Stand with artists as they stand up for their rights: A Weekend of NYC Concert Events Presented by the Content Creators Coalition

Posted on October 16th, 2014 by admin

Stand with artists as they stand up for their rights:
A Weekend of NYC Concert Events

Presented by the Content Creators Coalition

Ad-based piracy is a direct attack on the livelihoods and art forms of today’s content creators. It’s time for artists to bring their voice and push back against tech profiteers who hawk the ads that sustain large-scale piracy. Artists are the ultimate free speech activists. Together, we will be heard. Join with Rosanne CashMarc RibotJohn ZornMiho Hatori and Yuka C. Honda (of Cibo Matto), Wesley Stace and more celebrate creativity while acting in its defense.

These two concerts highlight the creativity and impact of artists across the spectrum as they stand up for economic justice in the digital domain. Music unifies us. Join the Content Creators Coalition to listen, then engage.


Saturday October 18th 2014, 8-10PM at Roulette:
A Benefit Concert for the Content Creators Coalition

Featuring John ZornEric Slick (Dr Dog), Steve ColemanMarc RibotHenry GrimesTrevor DunnBrandon SeabrookSatomi Matsuzaki (Deerhoof), Amir ElsaffarMatana Roberts and more. The event will also feature a short screening of highlights from Michael Count Eldridge’s upcoming documentary film “Unsound”.

A one hour meet and greet prior to the show will include Marc Ribot and other artists, Chris Ruen (author of Freeloading: How Our Insatiable Appetite for Free Content Starves Creativity), and Jeffrey Boxer, Executive Director of c3.

General admission:
$20 advance $25 day of show

Artist Rights Supporter:
$60 (includes balcony seating and access to the meet and greet)


Sunday October 19th 2014, 2-4PM @ Le Poisson Rouge:
Free Concert / Rally / Call to Action

Featuring Rosanne CashMiho Hatori and Yuka C. Honda (of Cibo Matto), Wesley StaceTessa LenaMarcus Rojas Brass EnsembleMarc Ribot and other special guests. This event will feature speakers and music, then culminating in a call to action.

Support Artists’ Rights
in the Digital Domain!

Roulette is located at 509 Atlantic Avenue in Brooklyn:

Le Poisson Rouge is located at 159 Bleecker St in Manhattan:


Read a February 2014 article in The New York Times about the Content Creators Coalition


New Release Out Now: Guitarist Anthony Pirog’s Melodic Bandleading Debut Palo Colorado Dream (Cuneiform), Featuring Michael Formanek & Ches Smith Receives Notable Press in The New York Times Fall Preview, Named One of LA Times “Underrated 2014″, JazzTimes Feature & More

Posted on October 15th, 2014 by admin

New Release Out Now:
Guitarist Anthony Pirog’s Melodic Bandleading Debut
Palo Colorado Dream (Cuneiform), Featuring
Michael Formanek & Ches Smith
Receives Notable Press in
The New York Times Fall Preview, 
Named One of LA Times “Underrated 2014″,
JazzTimes Feature & More



Washington, D.C.’s jazz and experimental music scenes wouldn’t be quite where they are today without Anthony Pirog. The guitarist, composer and loops magician is a quiet but ubiquitous force on stages around his hometown. With fearsome chops and a keen ear for odd beauty, Pirog has helped expand the possibilities of jazz, rock and experimentalism in a town long known for its straight-ahead tradition.

Palo Colorado Dream—recorded with the all-star trio of Michael Formanek on bass and Ches Smith on drums—is Pirog’s Cuneiform Records debut, and it marks the young innovator’s entrance onto the national stage. The album’s 11 tracks have an immersive depth and understated allure that hold the listener rapt. And they illustrate all the various realms of Pirog’s artistry: the spinning fantasy-scape of his loops and the hard-nosed technical power of his soloing, his patience with a slow build and his knack for moments of fierce catharsis. Read the rest of this entry »

New Release Out Today: “Garage Chamber” Outfit, THE CELLAR & POINT Release Debut Album, Ambit (Cuneiform) The Cellar & Point Fluidly Synthesizes Influences As Varied & Disparate As The Wu-Tang Clan & Anton Webern, Resulting In A Wholly Unique Sound & Approach

Posted on October 14th, 2014 by admin

New Release Out Today:
“Garage Chamber” Outfit, THE CELLAR & POINT Release Debut Album, Ambit (Cuneiform)

The Cellar & Point Fluidly Synthesizes Influences As Varied & Disparate As The Wu-Tang Clan & Anton Webern, Resulting In A Wholly Unique Sound & Approach

“ethereal chamber-prog…brainy, yet highly engaging”
Time Out New York

“the chamberlike enterprise of a productive partnership”
-The New York Times

“The Cellar and Point… use acoustic instruments and electronics to create a sound that is winningly melodic, thoughtful in its balance, groove-heavy, sometimes glitchy, and delightfully unpredictable as the septet straddles all kinds of genres.” - WNYC’s New Sounds

“I think it’s beautiful. It has a very heavy, very bulky low-end, with these fluttering rhythms going around. It’s a lovely sound, it’s really well-engineered. Sonically it’s a fantastic record. Well worth your listening on headphones.” 

-Kevin Legendre & Jez Nelson, BBC Jazz on 3 



Drummer/producer Joseph Branciforte and guitarist Christopher Botta had long imagined a fluid synthesis of their wide-ranging musical interests. The detail of modern concert music; the improvisational sensibilities of downtown jazz; the emotional directness of alt-rock. The production value and formal concision of pop, the head-nodding grooves of hip-hop and electronica, the immersive sonics of ambient music. Might it be possible to draw equally upon these influences, while transcending mere collage? How could these manifold musical experiences be distilled into a personal, unified aesthetic? And could this music be presented in the context of a working ensemble – not just a studio project – but a band? Read the rest of this entry »

Composer, Bandleader & Curator WAYNE HORVITZ Releases New Album, At The Reception (Songlines), With His ROYAL ROOM COLLECTIVE MUSIC ENSEMBLE

Posted on October 14th, 2014 by admin

Composer, Bandleader & Curator
WAYNE HORVITZ Releases New Album,
At The Reception (Songlines),


“Horvitz…is using his own themes and pre-existing pieces, some riff-based and directly out of the jazz tradition, but blowing them apart, making them judder and flash and fold in on themselves…Horvitz kept his attention on the [excellent] band with microscopic focus, quick-cutting between contrasts, putting something free or rippling against a fixity.” – Ben Ratliff, New York Times


Wayne Horvitz’s newest regular ensemble was formed in spring 2012, and played in New York for his May 2013 residency at The Stone – this is their first record. The RRCME started off as a fairly loose collective of Wayne’s favorite Seattle improvisers playing his music at Seattle’s Royal Room, the club he co-owns and books. As Wayne relates, “All the music was originally for smaller groups and then expanded. Actually RRCME is in many ways like Zony Mash. Both bands were originally set up as weekly, local gigs at the same venue as a way for me to a) explore something that was new to me and b) play some music on an ‘off night’. And in both cases, over time, they became significant projects.”

The essential ingredient is Wayne’s adaptation of Butch Morris’s Conduction system for free improvisers into a language for spontaneously arranging and reconstructing his music on the fly, using numbers for a piece’s written motifs, and other hand signals (to individuals or shifting groupings) to indicate how to treat their material. While maintaining the spontaneity of small group performance, he uses it to structure complexities only possible with a larger ensemble: “It was exciting to me in that it could be very free and malleable at some points but at other times could also work up a riff-based music similar to the music of Charles Mingus or even Count Basie. Harmonically it was very gratifying to constantly be re-inventing the arrangements. Even when the players misinterpreted hand signals things would happen that could be taken advantage of and developed.”

Wayne of course knew Butch Morris well in New York in the 80s and considers him an important mento, and incidentally they made some beautiful recordings as a trio with Bobby Previte. “Butch was using the improvisers’ language set to create totally new music, it was really a fairly radical approach, although not without some precedent. Not so with what I am doing. In some ways I am doing now what Butch started doing and then abandoned for his more ‘pure conduction’ approach. In the 80s David Murray had a big band that Butch would conduct, and he would work with David’s charts, and break things up with those charts as a starting point. Later we made a CD for New World records that took his own tunes and used a similar approach. And the fact that I was involved in many if not most of Zorn’s game pieces at the same time that I was first working with Butch certainly helped me develop an alternative approach to creating structure live.” On this record the two Redux pieces are closest to pure conduction, “except I asked the musicians to have the score with the motifs from a specific tune available, but we did not play the arrangement per se.”

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Drummer JOCHEN RUECKERT Releases We Make The Rules (Whirlwind Recordings) Featuring All-Star Band of Tenor Saxophonist MARK TURNER, Bassist MATT PENMAN & Guitarist LAGE LUND

Posted on October 13th, 2014 by admin

Drummer JOCHEN RUECKERT Releases
We Make The Rules (Whirlwind Recordings)
Featuring All-Star Band of 
Tenor Saxophonist MARK TURNER,
Bassist MATT PENMAN & Guitarist LAGE LUND


We Make The Rules is the debut Whirlwind Recordings release from the multifaceted drummer & composer Jochen Rueckert, a German native who’s been based in NYC since 1995, where he’s become one of the preeminent artists of his generation known for his work with Marc CoplandKurt RosenwinkelNils Wogram’s Root 70, Sam YahelWill Vinson and Seamus Blake. Jochen is also renown for his work in electronic music under the alias “Wolff Parkinson White” as well as his long running book series “Read the Rueckert- Travel Observations and Pictures of Hotel Rooms”.
The album features Rueckert’s quartet, a truly stellar cast of players which has been together since 2009, featuring long standing musical cohorts Mark Turner on tenor saxophone, Lage Lund on guitar and Matt Penman on double bass, all three guiding lights of their generation. Rueckert explains, “I’ve known Mark for about 18 years, I’ve played in his band occasionally and also got to know him while playing in Kurt Rosenwinkel’s band. He’s my favorite tenor player and I used to be at Smalls Jazz Club every  Tuesday  when he would play in Kurt’s famed group when I first got to NYC in the 90s.  Lage I’ve known for 10 years and I love both his tone and the harmonic flow he brings to my songs. We’ve played together a lot, especially in alto saxophonist Will Vinson’s band.  Matt is the first great bass player I ever played with and it was an eye-opener. We’ve known each other for over 20 years and were roommates for about four years. We have been playing in Nils Wogram’s band ‘Root 70′ for over a decade and in Sam Yahel’s trio for about 10 years. Playing with him is like riding a bicycle.”
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New Releases Out Today: Canadian Vocalist Elizabeth Shepherd’s The Signal, Trombonist Ryan Keberle’s Into The Zone, Drummer Dylan Ryan/Sand’s Circa, Accordion Virtuoso Richard Galliano’s Sentimentale

Posted on September 30th, 2014 by admin

New Releases Out Today:

Canadian Vocalist Elizabeth Shepherd‘s The Signal,

Trombonist Ryan Keberle‘s Into The Zone,

Drummer Dylan Ryan/Sand‘s Circa,

Accordion Virtuoso Richard Galliano‘s Sentimentale

Elizabeth Shepherd - The Signal (Linus Entertainment) - Canadian singer going after a Gretchen Parlato/Becca Stevens/Jose James type aesthetic along with guitarist Lionel Loueke guesting on several tracks. She is tackling issues in her writing from racial profiling (Trayvon Martin) to forced marriages to issues surrounding motherhood.

VIDEO: Elizabeth Shepherd’s “This” featuring Lionel Loueke

“The Signal is bold, personal and completely lucid audio art from Elizabeth Shepherd. It wouldn’t be overstating it at all to assert that this is the most important vocal jazz record that will be released all year.” - S. Victor Aaron, SomethingElse Reviews

“This profoundly feminist sociopolitical offering actively engages aesthetics of neo-soul, funk, and hip-hop (musics that have been referred to indirectly on her records since 2008), while remaining firmly rooted in her trademark meld of off-center jazz and pop. [It] is an excellent return for Shepherd; it’s hip, bracing, sophisticated, and accessible. It will resonate deeply with fans of Esperanza Spalding, Robert Glasper, and José James.  - Thom Jurek, All Music Guide

“Following in the footsteps of José James and countrywoman Kellylee Evans…Elizabeth Shepherd moves steadily toward a more funkified sound, mixing jazz with a whole lotta sounds (and occasional hip-hop shadings) on her latest release…”
Christopher Loudon, JazzTimes (October issue on newsstands now)

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New Clark Terry Documentary, KEEP ON KEEPIN’ ON, Featuring Up-and-Coming Pianist Justin Kauflin & Produced by Quincy Jones, Receives Rave Reviews

Posted on September 30th, 2014 by admin

New Clark Terry Documentary, KEEP ON KEEPIN’ ON, Featuring Up-and-Coming Pianist Justin Kauflin & Produced by Quincy Jones, Receives Rave Reviews

Film Already Out in Los Angeles;
To Open in NYC October 3rd With An Additional 25 Markets To Follow in Coming Weeks


Shot over the course of five years by first time filmmaker Al Hicks, KEEP ON KEEPIN’ ON depicts the remarkable story of 93-year-old jazz legend Clark Terry. A living monument to the Golden Era of Jazz, Terry – a mentor to Miles Davis – is among the few performers ever to have played in both Count Basie’s and Duke Ellington’s bands. In the 1960′s, he broke the color barrier as the first African-American staff musician at NBC – on “The Tonight Show”.

Today, after a life spent working with and teaching the most totemic figures in jazz history, Terry continues to attract and cultivate budding talents. KEEP ON KEEPIN’ ON highlights his friendship with the preternaturally gifted Justin Kauflin, a blind, 23-year-old piano prodigy who suffers from debilitating stage fright. Not long after Kauflin is invited to compete in an elite Jazz competition, Terry’s health takes a turn for the worse. As the clock ticks, we see two friends confront the toughest challenges of their lives.

Kauflin’s work on the film’s score with composer Dave Grusin sets the tone for a story that spans decades, lifetimes and the entire history of modern Jazz, complete with firsthand anecdotes from Jones and Herbie Hancock. KEEP ON KEEPIN’ ON is a film crafted with great affection by Hicks –  another former student of Terry’s – a grace note for his teacher, infused with soulfulness and serendipity.

Paula DuPre’ Pesmen (behind the Academy Award winning THE COVE and the Oscar nominated CHASING ICE) produced the film with seven time Academy Award nominee Quincy Jones who also counts Terry as his mentor. Jones came on board as producer after walking into the film as one of its subjects, discovering Justin’s talent purely by chance during a visit at Clark’s home.

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New Releases Out Today: Anna Webber’s “Simple” & Matt Ulery’s “In The Ivory”

Posted on September 30th, 2014 by admin

NYC-Based Saxophonist & Composer
Anna Webber Releases Simple (Skirl Records),
Music Written in Solitude,
On Bowen Island in Her Native British Columbia,
Featuring Pianist Matt Mitchell &
Her Mentor, Drummer John Hollenbeck

Chicago Bassist & Composer Matt Ulery
Releases His Second 
Chamber-Jazz Opus,
In The Ivory (Greenleaf Music),
With The Help of His Core Trio Plus 
3-time GRAMMY-Winning New Music Ensemble, eighth blackbird, 
Violinist Zach Brock, Vocalist Grazyna Auguscik 

During the summer of 2013, saxophonist, composer, and flautist Anna Webber left her adopted home of Brooklyn, NY and retreated to Bowen Island, a remote spot off the coast of British Columbia. On Bowen Island, Webber’s view changed from a constant stream of people and endless concrete, to the vast expanse of the Pacific Ocean. In complete solitude, her days were punctuated by the rhythm of the tide, the daily ferry schedules and passing boats. The isolation of Bowen Island allowed Webber to find a cohesive thread in her compositions that had eluded her in New York City. Given the space to breathe, themes emerged naturally in the writing, and her album Simple was born. Webber found perfect partners to execute the complexities of her compositions: pianist Matt Mitchell (Tim Berne’s Snakeoil) and drummer John Hollenbeck (The Claudia Quintet).


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OUT NOW: Previously Unreleased John Coltrane Live Recording, Offering: Live at Temple University

Posted on September 23rd, 2014 by admin

Double Album Receives New Critical Acclaim This Week in
USA Today, The Philadelphia Inquirer, Rolling Stone,
LA Times, All Music Guide, Lexington Herald Leader, Philadelphia Daily News & Many More News Outlets 
Temple University Release Event an Utter Success


Offering: Live At Temple University documents a legendary concert by JohnColtrane at Temple University’s Mitten Hall in on November 11, 1966, nine months before his untimely death. It captures Coltrane in exemplary form, navigating a language he had developed during the last phase of his musical path with passion and clear logic. The concert features three members of his working quintet at the time: his wife, AliceColtrane, on piano; Pharoah Sanders on saxophones and flute; and Rashied Ali on drums plus local bassist Sonny Johnson on bass (subbing for Jimmy Garrison) and an assortment of Philadelphia musicians, who sat in on the concert - Steve Knoblauch and Arnold Joyner on alto saxophones and Umar AliAlgie DeWitt and Robert Kenyatta on percussion.

Direct transfers of the original master reels from a location recording by Temple’s then student-run WRTI-FM, remastered at 96kHz/24 bit, were tracked down in the archives of former WRTI chief engineer Michael Biel by Coltrane scholar Yasuhiro Fujioka, who connected Mr. Biel with Universal Music Group with the tapes in 2010. Those tapes are what is presented on this release – the first of its kind in almost a decade.

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Duo of Veteran Guitarist Nels Cline (Wilco, The Nels Cline Singers) & Youthful Virtuoso Julian Lage (Mark O’Connor, Jim Hall) Release Duo Album ROOM onNovember 25 via Mack Avenue Records

Posted on September 9th, 2014 by admin



Nels Cline is a major force as a guitarist and improviser, ever since he debuted on record in 1978 and as a leader in 1988. Named by Rolling Stone as one of 20 “new guitar gods” and one of the top 100 guitarists of all time, Cline has gained his widest fame as a member of acclaimed rock band Wilco since 2004. He’s known for a certain cranked-up experimental mayhem, the kind sometimes heard from his extraordinary trio The Nels Cline Singers, which released the well-received MACROSCOPE on Mack Avenue earlier in 2014. But throughout his career, Cline has undertaken projects, sometimes acoustic or semi-acoustic duos, highlighting an intimate and reflective approach that’s just as central to his artistry.

With ROOM, Cline returns to Mack Avenue, creating a world of melodic beauty but also hard sonic edges and technical brilliance in the company of Julian Lage. At just 26, Lage has taken the world of jazz guitar by storm. The New York Times hails the “disarming spirit of generosity” in Lage’s music and notes the young guitarist’s “roots tangled up in jazz, folk, classical and country music.” In addition to his work with Mark O’Connor, the late Jim HallAnthony Wilson and a great many others, Lage leads his own groundbreaking groups as documented on the albums Gladwell and Sounding Point (the latter earning Lage a Grammy® nomination).

In a 2013 Q&A with JazzTimes, Lage described the Cline-Lage duo sound as “200 percent power,” and that’s exactly what comes through on ROOM: an inspired collection of originals and collaborative pieces that run the full range from intricately composed and complex to free and spontaneous. Cline builds on the strength of his previous duo work with the likes of Vinny GoliaZeena ParkinsElliott Sharp,Thurston MooreCarla BozulichMarc Ribot and not least of all the late West Coast bassist Eric Von Essen, to which the gorgeous dual-acoustic showcase “Whispers From Eve” is dedicated. Lage, for his part, has worked in duo settings with David Grisman, Martin Taylor, John Abercrombie, Taylor Eigsti and others.

The setup on ROOM is simple. Lage is on the left channel, Cline on the right, and they play just four guitars total: Cline a 1965 Gibson Barney Kessel archtop and a 1962 Gibson J-200 acoustic; Lage his tried-and-true Linda Manzer archtop and a 1939 Martin 000-18 acoustic. The sound is pristine, alive with personality and contrast, improvisational daring and jaw-dropping precision. “These are all ‘live’ performances,” Cline adds—there are no overdubs.

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