnyCvvU4P9bYSjCU3w9X5ycB2K_W60ByBC_wwQi4R-o4KCY8yqTiHLdIAyiLQ_Eq5OGJ6sIvsUpQC57PwcYnZQmu4x5jr-tVd4/s320/JazzFromDetroit.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="Jazz From Detroit" width="212" /></a></div>
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<span style="color: #7f6000; font-size: large;">Lona Foote-Bob Parent Awards for Lifetime Achievement in Photography</span></h3>
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RICHARD CONDE</h4>
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<span style="font-size: xx-small;">Photo by Jerry Lacay</span></div>
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<span style="color: #7f6000; font-size: large;">Photo of the Year</span></h3>
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JAZZMEIA HORN, BELGRADE JAZZ FESTIVAL<br />BY NEDICI DRAGOSLAV</h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXkLb8bfaLyq-rgearWpZewCCs6J8Oxtol_gl4ORqgAUEckmPuHjfwtzKNApZNmknc2PglTQVsNYbJTtkfEsO-_d4wyys5NYss5QHbh1v_J7s5A8NoMFNGceNU2owBKMWDW32qQc-c7zM/s1600/JazzmeiaHorn.jpg" imageanchor="1" style="color: #7f6000; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img alt="JAZZMEIA HORN, BELGRADE JAZZ FESTIVAL BY NEDICI DRAGOSLAV" border="0" data-original-height="671" data-original-width="1024" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXkLb8bfaLyq-rgearWpZewCCs6J8Oxtol_gl4ORqgAUEckmPuHjfwtzKNApZNmknc2PglTQVsNYbJTtkfEsO-_d4wyys5NYss5QHbh1v_J7s5A8NoMFNGceNU2owBKMWDW32qQc-c7zM/s400/JazzmeiaHorn.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="JAZZMEIA HORN, BELGRADE JAZZ FESTIVAL BY NEDICI DRAGOSLAV" width="400" /></a></div>
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<span style="color: #7f6000; font-size: large;">Album Art of the Year</span></h3>
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YASHUA KLOS</h4>
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for<i> A Wall Becomes of Bridge</i><br />(by Kendrick Scott Oracle, Blue Note)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhiRZuqamV8dXSnD5JubT4kgtAs3zLECVeqm0eDKIaSeUEiARcNr-2G5991hHE6ZNm0sc5X_RkD0jdn6Gf1H0mEX75c1ydjVUw689jijc1-CxvsAxgxNK_rRV6m1Z54RExJKUuBDsWA0/s1600/1_KendrickScott_AWallBecomesABridge_cover.jpg" imageanchor="1" style="color: #ccb666; margin-left: 1em; margin-right: 1em;"><img alt="A Wall Becomes of Bridge (Kendrick Scott Oracle, Blue Note)" border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhiRZuqamV8dXSnD5JubT4kgtAs3zLECVeqm0eDKIaSeUEiARcNr-2G5991hHE6ZNm0sc5X_RkD0jdn6Gf1H0mEX75c1ydjVUw689jijc1-CxvsAxgxNK_rRV6m1Z54RExJKUuBDsWA0/s400/1_KendrickScott_AWallBecomesABridge_cover.jpg" style="background: rgb(204, 182, 102); border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; padding: 2px; position: relative;" title="A Wall Becomes of Bridge (Kendrick Scott Oracle, Blue Note)" width="400" /></a></div>
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-63051533582065506062020-05-17T15:40:00.000-07:002020-05-21T09:36:38.833-07:00Brian Landrus – an essential voice on low woodwinds – explores heartbreak, longing and romance on intimate new recording For Now<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 13.0pt;">Brian Landrus – an
essential voice on low woodwinds – explores heartbreak, longing and romance on
intimate new recording <i style="mso-bidi-font-style: normal;">For Now<o:p></o:p></i></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Album features jazz
masters Fred Hersch, Drew Gress and Billy Hart<o:p></o:p></span></b></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">plus Michael Rodriguez, Sara Caswell and a string quartet<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.5pt;">For Now</span></i><span style="font-family: "Arial",sans-serif; font-size: 11.5pt;"> includes ten Landrus
compositions, plus “Invitation,” “’Round Midnight” <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt;">and a milestone Landrus & Hersch duo flight on “Ruby,
My Dear”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 14.0pt; mso-fareast-font-family: PMingLiU;">“Tonal nuance, melodic sense and instrumental command that set him
apart from his peers.”</span></i><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 14.0pt; mso-fareast-font-family: PMingLiU;"> <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 14.0pt; mso-fareast-font-family: PMingLiU;">– Ed Enright, DownBeat <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: PMingLiU;">Available May 15, 2020 via BlueLand Records<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdVCZxnhO2W1FJ-iH1t_78crDn4X_5Rc9zos5PetbcIJsEg3VQQB2_GNlTnD6ZrQ7Et1l4LHCrzPNq8XjAAZWQzupDpp2wFByZcem8SRUFVKSzQj2wM5sG5B6yAMCkiq3fnySLY2yYp8m/s1600/Brian_Landrus_photo_by_Gulnara_Khamatova_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdVCZxnhO2W1FJ-iH1t_78crDn4X_5Rc9zos5PetbcIJsEg3VQQB2_GNlTnD6ZrQ7Et1l4LHCrzPNq8XjAAZWQzupDpp2wFByZcem8SRUFVKSzQj2wM5sG5B6yAMCkiq3fnySLY2yYp8m/s320/Brian_Landrus_photo_by_Gulnara_Khamatova_.jpg" width="213" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.0pt;">For Now</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.0pt;"> </span></b><span style="font-family: "Arial",sans-serif; font-size: 11.0pt;">has
a lot to say about romance, and it says it with quiet conviction and passionate
declaration. Ace multi-reedist and composer <b style="mso-bidi-font-weight: normal;">Brian Landrus</b> whose groundbreaking 2017 large-ensemble album <i style="mso-bidi-font-style: normal;">Generations</i> “takes the jazz big band
tradition into the mesosphere” (Giovanni Russonello, New York Times), turns
here to inner pathways, bringing together a remarkable quartet: pianist <b style="mso-bidi-font-weight: normal;">Fred Hersch </b>bassist <b style="mso-bidi-font-weight: normal;">Drew Gress</b> and drummer <b style="mso-bidi-font-weight: normal;">Billy Hart</b>.<i style="mso-bidi-font-style: normal;"> </i>Rounding out the musical equation are the brilliant young players <b style="mso-bidi-font-weight: normal;">Michael Rodriguez</b> (trumpet) and<b style="mso-bidi-font-weight: normal;"> Sara Caswell</b> (violin), plus inventive
and elegant string quartet arrangements by Landrus and the distinguished opera
composer <b style="mso-bidi-font-weight: normal;">Robert Aldridge </b>featuring
Caswell and<b style="mso-bidi-font-weight: normal;"> </b>Joyce Hamman (violin),
Lois Martin (viola) and<i style="mso-bidi-font-style: normal;"> </i>Jody
Redhage-Ferber (cello). The album is produced by Aldridge and composer/writer <b style="mso-bidi-font-weight: normal;">Herschel Garfein</b>, both Grammy winners.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif;">“A
composer of great strength and substance,</span></i><span style="font-family: "Arial",sans-serif;">” (All About Jazz), Brian Landrus,</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 14.0pt; mso-fareast-font-family: PMingLiU;"> </span><span style="font-family: "Arial",sans-serif;">has emerged from
his 30s with elation, heartache, delight and disenchantment, and he brings all
that experience to the album’s ten original compositions and three standards. “As
I was writing<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b><i style="mso-bidi-font-style: normal;">For Now</i>, I could
feel it coming from a very deep place, directly from some truly difficult and
some unforgettably beautiful life experiences,” Landrus says. “I felt, at every
moment, ‘I need to do this.’” In compositions like “The Second Time,” “ JJ” and
“Clarity in Time,” that need stirs just beneath the elegant surface of the
music. In the title track, “For Now,” it pours out as an unaffected love ballad.
Often, Landrus sets a forthright and open-hearted tune over deceptively complex
harmonies, as in the tender “Her Smile,” and in his waltzes, which can be
searching and impetuous (“The Night of Change”), </span><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: PMingLiU;">sun-splashed melancholy (“</span><span style="font-family: "Arial",sans-serif;">The Miss”) or noonday cool (“The Wait”).
His compositional voice confidently ranges from tunes that have the poise and
assurance of standards-you’ve-never-heard, such as “The Signs” and “JJ,” to
abstract romantic dreamscapes like “The Night of Change.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Throughout these varied compositions,
Landrus plays with infinite shadings and suppleness on instruments often
associated with thundering harshness or compromised tone. On the baritone
saxophone he sings out tenderly and with deep feeling on “Ruby, My Dear” and “The
Second Time,” spins sweet roulades light as air on “Her Smile” and “The Miss,”
stays low for a crushed-velvet sound on “JJ,” and plays with a dusky burnish
that seems to linger after each phrase on “The Signs,” </span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">“Invitation,”</span><span style="font-family: "Arial",sans-serif;"> and “Clarity in Time.” Landrus reserves
the <span style="mso-bidi-font-weight: bold;">bass clarinet for intimate and
lyrical musings (“For Now,” “The Wait,” “For Whom I Imagined”), but then sets
free its full palette of colors for his astonishing solo version of Monk’s
masterpiece “’Round Midnight.” <i style="mso-bidi-font-style: normal;">“</i>The Night
of Change” features Landrus soloing with glowing angularity on alto flute.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">-over-<o:p></o:p></span></b></div>
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<span style="font-family: "Arial",sans-serif;">A perfect team of
collaborators are at the heart of <i style="mso-bidi-font-style: normal;">For Now</i>.
“I have wanted to play with<b style="mso-bidi-font-weight: normal;"> Fred Hersch</b>
since first hearing him twenty years ago,” Landrus recounts. “I love how he
finds the deepest color and beauty in everything he plays. From the moment we
began recording, he played my original compositions as if he had written them.”
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">As Landrus worked on the music
for the album, another inspiration struck. “In certain compositions, the
harmonies I was hearing could only be properly realized with a string quartet,”
he says. “A longstanding inspiration from <i style="mso-bidi-font-style: normal;">Harry
Carney with Strings</i> and Stan Getz’s <i style="mso-bidi-font-style: normal;">Focus
</i>came back to<i style="mso-bidi-font-style: normal;"> </i>fill my head with
lush string sonorities.” He and Robert Aldridge added string arrangements that are
clean, inventive and vibrant.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Rounding out this album of
ten original Landrus compositions are three very special performances of
standards, including Thelonious Monk’s “‘Round Midnight” featuring Landrus on solo
bass-clarinet, Bronislaw Kaper’s “Invitation” featuring fresh, effortless swing
from the whole ensemble in Landrus’s own arrangement, and an exhilarating duet performance
<span style="mso-bidi-font-weight: bold;">featuring Landrus and Hersch</span> on <span style="mso-bidi-font-weight: bold;">Monk’s “Ruby, My Dear.” </span><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">“I consider Fred to be the
foremost Monk interpreter of our time,” says Landrus. “So I was astounded when
he told me that he had never publicly played ‘Ruby, My Dear,’ What floored me
was his freedom with it; most pianists don’t dare diverge from what Monk
played. Fred made it his own in a deeply reverential way.” <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">“Ruby, My Dear” is the
capstone to this masterfully assured and variegated album; an interpretation
for now and for the ages.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 115%;">Brian
Landrus<o:p></o:p></span></u></b></div>
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<span style="color: black; font-family: "Arial",sans-serif; mso-themecolor: text1;">Brooklyn-based multi-instrumentalist and composer Brian Landrus has
established himself as one of the world’s leading voices on low woodwinds. He
has been voted #1 Rising Star Baritone Saxophonist in DownBeat Magazine’s 63<sup>rd</sup>
Annual Critics Poll, and voted the #3 Baritone Saxophonist in the world in the
2020 JazzTimes Readers Poll.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Courier; mso-bidi-language: EN-US;">In addition to leading his own groups, Landrus has</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Courier; mso-bidi-language: EN-US; mso-fareast-font-family: Cambria;"> tour</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Courier; mso-bidi-language: EN-US;">ed internationally with</span><span style="color: black; font-family: "Arial",sans-serif; mso-themecolor: text1;"> Esperanza</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Courier; mso-bidi-language: EN-US; mso-fareast-font-family: Cambria;"> Spalding</span><span style="color: black; font-family: "Arial",sans-serif; mso-themecolor: text1;"> and performed with Bob Brookmeyer, Lewis
Nash, John Lockwood, Nicholas Payton, Nir Felder, Marcus Strickland, Jerry
Bergonzi, Danilo Perez, Gary Smulyan, Maria Schneider, The Temptations, Feist,
The Four Tops, George Garzone, The Drifters, Jason Palmer, Rufus Reid, and
Ralph Alessi, among others. <o:p></o:p></span></div>
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<span style="color: black; font-family: "Arial",sans-serif; mso-themecolor: text1;">Landrus has released ten albums as a leader, including six on his
BlueLand Records label. Born in 1978 and raised in Nevada, Landrus began
playing saxophone at 12 and was performing professionally by 15. He earned his bachelor’s
degree from University of Nevada-Reno and two Master of Music degrees from New
England Conservatory, and a PhD in classical composition from Rutgers University.
Landrus is on faculty at Rutgers University. <o:p></o:p></span></div>
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<a href="http://brianlandrus.com/"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; line-height: 115%; mso-bidi-font-size: 24.0pt;">BrianLandrus.com</span></b></a><b style="mso-bidi-font-weight: normal;"><u style="text-underline: #144DE6;"><span style="color: #144de6; font-family: "Arial",sans-serif; line-height: 115%; mso-bidi-font-size: 24.0pt;"> </span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;"><span style="mso-tab-count: 1;"> </span></span></b><a href="http://bluelandrecords.com/"><b style="mso-bidi-font-weight: normal;"><span style="color: #144de6; font-family: "Arial",sans-serif; line-height: 115%; mso-bidi-font-size: 24.0pt;">BlueLandRecords.com</span></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; line-height: 115%; mso-bidi-font-size: 24.0pt;"><o:p></o:p></span></b></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-61541213072757079472020-05-17T15:08:00.002-07:002020-05-21T09:36:46.961-07:00Saxophonist/composer Dave Glasser forges an adventurous path forward from the lessons of the past on his politically and musically charged new album<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial",sans-serif; font-size: 13.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Saxophonist/composer
Dave Glasser forges an adventurous path forward from the lessons of the past on
his politically and musically charged new album<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Due out May 8 2020 via his own Here Tiz Music, <i style="mso-bidi-font-style: normal;">Hypocrisy Democracy </i>presents risk-taking
new compositions grounded in the jazz tradition with Andy Milne, Ben Allison
and Matt Wilson<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">“Despite
the fact that Glasser is an old soul in many ways, he shouldn't be mistaken for
a nostalgia act… he lives in the here and now and his playing and writing
continue to evolve.” </span></i><span style="font-family: "Arial",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">– Dan
Bilawsky,<i style="mso-bidi-font-style: normal;"> All About Jazz<o:p></o:p></i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS Mincho";">“Dave Glasser makes the past his
own… [his music is] a modern manifestation of hard bop tradition.” <o:p></o:p></span></i></div>
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<span style="color: black; font-family: "Arial",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS Mincho";">— Phil Freeman,<i style="mso-bidi-font-style: normal;"> Burning
Ambulance<o:p></o:p></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-X_fAC1AVxKOF4asddWub4MsVPHbMC8i9lbcG_dfobD6acm0IGnjXVfvPZbzyYiMzFjkxv4LqhPu05Npvzb7Z4XUeo0lj5EfC-ncGmLeNcsVEnObocgKM84awF_KbAirU94vxfUoEOFu/s1600/Cover.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1597" data-original-width="1516" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-X_fAC1AVxKOF4asddWub4MsVPHbMC8i9lbcG_dfobD6acm0IGnjXVfvPZbzyYiMzFjkxv4LqhPu05Npvzb7Z4XUeo0lj5EfC-ncGmLeNcsVEnObocgKM84awF_KbAirU94vxfUoEOFu/s320/Cover.jpeg" width="303" /></a></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">“Those who cannot remember the past are doomed
to repeat it,” the saying goes. While the title <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Hypocrisy Democracy</i></b><i style="mso-bidi-font-style: normal;"> </i>could easily be interpreted as a
reaction to today’s headlines, saxophonist/ composer <b style="mso-bidi-font-weight: normal;">Dave Glasser </b>takes a much wider view. His startling new album finds
echoes of past struggles in our present divide, and finds hope for the future
in the lessons of the past. It’s an approach he’s also applied to his music,
which stays grounded in the tradition but ventures closer to the edge than he’s
dared in the past.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">“Humanity has always faced challenges in terms
of fairness and justice,” Glasser says. “Of course, things are certainly at an
unstable place right now, but we’ve been here before. The question is how are
we going to come together to overcome these common struggles?”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Musically, Glasser is very well acquainted with
his history lessons. That rare creature in the music, a native New Yorker, he
took lessons as a teenager from the great Lee Konitz, and went on to a long
career playing alongside giants like Clark Terry, Illinois Jacquet, Barry
Harris and Dizzy Gillespie and serving a considerable tenure with the Count
Basie Orchestra that continues today. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Hypocrisy
Democracy</span></i><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;"> reveals Glasser to be determined not to end up
doomed to repeat that past, much as he reveres it; the strikingly open-eared
and tightrope-walking session finds him traversing boundaries that many
familiar with his career would never have expected. To do so he’s assembled a
knockout quartet of fellow musicians (and New School faculty members) well
versed in defying jazz’s hidebound norms: pianist <b style="mso-bidi-font-weight: normal;">Andy Milne</b>, bassist <b style="mso-bidi-font-weight: normal;">Ben
Allison</b> and drummer <b style="mso-bidi-font-weight: normal;">Matt Wilson</b>.
<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">“My roots are in the history of this music,”
Glasser admits. “That’s where my inspiration comes from. These guys have all worked
in different areas doing their own thing, so this is a group of people who have
come together from very farflung places. We’ve worked side by side in academic
circumstances, but never as musicians. Yet we’ve managed to unite to find the
things that we have in common instead of thinking about our differences. I
think that parallels artistically what I see as a big problem facing society
right now: people are focused on their differences, so they’re warring and
arguing and blaming as opposed to looking at what they have in common.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Glasser comes by his social justice credentials
naturally. His father, Ira Glasser, was the executive director of the American
Civil Liberties Union (ACLU) for more than 20 years; it was while working for
the New York Civil Liberties Union that he met the noted jazz critic and civil
libertarian Nat Hentoff, who recommended Lee Konitz as an instructor for his
colleague’s sax-playing son. That experience is honored through “Glee For Lee,”
in which Glasser parries with longtime Konitz collaborator Matt Wilson in a
pointed duet.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">The zig-zagging “Knit Wit” is a
running-with-scissors investigation of one of the album’s core conceits, the
rise of misunderstandings via a difference in perception. Is the title an
insult or a compliment? It could sound like either without the proper context
or spelling (that pun makes all the difference). The taut, tense “Justice”
muses on the many meanings of that word, from Old Testament to New, vengeance
to equality, with “Freedom” as a companion piece, divided between opportunity
and advantage.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">“It’s Nothing New” recognizes the circularity
of history in a particularly funky fashion, a reminder offered by how
perennially fresh and exciting a timeless groove can be; the notion comes
around again in the spiraling “Revolver.” The skulking “Dilemonk” grapples with
weighty issues as well as the eccentric influence of the iconic Thelonious Monk
– both of which can be thorny to deal with. “Coffees, Dogs, and Telelogs” confronts
the imponderables faced on an average morning walk – the caffeine addictions,
unconditional love for pets and absorption in handheld devices that sometimes
seem to eclipse the love among fellow humans, encapsulated by Allison’s taut
walking bass and the leader’s eloquent alto.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">The mood set by Milne’s ominous, crashing
chords and tolling tones, “Deep Dark” takes a plunge into profound melancholy,
while “Minor Madness” leaps to the manic end of that scale, with an implicit
hope that the insanity is only temporary and small in scale. <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Finally, the album’s sole non-original is the
unexpected choice of the Disney earworm “It’s a Small World,” whose message
resonates with the theme of the album, as does the inspired arrangement in
which each member gradually joins Glasser’s searching flute to form a united
whole. But the choice has a more autobiographical significance as well; as a
youngster taking his first trip to Disneyland, Glasser brought home a 45rpm
record of the song and tried his best to sing along – largely unsuccessfully,
as the story goes. “Years later my Mom told me that she had turned to my Dad
and said, ‘We know one thing: he’s not going to be a musician.’ Then one day,
suddenly I got it. Which is profound to me, because I’ve always been more determined
and diligent than naturally gifted.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">It’s that kind of dedication and perseverance
that’s not only necessary to weather the vicissitudes of the jazz world but to
overcome the kind of struggles that we face now and have struggled with
throughout history. Glasser hopes that the camaraderie, sharp humor and inspired
artistry of <i style="mso-bidi-font-style: normal;">Hypocrisy Democracy </i>makes<i style="mso-bidi-font-style: normal;"> </i>some small contribution to the cause.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">“My hope is that the record will be part of a
change in our culture whereby people educate themselves and think independently
about the decisions that they make,” Glasser concludes. “To me, music is about
listening and reacting, interacting and playing something that makes the whole
thing sound good, move forward and reach people.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Dave
Glasser<o:p></o:p></span></b></div>
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<span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Native New Yorker Dave Glasser encompasses a
uniquely personal sound rooted in rich tradition. Currently the lead altoist
for the Count Basie Orchestra, and a veteran of the Clark Terry quintet, the
Count Basie Orchestra (under the direction of Frank Foster), Illinois Jacquet,
Barry Harris and Dizzy Gillespie, Dave's music transcends genre and covers a
wide range of expression while remaining connected to the roots of jazz. A
faculty member at the New School for over 23 years, he is proud to have helped
develop many of today’s younger jazz musicians. In gratitude to wisdom bestowed
from elder musicians, he is tirelessly continuing the tradition of mentoring
future musicians by remaining actively involved in sharing knowledge,
inspiring, and mentoring through the aural tradition.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Here Tiz Music – Catalog Number: HTM003<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">Release date May 8, 2020 – Recorded June 20, 2019<o:p></o:p></span></b></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-72291610684963870602020-05-16T13:46:00.004-07:002020-05-21T09:36:53.479-07:00Acclaimed pianist and composer Satoko Fujii receives 2020 Instant Award in Improvised Music The pioneering avant-garde artist is among a dozen honorees<div style="text-align: justify;"><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: center;">Acclaimed pianist and composer Satoko Fujii receives </strong><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: center;">2020 Instant Award in Improvised Music</strong><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: center;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: center;"> </span></div><div style="text-align: justify;"><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: center;">The pioneering avant-garde artist is among a dozen honorees</strong></div>
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<span style="font-size: 12px;"><em>"One of the most original pianists in free jazz</em>.” – Steve Greenlee, Boston Globe<br /><br /><em>“An improviser of rumbling intensity and generous restraint.”</em> –Giovanni Russonello, New York Times<br /><br /><em>“The Ellington of free jazz</em>.” – Cadence Magazine</span></div>
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<span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Internationally acclaimed improvisor </span><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Satoko Fujii</strong><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> is one of a dozen members of the international improvised music community to be honored with a </span><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">2020 Instant Award in Improvised Music </strong><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">from The Horse with No Name</span><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">. </strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZl8fIh8lIVTAoD5ruUVQDwyYE2NawvPIdY6CgUVrEPh9ZXOB_aTuf99KfIwYUvQox3FyR_WZyM_Iej5ZTJPtZMEbeoXTIpfaciOKA9CuZFIrh1otlWtjxCMj9mE5MDfyjtIu4NxJoJYgo/s1600/unnamed+%25285%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZl8fIh8lIVTAoD5ruUVQDwyYE2NawvPIdY6CgUVrEPh9ZXOB_aTuf99KfIwYUvQox3FyR_WZyM_Iej5ZTJPtZMEbeoXTIpfaciOKA9CuZFIrh1otlWtjxCMj9mE5MDfyjtIu4NxJoJYgo/s320/unnamed+%25285%2529.jpg" width="320" /></a></div>
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<span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">“I am beyond thrilled and grateful to be recognized with so many other remarkable creative musicians. It means so much to receive this acknowledgement,” says Fujii, a tireless, prolific and versatile pianist, composer and accordionist</span><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">.</strong><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Other 2020 recipients are Raymond Boni, Peter Brotzmann, John Edwards, Mats Gustaffson, Okkyung Lee, Arto Lindsay, Paul Lytton, Sam Newsome, Alexander von Schlippenbach, LaDonna Smith, and Nate Wooley. These respected members of the international improvised music community “represent a spectrum of ages and diverse backgrounds, have been chosen for their artistic intelligence, independence, and integrity,” says John Corbett of Corbett vs. Dempsey.</span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">This year, in a period of unprecedented turbulence and challenge, the Instant Award in improvised Music is conferred on twelve respected members of the international improvised music community. These individuals, who represent a spectrum of ages and diverse backgrounds, have been chosen for their artistic intelligence, independence, and integrity.”</span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Underwritten by an anonymous patron and musical devotee, the Instant Award in Improvised Music is presented to outstanding improvisors. Previous Instant Award recipients are Susan Alcorn, Joe McPhee, Ikue Mori, and Evan Parker. Corbett vs. Dempsey is proud to be the official mouthpiece for the Horse With No Name. </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">For information visit </span><a href="https://soundcloud.us13.list-manage.com/track/click?u=5fbad09697b9417adec6747d1&id=44ce417aa2&e=4b42e829ed" style="background-color: white; color: #007c89; font-family: Helvetica; font-size: 16px; text-align: left;" target="_blank">https://www.corbettvsdempsey.<wbr></wbr>com/2020/05/01/instant-award-<wbr></wbr>improvised-music-2020-<wbr></wbr>recipients/</a><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">.</span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Critics and fans alike hail </span><strong style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Satoko Fujii </strong><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">as one of the most original voices in jazz today. She’s </span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">“a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver,"</em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> says John Fordham in </span><u style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">The Guardian</u><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock, and folk music into an innovative style instantly recognizable as hers alone. A prolific bandleader and recording artist, she celebrated her 60th birthday in 2018 by releasing one album a month from bands old and new, from solo to large ensemble. Franz A. Matzner in </span><u style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">All About Jazz</u><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> likened the twelve albums to “</span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">an ecosystem of independently thriving organisms linked by the shared soil of Fujii's artistic heritage and shaped by the forces of her creativity.</em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">”</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXyGm105XczKR5fJzNv4BnCCpzX8j2YDvUE5axn-0HVY8OiOLqu19KfAKmUbwrZJrAQoUBcIUNfnM9hkcs7UU37zAMwO51yF74iB6iAVcBvPJyMCkCdpVtZnUn8lYTwLTyoRJ2azuiHr4Q/s1600/unnamed+%25286%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXyGm105XczKR5fJzNv4BnCCpzX8j2YDvUE5axn-0HVY8OiOLqu19KfAKmUbwrZJrAQoUBcIUNfnM9hkcs7UU37zAMwO51yF74iB6iAVcBvPJyMCkCdpVtZnUn8lYTwLTyoRJ2azuiHr4Q/s320/unnamed+%25286%2529.jpg" width="320" /></a></div>
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<br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;"> </span><br style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;" /><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including her trio with bassist Mark Dresser and drummer Jim Black and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Her ongoing duet project with husband Natsuki Tamura released their sixth recording, </span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Kisaragi</em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">, in 2017. “</span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship</em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">,” says Karl Ackermann in </span><u style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">All About Jazz</u><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">. </span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Aspiration</em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">, a CD by an ad hoc quartet featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released in 2017 to wide acclaim. “</span><em style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Four musicians who regularly aspire for greater heights with each venture reach the summit together on </em><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Aspiration,” writes S. Victor Aaron in </span><u style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">Something Else</u><span style="background-color: white; color: #202020; font-family: helvetica; font-size: 16px; text-align: left;">. As the leader of no less than five orchestras in the United States, Germany, and Japan (two of which, Berlin and Tokyo, released new CDs in 2018), Fujii has also established herself as one of the world’s leading composers for large jazz ensembles. Recent and forthcoming projects include a 2019 solo album, a duo recording with vibraphonist Taiko Saito, and a new release by Fujii ensemble Kaze featuring Ikue Mori.</span></div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-13226139403843252232020-05-16T11:58:00.002-07:002020-05-16T11:58:49.163-07:00Vocalist-composer Sara Serpa reaches new heights with a singular multi-disciplinary work featuring music and film Recognition: Music For a Silent Film, due out June 5, 2020<br />
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<span style="font-family: "Arial",sans-serif; font-size: 15.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 18.0pt;">Vocalist-composer Sara Serpa reaches new
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<span style="font-family: "Arial",sans-serif; font-size: 15.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 18.0pt;">with a singular multi-disciplinary work
featuring music and film</span><span style="font-family: "Arial",sans-serif; font-size: 15.0pt; mso-fareast-font-family: Arial; mso-font-kerning: 18.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Recognition: Music For a Silent Film</span></i></b><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">, due out June 5, 2020 </span></b><b style="mso-bidi-font-weight: normal;"><span style="border: none; color: windowtext; font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"><span style="mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;">on </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="border: none; color: windowtext; font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"><span style="mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;">Biophilia</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="border: none; color: windowtext; font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"><span style="mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"> Records</span></span></b><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-bidi-font-family: Calibri;">, </span></b><b><span style="font-family: "Arial",sans-serif; font-size: 11.5pt; mso-bidi-font-family: Calibri;">showcases Serpa’s gifts as a composer and vocalist in a program of
stark, cinematic pieces</span></b><span style="border: none; color: windowtext; font-family: "Arial",sans-serif; font-size: 11.5pt; mso-fareast-font-family: "Times New Roman"; mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"><o:p></o:p></span></div>
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<b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-bidi-font-family: Calibri;">featuring Mark
Turner, David Virelles and Zeena Parkins</span></b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“...her subtlety and sureness command serious
attention.” – <i>The New Yorker</i></span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“…a fresh and riveting presence on the vocal-jazz
landscape.” <i>– JazzTimes</i></span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“...unique beyond words.” <i>– Boston Globe</i></span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Widely
acclaimed as one of the premier vocalists of her generation and recently
crowned Rising Star Female Vocalist in the 2019 DownBeat Critics Poll, <b>Sara
Serpa</b> pushes headfirst into innovative musical territory with her tenth
album, <b><i>Recognition: Music For a Silent Film</i></b>. A collection of
Serpa’s original pieces set to moving images, the album features her singing
and performing spoken word alongside some of the most recognizable and
distinctive artists in jazz and improvised music: saxophonist <b>Mark Turner</b>
(Billy Hart, Tom Harrell), pianist <b>David Virelles</b> (Chris Potter, Henry
Threadgill) and harpist <b>Zeena Parkins </b>(Björk, John Zorn).<span style="mso-spacerun: yes;"> </span>Due out <b>June 5, 2020 </b><span style="mso-bidi-font-weight: bold;">on<b> Biophilia Records</b>, <i style="mso-bidi-font-style: normal;">Recognition</i> will be available</span> in
BiopholioTM or digital download with code for film screening.<o:p></o:p></span></div>
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<i><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Recognition</span></i><span style="font-family: Arial, sans-serif;"> is a singular multi-disciplinary work that
traces the historical legacy of Portuguese colonialism in Africa through moving
image and sound. From her family’s archives, Serpa adapted Super 8 footage of
various scenes under Portuguese colonial rule in 1960s Angola into an
experimental documentary in the format of a silent film, and she alone composed
its musical counterpart as well, a rare and massive undertaking. </span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Far
more than accompaniment, Serpa’s mesmerizing feature-length score to the film
is as immersive and compelling as the extraordinary images it reflects. This is
a testament to both her captivating musical vision and compositional acumen,
showing precisely why <i>JazzTimes</i> called her “a master of wordless
landscapes.” </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Serpa
uses her voice as both an ensemble instrument and a focal point for narrative
during passages of spoken word, which came out of Serpa’s intensive,
self-directed research into the period. More than solely an achievement in
music, <i>Recognition</i> addresses thematic concerns that are relevant and
significant in the present day. As Serpa eloquently summarizes:</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;"> </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“Talking about Angola and Portugal is like talking about Brazil,
United States and Europe. The Western world shares a collective shameful past
of occupation, exploitation, slave trade, oppression, racism, segregation,
violence and abuse.”</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Several
motivations animated her work on this project, including the desire “to
highlight the power of music as a tool for social evolution, reflection and
education,” and “to break the silence about Portuguese colonialism and
institutional racism.” </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">With
the assistance of film director <b>Bruno Soares</b>, Serpa organized the
material into an hour-long silent film intercut with text by <b>Amílcar Cabral</b>,
a key figure of African anti-colonial resistance. During the course of the
project, Serpa explored the legacy of that difficult historical moment as well
as her family’s silence surrounding it, providing a visual and sonic narrative
encouraging individual reflection.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #26282a; font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“There was a traumatic situation because when the colonies
became independent, suddenly Portuguese had to flee, leaving everything behind.
They had to adapt to a country that most of them had never been to and that
rejected them, so there’s a kind of silence, and not many people in my family have
talked openly about this. Perhaps this is the work of the following
generations, to digest and process the past,” Serpa says. </span><span style="color: #26282a; font-family: "Arial",sans-serif; mso-bidi-font-family: "Helvetica Neue"; mso-fareast-font-family: "Helvetica Neue";"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“There
</span><span lang="PT" style="font-family: "Arial",sans-serif; mso-ansi-language: PT; mso-bidi-font-family: Calibri;">is</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;"> also institutional silence. In schools you’re
not taught about it, and because of that I felt the need to educate myself. So
there was this personal need, but also a need to expose something that has not
been talked about, discussed enough and recognized enough.”</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Across
the dozen tracks on the album, Serpa employs the diverse talents of her
powerhouse ensemble, which boasts a unique configuration of instrumental
voices. Turner, arguably the most influential tenor saxophonist of his
generation, assumes multiple roles in the quartet, variously mirroring Serpa’s
ethereal voice, sustaining ongoing accompaniment and contributing immaculate
solo improvisations.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Pianist
Virelles, whose versatility and blending of the futuristic and folkloric has
made him a first-call musician for everyone from Chris Potter to Henry
Threadgill, is no less brilliant. As a foil to the other ensemble members,
Virelles improvises vital, startling counterpoint across every register of the
piano. </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Parkins
is a pioneer of contemporary harp who resides in the highest echelon of
avant-garde musicians. She delivers characteristically powerful and supportive
playing as both a soloist and ensemble member. On tracks such as “Beautiful
Gardens,” she and Virelles conjure thrillingly abrupt waves of dissonance
cascading alongside shocking spoken-word depictions of violence.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">The
astuteness of Serpa’s bold decision to assemble these collaborators, who hadn’t
previously performed together as a group, is proven by their fresh and inspired
chemistry. The free-improvised “Queen Nzinga” is a case in point, featuring a
spirited, grooving trio improvisation that effervesces alongside Serpa’s spoken
word.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">On
tracks like “Lei do Indigenato, 1914” and “Free Labour,” Serpa directs the
ensemble toward meaningful restraint and space. She fearlessly embraces
dissonance and post-tonal complexity when it suits the musical and filmic
narrative, as in the flowing arpeggios of “Occupation” and the broodingly
abstract “Control and Oppression.” </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Despite
its challenging subject matter, <i>Recognition</i> also contains in ample
measure the trademark lyricism and purity of melodic design that Serpa’s
collaborators, such as legendary pianist Ran Blake, have so prized in working
with her. On tracks such as “Mercy and Caprice,” Serpa’s gorgeous voice seems
to float in space without losing any measure of intimacy or directness.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">As
music to silent film, atmosphere and mood are primary considerations that Serpa
handles with aplomb. Her mastery of counterpoint and orchestration is apparent
on tracks like “Absolute Confidence,” where she creates a chorale of moving
voices before unfurling a breathtakingly dramatic solo improvisation. On
“Propaganda,” the album’s penultimate track, unrelenting and virtuosic
counterlines raise the tension to a fever pitch as Virelles pushes and pulls
against voice and saxophone. </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Recognition</span></i><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;"> ends on an ambivalent but rallying note with
“Struggle and Unity,” a resistance song setting Cabral’s words to music. The
song’s otherworldly melody and attendant harmony has a lingering quality,
resonating in the ear and mind long after the album concludes. </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<b><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">About Sara Serpa</span></b><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Lisbon,
Portugal native Sara Serpa is a vocalist-composer and improviser who implements
a unique instrumental approach to her vocal style. Recognized for her
distinctive wordless singing, Serpa has been immersed in the field of jazz,
improvised and experimental music since first arriving in New York in 2008.
Described by the New York Times as "a singer of silvery poise and
cosmopolitan outlook," Serpa started her career with jazz luminaries such
as Grammy-nominated pianist Danilo Perez, and Guggenheim and MacArthur Fellow
pianist Ran Blake. As a leader, she has produced and released nine albums; the
latest being Recognition, an interdisciplinary project that combines film with
live music, in collaboration with Zeena Parkins (harp), Mark Turner (
saxophone) and David Virelles (piano). Serpa is a member of the We Have
Voice Collective, comprised of 14 musicians, scholars and thinkers, determined
to promote gender equity in the performing arts.<span style="mso-spacerun: yes;"> </span>Sara has performed with John Zorn, Nicole
Mittchel, Ingrid Laubrock, André Matos, Guillermo Klein, Okkyung Lee, Guillermo
Klein, Linda May Han Oh, Kris Davis,<span style="mso-spacerun: yes;">
</span>among many others. Serpa was voted Rising Star - Female Vocalist 2019 by
the Downbeat Magazine Critics Poll, and she currently teaches at The New
School and at New Jersey City University.</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<b><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Advance Praise for <i>Recognition</i></span></b><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“…
a singular multimedia experience both spellbinding and haunting in nature …
truly beyond category.” </span><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">– </span></i><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">Dan Bilawsky, <i>All About Jazz</i></span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“<i>Recognition</i>
is an irreverent and poignant analysis of the place of memory ... a sincere
reflection on universal responsibility and social justice, Sara Serpa connects
the past with the present, exposing the propaganda used by the Portugal’s
fascist regime in its occupation of African nations.” – Bruno Duarte, art
director and film production designer </span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“With
<i>Recognition</i>, Sara Serpa looks deeply into the problems of colonialism,
occupation, racism, and exploitation that have left a scar on human history and
continue to impact our world today … <i>Recognition </i>is not only a brilliant
artistic work, but an important offering that I hope will be viewed by
audiences worldwide.” – trumpeter/vocalist/ composer Amir El-Saffar</span><span style="font-family: "Arial",sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; mso-bidi-font-family: Calibri;">“This
is a fearless, exciting new work by an already remarkable artist pushing
herself outside of her comfort zone from almost every angle.” –
guitarist/composer Rafiq Bhatia<o:p></o:p></span></div>
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<span class="ydpe1b416fds1"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">About Biophilia Records</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></b></div>
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<span class="ydpe1b416fds1"><i><span style="font-family: "Arial",sans-serif;">Biophilia</span></i></span><span class="ydpe1b416fds1"><span style="font-family: "Arial",sans-serif;"> means
"an instinctive bond between human beings and other living systems."
Our home is Harlem, New York City. What sets Biophilia Records apart from
traditional music labels is that in addition to creating meaningful and
imaginative music, our artists are united by a common interest in having a
positive impact on the environment and our communities. Our artists collaborate
with organizations that specialize in conservation, sustainability and outreach
initiatives. We regularly volunteer hands-on in community events to however we
can.<o:p></o:p></span></span></div>
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<span class="ydpe1b416fds1"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">The Biopholio™</span></b></span><span class="ydpe1b416fds1"><span style="font-family: "Arial",sans-serif;"> is a
double-sided, 20-panel origami-inspired medium, bursting with vibrant artwork
and liner notes; each one made entirely out of FSC-certified, robust paper,
hand-folded and printed using plant-based inks.</span></span><span style="color: windowtext; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-style-textoutline-outlinestyle-align: center; mso-style-textoutline-outlinestyle-compound: simple; mso-style-textoutline-outlinestyle-dash: solid; mso-style-textoutline-outlinestyle-dpiwidth: 0pt; mso-style-textoutline-outlinestyle-join: bevel; mso-style-textoutline-outlinestyle-linecap: round; mso-style-textoutline-outlinestyle-pctmiterlimit: 0%; mso-style-textoutline-type: none;"><o:p></o:p></span></div>
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<span class="ydpe1b416fds1"><span style="font-family: "Arial",sans-serif;">Found
inside each Biopholio™ is a unique code for the listener to digitally download
the music in hers/his preferred format including CD-quality, uncompressed WAV
files. </span></span><span style="font-family: "Arial",sans-serif;">This
innovative design caters to the environmentally-conscious listener, who is
aware of the harmful effects of plastic in the environment, yet feels that a
digital download is just not enough. With your purchase, you are supporting the
future of this music and the artists who create it with the added bonus of
receiving a tangible piece of original album artwork that you can proudly
cherish for years to come.<o:p></o:p></span></div>
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<a href="https://biophiliarecords.com/" target="_blank"><span style="font-family: "Arial",sans-serif;">https://biophiliarecords.com/</span></a><span style="color: #0000e9; font-family: "Arial",sans-serif;"><o:p></o:p></span></div>
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<a href="http://www.saraserpa.com/"><span class="Hyperlink0">www.saraserpa.com/</span></a><span class="None"><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: Arial;"><o:p></o:p></span></span></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-65436667345289497792020-05-16T11:40:00.001-07:002020-05-21T09:37:08.437-07:00AL DI MEOLA RELEASES NEW ALBUM ACROSS THE UNIVERSE IN TRIBUTE TO THE BEATLES BY THE LEGENDARY JAZZ GUITARIST<br />
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<b style="mso-bidi-font-weight: normal;"><u><span lang="IT" style="font-family: "Calibri",sans-serif; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">AL DI MEOLA RELEASES NEW ALBUM ACROSS
THE UNIVERSE <o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="IT" style="font-family: "Calibri",sans-serif; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">IN TRIBUTE TO THE BEATLES BY THE
LEGENDARY JAZZ GUITARIST<o:p></o:p></span></u></b></div>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">World-</span><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">renowned
guitar hero <b>Al Di Meola</b> welcomes a new decade with </span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">an </span><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">ambitious
follow-up to his 2013 </span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">studio </span><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">recording <b><i style="mso-bidi-font-style: normal;">All Your Life: A
Tribute to the Beatles</i></b></span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> with a</span><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> sophomore homage to the </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Beatles</span></b><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">,</span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> </span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">entitled </span><b><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe</span></i></b><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;">,</span><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> due out on <b>earMUSIC</b> on March 13, 2020.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGks-Yp2j8cBmOd7xka8DYk_ZY5EjwGHHjD4ehZhK27Oj3DYgJqQFKSxtQ30pMnIM69IL3YnbWtm_gOlAw3DixNzhdJyBTZuVWrmxqXZZ9ThLPM7rSUuykbDy8nwFGkwN02rtu6wye0Ykk/s1600/Album+Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGks-Yp2j8cBmOd7xka8DYk_ZY5EjwGHHjD4ehZhK27Oj3DYgJqQFKSxtQ30pMnIM69IL3YnbWtm_gOlAw3DixNzhdJyBTZuVWrmxqXZZ9ThLPM7rSUuykbDy8nwFGkwN02rtu6wye0Ykk/s320/Album+Cover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola’s</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> exquisite mastery of the
fretboard is equal only to his appreciation of the Beatles’ legacy that has
inspired generations of both musicians and music fans with their famed
recording catalog. A retrospective of </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola’s</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">
nearly 50-year acclaimed career expressed through his virtuosic arrangements of
14 Beatles songs, </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe journeys</span></i></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> alongside one of America’s
foremost guitarists as he revisits classic hits and more obscure tunes written
by the ingenious Fab Four who have helped define the man he is today. </span><span lang="IT" style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-bidi-font-weight: bold; mso-fareast-language: DE;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">Adding to his lauded recording collection of more than 30 solo albums and
numerous acclaimed collaborations with the likes of <b>Chick Corea, John
McLaughlin, Stanley Clarke, Paco De Lucia</b> and many others, </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe</span></i></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> is
yet another masterpiece showcasing </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola’s</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">
fascination with complex rhythmic syncopation combined with provocative lyrical
melodies and intricate harmonies. Beatles fans, guitar-heads, and music lovers alike
can expect the unexpected upon venturing into the world put forth by </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">.</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> To commemorate the singular life of <b>John Lennon</b>, </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> reenacts the famous Lennon cover for his 1975 solo album </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Rock ‘n’ Roll</span></i></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> for
the artwork for </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe</span></i></b><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">. </span></i><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> is
a living legend celebrated for pioneering a unique style of impeccable guitar technique
combined with a sophisticated global musical language that’s captured the
hearts of audiences across the world. A GRAMMY Award-winner, he’s garnered
three gold albums while selling more than six million albums in worldwide
sales. His collaborations with artists such as <b>Paul Simon, Phil Collins, Stevie
Wonder, Jimmy Page, Santana, Steve Winwood, Herbie Hancock, Frank Zappa, Luciano
Pavarotti</b>, and others have elevated </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola </span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">to
become a household name. Traversing divinely across multiple genres including flamenco,
Latin, fusion, jazz, rock, and world music, </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> is
a vivacious tour de force always redefining the boundaries of what’s possible
on a six-stringed instrument. </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The Universe</span></i></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> is no different than his most decorated
recordings with his arsenal of a large ensemble bringing creative reinterpretations
of </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Beatles</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> songs to astounding
heights. <o:p></o:p></span></div>
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<span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">“<i>I really credit the Beatles for the reason why I play guitar</i>,” says
</span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">. “<i>That was a major
catalyst for me to want to learn music, so their impact was pretty strong</i>.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Al Di Meola</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> employs
a wide lens on </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Universe</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> with
lightening-speed electric guitar orchestrations balanced with lavish acoustic arrangements.
The debut single </span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Strawberry Fields Forever</span></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;">
from </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-fareast-language: DE;">Across The
Universe</span></i></b><span style="color: black; font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-fareast-language: DE;"> (released today, January 17) is a fiery electric guitar fueled stunner
backed by a red-hot rock band. Epic rock ‘n’ roll covers are sprinkled
throughout the album, including the visionary take on the album opener </span><b><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-language: EN-US;">Here Comes The
Sun</span></b><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-language: EN-US;">, as well as a riveting <b>Hey Jude</b> and <b>Golden Slumbers Medley</b>.
<b>Al Di Meola’s</b> acoustic fingerpicking soars on <b>Dear Prudence</b> and Norwegian
Wood, while he ventures to a jazz fusion aesthetic on <b>Till There Was You</b>.<o:p></o:p></span></div>
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<b><i style="mso-bidi-font-style: normal;"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-language: EN-US;">Across The
Universe</span></i></b><b><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-language: EN-US;"> </span></b><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-language: EN-US;">simmers to a diverse set of mid-tempo grooves on <b>Mother Nature’s Son</b>,<b>
Yesterday, Your Mother Should Know</b>, <b>I’ll Follow The Sun</b>, and <b>Julia</b>. <b>Al
Di Meola</b> features a lovely solo performance on <b>Here, There And
Everywhere</b>. <b><i style="mso-bidi-font-style: normal;">Across The Universe</i></b>
finishes with a short, but very sweet melodic version of <b>Octopus’s Garden</b>.<o:p></o:p></span></div>
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<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-75345884728002177452020-05-16T11:32:00.001-07:002020-05-21T09:37:18.554-07:00RESONANCE RECORDS RELEASES BEST OF COMPILATION FROM AWARD-WINNING BOX OF EARLY NAT KING COLE ON MAY 8, 2020RESONANCE RECORDS RELEASES BEST OF COMPILATION FROM<br />
AWARD-WINNING BOX OF EARLY NAT KING COLE ON MAY 8, 2020<br />
<br />
Straighten Up and Fly Right Compiles 21 of the Best Selections from 2019’s<br />
7CD/10LP Boxed Set Hittin’ the Ramp: The Early Years (1936-1943)<br />
<br />
15 of the 21 Songs Have Never Been Available Digitally Before in Any Version<br />
Featuring the Previously-Unissued Transcription Version of “This Side Up”<br />
Which Is Not Available On The Boxed Set<br />
<br />
Digital Release Coincides with Author Will Friedwald’s New Biography<br />
Straighten Up and Fly Right: The Life and Music of Nat King Cole<br />
Coming in June on Oxford University Press<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUF6iGDVc1VXb5IKyKjQ8DGen-yxGjV5zVF827CsJ5qX48blgsHVXTUeRjK-g_I_QhxY4GVquu-lCqwV-bCdNKg4mVExcdWF8vtXN8dUQxUf5dwxbsuiCoRfgc69oZHlS4j3GBGVsod3h/s1600/NatKingCole_StraightenUp_BestOf_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUF6iGDVc1VXb5IKyKjQ8DGen-yxGjV5zVF827CsJ5qX48blgsHVXTUeRjK-g_I_QhxY4GVquu-lCqwV-bCdNKg4mVExcdWF8vtXN8dUQxUf5dwxbsuiCoRfgc69oZHlS4j3GBGVsod3h/s320/NatKingCole_StraightenUp_BestOf_Cover.jpg" width="320" /></a></div>
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(Los Angeles, April 2020) Resonance Records, the Los Angeles-based independent jazz label noted for its deluxe historical releases, issued the seven-CD/10-LP Nat King Cole boxed set Hittin’ the Ramp: The Early Years (1936-1943) on November 1, 2019. Following the great success of Hittin’ the Ramp, Resonance is releasing a “Best of the Box” digital compilation curated by Will Friedwald called Straighten Up and Fly Right - The Best of Hittin’ the Ramp: The Early Years (1936-1943).<br />
Hittin’ the Ramp has been one of the best-selling boxed sets of the year (and Resonance still has a small number of limited-edition LP sets in its warehouse for sale at https://resonancerecords.org/).<br />
<br />
This ‘best of’ collection includes several of the previously unreleased studio sides, transcriptions, and private recordings of Cole’s earliest work from the boxed set and is also being produced in conjunction with the musician’s estate. One of the unreleased tracks, a transcription version of “This Side Up,” was not included on the box set and now makes its debut on Straighten Up and Fly Right.<br />
“The Nat King Cole family is thrilled to continue our relationship with Resonance Records, who have shown their unwavering commitment to showcase and preserve these historic recordings,” says Seth Berg of the Nat King Cole Estate.<br />
<br />
“Hittin’ the Ramp was a really important project for Resonance,” says Zev Feldman, label co-president and the set’s co-producer. “We had never done a project of that size before, and we did our best to give Nat King Cole fans a definitive early years collection that can be cherished for decades to come. Given what’s happening in the world today, and with Mother’s Day coming up, we felt it was the perfect time to do a ‘best of the box’ edition that could reach everyone digitally and lift people’s spirits a little. Since manufacturing is shut down now with the Covid-19 virus, we’re starting with a digital-only release.”<br />
<br />
The set’s co-producer, writer and historian Will Friedwald wrote the main essay for Hittin’ the Ramp and has written a biography on Nat King Cole titled Straighten Up and Fly Right: The Life and Music of Nat King Cole that is coming in June on Oxford University Press. He writes that Cole’s deep and influential jazz roots were often obscured by his towering reputation as a pop singer.<br />
<br />
“At the height of his fame in the 1950s and ‘60s,” he writes, “Nat King Cole (1919-1965) was primarily known as a popular singer — the biggest-selling artist of his generation, no less — who occasionally played piano. By that point, only a few older fans and critics remembered that he had been one of the greatest pianists in the whole history of American music, a true spiritual descendent of Earl ‘Fatha’ Hines and Art Tatum, and himself a huge inspiration for Oscar Peterson, George Shearing, Erroll Garner, and many others.”<br />
<br />
Straighten Up and Fly Right contains over a dozen transcriptions, mainly by the trio, cut by Standard and Davis & Schwegler for servicing to radio stations, as well as wartime recordings produced for American servicemen by the Armed Forces Radio Service.<br />
<br />
Friedwald adds, “We’re covering this quintessential American artist from his very first stirrings at the start of the swing era to the very precipice of universal fame during World War Two, with dozens of fascinating detours along the way. This is the incredible but true origin story of a sound and a career that would change the world.”<br />
<br />
Here is Nat King Cole, just as he was hittin' the ramp.<br />
<br />
PRESS QUOTES for HITTIN’ THE RAMP:<br />
<br />
“Before he became one of the world’s biggest pop stars, Nat King Cole was a young jazz pianist developing his craft on the Los Angeles club scene. This imposing collection, available as 10LPs or seven CDs, shines a light on this lesser-known opening chapter of his career.” — Giovanni Russonello, The New York Times<br />
<br />
“Hittin’ the Ramp rises above the pack. With its authoritative presentation and comprehensive discography featuring many rarities and previously unissued tracks...” — Martin Johnson, The Wall Street Journal Oscar Moore and Nat King Cole - Photo Courtesy of LaBudde Special<br />
Collections, UMKC University Libraries<br />
<br />
“An anthology devoted to early Nat King Cole recordings was recently released, and it offers a new window into his artistic development . . . By the time Cole signed with Capitol Records, he was a fully formed musician, and a confident bandleader, able to brawl with big bands and soar over studio orchestras. Now we can hear, step by step, how he got there.” — Tom Moon, NPR: All Things Considered<br />
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“Now comes the collection some of them have been waiting a lifetime for: an overwhelming box set (183 tracks spread over seven CDs or 10 LPs) dedicated to the pre-crooning era that jazz fans most fetishize…” — Chris Willman, Variety (“Best Boxed Sets of 2019”)<br />
<br />
“The reissue is a good reminder that all stars had a path, and Cole’s path began with the piano.”<br />
— Adrienne Gibbs, Forbes (“Best Reissue of 2019”)<br />
<br />
TRACK LISTING:<br />
1. With Plenty of Money and You (1938, Standard transcription)<br />
2. Liza (1938, Standard transcription)<br />
3. There's No Anesthetic for Love (1939, Davis & Schwegler transcription)<br />
4. Riffin' at the Bar-B-Q (1939, Davis & Schwegler transcription)<br />
5. Honey (19)39, Standard transcription)<br />
6. Two Against One (1939, Standard transcription)<br />
7. Black Spider Stomp (1939, Standard transcription)<br />
8. Sweet Lorraine (1939, Standard transcription)<br />
9. Off the Beam (1940, Standard transcription)<br />
10. Early Morning Blues (1940, Standard transcription)<br />
11. Gone with the Draft (1940, Standard transcription)<br />
12. What'cha Know Joe (1940, unreleased radio broadcast)<br />
13. Blue Lou (1939, Standard transcription)<br />
14. Baby, Won’t You Please Come (1939, Standard transcription)<br />
15. Rosetta (1939, Standard transcription)<br />
16. Hit that Jive, Jack (1942, AFRS Mail Call #16)<br />
17. I'm Gonna Move to the Outskirts of Town (1942 or 1943, Live from the 331 Club)<br />
18. Hip Hip Hooray (AFRS Jubilee #5)<br />
19. Slender, Tender, and Tall (1943, AFRS Jubilee #29)<br />
20. Straighten Up and Fly Right (1943, AFRS Personal Album #227)<br />
21. This Side Up (1941, Standard Transcription)<br />
<br />
Resonance Records is a multi-GRAMMY® Award-winning label (most recently for John Coltrane’s Offering: Live at Temple University for "Best Album Notes") that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance's catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Aubrey Logan, Polly Gibbons, Eddie Daniels, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.orgJazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-66385105906215143282020-04-06T15:59:00.000-07:002020-05-21T09:37:27.509-07:00Raquel Cepeda PassionRaquel Cepeda Passion<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujhlOXgoqfl62UofwlEFZgfdd10wVIyc1fr0F1aaMFRlIS7QdaoYcSvU2wkPTKx-fvt4gZA8jYIp2t_B7rdpWQl2GMAg8t-nAkzVXGgvJQvbg0n5eUBRZNMaa8JDxA3jntFcfurRgyhvS/s1600/Raquel_Cepeda_Passion_Latin_Jazz_COVER+3000+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujhlOXgoqfl62UofwlEFZgfdd10wVIyc1fr0F1aaMFRlIS7QdaoYcSvU2wkPTKx-fvt4gZA8jYIp2t_B7rdpWQl2GMAg8t-nAkzVXGgvJQvbg0n5eUBRZNMaa8JDxA3jntFcfurRgyhvS/s320/Raquel_Cepeda_Passion_Latin_Jazz_COVER+3000+%25281%2529.jpg" width="320" /></a></div>
<br />
Cepeda’s latest release Passion is her most personal to date: a Latin jazz mosaic of 13 pieces, presenting five original compositions among gems from North and South American repertoires. The album’s progressive arrangements blend American swing elements with Afro-Cuban and Afro-Brazilian rhythms while incorporating further influences from Argentina and Venezuela.<br />
<br />
The recording in and of itself is a gallery of world-class musicians gathered from wide-ranging geographies under one creative umbrella, including Americans Barry Sames on piano and Thomas Helton on double bass, Brazilians Adriano Santos on drums and Cassio Duarte on percussion, Cubans Orlando Fuentes on drums and Ernesto Vega on sax and flute, and Puerto-Rican trumpeter Omar Martinez. Special guest appearances by Argentinean Grammy winner Hector del Curto on bandoneon, Venezuelan cuatro player Jorge Glem, Venezuelan Marlon Simon on drums and percussion, and American, David Caceres on backup vocals.<br />
<br />
With original arrangements by Barry Sames and Raquel Cepeda, and contributions from Thomas Helton, Joe LoCascio and Marvio Ciribelli, Passion also represents Cepeda’s debut as a producer, with recording engineer Andy Bradley as co-producer and Cassio Duarte as production assistant. The album was entirely recorded and mixed by Andy Bradley at Houston’s Wire Road Studios, and mastered by Jerry Tubb at Terra Nova Studios in Austin.Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-72728910133083482812020-03-30T15:47:00.000-07:002020-05-17T15:49:39.131-07:00ESSENTIAL LATE-ERA NINA SIMONE ALBUM, FODDER ON MY WINGS, TO MAKE LONG OVERDUE REAPPEARANCE ON LP AND CD PLUS WIDE DIGITAL RELEASE FOR THE FIRST TIME IN STANDARD AND HI-RES AUDIO<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%;">ESSENTIAL LATE-ERA NINA
SIMONE ALBUM, <i style="mso-bidi-font-style: normal;">FODDER ON MY WINGS,</i> TO
MAKE LONG OVERDUE REAPPEARANCE ON LP AND CD PLUS WIDE DIGITAL RELEASE FOR THE
FIRST TIME IN STANDARD AND HI-RES AUDIO<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%;">“I SING JUST TO KNOW
THAT I’M ALIVE” RELEASED DIGITALLY TODAY<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%;">AVAILABLE APRIL 3 VIA
VERVE/UMe<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%;"><br /></span></b></div>
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<span style="color: black; font-size: 12.0pt; line-height: 107%;">Recorded
in 1982, not long after she moved to Paris, <b style="mso-bidi-font-weight: normal;"><i>Fodder On My Wings</i> </b>was one of <b style="mso-bidi-font-weight: normal;">Nina Simone’s </b>favorite albums yet has remained one of her most
obscure. Originally recorded for a small French label and only sporadically
available since its initial release, <i>Fodder On My Wings</i> will be reissued
in a variety of formats including CD and LP, as well as widely available digitally
for the first time, in both standard and hi-res audio, on <b style="mso-bidi-font-weight: normal;">April 3</b> via <b style="mso-bidi-font-weight: normal;">Verve/UMe</b>. The
original album will be expanded with three bonus tracks from the recording
sessions from a rare French reissue released in 1988. The effervescent opening track
“<b style="mso-bidi-font-weight: normal;">I Sing Just To Know That I’m Alive</b>,”
a song that Simone often performed live in her later years, is available now to
stream and as an instant grat download with digital preorder. A lyric video is
also available now: </span><span style="font-size: 12.0pt; line-height: 107%;"><a href="https://verve.lnk.to/ISJTKTIA">https://verve.lnk.to/ISJTKTIA</a></span><span style="color: black; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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<span style="color: black; font-size: 12.0pt; line-height: 107%;">A
lesser-known but important part of Simone’s musical history, <i style="mso-bidi-font-style: normal;">Fodder On My Wings</i> contains deeply
personal songs, including the aforementioned, “<b style="mso-bidi-font-weight: normal;">I Sing Just To Know That I'm Alive</b>” and “<b style="mso-bidi-font-weight: normal;">I Was Just A Stupid Dog To Them</b>,” as well a searing
lyrical improvisation about the death of her father on “<b style="mso-bidi-font-weight: normal;">Alone Again (Naturally)</b>.” At the time she recorded the album,
Simone was living in France and extremely lonely; her mental illness was
worsening and her family life was fractured. It’s out of this despair that one
of the many album standouts, the near title track “<b style="mso-bidi-font-weight: normal;">Fodder In Her Wings</b>,” was birthed. As <i style="mso-bidi-font-style: normal;">Pitchfork</i> wrote in their list of 33 of Simone’s most iconic songs,
the composition “captured with startling intimacy the pain of this period, and
she returned to it frequently through the next decade, cutting another studio
version three years later (the synth-heavy take on <i style="mso-bidi-font-style: normal;">Nina’s Back</i>!) and including it on several live albums, including an
awe-inspiring performance on 1987’s <i style="mso-bidi-font-style: normal;">Let
It Be Me</i>,” continuing, “Simone’s vocal makes a song of weariness and defeat
carry an air of defiance, a wise word from someone who survived to tell the
tale.” <o:p></o:p></span></div>
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<span style="color: black; font-size: 12.0pt; line-height: 107%;">Over
the years, the album has been reevaluated and has received its due as a
significant work in Simone’s prolific catalog. In a 2005 review of the album, <i style="mso-bidi-font-style: normal;">Jazz Times</i> hailed the record and
especially her emotional performance on “Alone Again (Naturally),” writing: “At
the core of the album is a rare, powerful example of Simone with all masks
stripped away: Her personal pain explodes to the surface as she reworks Gilbert
O’Sullivan’s “Alone Again (Naturally)” into a diatribe about her dying father
that bravely progresses from venomously embittered to cautiously conciliatory.”
<o:p></o:p></span></div>
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<span style="color: black; font-size: 12.0pt; line-height: 107%;">Recorded
at a time when Simone was feeling rejuvenated by her surroundings and by the
African musicians she met in her newly adopted France, <i>Fodder On My Wings</i>
is an essential Simone album that is making a long-overdue reappearance and can
now be heard however you prefer to listen to music.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u>FODDER ON MY WINGS</u></i><u> TRACK LISTINGS<o:p></o:p></u></b></div>
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<b>VINYL</b> </div>
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<b><span style="color: black;">SIDE A</span></b><span style="color: black;"><br />
1. I Sing Just To Know That I'm Alive<br />
2. Fodder In Her Wings <br />
3. Vous êtes seuls, mais je désire être avec vous<br />
4. Il y a un baume à Gilhead <br />
5. Liberian Calypso <br />
6. Alone Again (Naturally)<o:p></o:p></span></div>
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<b><span style="color: black;">SIDE B</span></b><span style="color: black;"><br />
1. I Was Just A Stupid Dog To Them <br />
2. Color Is A Beautiful Thing<br />
3. Le peuple en Suisse<br />
4. Heaven Belongs To You<br />
5. Thandewye <br />
6. Stop<br />
7. They Took My Hand <o:p></o:p></span></div>
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<b>CD/DIGITAL</b><br />
<span style="color: black;">1. I Sing Just To Know That I'm Alive </span><br />
<span style="color: black;">2. Fodder In Her Wings </span><br />
<span style="color: black;">3. Vous êtes seuls, mais je désire être avec vous </span><br />
<span style="color: black;">4 Il y a un baume à Gilhead </span><br />
<span style="color: black;">5. Liberian Calypso </span><br />
<span style="color: black;">6. Alone Again (Naturally) </span><br />
<span style="color: black;">7. I Was Just A Stupid Dog To Them </span><br />
<span style="color: black;">8. Color Is A Beautiful Thing </span><br />
<span style="color: black;">9. Le Peuple en Suisse </span><br />
<span style="color: black;">10. Heaven Belongs To You </span><br />
<span style="color: black;">11. Thandewye </span><br />
<span style="color: black;">12. Stop </span><br />
<span style="color: black;">13. They Took My Hand <o:p></o:p></span></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-91398065189429380412020-03-16T15:54:00.000-07:002020-05-17T15:54:29.566-07:00Inside Rhythmic Falls Aruán Ortiz with Andrew Cyrille and Mauricio Herrera<br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; line-height: 150%;">Inside
Rhythmic Falls <o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">Aruán
Ortiz with Andrew Cyrille and Mauricio Herrera<o:p></o:p></span></b></div>
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<span style="font-family: "Arial",sans-serif;">Available March 20, 2020 via Intakt<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">Liner
Notes by Adam Shatz<o:p></o:p></span></b></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">Aruán
Ortiz has long dreamt of making an album that would evoke “a cascade of rhythms
going over me, almost dragging me to fall.” This feeling of being overtaken by
rhythm is one he knows well, having spent his first 23 years in Cuba. Born in
1973, Ortiz grew up in a working-class family in the city of Santiago de Cuba
in the island’s southeastern province, Oriente – the cradle of Afro-Cuban music
and a veritable “vortex of rhythm,” as he recalls. To walk to school each
morning was to hear “a global symphony”: the blare of radios, the sounds of
musicians practicing and people talking and laughing at loud volumes in their
apartments, whose windows were always open to the street.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">Ortiz
captures the symphony of everyday life in Oriente on his arresting new
album, <i style="mso-bidi-font-style: normal;">Inside Rhythmic Falls</i>. It
draws richly upon the <i style="mso-bidi-font-style: normal;">changüí</i>, a
style of guitar-and-drum music created by slaves in the sugar cane refineries
of the early 19<sup>th</sup> century, fusing the Spanish <i style="mso-bidi-font-style: normal;">canción</i> with Bantu percussion; and
the <i style="mso-bidi-font-style: normal;">tumba francesa</i>, a genre
introduced by slaves from Haiti. But rather than copy these styles in some
literal sense, Ortiz deconstructs, reconfigures, and distills them:
inconspicuous and yet ever present, they supply the music with its deeper
frequencies, its spectral force. The luminous surface of
Ortiz’s playing conceals a teeming density of references and
allusions, or, in his words, “hidden voices.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">Afro-Cuban
music was always marked by such voices - hidden, as Ortiz points out, for
reasons of existential necessity: slaves were forced to “express their identity
through, and underneath, the master’s cultural aesthetic.” The enigmatic air of
Ortiz’s art, the way it suggests the repressed, the clandestine and the
fugitive, owes something to his Afro-Cuban heritage. But it also reflects his passion
for artistic modernism, his commitment to “abstracting” (a favorite word of
his) the vernacular and transforming it into a new expressive language. In this
he is an heir not only of European composers like Bartok, Stravinsky and
Ligeti, whom he studied at a conservatory in Tarragona, but of Cuban
composer-pianists of the 19<sup>th</sup> and 20<sup>th</sup> century,
such as Manuel Saumell and Ignacio Cervantes, both students of Louis Moreau Gottschalk,
and Ernesto Lecuona, a protégé of Ravel. And he is very much in the line of
composer-pianists such as Thelonious Monk, Herbie Nichols, Cecil Taylor, Andrew
Hill, and his teacher and AACM founder Muhal Richard Abrams, pioneers of the
African-American jazz avant-garde.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">But
why limit ourselves to musical references? Ortiz certainly doesn’t, and his
understanding of his work has also been profoundly shaped by study
of Nicolás Guillén, an Afro-Cuban practitioner of <i style="mso-bidi-font-style: normal;">poesía negra</i>; the novelist Alejo
Carpentier, one of the leading figures of the Latin American boom and the
author of a major monograph on Cuban music; and, above all, the outstanding
painter Wilfredo Lam, an artist of black and Chinese origins who created a
uniquely Cuban version of Cubism. Indeed, Ortiz’s superb 2017 solo album <i>Cuban
Cubism</i> – the most immediate precursor, he points out, to the
sound-world of <i style="mso-bidi-font-style: normal;">Inside Rhythmic Falls</i> –
can be heard as a tribute to Lam’s influence. <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">In
his classic 1953 novel <i style="mso-bidi-font-style: normal;">The Lost
Steps</i>, Carpentier writes of a Latin American composer plagued by a creative
impasse in New York who travels to a remote village in a South American jungle.
There, “far from concert halls, manifestoes, the unspeakable boredom of art
polemics,” he experiences the “marvelous real,” the magical nature of
Latin American reality, and finds himself “inventing music with an ease
that astounded…To the relentless sound of the rain, I wrote with feverish
impatience, as though driven by an inner demon.” Ortiz wrote the music on <i style="mso-bidi-font-style: normal;">Inside Rhythmic Falls</i> in New York,
but he did extensive research on Cuban Haitian rhythms and Afro-Cuban religion,
and made a number of trips back home, traveling to villages in the woods and
attending performances by local dancers, percussionists and singers. This album
is very much, to borrow Aimé Césaire's phrase, “the notebook of a return to the
native land.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">“I
think of myself as a storyteller,” Ortiz says, “and each of the album’s ten
tracks tells a story about Oriente province.” The first, “Lucero Mundo,” is a
poem addressed to a Elegguá, a god in Santeria, hailing the arrival of the
Bantus from the Kingdom of Congo. Marléne Ramírez-Cancio recites the poem
with fierce authority. She is then echoed, at canonic intervals, by Ortiz, in a
softer, mellifluous voice, and the spoken word/singer artist Emeline
Michel, who repeat her incantation with rhythmic accompaniment from the drummer
Andrew Cyrille and the percussionist Mauricio Herrera. “It’s an offering to my
ancestors, using the words as rhythm to create this sense of something
circular, a vortex.” The austerity of “Lucero Mundo,” hypnotic in its
circulatory, calls to mind Carpentier’s hero in <i style="mso-bidi-font-style: normal;">The Lost Step</i>s, who is “striving for a musical expression that
should come from the unadorned word, from the word prior to the music.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">Words
matter to Ortiz, whose titles are indicative of his desire to honor
his native province. The slow, meditative piece “Cantos y ñáñigos,” for
example, refers to members of a men’s fraternity known as the <i style="mso-bidi-font-style: normal;">Abakuá</i>, an Afro-Cuban secret society;
another track elegizes “Argeliers’ disciple,” a somewhat cryptic allusion to
the anthropologist Argeliers Léon’s protégé Danilo Orozco, a specialist on the
music of Oriente, whose lectures Ortiz attended.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">It
doesn’t hurt to know the background of these titles, but it’s not a
requirement: the music speaks for itself, plunging us deep inside the rhythmic
interplay of Ortiz, Cyrille and Herrera. Cyrille, who at 80 years of age is
enjoying a late-career renaissance, spent a decade as the drummer in Cecil
Taylor’s great “unit,” and his enthralling call-and-response with Ortiz often
recalls his celebrated collaborations with Taylor. “I wanted his freshness, his
in-the-moment energy,” Ortiz says. “He has this incredible range of dynamics,
and an ability to anticipate exactly what part of the piano I’m gravitating to.
Because he knows where you’re moving, he knows how to move in the drums at the
same time.” Ortiz, who is part-Haitian on his father’s side, also suspected
that Cyrille’s Haitian roots would help them to “merge our knowledge and our
styles.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">To
get a sense of just how <i style="mso-bidi-font-style: normal;">right</i> Ortiz
and Cyrille sound together, listen to the album’s boppish fourth track, “Golden
Voice” (the title alludes to the nickname of the great <i style="mso-bidi-font-style: normal;">changüí</i> singer Carlos Borromeo
Planche, known as Cambrón). Ortiz begins in the upper register of the piano,
and Cyrille in the lower register of the toms. By the end, they’ve switched
places, turning the entire piece upside-down. This delightful inversion grew
out of the serendipity, and synergy, of improvisation, not from any plan.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">As
Cecil Taylor said, “Rhythm is life…the space of time danced through,” and
inside rhythmic falls everyone is possessed by the dance, both leading and
following. On “Marímbula's Mood,” Herrera plucks a slightly ominous beat on
the marímbula (a musical box used in <i style="mso-bidi-font-style: normal;">changüí</i>), and Ortiz accompanies him with spare, slinky commentary.
“Sacred Codes” (the second part of the title track) features a percussion
orchestra of sorts, with Ortiz covering the strings of the piano with musical
paper and turning the surface of the instrument into a drum.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">“The
experience of the marvelous presupposes a certain faith,” Carpentier wrote.
“Those who do not believe in saints cannot cure themselves with saintly
miracles.” But when music is this glorious, it has the power not just to
conjure spirits but to inspire belief and help us experience the marvelous. Or,
as Carpentier also put it, the marvelous real. <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.0pt; line-height: 150%;">http://www.aruan-ortiz.com<o:p></o:p></span></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-13019373795285653822020-02-10T16:01:00.000-08:002020-05-17T16:03:34.805-07:00Satoko Fujii and Orchestra New York Bring Urgency and Brio to 11th Album Entity<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Satoko Fujii and
Orchestra New York <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Bring Urgency and
Brio to 11th Album <i style="mso-bidi-font-style: normal;">Entity<o:p></o:p></i></span></b></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.5pt;">“This big band packs
fierce solo power, but Fujii flexes all that muscle masterfully.” ― Tom Hull,
The Village Voice<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.5pt; mso-bidi-font-size: 11.0pt;">“Balances
rousing swing with probing experimentation, updating the big band tradition
with inspired verve and an abiding reverence for venerable customs.” ― Troy
Collins, All About Jazz<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.5pt; mso-bidi-font-size: 11.0pt;">“Interlocking
riffs, driving rhythms and a tight band who do full justice to her imaginative
conceptions, showing the benefits of a lineup barely changed since their 1997
debut.” ― John Sharpe, The New York City Jazz Record<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 10.5pt;">Featuring<b style="mso-bidi-font-weight: normal;"> Oscar Noriega, Briggan Krauss, Ellery
Eskelin, Tony Malaby, Andy Laster, Natsuki Tamura, Herb Robertson, Dave Ballou,
Curtis Hasselbring, Joe Fiedler, Nels Cline, Stomu Takeishi, Ches Smith </b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUUujjNldEwDJFJwRkH2MrqzLPYdZduo-z74GUNnHfbfZVO0fN8sfB72SYX6s-foYtlhSVSCtYJimIbBOxmPkvjx7z-MCDcUPilhXOip1KQzY68g51zXrkoShzkw2HS7DJVvaeSY20Y7M/s1600/Entity_CD_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1594" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUUujjNldEwDJFJwRkH2MrqzLPYdZduo-z74GUNnHfbfZVO0fN8sfB72SYX6s-foYtlhSVSCtYJimIbBOxmPkvjx7z-MCDcUPilhXOip1KQzY68g51zXrkoShzkw2HS7DJVvaeSY20Y7M/s320/Entity_CD_Cover.jpg" width="318" /></a></div>
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<span style="font-family: "Arial",sans-serif;">The <b style="mso-bidi-font-weight: normal;">Satoko Fujii Orchestra New York</b>, led by
one of this era’s greatest big band composers, sounds as fresh and exciting on
their eleventh recording, <b style="mso-bidi-font-weight: normal;">Entity,</b> as
they did on their first in 1997. Working with a 13-piece big band that includes
a remarkable nine founding members, Fujii continues to inspire her
orchestra—and be inspired by them. This is an album that revels in the soloing
prowess of its individual members while showcasing the ever-inventive composing
and arranging of its founder and leader. The album will be released on <b style="mso-bidi-font-weight: normal;">February 14, 2020 </b>via Libra Records<b style="mso-bidi-font-weight: normal;">.</b><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">“Since I have
been playing with this band for such a long time now, I know how they play,”
Fujii says. “And when I compose, I actually hear their sound. So, soloists
actually support my writing. For me composing for this band is more like
collaboration—when I compose I am already working with the band, even if I am
in Tokyo and they are in New York. Is this strange to say?”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Strange or not,
the music is unfailingly exciting, with an urgency and brio born of the mutual
admiration between performers and composer. “The music cannot be boring with
these musicians,” Fujii says. “This band inspires new ideas in me and I always
feel free to try something different because I know they will respond and make
it sound great.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Fujii also
found inspiration for her compositions from another source. “I am not a scholar
and don’t have a deep knowledge of Buddhism,” Fujii says, “but I was reading
about some of Buddha’s ideas online and learned that he had the idea of
elementary particles centuries before physicists discovered them. The concept
inspired me to write the pieces on this album.”<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Throughout the
album you can hear the chemistry between composer and orchestra. Fujii finds
all kinds of ways to frame soloists and provide full ensemble themes that set a
mood, often several different moods within the same composition. “Entity” opens
with an attention-grabbing blast of energy that launches guitarist <b style="mso-bidi-font-weight: normal;">Nels Cline</b> and drummer <b style="mso-bidi-font-weight: normal;">Ches Smith</b> into a bounding and weaving
duet. As the band sets up a regular two beat pattern, guitarist and drummer dip
and curl in off-kilter tandem around the pulse, beautifully highlighting their
subtle sense of rhythm and texture. Tidal surges of massed horns on “Flashback”
launch trombonist <b style="mso-bidi-font-weight: normal;">Joe Fiedler</b> into a
boldly phrased solo that gives way to a searching, introspective unaccompanied
solo from <b style="mso-bidi-font-weight: normal;">Oscar Noriega</b>. Trumpeter <b style="mso-bidi-font-weight: normal;">Herb Robertson</b>’s virtuoso mute
technique highlights his outing with the band’s blue-chip rhythm section. <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Fujii’s
majestic “</span><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Gounkaiku</span><span style="font-family: "Arial",sans-serif;">”
is a feature for trumpeter <b style="mso-bidi-font-weight: normal;">Dave Ballou</b>’s
elegant melodicism, while “Elemental Particle” lets <b style="mso-bidi-font-weight: normal;">Ellery Eskelin</b> cut loose with a fire-breathing solo. “Everlasting,”
a heart-wrenching ballad, pairs soloists in duets, first trumpeter <b style="mso-bidi-font-weight: normal;">Natsuki Tamura</b> and trombonist <b style="mso-bidi-font-weight: normal;">Curtis Hassellbring</b>, then alto
saxophonist <b style="mso-bidi-font-weight: normal;">Briggan Krauss</b> and
baritone saxophonist <b style="mso-bidi-font-weight: normal;">Andy Laster</b>. </span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">On occasion
throughout the album, Fujii creates spontaneous arrangements to fit the moment.
“While we are playing,” Fujii explains, “I can hold up Sign 1, which means play
a long tone with any note, or Sign 2, which means play a glissando. There are
others, too. It may be a little bit like Butch Morris, but my signs are for
predetermined materials.” This can be heard in the opening moments of “</span><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Gounkaiku</span><span style="font-family: "Arial",sans-serif;">,”
when the band plays a series of long tones that glimmer like a necklace of
jeweled sounds or toward the end of “Flashback” when Fujii uses the long tones
to create tension before the band plays the rollicking closing theme. It’s a
part of the ongoing dialog between the composer and a seasoned orchestra fully
attuned to her creativity.<o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Critics and
fans alike hail pianist and composer <b style="mso-bidi-font-weight: normal;">Satoko
Fujii </b>as one of the most original voices in jazz today. She’s <i style="mso-bidi-font-style: normal;">“a virtuoso piano improviser, an original
composer and a bandleader who gets the best collaborators to deliver,"</i>
says John Fordham in <u>The Guardian</u>. In concert and on more than 80 albums
as a leader or co-leader, she synthesizes jazz, contemporary classical,
avant-rock, and folk musics into an innovative style instantly recognizable as
hers alone. A prolific band leader and recording artist, she celebrated her
60th birthday in 2018 by releasing one album a month from bands old and new,
from solo to large ensemble. Franz A. Matzner in <u>All About Jazz</u> likened
the twelve albums to “<i style="mso-bidi-font-style: normal;">an ecosystem of
independently thriving organisms linked by the shared soil of Fujii's artistic
heritage and shaped by the forces of her creativity.</i>” <o:p></o:p></span></div>
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<span style="font-family: "Arial",sans-serif;">Over the years,
Fujii has led some of the most consistently creative ensembles in modern
improvised music, including her trio with bassist Mark Dresser and drummer Jim
Black and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida
of The Ruins. Her ongoing duet project with husband Natsuki Tamura released
their sixth recording, <i style="mso-bidi-font-style: normal;">Kisaragi</i>, in
2017. “<i style="mso-bidi-font-style: normal;">The duo's commitment to producing
new sounds based on fresh ideas is second only to their musicianship</i>,” says
Karl Ackermann in <u>All About Jazz</u>. <i style="mso-bidi-font-style: normal;">Aspiration</i>,
a CD by an ad hoc quartet featuring Wadada Leo Smith, Tamura, and Ikue Mori,
was released in 2017 to wide acclaim. “<i style="mso-bidi-font-style: normal;">Four
musicians who regularly aspire for greater heights with each venture reach the
summit together on </i><span style="mso-bidi-font-style: italic;">Aspiration</span>,”
writes S. Victor Aaron in <u>Something Else</u>. As the leader of no less than
five orchestras in the U.S., Germany, and Japan (two of which, Berlin and
Tokyo, released new CDs in 2018), Fujii has also established herself as one of
the world’s leading composers for large jazz ensembles, leading <u>Cadence</u>
magazine to call her, “</span><i style="mso-bidi-font-style: normal;"><span style="background: white; color: black; font-family: "Arial",sans-serif; mso-color-alt: windowtext; mso-fareast-font-family: Calibri;">the Ellington of free
jazz</span></i><span style="background: white; color: black; font-family: "Arial",sans-serif; mso-color-alt: windowtext; mso-fareast-font-family: Calibri;">.” </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: Calibri;"><o:p></o:p></span></div>
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<a href="http://www.satokofujii.com/"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; mso-bidi-font-family: "Times New Roman";">www.satokofujii.com/</span></b></a><span class="MsoHyperlink"><o:p></o:p></span></div>
<br />Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-75998351531941021892020-02-03T15:14:00.000-08:002020-05-17T15:16:13.852-07:00Delfeayo Marsalis’ Uptown Jazz Orchestra Releases Jazz Party Delfeayo Marsalis’ Uptown Jazz Orchestra Releases Jazz Party <br />
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February 7, 2020 via Troubador Jass<br />
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The UJO’s second major studio recording captures its quintessential New Orleans spirit<br />
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Featuring Tonya Boyd-Cannon (“The Voice”), original UJO member and Dirty Dozen Brass Band co-founder Roger Lewis, rising star rhythm section Joe Dyson Jr. (Dr. Lonnie Smith, Ellis Marsalis) and Kyle Roussel (Preservation Hall Jazz Band, The Headhunters)<br />
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For the better part of a decade, acclaimed trombonist, producer and composer Delfeayo Marsalis has spent Wednesday nights at the helm of his sprawling Uptown Jazz Orchestra’s residency at Snug Harbor in New Orleans. With Jazz Party, Marsalis’ seventh album as a leader, he delivers an original composition-heavy set of music that showcases the same exuberant energy of those shows, complete with modernized twists on New Orleans songbook gems and musical traditions, and swinging, groove-infused homages to the contributions of modern jazz masters.<br />
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Spiked with the NEA Jazz Master’s wry wit and visionary production acumen, Jazz Party sees Marsalis – along with Roger Lewis, Terrance Taplin, Khari Lee, and more of the Crescent City’s finest musicians – making a strong musical case for the notion modern New Orleans jazz can and should be as celebratory in nature as it is cerebral in execution.<br />
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“Music, like all art, should have some type of contemporary relevance,” Marsalis says, joking that his decision to call 2016’s UJO recording premiere Make America Great Again missed fulfilling its “comedic relief potential” by “a few votes” in the 2016 election.<br />
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“Jazz, the indigenous American music, is a music of celebration and optimism,” he continues. “The Uptown Jazz Orchestra is such a fun band that I wanted to capture its uniqueness. The idea was to keep the wide variety of styles that we play but to really capture the joy that is a central trademark of the band.”<br />
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Recorded in February and May 2019 at New Orleans’ Esplanade Studios with the help of Marsalis’ longtime production partner Patrick Smith (and without the so-called “dreaded bass direct”), Jazz Party opens with a laidback and languorous title track that brings “The Voice” alum Tonya Boyd-Cannon’s gospel roots in touch with the band’s preternatural sense of groove.<br />
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The Dirty Dozen’s Roger Lewis, an original member of the UJO, contributes another album highlight with his burning “Blackbird Special” solo as the band delivers a perfect balance of wiggle, funk and propulsive motion that urges its way forward, second line-style.<br />
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The breezy “Seventh Ward Boogaloo” shifts gears to highlight the lasting influence of musicians who have historically called that neighborhood home, from Jelly Roll Morton and Sidney Bechet to Lee Dorsey and Allen Toussaint.<br />
–over–<br />
Another standout, the Marsalis original “Raid on the Mingus House Party,” turns up the tension with a dramatic horn section performance that kicks off the narrative arc implied by the title before Ryan Hanseler’s gorgeously restrained piano work guides the melody away from the proverbial cliff’s edge. According to Marsalis, it was inspired by “aspects of the current social climate in America” that seem to be continually “heightened by extreme political negativity, mass shootings and racial community divisions.” When all ten of the tune’s moving melodic parts get resolved, the music reminds us that, as Marsalis puts it, “love for humanity” really can “reign victorious” even in the most troubled and confusing times.<br />
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The album begins and ends its second half with two takes on “Mboya’s Midnight Cocktail,” delivering the kind of funny bar banter one might overhear between sets during a UJO performance at Snug Harbor.<br />
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Between the first incarnation and its final reprise, the orchestra serves up a hilarious riff on its hometown’s hyper-local obsessions (“I’m so New Orleans I remember when crawfish was $1.27 a pound,” Dr. Brice Miller raps on “So New Orleans”); the Scott Johnson centric jump blues meets “modern tonality” flavored “Irish Whiskey Blues” and an anthemic rendition of the Soul Rebels’ “Let Your Mind Be Free,” plus funk-laced tributes to Roy Hargrove (“Dr. Hardgroove”) and New Orleans’ cultural connections to the Caribbean (“Caribbean Second Line”).<br />
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Jazz Party offers a deftly varied look at the role of joy, humor and straight-up fun in jazz, an artform Marsalis points out in his liner notes was created by a group of people seeking to “define life, liberty and the pursuit of happiness” in a “psychological vacuum” necessitated by the systematic denial of their own human rights. That one band can so compellingly reflect the many nuances embedded in that fundamental cultural concept is a major artistic achievement in itself.<br />
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Over the course of his prolific career, trombonist, composer, producer, educator and NEA Jazz Master Delfeayo Marsalis has been hailed as one of the “most imaginative...trombonists of his generation,” a title that reflects decades of musical exploration, preparation and risk-taking, much of which began during his childhood in New Orleans, where his father, Ellis Marsalis, introduced him to jazz in the family home. Eventually, Delfeayo says, he “gravitated toward the trombone,” which felt like “an extension of my personality.” He was simultaneously developing his ear for music production after his brothers, Branford and Wynton Marsalis, piqued his interest in the process, which he continued to develop while producing their demo tapes and interning at Allen Toussaint’s Sea Saint Studio. He’s gone on to produce more than 100 recordings for artists including his brothers, his father, Spike Lee, Harry Connick, Jr., Terence Blanchard, Preservation Hall Jazz Band and others. An exceptional trombonist, Delfeayo has toured internationally with bands led by Art Blakey, Slide Hampton, Abdullah Ibrahim, Max Roach and Elvin Jones, as well as his own groups.<br />
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Jazz Party, the trombonist’s second studio album with his 10-plus-year-old Uptown Jazz Orchestra,<br />
comes on the heels of 2017’s live album, Kalamazoo, and 2016’s UJO studio recording debut, Make America Great Again!, which uses the orchestra’s stylistic fluidity to fuse its hometown sound and musical history with songs associated with American patriotism. Other highlights in his discography include The Last Southern Gentlemen (2014), his first album-length collaboration with his father and 2010’s stunning Sweet Thunder, a fresh octet reimagination of Duke Ellington and Billy Strayhorn’s suite of the same name. Pontius Pilate’s Decision (1992), his dramatic musical take on biblical tales, remains a standout.<br />
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Delfeayo recently served as Music Producer for the film “Bolden!,” a mythical account of the life of Buddy Bolden, and has worked extensively in arts education. He holds a master’s degree in jazz performance from the University of Louisville and an honorary doctorate from New England College. He is a graduate of Berklee College of Music and the New Orleans Center for Creative Arts.<br />
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https://www.dmarsalis.com<br />
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-74765393580860950392020-01-17T15:22:00.000-08:002020-05-17T15:23:09.454-07:00Audrey Ochoa FrankenhornAudrey Ochoa Frankenhorn<br />
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The transformation of nostalgia is both innovative and intricate, a delicate balance of appealing to<br />
the old while tiptoeing at the forefront of the entirely cutting edge. Unbound by any predisposed<br />
ideals around genre or delivery, trombonist Audrey Ochoa has achieved the ideal: presenting<br />
meticulously infl uential compositions with a playful and liberated approach. Classically trained but<br />
with a voracious appetite for honing her craft in any genre, Ochoa has shared stages with Hilario<br />
Duran, PJ Perry, and Tommy Banks; and with international greats Lew Tebackin, Marcus Miller, Chris Potter and the UNT One O’Clock Lab Band. A rising star in her own right and a fi xture of the Canadian music scene, she is decidedly captivating and original, and her compositional skill and talent on her instrument is spectacular. “...here shows a musician with endless confi dence and skill, with varying moods and tempi within a trio that is always in sync.” - (Keith Black, Winnipeg Free Press)<br />
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Her debut album, “Trombone and Other Delights” (2013) , was widely acclaimed and spent 3<br />
consecutive weeks as the number one Jazz album on the Earshot charts. Ochoa’s sophomore<br />
release, “Afterthought” (2017), is an extension of her consummate understanding of arrangement<br />
and dedication to her craft - leading to a No. 1 position on the Canadian jazz charts and breaking top<br />
20 in the U.S. She is a decorated award nominee, having earned recognition at the Western Canadian<br />
Music Awards, the Global Music Awards and a recent recipient of the Edmonton Music Prize, noting<br />
an outstanding musical contribution to the local arts scene.<br />
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With signifi cant education, performances and momentum amassed, Ochoa’s next recorded eff orts<br />
were originally intended to feature duets with pianist Chris Andrew – which would be remixed by<br />
electronica DJ, Battery Poacher. As pre-production progressed, she found herself utilizing skills<br />
from other projects and arranging strings with horns and a rhythm section. The result is an ambitious<br />
project that introduces strings into her previous confi guration of trombone, piano, bass and drums,<br />
a mix of chamber music with contemporary and Latin jazz. Focused on unique arrangements<br />
and undisputed inspirations, the album features electronic remixes alongside this harmonious<br />
combination of genres and ideals.<br />
<br />
Exhilarating and exuberant, Audrey Ochoa exemplifi es an artist who has dedicated herself to<br />
expertise while remaining relevant and light-hearted. With a magnifi cent and fresh-faced approach,<br />
she defi es categorization and plants her fl ag fi rmly as a centrepiece of the Canadian music arena.Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-26039466367920262672018-07-07T17:18:00.000-07:002018-07-08T07:32:36.764-07:00CD Review: John Coltrane Lost Album, Both Directions at Once<span style="font-family: sans-serif; font-size: 12.8px;">John Coltrane Lost Album - Both Directions at Once</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">"It's like finding a new room in the Great Pyramid." those were the words of saxophonist legend Sonny Rollins when asked about a lost and recently found John Coltrane recording.</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">When Saxophonist John Coltrane died in 1967 at the age of 40, the world lost a brilliant mind and a true music genius. Sonny Rollins, still alive, was one of Coltrane closest friends and also a genius and Jazz Legend on his own right.</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">The music of Coltrane, more than 50 years after his death, is still as relevant today as it was back then. So finding a lost recording by Trane is certainly big news in the jazz and music world.</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">The music on this lost album was recorded in 1963, by a group of musicians that were regarded (and still is today) as one of the best bands in the history of jazz. Elvin Jones on drums, McCoy Tyner on piano, Jimmy Garrison on bass and of course John Coltrane on tenor and soprano saxophone, established a jazz sound and style that is still a point of reference to jazz musicians today.</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">The master tapes were found in the basement of Coltrane's first wife Naima. The album was recorded right before the Coltrane/Johnny Hartman album and at a time when the group were playing some dates at Birdland, and the approach to the music has some similarities to the way the group played live.</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">Back in 1963 Coltrane was in a transition period, still playing in the blues, bebop style of his 1950's recordings, as in "Slow Blues", but already pushing forward with fearless experimentations and with the new ideas providing a glimpse of his avant garde period of later years as can be heard in "One up and Down", "11383" and "11386".</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">The album also includes new improvisational explorations of already known Trane classics like "Impressions", the more subtle and conventional approach in the tune Vila, a Coltrane interpretation of an Aria by Franz Christian Lehar, and the modal take on the song "Nature Boy".</span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">The tittle for the album Both Directions at Once, according to his son Ravi Coltrane, came from a conversation between John Coltrane and Wayne Shorter, about both of them playing a musical idea starting from the middle and moving at both directions at once. </span><br />
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<span style="font-family: sans-serif; font-size: 12.8px;">Both Directions at Once is a recording of great musicians at the top of their game. No doubt, Jazz aficionados will be delighted with the opportunity of listening to new and extraordinary Coltrane music once again. The fact that Coltrane, Tyner, Jones and Garrison though this amazing recording was not good enough for them to release it only speak to the greatness of this superb group.</span>Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-17758045296606865052018-06-30T14:30:00.001-07:002018-06-30T14:30:45.205-07:00Lost studio album from John Coltrane to be released on Impulse! June 29<div align="center" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 16px; text-align: center;">
Lost studio album from John Coltrane to be released on Impulse! June 29 - Both Directions at Once: The Lost Album</div>
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Features original, never-before-heard compositions, recorded by Coltrane's Classic Quartet in 1963 at Van Gelder Studios</div>
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"Untitled Original 11383" available June 8</div>
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On March 6, 1963, John Coltrane and his Classic Quartet - McCoy Tyner, Jimmy Garrison, and Elvin Jones - recorded an entire studio album at the legendary Van Gelder Studios. This music, which features unheard originals, will finally be released 55 years later. This is, in short, the holy grail of jazz.</div>
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Both Directions at Once: The Lost Album will be released on June 29 on Impulse! Records, Coltrane's final and most creative label home.</div>
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The first week of March in 1963 was busy for John Coltrane. He was in the midst of a two-week run at Birdland and was gearing up to record the famed John Coltrane and Johnny Hartman album, which he did on March 7. But there was a session the day before that was the stuff of legend, until now.</div>
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On Wednesday, March 6, Coltrane and the quartet went to Van Gelder Studios in Englewood, NJ and cut a complete album's worth of material, including several original compositions that were never recorded elsewhere. They spent the day committing these to tape, taking time with some, rehearsing them two, three times, playing them in different ways and in different configurations.</div>
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At the end of the day, Coltrane left Van Gelder Studios with a reference tape and brought it to the home in Queens that he shared with his wife, Naima. These tapes remained untouched for the next 54 years until Impulse! approached the family about finally releasing this lost album. Though the master tape was never found-Rudy Van Gelder wasn't one for clutter-the reference tape was discovered to be in excellent condition.</div>
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As the legendary saxophonist Sonny Rollins so rightly put it, "This is like finding a new room in the Great Pyramid." The musical implications of this album, the original compositions, the arrangements, the band, the year it was recorded, all amount to a rediscovery and re-contextualization of one of the most important musicians of our time.</div>
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Danny Bennett, President and CEO of the Verve Label Group and home of Impulse! records, says, "Jazz is more relevant today than ever. It's becoming the alternative music of the 21st century, and no one embodies the boundary-breaking essence of jazz more than John Coltrane. He was a visionary who changed the course of music, and this lost album is a once-in-a-lifetime discovery. It gives us insight into his creative process and connects us to his artistry. This album is a cultural moment and the release coincides perfectly with our relaunch of the iconic Impulse! label."</div>
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On this album, there are two completely unknown and never-before-heard originals. "Untitled Original 11383" and "Untitled Original 11386," both played on soprano sax. "11383" features an arco bass solo by Jimmy Garrison, a relative rarity, and "11386" marks a significant structural change for the quartet, in that they keep returning to the theme between solos, not typical in the quartet's repertoire.</div>
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In addition to the two unheard originals, "One Up, One Down" - released previously only on a bootleg recording from Birdland - is heard here as a studio recording for the first and only time. It contains a fascinating exchange between Elvin Jones and Coltrane.</div>
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"Impressions," one of Coltrane's most famous and oft-recorded compositions, is played here in a piano-less trio. In fact, McCoy Tyner lays out a number of times during this recording session. It's one of the more interesting aspects of this session and reflects the harmonic possibilities that Coltrane was known to be discussing regularly with Ornette Coleman around this time.</div>
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This studio session also yielded Coltrane's first recording of "Nature Boy," which he would record again in 1965, and the two versions differ greatly. The one we know is exploratory, meandering. This version is tight, solo-less and clocking in at just over three minutes. The other non-original composition on the album is "Vilia," from Franz Lehár's operetta "The Merry Widow." </div>
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<span style="font-size: 12pt;">The soprano version on the Deluxe Edition is the only track from this session to have been previously released.</span></div>
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This incredible, once-in-a-lifetime discovery reveals a number of creative balances at work, like developing original melodies while rethinking familiar standards. Trying out some tunes first on tenor saxophone, then on soprano. Using older techniques like the arpeggio runs of his "sheets of sound" while experimenting with false fingerings and other newer sounds. This session was pivotal, though to call it such overlooks the fact Coltrane was ever on pivot, always pushing the pedal down while still calling on older, tested ideas and devices.</div>
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Both Directions at Once: The Lost Album is a major addition to the Coltrane catalogue and the most important jazz discovery in recent memory.</div>
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This historic session resulted in 14 tracks in total. On the standard edition, there are 7 takes, chosen by Ravi Coltrane. The rest of the takes exist on the second disc of the deluxe set. There will be a standard CD and LP and a deluxe CD and LP available on June 29 on Impulse! The deluxe edition will exist on all digital streaming platforms as well.</div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-26621539769714863872018-06-29T17:35:00.000-07:002018-06-29T17:36:21.475-07:00Stanley Clarke New Album The Message<div align="left" style="background-color: white; color: #323232; font-family: Tahoma, Arial, sans-serif; font-size: 18.6667px;">
<span style="font-size: 18.6667px;">45 years after his album debut, four-time Grammy® Award-winning bassist </span><strong style="font-size: 18.6667px;">Stanley Clarke</strong><span style="font-size: 18.6667px;"> shows he is still unapproachable on both the electric and acoustic, wielding a vision of fusion and funk, breakbeats and bass-interpreted cello suites with a little help from friends like rapper/beatboxer </span><strong style="font-size: 18.6667px;">Doug E. Fresh</strong><span style="font-size: 18.6667px;"> and trumpeter </span><strong style="font-size: 18.6667px;">Mark Isham</strong><span style="font-size: 18.6667px;">. Backed by a young versatile band and a collection of tunes written in the midst of a tumultuous tour of Europe, </span><em style="font-size: 18.6667px;"><strong>The Message</strong></em><span style="font-size: 18.6667px;"> (available now from </span><a alt="https://www.mackavenue.com/store/mac1116" data-saferedirecturl="https://www.google.com/url?q=http://r20.rs6.net/tn.jsp?f%3D001xcj2G4r1N0UeTNVjKVWpjXDlMc1VNIaJoOp5brAVSlEazviA2GRESB_etlBwUhXDibOQk3F2XqFD1hbh653aST7v5ohAxYhZMvit7HoqVyX9X2En8-DqBdr9_QIQ-IkaYqzq1lsX2YQ29FlmPtAVLs6jSNoNKEZnz6CdFMB0oZ3fD-HQlR4gU6OSDPeAf6Tl09g5SBRWZu4%3D%26c%3D5_hY6AfdvutVJsq-ZcUisWAKv-MGLHTqivUa0Kalt4doX6dyKnt09w%3D%3D%26ch%3DXcVDAa7AuBAGI1YCharWF-cOgNB-x5p1m0rZdpuCdrHOgp1mE_YxWA%3D%3D&source=gmail&ust=1530382900010000&usg=AFQjCNEh9Qr5lrBvVjMrQrgCVSrM6SRBvw" href="http://r20.rs6.net/tn.jsp?f=001xcj2G4r1N0UeTNVjKVWpjXDlMc1VNIaJoOp5brAVSlEazviA2GRESB_etlBwUhXDibOQk3F2XqFD1hbh653aST7v5ohAxYhZMvit7HoqVyX9X2En8-DqBdr9_QIQ-IkaYqzq1lsX2YQ29FlmPtAVLs6jSNoNKEZnz6CdFMB0oZ3fD-HQlR4gU6OSDPeAf6Tl09g5SBRWZu4=&c=5_hY6AfdvutVJsq-ZcUisWAKv-MGLHTqivUa0Kalt4doX6dyKnt09w==&ch=XcVDAa7AuBAGI1YCharWF-cOgNB-x5p1m0rZdpuCdrHOgp1mE_YxWA==" rel="noreferrer" shape="rect" style="color: maroon; font-size: 18.6667px; font-weight: bold;" target="_blank">Mack Avenue Records</a><span style="font-size: 18.6667px;">) swells with an abundance of strength, soul and astounding musicianship.</span><br />
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<em>The Message</em> is unmistakably a Stanley Clarke record. Five decades of unapproachable bass mastery doesn't come easy and Clarke has no interest in relinquishing his throne. Propelled by the youthfulness of his bandmates: <strong>Cameron Graves </strong>on<strong> </strong>synthesizers, <strong>Beka Gochiashvili</strong>on acoustic piano, <strong>Mike Mitchell </strong>on drums, and of course Stanley Clarke on bass, reaches even deeper into his bag of tricks for an incredibly satisfying listen.</div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-43258381733765897002018-04-25T08:39:00.000-07:002018-04-25T08:39:04.121-07:00Tia Fuller Diamond Cut – Available May 25<div style="background-color: white; color: #222222; font-family: sans-serif; font-size: 12.8px; line-height: inherit;">
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<strong style="line-height: inherit;"><span style="color: black; font-size: 20px; line-height: 24px;">Tia Fuller</span></strong></div>
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<strong style="line-height: inherit;"><span style="color: black; line-height: 24px;"><em style="line-height: inherit;"><a data-saferedirecturl="https://www.google.com/url?q=http://e.jazztimes.com/rd/9z2zdn1g2fi9t88acjpd3mqdi2he760fc21dtlbrfug&source=gmail&ust=1524748173416000&usg=AFQjCNFjW9LR0w_KQhCDJMbItxnaWDyCJQ" href="http://e.jazztimes.com/rd/9z2zdn1g2fi9t88acjpd3mqdi2he760fc21dtlbrfug" rel="noopener noreferrer" style="color: #0068a5; line-height: inherit;" target="_blank">Diamond Cut</a></em> – Available May 25</span></strong></div>
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<span style="color: black; font-size: 16px; line-height: 19px;">While the phrase “diamond in the rough” often describes burgeoning talents brimming with potential, Fuller has exhibited impending greatness since emerging on the international jazz scene more than a decade ago. </span></div>
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<span style="color: black; font-size: 16px; line-height: 19px;">Now, her artistic capacity has blossomed tremendously, resulting in her fourth <strong style="line-height: inherit;">Mack Avenue Records</strong> release – the aptly titled <em style="line-height: inherit;"><strong style="line-height: inherit;">Diamond Cut</strong></em>. In those six years, she’s transitioned from being a member of Beyoncé’s touring band to becoming a full-time professor at Berklee College of Music, while still juggling a demanding career as a solo artist and touring with the likes of drummer Terri Lyne Carrington, bassist Esperanza Spalding, and Ralph Peterson Jr., among others.</span></div>
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<span style="color: black; font-size: 16px; line-height: 19px;">"…she’s one of the most gifted jazz musicians of her generation." – <em style="line-height: inherit;">Ebony</em></span></div>
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<span style="color: black; font-size: 16px; line-height: 19px;">"At this point in her career, Fuller finds herself amid a tight circle of the most accomplished female musicians in the business … she continues gracefully on her own path, all while forging new ground for women in jazz." – <em style="line-height: inherit;">The Washington Post</em></span></div>
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-6711390794126656632018-04-07T16:19:00.001-07:002018-04-07T16:19:29.990-07:00Celebrated jazz pianist/composer Fred Hersch releases luminous new trio recording Live in Europe<table border="0" cellpadding="0" cellspacing="0" class="m_4550454997371419618templateContainer" style="background-color: #fafafa; border-collapse: collapse; border: 0px; color: black; font-family: sans-serif; font-size: 12.8px; max-width: 600px; width: 600px; zoom: 1;"><tbody>
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<span style="font-size: 18px;"><strong>Celebrated jazz pianist/composer Fred Hersch releases </strong></span><span style="font-size: 18px;"><strong>luminous new trio recording <em>Live in Europe</em></strong></span></div>
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<strong>May 11, 2018 via Palmetto Records</strong></div>
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<span style="font-size: 13px;"><br />"One of the major jazz ensembles of our times." – Will Friedwald, <em>The Wall Street Journal</em> </span></div>
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<span style="font-size: 13px;"> “Hersch leads one of the most sensitive and nimble trios in jazz.”<br />– Howard Reich, <em>Chicago Tribune</em></span></div>
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<span style="font-size: 13px;"><em> “</em>An imposing level of collective empathy.” – Nate Chinen, <em>The New York Times</em></span></div>
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<strong><em>Live in Europe</em></strong> (May 11, 2018, Palmetto Records) crowns what was a momentous year for pianist <strong>Fred Hersch</strong>. Capturing his trio–with longtime associates, bassist <strong>John </strong><strong>Hébert</strong> and drummer <strong>Eric McPherson</strong>–in peak form, the new album signals a high level mark for an ensemble that has been garnering critical and popular praise for nearly a decade. Consisting of six Hersch originals and two significant compositions apiece from Thelonious Monk (“We See,” “Blue Monk”) and Wayne Shorter (“Miyako,” “Black Nile”), <strong><em>Live in Europe</em></strong>demonstrates how a working trio breathes as one. </div>
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“The trio has a shared language; by now we each contribute an equal part in what goes on musically during a performance,” Hersch says. He has made a dozen trio albums over the last 30 years, and he states that “This is the best trio recording we’ve yet made, and pretty much as well as I can play in terms of energy and technical command.”</div>
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Serendipity played its role in the birth of the album. The penultimate engagement of the band’s three-week European tour in November of 2017 was held at Flagey Studio 4, in Brussels’ former National Institute for Radio Broadcasting. “After the show, I realized that this was one of the two or three best performances we had given. The band was in terrific playing form, the acoustics were perfect and the piano was outstanding,” Hersch recalls. “On returning to New York, I thought about the show and was then pleasantly surprised to find out that it had indeed been recorded. On hearing it, I was again struck by the level of creativity, content and energy.” </div>
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<strong><em>Live in Europe</em></strong> finds the trio in near telepathic communion. While each band member is a virtuoso player, individual bravura is always subordinate to group interplay. Lyricism, open-eared interaction and a respect for the power of space are all invaluable components of the trio’s identity. In such performances as the frisky “Skipping,” the affecting ballad, “Bristol Fog” (dedicated to the late British pianist John Taylor), the joyous “Newklypso (dedicated to Hersch’s hero Sonny Rollins) and the bluesy tribute to New Orleans “The Big Easy,” Hersch, Hébert and McPherson give a master class in ensemble communication, uniting as one yet allowing each other to freely react with spontaneous invention. A masterful solo encore of “Blue Monk” spotlights the depth of Hersch’s undiminished improvisational skills and expressive powers.</div>
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2017 was as a particularly bountiful period for the always-productive Hersch. Highlights included the publication of Hersch’s acclaimed autobiography <em>Good Things Happen Slowly: A Life In and Out of Jazz </em>(named one of the Five Best Memoirs of 2017 by both The Washington Post and The New York Times) and two Grammy Award nominations for his revealing solo album <em>Open Book </em>on Palmetto Records: Best Jazz Instrumental Album and Best Improvised Jazz Solo (Benny Golson’s “Whisper Not”). In addition, Hersch was awarded the 2017 Prix in Honorem Jazz for the entirety of his career from l'Académie Charles Cros in France. Hersch also opened the Jazz At Lincoln Center 2017 Season with his "Leaves of Grass," a full-evening setting of Walt Whitman's words for vocalists Kurt Elling, Kate McGarry and an instrumental octet.</div>
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Add to that such recent accolades as the 2016 Doris Duke Artist award and the 2016 Jazz Pianist of the Year award from the Jazz Journalists Association–not to mention the release of the feature documentary<em> The Ballad of Fred Hersch</em>, premiered at the prestigious Full Frame Film Festival in March 2016 to rave reviews and now streaming on Vimeo–and you have that most auspicious of times when an artist is being rightfully acknowledged for attaining new pinnacles of ability and inventiveness.</div>
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That Hersch is reaching such artistic heights after his well-publicized battle with HIV and a subsequent 2-month coma in 2008 is extraordinary. “The release of this album is also a personal triumph in that it once again reminds me of how lucky I’ve been,” Hersch states. “It’s been nearly ten years since my coma and to find that I can play with the focus and energy that I have now is remarkable to me.” </div>
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A select member of jazz’s piano pantheon, <strong>Fred Hersch</strong> is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. Hersch has earned a total of twelve Grammy nominations since 1993 in the categories of Best Jazz Instrumental Performance, Best Instrumental Composition and Best Improvised Jazz Solo. Nine of his nominations have come since his recovery from a coma in 2008.</div>
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Hersch has long defined jazz’s creative edge in a wide variety of settings, from his breathtaking solo recitals and exploratory duos to his extraordinary trios and innovative chamber settings. With some three dozen albums to his credit as a leader or co-leader, he consistently wins an international array of awards and lavish critical praise for his albums. Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He’s collaborated with an astonishing range of artists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical (Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile McLorin Salvant, Norma Winstone and Kurt Elling.</div>
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For two decades Hersch has been a passionate spokesman and fund-raiser for AIDS services and education agencies. He has produced and performed on four benefit recordings and in numerous concerts for charities including Classical Action: Performing Arts Against AIDS and Broadway Cares/Equity Fights AIDS. To date, his efforts have raised more than $300,000. He has also been a keynote speaker and performer at international medical conferences in the U.S. and Europe.</div>
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A committed educator, Hersch has taught at New England Conservatory, The Juilliard School, The New School and The Manhattan School of Music. He is currently a Visiting Artist at Rutgers University. He holds honorary doctorate degrees from Grinnell College and Northern Kentucky University. Hersch's influence has been widely felt on a new generation of jazz pianists, from former students Brad Mehldau and Ethan Iverson to his colleague Jason Moran, who has said, "Fred at the piano is like LeBron James on the basketball court. He’s perfection."</div>
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-32239884210288910122018-04-06T04:26:00.000-07:002018-04-06T04:26:32.705-07:00At 93, Roy Haynes Remains a Nuanced Drummer<div style="background-color: white; box-sizing: border-box; color: #333333; font-family: Lato, Helvetica, Arial, sans-serif; margin-bottom: 10.5px;">
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At 93, Roy Haynes Remains a Nuanced Drummer</h1>
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<span class="postinfo" style="box-sizing: border-box; color: #7c7c7c; font-size: 11px; font-weight: 700; margin: 5px 0px 10px;"><span style="box-sizing: border-box; margin: 0px;">By <a href="http://downbeat.com/site/author/martin-longley" style="background: transparent; box-sizing: border-box; color: #585858; margin: 0px; text-decoration-line: none; transition: all 0.1s ease-in-out;">Martin Longley</a> for Downbeat </span></span><span class="text-primary" style="box-sizing: border-box; color: #0087de; margin: 0px;"> I </span><span class="postinfo" style="box-sizing: border-box; color: #7c7c7c; font-size: 11px; font-weight: 700; margin: 5px 0px 10px;">Mar 26, 2018</span></div>
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The midle of March was a wonderful time in New York for august gentlemen of jazz who still perform with strength, accuracy and charisma. The enduring skills of 93-year-old saxophonist Marshall Allen, at Brooklyn’s Elsewhere, and pianist Harold Mabern, 82, down in the wild basement den of Fat Cat, were on display.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZuHxDlb5T4pS3x-fTknrGH_PZ_GtKVSDaYwNjg8InUHzpaZ_Bhgauhv-xHrWthONuvYIYSfdjv42P2YKbPbRb8BTPChHz7kO7K4ulp7-fZH4gZyYn8Wd4INY3pIMK3573QgQcdQm1_GP/s1600/roy_haynes_credit_Dino_Perrucci_WEB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="700" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZuHxDlb5T4pS3x-fTknrGH_PZ_GtKVSDaYwNjg8InUHzpaZ_Bhgauhv-xHrWthONuvYIYSfdjv42P2YKbPbRb8BTPChHz7kO7K4ulp7-fZH4gZyYn8Wd4INY3pIMK3573QgQcdQm1_GP/s320/roy_haynes_credit_Dino_Perrucci_WEB.jpg" width="320" /></a></div>
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Photo by Dino Perruci</div>
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Just as energetic, focused and supple was drummer Roy Haynes, also 93, who triumphed during a four-night birthday celebration at the Blue Note club.</div>
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Haynes’ past includes work with luminaries like Charlie Parker, Lester Young, Bud Powell and Stan Getz. And that was all before hitting the age of 30. At his second set on March 16, Haynes was a dapper, nimble figure, crouching at his kit with a wiry, coiled aspect, his shirt-cuffs unbuttoned and folded back. He sported one of the biggest ties known to mankind, very loosely knotted to allow maximum freedom of movement. He was joined by long-serving quartet comrades bassist David Wong, pianist Martin Bejerano and alto saxophonist Jaleel Shaw.</div>
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Haynes is sensitized to tones, concentrating on the musicality of his tuned skins. He favors intricate rhythmic patterns that closely reflect the melodic structure of a composition. The set opened with him playing solo, establishing a feel for his bandmates to follow. Shaw reeled out his slick alto sweetness, while Bejerano poured out an uninhibited gush of notes, embellishing with great detail and finesse. Haynes still possesses a strong attack, but remains one of the most subtle percussionists around, starting with tiny rolls and building toward a rumbling onslaught.</div>
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Shaw switched to soprano for “Bemsha Swing,” penned by Haynes’ old bandleader, Thelonious Monk. Even though his touch frequently was light, Haynes still can drop a deep bomb, surprising with its sudden intensity. He held his snare-stick loosely, as though it had a life of its own, powering itself via gravity. Haynes displayed a rogue, unpredictable influence on this otherwise fairly straight-ahead quartet. His patterns were constantly bouncing in directions that listeners couldn’t anticipate and finding fresh accents. During “These Foolish Things,” Wong took a bass solo and Haynes went for a short wander, occasionally leaning back to make brief hits on a cymbal or a skin.</div>
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The bandleader used soft mallets to explore yet another palette, damping his hits and then began an extraordinary solo, which stretched into a seemingly endless eternity of magical minimalism. The entire club was completely hushed—which is a considerable achievement on a Friday night—as Haynes repeatedly snicked his hi-hat, finding slight shifts of emphasis and subtle variations. Haynes has a daring fascination for such extremity.</div>
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At the set’s close, the drummer passed his microphone to his colleagues, urging them to announce their names, as well as how many Haynes birthdays they’d been in his band for: Wong, 10; Shaw, 11; and Bejerano, 15.</div>
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Hopefully, there’ll be quite a few more for them to experience together. <span style="box-sizing: border-box; font-weight: 900; margin: 0px;">DB</span></div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-42765888382554293032018-04-06T04:15:00.002-07:002018-04-06T04:15:59.444-07:00Record Store Day 2018: 10 jazz records you need to know about<h1 class="single-entry-title" style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 2.25em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.4; margin: 0px 0px 10px; padding: 0px 0px 8px; text-rendering: optimizeLegibility; vertical-align: baseline;">
Record Store Day 2018: 10 jazz records you need to know about</h1>
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<span class="author" style="border: 0px; box-sizing: border-box; color: #606060; font-family: Dosis, sans-serif; font-size: inherit; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; letter-spacing: 1.56px; line-height: inherit; margin: 0px 10px 0px 0px; padding: 0px; text-transform: uppercase; vertical-align: baseline;"><a class="url fn n" href="https://www.jazziz.com/author/mmicucci/" style="border: 0px; box-sizing: border-box; color: black; cursor: pointer; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" title="View all articles by Matt Micucci">MATT MICUCCI</a></span><span style="color: #606060; font-family: Dosis, sans-serif; font-size: 14.4px; letter-spacing: 1.56px; text-transform: uppercase;"> </span><span class="category" style="border: 0px; box-sizing: border-box; color: #606060; font-family: Dosis, sans-serif; font-size: 14.4px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; letter-spacing: 1.56px; line-height: inherit; margin: 0px 10px 0px 0px; padding: 0px; text-transform: uppercase; vertical-align: baseline;"><span style="letter-spacing: 1.56px;">PUBLISHED ON JAZZIZ</span> </span><span style="color: #606060; font-family: Dosis, sans-serif; font-size: 14.4px; letter-spacing: 1.56px; text-transform: uppercase;"></span><span class="entry-date" style="border: 0px; box-sizing: border-box; color: #606060; font-family: Dosis, sans-serif; font-size: 14.4px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; letter-spacing: 1.56px; line-height: inherit; margin: 0px 10px 0px 0px; padding: 0px; text-transform: uppercase; vertical-align: baseline;">APRIL 5, 2018 </span></div>
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Record Store Day (RSD) is the annual internationally celebrated day of vinyl records dedicated to supporting local independent record stores. This year’s edition will take place on April 21. Here are ten jazz RSD 2018 releases you need to know about.</div>
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<img alt="" class="alignnone size-full wp-image-9853" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/puppy.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/puppy.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/puppy-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">SNARKY PUPPY – “Shark Tank”</strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Ground UP Music; Quantity: 1350</em></div>
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This record was requested for release by fans. “Shark Tank” is the bonus track from Snarky Puppy’s 2016 album, Culcha Vulcha. It has never been released and has only been played by the band at live shows.</div>
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<img alt="" class="alignnone size-full wp-image-9854" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/wynt.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/wynt.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/wynt-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">WYNTON MARSALIS SEPTET – “Night Life” b/w “I’m Gonna Find Another You”</strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Blue Engine Records; Quantity: 1000</em></div>
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This RSD Exclusive captures two performances by the Wynton Marsalis Septet at two different Lincoln At Jazz Center annual galas, the project in support of the Center’s education programs: a 2003 rendition of “Night Life” featuring Willie Nelson and a 2006 take on “I’m Gonna Find Another You” with John Mayer.</div>
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<img alt="" class="alignnone size-full wp-image-9855" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/monk.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/monk.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/monk-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">THELONIOUS MONK – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Monk</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Columbia/Legacy; Quantity: 2500</em></div>
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Closing the centenary of pianist Thelonious Monk, the reissue of one of his overlooked gems: his fourth album for Columbia Records, originally released in 1964, newly remastered at high resolution from the original master tapes.</div>
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<img alt="" class="alignnone size-full wp-image-9856" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/rubb.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/rubb.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/rubb-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">MILES DAVIS – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rubberband</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Rhino Records; Quantity: 2300</em></div>
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A 4-track EP of previously unheard Miles Davis music, originally recorded in 1985. The music originates from a project titled “Rubberband of Life,” which remained unfinished until its original producers, Randy Hall and Zane Giles, recruited Davis’ nephew, drummer Vince Wilburn Jr., and vocalist Ledisi to complete it.</div>
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<img alt="" class="alignnone size-full wp-image-9857" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/eve.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/eve.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/eve-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">ORNETTE COLEMAN – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">An Evening With Ornette Coleman, Part 2</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: ORG Music; Quantity: 1600</em></div>
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The second of a two-part series, this record documents an Ornette Coleman concert from 1965 at Fairfield Hall in Croydon, England. At this time, the saxophonist experimented with contemporary classical forms. The recordings on this collection have been previously released in various forms, though their last U.S. vinyl pressing is now over forty years old.</div>
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<img alt="" class="alignnone size-full wp-image-9858" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/rem.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/rem.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/rem-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">ROBERT GLASPER x KAYTRANADA – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The ArtScience Remixes</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Blue Note; Quantity: 1200</em></div>
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Pianist and composer Robert Glasper and producer KAYTRANADA join forces to reimagine <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">ArtScience</em>, the 2016 album by the Robert Glasper Experiment. The set features cameos by Don Cheadle, Talib Kweli, Alex Isley, and Iman Omari.</div>
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<img alt="" class="alignnone size-full wp-image-9859" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/alt.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/alt.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/alt-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">VAN MORRISON – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Alternative Moondance</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Rhino; Quantity: 5300</em></div>
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An alternative version of Van Morrison’s 1970 album,<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> Moondance</em>. It features alternative versions from its 2013 deluxe edition and unreleased alternative mixes of the tracks “And It Stoned Me” and “Crazy Love.”</div>
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<img alt="" class="alignnone size-full wp-image-9860" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/bunk.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/bunk.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/bunk-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">BUNK JOHNSON – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rare and Unissued Masters: Volume One (1943-1945)</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: ORG Music; Quantity: 1000</em></div>
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A collection of over a dozen rare and unissued tracks by trumpeter Bunk Johnson. The music presented here is of surprisingly high-quality thanks to the digital technology employed to rid it of the imperfections that prevented it from being released seventy years ago.</div>
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<img alt="" class="alignnone size-full wp-image-9862" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/record-1.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/record-1.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/record-1-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">JOHN COLTRANE – “My Favorite Things”</strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Atlantic; Quantity: 1000</em></div>
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Only previously available in the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Coltrane Mono</em> box set, this replica of the original “My Favorite Things I & II” hit single from 1961 comes in a reproduction of the original Atlantic Records sleeve and with remastered mono audio from the Atlantic Records vaults.</div>
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<img alt="" class="alignnone size-full wp-image-9863" height="800" sizes="(max-width: 800px) 100vw, 800px" src="https://www.jazziz.com/wp-content/uploads/2018/03/black.jpg" srcset="https://www.jazziz.com/wp-content/uploads/2018/03/black.jpg 800w, https://www.jazziz.com/wp-content/uploads/2018/03/black-150x150.jpg 150w, https://www.jazziz.com/wp-content/uploads/2018/03/black-300x300.jpg 300w, https://www.jazziz.com/wp-content/uploads/2018/03/black-768x768.jpg 768w, https://www.jazziz.com/wp-content/uploads/2018/03/black-200x200.jpg 200w, https://www.jazziz.com/wp-content/uploads/2018/03/black-31x31.jpg 31w, https://www.jazziz.com/wp-content/uploads/2018/03/black-38x38.jpg 38w, https://www.jazziz.com/wp-content/uploads/2018/03/black-215x215.jpg 215w, https://www.jazziz.com/wp-content/uploads/2018/03/black-480x480.jpg 480w, https://www.jazziz.com/wp-content/uploads/2018/03/black-500x500.jpg 500w" style="border: 0px; box-sizing: border-box; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle;" width="800" /></div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">SUN RA – <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Astro Black</em></strong><br style="box-sizing: border-box;" /><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Label: Modern Harmonic; Quantity: 1350</em></div>
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The rarest of four Sun Ra RSD 2018 releases and the first proper reissue of <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Astro Black</em>, one of a handful of albums the bandleader released on the Impulse! label in the 1970s. Here, the Arkestra draw to the end of their ultra-free period and begin to investigate more traditional jazz forms, even on the fringes of funk.</div>
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For a full list of Record Store Day 2018 releases and more information, go to <a href="https://recordstoreday.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #aaaaaa; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">https://recordstoreday.com/</strong></a></div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-78274810698378825662018-04-02T15:35:00.002-07:002018-04-02T15:39:15.373-07:00Verve releases two new Louis Armstrong box sets<h1 class="single-entry-title" style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 2.25em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.4; margin: 0px 0px 10px; padding: 0px 0px 8px; text-rendering: optimizeLegibility; vertical-align: baseline;">
Verve releases two new Louis Armstrong box sets</h1>
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Published on Jazziz, April 1, 2018.</div>
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Verve Records is releasing two box sets of Louis Armstrong music in April: <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cheek To Cheek: The Complete Duet Recordings</em>, on April 6, and <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Pops Is Tops: The Verve Studio Albums</em>, on April 13.</div>
<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cheek To Cheek: The Complete Duet Recordings</em> is a four-CD and digital set that collects Armstrong’s iconic duets with vocalist Ella Fitzgerald. The 75-track collection gathers their three Verve albums: <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ella and Louis</em> (1956), <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ella and Louis Again</em> (1957), and <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Porgy and Bess</em>(1958), along with all their Decca singles and several alternate and false starts from the Decca and Verve eras, along with other rare and previously unreleased material.</div>
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Preorder <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cheek To Cheek: The Complete Duet Recordings</em> here: <a href="https://ume.lnk.to/CheekToCheek4CD" rel="noopener" style="border: 0px; box-sizing: border-box; color: #aaaaaa; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">https://UMe.lnk.to/CheekToCheek4CD</strong></a></div>
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<div style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: "Open Sans", sans-serif; font-size: 0.9em; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin-bottom: 1.25rem; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Pops Is Tops: The Verve studio Albums</em> is a four-CD and digital set showcasing Armstrong’s singing on classic sets with the Oscar Peterson Trio and the Russ Garcia Orchestra. It includes <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">I’ve Got The World On A String</em> (1960), <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Louis Under The Stars</em> (1958), both recorded with the Russ Garcia Orchestra, and <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Louis Armstrong Meets Oscar Peterson</em> (1957), plus the previous digital-only release <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">A Day With Satchmo</em> (originally recorded in 1957). The albums are presented in their original mono masters for the first time since their original vinyl releases and include the original liner notes as well as extensive liners, recording, and track info by Ricky Riccardi, Director of Research Collections for the Louis Armstrong House Museum and author of <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">What a Wonderful World: The Magic of Louis Armstrong’s Later Years</em>.</div>
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Preorder <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Pops Is Tops: The Verve Studio Albums</em> here: <a href="https://lnk.to/PopsIsTops4CD" rel="noopener" style="border: 0px; box-sizing: border-box; color: #aaaaaa; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">https://lnk.to/PopsIsTops4CD</strong></a></div>
Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0tag:blogger.com,1999:blog-7754156014412621509.post-86759277138919694062018-03-29T20:42:00.000-07:002018-03-29T20:52:47.906-07:00Tribute to Antonio Carlos Jobim with Strings<div style="background-color: white;">
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<span style="color: black; font-family: "franklin gothic medium" , "arial" , "helvetica" , sans-serif; font-size: 28px; font-weight: 700; text-align: center;">Tribute to Antonio Carlos Jobim with Strings</span></div>
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<span style="color: black; font-family: "franklin gothic medium" , "arial" , "helvetica" , sans-serif; font-size: 26px; text-align: center;">FRIDAY, JULY 20 - 7:30 P.M.</span></div>
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<span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">Pittsburgh Symphony Orchestra’s Neighborhood Week comes to MCG Jazz to celebrate the music of renowned Brazilian icon, Antonio Carlos Jobim, with strings.</span></div>
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<span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">Members of the Pittsburgh</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px; font-weight: bold;"> Symphony Orchestra</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;"> strings and woodwind sections will be joined by guest soloists - vocalist Maucha</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px; font-weight: bold;"> Adnet </span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">and percussionist</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px; font-weight: bold;"> Duduka da Fonseca</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">– each a native of Brazil –both of whom worked closely with Jobim. Additional special guests include, pianist Tamir</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px; font-weight: bold;"> Hendelman</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;"> and guitarist </span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px; font-weight: bold;">Marty Ashby</span><span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">. </span></div>
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<span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">Each of these musicians are internationally recognized for expanding the worlds of jazz and Latin music. Come enjoy the music of Jobim performed by those who know it best.</span></div>
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<span style="color: black; font-family: "verdana" , "geneva" , sans-serif; font-size: 14px;">Buy tickets at </span></div>
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<span style="font-family: "verdana" , "geneva" , sans-serif;"><span style="font-size: 14px;"><a href="https://prod3.agileticketing.net/websales/mobile/info.aspx?evtinfo=366485~78f0c928-a599-4914-9d7c-5082dddf9ec0&epguid=a5a24974-e01d-4001-adff-40aa12a9b12b&">https://prod3.agileticketing.net/websales/mobile/info.aspx?evtinfo=366485~78f0c928-a599-4914-9d7c-5082dddf9ec0&epguid=a5a24974-e01d-4001-adff-40aa12a9b12b&</a></span></span></div>
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Jazz n Bossahttp://www.blogger.com/profile/07666650597814795520noreply@blogger.com0