This is an jazz-funk all-Swedish group giving tribute to the 1970s funk, groove, soul, disco, and afro-beat. Jazz pianist, composer, arranger, and producer Daniel Lantz leads the way, and keeps the dancing shoes clicking. The band merges commercial genres into a type of improvisation that appeals to a wide and diverse section of listeners – from the older to the younger. Although ensconced in more improvisational jazz, Lantz wanted to break away a bit, and move his original ten compositions on this album towards more pop and rock, using synthesizers and psychedelic sounds, along with Lantz’s funky fender Rhodes. Mandy’s Secret is the band’s third album, released this past September 2014. It has already hit high on USA charts!
This is the fourth recording from Venezuelan-born and Toronto-based vocalist, Eliana Cuevas, which is both seductive and tender. Her interviews suggest that she likes to push limits of Latin music; she changes moods from the bouncy first track, “Estrellita” to the sultry, slow ‘Lamento’, to the sensual “En Un Pedacito De Tu Corazon”, to the jazzy swing of “Agua Cangrejo Y Sal”. The album features an array of 20 musicians from Latin/South America and Canada, and mixtures of instruments, such as the mandolin and the melodic. Voice-overs add melodic seduction. This is a fun album with all sorts of rhythms and textures. It does mirror the range of possibilities for creative talk, which she offers quite skilfully. The album was released last August by Alma Records, and in June, won the U.S. Best Latin Album at the Independent Music Awards.
I have this habit of dozing off after a hard day’s work while the music is playing from one of the playlists I prepare. It happened that the other day I woke up to this most exquisite sound of voices that made me think I was dreaming of heaven or being in some cathedral. From the first note, you are struck by the voices that accompany the booming bass and the drum, elegantly keeping time. By the time the saxophone and guitar entered the “fray”, I knew then that I was on some “celestial journey” through sound…mentally in orbit to somewhere in outer space. This is how I got introduced to Tumi Mogorosi’s “Project ELO”. I took deep breaths, allowed the music in, and boy, did it get under my skin. The tune was “In The Beginning”. How apt. This is Tumi, creating a world through music that his chosen will inhabit.
The musicians are the main man himself on drums, Thembinkosi Mavimbela on double bass, Sibusile Xaba (guitar), Nhlanhla Mahlangu (tenor sax), Mthunzi Mvubu (alto sax) and Malcolm Jiyane (trombone). The inclusion of the “celestial voices” of Themba Maseko, Ntombi Sibeko, Mary Moyo and Gabisile Motuba is a masterstroke. The album itself is produced by Tumi himself and the soon-to-be-legend, pianist Nduduzo Makhathini whose body of work already has tongues wagging from here to all corners of the earth. This is no exaggeration.
On to “Inner Emergence”, and what I now call the “celestial voices” carry on opening “clouds” and “bringing in the light”. The guitar solo by Sibusile Xaba, plus trombone play by Malcolm Jiyane are especially haunting. Tumi on drums the ever present director of proceedings. Make no mistake, this is very much this amazing drummer’s album. The percussive sounds are very much the core, as it soars to the heavens, there’s the gravity of the earthly drum that centres it. The young maestro delivers something masterful.
“Princess Gabi” starts with Thembinkosi Mavimbela’s bass slowing my breathing down even further, with Malcolm Jiyane’s trombone has me hypnotized. The voices and the wailing saxophone wake me up from the delicious stupor I’ve been slipping into, such a glorious mesh of voices, Tumi’s drumming, Mthunzi Mvubu’s and Nhlanhla Mahlangu’s horns and young Jiyane’s trombone. It’s almost as if that chorus is paying homage to the Princess – the effect is too exquisite. “Slaves Emancipation” brings me “down to earth”. Images of years of struggle and hardship play in my head as I listen and feel like I’m one with the oppressed ones experiencing the freedom they’ve been craving probably for hundreds of years. Thembinkosi Mavimbela’s booming contrabass (which he plays with amazing dexterity, you could swear he’s holding it as one would an electric bass guitar) shines through beautifully.
On “Thokozile Queen Mother”, Mavimbela’s bass kicks off slowly, Tumi keeping steady time and Mthunzi’s alto sax and then that angelic voice singing the praises of the Queen Mother. It is clear that Tumi is concerned with the universe, and how everything connects. I get the sense that these are the things that influenced the creation of these beautiful compositions.
“Metatron Angel of Presence” is where Mogorosi stretches out and showcases his prowess on the instrument of his choice, the drums. I couldn’t help but think that the legend Louis Moholo would listen to this, nod his head and smile. The set ends with a triumphant “Gift of Three”, where my now favourite celestial voices, bass and horns combine with Tumi to present something that makes this heart of mine soar.
The musicians assembled here complement and play off each other so beautifully, making it one of those albums that will endure for all time.
This CD from Sheer Sound has again brought its main artist, pianist Kyle Shepherd, closer to the edge of innovative, spiritually-influenced compositions that are ever evolving during his still young musical journey. ‘Dream State’ boasts two discs of 21 songs, all composed by this 2014 Standard Bank Young Artist of the Year for Jazz. Kyle loves to quote from the late saxophonist and mentor, Zim Ngqawana, “The music must lead us towards ourselves.
” This trio featuring drummer Jonno Sweetman, and double bassist Shane Cooper (with awards-most recently from SAMRO who bestowed his debut “Oscillations” album as best Jazz album of 2014), celebrate their remarkable five years together. Another CapeTownian, the popular tenor saxman Buddy Wells, features handsomely where the ghoema sounds swing their magic.
There is nothing staid in these albums; just when you identify with the familiar, the trio takes our mind on another journey of sometimes discordant, sometimes healing sounds, changing chord structures, and erratic rhythms. The songs evoke, jostle, steer, and placate. Out of discomfort comes a peace. Just listen meditatively, feel the flow, be patient, and then arrive at a state of oneness, of balance, having been tunefully connected – as the band is connected with each other in superb synchronicity. This is what ‘Dream State’ portrays. Kyle refers to advice from Abdullah Ibrahim, another mentor: “Abdullah said create music significant to YOU. Then if people are moved by the music, that’s all I ask for. It just takes hard work and introspection. “ How so!
For those who want to cut straight to the Cape ghoema rhythms and familiar melodies, several tracks will welcome you: In Disc 1: “Xamissa”, “Our House, Our Rules”, and “Siqhagamshelane Sonke” with its 1-3-4 chords and Buddy’s sax. In Disc 2: “Xahuri”.
For the meditative and more ethereal ballads, try in Disc 1: “Transcendence” with Buddy’s prayerful sax solo, and “The Seeker” which speaks for itself. In Disc 2: “The Painter”, “Fatherless”, and “Rock Art”.
Jonno’s drums always complement without dominating. Kyle’s one note drill in several tracks sets what might appear as a monotonous pace until he matches this foundation with chords which swing into his usual Cape jive, while the drums and bass get equally excited with this conversation. Listen carefully to ‘Re-invention’. It’s faultless.
This disc starts out with a very uncharacteristic Shepherd melody in “Zikr City – Desert Monk” in a minor key; yet it moves whimsically through what sounds like cityscapes and bustle; then into a quiet peace of a void – a soundless desert. ‘Family Love’ holds a special liking to my ears – Buddy’s tenor sax melodically takes one on a saunter on a cloudy day through the park, and breaks into a Cape jive of celebration. “Flying without Leaving the Ground” offers a chatty bass solo with an uncertain piano. The bass keeps you grounded and keeps you there during the subsequent crescendos of the piano and drums as you gradually experience a spiritual liftoff. This is appropriately followed by “Transcendence”. Nirvana is somehow near….but not quite…..
If you haven’t left the ground yet, the second disc starts out with an ominous directive, almost funereal, about what appears to me to be stray bullets flying about the Cape Flats. Appropriately titled, “Cape Flats”, the underlying rumblings from Shane’s double bass and Jonno’s larger drums, and slowly paced piano chords suggest discomfort about hidden realities faced by dwellers. This shifts from [maybe] an out-of-harms’-way feeling into the next piece, “Black Star, Unsung Hero”, almost as though a young lad or lass managed to escape those bullets and rise above the violence to effect peaceful surprises on all. This is one of the more hauntingly beautiful songs of the album.
The placement of songs on the disc cleverly conveys the merging of themes. After a serious and unnerving dialogue about “Rituals”, where Shane’s bass cleverly mimics Kyle’s left hand walk-abouts, the listener finds relief with “The Painter” with Buddy’s melodic sax and an almost rock-ish roll from the drums. I see color and texture evolve, resting the eyes, yet tickling with aural fantasies. It’s for Melissa.
But just after settling back into a meditative pose, “Doekom” startles with a frantic, atonal whine of confusion. I found this the least pleasant song on the track, probably because of its heavy left hand, again warning of the ominous. Indeed, was it a “Muslim witch doctor’s” prescription for protection from gangsterous earthlings? One wonders whether the doekom was protective or murderous, a karmic magic potion or….just some profound spiritual realism? An impressive bass keeps up a scary pace.
The way Kyle breaks up chords harmonically allows one to anticipate and sing along, while not knowing the song! And even if the song seems uncomfortable, it ends up on a cheerful resolution. I smile. A characteristic Kyle ‘selfie’ seems to be heard in “Fatherless”, perhaps a bit autobiographical, with clear chordal statements.
“Senegal” has a jumpy, Arab flavour of minor chords. I picture impressive derbies of horses in colourful regalia kicking up dust. This is followed by “Rock Art”, another mercurial but melodic piece, in memory of the indigenous peoples of South Africa. It suggests we meditate on the land’s ancestral wisdom.
The final track,”Ahimsa”, if you managed to get through the previous 20 without exhaustion, is a beautifully crafted tribute to two gurus for peace – Gandhi and Mandela. It is a befitting closure to the ‘Dream State’ as well.
Claude Cozens Trio’s Jubilee Jam with Kyle Shepherd, piano and Benjamin Jephta, bass. Reviewed by Carol Martin
This album contains very pleasant ballads, tone-poems, and melodies – without a lot of improvisation or frantic cornering of melodies to reach their resolve, but with soft, thinking episodes. A mixture of ‘jazz’ genres, with hints of modern fusion, gospel, and a bit of funk, makes this first CD of drummer CapeTownian, Claude Cozens, not just a winner but fun to listen to! He and his fellow Cape musicians, pianist Kyle Shepherd, and bassist Benjamin Jephta, grew up together, and speak the ‘same musical vernacular’, as Kyle says in the album’s sleeve. What could be musically tighter? As Kyle said, in his interview with a Bush Radio presenter, Nigel Vermaas, “It’s bizarre that Claude isn’t playing more around town. Jephta is another one you don’t see much.” And this, coming from a well-travelled Kyle who knows what rewards hard work can bring.
“Fynbos Spirits” starts this album with a church gospel sound and a bass rhythm keeping pace to the treble runs of Kyle’s electric fusion. Drums become prominent, as though announcing nature’s grand gift of the Cape’s fynbos. This is a tuneful gem! Likewise, with “13 Corfu Ave”, a tribute to where Claude used to live. One hears a nice contemporary fusion, again with pronounced, but not over-powerful, drums.
The cover song “Jubilee Jam” is joyously repetitious with Kyle’s Rhodes keyboard, following the prescription of Cape Ghoema rhythms of the bass. Claude uses only sticks, and no brushes on this piece. It is meant to convey jubilation and joy…for nothing, really. Continuing the jubilee spirit is “Overflow”, an energetic contrast to the quieter songs in the album. “Platkop” features the bass with piano treble and clanging drums and symbols, like celebratory church bells. A monologue by the bass explains this energy. Claude’s upbeat refrain, again, gleefully expresses gratitude for abundance received. That’s so terribly hopeful in this day ‘n age!!
Influenced by the Bob James-ish modern fusion, Claude is searching for this modern sound as part of his journey of discovery. “Electric Street” features Kyle on electronic keyboard which resonates with lovely clear, almost pure, runs in the upper treble. His other ‘fusion’ with subtle ghoema beats is heard in “Song for Peninah” with its enduring electric bass solo. The very melodic “Hangberg Mountain” has that mix as well.
“Baden Powell” is a pretty memorial to a great hero of a noble cause. A tuneful duet between the bass and piano suggests a deeply spiritual dialogue going on. Claude’s brushing and popping make this very listenable piece the most beautiful one in this album, I think!
“Love Stain” is a slow, mercurial piece that makes you think of what might have gone wrong, inspite of the lovely solos from the bass and piano. Another gem.
“Mr. English” is dedicated to fellow musician and trumpeter, Darren, driven by memories of Claude and Darren’s time together in Norway as students. This is celebratory, with eager refrains from the trio individually and collectively. One can almost hear Darren’s funky trumpet in appreciation!
“Cape Lion” has an interesting bass dialogue with energetic drums again, while piano runs scurry into the soundscape. Is the lion stalking? Is Claude romanticizing the past? “When I saw that huge lion, I saw an image very powerful. I imagine early Cape Town beaches with those lions prowling around, once upon a time,” Claude says in his interview with Vermaas on the latter’s Bush Radio program (9 September 2014). It’s nice to hear a bit of fancy in jazz, I think!
Some pieces end with long repetitions by the instruments while Claude makes his points with drums and cymbals gleefully announcing the final refrain. After all, he says, he wrote his music for the drums.
Could this first CD by a CC sampler? With more to come…….?
The Cape Town launch concert of the Kyle Shepherd Trio’s Double Album ‘Dream State’ will happen on Friday 29 August 2014 at UCT’s SA College of Music. The launch of ‘Dream State’ marks the 5-year Anniversary of Shepherd’s much-lauded Trio. The concert, presented by fineART Music and generously sponsored by Ultra Event Technical Solutions and Dunstone Wines features Shepherd, the 2014 Standard Bank Young Artist of the Year Award (SBYA) winner for Jazz and African News Network, ANN7’s 2014 Young South African of the Year Award Nominee, on piano, together with two of South Africa’s most celebrated musicians, namely, Shane Cooper – the 2013 SBYA recipient – on double bass and Jonno Sweetman on drums.
‘Dream State’, a 21-track double disc album of Shepherd’s original compositions, features Shepherd on piano, Shane Cooper on double bass and Jonno Sweetman on drums. The pre-eminent SA saxophonist, Buddy Wells, features on five of the tracks. In this studio recording, the Trio, rather magnificently captures the fluidity, intensity and inventiveness of its live performances that has entranced audiences across South Africa and abroad. View the Official ‘Dream State’ EPK Video at www.youtube.com/watch?v=MtOj4D_ZUaw
In her review of the official launch concert held at the Wits Great Hall in Johannesburg on 26 July 2014, revered Jazz music journalist, author and historian, Gwen Ansell, wrote in Business Day that “Repeat listening to the same material on record underlines what a distinctive voice Shepherd now has. Those fragments of musical home that have always characterised his compositions and playing are still there; the reworkings, though, are often unexpected and subtle, emerging from a modern and personal pianism that isn’t in anybody’s shadow. Dream State joins an impressive 2014 list of albums of the year.” In the album’s liner notes, renowned arts journalist, Percy Mabandu succinctly described the ethos of the trio in this way: “There’s a palpable connectedness they share as players, a connection that also touches attuned audiences at their live performances too. This band is on a search for more than beautiful notes. They are asking more of the music. Its corporeal and ethereal aspects are invoked into the simultaneous sound ritual. Each performance takes on the nature of a meditation and as Zim Ngqawana said, ‘the music must lead us towards ourselves’. ”
‘Dream State’ which was recorded by Peter Auret at the Sumo Sound Recording Studio, mixed by Pål Svenre (Sweden) and mastered by Tim Lengfeld at TL Mastering, is the 27-year old pianist’s 4th Album. His previous critically acclaimed releases, ‘fineART’, ‘A Portrait of Home’ and South African History !X, have all garnered South African Music Award nominations. Since the release of his debut album in 2009, Shepherd’s international career has advanced remarkably with performances, either as a solo pianist or trio, quartet and other formats in France, Switzerland, Germany, Japan, Denmark, South Africa at The Cape Town International Jazz Festival and The Joy of Jazz Festival, Zimbabwe at The Harare International Festival – HIFA, China and India. The twenty-seven year old virtuoso pianist will embark on a Solo Piano Tour of Japan in September 2014 which will include a performance at the prestigious Tokyo International Jazz Festival, Japan on Sunday, 07 September 2014; after which he heads for the USA with Kesivan & The Lights for a show at Carnegie Hall, New York on the 30th of October 2014. The Kyle Shepherd Trio is billed to play at The Standard Bank Joy of Jazz Festival, Sandton, on 27 September 2014.
Copies of the new CD will be on sale at the launch concert and will be also be available at most major retail stores in South Africa and downloadable via all major digital platforms worldwide, during August 2014. Poster & CD Artwork & Design by Brandan Reynolds. Attached photograph by Ference Isaacs.
CONCERT INFO: – Date: Friday, 29 August 2014 – Time: 20:30 – Duration: 80 min (one set only) – Venue: UCT, SA College of Music (behind the Baxter Theatre), Lower Campus, off Woolsack Drive, Rondebosch, Cape Town.
RESERVATIONS: Pre-Book & Pay Online at QUICKET http://www.quicket.co.za/events/6102-kyle-shepherd-trio-39dream-state39-cd-launch-in-cape-town
and only pay R90.00*! * Quicket adds a service fee of R3.90 to each ticket (capped at R10 per transaction) OR To Book and Pay R100.00 entry fee in CASH at Door please visit the Booking Form at www.kyleshepherd.co.za/?page_id=614
OR Call 072 351 5204! [Seating Unreserved]
ENQUIRIES: All enquiries including biography, interview requests, high resolution images: Theo. Lawrence (fineART Music): Mobile 072 351 5204, E-mail: firstname.lastname@example.org
or via www.kyleshepherd.co.za
It has become something of an event when Dan Shout releases a new album, he has proven to be a consummate professional and leave little to chance, with that said I missed the launch due to illness at the time, very sadly. With a quick glance at the track listing I thought, hello, hello what’s up here three tracks from his debut solo album Greetings & Salutations and thought should I feel a we bit cheated, but guess what I reserved judgment till I’d listened to the entire album. No there was no cheating by just adding the three tracks to fill space on the new album. The three tracks, Etosha, Big B, Tea With Alvin were each spruced up and given a totally new treatment, beautifully re-arranged and executed. Really nice one Dan. I guess I’m not used to Safro Jazz musicians redoing their own compositions so soon after their initial album releases, mind you those tunes were from back around 2010. The new tracks on the album are a joy to listen to and the young Mr Shout is proving to be a really outstanding composer of excellent music. He has certainly raised his own bar with In with A Shout and though very early days as yet, I am already looking forward to the next album from his talented mind and nimble fingers. The band he has put together is outstanding and they each executed their tasks perfectly throughout this outstanding album. It is a must have for any good music lover to have in their album collection.
Dan Shout, Marc de Kock, Sisonke Xonti (saxes), Gorm Helfjord (guitar), Andrew Ford (piano), Benjamin Jeptha (bass), Marlon Witbooi (drums) Daniel Bloem (perc)
Escape from Freedom, Hanepoot, Etosha from Greetings and Salutations, For Big B from Greetings and Salutations, Justa Bitta Banter, Heavy Days, Tea With Alvin from Greetings and Salutations, Elephant Encounters
Label: Own Release
Christine Kamau – This Is For You – 2012
Although we’ve been playing this album for quite a while I feel we do need to relook at it, as it’s not yet been reviewed.
Christine Kamau is a songwriter, bandleader and jazz musician from Kenya. Her music style can best be described as easy listening Afro-jazz. One will hear a strong influence from South Africa in her music as she sites Bra Hugh Masekela as one of her major musical influences.
She talented and dedicated, this album showcases that in the best way. Good music it is. I don’t have any favourites, as all tracks are a pleasure to listen to. Her band also contributes to the success of the album, showing more great jazz talent fro Kenya. I hope she has a new album coming soon as I would like more from her. This Is For You is a worthy addition to the CD collection.
Christine Kamau (Trumpet & Sax), Isaac Khakula (bass guitar), Ken Simiyu (keyboard), Daniel Macharia (drums), Emmanuel Kute (flute, alto saxophone), Matthew Makumi (guitar)
African People, This Is for You, Nakuru Sunshine, Conversations, Ulisema, Do What You Want, It’s a Wrap!, Baba Afrika!
In 2013 we lost legendary keyboardist, composer and producer George Duke and this is a worthy tribute by an old friend namely Al Jarreau. The friendship started way back in 1965 when Al moved to San Francisco and was working as a social worker and a rehabilitation counselor. At a jam session at the Half Note, Jarreau impressed the owner and was asked if he would join the young George Dukes Trio and naturally he jumped at the chance, and the rest is history cementing a life long friendship.
Jarreau said “We played together three years at that club; it closed in 1968 and George and I moved on. But that was a very important period for me”.
Al went on to say, “There are great moments all over this project, I couldn’t possibly cover George’s full range. But I wanted to give people a fun listen with his music for Duke’s diehard fans to once again, enjoy themselves through his music.”
As a life long Jarreau fan I love the album, I mean who wouldn’t just look at the line up featured on the album. My mind goes back to that day at the old Green Point stadium when he visited South Africa a real rainy night in Cape Town which did not dampen Jarreau’s spirit as he lifted the audience into a frenzy of joyful happiness. What a night it was.
The album released on August 5, 2014 has received wide acclaim world wide and will also extend George Dukes legacy and is a must have for Al Jarreau and George Duke fans, with that said it will also bring new fans to these two artists.
Musicians: Al Jarreau, bassist Stanley Clarke, keyboardists John Beasley, Patrice Rushen, guitarist Paul Jackson, Jr., drummer John “J.R.” Robinson-Gerald Albright, Lalah Hathaway, Jeffrey Osborne, Dianne Reeves
My Old Friend See All 3 with Gerald Albright, Someday with Dianne Reeves, Churchyheart (Backyard Ritual) with Marcus Miller, Somebossa (Summer Breezin’) with Gerald Albright, Sweet Baby with Lalah Hathaway, Every Reason to Smile/Wings of Love with Jeffrey Osborne, No Rhyme, No Reason with Kelly Price, Bring Me Joy with Boney James, George Duke, Brazilian Love Affair/Up from the Sea/It Arose and Ate Rio in One Swift Bite with Dianne Reeves, You Touch My Brain with Dr. John
Label: Concord Records
For more info go to http://www.aljarreau.com
The Claude Cozens Trio – Jubilee Jam – 2014
I was blown away at the launch of Claude Cozens debut album and those memories linger in the minds eye as I listen to the full album, months after that delightful night at Straight No Chaser in Cape Town. The trio made up of Cozens leading from behind the drum kit controls the tightknit trio with the exceptional Kyle Shepherd playing keyboards and piano and remarkable Benjamin Jephta playing bass.
I met Claude who had just finished his schooling and was starting his jazz degree at UCT. I was truly impressed with his solid determination of forging a career in the difficult world of jazz in Africa. Following his pursuit over the years, as I am want to do whenever I bumped into him, enquired how his CD was coming along, his stock answer was, it’s coming. The years rolled on by and then one day I received the phone call from Claude asking if he could come by the All Jazz Radio Studio. Duly he arrived and proudly presented me with a copy of Jubilee Jam with a beaming smile he said, “See, I told you all the time it was coming, now here it is, enjoy” As I was on air at the time I slapped it into the CD player and launched into a wonderful interview with the talented young drummer/bandleader. The rest is history, Claude Cozens; bandleader, composer and jazz musician is on his way to a bright future in the fickle world of jazz. Now the global village’s stages await his assent on the ladder of success.
Not being a musician I cannot launch into the technicalities of the music, all I can say is what a joy the album is I can find little fault with the music contained given the highly talented musicians featured on the album who jelled together so well. This is Claude’s story with each track taking one on his life’s journey through each of the 14 tracks, a story very well told and a worthy addition to ones jazz collection. The Cape Jazz heritage continues to forge ahead, the way is clear for the world to see that South African jazz has a rightful place in the lexicon of great music. I can’t wait for the next chapter of this remarkably humble and respectful young South African jazz musician’s life. Get a copy, this is history in the making. I love it.
Musicians: Claude Cozens, drums with Kyle Shepherd, keyboards and Benjamin Jephta IV, electric bass
Fynbos Spirits, 13 Corfu Avenue, Jubilee jam, Electric Street, Platkop, Song For Peninah, Baden Powell, Love Stain, Hangberg Mountain Jazz, Brother Boesack, Mr English, Overflow, Cape Lion, Landing Place
Label: Own Release
When Mark Winkler, a quintessentially West Coast swinger, filled an album with Bobby Troup tunes a decade ago, it was a blissful marriage of hipster sensibilities. Winkler and Laura Nyro seem stranger bedfellows—California cool meets East Coast boho—yet Winkler, a gifted writer himself, makes the union work equally well. Nor was Nyro all dark-basement angst. Less hard-edged than such contemporaries as Dylan and Paul Simon, she, like Joni Mitchell, tended to float beyond category, blending a heady potpourri of folk, pop, jazz and show tunes. When that crazy mélange is filtered through Winkler’s laidback aesthetic, the results are quite magical.
Winkler draws exclusively from Nyro’s first four albums, spanning the years 1967 through 1970, when many of the songs became best known via Top 40 cover versions from the likes of Blood, Sweat and Tears and the Fifth Dimension. Ably supported by a shifting cast that includes pianists Eli Brueggemann and Eric Reed and guitarist Larry Koonse, all of whom also contribute arrangements, he follows the lead of those long-ago pop groups by making each of these 11 tunes distinctly his own. So, “Time and Love” is reinterpreted as a dreamy ballad; “He’s a Runner” emerges as an intensely personal tale of betrayal; the wine-steeped “Sweet Blindness” erupts as a riotous party worthy of Louis Prima; and the jaunty post-Kennedy politics of “Save the Country” become a salve for various postmillennial malaises.
Jazz Articles: Dave Douglas to Release New Album, ‘Time Travel,’ on April 9 – By Jeff Tamarkin — Jazz Articles
Trumpeter/composer Dave Douglas will follow last year’s Be Still with an all-instrumental collection, Time Travel, due April 9 from Douglas’ Greenleaf Music. The recording features saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda Oh and drummer Rudy Royston. The album was engineered by Joe Ferla.
Douglas will also launch a tour with the intention of performing in all 50 states, to coincide with his 50th birthday. Initital dates are below
February 15: Austin, TX – University of Texas Austin – Bass Concert Hall *
February 22: Elmhurst, IL – Elmhurst College – Hammerschmidt Memorial Chapel
March 3: Manzoni, Italy – Teatro Manzoni
March 6: Rome, Italy – Auditorium Parco della Musica ^
March 28 – 31: New York, NY – Jazz Standard (50th Birthday Week)
April 4: Laramie, WY – University of Wyoming
April 5: Boulder, CO – University of Colorado at Boulder
April 11 – 12: Denver, CO – Dazzle Jazz Club
April 25: Reno, NV – Reno Jazz Festival
May 4: Cheltenham, UK – Cheltenham Jazz Festival
May 17: Chicago, IL – Jazz Showcase †
May 30: Brooklyn, NY – Shapeshifter Lab
May 31: New Haven, CT – Firehouse 12
June 3: Burlington, VT – Flynn Center
All dates are with Dave Douglas Quintet unless otherwise noted.
* = Dave Douglas/Joe Lovano & Sound Prints Band feat. Lawrence Fields, Linda Oh & Joey Baron
^ = with Rome Auditorium Jazz Orchestra
† = with Columbia College Jazz Ensemble
Year Released: 2006
Recording Company: World View Music
A superb worldly mix of music that allows ones imagination fly to exotic places one has never been to before. Glen Helgerson is a new guitarist, composer and bandleader and to me and a truly pleasant surprise its been discovering his music, somewhat akin to our very own Tananas Orchestra Mundo.
Right for the opening tack African Song, one becomes captivated by this alluring musical tour, one truly sees it with ones own ears. It is a sophisticated set of tunes that seizes the soul of the listener and transposes time to the back of one mind offering an escape from the humdrum of daily life. We travel to exotic Africa, the Middle East, Cuba, Haiti and various Latin destinations. We enjoy the rich rhythms of those far-flung places that seep into ones psyche. The smooth fusion of the sounds makes this a very desirable album in ones CD Shuttle.
The astute mix of variety of drums and other instruments assists with the journey into the music of Glen Helgeson, using various finger picked instruments, including the sitar and harp guitars he enhances the heady atmosphere of the well-rounded sound that makes up the album Distant Borders Revisited.
African Song: Smooth Wes; The Mambo Told Me; Red Moon; A Wedding On Venus: Latin a la Linda; Room 231; River East; …If This; Sweet Ears; The Whirl; Southern Exposure.
Glen Helgeson: acoustic, electric, harp and sitar guitars; Peter Oshoushko: mandolin (5, 6, 8); Dean Magraw: guitar (2, 4, 10); Gary Schultz: violin (1, 3, 4, 11); Dave Stanoch: drums (1, 2, 3, 4, 11); Charles Fletcher: bass (1, 2, 3, 4, 11); Michael Bissonette: udu drums, congas, timbales, djembe (1, 3, 4, 11); Marc Anderson: berimbau, congas, doumbek, tabla, frame drum; Enrique Toussaint: bass (7, 8, 10, 12); Tim O’Keefe: riq, doumbek; Gordy Johnson: bass (6); Keni Holman: clarinet (5); Lee Blaske: keyboards (12); Tony Axtel: keyboards (2); Debbie Duncan vocals (7, 12)
Year Released: 2009
Recording Company: Mack Avenue
Since Sean Jones debut on the Mack Avenue label, he has gone from strength to strength and has grown to be one of the genres top trumpet players and bandleaders. When I popped the advance copy of the album into CD player, I could not stop listening and played it repeatedly, it is due for worldwide release towards the end of March 2009.
The album is a journey of introspection for Jones who looks back on his career, to quote, This is a journey inside my soul thats taken place over the past 10 years. He says. Its an assessment of where I am in the present as well as how Ive learned from my mistakes and triumphs as a way of looking into the future. Jones continues. This album goes very deep for me. Its a spiritual and sonic journey for me.
It is a pleasing and easy album to listen to and enjoy, the backing band is outstanding and his guest performers deliver the goods. A couple of tracks that caught my attention is The Ambitious Violet and The Storm are two tunes Jones wrote, inspired by poet/philosopher Khalil Gibran. The Ambitious Violet he says, Its about how youd rather spend one day as a towering rose than all your days as a violet, Jones goes on to explain. Its about wanting more. Thats part of my storycoming from a small town but wanting more, whatever it takes.
I enjoyed Gregoire Marets harmonica solo on Life Cycles is fantastic, Joness mellifluous flugel horn highlights the compositional beauty of this Latin tinged ballad. Having met Maret and seen him perform with both Herbie Hancock and Marcus Miller a few years ago. The man has taken the mantel of Toots Thielemans and is going on to great things in the future.
The young star takes his career to new heights with The Search Within and shows he is a composer of compassion and strength, something many older contemporaries have taken years to accomplish. The Search Within is an album that has found pride of place in my collection.
The Search Within (Interlude); Transitions; The Ambitious Violet; Life Cycles; The Storm; Letter of Resignation; The Search Within (For Less); Summer’s Spring; Sunday Reflections; Sean’s Jones Comes Down; Love’s Lullaby; The Search Within (Postlude); The Search Within (Bonus Track)
Sean Jones, Trumpet; Orrin Evans, piano and Fender Rhodes; Brian Hogans, alto saxophone; Walter Smith tenor saxophone; Luques Curtis, bass; Obed Calvaire, drums
Year Released: 2008
Recording Company: MoreStar Entertainment
The sophomore album by Moreira Chonguica continues where he left off on his self-imposed journey of learning about his African jazz and music roots. He certainly has paid his dues because the journey has thus far proved successful since the release of The Moreira Project Vol 1 – The Journey in 2005.
This is an outstanding and adroitly balanced jazz album from Africa. It is most defiantly not a world music album, as most American reviewers would classify it, yes they seem to guard the word/genre very jealously. Just because its from Africa does not automatically mean that it is a world music album, as so many reviews have wont to do. The roots of Africa are deeply embedded which is to be expected. The collaborations on the album highlight this with Moreiras continuing journey into musical expression, exploration and discovery.
Moreira has matured into one of the top African exponents of jazz from Africa, African jazz or do we create a new genre style and classify it Afro World Jazz! Yeah! Lets do it, if other reviewers in the Americas and Europe can invent new genres at will heres the new one Afro World Jazz. Jazz comes from Africa originally via the USA and Europe it is time for Africa to claim it back its musical heritage. Citizen of the World – Vol 2 goes a long way to substantiate that claim. Moreira does not disappoint, he has taken his journey along with his collaborators to the world and proves that he is a leader and an innovator in the ever expanding and growing world of jazz music.
MySpace Website: http://www.myspace.com/themoreiraproject
Record Company Website: http://www.moreiramusic.com/
South African Distribution Website: http://www.moreiramusic.com/contact.html
World Wide Distribution: http://www.moreiramusic.com/contact.html
Wikipedia Entry: http://en.wikipedia.org/wiki/Moreira_Chonguica
Boarding Time; Umjita; West South Side; Beautiful Minds; The Art Of Love; Synergy; Eyes Don’t Lie; The Praise Poem; Blue Puzzle; Otupam; Relaxante; Now; The Geisha; Sambabenta; Retrospect; Utopia; Ashanti; A Ultima Vez
Moreira Chonguica, Alto, Soprano and Tenor Saxophones, Penny Whistle, Flutes; Mano Dibango, Tenor sax and Vocals; Najee, Flute; Ross McDonald, Trombone; Lenrick Boesack, Alto Sax; Simba, Martins Bernardo, Jaco Maria, Vocals; Mandla Mlangeni, Trumpet; Tony Paco, Frank Paco, Drums; John Hassan, Percussion; Ronan Skillian, Tabla; Angelo Syster, Guitar; Mark Fransman, Camillo Lombard, Piano, Keyboards; Conroy Scott, Shaun Johannes, Double Bass; Lucas Khumalo, Helder Gonzaga, Electric Bass; Dane Coetzer, Cello; Lee-Anne April, Violin