We are proud to announce that the outstanding recording of Winterreise by Christoph Prégardien and Michael Gees was nominated for the 56th Grammy Award for Best Classical Vocal Solo!
You can watch the trailer by clicking on this link: http://www.youtube.com/watch?v=I-7BLF0uKJ4
Prégardien and Gees have performed Winterreise numerous times together and Prégardien has released Winterreise before with Andreas Staier on fortepiano in 1996. The release won multiple awards. Nonetheless, this new release of Winterreise adds in many ways to this former release. Prégardien’s vision on Winterreise changed from more melancholic to a piece that is about a big step in life, an new beginning. In addition, pianist Michael Gees, who plays on a standard Steinway piano, enhances this with his imaginative way of playing which makes the piece colorful. The combination of the visions of these two musicians led to a newly created, unique version; a third way of Winterreise arose. Winterreise is available on CD recorded in surroundsound, but also on a movie (DVD and Blu-ray). A documentary is added as a bonus with interviews with Prégardien and Gees, also containing behind the scenes footage.
This release is included in our selection of "favorite gifts for the holidays" and is therefore available with discount! Click here to go to this selection and order the cd, dvd or bluray with discount!
We are proud to announce that the outstanding recording of Winterreise by Christoph Prégardien and Michael Gees was nominated for the 56th Grammy Award for Best Classical Vocal Solo!
Last weekend, the documentary "Sei Solo", about Liza Ferschtman was broadcasted on the Dutch Television. Did you miss it? You can still watch it online!
Go to: http://www.uitzendinggemist.nl/afleveringen/1380815
In this documentary Liza Ferschtman shows how she wants to make her 'musical signature'. With the iconical Chaconne of Bach as a basis, Liza Ferschtman put together a program of solo works by the composers Bach, Biber, Berio and Bartok. These works ask for maximum effort from the violinist herself as well as from her audience. For her, the ultimate way to connect to her audience. The viewer is witnessing a unique but also lonely battle with high stakes: the music itself.
Today, the Dutch newspaper awarded the cd Symphonic Work of Michael Schønwandt and the Netherlands Radio Chamber Philharmonic with a four-star review!
Reviewer Frits van der Waa wrote:
"Schønwandt lets the music sparkle with youthful vitality"
We now offer you €4 discount on this cd in our webshop, instead of €26,95 you pay €22,95! Click here to buy the product and use the discount code EOMDYEV at the checkout.
We are very proud to announce that the Instant Composer Pool (ICP) box won an Edison Award for best document! We would like to celebrate this with you: when you buy this award-winning ICP box in our webshop, you will now receive six cd's for free (worth over €100,-)!
The comment of the judges:
"The overwhelming number of recordings of this unique ensemble form, together with the beautiful artwork, a particularly valuable document about this memorable epoch in our national improvised music."
The box contains the complete catalogue of the Instant Composer Pool, including material which was never released before on 52 cd's and 2 dvd's. Additionally, there is photobook by Pieter Boersma and a blueprint of the famed ‘camel-chair’ inside. Each box is hand painted by drummer Han Bennink himself.
With this box, you will now receive the following top titles:
- Sven Ratzke & Claron McFadden - Groschenblues - ZZ 76103
- The Ploctones - 3...2...1... - CR 73306
- Eric Vloeimans - Live at the Concertgebouw - CHR 70165
- Misha Mengelberg - Solo - SAZZ 75033
- Yuri Honing - Seven - SAJIM 75110
- Tineke Postma - The Dawn of Light - CR 73313
From Beethoven’s “5th”, Allegro con brio, to Maarten Ornstein’s Quicksie from Jungle Boldie. What unites the pieces is the pure experience that they offer.
Pioneering engineer Bert van der Wolf launches a new collection of personal highlights from his ground-breaking career. The new collection features fully re-mastered recordings of some of the most innovative and moving music in the world. The fourteen tracks have been selected personally by van der Wolf from the NorthStar archive and represent some of the seminal moments from his recording career. Also, great artists are featured on this album like: Marc van Roon, Tony Overwater, Christoph Prégardien, Michael Gees, Dean Peer, Maarten Ornstein, Wim Kegel, Tuur Florizoone, Jörg Brinkmann and Eric Vloeimans.
Click here for the North Star Recording video
At the age of 17 Lisa Jacobs made her debut with the Royal Concertgebouw Orchestra. In 2008 she played in the television show De Wereld Draait Door. Now, this star violinist brings her debut album on Challenge Classics: Poème, works for violin & piano, with the works of violin virtouso Eugene Ysaye and Cesar Frank's famous Sonate. "This is the dream of any musician", Lisa Jacobs says. The album is now available!
Dutch violin virtuoso Lisa Jacobs started playing the violin at the age of 6. She was accepted in the Young Talent class of the Utrecht Conservatory and continued studying with Ilya Grubert at the Conservatory of Amsterdam, At the age of only 17, Lisa made her successful debut with the Royal Concertgebouw Orchestra under the baton of Riccardo Chailly. Lisa Jacobs has won several first prizes in both national and international competitions, one of them being at the 2nd International Jascha Heifetz Violin Competition in Lithuania 2005, where she received the Audience prize as well. Lisa has followed masterclasses with Thomas Brandis, Julian Rachlin, Philip Graffin and Maxim Vengerov, which was broadcasted on Dutch television.
The press wrote about concerts of Lisa Jacobs:
'She took the breath away of the audience ' Grafschafter Nachrichten, October 2011
'Unearthly beautiful' AD, September 2010
‘Musicians of this quality are very rare' Thiemo Wind, Telegraaf, September 2008
Poème, works for violin & piano
The violin works on this CD have a particularly relation to each other. The CD opens with Ysaÿe’s Poème Elégiaque op. 12: the name is derived from the middle section of the piece, which depicts a passing funeral procession accompanied by tolling bells. It was ultimately also played at Ysaÿe’s own funeral. Extase op. 21 reveals the expressivity and depth of his sound idiom, once again demonstrating his tone-painting ability. The CD concludes with César Franck’s Sonata in A major which was composed as a wedding present for Eugène Ysaye. The young violinist Lisa Jacobs has performed these works in many of her concerts, since she was acquainted to those at the age of sixteen.
14 November 2013 – Concertgebouw Amsterdam
7 December 2013 – Conservatorium Utrecht
12 December 2013 – Vondelkerk Amsterdam
15 December 2013 – Den Bosch Toonzaal
More information: www.lisajacobs.nl
Guitarist Scott Fields String Feartet’s Kintsugi has fiery avant-garde explorations from his violin-viola-cello quartet.
Guitarist Scott Fields was born and raised in Chicago. He originally played with both rock and avant-garde groups for several years, doubling on saxophones. Fields actually stopped active performing for 15 years starting when he was 23, working outside of music in Madison, Wisconsin while gaining degrees in journalism, economics and mass communications. However he was drawn back to music, moving to Cologne, Germany and becoming a major force in European jazz. He has mostly performed with top American and European greats in avant-garde music ever since including Michael Bisio, Marilyn Crispell, Hamid Drake, Michael Formanek, Gerry Hemingway, John Hollenbeck, Rob Mazurek, Myra Melford, Elliott Sharp and many others.
Fields’ String Feartet is a well named quartet that also features violinist Axel Lindner, Vincent Royer on viola and cellist Elisabeth Fugemann. Fields contributed the five compositions which include such intriguing song titles as “Sexual Perversity In Chicago,” “The Tragedy Of Spade Cooley” and “Snail Fight.”
The music on this unique set may not always be fearful but it is certainly quite avant-garde, with the written sections leading logically to the free group improvisations. Violinist Lindner and Royer on viola are the lead voices, creating dense ensembles that include Fields’ tonal distortions and feedback along with Fugemann’s always stimulating cello.
These are spontaneous and innovative performances that become more logical with each listen
We are proud to announce the release of our latest production in cooperation with De Nederlandse Opera: Franz Schreker's rarely performed early 20th century masterpiece Der Schatzgräber.
The early 20th century Austrian composer Franz Schreker is especially known for his operas. Der Schatzgräber (The Treasure Hunter) was completed in 1918 and premiered Frankfurt in 1920. On this recording, the second in a Nederlandse Opera series on Challenge Classics, the Netherlands Philharmonic and the Netherlands Opera Chorus are conducted by Marc Albrecht. The cast includes Tijl Faveyts, Raymond Very, and Kay Stiefermann.
Schreker pondered what an artist should offer to modern society. In Der Schatzgräber, this crisis of conscience finds voice in mystic medievalism. The opera’s plot centres around a queen who has lost her jewels, and with them her beauty and fertility.
Marc Albrecht has been the chief conductor of the Netherlands Philharmonic and Netherlands Chamber Orchestra since the 2011-2012 season. He is particularly known for his interpretations of works by Wagner and Richard Strauss, and of contemporary music. His critically acclaimed live recording of Strauss’s Elektra with the Netherlands Philharmonic (CC72565) was released on Challenge Classics in 2012.
Annette Hanshaw is one of the few ‘pop’ vocalists of either sex from the Jazz Age, who can genuinely be called a jazz singer: her natural sense of timing and rhythm worked equally well with straight dance bands and small jazz combinations.
The CD opens with three tracks by the Original Memphis Five
CD opens with three tracks by the original Memphin Five. Annette’s vocal work fits in perfectly with the bouncy rhythm the band generates.
The tracks by the Four Instrumental Stars are well-known to most collectors, but are rarely heard on re-issues as crystal clear as they are here.
“When I Am Housekeeping For You” is a great side, issued on the rare Paramount Publix label. Perfectly suited to her vocal style, as indeed are the musicians themselves, who include Glenn Miller and Jimmy Dorsey.
This is an interesting and worthwhile collection and shows off Annette Hanshaw’s ability to craft a fine vocal to perfection. Transfers by Harry Coster are excellent throughout.
- VJM, Max Easterman
The whole review you can find on www.vjm.biz
On the 24th, 25th and 27th of October Hermine Deurloo will give three concerts in Groningen, Amsterdam and Leeuwarden. The shows will be a mix of exciting improvisations, spherical film and unusual percussion sounds and original compositions.
Tony Overwater: bass, electric bass
Joshua Samson: Hang, smeary, percussion, drums
Sandra Hempel: on guitar in Groningen and Leeuwarden
Rembrandt Frerichs: piano in Amsterdam
Thursday, Oct 24. 20:30 Groningen, Platformtheater
See link for more information http://platformtheater.nl
Friday Oct 25. 21:00 Amsterdam, Splendor,
See link for more information www.splendoramsterdam.nl
Sunday Oct 27. 15:00 Leeuwarden, De Harmonie
See link for more information http://www.harmonie.nl/voorstellingen/155/Hothouse_Redbad/Hermine_Deurloo_Quartet/
The new album of Tania Kross: Krossover; Opera Revisited will be released on October 30! For this new album Tania Kross’ goal was to take classical music back to the larger audience.The compositions are not what you expect from an opera album. Instead of taking existing, famous opera works, Tania asked the composers of today’s popular music to write the music for the project. The result is breathtaking, classical music which touches you from the start!
Once upon a time the music that we now label as ‘classical’ was the popular music of the day. It was only in the second half of the 20th century that the so called contemporary music became so abstract that the connection with the general public got lost along the way. During her career Tania experienced that audiences still love a beautiful melody. She started looking for an idea that would bring classical music back to where it belongs: the people. “Wouldn’t it be great to create a cultural environment in which going to the opera would be as natural as going to see the new James Bond movie?”, she thought. That was the moment she decided to ask Huub van de Lubbe, Spinvis, Ruben Hein, Robert Jan Stips, Lucky Fonz III, Marinus de Goederen, Martijn van Agt, Martin Fondse, Martijn Konijnenburg en Odilo Girod. As a producer she asked Reyn Ouwehand, a producer who worked with popular Dutch bands like Kane. Bob Zimmerman proved to be the perfect arranger to translate these pop songs to the language of the symphony orchestra.
Stay updated about this project by liking Tania Kross' Facebook page!
The Mira Mode Orchestra is a very modern and unusual jazz orchestra. Saxophonist Ede Merkel is the leader but in many ways this is a co-op that he has with younger and talented musicians, mostly from Germany.
The Mira Mode Orchestra is certainly one of the first jazz groups ever that consists of three horns, a four-piece rhythm section, and five strings. On Restless City, their first recording, Merkel contributed five of the nine selections and arranged Clara Hill’s “Glacial Moraine.” The other three selections were contributed by trumpeter Sebastian Piskorz. “Glacial Moraine” features Clara Hill’s vocalizing while a male singer called Simple One is featured on “Shade Of Ivory.”
Much of the music (particularly Merkel’s pieces) has inventive use of repetition. The performances blend together post bop jazz, electronics, funk, groove music, expressive pop vocals, and a gritty urban sound along with hints of the big band tradition. The writing for the strings is particularly inventive and there are some strong solos from the horn players along the way.
However it is the unique ensemble sound of and the unpredictable arrangements that give Restless City and the Mira Mode Orchestra in general its own colorful musical personality.
The USA jazz star Greg Osby and noted Dutch saxophonist Tineke Postma both alt and soprano saxophone players join forces to create a gem album featuring their own compositions. They are now powering this album on the world famous Kickstarter giving a chance to their fans and all the jazz lovers on the planet to become a part of their stunning CD. Click here to support this new album!
In this album Osby’s modern energetic, electric and acoustics conceptual music meets the melodic European influences of Tineke. The line-up is spiced with modern jazz and Indian rhythms of the drummer Dan Weiss, improvisation master pianist Matt Mitchell and a young bass virtuoso Linda Oh. The union of minds, concepts and visions on this CD guarantees to yield stellar results.
What makes this album special:
- There will be many features with two altos and two sopranos. A recording with two soprano saxophones has almost never been done; it’s pretty uncommon
- Intriguing mix of the male/female ingredients from Greg and Tineke. Times have changed, jazz is not anymore a male dominated music style
- Greg was Tineke’s mentor once, now Greg admits they are peers and he has a lot to learn from her
- It is a multicultural project uniting the greatest young musicians from the NYC scene, the Netherlands and Australia. Every musician in this group with his/her cultural background will have an equal input. It's a true cultural exchange in knowledge, approaches and concepts
- This is the first album of Tineke in the last 3 years and for the first time she records as a co-leader (with Greg Osby)
- You will hear the new musical developments of Tineke influenced by her long stays in NYC and performances with great artists of the USA jazz scene
- This CD will contain hip, modern, groovy music
In return for your financial support Tineke and Greg prepared great rewards: from the traditional download of the CD and signed copy of the album to the Skype lesson with Tineke and her private concert at your location!
Friday the 25th of October, the Russian piano talent Olga Domnina will play at the Koninklijke Concertgebouw in Amsterdam. There she will play work of Prokofjev and present her debut album Seven Melodies for the Dial. This work was dedicated to her by Vladimir Genin, the composer, who will be present at this concert!
Next Sunday, the 13th of October she will talk about the pianocycle in Vrije Geluiden.
Olga Domnina started playing the piano at age seven. Since then, she devoted herself to music. Olga Domnina graduated with a ‘gold medal’ on the Gnessin Institute of Music in Moscow. The world premiere of Vladimir Genin's cycle Seven Melodies for the Dial took place in 2011, in the Moscow House of Music. Challenge Records released this cycle in September 2012 on CD: the daring recording debut of pianist Olga Domnina.
Vladimir Genin's Seven Melodies for the Dial
Seven Melodies for the dial is composed for Olga Domnina by the Russian composer Vladimir Genin. Time and timelessness are topics where Genin, just like his Russian predecessors, all engaged in profound. Seven Melodies for the Dial is based on Shakespeare's Sonnet 77. It’s an intense, impressive and demanding job. Few pianists in the world will be able to do this 55-minutes pianistic 'job' as can be great as Olga Domnina can.
Musicweb-international wrote about Olga Domnina:
"Olga Domnina is the dedicatee of Seven Melodies for the Dial, and therefore it speaks for itself that her performance is stunning. She not only tackles the music’s technical demands with apparent ease, but also infuses every moment with emphatic and unpretentious expressiveness - no matter how sparse or dense the texture, how soft or tumultuous the mood"
Date & Venue:
Friday, October 25th, 20:15h
1071 LN Amsterdam
Tickets (Regular: €27,50, CJP/Under 12: €22,50)
Pianist Floris Verbeij, bassist Bart Soeters, drummer Arthur Lijten on Morse. play subtle and creative jazz.
Pianist Floris Verbeij and bassist Bart Soeters teamed up as co-leaders to create Morse. Verbeij composes not only for this set (where he contributed seven of the ten selections but writes for films, television and plays. Soeters, who like Verbeij is a college professor. He studied with Victor Wooten, Marcus Miller and Clare Fischer in the United States before returning to Germany. He has kept busy in concerts with top European musicians and in the studios.
On Morse, the co-leaders are joined throughout by the quietly supportive drummer Arthur Lijten. Guitarist Erik Rutjes helps out on two pieces and the great clarinetist Michael Moore adds atmosphere and some swing to three selections. Most memorable is Fay Lovsky who, on one tune apiece, plays the water harp, the singing saw and the thumb harp. Her contributions help the music to be eerie and otherworldly in spots.
But most of the music focuses on the interaction of the trio. Their lyrical music is full of close interplay and melodic ideas. The group explores not only Verbeij’s original material but a group improve, Randy Newman’s “Living Witht You”and Joni Mitchell’s “Both Sides Now.”
Morse is full of subtle creativity, quiet inventions and happy feelings.
Wednesday evening, 9th of October Eric Vloeimans and Holland Baroque Society visited the Dutch national television program 'De Wereld Draait Door' to present their new album: Old, New and Blue. In the show the played one track of this album.
To watch the performance, CLICK HERE.
CLICK HERE to watch the song 'Sans Parure' on youtube.
The Ploctones on Ploc range from rockish jams and avant-funk to quieter ballads. The adventurous guitarist Anton Goudsmit stars.
When one hears the Ploctones, there are times when their playing is so explosive that it sounds like Sonny Sharrock meeting Albert Ayler with Jimi Hendrix helping out. Certainly the first two passionate numbers on Ploc, their fourth CD, sounds that way. But then there are other times when they sound like a modern jazz group that displays lyricism and melodic development. The Ploctones are certainly an eclectic and unpredictable group, and they clearly want to stay that way.
Founded in 2004 and based in the Netherlands, the group is comprised of the intense guitarist Anton Goudsmit, Efraim Trujillo on tenor, soprano and flute, bassist Jerden Vierdag and drummer Martijn Vink. Goudsmit is the lead voice and the most explorative improviser but the other musicians do not exactly take it easy on Ploc. Trujillo plays powerfully (particularly on tenor) while Vierdag and Vink add a great deal of passion to the music.
After the rockish “I Know That You Know That I Know That You Know That I Know” and “Amerika,” the band shows its diversity on the more laidback “Tag You’re It,” the avant-funk of “Entangled” (which sounds a bit like early Bill Frisell), and the thoughtful ballad “Falling Grace.” They return to rockish sounds on “Kriminalpolizei,” play funk a la John Scofield on “Pork” and are playful on the rollicking “Playda.”
Ploc features the Ploctones at their most colorful and creative.
This sunday in the program Co Live from radio 6, is it possible for you to vote for ICP Orchestra! Voting goes by going to the website www.radio6.nl. There you can click on a poll for your vote to be counted. If the ICP orchestra wins, their complete boxed catalogue will be played after 12 pm. ( a recording from 1997 - Jazz Marathon - Groningen) Please start voting now!
It is possible to order the ICP boxed catalogue from our website http://www.challengerecords.com/products/1326978299
Pianist Marco Barroso mixes a big band with electronics on the Lisbon Underground’s L.U.M.E. (ZZ 76105) to create noisy and unique music.
It is easy to think of this new CD from the Lisbon Underground as being a big band album, at least until one listens to it. After all, the band consists of six reeds, three trumpets, three trombones, bass, drums and the piano of leader Marco Barroso. However the use of electronics and samples give the eight Barroso originals an otherworldly quality, blending together the electric with the acoustic in a sort-of updating of the Gil Evans Orchestra ideas of the early 1970s. However in addition to the Evans idea, the music is influenced by Frank Zappa, noise art, and Marco Barroso’s wild imagination.
As if to show that this is far from a typical big band album, the first two brief pieces, “What” and “Lux,” are filled with bizarre and somewhat startling sound effects. Things settle down a little bit on the third piece, “Turn Around,” but not for long. While there are worthy solos along the way by tenor-saxophonist Jose Menezes, Jorge Reis on soprano, baritonist Elmano Coehlo, trumpeter Joao Moreira, trombonists Luis Cunha and Eduardo Lala and clarinetist Paulo Gaspar, they only form one layer of the music and are often overshadowed not only by the rhythm section but Barroso’s creative and sometimes bombastic electronics.
The result is that L.U.M.E. contains music unlike any heard before, creating a new world of very futuristic music.
The documentary about the pianist Mike del Ferro's music history is now online! Click here to watch it.
Mike del Ferro likes to travel around the world to search for new kinds of music.
This document shows how his love for music all started by the movie Rag Time. Which countries appeal to him and how he thinks about music. "I always played the common Chopin, Beethoven, and Mozart repertoire, but I missed something”, he said about his experience with music. After a wonderful concert by Oscar Peterson in his younger years, he was sure that he wanted to be a jazz pianist.
Immerse yourself in this fun documentary project that was a exam project of an intern from Vrije Geluiden.
This is the third CD in a series by the Retrieval label that consists of recordings from the classic jazz era (1924-32) that were never released on 78s. Some came out on Lps or on very obscure CDs but they were formerly quite scarce. As can be ascertained by listening to the 24 performances, they went unreleased for many decades for nonmusical reasons. The playing is certainly quite worthwhile and enjoyable.
Featured along the way are such groups as Fred Waring (long before he had his famous glee club), Charles Dornberger, Roger Wolfe Kahn (“Rhythm Of The Day”) which has a nice spot by Joe Venuti, Art Landry, Ted Weems (five songs including the joyful “Miss Annabelle Lee”), Paul Whiteman featuring the Rhythm Boys (“The Five Step” and “It Won’t Be Long Now”), Slim Lamar, Mart Britt, the Memphis Stompers, Sunny Clapp, Ben Pollack (“Yellow Dog Blues”), the High Hatters, Bert Lown, and Gus Arnheim with Bing Crosby.
Some of these selections were alternate takes while others were simply lost along the way. Now, up to 90 years later, they are being rediscovered and finally released properly. The mixture of hot jazz, first-class dance music, heated and concise solos and charming period vocals makes this a must for 1920s collectors along with the other two CDs in this valuable series.
Next Wednesday, 25th of November, diva Sven Ratzke will present his new album in Bimhuis.
For the release concert we have a special offer for you: you can buy a combination ticket for only 29,- which means 25% discount on both concert ticket and album! Be quick because there are limited combination tickets available! Order your combination tickets here!*
German-Dutch cabaret artist Sven Ratzke, a ‘showbiz enfant terrible’ (de Volkskrant), enchants the Bimhuis with a one-off live performance based on his new CD Songs in a Cabaret, a tour of theaters from Paris to New York, from Berlin to Vienna. Songs by cabaret divas such as Marlene Dietrich, Ingrid Caven and Hildegard Knef are interchanged with songs written especially for Ratzke by Mathilde Santing, Cora Frost and the female Tom Waits from New York, Rachelle Garniez.
Sven Ratzke knows how to combine mainstream- with underground music. His show ‘Ich Habe den Dreigroschenblues’ with music of Kurt Weill is a prefect example for this where he approached world famous repertoire from a new, surprising angle.
‘Songs In A Caberet’ is Ratzkes first studio album with musicians as Eric Vloeimans, Tuur Florizoone, Fay Lovsky and Claron McFadden. All special guests on this album will be at the releaseconcert in Bimhuis.
* If you would like to get 2 tickets and only 1 cd, you can select 1x concert + cd and 1 normal ticket. If you would like to have 2 cd's, you can select 2x concert+cd. cd's can be collected on the evening of the concert at the cash desk with presenting a valid concert ticket.
On Sunday September 22nd guitarist Enno Voorhorst will be guest in the live radio program in the Spiegelzaal in the Concertgebouw of the AVRO on Radio 4. Enno will be playing pieces from his new cd 'Around Barrios' and he will be interviewed by presentor Hans van den Boom
Website Spiegelzaal: link
The new CD 'Around Barrios' of Enno Voorhorst: link
The new release of Eric Vloeimans his trio Oliver's Cinema is out now!
We offer you a release discount of 3,-, use the discount code zz76111oc at the checkout in our website and you will pay 16,95 instead of 19,95!*
Tonight Eric will be a special guest in TV show Pauw & Witteman
(23.05 hr, Nederland 1)
Next Friday, 20th of September the new trio of Eric Vloeimans, Oliver’s Cinema, will present their new album in Bimhuis Amsterdam.
Oliver’s Cinema has an international line-up with Eric Vloeimans (NL) on trumpet, Tuur Florizoone (BE) on accordeon and Jörg Brinkmann (DE) on cello.
This outstanding trio shares broad musical interests. The term ‘jazz’ is too limiting for them and with their uncommon combination of instruments they bring an original sound and spirit to that notion.
On the album, the trio celebrates how film music can transport listeners into lost spaces of memory and emotion. Its leader, Eric Vloeimans, is a prolific and evocative Dutch trumpeter who has toured the U.S. with his group Fugimundi. For this project, he created a new band with cellist Jörg Brinkmann and accordion player Tuur Florizoone. The group interprets real film scores, such as Ennio Moriccone's theme to 1988's Cinema Paradiso, as well as original compositions for films which exist only in their imaginations.
Friday 20th of September, 20.30 hr
Bimhuis, Piet Heinkade 10
Tickets at www.bimhuis.nl
* The discountcode is valid until September 30, 2013.
Get your copy today - with a 15% discount!
Use the discount code 4APWU6U at the checkout of our store and pay €16,96 instead of €19,95!*
A very positive review yesterday in daily newspaper NRC about "Nightbook", the solo CD of Dutch pianist Hanna Devich, playing music of the Italian composer/pianist Ludovico Einaudi. This is the first ever album of his piano music not played by the maestro himself and the NRC reviewer deems Hanna's performance better than that of Einaudi himself:
"It is an advantage that Einaudi did not play the music on this CD himself, because Devich is a gifted pianist. She approaches Einaudi like she would play Nocturnes by Chopin. The result being far more lively and interesting. Einaudi's music still sounds polished, but it now also has a heart." (Joep Stapel - NRC)
Einaudi's music became widely known after the famous movie 'Intouchables' for which he composed the soundtrack. When Hanna Devich was looking for music for her students she found the Nightbook cycle by Einaudi and was immediately enthusiastic. After studying the music herself, she found out that it has more depth than is assumed. This depth is what she wanted to bring this across on her first solo album.
*Discount code valid up to and including October 8, 2013
The new CD of the Matangi Quartet 'Haydn's Nature' is in the Plaatpaal on Radio 4: here
Also the cd was in Diskotabel were the panel discussed it: here
The Diskotabel panel is very enthusiastic, panel member Cécile Huijnen stated: "This is awesome. This is the high Art of the string quartet. The balance is so beautiful, it is organic, sometimes it is very pure and non-vibrato and then again a more firmer approach and also that clear cello part, it is just wonderful."
An exciting new release of The Ploctones will be celebrated with a discount on the presentation concert10-09-2013
Next Thursday September 12, The Ploctones will present their new album ‘Ploc’ in the Bimhuis, Amsterdam.
In collaboration with the Bimhuis we can offer you a special discount on the tickets of this release concert. If you order your tickets via http://bimhuis.nl/concerten/the-ploctones and use de code ‘ploc!’ you have the special price of €17,- instead of the normal price €20,-
Thursday September 12, 20.30 hr
Piet Heinkade 3, Amsterdam
The Mira Mode Orchestra debut on Restless City is a blend of postbop jazz with strings, electronics and groove music.
The Mira Mode Orchestra is a very modern and unusual jazz orchestra. Saxophonist Ede Merkel is the leader but in many ways this is a co-op that he has with younger and talented musicians, mostly from Germany.
The Mira Mode Orchestra is certainly one of the first jazz groups ever that consists of three horns, a four-piece rhythm section, and five strings. On Restless City, their first recording, Merkel contributed five of the nine selections and arranged Clara Hill’s “Glacial Moraine.” The other three selections were contributed by trumpeter Sebastian Piskorz. “Glacial Moraine” features Clara Hill’s vocalizing while a male singer called Simple One is featured on “Shade Of Ivory.”
Much of the music (particularly Merkel’s pieces) has inventive use of repetition. The performances blend together post bop jazz, electronics, funk, groove music, expressive pop vocals, and a gritty urban sound along with hints of the big band tradition. The writing for the strings is particularly inventive and there are some strong solos from the horn players along the way.
However it is the unique ensemble sound of and the unpredictable arrangements that give Restless City and the Mira Mode Orchestra in general its own colorful musical personality.
The Portugese band Lisbon Underground Music Ensemble, are going to cross borders. Challenge Records/Buzz just released their international version of L.U.M.E.!
Lume is the Portugese word for fire, it's the fire that sparks one big explosion of different music styles!
This music ensemble, led by composer Marco Barroso, is a collective of 15 musicians with diverse backgrounds and experiences in the fields of jazz, pop, rock, classic, contemporary and improvised music. Influenced by many sources ranging from Funk to textural music, from Boogie woogie to impressionistic ambient, the group combines elements of writing with improvised patterns, using a variety musical languages.
Marco Barroso – Composition, Direction, & Piano
Jorge Reis – Soprano Saxophone
João Pedro Silva – Alto Saxophone
José Menezes – Tenor Saxophone
Elmano Coelho – Baritone Saxophone
Manuel Luís Cochofel – Flute
Paulo Gaspar – Clarinet
Jorge Almeida – Trumpet
João Moreira – Trumpet
Pedro Monteiro- Trumpet
Luís Cunha – Trombone
Eduardo Lala – Trombone
Perdo Canhoto – Bass Trombone
Yuri Daniel - Electric Bass & Double Bass
Pedro Silva - Drums & Percussion
It has been 2 weeks since the project of Goeyvaerts String Strio went successfully funded on Kickstarter. The trio put their upcoming Arvo Pärt's "Stabat Mater" album on the global crowd-funding platform. And it turned out a huge success with over 500 international backers (investors), personal support of Arvo Pärt, global press coverage, Kickstarter front page feature and almost £ 15 000 collected for the new CD!
What started as an exchange of ideas on a terrace in Amersfoort ended up in a successful creative way of making people sharing and experiencing classical music. The project was launched aiming at £ 10 000 and the funding were growing steadily until Arvo Pärt himself shared the news about the campaign on his official Facebook Page. Ultimately, the first main reward (private concert with the trio) of £ 3 500 worth was pledged. Within the last few days of the campaign Kickstarter Staff picked the project as The Project of The Day and included it in their newsletter handpicked as one of the three "Projects We Love" on Kickstarter. The fundings skyrocketed and went over the planed budget bringing the CD £ 14 932 support in total.
Kickstarter.com about the project & the CD: "When a renowned string trio collaborates with some of the best vocalists in the world, the results are nothing short of exhilarating. Such is the case with the Goeyvaerts String Trio, which is working with Vox Luminis to bring Arvo Pärt's "Stabat Mater" to a contemporary audience".
Radio 4: "In the times of the poor cultural subsidies Kickstarter is a good tool for cultural funding. Previously the label paid the recordings, but sales are under pressure. Then crowd-funding can offer you a brilliant solution."
Flanders Music Centre: "Already known as a rocking ensemble, Goeyvaerts String Trio also proved to be an example of the enthusiastic entrepreneurship!"
The campaign also brought new international possibilities. The trio gave an interview to the Malaysian radio BFM, got supported by the Estonian Forbes journalist Tarmo Virki on Twitter, and started working together with the University of York on the study of the intonation choices by string instruments.
"For us this project is not only the funding, but also the mental support and interest in our program and our way of working. It's also a great support for our label Challenge Records, who always believed in our adventurous way of working", says the trio. Click here to read more about the campaign in the latest interview with Goeyvaerts String Trio on Kickstarter.com!
We will keep you updated on the progress of this remarkable and now globally supported CD. For the interview inquires please contact us here.
Next week Mike del Ferro his new album 'Impressions of Brazil' will be Release of the Week at Sublime FM. Listen Tuesday night, 10th of September on 22-23u!
Collaboration has a dozen fascinating and mostly free improvisations by the great pianist Kenny Werner in a trio.
Pianist Kenny Werner, bassist Hein Van De Geyn and drummer Hans Van Oosterhout have worked together on an occasional basis in the past including taking a short tour and functioning as Toots Thielemans’ quartet for a few concerts. But while the musicians are familiar with each other, they have not performed together all that often. Rather than sharing years of mutual experiences, they share a similar outlook towards improvising jazz. Their common vision is on display throughout this continually fascinating and intriguing disc.
With Werner leading the way, the trio creates new compositions and improvisations on the spot during a dozen performances. One of Werner’s songs, “Elegante,” is explored at great length. The trio also performs Paul Simon’s “Sound Of Silence” and the standard “There Will Never Be Another You.” However even those two songs are mostly freely improvised with the tunes being largely unrecognizable until late in the performances when the melodies gradually appear.
In addition to the close interplay and the many fine Van De Geyn bass solos, it is difficult not to be impressed by Kenny Werner’s chord voicings. Not only does he seem to know every chord ever played but gives the impression that he is creating some never heard before.
Even with the fairly free playing on many of these selections, the results are often melodic, lyrical and a logical extension of each piece’s ideas. Collaboration deserves several close listens.
German tenor-saxophonist Birgitta Flick’s debut as a leader Yingying has her sounding relaxed and explorative with her quartet.
An excellent tenor-saxophonist based in Berlin, Birgitta Flick has an original sound on her horn, not sounding like any of her historical predecessors. She was born in 1985 and she began music with extensive piano lessons. When she was 13, she shifted her focus to the tenor. She attended the Academy of Music during 2002-05 and the Jazz Institute Berlin during 2005-10; one of her teachers was Kurt Rosenwinkel. She performed with several big bands and youth orchestras in the Berlin area while at school. Since that time the saxophonist has led her own quartet and worked with such groups as Flickstick, Freischwimmer XL, Lina Nyberg, the Peter Tenner Jazz Orchester and the German Women’s JazzOrchestra. She has also studied traditional Swedish music.
Yingying is Ms. Flick’s recording debut as a leader. She is assisted by pianist Andreas Schmidt, bassist Andreas Edelmann and drummer Max Andrzejewski on ten of her compositions.
Most impressive, in addition to Brigitta Flick’s original sound, is that she has a relaxed style. Even during the more heated and passionate moments, she sounds laidback, calm and under control. Her solos take their time and make every note count. Her fine trio follows her musical directions closely and builds on the mood that she sets.
Yingying is an impressive start for the 28-year old Brigitta Flick’s career.
In this unique collaboration between Bram Stadhouders and The Netherlands Chamber Choir jazz, modern electronica and choir meet.
"Forget your hairdo, because your hair will stand stiff upward when the symbiosys forces cross the stage" wrote newspaper De Volkskrant after the premiere concert of Henosis.
This album is now featured on the 3 voor 12 Recordpole, click here to listen to the album.
We offer you a release discount on this new album of Bram Stadhouders untill the 13th of September! If you use the discountcode ZZ76107release at the check out, you'll get a 15% discount, Be quick and pay only €15,95 instead of the normal price €19,95
Henosis was created after multi-talented Bram Stadhouders won the Composition Assignment from the North Sea Jazz Festival in 2012. Stadhouders wrote his work for a special combination: eight members of one of the most admired choirs in the classical world, the Netherlands Chamber Choir, and his own trio: guitar, drums and electronics. The outcome is a cross-over between jazz and modern electronica.
One might think that classically trained musicians and jazz improvisers are two different categories that are not easy to blend. Stadhouders proves that this is a wrong conception. Henosis means "unity" in Ancient Greek, and this is exactly what Bram had in mind: putting the best of two different worlds into one intense organic experience of both bombastic and very intimate atmospheres. Contrasts in rhythm, emotion and compositional techniques make this piece grab your attention from beginning to end, and a perfect synergy is created between conductor, classical vocalists, and improvisers.
Click here for more information about the album and going to the webshop!
The Essential Chick Bullock 1932-1941 has many of the singer’s best performances with top swing players.
During 1930-41, Chick Bullock sang on a couple hundred records as a leader and quite a few as a guest with bands. Although he would never be considered a jazz singer, and in his early period he was not always an asset to records, he developed into a smooth and very capable vocalist. Most importantly, he was often placed at the head of groups featuring jazz all-stars.
This CD is the first to ever fully focus on some of Chick Bullock’s recordings as a leader. One can hear Bullock gradually mature into a pretty good singer. The first dozen performances, dating from 1932-36, have their moments. Trumpeter Manny Klein, trombonist Tommy Dorsey, and Jimmy Dorsey on alto and clarinet are on many of the selections. Violinist Joe Venuti helps out on “Somebody Loves Me,” the Mills Blue Rhythm Band backs Bullock on two numbers (including a fine version of “Frankie And Johnny”), and the masterful Bunny Berigan adds some hot trumpet to “I’m An Old Cowhand.”
Best of all are the eight selections that Bullock recorded at his final two sessions in 1940-41. He is joined by such greats as trumpeter Bill Coleman, trombonist Benny Morton, Edmond Hall or Jimmy Hamilton on clarinet, sometimes Bud Freeman on tenor, pianist Teddy Wilson and the pioneering electric guitarist Eddie Gibbs. Five alternate takes make the reissue of these two sessions quite complete, featuring Chick Bullock at his peak.
Although Chick Bullock would live for another 40 years, he never recorded again. Many of his top recordings are on this worthy CD.
What can you expect of this new album? Kindness, warmth, quiet calm – it is Haydn all over. Although the album title suggests a nature theme, just how green is Haydn’s music? Titles like Frog, bird, sunrise… Although Matangi zealously devotes itself to the composer’s sustainability, do not allow yourself to be hoodwinked by the names. Matangi Quartet gathers three String quartets (op. 76 No. 4, op. 50 No. 6, op. 33 No. 3) by Haydn on one CD, interprets them musically under aspects of nature and gives them subtitles as metaphors for specific musical figures: Sunrise, The Frog and The Bird.
The Dutch press wrote the following about this new album:
Four star review in Het Parool ****
“All pieces are equally beautiful and are performed in an equally exquisite manner. yet the slower parts stand out. These are always played untisentimentally, and are therefore even more touching [...] Highly recommended." - Erik Voermans - Parool
Four star review in De Volkskrant ****
"The past few years, the ensemble has nicely matured into a quartet with a balanced and homogeneous sound and a soul of its own." - Biëlla Luttmer - Volkskrant
The Matangi Quartet will present this album during a free concert in van Rhoon Castle (close to Rotterdam), on September, 15th at 16:00h. Besides that, the quartet will be performing at the Uitmarkt festival in Amsterdam this weekend!
30 aug: Caprera Bloemendaal. Combined program with Iris Hond
31 aug: Uitmarkt, Orgelpark. “Haydn’s nature”
31 aug: Uitmarkt, Concertgebouw. “Haydn’s nature”
1 sept: Uitmarkt, Vondelkerk. Part of the Bach Day
8 sept: Uitmarkt, den Haag. “Haydn’s nature”
15 sept: Festival de Basis, Utrecht. “Haydn’s nature”
18 sept: Walter Maas Huis, “Vakmanschap is meesterschap”
22 sept: Amstelkerk Amsterdam. “Vakmanschap is meesterschap”
28 sept: Orgelpark, Ives Festival
29 sept: Muziekgebouw aan het IJ. Première van "Mannen van Minsk", new kids show.
Click here to read more about the Matangi quartet or go to their website
The Houdini’s In Time is a definitive sampler of the premiere European hard bop sextet’s recording legacy.
The Houdini’s, which were formed in 1987 for a tour of Canada, developed very quickly to become one of Europe’s top hard bop groups. While the band sometimes hints at Art Blakey’s Jazz Messengers, Horace Silver and the Ray Charles group with Hank Crawford, it has an irresistible spirit and musical personality of its own.
In Time is a sampler that includes some of the highpoints of the Houdini’s recording career. The 14 selections are drawn from ten different albums, with most of the music dating from 1991-99 although there are also two selections apiece from 2007 and 2011.
The Houdini’s consist of trumpeter Angelo Verploegen, Rolf Delfos on alto and soprano, trombonist Ilja Reijngoud, pianist Erwin Hoorweg, bassist Marius Beets and drummer Bram Wijland. Each of the musicians has their featured spot on this set.
Among the highpoints are the bebop jam through rhythm changes on “Blue Ribbon Jury,” a version of “What Is This Thing Called Love” that is in 11/4 time (with Verploegen somehow taking a rewarding trumpet solo), the soulful “Headlines,” Delfos’ alto playing on “In A Sentimental Mood,” the enthusiastic “No More Yesterdays,” and a remake of Gil Evans’ “Gone.” Hoorweg’s daughter Kim Hoorweg, who at the time was 20 (making her five years younger than the band), does a fine job of singing “It’s All Right With Me” and “Shady Lady Bird.”
In Time is the perfect way to get introduced to the exciting music of the Houdini’s.
Americans In Britain 1920-1925 (Retrieval 79038) has music from seven early bands that helped introduce and popularize jazz in England.
Jazz was introduced to Great Britain (and indirectly to much of Europe) in 1919 when the Original Dixieland Jazz Band began a year of being based in London, creating a sensation. With the end of World War I., Europeans were ready to move ahead and jazz fit the mood of the era. It would be a decade before many of the Europeans musicians were on the same level as the Americans, and for a time they would be five years behind in their musical evolution. But the regular visits of Americans to England helped speed up the process.
The CD Americans In Britain features most of the American bands that visited England during 1920-25. Included are one selection apiece from Billy Arnold’s Novelty Band, the Southern Rag-A-Jazz Band (a group with the unique frontline of trombone, soprano and violin), and the Detroit Melodists, two from the Boston Orchestra and the Kit-Cat Band, five from Hal Kemp’s Carolina Club Orchestra and 11 by the Original Capitol Orchestra.
While some of the music is a bit primitive, when one takes into consideration the time period and the recording quality of those days, the music holds its own with many of the bands then active in the U.S. These rarities will greatly interest jazz historians and collectors of early 1920s jazz.
Pianist Thomas Ruckert’s trio on Meera emphasizes slow tempos and relaxed creative and sophisticated improvising.
Thomas Ruckert began playing piano when he was 7 in his native Germany. He visited the United States for the first time in 1999, and was inspired to have an active performance career playing jazz. He first recorded as a leader in 2002. Ruckert has played with such notables as Lee Konitz, Donny McCaslin, Mark Murphy, Kevin Mahogany, and Randy Brecker in addition to leading his own long-term trio.
On Meera, Ruckert teams up with bassist Reza Askari and drummer Fabian Arends for four group originals, a classical melody, and a song apiece by Denny Zeitlin, Harold Arlen, Bill Evans and Frederick Loewe. Nearly all of the music is taken at slow tempos and, even when the pace is a little faster (particularly on “My Shining Hour”), the playing is very relaxed. Ruckert lets the melodies breathe and often speak for themselves.
Bill Evans is a strong influence on Ruckert’s style, and not only on Evans’ “Time Remembered” and Zeitlin’s “Time Remembers One Time Once.” Ruckert takes Bill Evans’ chord voicings as a starting point and then builds from there, infusing the music with his own personality. Askari is a subtle but creative bassist while Arends’ drumming is sometimes more felt than heard. They work together extremely well.
The resulting music is exquisite.
The Okeh label was one of the most important record companies in jazz of the 1920s. Starting with its Mamie Smith performances of 1920 (including a huge hit with “Crazy Blues”) and accelerating in 1923, Okeh would eventually become best known for recording Louis Armstrong’s Hot Five and Seven during 1925-27 and his Savoy Ballroom Ball in 1928. Ironically by then the company was no longer independent, having been sold to Columbia in Nov. 1926. Nevertheless there were many hot recordings made for Okeh into the early years of the Depression.
Retrieval’s two-CD set has no less than 48 Okeh performances, many by obscure but excellent hot dance bands. This twofer brings together many sessions that eluded other reissue programs, often by jazz groups who only recorded a handful of numbers.
Featured are Ace Brigode’s Ten Virginians (and his Fourteen Virginians), Harold Leonard’s Red Jackets, the Arkansas Travelers, Frankie Quartell’s Melody Boys, the Melody Shieiks, the Scranton Sirens Orchestra, Emerson Gill’s Castle Of Paris Orchestra, the Foor-Robinson Carolina Club Orchestra, Mickey Guy’s Rose Tree Café Orchestra, Vincent Lopez, the Palledo Orchestra of St. Louis, Jack Glassner’s Colonial Inn Orchestra, Mike Markel, Sol S. Wagner, the Goofus Five, Irwin Abrams, Arnold Frank’s Boger’s Café Orchestra, Ted Wallace, Gus Arnheim, Milt Shaw’s Detroiters, the Jazz Pilots, Cornell’s Orchestra, Ben Selvin, Sam Lanin’s Famous Players and Singers, and Fred Rich. While most of the sidemen are not famous (and sometimes their identity is completely lost to history), Miff Mole, Frank Trumbauer, Rube Bloom, Red Nichols, Harry Reser, Eddie Lang, Adrian Rollini, Jack Teagarden, Tommy Dorsey and Jimmy Dorsey all make appearances.
Many of these recordings were formerly rare, making this well-conceived reissue of particularly strong interest.
Randal Corsen’s Symbiosis features the inventive pianist performing eight colorful originals with his quartet.
Randal Corsen, who is based in the Netherlands, is an excellent postbop pianist, arranger and composer. One can hear a subtle “Latin tinge” in his music and he hints at such innovators as Chick Corea and Herbie Hancock while playing original music in his own voice. He took five years off between records as a leader to work on writing projects including his first opera Katibu di Shon. By the time that he recorded Symbiosis, Corsen was eager to return to being a jazz pianist again.
While his sidemen on various projects in the past have included David Sanchez, Paquito D’Rivera and Roy Hargrove, on Symbiosis, Corsen utilizes three young Dutch musicians: bassist Glenn Gaddum Jr, drummer Mark Schilders and percussionist Vernon Chatlein. They give him the type of stimulating support that he deserves. He allowed his music, which is unquestionably jazz, to be open to both his Antillean heritage and the other styles of music that he has enjoyed throughout the years. His eight originals are complex yet sometimes catchy, often rhythmic and usually accessible. The performances are sometimes episodic, developing as they evolve, and cover a wide variety of moods.
Symbiosis is full of thought-provoking music that is well worth several listens.
On Saturday August 31th, Hanna Devich and Matangi Quartet will be performing on the Uitmarkt 2013 in Amsterdam, the cultural start of the season.
The Orgelpark is the place to be if you want to see Challenge artists because Matangi Quartet will play at 14.30-15.00 hours and Hanna Devich at 16.00 -16.30 hours.
Hanna Devich is a true advocate to the repertoire of the worldfamous composer Ludovico Einaudi. This year she released the album 'Nightbook' on Challenge Classics, her first solo album. So far she is the only pianist worldwide that recorded this music on CD - besides Einaudi himself - and she already sold a lot of cd's because people just love this music!
Matangi Quartet present their new CD on the Uitmarkt which is called 'Haydn’s Nature'. It is hommage to the energizing liveliness of Joseph Haydn and also a wink at his way of loving nature: the quartet will play the stringquartets 'The Bird' and 'Sunrise'. Matangi Quartet has a busy program on the 31st because it will also be playing at the Concertgebouw at 18.00-18.30 hours!
On September 1st, the second day of the Uitmarkt another Challenge artist willplay at the Orgelpark: pianist Bert van den Brink. He willplay a program called 'Blowing'. It is Jazz & Pop music on a church organ with for instanceBohemian Rhapsody of Queen, jazz standards and original compositions by Bert van den Brink himself.
So a lot of beautiful music coming weekend!
The next two weeks you can listen to the new album of Bram Stadhouders and The Netherlands Chamber Choir on the 3 voor 12 Recordpole. Here's the link: http://3voor12.vpro.nl/luisterpaal/albums/Bram-Stadhouders.html
More information about the album you can find HERE.
Ars Antiqua Austria played August 23rd on the opening concert on the Early Music Festival in Utrecht. Muffat’s only surviving mass In labore requies is a typical example of the large-scale vocal and instrumental multichoral composition popular in Salzburg at the time. Together with his ensemble Ars Antiqua Austria the violinist Gunar Letzbor is one of the main champions of Austrian Baroque repertoire, which has so far remained largely unexplored. Besides his orchestra of strings and winds he also brought the St Florian children’s choir – in which the young Bruckner used to sing – to Utrecht for the Festival’s opening concert.
(source: website Festival Oude Muziek)
You can listen back to what has been a magnificent concert: here
See the latest CD recording of Ars Antiqua Austria on our website: link
The Original Memphis Five, a great band during 1922-26, are heard at their best on the two-CD set Pathe Instrumentals.
Although often overlooked in the jazz history books, the Original Memphis Five was one of the finest jazz bands on record during 1922-25. During that period they were extremely prolific, making a countless number of recordings not only as the Original Memphis Five but under a variety of other names.
Phil Napoleon, who began to emerge on records in 1921, was possibly the first trumpeter based in New York to know how to swing, predating Louis Armstrong’s arrival by at least three years. His solid lead and ability to improvise melodically was a hallmark of the Original Memphis Five. Miff Mole was the first trombonist to liberate his instrument from its percussive role, playing strong solos in his own highly individual and eccentric style. Clarinetist Jimmy Lytell was one of the most fluent on his instrument during the time, pianist Frank Signorelli was an excellent arranger, and drummer Jack Roth gave the band additional color. Charles Panelli, who took Mole’s place during his absence (1924-mid 1925), sounded almost identical to Mole.
Performing jazz songs and pop tunes, the Original Memphis Five could hold its own with just about any other jazz group of the time. This double-CD, which contains 52 selections dating from Sept. 11, 1922-Nov. 26, 1926, has all of the instrumentals that the group recorded for the Pathe label, bypassing a few vocal numbers due to lack of space. The music is consistently enjoyable, melodic, swinging and fun.
Pathe Instrumentals is a must for collectors of 1920s jazz. The Original Memphis Five is well worth rediscovering.
McCoy Tyner’s Bon Voyage features his 1987 trio with Avery Sharpe and Louis Hayes in exciting form.
Ever since he joined the John Coltrane Quartet in late-1960, McCoy Tyner has had his own distinctive voice on the piano. A master of modal jazz, Tyner developed his own chord voicings and percussive style. He was one of the major influences on other pianists by the time he left Coltrane in early 1966 and has led his own bands, usually trios, ever since. While his approach has not changed much since then, he has continued to grow within his own style and has made scores of high quality recordings while remaining a highly influential force.
Bon Voyage features Tyner’s 1987 trio. Avery Sharpe was his bassist for over ten years, contributing solid support and excellent solos, many of them using his bow. Louis Hayes was with Tyner’s group for a briefer period but fit right in. In his career, Hayes has played with most of the who’s who of jazz since the 1960s.
This CD features the trio performing five jazz standards (including “Summertime,” “How Deep Is The Ocean” and “Yesterdays”) plus three Tyner originals (“Jazz Walk,” “Bon Voyage” and “Blues For Max”). Tyner is as powerful as ever, making each song sound like his own and coming up with fresh ideas.
Bon Voyage is another gem from the great McCoy Tyner.
Unissued on 78s has 24 numbers (mostly alternate takes) from 1926-32 that 1920s collectors will want.
The 24 selections on this CD date from 1926-32 and are programmed in chronological order. None of these performances, which are mostly alternate takes, ever came out on 78. The majority made their debut appearance on Lp and many have been out-of-print for years. One, the humorous gaspipe clarinetist Wilton Crawley’s “Put A Flavour To Love,” has never been out before and includes some fine playing by guitarist Eddie Lang.
Included on this set of mostly hot jazz are performances by Thomas Morris’ Seven Hot Babies, Bennie Moten’s Kansas City Orchestra (including the intriguing “Oh! Eddie” which hints strongly in spots at “Moten Swing” which had not been composed yet), the Earl Hines Big Band, Joe Steele (an obscure but worthy group), Jelly Roll Morton’s Red Hot Peppers (four often-riotous alternate performances), Fess Williams’ Royal Flush Orchestra, McKinney’s Cotton Pickers, Duke Ellington (the obscure “I’m So In Love With You”), the Washboard Rhythm Kings, Baron Lee’s Blue Rhythm Band and the unknown Leon Rene Orchestra.
While there are occasional mistakes (which is why some of these numbers became alternate takes), all of the performances have their hot moments. This is the second release in Retrieval’s “Unissued On 78s” series and both are highly recommended to 1920s collectors.
Lenny White Live (CR 73373) has his 1997 septet (with two keyboards and two basses) playing passionate and inventive fusion.
Lenny White is best known for being the drummer during the main years of Chick Corea’s Return To Forever. He is a versatile player who has appeared in many settings during the past 45 years from hard bop to rock. Lenny White Live releases for the first time music from his 1997 Japanese tour, his debut in Japan as a leader.
White’s group is particularly intriguing, consisting of trumpeter Mark Ledford, Bennie Maupin on tenor and other reeds, both Patrice Rushen and Donald Blackman on keyboards, both Foley and Victor Bailey on basses, and the leader on drums. With that instrumentation and the all-star lineup of musicians, the music could have go in many different directions and it often does.
The six lengthy jams on Lenny White Live (which includes a version of “East St. Louis” that is nearly 21 minutes long), which are often ensemble and groove-oriented, can accurately be called fusion much of the time although it does not sound like Return To Forever or any of the earlier fusion groups. The musicians improvise throughout, sometimes riding on grooves and at other times exploring different sounds.
While it often sounds as if the band includes a rockish guitarist, that is actually Foley on lead bass or the keyboards. The music is generally fiery, inventive within the idiom, and full of surprising twists and turns.
This otherwise undocumented band will hold the interest of all fusion fans.
During the North Sea Jazz Festival 2013, Mike del Ferro presented already his new work: ‘Impressions of Brazil', with the Brazilian star Ceumar. This repertoire is now released on CD!
'Impressions of Brazil' is the second album in the series ‘Songs by wandering the globe’, following the album ‘The Journey’ from 2012. Mike del Ferro is a globe-trotter and as a son of opera-singer Leonard del Ferro, a music lover as well. He has the privilege to successfully combine those two passions. This results in Del Ferro's performances in already over a hundred countries all around the world and having this album series 'Songs by wandering the globe'.
This album is inspired by Del Ferro’s journeys to Brazil. In 2005 he met vocalist/guitarist Ceumar in Sao Paulo. Ceumar, pronounced: 'Say-ooh-mar' is a Brazilian famous singer. She is very popular in her native country and she is now considered to be one of the jewels in MPB (Musica Popular Brasileira). Ceumar has worked with the Mike del Ferro trio before, which resulted in her cd 'Live in Amsterdam'. In the review of this album Jazztimes wrote: "If you are not familiar with Ceumar music, you are up for a treat. Ceumar beautiful voice and poetic singing style will surely captures you. If you are already a fan, like me, you will love the jazzy arrangements of some of your favorites Ceumar songs."
The collaboration is blessed with the approval of the North Sea Jazz festival: “The result of this collaboration is an exciting and mostly melodic improvisation-jazz with traditional Latin-American samba influences.”
For an impression of Mike del Ferro trio and Ceumar on North Sea Jazz Festival 2013, click here!
Trombonist Ray Anderson and Marty Ehrlich (clarinet, tenor, soprano) romp together colorfully on Hear You Say.
Although associated with the avant-garde, trombonist Ray Anderson has long had such a rambunctious and witty approach to playing his horn that his recordings tend to be more accessible than one would expect. Anderson, who has a huge range and brilliant technique, has never been shy to play humorous solos full of ideas that both look back towards the beginnings of jazz and ahead towards its possible future. I would love to hear him in a Dixieland setting someday.
On Hear You Say Anderson, for one of the few times in his career, meets his match. Marty Ehrlich, whether playing alto, soprano or clarinet, also has a full knowledge of jazz styles along with plenty of personality in his playing. With bassist Brad Jones and drummer Matt Wilson adding even more color and swing to the music, Anderson and Ehrlich bring out the best in each other during this concert from 2009.
The music is quite extroverted and, in addition to the solos, has plenty of interplay between Anderson and Ehrlich. Among the highlights of the program (which consists of originals by either of the two horns) are “Portrait Of Leroy Jenkins,” “Hot Crab Pot,” “The Lion’s Tanz” and Anderson’s memorable “Alligatory Rhumba.” The spirited music at various times is swinging, funky and/or quite crazy, always holding on to one’s attention.
This fun set is easily recommended.
While the history of early jazz on record (1917-25) is often summed up by the Original Dixieland Jazz Band, the New Orleans Rhythm Kings, King Oliver’s Creole Jazz Band, the Fletcher Henderson Orchestra and finally Louis Armstrong’s Hot Five, there were many other worthy groups that were documented during the era. Although recorded acoustically (electric recording did not take over until 1926-27), the joy and creativity of early jazz can still communicate to today’s listeners.
This two-CD set has 48 recordings from the 1923-26 period. It can easily be divided into three parts. The first 18 selections feature groups with overlapping personnel: The Original Memphis Melody Boys, the Chicago Blues Dance Orchestra, Art Kahn’s Orchestra and the Midway Dance Orchestra. While there are no big names in these bands from 1923 (pianist Elmer Schoebel, trombonist Santo Pecora, bassist Steve Brown who is heard on tuba, and trumpeter Murphy Steinberg come the closest), the music is excellent for the time period and a little reminiscent of the New Orleans Rhythm Kings.
The 16 numbers by cornetist Merritt Brunies’ very good band from 1924-26 feature trombonist Harry Brunies and clarinetist Volly de Faut on such numbers as “Up Jumped The Devil,” “Angry,” “Clarinet Marmalade” and “Sugar Foot Stomp.” Finally there are the 13 selections by the Bucktown Five (a quintet with cornetist Muggsy Spanier and Volly De Faut from 1924) and two selections by the similar Stomp Six in 1925. These were Spanier’s first recordings.
The recording quality is as good as these performances have ever had, the extensive liner notes by Charlie Crump are perfect for the set and this generous reissue is a must for collectors of 1920s jazz.
Trumpeter Bastian Stein’s Gravity Point’s Grounded (DMCHR 71086) features a high quality quintet playing original modern hard bop.
Stein made his recording debut as a leader on this 2010 release. He has lived in Vienna since he turned five. Along the way, he studied with Ack van Rooyen and Bo Nilsson. He worked with the National Youth Jazz Orchestra during 2003-05 and has played with Joris Dudli, Martin Reiter and the Robert Bachner Big Band in Austria.
Grounded features a high quality quintet that includes Christian Kronreif on tenor, bass clarinet and soprano, pianist Philipp Jagschitz, bassist Matthias Pichler and drummer Peter Kronreif. They perform ten group originals including eight by Stein. In addition, Angela Maria Reisinger has two guest vocals.
The music on Grounded is modern hard bop that is not afraid to swing hard while looking ahead towards freer explorations. While tied to the tradition, the music is unpredictable, full of surprising twists and turns, and quite original. Stein’s powerful trumpet playing is influenced by Freddie Hubbard and Woody Shaw but mostly displays his own musical personality. Kronreif’s playing, particularly on tenor, is muscular while the rhythm section is tight and both driving and supportive of the lead voices.
Grounded is impressive not only because of its original music and the individual soloists but because Bastian Stein’s Gravity Point displays its own colorful group sound. This CD offers listeners superior examples of today’s modern mainstream jazz.
The five CD-set V-Flow (CHR 70163) has many of the highpoints from trumpeter Eric Vloeimans’ career, dating from 1992-2005
One of the top European jazz musicians, trumpeter Eric Vloeimans celebrated his 50th birthday in 2013. Born and based in the Netherlands, Vloeimans studied classical music at the Rotterdam Academy of Music before switching permanently to jazz. After graduating in 1988, he spent some time in New York where he studied with Donald Byrd and played in the big bands of Mercer Ellington and Frank Foster. He has since returned to Europe where he has been long considered an influential trumpeter on the scene. Vloeimans’ playing, while based in the roots of jazz, is forward-looking, sometimes utilizes electronics, and could be considered post bop. He always takes adventurous solos.
V-Flow is a five-CD set that does an excellent job of summing up the first 13 years of Vloeimans’ recording career, dating from 1992-2005. The 59 selections are drawn from each of Vloeimans’ first 15 albums as a leader plus sideman dates with pianists Marc van Roon, Michel Borstlap and Jarmo Savolainen, Bob Brookmeyer’s New Art Orchestra, and the electronics of Michel Banabila. Among the many notable musicians who are heard from are guitarists Anton Goudsmit, Nguyen Le and Philip Catherine, saxophonists Dick de Graaf and Peter Weniger, pianists John Taylor and Enrico Pieranunzi, bassist Marc Johnson, and drummers Joey Baron and Joe LaBarbera.
V-Flow gives listeners a generous sampling from Eric Vloeimans’ career, and makes one look forward to his future projects.
Francis Drake’s Stories (DMCHR 71087) has a reeds-guitar-bass/cello trio that is reminiscent of the Chico Hamilton Quintet
Francis Drake, a trio named after the English explorer, consists of guitarist Max Frankl, Max Von Mosch on clarinet, tenor and soprano saxophones, and Henning Sieverts doubling on bass and cello. Together this pianoless and drumless trio creates music that at times recalls the Jimmy Giuffre Three of the late 1950s, but without using Giuffre’s repertoire or too closely emulating his group.
What Francis Drake and the Jimmy Giuffre Three have in common are the relaxed freedom of their improvisations and the democratic nature of the ensembles. Francis Drake’s music is melodic yet open to spontaneous change in its direction. Sometimes the lead is naturally taken by Mosch on his reeds but, on other occasions, it seems as if guitarist Frankl is setting the tone for the performance, at least until Sieverts (whether on cello or bass) takes over.
On Stories, Francis Drake performs five originals apiece by the two Maxes while Sieverts contributes the other number. The pieces range from thoughtful ballads and classical-flavored works to freer and faster pieces. One is reminded at times of West Coast jazz of the late 1950s (most obviously the Chico Hamilton Quintet with cellist Fred Katz) but the music does contain its share of subtle surprises.
Stories is filled with thought-provoking performances and overall is a quiet joy.
This rare recording contains a number of compositions carefully selected around the life and work of the greatest composer of the guitar in the 20th century, Agustin Barrios. It includes some influential works of the Spanish composers that appeared in his programs and the later compositions of guitarists from the New World on whom he had a profound effect. Dutch guitarist Enno Voorhorst is an ideal interpreter!
In this album Barrios' traveller spirit is beautifully shown. From his early compositions until the very last, folkloric themes float through his music, especially those from South and Central America. Immitations of the baroque and romantic period are mixed with religious experiences.
Seventy years after his death a new generation of artists champions his work. Barrios' compositions are now standard curriculum in nearly every guitar conservatory in the world. In this recording, Dutch guitarist Enno Voorhorst brings together works written by Barrios as well as composers whose work influenced the master like Heitor Villa-Lobos, Julio Salvador Sagreras, Antonio Lauro, Federico Moreno-Torroba, Francisco Tarréga and Emilio Pujol.
Enno Voorhost is a specialist in this repertoire. In 1987 he won the 1st prize at the International Guitar Competition in Hof (Germany), in 1992 the Dutch Guitar prize and the 1st prize at the Seto-Ohashi Competition in Japan. Enno's first CD with works by Agustin Barrios Mangor (Brilliant Classics 93086) received most favourable reviews and the recording was immediately ranked with those by John Williams and David Russell. Rico Stover, Barrios expert by excellence, wrote: “the CD Agustin Barrios Mangor played by Enno Voorhorst is the best I have ever heard thus far”. The new recording promises to beat its predecessor and impress the reviewers worldwide!
This brilliant album is available now for your order! Click here to go to our webshop.
The Hottest Of The Philip Lewis/Rhythm Maniac Recordings (RTR 79064) has 20 hot dance/jazz performances from 1928-30.
While it is true that in the 1920s virtually all of the jazz innovators came from the United States, there was a great deal of rewarding music that was recorded during that decade in other countries. Collectors of 1920s jazz will find that the better British hot dance bands contained plenty of rewarding jazz solos.
Philip Lewis was a musical director for the Decca label but he had very little to do with the recordings that were released under his name. Arthur Lally, who is unfortunately long forgotten, was the musical director of the Rhythm Maniacs, the group that used Philip Lewis’ name. Lally was one of the first jazz baritone saxophonists in history (emerging about the same time as Harry Carney) and he was also excellent on clarinet, alto and bass sax. 24 of the Rhythm Maniacs’ finest recordings, dating from 1928-30, are included on this well-conceived reissue of mostly rare material.
Other than Lally, the two main soloists during these recordings are a pair of Americans who were in Europe at the time: trumpeter Sylvester Ahola and clarinetist Danny Polo. Both deserve to be better known by vintage jazz collectors. While many of these performances include period vocals (these were originally meant to be dance band rather than out-and-out jazz performances) they are easy to take, especially those of Elsie Carlisle. Among the highlights are such numbers as “Doin’ The New Lowdown,” “Diga Diga Doo,” “Tiger Rag,” “Raisin’ The Roof” and “That’s A Plenty.”
This CD is a delight for collectors of early jazz.
Altoist Evgeny Ring’s Ya Tashus is full of exciting music by four potentially significant young musicians.
Four of pianist Richie Beirach’s top students teamed together for this 2010 recording. Actually none of the musicians, who are altoist Evgeny Ring, pianist Sascha Stiehler, bassist Philipp Rohmer and drummer Dominique “Gaga” Ehlert, sound at all like students on this exciting and consistently stirring set, but very much young professionals.
Ring wrote all of the songs except for Miles Davis’ “Nardis.” His alto solos are passionate, sometimes hinting a little at Jackie McLean, but are played very much in his own sound and style. The opener, “Ya Tashus,” is a medium-tempo blues that the quartet clearly enjoys turning inside out. The performance swings throughout yet sometimes recalls Charles Mingus in the way it seems to spontaneously go outside before returning to more conventional hard bop, altering the tempo and the mood at surprising moments. A few of the other selections are also burners, but it is perhaps the slow ballads that are most impressive. “On The Verge” and “Your Promise” are standout ballads that should be explored and adopted by other musicians, if they feel they can top these versions!
The rhythm section is excellent, with pianist Stiehler often setting the mood and tempo for the band. The three players are quite tight and react to each other’s ideas immediately.
Overall this is a very impressive outing by four musicians who clearly have great futures in jazz.
The Stefan Schultze Large Ensemble’s Run (DMCHR 71093) is a strong example of modern and original big band jazz.
The German arranger-composer Stefan Schultze studied at the Academy of Music in Cologne and he earned a composition scholarship at the Manhattan School Of Music in 2006. During his stay in New York, he led Stefan Schultze’s New York Big Band. Since returning to Germany, he has worked on several big band projects including leading his Large Ensemble and writing for the Metropole Orchestra. Schultze has also led highly rated quintets and octets and been busy as an educator.
On Run, which was recorded in 2010, Schultze leads a 17-piece big band. He wrote and arranged all nine of the originals. His writing often has dense ensembles and is quite advanced harmonically but also swings and leaves space for the band’s many fine soloists to stretch out. Whether it is modern medium-tempo pieces or brooding ballads, Schultze’s music, and the solos by his sidemen, are consistently passionate with the closing “Monsterkind” being particularly intense.
Featured along the way are such strong improvisers as altoists Heiner Wiberny and Florian Trubsbach (who takes a memorable soprano solo on “Karawahn”), tenor-saxophonists Claudius Valk and Uli Kempendorff , Matthias Tschopp on bass clarinet, trumpeters Florian Menzel and Benny Brown, guitarist Martin Schulte and pianist Jurgen Friedrich.
Most impressive is that the music on Run sounds fresh, lively and unlike anyone else’s large ensemble. This is a fine effort from Stefan Schultze and his musicians.
The popular Belgian trio sets an ultimate dare. Help them reach £ 5 000 on Kickstarter & this classical ensemble will play a pop song cover for you! Donate here and make it happen! This week trio also chose two winners of the special contests to promote their fundraising project. In this newsletter also read about the social media interview the trio arranged with their fans.
It is less than 2 weeks left before the fundraising of the new Stabat Mater CD closes. The aim of the funding is £ 10 000 and the project needs all the help possible at this moment to make it happen. The trio challenges its audience in an ultimate way. The artists promise to play a cover of the pop song if by Tuesday next week their Kickstarter project will collect £ 5 000. The choice of the pop song remains a secret and it might turn into the public voting once the challenge is met. That means a lot of fun for both trio and their fans!
Last week Goeyvaerts String Trio let themselves be interviewed by ...their own fans on social media. They collected some of the most exciting questions and even mentioned the names of their authors in the final interview. In this interview: why musicians turned to crowd-funding, the secret of "just intonation" revealed and what's on the menu of the dinner "a la Flamande" with the trio (which you get as a reward). Read interview here.
There are two lucky winners of the two competitions of the last week. The YouTube video question was answered the fastest by Walter Nobels and made the right guess. He has won a signed CD that is funded via Kickstarter and he also is a backer of this project ! Another winner of the rehearsal with the trio is Sabine Meeus, she was the most actively sharing our campaign on Facebook and now receives her well-deserved prize! Congratulations to all the winners and on behalf of the trio and Challenge Classics - a big thank you to everyone who participated in these competitions.
And the traditional pick of the Backer Of The Week this time falls on… Ines Thyssen! We are grateful for her generous support with £ 200 and hope to see more backers with this amount of funding. It is such a great reward: above all the presents you receive a birthday song played by trio with personal message. This is an ideal present for yourself and a creative gift to your friends and family!
There is still one more great challenge the trio is preparing for its audience only in the frame of this kickstarter campaign, so please help us to spread the word and you can always donate more!
As an exclusive part of their Kickstarter campaign, Goeyvaerts String Trio let themselves be interviewed by ...their own fans on social media. We collected some of the most exciting questions and even mentioned the names of their authors. In this interview: why musicians turned to crowd-funding*, what "just intonation" is and what's on the menu of the dinner "a la Flamande" with the trio (which you get as a reward).
(*The funding of the trio's album needs your support! To help the trio and fund their album, click here!)
1. How did you come up with the idea of crowd-funding new album?
Today's reality is much different, than few years ago. To bring out classical on the CD isn't sufficient at all. To maintain a close contact with our audience we believe this crowd-funding project is a perfect tool. To fund a recording as an ensemble that doesn't receive any support by a government or organization we depend on our fanbase and some filantrope supporters. We are very happy that Challenge Records is a label that is also a very open-minded team of creative brains. They help us enormously in this project.
2. Was Arvo Pärt's "Stabat Mater" recorded at the AMUZ Festival or is it a new recording yet to be made? (Alan Teder)
The concert for AMUZ was not recorded for a few reasons. First of all, our soprano just gave birth to a daughter Alina (yes she is indeed also a big fan of Pärt), so the soprano was a planned replacement. Also the conditions in the cathedral were not perfect: a lot of noise from the outside and a very cold weather on that day. But the atmosphere was great, because of the program we made especially for the festival and, last but not least, the great audience in the packed cathedral!
3. What is a "just intonation" and how can you recognize it on the recording? (Sabine Meeus)
This is a very interesting question and also very difficult to explain in few words. "Just intonation" is an intonation that was common more then 500 years ago. Our modern ears are influenced by well-tempered intonation you can find on every piano. Our artistic decisions to play "Stabat Mater" without vibrato confronted us with some intonation obstacles. Playing without vibrato in well-tempered tuning made it impossible to reach the simplicity, clearness and purity we were looking for. For us the radical choice to play in just intonation is similar to the radical switch Arvo Pärt made in his career in the seventies. We went really far in looking for this purity in the harmonies that we even slightly retuned our instruments to realise the maximum of harmonics in chords. On the other hand, there is always one knot in the scale of a minor. So, the distance between A and D is for our modern ears out of tune. But the return is that at certain points you don't get a constant kind of neutral beauty but a movement from real perfect harmony passing an instable moment and back.
We hope this answer is clear, if there is more to ask on this topic we are open for discussion.
4. How did it happen that Ivan Moody specially composed for your album? (Denise Malzer)
We know Ivan Moody since he wrote the liner notes for our previous album with music by Gubaidulina, Knaifel, Paiberdin and Kancheli. Since "Stabat Mater" by Arvo Pärt was years on our wishlist to perform, we had a commission in mind for the same cast. We thought his style could make a complemetary pendant to "Stabat Mater". In the beginning we discussed about what texts to use and finally Ivan Moody came up with the great idea to use some texts about the resurrection. As he is an Orhtodox priest, his knowledge can not be questioned. We were very happy with the result, as the piece is, in a way, similar and different to "Stabat Mater" at the same time.
5. Where is the album recorded? How did you decide to work with Vox Luminis vocalists on it?
We decided to record this album in the south of Belgium. A small church in Beaufays was the place of crime. The decision for this cast is because we think that for performing "Stabat Mater" you need a lot of skills in one singer. They have to be soloists and ensemble singers together. The style of Vox Luminis matches with our musical idea about performing Pärt. And they also adore his music.
6. What does the work "Stabat Mater" personally mean to you?
"Stabat Mater" means to us thinking about special concerts. Playing this is a strong experience for a performer but also for an audience. Every performance we were confronted with a great intensity between us and the audience. It's also fantastic to meet an audience that is not the average classical music audience at all. Arvo Pärt has really big fans of all kind, ages and interests.
7. Can the Trio give us a little preview of the new album? (Eva Sinjan)
This is a very technical question. We will ask our sound engineer Piotr Furmanczyk to edit some minutes especially for you. With a little of patience you will be rewarded with great harmony.
8. How long is the webcam concert (one of the Kickstarter rewards) and what will you play? (Silvia van den Berg)
The plan for this webcam concert is to perform about 30 minutes of music that we can discuss. Besides we introduce the work and we are open for discussion afterwards. Our standard repertoire we play by heart.
9. What stands on the menu when you cook for one of the Kickstarter rewards? (Alain Van Eeckhout)
Dear Alain, we are concerned about environment and therefore we will choose some products from the 'terroir' (we use this beautiful french word) and the season. But we can already give away that the drinks are the best Belgian beers. Of course we will pay attention to allergic people, vegetarians and vegans.
10. Is that a coincidence that Kris Matthynssens from the trio looks like a brother of Arvo Pärt? (Valery Lambert)
Not at all. It is Arvo Pärt that looks like Kris Matthynssens. To recognise each of them Arvo started wearing a hat. A nice anecdote is that the first time we met Alexander Knaifel (a good friend Arvo Pärt), he shouted out "Arvo!!".
11. Where will the release concert take place and is there anything special you prepare for it?
The official release is planned in Willebroek (Belgium). The decision for this location is because of the beautiful church and the special relation we have with the programmer there. For this concert the author of the liner notes of the CD Philippe Grisar will present us in a speech.
12. What is your favorite reward on your Kickstarter campaign?
To be honest: a house concert. It's a unique way to perform music with a direct contact and, of course, a great thank you for the maximum support.
13. When can I expect the reward (CD) to be sent to me? (Glen Michel)
We hope by the end of february/beginning of march 2014.
14. After the Kickstarter campaign finished, what will you do?
We hope to drink first some Champagne on a succesful campaign supported by our fans. Afterwards - business as usual: preparing our next season's concerts and planning the second part of our next recording.
15. If one of your students wants to perform "Stabat Mater", what could you advice? (Dirk van Doorn)
This is very complex to answer, because the notes look very easy, but performing is a matter of a hard work. We can give some elementary advices as following:
Practice the scale A minor in just intonation. Try to play as simple as possible
(no vibrato), listen to polyphony to understand voices and read a lot about Arvo Pärt.
Geoff Goodman’s Jazz & Haiku (DMCHR 71089) combines a jazz quartet with vocals and recitations of Japanese haiku.
This is a very unusual and unique recording. For probably the first time in jazz history, Japanese storytelling (the haiku) has been recorded in a jazz setting. Guitarist Geoff Goodman included two or three examples of haiku (which are generally pretty brief) during each jazz performance on this CD. The words are spoken and/or sung in both Japanese and English. Fjoralba Turku takes the vocals while Kiyomi does the recitations. Most of the texts were written 350 years ago by Matsuo Basho (1655-1694) who is considered the master of the form. In addition there are a few haiju from two writers of the 1700’s: Yosa Buson and Kobayashi Issa. Their subjects mostly have to do with nature and the words are quite picturesque and timeless, with each syllable counting.
The speaker and singer are joined by Goodman, the cool-toned Till Martin on saxophones and clarinet, bassist Henning Sieverts and drummer Bill Elgart. Performing Goodman’s compositions, there is some straight ahead jazz, some sound explorations, and some music that is unclassifiable other than saying that it is exotic world music. The instrumentalists are all sensitive to the texts and play with subtlety and quiet invention. The main emphasis throughout much of Jazz + Haiku is on the words.
This is a consistently intriguing project.
- Scott Yanow
In 2007, pianist Rob van Bavel formed a trio with fellow Dutchmen guitarist Vincent Koning and bassist Frans van Geest. While the drumless unit sometimes recalls the trios of Oscar Peterson (particularly in the strong hints from the superb pianist such as on “DBC Three”) and Nat King Cole (Vincent Koning’s guitar solos are at times a little influenced by Oscar Moore), the group is also inspired by classical music. Historical predecessors aside, this unit has its own delightful and appealing sound, often swinging hard
Using the name of The Ghost (Geest is “ghost” in Dutch), the King (a nickname for Koning) and I (the “I” is van Bavel), the group plays a particularly colorful set of music on Trilogy. “DBC One,” “DBC Two” and “DBC Three” are each based on melodies by Claude Debussy, arranged, revised and adapted for the trio. Von Bavel wrote the three pieces in “Trilogy” and also “G String.” In addition, the group digs into the lone jazz standard “My Foolish Heart” and stretches out on Gershwin’s “Three Preludes” for over 21 minutes.
The consistently exciting solos of van Bavel and Koning are a joy while van Geest’s solid timekeeping and large sound make the absence of a drum largely unnoticeable.
Trilogy is highly recommended to fans of the classic piano trio and to those who love inventive swinging jazz.
The New York Standards Quartet’s Unstandard, which features David Berkman and Tim Armacost, reinvents familiar standards.
Back in 2005, pianist David Berkman, saxophonist and flutist Tim Armacost, bassist Yosuke Inoue and drummer Gene Jackson came together to form the New York Standards Quartet. The idea behind the group was that since each of these musicians was involved in playing originals and more complex music, they wanted an outlet to play veteran standards. But rather than interpreting the familiar songs in very familiar ways, they wanted the freedom to alter, rebuild, reharmonize and reinvent the songs in their own way.
On Unstandard, the quartet comes up with fresh versions of such songs as “How High The Moon,” “All The Things You Are,” Benny Golson’s “Stablemates” (which they play in 7/4 time, as if the song were not difficult enough!), and a very spacey “But Beautiful.” There are three brief “Polka Beamlets” which are abstractions of “Polka Dots And Moonbeams.” “Solar” becomes “Lunar” while “Stella By Starlight” is reimagined as “They Ballet Girl Stirs (By Starlight).”
David Berkman and Tim Armacost take very inventive solos along the way while Yosuke Inoue and Gene Jackson are excellent in a mostly supportive role. The post bop reimaginings of swing and bop standards is quite successful, making familiar tunes sound brand new.
The masterful altoist and soprano-saxophonist Tineke Postma is heard at her best on The Dawn Of Light
Of the many fine talents to be found in Dutch jazz, Tineke Postma seems among the key musicians who are destined to achieve international fame. An adventurous soprano and alto saxophonist whose brand of relaxed freedom recalls Lee Konitz, Steve Lacy and perhaps Jane Ira Bloom at times, her playing is based in bop while being open to the influence of the avant-garde. 35 as of this writing, Postma has worked on Terri Lyne Carrington’s Mosaic Project, guested with other bands, and led her own groups during the past decade.
On The Dawn Of Light, her fifth CD as a leader, Postma is heard at the head of her regular quartet which also featured pianist and keyboardist Marc Van Roon, bassist Frans Van Der Hoeven and drummer Martijn Vink. The combot performs six of Postma’s originals, two by Van Roon, Heitor Villa Lobos’ “Cancao De Amor” and Thelonious Monk’s “Off Minor.”
Tineke Postma’s solos are conversational, unpredictable and utilize her own unusual accents and phrasing. She has attractive tones on both of her horns and does not sound like any of the usual dominant influences. Her playing features a steady flow of creative ideas. Marc Van Roon’s piano playing follows Postma closely (particularly on their duet version of “Off Minor”) and his accompaniment is as stimulating as his solos. Van Der Hoeven and Vink are excellent in support of the group. As a bonus, Esperanza Spalding takes a guest vocal on “Leave Me A Place Underground.”
The Dawn Of Light is an excellent introduction to the inventive music of Tineke Postma.
Some British Jazz Pianists (RTR 79065) features seven obscure early pianists. Highpoint is an avant-garde two-piano Tiger Rag.
This is a remarkable compilation of vintage jazz by seven obscure pianists. Few collectors will have owned very many of these 24 performances, several of which are quite astounding.
First, Geoff Griffiths performs an unreleased version of Scott Joplin's “Heliotrope Bouquet” from 1955 that is fairly conventional but well played. Moving back to 1922-23, Max Darewski performs “Monkey Blues” and Joe Bolton is featured on “Piano Man Rag.” Both of those recordings push at the boundary lines of blues and ragtime, sounding a bit radical for the time.
Billy Jones had toured England with the Original Dixieland Jazz Band in 1919 but was completely forgotten by the time he recorded four previously unreleased and modernized ragtime performances from 1945. Why did it take 66 years for those fine recordings to come out? Next, Gerry Moore, an excellent swing pianist inspired by Teddy Wilson, is featured on 11 numbers with a trio from 1935-38.
Reginald Foresythe is in fine form on a pair of piano solos from 1934 but then things go very far left of center. He plays a piano duet with Arthur Young on “Tiger Rag” that is so adventurous that at times it hints strongly at both Lennie Tristano and Cecil Taylor. It was recorded in 1938! This is arguably the earliest example of avant-garde jazz on records and deserves to be listened to closely.
Some British Jazz Pianists finishes with some more gems. Arthur Young (also in 1938) interprets three unknown Art Tatum compositions that had never been recorded before. Tatum wrote very few pieces in his life but these are outstanding. Young emulates both Tatum and Fats Waller, no easy feat now much less in 1938.
Collectors of 1920s and ‘30s jazz, and those who want to discover some early and very talented pianists are advised to go out of their way to acquire Some British Jazz Pianists.
It is a second week of the campaign where Goeyvaerts String Trio collects funds for their upcoming Stabat Mater CD. This absolutely newly interpreted recording of the cult Arvo Pärt's piece is accompanied by the specially composed "Simeron" from Ivan Moody. For the coming week the trio offers you to Share&Retweet to win a rehearsal time with them!
The campaign just crossed the point of collecting the first £ 1 000! And to keep the flame burning, the trio offers you to join on one of their rehearsals in return for spreading the word about their Kickstarter campaign. By either Sharing this post on Facebook or Retweeting this tweet on Twitter you have a chance to join on the fun moments of Goeyvaerts String Trio's practice. Within a week the trio will choose the lucky winner(s) and announce their decision via social media.
It is time to announce the Backer Of The Week! This week it is… JC Gaasch who contributed £ 80. This contribution brings: an invitation to the release concert for 2 ppl + signed new Stabat Mater CD + listing in the credits of the CD. Other exciting rewards can be viewed on the project's page on Kickstarter.
The last week the trio has turned their fans on Facebook & Twitter into journalists by offering them to interview the trio. This social media interview has brought some very exciting questions and within couple of days the final interview will be published on the Challenge Records website.
Also see the latest challenge Goeyvaerts String Trio published recently on their YouTube channel. Answer their video question correctly by sending an email to firstname.lastname@example.org and win a copy of their upcoming CD! The right answer will be announced on Radio Klara on Monday, August 5th.
Click here to support Goeyvaerts String Trio on Kickstarter!
Stay tuned to our campaign on Facebook and Twitter. There are more surprises to follow!
Pianist Christian Pabst Trio’s Days Of Infinity (Challenge 73308) with guest trumpeter Gerald Presencer plays lyrical modern jazz.
Christian Pabst is a modern mainstream pianist whose style, although connected to that of the greats of straight ahead jazz, is original and personal. He was born in Germany, played piano from the age of seven, and has spent time in Amsterdam, Paris and Copenhagen studying piano. In 2006 he settled in the Netherlands and he currently teaches music theory at the Conservatory of Amsterdam. He has worked with the BuJazzO (National German Youth Jazz Orchestra), the Generations Unit, the rock-oriented Spiritbeat, the avant-garde DarkEnsemble and the Lubos Soukup Quartet, and he has toured South Africa and India in addition to playing regularly at European jazz festivals.
However the project closest to Christian Pabst’s heart is his longterm trio with bassist David Andres and drummer Andreas Klein. The group made its recording debut on 2010’s Days Of Infinity, welcoming trumpeter/flugelhornist Gerard Presencer and a guest on four of the ten selections.
26 at the time of this CD, Pabst proves to be a lyrical post bop pianist who creates thoughtful improvisations even at faster tempos. His close interplay with his sidemen gives the group its own musical identity. Highlights of the ten originals (nine by the pianist) include the medium-tempo jazz waltz “Tales From The City” and “Into The Lake.” The latter begins with some quiet free form playing before it evolves into a trio number worthy of Bill Evans. Preseencer’s trumpet and flugelhorn solos during his four appearances fit well into the mood and are quite inventive.
Days Of Infinity is a very impressive start for the Christian Pabst Trio.
Maria Jameau’s Gema (CR73304) has the appealing singer performing infectious music from Brazil and South America.
Maria Jameau may have been born in Boston but on Gema she sounds like an authentic Brazilian jazz and samba singer. Her familiarity with other cultures is obvious on this set, and as it turned out she has studied and performed in Italy, India, Ghana and Brazil in addition to the United States. While she spends time with her choir organization The Bija Children’s Choir, she has also performed with many different ensembles.
Ms. Jameau formed Blue Brazil a few years ago and Gema from 2010 was their recording debut. She performs songs from Brazil, Africa, Spain and South America with joy, enthusiasm and strong musicianship. Her voice is quite attractive, allowing one to overcome the language barrier when she sings in Spanish or Portuguese.
The singer is joined by acoustic guitarist Pablo Rodriguez, bassist Nate Lopez, percussionist Jacob Harris and Bob Afifi on flute. Afifi blends in particularly well with the vocals.
The most familiar songs on this set are the two Antonio Carlos Jobim standards “Triste” and “The Girl From Ipanema” but many of the other tunes have memorable melodies that inspire fine playing from the musicians.
Fans of Brazilian-based singing and those who want to discover a “new” and highly appealing vocalist will want to check out Maria Jameau’s Gema.
Trombonist Curtis Fuller’s The Story of Cathy & Me (CR73309) is a set of ballads dedicated to his late wife Cathy.
One of jazz’s greatest trombonists, Curtis Fuller has been an important force in the music since the late 1950s. But even with all of his recordings (including with Art Blakey’s Jazz Messengers and the Jazztet), The Story of Cathy & Me is an unusual project.
Fuller lost his wife of many years shortly before this 2010 recording. Although feeling great sadness, he knew that expressing his emotions on a recording would help both him and the friends and relatives of Cathy Fuller.
Fuller only plays on about half of the selections although he does speak during four brief “interludes.” There are plenty of fine solos from trumpeter Lester Walker (who sometimes recalls Freddie Hubbard) and tenors Daniel Bauerkemper and Ameen Marable. Nick Rosen and Kenny Banks Jr. (taking turns on piano) are quite sensitive in their playing. In addition, Tia Michelle House has two expressive vocals.
The material deals with Curtis Fuller meeting Cathy, their life together, her being stricken with cancer, and his life after her passing. In addition to a few originals and some lesser-known material (including songs by Abbey Lincoln, Betty Carter and Lalo Schifrin), the band is emotional on such ballads as “The First Time Ever I Saw Your Face,” “Too Late Now” and “Spring Will Be A Little Late This Year.”
This heartfelt project, which contains some fine music, will comfort those who are grieving.
Altoist David Fettmann’s Prelude (DMCHR 71091) is a stimulating outing of original and fresh post bop jazz with his fine quartet.
David Fettmann is a 35 year old altoist and soprano-saxophonist who is based in Paris. Although he has gained a lot of experience playing with both combos and big bands in Europe, 2010’s Prelude was his recording debut as a leader.
Fettmann is joined by his regular quartet on this set, a consistently inventive and inspiring group that includes pianist Sebastian Sternal, bassist Sebastien Maire and drummer Julien Jolly. Performing five of his originals, two by Sternal and Rufus Wainwright’s “This Love Affair,” Fettmann displays an original tone and a forward-looking style.
Some of the selections change moods, rhythms and even time signatures while they evolve. The musicians are all very alert to the changes in directions and their familiarity with each other’s playing is obvious in their quick reactions. Fettmann’s passionate alto, a little reminiscent at times of Jackie McLean, sounds comfortable at all tempos, always pushing ahead while still managing to sound relaxed. Sternal also has many worthy solos while Maire and Jolly are excellent, not only in supporting the two soloists but in keeping the music stimulating.
While it is surprising that David Fettmann waited some time before recording his first CD as a leader, the wait was worth it. Prelude has many bright moments.
Just one week ago Goeyvaerts String Trio went live on Kickstarter with their upcoming album ft. Arvo Pärt's "Stabat Mater" & new "Simeron" of Ivan Moody. The funding of the album has kicked off and to celebrate this we are now offering you a special experience.
This week you have a chance to turn into a journalist and interview the trio with any question(s) you like. During one week you can post your questions in the comments here on Facebook, on Twitter using @challengerec or on Youtube in the comments to the video annoucement from Pieter. By next Tuesday (July, 30) we will choose the best questions which will make it to the final interview. The interview will be published on the Challenge Records website and our Facebook page with your name mentioned!
To make you feel extra happy, we announce a weekly Kickstarter Challenge! This week challenge is collecting £ 2 000 by July, 30th. When we meet this amount of funding, we will release a free track from Goeyvaerts String Trio for you to download! How can you make it happen? Buy a reward on Kickstarter and share this project on your social networks, via emails and simply by telling your friends and family to support this project.
Every week of the campaign we will choose The Backer Of The Week. And the last week winner is….Lieven Lambrecht. He donated £245.00 and is officially claimed The Backer Of The Week! For this money Lieven chose a reward that gives: an invitation to the release concert for 2 ppl with the front seats and VIP goodie bags + signed CD of Goeyvaerts String Trio + listing in the credits of the CD + video birthday song played by the trio and their personal congratulations for you/your friend/family.
So far our project has collected £735 out of £10 000. Don't miss your chance and get amazing rewards! One of the great rewards is a download of a complete catalogue of Challenge Classics releases of 2013 (app. 50 releases) for only £350! And how about the most popular reward: download of the latest Challenge Classics Compilation + signed! CD of Goeyvaerts String Trio + a thank you card from the trio + listing in the credits of the CD for just £40?
Click here to see all the rewards and support this very special album of one of the most extraordinaire string trios!
Stay tuned to our campaign on Facebook and Twitter. There are more Challenges and surprises to follow!
The Ploctones is a colorful and eclectic quartet that plays music a bit reminiscent (but not derivative) of early Bill Frisell in its ability to switch styles while always being passionate. They can be melodic and mellow yet suddenly explode with unexpected dissonances. Their music is consistently unpredictable and certainly holds one’s interest for one is not sure what will happen next. At times they might sound like an avant-garde country band, then switch to playing intense rock before caressing a melody.
Based in the Netherlands and formed in 2004, the Ploctones made their first album in 2009. Comprised of guitarist Anton Goudsmit, Efraim Trujillo on tenor, soprano and flute, bassist Jerden Vierdag and drummer Martijn Vink, the band always keeps one guessing. On 3…2…1 from 2011, the Ploctones perform nine originals by guitarist Goudsmit along with Bill Evans’ “Time Remembered.” Goudsmit and Trujillo are the main solo voices, but Vierdag and Vink do not exactly play laidback patterns, closely interacting with the lead soloists.
The musicians are clearly very well acquainted with each other’s playing for throughout 3…2…1 there are no missteps or moments where the musicians hesitate or clash accidentally. Despite the constant change of moods, grooves and styles, the Ploctones think musically as one.
This stimulating set will appeal to a wide variety of open-eared listeners.
Guitarist Philip Catherine and his quartet on Plays Cole Porter (CR 70166) plays relaxed melodic variations on 11 Porter classics.
In his very productive career, guitarist Philip Catherine has played a wide variety of music, from Django Reinhardt-inspired swing to fusion, from postbop jazz to virtuoso acoustic guitar tours with John McLaughlin and Larry Coryell. He always manages to sound like himself, no matter what the setting, and ranks at the top (along with Toots Thielemans) among jazz musicians who originated from Belgium.
Plays Cole Porter is a change of pace for Catherine. Not only does he perform 11 songs by Porter in a quartet with pianist Karel Boehlee, bassist Philippe Aerts and drummer Martijn Vink, but he plays each of the tunes at a relaxed pace. Only “Dream Dancing” and “It’s De Lovely” approach a medium tempo. Catherine also resists playing many double time runs, instead letting each note sing while taking his time. He states the melodies quite clearly and then creates melodic variations, none of which Porter would have minded.
In addition to Catherine’s lead and melodic improvisations, pianist Boehlee gets to solo on most songs, with Aerts and Vink playing lightly swinging and stimulating lines and rhythms behind the main voices.
The quartet, with Philip Catherine in the lead, succeeds in doing justice to Cole Porter’s classic melodies.
The Auratones’ on The Adventure Continues (ST 75768) have a great time performing jazzy and rockish soul music.
The Auratones is a jazzy funk group that is midway between Tower Of Power and a contemporary big band. Their brand of danceable and melodic music, which is always soulful and melodic, has made them a popular attraction in Europe.
The core band (Rolf Delfos on alto and tenor, Pedter Broekhuizen on flute and baritone sax, either Cees Trappenburg or Marcel Reijs on trumpet, guitarist Tjeerd van Zanen, keyboardist Johan Hendrikse, bassist Boudeijn Lucas, and drummer Len Robbenmont) is joined by guest singers Thijs van Leer (who also plays organ, flute and vocoder) and his daughter Berenice van Leer. There are also a couple of background singers, a percussionist and two other keyboardists.
With the exception of “Just Come Along Letty” (based on Benny Golson’s “Along Came Betty”), all of the 11 selections are group originals. The music is consistently funky and grooving, with the vocals being rock and r&b-oriented. One is reminded of late 1960s soul/rock shows, and sometimes the songs are major productions. However in addition, the set is sprinkled with soulful jazz solos and some stretches that swing hard.
The Auratones certainly put on a colorful and memorable show in concert. The Adventure Continues gives listeners who were not able to see them perform live the opportunity to hear their cheerful and infectious brand of soul music.
Drummer Carlo Costa’s Saturnismo (BTLCHR 71227) is a set of introverted and intriguing free improvisations with an inventive trio.
This is a consistently intriguing set of free jazz. While Cecil Taylor by the early 1960s had set the standard for high energy free improvisations, his fellow pianist Paul Bley came up with an alternative method around the same time. Bley was not shy to improvise around melodies, use space, and alternate sound with silence while often being as free as Taylor. His quieter approach became almost as influential as Taylor’s, particularly on the Art Ensemble of Chicago and many European improvisers.
The Minerva Trio featured on Saturnismo is comprised of drummer Carlo Costa, pianist JP Schlegelmilch and bassist Pascal Niggenkemper. They perform ten selections, six of which were composed by one of the players while the other four are group collaborations. But no matter what the source is, each of the musicians plays a major part in the final result. The themes are just sparse sketches that are used to set moods and as occasional frames of reference.
Most of the music was created on the spot as the musicians listen closely to each other and immediately react. There is a lot of space in these performances and, despite the brevity of many of the selections, the music develops slowly, methodically and emotionally.
This introverted set of free jazz deserves several close listens.
Joe Candullo’s Blowin’ Off Steam (RTR 79066) has 24 of the best sides (mostly from 1926) by this obscure but worthy hot dance band.
Joe Candullo never became all that famous but he led a fine band in the 1920s called his Everglades Orchestra. While Candullo lived until 1977 and performed in public until 1974, his most significant music was recorded in the ‘20s.
Blowin’ Off Steam, which has 24 of his best recordings (all but two dating from 1926), has many fine examples of hot dance music, much of which is also excellent mainstream jazz for the period. Among Candullo’s sidemen are such notables as cornetist Red Nichols, trombonist Miff Mole, Jimmy Dorsey on clarinet and alto, and the very talented mellophonist Ken “Goof” Moyer. The more notable selections include excellent versions of “The Hobo’s Prayer,” “Jackass Blues,” “Black Bottom,” “Messin’Around,” “Brown Sugar,” “St. Louis Blues,” änd “Stampede.”
The musicianship of Candullo’s Everglades Orchestra is top-notch, the solos are hot and concise, the ensembles are colorful and this little-remembered orchestra holds its own with many of the bands of the era.
Since Joe Candullo’s Everglades Orchestra recorded around 104 titles during 1926-29, hopefully a second volume will be compiled eventually. For now, Blowin’Off Steam, which as a bonus has definitive liner notes, is a CD that 1920s collectors will definitely want to pick up.
To realize their upcoming CD the Goeyvaerts String Trio (BE) turns to their fans for support. They use Kickstarter.com as a platform to collect funds for their album and offer exclusive and remarkable rewards in return for each donation! Get involved now by following this link.
After two weeks of warming up the audience about their Kickstarter project Goeyvaerts String Trio now moves to actual funding stage! That means you can support trio's upcoming CD and become a part of it already now. For the simple donation of £20 the reward is a copy of the new album. More generous you fund - greater comes the reward: from a private concert to an exclusive Flemish meal in the intimate family gathering of the trio with them cooking for you!
Goeyvaerts String Trio is an extraordinary Belgian ensemble known for their perfectionism in every detail and high acclaimed works. Their great spirit, outstanding play and sense of humor makes them a perfect match for the modern crowd-funding breakthrough platform Kickstarter. With their trademark focus on solely new works of the Belgian composers, this time for their new album the trio turns to the emotional drama of noted Arvo Pärt and his world famous "Stabat Mater" complemented by the specially composed uplifting piece from Ivan Moody "Simeron".
The trio's radical focus on every musical detail will make this recording an experience that reaches far beyond any expectations. Behind the sober lines of Pärt's "Stabat Mater" they create a whole spiritual dimension. Using the technique of so-called "just intonation", the trio creates layers of sounds which lay on each other. This particular way of playing resonates with one's feelings immediately. It is just like the icon is drawn with a layer laid upon another layer, this composition is played sound wave gently laid upon another sound wave. And that explains the stunning effect their play makes - speechless you stand in front of both icons and their music... While the first composition will hypnotize you, Moody will lift you up to a new state of being.
Being highly reviewed by the likes of BBC Music Magazine and Gramophone, Goeyvaerts String Trio now gives yet another good reason for press attention. Their Kickstarter pre-campaign already showed high attention from the audience and fans can't wait to be the first ones to fund this new CD. Take your chance and join this exciting project by donating for the album.
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There are lots of fun and engaging actions planned around this campaign, so stay tuned!
The second CD by the Kuhntett, a group led by bassist Alex Kuhn (who wrote all but one of the nine originals), also features tenor-saxophonist Alexander Kuhn, pianist-keyboardist Christoph Heckeler and drummer Marcel Gustke. Their music is virtually unclassifiable as anything but high-quality modern jazz.
Three of the selections have the Strings Deluxe (Jansen Folkers and Adam Zolynski on violins, Axel Ruhland on viola and cellist Martin Bentz) added to the group. The strings make their strongest impression on “Billy The Child,” which starts out with the Strings Deluxe being heard independently of Kuhntett before the two ensembles join forces. Rudiger Eisenhauer plays lap steel guitar on three other selections, one of which also has guitarist Fabiano Pereira. Eisenhauer’s presence adds a lot of color to those numbers along with the influence of soul jazz and pop/jazz of the 1970s.
While listening to Checkpoint Jazz, there are times when the music is reminiscent of Michael Brecker (an influence on Alexander Kuhn), Pat Metheny and the Crusaders. The music is accessible yet mostly unpredictable, the Kuhntett has an original group sound that places it squarely in the modern mainstream of jazz, and the variety in the originals and the solos hold on to one’s interest throughout.
Checkpoint Jazz is a CD well worth checking out.
The Eric Ineke Jazzxpress on Jazz XL revitalizes hard bop with heated and enthusiastic solos and plenty of spirit.
Although little known outside of Europe, drummer Eric Ineke’s JazzXpress is one of the hottest hard bop groups around. Jazz XL follows their three previous studio albums with music taken from three live concerts that took place during 2008-09.
The JazzXpress consists of Ineke, either Ruud Breuls or Rik Mol on trumpet, tenor-saxophonist Sjoerd Dijkhuizen, pianist Rob Van Bavel (Rob Van Kreeveld subs in his place on “A Portrait Of Jenny”) and bassist Marius Beets. The group’s playing is very much in the tradition of Art Blakey’s Jazz Messengers although they have a sound of their own within the tradition.
On Jazz XL, the JazzXpress performs two Johnny Griffin songs (the Thelonious-inspired “A Monk’s Dream” and an exciting version of “The Jamf’s Are Coming”), a trio of ballads (including a tender yet explorative duet version of “You Don’t Know What Love Is” that features trumpeter Breuls and pianist Van Bavel and a tenor-piano duet on “A Portrait Of Jenny” by Dijkhuizen and Van Kreeveld), an uptempo minor-toned blues (“Jotosco”) and the offbeat but successful choice of Xavier Cugat’s “Nightingale.” The stirring horn tradeoffs on “Jotosco” is one of many highpoints.
Most impressive throughout this set is that the soloists (all of whom are excellent) avoid sounding like any of their historical predecessors, and the band has a strong team spirit. Fans of hard bop will want to go out of their way to discover The Eric Ineke JazzXpress and acquire Jazz XL.
Percussionist Gerardo Rosales pays homage to the style and songs of the Cuban legend on Chano Pozo’s Music
Chano Pozo is best known for his work during the last two years of his life when he was playing congas and taking occasional vocals and chants with the Dizzy Gillespie big band. But while four pieces that he co-wrote with Dizzy Gillespie (“Cubana Be, Cubana Bop,” “Manteca,” “Guarachi Guaro” and “Tin Tin Deo”) became jazz standards, his earlier compositions which were written when he was performing in Cuba, are rarely covered.
Percussionist Gerardo Rosales, who is heard on congas, bongo, timbales and various percussion instruments, starts off his program with Pozo’s four “hits,” and then follows with five medleys of Pozo compositions plus three other songs. He splits the lead vocals with drummer Armando Vidal and they add a great deal of rhythmic excitement to the music. Also featured are pianist Danny Van Kessel, bassist Mick Paauwe and Kwint Van Dijck on alto and soprano. Their renditions pay tribute both to Cuban folklyric music and Cubop of the 1940s.
While Rosales has written his own compositions for his other CDs, on Chano Pozo’s Music, he sticks exclusively to Pozo’s songs, purposely playing and singing very much in his style. It is the next best thing to the real thing. This CD is a superior tribute to one of the great legends and influential forces of Cuban music.
Scott Yanow: Larry Goldings on In My Room performs tasteful and melodic solo piano on Americana, pop tunes and originals.
Larry Goldings gained his initial recognition as the pianist for Jon Hendricks and Jim Hall. He also began playing organ around 1988, leading his own trio. Since then he has worked with such artists as John Scofield, Michael Brecker, Pat Metheny, Jack DeJohnette and Charlie Haden among many others in addition to leading his own groups and performing regularly in the Los Angeles area.
Even with his productive career, In My Room is an unusual and unique recording for Goldings. He performs solo piano on this relaxed set, mixing together originals with such songs as Stephen Foster’s “Beautiful Dreamer,” “Take Me Out To The Ballgame,” “Maybe” from the play Annie, the Beatles’ “Here, There And Everywhere,” Abdullah Ibrahim’s “The Wedding,” “Everything Happens To Me,” and a song apiece by the Beach Boys and Joni Mitchell. He sounds very comfortable in each idiom for he makes the songs all sound like classical and folk-inspired Americana.
Goldings plays the early pieces of Americana beautifully; “Beautiful Dreamer” and “Take Me Out To The Ballgame” are given particularly memorable treatments. His originals fit well into the set including four mildly eccentric interludes. And while the sources of the 18 songs vary widely, this program has a logical unity to it, with one piece leading logically to the next one.
In My Room is a delight.
Scott Yanow: Keyboardist-composer Mike Herting’s two-CD set Tunes For The Brotherhood with a septet is full of rewarding new music.
In his career thus far, pianist-keyboardist arranger and bandleader Mike Herting has created a fascinating variety of music in many settings. Born in Germany, he started his career leading the jazz-rock group Head Band. He had a longtime association with altoist Charlie Mariano, produced recordings, and was an arranger-composer for the WDR Big Band Cologne. He became known for his ability to fuse Indian and African music with jazz, working with the WDR Radio Orchestra, the London Philharmonic and the Bremen Chamber Philharmonic.
While many of his productions were with large orchestras or for television or theater, the two-CD set Tunes For The Brotherhood features Herting as a keyboardist, performing his own music with a jazz septet. His 17 originals range from soul jazz and funk to strong hints of Indian and African music, all of it either swinging or grooving. The other musicians (trumpeter Matthias Schriefl, altoist and flutist Heiner Wiberny, guitarist Paul Shigihara, bassist Bernd Keul, drummer Bert Smaak and percussionist Ramesh Shotham, with two guest vocals by Fesperanto, are excellent. They are well featured and clearly know Herting’s colorful music quite well.
Mike Herting’s music is filled with memorable melodies, some unusual textures, and plenty of surprises, covering a great deal of musical ground. Tunes For The Brotherhood (which is dedicated to the brotherhood of creative musicians) is well worth exploring.
Tenor-saxophonist Tobias Meinhardt’s quartet on Pursuit Of Happiness performs fresh hard bop-based material with creativity.
Tobias Meinhardt began playing tenor-saxophone when he was 13 and a few years later caught the jazz bug when he was a roadie with the Bob Brookmeyer Orchestra during a tour of Portugal. He studied music in Switzerland, Amsterdam and New York and had opportunities to play with pianist Aaron Goldberg and trumpeter Ingrid Jensen. In 2008, Meinhardt formed the quartet that is featured on Pursuit Of Happiness, his recording debut as a leader.
The quartet, which also includes pianist Lorenz Kellhuber, bassist Olivier Hein and drummer Gabriel Hahn, is a tight group in which the musicians react quickly to each other and think along similar musical lines. On Pursuit Of Happiness, they perform seven group originals (three by the saxophonist) plus Joe Henderson’s “Inner Urge.” Meinhardt’s style draws from Stan Getz, Sonny Rollins, John Coltrane and Joe Henderson (not a bad quartet!), updating the hard bop tradition.
The rhythm section is excellent, both in support of Meinhardt and as soloists, with Kellhuber sometimes hinting at McCoy Tyner. The originals, while an extension of the type of music heard on Blue Note in the 1960s, is fresh and lively.
Pursuit Of Happiness is a bit accessible, often explorative, and an excellent showcase for the four talented musicians on the Tobias Meinhardt Quartet.
Kim Hoorweg, who was 19 at the time of this 2011 recording, is a powerful singer. Born in the Netherlands, she made her recording debut as a leader when she was just 15. Why Don’t You Do Right is her third recording.
Teamed with the sextet that calls itself the Houdini’s, Kim Hoorweg toured theaters before recording Why Don’t You Do Right, which is subtitled Remember Peggy Lee. On this CD, Ms. Hoorweg performs a dozen songs associated with Peggy Lee including “He’s A Tramp,” “Fever,” “Lover” “Johnny Guitar,” “Black Coffee” and the title track. She makes no attempt to sound like Peggy Lee, instead displaying a passionate and impressive extroverted style of her own. While she is a powerhouse, she does not overwhelm the material, instead bringing out new meanings to some of the lyrics.
The Houdini’s (comprised of trumpeter Angelo Verploegen, altoist Rolf Delfos, trombonist Ila Reijngoud, pianist Erwin Hoorweg, bassist Marius Beets and drummer Bram Wijland) contribute supportive ensembles and many concise solos with the pianist writing all of the arrangements. The standards are modernized without losing the essence of the original versions.
Why Don’t You Do Right acts as both a fine introduction to the singing of Kim Hoorweg and a way for today’s listeners to get acquainted with some of the songs made famous by Peggy Lee.
Drummer-composer Jacek Kochan’s Filing The Profile is a perfect showcase for the high energy playing of George Garzone.
Jacek Kochan is a drummer who was born in Poland, spent time living and playing in New York and Canada, and returned to Europe in 1995. He has made a strong impression every place he performed, not just for his drumming but for his talents as a composer. Among the many artists who he has worked with are Oliver Jones, John Abercrombie, Jerry Bergonzi, Pat LaBarbera, Kenny Wheeler, Dave Liebman, Greg Osby, Gary Thomas, Joey Calderazzo and Eddie Henderson.
On Filing The Profile, Kochan contributed all eight compositions and arrangements, but otherwise is content to take a supportive role. The main soloist is the great tenor-saxophonist and educator George Garzone. Also taking many improvisations is pianist Dominik Wania while bassist Andrzej Swies joins Kochan in inspiring the soloists.
The music could be called inside/outside jazz in that it flows both over the chord changes (a la hard bop) and very freely (closer to the avant-garde). Garzone is perfect for this type of music, sometimes caressing the melodies but most often wailing with a great deal of passion. Wania has no difficulty keeping up, sometimes hinting at McCoy Tyner’s percussive style while at other times displaying his own musical personality and fresh ideas.
Jacek Kochan’s compositions prove to be fertile vehicles for the fiery post bop solos of Garzone and Wania. This mostly high energy set is consistently stimulating.
Scott Yanow: Exultet, an accordion-guitar-drums trio that explodes all musical stereotypes, is quite rockish and passionate on Kern (DMCHR 71094).
Exultet is a most unusual trio. It is comprised of Christophe Girard on accordion, guitarist William Rollin and drummer Stan Delannoy. While one might think of that instrumentation as resulting in gentle 1950s jazz, with an accordionist who might sound like Art Van Damme, joined by rhythm guitar and quietly swinging drums, few things could be further from the truth.
While the three musicians are classically trained, their playing is rockish, dissonant, often explosive and passionate. Some of their performances (such as “Herbes Folles”) could serve as the soundtrack to a science fiction movie.
Put all images of the accordion out of your head. Christophe Girard’s playing is not reminiscent of cool jazz or even zydeco. He plays with the ferocity of a rock guitarist, is not afraid to be loud, and often creates rhythmic lines while belting out the chords. William Rollin sometimes across as a heavy metal guitarist but one with impressive technique and versatility while never being shy to raise the roof. Drummer Stan Delannoy reacts quickly to the other players and keeps the music grooving and moving forward. Some of the performances are a little quieter, using drones and quiet repetition without losing any of its passion.
Performing eight Girard originals plus two by Rollin, Exultet tosses away all accordion trio stereotypes and creates powerful new music that is always stirring.
The 1920s jazz/hot dance group The California Ramblers is heard at its peak throughout Up And At ‘Em, Edison sides from 1925-28.
In the 1920s, few groups recorded more often than the California Ramblers Despite its name, the Ramblers were actually based in New York. A superior jazz/hot dance ensemble that made hundreds of recordings, the band was at its height during 1925-28, the period when they recorded these 18 numbers for the Edison label.
The star of the band was Adrian Rollini, the master of the bass saxophone. Other musicians featured on these numbers include altoist Bobby Davis, cornetist Red Nichols (on a few selections), trombonist Tommy Dorsey, Jimmy Dorsey on clarinet and alto, and a variety of excellent if lesser-known players.
Among the many highlights on this very enjoyable disc are one of the finest versions ever of “The Charleston,” “Ev’rything Is Hotsy-Totsy Now,” “Cheatin’On Me,” “Sweet Man,” “Static Strut” and “Hard-To-Get Gertie.” The music is danceable (for those who know the 1920s dances), very musical and includes a few period vocals. In addition, there is plenty of solo space. In fact, the records put out by the Edison label often clocked in at around four-five minutes apiece as opposed to the usual three minutes heard on 78s, so the band gets to stretch out more than usual.
This CD is subtitled The Hottest Of The California Ramblers On Edison. It lives up to its name and is a must for collectors and lovers of 1920s jazz.
Tenor-saxophonist Grzech Piotrowski’s Archipelago (CR 73312) hints in spots at Pat Metheny and ECM but is unpredictable.
Grzech Piotrowski is a very passionate tenor-saxophonist from Poland. In his career thus far he has worked with Arild Andersen’s Trio and Michael “Patches” Stewart and been the leader of such groups as The Alchemist, Head Up, Freedom Nation, Serum (which was based in Norway) and his own World Orchestra.
Archipelago has Piotrowski at the head of a quartet that also includes guitarist Bram Stadhouders, bassist Michal Baranski and drummer Onno Govaert. The group performs five originals by Piotrowski plus two group improvisations.
The title cut, which opens the set, finds guitarist Stadhouders sounding a bit like Pat Metheny, and the following two-part “Clouds” is a bit reminiscent of the introspective and airy music that one associates with the ECM label. However the other selections feature the quartet displaying its own musical personality. While Piotrowski sometimes sounds laidback, he is quite intense on “Icicle,” playing with the passion if not the identical sound of Gato Barbieri. The tenor-saxophonist (who is also heard on duduk and the electrified wind sax) is unpredictable even while being consistently melodic.
Baranski and Govaert are excellent in support of the saxophonist while the versatile Stadhouders excels as both a soloist (giving a rockish feel to some of the ensembles) as an accompanist to Piotrowski. The music on Archipelago builds in suspense, tension and excitement as it evolves.
This is a CD well worth exploring.
Live At The Concertgebouw has trumpeter Eric Vloeimans and pianist Florian Weber beautifully playing original ballads.
Trumpeter Eric Vloeimans originally studied classical music at the Rotterdam Academy of Music before switching to jazz. Since the mid-1980s, he has been heard in many different settings in Europe including playing in the U.S. with drummer Joey Baron, and working in Europe with cellist Ernst Reijseger, guitarist Nguyen Le, bassist Lars Daniellson and others. Sometimes Vloiemans has used electronics on his horn to get a variety of effects.
Live At The Concertgebouw, which is Vloeimans’ 15th album as a leader, is quite a bit different. This set of duets with pianist Florian Weber consists (with the exception of one traditional piece) exclusively of original ballads composed by Vloeimans.
While no performance is taken faster than a medium tempo pace and most of the pieces are slower, the music is never sleepy. Vloeimans’ horn sounds mellow but there is a lot of inner heat in his melodic interpretations. The close interplay between Vloeimans and Weber has the two musicians thinking as one, and their playing is consistently subtle.
Live At The Concertgebouw, which was recorded without an audience, is recommended to listeners who want to hear fresh material beautifully played by two very talented musicians. The results are often exquisite and haunting.
In only 7 days the crowd funding campaign of Goeyvaerts String Trio and Challenge Classics will be launched! The campaign will enable you to support the trio by pre-ordering their cd or receive other unique rewards for your contribution!
On their upcoming CD the Goeyvaerts String Trio will play the cult piece “Stabat Mater” from Avro Pärt. This piece will be combined with work especially composed for this album, Ivan Moody’s “Simeron”. Pärt's work is about the end of life, sorrow and pain. Moody continues this with his work about a new beginning.
Cobra (Belgium) already wrote about this project, click here to read the full article!
In only one week you will be able to support this album. For your donation you get great rewards! Not only can you pre-order the new cd, some exclusive rewards will also be presented. Like a listing in the Challenge Classics hardcover catalogue of 2014, a dinner with the trio in a intimate family setting or a private concert at your home!
Stay tuned to this project on Challenge Records Facebook Page!
A major veteran saxophonist from Holland who played for years with the Dutch Jazz Orchestra, Toon Roos has been an important jazz artist since the mid-1980s. On Angel Dance, he is heard in prime form. Roos is teamed with pianist Karel Boehlee, bassist Hein van de Geyn, and the famous American drummer Peter Erskine plus (for two songs) one or two percussionists.
Roos has an original tone (influenced a little by both Wayne Shorter and Stan Getz) and fits well into the hard bop/post bop jazz world. What is particularly noteworthy about Angel Dance is that all ten compositions come from the band (Roos contributed five), and many are worthy of becoming standards in the future. The music ranges from heated romps (particularly “Keep It Going”) to melancholy ballads and relaxed medium-tempo pieces, with Erskine’s “Song For Jaco” being a particularly touching ballad.
While Roos is excellent throughout, pianist Boehlee is very complementary and has “Prelude For Peace And Compassion” as a solo feature.
In addition to the ten songs on the CD, Angel Dance also includes a fascinating DVD called Dancing With Angels that is a musical portrait of Toon Roos, allowing listeners to see as well as hear Roos in performance at the Bimhuis and North Sea Jazz Festivals.
Angel Dance is a perfect introduction to the music of Toon Roos.
One of Los Angeles’ finest saxophonists, Bob Sheppard on Close Your Eyes (Challenge 73323) plays superior modern solos.
In the Los Angeles area where he lives, Bob Sheppard is known as a very valuable musician. Very skilled on all reeds, Sheppard performs flexible post bop solos in settings ranging from big bands to small groups, from commercial units and studio orchestras to adventurous jazz combos. No matter what the assignment, Sheppard’s playing is always top-notch. He can always be relied upon to take exciting solos.
While Bob Sheppard is an important sideman for a countless number of groups, he only gets to lead his own groups on rare occasions. Close Your Eyes features Sheppard playing tenor, soprano, flute, piccolo and bass clarinet with such notables as either Alan Pasqua or John Beasley on keyboards, bassist Gabe Noel, drummer Antonio Sanchez, percussionist Walter Rodriguez and, on a few numbers, trumpeter Alex Sipiagen and guitarist Larry Koonse.
The first five selections are either standards (“Close Your Eyes” and “Goodbye”) or originals based on standards, such as “Surface Tension” which is “What’s New” and “Brain Fog” which is based loosely on “Softly, As In A Morning Sunrise.” The final four selections are by Kenny Barron, Joe Henderson (“Gazelle”) or Jeff Collela. Sheppard’s arrangements update the tunes while still capturing their essence.
No matter the song or its origin, Sheppard plays beautifully throughout this set, always sounding like himself and playing unpredictable lines while being connected to the straight ahead tradition of jazz. This is one of his finest outings as a leader.
On the 9th of July Goeyvaerts String Trio in collaboration with Challenge Classics will launch a crowd-funding campaign on Kickstarter.com to fund the new album of the trio. You will earn great rewards in return for your support!
Kickstarter.com is a leading online platform to fund various projects. It is also very successful among musicians. Everyone can support an artist and his project (be it a new album or official video) with a chosen amount of money, but it is not a simple donation. Each financial contribution literally buys a reward. Rewards vary from a copy of the album to the exclusive meet-and-greets, private performances and much more.
Challenge Classics sees Kickstarter as a great new way to engage and benefit for both artists and audience. And who could be better than Goeyvaerts String Trio to debut in this role? Known for their perfectionism in every detail and high acclaimed works, Goeyvaerts String Trio is also a group of absolutely open-minded people with a great sense of humor. Above all, they always come up with an extraordinary repertoire. Their upcoming CD to be funded via Kickstarter isn’t an exception! Blending the despair of Avro Pärt’s renown “Stabat Mater” and Ivan Moody’s “Simeron”, specially composed for this record, the forthcoming album will become yet another perl for the world to admire.
Goeyvaerts String Trio's first album on Challenge records, namely String Trios, caused enormous response from the media. “Full of detail, each note, each phrase, honed and polished...”, said The Strad, while Gramophone called the album “a special disc" with "the finest string trios of the 20th century”. Their second album made BBC Music Magazine exclaim that the trio has "performing nerves of ice.”
Their upcoming third record is already well anticipated. This time trio collaborates with the best vocalists of Vox Luminis in the pursuit of translating the sorrows into the hopes of new beginning with a delicateness only Goeyvaerts String Trio can show.
Do not miss the Kickstarter campaign of Goeyvaerts String Trio on the 9th of July! Become a part of this remarkable album! The rewards for donations are ranging from a signed copy of this CD to a private webcam concert to an exclusive meal "a la Flamande" (Flemish way) in the intimate family gathering of the trio with them cooking for you! More information on rewards and contributions is comign soon.
Stay tuned to this project on our Facebook Page!
Guitarist Tam de Villiers’ Motion Unfolding has passionate postbop jazz from his quartet with David Prez on tenor.
Guitarist Tam de Villiers was born in England, grew up in South Africa and Scotland, and moved to Paris in 2003. After stints on the violin and piano, at 15 he switched permanently to guitar. He was a student of saxophonist Tommy Smith and worked in some of Smith’s groups. De Villiers formed a quartet with tenor-saxophonist David Prez, bassist Bruno Schorp and drummer Karl Jannuska, recording their debut album Alba Lux in 2008. Motion Unfolding, recorded in 2010 and originally released the following year, is their follow-up. The opening and closing songs feature the Belgian singer David Linx. Otherwise the same quartet stretches out on de Villiers’ originals.
The music on Motion Unfolding is sometimes reminiscent of Ornette Coleman’s Prime Time, particularly during the wilder ensembles that feature all of the musicians playing an equal role. Prez’s tenor is passionate and he sometimes utilizes electronics that make his horn sound a bit like a keyboard or a guitar. His interplay with de Villiers results in a great deal of fire. Schorp and Jannuska work closely with de Villiers and form tight ensembles even during the freest sections.
The results are an invigorating, spirited, unpredictable and a powerful set of adventurous modern jazz.
Guitarist Christy Doran’s New Bag’s Take The Floor And Lift The Roof (DMCHR 71103) has creative rock featuring singer Bruno Amstad.
Throughout his career, guitarist Christy Doran has been influenced and inspired by both Jimi Hendrix and the jazz avant-garde. He has worked with such notables as Ray Anderson, Marty Ehrlich, Carla Bley, Albert Mangelsdorff, Herb Robertson, Manfred Schoof, Tim Berne and Jamaaladeen Tacuma among many others.
Since 1997, he has led Christy Doran’s New Bag, an unusual rock-oriented band. On 2011’s Take The Floor And Lift The Roof, the new version of the group consists of Doran, singer Bruno Amstad, keyboardist Hans-Peter Pfammatter, Vincent Membrez on minimoog (taking the place of a bass) and drummer Dominik Burkhalter.
The music on this CD (mostly co-written by Doran and Amstad) is generally loud, spirited, rambunctious and fiery. Amstad’s vocals are eccentric and colorful, with the lyrics he sings ranging from science fiction to philosophical, including about the lack of time in the world, problems with love, and the beauty of nature. Doran’s guitar solos, while touched by both fusion and Hendrix, are original and quite unpredictable. The keyboard work (one never misses the bass) and assertive drumming fit the music well.
Fans of inventive rock groups are advised to check out Christy Doran’s New Bag.
Trumpeter Angelo Verploegen’s The Ballad Album (CR 73318) has slow, lyrical and beautiful interpretations of ten melodies.
Quite often when a musician is young, he or she will treat ballads by playing double time lines, discarding the melody quickly and improvising on the chord changes, sometimes with an excess of youthful energy. But when a musician interprets a ballad by sticking close to the melody, letting each note breathe, and putting plenty of emotion into every sound as if they were a vocalist, that is a mature player.
Verploegen, a trumpeter from Holland who has worked with the Houdini’s and Bob Brookmeyer’s New Art Orchestra, has a melodic style and a warm tone. On The Ballad Album, his playing sometimes recalls Chet Baker’s in spots although he has his own musical personality. Joined by the sensitive rhythm section of pianist Marc Van Roon, bassist Guus Bakker and drummer Jasper Van Hulten, Verplegen performs ten ballads with taste, understanding, and not a single double time line.
Among the songs that Verploegen embraces and caresses are a slow version of “What Is This Thing Called Love,” “Besame Mucho,” an obscure Herbie Hancock tune (“Jessica”), his own “For The Time Being,” and the ballad section of “Django.” Whether on “I Fall In Love Too Easily” or “Over The Rainbow,” Angelo Verploegen adds beauty to each song, takes his time, adds beauty to each song and successfully lets the music speak for itself.
Harry Allen’s Rhythm On The River (CR 73311) has the great tenor swinging through 13 songs; 12 have “river” in their titles.
Harry Allen has been very consistent throughout his career despite recording a large number of CDs. He always swings, his tone can emulate both Stan Getz and Ben Webster, and he can always be relied upon to perform and record rewarding music. Like his early idol Scott Hamilton, Allen has helped to revitalize the small group swing movement.
For Rhythm On The River, Allen was challenged to record a full set of standards, all but one of which have the word “River” in their title; the lone exception was “Roll On, Mississippi, Roll On.” The project teams Allen with the great swing pianist Rossano Sportiello, bassist Joel Forbes and drummer Chuck Riggs, with cornetist Warren Vache added to wonderful effect on four numbers.
While this project could have been a gimmick, the music is too rewarding and fun for that to be the case. Among the many highpoints are a dixielandish “Riverboat Shuffle,” “Cry Me A River,” the Bing Crosby-associated “Rhythm On The River,” “River, Stay Away From My Door,” and “Swanee River.”
The fresh material (few musicians have opportunities to play “Weary River”and “Ready For The River” anymore) inspires the musicians, with many hot solos from Allen, Sportiello and Vache. Swing fans should go out of their way to pick up this rewarding outing.
Ralph Rousseau’s Silence (CR 73331) features his viola da gamba on heartfelt renditions of 1960s and ‘70s pop songs.
Ralph Rousseau, who was born and raised in the Netherlands, plays the viola da gamba, a string instrument from the baroque era. While he performs classical music, he also loves pop music of his youth (1960s and ‘70s) and the adventure of jazz. Silence is his second recording as a leader.
The idea behind this project gradually shifted from “fragile” (a song or an instrument that seems breakable but is actually full of inner strength) to “silence,” a quality that is rare in the modern world. Rousseau performs a variety of songs that he loves, many of which he heard when young. The repertoire includes many quiet ballads, a few World Music-type numbers that recall the group Oregon, and a few passages of solid swing. Among the tunes that he interprets are “The Sound Of Silence,” Sting’s “Fragile,” “Let It Be,” “Bridge Over Troubled Water,” “Scarborough Fair,” and “Hey Jude.”
In addition to Rouseeau’s viola da gamba (which is generally in the lead and often sounds mournful), he is joined by guitarist Peter Tiehuis, bassist Jeroen Vierdag and percussionist Bart Fermie, with two guest appearances by trumpeter Eric Vloeimans, Bart Schneemann on oboe, organist Thijmen Jacobse and Tim Welvaars on harmonica.
While Ralph Rousseau’s music is generally quiet and thoughtful, it has a strong spirit that makes it worthy of close listens.
Altoist Bart Wirtz’s iDreamer finds his compositions inspiring an all-star cast that includes Nicholas Payton.
A major alto-saxophonist from the Netherlands, Bart Wirtz has developed not only into one of the top saxophonists in Europe but one of the best altoists in the world. On iDreamer, an album recorded in New York, he not only holds his own with an all-star cast of Americans (trumpeter Nicholas Payton, pianist Xavier Davis, bassist Richie Goods and drummer Kendrick Scott) but contributed all ten compositions.
The music is forward-thinking hard bop with some curves thrown in. Wirtz’s compositions utilize original chord changes (rather than being based on standards), explore many moods, and are often adventurous. Most memorable among his originals is “Camels” which, with its erratic rhythms, definitely conjures up the image of camels taking their time crossing the desert. Other pieces include ballads (including the somber “Evolution Of The Innocent”), heated romps, and thoughtful numbers.
Wirtz’s alto playing is excellent throughout (he also plays a little bit of flute, organ and piano), Nicholas Payton is in very expressive and often explosive form, and the rhythm section is top-notch. The musicians are challenged by the material and all ten performances are rewarding.
iDreamer is a major step forward for Bart Wirtz, an altoist and composer who deserves to be rated near the top of his field.
- Scott Yanow
Tenor Michael Campagna’s Moments has nine colorful originals with top musicians including harpist Brandee Younger.
Michael Campagna is a very skilled tenor-saxophonist and composer. He graduated from the University of Miami and has worked as an educator at his alma mater, the New School and also in Italy. Among his more notable musical associations in his career thus far are Charlie Haden, Maria Schneider, Randy Brecker, Junior Mance and Jon Faddis. In recent times he has toured with singer Jose James.
Moments is Michael Campagna’s second recording as a leader and it is very impressive. Campagna’s tenor playing at various times recalls John Coltrane, Hank Mobley and Michael Brecker but generally sounds original. He picked a top notch group for the recordings, interacting closely with trumpeter Michael Rodriguez, pianist Robert Rodriguez, bassist Hans Glawischnig and drummer Eric Doob. A special bonus is the harp playing of Brandee Younger on four numbers which adds a unique sound to the group.
“Dear John” (which has Campagna and Younger sounding like the Coltranes speaking to each other) is one of the highpoints. Other numbers range from the spiritual and romantic to some hotter music. Throughout Moments, Michael Campagna keeps listeners guessing for the arrangements and frameworks are not predictable even if they are ultimately logical.
Moments is a set of performances that do not need close analysis to enjoy. Michael Campagna, a saxophonist who deserves to be well known, has put together a program that is highly recommended for modern jazz fans.
Brian Hughes’ Fast Train To A Quiet Place (CR73334) features the accessible yet versatile guitarist at his best.
Brian Hughes is an intriguing guitarist. On Fast Train To A Quiet Place, he plays in a variety of different styles while always managing to sound like himself. His playing is accessible, catchy, melodic and contemporary, but he is also creative and just a bit unpredictable.
Born in Canada and a resident of Los Angeles for the past decade, Hughes not only plays guitar but sitar, bouzouki and guitar synthesizer. While he has worked for over two decades with singer-harpist Loreena McKennitt, he has also had a strong solo career including seven CDs of his own.
On Fast Train To A Quiet Place, Hughes leads a quintet that also features keyboardist Matt Rohde, electric bassist Rufus Philpot and drummer Tal Bergman, with Ron Powell or Quinn added on percussion. Hughes composed all ten selections and at various times hints strongly at Pat Metheny, Lee Ritenour, and Wes Montgomery. He also features his sitar playing in spots and on the closing “Hallelujah” plays in a celebratory rockish style.
Despite the variety, one song leads logically to the next one, giving this set a strong unity. All in all, Fast Train To A Quiet Place serves not only as an excellent introduction to the talents of Brian Hughes but is his definitive recording so far.
This week a review was published on HDVD ARTS (hdvdarts.com) with very high praise for the Bluray release of 'Winterreise' performed and recorded by Christoph Prégardien and Michael Gees.
Some quotes written by Henry McFadyen of HDVD ARTS:
"This is the most sophisticated sound technology used so far in any Blu-ray video recording. (We have a few titles with sound recorded at 96kHz24 bit.) The 71 minutes of music has subtitles in German only. There is a nice 21-minute behind-the-scenes documentary with subtitles in English, German, and French. Released 2013, disc has 5.1 PCM output. In addition, the Blu-ray package has a bonus CD with the music recorded at 44kHz16 bit.
This Winterreise is, from the elitist point of view of this website, the best classical music recording ever produced outside of Japan. All you folks at Decca, DG, Sony, C Major, EuroArts, Accentus and the like---watch out. There may be more challenging video records coming soon to disrupt your markets! Grade: "A+"
(A+ = "must have" title with exemplary content and disc engineering or some other attribute of special merit. To earn an A+, the title should have broad appeal. And it should be something you can enjoy (or use as a teacher) over and over.)
He was arguably the first significant male jazz singer on records although relatively few remember his name today. Cliff Edwards, who was billed as Ukulele Ike, had many hit records in the 1920s and helped to introduce and popularize such songs as “Fascinating Rhythm,” “Dinah,” “Sunday,” “That’s My Weakness Now” and “Singing In The Rain,” introducing the latter in a 1929 movie. Edwards, who scatted on records before Louis Armstrong, sold millions of records in the ‘20s and was in many movies in the 1930s. Yet he managed to throw away his career due to alcoholism, gambling and bad relationships. By the mid-1930s, although he was still appearing in films, he was mostly cast as weak comedy relief in B movies. Edwards had a second and a third chance at fame. He was cast as the voice of Jiminy Cricket in the animated film Pinocchio where he introduced “When You Wish Upon A Star.” After fading into obscurity by the mid-1940s, a decade later he was resurrected by Walt Disney, recording a final album in a dixieland setting. But after that, he disappeared. When he passed away in the early 1970s, Cliff Edwards was broke and completely forgotten.
The double-CD Fascinating Rhythm has the musical highpoints of Ukulele Ike’s prime years. The 48 selections feature him swinging his way through his hits and such delights as “He’s The Hottest Man In Town,” “Paddlin Madelin’ Home,” “Good Little Bad Little You,” the two-sided “Stack O’ Lee,” “A Great Big Bunch Of You” and “It’s Only A Paper Moon.” The music is jazz-oriented with Edwards vocals and falsetto kazoo playing being fun to hear.
Cliff Edwards deserves to be remembered and given his proper place in jazz history. And most importantly, his music still sounds fun and lively today.
Defne Sahin’s singing on Yasamak (DMCHR 71097) of the poetry of Nazim Hikmet is in Turkish but her sound transcends language barriers.
Some recordings transcend language barriers. Defne Sahin has a beautiful and flexible voice and a strong feeling for jazz. While she is accompanied by a fine trio on this set comprised of Matti Klein on piano and Fender Rhodes electric piano, bassist Ofer Wetzler and drummer Lucia Martinez, Ms. Sahin arranged and composed all of the music (other than two of the dozen songs). Even more impressive is that she set the words of Russian poet Nazim Hikmet to music.
All of Dafne Sahin’s singing is in Turkish, but fortunately the liner notes that accompany Yasamak inclulde English translations of the lyrics. Among the stories are a plea for racial differences, a tribute to the sea, the difficulties of reconciling physical differences, the joy and wisdom of children, various problems of dealing with love relationships, and tributes to nature.
The philosophy found in these poems (and now songs) is universal. And while Defne Sahin’s singing is in a different language (except for those who know Turkish), the honest emotions that she expresses, as well as her attractive tones, can be appreciated and enjoyed by all.
This is a most unusual recording. A jazz quartet comprised of soprano and tenor-saxophonist Albin Brun, Patricia Draeger on accordion, bassist Claudio Strebel and drummer Marco Kappeli joins forces with three singers from the group Akana (Irena Kotvitskaja, Rusia and Nadzeya Tschuhunova) to create a unique fusion of jazz from Switzerland with traditional Belarusian vocals.
The voices of the three singers are quite haunting and clearly of another world. They mostly perform ancient songs of pagan Belarus, words and melodies that are sometimes more than a thousand years old. Their harmonies are colorful and sound both modern and ancient.
While the singers stick to their parts, Brun (who also plays accordion, flute and duduk on one song apiece) and Draeger take solos along the way during instrumental passages, while Straebel and Kappeli are excellent in a supportive role. It is fair to say that these songs have never been interpreted as jazz before. The musicians sound inspired by the fresh material as do the vocalists by their accompaniment.
Somehow this most unusual fusion (which was far from inevitable) is a success, succeeding both musically and in its uniqueness.
-- Scott Yanow
Scott Yanow: Frank Wingold’s Virtues & Vices (DMCHR 71100) is most notable for the solos and interplay of the guitarist with tenor Niels Klein.
Frank Wingold, who leads the quartet on Virtues & Vices and contributed all nine compositions, began playing the guitar when he was nine. After studying at the Conservatory in Amsterdam, he settled in Cologne, Germany. A versatile player who excels on both acoustic and electric guitars, his influences include classical music, fusion, and the harmonically adventurous style yet quiet sound of Jim Hall. While he performs in a variety of settings, Clairvoyance is one of the best groups in which to hear his guitars.
The band also features Niels Klein on tenor and counter alto clarinet, bassist Dietmar Fuhr, and drummer Jonas Burgwinkel. Klein’s post bop tenor playing, which in spots recalls Michael Brecker, is a prominent part of the group’s sound, as is his close interplay with Wingold.
The nine selections, which include such titles as “Wildfang,” “Frail,” “Pie In The Sky,” and “Close Encounters Of The Blurred Kind,” often have complex melodies, tricky rhythms and time signatures, with consistently flawless playing by the musicians. Wingold and Klein both have the knack of playing passionate lines while sounding relaxed and generally laidback while Fuhr and Burgwinkel are not only supportive but play stimulating ideas that inspire the two lead voices.
Virtues & Vices is filled with music that rewards repeated listenings.
Win a brand new "Guided Tour" album signed by a legend and Grammy-awarded vibraphonist Gary Burton! It couldn't be more simple: just Share & Like our post on Facebook here! In two weeks we will pick and announce lucky winners on our Facebook Page, so make sure you follow us there!
With none other than Julian Lage, Scott Colley and Antonio Sanchez on board of The New Gary Burton Quartet, this CD has an "absolute-must" sticker for any jazz lover! Apart from the haunting ballads, the splashy Latin-themed pieces, stunning drums and vibes solos, bop-era piano infusions, "Guided Tour" also includes two new songs by Burton, which is a rare feature!
Tenor-saxophonist Christoph Irniger’s Mt. Tongariro (BTLCHR 71228) musically tells the tale of a visit to the New Zealand volcano.
Mt. Tongariro is the volcano on New Zealand’s North Island. The idea of traveling to the island and exploring the volcano fascinated Swiss tenor-saxophonist Christoph Irniger. Since graduating from the Zurich School of Jazz Music Education and the Lucerne School of Music Performance, Irniger has worked in Berlin and New York, studying with Dave Liebman, Mark Turner and Ari Hoegin. He has recorded frequently (including with the Cowboys From Hell which he co-leads) and developed his own personal voice on the tenor.
For this set with his group Pilgrim (which also includes pianist Vera Kappeler, bassist Christian Weber and drummer Michael Stulz), Irniger contributed six selections that form a suite and could serve as a soundtrack. With such titles as “The New World,” “Chasing Dreams Of Mt. Tongariro” and “Moving Moment,” Irniger tells a colorful story that is full of adventure, space, a variety of emotions, and stark melodies. On the episodic “Dead Man,” he even indulges in some free improvising with the quartet that is a little scary and quite effective. Throughout the program, the rhythm section follows Irniger’s every musical move, reacting as one to his ideas.
In this tale of Mt. Tongariro, one selection leads logically to the next one, telling the story of an adventure that probably never occurred. It is well worth hearing.
Trumpeter Jan Van Duikeren’s Fingerprint (CR 73328) has grooving and lightly funky jazz reminiscent of the 1970s Crusaders.
Jan Van Duikeren is a fine trumpeter from the Netherlands who has a mellow sound and a style that on his own projects is rhythm and blues-oriented. In his career he has worked with Candy Dulfer (touring with her for 15 years), James Carter, Sheila E, the Metropole Orchestra, Diana Ross, and Bob Brookmeyer among many others. In addition to his tours with Dulfer and heading his own group Fingerprint, Van Duikeren currently works with such bands as The Special Request Horns, The New Cool Collective Big Band, and the Jazz Orchestra of the Concertgebouw.
Fingerprint is a quintet that also includes Tom Beek on tenor, guitarist Jesse Van Ruller, keyboardist Ronald Kool, bassist Manuel Hugas, and drummer Martijn Vink. On their debut CD, Candy Dulfer plays her alto on three numbers, and two additional horns are added on a pair of selections.
The music on Fingerprint is often reminiscent of the Crusaders in the 1970s despite the difference in instrumentation (trumpet instead of trombone). The music is lightly funky, melodic, grooves and generally falls between jazz and instrumental r&b. Beek’s solos are strong, Kool’s keyboards set the grooves, and Van Duikeren (who composed or co-composed all ten selections) displays an appealing tone. A few songs are a bit more straight ahead (including “Happy Quick Licks”) and there are variations in tempos and grooves.
The performances on Fingerprint succeed both as background dance music and for close listening.
Tierney Sutton’s American Road (CR 73329) is an offbeat set of Americana ranging from folk songs to Gershwin and Bernstein.
One of the top American jazz singers of the past 20 years, Tierney Sutton has a beautiful voice and has always been an expert improviser. She also has performed for years with the same group of musicians: pianist Christian Jacob, drummer Ray Brinker and either Kevin Axt or Trey Henry on bass. While she is the dominant voice (pun intended) on all of her recordings, she gives her musicians near-equal billing.
American Road has Ms. Sutton interpreting a surprising repertoire that includes hymns from the 1800s, Americana, Gershwin’s Porgy and Bess, Leonard Bernstein, and a couple of more recent songs. The arrangements are inventive and modern, transforming many of the pieces into songs that sound as if they were composed in the 21st century. Along the way she performs such material as “Wayfaring Stranger,” “Amazing Grace,” “It Ain’t Necessarily So,” “On Broadway,” Harold Arlen’s obscure “The Eagle And Me” and “America The Beautiful.”
In addition to Tierney Sutton’s thoughtful and haunting voice, Christian Jacob (a brilliant player) contributes many concise piano solos. While the singer has occasionally sacrificed lyric content in the past during her more adventurous flights, that is not true on American Road, for here she really digs into the meaning of the words.
Full of subtle surprises, American Road is one of Tierney Sutton’s strongest recordings to date.
Ton Koopman finished the complete Cantatas of Johann Sebastian Bach in July 2006. 8 years ago he started recording the complete works of Dieterich Buxtehude. On Wednesday, 5th of June, the last recording of this project was wrapped up!
In October 2005 Ton Koopman began with the recording of Buxtehude's harpsichord works, which were then published in September 2006 as Vol. 1 via OPERA OMNIA. Since then, 16 episodes have been released and four other editions will follow in the coming months. The total recording will be fully released in the fall of 2014, including 20 episodes and 30 CDs in a beautiful box.
We would like to congratulate Ton Koopman, the Amsterdam Baroque Orchestra and all the soloists with the completion of Buxtehude total recording! And we are happy to hear about the realization of this "heart-project" and the last 4 issues, which include many exciting vocal music.
Veteran percussionist Luis Conte on En Casa De Luis (CR 73325) plays and sings Latin jazz, percussion displays and heated jams.
In his career, Luis Conte has played his wide range of Latin percussion in a countless number of settings, whether with Latin groups, as a studio musician, on soundtracks, or in jazz clubs. He has worked with everyone from Madonna, Phil Collins and James Taylor to Al DiMeola and Pat Metheny. His experience is vast yet he always seems to have a great time particularly when he is performing the Latin music that he most loves
On En Casa De Luis, Conte performs three strong compositions by guitarist Barry Coates, Larry Goldstein’s “Dance Of The Firefly,” an offbeat version of “Fever,” and several of his own songs. Conte sings on a few of the numbers (including “Fever”) and, on the title cut, he leads a choro. Other selections feature such fine musicians as Coates (who is prominent on many of the pieces), Goldings (on his original), bassist Jimmy Johnson, trumpeter Walt Fowler and other percussionists.
The music ranges from vocal pieces to instrumental jams, from percussion displays to quartet jams. Everything somehow blends together on this diverse but unified program. Conte takes plenty of solos but does not dominate the music except with his cheerful nature and impressive musicianship.
En Casa De Luis, one of Luis Conte’s best solo albums, will appeal to a wide audience, particularly his Latin jazz fans.
On Tribute To Ray Charles (CR 73333) singer Madeline Bell and the Jazz Orch. Of the Concertgebouw have a rollicking time.
In 2006 when the Ray Charles biography Ray debuted in the Netherlands and Belgium, as an “encore,” the Jazz Orchestra of the Concertgebouw with singer Madeline Bell followed the film by giving a concert of Ray Charles’ music, with the emphasis on the jazz and blues side of the very versatile performer. The Orchestra’s performance of Feb. 17, 2005 was recorded and is released as this CD.
While Ray Charles himself was not present, Madeline Bell does a superior and spirited job of filling in. She sings with plenty of feeling, swing and wit on the great majority of the selections which include “Hallelujah, I Love Him So,” “Unchain My Heart,” “Let The Good Times Roll” and “Georgia On My Mind.” The big band is very impressive and is actually superior to Charles’ own ensemble of his later years. They get to stretch out on the instrumental ”Let’s Go” and a rollicking 13-minute version of “What’d I Say.”
Among the many soloists from the 19-piece orchestra are pianist-conductor Henk Meutgeert, tenor-saxophonist Jan Menu, trumpeter Erik Veldkamp and trombonist Jeroen Rol. They form a powerful ensemble, whether playing on their own or inspiring Madeline Bell to sing at her most passionate.
Ray Charles fans will love this CD.
Steve Gadd’s quartet with Joey DeFrancesco and baritonist Ronnie Cuber on Live At Voce (CR 73326) grooves hard and is quite fun.
Steve Gadd has been the drummer on a countless number of sessions throughout the past 45 years, but one would guess that the group on Love At Voce plays the type of music that he enjoys best. Gadd teams up with organist Joey DeFrancesco, baritonist Ronnie Cuber and guitarist Paul Bollenbeck to perform the type of swinging soul jazz that was heard in the past by George Benson in the 1960s (when Cuber was his baritonist) and the Jimmy McGriff band with Benson and saxophonist Red Holloway.
Gadd sounds happy to play a supportive and driving role between the three superb soloists. Cuber has long been one of the best on his instruments and this is the type of booting and jumping music that lets him stretch out. Bollenbeck is an excellent guitar soloist while DeFrancesco has been at the top of his field during the past 20 years.
Together these four masters jam on blues and such standards as “Undecided,” ”Back At The Chicken Shack” and “Sister Sadie.” An occasional ballad (including “Georgia On My Mind”) and DeFrancesco’s muted trumpet playing (a la Miles) on “Bye Bye Blackbird” offer brief change of paces on a grooving and soulful set that is overall very difficult to resist. Two brief selections from another session with r&b singer Edie Brickell are “bonus cuts.”
This is goodtime music at its best.
Marc Perrenoud is 32 and was born in Geneva. He started on piano when he was six and was classically trained. He has been active on the European jazz scene since 2001, performing at quite a few festivals. In 2008 he recorded his first trio CD. Logo. Two Lost Churches, from 2012, is his second.
Perrenoud’s trio, with bassist Marco Muller and drummer Cyril Regamey, explores six of the pianist’s originals plus a mostly disguised version of “Autumn Leaves” and “You’d Be So Nice To Come Home To.” Muller and Regamey are stimulating in support of the pianist but the main focus throughout is on Perrenoud. He displays a creative post bop jazz style that is full of both high energy and self-restraint. He is at his most hyper and hard swinging on the brief but memorable “Swisswalk.” His compositions are complex and sometimes utilize polyrhythmic and unusual accents but swing in their own way. Among the other highlights are“Big Pope,” “Two Lost Churches” and “Corbin Drive” but every selection is worth hearing.
Most impressive is that Marc Perrenoud, while part of jazz’s modern mainstream, does not sound like any of his historical predecessors. Developing one’s own sound is always one of the main goals of creative jazz musicians, and on Two Lost Churches Marc Perrenoud shows that he has his own colorful musical identity.
On Tuesday June 11, a benefit concert organized by Walter Wolff will be held in the North Sea Jazz Club (Amsterdam). This concert is organized together with the Dutch as well as the international Von Hippel-Lindau (VHL) patients alliances.
VHL is a neurological gene disorder which a.o. creates tumors in the central nervous system. Albeit being benign, the tumors can be very difficult to remove due to their difficult locations and therefore also cause damage to vital organs and nerves, as in Walter Wolff's case.
Walter Wolff was diagnosed with VHL in 2005 and has undergone 5 brain tumor operations since then, of which the second to last one which were located next to the brain stem, damaged some nerves and as a result left him somewhat handicapped. He therefore also had to give up his career as a pianist and active performing artist.
There is no cure for VHL as of this moment and the only hope for patients and their families is good, thorough and well-funded research. Therefore, this event is organized with the aim to raise a large amount of money to help the research teams with their work. The research can a.o. contribute to raising the life-expectancy and quality of life for patients, develop newer and better screening and treatment (operation) methods, raise awareness and help new doctors gaining a better understanding of VHL and ultimately of course finding a cure!
Wolfert Brederode Trio
Cello Octet Amsterdam
The Eef van Breen Group
DJ Ome Steef
Date & time: Tuesday June 11th at 20.15
North Sea Jazz Club
1014 DB Amsterdam
For more information, click here
Entrance is free, but the aim of the concert is raising funds for Von Hippel-Lindau disease research.
In case you are not able to attend the concert, but would like to make a donation, it can be done on the following bank account:
Please indicate: Walter Wolff
Despite the name of their group, Cowboys From Hell has nothing to do with country music or even satirizing it. They are actually an inventive fusion trio that is heavily influenced by rock while utilizing jazz improvisation.
Cowboys From Hell consists of Christoph Irniger on tenor and bass clarinet, bassist Marco Blochlinger and drummer Chrigel Bosshard, but do not expect the trio to sound like a Sonny Rollins pianoless group. Both Blochlinger and Irniger utilize keyboards extensively, coming up with an endless number of distorted sounds and tones while swinging funkily in their own way.
The group has cited Frank Zappa, Screaming Headless Torsos, Rage Against The Machine and Pantera as a few of their influences. While Irniger’s background is in jazz (he studied at one point with Dave Liebman), Blochlinger has mostly played rock and funk while Bosshard has played rock in Los Angeles.
Of the ten songs on Big Fish, Irniger wrote six, Bosshard contributed two, one is a group improve and “Walk” is by Pantera. Such song titles as “Horror Show,” “Hymn For The Traitor,” “Mary Jane” and “WWW” could make one think that the music is taken from a soundtrack but each piece stands on its own, ranging from rhythmic vamps to fiery explorations.
Big Fish shows that there is still life to be found in fusion.
There are so many young talents currently active in jazz (not to mention the middle-aged players and the elder statesmen) that it is very difficult to not only keep up with each of the players but to know who all of them are. The quartet Radar is a case in point. It consists of Timo Vollbrecht on tenor and soprano, pianist-keyboardist Lorenz Kellhuber, bassist Tim Kleinsorge and drummer Moritz Baumgartner, four strong talents who are not that well known outside of Germany. On In Sight, Radar becomes a quintet with the addition of guest tenor-saxophonist Johannes Enders who fits in very well with the group.
Vollbrecht contributed all but two of the eight selections on In Sight. The music is post bop jazz, quite modern, yet often melodic and thoughtful. The musicians are not as interested in breaking down boundaries or playing free improvisations as they are in creating new music within the modern mainstream of jazz. The interplay between the two saxophonists is a consistent joy throughout the set, the rhythm section is tight, and the eight complex compositions are made to sound easier to play than they actually are.
While the playing of Timo Vollbrecht sometimes hints at Wayne Shorter and Michael Brecker as do the compositions, Radar has its own group sound. Its future projects will be worth watching closely.
On the 6th of April, pianist Valentina Tóth introduced her debut Cd Hungarian Horizon with a sold-out concert in the Amstelkerk (Amsterdam). Since that date, she has been topic of many purely positive reviews and was a guest in several national radio shows, like in Diskotabel (Radio 4).
"I truly imagined I was in Transylvania, with Bartók and Kodály, wandering around in tiny villages looking for beautiful melodies" Hans Haffmans (Diskotabel, Radio 4) said after hearing her play.
Also the written press was impressed by the album:
"Tóth breaks a lance for works that are not too well represented in the music catalogues and in which mere cosmetic and technical brilliance does not give much solace. On the contrary, it asks for internalized and integrated pure musicality without any frills." Maarten Brandt (Opusklassiek, April 2013), besides the CD was labeled as as album of the month. "For this work there are only two words: Grand and supreme.”
"Valentina Tóth makes her sublime debut with Hungarian Horizon." Maarten-Jan Dongelmans (De Gelderlander, April 2013)
"With the excellent way she plays, Tóth knows precisely how to deal with the emotional and impulsive music of Bartók en Kodály. We can expect lot of beautiful things from her in the future." Wil Zenhorst (Platomania, May 2013)
"The fourteen short Bagatelles and Three folk songs by Béla Bartók and the Seven piano pieces plus the Marosszéker Dances of Zoltán Kodály are in turn reflective, attractive, emotional, impulsive and capricious." Gert de Looze (Reformatorisch Dagblad, April 2013)
On July 9th, the release of this CD in the USA will follow.
We want to share the success of Valentina with you and offer you the CD "Hungarian Horizon" for €15,95 instead of €18,95. Click here to go to the product page, obtain your discount by using the code: CC72522. This discount code is valid until 16 June 2013
Saxophonist Yuri Honing’s True (CR 73336) is full of dark menacing atmosphere played at a low volume and at a slow pace.
Yuri Honing is a Dutch saxophonist who has worked with Misha Mengelberg, Pat Metheny, Charlie Haden and Paul Bley. On True, he creates unusual mood music that is quite haunting.
Honing teams up with pianist Wolfert Brederode (who doubles effectively on harmonium), bassist Ruben Samama and drummer Joost Lijbaart to perform seven of his originals, two of which are also heard in reprises. The music could definitely work as a soundtrack to a mystery or a science fiction film. Honing mostly caresses the melodies, all but a couple of the pieces are taken at slow tempos or out-of-tempo altogether, and most of the performances act as backgrounds for one’s thoughts.
Yuri Honing’s playing is a bit reminiscent of Jan Garbarek on the ECM label for he emphasizes long tones, holds on to melodies, and develops his ideas slowly while keeping the theme close by. The rhythm section sticks closely to Honing, sometimes adding more color and tension while giving the music a quiet menacing feeling full of suspense and inner tension.
True is a CD well worth listening to closely a few times, for it grows in interest the longer one experiences it.
Matthieu Marthouret was originally a pianist, but when he had difficulty coming up with talented bassists to work with, he found that he was equally adept on organ. On Upbeats, his second CD as an organist, he displays a very original tone and style, sounding not at all like Jimmy Smith who is the usual dominant influence on organists. It would be simplistic to say that Marthouret plays the organ like a piano but he does have a dramatic and sophisticated style unlike most of his contemporaries.
On Upbeats, Marthouret is joined by drummer Manuel Franchi, either Maxime Fougeres or Sandro Zerafa on guitar, and either Nicolas Kummert or David Prez on tenor. Altoist David Fettmann sits in on “Upbeats,” adding additional fire to the music. However the results do not sound at all like a typical organ trio/quartet.
The musicianship is top notch throughout this adventurous music and the performances are full of surprises, ranging from funk to an opening bossa-nova, while never being predictable. Marthouret wrote all of the nine selections but does not dominate the soloing, giving plenty of space for the saxophonists and guitarists. However he sets the mood for each piece and his accompaniment pushes and inspires the other musicians.
Matthieu Marthouret’s Upbeats may very well set the standard for modern jazz organ groups.
Jurgen Hagenlocher, who was born in Germany, has been an important tenor-saxophonist since the late 1990s. For his third CD as a leader, he went to New York and put together a quintet featuring four Americans: trumpeter Alex Sipiagin (who is originally from Russia), pianist David Kikoski, bassist Boris Kozlov (musical director of the Mingus Big Band) and drummer Nate Smith.
Rather than perform standards or songs based on standards, Hagenlocher wrote all eight compositions. He utilizes original chord changes and tricky structures that nevertheless still swing. His music is influenced by both Wayne Shorter and Art Blakey’s Jazz Messengers, giving listeners a sampling of the adventurous side of modern mainstream jazz.
The set includes a few postbop swingers, some brooding ballads, and music that is a bit unpredictable. Fortunately Hagenlocher was wise in picking his sidemen. Sipiagin, who had recorded previously with the saxophonist, adds fire and color to the set, inspiring Hagenlocher to play at his best. The rhythm section is tight and quickly achieves a unified sound. In fact, the quintet works together so well that one could be excused for thinking that this was a regularly working band.
On Leap In The Dark, Jurgen Hagenlocher succeeds at moving the mainstream of jazz forward a bit while staying attached to its roots.
The L.A. Sessions is pianist Markus Burger’s strongest jazz recording to date. It had been more than a decade since the Germany pianist’s previous jazz album as a leader. He had been working with saxophonist Jan Von Klewitz in his Spiritual Standards project the past few years. Inspired by Bill Evans, Keith Jarrett and John Taylor (who was one of his teachers), Burger is a melodic pianist who draws out the beauty in each theme that he interprets, building up his improvisations logically from both the melody and the mood of the piece while always swinging.
On The L.A. Sessions, Markus Burger is joined by bassist Bob Magnusson and drummer Joe LaBarbera, two subtle players who fit Burger’s music very well. Some of the songs that they perform are heated and cinematic, particularly the uptempo “Rodeo Drive Hustler” and “Inspektor Bauton” (which has the power, drive and creativity of early-1950s Bud Powell). Also quite memorable among Burger’s seven originals are “Air Canada” and his tribute to Don Gronick, “Grolnicks.” Other highlights include Burger’s beautiful renditions of “I Loves You Porgy,” “In Love In Vain” and Nat Adderley’s “The Old Country,” with the latter being one of several pieces that include excellent Magnusson bass solos.
The L.A. Sessions is a joy to hear from start to finish, with Markus Burger sounding in prime form throughout.
Scott Yanow: Pianist Markus Burger on The L.A. Sessions (CR 73332) draws out the beauty of each melody no matter what the tempo.
Barbara Lea was a bright new voice in the 1950s when she appeared as a fully formed swing singer. Influenced by Lee Wiley and Mildred Bailey, she recorded several notable albums before dropping out of active performing in the 1960s. In the early 1970s she made a successful comeback as a highly expressive singer whose performances straddled the boundaries between swing and cabaret. She remained active into the late 1990s, passing away in 2011.
The High Priestess Of Popular Song features Barbara Lea when she was in her early seventies. While she shows her age in spots, the maturity serves her well for she really knew the meaning of the lyrics that she was interpreting. The 19 songs include a few swing standards, some cabaret, and a lot of obscure songs. Certainly “Music Makes Me,” “When You Want Me,” “April In My Heart” and “Come The Wild, Wild Weather” are not sung too often. The repertoire ranges from Hoagy Carmichael to Noel Coward.
On most selections, she is accompanied by pianist Keith Ingham although Bob Dorough plays behind her on two numbers and Ben Aronov helps out on one. Among the guest musicians, trumpeter Dick Sudhalter is a strong asset on four songs.
The High Priestess Of Popular Song gives listeners an opportunity to hear the masterful Barbara Lea during her autumn period, swinging lightly and creating heartfelt renditions of ballads.
Ray Anderson is a unique trombonist, and his Pocket Brass Band reflects his open-minded musical approach, rambunctious nature and very fertile sense of humor. The group, which also includes trumpeter Lew Soloff, Matt Perrine on sousaphone, and drummer Bobby Previte, often sounds like a crazy parade band. It certainly does not lack for personality!
The virtuosity of Anderson and Soloff (who can hit high notes with ease) and their extroverted personalities are a perfect match. Perrine is a dazzling player on sousaphone while Previte is quite versatile. Together they create music that is consistently memorable.
The six-part Sweet Chicago Suite, which takes up much of this CD, features the quartet playing a New Orleans funeral march, a jubilant blues, freer explorations, a funky showcase for tuba and drums, and some uptempo brass tradeoffs It climaxes with the New Orleans party groove of “Some Day” which leaves listeners in a happy mood. Also on this set is the episodic “The Stingray Rag,” which begins where the Sweet Chicago Suite leaves off and builds from there in passion and intensity, and the dramatic “Next March.”
It would be too simple to call this very lively music avant-garde or parade band music for the 21st century. It fits into its own unique and ecstatic musical category.
On Continental (CR 73335), pianist Rembrandt Frerichs’ jazz trio displays its own sound and style on his rich originals.
In his career, pianist Rembrandt Frerichs has succeeded at not only forming his own style within jazz, but in developing original music that includes the improvisation of jazz along with the influences of European classical music, Arabic music and his own European folk heritage. Although he spent some time in the United States, the music that he creates with his trio is quite European in nature, which led to this collection of mostly original material being called Continental.
At the time of this 2011 recording, Frerichs had been working with drummer Vinsent Planjer for close to ten years and with bassist Guus Bakker for several years. They often think and sound as one, with Frerichs’ solo flights being followed closely by Bakker and Planjer, who in turn inspire the pianist to stretch himself even more. The group performs nine of the pianist’s originals along with bassist Tony Overwater’s beautiful ballad “Ji Yuan” and a version of John Coltrane’s “Countdown” that utilizes creative funk rhythms. The trio is particularly effective on ballads but they also come up with inventive ideas on the medium-tempo pieces too, particularly the driving “The Fountainhead.”
While often falling into the modern mainstream of jazz, Rembrandt Frerichs and his trio manage to always sound original, creative, and intriguing.
On Saturday the 1st of June, altsax player Bart Wirtz will perform in the North Sea Jazz Club in Amsterdam.
Wirtz will perform with his Dutch quintet and will play music from his latest album ‘iDreamer’ that won the Edison Audience award last November.
Bart Wirtz - sax
Angelo Verploegen - trumpet
Jasper Soffers - piano
Jeroen Vierdag - bas
Joost van Schaik - drums
Where and when
Saturday June 1, 2013, 21:00 hr
North Sea Jazz Club
1014 DB Amsterdam
More Info North Sea Jazz Club | Tickets
About Bart Wirtz
One of the finest young saxophonists in Europe today, Bart Wirtz has a flexible and versatile style that ranges from hard bop to freer explorations. Wirtz has his own sound and open-minded approach to playing jazz. After winning several honors (including the Erasmus Jazz Prize, the Leiden Jazz Award and the Breda Jazz Prize) his career went rapid.
Wirtz composed all compositions for his album iDreamer and recorded it in New York with top musicians from America in 2012. Wirtz is also known in groups as Arvark Saophone Quartet, Monsieur Dubois, The Very Next en het New Rotterdam Jazzorchestra.
More information on www.bartwirtz.com | www.challengerecords.com
Being acclaimed as one of the outstanding young ensembles with an ever-growing international career, Trio Mondrain returns to Holland with a new concert. On the 31st of May they will host the stage of Stadsgehoorzaal in Leiden. Their latest CD on Challenge Classics "Piano Trios" interpreting Shostakovich and Ravel proved to be intense, expressive and deeply musical and is now offered with a 15% discount!
Trio Mondrian performs regularly in Israel and Europe. "When we are on tour, our Trio becomes a true family," - say the members of the trio. The connection between them, their musical unity and exclusive mastery keep on attracting a great deal of media attention around the ensemble. In 2012 Gramophone Magazine wrote about the Trio’s recording of Shostakovich’ Second Piano Trio: ‘this performance has terrific integrity’. Meanwhile Ravel's work received following impression from the same reviewer: "The Mondrians' colours and textures in the Ravel are luminous, with delicacy and gusto achieving a fine equilibrium."
Pianist Ohad Ben-Ari, violinist Daniel Bard and cellist Hila Karni create a unique musical tapestry of exquisite sounds that expresses their extraordinary sensitivity, mature understanding and rich experience of music making. In 2007, the Trio won first prize at the prestigious International Chamber Music Competition in Trieste, Italy, as well as receiving the Special Prize for their interpretation of a Brahms Trio and the "Young Award". In addition, they have won the audience prize at the 2008 Bologna Festival.
Their concerts during last year received a very enthusiastic response from the audience, and the upcoming concert at Stadsgehoorzaal in Leiden promises to be just as exciting!
When & where:
May 31st, 20:15hr
Stadsgehoorzaal Leiden - Aalmarktzaal,
2311 EC Leiden
For this occasion we offer 15% discount on Piano Trios, the latest album of the trio! Click here to read more about the album and to go to our webshop. To obtain you discount use the discount code: "leiden"
Jeanfrancois Prins is a versatile and consistently creative jazz guitarist. His quiet sound and harmonically advanced playing recalls Jim Hall a bit while his Belgium heritage finds him hinting at times at Django Reinhardt. While he has contributed to the music of many other jazz greats (including his wife singer Judy Niemack), El Gaucho gives him an opportunity to be in the spotlight.
Prins is joined on this project by bassist Joris Teppe, drummer Victor Lewis and, on four of the 11 selections, tenor-saxophonist Rich Perry. The trio/quartet performs six of Prins’ originals, three songs by Wayne Shorter (including “El Gaucho” which is played as part of a medley with Prins’ “Noche En Las Pampas”), Victor Lewis’ Ï Wanted To Say,” “Spring Is Here” and a version of “I’ll Be Seeing You” that has Prins taking a surprising and effective vocal.
The guitarist takes his time in his playing, lets the melodies breathe, and builds his solos logically from the themes. Some of the songs (particularly some of the ones with the cool-toned Perry) are heated but the emphasis is on slower tempos, thoughtful improvisations and subtle creativity. An interesting touch is how “Spring Is Here” is sandwiched by quotes from Stravinsky’s “The Rite Of Spring.”
El Gaucho is full of exquisite music that deserves close listenings.
Last Wednesday Nicola Sergio performed in Italian Institute of Culture of Paris. Many people said it has been the best concert of the festival! Watch the clip “Scilla” from the album Symbols of 2010:
Nicola Sergio - piano
Stéphane Kerecki - Double bass
Fabrice Moreau - Drums
City of Talent gives artists the oppertunity to present their work to the audiance in the Dutch city Groningen. You can vote for the person you think that deserves a space to expose his or her skills untill the 29th of May.
Vote for Reinout Douma, a pianist, componist and conducter who established the Noordpool Orchestra which released the album ‘Radiohead, A Jazz Symphony’ last year, if you think he deserves this space.
You can vote here:
Stefan Karl Schmid is a young and talented tenor-saxophonist, soprano-saxophonist, clarinetist, flutist, arranger and composer. 26 at the time of this 2010 recording, he had studied at the Manhattan School of Music, earned a Masters in Jazz composition at the University of Cologne, and recorded with several groups as a sideman before making his debut as a leader on ExTENded.
For this project, Schmid utilizes a medium-sized ten-piece group that has the power and complexities of a modern big band but the looseness and spontaneity of a combo. He wrote all nine compositions in addition to providing the arrangements. The music is primarily modern post bop jazz and, while not a copy, is in a style that one could imagine Jim McNeely writing or the Vanguard Jazz Orchestra.
The performances range from the swinging “Setting The Stage” (which has the most memorable theme) to brooding ballads and modern explorations. The band, consisting of three reeds (including Schmid, Malte Durrschnabel on alto and Niels Klein on baritone sax and bass clarinet), two trumpets, two trombones, guitar, bass and drums, is filled with strong soloists and superior musicianship. One regrets that the liner notes do not say who the soloists are among the brass players although Schmid and Durrschnabel emerge as the main solo voices.
Fans of modern jazz orchestras will find much to savor on this excellent release.
Today in Nederlands Dagblad a review of Shanti Snyder!
“Shanti Snyder sings her jazzy pop with a gospel and R&B twist with reservation, but tenacious.”
A superstar in Japan, and a rising star in the rest of the world: Shanti Snyder released Cloud 9, her promising debut album on Supertracks. This singer/songwriter digs into her soul and has it in her to touch a lot of people!
The inspiration for Changing Scenes took place during the filming of the documentary Playing New York which had members of singer-trumpeter-trombonist Eef Van Breen’s group singing on the streets of New York. Most of the music on Changing Scenes is cinematic and beyond any simple category. There are touches of jazz along with folk singing and atmospheric ensembles, with the music being filled with constant change, lots of variety, and surprises. While much of the music is laidback and thoughtful, there are some intense and passionate moments.
On various selections, Changing Scenes features van Breen, Eve Tebbe on concert harp, pianist Walter Wolff, violinists Merel Junge and Hadewych Holland, cellist Genevieve Verhage, bassist Brice Soniano and percussionist Joao Lobo. Most of the musicians also double as singers who participate on some of the selections as a chorus.
The 11 originals include three songs from Oscar Wilde’s there play Salome, four are from a sequel to the ballet Swanlake, and two were written for the film Chapman For President. Also included are “At The Fair” and the melodic “Playing New York.”
The music ranges from whimsical to haunting and there is not a dull moment to be heard. The musicianship and singing are first-rate. Changing Scenes should be explored by listeners with open minds and no preconceptions as to what to expect.
For this tour we offer €3,- discount on the latest albums 'Sardegna' and 'Dreams, Thoughts & Poetry' of Jasper Somsen! Fill in the discount code jaspersomsen at the checkout of our webshop to receive the discount immediately!
Jasper Somsen is going on tour again. This time not with his own group, but together with the the superior post-bop pianist Enrico Pieranunzi. This is one of the top jazz pianists living in Italy.
Somsen and Pieranunzi know eachoter for many years. Somsen’s first album on Challenge Records ‘Dreams, Thoughts & Poetry’ is an inspirational ode to this world famous pianist.
"The Italian pianist Enrico Pieranunzi and his new European trio did what they do best: playing jazz without fringes, with an unparalleled eloquence."
Wed. May 22 - Paradox, Tilburg (NL)
Thu. May 23 - BIM-huis, Amsterdam (NL)
Fri. May 24 - De Lindenberg, Nijmegen (NL)
Thu. May 30 - De Hoge Vorssel, Nistelrode (NL) - club members only!
Fri. May 31 - Piano Concert Series Henk Hupkes, Zeist (NL)
Sat. June 1 - Lantaren/Venster, Rotterdam (NL)
Enrico Pieranunzi - Piano
Jasper Somsen - Double Bass
Pieter Bast - Drums
The discount offer is available untill June 16.
Toots Thielemans has not only been the world’s greatest jazz harmonica player for the past 60 years but, for much of that period, he was also practically the world’s only jazz harmonica player. Preceded by Larry Adler (who played jazz on a part-time basis) among major figures, Thielemans originally made his living as a guitarist. However by the mid-1950s, his virtuosity on the harmonica began to overshadow his guitar playing and he has reigned supreme ever since, setting a standard that has still not been reached by anyone else. What other harmonica player could hold their own in a jam session with Oscar Peterson?
90 Yrs. includees both a CD and a DVD that celebrates Toots Thieleman’s recent 90th birthday. The CD is drawn from several concerts from 2006-11 and includes such Toots favorites as ‘Wave,” “The Dolphin,” “One Note Samba” and Paul Simon’s “I Do It For Your Love,” along with three of the harmonica player’s originals. He is teamed with pianist Karel Boehlee, bassist Hein Van de Geyn and drummer Hans Van Oosterhout.
The DVD has six selections from a 2011 club date with Thielemans enjoying himself playing such numbers as “Autumn Leaves,” “St. Thomas” and his biggest hit, “Bluesette.” He shows throughout both the CD and the DVD, that even at 90, he still has a lot to offer.
- Scott Yanow
The French pop singer Elodie Lauton teams up with the Dutch jazz pianist Jasper van’t Hof, electric bassist Peter Borfoi, drummer Steve Arguelles, and Swiss producer Felix Graf (who contributes keyboards and some electronic programming) for a set of original music. Ms. Lauton wrote the lyrics (which are all in French) while co-writing the music with Graf except for three songs written by band members.
The general plot of the music is about a woman who left home and is waiting at the airport on standby for a flight. The day finds her at the turning point of her life as she wistfully and a little bit impatiently waits to get a chance to fly away to a fresh beginning and a new life.
While Lauton is a strong pop singer who sounds comfortable with the occasional electronics, she also shows in spots that she is an excellent scat singer. Otherwise, most of the jazz interest is provided by Jasper van’t Hof, who takes a particularly fine piano solo on the ballad ”On The Tip Of My Tongue” and is a major asset to the set.
The overall performances are intriguing even for listeners who are not familiar with French.
Last week Zapp 4 visited Virus Radio 5, to watch the show, click on this LINK!
Watch PARANOID ANDROID
Watch A WOLF AT THE DOOR
This Thursday Zapp 4 is performing in Paradiso together with The Paradiso Orchestra “The Radiohead Songbook - A tribute to one of the greatest bands ever.
Thursday 16th of May 2013, 20.30 hr.
Tickets available on www.paradiso.nl
More upcoming concerts
22-06-2013 Festival Classique, Den Haag
14-07 2013 North Sea Jazz Festival, Rotterdam
12-09-2013 Festival van Vlaanderen, Brussel
01-11-2013 De Abdij, Aduard
03-11-2013 Beauforthuis, Austerlitz
29-11-2013 Stadsgehoorzaal, Leiden
Patrick Bebelaar, a top jazz pianist from Germany, teams up with American bassist Joe Fonda and veteran Germany trumpeter Herbert Joos on this introspective and thought-provoking trio date. The musicians perform eight originals (four by Bebelaar and two apiece by Fonda and Joos) plus quiet versions of “My One And Only Love” and “I Remember Clifford.” Oddly enough, one of the originals is called “Stella By Star Light” but has no relation to the standard “Stella By Starlight.”
While all three musicians have opportunities to be showcased, Bebelaar is the most dominant voice on the set. His classical training is felt in spots as is his openness to several eras of modern jazz and World Music. His playing is mostly introspective and sometimes recalls Bobo Stenson and Keith Jarrett although his own musical personality comes through and he is effective on the brief high-energy “Reloaded.” Joe Fonda displays versatility and is consistently inventive both as an accompanist and a soloist. Herbert Joos, who is only on around half the selections, is in the spotlight on the unaccompanied “Conversation With I.D.” which has him utilizing a horn that lets him switch quickly back and forth between open horn and muted. On other songs, his pinched notes and general tone are a little reminiscent of Kenny Wheeler. He is also very expressive (as is Bebelaar who contributes a rumbling sound) on “Requiem (for Pit).”
Overall this is a thought-provoking set of subtle and melodic jazz.
Challenge Records proudly presents Elan Mehler Trio, featuring Tod Hedrick and Max Goldman, with his live album: Being There, Here. On this record he’s playing the standards in acoustic setting, recorded in Therme Vals, Switzerland, the very spa hotel where the pianist was first ‘discovered’ performing by world-renowned DJ, label boss and talent spotter Gilles Peterson.
To introduce this talented, international pianist, we’ve collected some great quotes from his shows and previous albums that were released on Brownswood Records:
"When Elan Mehler plays, people stop what they are doing and listen in rapt attention. Exactly this effect Elan's upcoming live album "Being There, Here" has on its listeners."
Charles Waring (Record Collector, MOJO magazine, Wax Poetics, Shook and Blues & Soul and www.soulandjazzandfunk.com)
“Mehler’s touch is as nuanced as Bill Evans’s, and his phrasing draws on both jazz and classical music without directly importing licks from either. The subdued certainties of his playing bring a crowded room to total silence.”
“Intriguing Gilles Peterson piano protege Mehler has Jarrett and Mehldau links, but achieves mesmeric effect with a lot more space and a lot fewer notes.”
- John Fordham (Guardian)
Elan Mehler grew up outside of Boston and started playing piano and composing at the age of 6. In 2000 Elan spent a year in Paris being the house pianist at the “Malone’s Bar.” Which he credits as the largest piece in his musical education. On returning to NYC Elan formed his first trio and performed at the Knitting Factory, Tonic, Smalls, Barbes, The Elbow Room, The Living Room and any other room that had a piano and would let him in. In 2006 he met BBC Radio Presenter and Record Producer Gilles Peterson at a solo piano gig in Switzerland and was subsequently signed to his fledgling Brownswood Records.
Elan Mehler recorded three albums on Brownswood Records. 2007's "Scheme For Thought" called a "...work of mellow magnificence" by Time Out and garnering a four star review from MOJO Magazine, was selected as a top ten record of 2007 by the editor of Jazzwise Magazine. 2009's "The After Suite," "a masterpiece with a capital 'M," --All About Jazz, was hailed as "...positively rhapsodic" by Time Out. 2010's collaboration with the Oklahoman singer-songwriter Adam McBride-Smith, Half Seas Over, built "...a productive relationship between two genres of music that few jazz artists other than Bill Frisell have managed to splice..." The Guardian, received a four star review from Uncut Magazine and was called an "immediate contemporary classic" by Rockerilla.
In 2007 he toured around Euope, during the ‘Brownswood Loves Jazz tour. Together with formerly labelmate (Brownswood Records) José James, Amsterdam (Paradiso), Paris (La Flèche d’Or), Berlin (Bohannon) and London (Queen Elizabeth Hall, Bush Hall, Pizza Express Dean Street, The Vortex).
This month the debut album of Valentina Tóth ‘Hungarian Horizon’ is album of the month at Opus Klassiek. The review (in Dutch) you can find here:
This Sunday, on the 12th of May, this young and talented pianist will perform in the Spiegelzaal, live broadcasted by Radio 4. This performance is prior to AVRO’s Sunday Morning Concert (zondagochtend concert) in Concertgebouw, Amsterdam. Between 10 am and 10.50 am she will have an interview with Hans van der Boom and will perform a few pieces of het debut album Hungarian Horizon.
For more information: http://spiegelzaal.radio4.nl/uitzending/188928/Spiegelzaal.html
On Sunday May 12th Isabelle played live in the program "Spiegelzaal" (AVRO), together with Rudiger Ludwig and Ulrike Payer, a piece ('Tanti Anni Primo') of the new cd "Tango!". This was the first live presentation of the new CD. This performance is prior to AVRO’s Sundaymorning Concert (zondagochtend concert) in Concertgebouw, Amsterdam and always broadcasted live between 10 am and 10.50 on Radio 4. Listen back to the program: here
On May 10th, Isabelle van Keulen also had a live interview in the studio with presentor Diewertje Blok in NTR’s program 'Podium' on Radio 4. She was interviewed about the new CD "Tango!" and also about her concert in the Concertgebouw on Saturday May 11th. Besides the interview, also the piece 'Oblivion' was played. Listen back to the program: here
The new Super Audio CD has now been released and will move a lot of people all over the world because of its directness and the emotions it evokes. This is one of our highlights of this year on Challenge Classics already! This project will be also available on film on DVD and BluRay very soon!
Classical music lovers all over the world know her name: violinist Isabelle van Keulen is a soloist who, for many years now, has built a strong career internationally. She plays with all the important orchestra's, performs in famous concert halls and keeps on recording extraordinary CD's of a very high level. Take for instance her latest release of December 2012 with music of Prokofiev together with her duo partner, pianist Ronald Brautigam.
But now Isabelle dares to do something totally different! She wanted to do it for many years and finally her dream can come true to play and record the music of Astor Piazzolla. This music she has loved since she was a child of six years old. With her new ensemble she also plays in concert halls and she recorded this beloved tango music on SACD and on film (on DVD and Bluray) in January 2013 in Mechelen (Belgium). In a bonus documentary that goes with the BluRay, Isabelle and her colleagues Ulrike Payer, Christian Gerber and Rudiger Ludwig tell about this music, about the tango technique and about their instruments. This not only gives us insight in Piazzolla himself but also gives more information about the typical tango sound and how this is produced and why this music is so moving and goes straight to the heart!
The (music)film of "Tango!" is a moving project made by director Hans Pannecoucke and his filmcrew. The BluRay will include a behind the scenes documentary. The atmosphere of both the film and documentary give a good idea of the feeling the musicians have with this beautiful, heartfelt music and with each other. Watch the trailer here: LINK
Isabelle van Keulen: violin
Christian Gerber: bandoneon
Ulrike Payer: piano
Rüdiger Ludwig: double bass
Jazz became known in Europe when the Original Dixieland Jazz Band caused a sensation in England in 1919. Throughout the 1920s, many American jazz musicians visited Europe where they found work plentiful and liquor which was illegal in the United States during Prohibition) flowing easily.
This CD features European recording sessions by five different groups that include Americans. Trumpeter Frank Guarante had recorded impressive jazz sessions during 1922-23 in the U.S. with the Georgians. In Switzerland in 1926, his six selections for the very rare Kalophone label balance some hot jazz with dance music and are pleasant enough. Guarante is actually in better form and much more featured on the seven titles (including two versions of “Sugar Foot Stomp”) with the Devonshire Restaurant Dance Band, showing what he learned from King Oliver when he was in New Orleans.
The Plantation Orchestra, a show band that includes both Johnny Dunn and Pike Davis on trumpets, sounds fine on four numbers that include some hot ensembles and concise solos. Eddie South, the second significant jazz violinist to emerge (after Joe Venuti), performs “Doin’ The Raccoon” and the intriguing gypsy melody “Two Guitars.” This CD concludes with five of the six numbers that singer Noble Sissle and his orchestra recorded in 1929. Sissle was an enthusiastic and spirited showman who usually included top jazzmen in his bands. Clarinetist Buster Bailey is most notable among the soloists on these rare numbers.
1920s collectors will find a great deal of interest throughout these obscure but worthy performances.
- Scott Yanow
Next Sunday, the 12th, it's Mother's day. To celebrate this day with you we have made a Mother's Day selection for all music loving mothers. We offer a 15% discount on:
Valentina Tóth - Hungarian Horizon
Cor Bakker - Elettra Due
Shanti Snyder - Cloud 9
Lucia Aliberti - Early Verdi Arias
Toots Thielemans - 90 Years
"In my parents’ house I often heard Hungarian folk music. I thought it was something truly special. Hungarian music is emotional and impulsive. Just like the Hungarians. That music feels so very familiar. It’s hard to explain why I play it the way I do. I want to play it the way I feel it.”
Discount code: MD72522
Jazz is a great love of Cor Bakker. And now with his newest album "Elletra Due" the love blossomed. On this CD the pianist presents his audience his own individual style: "Jazz can afford freedoms. And i drill a deeper layer in myself by composing"
Discount code: MD07
A talented singer-songwriter, an accomplished guitarist and, foremost, a singer who digs deep into her soul. On this CD she is collaborating with Angelo Verploegen and Marc van Roon.
Discount code: MD75771
Lucia Aliberti presents twelve Verdi heroines. Each character senses all too well the need to show resolve in an extreme situation. The Verdi that Lucia Aliberti interprets here is mainly a Verdi the world has not encountered up to now, and it soon becomes apparent that the “unknown” Verdi is also a “Verdissimo”.
Discount code: MD72589
Last spring one of the world's famous jazz icons turned 90 years old! His anniversary is honored with the CD 90yrs.! The CD 90 yrs. is a brilliant registration of how Toots still plays for his fans. The tracks are recorded during his latest tours around the globe.
"Mega-veteran harmonica player Toots Thielmans still sounds fantastic as he rounds the corner on his century on this planet." - Jazzweekly
Discount code: MD70167
Click here to go to the selection in our webshop
A superior Dutch jazz pianist, Michiel Borstlap has been busy since 1992 when he graduated from the Hilversum Conservatoire. He recorded 16 albums in the 20 years that followed including 2012’s 88. He won the 1996 Thelonious Monk Composition Competition with “Memory Of Enchantment,” a piece that Herbie Hancock later recorded and that is included on 88. Also in his career thus far, Borstlap cut an album of selections by Weather Report (which he recorded acoustically), recorded Solo Standards, and worked with such American and European notables as Roy Hargrove, Han Bennink, Toots Thielemans, Bill Bruford and Jon Hendricks.
88 is a wide-ranging album that also features electric bassist Boudewijn Lucas and drummer Erik Kooger. On the brooding “Memory Of Enchantment,” the trio is joined by trumpeter Ruud Breuls and guitarist Jerome Hol. Some selections have Borstlap showing individuality on the Fender Rhodes (really cooking on the funky “Live DJ”), he takes “You Know I Do” as a solo piano showcase, and he comes up with fresh statements on Ron Carter’s “Third Plane” and an explosive “Just One Of Those Things” in addition to his own originals.
Michiel Borstlap dominates the music with his impressive technique, versatility and constant creativity. While one can hear hints of Chick Corea and Herbie Hancock in spots, Borstlap has his own style and deserves to be recognized as a modern day giant of the jazz keyboard.
Benjamin Schaefer is a brilliant young pianist (33 at this writing) whose playing is at times a bit reminiscent of Bill Evans,’ particularly in its chord voicings. Born in Germany in 1981, Schaefer received extensive classical training before taking up jazz in 1998. By 2004 he had evolved to the point where he became a member of the German Youth Jazz Orchestra and the NRW Landesjazzorchester. That year he made his recording debut as a leader.
Schaefer and his trio with bassist Robert Landfermann and drummer Marcus Rieck have been together for several years. Their close communication is impressive, with Schaefer’s piano being first among equals. Landfermann (who takes occasional solos) and Rieck are very subtle in support of the pianist, often extending his voice so it sounds as if all three instruments are being played by the same person.
While not sounding like a duplicate of any of these players, Schaefer’s ability to caress melodies, his thoughtful approach (even at faster tempos), and his tasteful way of building solos does hint at Bill Evans and to a lesser degree Keith Jarrett and Brad Mehldau. Where he differs is that his music is sometimes more classical-oriented, and he can be a more intense player.
On Leaves Like Snow, Benjamin Schaefer and his trio perform eight originals, one by Rieck, and the obscure “We Have All The Time In The World” which they take at a ballad pace. The music is thoughtful, melodic and quietly powerful, easily recommended to fans of acoustic jazz piano.
On May 10, Randal Corsen will release his new album Symbiosis on Challenge Records. This record contains Corsen's own compositions where he incorporated elements from his Antillian roots. He will introduce this project to the public with a release concert in Bimhuis, Amsterdam on May 26.
Symbiosis, The newest project from Randal Corsen, with a line-up consisting of some of the most talented young musicians from the Netherlands. With Symbiosis, he aims to achieve a far-reaching fusion of contemporary jazz and Latin, funk and pop, leaving plenty of room for the contributions and interpretations of his fellow musicians Mark Schilders, Glenn Gaddum jr. and Vernon Chatlein. ‘This recording not only represents the Symbiosis between my playing and that of my fellow musicians, it also reflects my own musical symbiosis, which is a result of my musical journey till now.’
The music is primarily jazz, but there are still traces of Antillean, Latin, Caribbean, classical, funk, rock and every other music stule that he has encountered along the way. The music is more contemporary and more experimental then his debut 'Evolushón' (2004) album where he won an Edison Jazz Award with. 'Evolushón' includes both standards and originals.
Compositions inspired by the opera 'Katibu di Shon'
For the Commemoration of abolition 150 years slavery, Corsen composed the opera 'Katibu di Shon' (Slave of Master), named after the book written by Carel de Haseth, who also wrote the libretto for the opera. The opera is collaborating with one of international well-known director Monique Wagemakers and initiator, mezzo soprano Tanio Kross and an ensamble containing Matangi Quartet. The try out of this opera will be on the 30th of june is for the public. The Premiere, on the 1st of July will be exclusive for the Dutch King and attendees.
For composing the opera, he had to break with all traditions in the typical Antillean music that he know so well. It gave him so much freedom as a composer, having only the ‘limitations’ of the libretto. But for Symbiosis, he gave no limitations! Proud of his Antillean roots, he has always consciously incorporated elements from Antillean music in his compositions. This time he realized that his musical heritage would always be a part of him and of his music, no matter what music he writes.
Randal Corson was also the musical director and arranger of the ‘Tribute to Doble R’ project of the Metropole Orchestra, in collaboration with IKO Foundation. The TV documentary about this project was shown on tv in the Netherlands and the former Dutch Antilles.
Sunday, 26th of May, 20.30hr
Bimhuis, Piet Heinkade 3, Amsterdam
Tickets on www.bimhuis.nl
Randal Corsen - piano
Glenn Gaddum jr. - bas
Mark Schilders - drums
Vernon Chatlein - percussion
Click here to listen to the song 'Prove It' composed by Randal Corsen from the upcoming album Randal Corsen Symbiosis on YouTube!
May 18 - DJS, Dordrecht
May 26 - Bimhuis, Amsterdam
May 31 - Mijke’s Middag – live Radio 6
June 22 - Klein Koninkrijk, Olst (Marzio Scholten & Randal Corsen)
July 26 - Robeco Zomerconcerten (2 Shows, Marzio Scholten & Randal Corsen), Concertgebouw, Amsterdam
December 1 - Porgy en Bess, Terneuzen
December 15 - Pol’s Place for Jazz, Bergen op Zoom
On Thursday the 9th of May, The Tierney Sutton Band will perform in the North Sea Jazz Club in Amsterdam. This is the very first time they perform in the Netherlands!
A three-time Grammy nominee for “Best Jazz Vocal Album”, Tierney Sutton is often described as “a singer’s singer”, but just as often, she is described as a “musician’s singer”, who uses her voice like an instrument. She has fronted the Tierney Sutton Band for over 20 years now. Both the band’s music and it’s business style make it stand out in the crowd: the band’s members are incorporated partners and make all musical and business decisions as such. Their CDs have consistently topped the US jazz radio charts and their 9th release as a unit, “American Road” was released in September 2011 on Challenge Records. Tierney has been Jazzweek’s Vocalist of the Year, has received the LA Jazz Society’s Vocalist award, and has been at the top of critics and listener’s polls. Among others, the following reviews were given:
"Shifting to a more emotionally direct, folk-oriented repertoire proves a winning move, as she pares back the flights of fancy and digs deeper into the lyrics." Clives Davis - The Sunday Times - January 2012
"With both feet firmly on the ground, the band creates a powerful presence." Henning Bolte - Jazzism - January 2012
Click here to go to buy this album in our webshop. To receive your 15% discount on American Road, use the code NSJC at the checkout!
Thursday 9th of May, 21:00h
North Sea Jazz Club
1014 DB Amsterdam
For concert tickets and more information, click here!
Tierney Sutton: zang
Ray Brinker: drums
Kevin Axt: bas
Mitch Forman: piano
New album in September
Later this year, on September 24th, a new album of Thierney Sutton Band will be released! On this record they will bring a tribute to Joni Mitchell and songs that Joni Mitchell made famous. The title, ‘After Blue’ is based on the legendary album ‘Blue’ of Joni Mitchell. More information soon!
The Double Moon label’s Jazz Thing series focuses on younger jazz musicians in Europe who deserve to be heard. Vibraphonist Sonja Huber and her guitarist Matthias Siegrist certainly fit into that category.
Ms. Huber, who is from Switzerland and is 31, is most inspired by Gary Burton. Her fluency as a vibraphonist and her songwriting abilities (all ten selections on William’s Garden) are impressive. Her songs often use tricky time changes, have original chord changes, and are harmonically advanced. Matthias Siegrist, who also leads his own groups, is reminiscent of Pat Metheny at times, particularly in his ability to utilize a rockish sound on some of the selections yet still be a top-notch jazz improviser.
The Sonja Huber Quartet was formed in 2008 and this is their debut recording. With bassist Martin Wyss and drummer Daniel Bolli providing stimulating support (and Wyss contributing occasional solos), Huber and Siegrist are free to take wide-ranging solos and to interact with each other, knowing that the foundation behind them is very solid.
The ten selections cover a variety of moods and grooves and inspire the musicians to be at their most creative. Fans of Gary Burton, Pat Metheny and modern postbop jazz (along with the vibes-guitar sound) will certainly enjoy William’s Garden.
Tineke Postma and her quartet is touring in America!
Seattle Art Museum, Seatlle, USA Tineke Postma Quartet Tour
Portland Jazz Festival, USA Tineke Postma Quartet Tour
Tulas Jazz Club in Seattle (USA Tineke Postma Quartet Tour)
Shapeshifters Lab, Brooklyn, NYC- USA Tineke Postma Quartet Tour
An die Musik in Baltimore (USA Tineke Postma Quartet Tour)
Mary Lou Williams Jazz Fest, Washington (USA Tineke Postma Quartet Tour)
Tineke Postma: sax
Marc van Roon: piano
Frans van der Hoeven: bass
Martijn Vink: drums
Blazin’ Quartet is an excellent name for this group for the musicians play with consistent passion, intensity, and an openness to other genres of music. While very much a jazz album, Jalkan Bazz also has the strong influence of Balkan music and the musicians display the willingness to occasionally add electronics to make the results unpredictable and surprising.
The group is comprised of drummer Srdjan Ivanovic (who contributed most of the pieces), bassist Mihail Ivanov, trombonist Michael Rorby and tenor-saxophonist Joao Driessen. Driessen and particularly Rorby are superior soloists, able to swing hard while also being versatile. The trombone-tenor frontline may make one think of the Jazz Crusaders for a moment, but Ivanovic’s occasional use of programming on a synthesizer and Driessen’s utilization of an EWI gives the music a futuristic feel at times, even when it hints at traditional Balkan melodies. Guitarist Rambo Amadeus guests on four songs, taking a deep-toned vocal on “About Everything (It’s Complicated)” and Zlatko Baracskai adds some otherworldly sounds on his turntable during his four appearances.
Blazin’ Quartet achieves the difficult feat of looking both backwards in time and forward towards the future at the same time. While it may sometimes be difficult to categorize, the term “colorful creative jazz” fits its music quite well.
This CD is a change of pace for the Jazz Thing Next Generation series on Double Moon. While most of the artists on the label are up-and-coming jazz musicians, Nils-Christopher Vogler is a talented singer/songwriter. His background is partly in jazz and he even earned a degree in jazz vocals at the Folkwang University, but his original music is more pop-oriented and personal.
On his recording debut, We Can Be, the 26-year old performs 11 of his songs with a septet. While there are occasional solos from his sidemen, the focus is almost entirely on Nils-Christopher’s warm voice and his insightful lyrics about love affairs. Among the songs that he introduces are hopeful love songs (“We Can Be”), less optimistic tales about relationships (“River,” “Water And Sand” and the complex “A Little Light”), the abstract “On Your Way,” the end of a relationship (“Why Aren’t You With Me?”), possible beginnings (“We Get Close”), feeling magic (“Corona”) and the need to reach for new goals and heights (“Give It A Try”).
Despite his youth, Nils-Christopher shows a great deal of maturity in both his lyrics and his interpretations of the words. He has a great deal of potential for the future and this is a fine debut.
Review of the day by Scott Yanow: The Savoy Orpheans, Savoy Havana Band and the Sylvians 1923-1927 Everybody Stomp26-04-2013
The Savoy Hotel in London was the original home for both the Savoy Havana Band (1922-23) and the Savoy Orpheans (1923-27). The hottest recordings by both of those orchestras plus the two sides by the Sylvians (who played at the Savoy during part of 1927) are included on this historical and enjoyable CD.
The music of each of these bands fit the mainstream of American jazz of the 1920s and is often more advanced than the other orchestras heard in England during the decade. The Savoy Havana Band is represented by six titles including “Farewell Blues,” “Henpecked Blues,” “When My Sugar Walks Down The Street” and “Everybody Stomp.” Its clean and danceable ensembles are peppered with occasional solos; best known among the sidemen is pianist Billy Mayerl. The Savoy Orpehans, which is featured on 16 selections, was originally inspired by Paul Whiteman but actually played hotter jazz (at least prior to 1927) during their best recordings. One can hear the evolution of jazz in the 1920s through their recordings which include “Eccentric,” “Copenhagen,” “Everybody Loves My Baby,” “Stomp Off, Let’s Go” and “Static Strut” among their best numbers. The Sylvians is most notable for recording one of the few instrumental versions ever of “Mississippi Mud.”
While jazz history books are fond of saying that the first significant European jazz musician was Django Reinhardt in the 1930s, Everybody Stomp shows that there was quite a bit of hot jazz to be heard in London in the 1920s.
Michel Reis is a very talented jazz pianist and composer. He was born in Luxembourg 30 years ago but currently lives in New York City. On Hidden Meaning, he heads a quartet also including Stefan Karl Schmid on soprano, tenor, and clarinet, bassist Robert Landfermann, and drummer Jonas Burgwinkel.
The quartet performs 11 of Reis’ originals. The music, which includes such titles as “Repercussions,” “Seduction,” “Haunted House,” “What Comes Later, I Can Think About Later” and “Until The Next Time,” could easily be a soundtrack for a film although some of the more high energy explorations would probably overwhelm the movie! The program has the feeling of a suite, with the briefer pieces feeling like transitions between the main themes.
Reis has an original style on piano, influenced by classical music and modern jazz while not sounding like any of his historical predecessors. Schmid is particularly skilled and expressive on soprano sax, Landfermann has several lyrical and thoughtful bass solos, and Burgwinkel is a subtle accompanist.
While Schmid and Landfermann have their solo spots, the main focus is on Michael Reis’ thoughtful piano playing and his thought-provoking originals. While I would love to hear this music in a movie, the performances stands alone and are well worth exploring.
European Jazz with an American bite!
SARDEGNA is a profound personal narrative of Jasper Somsen about the most constant thing in life – the change. The short stories on this album are about the moments we all face: searching for the meaning of life, the loss of dear ones, love and friendship. Jasper approaches them with patience and grace, yet retaining the organic emotional palette one can’t hide.
This second album of Somsen brings you to the rhythm of life on Sardegna Island with a mellow vibe, enriched by touching cello entries and deep bass solos. Poetic and sentimental, sad and cheerful.
The compositions do not only refer to Sardinia itself, but some are much more connected to the vast history of European and American jazz, or even maybe to another island yet to be discovered… An island created by passion, imagination and poetry. Akin to other migrants to Sardinia, exploring the island. This is also what Jasper does by releasing this album: creating new memories and whispering new destinations in our ears.
Jasper Samson started his group in 2009. In October 2010 he released his first album "Dreams, Thoughts and Poetry" at Challenge Records. All release concerts were sold out and the album received excellent reviews.
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April 1 - Nijmegen (NL): Jasper Somsen Group (Music from the CD "Sardegna" - 2013) Easter Jazz Festival - Café de Kroon | Time: t.b.a.
April 5 - Wageningen (NL): Jasper Somsen & The Wageningen Symphony Orchestra Saint John "The Baptist" Church | Time: 20:15 | Information & Tickets
April 7 - Amsterdam (NL): Jasper Somsen & The Wageningen Symphony Orchestra Beurs van Berlage | Time: 14:30
April 13 - Den Haag (NL): Jasper Somsen Group (Music from the CD "Sardegna" - 2013) De Regentenkamer | Time: t.b.a.
April 14 - Arnhem (NL): Jasper Somsen & The Wageningen Symphony Orchestra Musis Sacrum | Time: 14:30 | Information & Tickets
May 17 - Den Haag (NL): Jasper Somsen & Alessandro Di Liberto Associazione Dante Alighieri | CLUB MEMBERS ONLY!
May 18 - Amersfoort (NL): Jasper Somsen & Alessandro Di Liberto Amersfoort Jazz Festival | Time: t.b.a.
May 22 - Tilburg (NL): Enrico Pieranunzi's New European Trio Paradox | Time: 20:30 uur | Information & Tickets
May 23 - Amsterdam (NL): Enrico Pieranunzi's New European Trio BIM-huis | Time: t.b.a.
May 24 - Nijmegen (NL): Enrico Pieranunzi's New European Trio De Lindenberg | Time: t.b.a.
May 30 - Nistelrode (NL): Enrico Pieranunzi's New European Trio De Hoge Vorssel | CLUB MEMBERS ONLY!
May 31 - Zeist (NL): Enrico Pieranunzi's New European Trio Piano Podium Henk Hupkes | Time: 20:30 hrs | Information & Tickets
June 1 - Rotterdam (NL): Enrico Pieranunzi's New European Trio Lantaren/Venster | Time: t.b.a.
June 28 - Treviso (Italy): Enrico Pieranunzi's New European Trio Monastier di Treviso | Time: t.b.a.
Ilja Reijngoud is a busy trombonist, arranger and composer based in the Netherlands who has recorded over 75 CDs in his career so far. On Around The World, he gathered together a jazz quartet also including pianist Kris Goessens, bassist Eric Van Der Westen and drummer Marcel Serierse to perform ten of his originals. The most important addition was the young singer Elizabeth Simonian.
Ms. Simonian, who is in her twenties, was born on Cyprus to a Swedish mother and an Armenian father. Her voice is pretty, haunting and very musical, and she has a versatile style, which is a major asset to the date. While the music on Around The World falls into the modern mainstream of jazz, Elizabeth Simonian has opportunities to sing in several languages including Swedish, Greek, Armenian and Dutch, communicating well even to listeners who do not understand all of those languages. Her voice is friendly and inviting and she swings in a gentle manner, being particularly effective on out-of-tempo ballads.
Reijngoud takes plenty of warm trombone solos that are inventive within the hard bop tradition. Pianist Goessens is well featured, and there are many spots (including a couple of instrumentals) for the musicians to stretch out.
Around The World is surprisingly unified despite the many languages sung, and the music can easily be enjoyed by fans of modern straight ahead jazz.