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:

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.

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 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 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


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.

martes, 16 de junio de 2020

An Elegant Last Testament From Legendary Saxophonist Jimmy Heath Verve Records Announces The Release Of Love Letter Available Worldwide On July 17

An Elegant Last Testament From Legendary Saxophonist Jimmy Heath
Verve Records Announces The Release Of Love Letter
Available Worldwide On July 17 

A Masterful Collection Of Ballads That Features Luminaries Gregory Porter, Cécile McLorin Salvant, And Wynton Marsalis

Verve Records announces the release of Love Letter, a parting masterpiece and the first all-ballads album from magisterial tenor saxophonist-composer Jimmy Heath. The first single from the collection "Con Alma" is out now and you can listen to it here. Love Letter will be available worldwide on July 17 and is available by pre-order now.  
In addition to original material, Love Letter is the jazz ambassador's beautiful take on seminal ballads, including songs written by Billie Holiday, Dizzy Gillespie, and Kenny Dorham.  Recorded in New York during the 48 hours preceding Jimmy's 93rd birthday, and two more a month later in Atlanta, Jimmy presided over a brilliant cast of colleagues and friends.  Propelling the album forward is a multi-generational all-star unit, including NEA Jazz Master pianist Kenny Barron, poll-winning guitarist Russell Malone, soulful vibraphone veteran Monte Croft, New York first-call bassist David Wong, and all-world drummer Lewis Nash. Augmenting the group on separate tracks are 21st century vocal superstars Gregory Porter and Cécile McLorin Salvant, and trumpet icon Wynton Marsalis.
The collection includes Heath's elegant arrangements of three less traveled originals culled from his vast body of work. He distinctively interprets "Con Alma," an essential jazz standard by Dizzy Gillespie, his lodestar from the moment they met in 1946. Joining him and Kenny Barron in erudite, tender dialogue on trumpeter Dorham's "La Mesha" is Marsalis. On "Don't Explain," the Dorham gem and Arthur Herzog-Billie Holiday collaboration, Heath's soulful, trenchant, urbane solo flights evoke his poetic spirit with old master concision and the authoritative chops of a musician half his age.
A highlight in a program of highlights is Cécile McLorin Salvant's poignant tour de force portrayal of unrequited love that is at the core of Billie Holiday's lyric on the blue ballad "Left Alone," composed by Mal Waldron. Another is Gregory Porter's compelling, gentle reading of Gordon Parks' underground classic "Don't Misunderstand." 
"Jimmy always wanted to know the lyrics of a song before playing it," says Carol Friedman, who co-produced Love Letter with Grammy-winning producer Brian Bacchus. "That particular sensitivity no doubt contributes to the intimacy of his sound and is the reason he loved playing ballads - whether a tune had lyrics or not, he was singing with that horn. This is the record Jimmy never got to make. Asking him if he wanted to do an all-ballads album was preceded by decades of us talking about singers and love songs." 
Two of Heath's three originals on Love Letter gestate in orchestral charts - "Fashion or Passion" comes from a 2004 Jazz at Lincoln Center Orchestra commission, while "Inside Your Heart" - Heath's only soprano saxophone vehicle on the date -  is the second movement of The Endless Search, a suite Heath recorded in 2010 with the Seattle Repertory Jazz Orchestra.  On the third original, it sounds as though Billy Strayhorn was on Heath's mind when he wrote "Ballad from Upper Neighbors Suite," which he'd previously addressed on a 1995 recording. 
A listener unfamiliar with the back story of Love Letter would not imagine that the main instrumental voice throughout the proceedings is a jockey-framed 93-year-old man surely aware of his impending mortality and facing it with pluck and equanimity. He brings the full breadth of his intellectual powers to this final salvo. As Gary Giddins notes: "The result is pure, primo Heath: polished, inventive, surprising, candid, beautiful."

miércoles, 10 de junio de 2020

Celebrate w/Awards Winners at 6/18 Live-Streaming Party

Celebrate w/Awards Winners at 6/18 Live-Streaming Party

Jun 9th, 2020 | By 
The Jazz Journalists Association celebrates its 2020 Jazz Awards https://www.jjajazzawards.org/p/2020-winners.html online on Thursday, June 18 at 8 pm ET, with a first of it’s kind, all-star Jazz Awards Winners Live-Streaming Party. https://jja.wildapricot.org/events
2020 Awards winners (including Jazz Heroes) and active JJA members are able to register to be on the call on Zoom, while the general public will watch on Hot House Global https://www.twitch.tv/hothouseglobal and the JJA’s Facebook page.
Honorees from the 24th annual JJA celebration of excellence in jazz and jazz media work will interact live, addressing each other, taking questions and observing musical interludes from past Jazz Awards galas by Sheila Jordan, Randy Weston and Sonny Rollins, among others.
Confirmed participants to date include Carla Bley (Lifetime Achievement in Jazz recipient), Lakecia Benjamin (Up and Coming Musician of the Year) Terri Lynne Carrington (Musician of the Year and Drummer of the Year), Nate Chinen (for his personal writing, and the WBGO blog), Kris Davis (Composer of the Year and Pianist of the Year), Male Vocalist of the Year Kurt Elling, Percussionist of the Year Zakir Hussain, and Roscoe Mitchell representing the Art Ensemble of Chicago 50th Anniversary Large Ensemble and Allison Miller for her mid-sized ensemble, Boom Tic Boom. Lifetime Achievement in Jazz Journalism honoree Stanley Crouch, who is ailing, has sent a message to be read.
Soprano saxophonist Jane Ira Bloom, clarinetist Anat Cohen, guitarist Bill Frisell, trombonist Wycliffe Gordon, multi-reeds player Joe Lovano, and flutist Nicole Mitchell, bassist Linda May Han Oh, JazzTimes editor Mac Randall, cellist Tomeka Reid, vibist Joel Ross, author Mark Stryker and alto saxophonist-arranger Miguel Zenón will also speak on the call.
Due to Zoom limits of 100 to a meeting, access to be on the call itself must be offered on a first-come, first-served basis to JJA Jazz Heroes and members. An overflow of would-be viewers will be directed to watch on the other platforms, Hot House Global and the JJA’s Facebook page. The webcast will be recorded for later viewing, on YouTube.
And viewing the party on the free Hot House Global and JJA Facebook platforms is actually an advantage, as pre-recorded bits will only be seen via those streams, not on Zoom itself. The workaround for people on the Zoom call will be to open a second web-browser to watch the pre-recorded music and statements on Hot House Global or Facebook.

viernes, 5 de junio de 2020



Cumpliendo el sueño desde que se conocieron en La Havana, Cuba, los galardonados artistas Gonzalo Rubalcaba y Aymée Nuviola se unen para lanzar "Viento y Tiempo - Live at Blue Note Tokyo". Amigos de la infancia, que han recibido altos reconocimientos por sus trabajos individuales, se unieron para la grabación realizada en vivo durante seis noches con lleno total en el prestigioso Blue Note de Tokio el pasado agosto de 2019. Disponible hoy en todas las plataformas de música a través de Top Stop Music, el disco fue producido por Gonzalo Rubalcaba y Gregory Elias.

Gonzalo Rubalcaba y Aymée Nuviola (foto por  Emilio Guedes Jr)

"Viento y Tiempo - Live at Blue Note Tokyo" incluye clásicos como "El Manisero", "Bemba Colorá" y "Lágrimas Negras". "Viento y Tiempo - Live at Blue Note Tokyo" a su vez presenta una nueva canción, "Rumba Callejera", escrita por Aymée Nuviola e interpretada junto a su hermana, Lourdes Nuviola

El álbum en vivo le sigue al lanzamiento de "Azúcar PaTCafé", donde Aymée y Gonzalo cuentan con la participación del artista cubano CimaFunkEl tema combina una mezcla de tropical fusionado con jazz latino y funk.

"Me produce alegría, satisfacción, tristeza y orgullo escuchar este documento. Son muchas cosas, la grandeza de Aymée, el lugar y sus habitantes, la banda, personas amadas y compañeros de trabajo presentes, y el despertar de memorias ahora convertidas en el deseo de ver a mi mama y a otros seres queridos bailar con esta música que ya existía, y a vuelto a vivir. Gracias a la música!"
- Gonzalo Rubalcaba - 

"Viento y Tiempo es el sueño realizado desde mi niñez, es decirle de alguna manera a nuestras madres - que ya no están - que sus esfuerzos no fueron en vano y que esos dos niños por las que ellas lucharon siguen unidos, es el tributo a la música que corre por las calles de La Habana con la cual nos formamos. Gracias a Dios y a la visión de Top Stop Music por hacerlo realidad".
- Aymée Nuviola - 

Gonzalo Rubalcaba (foto por Anna Turayeva)

Rubalcaba es un virtuoso músico considerado una de las figuras líderes en el jazz afrocubano y uno de los mejores pianistas del siglo 20. Ha recibido el reconocimiento mundial de medios como Wall Street Journal, NPR, Downbeat, El Chicago Tribune y otros. Ha sido nominado a 16 GRAMMY® y Latin GRAMMY® y ha ganado dos de cada uno. 

                                                           Aymée Nuviola (foto por Enrique Tubio)

Nuviola, quien ha sido apodada "La Sonera del Mundo", ha mezclado timba, jazz, son y salsa ganando así el premio GRAMMY® al mejor álbum de música tropical en 2020 por su más reciente lanzamiento "A Journey Through Cuban Music"; y en el 2018, ganó el Latin GRAMMY® por el mejor álbum tropical de fusión, por su disco "Como Anillo Al Dedo".

jueves, 4 de junio de 2020

Alto saxophone star Rudresh Mahanthappa celebrates his formative influences with Hero Trio, a wide-ranging session encompassing the music of Charlie Parker and Stevie Wonder, Keith Jarrett, Ornette Coleman and Johnny Cash

Alto saxophone star Rudresh Mahanthappa celebrates his formative influences with
 Hero Trio, a wide-ranging session encompassing the music of Charlie Parker and
Stevie Wonder, Keith Jarrett, Ornette Coleman and Johnny Cash

Mahanthappa’s first album focusing on compositions not his own features
longtime compatriots François Moutin and Rudy Royston

Available June 19, 2020 via Whirlwind Recordings

The last time Rudresh Mahanthappa went into the studio with bassist François Moutin and drummer Rudy Royston they recorded one of the decade’s most acclaimed albums, 2015’s Bird Calls (ACT). The quintet session with pianist Matt Mitchell and trumpeter Adam O’Farrill featured the altoist’s original compositions inspired by the extraordinarily rich idiom forged by bebop architect Charlie Parker. In many ways his new album Hero Trio is a companion piece to Bird Calls, but this time Mahanthappa draws directly on the music of his formative influences. Slated for release on the British label Whirlwind on June 19, 2020Hero Trio offers a revelatory window into his wide-open aesthetic with a disparate program that begins and ends with Bird.

“I think it is a continuation of sorts,” says Mahanthappa, whose responsibilities as a father and the Anthony H. P. Lee ’79 Director of Jazz at Princeton University have kept him close to home in Montclair, New Jersey in recent years. “If I’m thinking about music that’s inspired me to pick up the saxophone Charlie Parker is at the top of my list. Those tunes are some of the first I heard. All of these pieces had a powerful impact on me.”

One of the era’s definitive saxophonists, Mahanthappa has topped numerous jazz critics polls over the past 15 years. His recordings are regularly recognized as among the best of the year, and his cast of collaborators includes artists who have earned similar distinction, including pianist Vijay Iyer, guitarist Rez Abbasi, and saxophonist Steve Lehman.

The trio with Moutin and Royston emerged out of gigs with the Bird Calls quintet when sound checks gave them brief opportunities to play in the stripped-down setting. But the bonds between Mahanthappa and his bandmates extend back decades. He and Royston were buddies growing up in the Boulder/Denver area, and they played in a band together in the early 1990s. After being out of touch for many years, they rekindled the relationship when Royston moved to New York City about a decade ago. Since then Royston has become one of the music’s most sought after players, a standout talent on a scene overflowing with extravagantly talented drummers. Moutin is similarly in demand. Mahanthappa met the bassist in the fall of 1997 within weeks of moving to New York City and they’ve collaborated intermittently ever since. The bassist and drummer hadn’t played much together before Bird Calls, “but they connected so well and sounded so good,” Mahanthappa says.

The album opens and closes with Mahanthappa’s arrangements of classic Parker tunes that Bird first recorded in the 1940s, kicking off with a blazing romp through the rhythm changes of “Red Cross” and closing with an equally ferocious run through “Dewey Square” (also known as “Prezology” and “Bird Feathers"). In between the trio dips back into the Bird songbook, referencing the mambo bounce on “Barbados,” then segueing into Coltrane’s “26-2,” a contrafact of Bird’s “Confirmation.” A dizzying hall of mirrors, the performances are so rich and evocative it’s hard not to wish for a full plunge into ornithology. For Mahanthappa, these are foundational tracks. “They have a sense of humor that’s really unique in Parker’s canon,” he says. “‘Barbados’ has that quasi-Caribbean thing, and ‘Red Cross’ and ‘Dewey Square’ contain an inherent momentum.”

Possessing one of the most immediately identifiable sounds in jazz, Mahanthappa is at his most buoyantly lyrical on Stevie Wonder’s 1985 hit “Overjoyed,” an intricate arrangement by pianist Danilo Perez that features some of Moutin’s brilliantly orchestral bass work. It’s a tune that Perez plays with his own trio, and his chart for the trio is another step in a promise-laden relationship that first surfaced on the pianist’s acclaimed 2010 album Providencia (which features two brief duo tracks with Mahanthappa).

If there’s a surprise on Hero Trio it’s Mahanthappa’s tricky arrangement of “Ring of Fire.” At first listen the piece seems like an unadorned rendering of the iconic Johnny Cash song, but the addition of one beat to the third measure subtly changes the rhythmic cadence. “But even doing that is keeping in the context of his music,” Mahanthappa says. “You look at his music and it has phrases of all sorts of bar length. He and Dolly Parton write with complex, surprising phrase lengths that feel really natural and conversational. Cash is someone that inhabited large chunks of my childhood.”

He encountered Keith Jarrett a little further down the line in college when a friend told him he needed to check the pianist out. He did exactly that when he found a copy of the 1974 ECM album Belonging at the library, and the trio’s version of “The Windup” captures the bursting, exuberant joy that made Jarrett’s European quartet such a creative force. “The music sounds like it’s going to explode,” he says. “Jan Garbarek is unbelievable. His sound is so rich, with so many overtones. Doing this piano-less is kind of nuts, but if you listen François plays a lot of Keith’s fills.”

Moutin’s arco work sets the scene for the trio’s brief, buzzy take on Ornette Coleman’s “Sadness,” a balladic vehicle for some particularly keening playing by Mahanthappa. The theme was introduced by Coleman’s great trio with Charles Moffett and David Izenzon on Town Hall, 1962. He pays tribute to several other seminal pianoless trios with a high velocity deconstruction of “I'll Remember April,” a tune recorded by Sonny Rollins on his Blue Note album A Night at the Vanguard in 1957 and Lee Konitz in 1961 on his trio session Motion. It all adds up to a tour de force performance that honors the past by seizing the present, as Mahanthappa, Moutin and Royston play with an immediacy that flows from confident intimacy. In other words, it’s just what jazz fans have come to expect from Mahanthappa.

Born May 4, 1971 in Trieste while his father was on faculty at Italy’s International Centre for Theoretical Physics, Mahanthappa grew up in Boulder after K. T. Mahanthappa took a tenure track position at the University of Colorado. Turned onto jazz in elementary school he soaked up the sounds of Grover Washington Jr. and David Sanborn, the Yellowjackets and the Brecker Brothers. An encounter with Charlie Parker’s Savoy sessions set him on a different path. This really rocked my world, that side.”

He graduated from Berklee in 1991 and went on to earn an MM in jazz composition from Chicago's DePaul University in 1995. Mahanthappa first gained widespread attention at the turn of the century with pianist Vijay Iyer as they recorded on each other’s albums and in the duo they introduced on 2006’s Raw Materials (Savoy Jazz). His creative evolution was also shaped by his encounter with Kadri Gopalnath, who introduced the saxophone into South Indian classical music. Studies with the Carnatic saxophone master led to the acclaimed 2008 Carnatic jazz album Kinsmen (Pi). Mahanthappa deepened his relationship with the South Indian tradition via a 2007 Guggenheim Fellowship, which resulted in 2011’s dazzling Carnatic fusion album Samdhi (ACT Music).

He found another powerful mentor in veteran altoist Bunky Green, an emotionally raw player with whom he recorded on 2010’s Apex (Pi). More recently Mahanthappa has toured and recorded with the trios MSG (with Ronan Guilfoyle on bass and Chander Sardjoe on drums) and the Indo-Pak Coalition (with Rez Abbasi on guitar and Dan Weiss on tabla). In another path that leads back to Bird he’s touring throughout 2020 with Fly Higher, a group co-led with drummer Terri Lyne Carrington founded to celebrate Charlie Parker’s centennial. With Hero Trio, Mahanthappa pays Parker the ultimate tribute with a project that summons his indefatigably creative spirit into the 21st century.


Streaming Live at the Village Vanguard : Saturday nights and Sunday afternoons beginning June 13

178 7th Ave S.

New York, NY 10014

Phone: 212-255-4037

Email: 178vanguard@gmail.com

Streaming Live at the Village Vanguard  

Saturday nights and Sunday afternoons beginning June 13 

On February 22, 2020 the Village Vanguard, the world’s oldest continuously operated jazz club, marked its 85th year in the basement at 178 7th Avenue South in New York City.

On March 16th the club closed its doors indefinitely.

On Saturday, June 13th at 7 p.m. EDT the club will present its very first livestream with

The Billy Hart Quartet
featuring Mark Turner, Ethan Iverson and Ben Street

A matinee will follow at 2 p.m. EDT on Sunday, June 14th

 Each week there will be two shows approximately 75 minutes in length
Saturday @ 7pm EDT and Sunday Matinee @ 2pm EDT
$7 gets you in the portal at villagevanguard.com
Bring your beverage of choice.

Livestream schedule:

• June 13th and 14th – Billy Hart Quartet featuring Mark Turner, Ethan Iverson and Ben Street

• June 20th & 21st – Vijay Iyer Trio featuring Nick Dunston and Jeremy Dutton  

• June 27th & 28th – Joe Martin Quartet featuring Mark Turner, Kevin Hays and Nasheet Waits

• July 4th & 5th – Joe Lovano Trio Fascination featuring Ben Street and Andrew Cyrille

The 16-piece Vanguard Jazz Orchestra is on hold for the moment.

Please continue to check https://villagevanguard.com/ and follow the club on Instagram @vanguardjazz and Facebook for updates.