Thursday, January 25, 2018

Yoann Loustalot / François Chesnel / Frédéric Chiffoleau / Christophe Marguet - ​Old and New Songs (BRUIT CHIC February 2, 2018)


“L’énigme, c’est qu’il se dégage une impression d’ensemble, à l’écoute de ce fonds disparate qui va puiser dans des géographies, dans des périodes qu’on pourrait croire incompatibles.Et en ce moment, l’impureté, le créole de ce répertoire m’apparaissent plus précieux que jamais.”  Nicole Caligaris

1 Mellan branta stränder (Trad.Russie) 3'18
2 File la laine (Robert Marcy) 5'43
3 Bachianas Brasileiras No. 5 - Aria (Cantilena) (Heitor Villa-Lobos) 4'04
4 Plaine, ma plaine (Lev Knipper) 3'14
5 Dura memoria (Alain Oulman) 4'04
6 La Romanella  (Trad. Italien) 5'16
7 Oshima anko bushi  (Trad. Japonais) 5'48
8 Old and new drums Christophe Marguet 1'04
9 Une jeune fillette (Jehan Chardavoine) 5'12
10 Kristallen den fina  (Otto Fredrik Tullberg) 4'32
11 La belle s'en va au jardin des amours  (Trad. Français) 3'28
12 Edo no komoriuta (Trad. Japonais) 3'16


​Enregistré au studio Gill Evans, Amiens,
par Philippe Teissier du Cros assisté de Ambroise Helmlinger.
Mixé et masterisé par Philippe Teissier du Cros au Studio Boxson, Paris. Avril et Juillet 2017. 

Simon Chivallon - Flying Wolf (JAZZ FAMILY January 26, 2018)


L’activité de Simon Chivallon est bien connue de nos services. Ancien de l’École Didier Lockwood, il est maintenant lancé dans plusieurs projets et réalisations. Sa participation dans Starouarz, de l’Edmond Bilal Band, a été remarquée. Sideman très demandé et habitué des clubs Parisiens, les occasions ne manquent pas de l’entendre aux côtés de nombre de musiciens réputés, et dans des circonstances plurielles (quartet, trio, duo…).

Le 27 avril 2017, il enregistre live (oxymore, qu’avait assumé Charles Mingus au studio Nola en octobre 1960 pour le label Candid), avec Boris Blanchet (saxes), Géraud Portal (b), Antoine Paganotti (dms), et la participation de Julien Alour (dans la famille Alour, je demande le frère …) et Baptiste Herbin (le Mc Lean hexagonal…), la responsabilité du pianiste est clairement assumée. Les compositions sont organisées selon une progression dont l’ordre n’est pas innocent, mais qui résulte d’une idée de processus, de Call à Landing, dont il est laissé le soin à l’auditeur de saisir le lien organique. Elles relèvent clairement d’un jazz modal résolument contemporanéisé, avec un jeu de piano, qui certes rappelle Mc Coy Tyner, pendant et surtout après Coltrane (Sahara), mais qui élargit, même au niveau du non-dit, à d’autres références, comme celle de Richie Beirach, par la recherche de la densité dans la construction, tout en gardant intact le foisonnement des notes, à travers une grande diversité de situations, où reste constamment à l’esprit le rôle important de la mélodie. Mais il ne faut surtout pas négliger l’apport des compères, associant accompagnement et défis (comme la batterie d’Antoine Paganotti, ancien de Magma, mais le poste de batteur était déjà pris…), véritable tir de barrage post- Elvin Jones laissant pourtant ouvertes les possibilités d’interventions, ou la contrebasse de Géraud Portal, qui, par exemple, démarre dans Four Flowers alla Coltrane dans The Inch Worm, mais très différente de Jimmy Garrison à l’époque. On a compris : une identité affirmée, des références sans suivisme. Voilà une étape supplémentaire franchie. Giant Steps ?

Joël Pailhé

1 Call
2 Prélude
3 Flying Wolves
4 Rosemary in Blue
5 L'envol
6 Four Flowers
7 Sleeping Angels
8 Mister G
9 Invitation
10 Landing

Simon Chivallon - piano
Antoine Paganotti - drums
Boris Blanchet - sax
Geraud Portal - Bass

guest
Baptiste Herbin - sax
Julien Alour - trompette

CONCERTS

10 Mar 2018 SIMON CHIVALLON // LE BAISE SALE-PARIS
11 Mar 2018 SIMON CHIVALLON // LE BAISE SALE-PARIS
12 Mar 2018 SIMON CHIVALLON // LE BAISE SALE-PARIS


Manu Guerrero - Nuevo Mundo (JAZZ FAMILY 2018)


D’origine péruvienne et né en France, Manu Guerrero a été immergé toute sa vie dans des cultures différentes.

Dès six ans, il commence l’étude du piano classique puis à l’adolescence, découvre le jazz qu’il ne cessera de jouer et écouter. D’abord autodidacte, puis se perfectionnant auprès de jazzmen expérimentés, Manu crée peu à peu son propre style, son propre son. En 1999, le jeune Toulonnais part en tournée avec Carole Fredericks. Commence alors une carrière de sideman auprès des plus grandes stars de la chanson française (Céline Dion, Michel Sardou, J.J Goldman, M Pokora…). Près d’une cinquantaine d’artistes et de disques à son palmarès, au service des autres. Parallèlement, il reste actif dans le milieu du jazz et y fait des rencontres importantes qui le motiveront enfin à présenter ses compositions.

« Chi va piano, va sano e va lontano » ! Manu aura appliqué ce proverbe longtemps avant de nous présenter son premier album Nuevo Mundo sorti en 2018. Le temps de l’introspection, l’inspiration. Le temps de rencontrer des musiciens prestigieux tels que Samy Thiebault, Minino Garay, Felipe Cabrera et Lukmil Perez qui viennent souligner les rythmes sud-américains de sa musique, transcender sa puissance et sa poésie andine. Ils viennent jouer en altitude où l’oxygène est plus rare.

La musique de Manu Guerrero est un voyage autour du monde qui ferait escale sur le continent Américain. Comme si l’altiplano et la 52e rue n’étaient qu’à quelques mètres. Un jazz rythmé et raffiné. Des improvisations explosives mais poétiques. Un pianiste que l’on n’oublie pas.

Actuellement, depuis octobre 2017 et jusqu’en mars 2018, Manu Guerrero joue en piano solo en première partie de Michel Sardou. Cette tournée comporte 35 concerts devant 6000 personnes chaque soirs dans toute la France, la Belgique et la Suisse. Trois soirs à la SEINE MUSICALE les 26, 30 et 31 DÉCEMBRE 2017 ainsi que trois autres à LA SALLE PLEYEL à PARIS les 14, 20 et 23 MARS 2018 sont programmés. C’est l’occasion pour Manu de tester la réaction d’un public populaire et non amateur de jazz. Expérience réussie puisque l’audience est conquise, et très attentive. Son disque est vendu à la fin des concerts diffusant ainsi sa musique encore plus loin.

Il se produit également en trio, quartet et quintet dans de nombreux clubs de jazz français et donne des récitals en piano solo aux Philippines et au Pérou.

1 Belleville la nuit
2 Boayan
3 Treinta de Marzo
4 Fresia
5 Amélie's Monkey Dance
6 La Flor de la Canela
7 Lament for Freedom
8 A Human Story
9 Nuevo Mundo
10 Fresia

Manu Guerrero, piano, compositions
Samy Thiebault, saxophone
Minino Garay, percussions
Felipe Cabrera, bass
Lukmil Perez, drums


New CD / Takaaki: New Kid In Town + Live NYC Appearance


Takaaki Otomo
Performing Music From His New CD
New Kid In Town
Saturday, January 27, 2018 2:30pm
Warner Library
Tarrytown, NY 10591
(914) 631-7734

Featuring

Takaaki Otomo, piano
Noriko Ueda, bass
Jared Schonig, drums



Composer Bernard Hoffer first heard jazz pianist Takaaki Otomo at a restaurant in New York and was impressed by his musicality, dynamic sensitivity, and beautiful harmonic sense. With bass player Noriko Ueda and drummer Jared Schonig, Takaaki selected five originals, four jazz standards plus one Broadway show tune and two novelties from Gustav Holst's The Planets for this recording. Beginning his training as a classical pianist Takaaki switched to jazz when he was a teenager and won first prize in a jazz competition in Japan in 2007. He moved to New York City in 2014. Originally from Japan Noriko Ueda began playing the electric bass, then switching to upright bass at age 18. She is a graduation of the Berklee College of Music where she majored in jazz composition. She has her own trio and quartet and has performed at the Blue Note Jazz Club. She won the Charlie Parker Jazz Composition Prize in 2002. Hailing from Los Angeles, drummer Jared Schonig studied at Eastman where he won seven Downbeat Student Music Awards. A favorite among vocalists, Schonig tours with Grammy Award-winners Kurt Ellling and The New York Voices. He is in demand as a drummer for studio recordings and session work.

Born and raised in Kobe, Japan, Takaaki Otomo started the classical piano at the age of five.When he was 15 years old, he changed to jazz music, listening to the music of Oscar Peterson. He was taught by the pianist, Tadao Kitano, who is a famous music teacher in Kobe. In 2007, he won first prize in a jazz competition in Kobe. He belongs to the group Gingerbread Boys, which plays at a number of venues in Kansai area. In 2014, he moved to New York City. 

He has released a number of CDs as a leader and sideman as well. In 2008 his first CD Nightmare was released with Otomo as leader. During his career in Japan, he has performed with Kiyoshi Kitagawa and Lewis Nash. 

He has been influenced by Oscar Peterson, Bill Evans, Fred Hersch and Brad Mehldau. 

A pianist friend commented that only in New York can you find a local restaurant that serves elegant food and elegant jazz. It was in that venue that I first heard Takaaki play. Even on his abbreviated keyboard I could sense his musicality, his dynamic sensitivity, and beautiful harmonic sense. 

That first night I thought this could make a fine trio recording with Noriko Ueda on bass. What I learned later, when he was on a grand piano, was his technical proficiency. To complete the trio Noriko introduced me to Jared Schonig, who as it turned out attended the same school (Eastman) as I did. 

We selected five originals, four jazz standards, plus one Broadway show tune (Takaaki’s suggestion) and two Novelties from Gustav Holst’s The Planets. 

The originals include two exquisite tunes by Takaaki, a beautiful LullWater by Noriko, and two of my tunes written for this project. I first heard them play Brubeck’s Your Own Sweet Way in the club and loved the way they played it. For an up tempo, Neil Hefti’s Repetition though we miss Charlie Parker’s great solo. I thought John Lewis’s Django deserved another hearing, and, because we needed something languid, Thad Jones’s lovely To You, which works quite well as a trio, though sans Thad’s beautiful orchestral textures. 

At the time of putting this project together the film The Martian was a big hit in theaters, which gave me the idea to use Holst. What was interesting, was that Holst’s harmonies gave us a fresh aspect when used to play jazz upon them.  -Bernard Hoffer

1. Evening Glow 6:23 Takaaki Otomo
2. New Kid In Town 5:00 Bernard Hofer
3. Django 5:13 John Lewis, arr. Bernard Hofer
4. LullWater 6:06 Noriko Ueda
5. Repetition 5:22 Neil Hefti, trans. Bernard Hofer
6. People 5:01 Jule Styne/Bob Merrill, arr. Bernard Hofer
7. Mars 5:57 Gustav Holst, arr. Bernard Hofer
8. Grandma’s Song 4:09 Takaaki Otomo
9. In Your Own Sweet Way 7:03 Dave Brubeck
10. To You 6:01 Thad Jones, trans. Bernard Hofer
11. Rush Hour 3:31 Bernard Hofer
12. Venus 5:09 Gustav Holst, arr. Bernard Hofer


Takaaki Otomo - Piano
Noriko Ueda - Bass
Jared Schonig - Drums


NATIONAL PRESS CAMPAIGN
JIM EIGO, JAZZ PROMO SERVICES, 272 State Route 94 South #1, Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699 Cell / text: 917-755-8960 Skype: jazzpr omo

“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Jean-Marie Machado - Impulse songs (EDITIONS HORTUS 2018)


“Jean-Marie Machado a réuni autour de lui un échantillon substantiel de tout ce qui se frappe, se frotte, se pince, se gratte, s’effleure à travers le monde. Des percussionnistes d’horizons divers, Marion Frétigny, Christian Hamouy, Gisèle David, Keyvan Chemirani, sont venus pour lui prêter main forte, ou main douce. Ils sont venus avec tous leurs joujoux magiques, cymbales, marimbas, xylophones, glockenspiel, vibraphone, bols tibétains, udu, zarb, et tambours en tous genres. C’est ainsi que Jean-Marie Machado s’est retrouvé dans un jardin de percussions, le jardin étant comme chacun sait la première forme du paradis.” J-F Mondot

1. Petit Tao 2'14
2. Stories Impulse 7'14
3. Keys Impulse 4'33
4. Gallop Impulse 10'11
5. Tao Impulse 4'14
6. Rock Impulse 6'34
7. Little Scratch Impulse 3'09
8. Mechanical Impulse 6'03
9. Ta-Ka-Dem-Da 2'03
10. Funcitatif 1'11
11. Time Impulse 6'08
12. Last Impulse 3'38

Keyvan Chemirani, zarb
Gisèle David, percussions
Marion Frétigny, percussions
Christian Hamouy, percussions


Noah Preminger & Rob Garcia: Dead Composers Club - Chopin Project (with Nate Radley and Kim Cass) May 18, 2018



"Nocturne Op27 Nº1 in C# minor" - Chopin Project

"Nocturne Op27 Nº1 in C# minor" is the first track on Chopin Project, the debut album from Dead Composers Club, available May 18, 2018 via Connection Works Records.

Dead Composers Club, formed by saxophonist Noah Preminger and drummer Rob Garcia, also features guitarist Nate Radley and bassist Kim Cass. The idea behind the Dead Composers Club is to celebrate and explore the music of iconic composers.

The quartet takes a thrillingly imaginative approach to Chopin's Nocturnes and Preludes, approaching these timeless works with a vitality and urgency that connects these stellar modern musicians with their 19th-century source, regardless of elapsed centuries.

Dan Kennedy - Mountains Made Of Shadow Anthems Made of Light (February 3, 2018)


Whisperings and Enlightened Piano Radio pianist Dan Kennedy has performed throughout New England and across the country. Dan’s albums have gone top 10 on the ZMR Top 100, OWM Top 100, and NAR Top 100. Classically trained at Oberlin Conservatory and New England Conservatory, Dan has been featured at Audiosyncracy, MainlyPiano.com, Music Choice, Pandora, RNA, SENE Festival, SiriusXM, and Spotify. He has been heard on over 250 radio stations internationally.

His upcoming Solo Piano album MOUNTAINS MADE OF SHADOW, ANTHEMS MADE OF LIGHT (Mt. Pollux Music) recorded by Joe Bongiorno at Piano Haven, will be officially released on 3/2/18.

1 Chilly Morning
2 Give It All Away
3 Wintergreen
4 Backstory
5 Souvenirs
6 After the Heartache is Gone
7 California
8 Ennio
9 Wildflower
10 Implying Flying
11 Allelu
12 The Fire Within



Brenda Navarrete, Mi Mundo Release (ALMA RECORDS February 16, 2018)

Mi Mundo introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records 2-16-18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.


Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.

“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.

introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records in January/18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.

Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.


“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.