Thursday, April 5, 2018

JazzWorldQuest Showcase 2017


The JazzWorldQuest Showcase 2017 features songs released in 2017 by independent jazz and world music artists from all over the world: Matija Dedic(Croatia), Roberto Magris Sextet(Italy/USA), Sinouj(Spain), Randy McGill(USA), Diego Figueiredo(Brazil), Florin Raducanu(Romania), Stefano Travaglini(Italy), Itamar Borochov(Israel), Florian Hoefner(Canada), Antoine Fafard(UK), The Steven McGill Project(USA), Bill Mentz(USA), Leon Neal(USA), António Silva Quartet(Portugal), Hayley Lam(USA), Igor Willcox 4tet(Brazil), Daniel Chia(Singapore), Marcin Malinowski(Poland), Sweet Lu(USA)



Listen at


Saturday, January 20, 2018

USA: New Release: WM Project From a Familiar Place

WM Project Releases Debut 
From a Familiar Place
featuring
Jeremy Pelt, Marshall Gilkes and Rafal Sarnecki 


On November 30, 2017, WM Project released their debut album
From a Familiar Place on WM Records. 

While WM Project is a brand-new constellation, the musical masterminds behind it, pianist Andrzej Winnicki and tenor saxophonist Krzysztof Medyna, go back a long way. In the 90's, they have played together in the fusion group Electric Breakwater ("In the Bush" CD with Mark Egan on bass and Rodney Holmes on drums), and have furthered appreciation of Polish composer and pianist Krzysztof Komeda through their widely acclaimed Komeda Project. KP's "Requiem", featuring bassist Scott Colley, drummer Nasheet Waits and trumpeter Russ Johnson, made the list of Top New Albums in The Village Voice Critics Poll: 2009

Now the time is ripe for another beginning. Their new album From a Familiar Place is a personal project for Winnicki and Medyna whose surnames are ingrained in the name: WM Project. The music sums up a long life lived with jazz, but also looks forward to the future. Winnicki’s own son, Michael Winnicki, is a highly talented drummer and brings youthful energy to original compositions and classics like Paul Desmond’s “Take Five” and Joe Zawinul’s “Mercy, Mercy, Mercy”. In fact, rhythm is the essence of the group, as Medyna explains: "The only thing I care about is groove which we have in both re-worked tunes. We need to stay in tune with the African-American roots of jazz". 

These roots of rhythm also include hip-hop that provided inspiration for the grooves used on the tunes. As Winnicki says: “Arrangements for both ‘Mercy, Mercy, Mercy’ and ‘Take Five’ started with a groove. Just a drum groove to be exact. I don't actively listen to hip-hop music at all, but it's hard not to be aware of its impact on the culture of today. So consciously or subconsciously I was drawn into the hip-hop beats when looking for the fresh sounding grooves I could use to build my arrangements upon.” 

Another influence is the inclusion of five-time Downbeat & Jazz Journalists AssociationRising Star Award winner trumpeter Jeremy Pelt and 2016 double Grammy nominated trombonist Marshall Gilkes. As Winnicki explains: “Krzysztof, Michael and I all played gigs with Jeremy and Marshall before so we were very comfortable with how they played and some of the arrangements I wrote were done with them in mind (because of their musical personalities). Jeremy is so deeply rooted in the tradition of this great American art form and plays in such a soulful way. Marshall's command of his instrument is just amazing (no wonder he was awarded a name of Rising Star in the latest DownBeat Magazine Poll). I knew no matter how hard the arrangement he would execute it flawlessly and play some great solos to boot.”
The group also includes the melodic dexterity of guitarist Rafal Sarnecki while bassist Jeff Dingler and Michael Winnicki form the rhythm section. Elaborating on their connection, Andrzej Winnicki says: “Jeff and Michael have been playing in different projects together since their time at the Mason Gross School of Arts. They understand and complement each other musically really well so the choice of the rhythm section was easy to make.” 

The most striking proof of their ability to communicate together is “Praeludium” whose complex tapestry of odd rhythm and a catchy theme sounds tightly rehearsed, but is in fact unfolding live for the first time in the studio with Gilkes and Sarneckidelivering glistering solo flights. From a Familiar Place was recorded in Tom Tedesco’s Tedesco Studios and there is a feeling of warmth and spontaneity to the recording like a classic Blue Note-recording, which is supported by the intimacy of the studio and very little separation between the musicians. 

It all adds up to a family of musicians playing modern jazz with strong ties to tradition. A tune like “On Sunday after Church” has subtle shades of Herbie Hancock’s “Cantaloupe Island” with Pelt shaping the melody with his lucid lines, but Medyna and Winnicki also engage with their own catalog, performing reimagined versions of Electric Breakwater compositions “Blind Warriors” and “Looking Ahead”. 

Looking ahead while also looking back is exactly what the album is about. The familiar place of the title is not a comfort zone of nostalgia, but a challenging source of creativity, as Medyna says: “All of us have a kind of ‘familiar place’ in our memories, desires or places left on the path of our lives. To me this title must stimulate the listener's individual imagination and the music shall take the listener to such familiar place." 

With this album, WM Project shows the boundless possibilities of a deep understanding of jazz tradition resulting in memorable grooves and melodies. 

The group will be touring in support of the album.


 
WM Project on Facebook:
 
WM Project on allaboutjazz.com
 
WM project at Trumpets in Montclair, NJ on January 19th

USA: jaimie branch-Fly or Die (2017)


A mainstay of the Chicago jazz scene and an active recent addition to the New York scene, Jaimie Branch is an avant-garde trumpeter known for her “ghostly sounds," says The New York Times, and for "sucker punching" crowds straight from the jump off, says Time Out. Her classical training and “unique voice capable of transforming every ensemble of which she is a part” (Jazz Right Now) has contributed to a wide range of projects not only in jazz but also punk, noise, indie rock, electronic and hip-hop. Branch’s work as a composer and a producer, as well as a sideman for the likes of William Parker, Matana Roberts, TV on the Radio and Spoon, is all on display in her debut record Fly or Die – a dynamic 35-minute ride that dares listeners to open their minds to music that knows no genre, no gender, no limits.

“It’s a true joy to listen to Jaimie Branch’s Fly or Die. Jaimie’s masterful trumpet playing sits at the helm of this gorgeous record, richly supported by a stellar cast of musicians, and upheld by strong and provocative composition.” – Sarah Neufeld (Arcade Fire)

"Super out tunes that continually open new doors to strange, sweet, and psychedelic grooves. Band is constantly cracking some ancient alien code here. Seamless and effortless compositions from Branch. An absolute “must jam” for anyone interested in the... more
credits
released May 5, 2017

Fly or Die is:
jaimie branch - trumpet
Tomeka Reid - cello
Jason Ajemian - bass
Chad Taylor - drums.

Cameos by:
Matt Schneider – guitar
Ben Lamar Gay – cornet
Josh Berman – cornet

Friday, January 19, 2018

USA: Jazz guitarist Chris Standring basks in the positive glow of joyous "Sunlight"





Jazz guitarist Chris Standring basks in the positive glow of joyous “Sunlight”

The March 23 album release, featuring appearances by Bob James and Mica Paris, will be preceded by the rousing radio single, “Love Street.”

STUDIO CITY (18 January 2018): Much like a prism refracts light into a colorful spectrum, guitarist Chris Standring’s “Sunlight” reflects rays of multihued jazz into a vibrant sonic palette of joy and positivity. The Los Angeles-based, native Brit will drop his twelfth album on March 23 on the Ultimate Vibe Recordings label, marking the twentieth anniversary since the release of his debut disc (“Velvet”). Paving the way for the new collection penned and produced by Standring is the jaunty “Love Street,” set to cast an alluring spell as the first radio single.    

Diverse strains of jazz reign on “Sunlight” with Standring’s clean electric jazz guitar shining brightly throughout the ten tracker plus a reprise that closes the session. The prevailing sounds and engaging textures create warm, organic backdrops for his nimble fretwork forays that traverse lush rhythms and grooves. Wave after wave of Fender Rhodes keyboards and Hammond B3 organ wash over the taut beats serving as the rhythmic spine. Vintage elements offer a compelling contrast to the imaginative electronic nuances, deftly making the recordings feel retro, futuristic, experimental and visionary all at the same time while Standring’s cool-toned guitar slices through to the fore cranking out nifty licks, precision fills and impassioned melodic sojourns.        

Helping flush out his vision for “Sunlight,” Standring shares the spotlight with contemporary jazz forefather Bob James (piano) on the stratospheric exploration “The Revisit” and UK soul-pop chanteuse Mica Paris on the lusty R&B, jazz and electronic hybrid “No Explanation,” the latter a tune he wrote with seven-time Grammy nominee Lauren Christy. Also lending their artistry to the platter are noted saxmen Pete Christlieb and Brandon Fields, keyboardists John NovelloMitchel Forman and longtime collaborator Rodney Lee; bassists Jimmy HaslipAndre Berry and Roberto Vally; and drummers Chris Coleman and Dave Karasony.

“For the first time, I feel a huge degree of comfort stylistically. ‘Sunlight’ seems to be a much more refined version of who I am. Musically, I can't shake off who I am. It just is. It's a fusion of my traditional be-bop background with infectious soul and funk grooves, and a sense of arranging and orchestration that comes very easily now. My influences are not from my contemporaries. They come from orchestral music, traditional jazz and European chill, lounge and progressive club music plus a good dose of R&B. It's a weird mix, but I guess that's what results in everything sounding like me when it all comes together,” said Standring who purposely infused the set with uplifting notes of hope and glee.

Perhaps a commentary on our times or just a thoughtful embrace of a longtime personal favorite, Standring reimagines Brian Wilson’s “God Only Knows” as a serene guitar meditation.  

“The album is upbeat and joyful for the most part. Perhaps it is somewhat reactionary to these challenging times we are presently living through, but I am inherently a positive soul who tends to see the bright side of things, albeit with a touch of British cynicism. Sunlight represents positivity and joy to me, hence the title.”

Standring celebrated three No. 1 singles in 2017: his solo hit “Like This, Like That,” and duet collaborations with trumpeter Cindy Bradley (“Category A”) and two-time Grammy-winning producer-guitarist Paul Brown (“Piccadilly Circus”). The classically-trained guitarist’s ambitious catalogue of instrumental R&B, soul jazz and electronica includes his hit debut single, “Cool Shades”; the No. 1 Billboard Contemporary Jazz Track of the Year in 2010, “Bossa Blue”; and a 2014 Billboard No. 1 single, “Sneakin’ Out the Front Door.” Coming to the U.S. after a lengthy and prosperous run at the BBC and on London’s West End in theatrical orchestras, Standring was a session ace who recorded with Jody Watley and Bebe & Cece Winans among many others. He partnered with Lee to form the acid jazz outfit SolarSystem before touring extensively backing trumpeter Rick Braun. Standring issued “Velvet” soon after, launching his solo mission that continues to climb in trajectory and scope.          
      
“Sunlight” contains the following songs:

“Static In The Attic”
“Aphrodisiac”
“Love Street”
“The Revisit” featuring Bob James
“No Explanation” featuring Mica Paris
“God Only Knows” featuring John Novello
“Like Paradise”
“Moon Child”
“Do Not Adjust Your Set”
“The Principle Of Pleasure”
“Static In The Attic (Reprise)”


For additional information, please visit http://www.chrisstandring.com.

Contact: Rick Scott 310.306.0375


USA, NY: VINCENT CHANCEY AND NEWMAN TAYLOR BAKER “2/4/THREE” Saturday, February 3rd 8:00 p.m @ Roulette

Vincent Chancey (French horn, pandeiro, composition) and Newman Taylor Baker(washboard and composition) announce their first multi-arts collaboration, “2/4/THREE,” to be presented by Roulette Intermedium, Inc., 509 Atlantic Avenue in Brooklyn, NY, on Saturday, February 3, 2018, at 8:00 p.m. For tickets, contact www.roulette.org

To learn more about the project, please visit @2.4.THREE.

At the heart of “2/4/THREE” are two musicians in deep exploration of their instruments of choice—the French horn and the washboard. Their music drives this six-part, 90-minute work-in-progress featuring solo, duo, and ensemble pieces, punctuated by the choreography, spoken text, and media. Their creative team includes Tomeka Reid, cello;Keith Johnston, guitar, spoken word; Cleo Francine Wilson, narration; Maria Mitchell, choreography, dance, spoken word and Bill Toles, audio visuals. The project is organized by Jeanette Vuocolo.

“2/4/THREE” is a story about two musicians, but at the start there were three all born onFebruary 4th—Vincent, Newman and saxophonist John Stubblefield. John passed in 2005 of prostate cancer. Newman credits Stubbs for alerting the jazz community to prostate cancer of which Newman is a survivor. Vincent and Newman dedicate this evening to Stubbs and that joint birthday concert they had planned to do.

“2/4/THREE” tells family stories too—ones rooted in genealogical research and DNA testing that Vincent and Newman have undertaken with the help of family and friends.
From Madagascar to Nicodemus, Kansas, the first all-black settlement in the Great Plains, Vincent journeys with his sister and family genealogist Cleo F. Wilson through a family largely unknown having been raised in foster care. We will meet Maggie and George DePrad, a seamstress and barber who raised themselves up from slavery. And through one of Uncle James’ letters we join an annual homecoming of the Giles Bluford Page clan who descended from the first African American guides of the Mammoth Cave.

It is the washboard that draws Newman to the published writings of his grandfather, the Reverend Dr. T. Nelson Baker, who went from the plantation on Assateague Island, VA, to becoming the only former slave to receive a PhD from Yale University in 1903.  Newman will excerpt from such essays of the Reverend’s as “The Negro Woman” (1908) and “A Negros View of the Race Problem” (1908).  “He is talking about the way I feel today,” explains Newman.

Native Chicagoan, Vincent Chancey moved to New York after completion of a B. A. in Music from the Southern Illinois University School of Music. His classical private horn teacher was with Dale Clevenger, principal French horn of the Chicago Symphony. Chancey has performed with the Brooklyn Philharmonic, the Pan American Symphony, the Harlem Symphony, the One World Symphony, the Zephyr Woodwind Quintet, and the Netherlands Opera in Amsterdam. He received a NEA grant to study jazz French Horn with Julius Watkins. He was awarded a Meet the Composer Grant, and a CMA/FACE French American Jazz Exchange Grant for a project with Serge Pesce. His has worked with Charlie Haden, Wayne Shorter, Herbie Hancock, Lionel Hampton, Tom Harrell, Cassandra Wilson, Shirley Horn, Sun Ra, Lester Bowie, David Murray, and Carla Bley in jazz; Aretha Franklin, Patty Labelle, Elvis Costello, Brandy, David Byrne, Ashford and Simpson, and Maxwell. He appears on over 350 albums and CDs. He has also served as composer and player on a number of film scores. Vincent has toured with his groups at the Verona Festival in Italy, the Asilah Festival in Morocco, the Deer Isle Jazz Festival in Maine, and the Wind Festival in Greece. His three releases include LEGenDES ImaginairesNext Mode, and Welcome Mr. Chancey. He is a member of the History Makers.

Newman Taylor Baker is known for his solo drum set project, Singin’ Drums, andWashboard XT, his pursuit of 21st century music for the washboard. He started on the washboard in 2010 when working with the Ebony Hillbillies. His hands “just knew what to do.” Baker’s band, Washboard XThas performed in New York, Ohio, Scotland, Poland and Japan. Supported by a NYFA Music Fellowship Newman’s Singin’ Drums can be heard on Drum Suite Life and The NYFA Collection (Innova). He currently plays with the Matthew Shipp Trio, Vienna Carroll, Jemeel Moondoc, Andrew Lamb, the Deborah Brown Quartet and Sylwester Ostrowski with the NFM Leopoldinum Project, and The Lance Hayward Singers. Baker has toured with Billy Harper, Billy Bang, Sam Rivers, Henry Threadgill, Henry Grimes, Abdullah Ibrahim, Craig Harris, and Monnette Sudler. He has performed with McCoy Tyner, Ahmad Jamal, Joe Henderson, Lou Donaldson, Charlie Rouse, and as part of the Richmond Symphony and the Delaware Symphony. Newman has played in the musical theater works of Leroy Jenkins, Diedre Murray, Henry Threadgill and Jeanne Lee. His 21 year associations with Mickey D. & Friends Dance Company and Avodah Dance Ensemble fostered his teaching in schools and correctional facilities. Newman was raised on the Virginia State College campus (now University).


Photos and video available upon request.




www.facebook.com/2.4.THREE

USA:Yazz Ahmed- La Saboteuse(2017)


“..Gilles Peterson will be all over this..” - The Quietus

“…let Ahmed take you on a beautiful journey of forward-thinking jazz compositions.” - Twistedsoul

“its potent mix of post-bop lyricism and modern fusion soundscaping makes connections with both head and heart.” - Dave Sumner, Bandcamp

“Even if you’re not familiar or terribly interested in jazz, Ahmed’s music deserves your attention, and she’ll most likely make you second guess your thoughts on jazz.” - Headphone Nation


Bahraini-British performer, Yazz Ahmed, is transforming what jazz means in 2017. This trumpet and flugelhorn-playing artist has worked with Radiohead and These New Puritans, experiments with electronic effects, and combines sounds from her shared heritage to author a new narrative for the genre. Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. “I feel like I’m a part of modernising jazz and connecting it with audiences today,” Yazz says. “It’s exciting.”

Thursday, January 18, 2018

USA: Cody Carpenter’s Interdependence (Blue Canoe Records 2018)

New Release from Blue Canoe Records


Cody Carpenter is a third generation musician. His father, John Carpenter, is a director and composer and his mother, Adrienne Barbeau, is a star of film, television and in Broadway Stage. His grandfather, Howard Carpenter, was a founding member of the Nashville Strings. His Album, “Cody Carpenter’s Interdependence”, culminates the creative DNA of his past with a focus bent towards his future.
Featuring: Cody Carpenter (keys/guitar)Jimmy Haslip (bass)Scott Seiver(drums)Virgil Donati (drums), PJ D'arti (guitar), John Spiker (mix/master).

80’s Prog-Fusion Reimagined

Atlanta, GA (December 12th, 2017) - Blue Canoe Records will release “Cody Carpenter’s
Interdependence”, the debut effort from Cody Carpenter on January 26th, 2018. Mr. Carpenter
combines the best of 80’s synth-pop with the jazz / rock fusion of that time to create a complex,
breakneck brew that both inspires and energizes.

Cody Carpenter is the son of Adrienne Barbeau, a star of film, television and the Broadway stage, and legendary Academy Award winning writer, actor, compose, producer and director John Carpenter. The Senior Carpenter is best know for classic horror films (Halloween, The Fog, The Thing) and sci-fi thrillers (Escape From new York, Starman). As a composer, he is
known for synthesizer-based pieces and is perhaps best known for the theme song to the movie Halloween (1978). It is not difficult to see how Cody Carpenter comes by his synthesizer based compositions. Cody was introduced to his first musical instrument around the age of three and has been playing and composing original music ever since. In addition to contributing music for two of his father’s films, Vampires (1998) and Ghosts of Mars (2001), Carpenter composed and performed the full-length score for “Cigarette Burns” and “Pro-Life” in Showtime’s Masters of Horror (2005) movie series. Cody co-wrote, co-produced, and performed on the acclaimed Lost Themes (2015) and Lost Themes II (2016) with his father and Daniel Davies. In 2016 and 2017 Cody toured North America and Europe with his father and a six piece band, performing material from both Lost Themes albums and his father’s films.

Cody Carpenter opens his debut with the expansive track “Jinrai Fuuretsu”. The Emerson Lake
and Palmer drenched opener rushes out of the gate like a tornado. Mr Carpenter’s driving synth
melody bashes up against the phenomenal rhythm section of Scott Seiver (drums) and Jimmy
Haslip (bass). Mr. Seiver has worked with current pop stars including Aimee Mann, Jack
Johnson and Jason Mraz. He also drummed on Grammy award winning recordings for
Tenacious D and Flight of the Conchords. Mr. Haslip was a founding member of jazz fusion
superstars The Yellowjackets and has worked with Bruce Hornsby, Chaka Khan, Al Jarreau and
Donald Fagen among others. The track opens powerfully and then soars wistfully before Mr.
Carpenter drives the listener back home to its powerful opening theme…only to spin back to a
thoughtful passage. The track resolves only to leave the listener yearning for further insight.
Another track of note is “Thinking Of What Might Be”. Mr. Carpenter’s gracious synth melody
drifts out in front of the tight, pulsating rhythmic punches. While much of Cody’s music is fairly complex, this straight-forward tune harkens a daydream on a sunny afternoon. Mr. Carpenter
even steps out with a contemplative guitar solo midway through that sits perfectly afloat on the
steady rhythmic offering.

“Cody Carpenter’s Interdependence” is a brilliant entry for Cody Carpenter that has been a
long time coming. Drawing on the many years of playing with John Carpenter and his
accomplices, Cody finds his own unique voice all while the accepting the independence he has
come by honestly. “Cody Carpenter’s Interdependence” deserves a serious listen.


Press Contact:
Karen Frieske
Press/A&R
kaf@BlueCanoeRecords.com

PO Box 777143
Henderson, NV 89077
United States
BlueCanoeRecords.com