Tuesday, April 11, 2017

KUTX presents Jeff Lofton's 1950s Miles Davis Tribute, in Austin, April 29

KUTX's Jazz with Jay Trachtenberg presents 
Jeff Lofton's 1950s Miles Davis Tribute

From the historic Victory Grill in Austin to the New Faces Series at the Iridium in New York, Jeff Lofton's 1950s Miles Davis Tribute has thrilled jazz fans for ten years!
The show features Davis' compositions and interpretations made famous by the first great Miles Davis Quintet during 1950 - 1959, and includes excerpts from "Kind of Blue."

Saturday, April 29- 8:00 p.m.

Tickets on sale now! Click here: https://tickets.austintheatre.org/single/SYOS.aspx?p=2224

Stateside at the Paramount
719 Congress Avenue 
Austin, TX
Jazz trumpeter, composer and bandleader Jeff Lofton studied composition at the University of South Carolina and moved to Austin in 2007 at the age of 40. Since then his career has grown from being mostly unknown, to a local favorite and to national and international recognition. 

"Listen up Miles Davis fans..." from the Austin American-Statesman and "... channels Miles Davis..." from the Daily Texan were some of the early reviews when Lofton arrived in Austin, and debuted the tribute show at the historic Victory Grill. Mostly unknown to the local jazz scene, word-of-mouth drew people to hear his unique sound at small bars in East Austin. Soon his shows were being described as "...crazy good and crazy crowded." (Joe Gross, Austin American-Statesman).
In March of 2010 "Jeff Lofton's 1950s Miles Davis Tribute" drew a large crowd at One World Theatre with the help of media sponsor NPR affiliate KUT/KUTX, though competing with opening night of SXSW in nearby downtown Austin.  The show has been also been featured in the New Faces Series at the Iridium Jazz Club in New York, and at the Blanton Museum of Art at the University of Texas along with the "Birth of the Cool" exhibit. As part of the 2011-12 season at The Carver Cultural Community Center in San Antonio, the show was recorded and broadcast for KRTU Jazz 91.7 FM's ten-year anniversary Year of Jazz series. The show has also been presented at the Scottish Rite Theater in Austin; Scat Jazz Lounge in Ft. Worth, The Cultural Activities Center in Temple and the One World Theater in Austin. 

Lofton was recently featured in Japanese Airlines magazine, and as an American Icon in a national ad campaign for Macy's. Lofton opened TEDxAustin in 2012 accompanied by pianist and composer Graham Reynolds, he was voted Best Horn Player '13-'14 and Best Jazz Band '10-'11 at the Austin Music Awards during SXSW; January 15, 2009 was named "Jeff Lofton Day" by the City of Austin; and he was inducted into the Texas Music Museum. Lofton's debut at Snug Harbor in New Orleans included renowned drummer Jason Marsalis.

For more information visit JeffLofton.com.

Russell Malone live in California, April 15

   (Russell Malone with Mark Egan during a CTI All Stars concert)

Saturday, April 15, 2017 - 8:00 pm
$35 students $25


VENUE: Moss Theater (New Roads School at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall). KJAZZ 88.1 - official media sponsor.

Jazz/Pop Songs Needed

ORIGINAL, VINTAGE JAZZ/POP SONGS Recorded in the 1960’s or before are needed by the CEO of a Music Licensing Company that’s building a new catalog for Film, TV, Video Game, and TV Commercial placements. This active and fast-growing Music Library is looking for authentic sounding, Mid-to-Up Tempo Jazz/POP Songs in the stylistic range of the following references:

“Fly Me To The Moon” by Doris Day
“L-O-V-E” by Nat King Cole
“I put a spell on you” by Nina Simone

NOTE: There’s some debate as to whether some of the references are truly Jazz. Wikipedia says 2 out of 3 are, but we think you would have found these songs on Pop charts back in that era. In any case, this company isn’t looking for music that’s exactly like the references, so much as music that could have been heard at a party back in that era. If you’ve got anything that dates back to that era, and conjures up images of skinny black ties and martinis, you might have just what they need!

Please submit original, well-crafted Jazz/Pop songs with solid musicianship and awesome vocals. You can submit old masters or demos for this pitch. The recording quality is not expected to be on par with today’s broadcast quality! They’re much more interested finding music that sounds authentic to the time period!

Do NOT copy or rip off the referenced artists or songs in any way, shape, or form. Use them as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

This company offers an EXCLUSIVE deal. You’ll split all upfront sync fees 50/50. They’ll get 100% of the Publisher’s share, and you’ll get 100% of the Writer’s share. You must own or control your Master and Copyright. Since this is an EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. Please submit one to three Songs online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PDT), on Monday, May 1st, 2017. TAXI #Y170501VJ

Danielle Wertz & Tal Cohen: "Intertwined"

Danielle Wertz was named one of eleven semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition, and placed third in the 2017 Mid-Atlantic Jazz Vocal Competition. She is a 2015 DownBeat Student Music Award recipient and was named the inaugural winner of the Washington Women in Jazz Festival (WWJF) Young Artist Contest in 2012.

Tal Cohen was named the winner of the Barry Harris National Jazz Competition in Detroit, Michigan, and in 2015 he was named the 2015 winner of the coveted Freedman Jazz Fellowship in Sydney, Australia. Available April 21, 2017
Featuring: Danielle Wertz: vocals, Tal Cohen: piano, Jaime Oehlers: tenor sax

CD Release Event: The Arts Barn in Gaithersburg, MD
Address: 311 Kent Square Road, Gaithersburg, Maryland 20878-5727

Danielle Wertz is a jazz vocalist from Falls Church, Virginia. She holds a Bachelor's Degree in Jazz Vocal Performance from the University of Miami's Frost School of Music, and studied under the direction of Dr. Kate Reid. Danielle was named one of eleven semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition, and placed third in the 2017 Mid-Atlantic Jazz Vocal Competition. She is a 2015 DownBeat Student Music Award recipient and was named the inaugural winner of the Washington Women in Jazz Festival (WWJF) Young Artist Contest in 2012.

Danielle has performed in many established venues including The John F. Kennedy Center for the Performing Arts, Blues Alley, The Mansion at Strathmore, Bethesda Blues and Jazz, Twins Jazz, Nocturne Jazz and Supper Club, and the St. Petersburg Jazz Philharmonic Hall. She has also had the privilege of working and performing with many renowned musicians including Cyrille Aimée, Gretchen Parlato, Chris Botti, Bruce Hornsby, Michael Bowie, Martin Bejerano, Lena Seikaly, Mark Meadows, and Chris Grasso.

Tal Cohen's unique piano style owes its roots to the Jewish folk songs and classical music he played in his formative years growing up in Israel. After moving to Perth at the age of 16, Tal continued his music studies at the prestigious Western Australian Academy of Performing Arts where he completed a bachelor degree, honours and masters in jazz performance. Yellow Sticker, Tal's first album as a leader, was released in December 2011.

Consisting largely of original tunes, it showcases some of Perth's finest musicians with Jamie Oehlers on saxophone, Chris Tarr on drums and Pete Jeavons on bass. In May 2013 Tal performed a number of shows with world-renowned saxophonist Joe Lovano at the inaugural Perth International Jazz Festival, including a sold-out performance at the Perth Concert Hall. In 2014, Tal Cohen was named the winner of the Barry Harris National Jazz Competition in Detroit, Michigan, and in 2015 he was named the 2015 winner of the coveted Freedman Jazz Fellowship in Sydney, Australia.

Unexpected interpretations of standard jazz repertoire captured in an intimate duo setting. On original compositions, the voice is used as a collaborative instrumental texture rather than as a featured soloist.

Most of the tracks on this album are products of live experimentation ideas that gradually developed into compositions and arrangements. We arrived in the studio without an agenda and played exactly what felt natural and organic in the moment. All laughs and "mistakes" have been left untouched, and what you will hear is an honest representation of what happens when we get together and make music we feel deeply connected to. We feel that the imperfections are what make this album unique.

Tuesday, April 4, 2017

Today, Matt Holman celebrates the release of "The Tenth Muse"

Matt Holman's new recording "The Tenth Muse" will be officially released on New Focus Recordings on April 7th.

"The Tenth Muse" is made up of 16 compositions inspired by Sappho's writings (as translated by Anne Carson) and features Sam Sadigursky, Chris Dingman and Bobby Avey. Holman's pieces take the fragmentary nature of Sappho's poetry as it has come down to us as a guide for balancing structure and improvisation, clarity and mystery.

"The Tenth Muse" will be presented today, May 4th at the Lily Pad. Cambridge, MA at 7:30pm, and on May 5th at Dimensions in Jazz, Portland, ME at 8pm.
Trumpet Player/Composer Matt Holman Finds Inspiration in Ancient Greek Poetry for Ethereal Modern Chamber Jazz Compositions
The Tenth Muse features Sam Sadigursky, Chris Dingman and Bobby Avey playing music based on the fragmentary, achingly familiar love poetry of Sappho

At a time when our world seems to be plagued by divisiveness, it can be comforting to rediscover and reflect on our shared humanity. In the ancient love poetry of the Greek lyrist Sappho, trumpet player/composer Matt Holman has found a trove of writings whose emotions and sentiments feel as timely and passionate today as they did when they were written, more than 2,500 years ago.

On his new album, The Tenth Muse (due out April 7 on New Focus Recordings), Holman bridges the ancient with the modern through 16 ethereal compositions inspired by Sappho's writings (as translated by Anne Carson). Holman's pieces take the fragmentary nature of Sappho's poetry as it has come down to us as a guide for balancing structure and improvisation, clarity and mystery.

Holman's stark but enticing music is brought to life by a gifted quartet well versed in exploring heady concepts with impassioned vigor and airy sensitivity: Holman, saxophonist, clarinetist and flutist Sam Sadigursky, vibraphonist Chris Dingman, and pianist Bobby Avey.

Holman initially discovered Sappho's poetry through his wife, who introduced him to the Greek poetess during the early days of their courtship, the intoxicating period when every aspect of taste and personality is a new discovery. The words that survived from antiquity seemed to reflect his own feelings across a gulf-spanning millennia, while the significant portions that had been lost over time added a sense of entrancing uncertainty.

"I was astounded at the beauty of these fragments," he recalls. "What exists today is so minimal that the spaces between the words prompt the brain to fill in words and phrases, almost like erasure poetry.  Looking at Sappho's work and finding these beautiful poems, I almost ache on some of them wanting to know what those words were that we'll never know. For me that was really powerful."

It also resonated with Holman's instincts as a composer/improviser, whose own muse subsists on the relationship between the written and the spaces left open for spontaneous invention. To further distance the compositions from his own instincts, Holman devised different systems of cryptograms for each piece - pitches and rhythms associated with specific letters or words (the best known example being J.S. Bach's coding of his own name into compositions using notes associated with its four letters).

"You have a certain language and certain licks that are characteristically you, which is a good thing, but when you're trying to create something new you want to start fresh," Holman explains. "I wanted to have another element outside of my own tendencies. You have to search really hard to find it, almost like it's the composer's secret, but I think it adds more depth."

The music for The Tenth Muse (the title comes from Plato's adulatory name for the poetess) was written during a residency at the Brush Creek Foundation for the Arts in Wyoming in August 2013. He spent the month working in a refurbished schoolhouse dating from the early 20th century on a scenic 30,000-acre ranch offering outdoor activities and teeming with wildlife. "I had an incredible piano and nature right outside my door," Holman describes. "Deer would walk by all the time. There was time and there was a vastness to being in Wyoming that allowed a real focus of purpose and connection to nature, a quality that is present in Sappho's work. All of these poems come from an individual voice, so I strove to capture in the music this sense of solitude. I wanted the music to sound intimate, as if it came from a single individual even if there are moments where it's multidimensional."

The Tenth Muse premiered at Dave Douglas' FONT (Festival of New Trumpet Music) in September 2013. The music is remarkable for its intimacy and fluidity, sliding effortlessly between the composed and the improvised with grace and elegance, though not without a full-blooded urgency. The unusual instrumentation provides an expansive palette, which Holman seizes on in a variety of ways. His trumpet and Sadigursky's woodwinds are supple and soaring, tethered by the resonant power of Avey's piano and softened by the gauzy luminescence of Dingman's vibes.

"I sought to evoke the full range of themes in these fragments," Holman says. "Some are passionate and devotional, related to love, and others reflect on the awe-inspiring aspects of nature or the power of dreams. Over the course of two millenia, the human condition has remained fundamentally the same. We are still beholden to our desires, still marvel at a vast sky, still suffer over love both in its anticipation and in its loss. In this day and age, we are inundated with images and reminders of what divides us from each other.  Sappho's poetry draws for us the connection between the ancient and the modern, reminding us that even something as simple as a fragment can speak to the depths of our shared humanity."

Based in New York City, trumpeter Matt Holman has distinguished himself as a composer, conductor, bandleader and top-tier soloist in many of the leading jazz ensembles of our time. Along with his adventurous chamber-jazz recordings, Holman has performed and/or recorded with Darcy James Argue's Secret Society, the John Hollenbeck Large Ensemble, Fred Hersch's Leaves of Grass, Bang on a Can's Asphalt Orchestra, the Joel Harrison Large Ensemble, the JC Sanford Orchestra, New York Voices, Kenneth Salters Haven, the Anna Webber Quartet, Matt Ulery's Loom, Andrew Rathbun, and more.

He has earned international performance and composition awards including the International Trumpet Guild's Jazz Improvisation Competition, the Carmine Caruso International Jazz Trumpet Solo Competition, and the 13th annual BMI Foundation's Charlie Parker Jazz Composition Prize/Manny Albam Commission. A dedicated and passionate educator, Holman currently teaches at Manhattan School of Music and Hunter College.

Sunday, April 2, 2017

Aurea Agricola & Ernani Agricola

                                 (my grandmother, Dr. Aurea Agricola,
born on December 12, 1894 in Belo Horizonte, Minas Gerais, Brazil;
           died on March 24, 1990 in Rio de Janeiro, RJ, Brazil)

                                  (my grandfather, Dr. Ernani Agricola,
               born on August 09, 1887 in Palmas, Minas Gerais, Brazil;
                      died on July 14, 1978 in Rio de Janeiro, RJ, Brazil)
(Centro Municipal de Saúde Ernani Agricola, em Santa Teresa, Rio de Janeiro, RJ)

R.I.P.: Delmar Brown

R.I.P.: Delmar Brown, who played and recorded with Miles Davis, Gil Evans, Quincy Jones, Sting, Hiram Bullock, Peter Gabriel, Chico Freeman, Jaco Pastorius, Pat Martino, Lew Soloff and many others, died yesterday, April 1st, 2017. Back in 1991, he was in my house (photo below) and watched for the first time his concert with Miles Davis & Quincy Jones playing Gil Evans' arrangements that had just been released on the LaserDisc "Live At The Montreux". I heard these sad news todays from guitar wiz Ricardo Silveira. Rest in Space, Delmar. (from left to right: Arnaldo DeSouteiro, Delmar Brown, Nacho Mena, Flavia)
From his official website http://www.delmarbrown.com/?p=37

Delmar Brown -musician, composer, performer, visionary and student of the World.

The ‘Delmar Brown World Pop Experience’ brings together exciting musical elements
from all over the planet and fuses them together to form a unique blend of music
which he himself has termed ‘World Pop’.

This vision of musical unification from many different cultural sources and American pop
music comes from a person whose life has always been surrounded by music from a
variety of cultures. As a young man, Delmar Brown was a shining star in Bloomington,
Illinois where he was active in church as a pianist, singer and organist. Delmar admired
the great jazz musicians of his youth, citing Jimmy Smith, Herbie Hancock, and Oscar
Peterson aniong his earliest influences. Gospel greats like Mahalia Jackson, James
Cleveland and C.L. Franklin were a large part of his earliest vocal influences.

After studying at Berklee College of Music, the training ground of some of the finest jazz
musicians today, Delmar went on to play and compose for some of the most influential
musicians in the global industry including Gil Evans, Miles Davis, Quincy Jones, Jaco
Pastroius,Pat Martino, and many others. Delmar’s travel experiences and love of the
music of the world brought him in contact with innovative pop musicians who included
elements of world music in their own music. Throughout the years Delmar has
collaborated with such notable figures as Sting, Youssou N’Dour, and Peter Gabriel.

Today Delmar Brown combines the smooth sound of jazz, the earthiness of world music
and the high energy of pop music to drive ‘The Delmar Brown World Pop Experience’,
mixing musical elements from the Caribbean to Eastern Europe. The music itself is truly
unique, and has the potential to reach deeply into one’s soul with its throbbing rhythm
and ‘grounded’ sound to touch and uplift you. When you listen to ‘The Delmar Brown
World Pop Experience’, your being will be so full of good feelings and energy that you’ll
want to experience it over and over again!

World Pop Music

The latest CD from Delmar Brown is much like the future of music that trumpeter Dizzy
Gillespie predicted in his autobiography. In Dizzy’s book ‘To Be, or Not to Bop’, the jazz
icon describes the future of music to be ‘like a quilt with all of the worlds music
represented on the different patches. The World Pop Experience is akin to this quilt that
Dizzy anticipated many years ago. A quilt with patches of Brazilian rhythm, the pulse of
reggae, vocal influences of gospel, exotic sounds of Middle Eastern music, and the
vibrant drumming of Africa combined with American pop. The result is a compositional
soundscape that is contemporary, rich and fresh.

Delmar Brown, the driving force behind ‘The World Pop Experience’, packs this new
release with 12 original songs, from the Brazilian-influenced Bahia to the reggae
influenced Jah Man Jah. The performances aIways challenge musical boundaries and
skillfully blend diverse influences. ‘The World Pop Experience’ is Delmar Brown’s vehicle
to take his music of the world – to the world.

Sunday, March 26, 2017

Jay D'Amico Trio returns to Gillespie Auditorium in NY, this next Tuesday, March 28

"Jazz Tuesdays"presents The Jay D'Amico Trio featuring
Jay D'Amico, piano
Greg D'Amico, bass
Ronnie Zito, drums

Tuesday, March 28
2 Sets:  8:00 p.m. and 9:30 p.m.

The John Birks Gillespie Auditorium in The New York City Baha'i Center
53 East 11th Street
(between University Place and Broadway)

Admission: $15, Students $10 with ID
(Price of admission covers one or both sets!)
All seats general admission
Cash at the door

Jazz Tuesdays is sponsored in part by grants from the Hunt Family Fund and the DeChristopher Family Trust

Saturday, March 25, 2017

Celebrating Mary-an Van Stone

Celebrating the beauty of a dear friend: LA-based German model, trumpeter and musical producer (at Cash Marry Musikverlag) Mary-an Van Stone. She studied trumpet at the Universität der Künste Berlin, and music theory at Hochschule für Musik "Hans Eisler" Berlin e Lee Strasberg Schuhle in LA.

Toomy LiPuma's obituary on Soul Walking website

Ser citado no obituário sobre Tommy LiPuma, publicado no website inglês Soul Walking, é uma honra, mas só aumenta minha tristeza pela morte de um dos maiores produtores da história da música.

b. Thomas LiPuma, 5th July 1936, Cleveland, Ohio, U.S.A.
d. 13th March 2017, New York, New York, U.S.A.

The Record Producer, Tommy LiPuma, has died. Tommy was 80.
During his production career, Tommy has collaborated with the likes of Miles Davis, George Benson, Phil Upchurch, Al Jarreau, Anita Baker, Natalie Cole, Michael Franks, Ben Sidran, The Crusaders and Randy Crawford.
From Cleveland, Ohio, Tommy worked for A&M Records, Blue Thumb Records and Verve Records.
He provided inspiration for others to follow, including John Snyder, Arnaldo DeSouteiro and Larry Rosen.

Tuesday, March 14, 2017

R.I.P.: Tommy LiPuma (1936-2017)

R.I.P.: Tommy LiPuma (1936-2017)

Born July 5, 1936 in Cleveland, Ohio, USA.
Died March 13, 2017 in New York City, New York, USA.

A Scott Galloway already said almost everything in a terrific text posted on Facebook about such terrible news. I own a copy of the Breezin' reissue he has mentioned, with bonus tracks and Gallaway's brilliant set of liner notes. I only would like to add that a few years ago (2011, I think) I've attended a gala tribute to LiPuma at Montreux Jazz Fest with Diana etc to celebrate his 75th birthday.

Met him for the first time in my teens when he came to Brazil to record some tracks for Michael Franks' "Sleeping Gypsy" (one of my desert island discs) in Rio with my friends Joao Donato (with whom he had worked on "A Bad Donato" during the Blue Thumb years) and the late Joao Palma, among others. Later we met in the early 90s in NY during his period at GRP, and finally in LA during Diana's sessions and, for the last time, in Montreux.

Btw, I still dream with an enhanced reissue of Sleeping Gypsy, to which Claus Ogerman later overdubbed strings & flutes in LA, since there are many unreleased tracks in the vaults of Warner Bros.

I can assure you that the death of Claus Ogerman had a big impact on him. They were best friends.

Tommy had already retired a couple of years ago, but agreed to do a short comeback to produce Diana's next album, "Turn Up The Quiet," to be released on May 5. Her jazz comeback album, after two recording disasters.

I also would like to mention that he was the responsible for signing people like Bill Evans, Claus Ogerman, Joao Gilberto and Deodato for Warner in the 70s (he co-produced his Love Island album.)

Without Tommy there would be none of the albums recorded by Claus after "Gate of Dreams", none of Claus' meetings with Michael Brecker, no Tutu, no Amoroso, none of the best albums ever by Michael Franks and Al Jarreau. No Diana Krall either.

Tommy's favorite album ever was "Bill Evans Trio With Symphony Orchestra", produced by Creed Taylor, a huge influence on his career, and now the only legendary jazz producer still alive. RIP. My condolences to his wife Gill and all his family.
Morreu ontem, aos 80 anos, Tommy LiPuma, um dos maiores produtores da história da música. (Talvez o melhor depois de Creed Taylor, que foi seu "muso inspirador").

Imagine o mundo sem "Amoroso" (João Gilberto), sem "Breezin'" (que catapultou George Benson para o estrelato pop através da faixa "This Masquerade"), sem a gravação de Benson para "On Broadway", sem "Gate of Dreams" e nenhuma das outras obras de arte gravadas por Claus Ogerman depois de 1977.

Sem "Tutu" de Miles Davis, sem "Look To The Rainbow" (e a famosa gravação de "Take Five") de Al Jarreau. Sem "A Bad Donato", pois Tommy e Bob Krasnow (falecido no ano passado) foram os responsáveis por contratar João Donato para o selo Blue Thumb, do qual eram donos.

Imagine o mundo sem "Sleeping Gypsy" e nenhum dos grandes discos gravados por Michael Franks. Imagine o mundo sem os fabulosos "When I Look In Your Eyes" e "The Look of Love" de Diana Krall, que fizeram a vendagem da cantora pular de 150 mil discos para mais de 2 milhões. Pois é. O mundo teria sido bem pior sem Tommy LiPuma. Claro que vai aparecer algum engraçadinho imbecil para debochar de alguns desses artistas e discos citados. Mas, coitados, nasceram sem sensibilidade e, como dizia Bonfá, "sem alcance".

Ah, o disco preferido de Tommy era "Bill Evans With Symphony Orchestra", produzido por Creed Taylor, agora o único grande produtor de jazz ainda vivo. Ah #2: da mesma forma que Tommy salvou Diana Krall de ser dispensada da gravadora quando trouxe Johnny Mandel e apostou tudo em "When I Look In Your Eyes" (1999), ele saiu de sua recente aposentadoria para salva-la novamente e produzir, depois de dois equivocados trabalhos, o seu retorno ao estilo que a consagrou, concebendo "Turn Up The Quiet" que será lançado no dia 5 de maio.

Sunday, March 12, 2017

R.I.P.: Breno Sauer (1929-2017)

Segue a matança. Acabo de receber a notícia do falecimento, neste domingo, 12 de Março, do pianista, vibrafonista, acordeonista, compositor e arranjador Breno Sauer, um dos mais subestimados músicos brasileiros dentre os que optaram por residir no exterior.

Morando desde 1974 em Chicago, onde comandava informalmente a cena jazzístico-brasileira atuando em prestigiados clubes como o Jazz Showcase, Breno era gaúcho de São Sebastião do Caí, cidade de colonização alemã a 60 quilômetros de Porto Alegre, onde nasceu em 3 de Novembro de 1929.

Começou no acordeon, fascinado por Art Van Damme, depois adotou o vibrafone e finalmente passou para o piano. No Brasil, além de acompanhar Agostinho dos Santos, gravou vários discos como líder para os selos Columbia, RGE e Musidisc (vejam as capinhas no post abaixo; alguns foram relançados em CD na Europa).

Mudou-se para o México em 1967, onde também gravou com Leny Andrade e com o Primo Quinteto (do pianista João Peixoto Primo), no qual atuou como vibrafonista e arranjador, ao lado do baixista Ernoe Eger e dos meus amigos Claudio Roditi no trompete e Portinho Drums na bateria.

Nos EUA, alcançou sucesso nas rádios de jazz com o álbum "Tudo Jóia", liderando seu grupo Made In Brasil, que contava com sua esposa Neusa Sauer no vocal e Paulinho Garcia no baixo, e com o qual excursionou pelo Japão. Antigamente se dizia: "E lá vai a música brasileira para o mundo". Hoje, só resta dizer "E lá se vai a música brasileira que rodou o mundo"... Meus sentimentos a Neusa Teresa Sauer, sua esposa por 53 anos.
Beautiful reminiscences about Breno Sauer from his long time bassist and guitarist Paulinho Garcia:

"I came to Chicago on May 1st, 1979 to be part of Breno Brazilian sounds, we played in a first class Mexican restaurant named Acapulco, by Belmont/Clark Avenues.

The band was then composed by Breno on piano, Dede Sampaio on drums, myself on bass and lead singer Neusa Sauer. Geraldo de Oliveira was always along thru my years with the group.
With the addition and help of the British guitar player, Peter Budd, we started our way into the jazz circuit, and the name was changed to Made In Brazil. Later, another change in the name, the group became Som Brazil.

The group started being recognized and after our trip to Japan, the group composition started changing and the core group became Breno, Neusa and myself.
Along came great additions of first rate Chicago musicians.
On September 1, 1982 we played for the Chicago Jazz Festival, Breno, Neusa and myself with the addition of Akio Sassajima on guitar, Ron Dewar on sax, phill Grateau on drums and Roberto Sanches on percussion.

We held a 13 years weekly gig at the famous club The Jazz Bulls.
I like to separate the group in eras, the Akio-Ron Dewar era, the Ernie Denov-Steve Eisen era, the Peter O'Neil era, David Urban, etc.
Mark walker took on the drums drums after Phill and Ed Petersen became our saxophonist after Steve Eisen, if I remember correctly. 
Luís Everling, like me, was brought from Brasil to be the new drummer. 

Almost every great Chicago musician sat in with us, such as: the very young Fareed Haque, Howard Levy, Alejo Poveda, Thomas Kini, John Campbell, Kelly Sill, Manfredo Fest, to mention a very few, even Michel Petrucciani and Freddie Hubbard played a couple of songs with us. Breno's music was respected and admired by all. 

I left the band after 14 years to pursue my solo guitar/vocalist career. 
Great memories, and life was good.
Thank you Breno for a wonderful 14 years of music and support."

Chris Greene & His Quartet Explore New Musical Territories on "Boundary Issues," Due April 14

Saxophonist Chris Greene, a fixture on the Chicago scene dedicated to transcending the stylistic and structural borders of jazz, continues to discover new musical territory on his new CD "Boundary Issues." Set for April 14 release on Single Malt Recordings, the album is Greene's eighth with the long-standing quartet he formed in 2005 featuring pianist Damian Espinosa, bassist Marc Piane, and, since 2011, drummer Steve Corley.

Joining the core quartet as guests on several tracks are saxophonist Marqueal Jordan, known for his work with smooth jazz star Brian Culbertson; percussionist JoVia Armstrong, who's played with Nicole Mitchell's Black Earth Ensemble and JC Brooks & The Uptown Sound; guitarist Isaiah Sharkey, a member of D'Angelo's band; and vocalist Julio Davis (aka DJ WLS). Greene's eclectic song selection, inventive arrangements, and choice of guests not normally associated with jazz perfectly coalesce to present a portrait of an artist unafraid to take the road less traveled, push the envelope, and explore the frontiers of jazz.

In addition to three originals, Boundary Issues includes creative covers of works by Horace Silver ("Nica's Dream"), Kenny Kirkland ("Dienda"), Yellowjackets ("Summer Song"), and Billy Strayhorn ("Day Dream"). As his previous treatments of songs by artists as diverse as Madonna, Coltrane, Sting, Mingus, and lounge music king Martin Denny attest, Greene's naming his latest album Boundary Issues could be viewed as a tongue-in-cheek self-diagnosis. "I have a hard time staying in place," he confides. "I don't know my place, I guess, which is why I'm always stepping outside so-called boundaries. With the music I like, I just can't help thinking, what would it sound like if I did this, or this?" A case in point is his spacious reggae version of Horace Silver's "Nica's Dream." "I thought the biggest tribute to him would be to do something different," says Greene. "The idea to cover that classic as a reggae tune came to me while I was listening to music in the shower. It was like, why not?"
Born in 1973 in Evanston, Illinois, Chris Greene was exposed to a lot of music at home but only a smattering of jazz. His mother blasted Motown at her monthly card parties while his father played a lot of funk, soul, and disco; he absorbed all manner of pop styles watching MTV. Taking up the sax at age 10, he began studying it seriously when he was 16, "playing the hell out of a blues pentatonic scale," he recalls. He mainly played alto in the well-regarded Evanston High School Wind & Jazz Ensemble, as well as with local bands including a rock unit called Truth. "They were into Sting and I was eager to be their Branford [Marsalis]," he says. He would eventually play acid jazz with bands like Liquid Soul and Ted Sirota's Heavyweight Dub Band.

Greene studied at Indiana University with the late David Baker and the current jazz studies department chair Thomas Walsh. "It was a great experience for me," he says. "I was a kid with a lot of natural talent, but with a lack of discipline. I learned how to practice, how to break things down, how to solve problems."

Upon his return to Chicago, he continued his education by reaching out to established artists including Steve Coleman. "He was hard-headed in his determination to play music his way," he says. "It was a huge eye-opener for me how he put things together." Greene also got a major boost from Coleman's legendary mentor, Chicago tenor legend Von Freeman, at one of his famous jam sessions: "He didn't know me from Adam, but he was very encouraging. He said, 'Hey, I hear what you're trying to do. Keep at it.' That meant so much."

In 2005, Greene formed his current quartet. Whether the group is hugging tradition or engaging in experimentation, it radiates a deep sense of well-being. With each release, Greene has moved steadily from funk mildly seasoned with jazz to uncompromising jazz boasting subtle funk touches. As witness the title of the quartet's 2012 album, "A Group Effort," Greene prizes the band's ability to think and feel as one, to "leave fingerprints on each other's playing."

The Chris Greene Quartet will be celebrating the release of "Boundary Issues" at the following Midwest engagements: 4/21 Constellation, Chicago; 4/28 Gibraltar, Milwaukee; 5/1 La Principal, Evanston, IL; 5/20 Winter's, Chicago; 5/30 Promontory, Chicago; 6/9-10 Pete Miller's, Evanston, IL; 6/17 Noce Jazz, Des Moines; 6/18 Custer St. Festival of the Arts, Evanston; 7/5 Jazzin' at the Shedd (concert series at Shedd Aquarium, Chicago).

Photography: Ozzie Ramsay

Wednesday, March 8, 2017

R.I.P.: Dave Valentin (1953-2017)

R.I.P.: Dave Valentin (1953-2017), um dos maiores flautistas da história do jazz. E o melhor da geração pós-Hubert Laws. O massacre da serra eletrica não para. A quantidade de amigos que perdi nos últimos 4 anos é um absurdo. Só este ano já se foram Al Jarreau, Larry Coryell e agora Dave, sem contar outros ídolos como Leon Ware e Chuck Stewart que não cheguei a conhecer pessoalmente.

(David Joseph Valentin, born on April 29, 1952 in South Bronx, New York, USA;
died on March 8, 2017, The Bronx, New York, USA)
   (Dave Valentin & Arnaldo DeSouteiro in New York, October 1990)

Monday, March 6, 2017

Tonight, at USC in LA, the world premiere of a new Bob Mintzer work

Great concert tonight at USC in Los Angeles. Sax master, composer and arranger Bob Mintzer will be performing a brand new three movement piece for solo violin, cabinet, tenor sax, and the Thornton Jazz Orchestra. Free admission. Don't miss! 
3551 Trousdale Pkwy, Los Angeles

Ohone: (213) 740-2311

Monday, February 27, 2017

R.I.P.: Horace Parlan (1931-2017)

RIP: Horace Parlan
(born January 19, 1931, Pittsburgh, Pennsylvania, USA;
died February 24, 2017, Korsør, Denmark)

A soulful hard bop pianist & Charles Mingus collaborator who passed away in Denmark at age 86. Parlan recorded 7 Blue Note sessions as a leader between 1960-63 including "Movin' & Groovin'" "Us Three" & "Speakin' My Piece," and appeared on Mingus classics like "Blues & Roots" & "Mingus Ah Um."

He also played with Dexter Gordon, Thad Jones, Booker Erwin, Lou Donaldson, Dave Bailey, Rahsaan Roland Kirk, Slide Hampton, and many more. However, the first time I heard him was on Stanley Turrentine's "Salt Song" for CTI. Explore Parlan's Blue Note catalog with the complete Mosaic set on Apple Music.
I treasure this LD because it allows me to watch Horace Parlan playing in top form with Archie Shepp, Wayne Dockery and Marvin Smith. "The Stuttgart Jazz Summit" (Pioneer) also features Sun Ra, Rabih Abou-Khalil, Sonny Fortune, Glen Moore, Steps Ahead with Mike Mainieri, Samul Nori & Red Sun, Jorg Reiter, Charlie Mariano, Mike Stern, Bob Berg, Dennis Chambers, John Zorn Naked City etc.

Thursday, February 23, 2017

Composer/bandleader Jihye Lee Turns Tragedy into Lavish, Heart-Wrenching Inspiration on Debut Orchestral Album

Composer/bandleader Jihye Lee releases her sumptuous and heart-rending debut recording titled "April" tomorrow, February 24. The album features a 20-piece orchestra culled from Berklee faculty and Boston-area musicians, with Sean Jones as special guest. Inspired by the Sewol ferry disaster of 2014 in South Korea, Lee's original six-song suite explores the myriad conflicting emotions that a tragedy can engender, vividly embodied by an orchestra that can navigate fluidly from visceral force to impressionistic beauty.

On the morning of April 16, 2014, tragedy struck South Korea when the ferry Sewol capsized and sank, killing more than 300 passengers. Half a world away, composer and native Korean Jihye Lee watched on in horror from Boston, where she was studying at Berklee College of Music. As the hours, days, weeks and now years have passed, reactions to the disaster have mingled grief and anger, sorrow and outrage, protest and sympathy as human tragedy collided with political controversy.

Not long before the wreck of the Sewol, Lee had written two pieces that came to prove eerily prophetic: "April Wind," which gradually builds from gentle and tender to majestic and powerful; and "Deep Blue Sea," through which Lee's soaring voice wends an emotional, wordless lament before being overwhelmed by swelling tides of sound. "Destiny is a big word," Lee admits, "but maybe I was meant to make this album."

Lee expanded upon those two compositions in the wake of the Sewol disaster, creating the heartfelt six-song suite that comprises her new album, "April." Performed by a 20-piece orchestra culled from Berklee faculty and Boston-area musicians, the album (due out tomorrow, February 24) explores the myriad conflicting emotions that a tragedy like the ferry crash can engender, vividly embodied by an orchestra that can navigate fluidly from visceral force to impressionistic beauty. Lee composes from a wide palette, at one moment lush watercolors, the next bold splashes of action painting.

Being so far away from home as events unfolded, Lee says that the worst feeling was being unable to contribute to rescue and relief efforts. "If I were in Korea I would have done something," she says. "But in Boston there was nothing to do. My mind was so chaotic, I couldn't help but write this music."

"April Wind" opens the album, the calm before the storm that sets the scene for the events of the day to unfold. Alain Mallet's piano solo rides the orchestra's cresting waves, while Shannon LeClaire's alto and Allan Chase's soprano usher in the rising tide. It's followed by "Sewol Ho," named for the ferry itself, which begins with John Lockwood's churning, ominous bass, soon joined by frantic, cross-talking horn lines which build in tension and urgency. "Deep Blue Sea" is an oasis of serenity, seemingly peaceful but perhaps suggesting the stunned silence following unimaginable horror. Rick DiMuzio's tenor offers a soulful elegy.

The brisk, manic rhythms of "Whirlwind" capture the chaos of the sinking's aftermath: the frenzied worry of victim's families, the unanswered questions and political turmoil that persist nearly three years later. "Guilty" is aimed squarely at those whose neglect, greed and politicking led to the tragedy and its staggering death toll, the composer's seething contempt for the deceit and disregard for human life mutedly expressed in the tug of war between Bruce Bartlett's guitar and Rick DiMuzio's soprano. Finally, "You Are Here (Every Time I Think of You)" is Lee's outpouring of sympathy for those lost and those left behind, highlighted by the aching, sweepingly gorgeous flugelhorn of guest soloist Sean Jones.

The band was assembled and the album co-produced by trumpeter and longtime Berklee professor Greg Hopkins. "Greg really believed in me and my music," Lee says. "When I shared my vision he was really supportive." Hopkins also helped Lee set up the Kickstarter campaign that funded the album's recording.

Given the singular vision of Lee's writing for big band, which calls to mind the bold narratives and colors of the Maria Schneider Orchestra along with the intricate arrangements of Jim McNeely, with whom she's now studying at the Manhattan School of Music, it's surprising to learn that Lee arrived in Boston with no intention of leading an orchestra and very little knowledge of jazz in general. She'd worked primarily as a folk and R&B-influenced pop singer-songwriter in Korea but came to Berklee hoping to expand her musical horizons.

"I wanted to see something that I didn't see when I was in Korea," she recalls. "I really loved complexity in harmony and rhythm, but I didn't know what genre I could find it in. I just followed my gut, and my gut said you have to go to Berklee. I got to see a lot of concert jazz orchestra music there, and I was overwhelmed. I was enchanted by the energy and complexity, the richness and diversity that we can mix and use in different ways. That's how I got into jazz big band writing."

One of the most striking elements of Lee's pieces throughout April is the way she interweaves her own voice into the orchestral palette. She doesn't write lyrics, uncomfortable with penning words in English, but doesn't see the lack of them as inhibitive of communicating her messages. "Lyrics are too specific to convey some images or emotions that I cannot really express with words," she says.
The use of voice, though, came naturally from her background as a singer. "It was only natural. I think people are very drawn to the human voice because we're all human, and there's some things that only voice can express."

While she doesn't draw on explicit influences from her native country, Lee says that her essential Korean-ness comes through in every note that she writes. "Korean people are very emotional, very expressive," she explains. She mentions a Korean expression, han, that connotes a sense of deep, restrained emotion rooted in the country's long history of war and colonization, similar to the melancholic/nostalgic Brazilian term saudade but in an earthier, more inward form. The stoicism they display on the surface means that their sadness comes through in art as a howl of sadness. "I think it naturally comes through in my melodies: dramatic, lyrical, very sad, that kind of emotional statement."

The title "April" ties into her adopted home of Boston as well, given that the Boston Marathon bombing took place one year almost to the day prior to the Sewol. Lee hopes that her music offers a path to healing from both incidents. "April is a beautiful month, the beginning of spring when everything is new and beautiful and blooming," she says. "I want to make April bloom again."

R.I.P.: Leon Ware (1940-2017)

R.I.P.: Leon Ware
(born on February 16, 1940, Black Bottom, Detroit, Michigan, USA;
died on February 23, 2017, Marina del Rey, California, USA)

The fabulous North American singer & songwriter, recorded many great albums, but this self-titled r&b gem is my favorite. Recorded in 1982 for Elektra, arranged by Marty Paich & Jerry Hey, featuring Flora Purim, Airto Moreira, Laudir de Oliveira, Gato Barbieri, Janis Siegel, Nathan East, Chuck Rainey, David Paich, Jeff Porcaro, Rita Coolidge, Steve Lukather etc. There are two beautiful songs co-written with Marcos Valle: the haunting ballad Deeper Than Love (Mais Que Amor) and the infectious samba-funk Somewhere (later recorded by Emilio Santiago as Dentro de Você.)

Leon Ware's tunes were recorded by Michael Jackson, Marvin Gaye, Quincy Jones, Minnie Ripperton, Donny Hathaway, Isaac Hayes and many others, being sampled by Ice Cub, Tupac, Jay-Z, A Tribe Called Quest etc. Rest in Power.

Monday, February 20, 2017

R.I.P.: Larry Coryell (1943-2017)

R.I.P.: Larry Coryell, at age 73.
(born Lorenz Albert Van DeLinder III on April 2, 1943, Galveston, Texas, USA;
died February 19, 2017, New York City, New York, USA)

Terrible news. Another idol & friend is gone, another jazz master. Had the honor to work with him during his CTI years ("Fallen Angel" was a best-selling on the Billboard jazz charts) and when I produced the album "Almost In Love / Ithamara Koorax Sings The Luiz Bonfá Songbook," recorded in 1996, on which he guested. The first time I saw him live was in 1978 in a brilliant duo concert with Philipe Catherine at the Sao Paulo Jazz Festival, during the "Twin House Tour." And the first Coryell album I got, as a gift from my aunt Elge Agricola, was "Introducing The Eleventh House" in 1974. It means I have been "connected" to his artistry for 43 years... Photo by Celso Brando (P. Mallagutti, Arnaldo DeSouteiro, Larry Coryell, Ithamara Koorax)

Sunday, February 12, 2017

TBT: Grady Tate & Arnaldo DeSouteiro

 (legendary drummer/singer Grady Tate & Arnaldo DeSouteiro, 1979)
Photos by Delza Agricola DeSouteiro

R.I.P.: Helio Matheus (1940-2017)

R.I.P.: Helio Matheus (1940-2017),
(born on July 5, 1940; died on February 09, 2017 in Rio de Janeiro, RJ)

Brazilian singer, composer and guitarist. Besides this debut solo album recorded in 1975 for RCA with an all-star cast, Helio had his songs covered by such acts as Elis Regina, Azymuth, Zimbo Trio, Meirelles, Wanderléa, Doris Monteiro, Banda Black Rio etc. My favorite ones are the recordings of "Kriola" by Meirelles and "Que É Que Você Vai Fazer Nesse Carnaval" by Azymuth, which I've included in the volume 3 of the compilation series "A Trip To Brazil" that I produced for Verve. Rest in Power.

Wednesday, February 8, 2017

R.I.P.: Orlandivo (1937-2017)

(born Orlandivo Honório de Souza on August 5, 1937 in Itajaí, Santa Catarina, Brazil;
died on February 8, 2017 in Rio de Janeiro, RJ, Brazil)

Brazilian singer, composer and percussionist aka Orlann Divo. Recorded several albums as a leader, being recognized as one of the fathers of the "Sambalanço" style derived from bossa nova. He started his career as crooner of organist Ed Lincoln's band and co-wrote many songs with guitarist Durval Ferreira.

However, his biggest international hit, "Samba Blim" (aka "Tamanco No Sambo"), recorded by Cal Tjader and Tamba 4 among others, was co-written with Helton Menezes. Orlandivo also recorded as a percussionist on Deodato's "Os Catedráticos 73" albums, later retitled "Skyscrapers."

As a solo artist, his most famous album was released in 1977 by the Copacabana label and shamelessly bootlegged in UK during the Acid Jazz heyday. That album was arranged by keyboardist João Donato, also featuring Azymuth's members Alex Malheiros (bass) and Mamão (drums) plus Zé Menezes, Sivuca, Copinha, Durval Ferreira, Helcio Milito, Chico Batera, Ariovaldo, Papão, Hermes Contesini, Airton Barbosa, Geraldo Bongô and many others. Rest in Groove.

Tuesday, February 7, 2017

R.I.P.: Svend Asmussen (1916-2017)

(born on February 28, 1916, in Copenhagen, Denmark;
died on February 7, 2017, Dronningmølle, Denmark)

R.I.P. Svend Asmussen (1916-2017), one of the best violin players in jazz history, and an institution in Danish jazz. He passed away (today) a few days before his 101th Birthday! This is my favorite Svend album, recorded in 1972 with Toots Thielemans plus Red Mitchell, Ed Thigpen, Kjell Ohman and Stefan Brolund. A lovely bossa nova titled "Denise," written by Thigpen, used to receive a lot of airplay at JB-AM radio station in my native Brazil, at the time of the album release in 1973. The repertoire also includes great tunes by Toots, Milt Jackson and Duke Ellington. Besides the violin, Svend plays viola and cello. His career spanned eight decades, with over 80 albums as a leader or co-leader. Rest in Heaven.