Eri Yamamoto Trio At Cornelia Street Café This Sunday

Eri Yamamoto Trio At Cornelia Street Café This Sunday

On Sunday, August 1st, pianist/composer Eri Yamamoto and her longstanding trio, featuring bassist David Ambrosio and drummer Ikuo Takeuchi, will celebrate their recent AUM Fidelity release, In Each Day, Something Good (AUM059), with a two-set performance at Cornelia Street Café.

Half the recording takes its inspiration from Ms. Yamamoto’s experiences as a Japanese-born pianist living in America for the past 15 years, while the other half is a suite of original compositions based on I Was Born, But…, legendary director Yasujiro Ozu’s 1932 silent film. Each track serves the central theme of the record, which is moving forward by finding something positive in each day.

Critics called In Each Day, Something Good “a delightful set readily consolidating Yamamoto’s place at the top table” (John Sharpe, AllAboutJazz.com) and “a disc that signals Yamamoto and team are getting more and more articulate” (Jim Macnie, Village Voice). BBC Music’s Bill Tilland adds, “each piece shines with its own interior light.”

Tomorrow: Bill Dixon Memorial At St. Mark’s Church In The Bowery

Tomorrow: Bill Dixon Memorial At St. Mark’s Church In The Bowery

A public memorial event for musician/composer/educator/artist Bill Dixon will be held tomorrow from 5:30-7:30 p.m. at St. Mark’s Church In The Bowery on Manhattan’s Lower East Side.

The centerpiece of the program will be a performance of Dixon’s last composition by his Tapestries for Small Orchestra ensemble featuring Taylor Ho Bynum (cornet), Graham Haynes (cornet), Stephen Haynes (trumpet), Rob Mazurek (cornet), Glynis Lomon (cello), Michael Côté (clarinet), Ken Filiano (bass) and Warren Smith (percussion).

The group premiered this work at Dixon’s final live performance on May 22nd at the Festival International de Musique de Victoriaville (FIMAV).

In lieu of flowers or other donations, Dixon’s estate asks that interested parties support the Bill Dixon Music Fund, established in coordination with the Festival of New Trumpet Music (FONT Music), which will subsidize a range of ongoing work centered on his legacy.

AAJ-NY: David S. Ware’s Saturnian (AUM Fidelity)

AAJ-NY: David S. Ware’s Saturnian (AUM Fidelity)

Gordon Marshall reviews David S. Ware‘s recent AUM Fidelity release, Saturnian (solo saxophones, vol. 1), in the August issue of AllAboutJazz-New York.

“It is a record of hope and impeccable happiness that transmutes trial and trauma into virtuoso leaps of the soul,” he writes. “There is nothing dry about this outing, however cerebral. It is funky and down-home bluesy. Ware leaves no one out of the conversation, us or his precursors, who are brought to life holographically in a virtual symphony of synecdoche—that is, in stylistic hints that bring them present together in full—perpetuating an intergenerational chain, a gush of black gold we may hope is never capped.”

AUM Fidelity will release Ware’s next recording, Onecept, featuring William Parker and Warren Smith, September 14th.

Out Today: Vox Arcana’s Aerial Age (Allos Documents)

Out Today: Vox Arcana’s Aerial Age (Allos Documents)

Today is the official street date for Aerial Age (Allos Documents), the latest release from Chicago-based drummer/composer Tim Daisy’s unusual working trio, Vox Arcana.

Joined by cellist Fred Lonberg-Holm and clarinetist James Falzone, his collaborators in such other renowned ensembles as KLANG and the Vandermark 5, Daisy showcases his own original compositions, which juxtapose the structure of contemporary chamber music with the highly attuned, open-ended improvisation that distinguishes Chicago’s storied jazz scene.

Among Daisy’s diverse inspirations for this project are the New York School of composers (led by John Cage, Morton Feldman, Earle Brown, and Christian Wolff), the pioneers of the minimalist movement (including Terry Riley and La Monte Young), and the early innovators of Chicago’s Association for the Advancement of Creative Musicians (including violinist/violist Leroy Jenkins and multi-reed player/composer Anthony Braxton).

“Adding to these musical influences,” Daisy explains, “a great deal of inspiration comes from the world of visual art. This includes the kinetic sculptural machines of Swiss artist Jean Tinguely, American Robert Rauschenberg‘s ‘combine’ paintings and his use of non-traditional materials in innovative combinations, and the wall drawings of American Sol Lewitt, whose work straddled the line between minimalism and conceptualism and whose focused use of line and shape correlates with my own sense of rhythm and melody.”

Vox Arcana will celebrate the release of Aerial Age with a hometown CD release show at The Hideout on August 11th followed by a tour of the Southeastern U.S. in October.

10/07 :: Fluorescent Gallery (Knoxville, TN)
10/08 :: Columbia Museum of Art (Columbia, SC)
10/10 :: Watershed Arts Alliance (Somerset, KY)
10/10 :: Gumbo Ya Ya (Lexington, KY)
10/11 :: Thomas More College (Covington, KY)

AUM Fidelity To Release Mike Pride’s From Bacteria To Boys’ Betweenwhile October 12th

AUM Fidelity To Release Mike Pride’s From Bacteria To Boys’ Betweenwhile October 12th

AUM Fidelity is proud to announce the October 12th release of Betweenwhile (AUM065), the label debut of prolific New York drummer/composer/artist Mike Pride and his working quartet, From Bacteria To Boys. The group, which performs a distinctive amalgam of groove-based modern jazz, R&B, contemporary classical and chant works, features Darius Jones (alto saxophone), Alexis Marcelo (piano) and Peter Bitenc (bass). This release, the band’s first with its current personnel, is named after part of a line from integral influence R. Kelly’s 22-chapter epic, Trapped In The Closet (Jive Records).

“The title alludes to the many-layered accruement between human beings operating together and towards collective goals in time/space,” explains vocalist/composer and freelance journalist Sam Mickens in the liner notes. “This is, of course, also essentially what the lineage of jazz music en masse is about and, appropriately, this newly minted quartet version of From Bacteria To Boys is the most explicitly ‘jazz’ music the prolific and creatively wayfaring Pride has yet produced. It is a music indeed ecstatically alive and committed to the continuance and elevation of love and happiness through all the means that jazz music can employ.”

Based in New York for the past decade, Pride is renowned for his ability to excel in a wide range of genres and ensembles. Recognized as one of the 10 young jazz drummers to watch by the New York Times in 2009, he has worked with everyone from improvised music icon Anthony Braxton to punk legends Millions Of Dead Cops, toured extensively on four continents and appeared on more than 70 recordings. When not collaborating with creative music’s most prominent figures, or leading/co-leading an eclectic list of groups from the worlds of blues, avant-rock and doom metal improv, he is an active educator, soundtrack composer and graphic artist.

David S. Ware Trio Coming To The Blue Note October 4th

David S. Ware Trio Coming To The Blue Note October 4th

On Monday, October 4th, eminent saxophonist David S. Ware will celebrate his September release, Onecept (AUM Fidelity), with a two-set performance at the Blue Note in New York. The recording, which marks Ware’s 50th anniversary as a saxophonist, is his first studio project since his May 2009 kidney transplant and features him on three different horns: saxello, stritch and tenor saxophone. Joining him in this trio, which made the recording in December and played live for the first time in June at Vision Festival XV, are fellow creative music veterans William Parker (bass) and Warren Smith (drums and percussion).

“We want spontaneous forms,” Ware explains in the liner notes for Onecept, which features nine collectively improvised tracks. “If you know the music well enough the forms can be spontaneous, they don’t have to be preplanned. There’s melody, there’s harmony, there’s rhythm. You can never get beyond those; you don’t want to get beyond those. But, by letting them be spontaneous, it gives the forms a greater opportunity to be new. That way you get beyond the known; you’re dealing with the pure intuitive qualities of making music.”

Active since the late 1960′s, Ware has performed and recorded with many notable figures, but he is best-known for his legacy as a leader, defined by his trademark sound, a devout spirituality and masterful interplay with his all-star ensembles. His discography features 25 titles under his own name, including 17 at the helm of the David S. Ware Quartet, which helped redefine creative improvised music throughout the 1990′s and beyond. His most recent release is the live solo recording, Saturnian (solo saxophones, vol. 1), released in March on AUM Fidelity.

James Falzone’s Allos Musica To Release Lamentations (Allos Documents) November 2nd

James Falzone’s Allos Musica To Release Lamentations (Allos Documents) November 2nd

On November 2nd, Chicago-based clarinetist/composer James Falzone, and the four year-old trio version of his longstanding Allos Musica ensemble, will release their debut recording, Lamentations (Allos Documents). The group, which has performed at creative music venues all around Chicago and will serve as ensemble-in-residence for the MOMENTA dance company in November, features oud player/vocalist Ronnie Malley and hand drummer/percussionist Tim Mulvenna. Its music is a mix of Falzone’s original compositions and collective improvisations inspired by Arabic musical forms such as the Longa and Muwashah, the work of Tunisian oud master Anouar Brahem and the cross-cultural significance of the lament in music and literature from around the world.

“I was working on a lot of this music in 2006 as U.S. forces were more and more entrenched in the Iraq war,” Falzone recalls. “It did, and continues to, trouble me a great deal. During the build up to the invasion, I was studying Arabic music and seeking out Arabic neighborhoods where I could hear the music and buy CDs. I was in a grocery store watching Al Jazeera with the shopkeepers when some of the heaviest fighting was taking place. There is a phrase from Phil Ochs I like a lot and use in programs for this project: ‘In such ugly times, the only true protest is beauty.’ This sums up why I put these laments together. I was lamenting what was happening in my country, the way we were thinking, but I’m not a very politically motivated man. For me, it comes out in creative ways.”

“The only way to sum up the style of Chicago clarinetist and composer James Falzone is to say that it can’t be done,” explains Time Out Chicago‘s Matthew Lurie. “He is one of the city’s most focused and inquisitive clarinetists,” writes the Chicago Reader‘s Peter Margasak, “and his compositions favor a rigor and precision that’s rare.” Cadence reviewer Troy Collins adds, “Falzone blends an impressive array of influences into a singular style all his own. Composing yearning lyrical lines filled with dramatic turns of phrase and dynamic shifts in mood, his writing style blends the angular rhythmic punch and spontaneous freedom of Henry Threadgill with the folksy, subdued lyrical quality of Jimmy Giuffre and the esoteric mysticism of Oliver Messiaen.”

Falzone’s multi-facted career exists at the intersection of a multitude of musical styles and traditions. An acclaimed member of Chicago’s jazz and creative improvised music scene, he is also a veteran contemporary music lecturer and clinician, the longtime Director of Music for Grace Chicago Church and a prolific, award-winning composer who has been commissioned by chamber groups and symphony orchestras among other institutions. When not performing or recording with groups such as Tim Daisy’s chamber-jazz trio Vox Arcana, the French music ensemble Le Bon Vent and Dutch saxophonist Jorrit Dijkstra’s The Flatlands Collective, he is gracefully balancing his prodigious musical interests and experiences in his own Allos Musica ensemble, the umbrella for most of his musical experiments since 2000. His most recent release is last year’s Tea Music, which features his all-star quartet KLANG playing original compositions inspired by clarinetist/composer Jimmy Guiffre’s innovative small groups from the mid-1950s.

Tonight: Mary Halvorson Trio at Cornelia Street Café (NYC)

Tonight: Mary Halvorson Trio at Cornelia Street Café (NYC)

Guitarist/composer Mary Halvorson‘s working trio, featuring bassist John Hébert and Ches Smith, will perform tonight at Cornelia Street Café.

This event, the first of three concerts in three countries the band will play this month, will focus on music from Ms. Halvorson’s forthcoming release, Saturn Sings (Firehouse 12 Records).

Next up on the trio’s schedule are performances at Switzerland’s Jazz Festival Willisau on August 25th and Austria’s Saalfelden Jazz Festival on August 26th.

Tonight: Darcy James Argue & The Cologne Contemporary Jazz Orchestra

Tonight at the Stadtgarten in Cologne, Germany, composer Darcy James Argue will reunite with the Cologne Contemporary Jazz Orchestra for the first of two weekend performances

Tonight at the Stadtgarten in Cologne, Germany, composer Darcy James Argue will reunite with the Cologne Contemporary Jazz Orchestra for the first of two weekend performances of his music. On Saturday night, Argue and the CCJO will take the stage at the venerable North Sea Jazz Festival in The Netherlands.

“Back in the fall of 2006,” explains Argue, who just earned top honors in the Big Band Rising Star, Composer Rising Star and Arranger Rising Star categories in the DownBeat Critics Poll, “I made my first-ever European appearance at the Stadtgarten, conducting the Cologne Contemporary Jazz Orchestra. The prospect of trying to put together a set that included some of my most difficult music with a group of total strangers was, frankly, terrifying, but the band turned out to be really strong and extremely easy to work with. I look forward to picking up right where we left off!”

Argue and his own acclaimed big band, Secret Society, will next perform at the CareFusion Jazz Festival Newport, with special guest Bob Brookmeyer, on Saturday, August 7th.

Eri Yamamoto Trio At Cornelia Street Café August 1st

Eri Yamamoto Trio At Cornelia Street Café August 1st

On Sunday, August 1st, pianist/composer Eri Yamamoto and her longstanding trio, featuring bassist David Ambrosio and drummer Ikuo Takeuchi, will celebrate their recent AUM Fidelity release, In Each Day, Something Good (AUM059), with a two-set performance at Cornelia Street Café.

Half of the recording takes its inspiration from Ms. Yamamoto’s experiences as a Japanese-born pianist living in America for the past 15 years, while the other half is a suite of original compositions based on I Was Born, But…, legendary director Yasujiro Ozu’s 1932 silent film. Each track serves the central theme of the record, which is moving forward by finding something positive in each day.

“Displaying an intuitive rapport based on umpteen hours of on-the-job repartee,” writes AllAboutJazz-New York‘s Tom Greenland, “the trio recalls the close commerce and intimate atmosphere of Bill Evans’ classic group, the musical equivalent of an isosceles triangle.”

Critics called In Each Day, Something Good “a delightful set readily consolidating Yamamoto’s place at the top table” (John Sharpe, AllAboutJazz.com) and “a disc that signals Yamamoto and team are getting more and more articulate” (Jim Macnie, Village Voice). BBC Music’s Bill Tilland adds, “each piece shines with its own interior light.”

Released in January, In Each Day, Something Good is the Eri Yamamoto Trio’s sixth release overall and second on AUM Fidelity following 2008′s Redwoods (AUM049). Ms. Yamamoto’s two other appearances on the label include her duos collection, Duologue (AUM048), and a sidewoman role on William Parker’s Raining On The Moon (AUM043).

“As ‘pretty’ as her playing often is,” explains PopMatters.com reviewer Will Layman, “it is cloaked in the impulse of the moment. Whatever she has gleaned from Shipp and Workman, Bley and Parker—but also Monk and Powell and Tommy Flanagan—makes her playing suspenseful and just slightly dangerous. In my heart, it scores high.”