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!

Advertisements

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 

Petros Klampanis Blends the Colors of Emotion and Experience into a Rich Portrait of Humanity on his first Large Ensemble Album, Chroma

Motéma Music Debut, out March 10, features the Bassist/Composer’s Gifted Jazz Quintet
(Gilad Hekselman, Shai Maestro, John Hadfield, Keita Ogawa) with a Vivid String Section
Recorded in association with The Onassis Foundation USA
petros-klampanis-chroma 

 

Bassist/composer Petros Klampanis has absorbed a vibrant palette of colors over the course of a varied musical life journey, including Mediterranean and Balkan folk music of his native Greece, classical colorings of studies in Athens, Amsterdam and New York City, and vibrant splashes of musical pigment developed on the diverse NYC jazz scene through collaborations with such innovators as Greg Osby, Jean-Michel Pilc, Shai Maestro, Oded Tzur, Antonio Sanchez and Ari Hoenig.
On Chroma, his third album as a leader and Motéma Music debut, Klampanis explores the colors of human character, inspired by world events and personal experience. Chroma, the Greek word for “color,” masterfully employs a full spectrum of sonic colors to paint an introspective and emotionally daring artistic statement. His first large ensemble project melds the animated expressions of the composer’s jazz quintet (piano, bass, drums, guitar, and percussion) complemented by lush, classically-arranged strings to create a near symphonic work of modern jazz.
“This project arose from a question,” Klampanis explains. “What are the elements that compose each one of us, our personal characters, our individuality? The first answer that came to my mind is that character is composed of all the emotions, the thoughts and ideas, the fantasies and experiences that we have in our lifetimes. If we were to assign each of these elements a single color, then everyone of us could be seen as a unique composition of colors, the mix of which results in our own, very personal shade.”

Klampanis’ personal shade is a rich blend of colors whose expressive highlights have shined especially brightly during the making of this album. He explains that Chroma was born of a period of personal turmoil and self-examination. The end of a romantic relationship coincided with a number of other changes in the bassist’s life and in the world at large, leading, he says, to “an introspective period where I was spending time and energy thinking of the reasons that lead me, and other people, to make certain decisions, to think of what we think and to be who we are.”

Given his origins, Klampanis was also influenced by the turbulent events roiling the world, from economic stresses that hit particularly close to home in his native Greece, to his immigrant’s natural empathy for the refugee crises in Syria and across the Middle East. Processing these global events, Klampanis’ views on the human experience came into extreme clarity and were translated into Chroma as a riveting, synesthetic experience for listeners.

“We need to look inside and see what is really important for us and for the world around us,” Klampanis urges. “We happen to live during a strange time for humanity. Musicians and artists in general have historically been the ‘outsiders’ in most societies, and our time makes no exception. But art carries qualities that are essential for our development, individually and socially. We need more ‘color’ in our life: more love, more compassion, respect, and imagination.”

To achieve the striking tones on Chroma, Klampanis gathered a group of master musicians, each adding their own distinctive tint to the composer’s panorama: guitarist Gilad Hekselman and pianist Shai Maestro (both originally from Israel), drummer John Hadfield (a native of Missouri), and Japanese-born percussionist Keita Ogawa make up the core group, which is joined by an accomplished eight-piece string ensemble.
Chroma was recorded and filmed live before an intimate audience at New York’s Onassis Cultural Center. The Onassis Foundation USA, which is dedicated to exploring and promoting Greek culture from antiquity to today, provided a generous grant to support Klampanis’ work, which he developed over a series of live presentations in 2014 and 2015. “I thought that it was best to record to capture the energy that this band carries in front of an audience,” Klampanis explains, and indeed, the live setting is ideal for this well-honed ensemble, whose spontaneous interactions thrill, while never sacrificing the evocative sensitivity of Klampanis’ writing and arranging.

“I have invested a lot of energy, love and time for the creation of Chroma. I can confidently say that I am really satisfied with the way everything came together. I am also happy about my first collaboration with Motéma, a label which I admire and respect”.

About The Compositions
The slow dawning of the title track provides a moving illustration of the concept of the album as a whole.  A radiant image gradually comes into focus, beginning with the dream-like twinkling of Maestro’s piano, then the shimmering strings, then a gently assertive melody.

The brooding, noir-lit “Tough Decisions (Are Always Dark Green)” offers a hint of Klampanis’ particular brand of synesthesia, brought on by his recent break-up. While the bassist doesn’t actually see colors from music, he does associate emotions and experience with different hues. A personal crisis and its associated olive-green tones inspired this piece, while the wonderment of growing up in a small community and dreaming of bigger things (as Klampanis did on the Greek island of Zakynthos) is spotlighted on the azure-splashed “Little Blue Sun.”

A nebulous, mesmerizing intro leads into Hekselman’s “Cosmic Patience,” a piece that, for Klampanis, conjures not colors but an interstellar landscape. “Shadows,” written by his countryman, pianist Spyros Manesis, fits more easily into the overall concept, its overcast shades of gray expressing humanity’s struggle with our darker side. Klampanis reveals that interior dilemma through his tender, wordless vocals, achingly singing the melody accompanied by Hekselman’s piercing guitar. The album closes on a more optimistic note with the joyous, celebratory “Shades of Magenta,” its buoyant rhythms playfully countering the excited stabbing of the strings.

Born in Zakynthos, Greece, Petros Klampanis initially headed for a degree in mechanical engineering, dropped out of the Polytechnic School in Athens to pursue his musical passions, and in 2005 began double bass performance studies at the Amsterdam Conservatory. In 2008, he completed his formal studies at the Aaron Copland School of Music in New York, where he quickly began collaborating with some of the city’s most renowned jazz musicians. In addition to his extensive list of appearances as a leader locally, including the storied venues of Carnegie Hall and Lincoln Center, he has performed at the internationally acclaimed North Sea Jazz Festival and the Palatia Jazz Festival in Germany.

Klampanis’ collaborations with saxophonist Greg Osby led to the release of his first two acclaimed albums, Contextual and Minor Dispute, on the saxophonist’s Inner Circle Music label. Fellow bassist Drew Gress has praised Klampanis’ “aggressive melodicism, beautiful intonation, and uniquely personal string writing.” In 2012, Klampanis was invited by the Liepaja Symphony Orchestra for a series of concerts throughout Latvia, while his arrangement of the Greek folk song “Thalassaki” was performed by the Greek Public Symphonic Orchestra in Athens. Also an in-demand educator, Klampanis has given workshops internationally and serves as a guest lecturer at Oberlin Conservatory in Ohio and the Ionian Academy of Music in Greece.

PETROS KLAMPANIS 2017 TOURING
March 11 – Loft – Koeln, Germany
March 12 – Vortex – London, UK
March 18 – Jazz Station – Brussels, Belgium
March 22 – Philly Joe’s – Tallinn, Estonia
May 3 – Thessaloniki, Greece
May 4 – Athens, Greece
May 5 – XJAZZ Festival – Berlin, Germany
May 6 – Duc des Lombards – Paris, France

SOURCEJordy Freed

Theo Bleckmann is a sound painter who creates what JazzTimes has described aptly as “luminous webs” in music

theo-bleckmann-elegy

Beyond being a vocalist of rare purity and daring, Theo Bleckmann is a sound painter who creates what JazzTimes has described aptly as “luminous webs” in music. The German-born New Yorker makes his striking label debut as a leader with Elegy.

This album showcases Bleckmann as a composer as much as a singer, with several instrumental pieces voiced by what he calls his “ambient” band. ~Editorial Review | Amazon

Theo Bleckmann: voice; Ben Monder: guitar; Shai Maestro: piano; Chris Tordini: double bass; John Hollenbeck: drums

Expected Release: January 27, 2017

Pianist/composer Frank Kimbrough – Solstice feat. Jay Anderson and Jeff Hirshfield on Pirouet Records

frank-kimbrough-solstice Frank Kimbrough counts among a handful of New York-based pianists who have been refining and expanding the language of ensemble playing over the last few decades (this November he marks 35 years in New York and his sixtieth birthday). Declared a “a near-visionary whose piano-improvising, composing, and band-leading skills seek out the dark corners of untrod jazz terrain” by The New Yorker, Kimbrough is noted for his exquisite ensemble, trio and solo recordings as well as his duo work with Lee Konitz, Scott Robinson, Joe Locke and Paul Bley, his work as a sideman in Dewey Redman’s quartet, and his long-term involvement with the Jazz Composers Collective and the Maria Schneider Orchestra. On Solstice, acclaimed players and longtime musical companions, bassist Jay Anderson and drummer Jeff Hirshfield join Frank to explore the music of some of the jazz masters who have left a personal imprint on his life. The new album is now available in our Pirouet Label Shop and in stores worldwide on Friday. Pre-listen here.~Pirouet Records| 2016