Matt Lavelle, John Pietaro: “Harmolodic Monk” (2015) CD Review

Harmolodic Monk, the new CD from Matt Lavelle and John Pietaro, is an interesting jazz album taking the musical philosophy and approach of Ornette Coleman and applying it to compositions by Thelonious Monk. The results are sometimes soulful, sometimes emotional. These tracks often have a loose, exploratory feel that gets a bit trippy at times, but is always interesting. They mainly stick to Monk’s most well-known material, such as “Round Midnight,” “Ruby My Dear” and “Blue Monk,” but also tackle lesser known work, such as “Pannonica” and “Green Chimneys.” And it’s worth noting that on an album of Monk compositions, there is no piano. Matt Lavelle is on cornet, flugelhorn and alto clarinet; John Pietaro is on vibraphone and percussion.

Harmolodic Monk opens with “Epistrophy,” which begins with a thoughtful, lonesome horn, and soon adds little touches on percussion that make me think of an alley late at night. Then it’s as if the sounds themselves gather confidence, dare to express more, becoming more sure of their surroundings. Interestingly, there is some work on the vibraphone that is almost haunting, whereas I usually associate that instrument with a happier tone. And those happier tones do exist in this piece as well. The voices of the instruments on this track aren’t always pretty, but are always expressive.

Things get a bit more wild and energetic on “Green Chimneys.” This track has a loose, celebratory feel, like a shout to the gods, with the percussion designed to send dancers into a whirling joyful madness, and the horn like a proclamation.

“Round Midnight” begins slowly, almost tentatively, with largely mellow work on the vibraphone. The horn comes in beautifully, with a gentle, romantic bluesy bent, then rising at moments to passionate, unbridled heights before the song ends softly, drifting off.

A really nice horn solo makes “Let’s Cool One” one of the highlights of the disc, with Matt Lavelle dropping hints of that main theme, then going fully into it as John Pietaro comes back in on vibraphone. “Blue Monk” is another highlight for me, for it is at times playful, with a sense of humor, but also with some great work from both musicians, particularly by Matt Lavelle. Even the pauses are interesting. Monk is of course known for working dramatic pauses into his compositions, and Lavelle and Pietaro are able to make their own effective use of that device. And toward the end there are great short bursts like joyful shouts.

Harmolodic Monk concludes with a cool take on “In Walked Bud,” with moments when they cut loose, trading solos.

CD Track List

1. Epistrophy
2. Pannonica
3. Green Chimneys
4. Round Midnight
5. Crepescule With Nellie
6. Ruby My Dear
7. Let’s Cool One
8. Blue Monk
9. Monk’s Mood
10. In Walked Bud

HARMOLODIC MONK CD Available HERE

Harmolodic Monk Available Here

Julie – The Julie Lyon Quintet Available Here

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At the time of this writing, from the author‘s window, the view is of wet snow mixed with rain. In such nasty weather the debut album of the Julie Lyon Quintet is the best cure for the blues. Anyway, I would warm it up with mugs of anything hot or glasses with anything firewater. Julie will give you almost an hour of warm, sincere and very cozy jazz. This American vocalist and her partners do not seek to create some bold experiments, avant-garde delights or to display the power of the voice. The voice of Julie Lyon is not about free rein sound but rather depth of experience and the aura of the truth of jazz will not leave you from the first track to the last.

The program of the Julie album is songs from different times and different atmospheres. There are classic jazz standards, such as Bye Bye Blackbird or two evergreens, Cole Porter‘s Love For Sale and Every Time We Say Goodbye, a charming example of Brazilian jazz – Dindi by Jobim, and next – Strollin ‘ by Horace Silver, Too Damn Hot by Dr. Lonnie Smith with lyrics by Julie Lyon and the finale, Tom Wait’s Temptation. For each song, starting only from the text (without using, for example, scat) , Julie Lyon is able to create her own, special atmosphere. Personally, I feel especially close to the fun, even playful mood prevailing in Dindi, the pulsating swing of Too Damn Hot and the brilliant interpretation of Temptation.

All the tracks are arranged so that you can really listen to the quintet and not just a singer with an accompanying ensemble. Virtually every one of instrumentalists has ample opportunity to demonstrate their skills. I emphasize here Matt Lavelle’s solo trumpet in Bye Bye Blackbird and Temptation, his alto clarinet in Dindi, the artful guitar of Jack DeSalvo in Comes Love and his duet with bassist Bobby Brennan in Born To Be Blue, as well as Tom Cabrera’s opening drum solo in All Or Nothing At All.

According to the press release, the album Julie will go on sale in January 2015, although the cover indicates it was recorded in Paramus, New Jersey in 2013. I do not know what caused such a substantial gap between the two dates, but this is the case when you want to say, better late than never.

– Leonid Auskern, http://jazzquad.ru/index.pl?act=PRODUCT&id=3973

CD available HERE.

UNSEEN RAIN JULIE LYON QUINTET/Julie: It’s interesting to see that the new generation of jazz divas can draw water from the same well but still manage to spike the drink with a special sauce of their own that gives them some distinctive real estate to plant a flag on. Certainly a classic feeling thrush, Lyon is sassy and saucy seemingly taking Birdland to the tea pad after hours with the jam going in full force. Same church, different pew—this one’s filled with the bad kids hanging out in the back. Fun stuff.
UR9957

CD Available HERE.

CD Available HERE.

Sumari: Matt Lavelle, Jack DeSalvo, Tom Cabrera

http://goo.gl/Z22tWI

12 Houses Recording session at Systems Two in Brooklyn.  All photos by Jeff Evans.

Matt Lavelle – conductor, composer, trumpet, flugelhorn, alto clarinet,  Anaïs Maviel – voice, Lee Odom -Clarinet, soprano saxophone, Charlie Waters – alto saxophone, bass clarinet, Ras Moshe – tenor saxophone, concert flute, bells, Tim Stocker – baritone saxophone, bass clarinet, Mary Cherney – concert flute, alto flute, piccolo, Laura Ortman – violin, Gil Selinger – cello, Anders Nillson – electric guitar, 11-string alto guitar, Jack DeSalvo – producer, banjo, mandola, John Pietaro – Vibraphone, xylophone, bodhran, congas, bongos, percussion, Chris Forbes – piano, François Grillot – double-bass, Ryan Sawyer – drums.

Pat Hall – TIME REMEMBERED (THE MUSIC OF BILL EVANS): Pat’s trombone work is just “kickin’” on this great tribute to the music of Bill Evans. …and very nicely complemented by organ from Greg “Organ Monk” Lewis, guitar from Marvin Sewell and drums by Mike Campenni. Tunes like the splendid opener, “Gloria’s Step“, will bring memories of jazz the way it was meant to be! Solid jazz that will please your ears & have you finger/toe tappin’ right along with these excellent players. I’ve reviewed various CD’s with Greg’s organ on them, & this is definitely among the best. I totally dug the vibe on the laid-back & bluesy “Spring Is Here“… a very nice groove to be in. The 8:42 “Peri’s Scope” got my vote for favorite track of the seven presented for your jazz listening pleasure. I give Pat & crew a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Get more information at Pat’s website. Rotcod Zzaj

“No Lunch In Hackensack”,  Jimmy Bennington – drums, Steve Cohn – piano,  Unseen Rain Records – foUR9979

Unseen Rain Records is a fairly new company, created by guitarist Jack DeSalvo, that in the last few years has put some superb recordings and this is one of them. Most of the record is free form, but there are some spots that go into time. No matter, whatever these guys play, it is interesting, bold and fresh. Jimmy is a champion of subtlety, which comes through loud and clear on this record. Steve’s playing leaves nothing to be desired. If you want to hear the history of modern jazz just listen to what Steve does in “The Days of Wine and Roses”.  From Monk, Bill Evans , Cecil Taylor and now Steve Cohn. Every tune on the recording stands out. These are musician’s musicians.  -Dom Minasi

• On meyefi: http://goo.gl/55sR29
• On amazon:  http://goo.gl/eRiRAV
• On iTunes: http://goo.gl/woHLSG
• On CD Baby: http://goo.gl/QTFgFg
• On Google Play: http://goo.gl/ljgMr3

On meyefi: http://goo.gl/55sR29

On amazon:  http://goo.gl/eRiRAV

On iTunes: http://goo.gl/woHLSG

On CD Baby: http://goo.gl/QTFgFg

Sumari: Matt Lavelle, Jack DeSalvo and Tom Cabrera. Three post-modern multi-instrumentalist shamans channeling intrepid music extending from jazz into new music and folk and World music.

Just a cursory glance at the biography and discography of bassist, composer and producer Joris Teepe makes you smile in the title of his latest album. Since his arrival in New York (in 1992) he is a much sought after musician. And that’s an understatement. His contributions to recordings of others, as bassist, composer and producer are not small and the list of musicians with whom he played is great. And then there are the albums he released under his own name of which “Workaholic” is the eleventh in the row. It is inevitable that one is formed by all these experiences. Joris Teepe, who deliberately developed as a musician through his career. “Workaholic” is there like a reflection of this, but perhaps also as a way of listening to a statement of his musical development and
the formation of an idiom that could be described as eclectic expressiveness. That’s what you hear in his compositions and in his bass playing. The mixing of the different styles and bringing together different influences does  not lead Joris Teepe to an unmanageable hodgepodge. On the contrary, the compositions create an ambiance in “Workaholic” that is fresh and spontaneous. It is strongly expressive with a notion of history standing in a rich jazz tradition. This is partly due to a group of outstanding musicians, including
Mike Clark, once drummer with Herbie Hancock’s Headhunters. The
band plays tight, fancifully, swinging and playful. The recording is
well produced, sounds clear and “close”, giving you the feeling of
being there. ‘Workaholic’ is the statement of a lover – a jazz musician that sings.
Frank Huser Original article in Dutch HERE

Patrick Hall: Time Remembered: The Music Of Bill Evans (2014)

By JOHN EPHLAND,

Track Listing: Gloria’s Step; Waltz For Debby; Spring Is Here; Elsa; Know What I Mean?; Time Remembered; Peri’s Scope.

Personnel: Pat Hall, trombone; Greg “Organ Monk” Lewis, Hammond B3 organ; Marvin Sewell, guitar; Mike Campenni, drums.

Record Label: Unseen Rain Records

http://www.allaboutjazz.com/time-remembered-the-music-of-bill-evans-by-john-ephland.php?width=2560#.VC1Ow-fORa7

By Josh Campbell

A very interesting album from Matt Lavelle and John Pietaro. The concept, and I love concept albums, is to use Monk compositions and Ornette Coleman’s harmolodic methods. Interestingly, we find John Pietraro on the vibraphone in addition to percussion leading to a unique duet. Matt Lavelle is found on his standard cornet/flugelhorn as well as alto clarinet which we have been seeing more of from Matt. A healthy offering at an hour and a half, Matt and John work their magic on recognizable standards, with a pleasant twist. Matt’s cornet and flugelhorn have never sounded better, bold and meaty, especially on the excellently executed “In Walked Bud”. Other standouts, “Blue Monk/ Straight No Chaser”, and the spacious and oozing with blues “Round Midnight”, showcase Matt on the alto clarinet. Recorded with an intimate feel it can be hard to remember you’re not actually in the room with the musicians.

Even though the album is worth hearing and adding to your collection, at 1 hr 33 mins it does tend to drag a little. I would have liked to hear more percussion mixed into the album, even with the strong performance of John on the vibes it was a challenge over the span of the album to keep focus. The cornet and flugelhorn, being the main instrument I’m familiar with Matt playing, were much stronger than his alto clarinet. Aside from his stellar showing on “Round Midnight”, I found myself preferring his sax playing.

While not an album that I would return to every day, it is a performance and concept so unique and creative it should be investigated by fans who have yet to hear it. And even though it is not my favorite release from Matt, it reenforces my ever growing admiration for his playing and creativity.

Downloads available HERE

Jack DeSalvo & Tom Cabrera, Juniper: This is the kind of music that results from artists who invest years in learning their instruments and expressing them in ways that fall outside normal conventions. DeSalvo and Cabrera have partnered their guitars and percussion before, and that investment, too, bears fruit on their newest. This music has the heart and soul of the Cherry/Walcott/Vasconcelos Codona trio recordings… an earthy ambiance that emanates strength from a wise economy of notes and beats. Music that transcends genre, behaves as if it doesn’t even see the point of it. Also, great music to just kick back and listen to its particular serenity fill the room.
http://www.wonderingsound.com/news/new-jazz-week-ritmos-unidos-eric-reed-jason-moran/

DeSalvo and Cabrera’s third UR album is perhaps their most ambitious yet, including music with multiple layers of strings and percussion, their signature duos and a solo piece each.

Media Alert: Pat Hall’s Time Remembered: The Music of Bill Evans (Unseen Rain UR9960) Street Date August 5, 2014
Pat Hall: Trombone, Greg “Organ Monk” Lewis: Organ, Marvin Sewell: Guitar, Mike Campenni: Drums
http://www.unseenrainrecords.com/?p=880

CD Review: http://www.jsojazzscene.org/cdreviews.htm

by George Fendel

Considering the fact that Bill Evans passed away nearly 35 years ago, this second of two tribute recordings, released in the same month, are proof of his timeless legacy. While this album doesn’t have the emotional pull of the disc reviewed above, it features Evans tunes, coincidentally I’m sure, that are not included in the Martin Wind release. Surely you remember titles such as “Gloria’s Step,” “Elsa,” “Time Remembered” and “Peri’s Scope,” to name a few of the high points. Hall’s trombone possesses the Bob Brookmeyer-like touch of wit and charm, and his improvisational choruses never veer too far off the center of the highway. Hall’s quartet includes Greg Lewis, organ, Marvin Sewell, guitar, and Mike Campenni, drums. Lewis does no harm on organ. But for an album honoring Bill Evans, I would have preferred a pianist over the Hammond. Having said that, I should add that any Evans tribute feeds my “good side,” and while this is something of a detour, it works for me.
Unseen Rain Records; 2014; appx. 56 minutes.

Bassist and composer Joris Teepe, who first appeared on Unseen Rain on Lewis Porter’s Trio Solo, has reason to be Workaholic. While his adroit bass playing is constantly in-demand by other jazz greats, he presents here an extraordinary album of his own music. Along with Joris on double-bass and electric bass, Workaholic features legendary drummer Mike Clark of Herbie Handcock’s Headhunters fame, Josh Evans on trumpet, Adam Kolker on tenor saxophone and bass clarinet and Jon Davis on piano. Whether swinging or deeply funky, this tight, post-bop outing is stellar. Produced by Jack DeSalvo

Listen HERE

Available NOW for Download HD Master Quality edition, CD quality Apple Lossless, CD quality FLAC and mp3 (VBR 44.1kHz maximum quality) HERE

Available on iTunes, amazon and everywhere else Tuesday, July 29, 2014.

Pat Hall – Time Remembered: The Music of Bill Evans

“Well, only one more tribute album,” – says Blase Dzhazfen, who barely glanced at the cover of this CD. But putting the disc on to listen to it once, from the first bars, makes sure that this tribute is at least unusual, and in essence – is unique in many respects. Judge for yourself. The outstanding jazz pianist Bill Evans is loved by many. Pianists and piano jazz trios have played his music, or at least try to recreate it in their own way to convey the amazing harmonic and rhythmic constructions of Evans. He dedicated his work to trumpeter Miles Davis, a former partner of Bill and guitarist John McLaughlin. But I have never heard until now (though maybe it’s a matter of my lack of knowledge) the music for our Bill Evans led by the trombone.

Pat Hall did it. Yes, and it’s radical! For this recording he assembled a quartet in which there is no pianist. Let’s agree – that is bold in itself. Hall became partners with the great Hammond organ master Greg  “Organ Monk” Lewis, guitarist Marvin Sewell and drummer Mark Campenni. Hall also built his program unconventionally. Logically, when an album is dedicated to a musician, that musician’s works are included. And with Bill Evans, of course, it is the case here. Four of the tunes are Bill’s, including Time Remembered and his most popular song Waltz For Debby. But along with them in this Hall tribute is Gloria’s Step by Scott La Faro, a member of one of the best Evan’s trios and the standard by Rogers and Hart,  Spring Is Here and the composition by Earl Zindars,  Elsa. It is quite obvious that Hall sought primarily to convey the spirit of Evan’s music and to present this band’s versions of his works. And with a choice of repertoire like this, the approach can really be anything, if only turning Evan’s creative ideas into executable material.

Of course, to judge how successfully Pat Hall implemented this plans, just listen. For my taste, a musician who can record this album itself is an asset. Indeed it happened. It’s enough to listen to the lyrical and spiritual sound of his trombone in Spring Is Here, and to evaluate Hall’s solo in Waltz For Debby to be convinced. The congenial quartet leader works well with Greg “Organ Monk” Lewis. He also wondered if the Hammond can sound very different than we are used to and also makesthe organ sound just great, for example, on Peri’s Scope. I must mention Sewell the guitarist, whose playing on Elsa and Time Remembered are beyond praise.

This is such an unusual album and is certainly worth a listen. And still worth reading the brilliant, full of irony in relation to Evan’s lovers stereotypes liner notes from Chris Kelsey. Hall and his colleagues broke a lot of them in this project and Kelsey writes very well about it.

Download HERE

HARMOLODIC MONK Album Release Event

Whynot Jazz Room, Sunday, July29, 7:30PM 14 Christopher St, NYC

Harmolodic Monk is matt Lavelle (trumpet, alto clarinet, flugelhorn) and John Pietaro (vibes, percussion). The pair will be performing a set of selections from their Unseen Rain Records debut album, one which explores some of the greatest compositions of Thelonious Monk by way of the expansive visions of Ornette Coleman with special guests Jack DeSalvo on banjo and Tom Cabrera on frame drum. According to the album’s producer, Jack DeSalvo:

“In the work of both Ornette Coleman and Thelonious Monk, the dichotomy of ancient, pre-western approaches and extreme modernism live side-by-side so comfortably that one mistakes one for the other. Like the story that Ornette told of performing in a psychiatric hospital; once he started playing and looked out into the audience he couldn’t distinguish between the doctors and the patients.

Bëla Bartók believed that new music must have deep roots in folk music, music of the earth, chthonic in that sense. Besides virtuosity as servant to meaningful expression, communication and sensitive interplay, what Matt Lavelle and John Pietaro reveal to us through this many-layered concept of uncovering new secrets in Monk’s compositions via the Harmolodic highway is their profound understanding that the root of all this is the Blues.

Ornette’s view of the Blues, like his late friend Buckminster Fuller’s view of the world, is multi-dimensional, here imbued with both Monk’s and Ornette’s focus on personal expression. Matt and John provide an extended view into myriad musical possibilities when Harmolodic Monk is in the hands of two improvisational masters.”

This event is part of Andrea Wolper‘s Why Not Experiment? series.

Download HARMOLODIC MONK HERE

Tuesday, June 17, 2014

Pat Hall Time Remembered: The Music of Bill Evans UR9960

Pat Hall embraces the spirit of Bill Evans with a unique vision and with great success!

Brent Black / www.criticaljazz.com

Bill Evans compositions are covered on a fairly regular basis. An entire release devoted to perhaps the greatest harmonic genius in improvisational music is not uncommon, a release that pushes the music forward is uncommon. Pat Hall has assembled a first rate trombone / organ trio to examine four Evans classics, a Rogers and Hart standard and two compositions from bassist Scott LaFaro and composer Earl Zindars who are both closely tied to the Evans legacy. The result is a more contemporary excursion down that rare harmonic road less traveled where Bill Evans became a legend.

The quiet reverence of Evans now is meticulously etched with soul, swing and a lyrical edge that takes these treasured compositions to the next level of possibilities rather than the same predictable formatted covers so often released. While Pat Hall could stand on stage with any ensemble, his ability to blend and gently guide this eclectic 4tet is worthy of special note. Greg “Organ Monk” Lewis is a critically acclaimed performer cut from the Larry Young mold while guitarist Marvin Sewell and drummer Mike Campenni provide the finesse necessary to help tie these compositions together. The arrangements are solid yet forward thinking while the execution is exemplary.

Admittedly, Bill Evans purists may at first balk at such an unorthodox attempt to pay tribute while the more harmonically in tune will be entranced at the possibilities that are always inside a beautiful melody.

Tracks: Gloria’s Step; Waltz For Debby; Spring Is Here; Elsa; Know What I Mean?; Time Remembered; Peri’s Scope.

Personnel: Pat Hall: Trombone; Greg “Organ Monk” Lewis: Hammon Organ; Marvin Sewell: Guitar; Mike Campenni: Drums.

Posted by brent black at 4:01 PM

Jim Eigo

June 17, 2014

Pat Hall: Trombone, Greg “Organ Monk” Lewis: Organ, Marvin Sewell: Guitar, Mike Campenni: Drums

http://www.unseenrainrecords.com/?p=880

CD Review:

Media Contact

Jim Eigo – Jazz Promo Services,  272 State Route 94 South #1 Warwick, NY 10990-3363, Ph: 845-986-1677 / Fax: 845-986-1699 Cell / text: 917-755-8960, Skype: jazzpromo jim@jazzpromoservices.com, www.jazzpromoservices.com

   Listen HERE Purchase HERE

In the work of both Ornette Coleman and Thelonious Monk, the dichotomy of ancient, pre-western approaches and extreme modernism live side-by-side so comfortably that one mistakes one for the other. Like the story that Ornette told of performing in a psychiatric hospital; once he started playing and looked out into the audience he couldn’t distinguish between the doctors and the patients.

Bëla Bartók believed that new music must have deep roots in folk music, music of the earth, chthonic in that sense. Besides virtuosity as servant to meaningful expression, communication and sensitive interplay, what Matt Lavelle and John Pietaro reveal to us through this many-layered concept of uncovering new secrets in Monk’s compositions via the Harmolodic highway is their profound understanding that the root of all this is the Blues.

Ornette’s view of the Blues, like his late friend Buckminster Fuller’s view of the world, is multi-dimensional, here imbued with both Monk’s and Ornette’s focus on personal expression. Matt and John provide an extended view into myriad musical possibilities when Harmolodic Monk is in the hands of two improvisational masters.

PAT HALL – trombone, GREG “ORGAN MONK” LEWIS – organ, MARVIN SEWELL – guitar, MIKE CAMPENNI – drums

“Pat Hall has done it. He’s substituted overt passion for Bill Evans’ quiet reserve, impulsive chance-taking for the pianist’s crystalline perfection. In place of the classic piano trio instrumentation so closely-associated with Evans, he’s used something nearly it’s polar opposite.”
– from liner notes by Chris Kelsey

Listen HERE Purchase HERE Watch Video HERE

Available now on iTunes, CD Baby and just about everywhere else.

Seattle-based Herb Kloss‘ gorgeous flute sound is united with the vast transcultural percussion pallet of Tom Cabrera and Jack DeSalvo‘s mandola, cello and guitar for a genre-transcending recording rooted in jazz, classical and folk. The result is extraordinary music.

Jack DeSalvo – mandola, cello, classical guitar/ Herb Kloss – flute, alto flute/ Tom Cabrera – frame drums, riq, tombak, darbuka, percussion

LISTEN HERE PURCHASE HERE Watch video from recording session HERE

A voice simultaneously gifted with elegance, swing and more than a hint of blues roots, JULIE LYON debuts her New York Quintet on UNSEEN RAIN with her new album JULIE. Long time collaborator, UR artist and drummer TOM CABRERA joins trumpeter and alto clarinetist MATT LAVELLE, guitarist JACK DeSALVO and double-bassist BOBBY BRENNAN on this magnificent recording.

Listen HERE Purchase Downloads HERE CD available very soon

Nora McCarthy – voice, bodhran, pedals
Jorge Sylvester – alto saxophone

“In the Language of Dreams is an explosion of imagination, a dazzling display of music and words, as well as philosophy. A Small Dream in Red has the courage to set itself high goals, and it has the talent and ingenuity to attain them. And because McCarthy and Sylvester are so inspired by creativity, they likewise inspire creativity, and thus the cycle of artistic endeavor goes forward.” – Florence Wetzel, All About Jazz
In The Language of Dreams is a  tribute to Ornette Coleman and Wassily Kandinsky. The music includes original compositions that include interpretations of five Kandinsky paintings, two Ornette compositions, pieces Nora, Jorge, Cat Stevens and Vernon Duke.

Listen HERE Purchase HERE

“Saxophonist Chris Kelsey and his co-conspirators on The Electric Miles Project (guitarists Rolf Sturm and Jack DeSalvo; bassist Joe Gallant; drummer Dean Sharp) are some kind of brave and crazy. They have tackled some of the most wild-assed work of Miles Davis’ career in a manner that comes across as being both respectful and fearless – and the end result is an album that feels more like the next chapter for these tunes rather than a look-back-over-the-shoulder tribute.” – Brian Robbins, jambands.com

Listen HERE Purchase HERE

Time Remembered Trailer: Here’s a video peek into trombonist PAT HALL’s TIME REMEMBERED, a soon-to-be available addition to his UR catalog. Along with an extraordinary band – Greg “Organ Monk” Lewis on Hammond organ, Marvin Sewell on guitar and drummer Mike Campenni and produced by UR artist Chris Kelsey – Pat takes a parallax view into the ouvre of Bill Evans.

Watch video HERE.

Master alto saxophonist Jorge Sylvester is joined by his ensemble Ace Collective – Nora McCarthy – voice, lyrics, poetry, Waldron Mahdi Ricks – trumpet, Pablo Vergara – piano, Donald Nicks – electric bass and Kenny Grohowski – drums – on this example of high-level 21st century jazz.

Purchase CD HERE.

Download available soon.

The Jorge Sylvester ACE Collective is “an all-star jazz band that knows how to swing, to improvise with spontaneity and poise, and to respond to one another with telepathic immediacy and profound respect. Their new double CD release Spirit Driven, on foUR Records TM, is the result of a lifetime of spirit driven preparation by each musician – Jorge Sylvester: brilliant composer and arranger, virtuoso alto saxophonist; Nora McCarthy: daringly original, versatile, and fearlessly honest singer, composer, and poet. Waldron Mahdi Ricks: impeccably artful trumpet player, a jazz master in his own right; Pablo Vergara: astoundingly imaginative pianist, musically fluent on an encyclopedic, global scale; Donald Nicks: journeyman artisan of the bass, unfailingly, and always tastefully, providing the musical foundation; Kenny Grohowski: uncannily precise and inventive drummer and percussionist.” Spirit Driven, the group’s first recording, is a highly rhythmic and spiritually motivated compositional journey through the various cultures that make up the Caribbean Islands encompassing their significance and contribution to the present day advanced musical concepts in jazz and avant-garde/free music. It uses the “word” in the form of poetry and lyrics to convey each song’s spiritual and historical message. “The music continuously flows and develops with a lithe bodily grace and expressive range, transfiguring its structural complexity and technical virtuosity into an intimate and honest gesture of oneness with each listener, only possible by virtue of consummate musicianship.” – Ramsey Ameen

“Lewis Porter and co. have put together a wonderful recording full of inspired trio excursions and beautiful solo explorations….It’s full of surprises from tune to tune that captured me completely…Bravo !!!” – Joe Lovano

Renowned in a variety of disciplines (author of THE Coltrane biography and founder of the world’s first jazz history program at Rutgers), virtuoso pianist LEWIS PORTER steps out of his much in-demand sideman roles and offers an album of his own trio and solo performances. The trio, with double-bassist JORIS TEEPE and drummer RUDY ROYSTON, perform with power and grace while Porter’s intimate piano solos range from lyrical to pointillistic in this, his auspicious debut for UNSEEN RAIN.

Listen HERE Purchase HERE

“It would be too much to say, thinking of the Monk tune naming the city of this title, that Cohn’s piano was an extension of the monastic aesthetic. Yet in this series of spare, thoughtful duos with the resourceful drummer Bennington, there’s something of the quirky, self-contained approach to improvisation that we might loosely trace back to the master. But I hear more Tristano via Herbie Nichols in Cohn, to tell the truth; that and a jabbing quality that is halfway between Cecil and Mengelberg too. Together, the pair deal out an awful lot of interesting crossing rhythmic patterns with occasional bombs dropped or rhapsodies heard. One great place to study Cohn’s fragmentary, space heavy approach is in the Zeitlin and Mancini tunes. But his lengthy intro to “What Bob Wants to Hear” (for Bob Rusch) is quizzical and unexpected in wondrous ways, too. I’m not quite so sold on Cohn’s vocalisms which are especially pronounced the rattling mutant swing of “The Presidents Club.” They take a furtive, probing turn on “Steven” and the first take on the title tune, but they manage to keep things spacious while still cultivating a sense of urgency and forward momentum. After some nice sequences where Bennington impresses with his finely tuned drums, the album closes out satisfyingly, with highlights in the heart-on-sleeve “Quiet Now” and a playful, spindly reading of ‘The Days of Wine and Roses.'” – Jason Bivens, Cadence

(foUR7997) No Lunch In Hackensack

Jimmy Bennington – drums, Steve Cohn  – piano, vocals

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Chris Kelsey on straight alto saxophone, Lewis Porter, on Kimball electric combo organ and Crumar Roadrunner electric piano Jack DeSalvo, electric guitar; Joe Gallant, six-string electric bass; Alan Lerner, drums are some of the most versatile and passionate musicians on the New York City creative music scene…1UP1DOWN’s music reflects the inclusive nature of the jazz we all grew up loving – a music that ruled everything in and nothing out, whilst maintaining the rhythmic thread connecting the music from Armstrong to Ornette. It’s all good. It’s all jazz.

Listen HERE Purchase HERE