martes, 17 de octubre de 2017

Lucky Peterson: What Have I Done Wrong - The Best Of The Jsp Studio Sessions (JSP RECORDS 2017)



Multi-instrumentalist Lucky Peterson cements his position as one of the era's leading Bluesmen with this Best of the JSP sessions. Features various special guests and this edition comes with 4 bonus unreleased tracks.

A protege of Willie Dixon's he performed at the age of five on the Ed Sullivan show. Acclaimed as a child prodigy, he consolidated his musical skills at Buffalo Academy, before bowing to the inevitable and playing guitar and keyboards for the likes of Etta James. Bobby Bland and Little Milton. That pedigree is evident in every track here. We hear Lucky evolving from assurance to sheer mastery. And that's to say nothing of his singing, songwriting, and band leading skills.


1. After The Dance (3:40)
2. Til' My Dyin' Day (Feat. Andy Aledort) (6:17)
3. Age Ain't Nothing But A Number (Feat. James Peterson) (3:48)
4. Strange Things Happening Every Day (Feat. Tamara Peterson) (4:29)
5. Lost The Right (3:07)
6. What Have I Done Wrong (3:36)
7. Never Coming Back (3:13)
8. Where's Lucky (Feat. Bernard Allison, Larry McCray & Carl Weathersby/) (7:16)
9. Have You Ever (Could Have Been You) (4:41)
10. From Me (Previously Unissued Track) (6:51)
11. Back To Sing The Blues (Previously Unissued Track) (4:29)
12. I'm Lucky Man (Feat. Tamara Peterson) (Previously Unissued Track) (4:31)

Louis Sclavis - Frontières (2017)


Le nouvel album du clarinettiste est un récit fait de mélodies à la Frontière des styles, des cultures, des territoires ...

Le clarinettiste, saxophoniste, photographe, compositeur audacieux et improvisateur hors-pair est passionné par l’aventure du présent, sans frontières. C’est peut-être pour cette raison qu’il souffle sur celles-ci pour suggérer des alliances entre toutes les différences qui font la richesse du monde.

"J'ai utilisé pour cet album des musiques que j'ai composées pour l'image, essentiellement des documentaires ; je les ai retravaillées en développant les rythmiques, en ajoutant des voix ou des parties solistes, parfois en les ré enregistrant entièrement." Louis Sclavis



01. Neige
02. Ceux qui
03. Niki et l'oiseau
04. Child
05. Valse d'eau
06. Trait pour trait
07. Des lunes amères
08. Eden
09. Tulgudur
10. Chibanis
11. Kyle
12. L'origine
13. Glisser
14. Désirs
15. Fortuna
16. Trompes
17. Désordres
18. Valse des géants

Louis Sclavis (clarinette, flûte)
Dominique Pifarély (violon)
Bruno Chevillon (basse)
Christophe Lavergne (batterie)
Vincent Peirani (accordéon)
Maxime Delpierre (guitare)
Gilles Coronado (guitare)
Benjamin Moussey (piano)
Keyvan Chemirani (percussions)
Vincent Courtois (violoncelle)

lunes, 16 de octubre de 2017

Jure Pukl & Matija Dedić - Hybrid (feat. Melissa Aldana, Matt Brewer & Johnathan Blake) WHIRLWIND RECORDINGS 2017



An energized and impassioned studio session from New York-based Slovenian saxophonist Jure Pukl, Croatian pianist Matija Dedić and their quartet with bassist Matt Brewer and drummer Johnathan Blake brings new release, Hybrid, to the Whirlwind label.Pukl’s prolific ascendancy of the international jazz scene has resulted in numerous solo and sideman recordings, recognised in 2015 by the attainment of Slovenia’s highest national arts award. His collaborations include names such as Branford Marsalis, Jeff “Tain” Watts, Dave Liebman and Vijay Iyer; and like-minded colleague Matija Dedić’s varied career has seen him perform with artists including Larry Grenadier, John Hollenbeck, Jeff Ballard and Kendrick Scott.

Across a venturesome sixty-seven minutes of mostly original numbers, the individual compositions of both Pukl and Dedić stimulate a fiery, improvisational spirit throughout the quartet, their respect for tradition translating into a spontaneous, contemporary context which also embraces elements of free jazz. Pukl relates the story that, as a funk-loving youth in Slovenia, he asked his father to return from a business trip in Munich with Maceo Parker records, only to be mistakenly brought vinyls by (to him, at the time) the unknown and perplexing Charlie Parker. But after a week, the saxophonist fell in love with them, closely followed by the sounds of John Coltrane and Stan Getz/João Gilberto: “These are artists and recordings I still recognize as my inspiration”.


The immediacy of these live studio takes is palpable, from the sprawling fast swing of title track ‘Hybrid’ to journeying ‘Where Are You Coming From And Where Are You Going?’ (the latter being Pukl’s focus-pull on his development as a musician, ranging from its classically-suggested opening structure, through unconfined bass cadenza, to a spiky, irregularly-metred vamp). The repeated harmonic and rhythmic figures of ‘Sequence II’ (dual tenors introducing guest saxophonist Melissa Aldana) and ‘Sequence III’ offer freedom of expression through distinctly different atmospheres; and four-bar vamp ‘Spinning Thoughts’ entwines boisterous ideas from a single, elegant tenor motif.

Dedić’s ‘Hempburger’ and ‘Plan B’ highlight this quartet’s traditional influences with vigor, his own chordal piano foundation and rolling solos prominent throughout whilst featuring scintillating percussion from Johnathan Blake; and in a beautiful tune dedicated to Dedić’s late father, ‘Family’s obvious warmth is enhanced by Matt Brewer’s bass searching combined with ravishing tenor imaginings from Aldana. Initially quizzical ‘False Accusations’ eventually sparkles with boisterous positivity, Pukl’s tenor gliding across its choppy waters; and the late-hours first-take flow of Ornette Coleman’s ‘Lonely Woman’ simmers to misterioso piano and bass clarinet.

“There’s a really good vibe and energy between the four of us, so we got into some special moments on this record”, recalls Pukl. “We all know each other well and feel connected; and also it’s challenging and fun to play alongside Melissa. I’ve always loved performing and, for me, this album reflects both my musical and personal worlds. I always imagine and see music as pictures, so perhaps others might also get into some deeper thoughts – about themselves, about the world they live in – as they listen.”


1. Hybrid 05:06
2. Where Are You Coming From And Where Are You Going 08:42
3. Sequence II 06:53
4. Hempburger 06:09
5. Lonely Woman 07:35
6. Plan B 04:49
7. Family 06:37
8. False Accusations 06:23
9. Sequence III 06:23
10. Spinning Thoughts 08:19

Jure Pukl - soprano & tenor saxophone, bass clarinet
Matija Dedic - piano
Matt Brewer - double bass
Johnathan Blake - drums

Special Guest 
Melissa Aldana - tenor saxophone (tracks 2 & 7)

Arve Henriksen & Terje Isungset – The Art Of Irrigation (ALL ICE RECORDS 2017)



1 Slåk 4:44
2 Kvitli 2:00
3 Fløymde 4:12
4 Vassluke 3:16
5 Fer 1:05
6 Ausje 4:16
7 Vassreke 3:11
8 Ard 1:48
9 Podl 3:43
10 Kjøe 1:50
11 Kvitla 4:38



Recorded in Lærdal lydstudio-Norway, June 2015
Engineer: Tom Karlsrud
Mixed by Daniel Michael Wold and Terje Isungset
Mastered by Daniel Michael Wold
All Ice Records, Oct 1 - 2017


Lucky Peterson - Tribute To Jimmy Smith (JAZZ VILLAGE 2017)


Lucky Peterson concentrates here on the Hammond B-3 organ, his favorite instrument whose warm tone refers to the songs of gospel and the hymns of soul music. To pay tribute to his mentor Jimmy Smith, he surrounded himself with virtuoso partners among whom stands the prodigy guitarist Kelyn Crapp. Throughout the album, Lucky Peterson is the repository of a long musical history rooted in the blues but very open; we find the pulsation of jazz, the groove of rhythm'n'blues and the energy of rock'n'roll.

After the remarkable The Son of a Bluesman and Live in Marciac, the new album of the American bluesman Lucky Peterson at Jazz Village is already an important and indispensable disc in his lush discography. The reason for this is twofold. First of all, Lucky Peterson plays exclusively with the Hammond B-3 organ and favors instrumental pieces, and then proposes a particularly compact instrumentation (a trio orgueguitare-drums, sometimes with the addition of a trumpet or a saxophone) through a repertoire clearly oriented towards jazz, in tribute to the great organist Jimmy Smith, with classics from his repertoire (The Sermon, The Champ), and many other surprises ...

This jazz is tinged with soul and of blues. Music that groove and could be called "jazz'n'blues," as in the old days of the vinyls of Blue Note. From 1956 to 1963, Jimmy Smith was also one of the locomotives of this label, knowing how to deploy with force and elegance swingups tracklistings resembling trains undulating in the night.

And it is precisely by the energetic and enthralling Night Train of Jimmy Forrest that starts this album, with the presence in guest of the French trumpeter Nicolas Folmer. A piece that Jimmy Smith recorded in 1966 for Verve with the majestic guitarist Wes Montgomery, and who in this new version, as well as on the whole album, sees Lucky Peterson entrust the guitar to a musician who knows how to sound its strings between jazz and funk, in the line of the great Wes ...

This is a young guitarist from San Francisco named Kelyn Crapp who, given his talent and sense of feeling, will not remain long unknown.

1 Night Train 8:44
2 The Sermon 6:30
3 The Champ 6:42
4 Jimmy Wants to Groove 6:40
5 Singin this Song 4 U 5:48
6 Jimmy's Jumpin 5:20
7 Misty 7:56
8 Back at the Chicken Shack 7:53
9 Blues for Wes 4:43

Lucky Peterson - Hammond Organ, vocals on 4 and 5
with Herlin Riley - drums
Kelyn Crapp - guitar
and Nicolas Folmer - trumpet on 1
Philippe Petrucciani - guitar on 9
Archie Shepp - sax on 4 and 8, vocals on 4

Anouar Brahem - Blue Maqams (ECM 2017)



Released on the occasion of Anouar Brahem’s 60th birthday, Blue Maqams offers many reasons to celebrate. Recorded in New York’s Avatar Studios in May 2017 and produced by Manfred Eicher, it brings the Tunisian oud master together with three brilliant improvisers: the “Maqams” of the title refers to the Arabic modal music system, rendered kind of blue by the jazz players. For Anouar Brahem and Dave Holland the album marks a reunion: they first collaborated 20 years ago on the very widely-acclaimed Thimar album. Brahem meets Jack DeJohnette for the first time here, but Holland and DeJohnette have been frequent musical partners over the last half-century beginning with ground-breaking work with Miles Davis – their collaborations are legendary. British pianist Django Bates also rises superbly to the challenge of Brahem’s compositions. And Anouar in turn is inspired to some of his most outgoing playing. Blue Maqams is a highlight of ECM’s autumn season. Live appearances by the quartet will follow in 2018.


1 OPENING DAY (Anouar Brahem) 07:01
2 LA NUIT (Anouar Brahem) 10:28
3 BLUE MAQAMS (Anouar Brahem) 08:41
4 BAHIA (Anouar Brahem) 08:45
5 LA PASSANTE (Anouar Brahem) 04:05
6 BOM DIA RIO (Anouar Brahem) 09:23
7 PERSEPOLIS'S MIRAGE (Anouar Brahem) 08:06
8 THE RECOVERED ROAD TO AL-SHAM (Anouar Brahem) 09:26
9 UNEXPECTED OUTCOME (Anouar Brahem) 10:59


Kermit Ruffins and Irvin Mayfield - A Beautiful World (BASIN STREET RECORDS 2017)



In celebration of Basin Street Records’ 20th anniversary, label mates and trumpeters Kermit Ruffins and Irvin Mayfield join forces on A Beautiful World. These two mock adversaries, who used to hilariously battle it out musically at local clubs, stand as Basin Street’s most recorded artists and helped put the local label on the national map.

They share composing credits for the albums’ first cut, “Well, Alright,” which, not surprisingly, swings like crazy and is made complete with hand clapping, singing and Ruffins cheerleading—“Follow the umbrella!” It’s a big band number filled with saxophone, trombone and trumpet sections. The trumpeters kick things off with tenor saxophonist Ed “Sweetbread” Petersen soon standing up for an inspired solo and Trevarri Huff-Boone blowing some fine bari.

Well, alright, there are some 60, primarily very well-known New Orleans musicians on this album that boasts 26 cuts. Granted, there are several very short, spoken word interludes with several amusingly orated by actor Wendell Pierce. Nonetheless, that leaves room for a lot of music that varies greatly stylistically including the traditional sounds of the Ruffins and Mayfield penned “Just Playin’” that includes trumpeters Wendell Brunious, Leroy Jones, Leon “Kid Chocolate” Brown and Andrew Baham. Here, Shannon Powell takes over on drums that are often occupied by Adonis Rose.

There is even a string septet on three numbers, including the title cut, “Beautiful World,” the name of which was an inspired way to pay tribute to trumpeter Louis Armstrong by referencing his hit “What a Wonderful World.” Haley Reinhart, perhaps best recognized as a finalist on American Idol, sings with passion the song written by Mayfield and arranged by trombonist Emily Fredrickson, who also adds some fine tonal accents. Cyril Neville, who is prominent on many of the album’s selections, contributes his voice in harmony.

Neville takes the lead on a highlight of the disc, “Allen Toussaint,” a jaunty number he co-wrote with Ruffins and Mayfield. It embraces all of what might be described as Toussaint-isms—the prominent rollicking piano here provided by Ronald Markham, the distinctive horn arrangements, that certain lilting rhythm and humor. After recalling his first time spotting Toussaint, Neville exclaims, “All I can say, when I saw that, is man, when I grow up I wanna be like that!” The song ingeniously heads out quoting the master’s lyrics from “Working in the Coal Mine,” “Workin’, goin’, workin’, goin’…”

Just as Basin Street Records has done for 20 years, A Beautiful World celebrates New Orleans and its rich community of musicians.



1 Well, Alright 5:12
2 Kermit, Turn It Down Interlude 0:21
3 Drop Me Off In New Orleans 2:31
4 Don't Worry Be Happy 5:02
5 Irvin, Turn It Up Interlude 0:11
6 Good Life 4:56
7 Good Morning New Orleans 4:22
8 You Don't Look Good Interlude 0:28
9 Mystic 4:31
10 Dad, Turn It Up Interlude 0:22
11 Move On Ahead 5:19
12 Practicing Interlude 0:32
13 Just Playin' 3:19
14 Soul Sister Interlude 0:36
15 Sister Soul 4:15
16 Allen Toussaint 3:48
17 King Lear Interlude 0:27
18 Beautiful World [for Imani] 4:35
19 Do Whatcha Wanna Interlude 2:21
20 Be My Lady 5:40
21 Footwork 2:30
22 Trumpet Bounce 1:23
23 Lexine 2:44
24 Li'l Liza Jane Interlude 1:26
25 Just A Closer Walk With Thee 4:04
26 When the Saints Go Marching In 2:48


Danny Grissett - Remembrance (SAVANT RECORDS 2017)



Danny Grissett is definitely one of today's most exciting and respected pianists. For his first recording as a leader for Savant, Grissett and company offer a varied and interesting set-list which mixes jazz standards and some of the pianist's own compositions.

The go-to keyboard man for the likes of Tom Harrell, Jeremy Pelt, Wayne Escoffey and others, Grissett also finds time to lead his own groups and is a composer of considerable merit. A rare artist who grips and holds attention, Grissett handles the classics of the American songbook with an aplomb equal to the way he deals with the rather complex structures of his own intricate compositions. A gifted improviser with splendid technique, the pianist can also offer warmth and affection in melodic lines, the balance of fine taste, pungent swing and a jubilant approach inevitably generating audience cheer.


1. Woody'n You
2. Lament for Bobby
3. Prelude to a Kiss
4. Gallop's Gallop
5. Renatus
6. Just Enough
7. A Friend Indeed
8. Digital Big Foot
9. Detour Ahead

Danny Grissett (piano, Fender Rhodes)
Dayna Stephens (saxophones)
Vicente Archer (bass)
Bill Stewart (drums)


domingo, 15 de octubre de 2017

Arnan Raz: Chains Of Stories+ Next Show Oct 19th


My Upcoming album and my next show

Hello dear friends, I want to shre with you my upcoming album's art cover. The art was made by my freind Efrat Goldmann. It was a process of understadnig me, my music, the ideas that led me to write the music("chains of stories") and also try to link it to my last album cover. I love the result! Soon I will have more details about when I am releasing it. Stay tuned!

I have a show next Thursday in Bushwick! My Quintet. It's in a great great venue.

Oct 19th 9:00 PM @Father Knows Best: 611A Wilson Ave, Brooklyn, NY 11207

I hope to see you there!

Love,

Arnan

LOS 300 en concierto


LOS 300
PRESENTA
THE FIGHTING KANGAROO 

20 OCT · SORIA
CAFÉ TEATRO AVALON

21 OCT · BARCELONA
SALA ALMO2BAR

27 OCT · EL EJIDO (ALMERÍA)
LA FÁBRICA

Más info y entradas en www.rootsound.com

El trio granadino formado por Manuel Collados, Zeke Olmo y Jimi García, vuelve con los guantes puestos al cuadrilátero para lanzar 13 golpes canallas a la música latina, al swing y al estandarizado jazz funk en el elegante “The Fighting Kangaroo”, su nuevo LP.

Tras su sorprendente primer album “The Monkey Howler Times”, con el cual irrumpieron en la escena de la música negra, el jazz y el movimiento tropical, pasando por festivales como Weekend Beach, Imagina Funk o Sonidos Líquidos, llamaron la atención de los espectadores por su auténtica forma de tocar a base de loops orgánicos, sonando en escena como si fueran trescientos músicos, de ahí su nombre de pila. Ahora, Los 300, regresan con “The Fighting Kangaroo”, un disco más festivo y maduro, compuesto por 13 ganchos musicales cada cual con su intensidad que dejarán KO al oyente.

Michel Fernandez Quartet - Brazza Cry (2017)



1 Almeria 6:49
2 Birdboy 6:22
3 Lea 5:00
4 Jamaa El-Fna 7:20
5 Brazza Cry 7:06
6 Seven for Tchicai 6:40
7 Colo-Mentality 5:51


Joël Sicard piano
François Gallix bass
Nicolas Serret drums


Joey Alexander - Joey.Monk.Live! (MOTEMA MUSIC 2017)



In celebration of Thelonious Monk’s centennial, Joey Alexander performed at Jazz at Lincoln Center’s Appel Room in June of 2017. The resulting live album, Joey.Monk.Live! captures Joey’s trio, with bassist Scott Colley and drummer Willie Jones III, exploring Monk’s music in imaginative and deeply-felt ways. In solo, duo and trio performances, Joey pays tribute to the pianist and composer who first made an impression on him and who still serves as a guiding inspiration.

1. Round Midnight
2. Evidence
3. Ugly Beauty
4. Rhythm-a-Ning
5. Epistrophy
6. Straight No Chaser
7. Pannonica

Scott Colley: bass
Willie Jones III: drums


Fox - Pelican Blues (JAZZ AND PEOPLE 2017)



Pour son second disque, le trio FOX formé par Pierre Perchaud, Nicolas Moreaux et Jorge Rossy fait équipe avec le grand saxophoniste américain Chris Cheek et signe un album en forme de rêverie sur les racines entremêlées des musiques de la Louisiane, cette terre nourrie de culture française, berceau originel du jazz. Un disque canaille et délicat, terrestre et aérien, luxuriant et enchanteur, avec Vincent Peirani en invité exceptionnel.

1. Moonshine 06:11
2. Cliff Tone 07:12
3. Syntax 04:12
4. Fox on the Run 04:58
5. Canoë 05:16
6. Pelican Blues 05:30
7. 2 a.m. 03:57
8. Spirit of St. Louis 07:34
9. Mardi Gras/Bubble Gumbo 05:14
10. Four Deuces 04:59
11. Storyville 07:10


Special guests:
Vincent Peirani, accordion, accordina on tracks 1, 6 and 8
Christophe Panzani, tenor sax on track 11

Lettuce - Witches Stew: A Tribute to Miles Davis (2017)


Since 1992, Lettuce have kept a very distinct strand of festival funk alive, but with their newest outing, Witches Stew, the band veers into uncharted cerebral territory. Recorded live at the Catskill Chill festival in Lakewood, Pa., Witches Stew pays tribute to jazz icon Miles Davis with a reimagining of seven Davis originals.

The centerpiece of LP is a full recreation of his acclaimed fusion record In A Silent Way, and the band’s Berklee education shine through as they swing and groove through these bold musical abstractions. In A Silent Way is considered by many to be Davis’ greatest creative advancement. Rock critic Lester Bangs called it “transcendental new music” that gleefully “flushes categories away.”

And in many ways, the members of Lettuce strive to do the same on this LP. Sure, it’s a bold undertaking, but the band’s all-star roster definitely has the chops (guitarists Adam Smirnoff and Eric Krasno, drummer Adam Deitch, bassist Erick “Jesus” Coomes, vocalist-keyboardist Nigel Hall, saxophonist Ryan Zoidis and trumpeter Eric Bloom). Additionally, Witches Stew advances Lettuce’s prior forays into sonic experimentation, and proves that resting on their laurels is not an option.

Most tracks bust open to surpass the 10-minute mark, and needless to say the horn section thrives. There are some bite-sized grooves too, namely the funky, three and a half minute “Black Satin.” However, Lettuce are at their best when raw and unhinged, pushing their limits to honor a legend.

Miles Runs The Voodoo Down
Sivad
Shhh/Peaceful
Jean Pierre
In A Silent Way/It’s About That Time
Right Now
Black Satin

TOUR

October 20 El Prado, NM @ Taos Mesa Brewing
October 21 Denver, CO @ Fillmore Auditorium
October 22 Lincoln, NE @ Bourbon Theatre
October 24 Lexington, KY @ Manchester Music Hall
October 25 Birmingham, AL @ Avondale Brewing Company
October 26-27 Live Oak, FL @ Suwannee Hulaween Festival
October 28 Wilmington, NC @ Greenfield Lake Amphitheater
October 29 Raleigh, NC @ The Ritz
October 31 Asheville, NC @ New Mountain Amphitheater
December 29 Brooklyn, NY @ Brooklyn Bowl