Archive for October, 2014

Elemental Music Announces Archival, Previously Unissued, 2 CD/3 LP Release By Legendary Pianist Red Garland On An Exclusive December 1977 Engagement, Recordings at San Francisco’s Keystone Korner Out January 20, 2015 Swingin’ on the Korner, A Rare Document In Underappreciated Pianist’s Career, Reunites Garland with Former Miles Davis Colleague, Drummer Philly Joe Jones & Bassist Leroy Vinnegar

Thursday, October 23rd, 2014

Swingin’ on the Korner, A Rare Document In Underappreciated Pianist’s Career, Reunites Garland with Former Miles Davis Colleague, Drummer Philly Joe Jones & Bassist Leroy Vinnegar

The release also includes unprecedented 44 page booklet with never-before-seen pictures & new words by Nat Hentoff, Ira Gitler, Don Schlitten, Kenny Washington & others

 

Legendary jazz critic Nat Hentoff calls him a pianist “with infectiously lyrical inherent swing — and surprises that flowed as naturally as his beat.”

Renowned historian and journalist Ira Gitler calls him “one the most multi-dimensional, solid-swinging, deeply lyrical piano stylists in our music, an unmistakably multi-dimensional artist who contributed so much to the groups of Miles Davis, Coleman Hawkins, and so many others.”

Torch-bearing pianist Benny Green says that each of his performances “addresses a full spectrum of emotion, and the innate sense of hipness, taste, and timing seemingly possessed by only the greatest voices of the music creates a musical brew which maintains its pure cool and freshness throughout the ages.”

Universally respected drummer Kenny Washington simply calls him, “one of the masters.”

Despite such high praise from these undoubted authorities, and his integral role in the first great Miles Davis Quintet, Red Garland’s name is too rarely mentioned in the pantheon of jazz greats. With the release of Swingin’ on the Korner on January 20, Elemental Music helps to remedy those oversights with the release of over 150 minutes of previously unheard live Red Garland performances on two CDs or 3 LPs, recorded in 1977 at San Francisco’s landmark Keystone Korner jazz club with a once-in-a-lifetime trio. None of this material has ever been released – officially or otherwise.

This swinging treasure trove arrives with a 44 page booklet including essays by the aforementioned experts  (Nat Hentoff, Ira Gitler, Don Schlitten, Doug Ramsey, Benny Green, Kenny Washington, with an introduction by producers Zev Feldman and Todd Barkan) as well as photographs taken during the actual concerts by Keystone staff photographer Tom Copi. Images, information and music combine to transport listeners back to a magical week in one of jazz’s most beloved rooms. Additionally, the booklet includes an article on Red Garland from Doug Ramsey “Seeing Red”, printed with permission from Texas Monthly that ran back in 1979. As producer Zev Feldman says, “this may be one of the most important projects I’ve ever worked on and I’ve had the pleasure to co-produce this with Todd Barkan. I was determined from the start to build the most exhaustive package ever created for Garland that truly celebrates his memory.  There’s never been a book on Red, and this is the closest there is.  We built this and I couldn’t be more proud.  He deserves it”.  Fans will learn about Red via music but also by critical voices who have something to say about this master who has sadly been gone now for over 31 years.” (he passed away in 1983).

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Duo of Guitarists Nels Cline & Julian Lage Announce November East Coast Tour Dates, Supporting New Album ROOM out November 24 via Mack Avenue Records; Recently Featured on NPR’s All Things Considered; Pre-order Now Available on Pledge Music

Tuesday, October 21st, 2014

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 SharpThurston 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.

On ROOM one hears two guitar masters who span the generations, comfortable in every conceivable role, meeting the daunting challenges of these compositions while giving themselves over to the moment. In the JazzTimes Q&A, Cline credited the duo for revitalizing his playing overall: “I was burned out on touring, burned out on myself…and when Julian and I started playing together it kicked my butt hard. At the same time it inspired me and refreshed my soul.” Lage replied, “Likewise.”

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Gifted Young Trumpeter Adam O’Farrill To Bring His Quartet, Stranger Days, To The Jazz Gallery November 21 Comprised of Long-Standing Collaborators, Stranger Days Aims to Move Beyond Music, In An Attempt to Explore Elements of Theater & Character

Tuesday, October 21st, 2014
Gifted Young Trumpeter Adam O’Farrill To Bring His Quartet, Stranger Days,
To The Jazz Gallery
November 21
Comprised of Long-Standing Collaborators,
Stranger Days Aims to Move Beyond Music, In An Attempt to Explore Elements of Theater & Character 
“A trumpeter squared his shoulders, issued short rhythmic bursts based on one note, and then built a crowd-pleasing yet complex solo”– Wall Street Journal

“drummer Zachary O’Farrill and still-in-his-teens trumpeter Adam O’Farrill have gone a step beyond, reaching a level of artistic confidence that eludes most musicians of any age”. – All About Jazz

Trumpeter Adam O’Farrill has been collaborating with tenor saxophonist Chad Lefkowitz-Brown, bassist Walter Stinson, and his brother, drummer Zack O’Farrill for many years. Given their close rapport, O’Farrill has, paradoxically, musically set his sights on the extra-musical with this group: thinking of its members less as musicians and more as actors in a play. The idea being that, as the
“play” unfolds, and the roles are solidified through interaction, the characters develop and begin to create a larger picture, one which is not beholden to any individual member, but which is rather greater than the sum of its parts. Nevertheless, no acting is actually taking place, and this result is coming solely from the fact that these musicians have such an innate understanding of one another as improvisers.
Throughout the performance, O’Farrill explains that, “the band musically discovers everything from workers building a bridge, to old New Yorkers convening over cappuccinos at an Italian butcher, to the works of Albert Camus, and more.”
Regarding the band’s name, O’Farrill quipped that: “Simply enough, the name of the band explains it all and yet explains nothing at all.”

Pianist Bobby Avey To Play First Jazz Concert at Beethoven Piano Concert Space With His Core Trio of Bassist Thomson Kneeland & Drummer Jordan Perlson, With Special Guest, Alto Saxophonist Rudresh Manhathappa, November 21st

Monday, October 20th, 2014

Pianist Bobby Avey To Play First Jazz Concert at Beethoven Piano Concert Space With His Core Trio of Bassist Thomson Kneeland & Drummer Jordan Perlson, With Special Guest, Alto Saxophonist
Rudresh Manhathappa, November 21st

“ A young pianist of invention and refinement.”
– The New Yorker

“[Avey] has created a cliché-free work of progressive jazz that’s virtually cinematic in its intensity.  Authority Melts From Me sees Avey break through as a composer of sophistication and depth”
– Bradley Bambarger (Downbeat)

“[Be Not So Long To Speak] is a solo-piano record of mystery, patience, imagination and clear design…Keep an eye on this guy.”
– Ben Ratliff (NY Times)

Since his 2010 record A New Face (JayDell), pianist Bobby Avey has been developing his musical universe with the close partnership of drummer Jordan Perlson and bassist Thomson Kneeland–the two were stalwarts on Avey’s 2014 release Authority Melts From Me (Whirlwind Recordings), which was made with the support of a Chamber Music America grant, and also featured guitarist Ben Monder and MacArthur Fellow, alto saxophonist Miguel Zenón. 

For years, Avey has also been adding some of New York City’s top saxophonists to his trio: his mentor and frequent collaborator Dave LiebmanChris Speed, and for a forthcoming November 21st concert, the renowned alto saxophonist Rudresh Manhanthappa. 

This newly formed configuration will be the inaugural Jazz performance at a new groundbreaking acoustic venue, the Beethoven Piano Concert Series, on “Piano Row” between Carnegie Hall and Lincoln Center.

The Concert Space at Beethoven Piano
211 West 58th st. NY, NY 10019
starts at 8:30pm
$15

Bobby Avey

           

Publicity Contact:

Matt Merewitz

Fully Altered Media

matt@fullyaltered.com

fullyaltered.com

Twitter: @fullyaltered

Fully Altered Media 2014 Year in Review For Your Consideration: Top 10s & Year End Lists

Monday, October 20th, 2014

Fully Altered Media 2014 Year in Review
For Your Consideration:
Top 10s & Year End Lists

Dear Journalists, DJs, Producers, Bloggers & All Other Music Industry Folk: 

Thanks very much for your support of our artists & projects in 2014. We are grateful for your dedication and support. We realize that often your efforts are for little or no reward–financial or otherwise.

As we approach the end of 2014, we ask that you consider the following recordings
(and one remarkable documentary) from all the projects that we’ve worked this calendar year (one of which has yet to come out–Nels Cline & Julian Lage’s ROOM), for any “Best of 2014” polls or Top 10 lists and the like. *

We have linked to some form of listening in case you can’t locate a disc CDs or were never sent a physical copy (some are iTunes, Spotify, Soundcloud & Bandcamp links). Additionally, we have provided links to videos and reviews for all projects.

Full album downloads (and in some cases, CDs) for your consideration are available upon request for all albums listed below.

Many of our clients have received great critical acclaim for their work. Others, we feel, have yet to find an audience commensurate with the quality of the music. I would ask that you take this opportunity to check out 1 or 2 artists you would never otherwise listen to for lack of any name recognition. You may be surprised. Our hope is that this email reminds you of some of the best music from very early 2014 and also things you never got a chance to check out.

Best Wishes,
Matt Merewitz & Stephen Buono
Fully Altered Media

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

Thursday, October 16th, 2014

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: http://roulette.org/

Le Poisson Rouge is located at 159 Bleecker St in Manhattan: http://lepoissonrouge.com

 


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

Wednesday, October 15th, 2014

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. (more…)

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

Tuesday, October 14th, 2014

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? (more…)

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

Tuesday, October 14th, 2014

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

 

“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

Monday, October 13th, 2014

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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