viernes, 4 de diciembre de 2020

Se publica la segunda edición de Boricua Jazz; libro que documenta la historia de los puertorriqueños en el Jazz.

 Se publica la segunda edición de Boricua Jazz; libro que documenta la historia de los puertorriqueños en el Jazz.

San Juan, Diciembre 1, 2020. Luego de una exitosa primera edición, sale a la venta la segunda edición del libro Boricua Jazz La Historia del Jazz Puertorriqueño: Desde Rafael Hernández a Miguel Zenón.


En mayo del 2019, luego de más de 10 años de entrevistas e investigación, se publicó Boricua Jazz: La Historia del Jazz Puertorriqueño, libro que documenta los aportes de los boricuas a la historia del Jazz. 

"Desde la publicación de la primera edición de Boricua Jazz en mayo del 2019, mucho ha ocurrido en la escena del Jazz Boricua; obras maestras de la discografía como la grabación Sonero de Miguel Zenón, y presentaciones magistrales en conciertos y festivales. Durante ese tiempo también hemos perdido amigos y grandes maestros del jazz como Ángel Cachete Maldonado, Ray Mantilla y Andrew Lázaro, entre otros. Por lo que nos pareció necesario actualizar el contenido del libro con todos esos acontecimientos." Wilbert Sostre, columnista especializado en Jazz, productor de radio y autor de Boricua Jazz

La presentación oficial de la primera edición de Boricua Jazz se realizó en Casa Norberto, Plaza Las Américas, el martes 18 de junio del 2019. En esa primera presentación estuvieron presente músicos como Frankie Pérez (saxofonista), Roberto Jiménez (saxofonista), Brenda Hopkins (pianista), Manuel Pérez Kenderish (guitarrista y percusionista), Angela Flecha (cantante), Ana Baiana (cantante), Ramón Ríos (guitarrista), Fabiola Muñoz (cuatrista), y José Chegüito Encarnación (saxofonista). La cantante y amiga Carola Ausbury estuvo a cargo de la presentación del autor y de la introducción musical junto a su padre el bajista Dan Ausbury.



El sábado 29 junio del 2019, se realiza la segunda presentación de Boricua Jazz en la Librería Mágica, Rio Piedras. En esta ocasión la presentación musical estuvo a cargo de Elmera Jazz Ensemble, agrupación de estudiantes de la Escuela Libre de Música, bajo la dirección del Maestro David Rivera.

El sábado 28 de septiembre del 2019, Boricua Jazz llega a la Librería El Candil en Ponce con una presentación que tuvo la participación de los Maestros Alfredo Falú (saxofonista), Irving Cancel (bajista), y con el colega de la radio Naphis Torres.



El sábado 23 de noviembre, como parte de las actividades del Festival de Jazz del Conservatorio de Música, se realizó la cuarta y última presentación del libro Boricua Jazz en el 2019. En esta ocasión el Profesor del Conservatorio de Música Jaime Bofill estuvo a cargo de la introducción en la presentación de Boricua Jazz.  Agradecemos al Maestro baterista y amigo Fidel Morales por la invitación a participar de este gran evento en donde el autor de Boricua Jazz también tuvo la oportunidad de moderar el conversatorio ‘Nuevos Caminos del Jazz’ junto a los Maestros Alex Acuña, Ramón Vázquez y Brenda Hopkins.

Agradecemos a los medios que compartieron la información sobre el lanzamiento de Boricua Jazz; Jaime Torres Torres y La Fundación Nacional para la Cultura Popular, Periódico El Nuevo Dia, Periódico La Perla, Judith Felicié y Manolo Almeida en sus respectivos programas en Radio Oro, Isabel Pichardo y José Vélez en Radio Universidad, Agatha Amarilis y su programa Estas Invitado en Vid 90.3 FM, Mayagüez, Rafa Rodríguez y su programa Salseando en Radio Leo 1170 AM, el programa Bomba, Plena y Mucho Más con Maddy y Tony en WPAB 550 AM Ponce, AmaRie Magazine, y Magazine-PR. Especial agradecimiento a la amiga y promotora de salsa Lexie Marie Torres por su ayuda en la promoción del libro Boricua Jazz.

La nueva edición de Boricua Jazz ha sido revisada y contiene nuevas fotos, nuevas biografías y actualizaciones en algunas discografías, biografías y eventos. En los momentos que se revisaba el contenido de esta segunda edición de Boricua Jazz el mundo se enfrenta a una crisis por la pandemia del Covid-19. La escena de la música y del Jazz al igual que otras industrias se han visto seriamente afectadas. Debido al cierre de locales y suspensión de conciertos, los músicos de Jazz y otras formas musicales se han visto obligados a realizar presentaciones exclusivamente a través de videos en vivo transmitidos por las redes sociales.

“En tiempos de pandemia, la buena música y en especial el Jazz adquieren aún mayor importancia. Las personas que permanecen por largos períodos de tiempo aislados en cuarentena necesitan actividades que contribuyan a su crecimiento personal y salud mental. Con o sin pandemia, de muy pocas actividades se obtienen mayores beneficios que del consumo de la buena música.” Wilbert Sostre

Wilbert Sostre, historiador y crítico de Jazz es también el productor y conductor del programa Puerto Rico Jazz que se originó en Radio Vieques 90.1FM, www.radiovieques.net, donde se transmitió desde junio del 2018 hasta noviembre 2019. En noviembre 2019 Puerto Rico Jazz pasa a Brave New Radio, WPSC 88.7FM William Paterson University, New Jersey y se transmite todos los domingos de 8 a 9am, hora de Nueva York, 9 a 10am hora de Puerto Rico.

Por los pasados 15 años Wilbert Sostre ha escrito reseñas de grabaciones y eventos de jazz para publicaciones como Jazz Times, Jazz Inside Magazine, Latin Jazz Network, All About Jazz, y Diálogo, entre otras. Además ha sido invitado a las emisoras Radio Universidad, Radio Oro, Yunque Radio, Vid 90.3, Radio Leo, WPAB, Ponce y el canal de televisión ABC Puerto Rico para compartir sus conocimientos sobre el Jazz.



Desde su publicación en el 2109, Boricua Jazz se ha utilizado como referencia en cursos universitarios, en libros y publicaciones en internet. El libro Boricua Jazz se encuentra a la venta en Amazon. https://www.amazon.com/dp/B08NF34977

Información adicional: Jazzin' Magazine, jazzinmagazine@gmail.com 787-942-9772

jueves, 19 de noviembre de 2020

RESONANCE’S PREVIOUSLY UNRELEASED BILL EVANS LIVE AT RONNIE SCOTT’S TO BE RELEASED AS TWO-LP RECORD STORE DAY EXCLUSIVE ON BLACK FRIDAY, NOV. 27; CD AND DIGITAL EDITIONS ARRIVE DEC. 4

RESONANCE’S PREVIOUSLY UNRELEASED BILL EVANS LIVE AT RONNIE SCOTT’S TO BE RELEASED AS TWO-LP RECORD STORE DAY EXCLUSIVE ON BLACK FRIDAY, NOV. 27; CD AND DIGITAL EDITIONS ARRIVE DEC. 4

Stunning 20-Track Set is Third Resonance Collection of Unissued Material Featuring Pianist Evans’ Short-Lived, Brilliant 1968 Trio With Bassist Eddie Gomez and Drummer Jack DeJohnette Deluxe Package Includes An Overview Essay by Veteran Critic Brian Priestley, New Interviews with Gomez, DeJohnette, Pianist Chick Corea, and Evans’ Good Friend Chevy Chase, and a One-of-a-Kind Album Cover Drawing by Legendary Artist David Stone Martin

Los Angeles – Resonance Records will proudly release Bill Evans Live at Ronnie Scott’s, the label’s third collection featuring hitherto unheard recordings by the great pianist’s short-lived 1968 trio with bassist Eddie Gomez and drummer Jack DeJohnette, as a two-LP Record Store Day exclusive on Black Friday, Nov. 27. The album will subsequently see release as a two-CD set and a digital download on Dec. 4.

Resonance – a division of the Rising Jazz Stars Foundation, a non-profit corporation created to discover the next jazz stars – has previously issued two widely acclaimed, never-before-heard albums by Evans’ ’68 unit.

That combo recorded the pianist’s second Grammy Award-winning Verve album, Bill Evans at the Montreux Jazz Festival; recorded on June 15, 1968, it was the only contemporaneous album released from the lineup during its brief existence.

Unearthed by Resonance co-president Zev Feldman (a/k/a “the Jazz Detective”), Some Other Time: The Lost Session From the Black Forest (2016) was a two-LP/two-CD studio date, cut five days after the Evans-Gomez-DeJohnette trio’s Montreux appearance, which had sat unheard in the German vaults for 50 years. A second historic discovery, Another Time (2018), was recorded two days later by the Netherlands Radio Union in Hilversum.

These collections garnered praise in DownBeat and JazzTimes in the U.S., Jazzwise in the U.K., and the NPR Music Jazz Critics Poll; Some Other Time topped Billboard’s Jazz Albums chart.

Drawn from Jack DeJohnette’s personal archives, Live at Ronnie Scott’s comprises 20 scintillating tracks captured during the Evans trio’s month-long ’68 residency at the eponymous saxophonist-impresario’s Soho club. (It is Resonance’s second live Evans album to emanate from that venue: 2019’s Evans in England derived from a 1969 stand at Scott’s, featuring Gomez and drummer Marty Morell.)

Recordings by the Evans-Gomez-DeJohnette lineup are as prized as they are rare. DeJohnette was an especially simpatico accompanist for Evans, for he had been a pianist before taking up the drums. Despite their chemistry, the trio played together for a mere six months. During their stay at Scott’s, Miles Davis stopped in to check out the band, and the trumpeter swiftly recruited DeJohnette for his new group. By the end of 1968, Morell was hired by Evans as his replacement, and he drummed behind the pianist through 1974.

Distinguished British critic, author, broadcaster, and pianist Brian Priestley, who witnessed Evans’ ’68 trio in action, puts the London stand and Evans’ then-current repertoire in context in newly commissioned notes for the release. He writes that the performances’ “compelling, indeed at times overwhelming, musical quality is such as to impress this listener all over again.”

Live at Ronnie Scott’s also features a joint interview, conducted by Feldman, with DeJohnette and Grammywinning pianist (and, in his early career, drummer) Chick Corea, who played with DeJohnette in Miles Davis’ storied late-‘60s lineups.

Recalling his short but memorable stint with Evans, DeJohnette says, “The music was at a really high creative height, and I’m glad I documented that, and the tape was good enough for Resonance to run with it…You really get a chance to hear Bill stretch.”

“Bill was a big hero for me and for all of our generation,” Corea says of Evans.

“Bill was just like the generation just before us, and we all looked up to him with his recordings with [bassist] Scotty [La Faro] and [drummer] Paul [Motian].”

In his own interview with Feldman, Gomez says of the recording, “It’s enlightening to go back and relive moments that are ingrained in your memory in a totally different way; time just does that. Fifty, fifty-two years; that’s a half a century. That’s a long time. So going back and listening to it and reflecting on it and seeing the changes in all three of us from this perspective gives you a different view.”

Perhaps the most unexpected element of the package is an extensive interview with the great comic actor and jazz buff Chevy Chase. He encountered Evans’ music as an underage jazz club-goer and began a friendship with the pianist as a student at Bard College, where he played in a band with classmate Donald Fagen of Steely Dan.

He tells Feldman that Evans’ music was “the most lyrical jazz you could ever hear, in terms of jazz that wasn’t sung. It was just beautiful. And yet, very complex. Everybody I know tried to be Bill, but all you have to do is put a little video of Bill on or a record and say, ‘Try that.’ He really had a touch on the piano that he couldn’t match.”

Gracing the cover of both the LP and CD iterations of Live at Ronnie Scott’s is artwork drawn from a neverbefore-published, one-of-a-kind lithograph by the late, legendary artist/illustrator David Stone Martin, whose distinctive interpretations of jazzmen in action were featured on dozens of classic jazz LPs, notably including many for Norman Granz’s labels of the ‘40s and ‘50s.

Feldman writes, “I had one big decision to make: do we go all the way and recreate a jacket in the same manner of DSM’s classic covers of the 1940s and 1950s, even though our album isn’t from that era? Or do we go a different, more modern route and simply incorporate DSM’s artwork into a more contemporary style image? I thought long and hard about this. Ultimately, I came to see it as an opportunity to recreate that special era, a nod to those classic 1940s and ‘50s Verve/Clef/Norgran album covers.”

Bill Evans Live at Ronnie Scott’s will be the fifth Resonance title to feature unreleased music by the pianist: 2014’s Live at Art D’Lugoff’s Top of the Gate was the label’s first Evans collection. Smile With Your Heart:

The Best of Bill Evans on Resonance, a mid-priced compilation, was issued in 2020.

Resonance Records is a multi-GRAMMY® Award-winning label (most recently for John Coltrane’s Offering: Live at Temple University for "Best Album Notes") that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance's catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporationcreated to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Aubrey Logan, Polly Gibbons, Eddie Daniels, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.org

Photos by Francois Jaquenod

For more information please contact:

Ann Braithwaite / Braithwaite & Katz Communications

Ph: 781-259-9600 / ann@bkmusicpr.com

miércoles, 11 de noviembre de 2020

Lo Mejor del Jazz Boricua regresa a la radio de Estados Unidos

 Lo Mejor del Jazz Boricua regresa a la radio de Estados Unidos


Noviembre 10, 2020, San Juan, Puerto Rico. - Puerto Rico Jazz con Wilbert Sostre, el único programa dedicado al Jazz Boricua, regresa a Brave New Radio WPSC 88.7FM, William Paterson University, New Jersey, luego de una interrupción de más de seis meses a causa de la pandemia del Covid-19. 

Puerto Rico Jazz, programa producido por Wilbert Sostre, reanudó su transmisión a través de WPSC 88.7, New Jersey, el 1ro de noviembre del 2020. El programa dedicado a todo lo relacionado a la escena del Jazz de Puerto Rico tuvo sus orígenes en Radio Vieques en junio del 2018, donde se estuvo transmitiendo hasta noviembre del 2019. 

"Radio Vieques pide una licencia para estar fuera del aire durante un año, por lo que Puerto Rico Jazz pasa a transmitirse en Brave New Radio, emisora de la Universidad William Paterson, New Jersey." Wilbert Sostre, productor y conductor de Puerto Rico Jazz

La emergencia mundial debido al Covid-19, obliga a Brave New Radio a interrumpir todos sus programas grabados y en vivo, incluido Puerto Rico Jazz. Ya pasado el verano, Brave New Radio comienza a transmitir algunos de sus programas regulares, y el 1 de noviembre Puerto Rico Jazz regresa a su horario, todos domingos 8am hora de Nueva York, 9am hora de Puerto Rico.

El columnista especializado en Jazz Wilbert Sostre ha escrito reseñas y artículos para varias publicaciones en Estados Unidos y Puerto Rico; entre ellas,All About Jazz, Jazz Times, Jazz Inside Magazine, Latin Jazz Network, Caribe Jazz Magazine y Diálogo.

Wilbert Sostre sido invitado para compartir sus conocimientos de jazz a las estaciones de radio Vid 90.3, Radio Universidad, Yunque Radio, Radio Leo, WPAB, Ponce, y al programa de televisión En Record con Elwood Cruz en ABC Puerto Rico. Sostre es el autor del libro Boricua Jazz La Historia del Jazz Puertorriqueño, publicado en mayo del 2019.

"Nos complace estar de regreso en las ondas radiales de Brave New Radio compartiendo con la audiencia la más alta calidad de la música hecha en Puerto Rico."

jueves, 29 de octubre de 2020

Radio Vieques regresa a las ondas radiales

Radio Vieques regresa a las ondas radiales



Desde octubre del año pasado, nuestra emisora radial comunitaria Radio Vieques ha estado fuera del aire, a través de un permiso especial de la Comisión Federal de Comunicaciones (FCC por sus siglas en inglés). Una determinación estratégica del equipo de Radio Vieques con el fin de reconstruir las instalaciones de transmisión en la isla municipio de Culebra.


Durante los primeros seis años, el proyecto comunitario cubrió casi el tercio oriental del archipiélago boricua, pero después del huracán María se perdió ese alcance. Con permisos especiales de la FCC y del Instituto de Cultura Puertorriqueña (ICP) se comenzó a transmitir con una antena pequeña en el techo del Fortín Conde de Mirasol en Vieques y con un transmisor de emergencia en el estudio. El permiso otorgado por la FCC fue extendido hasta octubre de este año.

La decisión de salir del aire fue con miras a concentrar todos los esfuerzos en la preparación y la búsqueda de un lugar apropiado en Culebra para colocar la antena y el transmisor. También para concretar la reorganización de trabajos administrativos. Radio Vieques se encuentra trabajando con su reglamento interno para celebrar una asamblea en 2021 y elegir y renovar su junta directiva.

“Volvemos al aire de nuevo a finales de octubre con una señal mínima y también streaming (transmisión por internet), mayormente con una programación grabada y, posiblemente, algo en vivo. En enero esperamos tener nuestro programa ancla, Las Voces del Este, por lo menos tres días a la semana” sostuvo Robert Rabin, gerente general de Radio Vieques. La emisora transmitirá nuevamente a través de su cuadrante 90.1 FM en Vieques, Culebra y el área Este de Puerto Rico. 



Al momento la emisora se encuentra en la búsqueda de voluntarios, personas de otras partes de Puerto Rico y la diáspora interesados en colaborar y formar parte de los comités de trabajo. Próximamente se anunciarán talleres con miras a continuar fortaleciendo los conocimientos de la comunidad en temas radiales. 

Para más información, puede seguir a Radio Vieques en las redes sociales (facebook, twitter, instagram) o visitar www.radiovieques.net, donde pronto se podrá acceder a nuestra variada programación. 

viernes, 2 de octubre de 2020

Chucho Valdés, Dafnis Prieto, Regina Carter, Ramón Vázquez y Henry Cole son algunos de los virtuosos que estarán este domingo en Festival de Jazz Virtual

 Chucho Valdés, Dafnis Prieto, Regina Carter, Ramón Vázquez y Henry Cole son algunos de los virtuosos que estarán este domingo en Festival de Jazz Virtual

Virtuosos de la música se unen en el Festival Jazz en la Montaña, cuya cuarta edición se llevará a cabo de manera virtual este domingo 4 de octubre desde las 3p.m. a través de Facebook @festivaldejazzenlamontaña.


 





Se presentará el Chucho Valdés Trio, integrado por el baterista Dafnis Prieto, el bajista Ramón Vázquez y el Maestro Chucho Valdés en el piano y la dirección musical. Como invitada especial estará la violinista Regina Carter.

 

Ricky Rodríguez Trio (compuesto por John Ellis en el saxofón, Henry Cole en la batería y Ricky Rodríguez en el bajo), los profesores del Departamento de Música de la Universidad de North Carolina, Steven Anderson y Juan Álamo; y los Estudiantes de la Escuela Jesús T. Piñero de Cidra, junto a su profesor y director Manolito Rodríguez, también forman parte de este desfile de virtuosos.


 

El Festival Jazz en la Montaña se celebra en los pueblos del centro de la isla. Desde el 2017, cumple con la misión principal de llevar educación musical a estudiantes de comunidades especiales y de escasos recursos. Está constantemente haciendo actividades como clases magistrales, charlas, seminarios y talleres para los estudiantes de la Escuela Especializada en Música e Idiomas Jesús T. Piñero en Cidra, y otras escuelas cercanas en el municipio.

 

El Festival Jazz en la Montaña siempre ha sido un evento gratuito para todo el público y cuenta con el auspicio del Municipio de Cidra, el comercio local y empresas privadas.

miércoles, 23 de septiembre de 2020

Pianist Noah Haidu explores the genius of composer Kenny Kirkland with DOCTONE, an innovative multimedia project featuring music, a book and film

Pianist Noah Haidu explores the genius of composer Kenny Kirkland with DOCTONE, an innovative multimedia project featuring music, a book and film


Featuring Billy Hart, Steve Wilson, Gary Thomas, Todd Coolman, Jon Irabagon and Daniel Sadownick, project is out via Sunnyside Records on October 2, 2020,
a few days after what would have been Kirkland’s 65th birthday 
 
“Haidu is one of the finest young jazz lions…with jazz luminaries like trumpeter Jeremy Pelt and alto saxophonist Jon Irabagon gracing the band as part of a core quintet, rising above their powerful performance is quite an accomplishment and Haidu does just that.” – Edward Blanco, JazzTimes
 
“Haidu’s ability to express deep feelings is striking.” – Tony Hall, Jazzwise (UK)


Noah Haidu has etched out an uncompromising identity as a pianist and composer by balancing cutting edge songwriting with stirring improvisations. On his new Sunnyside release Doctone, Haidu reaches a new level of self-expression while exploring the work of one of his major influences, the late Kenny Kirkland. As Noah writes in the liner notes: “Doctone is the first recording dedicated entirely to Kirkland’s original music. I view Kenny as the most unique composer and pianist of his generation. Because he died young and avoided the spotlight, his brilliant compositions have been overlooked for too long.”
 
Doctone is a multimedia project which includes a recording of Kirkland’s music, as well as an original book by Haidu and a film directed by Jeffrey Chuang. The documentary about Kenny’s life and his contribution to music will be released on what would have been his 65th birthday, September 28, 2020. 
 
When Haidu went into the studio in the summer of 2019 to record an album of music by Kirkland he set aside most of his preconceptions about making records. “I typically set out to build a cohesive statement with each album so that the pieces fit together like chapters in a book. This project was different. I didn’t work through the repertoire on many gigs or do a lot of rehearsing, though I’ve always been moved by these songs. The result was that in the studio I had a visceral response to material that was fresh and emotionally compelling. Kenny was known as Doctone by his close friends. I never got to know Kenny, but after working on this project I sometimes feel as though I did.” 
 
Haidu’s choices of collaborators added perspective to this passion project. Billy Hart is a relentlessly creative and vital drummer who both Haidu and Kirkland worked with early on in their development. Bassist Todd Coolman propels the band forward with a fluid, effervescent beat; tenorist Gary Thomas brings his remarkable language to Kirkland’s compositions; while contributions by saxophonist Jon Irabagon and percussionist Daniel Sadownick stretch the tonal palette. The masterful yet gritty alto/soprano saxophonist Steve Wilson seems to “breathe” the music rather than play it.
 
Haidu’s connection with Kirkland goes back to Noah’s youth when Kirkland turned pop music on its head playing jazz solos and keyboard grooves in Sting’s early “post-Police” tours. Over the years, Haidu has mined many of the raw musical elements which caught his ear in those early days. Regarding Kirkland’s influence, Noah says: “The greatest lesson I take from him is a certain ‘devil may care’ attitude to performance: once you have enough vocabulary and genres to draw on you just go for it and see where the inspiration leads.” 
 
Haidu recorded Doctone at a point of peak creativity. His extended six-part suite Infinite Distances received 4.5 stars from DownBeat Magazine and made that publication’s “Best Albums of the Year” issue in 2018. Perhaps as a reaction to his father passing away a few days before Infinite Distances was released, Haidu has since found new avenues of expression during his performances. Haidu says of his evolution: “Although these days as a composer I gravitate towards long-form, through-composed pieces, as a performer I feel an urgency to express musical ideas and emotions spontaneously, so that changes the repertoire. I don’t often play my most complex pieces in public.”
 
In early 2019 Haidu toured with a new band featuring Hart and Coolman and the inception of this trio gave Haidu the opportunity to present a fresh repertoire centered around Kirkland’s original compositions. Hart had a strong connection with the music. Kenny had been on his first two recording dates as a leader and they had played together during the 1970’s on various fusion, Afro-Latin, and avant-garde projects. 
 
By summer 2019 the band decided to record nine of Kenny’s songs over a couple of days. The sessions were documented on video, and the musicians talked throughout about their relationship to Kenny and his music. Hart recalled the origins of some of the pieces and shared that he was having an “emotional reaction” to recording the music. Steve Wilson talked about the inspiration he felt when first hearing Kirkland with the Wynton Marsalis Quintet in the early 1980’s and how that band had inspired him and his contemporaries.

The album opens with a spontaneous yet lyrical free improvisation from Haidu and Hart: “Those were the first notes we played when we sat down in the studio. The opener captures a certain reverential melancholy that we were feeling about recording music by Kenny.”  Noah later titled the piece “The Doctor of Tone” in reference to Kirkland’s nickname. “Midnight Silence” offers a slow rendering of Kirkland’s dense yet gorgeous harmonies, sliding into new tempos and time signatures for Haidu’s solo and Wilson’s excursions. The brooding theme “Blasphemy” follows. Unlike Kirkland’s concise original recordings these versions feature improvisations which build to wailing explorations as the band reaches peak after peak. Kirkland’s two most well-known pieces are also included. The sinewy melody of “Steepian Faith” is treated with a funky odd-metered counter-point before finding its way back into the deeply joyful groove suggested by the original. The haunting “Dienda” is initially given an extended “out of time” exploration by Haidu, Hart, and Coolman before introducing the pulse and finally ending in a gospel-tinged 3/4 chorus. Gary Thomas’s unique melodic language and Haidu’s fiery soloing are heard on “Mr J.C.” “Tonality of Atonement” is a multi-directional trio statement, inspired by Hart’s initial encounters with Kirkland on the 70’s avant-garde scene. “Chambers of Tain” and “Fuschia” feature some of Kirkland’s most adventurous rhythmic ideas while “Chance,” first recorded by Kirkland and Hart on Hart’s 1984 album Oshumare, serves as a moody set closer.

Looking back on Kirkland’s impact, Haidu says “Kenny bridged so many musical worlds: Blues, R&B, fusion, modern jazz, and 20th century classical.” After Kirkland’s passing in 1998 Noah began collecting recordings and interviews to learn more about the pianist. In 2007 when he sat down with Branford Marsalis to talk at length about Kirkland’s life and music, the conversation left him eager to know more about Kenny. “I researched every article I could find and I started writing an unofficial biography without any particular plan to publish it. Although he was at the very top of his profession, Kenny wasn’t interested in fame. He didn’t record as a leader until his mid-30’s and he wasn’t motivated to become a big star. I can definitely relate to that.” Noah continues to interview Kirkland’s contemporaries, planning to complete his book and release a short film directed by Jeffrey Chuang documenting Kenny’s life on Kirkland’s 65th birthday, September 28, 2020.

At age 19 Haidu had studied at Rutgers University for about a year with the great pianist Kenny Barron. But Noah was soon skipping classes to sit in at jazz clubs in Barron’s hometown of Philadelphia. After his second year, Haidu left college and moved to Brooklyn to devote all his time to practicing and gigging with artists such as Essiet Essiet, Duane Eubanks, Walter Perkins, Melvin Sparks, Jeanie Bryson, and Norman Connors.  After the debut of his first album Slipstream, All About Jazz said of Noah “the cat can play his butt off.” 

In 2011 Haidu was called a “rising star” in JazzTimes and “an important new talent” in Jazzwise magazine. His subsequent albums and sideman work have seen him collaborating with Ambrose Akinmusire, Mike Stern, Buster Williams, Jeremy Pelt, Sharel Cassity, and Mark Whitfield Jr. After a 2015 MOCA concert his music was music dubbed “vibrant and adventurous” in the Miami Herald. New York Times writer Giovanni Russonello called him “an artist of focus and vision.” In 2017 DownBeat Magazine featured Haidu in an article entitled “Subversive Soul” and singled him out as an “assertive pianist and innovative composer.”  In addition, DownBeat gave his suite Infinite Distances 4.5 stars and chose it as a 2017 Best Album of the Year.

lunes, 31 de agosto de 2020

"JAZZEANDO EL ARTE" Sábado 5 de septiembre de 2020 - 7:00PM

 "JAZZEANDO EL ARTE" Sábado 5 de septiembre de 2020 - 7:00PM


En rumbo a celebrar sus 20 años de trayectoria, Taller S&R, Inc., ha creado una serie de conciertos inspirados en un programa del fenecido pintor Andy Bueso, y un previo encuentro del maestro Furito Ríos junto al eterno maestro Rafael Tufiño, esta vez titulada "Jazzeando El Arte", donde se une el jazz y la pintura para crear en vivo. Es aquí, donde el conjunto de jazz del maestro Furito Ríos y grandes artistas plásticos puertorriqueños, establecen un espacio de colaboración del cual surgen diversas obras de arte, inspiradas en la música.



Podrán adquirir las obras de su preferencia al finalizar los conciertos, a través de nuestra página de Facebook "Furito Ríos, La Maestría". Al hacer su compra, estará realizando una aportación a beneficio de la Fundación para el Avance de la Cultura y la Educación a través de las Artes; por sus siglas, la fundación FACEA, así como el apoyo a artistas plásticos puertorriqueños en momentos tan necesarios.


Continuando la tradición histórica de Taller S&R, Inc. realizando grandes eventos de jazz y arte, este próximo sábado 5 de septiembre podrán deleitarse con el segundo concierto de la serie, directamente desde el Museo de Arte y Diseño de Miramar (MADMI).



Disfrutarán la música del creador y director de este proyecto, el maestro Furito Ríos, junto a grandes artistas del jazz. Creando en vivo, la escultora Zoé Denisse González y el pintor Pseudo Mero. Los invitamos a sintonizar a las 7:00PM a través de "YouTube Premieres" y "Facebook Live".




El acceso a los conciertos será gratuito. Las próximas ediciones se estarán anunciando a través de la página de Facebook "Furito Ríos, La Maestría". El segundo concierto de la serie "Jazzeando El Arte" es traído a ustedes gracias al Museo de Arte y Diseño de Miramar, COVIDA, y el Fondo Flamboyán para las Artes.




Contactos: Rocío Rondán / Saudi Morales 787-605-6951 / 787-473-2273 tallersrcorp@yahoo.com

miércoles, 26 de agosto de 2020

El trompetista Humberto Ramírez recibe prestigiosa beca y Ofrecerá Concierto Virtual

El trompetista Humberto Ramírez recibe prestigiosa beca 

Ofrecerá Concierto Virtual 

 Prepara su Primer Concierto Sinfónico
El trompetista, compositor, arreglista y productor puertorriqueño Humberto Ramírez acaba de recibir la prestigiosa beca del Chamber Music of America. El Jazz Grant es solicitado por 400 compositores cada año. La selección se basa en el nivel de calidad de las composiciones sometidas. Este año fueron escogidos catorce (14) compositores entre los que se encuentra Humberto Ramírez. (Ver lista completa en el siguiente enlace https://www.chamber-music.org/about/press-room/article/08-24-2020/2020-Grantees ) 

 Esta beca le permitirá escribir música nueva por un período de dos años, y grabarla tanto en audio como en video. Además, se beneficiarán económicamente cinco músicos que estarán participando en los proyectos de Ramírez. También se mantendrá copia de la música en los archivos de Chamber Music of America para propósitos educativos y de archivo. 

 “Es un gran honor recibir este reconocimiento para así continuar creando música nueva para las generaciones futuras." _ expresa el también ganador de Grammy, Humberto Ramírez. 

La beca para compositores del Chamber Music of America es uno de los reconocimientos más prestigiosos en el jazz. El Jazz Grant es posible gracias al apoyo del Doris Duke Charitable Foundation. El trompetista ofrecerá un concierto virtual titulado: Una Noche de Jazz Latino. 

La transmisión se llevará a cabo el miércoles 9 de septiembre a las 7 p.m. a través de Facebook/Humberto Ramírez Jazz Project y en su canal de YouTube Humberto Ramírez Música. Participarán los siguientes músicos: Frankie Pérez, William "Kachiro" Thompson, Edgardo Rivera, Raúl Rosario y Odanis Velázquez. Humberto Ramírez, quien ha lanzado 32 discos de jazz como solista, se encuentra grabando un nuevo disco y trabajando las orquestaciones para su primer concierto sinfónico que espera ofrecer en el 2021. 

Humberto ha recibido 4 nominaciones al Premio Grammy como productor. Su primera nominación fue por el disco “Nueva Cosecha” de Willie Rosario en 1985, luego por “Hecho en Puerto Rico” de Willie Colón en 1993, “Tony Vega” en 1996 y “Olga Viva, Viva Olga” de Olga Tañón que lo hizo merecedor del premio Grammy en el 2000. En el 2013 fue nominado al Grammy Latino por su disco “Sentimentales” junto a Lucy Fabery. Entre los galardones que ha recibido se encuentran 1 Grammy, 6 discos de Platino, 12 discos de Oro, 4 “Visionary Awards” y 6 premios “Tu Música”. Ha recibido homenajes por el representante del estado de Ohio, Dennis J. Kucinich y por el Senado de Puerto Rico. 


En 1997 tuvo el honor de amenizar en la toma de posesión del Presidente de Estados Unidos, Bill Clinton en Washington D.C. En octubre de 2009 fue invitado a tocar en la Casa Blanca para el Presidente de Estados Unidos, Barack Obama. 

Para más información, pueden visitar www.humbertoramirez.com y seguir a Humberto Ramírez a través de sus redes sociales: 

Fan Page/HumbertoRamirezJazzProject 

Twitter/ @HumbertoRamJazz 

Instagram/ @humbertotrumpetman 


Video En Vivo “Mambo Gozón” Humberto Ramírez Big Band junto a Jerry Rivas (El Gran Combo de Puerto Rico) y NG 2 https://www.youtube.com/watch?v=xO4bk7rhtp8

sábado, 27 de junio de 2020

“A Concert for Cuba”: The Largest-Ever Virtual Performance of Legendary Musical Artists from All Over the World to Honor Cuba & its First Responders


“A Concert for Cuba”:
The Largest-Ever Virtual Performance of Legendary Musical Artists from All Over the World to Honor Cuba & its First Responders

June 26, 2020--(Chicago, IL) -- Although it is the one of the hemisphere’s smallest nations, with its resources constrained by continued U.S. policies, Cuba has played an outsized role during the Covid-19 pandemic, sharing medical advances, and sending medical teams to more than two dozen nations across the globe. In recognition of these profound contributions, next month, many of the island nation’s legendary musicians joined by a score of international stars will hold a two-night celebration of the Island and the music it has given the world, streaming live via the Twitch.tv/HotHouseGlobal channel.


On Saturday, July 18th and Sunday, July 19th renowned and marquee virtuoso performers from the heralded Afro-Cuban music tradition will join with musicians and presenters from Canada, the United States, the Caribbean, Spain, and other European countries in “A Concert for Cuba.” The concert is free, however advance registration is required to view the live stream.

Sponsored by the Instituto Cubano de la Música/The Cuban Institute of Music, HotHouse (Chicago, IL), Raul Cuza (Montreal, Canada) and Bill Martinez (San Francisco, CA), the event will be broadcast live on HotHouseGlobal direct to destinations the world over. This unprecedented gathering has already secured the commitment of highly regarded A-list talent from the Americas and Europe.

Confirmed to date to perform are:

Alexander Abreu Y Su Timba All Stars ~ Arturo O’Farrill ~ Aruán Ortiz ~ Barbara Dane with Pablo Menéndez and Mezcla ~ Bush ~ Cimafunk ~ El Septeto Santiaguero ~ Eliades Ochoa ~ Jane Bunnett with Danae Olano and Dayme Arocena ~ John Santos ~ Jon Cleary ~ Los Van Van “Nachito” Herrera ~ Omar Sosa ~ Omara Portuondo Con La Orquesta Failde ~ Orbert Davis’ Chicago Jazz Philharmonic ~ Orquesta Aragon ~ Osain Del Monte featuring Brenda Navarrete ~ Oscar Hernández ~ Ozomatli ~ Proyecto Socio-Cultural El Patio De Adela Y El Caverchelo Comb with special guest Ben Lapidus ~ Síntesis ~ Susana Baca ~ Tom Morello.

Joining the musicians in the celebration and exploration of Cuban culture will be numerous artists, writers, and social justice activists, including David Soul ~ Danny Glover ~ Ron Perlman ~ Medea Benjamin ~ James Early ~ Judith Le Blanc ~Antonio Gonzales ~ Alicia Jrapko ~ Jontay Darko ~Juan De Marcos González ~ and Alfredo Caxaj, Actor Elliot Gould and Congresswoman Barbara Lee.

Additional performers and speakers are expected to confirm shortly.

Marguerite Horberg, whose Chicago cultural-mecca HotHouse, developed an HotHouseGlobal as an online streaming initiative to serve the NGO, small business, and cultural industries adversely affected during this health and economic crisis, and a sponsor of the two-night event speaks of the uniqueness and importance of the moment. “Not only is this an amazing gathering of talent – it is an important affirmation of hope. If we’ve learned nothing else these last months, we’ve learned how connected we all are. In the same spirit that Cuba, one of the world’s smallest nations, sent medical teams to more than 26 nations during the pandemic, this concert too is meant to underscore that interconnectedness. It is as it states, “A time to heal.”

The “Concert for Cuba” will take place on Saturday, July 18, and Sunday July 19 at 8pm Eastern Standard Time ~ 7PM Central Daylight (Chicago) Time/ ~ 5pm Pacific Time. The free two-day festival will be exclusively broadcast LIVE via the Twitch.tv/HotHouseGlobal channel from Havana’s Instituto Cubano de la Música, on Cuban national television and from additional points around the globe while physical distancing is still observed.

About the Sponsors:

EL INSTITUTO CUBANO DE LA MÚSICA ( ICM) / THE CUBAN INSTITUTE OF MUSIC
The Cuban Institute of Music (ICM) is a department within the Ministry of Culture of Cuba and is one of the most important cultural institutions of the country. It is tasked with the implementation of the policy of development, promotion, and projection of music inside and outside the island. It has a system of subordinate institutions, which house more than 16,000 artists throughout the country. Today it is the governing institution of the Music Development Programs, whose ultimate objective is to achieve a stronger affinity with culture in the Cuban people, applying a strategy aimed at stimulating, developing and implementing actions supporting musical institutions throughout the country. ICM produces a variety of shows in the country that ensure the development, protection, enrichment, defense, and promotion of the musical heritage of the nation.

RAUL CUZA
He is the principal at Cuza Talent Agency, a company based in Montreal, Canada specializing in World Music, with a very strong knowledge in Latin and African music. Raul Cuza has been active in this music field for more than 20 years, starting as a Programming Director of Festival Nuits d Afrique, co-owner of Eye For Talent Canada, President of Mango Music, and Vice President of GEM Latina. He has been responsible for the tour of artists like: Septeto Santiaguero, Adalberto Alvarez, Amparanoia, Azucar Negra, Los de Abajo, Paris Combo, Seckou Keita, Sierra Maestra, Qbanito, Orquesta Sensacion and many other prestigious artists.

BILL MARTINEZ
Bill is an immigration attorney who has also produced and managed cultural events in the San Francisco Bay Area since 1973. A native San Franciscan, he is a graduate the University of San Francisco and Hastings College of the Law. He has worked in the Community Law Collective (’74- ’79), New College of California School of Law (’79-’83) and the Volunteer Legal Services Program of the Bar Association of San Francisco (’84-’93). In 1981, he co-founded the Encuentro del Canto Popular, a San Francisco-based Latin American music festival. His work with the Encuentro lead him to become one of the nation’s leading experts in U.S.- Cuba cultural exchanges and artists’ visas. He co-founded the Latino Entertainment Partners which produced historically significant concerts of Cuban artists.

MARGUERITE HORBERG
Marguerite is the founder and Executive Director of The Center for International Performance and Exhibition dba HotHouse. HotHouseGlobal is the newest project to join the constellation of projects initiated by the non-profit organization. She has a distinguished career in international cultural exchange. She is also known through her many executive producing credits including: the Women of the New Jazz Festival, The Flamenco Festival, Jazz en Clave, Woody Guthrie's Centennial Celebration, The W.P.A. 2.0, a Brand New Deal, From the Lion's Point of View ( An African Jubilee), The Old and New Dreams Festivals, the Son Jarocho International Exchange Project, The Chicago-Guantánamo Blues Exchange and Tricontinental '66 and other Acts of Liberation. Throughout her thirty + year career at HotHouse, she has organized over 7,000 community-based programs including concerts with Hugh Masekela, Gil Scott Heron, Sonia Sanchez, Amiri Baraka, and the U.S. debut of Cuban legends, Los Van Van.

martes, 23 de junio de 2020

UNHEARD THELONIOUS MONK RECORDING OF A SURPRISE 1968 HIGH SCHOOL PERFORMANCE FINALLY SET FOR RELEASE - PALO ALTO, JULY 31, 2020 - IMPULSE RECORDS

UNHEARD THELONIOUS MONK RECORDING OF A SURPRISE 1968 HIGH SCHOOL PERFORMANCE FINALLY SET FOR RELEASE  - PALO ALTO, JULY 31, 2020 - IMPULSE RECORDS 
In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA. In a series of twists and turns, against a backdrop of racial tension and political volatility, that concert happened and was recorded by the school's janitor. Palo Alto is set for release on July 31, 2020 on legendary jazz label Impulse! Records – marking Thelonious Monk's posthumous debut on John Coltrane's label home. 
"That performance is the one of the best live recordings I've ever heard by Thelonious," says T.S. Monk, son of the pianist/composer maestro, drummer and founder of the Thelonious Monk Institute. "I wasn't even aware of my dad playing a high school gig, but he and the band were on it. When I first heard the tape, from the first measure, I knew my father was feeling really good."
The vibrant 47-minute album spotlights Monk's steady touring band (tenor saxophonist Charlie Rouse, bassist Larry Gales, drummer Ben Riley) and features his touring repertoire, which were his finest compositions.  
1968 was a tumultuous year in America, marked by the shocking  shocking assassinations of Martin Luther King, Jr. and Robert F. Kennedy, unsettling revelations about the Vietnam War, and protests and unrest throughout the country. Palo Alto and the primarily African-American neighboring neighboring town of East Palo Alto were no different. This was the stage for young high school student Danny Scher, a jazzhead with an idealistic bent and knack for concert promotion (who later on became a well-known promoter who worked with legendary San Francisco rock promoter Bill Graham.)  
Scher says, "I always looked at music as a way to put issues on hold or up to a mirror, whether they be political or social. On October 27, 1968, there was a truce between Palo Alto and East Palo Alto. And that is what music does."
In 1968, Thelonious Monk was in many ways at the pinnacle of his career – his quartet was at its best musically, and he was still riding high in the public eye after he appeared on the cover of TIME Magazine a couple years prior.  However, behind the scenes finances were rough and his health was in bad shape. When he got a call in the middle of his threethree-week run at the Jazz Workshop in San Francisco, he listened to the teen on the other end of the receiver. Perhaps he was moved by the young promoter's gumption.   
On October 27, 1968, Thelonious Monk and his quartet – Charlie Rouse (tenor sax), Larry Gales (bass), and Ben Riley (drums) – climbed out of the Scher  family van, walking past a rainy parking lot full of surprised Palo Alto and East Palo Alto residents, into Palo Alto High School's auditorium and delivered a stellar, energetic and historic 47-minute set. 
Included in the mix is Monk's lyrical love song "Ruby, My Dear" (Rouse boldly blowing the melody with Monk comping in his unique oblique way then taking the lead with a dazzling solo);  the dynamic and spirited "Well, You Needn't" taken for a 13-minute ride with solos by all members; the pianist's captivating solo reading of "Don't Blame Me" by Jimmy McHugh; an epic dance through "Blue Monk"; and a playful charge through "Epistrophy." The show ends with a truncated encore of Monk slowly striding through the 1925 Tin Pan Alley hit tune by Rudy Vallee, "I Love You Sweetheart of All My Dreams" and after a standing ovation saying his goodbye because they had to leave to make their San Francisco date that evening. 
The concert was quite impressively recorded by Palo Alto High School's janitor, and the tape sat in the attic of Scher's family home for years. When he contacted T.S. Monk to release it, they chose legendary label Impulse! Records, the label home of John Coltrane, known as "the house that Trane built." The relationship between Thelonious Monk and John Coltrane is well documented and historic, so it is particularly appropriate that almost forty years after his death, Monk finally makes his Impulse! debut with Palo Alto. 
Palo Alto is the first of multiple planned joint releases over the next five years from Impulse! Records in conjunction with the Monk estate's Rhythm-A-Ning Entertainment led by T.S. Monk.
 
About Impulse! Records:
For nearly sixty years, Impulse! Records has stood as a label of musical integrity and lasting cultural significance. Known as the "house that Trane built" in honor of its best-selling artist John Coltrane, the label produced music exciting in its experimental charge, and spiritual in its priority. Sonny Rollins, Quincy Jones, Max Roach, Ray Charles, Alice Coltrane, Keith Jarrett, Charles Mingus, Sun Ra, and Pharoah Sanders were but a few of the legendary musicians who helped define the label's sound and message. To this day, Impulse! continues to proudly wear its distinctive orange-and-black color scheme, and be home to the new vanguard of creative musicians including Shabaka Hutchings and his groups Sons of Kemet, Shabaka & the Ancestors, and the psychedelic jazz trio The Comet Is Coming. 
About Rhthm-A-Ning Entertainment:
Rhythm-A-Ning Entertainment is the official company of the Thelonious Monk Estate, founded by Chairman T.S. Monk, Gale Monk, and president Douglas Holloway. RAN Ent is a multi-faceted company involved in music and film production, as well as product licensing.  Please visit: thelonious-monk.lnk.to/home.