miércoles, 28 de septiembre de 2016

themattsmithneujazztrio - RETROgrade (2016)



2013 in San Diego, CA themattsmithneujazztrio just released album "Shorthanded." These are compositions of drummer/trombonist Matt Smith. Matt conceived the musical writing while pursuing and gaining a jazz trombone degree at CSU Fullerton. These rhythmically free and melodically driven compositions highlight the very essence of a young trio with overwhelming maturity. 


01. Slim Dusty Rides Again (M.Smith) 08:36
02. Amrita (E. Kornhauser) 05:42
03. Gnewt (M.Smith) 09:20
04. January (E. Kornhauser) 06:31
05. Fresh Pots (M.Leighton) 03:38
06. Major Shift (M.Smith) 07:08
07. Midwest (M.Leighton) 08:18
08. RETROgrade (M.Smith) 05:57

Released September 16, 2016 

Recorded at RAJ studios 
Engineered/Mixed/Mastered by Chris Hobson 
Produced by Kamau Kenyatta


John Raymond & Real Feels - Live Vol. 1 (October 7, 2016) SHIFTING PARADIGM RECORDS





John Raymond is an American jazz trumpeter, composer and educator living in New York City.

Rooted in both traditional and modern forms, John's music incorporates jazz, classical, folk and indie-rock influences. Recently selected by Downbeat Magazine's Critics Poll for the Trumpet "Rising Star" category, he has performed with musicians such as Billy Hart, Kurt Rosenwinkel, Orrin Evans, Linda Oh, Ethan Iverson, Dan Tepfer and Gilad Hekselman among others. He has also recorded with Grammy-nominated singer Sara Bareilles, Dove Award-winning producer Darnell Davis, and performed at events such as the Austin City Limits Music Festival and on NPR's 'Toast of the Nation.'

John's album "Foreign Territory," released in April 2015, received critical acclaim from the New York Times, Downbeat Magazine and others. Of note, his composition “Deeper” was chosen as a winner of the 2015 Herb Alpert Young Jazz Composer Award presented by ASCAP. His latest album "Real Feels" also received glowing reviews from many major publications (including a ★★★★ 1/2 star review from DownBeat Magazine), and was celebrated with a 24-city CD release tour in 2016. 

John has also established himself as a sought after educator in New York and beyond. He currently teaches at the United Nations International School in New York, and he is also an active guest clinician & soloist at schools around the world such as the University of North Texas, Oberlin College, the Brubeck Institutue, New Trier High School, and Lawrence University among others. 

Read John's recent editorial "Developing the Entrepreneurial Mind: Teaching Students How To 'Bloom Where They're Planted'" - recently published in the Jazz Education Network's JazzED Magazine. Read Part 1 and Part 2.

John is an Adams Brass artist, and plays Adams flugelhorns exclusively.


John is also a Torpedo Bags artist, and only uses Torpedo Bags to carry and transport his horns.


01. I'll Fly Away 13:31
02. Yesterday 09:47
03. Atoms for Peace 09:43
04. Amazing Grace 10:54
05. This Land Is Your Land 11:10

John Raymond - flugelhorn 
Gilad Hekselman - guitar 
Colin Stranahan - drums

Recorded live at BLU Jazz (Akron, OH) by Joe Scott 
Mixed & Mastered by Dave Darlington 
Artwork by RT Vreize and Knorth Studios


martes, 27 de septiembre de 2016

Tim Berne's Snakeoil - Anguis Oleum (2016)



The last time we heard from the masterful Snakeoil, it was on 2015’s You’ve Been Watching Me, a widely-acclaimed recording that perfectly captured the sizzling, enigmatic energy of Berne’s quartet. Anguis Oleum, their newest release, was originally paired with Berne and artist Steve Byram’s limited-edition collection of drawings and photographs, Spare. Now, it’s available for download on the Snakeoil Bandcamp page, and everyone can get a taste of what this group sounds like when it loosens the reins a bit. Anguis Oleum is not actually a collection of all-new compositions, but a live recording - it contains a couple of pieces that have previously appeared within Snakeoil’s studio output, as well as some unreleased material. As on You’ve Been Watching Me, Snakeoil consists of Berne on alto saxophone, Oscar Noriega on clarinet and bass clarinet, Matt Mitchell on piano, and Ches Smith on percussion. Guitarist Ryan Ferreira is nowhere to be found, unfortunately, but the rest of the players more than makeup for his absence.

The opening composition, “Deadbeat Beyonce,” is one of those that was previously unrecorded. It opens with a lovely run by Matt Mitchell, notes cascading over one another and gradually increasing in both intensity and complexity. After four minutes, the reeds join in with intricate figures that are instantly recognizable as coming from Berne’s compositional toolkit - minor-key, tense, and suggestive of a convoluted system of alleys in a bleak metropolis. As it unfolds, “Deadbeat Beyonce” gives way to a wild fervor; Berne is practically shooting flames from his alto, and Ches Smith pounds with an unbridled force that is particularly striking when compared to the restraint he exhibits at the beginning of the track. Even in their fiercest moments, however, the members of Snakeoil maintain a certain rigidity, a disciplined single-mindedness. The passage through the alleys may be winding, with sudden shifts and unexplained detours, but the destination is clear. At one point, it seems that the piece will close with Mitchell’s twinkling keys and Noriega’s wounded bird-calls, but that’s just a misdirect: the group come together in one last eruption, one that swells, sinks, then swells again, eventually coming to an abrupt close.

“Spare Parts” moves at a slower pace than “Deadbeat Beyonce,” taking its time to develop and stretch out. In the composition’s opening minutes, Ches Smith is on vibraphone, which is admittedly the perfect instrument to accompany the noir-ish sound-worlds that Berne constructs. As Smith taps the vibes and Noriega moves through a series of labyrinthine shapes, one can’t help but re-imagine that shadowy metropolis, steam rising from the gutters and streets perpetually soaked in rain. After some time, Smith is back on the drums, Mitchell comes in with his expressive, dramatic chord-changes, and Berne is blowing with his icy fire - a sound that is simultaneously fervent and frigid, searing and cool. “Lamé 3” is a shorter piece, but it somehow condenses the cinematic scope of the longer compositions into eight minutes - there are twists, turns, unfettered peaks, and trembling moments of tension. Also, some of the players here hit their stride: at one point, Ches Smith abandons all pretensions towards restraint and just pummels his kit. Likewise, Berne engages in a short stretch of insanity that was somewhat surprising at first; instead of that cool reservation that he typically exhibits, he practically screams with his alto saxophone, sending the track into the stratosphere.

“Oc - Dc” is the final piece here, as well as being the longest. Here, the group shows off their marvelous sense of interplay, with an almost lighthearted exchange of notes - melodies that bounce off of each other, diffract, and inexplicably change shapes as the composition moves forward. That lightheartedness is refreshing, especially in the context of Snakeoil; with this group, Berne has primarily delved into tones and textures that are on the “bleaker” side of things, and the pieces can occasionally feel airless. That airlessness is not necessarily a bad thing - in fact, it might be required in order to convey the atmosphere that the group wants us to hear. Thus, despite the fact that many Snakeoil compositions seem to work with “one note” (serpentine, minor-key, filmic), that note is played exceedingly well, and Snakeoil scratch a musical itch that no other groups can. Anguis Oleum is proof that, among Tim Berne’s manifold projects, Snakeoil is the most consistent and the most fully-developed. Now we wait for the studio follow-up to You’ve Been Watching Me!


01. Deadbeat Beyonce 21:24
02. Spare Parts 18:55
03. Lamé 3 08:34
04. Oc - Dc 24:31

Tim Berne - Alto Saxophone 
Oscar Noriega - Clarinet, Bass Clarinet 
Matt Mitchell - Piano 
Ches Smith - Drums, Percussion


Mats Eilertsen - Rubicon (2016) ECM


Norwegian bassist Mats Eilertsen has been a strong and supportive presence on a dozen ECM sessions to date. With Rubicon he steps forward to present his own music, with an international cast. The album features compositions originally written in response to a commission from the Vossajazz Festival. All About Jazz reviewed the premiere performance: “Rubicon proved to be a very dynamic work. Eilertsen ensured that each of the instrumentalists took their share of the spotlight, brought together combinations of players that emphasized tonal variation, and created ensemble sections bursting with life.” After fine-tuning the material on tour, Mats brought his septet to Oslo’s Rainbow Studio, where Manfred Eicher produced this definitive version of Rubicon in May 2015.


Canto
Cross the Creek
March
Balky
Lago
BluBlue
Wood and Water
September
Reminiscent
Introitus

Trygve Seim: tenor and soprano saxophones
Eirik Hegdal: soprano, baritone sax, clarinet and bass clarinet
Thomas Dahl: guitar
Rob Waring: marimba and vibraphone
Harmen Fraanje: piano, Fender Rhodes
Olavi Louhivuori: drums




Playlist Summary for Tom Ossana: The Thin Edge – September 28, 2016 MST 7:00 to 9:00p.m.


http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.


http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.



Ethan Iverson - The Purity of the Turf (2016) CRISS CROSS RECORDS




The Purity of the Turf is kind of a "bucket list" moment for Ethan Iverson, who has always wanted to make a record with famous bassist Ron Carter.

Iverson, pianist of the famous trio "The Bad Plus", chose drummer Nasheet Waits to fill out the trio, because Waits represents the avant-garde as well as swing.

Criss Cross records are level playing field, with everyone recording in the same studio in a single day: Thus the sporting title, "The Purity of the Turf".

The repertoire is mostly originals and jazz classics. A surprise highlight is the solo piano tribute to the late Paul Bley, "So Hard it Hurts" by Annette Peacock.

01. The Purity Of The Turf (Ethan Iverson)  4:31
02. Song For My Father (Horace Silver)  5:19
03. Darn That Dream (Jimmy Van Heusen / Edgar DeLange)  4:43
04. Along Came Betty (Benny Golson)  5:45
05. Graduation Day (Ethan Iverson)  3:33
06. Confirmation (Charlie Parker)  6:14
07. Kush (Nasheet Waits)  5:35
08. Sent For You Yesterday (Count Basie / Eddie Durham)  4:55
09. Strange Serenade (Andrew Hill)  4:23
10. Little Waltz (Ron Carter)  5:01
11. Einbahnstrasse (Ron Carter)  5:10
12. So Hard It Hurts (Annette Peacock)  3:18

Ethan Iverson, piano
Ron Carter, bass
Nasheet Waits, drums


lunes, 26 de septiembre de 2016

Ricardo Grilli - 1954 (October 7, 2016) TONE ROGUE RECORDS



Brazilian-born guitarist/composer Ricardo Grilli explores personal, musical and cosmic history on 1954, out October 7 on Tone Rogue Records

Grilli’s entrancing second album features the stellar line-up of pianist Aaron Parks, bassist Joe Martin and drummer Eric Harland

“Evocative, ethereal, and eclectic… Grilli [hits] that sweet spot somewhere between post bop and the avant garde.” – Critical Jazz

“Excellent... Can't stop listening.” – Steve Greenlee, JazzTimes



The title of 1954 (due out October 7 via Tone Rogue Records) comes from the year in which Grilli’s father was born – one possible beginning point for his own story. It also falls at the dawning of the Space Age, a time when people were looking optimistically forward to a future full of innovation and exploration. Significantly for the music contained within, it was also a time when jazz - bebop in particular - was thriving in Grilli’s adopted home of New York City, ghosts of which he can’t help but encounter as he walks through the city today.

“It gets a little mystical as you imagine it in your head how things were back then,” Grilli says. “I wonder if those musicians ever thought that the music they were shaping would evolve to become the way it is now. The concepts we use in today’s jazz still very much use the format of the bebop and hard bop era, even though they have more modern harmonies and meters.”

No matter how much he engages in a dialogue with the past, Grilli’s music is decidedly of the moment, replete with sleek, captivating melodies over tense, balance-challenging rhythms, combined in intricate but emotionally engaging structures. His compositions reveal the influence of modern masters like Kurt Rosenwinkel and Mark Turner alongside adventurous pop experimentalists like Radiohead and Sigur Ros, with a relaxed but expressive melodicism imbued by a youth spent absorbing the tropical sounds of Jobim and Elis Regina.

Grilli’s 2013 debut, If On a Winter’s Night a Traveler, captured the guitarist in a transitional moment. It documented not only his move from Brazil to Boston and then New York, but also his emergence onto the jazz scene after graduating from Berklee College of Music. Having picked up the guitar for the first time at the relatively advanced age of 20 and starting school at 23, five years later than most of his classmates, he recorded the album feeling like an underdog facing an uphill struggle.

That notion is left behind on 1954, which finds a more mature, self-assured Grilli in sophisticated communication with some of modern jazz’s most renowned musicians. “For the longest time I felt like I had missed the start of the race and had to catch up to the competition,” he says. “However, I have been very lucky to be able to play with so many of my heroes, and this record is, hopefully, a statement of my acceptance of my own playing and thinking myself worthy of playing with the musicians on it.”


Long fascinated with astronomy and the cosmos (Stephen Hawking sits on his bookshelf beside the likes of Italo Calvino, the surrealist author who lent both If On a Winter’s Night a Traveler and the current album’s “Vertigo” their titles), Grilli weaves interstellar concepts throughout the tunes on 1954. Opening track “Arcturus” is named for the brightest star in the eastern celestial hemisphere, its gradual build in intensity (thanks to Harland’s subtly insistent rhythms) suggesting the massive star’s gravitational pull. 

“Cosmonauts,” meanwhile, was inspired by the story of “phantom cosmonauts,” an unconfirmed theory suggesting that Yuri Gagarin’s successful flight may have been preceded by other ill-fated attempts.

“It’s a terrifying story,” Grilli says. “I imagined the fear of going into the unknown and not coming back. Jazz has a bit of that feeling, but not in the deadly sense. So I wanted to write an eerie, sad song, something a little somber, dark and mysterious.”


That combination of the cosmic and the intimate is echoed throughout 1954. Especially poignant is the lovely, ethereal “Rings,” which suggests the celestial rings surrounding Saturn and other planets as well as being a musical analog for the rings that symbolize union between people. The simmering, atmospheric “Radiance,” partially inspired by Brian Blade’s soulful Fellowship Band, evokes the far-off glow of heavenly bodies while pondering the loss of loved ones. “Breathe,” essentially a cha cha cha with modern contours, provides a respite from the frantic “Arcturus,” replicating the moment that a shuddering spacecraft breaks through the atmosphere into weightlessness.

Grilli also pays homage to some of his peers and mentors on 1954. “Pogo56” was written for trumpeter and Berklee professor Jason Palmer, while “Far Away Shores” is an homage to pianist Julian Shore, a close friend and collaborator. The album closes with “Pulse,” a final word on the idea of looking backward to look forward: a modernist bop tune that swings hard over contemporary harmonic movement.