Legendary Saxman Frank Catalano releases Birdland Jazz Club

In 2022, Legendary Saxman Frank Catalano will be touring the USA, Europe, and Asia extensively as well as releasing a collection of recordings from his many performances at New York’s legendary Birdland Jazz Club. These recordings feature Herbie Hancock Headhunters alum Mike Clark and will be Frank’s 5th album on the Ropeadope label.

Frank regularly teams up with his long-time friend and Smashing Pumpkins drummer, Jimmy Chamberlin. Forbes Magazine profiled Frank for his performances with The Violent Femmes including Riot Fest and Brooklyn Steel.

A documentary was made about Frank by Belgian director Colin Donner. The film is titled “Sugar Jazz” and will premiere at the Tokyo Lift off Film Festival.

“Tokyo #9” debuted at #1 on the Billboard Traditional Jazz Charts, has garnered millions of streams and topped the Spotify and Apple Music playlists. “Love Supreme Collective” debuted at #1 on the iTunes Jazz Charts and honors John Coltrane. Frank recorded “Bye, Bye, Blackbird” with David Sanborn and teamed up with Jimmy Chamberlin of The Smashing Pumpkins to release “God’s Gonna Cut You Down”. Frank’s Savoy/Columbia recording “Bang!” debuted at #12 on the Billboard Jazz Charts, while his recording, “Mighty Burner” was on the Billboard Charts for 20 straight weeks.

When Frank was 18, he signed to Delmark Records and did a string of critically acclaimed recordings with Randy Brecker, Von Freeman, Ira Sullivan, Willie Pickens and Paul Wertico amongst others. Frank’s co-led album with Von Freeman, “You Talking To Me,” has become a cult classic. Catalano is the only known saxman to have performed with Miles Davis, Charles Earland, Elvin Jones, Junior Wells, Randy Brecker, Stan Getz, Betty Carter, Tito Puente, Tony Bennett, Les Claypool, and Louis Bellson while still in high school!

Frank has been profiled by countless media including: The New York Times, Forbes, Downbeat, CMJ, JazzIz, Jazz Times, NPR, PBS, Chicago Tribune, Huffington Post, etc. As a sideman, Catalano has been heard by millions of people thanks to his collaborations with Jennifer Lopez, Beyoncé, Maurice Joshua, Destiny’s Child, John Legend, Tony Bennett, Seal, and others.

Frank has received his fair share of accolades, recently winning an IMA award at Lincoln Center and being inducted into the Fox Valley Arts Hall of Fame. He has appeared on 3 Grammy‐winning and 11 Grammy‐nominated recordings, plus in 2007 he received a Tech Grammy Award as part of the Yamaha Corporation for his numerous patents and developments. He was also the youngest saxophonist to be voted into the Downbeat Critics Poll at age 19.

No stranger to adversity, Frank cut off his right middle finger in an automobile accident. After several surgeries and much effort, Catalano relearned his signature technique, making him one of the most in‐demand musicians today. He regularly donates his musical services to the Susan G. Komen Breast Cancer Foundation, Peoples Music School, and Off The Street Club.

Frank has written a book series for publisher Hal Leonard, called “Modern Saxophone Techniques” and his song “Mighty Burner” is featured in “The Real Book Volume 6”. He also endorses Yamaha Saxophones, JodyJazz mouthpieces, D’Addario Reeds, and Rovner Ligatures.

Catalano loves composing music and holds a BA in Classical Composition from De Paul University. Frank is the spokesperson for Drambuie Scotch and has a signature cocktail named after him, “The Catalano Sidecar”, which has been trademarked and is featured at hundreds of clubs and music venues. Frank owns hundreds of vintage saxophones and is on the Board of Directors for the National Saxophone Museum in St Louis. Frank and his wife Sona split their time between their homes in Chicago and New York. For more information: visit www.catalanomusic.com – Bandcamp 

Released July 1, 2022

Producers: Frank Catalano and Sona Tazian
Manager: Ryan Paternite
Engineer: Lance McVickar
Mixing and Mastering: Dan Steinman
Cover Art: Tony Fitzpatrick
Layout and Design: Karmann Sloane
Saxophone: Frank Catalano
Piano: Randy Ingram
Bass: Julian Smith
Drums: Mike Clark
Birdland photos by Adrien Tillmann
Frank Catalano uses Yamaha Saxophones, D’Addario Reeds, JodyJazz
Mouthpieces and Rovner Ligatures

 

The long awaited project REROOTING by composer/leader, percussion, balaphone and kalimba MARILYN MAZUR

Marilyn Mazur’s collaboration with Miles Davis, Gil Evans, and Wayne Shorter established her worldwide reputation in the mid-to-late ‘80s, as did her career with Jan Garbarek later on. But even before that, percussionist and composer Marilyn Mazur had already realized significant projects of her own. Her Primi Band, an experimental music theatre group that existed from 1978 to 1986, left such a lasting impression that the Copenhagen Jazz Festival wanted to reboot the group four decades later. This was unfortunately not possible, but the evocative spirit of that band has been let out of the bottle through a new project.

Shamania is the name of the band that Marilyn founded in 2015. Its shamanic spirit is based on the idea of a modern tribal gathering of female musical forces that focuses entirely on rhythm, body, and voice in an experimental context and the challenge of finding a common ground.

The ten women of Shamania are among the most independent musicians on the Scandinavian scene and live in Denmark, Norway, and Sweden. When they meet, they bring – through their formidable energies – a primal power and fascinating rhythms to the stage and enchant the listener with atmospheric moods and moments of pure amazement. The very same qualities have now been captured on their second album:

REROOTING combines 16 songs, a combination of both Marilyn’s brand new and older compositions, which have all been, with one exception, previously unreleased.

Each of these songs has its own story, such as an original song composed for Marilyn’s son when he was a baby, the sunset canon, the world situation, Nordic nights, April 1 – as well as the title track that was created at the first gathering of the Shamania musicians after pandemic-related self-isolation and many concert cancellations.

From the water phone, which combines the principles of the Tibetan water drum, the African lamellophone, and the nail violin from the 18th century, to udu clay pot drums, various bongos, congas, the kalimba, drums, and tuned gongs from all over the world, to the Norwegian goat horn: the extraordinary wealth of timbres, together with the other instruments, primes the songs, shining out of them, glowing and radiating, results in the unmistakable Shamania sound and, with the brilliant rhythms, form Marilyn Mazur’s trademark: often ritual-type music with an unmistakable instinct for outstanding dialogues, solos, and improvisations – as well as an energetic primal force, and the very personal musical language of the great musician that extends into a world that lies far beyond jazz.

JOSEFINE CRONHOLM vocals
SISSEL VERA PETTERSEN vocals and alto sax
HILDEGUNN ØISETH trumpet and goat horn
LOTTE ANKER tenor and soprano saxophone
LIS WESSBERG trombone
MAKIKO HIRABAYASHI piano and keyboards
IDA GORMSEN electric bass
LISBETH DIERS congas and percussion
ANNA LUND drums
MARILYN MAZUR composer/leader, percussion,
balaphone and kalimba

All compositions and lyrics by Marilyn Mazur,
except for the lyrics of Largo of Voices by Josefine Cronholm

Expected Release Date: 9/16/2022

Rising star pianist/composer Connie Han brings the ancient Sumerian culture to the present day by channelling Inanna — the ancient Sumerian goddess of love, beauty and war — on her third release for Mack Avenue Records.

Rising star pianist/composer Connie Han brings the ancient Sumerian culture to the present day by channeling Inanna — the ancient Sumerian goddess of love, beauty, and war — on her third release for Mack Avenue Records.

Featuring Katisse Buckingham (alto flute and piccolo), John Patitucci (bass), Rich Perry (tenor saxophonist), and drummer Bill WysaskeSecrets of Inanna creates a new world open to interpretation, harkening back to the ethereal soundscapes’ of 1970s spiritual jazz with the modern composition Han has received praise for since her 2018 debut Crime Zone, creating a truly unique soundscape of great depth. ~MackAvenueRecords

At your leisure, stream her new single “PRIMA MATERIA” from her upcoming album

 

Renowned Saxophonist and Composer Miguel Zenón Releases Música de Las Américas, Inspired by the History of the American Continent

Out August 26, 2022, on Miel Music, Música de Las Américas features all-new music from Zenón for his long-time working quartet plus master percussionists from his native Puerto Rico Album release celebration August 23 – 28 at The Village Vanguard, NYC

This music is inspired by the history of the American continent: not only before European colonization but also by what’s happened since—cause and effect,” says Miguel Zenón of his latest album of all original works, Música de Las Américas. The music grew out of Zenón’s passion for the history of the American continent, and the resulting album pays tribute to its diverse cultures while also challenging modern assumptions about who and what “America” is.

 

Featuring his longstanding quartet of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry ColeMúsica de Las Américas represents a broadening of scope and ambition for Zenón, who is best known for combining cutting-edge modernism with the folkloric and traditional music of Puerto Rico. In realizing such a wide-ranging project, Zenón engaged the illustrious Puerto Rican ensemble Los Pleneros de La Cresta to contribute their unmistakable plena sound to the album, with additional contributions by master musicians Paoli Mejías on percussion, Daniel Díaz on congas, and Victor Emmanuelli on barril de bomba.

 

Zenón’s compositions on Música de Las Américas reflect the dynamism and complexity of America’s indigenous cultures, their encounters with European colonists, and the resulting historical implications. Zenón immersed himself in these topics during the pandemic, reading classics like Eduardo Galeano’s Venas Abiertas de América Latina (Open Veins of Latin America: Five Centuries of the Pillage of a Continent), which details Western exploitation of South America’s resources and became the inspiration for Zenón’s “Venas Abiertas.”

 

Other sources of inspiration include Sebastián Robiou Lamarche’s Taínos y Caribes”, referring to the two major societies who inhabited the Caribbean prior to European colonization and who are the subject of the album’s opener. “They were the two predominant societies but were very different: the Taínos were a more passive agricultural society while the Caribes were warriors who lived for conquest,” says Zenón, who captures the clashing of the societies in the interlocking rhythms of the piece.

 

Following the thread of indigenous Caribbean societies, “Navegando (Las Estrellas Nos Guían)” pays homage to the seafaring culture that existed across the region. “One thing that blew my mind was how they could travel the sea at long distances just using canoes while being guided by the stars,” says Zenón. “That opens conversations about what’s ‘archaic’ versus what’s ‘advanced’ in terms of scientific achievement between the ‘New World’ and ‘Old World.’”

 

Zenón referred to the star formations used for navigation by those societies as the musical foundation of the song, which prominently features the percussion and vocals of Los Pleneros de la Cresta, who sing and accompany the titular chorus: “Navegando vengo, sigo a las estrellas.”

 

Possibly the most challenging piece on the album in its harmonic dissonance and complexity, “Opresión y Revolución” evokes the tension and release of revolutions on the American continent, notably the Haitian Revolution among others. Featuring the percussion of Paoli Mejías matched with the percussive piano work of Perdomo, the piece also reflects the influence of Haitian vodou music, which Zenón was heavily exposed to while working with drummer Ches Smith and his ensemble “We All Break.”

 

Although for many the term “empire” brings to mind the contemporary Western world, Zenón composed “Imperios” with the various indigenous empires of America in mind, including the Incas, Mayans, and Aztecs. “They were some of the most advanced societies at their time; as a matter of fact, they were in some ways more advanced than what was happening in Europe in terms of contemporary mathematics and astronomy, society and politics,” says Zenón. “There was something there already that was really advanced, and it makes me think about what could have been: what would have come out of that?” The melody derives from Zenón’s transcription of music from a ceremony of Aztec descendants, which is the counterpart to the rhythmic structure of the song.

 

“Bambula” features percussion virtuoso Victor Emmanuelli, whom Zenón lauds for pushing the musical envelope as a bandleader in his own right. The term “bambula” refers to a dance that was brought over by African slaves to the Americas. Over time, bambula became the rhythm commonly referred to as “habanera,” which is found in much of Latin American music today. Here, Zenón captures the feeling of connection across time and space that is carried by this single rhythmic cell:

 

“It’s a thread from New Orleans to Brazil to Central America back to Africa, across all these eras from the past to contemporary pop,” says Zenón. “For me, I wanted it to feel like you’re out at the dance, but at the same time hearing this more modern harmony and melody.”

 

In highlighting these connections across geographical regions, Zenón also returns to a major theme throughout the album: the conception of America not as a country—that is, only referring to the modern United States—but as a continent. “América, el Continente” makes that point clear while reminding listeners of the political implications of the United States assuming ownership of the term “America,” with its subtle erasure of the remaining Western hemisphere.

 

“Antillano,” named for the residents of the Antilles, showcases what Zenón is best known for: bringing together past and present in a forward-thinking, musically satisfying way. Ending the album on an optimistic note, the piece emulates aspects of contemporary dance music while serving as a feature for Daniel Díaz on congas. Some odd-meter surprises may fly past the ear of a casual listener, but they do so without any interruption to the musical flow so naturally conveyed by Zenón’s quartet.

 

In confronting often challenging historical topics on Música de Las Américas, Zenón has created a masterwork, whose musical delights will inspire and uplift while spurring a conversation about the problematic power dynamics across the American continent. The premise that modern jazz cannot be both grooving and emotionally resonant to the casual listener while formally and intellectually compelling is patently false, which Zenón proves here as he has time and again throughout his career.

 

© Adrien Tillmann
~Copyright © 2022 Braithwaite & Katz

Yellowjackets Enter Fifth Decade Sounding as Fresh as Tomorrow on Upcoming Album: Parallel Motion

Parallel Motion is out on CD / Digital on August 26, 2022

Maintaining a distinct group identity for 40 years is an exceedingly rare achievement, but what sets Yellowjackets apart isn’t their longevity so much as the consistently inspired quality of their music. Born in the age of fusion, the band has thrived through the decades by steadily seeking out new sounds and approaches, combining elliptical lyricism with a sophisticated and evolving harmonic palette all their own. Slated for release on August 26, Parallel Motion is Yellowjackets’ sixth album for Mack Avenue Records and it captures a vibrant creative communion that shows no signs of an impending midlife crisis.
Since Yellowjackets’ eponymous 1981 debut album, the group has hewed its own creative path, influencing colleagues with enviable compositional craftsmanship and an ever-shifting blend of influences. In many ways Yellowjackets embody both continuity and renewal, with founding­ pianist/keyboardist Russell Ferrante providing the four-decade thread first joined by Will Kennedy­, who took over the drum chair from 1987-99 and returned to the fold in 2010. Bob Mintzer, a Jacket since 1990, contributes on tenor and soprano saxophones and EWI. By the band’s standards Australian-born electric bass virtuoso Dane Alderson is still the new kid, though he’s already anchored the quartet for seven years. Parallel Motion is a Technicolor portrait of a working band that’s still stretching its wings.
“The last two projects were collaborations,” Ferrante said, referring to 2018’s luminous Raising Our Voice with extraordinary Brazilian vocalist Luciana Souza, and 2020’s orchestral Jackets XL with the WDR Big Band of Cologne, Germany. “We wanted to do a project focusing on the quartet. In terms of the material, we wanted to broaden the contributions from everyone. Dane is represented by several tunes. Will is in the mix. Everybody’s involved in every aspect.”
While Yellowjackets recorded the album in the midst of the pandemic, the music looks forward rather than exploring the angst and isolation that accompanied the advent of COVID-19. Of course, resilience and optimism in the face of tragedy is in itself a profound statement. For Mintzer, the new work “represents the commitment to stay together and keep moving forward. It’s really about this four-cornered square that functions no matter what. With each record, all four of us are on the hunt for new ways to put the notes together. The music keeps growing. The focus is this band. A clear, identifiable sound. Four equal parts.”
Indeed, every Jacket is well represented on Parallel Motion. The album opens with Mintzer’s “Intrigue,” a lithe but stutter-stepping tune that offers a little surprise around every shifting groove. Lyrical and street smart, the piece showcases all four players at their most responsive. “There’s a singable component, but these little splashes of dissonance,” Mintzer said. “It doesn’t fit into any categories, which is one of the M.O.s of this band.”
Ferrante’s passionate “Il Mio Amico” is a heartfelt ode written in response to his recently acquired Fazioli piano. It’s a spectacular instrument “and the resonance and overtones and response you get is really inspiring,” he said. “We brought it to the studio and used it on the recording, the first workout it got, and as the title says, it’s really my new friend.”
Alderson’s slyly grooving “Early” grew out of a sketch that had been languishing on his laptop for more than a decade. “I brought it to the band and the guys brought it to life,” he said. “It’s a jammy party tune with an R&B flavor that really evolved in the studio.”
Kennedy transformed a tune originally written with vocals into the ravishing “Samaritan,” a piece that expands on Yellowjackets’ long history of singable lines. “The goal was to have a melody that was simple and warm and I think we achieved that,” Kennedy said. “It’s a really calm and relaxing sort of song. As Dane was saying, it’s always an interesting adventure to present a tune to the band and have it take on a life of its own.”
If Parallel Motion offers a snapshot of a band in mid-flight, it’s also a family portrait that includes Ferrante’s “If You Believe,” a track featuring the supremely soulful vocalist Jean Baylor. No stranger to Jackets fans, she’s recorded with the group several times, and of course her husband, drummer Marcus Baylor, was a member of Yellowjackets from 2000-2010. Her gospel-steeped performance adds another incandescent track to Yellowjackets’ deep roster of vocal collaborations, a list that includes Bobby McFerrin, Kurt Elling, Bobby Caldwell, Randy Crawford, Brenda Russell, Michael Franks, Gino Vannelli, Jonathan Butler and Luciana Souza.
Recorded after a brief European tour, the album documents the process of discovery. “We rehearsed the tunes on the album maybe three times,” Alderson said. “I believe we’re only now on this tour performing these songs live, so what you’re hearing are about as fresh as they can be. Everything really came to life in the studio in those three days.”

Parallel Motion — the new album from jazz fusion legends Yellowjackets — is a true testament to the longevity and resilience of a band that debuted over 40 years ago. Consistently reinventing themselves through elevated instrumentation in their signature electro-acoustic soundscape, the current lineup consists of Bob Mintzer (tenor & soprano saxophone/EWI), Russell Ferrante (piano/keyboards), Will Kennedy (drums, keyboards), and Dane Alderson (electric bass, MIDI Sequencing) showcases a collective at their prime. This album features 9 new original compositions and guest vocalist Jean Baylor (4x GRAMMY® Award Nominee of the Baylor Project and R&B duo Zhané) on “If You Believe.” ~Mack Avenue Music Group

At your leisure, check the single “INTRIGUE” by the Yellowjackets.

 

Carnegie Hall Announces Schedule for NYO Jazz’s First US Tour Following June 24 Release of Debut Album We’re Still Here Led by Artistic Director and Bandleader/Trumpeter Sean Jones

US Tour Kicks Off at Carnegie Hall in
New York City on July 28 Featuring
GRAMMY® Award-nominated Vocalist
Jazzmeia Horn as Special Guest
US Tour Dates Include:
July 28 | Carnegie Hall | New York, NY
July 30 | Tri-C Metro Auditorium | Cleveland, OH
August 1 | Chautauqua Amphitheater | Chautauqua, NY
August 2 | The August Wilson African American Cultural Center | Pittsburgh, PA
August 4 | Navy Pier, Lake Stage in Polk Bros Park | Chicago, IL
August 5 | The Max M. and Marjorie S. Fisher Music Center | Detroit, MI
August 7 | Wisconsin Union Theater | Madison, WI
August 9 | John F. Kennedy Center for the Performing Arts | Washington, D.C.

Carnegie Hall today announced the schedule for the first-ever US tour by its acclaimed NYO Jazz set to take place on the heels of the June 24, 2022 release of the ensemble’s first full-length studio album, We’re Still Here. The album features NYO Jazz Artistic Director and Bandleader/trumpeter Sean Jones and special guest Melissa Aldana on tenor saxophone, plus an appearance by trombonist Wycliffe Gordon. Available for pre-order, the album will be released by Platoon and will be available for digital download and on all streaming platforms in standard and Dolby Atmos Spatial Audio formats.

Following NYO Jazz’s US tour kick-off concert at Carnegie Hall on Thursday, July 28, the ensemble—joined by this summer’s special guest vocalist Jazzmeia Horn—will tour seven US cities under the direction of Sean Jones. The tour stops include Cleveland, OH on July 30 (Tri-C Metro Auditorium); Chautauqua, NY on August 1 (Chautauqua Amphitheater); Pittsburgh, PA on August 2 (The August Wilson African American Cultural Center); Chicago, IL on August 4 (Navy Pier, Lake Stage in Polk Bros Park); Detroit, MI on August 5 (The Max M. and Marjorie S. Fisher Music Center); Madison, WI on August 7 (Wisconsin Union Theater); and Washington, D.C. on August 9 (The John F. Kennedy Center for the Performing Arts).

“I’m very excited to perform with the amazing young musicians of Carnegie Hall’s NYO Jazz this summer,” said Jazzmeia Horn. “What a wonderful opportunity as this tour marks my first time playing an entire tour with a big band and I’m especially thrilled to sing selections from my new big band album, Dear Love. I’m curious to see how NYO Jazz will interpret my latest expression of love musically as we connect with audiences in cities around the US. This will be a fun journey to share with them!”

One of Carnegie Hall’s three acclaimed national youth ensembles, NYO Jazz—comprising outstanding young musicians ages 16–19 from across the United States—showcases the legacy and bright future of American jazz. Created in 2018 by the Hall’s Weill Music Institute, NYO Jazz annually brings together some of the nation’s finest teen jazz musicians to train, perform, and tour with world-class jazz masters while also serving as music ambassadors for their country. NYO Jazz’s successful international tours have included a 2018 inaugural European tour with Dianne Reeves as a special guest, and the ensemble’s debut tour to Asia in 2019 with Kurt Elling as a special guest. Although NYO Jazz was unable to travel during the past two years, the musicians convened virtually during the summer of 2020 and at Purchase College, State University of New York (SUNY) just north of New York City, in summer 2021, rehearsing and recording a wide range of repertoire, including its debut album.

We’re Still Here features four new works written for the band since its inception, a range of classic and contemporary charts that are hallmarks of its live concerts, and works exploring themes that include social justice, resilience, and the power of music to spark joy. The four Carnegie Hall-commissioned works on the album are: “Run with Jones” by Miguel Zenón, featuring Melissa Aldana as soloist; “Mr. Jones and Co.” by Ayn Inserto, featuring Sean Jones as soloist; “Fête dans la tête” by John Beasley; and “RPM’s” by Igmar Thomas. In addition to these commissions, among the album highlights include: “We’re Still Here” by—and featuring—trombonist and NYO Jazz faculty member Wycliffe Gordon, which has become the band’s rousing encore theme song; hence, the album’s title; “The Art of War” by Ralph Peterson; “Oyelo” by Miguel Zenón, featuring Melissa Aldana as soloist; “A Taste of Honey” by Duke Pearson; “Mr. Gentle and Mr. Cool” by Duke Ellington, arranged by NYO Jazz ensemble coach Reginald Thomas; and “Transitions” by Sean Jones.

“You close your eyes and think they’re all 20 years older than they are,” said Sean Jones, who pays it forward through his passionate leadership of NYO Jazz, carrying on the tradition of mentorship in jazz.

The album—recorded during the ensemble’s summer 2021 training residency at Purchase College, SUNY, amidst the COVID-19 pandemic—is a declaration of resilience and longevity. A summer that began with the disappointment of a year without touring evolved into the opportunity to create this 97-minute showcase of the incredible artistry and enormous versatility of this remarkable ensemble, a recording poised to reach audiences around the world just as the ensemble resumes touring in summer 2022.

“We’re thrilled for NYO Jazz to release its debut album this spring—the first recording by any of our national youth ensembles,” said Sarah Johnson, Chief Education Officer and Director of Carnegie Hall’s Weill Music Institute. “It’s a tremendous opportunity for these gifted young players to train, perform, and now record alongside some of today’s leading jazz artists including special guest Melissa Aldana. It was especially meaningful for the musicians to gather for an extended residency last summer as it marked the first time many of them had the opportunity to come together to play in a full ensemble since the start of the pandemic. With We’re Still Here, we are proud to showcase the incredible depth of talent and high level of musicianship of these standout jazz musicians from across the country who will help ensure one of America’s quintessential art forms is preserved for generations to come.”

“The big band has always been America’s orchestral format and one of the most wide-ranging ensembles ever devised,” said Sean Jones, NYO Jazz’s Artistic Director, and Bandleader. “It can convey nearly any style of music in a sonically stimulating and interactive way. This recording exhibits that diversity by placing classics by Duke Ellington and Neil Hefti alongside pieces that utilize the big band as a vehicle for contemporary American music and represent a wide variety of genres.”

“Making this album was an absolute labor of love for the musicians, our incredible faculty and guest artists, and everyone involved,” said Joanna Massey, Director of Learning & Engagement Programs for Carnegie Hall’s Weill Music Institute, who has worked with the NYO Jazz program since its inception. “From their individual preparation prior to coming together as an ensemble, through long days of rehearsals and then recording sessions, the musicians were unwavering and inspiring in their dedication to producing something meaningful for the world to hear. It’s particularly special that by recording all of the original music written especially for NYO Jazz, the album also pays tribute to the outstanding musicians from previous NYO Jazz ensembles—who, like the players heard here, embodies the future of jazz.” ~DL Media

About NYO Jazz:

Each summer, NYO Jazz, led by artistic director Sean Jones, shines a spotlight on the depth of talent found among teen jazz players across the United States. The program offers talented young musicians, ages 16-19, the opportunity to perform as cultural ambassadors for their country, sharing a uniquely American musical genre with people around the world through an international tour. The members of NYO Jazz have been recognized by Carnegie Hall as being among the finest jazz musicians in the country, following a rigorous and highly competitive audition process. After its Carnegie Hall debut in 2018, the ensemble embarked on its first-ever international tour for performances with vocalist Dianne Reeves at prestigious concert halls and music festivals in London, Amsterdam, Edinburgh, Kassel, and Berlin. In summer 2019, NYO Jazz made its debut tour to Asia, joined by vocalist Kurt Elling, including performances in Taichung, Beijing, Shanghai, Zhuhai, and Hong Kong. As part of their travel schedule, NYO Jazz musicians also have opportunities to meet and collaborate with young local musicians and experience the richness of different cultures and music.

NYO Jazz builds on the success of the acclaimed National Youth Orchestra of the United States of America (NYO-USA) and its sister ensemble for younger musicians NYO2—programs created by Carnegie Hall in 2013 and 2016, respectively—to bring together the finest young classical musicians from across the country each summer for training, performances and international touring. Each of these prestigious national programs—free to all participants—is dedicated to the proposition that talented young musicians thrive when they have the opportunity to expand their musical, social, and cultural horizons and share their artistry with audiences around the globe. Since 2013, Carnegie Hall’s national youth ensembles have performed in 15 countries on four continents, including tours to China, South Korea, Mexico, Ecuador, Colombia, Russia, and across Europe.

Carnegie Hall’s NYO Jazz · We’re Still Here
Release Date: June 24, 2022

For more information on NYO Jazz, please visit:

[NOTEWORTHY] – Tales of Time is the calling car to versatile drummer/composer Greg Germann’s relentless chops and composing skills

New York-based drummer/composer Greg Germann has spent the better part of the last 2 decades touring the world with Broadway shows and then making his mark as a Telly Award-winning film composer, utilizing his background in classical percussion and jazz to guide his hand. With encouragement from an important mentor, drummer Clarence Penn, Greg turned his attention to documenting a collection of his wide-ranging compositions for the modern jazz quartet.

With Penn producing, they pulled together a group of supreme improvisers including saxophonist Donny McCaslin, pianist Luis Perdomo and bassist Yasushi Nakamura to tackle Germann’s rhythmically expansive & melodically rich works. Recorded in November of 2020, the compositions present a dynamic view of life during the Covid-19 pandemic.

From the relentless post-bop opener, ‘Rush Hour,’ to the reflective ‘Quarantine,’ Tales of Time is Germann’s calling card for jazz fans worldwide. ~Editorial Review | Amazon

Originally Released: March 12, 2021

At your leisure, spin “TALES OF TIME” by Greg Germann

Ivan Radivojević Quartet’s voice ascends with In Plain View the genre bending sound called the New Serbian Jazz Wave

New Serbian Jazz Wave. They call it that. And, for some time now, it has been closely linked with our label. Today it is the turn of Ivan Radivojevic, a young (thirty-one years old) trumpet player from Belgrade, who got noticed by us playing in the combo of Max Kochetov of whom a few months ago we published “Altered Feelings” and previously with Sanja Markovic for the album “Ascension” in 2020. Radivojevic, like every one of his generation, is one who moves in a sprawling way between jazz and hip-hop, passing through forays into reggae, rock, and soul. In short, very modernly his is a synthesis of music that tries to use the most disparate experiences to get to propose something personal.

In “In Plain View” all this is certainly not perceivable in terms of musical proposal: it is his mentality, open to the use of other languages, that strikes us and makes us touch with hand (better with the ear) than in those parts – it seems for some time now – a scene has been developing from which some of the most interesting musicians of this turn of the millennium are emerging. At least in Europe and at least for what concerns jazz as we are used to living it in its most adventurous sense. The trumpeter already boasts a very respectable curriculum having accrued the attendance of prestigious masterclasses with old and young African American lions (from Eddie Henderson, James Moody, and fellow countryman Stjepko Gut to Charles Altura and Joel Ross). “In Plain View” collects complex music – and this does not mean that it is difficult to use – the testimony of a curious mentality, attentive to everything that happens, always at the service of music. The combo is completed by very young musicians from the Serbian scene, all to keep an eye on – and who will soon be talked about. And not just in Serbia. ~Bandcamp

The Band…

Ivan Radivojević – Trumpet,  Andreja Hristić – piano Boris Šainović – double bass Bogdan Đurđević – drums
Guests:
Luka Ignjatović – alto saxophone (Loving You In Reverse) Andreja Stanković – guitar (Slipping Into The Night)

You can also listen below…

The Lockdown Album is Jorge Luis Pacheco’s Ropeadope debut – a beautiful reflection of our shared experiences of the early twenties

Hailing from Havana, Cuba, Jorge Luis Pacheco is one of the leading pianists and musicians of the new generation of jazz in Cuba. Winner of the Montreux Jazz Piano Solo Competition in Switzerland, Pacheco is a fiery young pianist with “flying hands.” He has performed all over the world including in prominent jazz clubs such as Dizzy’s Jazz at Lincoln Center, theaters, and festivals such as the Blue Note Jazz Festival in New York, The Piano Night in the House of Blues at the New Orleans Jazz Fest, the Sziget Festival in Budapest, Hungary and the Red Sea Jazz Festival in Israel among others.

He has also performed at the Kennedy Center in Washington several times as well as the legendary Apollo Theater where a lifetime achievement award was presented to Herbie Hancock. He has collaborated with the likes of Wynton Marsalis and the JLCO, Arturo O’ Farrill, and the legendary Lenny White as well as with Dave Weckl and Richie Goods as a trio in 2018. Pacheco is a passionate, extravagant, exciting entertainer on stage and constantly captures the audience’s attention with his heartfelt performances and electric energy. Pacheco was the winner of the JoJazz Award in Havana and in 2017 he won the Best Solo and Performance Award in the Jazz Competiton “Made in New York” in New York City with one of his own compositions – “Con el Pache me Voy”. Pacheco also has a Master’s Degree in Composition from the Instituto Superior de Arte de La Habana.

Pacheco is a virtuoso pianist, composer, arranger, percussionist and singer. Monty Alexander exclaimed that he “defies genre” – often playing Cuban jazz, traditional Cuban music, original film scores, and a new Symphony for Jazz Quartet and Symphony Orquestra that he composed, which is inspired by the music of South America and Afro Cuban Music. Pacheco showed the audience a range of different sounds from the most classic, performed by the Symphonic Orchestra to the most contemporary by the Jazz Quartet, where both joined together to achieve a balance between musical worlds.

The Lockdown Album is Jorge Luis Pacheco’s Ropeadope debut – a beautiful reflection of our shared experiences of the early twenties. The album is a beautiful presentation of his talent and style, with a modern Cuban flavor that defines the current and future iterations of Cuban style. ~Bandcamp

Jorge Luis Pacheco – Piano, Keyboard, Synthesizer, Voice
Helmut Reuter – Bass
Thomas Hempel – Drums
Anna Rabea Pacheco – Voice (songs 4 and 7)
The Twang – Chorus (song 5)

Christian Rollwage – Sound engineer, recording, mixing, and mastering
Photos by Angel Candeaux

Release Date: May 13, 2022

Creative bassist composer Rosa Brunello arrives with Sounds Like Freedom her second release on Domanda Music

Sounds Like Freedom” is the second release from LA-based record label, Domanda Music. It was recorded in September 2021 in Verona, Italy, and conceived by bass player Rosa Brunello with notable contributions from UK Jazz star Yazz Ahmed, Arabic experimental music pioneer Maurice Louca and Italian drumming sensation Marco Frattini. Each track is the result of spontaneous improvisations, which have been lovingly post-produced by Rosa Brunello herself and label founder Tommaso Cappellato.

The album speaks to the strange times we have been living through collectively as a society when direct human contact has been rationed and many performance opportunities have ground to a halt for musicians across the globe. While seeking to respond to this yearning for connection, Rosa uses this album as an opportunity to harness influences from each of the artists who contributed to this recording. At the heart of this album lies its celebration of freedom and the joy of sharing experiences and spaces with others, at a time when such simple pleasures can no longer be taken for granted. ~Bandcamp

Released May 6, 2022

At your leisure, spin “SOUNDS LIKE FREEDOM” by Rosa Brunello