miércoles, 6 de junio de 2018

Dongfeng Liu Band "China Caribe" CD Release Concert Friday, September 21, 2018 8 p.m. Weill Recital Hall, New York City

Dongfeng Liu Band
"China Caribe" CD Release Concert
Friday, September 21, 2018 8 pm 
Weill Recital Hall
@Carnegie Hall
57th Street and Seventh Av

Dongfeng Liu, Piano and Keyboards
John Benitez, Bass
Roberto Quintero, Percussion
Francis Benitez, Drums
Min Xiaofen, Ruan and Pipa
Feifei Yang, Erhu

Rare is the occasion when an artist arrives on the scene who fundamentally reawakens your understanding not just of music but world history, common cultures, and shared values. Dongfeng Liu is this very type of artist. He is a maestro composer, arranger, jazz pianist and educator who draws upon musical influences from his native China, and fuses them with American jazz harmonies with Caribbean rhythms. China Caribe uncovers those buried pages of history in which Chinese immigrants journeyed to the Americas as early as the 1860s. In fact, Havana boasted the largest Chinese population in the Western hemisphere during this period. 

Liu’s CD celebrates and dramatizes these cultural cross currents. On this album, we hear what happens when cultures collide – a new sound, a unique aesthetic is born. You haven’t heard anything like China Caribe. I hadn’t. In a word, Liu’s music is peerless. These eight original compositions and arrangements are special and sparkling, meditative and magnificent. 

The opening notes of In the Clouds are performed on the morin khuur, a Mongolian instrument that is also called a horsehead fiddle, in soundclips by the Hanggai Band, one of the leading folkloric Rock groups from Mongolia, and friends of Liu’s. This sound alone foreshadows what’s to come: We begin in the East, but by the time John Benitez’s round electric bass enters, we’re not quite back in the West but somewhere in between – a place that China Caribe will inhabit throughout each musical chapter. 

Min Xiaofen plays the melody elegantly on the ruan, a traditional Chinese string instrument similar to a lute, with a round body and four strings. This piece is inspired by the Mongolian throat singing tradition called khoomei in which a vocalist sings two notes at once. In this tune, there is the sustained bass and melody. At the same time, the floating chords, taken together, form the second note. Indeed, the piece is masterfully conceived and arranged. 
Mirror Image features Liu with well-placed piano lines, Roberto Quintero on percussion, and Francis Benitez on drums. The melody of the beginning A section is adroitly inverted into a 6/8 feel in the B section. Liu suggests that when we gaze at ourselves, look more closely, because there is more going on than meets the eye. Similarly, when you encounter others, don’t just look for differences, but identify the shared values that we hold dear. We’re more alike than apart.  

Colorful Clouds Chasing the Moon takes the melody from an ancient and folkloric Chinese song. Min Xiaofen takes the lead on the pipa, another ancient lute-style stringed instrument. She is followed by Liu performing the melody on the piano. There is a trenchant Afro-Cuban beat in 6/8 that creates an undulating, propulsive feeling until the timba 4/4 rhythm takes over during the solo section, in which Liu unleashes an incandescent improvisation that builds with block chords and dynamic phrasing. 

I Know You starts with the intrepid hand percussion of Roberto Quintero which blends seamlessly into John Benitez’s syncopated bass groove. Indeed, the prelude and A section are in the odd-meter of 5/4, which transitions to 7/4 in the B section. “Latin music makes people want to dance,” says Liu. “But this piece isn’t suitable for dancing,” he observes. He notes that this is one of his favorite songs because the musicians have to interlock over an uneven rhythm, and ultimately have to learn about each other in the process. This piece is unadulterated virtuosity.  

Arcadia is pure fusion. From the heavy synthesizer introduction and forceful back beat of the drums to piano painting and finally the melody on pipa. Liu chose the name of the song because it sounded like that of another world, the feeling he tries to evoke in this piece. Ultimately, the music is harmonious and suggests that it’s possible for people to make music (and live together) in a peaceful manner. Here too, Liu’s piano solo is pitch perfect, inhabiting the empty space, yet not clustering the piece with a barrage of sounds. The maestro uses the stillness, the calmness as an instrument itself which serves to dramatize the melody. 

Coltrane’s Tune is Liu’s tribute to John Coltrane, whom he has long admired. The harmony is from Coltrane’s classic “Countdown.” Liu admits that the song is also inspired by Miles Davis’ “Tune Up.” Indeed, you can hear shades of both these vintage jazz songs. Of course, Liu renders them with novelty and originality. This tune is pure, uninhibited jazz trio.  

Fisherman’s Song At Dusk comes from an ancient Chinese folkloric song. It refers to the performance of the Chinese Jiangnan Water Village during the sunset, as the fishing boats are sailing in the distance. Liu took this melody and recast it with several parts, from the cascading piano to the drums accenting the beats at the same time. Feifei Yang plays the melody on the erhu, a traditional Chinese bowed string instrument. 

The album concludes with Moophy which is inspired by an instrument known as the “Moog Sub Phatty,” which Liu thoroughly enjoys playing. The A section has a terrific 7/4 groove that transforms into a 5/4 feel in the B section. The back-and-forth between Liu on the piano and Benitez on bass is the stuff of not just virtuosity but friendship. These two have forged a bond across idioms, styles, and cultures. 
Admittedly, to say that this album is Chinese and Cuban can be reductionist. There are fifty-six ethnic groups in China alone who speak different languages and perform their own styles of music. Cuban and Afro-Caribbean music is certainly not without variety either. But this album will launch any listener onto a journey, even safari of discovery. It has been a pleasure producing Liu’s album with John Benitez and Doug Davis. We thoroughly enjoyed the adventure of fusing cultures and civilizations. 

“I wanted to contribute a new voice, my voice to the conversation,” said Liu. Indeed, Liu has given us something to hold dear as we face the future. No matter the shifting sands of time and fate, we’re in a better place when we look for commonality. Liu has enriched and advanced that common language of all mankind – music.  

¡¡Viva The Latin Jazz!!


www.jazzpromoservices.com            jim@jazzpromoservices.com


sábado, 2 de junio de 2018

Sebastian Schunke / Diego Pinera Duo new CD "Elusive Beauty" + next event

"The career of Sebastian Schunke has been marked by his evident inclination towards Latin Jazz, to which he has contributed continuous creations. Now he does it in duo with Diego Piñera and an 'Elusive Beauty'", Luis Raul Montell - Jazz Caribe

"Elusive Beauty"

The Musicians:
Sebastian Schunke (piano); Diego Piñera (drums, percussion)

1. Rapsodia No. 3 Alles Im Fluss; 2. Einsamkeit; 3. Back to Life Part I; 4. Back to Life Part II; 5. Rapsodia No. 4 Crazy Danzon; 6. Der Gedanke; 7. Her dance

What is beauty? Artists and scientists have been tormenting themselves with this question throughout the ages. Is it regularity? Naturalness? Perfection? Pianist and composer Sebastian Schunke finds an answer on his seventh album, an answer that corresponds to the findings made by researchers into smallness (slight asymmetries make faces appear more attractive) - and which agrees even more with what Goethe once wrote: "Perfection is there when the necessary has been achieved, beauty when the necessary has been achieved, but is hidden. "

"Hidden beauty" - that would be another way of expressing "Elusive Beauty", the title of Schunke's new recording. This is the most radical album to date by Schunke, who comes from Berlin and who has been seen as a visionary of Latin Jazz, ever since his debut CD "Symbiosis" which I recorded in New York in 2000 together with Antonio Sanchez and John Benitez . It's a reputation that was masterfully reinforced by his album "Genesis, Mystery and Magic" of 2014. This recording, with stars from Europe and the USA including Nils Wogram and Alex Sipiagin, drew Schunke into 5-star album reviews of the most important publications worldwide, and the German magazine Jazz thing hailed it as a masterpiece.

But after this big success, which drew on all Schunke's previous creative work, creating a bridge between Latin culture, progressive jazz and European classical music, the pianist thought it was time for a break. "I wanted to rediscover the piano for myself and not be limited, to be unbounded, so to speak," the 44-year-old pianist said. The result of years of piano and music research and soul-searching, during which Schunke drew inspiration from such different figures as the British composer Harrison Birtwistle or the US percussionist Tyshawn Sorey, can now be heard on "Elusive Beauty".

For the first time in his career, Schunke has dispensed with a bassist, who in Latin jazz is generally an indispensable pulse-provider, thus opening up previously unheard spaces in the depths of the piano register. Four of the seven pieces on "Elusive Beauty" are duets with the Uruguayan percussionist Diego Pinera, whom Schunke has valued as a reliable partner for more than ten years. But even the extremely virtuoso rhythmist, who was awarded the "Echo Jazz" of 2017 as the best percussionist, is drawn out of his comfort zone. It is no longer enough to make complex, uneven Latin grooves fly (Schunke's trademark since the start of his career), but it is also a question of thinking in musical categories. With the utmost sensitivity, Pinera coaxes drops of sound out of a percussion instruments such as steel drums, timpani, kettle drums or countless cymbals, and makes them sing.

On three of the tracks on "Elusive Beauty", an unusual combination of instruments joins the duo. Bass clarinetist Benjamin Weidekamp, ​​who has worked with Anthony Braxton and Gebhard Ullmann, among others, violist Yodfat Miron and cellist Boram Lie, who are supremely at home in the worlds of classical music, new music and pop, provide additional excitement. Far away from wind and string clichés, they strike Schunke's harmonic tinder and light flickering fires. The scale of expression varies from mere noises, lips smacking and sighs, to a warming blanket of musical cloud with deliberately woven imperfections, to the incredibly intensive solo scream of despair by the bass clarinet. It sounds like a bruitistic repetition of Cuban grand master Paquito d'Rivera's clarinet; he and Schunke recorded the CD "Back in New York" in 2008, and it makes it obvious what a huge leap the pianist's musical ideas have taken in recent years.

Schunke did not locate his "Elusive Beauty" in the vacuum of the avant garde. Traditional Latin American rhythms keep turning up in new tracks by Schunke, who regularly performs in South America. You can hear plena from Puerto Rico in the lead-in number "Rhapsody No. 3", or from Cuba as in "Back to Life - Part II". And although Schunke and Pinera interpret their grooves in truly daring sequences of uneven beats, they set the listener dancing inwardly.

What is happening here is the improbable symbiosis of apparent contrasts. The mathematical precision of advanced Latin jazz, the passion of Latin American folk culture, and the harmonic understanding of European modernity influenced by Schönberg and Webern, have all led to the creation of something new. To some extent this is a development of the "Third Stream" movement started by Gunther Schuller, which extends the blend of jazz and classical music by a Latin component in Schunke's "Fourth Stream".

On "Elusive Beauty" a fragile beauty has been preserved whose harmonic form is made to shine in dark colors thanks to the oscillations of a delightfully dissonant chordal note. And we witness the birth of a special musical and compositional idiom which could become something new for Latin jazz, just as Ornette Coleman's revolutionary musical philosophy did for the hard bop of the late 1950s that had become so set in its ways. All in all: in the most delightful way, on his seventh album Sebastian Schunke lives up to his reputation as a bold innovator.

Sebastian Schunke Notes:

Schunke is one of the world's leading young jazz composers. He has earned this praise with his previous 6 CDs. International stars of Latin Jazz went to the studio and to the stages with him. So he worked with greats like Paquito D'Rivera, Antonio Sanchez, Nils Wogram, Dafnis Prieto, John Benitez, Yosvany Terry, Richy Flores, Pernell Saturnino. Toured through South America, Central America, Europe, Asia, and the USA. With his duo partner Diego Pinera, he now presents a completely new sound, even a new style: "the fourth stream" a combination of modern music of the 21st century with roots of Afro-Latin music.

Diego Piñera Notes:

Born in Montevideo (Uruguay). Graduated from the Boston College of Music in Boston (USA) and continued her studies at the Conservatory of Music in Habana (Cuba), then at the Leipzig University of Music and Performing Arts. His teachers were none other than: Danilo Perez, Bob Moses, José Luis Quintana better known as "Changuito" and Kenwood Denard. In 2011 he won the Leipzig Jazz Prize and in 2017 the ECHO in the category "Instrumentalist often he Year 2017". He collaborated with Donny McCaslin, Jerry Bergoniz, Danilo Perez, Hans Glavischnig, Dan Tepfer, Alex Sipiagin, Miguel Zenon, Wilson de Oliveira, Tony Lakatos, Nene Vazquez, Joe Gallardo, Katja Riemann, Nils Wogram, Paul Brody.

Next Event:

23/06/2018  Dance Meets "Elusive Beauty" - in Berlin

¡¡Viva The Latin Jazz!!

www.sebastianschunke.com               www.diegopinera.com

www.jazzcaribe.blogspot.com            jazzcaribe2001@gmail.com

miércoles, 23 de mayo de 2018

Flutist and Composer Itai Kriss Blends the Sonic Landscapes of Tel Aviv and Havana on New Release “Telavana”

Due Out July 7th 2018 

Israeli flutist and composer Itai Kriss is proud to announce the Saturday, July 7th release of his highly anticipated sophomore album Telavana. Presenting the dynamic sound of his eponymously-named esteemed ensemble, Kriss bridges the musical spheres of the Middle East and the Caribbean by combining Timba, Soul, North African music and Jazz to create a unique and lively mix of rhythms and textures. Rather than simply combining and unifying the elements of Tel Aviv and HavanaTelavana explores the myriad of connections that have historically connected the east and the west, and the beautiful artistic and cultural fruits of this continuing cross-pollination. Itai Krisswill celebrate the release of Telavana at Smalls Jazz Club, located at 183 W 10th St, New York on Saturday, July 7th.
“Telavana is really a synthesis of my own musical identity, as it is a manifestation of my different cultural roots. As a Jazz musician born and raised in Israel, and coming of age in the Latin music scene in New York City, it feels natural to express where I came from, what I've been doing and the things I'm inspired by in a single band, and this is it.”
-Itai Kriss
The flutist, praised by Jazzwax as “one of the most exciting new flutist-composers” on the scene grew up in Israel and was exposed to its many musical traditions ranging from Morocco to the Balkans, Yemen to Turkey, Egypt to Russia. Upon pursuing his childhood dream of moving to New York City to study jazz, Kriss was naturally drawn to the enticing sounds of salsa, Afro-Cuban music and Latin jazz and was “adopted” by Puerto-Rican and Cuban musicians who became important mentors. Now, after spending the past fifteen years working at the forefront of New York City’s Jazz scene while performing, recording and touring with some of the world’s top Afro-Cuban, Latin and salsa artists, the virtuoso fuses the sounds of his native Israel with those of his adopted homelands in the Americas to bring you Telavana.
Stand out tracks from the album include “Sahadi's Serenade”, a dedication to Kriss’ favorite Middle Eastern grocery in Brooklyn and “Shabazi”, a festive tune titled for one of his beloved neighborhoods in Tel Aviv, which is notably featured in a music video starring dancer Elena Nayiri. While “Para Venezuela” combines elements of Merengue Venezolano (traditional Venezuelan folk music) with classical, jazz and Cuban elements, “Azules”, literally translating to ‘blues’, is a Spanish/flamenco inspired composition with a form that's based on the blues and melodies drawn from the Andalusian traditions of southern Spain. “Rak Beinatayim”, an arrangement Kriss created to a song by prolific Israeli songwriter Nurit Hirsh in the style of a Cuban danzón,  is the only song on the album not composed by the band leader.
Telavana is presented by a group that aptly mirrors the serene amalgamation of these diverse musical cultures. Representing the sounds of the East is Israeli bassist Or Bareket, Jerusalem-born drummer Dan Aran and special guest qanun player and Turkish-native Tamer Pinarbasi. Kriss completes this multi-regional line-up with Puerto Rican percussionist Marcos López, Cuban pianist César Orozco, New York jazz trumpeter Michael Rodriguez, and world renowned multi-instrumentalist and Cuban-native Yosvany Terry (who on this occasion lends his talents on shekere). Each of these accomplished musicians bring their own individual, distinct cultural backgrounds and flair to this nine track opus. Kriss is thrilled to have these particular musicians bring his vision to life as each of them truly bring the flavours from their own lands to his music. Although each member of the band hails from various corners of the world, this ensemble showcases the ease of communicating through and with music. For Kriss, this music evokes the feeling of being in a world that isn’t actually so big as people think. While geographically the Middle East and the Caribbean are distant, the people of both lands channel a range of musical similarities with each other. Undoubtedly, both regions share a strong and congruent passion for rhythm and music and Kriss hopes that his listeners immediately hear this connection on Telavana.

Itai Kriss commands a variety of musical genres with an eclectic style infused with Jazz, Latin and Middle Eastern sounds. According to Downbeat Magazine, there is a “tangy, exotic flavor” to the New York musician’s style, which can be heard on his first album, The Shark. Growing up in Tel Aviv, Kriss was surrounded by a range of musical and cultural stylings; From Moroccan to Balkan, Yemeni to Turkish. Beginning his jazz education at Thelma Yellin High School for the Arts, Israel, Kriss moved to New York to continue his jazz journey at the age of 22. While jazz was what primarily lured Kriss to the city, the accomplished musician found himself particularly exposed to the music of Cuba, Puerto Rico and Latin America. Playing with Salsa and Cuban groups, he naturally developed his knowledge of the sounds and stylings of the Caribbean. With so many musical styles and traditions in his ear, Kriss never had to make a conscious effort to blend each of his influences, but rather does so fluently and intuitively. During his time in NYC, Kriss has had the fortune to be a part of several bands with long-running weekly dance parties where the sound of the band would be honed and deepened by weekly interactions with dancers who became regular patrons. The dance aspect is very important to Kriss because all Latin and Caribbean music is essentially dance music and it always has a strong pulse which is like its heartbeat. Kriss is a vital member of the New York Jazz, Latin Jazz and Salsa music scenes. He can be heard performing, touring and recording with his own ensembles and some of the most exciting Jazz and Latin musicians in town, including Los Hacheros, Dafnis Prieto, Elio Villafranca, Edmar Castañeda, Jorge Glem, Yemen Blues, Gregory Hutchinson, Burning Spear, Pedrito Martinez, Jerry Gonzalez, Omer Avital, Yosvany Terry, Avishai Cohen, Eric McPherson and Aaron Goldberg, to name a few. When not touring, Kriss performs regularly at premiere New York music venues including The Blue Note, Birdland, S.O.B.’s, Jazz at Lincoln Center and The Copacabana.
Here Mr. Kriss with his companions shows aptly what is Venezuelan jazz...Gozalo!:

¡¡Viva The Latin Jazz!!


www.lydialiebman.com         lydia@lydialiebmanpromotions.com

www.jazzcaribe.blogspot.com          jazzcaribe2001@gmail.com

miércoles, 16 de mayo de 2018

West Side Story Reimagined for Puerto Rico Relief - Bobby Sanabria Multiverse Big Band

Hey Jazzheads!
Be the first to listen on Soundcloud!

West Side Story Reimagined

Bobby Sanabria Multiverse Big Band
for Puerto Rico Hurricane Relief Fund
Release Date: July 20, 2018

Jazzheads is proud to announce the release of West Side Story Reimagined by Bobby Sanabria Multiverse Big Band on July 20, 2018. Proceeds from the project will be given to Jazz Foundation of America Puerto Rico Relief Fund.
West Side Story Reimagined is an ambitious interpretation of the entire score of Maestro Bernstein's masterpiece, all done with a Latin jazz approach. This double CD, celebrating the Maestro's Centennial, will include a 16 page booklet with detailed liner notes and rare photos.
We are currently running aKickstarter campaign to raise funds to complete the production. Contributions through the Kickstarter campaign, as well as a percentage from the purchase of this commemorative package will go to the relief efforts in Puerto Rico which is still struggling to recover from   two devastating hurricanes last fall. 
From Multi-Grammy Award nominated Bobby Sanabria:
Hi, Bobby Sanabria here!
Two years ago I came up with the idea of re-arranging the music fromLeonard Bernstein'smasterpiece West Side Story and performing it with my Multiverse Big Band, but in a way that has never been done before: a complete Latin jazz reworking of the entire score in celebration of the show’s recent 60th anniversary and Maestro Bernstein’s centennial. However, besides paying tribute to the composer and the music, I saw this as an opportunity to give back and help my ancestral homeland Puerto Rico.
As most of us know, hurricanes Irma and Maria ravaged the island ofPuerto Rico, leaving its residents unable to recover. Puerto Ricans have been American citizens since 1917, and the government's response has been unsatisfactory at best. Six months later, entire communities are still living without food, water, power, and other basic needs we take for granted. I realized the best way I could help was through my music. What better way to portray the struggles and hardships of the people of Puerto Rico than West Side Story? This is a cause many of us are passionate about and every bit of generosity helps. Recorded live at Dizzy’s Club Coca-Cola in NYC, this exciting new reworking is West Side Story like you’ve never heard it before, through the exciting lens of the Latin jazz continuum.

¡¡Viva The Latin Jazz!!

www.jazzheads.com         jazzheads@jazzheads.com


www.jazzpromoservices.com        jim@jazzpromoservices.com

www.jazzcaribe.blogspot.com        jazzcaribe2001@gmail.com

sábado, 12 de mayo de 2018

Elio Villafranca "Cinque" 2-CD Release yesterday

Elio Villafranca  
Wynton Marsalis, Lewis Nash, Vincent Herring, Steve Turre, Greg Tardy & Freddie Hendrix 
Cinque is a five movement suite inspired by the story of Joseph Cinque, who in 1839 led a successful revolt aboard the slave ship La Amistad, days after being sold and transported to a sugar plantation in Cuba. Elio Villafranca's most ambitious project today, showcases the cultural diversity of the five Caribbean islands of Cuba, Puerto Rico, Haiti, The Dominican Republic, and Jamaica; while simultaneously highlighting the Congolese musical heritage woven into the fabric of each of these diverse nations, and yet unified via the forced migration of Africans to the Americas.

Cinque (artistShare) is a body of work that encompasses narration, original composition and selections of Elio's own field recordings of different forms of rooted Congolese rhythms in the Caribbean, especially the traditions of Tambor Yuka, only practiced today in the region of Pinar Del Río, where Elio was born, and Gangá, a rare culture that came from Sierra Leon, Cinque' place of birth, to the region of Matanzas, Cuba. Both traditions are near to extinction today.

Elio's intention is to share music the same way he experienced it growing up in Cuba, by giving access to the context and sources that inspired his original compositions. This way of sharing, creates a better bridge with the listener to a more meaningful understanding and connection with music and culture.
Elio Villafranca EPK
Elio Villafranca - Cinque
Elio Villafranca - piano
Vincent Herring - alto & soprano sax, flute
Greg Tardy - tenor sax, clarinet
Todd Marcus - bass clarinet
Freddie Hendrix - trumpet
Steve Turre - trombone, bass trombone, conch shells
Ricky Rodriguez - acoustic bass
Lewis Nash - drum set
Arturo Stable - bata drums, congas, palo drums or atabales
Miguel Valdes - bata drums, congas, bombo
Jonathan Troncoso - palo drums or atabales, valsié, barril drum
Nelson Mateo Gonzales - barril, palo drums or atabales
Alexander Lasalle - vocals
Alexander Waterman - cello

Terrance McKnight

Wynton Marsalis - trumpet
Leyla McCalla - vocals
Don Vappie - banjo
"Elio's music is passionate.  A brand new application of ancient ways."
- Chick Corea

"Pianist and composer Elio Villafranca is an inspired and visionary musician.  I am profoundly moved by Elio's vision and musicianship.  He is a treasured member of the family here at Jazz at Lincoln Center."
- Wynton Marsalis

¡¡Viva The Latin Jazz!!

www.eliovillafranca.net      eliojazz@gmail.com

www.artistshare.com       ceibatreemusic@gmail.com
www.jazzcaribe.blogspot.com        jazzcaribe2001@gmail.com

martes, 8 de mayo de 2018

The Corina Bartra Septet Saturday, May 19th 7:30pm Metro Baptist Church, New York


Abby London-Crawford, In Association with the Sanctuary Arts Initiative of Metro Baptist Church, proudly presents The Corina Bartra SeptetSaturday, May 19, 2018 in the sanctuary of Metro Baptist Church, 410 West 40th Street, between 9th and 10th Avenue, at 7:30 PM, located in the heart of Hell’s Kitchen, behind The Port Authority.

Ms. London-Crawford will offer this special concert from Peruvian Jazz vocalist and composer, Corina Bartra, and her group. Many of the personnel of the Septet have been in several of Bartra’s musical configurations, and on a variety of her concerts: at the Acoustic Grammy Sessions NYC in 2015, recently at the Kennedy Center in D.C., and on her latest celebrated CD, Takunde. Ms. Bartra’s last concert in NYC at the Latea Theater on January 12th of this year was with her Afro Peruvian New Trends Orchestra.

“It is impossible to over-estimate the importance of the great Peruvian musician and vocalist, Corina Bartra …The music of Corina Bartra is quite unique, especially when she is performing Afro-Peruvian repertoire as she does on Takunde…The album comes thirty-one years after Miss Bartra announced her arrival with her very jazzy Afro-Peruvian album Yamambo … Today Corina Bartra’s music probably sounds more deeply Afro-Peruvian than ever and Takunde explores more of South America visiting the music of Antonio Carlos Jobim’s Brasil, even as it traverses the landscape of Jazz and a world after Tin Pan Alley…Perhaps the most remarkable aspect of Takunde is the original work by Corina Bartra and it is music such as “Marinera Jazz” that adds much to Afro-Peruvian musical literature.”

An Amazon reviewer, Grady Harp, giving Takunde 5 stars, pointed out more of Bartra’s distinctive accomplishments when he wrote that Bartra “also pioneered subtle and exciting instrumental textures in her compositions and her arrangements. She writes extensive intros, interludes, and solos filled with inventive rhythms and beautiful harmonies. She also guides her musicians to do so. With this approach, she adds an instrumental section to her unique & historic projects.”

Some members of the ensemble on Takunde: Steve Sandberg, piano; Victor Murillo, bass; and Perico Diaz, cajón, will also be joining Bartra for the May 19th concert, with Dave Morgan, sax; Diego Lopez, drums; and Tony Romano, on guitar.

About the Artists:

Saxophonist/multi-instrumentalist Dave Morgan, is a versatile composer/arranger, as well as co-leader of Funk Shui, an all horns fusion project of Jazz and Funk that he has presented many times at The Bitter End. A player who is a remarkable, flexible “stylistic hybrid,” he has performed on many Broadway shows, as well as playing clarinet and editing Ornette Coleman’s Harmolodic Ensemble. Morgan played at the Latea Theater in January with Corina Bartra’s instrumental project: Afro Peruvian New Trends Orchestra.

VICTOR Murillo, bassistoriginally from Mexico, plays a lot in California, and has been on several Corina Bartra projects, festivals and concerts, and on the CD, Takunde. Murillo also has his own project: Jazz & Tradiciones, of Mexican infused jazz.

Steve Sandberg, pianist, composer, is the leader of The Steve Sandberg Quartet, (featuring Zach Brock from Snarky Puppy), and has been nominated for three Emmy's for his scoring and songs for "Dora the Explorer" and "Go, Diego, Go!" He has played with David Byrne, Bebel Gilberto, Ruben Blades, and his Latin jazz mentor, Mario Rivera.

Diego Lopez is a New York based drummer. He worked for many years, with Gato Barbieri, Dave Samuels, Diane Schurr, and The Latin Jazz All Stars among many others.

Perico Diaz is a Cajon player based in NYC, originally from Peru. He has played on almost all the CDs of Corina Bartra, including her instrumental project, The Afro Peruvian New Trends Orchestra. He credits Bartra for introducing him to Jazz. He is able to communicate musically with great passion and rhythmic precision. Reviewer, Raul Da Gama stated Diaz added “a beautiful radiance…” to the album Takunde.

Tony Romano is a NYC based guitarist with great flexibility and virtuosity. He has been a visible part of the New York City music scene for over twenty years. Just Jazz Guitar magazine wrote, “His tone is beautiful and soulful, and his remarkable technique is a servant to his rich musical imagination and broad harmonic palette.”  With a wide range of playing styles, Tony has toured worldwide and performed and recorded with many notable Jazz, Latin, Pop, and Broadway artists, including Michael Feinstein, Randy Brecker, Dave Valentin, Thomas Chapin, Santi DeBriano, and Stanley Jordan, to name just a few.

¡¡Viva The Latin Jazz!!


www.jazzcaribe.blogspot.com      jazzcaribe2001@gmail.com

martes, 1 de mayo de 2018

New CD Out: Pedro Giraudo and the WDR Big Band An Argentinian in New York (Zoho ZM201804)

Dear friends and colleagues,

I am very happy and proud to announce that my collaboration with the wonderful WDR Big Band is now palpable! The recording features the stellar members of this outstanding ensemble and some brand new songs written specifically for the WDR Big Band plus some of my favorite previous pieces.

I want to very much thank all the members of the WDR Big Band, the WDR administration, the ZOHO Records team and Kabir Sehgal for making this collaboration a reality.
      You can purchase this CD and also my recently released Tango CD 'Vigor Tanguero' on Amazon.com, but if you want an autographed CD you can


      Autographed CD prices:
      1 CD: $15 (Includes shipping in the US, $20 for international)
      2 CDs: $25 (Includes shipping in the US, $30 for international)
      Watch a VIDEO of my collaboration with the WDR Big Band!

      www.jazzcaribe.blogspot.com        jazzcaribe2001@gmail.com