Germany – Iridium Jazz http://iridiumjazz.com/ Fri, 24 Sep 2021 22:17:25 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://iridiumjazz.com/wp-content/uploads/2021/07/default1-1.png Germany – Iridium Jazz http://iridiumjazz.com/ 32 32 The 14th Annual Angel City Jazz Festival presents the Billy Childs Jazz Chamber Ensemble with Dianne Reeves at the Ford https://iridiumjazz.com/the-14th-annual-angel-city-jazz-festival-presents-the-billy-childs-jazz-chamber-ensemble-with-dianne-reeves-at-the-ford/ https://iridiumjazz.com/the-14th-annual-angel-city-jazz-festival-presents-the-billy-childs-jazz-chamber-ensemble-with-dianne-reeves-at-the-ford/#respond Thu, 23 Sep 2021 23:10:13 +0000 https://iridiumjazz.com/the-14th-annual-angel-city-jazz-festival-presents-the-billy-childs-jazz-chamber-ensemble-with-dianne-reeves-at-the-ford/ Los Angeles, CA – September 15, 2021 – Angel City Arts enters week three of its 14th annual Angel City Jazz Festival featuring Billy Childs Jazz Chamber Ensemble with special guest Dianne Reeves Thursday October 14 at The Ford, 2580 Cahuenga Blvd E, Los Angeles, CA 90068 at 8 p.m. Information and tickets are available […]]]>

Los Angeles, CA – September 15, 2021 – Angel City Arts enters week three of its 14th annual Angel City Jazz Festival featuring Billy Childs Jazz Chamber Ensemble with special guest Dianne Reeves Thursday October 14 at The Ford, 2580 Cahuenga Blvd E, Los Angeles, CA 90068 at 8 p.m. Information and tickets are available at https://angelcityjazz.com/event/jazzchamber/.

Billy Childs became one of the greatest American composers of his time, perhaps the most distinctly American composer since Aaron Copland – because like Copland, he managed to marry the musical products of his heritage with the Western neoclassical traditions of the 20th century in a powerful symbiosis of style, range and dynamism. A native of Los Angeles, Childs grew up immersed in influences from jazz, classical and popular music. By the time of his graduation from USC Childs was already a much-requested artist on the LA jazz scene, soon after he was discovered by trumpet legend Freddie Hubbard. He has recorded and performed with a number of other influential jazz musicians, including JJ Johnson, Joe Henderson, and Wynton Marsalis. So far in his career, Childs has won thirteen GRAMMY nominations and four awards. In 2006, Childs received a Chamber Music America Composer Fellowship and, in 2009, a Guggenheim Fellowship. He also received the Doris Duke Performing Artist Award in 2013 and most recently the American Academy of Arts and Letters Music Award in 2015.

Five-time Grammy winner Diane reeves is the greatest jazz singer in the world. Due to his breathtaking virtuosity, improvisational prowess, and unique jazz and R&B styles, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings – a Grammy first in all categories. vocal. Featured in George Clooney’s six Oscar nominations Good night and good luck, Reeves won the Grammy for Best Vocal Jazz for the film’s soundtrack. Reeves recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and has been a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first singer to perform at the famous Walt Disney Concert Hall.

The players of the Child’s Jazz Chamber Ensemble are Larry Koonse on guitar, Carol robbins on the harp, Daniel Rotem on sax, Dan Chmielinski on bass, Christian Euman to the battery and Sara andon on the flute. They will be joined by Reeves with Moira smiley singing and Alexandre gideon present a poetry recitation. They will also be accompanied on certain numbers of The Lyris Quartet, a string quartet that focuses on the music of living Los Angeles composers. Its members are Alyssa Park and Shalini Vijayan on the violin, Luc Maurer on the viola, and Timothy loo on the cello.

For more information on the Angel City Jazz Festival and to purchase tickets for the event, please visit http://www.angelcityjazz.com/. For the Angel City Jazz Festival COVID security policy, please see https://angelcityjazz.com/safety-policy/.

About Ford

The Ford is one of the oldest performance venues in Los Angeles, with a 1,200-seat outdoor amphitheater and a rich history dating back to 1920. Located in a 32-acre Los Angeles County park and under the direction of the Los Angeles Philharmonic Association, The Ford presents an eclectic summer season of music, dance, movies and family events that reflect the communities that make up Los Angeles. Tickets for The Ford, visit here.

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Diana Panton: the Canadian songbird continues the tradition https://iridiumjazz.com/diana-panton-the-canadian-songbird-continues-the-tradition/ https://iridiumjazz.com/diana-panton-the-canadian-songbird-continues-the-tradition/#respond Thu, 16 Sep 2021 20:50:12 +0000 https://iridiumjazz.com/diana-panton-the-canadian-songbird-continues-the-tradition/ Diane panton Canada is probably not the first place to come back when the conversation turns to jazz singers. Yet since Holly Cole and Diana Krall won hearts in the ’80s and’ 90s, this vast Nordic land has produced its share of endearing songbirds: Susie Arioli, Emilie-Claire Barlow, Laila Biali, Nikki Yanofsky and the Russian […]]]>

Canada is probably not the first place to come back when the conversation turns to jazz singers. Yet since Holly Cole and Diana Krall won hearts in the ’80s and’ 90s, this vast Nordic land has produced its share of endearing songbirds: Susie Arioli, Emilie-Claire Barlow, Laila Biali, Nikki Yanofsky and the Russian Sophie Milman have all sparked a buzz among their fans.

One that stands out from this group is Diana Panton in soft tones. Although she cites Ella, Billie and Sarah as inspiration, suitable comparisons include Peggy Lee, Lee Wiley or Blossom Dearie, singers who have shown how much less can indeed be more to create emotional impact. The Hamilton, Ont. Native does the same with quiet intensity, subtle swing, nuance, natural musicality, reliable intonation and singular purity of voice. (Regarding the last point, Jo Stafford comes to mind.)

Legendary singer Sheila Jordan said of Panton’s art: “Diana makes every song so real and her voice is like the sweetest bird you’ve ever heard.” To these qualities, add impeccable phrasing and diction – every word clearly audible in English and French – along with superior taste in song selection and presentation, and you have an ideal candidate to carry on the great but sweet tradition. from the Great American Songbook and beyond.

And would I dare to draw a parallel with Francis Albert himself? While Diana’s young wide-eyed grappling with the whims of love may seem distant from the President’s almost suicidal displays of loss and longing, close inspection reveals some similarities. Take her first album Maybe yesterday (2005). She tackles several flamboyant ballads associated with the famous singer, ending with In the Wee Small Hours, a song that Sinatra practically owns. Likewise, its cycle of moon and star airs, If the moon turns green (2006), contains three numbers that Frank sang on his classic Sinatra in the moonlight 40 years earlier. These include Oh, You Crazy Moon, another definitive performance from Sinatra. Remarkably, she pulls off the feat, investing those familiar standards with enough passion to reveal their emotional core while reminding older, compelling listeners of their timeless appeal.

‘When I sing, I try to put myself at the service of the song’

Reflecting on this perhaps far-fetched pairing, I emailed her and asked her questions. She replied, “My dad is a huge Sinatra fan. He holds the 10 inch record for In the Wee Small Hours. I sang it for the first time in a workshop at the Banff Center for the Arts. When the time came to record my first album, I wanted to include it. I love Frank’s version of this song; however, I thought it would be interesting to interpret it from a woman’s point of view.

And just as Ol ‘Blue Eyes had a great collaborator in Nelson Riddle, Diana has ideal partners for her style in the duet of versatile guitarist Reg Schwager and multi-instrumentalist and arranger Don Thompson (bass, piano, vibes). These distinguished players have appeared on every one of his recordings to date. Said Diana: “It’s a huge blessing to work with Reg and Don. We love the same songs a lot and there is an unspoken understanding between us on how the music should sound. Since the first recording everything has gone well.

The key to the success of such an aftermarket accompaniment is Thompson’s responsive arrangement and the effective use of overdubbing. Accompanied alternately by the two musicians, by one or the other, or by Don dubbed on two – or even three – instruments, the charts ensure the variety of Diana’s recorded heritage. Sometimes the voicings are reminiscent of the classic sound of the Shearing quintet, which is not surprising as both Thompson and Schwager worked with the piano master. Even with a guest soloist in the mix – Guido Basso on trumpet or Phil Dwyer on saxophone, for example – the overall sound remains intimate, keeping the emphasis on Diana’s disarming and diaphanous voice.

Don Thompson has been essential to Panton’s career from the start. Inspired to sing by an Ella Fitzgerald record she discovered in her father’s record collection, the 19-year-old was heard by Thompson playing with a youth orchestra in Hamilton. Impressed, he recommended that she enroll in the jazz workshop at the Banff Center for the Arts. In Banff, Diana honed her skills with established singers Norma Winstone, Sheila Jordan and Jay Clayton. Jordan in particular has helped guide his rapid development.

After Banff, musical activities temporarily gave way to studies of French language and literature and to teaching assignments to students in Paris and Canada. Eventually, Panton launched her full-time teaching career in her hometown, a position she still holds today. She started playing and recording in parallel, planning studio work on weekends or during school holidays.

Despite the constraints, Diana’s recordings are carefully crafted, with a pleasing look and sound. They are largely self-produced, with the singer playing a major role at every stage of a given project. Starting from around 100 song titles, she shrunk the list in a long process of elimination. She explains, “The final 20 cut to the final track list is always the hardest part for me because I’ve generally bonded very strongly to those tracks at this point. Don decides on the best keys, we discuss the instrumentation and he prepares his magical arrangements. We are recording. She makes the final selection of uses and is also involved in the editing, mixing and mastering phases. She also takes care of the design and layout, in close collaboration with the graphic designer.

Most of his albums are built around themes. In addition to those already mentioned, she recorded a collection of bossa-nova (In Brazil with love), a sublime seasonal tribute Christmas kiss, and Solstice / equinox (2017), based on the theme of the changing seasons. Further proof of his artistic talent, his thematic decisions are in part guided by the natural process of maturation. Consider his explanation for the two albums titled pink and RED (the latter winner of the 2015 Juno Prize): “As for pinkI was drawn to a lot of flirty love songs and worried that as I got older they wouldn’t suit my voice, so I chose to put them together on one album. When i decided to pink for the title, I knew there would be a RED album. I knew RED would have a mature theme and would suit a more seasoned voice, so I chose to record two albums in between.

Like her soulful older sister in the song, Rebecca Kilgore, Diana is a musical sleuth. Like Rebecca, she does extensive research and tries to find original scores. It also has an exceptional taste. One of his discoveries is a forgotten Harry Warren gem called A Little Boy, A Little Girl, A Little Moon, included on his album of lunar songs. Diana says: “It was written in 1927 and I don’t think it was ever recorded, so it was good to bring this song to life. (* See note below.) With lyrics by Robert King, the song tells the familiar story of love and marriage in a clever way with basic pictures of one or two words. It elicits a smile every time I hear it.

Diana changed course a bit in 2014 with the release of I believe in little things, a dreamy collection of songs of wonder and imagination aimed at children. A positive response resulted in follow-up, A cheerful little ear (2019). On the motivation of these sets: “I received several emails from parents telling me how they used certain songs from my albums to help put their children to bed. Since these particular songs seemed to appeal to both children and their parents, it sowed the seed to create a full album of songs that would suit lyrically for a younger audience.

What about the qualities that Diana finds attractive in a song? “When I started singing, it was the melody that attracted me to a song. However, as I moved towards themed albums, the emphasis shifted to the lyrics. That said, I still love a great melody and coupled with some great lyrics you have a winning combination. . . When I sing, I try to put myself at the service of the song. I’m trying to understand what the songwriter / lyricist was trying to convey and how I can tell this story through my own experiences.

A new recording is scheduled for 2022. As with the others, Reg and Don will be there, and maybe one or two guest musicians. Whatever the theme, Diana fans know how to expect a finely crafted affair that honors tradition with freshness and quiet passion. And while she may put herself at the service of the songs, rest assured that she will also present them as only Diana Panton does, telling stories that only she can tell.

* Two additional recordings are by Hal Kemp and the Delphians by Billy Bartholomew, with a voice by that class crooner, Al Bowlly, recorded in Berlin in 1928. The composition date of 1927 is not confirmed.

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Updates from jazzahead! – News, reviews, articles and commentary from the London jazz scene and beyond https://iridiumjazz.com/updates-from-jazzahead-news-reviews-articles-and-commentary-from-the-london-jazz-scene-and-beyond/ https://iridiumjazz.com/updates-from-jazzahead-news-reviews-articles-and-commentary-from-the-london-jazz-scene-and-beyond/#respond Tue, 14 Sep 2021 07:00:00 +0000 https://iridiumjazz.com/updates-from-jazzahead-news-reviews-articles-and-commentary-from-the-london-jazz-scene-and-beyond/ Sébastien writes: The German press release issued today announces that: Registration for 2022 jazzahead! (April 28 to May 1) is open, with an early bird discount available until Monday October 18 The Deutscher Jazzpreis 2022 (German Jazz Prize 2022) will be held in Bremen the day before the start of the fair The Canadian acts […]]]>

Sébastien writes:

The German press release issued today announces that:

  • Registration for 2022 jazzahead! (April 28 to May 1) is open, with an early bird discount available until Monday October 18
  • The Deutscher Jazzpreis 2022 (German Jazz Prize 2022) will be held in Bremen the day before the start of the fair
  • The Canadian acts planned for 2020 will – finally – be on show in 2022
  • Applications for the other showcases (German, European and overseas) are open, and will close on Thursday, November 4, 2021
  • A “Showcase Application” session via Zoom, to answer questions relating to the application, will be held on Thursday, October 14 at 4 p.m. (CET).
  • The press release also contains details of the possibilities to register for “online only” participation.

FULL TEXT OF THE PRESS RELEASE

Registrations are now open for jazzahead! 2022

The 2022 Deutscher Jazzpreis (German Jazz Prize) ceremony will take place in Bremen the day before the opening of the international fair

Wednesday September 15, 2021 The momentum towards jazz on the way! 2022 has begun: professionals can register now for the 16th edition of the largest international gathering of the jazz sector in the world at MESSE BREMEN. For participants who register before Monday, October 18, 2021, early discounts are available. The application round is also open for musicians / groups, who can now apply for any of the 40 jazzahead slots! Vitrines 2022. ahead of jazz! 2022 will have the motto “together again” and will take place from Thursday April 28 to Sunday May 1, 2022. Registrations and applications for the windows can be made via the jazzahead! website.

Introducing applicants: consultation session to facilitate the application process

Groups from Europe, Germany and outside of Europe can now apply for the European Jazz Meeting, German Jazz Expo and Overseas Night showcases respectively. Applications must be submitted by Thursday, November 4, 2021. The original selection for the Canadian Night remains in place. Sybille Kornitschky, who leads jazz forward! for MESSE BREMEN, said: “We are pleased to announce that following the postponement of Canada’s participation as a partner country in 2020 and 2021 due to the pandemic, Canada can now, finally, present a selection acts of his broad and musically very diverse scene. “

Applications to participate in the showcases, submitted from all over the world, will be selected by four international juries appointed by jazzahead! and will be announced in mid-December. Musicians can find information on selection criteria and application procedures on the website. Questions about the application process, on the other hand, can be addressed in a special “Showcase Application” session to be held via Zoom on Thursday, October 14 at 4:00 p.m. (CET).

ahead of jazz! 2022: a face-to-face event in Bremen, but with an online option

“We are looking forward to an event in Bremen where people will come together, live and in color! Kornitschky said. For those who cannot make it to Bremen, however, there will be the option to participate online. In addition, the jazzhead! The team has reserved more space in order to prepare for the lingering restrictions due to Corona’s measurements. There will be more venues in Bremen in 2022, four concert stages instead of three and a large circus tent.

One new feature is that today’s registration for trade participants and registration for the hybrid format online-only offer will have a later start date of Monday, November 8. Parts of the conference program will be re-recorded in 2022, so that all online registrants can also participate in the program. This will give on-site participants the opportunity to experience panels and sessions more intensively, even after the show. The conference part of the show will include the professional program organized by jazzahead! and exhibitor sessions. Future topics and current discussions, especially for organizers and musicians, will again be the focus. Particular attention will be paid to the challenges of the scene that have changed in the wake of the pandemic, always with an emphasis on solution-oriented approaches.

German Jazz Prize ceremony to be held in Bremen

The day before the opening of jazzahead! 2022, the Deutscher Jazzpreis (German Jazz Prize) ceremony will be held on Wednesday, April 27, 2022. “With the German Jazz Prize, we not only want to highlight the most important national and international musicians on the stage as a whole, ”said Tina Sikorski, Executive Director of Initiative Musik. The Deutscher Jazzpreis was launched in 2020 by the Minister of State for Culture, Professor Monika Grütters, Federal Government Commissioner for Culture and Media, to celebrate the innovative strength of Jazz Made in Germany in all its facets. . As a centrally funded institution acting for and on behalf of the federal government, Initiative Musik is responsible for the delivery and management of the Deutscher Jazzpreis.

“After the successful premiere in 2021 with the main event in Hamburg as well as broadcasts from Munich, Berlin and Mannheim, we are now delighted to be able to celebrate the 2022 awards ceremony on the eve of jazzahead! in Bremen – at one of the key events of the international jazz scene, ”says Sikorski. Peter Schulze, one of the two artistic directors of jazzahead !, adds: “The fact that the German Jazz Award is given to jazzahead! will give a boost to the internationalization of German jazz, as the most influential and active international participants on the scene will be with us and experience it live. The German Jazz Prize 2022 will be open for applications from mid-October.

More information on www.jazzahead.fr

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Christine’s Jazz Quartet | the Pekingese https://iridiumjazz.com/christines-jazz-quartet-the-pekingese/ https://iridiumjazz.com/christines-jazz-quartet-the-pekingese/#respond Fri, 10 Sep 2021 11:20:46 +0000 https://iridiumjazz.com/christines-jazz-quartet-the-pekingese/ Christine Xu, jazz singer studied at NewYorkCity , learned classical piano since childhood. In the summer of 2015, she participated in the Jazz Vocal Workshop of singer and jazz composer Annie Chen. During the days in the United States, she studied with jazz musician Chareneè Wade (the first finalist in the Thelonious Monk vocal competition […]]]>

Christine Xu, jazz singer studied at NewYorkCity , learned classical piano since childhood. In the summer of 2015, she participated in the Jazz Vocal Workshop of singer and jazz composer Annie Chen. During the days in the United States, she studied with jazz musician Chareneè Wade (the first finalist in the Thelonious Monk vocal competition in 2010).

After graduating from the Zhejiang Conservatory of Music, she studied in Germany and lived in Berlin, where she studied under the artistic direction of Claar ter Horst of the Hochschule für Musik Hanns Eisler Berlin and the artistic director of Professor Alexander Schmalcz from the Conducting Department of the Hochschule für Musik. und Theater „Felix Mendelssohn Bartholdy“ Leipzig.

In August 2019, she attended Aaron Copland School of Music, Queens College, CUNY to study for the Masters in Jazz Vocal Performance. She studied with Charenee Wade, David Berkman, Jeb Patton, Dennis Mackrel, Antonio Hart, Grammy Award winner Professor Michael Mossman and others to learn vocals, improvisation, jazz theory, composition, l arrangement, etc. While in New York, she participated in jam sessions at famous jazz clubs like Smoke, Room623, etc.

She is currently active in many major national jazz venues including Blue Note Beijing, Beijing Cloud Nine Club, JALC Lincoln Jazz Shanghai Center, Shanghai Jz Club, Hangzhou JZ Huanglou Jazz Club, Shenzhen Meeting Jazz, etc. .

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The best jazz on Bandcamp: August 2021 https://iridiumjazz.com/the-best-jazz-on-bandcamp-august-2021/ https://iridiumjazz.com/the-best-jazz-on-bandcamp-august-2021/#respond Wed, 08 Sep 2021 18:12:59 +0000 https://iridiumjazz.com/the-best-jazz-on-bandcamp-august-2021/ BEST JAZZ The best jazz on Bandcamp: August 2021 By Dave Sumner September 08, 2021 This month’s column covers the world: Trondheim, Tokyo, Panama, Buenos Aires, New York, London, West Africa, Belgium, Berlin, Australia and Chicago are just a few of the names that appear here. below and, unsurprisingly, this vast geographic area achieve results […]]]>

BEST JAZZ
The best jazz on Bandcamp: August 2021

By Dave Sumner September 08, 2021

This month’s column covers the world: Trondheim, Tokyo, Panama, Buenos Aires, New York, London, West Africa, Belgium, Berlin, Australia and Chicago are just a few of the names that appear here. below and, unsurprisingly, this vast geographic area achieve results in a wide range of perspectives and sounds.

Trondheim Jazz Orchestra & Ole Morten Vågan
Plastic wave



This phenomenal session by Ole Morten Vågan and the Trondheim Jazz Orchestra has a wild intensity, and wields his sense of humor like a blade. Because it is given the freedom to roam, lyricism often radically changes form; but even under painful conditions, the ensemble repeatedly returns to melody. The TJO has a well-deserved reputation for treating eccentricities as a driving force; with a star lineup including such luminaries as Sofia Jernberg, Ola Kvernberg, Kjetil Møster, Gard Nilssen, it’s no wonder.

Leo Genovese, Mariano Otero, Sergio Verdinelli
Sin Tiempo Trio: Ritmos de Agua



Here, the music is bursting with life. Vibrant melodies are carried in dancing tempos, and direct jazz resonates like something entirely new. Pianist Leo Genovese, bassist Mariano Otero and drummer Sergio Verdinelli deliver what is arguably the best piano trio session of 2021.

John Ellis / Adam Levy / Glenn Patscha
Say it calmly



The melodies in this sublime session by woodwind player John Ellis, guitarist Adam Levy and pianist-keyboardist Glenn Patscha sound like tall candles, providing both comfort and warmth while lighting the way ahead. With bassist Chris Morrissey, drummer Dan Rieser and two guest vibraphonists, the musicians create a sense of intimacy that rewards patience. Sometimes the blues are heavy; sometimes it floats above. When the day seems too long and tomorrow promises the same, end each night with this album; it will provide you with the respite you desperately need.

Ishmael set
Visions of Light



Ishmael Ensemble is a fascinating example of the post-jazz movement, where the current state is far from the origins of the genre, but the echoes of tradition persist. Modern jazz, beats, psychedelic electro, soul, blues, rock, ambient minimalism and more can be spied on in the sea of ​​woods, strings, percussion and electronics in every song. Also, friendly reminder: you need the collaboration of Ishmael Ensemble with Yazz Ahmed in your life, as soon as possible.

Adi Meyerson
I want to sing my heart in praise of life



Adi Myerson channels the work of multimedia artist Yayoi Kusama, offering a musical interpretation of Kusama’s art in the hope that it can serve as a spiritual refuge for the listener. Some of the music here skips with a straightforward jazz expressionism; other times he has an ethereal feeling that defies categorization. Trumpeter Marquis Hill, flutist Anne Drummond, bass clarinetist Lucas Pino, pianist Sam Towse and drummer Kush Abadey are just a few of the prominent musicians contributing to this intriguing session.

Balimaya project
Wolo so



This dynamic recording combines the traditional music of the West African Mandé people with modern jazz. The thick brass harmonies and zigzag melodies of the guitar and keyboards are embraced by the djembe, balafon, sangban, kora, congas and talking drums, resulting in melodies that dance for their lives through wild and effusive rhythms. It sounds like a massive celebration.

9 horses
Omega



One of the key characteristics of the modern jazz scene is its reluctance to hang out in conventional territory. The 9 Horses trio – violinist Sara Caswell, bassist Andrew Ryan, and mandolin player Joe Brent (who also adds synths, glockenspiel, and MiniMoog to this session) – are a good example. They oscillate between jazz, chamber music, folk, pop and electronic music as if they were only different stones stretched on the same musical flow. Omega has a harmonic richness that belies the trio’s talent for treating melodies as doors to new possibilities; one could argue that the tension which arises from this apparent contradiction is the Omegathe greatest strength of. A small army of guest musicians contribute to this fascinating album, including trumpeter Nadje Noordhuis, drummer Jared Schonig and pianist Glenn Zaleski.

Axel Philippe
Sendero







. 00:10 / 00:58

Sendero is an immensely appealing combination of thoughtful compositions and lyrical flow. It’s fascinating to follow the progression of the meticulous structures of Axel Filip’s songs from the first note to the last. But what carries the album is the way the melodies, sympathetic grooves and quick harmonic interludes combine to light a clear path. Each piece flirts with catchy tunes, but always at the service of a more complex and exciting vision of what Argentinian jazz can be. The drummer is joined here by pianist Mariano Sarra and double bassist Flavio Romero, as well as guest singers, guitarists and a string quartet. Very recommended for Guillermo Klein fans.

Jahaziel Arrocha
a marte



There is remarkable lyricism on display throughout a marte. With the exception of the percussion and effects of guests Aquiles Navarro and Miguel Ortíz, this is, overall, a solo effort by tenor saxophonist Jahaziel Arrocha – the kind of environment made for a musician to perform. walk away. There is a calm in Arrocha’s improvisations, which is a big reason why this music borders on the sublime. Even in those brief moments when Arrocha unleashes a wave of volatility, there remains a spirit of contemplation, as if creating his own personal eye in the center of the storm.

Mankwe Ndosi & Body MemOri
felt / not said



There comes a point in every storm when the rain is falling so fast and so furious that it’s hard to tell if you are near the end or the start of the storm. It is on this ambiguous edge that singer Mankwe Ndosi and the trio of bassist Silvia Bolognesi, cellist Tomeka Reid and drummer-percussionist Davu Seru balance each other throughout. felt / not said. Intensity carries with it the promise of tranquility, while contemplative moments warn of the volatility to come. The tension resulting from this dichotomy is immense.

Bram Weijters’ madmen
The return



Bold melodies and playful tempos are the modus operandi of the latest releases from Bram Weijters and his ensemble Crazy Men. Their inspiration is the fusion scene of the 1970s, and its particular manifestation in Belgian jazz-rock, with particular attention paid to the compositions of Philip Catherine, Placebo and Palle Mikkelborg. The surge and crash of the harmony generate a melodic momentum that moves the song forward, even when the ensemble takes a path that leads them away from the opening stanza.

Peter Knight & Australian Art Orchestra
Crossed & Crossed



There are more than a few transcendent moments on this extraordinary session by Peter Knight and the Australian Art Orchestra. The minimalism of jazz as a source of pure strength is exhibited on the two extended pieces here, and their slow builds lead to dramatic peaks of intensity, like a heart struggling to contain more happiness than it has. was designed to contain it. While some of the avant-garde of jazz minimalism treat music as an opportunity to leap melodic ideas onto the surface of harmonies, the AAO takes an approach closer to John Adams’ “Shaker Loops”, sending out swells of music. rise, as well as gracefully crumble. Side note: Two members of this ensemble, Tilman Robinson and Andrea Keller, are responsible for some of my favorite music from the past decade.

Truth Revolution Records
Together again



This collective integrates the work of six producers, 12 arrangers and 44 musicians giving their individual interpretation of 17 classical pieces, all recorded under the constraints of pandemic containment conditions. Even with this intoxicating premise, the result is a wonderful recording that contains modern jazz, old school, Latin jazz and chamber jazz, and shakes up with the kind of tasteful direct sound on which Truth Revolution Records established. their reputation.

Web Web
Web Max



Guests Mulatu Astatke, Brandee Younger, and Charles Tolliver add welcome depth to the spiritual jazz sound of the web. At Web Max, the quartet adopts a contemplative tone, opening the door to a more nuanced approach to their typically seductive melodies. It has been a patient and rewarding development for this exciting quartet, starting with their debut in 2017. Oracle, and they have established their place in the modern spiritual jazz movement.

Jean Lapouge
Quadrilogy



Jean Lapouge’s music has a striking melody that is unlike anything else on stage. The release of the guitarist in 2011 Temporary, with vibraphonist Christian Pabœuf and trombonist Christiane Bopp, radiated a seductive and mysterious beauty. Their 2012 follow-up Children was no less convincing and served up melodic imagery that a listener could immerse themselves in. On his latest, Nicolas Lapouge intervenes on electric bass, and the music here is perfect for standing in front of a frosted window and watching the snow fall, as the warmth of the fireplace gently warms the room.

Yosuke Watanabe
?? (My invisible tree)



This fascinating series of duets by percussionist Yosuke Watanabe oscillates between “Bill Frisell, guitar and loops” territory and a more traditional approach to jazz-folk forms. The two avenues are rich in images and melodic warmth. Instruments like the violin, gadulka, and kokyū complement the songs here, while the violin, guitar, and pedal effects evoke the Frisell classic, Dead city. Another gem from the intriguing Tokyo label Musilogue.

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Jazz musicians bring lively energy to the East Village Community Garden https://iridiumjazz.com/jazz-musicians-bring-lively-energy-to-the-east-village-community-garden/ https://iridiumjazz.com/jazz-musicians-bring-lively-energy-to-the-east-village-community-garden/#respond Wed, 01 Sep 2021 13:40:55 +0000 https://iridiumjazz.com/jazz-musicians-bring-lively-energy-to-the-east-village-community-garden/ Sign up for our PoliticsNY newsletter for the latest coverage and to stay informed about the 2021 elections in your district and across New York In the East Village there are a lot of community gardens – 39, at last count. In a city of 550, that’s a big chunk. Fortunately, the keepers of these […]]]>