Brad Mehldau Trio Returns with “Seymour Reads the Constitution!,” Due May 18 on Nonesuch

Brad Mehldau Trio‘s Seymour Reads the Constitution! is due May 18, 2018, on Nonesuch Records. The pianist and his longtime trio, which includes drummer Jeff Ballard and bassist Larry Grenadier, perform three Mehldau originals combined with interpretations of pop songs (Paul McCartney, Brian Wilson), jazz tunes (Elmo Hope, Sam Rivers), and one work from the American songbook (Frederick Loewe’s “Almost Like Being in Love”). Seymour Reads the Constitution! is available for pre-order now at iTunes and the Nonesuch Store, where an instant download of the album track “Spiral” is included with purchase. The song also can be heard on Spotify, Apple Music, and below.

The Trio’s previous release, Blues and Ballads (2016), received critical acclaim, with the Guardian saying, “Mehldau is a genius (and a still-improving one) at taking predictable materials to unpredictable destinations … These are old songs subjected to an old jazz method, but brought scintillatingly into the here and now.” Mehldau released the solo album After Bach earlier this year; the album, which debuted at No. 1 on the Billboard Jazz Album chart, comprises the pianist/composer’s recordings of four preludes and one fugue from J.S. Bach’s Well-Tempered Clavier, each followed by an “After Bach” piece written by Mehldau and inspired by its WTC mate. The Financial Times said of After Bach, “As each piece gathers momentum, fresh melodies emerge, change shape and are developed anew over voicings that shimmer, fade and rumble to a peak. And, following Bach, Mehldau’s improvisations unfold with an iron inner logic, a reminder … that Bach, in his day, was admired more for his abilities as an improviser than for his written scripts.”

Brad Mehldau’s Nonesuch debut was the 2004 solo disc Live in Tokyo and includes six records with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, and Blues and Ballads. His collaborative records on the label include Love Sublime, Highway Rider, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, Mehliana: Taming the Dragon, Nearness with Joshua Redman, and last year’s Chris Thile & Brad Mehldau. His additional solo albums on Nonesuch include Live in Marciac and the eight-LP/four-CD 10 Years Solo Live, which the New York Times says “contains some of the most impressive pianism he has captured on record.”

BRAD MEHLDAU ON TOUR

Brad Mehldau Solo

Mar 28 Opéra National de Bordeaux Bordeaux, FRANCE
Mar 30 MC2 Grenoble, FRANCE
Apr 2 Philharmonie de Paris Paris, FRANCE
Apr 4 Le POC Alfortville, FRANCE

Brad Mehldau Trio

Apr 11 Manship Theatre Baton Rouge, LA
Apr 12 Paramount Theatre Austin, TX
Apr 13 Cullen Theater, Wortham Theater Center Houston, TX
Apr 14 Edith O’Donnell Arts and Technology Building Richardson, TX
Apr 15 Boulder Theater Boulder, CO
Apr 17 Wassermann Festival Concert Series Logan, UT
Apr 19–21 Scullers Jazz Club Boston, MA
Apr 22 Swyer Theatre Albany, NY
Apr 24 The Academy of Music Theatre Northampton, MA
May 7 Konzerthaus Berlin Berlin, GERMANY
May 8 National Concert Hall Dublin, IRELAND
May 9–11 Bimhuis Amsterdam, NETHERLANDS
May 12 Sinopoli Hall Rome, ITALY
May 13 Hybernia Theatre Prague, CZECH REPUBLIC
May 15 Grande Salle Arsenal Metz, FRANCE
May 16 Théâtre de Privas Privas Cedex, FRANCE
May 17 Theatre de Sablons Neuilly, FRANCE
May 18 Wiener Konzerthaus Vienna, AUSTRIA
May 19 Onassis Cultural Centre Athens, GREECE
Jul 27 Auditorio Kursaal De San Sebastian San Sebastian, SPAIN
Journal Articles:Album ReleaseArtist News
SOURCE: Nonesuch
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Fresh Jazz Voices

What’s up fellow jazz enthusiasts? As you well know, we all reminisce about our initial introduction to music. Back in the day, my Mom frequently bought the latest 45’s (or single records)  most of which I thoroughly enjoyed but one of the most exciting things about this experience was flipping the 45 over on the turntable and listen to the B-side to see what it sounded like. WHAT A RUSH! For those of you who frequent this blog, you know I’m not your usual music (jazz) aficionado. Not to discount mainstream artists that I enjoy but I consistently find myself striving to discover something new musically speaking. Like many of you, my taste has altered (changed) as I’ve gotten older but as an enthusiast, I remain steadfast in my evolving musical journey.

At this juncture, this evening I return with another album gif creation this time featuring some relativity new yet talented artists for you to consider listening too.  By the way, all these recordings are available at my preferred music streaming service Spotify (it’s possible their also available at Apple MusicTidal and Amazon Music). Until next time, thanks to you my friends for swinging by Nouveauflux Music! Peace and blessings, Rob

Kneebody + Inara George – New Single: “How High” feat. Inara George (The Bird and The Bee)

Available February 2 on Motéma Music
Seventeen years in and the genre-bending electric jazz collective Kneebody is stronger and more diverse than ever. After the release of their critically acclaimed ninth studio album Anti-Hero, Kneebody teams up with Inara George — from indie pop darlings The Bird and The Bee — on “How High,” the next chapter in the long history of this genre-defying band. This song is the first in a string of singles and collaborations with new artists that will come from Kneebody in the future.
“Inara is a powerhouse and kind of an icon here in LA.,” says bassist, producer and songwriter Kaveh Rastegar. “She has one of the most recognizable and wonderful voices and the songs she writes are so good. She has made so much great music whether it’s with her own albums or with The Bird and The Bee, her project with producer multi-instrumentalist Greg Kurstin.”
After the release of Anti-Hero and months of touring internationally, Kneebody began the process of talking about writing songs with other artists. “We all thought of working with Inara right away,” says Rastegar. “I was so excited that she wanted to get together to write this song.” Kneebody’s relationship with George is not new, with George contributing vocals to an early song in their discography — before the band was even known as Kneebody and released the album Wendel.
Saxophonist Ben Wendel recalls that early collaboration with fond memories and relates that experience to this new creations. “It was an organic process, when we decided we wanted to collaborate with new artists we knew how well we all would work together given our previous history,” says Wendel.
“How High” came together in a very natural way one day with Rastegar playing guitar and George singing. The idea was to write a song that was positive and devotional as the main focus. “I think that those ideas and feelings came through in this song,” reflects Rastegar.
“It was such a fun session,” says George. “I felt like we sort of let ourselves get experimental while still writing something that’s melodic and hopefully beautiful.” Fans of Kneebody and Inara George alike will feel right at home between this marriage of artists, especially having an icon like George joining a band that truly makes it a goal to not be confined to any genre. Although Kneebody exists in the broad definition of instrumental music, this collaboration proves their influences and musical diversity comes from an enormous array of music genres.
Kneebody · “How High” feat. Inara George
Motéma Music · Release Date: February 2, 2018

For more information on Kneebody, please visit: Kneebody.com

HAPPY NEW YEAR JAZZ ENTHUSIASTS!! 

Greetings music aficionados, first of all, I’m truly grateful for your time visiting Nouveauflux Music in 2017.  Regardless of the challenging and uncertain times, we’re faced with, we can count on God, family, close friends and great jazz to lift us up with encouragement as we endure these struggles.

Although, some may say otherwise 2017 was indeed a fruitful year for releasing quality jazz by familiar voices and emerging new artists as well. With that said, I’m sure creative musicians in 2018 will meet the challenge and surprise us with even more inspiring music.

Finally, prayerfully in the coming NEW YEAR, one of my goals is to do better in regards to writing more jazz reviews and posting more music-related content! Thanks again, and may all of you have a safe, peaceful and prosperous 2018!

Unveiling of Drummer Ches Smith’s Ensemble WE ALL BREAK Residency at NYC’s Lower East Side Venue The Stone 12/19/17 – 12/23/17

We All Break is the unveiling of drummer Ches Smith’s 15-year study and engagement with the rich music and culture of Haitian Vodou. Of his instantaneous attraction to the music, Smith speculates, “this probably had something to do with the fact that the things that occur in the various music I play—polyrhythm, (massive) tension and (occasional) release, improvisation, polytonality, extended timbral awareness, channeled aggression, power, and (most importantly) surprise—I found again in this traditional form. I kept my study of the music somewhat of a secret, not because of any misgivings about the often-misunderstood religion. Quite the opposite actually: because I eternally felt like a novice, I grew up as an outsider to the culture, and I was weary of the long history of sketchy behavior regarding appropriation by persons of my ‘demographic.’”

Ches Continues, “It slowly dawned on me, however, that my silence was a little problematic. Refusing to acknowledge the music I was spending greater and greater amounts of my time on was in fact denying Haitian Vodou’s influence on my playing, and how it was changing me. From a composition standpoint, however, I was hearing an approach that on the surface might sound more “out,” but in reality draws on the totality of elements I have observed playing Vodou ceremonies and in folkloric settings, and from countless hours listening to recordings. I wanted these ideas—lead/chorus song structure, polytonal relations among the singers and drums, conversations between the drums, kase (“breaks”)—to focus each piece, with the traditional drum rhythms and their spiritual, political and visual associations simultaneously providing a foundation for the material and an inner logic from which the compositional content springs. The music on this recording is the new “ground level” for whatever comes next.”
We All Break is:
Matt Mitchell—piano
Daniel Brevil—Rada and Petwo tanbou, lead and chorus vocals
Markus Schwartz—Rada and Petwo tanbou, lead and chorus vocals
Ches Smith—drums, kata, chorus vocals
Ches Smith December 2017 Stone Residency
Tuesday 12/19
8:30 pm
LAUGH ASH
Jennifer Choi (violin) Anna Webber (flute) Nate Wooley (trumpet) Oscar Noriega (clarinets) Michael Nicolas (cello) Ches Smith (vibraphone, timpani, electronics) Eli Crews (sound processing)
Wednesday 12/20
8:30 pm
Ches Smith Trio
Ches Smith (drums, percussion) Craig Taborn (piano) Mat Maneri (viola)

Thursday 12/21
8:30 pm
Lorin Benedict, Jonathan Finlayson, Matt Mitchell, Stephan Crump and Ches Smith
Lorin Benedict (vocals) Jonathan Finlayson (trumpet) Matt Mitchell (piano) Stephan Crump (bass) Ches Smith (drums)

Friday 12/22
8:30 pm
WE ALL BREAK
Matt Mitchell (piano, percussion) Daniel Brevil, Markus Schwartz (Haitian Tanbou) Ches Smith (drums)

Saturday 12/23
8:30 pm
GOOD FOR COWS
Devin Hoff (bass) Ches Smith (drums)

––––––––––STEPHEN BUONO PUBLICITY–––––––––

Adam Rogers’ DICE Conjures Electrifying Debut with Eponymous Album Featuring Fima Ephron and Nate Smith

Rock, Funk, Blues, Country and R&B
Displayed on in the Moment Masterpieces
to be Heard at Maximum Volume

Modern jazz virtuosity combusts with a raw, eclectic mixture of rock, funk, blues, country, and R&B in a volatile combination that uniquely reflects our time while evoking the gritty street sounds of a bygone New York on the self-titled debut release by Adam Rogers‘ DICE. The explosive power trio brings together Rogers, one of the most acclaimed and inventive guitarists in modern jazz, with a pair of longtime collaborators: bassist Fima Ephron and drummer Nate Smith.

 

Together, these three adventurous artists have created a uniquely electrifying sound that merges danger-skirting experimentalism with blistering, genre-defying tunes and spontaneous grooves as tightly coiled as a rattlesnake about to strike. It’s a singular concoction, one that could only come from a musician with Rogers’ distinctive background and gift for uniting six-string wizardry with gut-churning propulsion.

 

Available now on Rogers’ own ADRAJ RECORDS imprint, DICE marks the first release on the guitarist’s new label as well as the debut of a trio that has been honing its visceral sound for the better part of a decade. The members have shared histories that date even further back, however; all three have been key members of Chris Potter’s Underground, while Rogers and Ephron have co-led the uncategorizable group Lost Tribe since the early 1990s.

 

“The music that we play in this band is so infused by Fima and Nate’s incredible capacity to really groove their asses off, regardless of how complex the music can become.” Rogers says. “They have a phenomenal hook-up, both in terms of their natural talents and their ability to objectively conceptualize music.”

 

Those qualities are key to the risk-taking approach of DICE, which uses the written material as the leaping-off point for powerfully infectious music created entirely in the moment. It’s composition as a roll of the dice.
Rogers’ formative years were spent on the streets of New York City at a time when a staggering range of music poured out of every house you passed by. He was surrounded by music in his own home, where both his parents were Broadway performers who raised him against a steady backdrop of show tunes, jazz standards, popular song and opera. He came of age captivated by everything from The Beatles to James Brown, The Temptations to Led Zeppelin, Parliament Funkadelic to Jimi Hendrix. He discovered jazz through fusion pioneers like Herbie Hancock’s Head Hunters and Weather Report before tracing the music back to its source, finding inspiration in the music of Charlie Parker, Miles Davis and John Coltrane.

 

“In New York in those days,” Rogers recalls, “radios were always playing everywhere, right out on the street. I was profoundly affected by that; the music I heard cast a spell on me when I was young. There was so much instrumental musicianship evident in all of that era’s popular music, which, combined with what I heard at home, ultimately created the musical groundwork for me to start to appreciate jazz.”

 

Some of Rogers’ own earliest musical experiences were found on those same streets, as the young guitarist and his fellow musicians — including Ephron — would drag their axes and amps to a pre-Disneyfied Times Square to play for passersby. “We had gasoline generators and had certain places that we knew we could play where the cops wouldn’t stop us, and we played between two and three sets a day, five or six days a week. It was a wild and beautiful and crazy environment, and we would play music that was exciting, fast and loud so that we’d get the crowds enthusiastic.”

 

The music of DICE harkens back to those days, both in its excitement and in the techniques that Rogers and his fellow musicians honed to improvise and sustain chunks of groove in order to adjust to the unpredictable audiences. On DICE, Rogers, Ephron and Smith tap the vein of a cityscape to find a vital source of visceral musical invention. It’s rock, it’s funk, it’s blues, it’s country, it’s throat-throttling jazz as only these three innovative artists can create it.

 

About Adam Rogers:
DICE marks an exhilarating new direction for Rogers, best known as a versatile and innovative jazz guitarist who has toured and recorded with a diverse array of artists including Michael Brecker, Cassandra Wilson, Norah Jones, Joe Jackson, Walter Becker, Paul Simon, Regina Carter, John Zorn, Randy Brecker, Ivan Lins, Marcus Miller, The Mingus Orchestra, Chris Potter, The Gil Evans Orchestra, John Pattitucci and Ravi Coltrane, among others. He has previously released five albums as a leader in trio, quartet and quintet formats and appeared on over 200 albums.

 

Adam Rogers · DICE

 

ADRAJ RECORDS· Release Date: June 16, 2017

 

For more information on Adam Rogers, please visit: AdamRogersMusic.com

 

 

SOURCE: D LMedia

Alcanza, a nine movement suite written for Rhizome (voice, guitar, strings, piano, bass, drums and electronics) features Grammy nominated pianist/composer Fabian Almazan

Fabian Almazan began creating some buzz with his sparkling piano chops in trumpeter Terence Blanchard’s group on Choices (Concord Music Group, 2009). Originally from Havana, Cuba, Almazan is not only one of the young rising stars in New York, but is also classically trained and has received a number of awards as a composer in film, chamber and orchestral projects. Mark Turner  AllAboutJazz

Alcanza (Spanish for “reach”) is a nine-movement suite of music that deals with those brief moments in our lives in which one-second changes everything- or at least gives us a remarkable new perception of our condition. It also deals with the process of finding our own path as we go from childhood into adulthood; reflecting the beauty, frustrations, and paradoxes of modern-day life and not giving up on reaching for everything in life that brings us joy and love.

Camila Meza- voice & guitar ; Megan Gould– violin 1 ; Tomoko Omura– violin 2 ; Karen Waltuch- viola ; Noah Hoffeld- cello ; Fabian Almazan – piano, electronics ; Linda Oh– bass ; Henry Cole– drums

Expected Release Date: 6/2/2017

SOURCE: Biophiliarecords.com

BLUE NOTE JAZZ FESTIVAL ANNOUNCES 2017 LINEUP

Pat Metheny, Dr. John, Robert Glasper Experiment,
The Isley Brothers, Laura Mvula, Kool & The Gang,
Jerry Lee Lewis, Jacob Collier, Hiromi, Eddie Palmieri,
Cassandra Wilson, Dirty Dozen Brass Band, McCoy Tyner, Incognito, Jean-Luc Ponty, Henry Butler, Terence Blanchard,
The Hot Sardines, Dayme Arocena & More

New York, NYApril 25, 2017 – With over 100 events in 10 venues throughout New York City, the 2017 Blue Note Jazz Festival returns June 1 through 30.

The seventh annual festival will feature a diverse lineup of high-profile artists including music legends Pat Metheny, Dr. John, and Jerry Lee Lewis; iconic groups such as The Isley Brothers, Kool & The Gang, Dirty Dozen Brass Band, and Incognito; jazz staples Hiromi, Eddie Palmieri (currently in residency at Subrosa NYC through August), Cassandra Wilson, and McCoy Tyner; breakout artists Jacob CollierThe Hot Sardines (month-long residency at Blue Note Jazz Club), and Dayme Arocena; as well as two special Central Park SummerStage shows featuring Laura Mvula (with Taylor McFerrin & Marcus Gilmore and Introducing Blue Lab Beats – Presented by Jill Newman Productions) and the Robert Glasper Experiment (with Phony Ppl plus Tank and the Bangas); and many more.

Visit BlueNoteJazzFestival.com for a full schedule of events, as well as venue and ticket information. Additional events will be announced in the coming weeks.

Established in 2011, the Blue Note Jazz Festival was initially formed to celebrate the 30th anniversary of Greenwich Village’s iconic Blue Note Jazz Club. Presented by Blue Note Entertainment Group, which owns and operates the venue lineup of Blue Note Jazz Club, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa NYC (located in the Meatpacking District), and Lucille’s Grill, the festival has quickly grown into an annual 30-day event, emerging as the city’s largest jazz festival, with each venue offering its own unique cultural contribution to the New York City musical landscape. Additional festival venues and co-presenters this year include Beacon Theatre, Kings Theatre, The Town Hall, Central Park SummerStage, and Jill Newman Productions.

Additional headliners at Blue Note Jazz Club, B.B. King Blues Club, Highline Ballroom, and Subrosa include Michel Camilo, Danilo Pérez/John Patitucci/Brian Blade Trio, Candy Dulfer, Robert Cray, Valerie Simpson, Gary U.S. Bonds, Pedrito Martinez, Bria Skonberg, and The Williamsburg Salsa Orchestra, among others to be announced.

Please visit BlueNoteJazzFestival.com for the most current public lineup and schedule.

About Blue Note Entertainment Group:
Blue Note Entertainment Group, founded in 1981 by Danny Bensusan, is a multi-faceted entertainment company that owns and operates New York’s Blue Note Jazz Club, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa, and Lucille’s Grill; The Howard Theatre (Washington D.C.); and Blue Note Jazz Clubs Worldwide (Tokyo and Nagoya, Japan; Milan, Italy; Waikiki, Hawaii; Beijing; and Napa). The company also programs the Regattabar Jazz Club (Cambridge, MA) and Blue Note-branded concerts throughout Italy. Blue Note Entertainment Group presents shows outside of its club network. The annual Blue Note Jazz Festival was established in 2011 and has since grown to become the largest jazz festival in New York City each June. Subsidiaries of Blue Note Entertainment Group include the GRAMMY®-nominated record label Half Note Records, whose catalogue includes over fifty titles recorded live at New York’s Blue Note Jazz Club, as well as Blue Note Travel, Management Group and Media Group. The organization has presented many of the music industry’s greatest artists over the past 35 years, including jazz legends such as Dizzy Gillespie, Chick Corea, Herbie Hancock, Wynton Marsalis, Dave Brubeck, Ray Charles, Oscar Peterson, Sarah Vaughn, Chris Botti, and many more.
SOURCE: Jordy Freed
VP, Strategic Marketing & Business Development
Blue Note Entertainment Group

Music Giants Jack DeJohnette, Larry Grenadier, John Medeski, and John Scofield, Join Forces on Hudson, out June 9 on Motéma Music

New Jazz meets Rock Supergroup honors
The Hudson Valley’s creative spirit,
inspiring original music and creative takes on

Bob Dylan, Joni Mitchell, Jimi Hendrix and The Band
New York’s idyllic Hudson River Valley has been a rich source of inspiration for many millennia, from its rich sacred and artistic native American heritage, to the rise of the 19th century Hudson River School (America’s first recognizable non-native school of art) to the folk and rock movement that led to the era-defining Woodstock Festival of 1969, to Pete Seeger’s Clearwater movement and the burgeoning locavore movement with its craft wineries, breweries and wide spread indie arts and craft scene the area is home to more artists per-capita than any other area in the country, including New York City. Now, the next chapter in that remarkable history arrives in the form of Hudson, an awe-inspiring new collective that brings together four of the world’s most influential jazz musicians who are writing a new chapter in the marriage of jazz and rock which began with Miles Davis in the 1970s.

 

On their own, drummer Jack DeJohnette, bassist Larry Grenadier, keyboardist/organist John Medeski, and guitarist John Scofield can each boast careers that are stunning in their diversity and reach, building impressive audiences across a wide range of genres and styles from jazz to rock and beyond. Together they comprise the rare supergroup worthy of the name. What’s brought them together is not just their similarly adventurous and virtuosic music, but a shared love for the scenery and spirit of the Hudson River Valley, which all four call home.

 

The group’s extraordinary self-titled debut, Hudson (out June 9 via Motéma Music), strikingly captures the atmosphere and beauty of the region while celebrating the extraordinary music that has emerged from it. Mixing original music with thrilling renditions of world-famous songs by the likes of Bob Dylan, Joni Mitchell, Jimi Hendrix and The Band’s Robbie Robertson, Hudson has created an album as spectacular and breathtaking as the Hudson Valley itself.

 

Hudson. (L-R) John Medeski, Jack DeJohnette, Larry Grenadier, John Scofield. (Credit: Bill Douthart)
The prolific foursome first came together in 2014 at the Woodstock Jazz Festival. The collective immediately recognized their electrifying chemistry and agreed that the project needed to continue. Not that most were strangers to one another: DeJohnette and Scofield first played together nearly four decades ago and have since combined forces in their co-led Trio Beyond as well as in Herbie Hancock’s ground breaking New Standards ensemble. Guitar-master Scofield, equally adept at soulful jazz and R&B has recorded four albums with Medeski Martin & Wood, the trio known for melding the jazz and jam band worlds, while Grenadier has played with all three in different contexts. Adding to the fun, they spend this year celebrating the 75th birthday of NEA Jazz Master and GRAMMY®-winner DeJohnette.

 

Just a two hour drive but a world away, the Hudson Valley has long provided a retreat for those looking to maintain a lifeline to Manhattan’s vibrant metropolis but a lifestyle apart from its frenetic pace, its combination of scenic splendor and easy access to the city’s cultural hub making it an ideal source of respite and inspiration for artists. “All of us built our careers in the city and then moved out to the Hudson Valley to raise our kids and have a home,” Scofield says, who is coming off consecutive GRAMMY® Award wins in 2016 and 17. “One thing that we all have in common is that although we’re urban musicians, we left the city to live in nature.”

 

DeJohnette moved to the Valley in the early ’70s, enticed by members of the Paul Butterfield Blues Band, who pulled up stakes not long after while DeJohnette stayed. Relative newcomers Medeski and Grenadier both made the move in the early 2000s. “A lot of creative energy was going on up here at that time,” DeJohnette says of his early days. “I got a chance to get to know all the members of The Band and was a big fan of their music. Their tunes take me back to when I was a kid coming up in Chicago and listening to all kinds of music. There’s a lot of cultural history in that music.”

 

“This area has been a place for musicians to come to retreat,” Medeski says. “There’s performing, but there’s also writing and practicing and growing and going deeper. Traditionally people have come to this environment to search and grow. To woodshed.”

 

Grenadier concurs with the idea of the valley as a place not to play so much as to recharge and absorb the lessons learned on stages elsewhere. “People seem to come up here to have some quiet and soak up everything that they’ve taken in from living in the city and touring,” he says. “The atmosphere that Jack described in the ’70s still exists, in that there’s a real cultural awareness and creative energy that exists in all aspects of life around here, so I think it attracts the artistic spirit.”

 

Hudson conjures that spirit in a variety of stirring ways, from the blues-reggae feel of Dylan’s “Lay Lady Lay” to the meditative vibe of Mitchell’s “Woodstock” to the New Orleans swing of The Band’s “Up On Cripple Creek.” Hudson’s originals cover territory including the electric abstract organic funk of their collectively improvised namesake track, the simmering, Latin-accented groove of Sco’s “El Swing,” and the defiant “Dirty Ground,” featuring DeJohnette’s moving, earthy vocals. The closer, “Great Spirit Peace Chant,” pays tribute to the Native American tribes that were the first to settle the area, with the whole band joining in with chants, percussion, and wood flutes.

 

The album was recorded, at Scott Petito’s NRS Recording Studios, nestled between the Catskill Mountains and the Hudson River and sharing the welcoming feel of the valley’s homes. “Being up here in the mountains where you have some peace and tranquility, in a small, intimate room, the spiritual bond was definitely there,” DeJohnette says. “We didn’t feel stressed about recording. It was relaxed, so the music comes out that way. It has spirit and intensity and presence, but it also has a calm as well.”

 

Pastoral yet exhilarating, gorgeous yet thrilling, historic yet intimate, serene yet inspiring: these are the elements that make the Hudson Valley an ideal destination and Hudson a landmark recording.

Hudson Tour Dates
June 8 – San Francisco Jazz Festival, San Francisco, CA
June 9 – Lobero Theatre, Santa Barbara, CA
June 10 – Playboy Jazz Festival, Los Angeles, CA
June 11 – Chautauqua Park, Boulder, Colorado
June 18 – Pittsburgh International Jazz Festival, Pittsburgh, PA
June 24 – Ottawa Jazz Festival, Ottawa, ON
June 25 – Saratoga Jazz Festival, Saratoga, NY
June 29 – Toronto Jazz Festival, Toronto, ON
June 30 – Montreal Jazz Festival, Montreal, QC
August 6 – Newport Jazz Festival, Newport, RI
October 4 – Bardavon 1869 Opera House, Poughkeepsie, NY
October 6-7 – Rose Theater @ Jazz at Lincoln Center, New York, NY
October 8 – Berklee Performing Arts Center, Boston, MA
October 14 – Sheldon Arts Center, St. Louis, MO
October 15 – Yardley Hall, Overland Park, KS
October 17 – Jack Singer Concert Hall, Calgary, AB
October 18 – Chan Centre For The Performing Arts, Vancouver, BC
October 19 – Moore Theater, Seattle, WA
October 21 – Mondavi Center, Davis, CA
October 22 – The Green Music Center, Rohnert Park, CA
October 23 – Newmark Theater, Portland, OR
October 25 – Piper Theatre, Mesa, AZ
October 26 – Lensic Performing Arts Center, Santa Fe, NM

Hudson
Jack DeJohnette, Larry Grenadier, John Medeski, John Scofield

Label: Motéma Music · Release Date: June 9, 2017
For more information on Hudson and Motéma Music, visit motema.com

SOURCEJordy Freed

Known-Unknown explodes with an inventive yet dynamic spirit featuring Australia’s very own TRICHOTOMY l

TRICHOTOMY are one of Australia’s most inventive contemporary music ensembles.
So much more than a traditional jazz trio, this group expands the capacities of the classic piano/bass/drums combination by skillfully blending dense, exciting improvisations and delicate atmospherics, conjuring up sounds of modern jazz, ambient music, avant-garde rock, free improvisation and contemporary classical music. Wonderfully unpredictable & absorbing, dramatic & always distinctive.

Formed in 1999 while studying at the Queensland Conservatorium, Australia, the group’s sound is driven by award winning pianist Sean Foran, teamed with John Parker’s expansive dynamic and timbral range on percussion and Sam Vincent’s visceral touch on the double bass. Originally known as ‘Misinterprotato’, they forged a clear place amongst the contemporary music landscape in Australia.
Their debut album “now for the free released in 2003 gathered them critical acclaim and the second release “In is In” released on Jazzhead was an even stronger development for the group with The Australian calling it intelligent and moodily reflective….4 stars”. ~Biography