Jane Ira Bloom

Jane Ira Bloom Quartet
w/ Dominic Fallacaro   piano
 Mark Helias   bass
Matt Wilson   drums

Sunday,  Oct 11   8:30pm

  

 CORNELIA STREET CAFE
29 Cornelia St., Greenwich Village, NY
www.corneliastreetcafe.com

Award winning soprano saxophonist Jane Ira Bloom returns to Cornelia Street Cafe with her quartet to perform songs inspired by poet Emily Dickinson and ballads from her original repertoire. Longtime band-mates Mark Helias (bass), Matt Wilson (drums), and Dominic Fallacaro (piano) join Bloom for an evening of long lines and deep edges. Don¹t miss these seasoned improvisers playing music inspired by an American master.

2015  Winner Jazz Journalists Award for Soprano Saxophone of the Year

2014 Downbeat International Critics Poll for Soprano Sax

“One of the top soprano saxophonists of all time.” - Scott Yanow, LA Jazz Scene

Matt Wilson's - Arts and Crafts

Matt Wilson's - Arts and Crafts 

Tuesday, June 30th - 7:30 and 9:30pm

@ the Jazz Standard, 116 E 27th St, New York, NY 10016

featuring:
Terell Stafford - trumpet 
Gary Versace - piano, organ and accordion
Martin Wind - bass
Matt Wilson - drums

“Drummer Matt Wilson is always a colorful player — a timekeeper who exploits all the timbres a snare drum can give him, finding melody in it,” Patrick Jarenwattananon wrote at NPR.org. “And when it’s his gig, he’s also a colorful personality with flailing limbs and goofy joy on his face.” As one of New York’s most in–demand sidemen, the GRAMMY Award nominee has played an integral part in the bands of Joe Lovano, John Scofield, Lee Konitz, Marty Ehrlich, and Ted Nash, among many others. His own eclectic ensembles include the Matt Wilson Quartet, the Christmas Tree–O, and Matt Wilson’s Arts and Crafts, a longstanding group made up of four of the strongest players in New York which he brings here tonight.

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Onstage, a Single Band, With a Split Personality

By NATE CHINEN
Matt Wilson unveiled an expanded version of his working group at Iridium on Wednesday night — or maybe it was two groups, depending on the whim of the moment. Near the end of the first set, it was possible to imagine a borderline across the stage, as half of the musicians played a Mozart string quartet and the other half gradually muscled in, urgent and bleary, with “What Reason Could I Give,” an enigmatic ballad by Ornette Coleman. The two halves were working at cross purposes, but with a playful air.

Mr. Wilson, a jazz drummer constitutionally averse to pretension, has led his quartet since the mid-1990s, pushing an agenda of audacity, flexibility and friskiness. The band, with Jeff Lederer on saxophones, Kirk Knuffke on cornet and Chris Lightcap on bass, specializes in rugged, small-scale epiphanies, following up on the epic example of Mr. Coleman. This was the group’s first-ever performance with strings, and it felt brightly provisional, free of hang-ups about compatibility. It wasn’t stiff or overworked.
 

The set actually included two of Mr. Coleman’s themes: “What Reason Could I Give” melted into “Broken Shadows,” another piece from 1971. Both featured declarative guest vocals by Mary LaRose and a calmly burbling churn in the rhythm section. Mr. Wilson dedicated these songs to the saxophonist Dewey Redman, a former mentor and a participant in the original recordings; Mr. Redman, who died in 2006, also lurked in the DNA of “The Gathering Call,” a springy set opener with an abrupt, ascending melody.

This was all courting heady abstraction, but Mr. Wilson and his band mates have a way of pushing through brambles with exuberance. (That tendency hasn’t gone unnoticed: in a couple of weeks, they will appear on Jazz at Lincoln Center’s Jazz for Young People series, in a pair of concerts gamely titled “What Is Free Jazz?”) Within the band’s expressive mode, its front line modeled a handy contrast. Mr. Lederer was woollier, more guttural, a compendium of wheezes, honks and squeals; Mr. Knuffke took a deliberate path, with elliptical phrases and a coolly understated tone.

Photo: Brian Harkin for The New York Times
The string quartet — Nicole Federici on viola, Alisa Horn on cello and Skye Steele and Felicia Wilson, Mr. Wilson’s wife, on violin — flickered around the margins, playing interludes or accents mostly arranged by Mr. Lederer. On “Some Assembly Required,” a klezmerlike romp, and “If I Were a Boy,” a Beyoncé cover, Mr. Steele doubled the main melodic line, sighing or plucking, while the others lent background accompaniment.

Behind everything was Mr. Wilson’s smartly skittering pulse, along with his rummaging sense of invention. At one point he stood up to lead his quartet in a mock-ceremonial prelude, ringing toy hand-bells; later he recited “Bubbles,” a Carl Sandburg poem, with a goofy sincerity. And before plunging into the final tune, a soulful shuffle repurposed for the hybrid ensemble, he joked that its title could apply to jazz and classical music. It was “Cats and Dogs Living Together,” a giddy highlight of the set.
http://www.nytimes.com/2010/05/21/arts/music/21wilson.html?partner=rss&emc=rss

Fred Hess Band....

The tenor saxophonist Fred Hess has something adventurous with your music. He not only visit the past with obvious interpretations, but do not fear visiting different genres. O sucesso que obtém justifica sua vida. The success that gets justified his life.
Hess adds guitarist Dale Bruning his quintet, formed by Ron Miles (trumpet), John Gunther (flute, alto saxophone), Ken Filiano (bass) and Matt Wilson (drums). Bruning introduces a different personality to the music with their dynamic, no matter if it is just up the band or talking with the saxophone of Hess.

The music features a range of varieties ranging from a soft ballad to something freely agitated. Há bebop e impetuoso ritmo caribenho. There Bebop and heady pace Caribbean.
Hess and Bruning go quiet moments on "While My Lady Sleeps". Hess is humming and eloquent, dipping slightly in each sentence to find little nuances, bringing music to the fascination. He puts the sentences to avesssas with Bruning embellished each song with chords causing a delicate complement.
The constant changes of time and direction pressagia expectations. Hess puts power in their actions, Filiano Wilson uses the bow and exciting color and the beat. They go to a running time, however no one can imagine being romantic. O certo é que é agradável ouvi-los. The truth is that it is pleasant to hear them.
The dexterity of the ballads are garrulity Hess in "Thursday's Theme". Gunther with the flute, the track breathes passion. Improvisation is accurate and there is space to fill.

The focus of the band is clear: Create exciting and lyrical music. They derive largely successful.
Tracks:
Blues For Bonnie Belle;
Dancing With Daffodils,
Norman's Gold;
While My Lady Sleeps,
Port O 'Call,
Thursday's Theme;
Out of the Past,
Return of the CLEFS;
Spring is Here;
Single Moment.
Source: All About Jazz / Jerry D'Souza