Tuesday, April 15, 2014
Posted by Claudio Cavalcanti at Tuesday, April 15, 2014
Press Contact: Jim Eigo, firstname.lastname@example.org
In the 18th annual Jazz Awards presented by the JJA, an international non-profit organization of writers, photographers, broadcasters, videographers and new media professionals, Without A Net, by Shorter's quartet (winner of Midsize Ensemble of the Year) was voted Record of the Year. Vocalist Cecile McLorin Salvant, debuting in 2013 with her album WomanChild, was named Up and Coming Artist of the Year as well as Female Singer of the Year. Gregory Porter was voted Male Singer of the Year, Maria Schneider Composer and Arranger of the Year, and her Orchestra best Large Ensemble.
Winners of Jazz Awards will be presented with engraved statuettes at their performances throughout the U.S. Winners are chosen through a two-month, two-ballot voting process. Recipients of JJA Jazz Awards for excellence in journalism and media will be announced at a party at the Blue Note Jazz Club in New York City on June 11, which will feature musical performances by Elio Villafranca's Jass Syncopators, Sheila Jordan with Cameron Brown, and Stephanie Richards' Trumpet Ensemble. Tickets for that event are now on sale: the general public is invited.
Among the many highlights in the lengthy careers of Herbie Hancock and Wayne Shorter were their joint tenures in Miles Davis' 1960s quintet. Davis' influence on current jazz remains powerful, according to JJA members who voted for Miles Live in Europe 1969 as Historical Record of the Year, and also honor Davis-associated Jack DeJohnette as Traps Drummer of the Year.
New jazz stars are also acclaimed by the JJA: besides Cecile McLorin Salvant, pianist Craig Taborn, percussionist Pedrito Martinez and electronics player Jason Lindner have won Awards for the first time. However, veteran musicians who have won Jazz Awards previously dominate, with saxophonist Joe Lovano, trumpeter Terence Blanchard, trombonist Roswell Rudd, bassist Christian McBride, mallet instrumentalist Gary Burton, alto saxophonist Lee Konitz, organist Dr. Lonnie Smith all receiving honors for their musical achievements in 2013.
The JJA Jazz Awards again cites the advancement of women in jazz, with Awards going to violinist Regina Carter, soprano saxophonist Jane Ira Bloom, flutist Nicole Mitchell, and clarinetist Anat Cohen – all previous winners.
The complete list of winners of 2014 JJA Jazz Awards for musical achievement, the list of all 2014 nominees and biographies of 24 Jazz Heroes are viewable at http://www.JJAJazzAwards.org.
Sponsors of the 2014 JJA Jazz Awards include The Jazz Cruise, North Coast Brewing Company, the Ella Fitzgerald Foundation, Berklee College of Music, Jazz.FM, Motéma Music, ECM, Mack Avenue and Century Media Partners. For further information on the Jazz Awards and the Jazz Journalists Association, contact Howard Mandel, President@JazzJournalists.org.
Posted by Claudio Cavalcanti at Tuesday, April 15, 2014
The Argentinian press said about this show:
" Puga Lareo – Telson: an excellent duo. Hopefully their show will end up in an album" Ricardo Salton, El Cronista Comercial Newspaper
" ... They both quickly found their contact points. María has delved into Telson’s repertoire to find music that the composer wrote in 1972... and brought them on stage to make them sound fresh . " Mauro Apicella, La Nación Newspaper
" A piano, a singer and a handful of good songs ... where talent and nostalgia converge ... Maria Puga Lareo and Bob Telson know how to transform simplicity into art". Fernando Rios, Argentjazz
" ...This loud, brash R&B and gospel-based show is a refreshing change for the Argentina music scene. Throughout the night, Telson and Lareo seemed to be having as much fun as the audience. The magnetic energy… make it well worth a visit” Kari Paul , The Argentina Independent Newspaper
About María Puga Lareo
Argentinian singer, composer and producer. Head of the music label “My Keter Records”. She started singing professionally in 2000. After the release of her first CD “Body and Soul” in 2005 she started performing frequently in the USA. She sang at the “temple of Jazz” Saint Peter's Church on Lexington Ave NYC.; the Manna House Theatre in Harlem; Women’s Studio Center in Queens, on TV at the "Bernice Brooks Show" on the BCAT TV Channel, with the Astoria Big Band at the 80th Anniversary of the Sunnyside Park Foundation in Queens, NY, among other venues.
After producing and releasing her first record with a band headed by legendary argentine sax player Enrique Varela, her international venues led her to perform with legendary Bob Cunningham, former bassist of Miles Davis and Dizzy Gillespie, the Polish Andrzej Jagodzinski trio; the famous Lecaros Clan in Chile; with the Hot Club de Norvege in an appearance in Oslo; with the celebrated American composer, singer/songwriter, and pianist Bob Telson, best known for the movie “Bagdad Café” score and his Broadway musicals; and the all-star jazz musicians intervening in her second CD “Facetas” – which was recorded in the US and Buenos Aires with piano and arrangements by Carlos Franzetti, former Bill Evans Trio bass player, Eddie Gómez, producer Fernando Gelbard on flute and piano, Ed Uribe on drums, guitarist Quique Sinesi and pianist Frank Collett.
María edited through My Keter Records: Body and Soul and Body and Soul- The EP, Beijo Partido, In A Sentimental Mood and Facetas - with great response from the press in Argentina, an excellent review and comments of her CD in Japan, the same for the US and musicians like Arturo Sandoval, Lalo Schifrin, Jorge Calandrelli among others.
María is a BMI (Broadcast Music Inc) affiliate, a member of NARAS (National Academy of Recording Arts and Sciences), the IWJ (International Women in Jazz) and the New York Foreign Press Agency.
She composed and sang the signature tune and incidental music for Fox Sports tv show "Limite 4x4", broadcast to all the Americas (2002).
About Bob Telson
Bob Telson is an American composer, singer/songwriter, and pianist best known for his work in musical theater and film, for which he has received Tony, Pulitzer, and Academy Award nominations.
Among his best known works are the score for “Bagdad Café”, and the musical “The Gospel at Colonus”, starring Morgan Freeman.
His songs have been recorded by Barbra Streisand, Natalie Cole, George Benson, Joe Cocker, Celine Dion, Etta James, k.d. lang, Shawn Colvin, Caetano Veloso, Gal Costa and George Michael.
Sunday, April 13, 2014
The Wangaratta Jazz and Blues festival, arguably the biggest event of its type in Australia, takes advantage of this protean nature. Over the next four days, visitors are exposed to different styles of playing, many presented simultaneously; the same musicians appearing in different combinations playing different styles. It is a smorgasbord approach: if you don’t like this, then try this – all the music you can consume.
Who will be appearing? Pianist Barney McAll will be playing, both with his trio and solo, and is likely to be one of the standouts. Accompanied by bassist Jonathan Zwartz and drummer Hamish Stuart, McAll is likely to explore his compositional ideas, while his solo concert at the Holy Trinity cathedral will have more of a sacral element – McAll regularly performs in a church in Brooklyn.
Posted by Claudio Cavalcanti at Sunday, April 13, 2014
Posted on April 12, 2014
When is a train like a jazz tune? When someone tries using them to improve wine quality. Recently, Wine-Searcher ran a piece on Juan Ledesma, a Chilean winemaker using waterproof speakers submerged in the barrel to – infuse? – his malbec and cabernet as they age. If you believe that some kind of spirit inheres in all living things even through their killed and processed forms, and also believe that music has spiritual effects, then it might also be logical for you to believe that music has some kind of metaphysical effect on wine that transmutes through its spirit into its physical form, affecting both the taste of the wine and, perhaps, the spirit of the person who consumes it.
Fair enough logic. But when I think about music, I think about trains. Trains and music, both, are sources of vibrations which at least theoretically affect on wine quality. What kind of an effect has been a matter of speculation and maybe a little superstition or wishful thinking, but not much research. A few years ago, a winemaker contacted me to ask whether his barrel room being under a railway overpass – and, consequently, being subject to the rumbling vibrations of frequent passing trains – might have some kind of softening effect on the tannins in his reds.
Had he consulted what turns out to be a century-long history of winemaker interest in train-derived rumblings, from he would have found as much or more worry about negative effects as positive. His spiritual predecessors, 1920′s London wine merchants, hoped that their wines stored in barrel under the city’s railway arches would mature faster and to good effect.
Sixty years later, a great vinous uproar occurred when the French government proposed a new TGV route to transgress Vouvray in the late 1980′s, not only for fear that vineyards might be destroyed but that vibrations from the train might disrupt cellaring wine. (The not-entirely-equitable solution: a tunnel under the vineyards and anti-vibration mats under the tracks.) The TGV folk purportedly did their own research and found that passing trains had no effect on wine quality, but they never published any details from their studies. Playing music to wine could be dismissed as new-aged nonsense and worrying about trains as old-timer technology resistance.
Read more: http://blog.seattlepi.com/wellredwhiteandrose/2014/04/12/why-playing-music-to-wine-may-not-be-a-cockamamie-idea/
Posted by Claudio Cavalcanti at Sunday, April 13, 2014
Saturday, April 12, 2014
Reprinted from http://jazzwax.c
I've been traveling quite a bit lately, so my CD discoveries have been piling up. Finally, this past week, I had some time to write about the new albums I love...
Peter McGuinness Jazz Orchestra—Strength in Numbers (Summit). A solid, tasteful big-band album arranged by McGuinness, whose writing throughout wriggles the orchestra in and out of compelling places. The combination of flutes and bass clarinet and gorgeous trombones that sound like French horns makes for a big-band recording with a delicate, bold sound.
Abdullah Ibrahim—Mukashi (Sunnyside). The South African pianist-composer taps into his love for Japanese music, combining Asian melodic themes and jazz chords. The result is a captivating and delightfully sensitive solo piano work. Mukashi means "once upon a time" in Japanese, and there's certainly a story-telling feel to each original composition. Now add cellos and woodwinds here and there, and you have one of the finest piano albums of the year.
Rozina Pátkai—Você e Eu. This Hungarian singer delivers sensual renditions of bossa nova classics, including the title track, Desafinado, Chega de Saudade and more. Her surfy nonchalance and passionate lyricism are supported by a superb Rio-like backup group, most notably Balázs Pecze on trumpet and flugelhorn, and Mátyás Tóth on guitar. Hard stuff to sing convincingly, but Pátkai makes it sound easy, making you feel like the sun has just emerged after a summer downpour.
Stacey Kent—The Changing Lights (Warner Bros). Talk about stunning. I missed this album when the CD came out in February, but I'm so glad I finally caught up with it. Kent has a delicate, take-charge voice, and on bossa nova material she delivers the perfect ratio of girlish innocence and womanly savvy, opening some songs a cappella. There are well-known tracks here (One Note Samba and How Insensitive), but also plenty of discoveries (The Summer We Crossed Europe in the Rain and The Changing Lights). Just sample Marcos Valle's The Face I Love, which the late Sylvia Telles made famous, and you, too, will be weak in the knees. By the way, Marcos told me last week that his album with Kent, recently released in Japan, will be out in the U.S. later this year from Sony. I can't wait.
Paulinho Garcia—Beautiful Love. This Chicago-based singer-guitarist sounds a long way from home. If I put this on for you, you would swear you were listening to someone serenading an audience at a Rio coffee bar. Garcia sings Brazilian ballads and American Songbook standards supported only by his solo acoustic guitar, delivering with Chet Baker ease and abandon. What's more, his chord voicings are positively insane—dig Like Someone in Love, That Old Feeling and Bluesette. Music that makes you take a deep sigh.
Bayeté—Worlds Around the Sun (Omnivore). Back in 1972, pianist Todd Cochran (known then as Bayeté) released a fascinating jazz album that was steeped in the feel of San Francisco radicalism. Long-form bands like Sly and the Family Stone, Jefferson Airplane and Return to Forever dominated the radio and concert scene while political action groups advocated for change and hippies embraced the environment and a range of social causes. This album is the essence of all three combined and includes Bobby Hutcherson on vibes and Oscar Brashear on trumpet. There's plenty of wah-wah and soul choir work here as well. Songs like Free Angela and Njeri will make you want to slip on a pair of sandals, hop in a van and tune-out. Highly spiritual jazz that holds up well more than 40 years later. Best of all you no longer have to put up with scratchy versions, since this is the album's debut on CD.
The Essential Sade (Sony). We work, the years pass and the next thing you know artists and albums are decades old. I recently popped on this new double compilation CD and was thunderstruck by how well Sade's savory music holds up. The British singer may have been a hit in the 1980s, but she still sounds like she's singing from an unmade bed, and her songs resonate as if recorded last week. Smooth Operator, Love Is Stronger Than Pride and King of Sorrow all have a hypnotic quality that gently pulls you in and forces you to listen up. Every track on this set is worthy, which is a testament to Sade's timeless quality and the power of meloic song served warm.
Rod Stewart—Tonight's the Night, Live 1976-1998 (Warner Bros). Say what you will about Rod Stewart, he remains one of rock's finest tawny singers. His warm, sandy voice has a way of simultaneously excoriating and vamping any song. From Maggie May, Pinball Wizard and Sittin' on the Dock of the Bay to Infatuation and Do Ya Think I'm Sexy, Stewart finds a way to stand up on a tune and tip it back and forth like a canoe. This four-CD set works, largely because Stewart never rushed a song in concert, consciously holding the music in a groovy place.
Carlos Franzetti—In the Key of Tango (Sunnyside). Pianist Franzetti's Argentine classicism is rousing. This album isn't a traditional tango album (images of polished couples staring, twisting and turning) but more of a jazz interpretation of tango themes. Songs soar and dive, pause and then move forward with haste. Fortunately, the music never grinds. Instead, it has all the charm of a ballet dancer, as Franzetti moves through the music on solo piano. The drama and zest that Franzetti brings to each song is instantly captivating.
Posted by Claudio Cavalcanti at Saturday, April 12, 2014