On Saturday 6th June, Libera were due to perform a concert in Ely Cathedral in the UK. Due to the COVID - 19 pandemic, this event has been postponed - but......... there will still be a Concert - a Mini-Concert which will be shown online! Please join us at 7 30pm UK time, when we will be singing on-line with an orchestra like we've never done before! This will be shown as a YouTube Premier and the concert will be remain on-line after that first 'transmission'.
This concert is free for all to watch. But if you are able to make a donation to help us with the cost of presenting it we would be very grateful. UK Taxpayers can donate using JustGiving. All others can use Paypal.
Michael Whalen's "Sacred Spaces" is an epic recording nearly ten years in the making. Whalen said; "I have been pursuing a spiritual ‘awakening' for most of my adult life. Over the past decade, I realized that I am 100 percent responsible for whatever my relationship with a ‘higher being' might be." Filled with sonic landscapes built from hundreds of layers of sound, "Sacred Spaces" is Michael's tour-de-force electronic project, which seamlessly blends his natural gift for melody with fresh textures and percolating rhythms. Deeply inspired by Michael's film and TV work and his love for progressive rock, "Sacred Spaces" is the ambient recording of the year.
Michael Whalen spoke with Oregon's KBOG Radio about the recording. Listen to the attached interview
At the end of every month, the NPR Music team picks their favorite albums and songs. Everyone has their passions and they vary widely, from the Atlanta rapper Deante' Hitchcock to the Australian ambient artist Madeleine Cocolas.
On this week's show, we hear the No. 1 albums and songs of May as picked by our staff. There's the Portland band MAITA, which features a singer who entered our Tiny Desk contest in 2018. We also have the 20-year-old Eve Owen (who released an album produced by The National's Aaron Dessner), a team-up between classical guitarist Sharon Isbin and Indian sarod master Ayaan Ali Bangash, and Buscabulla, a duo from Puerto Rico who met in New York City and returned to Puerto Rico after Hurricane Maria to rediscover their home. And then there's brilliant jazz guitar playing from the Kurt Rosenwinkel Trio and joy from Scotland's Vistas.
"Love Avalanche" a cool East-meets-West raga featuring multiple Grammy-winning classical guitarist Sharon Isbin paired with the Indian sarod master Ayaan ali Bangash. - Tom Huizenga
In episode 921 of "ANIMAJAZZ", conceived and conducted by BRUNO POLLACCI , broadcast on TUESDAY 2 June at 20.30, on PUNTORADIO, also streaming on www.puntoradio.fm and in an immediate podcast on http: // animajazz. eu will be the protagonists of the evening, which include; "The Dream"; by ODED TZUR from "Here Be Dragons"
Here Be Dragons is the ECM debut of New York based, Tel Aviv born tenor saxophonist Oded Tzur, one of the most strikingly original musicians to have emerged from Israeli's creative jazz scene in recent years, and the leader of an outstanding group.
Oded Tzur has found a new and personal sound for the tenor saxophone. Inspired by his extensive studies from 2007 onward with bansuri master Hariprasad Chaurasia, he has mastered the graceful slides of Indian classical music and brought raga's sense of pitch fluidity and microtonal shading into a jazz context. His pieces elegantly explore and unfold their melodic and atmospheric implications in a context of subtle group interaction. Structurally, each of Tzur's compositions on Here Be Dragons sets out to develop a "miniature raga" over a moving bass, juxtaposing two musical concepts. Oded: "The dialogue between these dimensions takes us wherever it takes us." The ragas deployed in the pieces "Here Be Dragons", "20 Years" and "The Dream" are of Oded's creation, while "To Hold Your Hand" uses an Indian scale called Charukesi and operates on similar principles. He stresses, however, that "raga is, for me, a universal concept. I hear its connection to synagogue prayers, or to the blues – a marvellous creation – and to music all around the world." Ancient and modern traditions are referenced in Oded's work, including traditions of storytelling. "If music has the ability to tell stories," suggested All About Jazz, "saxophonist Oded Tzur proves himself one of the jazz world's premier storytellers." Tzur's concept is also broad enough to embrace some unexpected song choices, and the album concludes with a tender interpretation of "Can't Help Falling In Love", made famous by Elvis Presley.
We remind you that "ANIMAJAZZ" can be heard on TUESDAY at 20.30 in immediate podcast on http://animajazz.eu and the "DOWNLOAD" of the episode can be made, free of charge, from the podcasts area. Happy listening. "ANIMAJAZZ" in collaboration with the PISA ACADEMY OF ART. SEE THE PAGE
The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music's Tiny Desk (home) concerts, bringing you performances from across the country and the world. It's the same spirit - stripped-down sets, an intimate setting - just a different space.
Lara Downes thrives on collaboration. Her new album features Toshi Reagon, the vocal ensemble MUSICALITY and the string quartet called PUBLIQuartet. But in this intimate piano recital from her home in Sacramento, Calif., her only collaborators are her son Simon, who takes on cinematography duties, and her beloved pooch, Kona.
The songs, all from her recent album Some of These Days, might be old, but they are strong statements that resonate in new ways. From Margaret Bonds, one of the first celebrated African-American women composers, there's "Troubled Water," a poignant riff on the spiritual "Wade in the Water" that Downes says takes a "journey from classical virtuosity to gospel, jazz, blues and back again." Samuel Coleridge-Taylor's arrangement of "Deep River," for Downes, now represents "crossing over" the coronavirus crisis, while Florence Price's "Some of These Days," is a vision of better times ahead.
In a moment of vulnerability, Downes admits that not being out on the road – performing, embedded in communities and working with young people – makes her feel "not very useful." But in these performances there's a sturdiness and purpose that provide both comfort and the strength to carry on. Very useful, indeed.
"Margaret Bonds: Troubled Water"
"Samuel Coleridge-Taylor: Deep River"
"Florence Proce: Some Of These Days"
"Violins of Hope is an artistic and educational project composed of instruments that were owned by Jewish musicians before and during the Holocaust." - James A. Grymes, author of Violins of Hope
Violinist Niv Ashkenazi plays one such violin for this recording, and states in the booklet, "I have chosen Jewish repertoire from throughout its lifetime..."
Mr. Ashkenazi is an alum of the Perlman Music Program, and I often hear hints of Perlman in his playing. With this particular violin, his tone is gorgeous - husky and full of texture, perfectly suited to this music. He plays with passion and exceptional musicianship. There are times where I could do with less portamentos (for example, the opening Dauber Serenade and, especially Williams's Schindler's List Theme, here arranged for violin and piano), but elsewhere his playing is naturally expressive and free of excessive emoting.
As to the repertoire, listening to it from beginning to end, one gets the feeling of routine; it ends up sounding a bit too much of the same thing. However, taken in smaller chunks, one hears more variety and much very good music (most of which I was not previously familiar with). Highlights for me are Julius Chajes's The Chassid, and the very rhapsodic Three songs Without Words, by Paul Ben-Haim.
Mr. Ashkenazi benefits enormously throughout from the superb piano accompaniments played by Matthew Graybil, also a masters graduate from The Juilliard School. The recorded sound is excellent - warm, clean and intimately mic'd.
This is an interesting project and an interesting recording. Once again, Albany Records provides an invaluable addition to the recorded repertoire with an emphasis on American performers. I can recommend this CD to anyone with an interest in this project, and this particular program of music by Jewish composers. The entire production is first-rate and I enjoyed it.
SEE THE Classical CD Reviews PAGE
JUNO Award winner Laila Biali's new album, Out of Dust features not only contributions from the singer/pianist's husband; Ben Wittman and son, but also multiple GRAMMY nominees and winners including Lisa Fisher, Alan Ferber, John Ellis, and Larnell Lewis. "There's a line from a song by the indie gospel group, Gungor, that has become like an anthem to me," Biali says. "‘He makes beautiful things out of dust.' That's where the title for the album comes from, and as a songwriter and musician, my ultimate intention and hope is to spread a little more love."
Listen to the attached Laila Biali - 88.9WUCF: Orlando FL Interview with Kayonne Riley
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it.
John Scofield brings country and western to the Ardmore / Philly.com
Posted: September 20, 2016 12:00 AM
| By: Admin
At the same time that a young John Scofield was learning his first guitar licks, the country and rock music worlds were bleeding over into one another. In the late 1960s and early '70s, bands such as Poco and the Byrds were bringing country and folk influences into rock, while outlaw artists such as Willie Nelson and Waylon Jennings were shaking up the country scene with a rock-and-roll look and attitude. A rock fan long before he discovered jazz, Scofield couldn't help but soak in some of those country sounds, too. "The '60s was this great, all-embracing hippie time," he recalled. "It was, 'Everything's good, man.' You'd listen to Ravi Shankar and John Coltrane and Buck Owens."
Even as he became renowned as a jazz guitarist, first as a member of Miles Davis' groundbreaking electric bands and then through a wide-ranging solo career, Scofield never forgot the lessons of his open-eared youth. Over the last few decades he's regularly crossed over into rock and jam-band territory, playing with the Grateful Dead's Phil Lesh, Medeski Martin & Wood, and Gov't Mule, while occasionally incorporating elements of those genres as well as soul, hip-hop and electronica into his own music. Now he's exploring the country music that he heard during those formative years for the first time with his new album, Country for Old Men.Scofield performs this Saturday September 24 at the Ardmore Music Hall
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts.
"I love these songs", says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: "Sometimes when we play it's like one big guitar, the bass part and my part together."
Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. "What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard." The guitarist himself plays with fire and invention throughout: "These two giants bring out the best in me."
Grammy Award-winning jazz guitarist, band leader and composer, John Scofield is set to release his new album, Combo 66, marking his 66th birthday, on September 28 via Verve Records. The album, which features long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton, combines jazz with genre-defying elements, allowing Scofield to find new modes of expression.
Coming off a Grammy win earlier this year for his last album, Past Present, John Scofield has been largely in the spotlight over the last year, sitting in the with The Roots on The Tonight Show with Jimmy Fallon, gracing the cover of Downbeat and garnering the attention of NPR. His impressive 40-plus-year career has seen Scofield masterfully tackle multiple genres as well as several eclectic collaborations with everyone from Grateful Dead bassist Phil Lesh, to Government Mule and Medeski, Martin & Wood, not to mention his own groups.
6 NEW 221 TOTAL
SYND: Voice of America, Jazz After Hours, Jazz Happening Now, WFMTNet, Radio DeLuxe, Modern Jazz Today Direct: SiriusXM Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Wash DC, Denver, Miami, Portland, Cleveland, Houston, Baltimore, Detroit, Denver, St. Louis, New Orleans, Austin, Minneapolis, San Diego, Austin, Berkeley CA, Kansas City, Albuquerque, Madison WI, Tampa, Santa Fe, Knoxville, San Antonio, Wichita, Omaha, Chattanooga, Bridgeport CT, Bozeman, Honolulu, Toronto, Vancouver INTER: Canada, UK, Italy Online: Jambands.com, GreenArrow, MOJA, Soulandjazz.com, JazzTimes, billboard, JazzTrail, JazzWeekly, Jazz From Gallery 41, Radio Valencia, Radio CUH, Paste, The Eclectic Chair
John Scofield updates his early-'90s quartet with drummer Bill Stewart and saxophonist Joe Lovano by recruiting bassist Larry Grenadier for his fetching, appropriately titled impulse! debut, Past Present. Between 1990 and 1992, the celebrated guitarist released three well-received discs – Meant to Be, Time on My Hands and What We Do – for the Blue Note label as the John Scofield Quartet. On those records, either Marc Johnson or Dennis Irwin played bass. Nevertheless, Grenadier also has history playing with Scofielld; he toured with Scofield in support of the 1996 disc, Quiet.
The nine exciting tunes Scofield penned on Past Present also reflects his philosophy on playing jazz music. He stresses the importance of being knowledgeable of the music's deep, complex roots while simultaneously being spontaneous and in the moment while performing it. For an artist with such a multifaceted discography as Scofield's, getting to the root of jazz means channeling the blues, as demonstrated on the disc's closing, titled-track.
11 NEW 257 Total SYND: NPR/Songs We Love, PRI/Jazz After Hours, Voice Of America Direct: SiriusXM/Real Jazz, MOOD Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Wash DC, Atlanta, Miami, Seattle, Minneapolis, Detroit, Baltimore, Denver, Portland, St. Louis, San Diego, Detroit, New Orleans, Milwaukee, Albuquerque, San Antonio, Orlando, Berkeley CA, Tampa, Honolulu, Montreal, Vancouver Online: MOJA, Something Else, Taintradio, Jazz From Gallery 41, Party 934, KUHS, Green Arrow, Jazz Weekly, Jambase, PopMatters, Kaleidophonic Jazz, relix, Dirty Dog, animajazz INTER: Canada, Australia, Ireland, Italy
Guitarist John Scofield is comfortable in any setting – whether it be jazz, blues or rock – as he demonstrates on his latest recording, Überjam Deux, on Decca/Emarcy. Überjam Deux has been a decade in the works, following 2002's Grammy-nominated Überjam; not that Scofield has been inactive in the interim, far from it. There have been seven John Scofield albums in the intervening years, as well as five others on which he is a co-leader on the project. His last Decca/Emarcy release was A Moment's Peace (2011), a luxurious album of ballads – the polar opposite of Überjam Deux. His uncanny ability to drift between various styles of music with fluency, virtuosity and sincerity is rare.
9 New 'ON' this week:
SYND: CBC, Global Village, NPR: Living On Earth(transitions) Markets include: Los Angeles, Minneapolis, Wichita Online: Taintradio, David Bruce