5 Jamie Cullum in Rome jazz festival , november 2009. "Showcase" Jamie Cullum - voice, piano Chris Hill - basso Brad Webb - drums Tom Richards - tastiera, sax Rory Simmons - guitar, trumpet true 19100 2009-11-20T06:52:18-05:00 false 25340 true 123 2009-11-20T06:52:00-05:00 2009-11-20T06:52:00-05:00

Photos of Jamie Cullum in Rome Jazz Festival , November 2009

2009-11-20T12:47:20-05:00

5 Contemporary jazz artists, Mark Saltman and William Knowles move around each other with the ease of turtle-doves navigating across the skyline. Their latest release Yesterday’s Man features Antonio Parker on alto saxophone, Brian Settles on soprano and tenor saxophone, Doug Pierce on flugelhorn and trumpet, Jimmy Jackson on drums, and Victor Provost on soprano steel pan along with the smooth vocal stylizing of Lori Williams-Chisholm. Warm and snuggly, Yesterday’s Man is a repertoire of original tunes that glisten with the graceful curves of bebop and the plush elevating riffs of swing jazz. With Knowles at the piano and Saltman on the bass, something good is guaranteed to come from their interfacing. From the soft swing jazz ambience of “They Don’t Really Care For Us” to the eclectic musings of “Theme In Search Of A Film,” Saltman Knowles stake out a broad territory for themselves. The upper tier of saxophone twirls in the title track convey hope as the bass and piano keep Chisholm’s vocals comfortably suspended. The torchlight embers of “08 Bossa” are kindled by the lambent sloshing of the bass and piano keys as the horns burst through the calm chiseling clefts of swirling patterns. The smooth jazz stylizing of the harmonic forms in “East Orange Blues” are cuffed in a trail of marching drum strikes as the horns puff tenderly along the melodic progressions. Provost furnishes the reggae-fused percussive beats of the steel pan in the undertow of “Blues For Sale,” “Cry,” and “Shesh” fastening an African-styled intonation in the dance rhythms of the horns which ignite a middle eastern vibe. “What Was I To You” is bambooed in Latin-tinged shakers and elegantly scrolled piano keys as Chisholm’s vocals snuggle softly against the melodic movements, while the vaunting beats of “Folk Song” pump up Chisholm’s vocals as she scats and twits energetically across the bubbly riffs of the melody. Saltman Knowles straddle the line between contemporary jazz and traditional harmonic forms. Their embellishments and nuances are all compatible with the main themes of the melodies as the tunes are meticulously groomed and polished to a smooth jazz gleam. The duo test the boundaries of their instruments as they create jostling motions and hold their melodic appeal firmly in tact. true 13087 2009-11-20T02:37:38-05:00 false 25337 true 20 2009-11-20T02:37:00-05:00 2009-11-20T02:37:00-05:00

Album review of Saltman Knowles' <I>Yesterday's Man</I>

2009-11-20T12:49:03-05:00

5 San Francisco native Anna Estrada has a voice that can loll audiences into a dream state and just as equally fire them up to a siesta pitch. Her latest recording, <I>Obsesion</I> is flavored with American swing, Latin-dance and coffeehouse-folk. The album has an overall nightclub aura with moments of cottony-soft vocalese and romantically imbued guitar strums. Produced in collaboration with her guitarist and arranger Ray Scott, <I>Obsesion</I> is a record that does American and Latin jazz justice and fosters a world music complexion fitting for any setting. The arrangements are beautifully worked layering boppish horns with a samba rhythm and shouldering spirals of angelic piano keys and gently coiled guitar plucks along “La Mentira.” The track’s blissful swagger has a classic bolero pattern that moves into a gentle jungle beating in Eden Abbez’s number “Nature Boy” with a R&amp;B tint in the guitar strips. The slinky lines of Damien Masterson’s harmonica etched along “Carta Ao Tom“ are crisscrossed by the graceful tresses of the guitar strokes while the reposing tempo of “Llorona” has a calming fluidity in the guitar motifs inlayed by harmonica curls. The song is a traditional Mexican tune that alludes to a vintage, tragic folk tale about the ghost of a woman who weeps for her children after she drowned them in a moment of rage and madness. The music is melancholic but shifts into the upbeat tempo of the title track that has a ballroom vitality liken to classic swing jazz tunes. The soft frothy beats in Estrada’s remake of Burt Bacharach’s “Always Something There To Remind Me” has a gentle tropical feel, and the elegant strokes of the guitar strums across “Soledad” have a soothing flamenco-toned feathering. The waltzing rhythm of “Adeus America” cornices an intimate feel flint by romantic incense, but the crowing piece is the bolero inspired tune “Flor Sin Retorio” which Estrada sings with a sparse accompaniment. The track displays the gentle poise of Estrada’s vocals and the lovely nuances that she etches into the melody. Anna Estrada has found her niche in contemporary jazz’s fold. <I>Obsesion</I> radiates of love in every track whether it is romantic love, motherly love or brotherly love for mankind. She sings these songs like each one has a very personal meaning to her, and the intimacy which she projects nourishes compassion. true 13087 2009-11-20T02:25:59-05:00 false 25336 true 20 2009-11-20T02:25:00-05:00 2009-11-20T02:25:00-05:00

Album review of Anna Estrada's CD, <I>Obsesion</I>

2009-11-20T12:46:20-05:00

5 i ofthen play jazz at the stages without payment....,but i keep play it . i play jazz with rock equipment.i play jackson guitar ,not hollow or semi hollow guitar..,so i keep playing jazz until i can't play it..... true 19078 2009-11-19T10:53:29-05:00 25332 true 123 2009-11-19T10:53:29-05:00 2009-11-19T10:53:29-05:00

in my villages,play jazz is nothing to do that.

2009-11-19T10:53:29-05:00

5 Drawing from his roles as a guitarist, composer and bandleader, Gene Segal produces an erotic compilation on his new recording Hypnotic. Featuring the squiggling lines of organist Sam Barsh, the sinuous phrasing of saxophonists Bryan Beningham and Mike Sim, and the searing wails of trumpet player Jonathan Powell and the form-fitting beats of drummer/percussionist Matt Kane, Hypnotic is packed with contemporary jazz content that furnaces high energy emission in every crevasse. The opening track "Red Eyes" communicates with the rapport of an organ trio as Segal's guitar, Barsh's organ and Kane's drumming interface in a series of raptures and ebbing motions that give the tune a breatinning quality. The horns have a fleshy tone in the e title track as they intermittently bellow boldly and rescind to a calming surf. The interaction between the horns and ruffling guitar chords balance the ostentatious with the muted hues of the organ. The compositions are ever changing juxtaposing various styles from the parries and thrusts of avant garde and experimental expressions to the melodic fusion of chamber jazz and guitar-sculptured folk. The tracks are keeled on an axis formed by the spiraling motions of the guitar chords and rhythmic drumming. The group travels through episodes of Afro-inspired rhythms in "Free Fall," swinging blues motifs in "Blues Again," and soothing ballads lantern by the mellow tones of the folksy-tinged guitar chords of "In The Morning." The group does not rely on a formulaic approach to the tracks but performs from off the cuff decorating the main themes with fragrant improvisations. Hypnotic blends typical chamber jazz elements with extraordinary mutations. The compositions are a product of the six personalities who come together on the recording creating a partnership that is amenable and encourages individuality which allows the progressions to grow naturally. true 13087 2009-11-18T13:44:26-05:00 25330 true 20 2009-11-18T13:44:26-05:00 2009-11-18T13:44:26-05:00 Hypnotic

Album review of Gene Segal's new CD, Hypnotic

2009-11-18T13:44:26-05:00

5 My parents enrolled me in jazz piano. I used to hate them for it... but after listening to Diana Krall, Norah Jones, Ella Fitzgerald, Duke and Louis all that was left was to thank my parents. For as long as I can remember, music-- Jazz has been my life. I may not know as many facts as others or may not be able to name as many artists as them but all i know is that I can listen to jazz for days and my passion for it is anything but short. My favorite songs include I'll String Along With You by Diana Krall, The Nearness of You sang by Norah Jones, Bewitched Bothered and Bewildered sang by Ella Fitzgerald and Dream a Little Dream duet by Ella and Louis Armstrong. Although I adore the classics, I still have great respect for Nikki Yanofsky and Renee Olstead, who are two talented young jazz stars on the rise. I hope for one day, that I would be able to host a jazz event other than the Vancouver International Jazz Festival and be able to interview and become a journalist in this industry. I may be young but that does not make me stupid. I want to indulge my life in this, in music. It is time to bring Jazz music back in to the scene and show people that are my age, what real music should sound like. I believe that jazz is the stepping stone of R&amp;B and rap and in the upcoming year of 2010, music will be new and different. It will be revolutionary. true 18708 2009-11-17T19:47:59-05:00 25329 true 123 2009-11-17T19:47:59-05:00 2009-11-17T19:47:59-05:00

My parents enrolled me in jazz piano. I used to hate them for it... but after listening to Diana Krall, Norah Jones, Ella Fitzgerald, Duke and Louis all that was left was to thank my parents. For as long as I can remember, music-- Jazz has been my life. I may not know as many facts as others or may not be able to name as many artists as them but all i know is that I can listen to jazz for days and my passion for it is anything but short. My favorite songs include I'll String Along With You by Diana Krall, The Nearness of You sang by Norah Jones, Bewitched Bothered and Bewildered sang by Ella Fitzgerald and Dream a Little Dream duet by Ella and Louis Armstrong. Although I adore the classics, I still have great respect for Nikki Yanofsky and Renee Olstead, who are two talented young jazz stars on the rise. I hope for one day, that I would be able to host a jazz event other than the Vancouver International Jazz Festival and be able to interview and become a journalist in this industry. I may be young but that does not make me stupid. I want to indulge my life in this, in music. It is time to bring Jazz music back in to the scene and show people that are my age, what real music should sound like. I believe that jazz is the stepping stone of R&amp;B and rap and in the upcoming year of 2010,...

2009-11-17T19:47:59-05:00

5 Every summer in the mountains of California’s Sonoma county, surrounded by Redwood trees, throngs of musicians gather for California Brazil Camp—annual two one week sessions in the late summer when musicians come together to learn about and celebrate Brazilian jazz music. Throughout the week, musicians learn from some of the top Brazillian jazz musicians from the United States and Brazil. Among their instructors is San Diego’s Mark Lamson, who plays in the bands Toquali and Alli and the Cats. Among the most notable musicians to teach at the California Brazil Camp, Brazilian jazz guitarist Chico Pinheiro inspired San Diego jazz singer Allison Adams Tucker and local flute player Louisa West. After one of Pinheiro’s concerts in Los Angeles, he went out to dinner with a West, Tucker, and some other Brazilian jazz musicians. That dinner inspired West to call Tucker and suggest a concert dedicated to Chico Pinheiro. Local jazz aficionado Michael Andreen heard of West and Tucker’s efforts, and he offered to help support their efforts. On the day of the jazz festival, Andreen brought a banner to the Chico Pinheiro Tribute concert commenced that read “Brazil Fest.” That gave birth to a jazz festival that celebrated Brazilian jazz, rather than one particular artist, along with Tucker and West’s decision to rename it “Brasil Jazz Festa.” In 2008, the first year of “Brazil Fest,” 16 people performed; and Andreen opened the concert with a ribbon cutting ceremony. This year Tucker and West decided to keep the entertainment limited to 11 musicians in three bands. Those 11 musicians will overlap within those three groups, as various artists may perform in two or more groups, within the two hour music festival of three sets. Among the those musicians involved, Tucker, West, and Lamson will each lead their own group. Tucker’s band will perform vocal jazz, West’s band will perform traditional jazz, and Lamson’s band will perform percussionist jazz. Tucker’s band, Alli and the Cats, consists of 2009 San Diego Music Award winner Danny Green on Piano, Evona Wascinski on bass, and Mark Lamson on drums. West will join Tucker’s band for a couple of songs, as well as will vocalist and bass guitarist Andy Villas-Boas. Since Lamson is a specialist in Brazillian music, and the leader of the Brazillian music and dance group Sol e Mar, they wanted him to incorporate more Brazilian rhythms. Green will also play Piano for Lamson’s band, and Justin Grinnel will play Bass. This year, Brasil Jazz Festa will take place at the Encinitas Library on Sunday, November 22 from 2:00 to 4:00. Tickets will be available for $15.00 at the door. Other musicians and performers will include Jimmy Patton, Enrique Platas, Grant Clarkson, and Ruben Mello. For those interested in Brazil Camp, campers can sleep in four person tents set on large platforms, raised above the ground; and for those who would like a little more privacy, they can bring their own tents. Throughout the two sessions, of which campers are welcome to take part in one or both, campers study instruments used in the production of Brazilian jazz. Those instruments include the Cavaquinho, Bateria, Pagode, and many other instruments. Campers will also learn the art of dance, such as Angola Arisha. true 17424 2009-11-17T15:14:06-05:00 25328 true 123 2009-11-17T15:14:06-05:00 2009-11-17T15:14:06-05:00 San Diego's only Brazilian Jazz Festival

Every summer in the mountains of California’s Sonoma county, surrounded by Redwood trees, throngs of musicians gather for California Brazil Camp—annual two one week sessions in the late summer when musicians come together to learn about and celebrate Brazilian jazz music. Throughout the week, musicians learn from some of the top Brazillian jazz musicians from the United States and Brazil. Among their instructors is San Diego’s Mark Lamson, who plays in the bands Toquali and Alli and the Cats. Among the most notable musicians to teach at the California Brazil Camp, Brazilian jazz guitarist Chico Pinheiro inspired San Diego jazz singer Allison Adams Tucker and local flute player Louisa West. After one of Pinheiro’s concerts in Los Angeles, he went out to dinner with a West, Tucker, and some other Brazilian jazz musicians. That dinner inspired West to call Tucker and suggest a concert dedicated to Chico Pinheiro. Local jazz aficionado Michael Andreen heard of West and Tucker’s efforts, and he offered to help support their efforts. On the day of the jazz festival, Andreen brought a banner to the Chico Pinheiro Tribute concert commenced that read “Brazil Fest.” That gave birth to a jazz festival that celebrated Brazilian jazz, rather than one particular artist, along with Tucker and West’s decision to rename it “Brasil Jazz Festa.” In 2008, the first year of “Brazil Fest,” 16 people performed; and Andreen opened the concert with a ribbon cutting ceremony. This year Tucker and West decided to keep the entertainment limited to 11 musicians in three bands. Those...

2009-11-17T15:14:06-05:00

5 Madeleine has the voice that takes only a moment to move you to the (cigar &amp; wine) mood. when I first heard her in her album (Careless love), I visualized her as a black old lady type of Ella or Sarah...but to my surprise, it was a hottie white gurl with such a magnificent voice.. in her third album (Bare Bones), Madeleine continues her brilliant style of reviving classic vocal jazz through the magical blend of new ideas and old voices. (Something grand) is an example of country/jazz mix that is rare to find anywhere else... the groovy (you can't do me) that reminds you of the standard reggae groove, but again...with the Peyroux blend that takes you in the middle of the tune to feel that it is a typical R&amp;B or funk tune with the smooth backing vocals. what we expect in the next album: more brass voices, blues tunes, cover or two for the greats... true 18792 2009-11-16T16:49:49-05:00 25327 true 20 2009-11-16T16:49:49-05:00 2009-11-16T16:49:49-05:00 Madeleine Peyroux

Madeleine has the voice that takes only a moment to move you to the (cigar &amp; wine) mood. when I first heard her in her album (Careless love), I visualized her as a black old lady type of Ella or Sarah...but to my surprise, it was a hottie white gurl with such a magnificent voice.. in her third album (Bare Bones), Madeleine continues her brilliant style of reviving classic vocal jazz through the magical blend of new ideas and old voices. (Something grand) is an example of country/jazz mix that is rare to find anywhere else... the groovy (you can't do me) that reminds you of the standard reggae groove, but again...with the Peyroux blend that takes you in the middle of the tune to feel that it is a typical R&amp;B or funk tune with the smooth backing vocals. what we expect in the next album: more brass voices, blues tunes, cover or two for the greats...

2009-11-16T16:49:49-05:00

5 After listening CD recordings of famous jazz piano performers I thought that all possibilities of jazz reached its maximum by the most extraordinary and the biggest artist ever - Keith Jarrett. But It appears that I am mistaken. Listen to this smart and cool kid ... and you'll realize that jazz has much more possibilities than you thought... and it is due to Beka Gochiashvili. Since Beka's arrival to New York, my wife and I among other jazz lovers became his close friends. We are trying to be as careful as possible during his introduction to the world. He does not want to be in hands of commercial, money oriented promoters, since he studies jazz standards and simultaneously tries to let the world know that he is out there. By each accord he is knocking at the door that separates ordinary life from the kingdom of geniuses. He is seeking admittance to that house in search of more light in life. Remember his name. This kid is a naturally born unparalleled musician. He tells us that when he will meet Keith Jarrett he will thank him for his existence. He is not shy to tell us that he sees Keith Jarrett in his dreams and discusses music with him. Well, good luck to him and all of us in this wonderful journey. true 18774 2009-11-15T20:57:44-05:00 25324 true 123 2009-11-15T20:57:44-05:00 2009-11-15T20:57:44-05:00 Listen to this smart and cool kid and you'll realize that jazz has much more possibilities than you thought

Beka Gochiashvili was born in 1996 in Tbilisi, Georgia. He displayed musical talent when he was 2-years-old and at age 4 he played several compositions on the piano. In 2002 Beka entered a music school headed by Tengiz Chitaishvili. He has participated in several competitions and music festivals and has also been awarded numerous diplomas. Since the age of nine, Beka has continued his jazz studies under the direction of Zurab Ramishvili. In 2007 he participated in a jazz festival in Latvia together with well-known musicians Lenny White and Victor Bailey. In June 2009, Beka became the youngest winner ever of the Montreux Jazz Piano Festival. He studies at the pre-college division of The Juiliard School.

2009-11-15T20:57:44-05:00

5 One of the hallmarks of a great musician is the desire to continually seek out new musical challenges. The temptation to please your fans and record company by sticking to the tried and true is ever present, so The Manhattan Transfer’s willingness to stretch themselves by tackling “The Chick Corea Songbook” is highly laudable. Not only are these songs incredibly difficult to sing, but many are revered by jazz fans, so any reinvention risks being viewed as musical blasphemy. But if any vocal group is up to the challenge it’s the eight-time Grammy award-winning Manhattan Transfer. Arranger Yousuf Gandhi has done marvellous things with these songs; interweaving multiple melodies, drawing on a variety of cultures for fresh sounds and alternating between a small army of musicians and synthesizers on some songs, and just stripped back voice and piano on others. Spain has been broken into two parts and while the Prelude is a bit strained, when it moves into the medium groove of the main song and is given a funky bhangra treatment, it feels completely right. Free Samba is a mini carnival with its clever evocation of a Brazilian rainforest and an electrifying solo by Corea himself, and Another Roadside Attraction is a complex marvel that could be a case study for aspiring vocal arrangers. This isn’t a readily accessible record, but for fans of the Transfer and Corea it is an adventure well worth taking. true 17900 2009-11-12T16:01:32-05:00 25318 true 20 2009-11-12T16:01:32-05:00 2009-11-12T16:01:32-05:00

One of the hallmarks of a great musician is the desire to continually seek out new musical challenges. The temptation to please your fans and record company by sticking to the tried and true is ever present, so The Manhattan Transfer’s willingness to stretch themselves by tackling “The Chick Corea Songbook” is highly laudable. Not only are these songs incredibly difficult to sing, but many are revered by jazz fans, so any reinvention risks being viewed as musical blasphemy. But if any vocal group is up to the challenge it’s the eight-time Grammy award-winning Manhattan Transfer. Arranger Yousuf Gandhi has done marvellous things with these songs; interweaving multiple melodies, drawing on a variety of cultures for fresh sounds and alternating between a small army of musicians and synthesizers on some songs, and just stripped back voice and piano on others. Spain has been broken into two parts and while the Prelude is a bit strained, when it moves into the medium groove of the main song and is given a funky bhangra treatment, it feels completely right. Free Samba is a mini carnival with its clever evocation of a Brazilian rainforest and an electrifying solo by Corea himself, and Another Roadside Attraction is a complex marvel that could be a case study for aspiring vocal arrangers. This isn’t a readily accessible record, but for fans of the Transfer and Corea it is an adventure well worth taking.

2009-11-12T16:01:32-05:00