The best American brass band tradition in the United States comes from New Orleans and one of the finest bands currently is Hot 8 Brass Band. Their irresistible hip-shaking style incorporates traditional New Orleans jazz mixed with funk.
On The Spot gives the listener the feel of an enticing New Orleans band playing in the street during celebrations. “We are privileged to tour and to tell the stories of life in our city, to keep alive the memories of our band members who have passed, as well as all the musicians who have gone before”, says band leader and tuba player Bennie Pete.
Hot 8 Brass Band will embark on an international tour in March. This will be great opportunity to experience the unique sound of New Orleans performed by some of the most talented horn players and percussionists in the current scene.
‘On The Spot’ Tour Dates (with more TBA)
1 March, The Triffid, Brisbane, QLD (AUS)
2 March, Solbar, Sunshine Coast, QLD (AUS)
3 March, Tanks Arts Centre, Cairns, QLD (AUS)
4 March, Girrakool Blues Festival & BBQ, Girrakool, NSW (AUS)
8 March, Oxford Art Factory, Sydney, NSW (AUS)
9 March, Badlands, Perth, WA (AUS)
10 March, WOMADelaide, Adelaide, SA (AUS)
11 March, WOMADelaide, Adelaide, SA (AUS)
15 March, Brunswick Music Festival, Melbourne, VIC (AUS)
17 March, WOMAD New Zealand (NZ)
18 March, WOMAD New Zealand (NZ)
4 April, The Roundhouse, London (UK)
5 April, The Quarterhouse, Folkestone (UK)
6 April, Rescue Rooms, Nottingham (UK)
7 April, Invisible Wind Factory, Liverpool (UK)
8 April, Old Granada Studios, Manchester (UK)
9 April, Guild Hall, Preston (UK)
11 April, Liquid Room, Edinburgh (UK)
12 April, O2 ABC, Glasgow (UK)
13 April, The Wardrobe, Leeds (UK)
14 April, O2 Academy, Birmingham (UK)
16 April, Transatlantik Festival, Hamburg (GER)
19 April, Webster Hall Marlin Room, New York, NY (USA)
20 April, Jammin’ Java, Vienna, VA (USA)
21 April, Milkboy, Philadelphia, PA (USA)
22 April, ONCE Ballroom, Somerville, MA (USA)
29 April, Katowice Jazz Art, Katowice (PL)
1 May, Cheltenham Jazz Festival, Cheltenham (UK)
2 May, O2 Academy Sheffield, Sheffield (UK)
3 May, The Fleece, Bristol (UK)
4 May, Tramshed, Cardiff (UK)
5 May, The Factory, Barnstaple (UK)
8 May, Boiler shop, Newcastle (UK)
9 May, The Welly, Hull (UK)
10 May, Warwick Arts Centre, Warwick (UK)
11 May, Pocklington Arts Centre, Pocklington (UK)
12 May, The Soundcrash Funk & Soul Weekender, Camber Sands (UK)
17 May, New Morning, Paris (FR)
19 May, Open Air, Voiron (FR) [early show]
19 May, Le Fil – Radio Nova Nuit Zébrée, St Etienne (FR) [LATE SHOW]
20 May, Rush, Rouen (FR)
27 May, Denver Day of Rock, Denver, CO (USA)
30 May, The Crocodile, Seattle, WA (USA)
31 May, Wonder Ballroom, Portland, OR (USA)
1 June, The Dip, Redding, CA (USA)
2 June, The Independent, San Francisco, CA (USA)
3 June, Saint Rocke, Hermosa Beach, CA (USA)
4 June, House Of Blues San Diego – Voodoo Room, San Diego, CA (USA)
7 June, Antone’s, Austin, TX (USA)
8 June, Warehouse Live, Houston, TX (USA)
10 June, House of Blues, New Orleans, LA (USA) HOMETOWN RECORD RELEASE PARTY
The Krakow appearance of the Arturo Sandoval Sextet at Centrum Kijów kicked off spring, which, thanks to Letni Festiwal Jazzowy Piwnicy pod Baranami (http://www.cracjazz.com/pl/) [Cellar under the Rams Summer Jazz Festival], arrived unusually early this year. Cuban and afro rhythms warmed us and infected us with dance fever throughout the two-hour performance.
Arturo Sandoval had such a great time onstage with music and rhythm that it would have been a shame for us to enjoy ourselves any less.
The performance also featured several jazz ballads, performed solo by Sandoval, on the piano; reminiscences of Dizzy Gillespie, a great friend and mentor of Sandoval’s who died in 1993.; a short but comical and substantial lecture, “What is bebop?”; and Sandoval’s excellent sense of humor. Thus no element of jazz was lacking.
Sandoval also returned to his classic repertoire, from which he had departed on Eternamente Manzanero, his latest album, recorded with Jorge Calandrelli, which was dominated by romantic ballads and even pop sounds.
Anyone wishing to be reminded of the mood of the Krakow concert would be well advised to dig To a Finland Station (1982) out of his or her vinyl collection.
In Krakow starring:
John Belzaguy – bass
Tiki Pasillas – percussion
Dave Siegel – keyboard
Johny Friday – drums
Kemuel Roig – piano
If you haven’t heard yet about Daymé Arocena, her new album Cubafonía is a great opportunity to listen to one of the best voices that has come out of Cuban in recent years.
Winner of the significant Marti y el Arte award in 2007, Daymé Arocena demonstrates her formidable talent by crossing musical boundaries with her voice. She shows her mastery at Cuban traditional genres like mambo and changüí, Afro-Cuban chants, and ballads, as well as the more modern timba. However, her repertoire is more extensive as she explores American soul and jazz effortlessly.
Cubafonía is Daymé’s second album and very different from her debut album. While her debut Havana Cultura Sessions focused on electronic dance music culture, Cubafonía features an irresistible acoustic rhythm section and more conventional instrumentation.
Most of the songs are in Spanish, although Daymé also sings a couple of songs in English and has a trilingual song titled “Valentine” where she inserts some English and French.
In recent months, Cuban musicians have released a series of dazzling piano-based albums. Cubafonía focuses on vocal talent and Daymé Arocena is one of the best and equally spectacular.
Karl Seglem was born in 1961 in Årdalstangen in Sogn. He’s one of the most important contemporary tenor saxophonists in Norway.
With the group Sogn-A-Song, the trio Utla and the duo Isglem, Seglem has consistently broken through musical boundaries with his wide range of musical perceptions and daring improvisational style.
Seglem’s influences include Norway’s rich folk music traditions and jazz, combined with his own sense of expression make his music a modern soundscape that gives equal weight to improvisation and composition. His saxophone tone is innovative in its use of breath, resonance and syncopation.
He also plays the Norwegian ram’s horn. Seglem’s music has a wide scope, ranging from folk to free form and world beat, inspired by and invoking Nordic nature. In addition to his many CD releases, he has composed several major works and has performed them in public.
Seglem was awarded the Edvard prize in 1998 for his piece “Tya.”
Seglem has toured extensively throughout Norway and abroad.
* Poems for trio (NOR-CD HCRCD 49, 1988)
* Sogn-A-Song (NOR-CD 9101, 1991)
* Rom, with Isglem (NOR-CD 9102, 1991)
* To Steg, with Isglem (NOR-CD 9204, 1992)
* Utla (NOR-CD 9205, 1992)
* Juv, with Utla (NOR-CD 9309, 1993)
* Rit, with Sogn-A-Song (NOR-CD 9410, 1994)
* Brodd, with Utla (NOR-CD 9514, 1995)
* Null g, with Isglem (NOR-CD 9615, 1996)
* Prosa, with Jon Fosse (NOR-CD 9616, 1996)
* Tya, with Reidar Skår (NOR-CD 9717, 1997)
* Spir, with Sogn-A-Song (NOR-CD 9830, 1998)
* Dans, with Utla (NOR-CD 9935, 1999)
* Daa, with Henriksen, Seglem, Isungset (2000)
* Nye Nord (2002)
* Fire, with Isglem (2003)
* Song, with Utla (2003)
* Femstein (NorCD, 2004)
* Budda og reven Singie (NorCD, 2005)
* Reik (NorCD, 2005)
* Urbs (NorCD, 2006)
* Spelferd – a playful journey DVD (NorCD, 2008)
* NORSKjazz.no (NorCD, 2009)
* Skoddeheimen (NorCD, 2009)
* Draumkvedet (NorCD, 2009)
* Ossicles (NorCD, 2010)
* NyeSongar.no (Ozella Music, 2013)
* Som Spor (NorCD, 2014)
* Waves, with Christoph Stiefel (Challenge, 2015)
* Laerad The Tree (NorCD, 2015)
* Live In Germany (NorCD, 2015)
* WorldJazz (NorCD/Ozella, 2015)
* Nordic Balm (NorCD, 2016)
Born in Memphis, Tennessee, Jon Hassell grew up with ears alert to divergent aspects of the jazz tradition, one early influence including Maynard Ferguson’s “stratospheric” trumpeting with the Stan Kenton Orchestra. While studying at the Eastman School of Music, Hassell became increasingly interested in serial music and more experimental expressions of the new music avant-garde, in the mid-1960s traveling to Cologne to study with pioneering composer Karlheinz Stockhausen.
Returning to New York in 1967 he met and befriended Terry Riley. Hassell played on Riley’s landmark recording In C, and was introduced by Riley to La Monte Young with whose Dream House project he toured through the 1970s.
An encounter with the music of Indian singer Pandit Pran Nath was fundamental. Hassell studied extensively with Pran Nath, subsequently incorporating vocal techniques of raga into his trumpet playing, developing a new style for his instrument and his music as a whole.
Vernal Equinox (1977) laid down the essence of the idiosyncratic yet wide-open musical expression Hassell has continued to develop and redefine over the past decades: “My aim was to make a music that was vertically integrated in such a way that at any cross-sectional moment you were not able to pick a single element out as being from a particular country or genre of music.”
In 1986 Brian Eno, a frequent collaborator, would observe that “Jon Hassell is an inventor of new forms of music – of new ideas of what music could be and how it might be made. His work is drawn from his whole cultural experience without fear or prejudice. It is an optimistic, global vision that suggests not only possible musics but possible futures.” An enticing proposal for the most diverse musicians, Hassell’s collaborators over the years have ranged from Peter Gabriel to the Kronos Quartet, Ry Cooder and rock star Bono, and his trumpet performances have featured on recordings with Björk, Baaba Maal, Ibrahim Ferrer, Ani di Franco, David Sylvian, the Talking Heads and many others.
Additionally his playing and/or music has been heard in numerous films including The Last Temptation of Christ, Trespass, Wild Side, Greenwich Mean Time, Angel Eyes, Owning Mahowny, Million Dollar Hotel and more.
In April 2009, Jon Hassell and Brian Eno delivered their Conversation Piece at London’s Queen Elizabeth Hall. This “conversational remix”, an animated juxtaposing of philosophies of life, art and music, was premiered to acclaim at Norway’s Punkt Festival in 2008.
Norwegian saxophonist Jan Garbarek adopted the sounds of jazz, classical and world music at a very early age. He has collaborated with artists from various folk traditions, including India and Brazil, as well as age-old European traditions, including his remarkable partnership with the Hilliard Ensemble.
Jan Garbarek was born March 4, 1947, in Mysen, Norway. At the age of 14, he heard John Coltrane on the radio and experienced a kind of epiphany. He immediately bought himself a saxophone instruction book and learned fingering positions, even before he had bought a horn.
Knowledge of Coltrane’s interest in Ravi Shankar, brought Garbarek to an awareness of Indian music as early as 1963. From the Coltrane Quartet, the young Norwegian learned about the dynamics of the band, and the internal relationship of the instruments. Coltrane’s endorsement of the freest spirits of the New Thing fired Garbarek’s appreciation of Pharoah Sanders, Archie Shepp and especially Albert Ayler.
Scandinavia at that time was a haven for American musicians. Garbarek grasped opportunities to hear, and learn from, Dexter Gordon, Ben Webster and Johnny Griffin. In 1964, he had a chance to play with Don Cherry, whose embracing of world folk traditions in his unique variety of free jazz was another significant influence. Most important in this formative period was the association with American composer and pianist George Russell.
In 1967 he joined the Scandinavian orchestra led by US avant-garde composer George Russell, and in 1970 worked in the USA for a while under such leaders as Keith Jarrett and Don Cherry.
In 1969 Manfred Eicher, in the process of establishing ECM Records, invited Garbarek to record for his new label. The album Afric Pepperbird was taped in Oslo in 1970 and effectively put the young saxophonist on the map, along with his fellow band members. This was the start of a exceptional relationship between Garbarek and ECM which continues to this day.
Afric Pepperbird was the first of many ECM recordings to be produced in Oslo. It was the beginning of the creative alliance between Eicher and sound engineer Jan Erik Kongshaug.
In the 1980s Garbarek created several groups, which included bassist Eberhard Weber, John Abercrombie and at various times guitarists Bill Frisell and David Torn. During that decade he began a series of world music collaborations. In 1984, Garbarek recorded with Ravi Shankar on Song For Everyone.
The landmark album Rosensfole came out in 1991. This now legendary ECM album features Garbarek together with Norwegian folk singer Agnes Buen Garn?s. The international collaborations continued with Ragas & Sagas (1993), where Garbarek collaborated with the Pakistani Qawwali singer, Nusrat Fateh Ali Khan. That same year, Garbarek recorded Twelve Moons, which focused, yet again on Scandinavian folk melodies.
Officium, released in 1993, features Jan Garbarek and the Hilliard Ensemble, with a musical concept that simultaneously reached up into the Jazz, Classical, and Pop charts. In 1998, five years after the recording of “Officium”, the Hilliard Ensemble and Jan Garbarek returned to the monastery of St Gerold to renew, in the words of singer John Potter, their “encounter with the unknown.”
The result was a very beautiful double album, Mnemosyne. It was wider in scope than its predecessor, and the improvised component of the music was expanded. The repertoire spanned 22 centuries, from the “Delphic Paean” of Athenaeus to the “Estonian Lullaby” of Veljo Tormis, via folk song fragments from North and South America and Spain, freely developed, as well as pieces by Tallis, Dufay, Brumel, Hildegard von Bingen, Jan Garbarek, a Russian psalm, a Scottish ballad of the 16th century, and much more. “We did it for each other in the absence of an audience, and these are complete one-off performances which will never sound the same again.”
In 1998 Jan Garbarek released another double album entitled Rites. It suggested initiations, rituals, the archaic, the magical, but also “rites of passage”, and the Norwegian saxophonist reflected, in his choice of material, upon pivotal episodes and influences in his own life and those of his associates.
Pieces included a tribute to Don Cherry and reworkings of the Garbarek classics “It’s OK to listen to the gray voice” and “So mild the wind, so meek the water”. There were abundant references to scattered musics of the world, from Norway to India, as well as a setting – for voices and saxophone – of a Native American poem, and the surprise inclusion of Jansug Kakhidze’s “The moon over Mtatsminda”, sung by its composer with the Tbilisi Symphony Orchestra. In total, this was the most comprehensive recording Jan Garbarek had made to date.
Garbarek compiled a double album of Selected Recordings for ECM’s :rarum anthology series in 2001. “This retrospective compilation represents 30 wonderful years of my life…. I hope as you listen that you will, in some measure, hear the joy I’ve had making each of these recordings.”
Garbarek’s double album traces the growth of his own groups, his collaborations with a wide range of musicians – from Keith Jarrett to the Hilliard Ensemble – and his investigations of Nordic and other folk traditions.
In 2003 Garbarek appeared, alongside Chick Corea, Jack DeJohnette and John McLaughlin, on Miroslav Vitous’s widely-acclaimed Universal Syncopations.
In 2004, Garbarek played with Kim Kashkashian on Tigran Mansurian’s Monodia, a recording that also features Leonidas Kavakos, the Hilliard Ensemble, and the Munich Chamber Orchestra under Christoph Poppen.
On the album In Praise of Dreams (2004) , Garbarek emphasized his capacity as composer, orchestrator and arranger, proposing new colors and textures in its blending of acoustic and electronic elements. “I think more in terms of evolution than revolution,” Jan Garbarek says, “the changes in the music taking place slowly over time, but there are some surprises here.”
Although the trio heard on the disc is unprecedented, there is also a logic to the unorthodox line-up. In Praise of Dreams features two musicians with whom Jan Garbarek has some history – American-Armenian violist Kim Kashkashian and African-French drummer Manu Katch?.
The use of loops and samples had only occasionally appeared on earlier Garbarek albums (“All Those Born With Wings”, “Visible World”), although they are a hallmark of music Garbarek has written for film, theatre and ballet.
The most striking aspect of In Praise of Dreams, however, is the interweaving melodies of saxophone and viola. “I was really overwhelmed by the life and the depth that Kim brought to the lines that I presented to her…The way she plays the viola, the sensibility of the phrasing, all the subtleties and nuances of her sound production, it’s very close to the way I’d like to play saxophone. There seems to be a very good connection between our timbres, too, which was even more than I had hoped for. The richness in her sound brings the music to another level and gives me something to reach for, in my improvisations. It was inspiring to work with her.”
Describing Kim Kashkashian as “a very powerful new agent in my music-making“, Garbarek added that “her strong sound had come to define the viola in a new way for me. I’d had many opportunities to listen to her music on ECM recordings through the years, in chamber music or orchestral contexts.”
Jan Garbarek first became aware of African-French drummer Manu Katche after hearing his sparse, unorthodox beat propelling the most striking tracks on Robbie Robertson’s 1987 solo album. Producer Manfred Eicher put Garbarek and Katche in touch with each other.
Katche, it transpired, had long been a follower of Garbarek’s music (“his records filled my adolescence”). Manu Katche joined ECM’s 20th Anniversary concerts in Paris, played in trio with Garbarek and Indian violinist Shankar (saxophone, strings, drums – not so far from the In Praise of Dreams concept ) at La Cigale in October 1989, and joined the Jan Garbarek Group for several tours. He appeared on four subsequent albums with Jan – I Took Up The Runes, Ragas and Sagas, Twelve Moons and Visible World, prior to In Praise of Dreams.
“Manu has many qualities as a player. He can do many things, but much of his playing is pattern oriented. He’s looking for just the right drum pattern to fit a piece of music and he’ll stay with that, but vary it in minimalistic ways with dynamics and attack. Rather than breaking loose to play soloistically, he maintains the ambience he’s created. Now, I love all the old jazz drummers, like Jo Jones, for example, or Gene Krupa, and they were also more pattern oriented rather than freely expressive in the way that most contemporary jazz drummers are. And it’s something I’ve missed. Manu has that quality in his approach, but also a very elegant sophistication, a poetic sensitivity.”
Garbarek attributes the overall shape of the album to its producer. “When it comes to organizing the pieces as a whole, that’s difficult for me, because I’m bound up in the details of each individual tune. The best ideas for that usually come from Manfred Eicher. Hearing these pieces during the mix he very quickly had an idea about the dramaturgy. He sees the whole more spontaneously, and I trust him 100 % in this. I’d tried all kinds of way to put these pieces together, but once Manfred suggested an order, everything fell into place – not for the first time.”
The album’s title was borrowed from the poem “In Praise of Dreams” by Wislawa Syzmborska, which begins, in the English translation, “In my dreams/I paint like Vermeer van Delft.
* Esoteric Circle, with Terje Rypdal (Freedom FLP/CD 41031, 1969)
* Afric Pepperbird (ECM 1007, 1970)
* Sart, with Stenson and Rypdal (ECM 1015, 1971)
* Triptykon, with Arild Andersen and Edward Vesala (ECM 1029, 1972)
* Red Lanta, with Art Lande (ECM 1038, 1973)
* Witchi-Tai-To, with Bobo Stenson Quartet (ECM 1041, 1973)
* Luminessence, with Keith Jarrett (ECM 1049, 1974)
* Dansere, with Bobo Stenson Quartet (ECM 1075, 1975)
* Dis (ECM 1093, 1976)
* Places (ECM 1118, 1977)
* Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof (ECM 1135, 1978)
* Magico, with Charlie Haden and Egberto Gismonti (ECM 1151, 1979)
* Aftenland, with Kjell Johnsen (ECM 1169, 1979)
* Folk Song, with Charlie Haden and Egberto Gismonti (ECM 1170, 1979)
* Eventyr (ECM 1200, 1980)
* Paths: Prints (ECM 1223, 1981)
* Wayfarer (ECM 1259, 1983)
* It’s OK To Listen To The Gray Voice (ECM 1294, 1984)
* All Those Born With Wings (ECM 1324, 1986)
* Legend of The Seven Dreams (ECM 1381, 1988)
* Rosensfole, with Agnes Buen Garnas (ECM 1402, 1988)
* I Took Up The Runes (ECM 1419, 1990)
* Ragas and Sagas, with Ustad Fateh Ali Khan and musicians from Pakistan (ECM 1442, 1990)
* Star, with Miroslav Vitous and Erskine (ECM 1444, 1991)
* Atmos, with Miroslav Vitous (ECM 1475, 1992)
* Madar (ECM 1515, 1992)
* Twelve Moons (ECM 1500, 1992)
* Officium, with The Hilliard Ensemble (ECM 1525, 1993)
* Visible World (ECM 1585, 1995)
* Rites, 2-CD (ECM 1685/86, 1998)
* Mnemosyne, with The Hilliard Ensemble, 2-CD (ECM 1700/01, 1998)
* Rarum 2: Selected Recordings (ECM, 2002)
* In Praise of Dreams (ECM, 2004)
* Dresden (ECM Records, 2009)
* Officium Novum, with the Hilliard Ensemble (2010)
* Résumé, with Eberhard Weber (ECM, 2012)
* Magico: Carta de Amor, with Charlie Haden (ECM. 2012)
* Concert in Athens, with Eleni Karaindrou (ECM, 2013)
Now you can plan summertime musical adventures in Poland! The year 2017 abounds in world-class stars appearing at an ever-growing number of fantastic jazz music festivals. The Młyn Jazz Festiwal Wadowice (Wadowice Mill Jazz Festival) certainly stands out, thanks to the project’s momentum, atmosphere, and ambitious top-flight jazz. The festival runs from July 7-9 July, 2017.
On the first day the organizers invite you to an appearance by Herbie Hancock with a band composed of Vinnie Colaiuta, James Genus, Lionel Loueke, and Terrace Martin. The eminent American pianist and composer and jazz guru (as Leszek Możdżer once dubbed him) has appeared many times on Polish musical stages, giving a display of virtuosity, improvisation, and hot sounds.
Through Herbie Hancock’s music we can understand the words of the artist himself, writing in his autobiography: “Jazz consists of life at a given moment. It is about trusting yourself and reacting quickly to what’s happening. If you let it happen, a door opens up before you, a door to a never-ending exploration of music and life.” Jazz lovers in Poland are eagerly awaiting this performance.
Following Herbie Hancock’s show, the good times will continue to roll, thanks to Marta Król and the Paweł Tomaszewski Group, whose concert is scheduled for the same outdoor stage in the evening.
The next day of the festival begins with Polish jazz. Performing first are Stanisław Soyka and the Wojciech Karolak Trio; later, we’ll hear the sensational voice of American jazz vocalist Dianne Reeves. Certainly we can expect not only her hits, but also material from Beautiful Life, winner of the 2015 Grammy award for Best Jazz Vocal Album. For more information, see: diannereeves.com.
On the third day of the Wadowice Mill Jazz Festival, Maria Sadowska will perform material from her 2014 album Jazz na ulicach [Jazz in the streets]. As her reviewers and fans have written, with this record Sadowska captivates her listeners with her musicianship, lyrics, energy, and combination of contrasts.
The finale of the festival promises to feature the styles of fusion, funk, and acid jazz. Appearing on the stage will be the Brand New Heavies, an English combo formed in 1985 in London (see more at: www.thebrandnewheavies.net). We expect, therefore, that this final night of the festival will be really hot, as well as being a potential dance event (if the auditorium permits)!
We encourage you to take a look at the Festival website, since the list of artists is not yet set in stone; what’s more, the organizers are masters of the art of surprise.
The end of winter in Krakow coincides with the beginning of the annual celebration of jazz music. Since 1996, Piwnica pod Baranami (Cellar under the Rams) has hosted the Summer Jazz Festival.
For twenty years, Summer Jazz Festival has hosted outstanding stars of popular music in Krakow: Chick Corea, Herbie Hancock, Bobby McFerrin, Jean-Luc Ponty, Lenny White, Lee Konitz, Stanley Clarke, Branford Marsalis, Joe Lovano, Richard Bona, Eddie Henderson, Nigel Kennedy, Larry Coryell, the Rosenberg Trio, and many other outstanding artists.
From year to year the Festival has expanded its program, presenting, along with daily concerts at Piwnica pod Baranami, concerts at Filharmonia, Opera Krakowska, Radio Kraków, and all of Krakow’s jazz clubs. Today, the Festival is Poland’s biggest jazz festival, and one of the biggest in Europe. Over the past fourteen years all of the elite performers of Polish jazz have appeared many times.
This year the Krakow stage will be graced by the Arturo Sandoval Sextet, Chick Corea Trio, and Ivo Pogorelić.
Arturo Sandoval will be performing in Krakow on February 17. This world-renowned trumpeter and jazz pianist of Cuban origin has won 10 Grammy Awards and is a six-time Billboard Music Award winner; he has also been awarded the Medal of Freedom for his artistic achievements. A student and friend of Dizzy Gillespie, in his youth he was a drummer, later a master of jazz trumpet and flugelhorn, pianist, and composer. Through his Cuban roots and inspirations, Sandoval has ventured into the field of World Music through his work with the group Irakere.
Ivo Pogorelić will be appearing in Krakow on June 9. A native of Belgrade, the artist received his musical education at Moscow Central Music School and the Moscow Conservatory. He is the winner of many prestigious awards, including the Casagrande Competition (Terni, Italy 1978) and the Montreal International Music Competition (1980). He performs with symphony orchestras around the world, including those of Berlin, Vienna, Chicago, Philadelphia, Boston, Los Angeles, New York … His extensive discography includes baroque, classical, romantic, and contemporary works.
Performing on May 8 is world-renowned jazz pianist and composer Chick Corea. For lovers of jazz-inspired fusion, jazz-rock, or bebop, this concert needs no advertising. The work of Chick Corea is known to everyone. His visit to Poland is not only an artistic event but also a media happening.
Sebastián Dominguez Lozano, better known as Chano Domínguez, was born in Cadiz on March 29, 1960. His father was a flamenco enthusiast and young Chano grew up listening to his father’s LPs.
When he was eight years old, Chano’s parents gave him his first instrument: a flamenco guitar. Chano was able to teach himself to play guitar and practiced everything that he had heard on his father’s flamenco records so that he could jam with his friends in the neighborhood.
Chano started playing keyboards with Cai, one of the best rock bands in Andalusia. This group from Cadiz fused traditional Andalusian roots music, including flamenco, with progressive rock. The young keyboardist’s impressive solos and improvisations foretold a promising future. Cai released three landmark albums: Más allá de nuestras mentes diminutas (1978), Noche abierta (1979) and Canción de Primavera (1980).
After Cai’s breakup early in the 1980s, Chano became part of a jazz group called Hixcadix that was also made up of musicians from Cadiz.
In 1992, he decided to form his own trio. Chano led the group with his personal style, fusing flamenco rhythms with the musical forms of jazz. That same year, he was awarded First Prize in the National Jazz Competition for Young Performers and he released his first two records: Chano and Diez de Paco (Paco’s Ten).
In 1995, he produced Coplas de Madrugá (Morning Songs) with acclaimed Spanish singer Martirio. This work covers some of the most important themes in traditional Spanish song and treats them with a genuine jazz aesthetic.
Once Chano established himself as one of the great names in Spanish jazz, his fame spread beyond Spain’s borders. His earthy jazz, Latin, and flamenco sounds were heard by an international audience, thanks to records such as Hecho a mano, Directo a piano solo and Imán, as well as his participation at MIDEM Latino and other famous festivals and conferences.
In 2000 Chano participated in Siegfried Loch’s Jazzpaña II. This project brought jazz and flamenco together. In the summer of 2000 Chano and other Flamenco and jazz luminaries came together at Madrid’s Sonoland Studio. The musicians included bassist Carles Benavent, saxophonist Jorge Pardo, flamenco guitarist Gerardo Nuñez, drummer and percussionist Tino Di Geraldo, celebrated Spanish bebop alto and soprano saxophonist Perico Sambeat, Franco-Spanish bassist Renaud Garcia-Fons, singer Esperanza Fernandez and Chano on piano.
After his successful appearance in the Plaza de La Habana Jazz Festival, and having rubbed shoulders with the best in Latin jazz for the movie and recording Calle 54, the pianist from Cadiz recorded a collection of unforgettable boleros with Marta Valdés for his disk, Tú no sospechas.
In 2005 Chano recorded his first children’s CD. Cuentos del mundo (World Tales) features 16 stories narrated by Constantino Romero and music by Chano.
Chano joined Cuban legend Paquito D’Rivera in 2006. Their performance at Madrid’s Teatro Real was released on DVD. The band included Chano on piano; Paquito D’Rivera on saxophones and clarinet; Angá Díaz on percussion; Marc Miralta on drums; Mario Rossy on double bass; and Israel Suárez “Piraña” on flamenco percussion.
In 2010 Chano collaborated with film director Carlos Saura’s Flamenco Hoy. The show featured musical direction by Chano, choreography by Rafael Estévez and Nani Paños and a cast of 20.
In 2016 he produced “Bendito” featuring Chano as composer and pianist with his favorite ‘cantaor‘ (flamenco singer) Blas Cordoba (a.k.a. “El Kejio”).
Chano is also an experienced educator, available for master classes, workshops and residencies. He has taught at Taller de Músics in Barcelona, The Music Conservatory of Bogotá, the Julliard School in New York and at the School of Music at the University of Washington.
In 2016, Chano moved to New York City.
* Más allá de nuestras mentes diminutas, with Cai (Trova Records, 1978)
Arto Tuncboyaciyan was born in 1957, in Galataria, a town outside Constantinople. He is the youngest child of an Armenian family, with roots from Anatolia. Arto’s family had financial problems that were solved when the elder brother Onno, became a musician.
At the age of 11, Arto started his professional music career playing and recording throughout Turkey and Europe. One of his main influences was his brother Onno, who helped him not only as a brother, but also as a friend and fellow musician.
In 1981, Arto moved to the United States to explore new musical directions. Since then he has recorded with Gerardo Núñez, Al DiMeola , Joe Zawinul, Bob Berg, Mike Manieri, Chet Baker, Marc Johnson, Dino Saluzzi, Omar Faruk Tekbilek, Eleftheria Arvanitaki and many others.
In 1985, Keytone released two solo CDs by Arto: “Virginland” and “Main Root. He then started a creative collaboration with the Armenian ud player Ara Dinkjian, with whom he recorded in duo Tears of Dignity and Onno for the Greek label Libra Music. Onno was in fact an homage to Arto’s beloved brother, who was killed tragically in a plane crash in 1996.
With Ara Dinkjian, Arto was a member of the group Night Ark and recorded Picture, Moments, Wonderland and Petals On Your Path. In 1998 he participated in the Italian project Triboh, conceived and co-led with the vocalist Maria Pia De Vito and the piano player Rita Marcotulli, recording the CD Triboh for the Italian label Polosud.
He is a member of the group Walking Fish together with Matthew Garrison, Jim Beard, Gene Lake and Bob Malach. His album with Paul Winter, Every Day is a New Life, was released by the Living Music label.
Currently, Arto is working with Armenian musicians with whom he founded his group The Armenian Navy Band, a small orchestra rooted in Armenian and Anatolian traditional music inspired by contemporary life. The project was conceived in 1998 after a meeting in Yerevan with young Armenian musicians from different musical backgrounds including ethnic and contemporary Armenian music. Since then, the idea to create a group to represent the sound of Armenia today was realized.
The two albums that represent the current aspects of Arto’s musical discovery are Aile Muhabbeti, a movie soundtrack composed by the artist, and Bzidik Zinvor.
Bzidik Zinvor was recorded in Armenia and is the result of the very first meeting with several musicians from Yerevan. Arto’s original compositions express the sounds of generations past alongside those of modern life: this is what he calls “avant-garde folk”. Of his music, Arto also says, “//Without losing your identity you extend your imagination//.”
During 2000 and 2001 The Armenian Navy Band toured Europe to great acclaim from public and press alike. This experience is reflected in the CD “New Apricot” recorded in Istanbul for the Turkish label Imaj Müzik.
Arto can be heard on various recordings including those of Chet Baker The Best Thing For You, Arthur Blythe Hipmotism and Night Song, Jim Pepper The Path, Marc Johnson Right Brain Patrol and Magic Labyrinth, Dino Saluzzi Mojotor, Al Di Meola World Sinfonia, Heart of the Immigrants and Kiss Me Axe, Bob Berg Virtual Reality and Riddles, Hank Roberts Little Motor People, Mike Mainieri An American Diary, Joe Zawinul Stories of the Danube and My People, Oregon Oregon 97, Paul Winter & The Earth Band Journey With The Sun, flamenco guitar master Gerardo Núñez Calima and many other great recordings.
In 2002 he formed Serart, a collaboration with System of a Down’s Serj Tankian. Serart released an album on Serjical Strike and Columbia Records on May 20, 2003.
“It’s not a rock album, it’s not a band, it’s not a solo album for me,” sayd Serj Tankian. “It’s a collaboration that I was compelled to do with a very creative artist. It’s a very special type of album.”
It is important to note that Serart is not at all similar to a SOAD album – it’s a departure away from SOAD’s progressive-metal barrage. Serart finds these two, seemingly disparate, creative artists joining for a new vision. Serj describes the album best, “It’s really crazy world, jazz and experimental with some rock and hip-hop beats, dance beats, and electronic beats. Arto plays the Coke bottle, water droplets, an ancient flute, percussion of all sorts, little toys and shakers.”
The music on Serart is both “cross genre and cross cultural,” an exotic and eclectic blend of electronica, poetry, Middle Eastern melodies, Pan-African rhythms, classical motifs melded with volleys of percussion. In addition to the 16 musical tracks on the album, Serart comes with a DVD component, the 14 minute experimental film, “Sun Angle Calculator,” directed and edited by Matthew Amato. “The film is a visual collage,” says Serj. “The name, ‘Sun Angle Calculator,’ is a funny way of saying ‘let me help you see the light.‘”
The Armenian Navy Band’s 2004 album Sound of Our Life – Part One: Natural Seed is a nearly 50-minute-long composition in eleven parts, which is dedicated to nature. Natural Seeds takes the listener along part of the path of life that Arto Tuncboyaciyan and his musicians have traveled.
The recording equally represents the return to the origins of the musical ‘seed’ of The Armenian Navy Band; the tremendous joy and affection which the band?s musicians feel with and for each other in the here and now of their life together ? also outside the recording studios and stages; as well as the hopeful, self-confident view to the future. For Arto Tuncboyaciyan, the project Sound of Our Life is a never-ending musical documentation of the future.
When asked about the meaning of music, Arto replied: “Music is the sound of my life. I don’t pretend to lead anyone. I leave it up to one’s imagination. What I try to express is love, respect and the truth.”
Two new albums by Arto Tun?boyaciyan came out in January of 2005, Love Is Not in Your Mind (Heaven and Earth CD HE 19) and Artostan (Heaven and Earth CD HE 19).
Love Is Not in Your Mind is a duo project with the dazzling pianist and keyboardist of the Armenian Navy Band (Arto’s band) Vahagn Hayrapetyan. It features Tuncboyaciyan’s engaging vocal style and fiery percussion along with Hayrapetyan’s outstanding keyboard work. All songs on Love Is Not in Your Mind are never ending love stories. It is Tuncboyaciyan’s very personal declaration of love, dedicated his mother. “Taking care and sacrificing. That is what I have seen at my home and that is my mama. I never see her sleep before me or wake up after me. A ways feeling her love being there for you, making balance at home gives you great confidence and positive power. I am proud to have mama like you, and also my wife and my sister for being great mothers. When I lost my mother on May 17th 2003,1 was 46 years old. At that moment I realized that there is no age difference between a mother’s and a child’s love.”
Artostan is described as avant-garde folk and the description is pretty accurate. On Artostan, Tuncboyaciyan focuses on vocal experimentation, with his characteristic rhythmic vocal pieces as well as digitally manipulated vocals, accompanied by percussion solos and effects. He also plays a small lute called bular. The album is a trip to Arto Tuncboyaciyan’s philosophical homeland: Artostan. “Because of what’s going on in the world today with my human rights, dignity and power, I declare my own country in me. Artostan.”
* Virginland (Keytone, 1989)
* Main Root (Keytone, 1994)
* Tears Of Dignity (Libra, 1996)
* Onno (Libra, 1998)
* AVC1 (Imaj Müzik, 1998)
* Triboh (Polosud, 1998)
* Armenian Navy Band (Svota Music, 1999) Bzdik Zinvor (Svota Music, 1999)
* Every Day is a New Life (Living Music / Earth Music Production, 2000)
* New Apricot (Imaj Müzik, 2001)
* Picture (RCA / Novus)
* Moments (RCA / Novus)
* In Wonderland (Polygram)
* Petals On Your Path (Universal Music)
* Serart (Serjical Strike/Columbia, 2003)
* Sound of Our Life – Part One: Natural Seeds (Heaven and Earth HE 14, 2004)
* Love Is Not in Your Mind (Heaven and Earth CD HE 19, 2005)
* Artostan (Heaven and Earth CD HE 19, 2005)
* How Much Is Yours? (Svota Music, 2005)
* Under Your Thoughts (Svota Music, 2009)
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