lunes, 15 de octubre de 2018

Fran Vielma & His Venezuelan Jazz Collective present their CD "Tendencias" this 10/25/2018 at Kennedy Center Arts, Washington DC (free admision)

Within the demanding and extensive programming scheduled by the Kennedy Center Arts, located in the capital of the United States, its Artistic Director for Jazz, the famous jazzman Jason Moran, has included for this October 25, 2018 at 6 o'clock in the afternoon multi-percussionist and composer Fran Vielma and his Venzuelan Jazz Collective, at the Milleniun Stage with free admision. Excellent opportunity for Vielma and his Collective to present their newly released album "Tendencias" and attendees enjoy the contagious and cheerful Venezuelan jazz.

The Kennedy Center is the nation's busiest performing arts center, hosting approximately 3,000 events each year for audiences numbering more than 2 million. Since 1971, we have been bringing the world to Washington with magnificent performances of music, dance, theater, and more.

Kennedy Center Arts, Washington D.C.
Since his emergence on the music scene in the late 1990s, Kennedy Center Artistic Director for Jazz Jason Moran has proven more than his brilliance as a performer. With a unique vision and innovative approach to the music, Mr. Moran was appointed Artistic Advisor for Jazz for the John F. Kennedy Center for the Performing Arts in November 2011 and given the title of Artistic Director for Jazz in May 2014.

Since his initial appointment, Mr. Moran has worked closely with the Center's staff to expand the breadth of its jazz programming. He established the Center's less conventional Crossroads Club, currently starting its third season, which has hosted acts such as Roy Hargrove's RH Factor and Mr. Moran's own Fats Waller Dance Party. A Blue Note Records recording artist, he also hosted the Kennedy Center's Blue Note at 75, a celebration in May 2014 of the iconic record label's diamond anniversary. Now beginning its third season, Mr. Moran's "Jason Select Series" includes artists who were deeply influential to the modern jazz movement of the ‘50s, ‘60s, and beyond, including the great Anthony Braxton and Dr. Lonnie Smith.

Venezuelan Jazz Collective led by Vielma (multi-percussionist, composer) is composed of notable musicians: Santiago Bosch (piano, keys); Peter Slalov (acoustic bass); Pablo Bencid (drums); Phil Grenadier (trumpet); Angel Subero (trombone) and Roman Filiu (alto sax), who in clear sintonia will give brilliance to the concert, taking everyone to a beautiful evening of wonderful Latin Jazz, creative fusion and improvisation.


"Venezuelan Jazz is continuously developed thanks to the talent of its musicians, 
Fran Vielma and its sidemen are values that will continue to give satisfaction and enjoyment. 
"Tendencias" is an exquisite tropical musical fruit" - Luis Raul Montell, Jazz Caribe



Tracks: 1.- Monk en Aragua; 2.- Cereal de Bobures; 3.- Tendencias; 4.- Pasaje del Olvido; 5.- Minanguero; 6.- Mis Dos Luces; 7.- Hubbardesque; 8.- A Modo Patanemeño; 9.- Ehlba; 10.- Miel de Cayena

Musicians: Fran Vielma (multi-percussionist: venezuelan maracas, cumacos, fulias, clarin, tamborito y mina, djembe, cajon) ); Michael Rodriguez (trumpet); Miguel Zenon (alto sax); Angel Subero (trombone); Luis Perdomo, Cesar Orozco (piano, fender rhodes); Pablo Bencid (drums); Roberto Koch  (double bass); Manolo Mairena, Jeremy Bosch (vocals)

Vielma envisioned to feature in his compositions and arrangements probably one of the strongest Venezuelan rhythmic section ever gathered with him on multi-percussion.

The album represents a small portion of the vast and little-known compendium of traditional musical languages of Venezuela blended with jazz traditions and concert music elements. Very composition references a place, an artist, a remembrance from  Venezuela. In each piece you will find reasons to reconnect Africa, Europe and the New World. 

For example, Trends, the title of the album, turns the helm of the boat onto the central and eastern coasts of Venezuela embracing styles like sangueo, oriental joropo, and golpe de patanemo, which are combined with a few aesthetic nuances drawn from one of the most influential icons of contemporary music: John Coltrane

Bringing these Latin Jazz superstars together is not easy, as each of them has their own bands and personal commitments. "Trends" is a production guaranteed by the original compositions of Fran Vielma and the performers of them, each one of them artifices of their instruments.

The Puerto Rican Miguel Zenon is an indisputable reference of his musical quality with his quartet, which includes the pianist Luis Perdomo, who also leads his own band and is one of the most requested in the city of New York.

Michael Rodriguez is a trumpet titan and with his brothers he works on recordings. His most recent CD "Impromptu" is a jewel.

Pablo Bencid was the drummer of the famous Australian group of Contemporary Jazz Albare.

Cesar Orozco is the leader of Kamarata Jazz, fully identified with Criollo (Creole) Jazz.

Angel Subero and Roberto Koch are renewed in their musical careers.

Fran Vielma Notes:

Born in Venezuela, Francisco (Fran) Vielma is a multipercussionist with an extensive knowledge of Caribbean, Venezuelan, and Southamerican rhythms and drums. In addition to being an in demand performer, Fran is also a composer, arranger, and educator. In his compositions, I have jazz elements and concert music with the rhythms of his homeland.

He has received multiple awards and honors, and his first album "Unexpected" was part of a catalog for the record label Cacao Music along with productions of international artists such as Horacio "El Negro" Hernandez, Jose Luis Quintana "Changuito," Bolivar Soloist , Orlando Poleo, and Negroni's trio among others.

Fran Vielma's recent release Trends with his Venezuelan Jazz Collective performances some of the most important players of jazz scene in the world such Luis Perdomo, Michael Rodriguez, and Miguel Zenón. He also leads the Venezuelan Jazz Orchestra, the Hidden Treasure Percussion Trio, and is a producer / teacher of a jazz seminar at The Andes University in his home country.

His versatility as a percussionist, arranger, and orchestrator of different genres from Caribbean and Afro-Venezuelan to Jazz, world, and concert music has been involved in recording projects, tours, and festivals with renowned musicians in Venezuela, Mexico, South Korea, United States, Panama, and Australia.

He has taught music seminars, lectures, and master classes in the US at Berklee College of Music, New England Conservatory, and Salem State University, in Venezuela at The Andes University and Caracas Jazz Workshop, and most recently at Danilo Perez Foundation Panama Jazz Festival.

Vielma holds M.M. in Jazz Studies from New England Conservatory, and a B.M. in Performace & Theory of Jazz from Berklee College of Music, two among the top ten best music institutions of the world. He is an adjunct faculty of World Music at Salem State University's Music Department in MA, which keeps him on continuous research about the musical cultures of the world. He is an active member of César Orozco & Kamarata Jazz, as well as Eguie Castrillo's Orchestra.

Now we offer you a brief promotion of Fran Vielma & His Venezuelan Jazz Collective...Gozalo!:

¡¡Viva The Latin Jazz!!

miércoles, 3 de octubre de 2018

ANTONIO ADOLFO BLUE NOTE RIO Brazil October 13th Sets 8 & 10:30 PM CD Release Show for "Encontros – Orquestra Atlantica"

Grammy Nominated Brazilian Pianist
Antonio Adolfo
Is Pleased To Announce His
CD Release Show for
"Encontros – Orquestra Atlantica"
Saturday, October 13th
Sets 8 & 10:30 pm
Av. Borges de Medeiros, 1424
Lagoa, Rio de Janeiro - RJ, 22430-042, Brazil
+55 21 3799-2500

Antonio Adolfo – piano, Jorge Helder - bass, Williams Mello - drums, Dada Costa - percussion, Diogo Gomes - trumpet & flugelhorn, Gesiel Nascimento - trumpet, Danilo Sinna - alto sax & flute, Marcelo Martins - tenor sax & flute, Levi Chaves - baritone and soprano saxes, Aldivas Ayres - trombone, Wanderson Cunha - trombone, Marcos Nimrichter - accordion.


Throughout the past 40 years, Antonio Adolfo has had a very busy career as a pianist, composer and arranger. Born and raised in Rio de Janeiro, his teachers included Eumir Deodato and Nadia Boulanger (in Paris). A jazz pianist since the mid-1960s in Brazil, Adolfo worked with such major singers as Leny Andrade, Flora Purim, Elis Regina and Milton Nascimento and has recorded more than 25 albums as a leader. A major name for decades, his music combines together Brazilian rhythmic styles with jazz. His previous recording, Antonio Adolfo "HYBRIDO - From Rio to Wayne Shorter,” was a 2018 Grammy finalist.

As a bandleader, Antonio Adolfo has mostly been featured with small groups that showcase his music and his solo abilities. However he has long considered it a major goal to someday record an album with a larger ensemble, a big band that had a full understanding of both Brazilian music and jazz.

Encontros - Orquestra Atlantica is the realization of that dream. After having seen a performance in Rio de Janeiro by Orquestra Atlantica, a Brazilian jazz orchestra founded in 2012, Antonio Adolfo was so impressed that he invited the group to be a major part of his new recording. With up to seven horns and several guests, Adolfo had many new tone colors at his disposal along with the powerful sound of a big band. The result is an exciting set comprised of nine of Adolfo’s compositions plus Miles Davis’ “Milestones.” The inventive arrangements of Jesse Sadoc and Marcelo Martins mix together the sound of big band jazz with such Brazilian styles as the Samba, Bossa Nova, Baiao, Frevo, and the Afoxe to create memorable and infectious music.

The program begins with “Partido Samba-Funk,” a tune that combines Samba with the type of Brazilian funk often heard at dance parties in Rio and Sao Paulo. The colorful percussion, the horn riffs, and the solos by Adolfo, altoist Danilo Sinna, and trumpeter Jesse Sadoc (who makes a particularly explosive statement) get Encontros Orquestra Atlantica off to a stirring start.

“Pentatonica,” a melodic piece with strong forward momentum, has spots for guest guitarist Leo Amuedo and tenor-saxophonist Marcelo Martins along with some singing by Ze Renato.

Resultado de imagen para antonio adolfo pianist photos
Master Antonio Adolfo
“Atlantica,” which Adolfo named after the big band, is a warm medium-tempo ballad. The concise bass, flute and piano solos are strong assets during the atmospheric work.

“Luizao” is a tribute to the late great bassist Luizao Maia, an innovator in reinventing the way that the samba is played on bass, and a member of Antonio Adolfo’s early groups. The mostly straight ahead performance by the big band is highlighted by valve trombonist Serginho Trombone’s inventive solo.

The set’s lone standard, “Milestones,” is a combination of boppish jazz and Frevo. The rapid ensemble work by the horns is quite impressive and there are also excellent solos from Adolfo and accordionist Marcos Nimrichter.

Brazilian music often alternates in the same piece (and sometimes the same chorus) between happiness and a melancholy mood. “Saudade” gives listeners a good example of that unique feel, accentuated by the playing of flugelhornist Jesse Sadoc.

Capoeira is an unusual Brazilian dance that is combined with martial art. The berimbau, a one-string instrument, is a major part of that style. “Capoeira Ya” has a strong hint of both the berimbau and flamenco guitar in Nelson Faria’s playing along with impressive trumpet and piano solos.

“Africa Bahia Brasil” shows the African influence in Brazilian culture, blending together Afoxe and jazz in a very danceable performance. Danilo Sinna takes a particularly passionate alto solo while Adolfo makes one of his strongest statements of the album.

Contrasting the mood a bit, “Delicada Jazz Waltz” is a gentle piece with a delicate melody. The solos of Adolfo and accordionist Marcos Nimrichter are subtle and pleasing.

Encontros - Orquestra Atlantica concludes with a new version of Antonio Adolfo’s biggest hit, “Sa Marina.” Composed in 1967 and released internationally as “Pretty World” with lyrics by Alan and Marilyn Bergman, the number has been recorded by more than 200 artists. In addition to a fine solo from the leader, this memorable rendition has Marcelo Martins featured on tenor, and there is also a colorful tradeoff between baritonist Levi Chaves and trombonist Aldivas Ayres.

                It is very rare for Brazilian jazz to be performed by a big band, particularly one of this quality. Hearing Antonio Adolfo’s music played by a top-notch orchestra casts new light on his writing abilities. Whether one loves Brazilian music, big bands or modern jazz, Encontros – Orquestra Atlantica makes for a memorable and stimulating listening experience.

                                                            Antonio Adolfo
“Encontros – Orquestra Atlantica”
Street Date: July 11, 2018
Antonio Adolfo – piano, Nelson Faria and Claudio Jorge - acoustic guitars, Leo Amuedo - electric guitar, Jorge Helder – bass, Rafael Barata – drums, Dada Costa – percussion, Jesse Sadoc – trumpet & flugelhorn, Danilo Sinna, alto sax & flute, Marcelo Martins - tenor sax & flute, Marcos Nimrichter - accordion; Ze Renato – vocals, plus other members of Orquestra Atlantica

Let's enjoy now some of the expertise that the percussionist Dada Costa brings to the recording of this wonderful album by maestro Antonio Adolfo and the Orquestra Atlantica: "Encontros" in this session

¡¡Viva The Latin Jazz!!

jueves, 27 de septiembre de 2018

Sergio Pereira “Nu Brasil” CD Release Shows NYC & Spain!!

Friday, November 16th 8 pm
Bonafide Club
212 E 52nd St, New York, NY 10022 (646) 918-6189
Sergio Pereira - acoustic guitar
Helio Alves - piano
Ariel Ramirez - bass
Oriente Lopez - flutes
Alexandre Kautz - drums
plus, special guest
Sunday, November 18th 8pm
Cornelia Street Cafe
 29 Cornelia St, New York, NY 10014 (212) 989-9319
Sergio Pereira - acoustic guitar
Helio Alves - piano
Ariel Ramirez - bass
Oriente Lopez - flutes
Mauricio Zottarelli - drums
plus, special guest
December 7, at 8 p.m.,
Veles e Vents, Valencia, Spain

January 17, 2019
Jazz Club El Mussol,
Alcoy, Spain

New CD
Sergio Pereira
“Nu Brasil”
(Zoho ZM 201808)
Street Date: September 7, 2018

Sergio Pereira-guitar,  Saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopez and Valencia, Spain-based trumpeter-arranger VoroGarcia. Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassist Ales Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossi and two Brazilian-born musicians now residing in New York City, pianist Helio Alves
and drummer Mauricio Zottarelli.
Vocalists Paula Santoro, Sergio Santos and Viktorija Pilatovic lend an air of mystery and allure to the proceedings while rapper Devin Malloy adds the cherry on top of the buoyant opener, Down South.

                There’s a certain something inherent in the music of Brazil that goes well beyond the notes and speaks more of the soul of a culture. Like the music of New Orleans, where the feel for an authentic second line rhythm grows out of the pace, the food, the flavor of the Crescent City, the persuasive rhythms of bossa nova and samba are ingrained in the hearts and souls of musicians from Rio de Janeiro and Sao Paulo. For guitarist-composer Sergio Pereira, that feeling is deeply imbedded in his DNA and emerges through his distinctive comping patterns.

         “I learned by growing up listening to samba rhythms and playing Brazilian percussion at a local school of samba,” says the 59-year Rio native and longtime resident of New York City. “Since I was a kid I have been always playing samba rhythm, making that ‘batucada’ rhythm with my hands and fingers at school until my teachers would tell me to ‘stopmaking that noise!’ I still do it all the time. It’s addictive.”
          Pereira’s samba addiction comes to full fruition in spectacular fashion on his ZOHO debut release Nu Brasil,his follow-upto his acclaimed 2016 debut, Swingando.The title Nu Brasil (“nu” = “naked” in Portuguese) references the beauty of his home country where however social inequality still prevails.

A collection of ten thoughtful compositions, this superb set features contributions from a luxuriant crew of 18 world-class musicians including Cuban-born saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopezand Valencia, Spain-based trumpeter-arranger Voro Garcia. Also on board for Pereira’s sophomore release are Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassistAles Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossiand two Brazilian-born musicians now residing in New York City ispianist Helio Alvesand drummer Mauricio Zottarelli.

         Vocalists Paula Santoro, Sergio Santosand Viktorija Pilatoviclend an air of mystery and allure to the proceedings while rapper Devin Malloyadds the cherry on top of the buoyant opener, Down South. Says the composer, “I started to work on this song last summer while vacationing ‘down south’ in Puglia, Italy. Changing environment and location often provides me with great vibes for inspiration. It’s a happy samba groove with a magical soprano sax solo from Alexey. Devin’s rap is basically describing the experience of failure in pursuit of your dreams and talks about how life will continue to evolve and will pick you back up after you've fallen.” Bailly adds a cascading piano solo here while Pereira contributes an appealingly melodic, clean-toned solo on electric guitar.

         East River is Pereira’s poignant reflection on the view from his Upper East Side neighborhood in Manhattan. “I frequently jog on the East Side by the East River and many times, after the jog, I just sit on a bench next to the 59thStreet Bridge looking over Roosevelt Island and Long Island City,” he explains. “It’s very peaceful there with the nice breeze from the river, the sounds of boats going by and the FDR Drive humming with vehicles.” The easy-going number opens with sparse solo piano before being joined by lush strings arranged by Garcia. Pereira plays the opening strains of the melody on his nylon string acoustic then scats simultaneously with his solo on this affecting number, which also carries a slight tinge of melancholy. As he explains, “When my older daughter, now 23, was 4 or 5 years old, we lived on Roosevelt Island.  We had an amazing time together there and I miss those moments. The strings bring out the melancholic moments I had, which I dearly miss, when my daughter was little.”

         The seductive Arpoadoris an ode to the beach of that name on the south side of Rio de Janeiro where Pereira spent a lot of his youth. “This was my favorite beach, where I used to wake up really early in the morning to go surfing with friends,” he recalls. “Cool and hip crowds used to hang out there at sunset. People fell in love, hearts were broken and memories were left behind. It’s reminiscing about the time when I was 19, right before I moved to New York — some of the best moments of my life.” Singer Santoro narrates the story of love, passion, beach, summer and the sea with an enchanting delivery that combines the smooth allure of bossa nova and the freewheeling abandon of jazz in her delicious scatting passages and call-and-response exchanges with pianist Bailly near the end of the piece.

         Greta is an affecting jazz waltz that Pereira wrote for his newly-born niece. “She is sweet, mellow, easy and tender just like this song,” he says. Flutist Lopez brings the mellowness, tenderness and jazziness that the song calls for while singer Sergio Santos doubles Pereira’s tender electric guitar melody with some sweet falsetto singing. Drummer Zottarelli deftly underscores the proceedings with some briskly swinging brushwork.

         The energized title trackNu Brasilis fueled by Pereira’s infectious comping and showcases Lithuanian-born singer Pilatovic, who engages in some rapid-fire scat-and-trumpet exchanges with Garcia at the tag. Originally an instrumental, lyricist Paulinho Nunes brings new life to the upbeat piece while Pilatovic, singing in Portuguese with a ‘Carioca’ accent, brings a jazzy flair to this groovy samba.

         Garcia arranges the strings on the lush Per Teand offers a warm, melodic flugelhorn solo on this inviting number. The tight Joao Donato-influenced samba/bossa Sambinhacomes charging right out of the gate with guitar and harmonica locked in tandem on the buoyant theme. Sao Paulo-based electric guitarist Marcus Teixeira, a former teacher of Pereira’s, contributes a Bensonesque solo over the percolating undercurrent provided by drummer Zottarelli and bassist Ramirez. Pianist Alves adds some jazzy improvising on this infectious groove while harmonica ace Grossi contributes remarkably flowing legato lines over the top.
PercussionistDavid Gadeajoins Pereira to fuel this fiery samba groove.

         The minor key Trem Do Tempocarries a tinge of melancholy on top of an undulating Ixeja rhythm. Lopez contributes a lovely flute solo while Santoro delivers the alluring Portuguese lyrics in her own inimitable style. Nunes again brings new life to the song with his thoughtful lyrics, which tell us a story about life and the passage of time: “Life is like a train/it slips through your hands/it does not stop in every station. Life is to be lived at each moment. Live it…live it…and live it.”

         14 Clicks Away, a slow bossa nova fueled by Zottarelli’s brushwork and Pereira’s steady comping, features an elegant solo by pianist Alves and also showcases Sambeat in Getz-ian mode on this restful, gently grooving number.

         The album closes with the jazzy bossa nova Lascia Stare,which fluctuates between sadness and happiness and features Pereira doubling the melody with Grossi. “I always heard the more melancholic first part of the song with a harmonica, so Gabriel was my number one choice to deliver that feeling,” says Pereira.” The leader’s electric guitar solo here is typically melodic and flowing while Bailly adds sparkle with his piano solo. The title, Pereira explains, is an Italian expression which roughly translates to ‘let it go’ or ‘don’t bother yourself with it.’”

          Here Sergio Pereira Band in Sala Clamores - Jazz, in Madrid-Spain: 

¡¡Viva The Latin Jazz!!

lunes, 17 de septiembre de 2018

Bolero Jazz with Maurice Frank and his new CD "Mad Romance and Love"

New York CD Release
"Mad Romance and Love"
Friday, November 2nd
Jazz at Kitano
66 Park Ave
New York, NY 10016

Maurice Frank-Vocals
John DiMartino-Piano
Neal Miner-Bass
Mark Taylor-Drums

New CD
Maurice Frank
Mad Romance and Love
(Jumo Music 1007)
Street Date: July 6, 2018

Maurice Frank-vocals, John DiMartino-piano, arrangements,
Eric Alexander-tenor sax, Aaron Heick-soprano sac, clarinet, alto flute,
Paul Meyers-guitar, Luques Curtis-bass,
Obed Calvaire-drums, Samuel Torres-percussion

Track listing
1. Dream Dancing 4:43
2. How Little We Know (How Little It Matters) 2:393. Slow Hot Wind 4:41
4. Don’t Worry ‘Bout Me 4:31
5. Day Dream 4:41
6. Save Your Love For Me 4:35
7. Yesterdays 3:44
8. Yellow Days 3:43
9. Baubles Bangles and Beads 3:47
10. She’s Funny That Way 4:00
11. In My Life 3:13
12. On the Street Where You Live 5:26

Maurice Frank is a native New Yorker. He grew up listening to the great singers of the 50’s and 60’s and it left its mark on him.
Mad Romance and Love is his debut release. It’s heart felt and striking for its warmth, sensitivity and choice of songs. The musicians are top notch! Featuring the groove tones of tenor saxophonist Eric Alexander and pianist/arranger John DiMartino, who provides a palette of swing and latin colors. Performing on the East Coast and beyond and now residing in Florida, “Moe’s” new release is a sophisticated sound coming from a “new to the scene”, yet seasoned artist, who is a fresh interpreter of both standards and not frequently heard songs.
“What I feel so abundantly from Maurice’s singing is a deep and honest affinity for the ballad, the love song and the swinger.Congratulations for nailing a gem of a recording.” —Benny Green

Maurice Frank Notes:

Whether accompanied by a quartet, a big band, or performing with a B-3 organ trio, one thing is absolutely certain - Maurice Frank takes center stage. His silky, texture laden voice is always swinging with intuitive and soulful phrasing and deeply personal interpretations of a wide range of Great American Songbook standards, and contemporary jazz and blues melodies. Backed by some of the area's most skillful and experienced musicians, Maurice, or "Moe" as his friends call him you've developed a following of the years playing in a variety of venues, from intimate restaurant and club settings and private events, to open -air concerts and festivals. Along the way, he has established himself as a truly unique vocalist in the tradition of some of the genre's greatest singers.

 "The best way to demonstrate how some of the great jazz and popular vocalists have inspired me, and show them respect, is to always be aware of their continual influence to my interpretations," Maurice said. "To me It's the highest form of praise."

He also is a devotee of melodic lyricism. The legendary trumpet player and vocalist Chet Baker once stated, "It's all about the lyric, and I could not agree more," said Maurice. "To do any tune justice, vocally or instrumentally, you have to understand the lyrical groove. "

 Maurice's musical roots go back to his years growing up in South Yonkers, New York, listening to many of the jazz greats of the day. As a child, I could be heard on weekends singing for the locals to the jukebox in his parent's neighborhood saloon. Even then, singing was at the core of his performances. "I'll never forget, they would play, Nat Cole, Sinatra, Mel Torme, Ray Charles, Louie Prima, and Tony Bennett among many others for me to sing along with," Maurice said.

As a child he studied drums and tenor sax, but as his talents grew, Maurice sang more and more frequently performing with his high school jazz / rock ensemble, singing regularly in a local rock group, and occasionally performing with his teachers on wedding and society gigs.

Today Maurice continues to perform regularly making the tunes he loves to sing his own!

¡¡Viva The Latin Jazz!! •

miércoles, 5 de septiembre de 2018

5th Annual Latin Jazz & Music Festival in Los Angeles- September 29 and 30...Gozalo!


This Festival will fill our hearts with joy.

It is dedicated to our music: Latin Jazz and the Family.

So with a line up like the one presented by Gilbert Cedillo and his people, you all have to take Sycamore Grove Park, in Los Angeles.

One of the greatest Venezuelan musicians like the saxophonist Robert Incelli, will give light to the event with Jose Rizo and Mongorama. In its continuous celebration of the 15th Anniversary the rumba will be with the super stars of Harlem Spanish Orchestra.

The ladies of the Latin Jazz will be present with Katia Moraes and the flutist Susie Hansen ... what a note!

The generation of relief with strength, quality and joy with Hola Youth Ensemble, Bravo High School Latin Jazz Band, Claudia Gonzalez and others.

Here Robert Incelli with one of our favorite songs "Europa" in honor of Gato Barbieri (RIP) and Carlos Santana:

¡¡Viva The Latin Jazz!!

domingo, 2 de septiembre de 2018

Lucia Jackson “You And The Night And The Music” CD Release Show @ Zinc Bar Monday, September 10th 7pm!

Lucia Jackson-Vocals, Ron Jackson-7 String Electric Arch Top Guitar-7 String Acoustic Classical Nylon String Guitar- Steel 7 String Guitar, Yago Vazquez-Piano, Matt Clohesy, Double Bass, Corey Rawls-Drums. 
Special Guests Daniel Garcia, Flamenco Classical Guitar, Samuel Torres-Cajón/Congas/Percussion, Javier Sanchez-Bandoneón, Frederika Krier-Violin

You And The Night And The Music is the debut of Lucia Jackson, a promising young jazz singer who displays a fetching voice on a set of standards along with a few surprises. 

With her father, jazz guitar great Ron Jackson, contributing arrangements and leading an impressive rhythm section joined by guests, Lucia Jackson creates fresh variations of timeless material.

"Definitely Lucia belongs to Latin Jazz ... it's an honor to have her with us".- Luis Raul Montell, Jazz Caribe

Lucia Jackson has had busy careers as both a dancer and a model. However her love of singing, her obvious talents as a vocalist, the encouragement of her father, and very favorable receptions at many venues in the New York area have led her to release her debut recording. Her many fans raised $15,000 through Indiegogo for the project. With the vocal coaching of the world renowned bassist-vocalist Nicki Parrott and an inspired repertoire, Lucia is heard at her very best throughout the program.

For the memorable effort, Lucia Jackson is joined by her father Ron Jackson on guitars, pianist Yago Vazquez, bassist Matt Clohesy and drummer Corey Rawls, with guest appearances by Daniel Garcia on flamenco guitar, violinist Frederika Krier, Javier Sanchez on bandoneon and percussionist Samuel Torres playing cajon and congas.

The music on You And The Night And The Music features new twists on classics from the Great American Songbook, many of which are arranged in tango, bossa-nova or bolero styles by Ron Jackson, who is also the set’s producer. The song choices, which include not only vintage tunes that have special meanings for the singer such as “Beautiful Love,” “Sophisticated Lady” and “Never Let Me Go,” but Julia Michael’s recent “Issues,” the Beatles’ “And I Love Him,” and Ms. Jackson’s original “Feel The Love,” give the set both variety and consistent high quality. While the supporting cast is strong and Ron Jackson’s solos are colorful and tasteful, the main focus is on the young singer, who comes through in winning fashion.

Some of the highlights on You And The Night And The Music include:

“Just One Of Those Things”:  – The 1930s standard is taken uptempo, includes some superior and straightforward jazz singing, and has a hot guitar-drums tradeoff.

“And I Love Him”; - The Beatles classic is transformed into a vocal-guitar duet and sung with great tenderness.

“I’m A Fool To Want You”: - Lucia Jackson’s interpretation is full of quiet longing, accentuated by Frederika Krier’s passionate violin.

“Feel The Love”: - An original by the singer and Daniel Garcia, this piece gives her an opportunity to sing over a funky rhythm that, with Garcia’s acoustic guitar, also has the feel of flamenco.

“No Regrets” and “When You’re Smiling”: - The pair of joyful swingers are each given exhilarating treatments with Ms. Jackson also scatting quite effectively on the latter.

You And The Night And The Music is a significant recording debut for it introduces Lucia Jackson as a subtle and lightly swinging jazz singer, one with a very attractive and often-fetching voice who displays a quiet intensity and a real feeling for the lyrics that she interprets.

Lucia Jackson, who was born in New York, grew up in Madrid, Spain where she started singing when she was ten. She studied voice and piano at the prestigious Escuela de Musica Creativa when she was 13 and also ballet and flamenco at the Professional Dance Conservatory. Returning to New York when she was 18, she has since danced with the Alvin Ailey American Dance Theatre as a guest student, at the Jacobs Pillow Dance Festival and, as a member of FJK Dance, toured China for two months. As a jazz singer, she has performed with many groups including the Bud Maltin Orchestra, Marty Schwartz, and the Art Lillard Big Band.

At age 26, Lucia Jackson is set to make a major splash in the jazz and music worlds with the release of You And The Night And The Music from the Roni Music label.  Her large fan base, which through the Indiegogo crowdfunding campaign made the recording possible, will be pleased.

Lucia Jackson Notes: 
Lucia Jackson began singing and dance training in Madrid,Spain. She attended the Professional Dance Conservatory of Madrid. At the same time she was learning music at the prestigious school of Musica Creativa. At the age of 18 she returned to her birthplace New York after being accepted into The Ailey School for Dance where she completed a Certificate in Dance and was also awarded a Scholarship for one more year dancing. Lucia has had the opportunity to perform Memoria at City Center and Revelations Cast of 50 at Lincoln Center with the Alvin Ailey American Dance Theatre. In 2015 she danced with Dardo Galletto Dance at the prestigious Jacobs Pillow Dance Festival, inside/out stage. Lucia is a member of FJK Dance, a unique mix of ballet and ballroom, Middle Eastern and jazz dance company, and Tango For All, Argentine tango fused with modern dance and theater. 
As a singer, Lucia has performed with various jazz bands all over New York playing at venues such as Iridium, Zinc Bar or Shapeshifter Lab amongst others. 

¡¡Viva The Latin Jazz!!

viernes, 24 de agosto de 2018

THE ROY MCGRATH SEXTET Appearing @ The CHICAGO JAZZ FESTIVAL FRIDAY, AUGUST 31st 1:30pm-2:30pm, Latest CD "Remenbranzas"

Roy McGrath-Saxophone
Bill Cessna-Piano
Joseph Kitt Lyles-Bass
Jonathon Wenzel-Drum
Michael Rodriguez-Barril de Bomba-Percussion 
Javier Quintana-Congas 

Latest CD


Label: JL Music 2017

Artist Website:

Release Date: NOVEMBER 7, 2017

UPC Code: 888295645492

Track listing w/ track time 

1. Cancion De La Verdad Sencilla 

2. Por Ti Estoy 

3. Plena Julia 

4. Remembranza 

5. 5/4 Tune (Poema Para Las Lagrimas) 

5. Mire Asi 

5. KyKy 

5. Burgos en Vida 

Musicians Roy McGrath-Saxophone, Bill Cessna-Piano Joseph Kitt Lyles-Bass, Jonathon Wenzel-Drums Barril de Bomba-Buleador-Ivelisse Diaz, Victor “Junito” Gonzalez-Congas

It can be argued that, while we go about life as an organic machine made of flesh and bone, our consciousness, what makes us human, is something else entirely. What is our consciousness if not a cumulative collection of constantly updated memories that have been organized in such a way as to advise us what to feel and do next? Memory is subjective, and not necessarily entirely factual, a retelling of experience. While facts might be recalled incorrectly, memories are our truths, and ultimately the question becomes “What do I do with these things I know to be true?”

For Puerto Rico-born tenor saxophonist and composer Roy McGrath, the past is present in the form of these memories. This music honors that past, yet also provides a signpost for the future. The eight compositions that make up this album were written and arranged for this particular band of musicians, and they represent a very specific and personal truth that fully came into existence in the recording studio. Remembranza is a Spanish word that can be used multiple ways. A remembranza can be a memory or even a flashback. It is a point in the past that is deeply rooted in one’s consciousness because of the powerful feelings that were evoked at the time of its creation. And, of course, new remembranzas are being created all the time.

At the core of this album are four tunes written with a very specific purpose. McGrath was commissioned in 2015 by the Segundo Ruiz Belvis Cultural Center in Chicago to compose a Afro-Caribbean jazz suite honoring revered Puerto Rican poet Julia de Burgos. What eventually emerged out of Julia al Son de Jazz, as the project was called, were four compositions. Two were loosely based on her poems and two sought to capture something about who Burgos was and how she lived her life. As 2015 turned into ’16 & ’17, McGrath worked with several musicians, eventually finding the exact people to help him realize the form that the Julia songs would take. The remaining tracks each relate to a memory from McGrath’s life, both in Puerto Rico and the U.S., where he has resided since 2007. They have to do with the very stuff of life: family, relationships, creation, and identity. These may be specific memories from McGrath’s life, but their themes resonate with universal human experience. They include the title track which, in a way, touches on all four. This quartet (bassist Kitt Lyles, drummer Jonathan Wenzel, and pianist Bill Cessna), in fact, inspired the idea of a remembranza as a theme to build the album around, up to and including the process of creating it. Though a memory can be fleeting, there will always be this work that lights and keeps present this remembranza. Taken together, they are a portrait not of the past, but of a very real present that each and every memory led to, and the creation of this album is the newest powerful Remembranza that McGrath and his quartet carry with them.

Roy McGrath Notes:

Roy McGrath is a Chicago based tenor saxophonist, composer and bandleader. Born and raised in San Juan, Puerto Rico and educated in Boston, New Orleans and Chicago, Roy brings to bear these diverse influences in his playing and composing. In addition to leading and recording with his own jazz ensembles, he is a member of several others and an in-demand player in the city’s jazz, funk, Latin jazz and salsa scenes. He has led international tours to Mexico, Singapore, Korea and China. As a composer and arranger, Roy is firmly in the jazz tradition, but his Latin American heritage is an ever-present mind set, leading to wholly original works that are a true expression of who he is. His plans for 2017 include recording and releasing a new album of original compositions, Remembranzas, and leading two special big band tribute projects honoring legendary Puerto Rican composer Rafael Hernández and Dizzy Gillespie’s United Nations Orchestra. 

Roy sang in school choirs before picking up the saxophone at age 16. After attending the Berklee College of Music Summer Workshop, he earned a full scholarship to attend Berklee’s five-week Summer Performance Program. Back in Puerto Rico, he honed his improvisational skills performing with jazz pianist and Beach Boys alumni Carli Muñoz.

Upon high school graduation, Roy was awarded a scholarship to Loyola University in New Orleans, where he studied under Tony Dagradi (saxophonist for Astral Project) and composer/arranger John Mahoney. He graduated in 2009 with BM in Jazz Performance. After graduation, Roy extended his time in New Orleans, performing in clubs, concert halls and the streets with a variety of musicians. He made three appearances at the New Orleans Jazz and Heritage Festival and an appearance at the New Orleans French Quarter Fest.

The next stop on his musical journey was Northwestern University in Chicago, where he graduated with a master’s degree in Music, studying under Victor Goines, saxophonist for Jazz at Lincoln Center and Director of Jazz Studies at Northwestern University. Graduating in 2014, McGrath decided to put down roots in Chicago because of both its historic role in the development of jazz and the presence of a large and vibrant jazz & Latin music community in which he could continue to pursue his vision. He returned to Northwestern’s Pick-Staiger Concert Hall in 2016 to perform with Victor Goines and Branford Marsalis in Goines’ orchestral composition Crescent City.

He released his debut CD as a leader, Martha, in 2014 with a quartet formed of fellow Northwestern grads Gustavo Cortiñas, Kitt Lyles and Joaquin Garcia, all bandleaders in their own right, and returned the favor by joining their ensembles: Snapshot (Cortiñas), Real Talk Collective (Lyles) and Rhythm Convergence (Garcia). The Roy McGrath Quartet was featured in the Jazz Institute of Chicago’s NextGEN concert series in 2015. Later that year, the Chicago Department of Cultural Affairs and Special Events (DCASE) awarded McGrath a grant to take the quartet on a month long tour of Mexico. Also in 2015, The Roy McGrath Latin Jazz Quintet performed at the Chicago Latin Jazz Festival.

He also launched the Julia al Son de Jazz project in September 2015, commissioned by Chicago’s Segundo Ruiz Belvis Cultural Center, where he works as director of the youth Afro-Caribbean Jazz Ensemble and collaborates with folkloric ensembles. The project used the writings of revered Puerto Rican poet Julia de Burgos as a springboard for new compositions that included spoken word recitations of her poetry. Its debut was followed by successive performances throughout Chicago including three dates for the Chicago Park District’s Night Out in the Parks summer concert series in 2016. McGrath has since used ideas developed during that period in his latest endeavor, Remembranzas, a new batch of original compositions that incorporate folkloric bomba rhythms and other Puerto Rican elements in a jazz framework.

2016 also saw McGrath joining alto saxophonist Miguel Zenón and traditional music ensemble Bomba con Buya for Folclórico: An Exploration of Jazz and Afro-Puerto Rican Music.

His current quintet consists of bassist Kitt Lyles, keyboardist Bill Cessna, drummer Jonathan Wenzel and percussionist Victor Junito Gonzales. Roy also records and performs with the Four Star Brass Band, Benjamin Scholz Quartet, Victor Bastidas Ensemble, Fatbook, Afinca'o, the Willy Torres Salsa Orchestra and many others.

Roy has taught masterclasses on improvisation at Dulwich College International in Shanghai, Suzhou, and Beijing, at the Universidad del Turabo in Puerto Rico and at Las Musas de Papa Sibarita in Mexico City.

¡¡Viva The Latin Jazz!!