viernes, 24 de febrero de 2017

OGGY & the Phonics - Folklore Imaginaire (2017)


S’inspirant d’artistes faisant la jonction entre musiques savantes et populaires (Kneebody, Jaga Jazzist, Radiohead, Knower), OGGY & the phonics se veut un son à la fois facile et profond, puissant et délicat, original et pulsatile. D’aucuns s’aventureraient à les situer sous la très large bannière dite du «jazz moderne».

Il faut comprendre par là que chacun de ces cinq musiciens démontre un certain goût pour la spontanéité et l’improvisation.

Ce sont là deux préceptes inhérents à l’univers que s’est forgé le groupe, dont les compositions témoignent également d’une profonde volonté de simplicité dans l’innovation.


1. Unknown Force 04:57
2. La Réthorique du Panda 05:38
3. Ragavuline 05:46
4. Simplement 05:05
5. L'alchimiste 06:43
6. Canyon 04:40
7. Absolem 06:33
8. Atlas 06:24
9. Immersion 05:38
10.Improvisation 06:07 



Ron Carter & Richard Galliano - An Evening With (Live at the Theaterstübchen, Kassel) 2017


Sie könnten es sich wesentlich einfacher machen, gerade in ihrem Alter, mit ihrer Reputation. Etwas spielen, das die Leute mit ihnen identifizieren: Locker swingenden Mainstream, fließende Musette. Hello Mr. Carter, nice to meet you! Bonjour Monsieur Galliano, comment allez vous? Jeder bleibt bei sich, lässt sich bejubeln und feiern; der eine in den Jazzclubs von Downtown, der andere in den Sälen nahe der Seine. Doch wer die beiden „partners in crime“ respektive „partenaires dans le crime“ kennt, der weiß zur Genüge, dass sie zeitlebens das Risiko suchten wie Adrenalin-Junkies, das Abenteuer Musik niemals von der sicheren Seite her angingen, sondern immer hinter den eigenen Horizont gelangen wollten. Vielleicht ist es Neugier, vielleicht aber auch die Klugheit, schon früh begriffen zu haben, dass die Beschränkung auf sich selbst niemanden voran bringt, sondern eher zu Stillstand, manchmal gar zu Rückschritt führt.

Also ließen sich Ron Carter und Richard Galliano zum zweiten Mal nach 1990, als sie ihr gefeiertes Album „Panamanhattan“ in Paris einspielten, auf das Wagnis einer interkontinentalen Kollaboration ein. Hier der französische Akkordeonmeister, dessen Finger mit akrobatischer Leichtigkeit über die Tastatur fliegen und das Instrument in Melancholie weinen oder vor Freude jubilieren lassen.


Dort die amerikanische Bassinstanz, deren tief gestimmte Saiten mehr als 2500(!) Einspielungen veredeln und der zu den Eckpfeilern des Gesamtkunstwerks von Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin, Roberta Flack und Antonio Carlos Jobim zählt. Zwei, die in ihrer eigenen Welt längst Heldenstatuts erlangt haben und eigentlich nur verlieren könnten, wenn sie das Terrain des jeweils anderen betreten. „Glaub mir, es gibt nichts Wahrhaftigeres als mit einem Zocker auf die Bühne zu gehen“, schwärmt Carter von der aufgefrischten Liaison mit seinem gallischen Kumpel. Den einst verlorenen gegangenen roten Faden entdeckten beide im März 2016 bei der Jazz Woche in Burghausen als kleines Intermezzo im Rahmen eines gemeinsamen Auftritts mit der WDR Big Band wieder. Den vorläufigen Höhepunkt bildete dann die Aufnahme im Theaterstübchen in Kassel am 29. Oktober. Galliano erinnert sich: „Bevor wir loslegten, sagte ich zu ihm: ´Da kann du mal sehen: 27 Jahre sind vergangen, wir sind immer noch dieselben und ich spiele immer noch dasselbe Akkordeon. Worauf Ron nur entgegnete: „Und wir haben immer noch dieselben Finger!“

Mit diesen 20 flinken Werkzeugen bewegen sich die beiden Protagonisten des musikalischen Joint Venture ohne Berührungsängste aufeinander zu. Keiner verharrt in seiner angestammten Position. Wie zwei furchtlose Alpinisten balancieren sie über dem gähnenden Abgrund und vollführen waghalsige Manöver, springen gegenseitig immer wieder in die Bresche. Je länger die intimen Wanderungen voller subtiler Zwischentöne und feinsinniger, tänzerischer Eleganz dauern, umso größer scheint die Vertrautheit zu werden. Vier Carter-Kompositionen („Einbahnstrasse“, „Blues For D. P.“, „Ah Rio“, First Trip“), vier Stücke von Galliano („Tea For Toots“, „Billie“, „Waltz For Nicky“, „Tango For Claude“), für jeden ein Solo („You Are My Sunshine“ und „Aria/Libertango“): Nichts hat sich verändert. „Richard ergreift wirklich jede rhythmische und harmonische Gelegenheit“, wundert sich der Amerikaner über seinen französischen Partner.


Und der kontert galant: „Ron sieht immer noch so jung, frisch und smart aus wie vor drei Jahrzehnten. Und er ist nach wie vor enthusiastisch, unkompliziert und kommt ohne Umschweife auf den Punkt.“ Selten passte ein häufig gedankenlos gebrauchtes Bild besser, als an diesem ganz besonderen Abend: Ron Carter und Richard Galliano kreieren ein universelle musikalische Sprache, deren Vokabeln aus Noten bestehen. Ein risikoloser Genuss.

01. Einbahnstrasse 5:56
02. Tea for Toots 6:18
03. Billie 5:51
04. Waltz for Nicky 5:13
05. You Are My Sunshine 5:39
06. Tango pour Claude 4:24
07. Blues for D.P. 4:46
08. Aria / Libertango 5:38
09. Ah, Rio 5:12
10. First Trip 5:15
11. It's About Time - Bonustrack Digital Only 4:45




Les Chroniques de l'Inutile - Virgule (EL NEGOCITO RECORDS 2017)


"Virgule" is the result of Les Chroniques de l'Inutile growing as a septet. This new set of pieces, very "song-like", wild in some moments, surprisingly gentle and peaceful in others, celebrates the present moment and reminds the importance of punctuation.

(FR) 
"Virgule" est le disque du groupe "Les Chroniques de l'Inutile" devenu un septet. Cet ensemble de nouveaux morceaux parfois sauvages ou tout à coup étonnamment paisibles, célèbre l'instant présent et témoigne de l'importance de la ponctuation.


"There's a strange poetry to the music of Les Chroniques de l'Inutile. One moment, the septet is deep into a passage of slowly mutating post-jazz guitar melodicism, only to have its developing shape obliterated by bursts of wind instrument harmonies. Then there are other times when the clear path of a straight-forward modern jazz piece is muddied by a sudden disassembly into the random motion of free jazz.

Each piece of Virgule suggests a structural intent, and yet for every instance of cadential familiarity and alliterative effect, the sextet breaks things down—often in ways that contradict with patterns and alternative structures all their own. This album is an endless source of intrigue."

1. La mauvaise raison
B. Sauzereau - 04:06

2. Moineau
B. Sauzereau - 03:45

3. William (Harrison Bonney)
B. Sauzereau - 06:27

4. Nemo
B. Sauzereau - 02:10

5. Gauche
Les Chroniques de l'Inutile improvisation - 03:38 

6. Mary Molly Bebert et alcide
B. Sauzereau - 04:57

7. La cite a une rue
B. Sauzereau - 03:14

8. Rustgevende uitlijning van drie punten in de ruimte
B. Sauzereau - 04:45

9. Non vorrei morire mai
B. Sauzereau - 04:25

10. Whistler
J. Bouttery - 01:24

11. Gans
B. Sauzereau - 02:24 

12. Il suo cugino
B. Sauzereau - 05:29


Recording Engineer: Pierre Dozin on March 2015 at Jet Studio, Brussels, Belgium
Mixing Engineer: Werner Pensaert at Linster Studio
Mastering Engineer: Steven Maes at Motormusic
Executive Production: Rogé & Benjamin Sauzereau
Co-Production: ~suite & el NEGOCITO Records
Artwork: 'window' by Marc Antoine Mathieu
Graphic Design: Laurens Teerlinck


jueves, 23 de febrero de 2017

MIXCITY - TRANSEO (2017)


MIXCITY ( Jazz / Pop / Hip Hop - France)  
Nouvel album " TRANSEO " sortie le 24 Février

Emmené par le compositeur et pianiste nantais Jean-Patrick Cosset, MIXCITY est un projet qui confronte le hip-hop au jazz sans pour autant renier quelques accointances pop et afro-beat. Percutant sur scène, le répertoire du groupe à la fois brillant et accrocheur prône un retour aux sources du groove, moderne, classieux et élégant. 

Le quatuor présentera lors de ce concert son tout nouvel album "Transeo", Inspiré par les grands espaces arides des États-Unis, cette nouvelle production est parsemée de belles collaborations d’Outre-Atlantique (Brian Lopez, Grey Reverent, Raashan Ahmad ou encore Baba Israel).




RELEASE PARTIES



Les Hay Babies, a lyonnais bouchon meal and an illuminated curling!






CONCERTOS PORTA-JAZZ: Sábado, 25 fev - 19:00 + 22:00 - Mané Fernandes / José Soares / Ricardo Coelho


Sala Porta-Jazz 
Sábado, 25 fevereiro
19:00 + 22:00


MANÉ FERNANDES / JOSÉ SOARES / RICARDO COELHO

Mané Fernandes - guitarra
José Soares - saxofone
Ricardo Coelho - vibrafone

Desde cedo que é notória a cumplicidade musical existente entre estes músicos, amigos e parceiros habituais de palco.

Este concerto surge assim como uma vontade natural de explorarem, em contexto de trio, música original e canções.


PRÓXIMOS CONCERTOS SALA PORTA-JAZZ
Sábados 19:00 + 22:00

4 março
Espécie de Trio
Hugo Raro - piano
Filipe Teixeira - contrabaixo
António Torres Pinto

11 março
Iago Fernandez Quarteto
José Pedro Coelho - saxofone
Wilfried Wilde - guitarra
Demian Cabaud - contrabaixo
Iago Fernandez - bateria

18 março
Talmor - Irniger "CounterpointS"
Ohad Talmor - saxofone tenor
Christoph Irniger - saxofone tenor
André Fernandes - guitarra
Demian Cabaud - contrabaixo
Vinnie Sperrazza - bateria

25 março
Miguel Ângelo Quarteto
João Guimarães - saxofone alto
Joaquim Rodrigues - piano
Miguel Ângelo - contrabaixo
Marcos Cavaleiro - bateria

Auditório da FEUP
- entrada livre - 

2 março, 21:30
MAP - "Guerra e Paz"
Paulo Gomes - piano
Miguel Moreira - guitarra
Miguel Ângelo - contrabaixo
Acácio Salero - bateria

27 março, 21:30 
Rui Filipe Freitas Sexteto - "Axis Mundi"
Rui Filipe Freitas - vibrafone
José Pedro Coelho - saxofone tenor e clarinete-baixo  
João Mortágua - saxofone alto e saxofone soprano
Mané Fernandes - guitarra
Filipe Teixeira - contrabaixo
João Martins - bateria

18 abril, 21:30
The Nada
João Guimarães - saxofone
Eurico Costa - guitarra
Simon Jermyn - baixo
José Marrucho - bateria

18 maio, 21:30
AP Quarteto
AP - guitarra
Carlos Azevedo - piano
Filipe Teixeira - contrabaixo
Acácio Salero - bateria

19 junho, 21:30
João Mortágua "AXES"
João Mortágua - saxofone alto e soprano
José Soares - saxofone alto
Hugo Ciríaco - saxofone tenor 
Rui Teixeira - saxofone barítono e clarinete baixo
Pedro Vasconcelos - bateria e percussões
Alex Lázaro - bateria e percussões

CICLO JAZZ DE SANTO TIRSO
Centro Cultural de Vila das Aves
- entrada livre -

25 fevereiro, 21:30
João Paulo Rosado | Sinopse
João Paulo Rosado - contrabaixo / baixo eléctrico
João Guimarães - saxofone alto
AP - guitarra
Hugo Raro - piano
António Torres Pinto - bateria

1 abril, 21:30
Renato Dias Trio
Renato Dias - guitarra
Filipe Teixeira - contrabaixo
Filipe Monteiro - bateria

16 junho, 21:30
AP Quarteto
AP - guitarra
Carlos Azevedo - piano
Filipe Teixeira - contrabaixo
Acácio Salero - bateria

1 julho, 21:30
Rui Filipe Freitas Sexteto
Rui Filipe Freitas - vibrafone
José Pedro Coelho - saxofone tenor e clarinete-baixo  
João Mortágua - saxofone alto e saxofone soprano
Mané Fernandes - guitarra
Filipe Teixeira - contrabaixo
João Martins - bateria


Alexandre Da Costa, The Festival of our cheeses and Illuminart!






miércoles, 22 de febrero de 2017

Vocalist, composer, educator Mili Bermejo dies at 65


It is with great sorrow and a profound sense of loss that we announce the passing of Mili Bermejo on February 21 after a nine-month battle with cancer. She was 65.

A beloved fixture on the Boston music scene for more than three decades, Mili was a prolific vocalist, composer and educator. Her singular sound was defined by its unique combination of the emotionally resonant poetry and musical traditions of her Latin American heritage with the language of jazz, which she studied with such well-known masters as Jerry Bergonzi, Ran Blake and Mick Goodrick.  

Throughout her long career, she worked extensively as a bandleader and recording artist, joined by such frequent collaborators as Bruce Barth, Gary Chaffee, Eugene Friesen, Bertram Lehman, Vardan Ovsepian, Claudio Ragazzi, Tim Ray, Bert Seager and George Schuller among many others. Her final recording, Arte del Dúo (Ediciones Pentagrama), celebrates her 35-year musical partnership with her husband, bassist Dan Greenspan, and was included on Jon Garelick’s Best Jazz releases of 2016 list in the Boston Globe.


During her 32 years as a Professor at the Berklee College of Music, Mili lovingly passed on her experiences as a third-generation musician, as well as the lessons of her mentors, including soprano Elisabeth Phinney, to such next-generation talents as Chiara Civello, Lauren Kinhan (NY Voices), Alex Panayi, Sara Serpa, Luciana Souza, Esperanza Spaulding and Tierney Sutton. Her long-awaited first book, Jazz Vocal Improvisation: An Instrumental Approach, will be published by Berklee Press this Spring.

More information is available on her web site at milibermejomusic.com.

Donations in her memory may be made to the Elizabeth Evarts de Rham Hospice Home in Cambridge, Massachusetts.



Rocco John New CD Peace And Love A Tribute To Will Connell + Upcoming Appearances


+ Upcoming Appearances


Upcoming Gigs:

Feb 25,  2017 with Amina Baraka and the Red Microphone, 8:00 pm for the New Masses Nights series at Henry Winston Hall

March 18, 2017 Rocco John Quartet-Caffe Vivaldi, 6:00-8:00 pm with Chris Forbes-p, Lucas McCrosson-b, and Tom Cabrera-d

April 15, 6:00-8:00 pm the Rocco John Quartet at the Caffe Vivaldi.

May 1 thru May 4, 2017 Filamonica Laudamo, Messina,Italy. I have been commissioned to give a four day workshop on Improvisation for Orchestral Musicians for the Filarmonica Laudamo in Messina, Italy.

Paricipants include Orchestral Musicians and will cover traditional improvisation as well as free improvisation. The workshops will take place at the Sala Contilli of Teatro Vittorio Emanuele in Messina.  The workshops culminate in a concert on May 4. at the Filmonica Laudamo. First part of the concert with the participants and the second part of the evening I will perform with Luciano Troja-piano (director of the Filamonica), Giancarlo Mazzu-guitar, and Blaise Siwula-sax/clarinet. 

May 5, 2017 concert Palermo, Italy with the quartet mentioned above for Curva Minore Season. A very nice outlet for contemporary music. http://www.curvaminore.org


Rocco John Iacovone-alto and soprano saxophones, piano
Ras Moshe Burnett-bells, tenor saxophone
Sana Nagano-violin
Michael Lytle-bass clarinet
Rich Rosenthal-guitar
Phil Sirois-double bass
John Pietaro-percussion
Dalius Naujo-drums

Track 1- Aurora Borealis 23’11
Track 2-Evolutions 16’27
Track 3-What if the moon were made out of Jazz 22’30

All compositions by Rocco John Iacovone ©
Recorded and mixed by -Andrew Marcinkowski
Recorded live at THE STONE, NYC
Mastered by Jim DeSalvo at Beanstudio, Wayne, NJ
UPC code: 783583260800


FROM THE COMPOSER:
Will Connell lived his music. One day, on the way home from a gig, Will turned to me and said,” Man, the world has got to hear your music. The world NEEDS to hear your music.” Then he gave me a slot in a residency he was curating at John Zorn’s place, The Stone. That’s how Will was. As we got closer to Christmas week, I emailed him about rehearsal. He didn’t respond. I called him. No response. Very unlike Will. I later received a call from Ras Moshe Burnett telling me Will was in the hospital. A routine procedure had gone wrong. Will was in a coma and passed a few days later.

The residency went on as planned. The air was heavy, but filled with love and respect. The Stone was packed with standing room only for the entire week. This performance was recorded live. Will used to sign his emails, “Peas and Lub” and so this CD, Peace and Love is dedicated with much love to the spirit of Will Connell.


BIOGRAPHY:
Rocco has built a career that straddles his early influences of “in” versus “out “. Recognizing the rich and vibrant community of New York improvisatory musicians, Rocco started the Improvisational Composers Ensemble (ICE) as an outlet for music that features improvisation as a major compositional element. PEACE AND LOVE is his fourth album as leader/composer and his second on the UR label along with EMBRACE THE CHANGE.

“Rocco John Iacovone draws from a deep well for his musical inspiration, with sources as diverse as Eric Dolphy, JS Bach, Charlie Parker and Nadia Boulanger. “Terrell Holmes, All About Jazz

“Saxophonist Rocco John has studied with Sam Rivers and Lee Konitz and his distinctly apparent ability to both compose and improvise in the Jazz idiom clearly reflects the lessons learned from these masters.” Russ Musto, All About Jazz