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  • richardmitnick 10:44 AM on November 23, 2018 Permalink | Reply
    Tags: ECM, , ,   

    From ECM: Upcoming Concerts 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    Upcoming concerts

    UPCOMING CONCERTS
    Nov 24 LOUIS SCLAVIS / DOMINIQUE PIFARÉLY / VINCENT COURTOIS Rijkevorsel Belgium
    Nov 24 ELINA DUNI Sion Switzerland
    Nov 24 DÉNES VÁRJON Norwich United Kingdom
    Nov 24 CAROLIN WIDMANN Brighton United Kingdom
    Nov 24 SINIKKA LANGELAND Eidsvoll Verk Norway
    Nov 25 ANJA LECHNER / FRANÇOIS COUTURIER Bayreuth Germany
    Nov 25 LOUIS SCLAVIS / DOMINIQUE PIFARÉLY / VINCENT COURTOIS Utrecht Netherlands
    Nov 25 ANDRÁS SCHIFF Frankfurt Germany
    Nov 25 SINIKKA LANGELAND Kongsvinger Norway
    Nov 25 ELINA DUNI Geneve Switzerland
    Nov 25 CRAIG TABORN Kalisz Poland
    Nov 26 SHAI MAESTRO TRIO Cologne Germany
    Nov 27 BOBO STENSON TRIO Vasteras Sweden
    Nov 28 JOHN POTTER Sevilla Spain
    Nov 28 JAN GARBAREK GROUP Kaiserslautern Germany
    Nov 28 ANDRÁS SCHIFF Munich Germany
    Nov 28 SHAI MAESTRO TRIO Munich Germany
    Nov 28 GIOVANNI GUIDI Prague Czech Republic
    Nov 28 SINIKKA LANGELAND Oslo Norway
    Nov 29 JAN GARBAREK GROUP Basel Switzerland
    Nov 29 THOMAS STRØNEN Arendal Norway
    Nov 29 KIT DOWNES Berlin Germany
    Nov 29 BOBO STENSON TRIO Orebro Sweden
    Nov 29 MARCIN WASILEWSKI TRIO Krakow Poland
    Nov 29 GIOVANNI GUIDI Porto Portugal
    Nov 30 JAN GARBAREK GROUP Zurich Switzerland
    Nov 30 MARCIN WASILEWSKI TRIO Tilburg Netherlands
    Nov 30 BOBO STENSON TRIO Goteborg Sweden
    Nov 30 ANDRÁS SCHIFF Baden-Baden Germany
    Nov 30 SHAI MAESTRO TRIO Fribourg Switzerland
    Nov 30 VIJAY IYER SEXTET
    W/ STEPHAN CRUMP, TYSHAWN SOREY,
    STEVE LEHMAN, MARK SHIM, GRAHAM HAYNES New Orleans, LA United States of America

    For more information please visit our website: http://www.ecmrecords.com


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

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  • richardmitnick 10:23 AM on November 23, 2018 Permalink | Reply
    Tags: András Schiff, ECM, Keith Jarrett with Gary Peacock and Jack DeJohnette, Pat Metheny, Roscoe Mitchell, See the full catalogue, Special Offers, Tomasz Stanko New York Quartet   

    From ECM: Special Offers 

    New from From ECM

    Dear friends of ECM,

    The holiday season is upon us and, in the weeks leading up to Christmas, ECM has a number of special offers.
    This week, 40 double albums are available at reduced price.

    These include diverse Keith Jarrett concerts, Roscoe Mitchell’s Bells From The South Side, Pat Metheny’s 80/81, Tomasz Stanko’s Wislawa, András Schiff recordings and much more.
    Each of these 2-CD releases can be ordered from our webshop for just 12,90€ plus shipping.

    1
    Keith Jarrett, Gary Peacock, Jack DeJohnette
    After The Fall

    2
    Bells For The South Side
    Roscoe Mitchell

    3
    Pat Metheny’s 80/81

    4
    Tomasz Stanko New York Quartet

    5
    András Schiff
    Robert Schumann: Geistervariationen
    ECM 2122/23

    Many many more.

    See the full catalogue here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 2:43 PM on November 9, 2018 Permalink | Reply
    Tags: ART ENSEMBLE OF CHICAGO AND ASSOCIATED ENSEMBLES, ECM, ,   

    From ECM: “The Art Ensemble of Chicago” 

    ECM Art Ensemble of Chicago

    ART ENSEMBLE OF CHICAGO AND ASSOCIATED ENSEMBLES – LIMITED EDITION BOX SET

    Dear friends of ECM,

    this week sees the release of an absolute highlight for this year.

    ART ENSEMBLE OF CHICAGO AND ASSOCIATED ENSEMBLES is a 21-CD limited and numbered edition issued as the standard-bearers of Great Black Music prepare to celebrate their 50th anniversary.

    With their first ECM album, the widely-acclaimed Nice Guys, the Art Ensemble’s revolutionary and polystylistic “ancient to the future” mix of musics – from the deeply spiritual to the fiercely experimental – was illuminated in new detail in Manfred Eicher’s panoramic production, and the stage set for many adventures to follow. These included the albums Full Force, Urban Bushmen, and The Third Decade with the classic AEC quintet line up of Roscoe Mitchell, Joseph Jarman, Lester Bowie, Malachi Favors Maghostut and Famoudou Don Moye.

    All of Bowie’s and Mitchell’s subsequent ECM recordings are also gathered together here. Charismatic trumpeter Lester Bowie is heard with his Brass Fantasy group, with Wadada Leo Smith and with Jack DeJohnette. Multi-reed master and primary AEC conceptualist Roscoe Mitchell appears with his Note Factory band, with the Transatlantic Art Ensemble co-founded with Evan Parker, and with an historic trios project recorded at Chicago’s Museum of Contemporary Art. Along the way, numerous distinguished creative musicians make appearances – the long list includes Muhal Richard Abrams, Henry Threadgill, Craig Taborn, Vijay Iyer, Matthew Shipp, Tyshawn Sorey, Fontella Bass, Charlie Haden, Kenny Wheeler, Corey Wilkes, Gerald Cleaver, Phillip Wilson, George Lewis, William Parker, John Abercrombie, Eddie Gomez, and many others, in ECM recordings made between 1978 and 2015.

    This beautifully-designed box set incorporates a 300-page book reprising all original album covers, liner notes and poetry (by Joseph Jarman), as well as quotes from Art Ensemble members and the press, new texts by Craig Taborn, Vijay Iyer and George Lewis, a preface by Manfred Eicher, and an introduction by Steve Lake. Plus: many photographs (some previously unpublished), archival documents, and more.

    A very special release price for the box is available in our ECM webshop.
    Up to and including November 18th, you can purchase this 21-CD limited and numbered collectors item
    for just 89,- € instead of the regular 99,-€.

    With best regards,
    ECM Records

    For more news and details about all new releases
    visit our website: http://www.ecmrecords.com

     
  • richardmitnick 4:21 PM on November 2, 2018 Permalink | Reply
    Tags: "Die Nacht", "In Concert - Beethoven / Liszt", "Lebroba", "Lucent Waters", , ECM,   

    New from From ECM: Four Releases 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1
    Die Nacht
    Anja Lechner, Pablo Márquez

    Release date: 02.11.2018
    ECM 2555
    Format : CD

    German cellist Anja Lechner and Argentinean guitarist Pablo Márquez met in 2003 and have since explored the most diverse repertoire and modes of expression in their concerts. For their first duo album, a conceptual context is provided by the strong tradition of songs with guitar accompaniment prevalent in 19th century Vienna, as Lechner and Márquez play some of Schubert’s most beloved songs (including Die Nacht, Nacht und Träume and Der Leiermann), elegantly framing the album’s centrepiece: Schubert’s expansive Arpeggione sonata. Many of Schubert’s songs were published in alternative versions with guitar during the composer’s lifetime; in some cases, the guitar version appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s spirit and language, are the graceful Trois Nocturnes originally written for cello and guitar by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.

    “Art does not reproduce the visible but rather makes things visible.” This statement of Paul Klee’s, from his Creative Confession of 1920, is valid not only as a watchword of modernity; for the Romantics, too, stirred themselves to render visible what is often hidden from us, appearing at most as an emotion.
    Schubert’s music offers a particular instance. His works poeticize whatever is real, allowing reality to become dream and , by means of music, the dream of a better world to become reality. All that is earthly is metamorphosed into a function of soul and spirit. Themes such as night, aloneness, silence and longing are the fundamental leanings not just of the composer’s songs but of his soundscapes generally.
    For the cellist Anja Lechner, Schubert’s music has been an aesthetic lodestar since childhood, when she became familiar with the songs and piano works in the parental home.
    From the early 1990s on, the Rosamunde Quartett, of which she was a founding member, delved deeply into Schubert´s quartets and late quintet alongside a spectrum of repertoire from Haydn to the modern day. Since the quartet disbanded in 2009, she has made a name for presenting programmes that bridge styles and cultures, numerous composers entrusting her with the first performances of their works.
    For Die Nacht she has returned to her early passion: the music of Schubert. Completely in the spirit of the composer, whose compositions were to be performed principally in private among friends, she and the Argentinian guitarist Pablo Márquez have recorded a programme that gives the feeling of a musical dialogue taking place in Schubert’s house.
    Playing song accompaniments on the quieter guitar instead of the piano, strengthens the impression of intimate music-making. Moreover, singing to the guitar was a widespread practice in the 19th century. Some of Schubert´s songs, who also played the guitar, were, already during his lifetime, published in arrangements for the instrument. The song arrangements in the present recording (with the exception of Der Leiermann and the Romance from Rosamunde, which Anja Lechner and Pablo Márquez have themselves newly transcribed) come from manuscripts found in the collection of the Bohemian poet Franz Xaver Schlechta von Wschehrd, who belonged, together with Franz von Schober and the brothers Spaun, to the innermost circle of Schubert’s friends.
    At the centre of the recording, alongside five songs and the romance, stands the Sonata in A minor, D. 821, originally written for, and subsequently named after, the arpeggione. Almost forgotten today, this instrument, often referred to as a guitar d’amour or bowed guitar, is customarily replaced by the cello, and is so here, while the transparent piano part has been subtly arranged for guitar. Three nocturnes, originally composed for the cello/guitar combination by a Schubert contemporary, Friedrich Burgmüller, add a gentle echo to the music of Schubert.
    The album is Anja’s Lechner first purely classical recording since that of Haydn’s Seven Last Words, Hob. XX:2, with the Rosamunde Quartet in 2001.

    Featured artists
    Anja Lechner Violoncello
    Pablo Márquez Guitar

    _____________________________________________________________________________________________________________________

    2
    In Concert – Beethoven / Liszt
    Till Fellner

    Release date: 02.11.2018
    ECM 2511

    Speaking to the New York Times in 2007, Alfred Brendel said of fellow pianist Till Fellner: “It has impressed me how ambitiously he has developed his repertory, being equally at home in solo and concerto repertoire, chamber music and lieder… I heard him do the best live performance of Liszt’s Années de pèlerinage”. Fellner’s insightful playing of the Premiere année from that collection of suites, underlines the contention, vividly conveying Franz Liszt’s literal and imaginative journeys. “Having recently travelled to many new countries,” wrote the composer in 1855, “through different settings and places consecrated by history and poetry, and having felt that the phenomena of nature and their attendant sights stirred deep emotions in my soul, I have tried to portray in music a few of my strongest sensations and most lively impressions”. Fellner’s account of Liszt was recorded at the Musikvereien in Vienna in 2002. It is paired here with a concert recording of Beethoven’s Sonata No 32, recorded at the Mahaney Center for the Arts in Middlebury, Vermont in 2010, the year in which ECM released Fellner’s interpretation of Beethoven’s Piano Concertos Nos 4 and 5 to a chorus of critical acclaim.

    Featured artists
    Till Fellner Piano
    _____________________________________________________________________________________________________________________

    3

    Lebroba
    Andrew Cyrille, Wadada Leo Smith, Bill Frisell

    Release date: 02.11.2018
    ECM 2589
    Format : CD
    LP

    Andrew Cyrille’s 2016 release The Declaration of Musical Independence gave notice that one of the drumming innovators of new jazz had taken his conception of group playing to another level of development, and the space-conscious Lebroba, with Wadada Leo Smith and Bill Frisell, applies further fine-tuning. The album’s title is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of a recording which brings together three of creative music’s independent thinkers.

    Each of them made his first ECM appearance long ago. Drummer Andrew Cyrille appeared on Marion Brown’s Afternoon of a Georgia Faun in 1970, trumpeter Wadada Leo Smith on his own Divine Love in 1978, and guitarist Bill Frisell in 1979 on Eberhard Weber’s Fluid Rustle, with his leader debut In Line following in 1982; these are, of course, players of enduring influence. In recent seasons, Cyrille has been heard on Ben Monder’s Amorphae, Wadada has recorded with Vijay Iyer on A Cosmic Rhythm With Each Stroke and Frisell has introduced a duo with Thomas Morgan on Small Town.

    Andrew Cyrille and Wadada Leo Smith first played together in the early 1970s in a period when some of the trailblazers of Chicago’s AACM were relocating to the New York region. In the late 1990s they came together again in the quartet of bassist John Lindberg. Their reunion in the Lebroba trio with this recording – made at New York’s Reservoir Studio – was suggested by the album’s producer, Sun Chung.

    Always a generous leader, Cyrille gives plenty of room to his cohorts, who also bring in compositions, with Wadada’s elegant four-part suite dedicated to Alice Coltrane unfurling slowly over its 17-minute duration. Written and open sections are interlaced, with a free role for the drums in the closing moments. “I didn’t want to play all the time,” Andrew explains. “I wanted to play rhythms with spaces between them, and to play melodically, in relation to what Wadada and Bill were doing…” Creative energies are pooled also on the spontaneously created TGD, credited to all three players,

    Reviews of Cyrille have often emphasised the elemental strength of his playing (“his energy is unflagging, his power absolute”, the All Music Guide notes). Yet even in contexts calling for unconditional drive – such as Cecil Taylor’s celebrated trio with Jimmy Lyons (of which Andrew was a member for more than a decade) – there always was a differentiated methodology at work in the drumming. Still, as Kevin Whitehead writes in the CD booklet, the release of The Declaration of Musical Independence in 2016 “took some listeners by surprise. There Andrew’s new elliptical style unfolded – a style, he says ‘where the meter is implied but not inferred’.”

    Bill Frisell contributed to the Declaration album, but Lebroba marks a first-time meeting for the guitarist and Wadada Leo Smith. “If there is a continuity of concept between the Declaration quartet and this trio,” Says Cyrille in the liner notes, “the linchpin is Frisell. The music is different, but the concept is about the same. And then Wadada brings in his voice and his philosophy.”

    With no bass and no keyboards this time, the ensemble texture is more transparent than on Declaration and with Cyrille sometimes reducing his sound to a discontinuous groundswell, there are plenty of the charged silences and open spaces that Wadada Leo Smith loves to play into. Bill Frisell’s history includes extensive work with another bassless trio, Paul Motian’s trio with Joe Lovano. “Andrew does remind me of Paul in a way,” says Frisell. “People describe their playing as free or abstract and overlook the feel: the deep, deep beat coming from a deep, deep place.”

    Even unstated, its presence is felt on Lebroba, not least on Andrew’s tunes, the bluesy title piece, and the graceful ballad “Pretty Beauty”.

    Featured artists
    Andrew Cyrille Drums
    Wadada Leo Smith Trumpet
    Bill Frisell Guitar
    _____________________________________________________________________________________________________________________

    4

    Lucent Waters
    Florian Weber, Ralph Alessi, Linda May Han Oh, Nasheet Waits

    Release date: 02.11.2018
    ECM 2593

    Florian Weber’s second ECM appearance, following a critically-acclaimed duo recording (Alba, 2016) with Markus Stockhausen, finds the gifted German pianist leading a newly formed quartet through a programme of his compositions. Openness is key here: whether paying tribute to mentor Lee Konitz on Honestlee, impressionistically conveying the glittering Melody of a Waterfall, or generating impactful outcomes from fragments of material on a conceptual piece like Butterfly Effect, the intention is to encourage fresh responses from the participants.

    “I see this album as a meeting of very independently-minded musicians,” says Weber. “It’s the first time I’ve had a band where what particularly interests me is the difference between the players and their approaches to improvising.” He cites the contrast between the soulful, grounded quality of Linda May Han Oh’s bass playing and Nasheet Waits’s fleet, free-flowing drums. “Linda and Nasheet are very different characters, but they balance each other in their exchanging of energies.” The Lucent Waters line-up marks a first collaboration between Weber and Waits, the drummer being recommended by producer Manfred Eicher for the project. “I liked very much Nasheet’s playing on Ralph Alessi’s ECM albums [Baida and Quiver], those are great recordings, so the idea resonated with me.”

    Linda May Han Oh and Florian Weber first worked together in trio with Lee Konitz a decade ago. “That was the beginning of a vivid exchange of ideas that has continued in other contexts. For myself, working with Lee night after night taught me what it really means to be spontaneous in the music.” There’s a difference, Weber suggests, between the contemporary emphasis on “self-expression” and “exploring what is actually there, implied in the material and in the interaction of the players.”

    Weber and Ralph Alessi have been in and out of each other’s groups for more than 15 years. Latterly, Weber’s been playing in Alessi’s trio with Dan White. “If I look at my career to date, I’ve mostly tried to play with people that I feel close to, that I understand where they’re coming from, emotionally.” Friends, of course, can still challenge each other: “Ralph always says that my writing and playing pushes him to play differently.” This is strikingly evident on Fragile Coccoon, where an initially gentle piece bursts open to feature the trumpet in a blazing admixture of lyricism and intensity, framed by Waits dramatically powerful drums.

    There are, says Weber, several factors influencing the pieces gathered here. “Pieces emerge, a lot of times, as a feeling or a perspective on some aspect of my life – in this case the twilight atmosphere of the touring musician’s world, and all the ups and downs of that. Then there’s the compositional aspect: I’m always trying to create or shape something which hasn’t, to my knowledge, been there before.”

    The degree of freedom given to the players differs from piece to piece. “On Brilliant Waters, for instance, I didn’t give them much more than the title: that’s a free, open piece, although we end organically on one note, which does sound composed. I did tell the group that I wanted the album to have a sense of narrative, with interconnecting links, of some kind. A motif that appears in one piece might recur in another piece, perhaps reversed. Atmospheric ideas return, two pieces may have a similar instrumental emphasis at certain points, or a soundscape may be similar. As a bandleader I think there’s a fine line between giving musicians too much information and not giving them enough: I wanted the musicians to make their own thing, too.”

    Nasheet Waits has the freest role in Melody of a Waterfall, which takes its inspiration partly from traditional Japanese drum ensembles: “I like the clarity and focus of that music, its stillness as well as its passion and energy. I find Japanese culture and its ideas fascinating and have tried to understand it – insofar as one can, as a westerner.”

    From Cousteau’s Point Of View references some recent diving experiences: “The changed three- dimensional perspectives and transparency are central to this tune. Musically it’s 3 against 7, both times going on at the same time, and you’re not sure which one you should follow. I like transparency, but too much of it can make the mystery disappear. And I also like the mystery, just as I like the things that are not said, and the notes not played.”

    Honestlee, dedicated to Lee Konitz (“every time I meet Lee I learn something new” says Florian), incorporates “some Lennie Tristano School ideas, but not Tristano-style playing. It explores some ideas he had about lines and counterpoint.” The piece also takes impetus from drawings which Karlheinz Stockhausen made at Darmstadt. “The drawings illustrate some polyphonic concepts. I looked at them and immediately wanted to write a tune. Wanting to dedicate something to Lee, the ideas converged. So we start with lines and then go into open mode.” Weber’s playing, exemplary throughout, is particularly affecting here.

    (Konitz, on hearing this recording, has said “Florian is one of the most creative piano players I have ever played with. His music is totally free. He has got the texture, the feeling, just beautiful. I am very touched by this music. It feels divine to me.“)

    • Born into a musical family in Detmold, Germany, in 1977, Florian Weber began playing piano at the age of four, and by the time he graduated high school was appearing with both jazz and classical ensembles. In Cologne he studied with Hans Ludemann and John Taylor, before heading to the USA and further studies with teachers including Paul Bley, JoAnne Brackeen, Danilo Pérez and Richie Beirach. In 2002 Weber founded Trio Mensarah with bassist Jeff Denson and drummer Ziv Ravitz. By 2006, Lee Konitz was playing with the group which subsequently formed the basis of his New Quartet, touring widely and recording a prizewinning album at New York’s Village Vanguard. In 2011 Weber founded the group Biosphere with guitarist Lionel Loueke, bassist Thomas Morgan and drummer Dan Weiss. Florian Weber also continues to play with trumpeter Markus Stockhausen. The intuitive music of their ECM album Alba was praised for its “natural warmth and character” by The Times of London. For further details, including details of upcoming dates, visit http://www.florianweber.net and http://www.ecmrecords.com

    Lucent Waters was recorded at Studios La Buissonne in the South of France in September 2017 and produced by Manfred Eicher.

    Featured artists
    Florian Weber Piano
    Ralph Alessi Trumpet
    Linda May Han Oh Double Bass
    Nasheet Waits Drums
    _____________________________________________________________________________________________________________________


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 12:16 PM on November 2, 2018 Permalink | Reply
    Tags: Artists on Tour November, Choir, , ECM,   

    From ECM: Artists on Tour November 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1

    Nik Bartsch’s Ronin

    November 1 New York, NY
    (Iridium)

    ______________________________________________
    Shai Maestro
    November 6 New York, NY
    (Jazz Standard)

    ______________________________________________
    Danish String Quartet

    November 3 Kingston, ON
    (Queen’s University)

    November 4 Toronto, ON
    (Royal Conservatory of Music)

    November 5 Quebec
    (Club Musical de Quebec) *

    November 8 Richmond VA
    (University of Richmond)

    November 9 Winston-Salem NC
    (Wake Forest University)

    November 10 Durham NC
    (Duke University)

    November 12 Washington DC
    (Washington Performing Arts Society) *

    November 13 Houston TX
    (Da Camera Houston)*

    November 14 Indianapolis IN
    (Ensemble Music Society)

    November 15 Ann Arbor MI
    (University Musical Society)

    November 17 New York NY
    (92Y)

    November 18 Rockport MA
    (Rockport Chamber Music Festival)

    ______________________________________________
    Estonian Philharmonic Chamber Choir

    Nov 11 Troy, NY
    (Troy Savings Bank Music Hall)

    Nov 12 New York, NY
    (St. Ignatius Loyola Church)

    Nov 14 Stanford, CA
    (Bing Concert Hall – Stanford University)

    Nov 16 Santa Barbara, CA
    (Campbell Hall, UC Santa Barbara)

    Nov 17 Los Angeles, CA
    (UCLA Royce Hall)
    Latvian Radio Choir

    Nov 13 New York, NY
    (St. Mary the Virgin Church, presented by Lincoln Center)

    Nov 15 Durham, NC
    (Duke Chapel – Duke University)

    Nov 16 Washington, DC
    (Coolidge Auditorium – Library of Congress)

    Nov 17 Toronto, ON
    (Metropolitan United Church)

    ______________________________________________
    Vijay Iyer Sextet

    Nov 30 – Dec 1 New Orleans, LA
    Contemporary Arts Center New Orleans (Sextet)

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:42 PM on October 12, 2018 Permalink | Reply
    Tags: , ECM,   

    From ECM: Art Ensemble of Chicago 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1
    2

    This very special and numbered edition brings together the ECM recordings of Lester Bowie and Roscoe Mitchell with the Art Ensemble of Chicago and related projects including Bowie’s Brass Fantasy, Mitchell’s Note Factory and the Transatlantic Art Ensemble, as well as groups led by Jack DeJohnette and Wadada Leo Smith.

    Art Ensemble of Chicago: Nice Guys (1978), Full Force, (1980), Urban Bushmen (2 CD, 1980), The Third Decade (1984) Leo Smith: Divine Love (1978) Lester Bowie: The Great Pretender (1981), All The Magic (2 CD, 1982), I Only Have Eyes for You (1985), Avant Pop (1986), Tribute to Lester (2001), Roscoe Mitchell & The Note Factory: Nine To Get Ready (1997), Transatlantic Art Ensemble/Mitchell: Composition/Improvisation 1, 2 and 3 (2004), Transatlantic Art Ensemble/Parker: Boustrophedon (2004), Roscoe Mitchell & The Note Factory: Far Side (2007), Roscoe Mitchell: Bells for the South Side (2 CD, 2015) Jack DeJohnette’s New Directions (w Lester Bowie) (1978), Jack DeJohnette’s New Directions: In Europe (w Lester Bowie) (1979), Jack DeJohnette: Made In Chicago (w Mitchell, Abrams, Threadgill) (2013)

    PRE-ORDER

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:07 PM on October 12, 2018 Permalink | Reply
    Tags: , Daniele Roccato, ECM, , Ludus Gravis Ensemble, , Stefano Scodanibbio   

    From ECM: New Releases 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1
    Six Suites for Viola Solo
    Kim Kashkashian

    Release date: 12.10.2018
    ECM 2553
    Format : 2-CD

    Cart
    Buy 2-CD € 23.00

    EN / DE

    The poetry and radiance of Bach’s cello suites (BWV 1007-1012) are transfigured in these remarkable interpretations by Kim Kashkashian on viola, offering “a different kind of sombreness, a different kind of dazzlement” as annotator Paul Griffiths observes. One of the most compelling performers of classical and new music, Kashkashian has been hailed by The San Francisco Chronicle as “an artist who combines a probing, restless musical intellect with enormous beauty of tone.” An ECM artist since 1985, she approaches Bach’s music with the same commitment as revealed in her other solo recordings, the legendary Hindemith sonatas album and the widely acclaimed (and Grammy-winning) account of Kurtág and Ligeti.

    Here are Bach’s six cello suites, played on the viola by one of the instrument’s greatest exponents, Kim Kashkashian.

    Violist Kim Kashkashian Photo Claire Stefani

    Bach composed the suites around 1720 when he was in the employ of Prince Leopold of Anhalt-Köthen. The autograph manuscript is no longer extant, and the earliest known copies date from 1726 and 1730, the latter made by Anna Magdalena Bach.

    Hearing the Suites on the viola, with its range an octave above the cello, Paul Griffiths remarks in the liner notes, the music takes on “a different kind of sombreness, a different kind of dazzlement, a different kind of self-examination.” His essay details the characteristics of the suites and the dance forms – the allemandes, courantes, sarabandes, minuets, bourrés, gavottes and gigues – and emphasises Kashkashian’s sense of pulse, which “comes from the music, not from the clock. Bach’s dances are not for jaunting feet but made rather of shapes and images moving in the mind.”

    Kim Kashkashian approaches the suites as a player whose sensibilities have been shaped by engagement with new music as well as classical tradition. For these performances she uses contemporary instruments, including a 5-string viola (as called for in the Anna Magdalena Bach manuscript) for the challenging D major suite, and brings to the whole set a feeling of freedom, grace and power. The cello suites have long been part of her performance repertoire, approached from multiple perspectives. (In concert, for instance, inspired by György Kurtág’s insertion of Bach arrangements amid his Játékok pieces, she has sometimes threaded sections of Kurtág’s Signs, Games and Messages in between movements). In her hands, the music is very much alive, and speaks to the present.
    This recording is Kashkashian’s second ECM New Series album dedicated to Johann Sebastian Bach. In 1991 she recorded the viola da gamba sonatas with Keith Jarrett on harpsichord.

    Recognized internationally as a unique voice on the viola, Kim Kashkashian studied with Karen Tuttle and Walter Trampler at the Peabody Conservatory of Music in Baltimore.

    The recipient of numerous prizes she received a 2013 Grammy Award in the Best Classical Instrumental Solo category for Kurtág and Ligeti: Music for Viola on ECM New Series. Kim Kashkashian’s recording, with Robert Levin, of the Brahms Sonatas, won the Edison Prize in 1999. Her 2000 recording of concertos by Bartók, Eötvös and Kurtág won the 2001 Cannes Classical Award for a premiere recording by a soloist with orchestra. Kim was awarded the George Peabody Medal for outstanding contributions to music in America, as well as the Golden Bow award of Switzerland. In 2016 she was elected a Fellow of the American Academy of Arts and Sciences.
    As an advocate of contemporary music, she has worked to broaden scope of the viola’s voice and repertoire in collaboration with many composers including Tigran Mansurian, Péter Eötvös, Ken Ueno, Betty Olivero, Lera Auerbach and Toshio Hosokawa.

    Marlboro and the Viennese School, represented by her mentor, Felix Galimir, were major influences in developing her love of chamber music. She is a regular participant at the Verbier, Salzburg, Lockenhaus, Marlboro, and Ravinia festivals. As soloist, she has appeared with the major orchestras of Berlin, London, Vienna, Paris, Milan, New York, and Cleveland and presented duo recitals in New York, Boston, Baltimore San Francisco, Philadelphia, Pittsburgh, Cleveland, Frankfurt, Berlin, Vienna, Munich, Paris, Athens, and Tokyo. Ms. Kashkashian, resides in Boston, teaching viola and coaching chamber music at the New England Conservatory, and is Founder and President of the project Music for Food.

    CD booklet includes liner notes by Paul Griffiths, and a performer’s note by Kim Kashkashian, in English and German.
    Press reactions

    Featured artists
    Kim Kashkashian Viola

    See the full article here .

    2

    Alisei
    Daniele Roccato, Ludus Gravis Ensemble

    Release date: 12.10.2018
    ECM 2598
    Format : CD

    Cart
    Buy CD € 17.90

    Background

    The highly creative bass player Stefano Scodanibbio (1956-2012) also composed extraordinary music for double bass. Alisei (Trade Winds) features his compositions for solo bass, for two basses, and for bass ensemble. Among them is a world premiere recording of Ottetto, an often breath-taking thirty-minute compendium of all the extended techniques he invented or developed throughout his life. “It is his great spiritual legacy”, says Daniele Roccato, who co-founded the Ludus Gravis bass ensemble with Scodanibbio. As solo performer, Roccato rises to the challenges of Due pezzi brillanti, a piece which pushes virtuosity to its limits, and “makes the bass sing in its own true voice” on the title composition. Da una certa nebbia, for two basses, also a premiere recording, pays implicit tribute to the work of Morton Feldman.

    Daniele Roccato first heard Stefano Scodanibbio in Paris in 2008: “I listened, thrilled as he unleashed that immense energy of sound, shaping it all the while.” The following year, Roccato invited Scodanibbio to a bass festival in Perugia and it was there that the Ludus Gravis ensemble was founded. The two bassist/composers came to share a deep friendship, although active collaboration as performers was cut short by Scodanibbio falling ill with motor neuron disease which, by 2010, made it impossible for him to continue playing the bass. Roccato travelled to Mexico in November 2010 to help him work on the score of the Ottetto. “I left Cuernavaca with a kind of storyboard of the score,” Roccato writes in the liner notes, “containing all the indications relating to expression, articulation and dynamics.” Back in Italy he began working with Ludus Gravis to bring the multiple techniques on which the piece was based to life. In the meantime, the first pages of the final score arrived from Mexico. “Later Stefano joined us to help us prepare for the premiere.” The first part of the piece was premiered at the Angelica Festival in Bologna in May 2011. The first complete performance of the Ottetto took place at the Venice Biennale in October 2012, nine months after Scodanibbio’s death.

    The present recording was made in February and March 2014 at Pitch Audio Research in Perugia and Studio Contrafase in Rome.

    The Ludus Gravis ensemble has gone onto perform music specially written or arranged for its eight bassists by composers including Gavin Bryars, Sofia Gubaidulina, Hans Werner Henze and Terry Riley.

    Double bassist and composer Daniele Roccato has performed at many of the world’s most renowned festivals and concert halls, often presenting his own compositions. With writer, playwright and actor Vitaliano Trevisan he realised the theatrical works Solo et Pensoso, Time Works, Note sui Sillabari, Madre con Cuscino, Campo Marzo 9/10, Burroughs in Cage, Good Friday Night, Il Ponte, where he has been involved both as a composer and a performer. Roccato has also collaborated extensively with musicians from the worlds of contemporary music performance and free improvisation, working with – among many others – Vinko Globokar, Garth Knox, Barre Phillips, Barry Guy, Dominique Pifarély, Michele Rabbia, Bruno Chevillon, Joelle Leandre and Terry Riley. For more information, visit http://www.danieleroccato.com

    Alisei is the second ECM New Series recording to address the music of Stefano Scodanabbio. The album Reinventions, issued in 2013, featured Scodanibbio’s highly imaginative recasting for string quartet of three Contrapunctus from Bach’s Art of the Fugue, together with Mexican songs and Spanish guitar music, all brought into a compelling unity. “Besides being the most inventive of double bassists, the late Stefano Scodanibbio was a sound-sculptor of unmatched imagination, as demonstrated in this radical programme of string quartet arrangements” – The Independent

    Further details about Stefano Scodanibbio’s life and work may be found at http://www.stefanoscodanibbio.com

    CD booklet for Alisei includes liner notes by Daniele Roccato in Italian and English
    Press reactions

    Featured artists
    Stefano Scodanibbio
    Daniele Roccato Double Bass
    Ludus Gravis Ensemble

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:01 PM on October 3, 2018 Permalink | Reply
    Tags: , Artists on Tour, Ches Smith / Craig Taborn / Mat Maneri, ECM, Jakob Bro / Thomas Morgan / Joey Baron, , , Meredith Monk & Cellular Songs Ensemble, , Timeless: John Abercrombie Tribute Concert, Vijay Iyer Sextet   

    From ECM: “Artists on Tour” 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    Ches Smith / Craig Taborn / Mat Maneri

    Oct 3 Austin, TX
    (The North Door)

    Oct 4 Denver, CO
    (Dazzle)

    Oct 5 Vancouver, BC
    (The Western Front)

    Oct 6 San Diego, CA
    (Bread and Salt)

    Oct 7 Los Angeles, CA
    (Bluewhale)

    Mark Turner / Ethan Iverson

    Oct 10 Brooklyn, NY
    (Dazzle)

    Oct 11 Santa Cruz, CA
    (Kuumbwa)

    Oct 12 Los Angeles, CA
    (Bluewhale)

    Oct 14 Portland, OR
    (Old Church)

    Oct 15 Seattle, WA
    (Earshot Jazz Festival)

    Oct 18 New Orleans, LA
    (Snug Harbor)

    Timeless: John Abercrombie Tribute Concert

    Oct 10 Boston, MA
    (Berklee College of Music)

    Jakob Bro / Thomas Morgan / Joey Baron

    Oct 14 Winnipeg, MB
    (The Good Will Social Club)

    Oct 15 Minneapolis, MN
    (Icehouse)

    Oct 17 Chicago, IL
    (Constellation)

    Oct 18 Los Angeles, CA
    (Bluewhale)

    Oct 22 Baltimore, MD
    (An Die Musik Live!)

    Oct 23-24 New York, NY
    (Jazz Standard)

    Oct 25 Denver, CO
    (Dazzle)

    Oct 26 Tulsa, OK
    (Duet)

    Oct 27 Seattle, WA
    (Earshot Festival)

    Oct 28 Portland, OR
    (The Old Church)

    Vijay Iyer Sextet

    Oct 14 Kansas City, MO
    (Starlight Theatre)

    Oct 20 New York, NY
    (Miller Theater)

    Meredith Monk & Cellular Songs Ensemble

    Oct 4-6 Minneapolis, MN
    (McGuire Theater, The Walker)

    Oct 14-16 New York, NY
    (Le Poisson Rouge)

    Nik Bärtsch’s Ronin

    Oct 17 Los Angeles, CA
    (Bluewhale) ***Solo Piano

    Oct 19 Phoenix, AZ
    (Stillwell Pianos)

    Oct 20 Portland, OR
    (Jack London Revue)

    Oct 21 Winters, CA
    (The Palms Playhouse)

    Oct 24 Denver , CO
    (Dazzle)

    Oct 27 Chicago, IL
    (Constellation)

    Oct 28 Cleveland, OH
    (Bop Stop)

    Oct 29 Minneapolis, MN
    (Dakota Jazz)

    Oct 30 Boston, MA
    (Regattabar)

    Nov 1 New York, NY
    (Iridium)

    Art Ensemble of Chicago

    Oct 20 Ann Arbor, MI
    (Edgefest)

    Kim Kashkashian

    Oct 21 Boston, MA
    (Music for Food)

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 12:49 PM on October 1, 2018 Permalink | Reply
    Tags: ECM, , , Minimalism, , , Soul, Tour dates   

    From ECM: “Nik Bärtsch’s RONIN on Tour” 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    Nik Bärtsch (2016) by Rogi Lensing

    Ronin the band (without Nik Bärtsch) From left to right Thomy Jordi (bass player), Sha (clarinetist and saxophonist) and Kaspar rast (drummer) by Rogi Lensing

    On Tour

    Oct 17 Los Angeles, CA
    (Blue Whale)

    Oct 20 Portland, OR
    (Jack London Revue)

    Oct 21 Winters, CA
    (The Palms Playhouse)

    Oct 24 Denver, CO
    (Dazzle)

    Oct 27 Chicago, IL
    (Constellation)

    Oct 28 Cleveland, OH
    (Bop Stop)

    Oct 29 Minneapolis, MN
    (Dakota Jazz Club & Restaurant)

    Oct 30 Boston, MA
    (Regattabar)

    Nov 1 New York, NY
    (Iridium)

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 2:28 PM on September 28, 2018 Permalink | Reply
    Tags: ECM, , Jorge Roeder, , Ofri Nehemya,   

    From ECM: “The Dream Thief” 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1
    The Dream Thief
    Shai Maestro, Jorge Roeder, Ofri Nehemya

    Release date: 28.09.2018
    ECM 2616

    The first ECM leader date for Shai Maestro (following his label debut with Theo Bleckmann on Elegy) features the gifted pianist fronting his superlative trio with fellow Israeli Ofri Nehemya on drums and Peruvian bassist Jorge Roeder, and also playing alone. A solo interpretation of Matti Caspi’s “My Second Childhood” opens the curtain on a programme of characteristically thoughtful Maestro originals, each one with a story to tell. “Hearing the Shai Maestro Trio is like awakening to a new world”, All About Jazz has suggested. “Expressions of joy, introspective thoughts and heightened intensity all come to the fore.” Maestro’s differentiated touch is special; he can convey a range of fleeting emotions in a single phrase. A deconstruction of “These Foolish Things”, the album’s sole standard, serves as a prelude to “What Else Needs To Happen”, a sombre meditation on inner city violence and its aftermath. The Dream Thief was recorded at Lugano’s Auditorio Stelio Molo RSI in April 2018, and produced by Manfred Eicher, and issued on the eve of a European tour with concerts in Spain, Germany, Netherlands, Sweden, Belgium, Italy, France, and Switzerland.

    Background

    “Hearing the Shai Maestro Trio is like awakening to a new world – a world of wonders, excitement, beauty and uncertainty,” All About Jazz has suggested. The Dream Thief, the first ECM release by Maestro as a leader, presents the Israeli pianist fronting the latest incarnation of his uncommonly interactive, atmospherically expansive trio, featuring new drummer Ofri Nehemya, a fellow Israeli, and its bassist from the start, Jorge Roeder, a native of Peru. The album also includes several searching solo performances by Maestro. His solo interpretation of Israeli singer-songwriter Matti Caspi’s “My Second Childhood” raises the curtain on a program of characteristically vivid Maestro originals.

    Maestro, who made his first ECM appearance on vocalist Theo Bleckmann’s 2017 album Elegy, made a name for himself playing in Israeli bassist Avishai Cohen’s popular band from 2006 to 2011. A resident of Brooklyn and a dual Israeli and American citizen, the pianist also played in star drummer Mark Guiliana’s quartet and has recently worked in a duo with saxophonist Chris Potter. After four trio albums with Roeder and drummer Ziv Ravitz, Maestro drafted Nehemya into the group, which gathered to record The Dream Thief at the studio in Lugano. Maestro chose the darker-toned of two Steinway model D pianos on offer, apt for what he calls “the dreamy, cinematic quality” of the music he had written for the session. With Manfred Eicher producing, the atmosphere in the studio was one of being “open to the magic of the moment,” Maestro recalls. “I had a clear intention for the pieces, but I knew that Manfred likes to let the music breathe, to get to the essence of the music. For instance, my composition ‘Lifeline’ had been a double-time burner live, but Manfred suggested that we take it down about 50 bpm and concentrate on making the melody sing, in the way Charlie Haden might do. That really transformed the tune.”

    Another spontaneous creation was Maestro’s solo performance of Caspi’s “My Second Childhood,” a song about experiencing life anew via the eyes of a child. The Israeli composer is one of the pianist’s “all-time favorites – I grew up listening to him, and even took lessons with Caspi when I was 12,” he says. “I had arrived at the studio early before Jorge and Ofri, just to commune with the piano. I hadn’t planned to include that tune, but it just came out, as it’s so deep in my system. I have a real appreciation for the DNA of a great song, where the melody and the harmony go perfectly together. It’s the same thing with ‘These Foolish Things,” which is also such a beautifully crafted song. I was just improvising, and it morphed into a kind of avant-garde treatment – yet with the melody still like a red thread wound through it.”

    Maestro and Roeder have played together for about seven years, developing a synergistic partnership even though they come “from the opposite ends of music in a way,” the pianist explains. “Jorge has experience playing a lot of free music, while I studied both classical and jazz and have played a lot more arranged, rhythmically defined music. I’ve become freer playing with him. He can travel back and forth from off the grid to in the pocket, and he has such great ears. I can take the music where I want to go, and he’s right there with me, where we can almost improvise in unison.” Although Nehemya is new to the group, he and the pianist have an innate kinship. “Ofri and I share a lot of influences – we don’t even have to talk about things to come to the same emotional expressions,” Maestro says. “But he also has an advanced, new-generation rhythmic understanding, so he can really push and challenge Jorge and me.”

    Whether it’s “going with the melody or really burning and playing free, we always try to be attuned to the moment, trying to find that magic in it,” Maestro says. “With ‘Lifeline,’ ‘The Forgotten Village’ and ‘A Moon’s Tale,’ we were concentrating on melody, while rhythmic interplay was the focus of ‘The Dream Thief’ and ‘New River, New Water’.” As for the deeply moving end piece, “What Else Needs to Happen,” incorporating parts of speeches by Barack Obama, the pianist explains: “An acquaintance of mine, the saxophonist Jimmy Greene, lost his little daughter in the massacre at Sandy Hook, Connecticut. These school shootings in America have become so common, almost ‘normal’ – it’s surreal, insane. When I realized what happened for Jimmy and the rest of those parents, it felt so close – it was heartbreaking. I understand that in jazz a piece like this I could be ‘preaching to the choir,’ but ‘What Else Needs to Happen’ is about being open to the moment in another way. I think performing artists, because we have a stage, have a responsibility to speak about the world we live in today. Maybe the combination of Obama’s words and the music will help people hear and feel the emotional reality a bit more. It is, for me, at least some measure of resistance to that horrible new ‘normal’.”

    Reflecting on his influences when it comes to jazz piano Maestro concludes: “The tremendous history of jazz is a great inspiration but also a great challenge. We each have our own individual gift, which is the choices we make – whether we turn to major or minor, whether we play pianissimo or fortissimo at a key moment. I always try to remember to embrace history while not trying to be anything or anyone else – to let the music come out of me.”
    Press reactions

    Featured artists
    Shai Maestro Piano
    Jorge Roeder Double Bass
    Ofri Nehemya Drums

    Tracklist

    1 My Second Childhood (Matti Caspi) 04:39
    2 The Forgotten Village (Shai Maestro) 06:21
    3 The Dream Thief (Shai Maestro) 08:29
    4 A Moon?s Tale (Shai Maestro) 02:36
    5 Lifeline (Shai Maestro) 03:54
    6 Choral (Shai Maestro) 03:50
    7 New River, New Water (Shai Maestro) 06:59
    8 These Foolish Things (remind me of you) (Jack Strachey) 04:24
    9 What Else Needs to Happen? (Shai Maestro) 06:56

    Concerts
    October 08 Shai Maestro Trio Enjoy Jazz Festival, Heiliggeistkirche
    Heidelberg Germany
    “The Dream Thief”

    October 10 Shai Maestro Trio A 38
    Budapest, Hungary
    “The Dream Thief”

    October 11 Shai Maestro Trio
    Vilnius Jazz Festival
    Vilnius, Lithuania
    “The Dream Thief”

    October 12 Shai Maestro Trio
    Mondriaan Jazz Festival
    Den Haag, Netherlands
    “The Dream Thief”

    October 13 Shai Maestro Trio
    Stockholm Jazz Festival
    Kulturhuset
    Stockholm, Sweden
    “The Dream Thief”

    October 14 Shai Maestro Trio
    Blue Note
    Milano, Italy
    “The Dream Thief”

    November 06 Shai Maestro Trio
    Jazz Standard
    New York
    United States of America

    November 11 Shai Maestro Trio
    Cotton Club
    Tokyo, Japan
    “The Dream Thief”

    November 12 Shai Maestro Trio
    Blue Note
    Tokyo, Japan
    “The Dream Thief”

    November 13 Shai Maestro Trio
    Blue Note
    Tokyo, Japan
    “The Dream Thief”

    November 17 Shai Maestro Trio
    Paradox
    Tilburg, Netherlands
    “The Dream Thief”

    November 18 Shai Maestro Trio
    London Jazz Festival,Ronnie Scott’s
    London, United Kingdom
    “The Dream Thief”

    November 20 Shai Maestro Trio
    Sendesaal
    Bremen, Germany
    “The Dream Thief”

    November 22 Shai Maestro Trio
    Bimhuis
    Amsterdam, Netherlands
    “The Dream Thief”

    November 23 Shai Maestro Trio
    Flagey Studio 4
    Brussels, Belgium
    “The Dream Thief”

    November 26 Shai Maestro Trio
    Stadtgarten
    Cologne, Germany
    “The Dream Thief”

    November 28 Shai Maestro Trio
    Unterfahrt
    Munich, Germany
    “The Dream Thief”

    November 30 Shai Maestro Trio
    La Spirale
    Fribourg, Switzerland
    “The Dream Thief”

    December 02 Shai Maestro Trio
    Jazzhaus
    Freiburg, Germany
    “The Dream Thief”

    December 15 Shai Maestro Trio
    Festival Jazz A La Grange
    La Grange
    Auc Lac, France
    ft. Joshua Redman
    “The Dream Thief”

    December 18 Shai Maestro Trio
    La Passerelle
    Saint- Brieuc, France
    “The Dream Thief”

    January 11 Shai Maestro Trio
    Winter Jazz Festival
    New York, NY
    United States of America
    “The Dream Thief”

    January 12 Shai Maestro Trio
    Winter Jazz Festival
    New York, NY
    United States of America
    “The Dream Thief”

    February 01 Shai Maestro Trio
    Silent Green
    Berlin, Germany

    February 02 Shai Maestro Trio
    Tonne
    Dresden, Germany

    February 03 Shai Maestro Trio
    Jazzclub
    Leipzig, Germany

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
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