sábado, 21 de enero de 2017

George Lewis - The Will to Adorn (NEW FOCUS RECORDINGS 2017)


George Lewis is a modern musical polymath, in the truest sense of the word. As the legendary trombonist and pioneering member of the Chicago based Association for the Advancement of Creative Musicians (AACM), Lewis was a driving force in one of the most important movements in improvised music in the last decades of the 20th century.

His work with interactive computer software has transformed the fields of electro-acoustic music and virtual instruments. He has had an equally large impact on the academic community, both through his publications and his mentoring of student composers and performers alike. Lewis’s work as a composer fuses the many facets of his musicianship together, and his collaboration with ICE (International Contemporary Ensemble) documented here on this recording, gives us an opportunity to see the wide net that he casts. The recording opens with the title track, a boisterous and colorful ensemble work that is inspired by Zora Neale Hurston’s 1934 essay, “Characteristics of Negro Expression.” Hurston’s description of churchgoing folks’ penchant for “decorating a decoration” captivated Lewis, and the piece manifests that exuberance through explosive, embellished lines, glitchy off-kilter grooves, and subtly shaded microtonal chords. Shadowgraph, 5 and Artificial Life 2007 are both examples of Lewis’s open-form scores, in which he strives to facilitate a structured improvisation experience through non-standard notation.

Shadowgraph was written for the AACM big band, comprised of a series of symbol instructions, and is among pieces Lewis wrote for what he calls the “creative orchestra.” Artificial Life 2007 was written for the Glasgow Improvisers Orchestra, and seeks to “exteriorize the process of decision-making” inherent in improvised playing through more explicit text instructions. Born Obbligato was written for ICE as a companion piece to Beethoven’s Septet op. 20. Lewis borrows structural and textural ideas from Beethoven’s septet, and also adds percussion to the fourth movement, performed here by virtuoso Steven Schick.

The recording closes with Lewis’s performance of T.J. Anderson’s In Memoriam Albert Lee Murray, a writer and colleague of Anderson who often chose the African-American musical tradition as his subject matter and the departure point for inspiration.


01. Will To Adorn 14:20
02. Shadowgraph, 5 05:14
03. Artificial Life, 2007 04:57
04. Born Obbligato I. 06:44
05. Born Obbligato II. 02:59
06. Born Obbligato III. 03:26
07. Born Obbligato IV. 03:55
08. Born Obbligato V. 01:30
09. Born Obbligato VI. 05:47
10. In Memoriam Albert Lee Murray 03:08

Engineers: Silas Brown (track 1), Ross Karre (track 2-3), Jessica Slaven (tracks 4-6, 8-9), George Lewis (track 7), Ryan Streber (track 10) 

Recording locations: 
Track 1 Miller Theatre, Columbia University, NY, NY 
Track 2 Roulette, Brooklyn, NY 
Track 3 Preston Bradley Hall, Chicago Cultural Center 
Track 4-6, 8-9 Abrons Arts Center 
Track 7 Clark Studio Theatre, Lincoln Center, NY 
Track 10 Oktaven Audio, Mt. Vernon, NY


Trish Clowes - My Iris (BASHO RECORDS 2017)



‘My Iris’ is a new project from BASCA award winning composer and saxophonist Trish Clowes. Following collaborations with string quartets and the BBC Concert Orchestra, My Iris shifts Clowes’ perspective to the possibilities of a small ensemble. With Chris Montague on guitar, Ross Stanley on piano and Hammond organ and James Maddren on drums, My Iris explores startling melodies, earthy grooves and gnarly lines, creating a sound world that is both intimate and thrilling. The ensemble has honed these musical concepts in major performances including the Women in (e)Motion Festival for Radio Bremen, the Deal Festival and at the Southbank Centre. The group’s first recording, Clowes’ fourth album for Basho Records, will be released on 13th January 2017 with accompanying tour dates across the country.


The album includes Muted Lines by Cevanne Horrocks-Hopayian - commissioned by Clowes with support from the PRS for Music Foundation - and Clowes’ sister piece Tap Dance (For Baby Dodds). The works share a theme of migration, in particular forced migration; Muted Lines addresses loss and silence from the perspective of Cevanne’s Armenian heritage and features a 16th Century poem by Nahapet Kuchak. Tap Dance is built upon fragments of a Baby Dodds drum solo, celebrating the birth of the drum set and its central role in the music of the African diaspora. Blue Calm evokes the multifaceted Iris, messenger to the Greek and Roman gods, and One Hour imagines the additional hour of dreaming and brain repair afforded when the clocks go back. In Between The Moss and Ivy is Clowes’ ballad of an English garden, Be A Glow Worm responds to some gnomic advice from a wise musician and A Cat Called Behemoth acts as a sequel to Clowes’ earlier Mikhail Bulgakov-inspired piece ‘The Master and Margarita’. In addition to Clowes’ thoughtful writing, the group also explore dynamics, textures, exciting interaction and fiery improvisation. ‘My Iris’ represents a new chapter in Clowes’ career and is her most assured album to date.


REVIEWS

16/01/2017 Jazzwise

a poise and depth that is rewarding

12/01/2017 Irish Times 4 stars ****

the front rank of the new generation of UK jazz

12/01/2017 John Fordham, The Guardian 4 stars****

Clowes’s emphasis on composition, and the reserved evenness of her delivery often get her a “chamber-jazz” label, but the Englishwoman’s quirky songwriter’s ear, subtly sleepy tenor sax sound and bright intensity on soprano are anything but cerebral.

11/01/2017 Matthew Wright, The Arts Desk

'To achieve that range of sounds with a jazz quartet requires rare skill. How much other contemporary music has such adventurous or eclectic intellectual horizons?'

04/01/2017 Fiona Talkington, BBC Radio 3 Late Junction

“ A stunning new album which proves firmly thatTrish Clowes is one of the core artists on the British jazz and contemporary scene”

19/12/2016 Stephen Graham, Marlbank

One Hour  7:20
Blue Calm 6.28
I Can't Find My Other Brush 7.00
A Cat Called Behemoth 7:30
Muted Lines 6:28
Tap Dance (for Baby Dodds) 5:41
In Between The Moss And Ivy 6:26
Be A Glow Worm 4:21

Trish Clowes – saxes
Chris Montague – guitar
Ross Stanley – piano / Hammond organ
James Maddren – drums



Yelena Eckemoff Quintet - Blooming Tall Phlox (2017) 2 CD


By: Carol Banks Weber  AXS Contributor

In a way, Yelena Eckemoff has spent her entire life breathing “in the happiness” of her childhood. Originally from the poem, “Scented candles and sparkling wine,” accompanying her latest album, this sentiment emboldens the Russian pianist and composer’s original works of art — of which there are many.

A prolific artist with a million ideas, Eckemoff follows up her May 2016 release, Leaving Everything Behind, with Blooming Tall Phlox. She actually worked on Blooming Tall Phlox earlier, recording the two-disk album in Finland Sept. 4-6, 2013 — two years before Leaving Everything Behind, currently on DownBeat’s “Best Albums of 2016.”

Both albums directly touch on her childhood in Russia, surrounded by a loving, extended family, the source of all her imaginative understanding.

In Blooming Tall Phlox (L&H Production), which comes out Jan. 20 officially, Eckemoff once again uses other media at her disposal and her discretion to bring her childhood to life. True to her classical-jazz impressionism, Eckemoff sees humanity in nature and objects of man-made construction.

Memories are found there, and she knows it. Blooming Tall Phlox features an assortment of memories divided into two distinct categories based on the seasons of summer and winter. She devotes a foreign indie soundtrack to such things as “Apples laid out on the floor,” “Fish fried on open fire,” “Pine Needles warmed by the sun” — Disc 1 “Summer Smells” — and “Grandpa Lera’s bookcase,” “Mommy’s shawl,” and “Aunt Galya’s perfume” — Disc 2 “Winter Smells.”


For this extensive two-disk, 15-track album, Eckemoff plays with a group of musicians from overseas, Finland to be exact. They are Verneri Pohjola (trumpet, flugelhorn), Panu Savolainen (vibes), Antti Lötjönen (double bass), and Olavi Louhivuori (drums, percussion).

If music held the key to the spirits of loved ones, somehow Eckemoff has found a form of two-way communication. As in previous releases, she designed the album, she painted the cover of herself as a child amongst her beloved phlox, and she wrote the poems that glimpse even more of the feeling and thought behind the notes.

The love notes themselves are vastly detailed, yet dreamy, dense yet ethereal, reflective yet enlightening, confident yet full of give and take — traits Eckemoff shares.


This is an album to absorb in its entirety, from start to finish, with frequent browsing of the poetry and the art, a brief rumination of one’s own childhood memories and the possessions left behind.


Individual moments also convey a sense of nostalgia, longing, even a mystical wonder. The fairy dust of Eckemoff’s own piano intro on “Blooming Tall Phlox,” the percussive flap and flutter mimicking “Baba Liza’s Singer” sewing machine, the slick sensation of a horn’s tension and release on “Talks Over Hot Tea”… these things depict a child’s wonder at the everyday things adults take for granted.

To a child, there is still magic in the air, in everything she and those she holds dear touch.

Eckemoff’s modern jazz touches remain impressive, however. This is no atmospheric run, as evidenced strongly in “Apples laid out on the floor.” Everyone on this straight-ahead, post-modern piece exhibits a tactile sensation relevant to jazz’s harmonic building blocks and that sweet exchange of instrumental titles.

Eckemoff herself shows a mastery of both her classical training and later jazz interests in this composition especially. Her inflective, interior piano journey on “Apples laid out…” stands alone, no accompaniment necessary. The accompanying musicians, however, only add to the benefit of the overarching ideas of sensory perception in memories idealized through childhood.

They capture those idealized memories from sense of smell to music entirely. Don’t look for rough-hewn, nihilistic realism here. Eckemoff’s above that.


Yelena Eckemoff is a bandleader who uses every single resource exceptionally. Nothing ever goes to waste in her hands, either.


“I had the idea of writing music about smell for some time before I met with [drummer] Olavi [Louhivuori] in Finland,” Eckemoff explained in a DL Media press release. “The idea came into focus when I saw how much Finland reminded me of Russia; it became obvious to me that it would be the best place to record an album about various aromas.

I brought 15 songs to the session, already named and designed to express certain smells. Writing the poetry came later, even though I nurtured my ideas along with the music. Then I had to select a title for the album, but as I was writing my poems, it became clear that there is one smell that triggers my childhood memories: the smell of the phlox. So I decided to paint a picture of myself in my grandparent's garden, sniffing the phlox, based on a black and white photograph from the time.”

Disc 1
01. Blooming Tall Phlox
02. Apples laid out on the floor
03. Baba Liza's Singer
04. Old - fashioned bread store
05. Wildflower meadows
06. Fish fried on open fire
07. Sleeping in the tent
08. Pine needles warmed by the sun

Disc 2
01. Smoke from the house chimneys in frosty air
02. Talks over hot tea
03. Grandpa Lera's bookcase
04. Clementines and candies on Christmas Tree
05. Mommy's shawl
06. Aunt Galya's perfume
07. Scented candies and sparkling wine

Verneri Pohjola: trumpet, flugelhorn
Panu Savolainen: vibraphone
Antti Lötjönen: double bass
Olavi Louhivuori: drums, percussion


viernes, 20 de enero de 2017

Vadim Neselovskyi Trio - Get Up and Go (JAZZ FAMILY 2017)


Du talent à … la maturité !

Originaire d’Odessa (Ukraine) où il débute le piano et découvre les grands compositeurs russes, Vadim poursuit son apprentissage au conservatoire de Dortmund dès l’âge de 17 ans, puis intègre le Berklee College of Music, avant d’obtenir une bourse pour le Thelonious Monk Institute, où il achève avec succès son parcours. Sans faute pour ce remarquable pianiste, compositeur, orchestrateur et chef d’orchestre, qui débute sa vie de musicien aux côtés de Herbie Hancock, Chaka Khan, Dee Dee Bridgewater et Terry Lynn Carrington, partage la scène avec John Scofield, Terence Blanchard, Kurt Rosenwinkel, Benny Golson, Nicholas Payton, Steve Coleman …

Vadim rejoint le Futur All Stars Quintet de Gary Burton en 2004 en tant que pianiste et arrangeur. Pendant plus de 10 ans, il parcourt les USA, l’Europe et l’Asie, apparait récemment au Newport Jazz Festival (avec Marcus Gilmore à la batterie), au Chicago et Detroit Jazz Festivals ... on peut écouter Vadym aux côtés de Gary Burton dans plusieurs albums dont « Next Generation « (Concord) en tant que pianiste, compositeur et arrangeur, « If You Love Me » (Cam Jazz) comme arrangeur, et de « Common Ground » (Mack Avenue) en tant que compositeur.

Vadim Neselovskiy est un de ces rares musiciens de jazz dont les compositions sont jouées à la fois par des Jazzmen et par des musiciens classique : Randy Brecker , Antonio Sanchez, Scott Colley, Julian Lage, Gary Burton, l’orchestre symphonique de Spokane, le Lancaster Symphony Orchestra, le New Philharmonic Westfalen et le INSO LVIV Symphony Orchestra sont autant d’artistes et ensembles à jouer et promouvoir sa musique.

Deuxième prix en 2010 du concours de piano Martial Solal à Paris, puis vainqueur du prestigieux MacDowell Fellowship, la reconnaissance du talent de Vadim Neselovskiy se fait de plus en plus grande ces dernières années. Loué par les médias internationaux, joué aux quatre coins de la planète, plébiscité par les musiciens classique et jazz, Vadim enregistre son premier solo intitulé « For September » en 2013, album dans lequel il fusionne des pièces de musique classique, standards de jazz et compositions, un exercice particulièrement délicat quand on sait que Vadim est un grand défenseur de la tradition et des compositeurs russes.

L’album « Get Up and Go », est enregistré en 2016. Il dégage dès la première écoute une force et une sensibilité extrême, une richesse mélodique et harmonique liée à une virtuosité rare, une grande culture et beaucoup de simplicité, de maturité, autant de qualités qui annoncent un musicien, un pianiste et un trio d’une qualité et d’une musicalité exceptionnelle …

Parallèlement à sa carrière de jazzman, de compositeur et de chef d’orchestre, Vadim enseigne le piano au Berklee College of Music.


La petite histoire du trio de Vadim Neselovskyi:

J’ai créé le trio en 2014, à l’occasion d’une demande spécifique du directeur du festival Alfa (le plus grand festival urkrainien), qui souhaitait me programmer avec un groupe composé pour la circonstance. Acceptant sa demande et son invitation, le choix des musiciens et notamment du batteur fut très simple, car j’appréciais déjà énormément le jeu de Ronen Itzik (Israel) avec qui j’avais fait mes études à Boston, et avec lequel je jouais régulièrement à NYC, notamment pour Lee Konitz , qui nous avait engagé tous les deux. L’arrivée du très impressionnant bassiste Daniel Loomis (Saint Louis, MO) que j’avais découvert dans un enregistrement qu’il avait réalisé avec T.S Monk (le fils de Thelonious Monk) scella définitivement le trio.

01. On a bicycle 5’02
02. Winter 7’15
03. San Felio 7’32
04. Station Taiga 6’51
05. Who is it? 5’57
06. Krai 5’58
07. Interlude I 1’09
08. Prelude for vibes 5’41
09. Get up and go 6’28
10. Interlude II 1’32
11. Almost december 6’45


Featuring
Sara Serpa (vocal)


Adrien Chicot - Playing in the Dark (GAYA MUSIC PRODUCTION 2017)



Remarqué par un premier album, « All In », avec lequel il avait mis en plein dans le mille, Adrien Chicot revient au disque avec le même trio. Redondance ? Répétition ? Pas le moins du monde. Fidélité à des partenaires, plutôt, le contrebassiste Sylvain Romano et le batteur Jean-Pierre Arnaud, qui servent parfaitement sa musique et sont en tout point sur la même longueur d’onde que le pianiste : un groupe qui tourne comme un seul homme, une rythmique nerveuse et véloce, au swing ferme et léger à la fois, qui peut se révéler poétique et sensible.

Cohérence d’un univers, surtout, qui se développe d’autant plus naturellement en trio, cadre si chéri des pianistes, qu’Adrien Chicot a fort à faire ailleurs, avec le quartet du saxophoniste Samy Thiébault ou le quintet du trompettiste Julien Alour, et qu’il semble avoir trouvé là l’espace de jeu qui lui sied. Alour, Thiébault, Chicot, trois noms d’une même génération de jazzmen parisiens qui ont choisi le jazz comme musique d’adoption, langage qu’ils partagent, vie qu’ils mènent avec un sens de la camaraderie qui les a conduits à trainer leurs guêtres dans tous les clubs de la capitale, jusqu’aux petits matins, tout en aiguisant leur savoir-faire sur scène, à l’école des bœufs, ou en relevant les maîtres à partir desquels ils ont fondé leur discours et libéré leur parole.

Car elle n’est en rien bridée, la musique d’Adrien Chicot, dont l’allant naturel sur le clavier et l’imagination féconde révèlent une inspiration continue, une aisance dans le format du trio et un rapport de spontanéité au jazz qui pourraient faire croire que ce musicien a grandi ailleurs, de l’autre côté de l’Atlantique.

Laissant entendre qu’il n’est pas resté insensible à ses contemporains, tout en rendant manifeste ce qu’il doit aux grands pianistes qui ont façonné la tradition du genre, de Duke Ellington à McCoy Tyner, de Bud Powell à Herbie Hancock, sans qu’il soit nécessaire de se référer à eux pour apprécier la profondeur et l’engagement qu’il met à jouer, Adrien Chicot a le jazz dans la peau. Ou plutôt il l’a sous les doigts : il file, il virevolte, il swingue, il surprend, il touche, avec cette évidence qui donne le sentiment de ne pas écouter un pianiste scolaire et appliqué qui a simplement bien intégré la leçon des anciens mais, tout à l’inverse, quelqu’un chez qui le rapport à l’instrument -ce fameux « toucher » qui distingue les musiciens entre eux -et à l’improvisation ont façonné une conscience et une personnalité qui témoignent d’un artiste entier, appelé à durer et à faire œuvre. Ce n’est pas rien. Soyons heureux d’assister à l’éclosion de ce talent. Vincent Bessières



01. Late
02. Fourth Floor
03. Under the Tree
04. Blue Wall
05. Key for Two
06. Playing in the Dark
07. Backpack
08. Lush Life
09. Sunset with the Birds

Sylvain Romano, contrebass
Jean-Pierre Arnaud, batterie




Camilla George Quartet - Isang (2017)




London-based saxophonist and composer CAMILLA GEORGE, leading her own quartet with Sarah Tandy on piano, Daniel Casimir on bass and Femi Koleoso on drums, is releasing her debut album as leader, "Isang" (Ubuntu Records). She spoke to Leah Williams about the inspirations for the album, the burgeoning London jazz scene and the importance of music that makes you want to dance:

LondonJazz News: How did your love affair with the saxophone begin? 

Camilla George: My grandfather was a jazz sax player in Grenada, where my dad was from, so I guess it was in my blood already but I actually had my first go on a sax when I was around eight at a neighbour’s house. All it took was being able to get that first raspy sound out for me to completely fall in love. I pestered my parents for years and, when I got to secondary school, I finally got the chance to start learning properly. I actually won a music competition that meant I got some free lessons and that’s what kicked it all off.

LJN: Sounds like you had the right stubbornness needed to really make a go of it as a musician! 

CG: Yes, for sure. I knew it was something I wanted to do and it was just meant to be, I guess, but it wasn’t a direct route. With my granddad having been a professional musician, my dad had seen how tough it could be and he wasn’t keen for me to go straight into it at a young age so I actually went to Uni in Birmingham to study History. Music and the sax were always there for me though - I even managed to sit in on classes at the Birmingham Conservatoire during my time there and that’s where I met Soweto Kinch as well. 

LJN: You found your way to full-time music eventually though. 

CG: After I graduated, I knew it was time for me to really dedicate myself to music and so I went to study a post-grad at Trinity in London. That was where I started to really progress and come into my own, I think. I’d been involved in Tomorrow’s Warriors since a young age and I continue to do things with them today. Gary Crosby has been such a great support and influence and in 2009, whilst I was studying, I started playing with Jazz Jamaica as well and this was my first real important step into the professional music world. 

LJN: You’ve also played with Nu Civilisation Orchestra and Venus Warriors - do you find that being involved in such a number of collaborations helps to inform your own music? 

CG: I think so. It’s great to get different viewpoints on how to run a band and to pick up extra ideas and inspiration from a wealth of musicians. You’re always learning and I’ve learnt so much in the 18 months since the Quartet got together. When I started, I definitely didn’t know so much about running a band but having had the experience of seeing other people do it really helped me. The amount of organisation involved can easily take away from the time you have to practice and really dedicate yourself to the actual music side of things, so having the mentoring as it were from these other collaborations helped me to make sure I could find the right balance. 

LJN: What was the catalyst for making that jump from playing within bands to launching your own project with the Camilla George Quartet? 

CG: It was actually playing with Courtney Pine’s Venus Warriors. He was really hot on us all bringing in our own stuff to play and, at the time, I didn’t feel so confident in my own writing. He really helped me with my compositional process and opened my eyes to the importance of exploring your own work. It gave me the drive I needed to start my own project.

LJN: You wrote most of the songs on the album, the Kenny Garrett classic “Ms Baja” and the standard “The Night has a Thousand Eyes” being the only exceptions. What are your inspirations? 

CG: Lots of things really. Mainly it’s a mix between my musical influences and then the other players who form the quartet. My piano player Sarah Tandy was someone I always wanted to work with; she’s such an exciting player and we share a love for Kenny Kirkland and nineties jazz. I always knew I wanted to have an African influence in there too. I grew up in Nigeria listening to a mix of Jackie McLean and Fela Kuti, which kind of sums up the broad range of styles that continue to influence me! Having the chance to work with such a great percussion section, with Femi and Daniel, meant that I had the scope to really explore African rhythms with a nod towards the calypso beats I so love playing with Jazz Jamaica and even some hints of hip hop in there as well. 

LJN: You’ve dedicated one of the songs “Song for Reds” to your father. Was he a big influence in your musical journey? 

CG: He was, certainly. He was the one who really got me into jazz, taking me to my first ever jazz gig. We went to see Sonny Rollins and I just loved it. Sadly, my father passed away in 2011 and it was something I definitely needed to do, have a song that really expressed my love and gratitude for everything he’d done for me and I’m really proud of that tune, it just sums him up perfectly.


01. Mami Wata
02. Lunacity
03. Song For Reds
04. Isang
05. Ms Baja
06. Dreams Of Eket
07. The Night Has A Thousand Eyes
08. Mami Wata Returns (Usoro)

Camilla George: alto saxophone
Sarah Tandy: piano
Daniel Casimir: bass
Femi Koleoso: drums

Plus
Zara McFarlane: vocals on Ms Baja


Barry Green Trio - Almost There (MOLETONE RECORDS 2017)



Barry Green, the below-the-radar but formidably skilled London pianist, takes off on cutting-edge New York collaborations. His 2016 trio  with American drummer Gerald Cleaver and saxophonist Chris Cheek proved that, and this New York-recorded set with bassist Drew Gress and drummer Tom Rainey is just as surefootedly inventive.

Half of the dozen tracks are Green’s (who’s an adroit composer of postbop cliffhangers as well as thoughtful song themes); the others are famous Broadway, pop and jazz tunes. Green’s jagged, stop-start title track is a typical contemporary-jazz mix of avant-swing and a flinty Latin feel. Bud Powell’s standard Bouncing With Bud is a wonderful interpretation, with its famous tune long postponed, Gress delivering an awesome bass solo of sly flicks and graceful melodic curves, and Green’s improvisation a balance of foxy restraint and impulsiveness.

You’ll Never Walk Alone is fragmented and reharmonised without sabotage, Lulu’s Back in Town and Thelonious Monk’s Work are vivacious rhythm-teasers of quite different kinds. This fine trio start a week’s UK tour from 31 January.


01. Almost There 4:26
02. Bouncing with Bud 6:10
03. Never Walk Alone 5:53
04. Lulu's Back in Town 5:02
05. Like the First Time (Take 1) 2:25
06. My Spy 2:31
07. Train in the Distance 3:50
08. Like the First Time (Take 2) 2:32
09. Signals 6:43
10. Her Majesty 1:15
11. I Could See the Smallest Things 2:36
12. Work 11:18

Drew Gress (bass)
Tom Rainey (drums)


Ensamble Nodo - Taller 1 (DISCOS PENDIENTE 2017)



Ya está disponible 'Taller 1', el disco debut de Ensamble Nodo, que se suma al catálogo de Discos Pendiente, siendo el primero de este año.

Este disco es el resultado final de un enriquecedor, complejo, bello y extenso proceso que comienza a fines del año 2013 gracias a la benéfica gestión de Federico Dannemann para generar un punto de encuentro (nodo) entre un grupo de jóvenes compositores e intérpretes de una nueva generación para desarrollar, bajo una perspectiva educativa, el oficio y trabajo propio que requiere un ensamble.

Quisiéramos hacer énfasis en el factor humano que ha significado este trabajo de tres años, ya que el sello de "taller" que su gestor le imprimió en la semilla original, ha perdurado en nuestro desarrollo hasta el día de hoy, aún, en los últimos dos años, sin Federico a cargo de la dirección. Y no es, sino este viaje de aprendizaje, ensayo y error y comunicación humana lo que nos motiva a publicar este simbólico registro sonoro.


01. Ensemble Idea
02. Monólogo (...) A un Hijo de Meses
03. A Media Existencia
04. Maya (Ilusiones Sensoriales)
05. Gayatri
06. Cobra
07. N39
08. Vals



Kind Folk - Kind Folk EP (2017)


Released January 19, 2017

Sample...

John Raymond - trumpet, flugelhorn
Alex LoRe - alto saxophone
Noam Wiesenberg - bass
Colin Stranahan - drums

Recorded and Mixed by Michael Perez-Cisneros

1. Kind Folk 07:25
2. Round Trip 04:48
3. Shir Le'Shir 04:57
4. Silence 05:03
5. Waiting For The Open Door 07:21


jueves, 19 de enero de 2017

Fred Hughes Trio, The - MATRIX (SHORE THING RECORDS 2017)



IMMEDIATE RELEASE

“Something within or from which something else originates, develops, or takes form.” With that, Matrix seemed like the logical title for the Fred Hughes Trio’s 8th release and 3rd recording for ShoreThing Records.