Sergio Pereira-guitar, Saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopez and Valencia, Spain-based trumpeter-arranger VoroGarcia. Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassist Ales Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossi and two Brazilian-born musicians now residing in New York City, pianist Helio Alves
and drummer Mauricio Zottarelli.
Vocalists Paula Santoro, Sergio Santos and Viktorija Pilatovic lend an air of mystery and allure to the proceedings while rapper Devin Malloy adds the cherry on top of the buoyant opener, Down South.
There’s a certain something inherent in the music of Brazil that goes well beyond the notes and speaks more of the soul of a culture. Like the music of New Orleans, where the feel for an authentic second line rhythm grows out of the pace, the food, the flavor of the Crescent City, the persuasive rhythms of bossa nova and samba are ingrained in the hearts and souls of musicians from Rio de Janeiro and Sao Paulo. For guitarist-composer Sergio Pereira, that feeling is deeply imbedded in his DNA and emerges through his distinctive comping patterns.
I learned by growing up listening to samba rhythms and playing Brazilian percussion at a local school of samba,” says the 59-year Rio native and longtime resident of New York City. “Since I was a kid I have been always playing samba rhythm, making that ‘batucada’ rhythm with my hands and fingers at school until my teachers would tell me to ‘stopmaking that noise!’ I still do it all the time. It’s addictive.”
Pereira’s samba addiction comes to full fruition in spectacular fashion on his ZOHO debut release Nu Brasil,his follow-upto his acclaimed 2016 debut, Swingando.The title Nu Brasil (“nu” = “naked” in Portuguese) references the beauty of his home country where however social inequality still prevails.
A collection of ten thoughtful compositions, this superb set features contributions from a luxuriant crew of 18 world-class musicians including Cuban-born saxophonist Alexey Leon, Spain’s alto sax great Perico Sambeat, Cuban-born flutist and longtime New Yorker Oriente Lopezand Valencia, Spain-based trumpeter-arranger Voro Garcia. Also on board for Pereira’s sophomore release are Sao Paulo-based electric guitarist Marcus Teixeira, French pianist Baptiste Bailly, Valencia-based bassistAles Cesarini, Cuban-born bassist Ariel Ramirez, Brazilian harmonica virtuoso Gabriel Grossiand two Brazilian-born musicians now residing in New York City ispianist Helio Alvesand drummer Mauricio Zottarelli.
Vocalists Paula Santoro, Sergio Santosand Viktorija Pilatoviclend an air of mystery and allure to the proceedings while rapper Devin Malloyadds the cherry on top of the buoyant opener, Down South. Says the composer, “I started to work on this song last summer while vacationing ‘down south’ in Puglia, Italy. Changing environment and location often provides me with great vibes for inspiration. It’s a happy samba groove with a magical soprano sax solo from Alexey. Devin’s rap is basically describing the experience of failure in pursuit of your dreams and talks about how life will continue to evolve and will pick you back up after you've fallen.” Bailly adds a cascading piano solo here while Pereira contributes an appealingly melodic, clean-toned solo on electric guitar.
East River is Pereira’s poignant reflection on the view from his Upper East Side neighborhood in Manhattan. “I frequently jog on the East Side by the East River and many times, after the jog, I just sit on a bench next to the 59thStreet Bridge looking over Roosevelt Island and Long Island City,” he explains. “It’s very peaceful there with the nice breeze from the river, the sounds of boats going by and the FDR Drive humming with vehicles.” The easy-going number opens with sparse solo piano before being joined by lush strings arranged by Garcia. Pereira plays the opening strains of the melody on his nylon string acoustic then scats simultaneously with his solo on this affecting number, which also carries a slight tinge of melancholy. As he explains, “When my older daughter, now 23, was 4 or 5 years old, we lived on Roosevelt Island. We had an amazing time together there and I miss those moments. The strings bring out the melancholic moments I had, which I dearly miss, when my daughter was little.”
The seductive Arpoadoris an ode to the beach of that name on the south side of Rio de Janeiro where Pereira spent a lot of his youth. “This was my favorite beach, where I used to wake up really early in the morning to go surfing with friends,” he recalls. “Cool and hip crowds used to hang out there at sunset. People fell in love, hearts were broken and memories were left behind. It’s reminiscing about the time when I was 19, right before I moved to New York — some of the best moments of my life.” Singer Santoro narrates the story of love, passion, beach, summer and the sea with an enchanting delivery that combines the smooth allure of bossa nova and the freewheeling abandon of jazz in her delicious scatting passages and call-and-response exchanges with pianist Bailly near the end of the piece.
Greta is an affecting jazz waltz that Pereira wrote for his newly-born niece. “She is sweet, mellow, easy and tender just like this song,” he says. Flutist Lopez brings the mellowness, tenderness and jazziness that the song calls for while singer Sergio Santos doubles Pereira’s tender electric guitar melody with some sweet falsetto singing. Drummer Zottarelli deftly underscores the proceedings with some briskly swinging brushwork.
The energized title track Nu Brasilis fueled by Pereira’s infectious comping and showcases Lithuanian-born singer Pilatovic, who engages in some rapid-fire scat-and-trumpet exchanges with Garcia at the tag. Originally an instrumental, lyricist Paulinho Nunes brings new life to the upbeat piece while Pilatovic, singing in Portuguese with a ‘Carioca’ accent, brings a jazzy flair to this groovy samba.
Garcia arranges the strings on the lush Per Teand offers a warm, melodic flugelhorn solo on this inviting number. The tight Joao Donato-influenced samba/bossa Sambinhacomes charging right out of the gate with guitar and harmonica locked in tandem on the buoyant theme. Sao Paulo-based electric guitarist Marcus Teixeira, a former teacher of Pereira’s, contributes a Bensonesque solo over the percolating undercurrent provided by drummer Zottarelli and bassist Ramirez. Pianist Alves adds some jazzy improvising on this infectious groove while harmonica ace Grossi contributes remarkably flowing legato lines over the top.
PercussionistDavid Gadeajoins Pereira to fuel this fiery samba groove.
The minor key Trem Do Tempocarries a tinge of melancholy on top of an undulating Ixeja rhythm. Lopez contributes a lovely flute solo while Santoro delivers the alluring Portuguese lyrics in her own inimitable style. Nunes again brings new life to the song with his thoughtful lyrics, which tell us a story about life and the passage of time: “Life is like a train/it slips through your hands/it does not stop in every station. Life is to be lived at each moment. Live it…live it…and live it.”
14 Clicks Away, a slow bossa nova fueled by Zottarelli’s brushwork and Pereira’s steady comping, features an elegant solo by pianist Alves and also showcases Sambeat in Getz-ian mode on this restful, gently grooving number.
The album closes with the jazzy bossa nova Lascia Stare,which fluctuates between sadness and happiness and features Pereira doubling the melody with Grossi. “I always heard the more melancholic first part of the song with a harmonica, so Gabriel was my number one choice to deliver that feeling,” says Pereira.” The leader’s electric guitar solo here is typically melodic and flowing while Bailly adds sparkle with his piano solo. The title, Pereira explains, is an Italian expression which roughly translates to ‘let it go’ or ‘don’t bother yourself with it.’”
From opener to closer, Nu Brasiltakes the listener on a journey that is brimming with exhilaration and passion, soulful reflection and deep-seated feelings that speak of Pereira’s homeland. — Bill Milkowski
Artist Website: www.sergiopereira.world
Label Website: http://www.zohomusic.com
ZOHO ® is distributed by Music Video Distributors 203 Windsor Road Pottstown, PA 19464 www.mvdentertainment.com
Friday, November 16th 8 pm
212 E 52nd St, New York, NY 10022 (646) 918-6189
Sergio Pereira - acoustic guitar
Helio Alves - piano
Ariel Ramirez - bass
Oriente Lopez - flutes
Alexandre Kautz - drums
plus, special guest
Sunday, November 18th 8pm
Cornelia Street Cafe
29 Cornelia St, New York, NY 10014 (212) 989-9319
Sergio Pereira - acoustic guitar
Helio Alves - piano
Ariel Ramirez - bass
Oriente Lopez - flutes
Mauricio Zottarelli - drums
plus, special guest
December 7, at 8 p.m.,
Veles e Vents, Valencia, Spain
January 17, 2019
Jazz Club El Mussol,
(Zoho ZM 201808)
Street Date: September 7, 2018
Long-running Ensemble, Led by The Bad Plus' New Pianist, Creates Family Vibe Onstage in
Philadelphia For Third Album
Album Release Performances
September 24 | Dizzy's Club Coca-Cola | New York, NY
September 26 | Chris' Jazz Cafe | Philadelphia, PA
The influence of the late playwright and educator Donald Evans has always loomed large over the Captain Black Big Band. Pianist and bandleader Orrin Evans named the band for his father’s brand of pipe tobacco, the aroma of which always announced his father’s presence in the house. The big band’s third album, Presence, is a celebration of the warmth and spirit of the elder Evans, but more importantly it’s quite simply a celebration – an approach to not only music but life that Evans inherited directly from his parents.
Presence, available now via Smoke Sessions Records, features a scaled-down 11-piece version of Evans’ long-running big band, recorded live at a pair of venues in his hometown of Philadelphia: Chris’ Jazz Café (where the band made its debut in late 2008) and South Jazz Parlor. The line-up features a core group of collaborators that the pianist tends to refer to as “a family” or “a village” more than a band. Most of the musicians on this recording have played with Captain Black for years, while many of them have contributed compositions and arrangements to the ensemble’s ever-growing book.
The album’s cover art – drawn by Dominique Dutton, a close friend – depicts the face of Donald Evans gazing upon the band, his enlivening spirit embodied by the diversity and raucous sense of joy that Captain Black always brings to the stage. “There was always a party in my household,” Evans says. “I always looked forward to events at the house, where guests would gather around the piano in our living room. That leads into how I approach the Captain Black Big Band. I try to create that party and to have people in the band that are fun seekers.”
That pervasive sense of familial camaraderie shines through the music on Presence, especially in the band’s smaller, tighter incarnation. The band’s downsizing can be explained in part by practical considerations: it makes an easier fit for their long-running stint on the intimate stage of Smoke Jazz & Supper Club, for one. It’s also been easier to manage as Evans’ schedule has become more crowded since joining The Bad Plus in January.
But the 11-piece band also represents a distillation of the larger ensemble, pared down to a close-knit core of players that know each other very well, can navigate the music with the spontaneity of a small band, and simply enjoy the experience of sharing the stage together.
“I look for something different in the Captain Black Big Band,” Evans says. “I look for the ability and desire to be part of a family. I actually get disappointed sometimes when other people don’t see the appeal of that. You have to be ready and down to be a part of this. That all stems from what I saw growing up in my household.”
The Captain Black Big Band’s taut, boisterous energy bursts out of the gate with trombonist David Gibson’s aptly-named “The Scythe.” The tune’s keen-edged theme evokes a ferocious round of soloing from the composer as well as saxophonist Troy Roberts, trumpeter Josh Lawrence and the leader, recently name “Rising Star Pianist” in the 2018 DownBeat Critics’ Poll.
Robert’s vigorous tenor leads the way into Eric Revis’ bracing “Question,” originally recorded by J.D. Allen on Pharoah's Children, the collective trio that Revis and Evans share with drummer Nasheet Waits. Evans opens John Raymond’s “Onward” with a meditative intro that lends a spiritual overtone to the piece’s sense of inspirational uplift, answered by the composer’s swelling trumpet solo, which soars ever higher as it draws strength from the band’s powerful backing.
Evans’ own “When It Comes” finds the band teasing out its raw edges, enjoying a playfully tempestuous give and take. Raymond’s blustery solo rides the avalanche of Anwar Marshall’s roiling rhythms, while Evans adds incisive interjections. Another Evans original, the spring-loaded “Flip the Script” prompts a spirited dialogue between Roberts and alto saxophonist Caleb Curtis. The surging groove of Roberts’ “Trams” is established with an audience participation clap-along, parrying the roaring horn thrusts of the tune.
Evans tenderly establishes the mood for his own “The Answer,” while Lawrence’s explosive title track, originally recorded on his own album Color Theory with Evans in the band, ends the set on a characteristically vibrant note. All that’s left is a brief, ramshackle reprise of “When It Comes” that sends listeners off with the band’s rambunctious clamor in their ears.
“In all the bands I lead, my concept is allowing for the unknown to happen,” Evans concludes. “This is a real, raw and honest representation of what happened on stage on those nights.”
For more information on Orrin Evans, please visit: OrrinEvansMusic.com
PHOTO CREDIT: ANNA WEBBER
Album Features Marcus Strickland, Keyon Harrold, Yasushi Nakamura, Jerome Jennings, Caio Afiune, Cristian Rivera, & Roberto Quintero
"...having successfully made the case for his breadth of style, Sands is free to follow his muse where it leads.” - NPR
"...Christian Sands plays with a restrained touch and a rolling command across the entire keyboard." - The New York Times
“...And on the evidence of Facing Dragons, his crisply assured new album, he's betting on a mode of soulful eclecticism that expresses new ideas without abandoning the old.” - NPR
"Sands is skilled, soulful and melodic..." - VICE Noisey
Precocity has long been a defining feature in the career of Christian Sands. Growing up around New Haven, Conn., he was a boy wonder on piano; by his early teens he was a protégé of the eminent jazz educator Dr. Billy Taylor.
Not yet 30, Christian Sands is currently one of the most in-demand pianists working in jazz. In the last few years he has toured around the world as a bandleader and recently appeared as a sideman on records by Christian McBride and Gregory Porter. After the one-two punch of Reach and Reach Further - EP, Sands' dynamic 2017 Mack Avenue debut and his live/unreleased studio tracks EP follow-up released earlier this year, Facing Dragons is Sands' return to the recording studio with an indestructible band and an unwavering allegiance to the groove.
"I like the freedom of the trio format," says Sands. "It's more dramatic to me. It's a smaller entity but with a big personality. I can fit it into different situations dynamically, compositionally." Opening track "Rebel Music" features Sands' wide-ranging scope at its most elegant, nimbly jetting through single unison lines and bright block chords. Here and throughout the record he is joined by bassist Yasushi Nakamura and drummer Jerome Jennings, the band that Sands has been relentlessly touring with. The two sensitive accompanists are locked in sync, joined occasionally by a powerhouse pair of horns, a sinewy guitarist and a fiery pair of percussionists.
Saxophonist Marcus Strickland strikes first on the hard swinging “Fight for Freedom,” unleashing a throaty cry over the churning band. “Marcus Strickland brings a certain fire to the band,” says Sands. “Especially on this track. He’s got a rich and deep tone, so it was perfect for the earthy theme of the song.” Trumpeter Keyon Harrold shares the frontline with Strickland, playing in effortless harmony on the melody before getting a little solo space near the tune’s close.
Harrold takes centerstage later on “Frankenstein,” a churning meditation reminiscent of Herbie Hancock’s seafaring journeys of the 1960s. Sands is spacious in support and patient on his solo, the tune an energetic workout for all involved.
"Fight For Freedom"
"Samba Da Vela"
"Rhodes to Meditation"
Earlier this year Sands was named creative ambassador to The Erroll Garner Jazz Project, a non-profit organization dedicated to the legacy of the late great pianist Erroll Garner. After inheriting the position from the late Geri Allen – one of Sands’ mentors – he is a natural fit for the role. Sands has that same affable understanding of the audience as he recognizes their innate desire to be entertained as well as enlightened. He tackles the Beatles’ “Yesterday” with a soulful saunter. “Pop music is essential in jazz. It’s new melodies, it’s new stories, or same stories told in different ways. Jazz is about storytelling and pop music has a unique story to tell.”
Sands has yet to bring his band to Venezuela but when he gets there, he’ll be more than ready for the infectious polyrhythms found on the shores of Choroni Beach. On “Sangueo Soul,” Sands bounces above the churning South American rhythms, with Caio Afiune doubling the piano lines on guitar. It alternates between the two sounds, blending them at will, a sprightly dash of octaves on the piano cross paths with intergalactic vibrations. The tune is impossible to resist as a battery of rhythm pushes Sands’ piano into a righteous jaunt; clear the dancefloor. Percussionist Cristian Rivera appeared on Sands’ Mack Avenue Records debut, and the two formed a tight bond over a decade ago in Bobby Sanabria’s Afro Cuban Big Band. Percussionist Roberto Quintero, a native Venezuelan, brings the fire and authenticity to the party.
“Samba da Vela” appears later, continuing the South American travelogue with a trip to Brazil. Guitarist Caio Afiune first played with Sands’ brother Ryan, a drummer who studied at the New England Conservatory. Afiune has been playing with the pianist for over a year now, finding his voice in the tight-knit ensemble. His solo is an energetic but controlled centerpiece of the performance but becomes even more effervescent when he heads to church.
“Church music is key in not just my sound but most jazz musicians I look up to. It’s a culture that most of us have gone through so it’s embedded in what we do,” says Sands. “Jazz can be a religious experience and for me my playing is my gift to God.” Sands began formal lessons at the age of four but picked up his sense of swing and soul at church well before that. “Sunday Mornings” is Sands tribute to the beginning of the week. He employs soulful clusters of chords and a lackadaisical slide off the beat, aided and embedded by an oscillating organ. The transition to a backyard reggae groove is hip, propelled by Afiune’s scratchy accents.
The lilting “Her Song” features bassist Nakamura. “Yasushi has a great bass sound, great facility and is always easy to work with, which is why he’s still in so many other bands today besides mine,” says Sands. Regardless of Nakamura’s schedule, he is fully committed to Sands’ vision of a rhythm section, a noble accent to the sound, unobtrusive but always present. Jennings is equally sensitive. “What I love about Romey” says Sands, “is the soulful intellect he brings to the instrument. There are layers to what he does and that comes from study and practice and also just being him – a true soul brother.”
The album closes with “Rhodes to Meditation” featuring an electrified Sands drifting into the ether. “The Fender Rhodes adds a different tone to my imagination. It makes me hear and play different.” Sands evokes a spectral world without borders, drifting off like a satellite towards the next adventure. “Like all of my albums, I want people to feel connected through a story that I’m telling. On this record, I want to remind people to always push forward and move in positivity.”
Christian Sands' Upcoming U.S. Performances:
September 21 / Monterey Jazz Festival / Monterey, CA
September 29 / Hyde Park Jazz Festival / Chicago, IL
October 12 / Scullers Jazz Club / Boston, MA
October 19 / Kuumbwa Jazz Club / San Jose, CA
October 20 / SFJAZZ Center / San Francisco, CA
October 22 / Dimitriou's Jazz Alley / Seattle, WA
October 25 - 28 / Jazz Standard / New York, NY
November 2 / Christina Cultural Arts Center / Wilmington, DE
November 3 / Montgomery County Community College / Blue Bell, PA
November 7 / Jazz Dock / Prague, Czech Republic
November 9 - 10 / Duc Des Lombards / Paris, France
November 11 / Blue Note Milan / Milan, Italy
November 12 / Opus Jazz Club / Budapest, Hungary
November 13 / Unterfahrt / Munich, Germany
November 15 / Club Bix / Stuttgart, Germany
November 16 / Pizza Express / London, United Kingdom
November 17 / Pizza Express / Maidstone, United Kingdom
January 23 / McAfee Concert Hall @ Belmont University / Nashville, TN
February 2 / Schambach Center - Wellin Hall / Clinton, NY
February 8 / Black Rock Center for the Arts / Germantown, MD
February 9 / Carnegie Hall / Lewisburg, WV
February 16 / Phillips Center for the Performing Arts / Gainesville, FL
April 25 / Frostburg State University - Manicur Ballroom / Frostburg, MD
For more information on Christian Sands, please visit: ChristianSandsJazz.com
Connect with Christian Sands on Social Media:
Facebook | Twitter | Instagram
New Single: Listen to the title track from Amaro Freitas' forthcoming album 'Rasif'
LISTEN / PRE-ORDER
“This is lovely” Bradley Zero (BBC Radio 1/NTS)
“Mixing carnival rhythms with John Coltrane and Thelonious Monk-esque roots.” The Vinyl Factory
Today Amaro Freitas releases the second single from his forthcoming album. Title track 'Rasif' is a moment of pure simplicity and serenity on an otherwise deep, heavy and complex jazz record. Listen to the new single, and pre-order the album on vinyl, CD and digitally from the Far Out Shop | Bandcamp
A truly special soul from Brazil's North-Eastern city of Recife in the Pernambuco state, Amaro Freitas has risen to prominence as one of Brazil's most talked about musicians, against all the odds.
At a young age he won a place to study at one of Recife's most prestigous music schools, but had to drop out as his family could not spare the change for the bus fare. Having never even owned a piano himself, through his formative years he would practice day and night in his bedroom on imaginary keys, seeing the music in his mind's eye. This was until a kind local restaurant owner let him practice before opening hours.
Fast forward to today and Amaro is readying the follow up to his critically acclaimed debut album Sangue Negro (black blood). A love letter to his native northeast, on Rasif Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.
File under world, rock, jazz, punk, ska, afro, dub, reggae, soul, roots or call it
digital & cd+book release Benelux: 21/09/2018
Release concert – LP voorstelling 04/10/2018 Brussel / AB Club.
Check de clip ‘Save Le Monde’ hier
Vandaag komt het nieuwe album van Jaune Toujours uit, en verschijnt ook de single/clip van ‘Save Le Monde’.
Niet dat ze sinds het laatste studio-album ROUTES (2013) stil hebben gezeten, integendeel. In 2014 trokken ze o.m. naar het festival Rock à Ouaga in Ougadougou, Burkina Faso, waar ze met touareg-muzikanten samenwerkten. En ze werden uitgenodigd voor live sessies bij BBC World on 3 en Cerys on 6 op BBC Radio 6. In 2015 namen ze met hun zigeuner alter ego Mec Yek het album SuperDiverCity op, gemixt door het Servische DJ- en producersduo Shazalakazoo. In 2016 lanceerden zanger-accordeonist Piet en drummer Theo hun tweede boek+cd Ik en den Theo/Moi et le Théo 2.0. Jaune Toujours zelf vierde ondertussen zijn (min of meer) twintigjarige bestaan met een In 2017 ging het een tweede keer naar Rock à Ouaga, waar ze samenwerkten met de Burkinese revelatie Patrick Kabré. Piet releasede ook nog het album Entity met Qotob Trio, geesteskind van de Syrische Brusselaar Bassel Abou Fakher, om dan volop aan het nieuwe album Europeana van Jaune Toujours te werken.
Werd in drie bewegingen gerealiseerd: met live-sessies in de roemruchte Brusselse alternatieve club Magasin 4, studio-opnames in de repetitieruimte van Jaune Toujours, Studio Choux de Bruxelles en een aantal overdubs in de huisstudio van Christine Verschorren, Strawberry Lab. Daar werd het album ook gemixt. En er zijn gasten, allemaal bevriende muzikanten waarmee Jaune Toujours na jaren van samenwerken een hechte band heeft opgebouwd. Burkinees talent Patrick Kabré als zijn eigen originele zelve op backing vocals, Jo Zanders (Lkmtiv, Velotronix, Drom) op likembe, Vincent Heirman (Bravo Big Band, Superska) op trombone, en de Syrische Oostendenaar Yamen Martini op trompet.
De titel voor het album gaat naast de vele mogelijke links met de actualiteit ook terug op publiek in Canada (veelal 2e, 3e, 4e generatie Europese migranten) dat de muziek van Jaune Toujours zowel typeert als vertrouwd (de klanken en het instrumentarium van “the old continent”) én exotisch (een heel eigen, actuele mix, gedistilleerd vanuit allerlei invloeden). En aangezien het sowieso moeilijk is om Jaune Toujours te klasseren, waarom dan geen nieuwe term voor de muziekstijl bedenken? Europeana dus, naar analogie met of net tegenover een stijl als Americana.
Muziekjournalist Philippe De Cleen (Da Music, Written in Music, …) over het nieuwe album: “Jaune Toujours
“Terwijl veel andere bands niet zelden een loutere kopie zijn van, ligt dat bij Jaune Toujours best wel wat anders. Het verschil zit hem onder meer in de frisse instelling en aanpak, met composities afwisselend in het Engels (End Of Season), Frans (Meme Pas Peur) en zelfs Nederlands (Alles Normaal). Vrijwel nergens vind je een band waarvan het muzikale palet zo divers is, met o.m. ska (Ska-Man), oriëntaalse drift en ontsporing (Balkan Khan) en funky jazz (Funky Brussels). En dat houdt vanzelfsprekend ook samenwerking in: deze keer onder meer met Patrick Kabré op backings, Jo Zanders op likembe, Vincent Heirman op trombone en trompettist Yamen Martini. Waarom? Gewoon omdat die muzikale diversiteit ook écht meerwaarde heeft.”
wordt uitgebracht op vinyl en als cd+boek (30x30cm, 22 p.) met een selectie foto's van drummer/fotograaf Theophane Raballand.
JAUNE TOUJOURS ‘Europeana’ - digital & physical release Benelux: 21/09/2018
cd/hard cover booklet (30x30 cm, 22p.) - bar code 5425003680410 (chou 1805) / vinyl (ltd. edition) – bar code 5425003680427 (chou 1806)
label Choux de Bruxelles - digital distr. Worldwide The Orchard - Benelux distr. Music & Words - UK distr. Discovery Records
De Nederlandse Sander van Dijck, oftewel San Holo dropt vandaag zijn debuutplaat waar hij de diepte op zoekt die hij in de traditionele elektronische muziek niet meer kan vinden. "Die kan wel een frisse wind gebruiken. Dat hoop ik met album1 te kunnen leveren."
“Van Dijck is “on a quest for a new sound.” (Billboard Magazine)
Hij wordt algemeen erkend als een van de creatieve vernieuwers (muzikant / producer) binnen elektronische muziek, EDM/en Future Bass maar verkent en verlegt tegelijk de grenzen van het genre. Zijn debuut maakt duidelijk dat hij een geheel unieke en eigen stijl heeft ontwikkeld. Het is een plaat geworden waarin de achtergrond van San Holo als gitaarspelend artiest overduidelijk aanwezig is, maar waarin ook nog de geest van bands als Explosions In The Sky en Sigur Rós dwalen. Het is een combinatie van innovatieve beats en DIY-vibe.
Sander van Dijck, beter bekend als San Holo, gaf gitaarles aan kinderen en speelde in bandjes tijdens zijn studies. Na zijn opleiding Gitaar en Muziekproductie in Rotterdam begon hij te produceren voor andere DJ's. en besloot hij zich te gaan richten op dancemuziek. En met succes, zijn remix van Dr. Dre's 'The Next Episode' werd meer dan 170 miljoen keer bekeken op YouTube. Hij stond dit jaar oa op het toonaangevende Coachella-festival, Lowlands en 2X op Tomorrowland. Zijn hit ‘I Still See Your Face’ gooit bv hoge ogen op NL radio en ‘Light” heeft al 115miljoen+ streams op Spotify bijeen.
CHECK ter kennismaking de lyric de single ‘Brighter Days’ featuring Bipolar Sunshine.
De Roma, Antwerpen
Tickets te koop vanaf vrijdag 28 september om 10u.
Van Youtube naar live op het podium, het gebeurt steeds vaker, zo ook bij dodie. Op zondag 10 februari komt ze voor de tweede keer naar België. Dit keer komt ze met haar eigenzinnige en aanstekelijke liedjes naar De Roma in Antwerpen.
De Standaard over dodie (⭐️⭐️⭐️⭐️): "Youtube-fenomeen Dodie betovert La Madeleine. Geen radio, tv of reclame, en toch verkoopt Dodie Clark al haar zalen uit. De Britse maakt deel uit van de Youtube-generatie van muzikanten…Dodie: een hartsvriendin op afstand."
De Britse Dorothy Miranda "dodie" Clark begon haar carrière in haar slaapkamer waar ze liedjes coverde met behulp van een ukelele. Op organische wijze groeide haar fanbasis uit tot ruim 1,7 miljoen abonnees en werden haar 154 video’s -een combinatie van origineel materiaal en covers op piano en ukelele- ruim 166 miljoen keer bekeken. Op haar vlog ('doddlevloggle’) houdt ze een virtueel dagboek bij en op haar VEVO-kanaal ('dodieVEVO’) worden haar professionele muziekvideo’s gretig bekeken.
dodie is zeer open en begaan met haar publiek. Ze deelt haar persoonlijk leven op een expliciete wijze met de buitenwereld. Zo sprak ze over haar ervaringen met geestelijke gezondheidsproblemen, biseksualiteit en het ondergaan van pestgedrag. In november 2017 bracht ze hierover het boek 'Secrets for the Mad: Obsessions, Confessions and Life Lessons’ uit.
dodie bracht inmiddels al twee EP’s uit: 'Intertwined’ (2016) en 'You’ (2017) die hoog scoorden op Spotify en de UK, US Billboard en Australian album Charts. Vandaag stelt ze haar nieuwste single 'HUMAN' voor.
Een mooi voorbeeld van echt muzikaal talent dat via YouTube de weg naar het grote podium heeft gevonden! Tickets te koop vanaf vrijdag 28 september om 10u via deroma.be.
Paleis 12, Brussel
Verkoop vanaf vrijdag 28 september om 10.30u
Verkoop vanaf vrijdag 28 september om 10.30u
De populaire Britse boyband Take That komt terug naar België op 14 juni in Paleis 12 en op 18 juni in Kursaal Oostende met hun Greatest Hits Live 2019 Tour. Maak je op voor een nostalgische avond vol hits!
Toen Take That in 1996 besloot er een punt achter te zetten, werden vele harten gebroken. Maar na een pauze van bijna 10 jaar, bleek al gauw dat de zin om samen op te treden nog lang niet verdwenen was. Sindsdien zijn de mannen van Take That aan hun tweede leven begonnen en rijgen ze opnieuw de hits aan mekaar!
Take That, dat tegenwoordig bestaat uit Mark Owen, Gary Barlow en Howard Donald, is nog steeds één van de meest succesvolle bands in Groot-Brittannië. De band heeft tot nu toe al meer dan 30 miljoen albums verkocht en maar liefst 13 nummer 1-hits gescoord. Ook hun prijzenkast is goed gevuld met onder andere 8 BRIT Awards en 6 Ivor Novellos Awards. Eind dit jaar komt er een nieuw greatest hits album aan, waarop ze ook enkele nieuwe songs zullen voorstellen.
Wie Take That al eens live aan het werk zag, weet dat de mannen een stevige livereputatie hebben en erom bekend staan de meest spectaculaire acts uit hun hoed te toveren. Circusartiesten, hologrammen, een olifant of een 18 meter grote robot, niets is te groot of te gek!
Bereid je voor op een trip down memory lane doorheen de rijkelijk gevulde carrière van Take That. De band zal nieuwe songs en hun allergrootste hits op het publiek loslaten zoals 'Relight My Fire’, 'Everything Changes’ en 'Patience’! Onmogelijk om zonder een brede glimlach naar buiten te wandelen!
Tickets voor Take That op 14 juni in Paleis 12 en op 18 juni in Kursaal Oostende gaan in verkoop vanaf vrijdag 28 september om 10.30u via greenhousetalent.be.
Venisha Brown, one of the daughters of the late “Godfather of Soul” James Brown and the late Yvonne Fair, formerly of the Chantels, died Wednesday.
She was 53 years old.
Brown died at Augusta University Health Medical Center in Augusta due to complications from pneumonia, according to a release from the James Brown Family Foundation.
A songwriter and musician, Brown was active in the foundation and is remembered as one who fully embodied the dance moves of her father., who died on Christmas Day 2006.
“The family thanks everyone for their prayers and telephone calls,” according to the release. “ At this time we ask that you respect the privacy of the family . “
Funeral arrangements are yet to be determined.
In lieu of flowers, the family asks for donations to the James Brown Academy of Musik Pupils.
JAMP is a musical, instrumental, initiative year-round educational hub designed for the youth to discover their musical ability.
THE GIBSON BROTHERS & THE MAGIC PLATTERS - A Tribute to the Soul Music -
KNOKKE-HEIST, Grand Casino Knokke
Zaterdag 17 november 2018 om 20u30
THE GIBSON BROTHERS: HITS, HITS EN... NOG MEER HITS
The Gibson Brothers touren al 40 jaar de wereld rond met hun aanstekelijke mix tussen disco en salsa. De drie broers Chris, Patrick en Alex Gibson scoorden al gauw enkele wereldhits die ook vandaag nog door iedereen kunnen worden meegezongen. Non Stop Dance en Que Sera Mi Vida haalden in Vlaanderen zelfs een nummer 1 positie in de hitlijsten, maar ook Come To America, Cuba en Latin America haalden de charts.
Na een succesvolle passage tijdens de zomer van 2017 in Het Witte Paard te Blankenberge zijn de broers terug aan de Belgische Kust met een fantastisch project en dit exclusief voor Knokke. De 3 broers uit Martinique bewijzen elke show dat ze nog niks aan enthousiasme hebben ingeboet, en weten met hun stomende set het publiek probleemloos aan het dansen te brengen.
A TRIBUTE TO THE MAJOR BROTHERS AND SISTERS OF SOUL MUSIC
The Gibson Brothers willen op zaterdag 17 november 2018 een ode brengen aan hun helden: James Brown, Otis Reading en natuurlijk ook de onvergetelijke Aretha Franklin. Hiervoor brengen ze onder hun leiding een twaalfkoppige liveband mee. Na een eigen carrière van meer dan 40 jaar voelen The Gibson Brothers zich klaar om het ultieme eerbetoon te brengen aan "hun meesters" met een gloednieuwe show in Belgische première: "A Tribute to the Soul Music".
SPECIAL GUEST: THE MAGIC PLATTERS
Speciale gasten voor deze niet te vergeten avond zijn de legendarische Platters (USA). The Platters zijn vooral bekend van hun harmonieuze en ongeëvenaarde samenzang. De groep heeft onmiskenbare klassiekers in hun repertoire zoals Only You, Smoke Gets in Your Eyes en natuurlijk The Great Pretender
Rubies hold a special place amongst the world’s rarest natural treasures. The most sought-after of the corundum family, the gemstone’s crimson hue instantly catches attention—as if extracting passion from the earth itself and crystallizing it in mineral form. Similarly, Macy Gray occupies a rare space in the canon of modern music.
That unmistakable rasp, unshakable grasp on soul, and funky spirit ensured her status as a 21st century icon since her arrival with the triple-platinum How Life Is in 1999. Selling over 25 million total albums globally, winning a GRAMMY® Award and two BRIT Awards, collaborating with everyone from Ariana Grande to Galactic, and enchanting fans all over the world, her voice has consistently resounded throughout pop culture. Eternally enamored and enthralled with her voice and presence, a devout fan base that transcends genres, generations, and creeds celebrates her work—album after album and tour after tour.
Most recently, 2016’s Stripped earmarked a creative high point, garnering unanimous acclaim from Vogue, Vice, and many more. At the same time, she remains a force of nature on tour, selling out venues in nearly every corner of the globe two decades into her storied career. Macy’s talents resound beyond music as well. She starred in Tyler Perry’s Black Reel Award-winning For Colored Girls and would grace the screen everywhere from Brotherly Love and Cardboard Boxer to NETFLIX’s hit Fuller House. Moreover, she made a now legendary appearance in Training Day alongside Academy® Award winner Denzel Washington—one of many on-screen hallmarks.
Now, her tenth full-length album, RUBY [Artistry Music/Mack Avenue], reaffirms and reasserts that signature rarity millions continue to treasure.
“I love the gem ruby,” she explains. “It’s so regal. I really wanted a title that would stick. The stone is also red of course, which is my favorite color. It’s rich and has history. It’s classic—and so is this album.”
Channeling the spirit of the “grimy” R&B and smoky jazz closest to her heart, Macy made a leap forward by looking back to formative inspirations. However, she updated those elements with enriched, entrancing, and enigmatic soundscapes brought to life by producers Johan Carlsson [Michael Bublé, Maroon 5], Tommy Brown [Jennifer Lopez, Fifth Harmony, Travis Scott], and Tommy Parker Lumpkins [Janet Jackson, Justin Bieber].
Video for Macy's latest single ''White Man''
Macy Gray tourdates Europe:
30 OCT – Astra - Berlin, Germany
01 NOV – Mojo Club - Hamburg, Germany
02 NOVEMBER – La Madeleine - Brussels, Belguim
03 NOVEMBER – Theater der Künste - @JAZZ NO JAZZ - Zurich, Switzerland
05 NOVEMBER – PAARD - Den Haag, Netherlands
06 NOVEMBER – TivoliVredenburg - Utrecht, Holland
07 NOVEMBER – Salle Pleyel - Paris, France
09 NOVEMBER – Ronnie Scott’s - London, UK
10 NOVEMBER – Ronnie Scott’s - London, UK
Jazz Batá 2 -Available November 16 on Mack Avenue Records
Album Feat. Regina Carter, Yelsy Heredia, Dreiser Durruthy Bombalé, Yaroldy Abreu Robles
Read the Album Announcement & Listen to First Single "100 Años de Bebo" Exclusively on WBGO.org
"A pianist of imperial command, possessed of a dazzling,
deceptively casual virtuosity." - The New York Times
"Chucho Valdés is literally a towering figure of Cuban music made on the island." - NPR
"As a pianist, compsoer and arranger, Chucho Valdés has become one
of the most influential figures in modern Afro-Cuban jazz" - Billboard
"An encyclopedic vocabluary of Afro-Cuban rhythms and an expansive
palette that includes all manner of modern jazz as well as traditional
classical repertoire." - The Boston Globe
Jazz Batá 2, composer, pianist and bandleader Chucho Valdés’ first album for Mack Avenue Records, marks a new peak of creativity for the artist, even as it revisits the small-group concept of his 1972 Cuban album Jazz Batá. That album upon release was originally considered experimental at the time, but the trio project – featuring no drum set and two virtuosi who would subsequently be charter members of Irakere: Carlos del Puerto (bass) and Oscar Valdés (batâ: the sacred, hourglass shaped drums of the Yoruba religion in Cuba) – would now be considered contemporary.
Recorded in two and a half days at John Lee’s studio in New Jersey, Jazz Batá 2 is both rhythmic and lyrical at once. The six-hand complexity of the batá repertoire – the deep classical music of West Africa – permeates Valdés’ piano solos throughout the album. “I applied to my solos the different rhythms of the batá,” he says. “The piano is of course a harmonic instrument, but it’s percussive too, and you can play percussion with it.”
Valdés set the batá-driven small-group format aside in the wake of Irakere’s explosive popularity in 1973, but he’s always wanted to get back to it. Now he’s done it with Jazz Batá 2, “with more resources, in every sense,” he says, “with a wider panorama.”
It’s an exceptionally tight band. All of the three supporting musicians – Yaroldy Abreu Robles, Dreiser Durruthy Bombalé, and Yelsy Heredia – are from the Guantánamo region and have deep roots in Cuban musical culture as well as being conservatory-trained. Yelsy and Dreiser grew up together, went through music school together, graduated together, and have been playing music side-by-side literally all their lives. Yaroldy, who plays a wide variety of drums – congas, batá, bongó, orchestral percussion – has been working with Valdés for 20 years. “He always knows what I’m going to want to do,” says Valdés.
Jazz Batá 2 also marks the centenary of Valdés’ late father and teacher, Ramón “Bebo” Valdés (b. 1918). These two giants of Cuban music shared a birthday – October 9 – so Bebo’s 100th will be Chucho’s 77th. Between the two of them, they’ve exercised a massive musical influence since the 1940s. Bebo’s 1952 creation of the commercially failed but artistically successful batanga – which combined batá drums with a state-of-the-art jazz band – was a direct inspiration for the batá-driven jazz of Irakere, as well as for Jazz Batá and its sequel being released 46 years later. This stretch of time reinforces the enduring and magnificent career Valdés has cultivated over the 77 years of his life, with no signs of slowing down and never one to conform or expand the boundaries of his musical inventions.
Track-by-Track for Jazz Batá 2:
Obatalá: A mini-suite evoking Valdés’s santo in the Yoruba religion of Cuba (santería), with a liturgical rhythm that belongs to Obatalá, the god of wisdom and justice. “Yelsy Heredia’s bowed-bass solo has a spiritual dimension,” says Valdés, “played as if calling the ancestors. It finishes with all of us singing one of the most beautiful of Obatalá’s melodies.”
Son XXI: Beginning with a section that Valdés calls “half Cecil Taylor style, half Muhal Richard Abrams style,” it transforms into a catchy composition by the late Cuban composer Enrique Ubieta that plays with rhythmic clusters. It’s a new framing of a number that reaches back to the first Jazz Batá and beyond; Valdés first performed it in 1963 in the Teatro Musical de La Habana.
Luces: Composed only two weeks before the recording session and featuring one of Valdés’ most interesting solos ever, this is perhaps the first-ever bolero (romantic ballad) with congas and batá. “It gives the bolero rhythm a different sabor,” says Valdés of the batá, as do the tune’s augmented-chord harmonies.
Ochún: Syncretized with the Catholic saint La Caridad del Cobre, protector of Cuba, the Yoruba orisha Ochún represents feminine beauty. She loves sweet music, so she’s saluted with a violin. Regina Carter was the obvious call; the two musicians have been friends for years. The rhythm is a merengue haitiano – another nod to Bebo, who spent quality time working in Haiti.
Chucho’s Mood: Another of Bebo’s innovations was the descarga, or Cuban jam session (1952’s immortal “Con Poco Coco”). This is a descarga, built on a rhythmic three-note tumbao (G, B, C). “It’s like a tornado,” says Valdés, “it gathers, gathers, builds, and builds.”
100 Años de Bebo (100 years of Bebo): A tune by Bebo, rescued from oblivion by Valdés, played by Regina Carter, and set as a danzón-mambo. “No one’s heard this tune,” he says, “I’m the only person who knows it. When I was a child, Bebo played it on the piano at home. Just a tune, very beautiful, and as many times as he played it, it always captured my attention. I don’t believe he ever recorded it. Since it’s his centenary, I added an introduction, I put a tumbao at the end, and recorded it.”
El Güije: A güije is a mythical Cuban creature that lives in the river. This tune, which Valdés refers to as a bembé (sacred party), is based on a rhythm created by percussionist Dreiser Durruthy, and features him speaking in the Kikongo-derived sacred language of the Afro-Cuban religion known as palo.
The Clown: A piano solo, dedicated to Maurice Ravel, that Valdés composed when he was with the Orquesta Cubana de Música Moderna (of which he was a founder, in 1967). It’s a theme-and-variations: “I go impressionist, I go a little avant-garde, I play batá on the piano…”
For more information on Chucho Valdés, please visit: Chucho-Valdes.com
Birdsong At Morning Spins Elegant Tapestries of Sound, Words, and Music on New Album “Signs and Wonders”
From the quietly ambitious 4-CD box set debut, “Annals of My Glass House” (2011), through the expansive territory of “A Slight Departure” (2015), to the masterful new album, “Signs and Wonders” (2018), Birdsong At Morning has garnered rave reviews and airplay around the world.
Led by songer/songwriter Alan Williams, along with compatriots Darleen Wilson (guitar) and Greg Porter (bass), and a host of new and old collaborators, Birdsong At Morning spins elegant tapestries of sound, words, and music.
Produced by leader Alan Williams, the band's new album contains 10 original compositions by Alan, and an inventive (and timely) interpretation of Supertramp's “The Logical Song.” Joining the core trio of Alan, Darleen and Greg, are drummer Ben Wittman (Sting, Paula Cole, Laurie Anderson) and guitarist Thomas Juliano (Seven Mary Three, Aimee Mann), along with a 20-piece string orchestra. Basics were recorded with David Minehan at Woolly Mammoth Sound, and the strings were recorded at WGBH, engineered by Antonio Oliart. The album was mastered by Grammy award winner Adam Ayan at Gateway Mastering, and the Blu-Ray was authored by Neil Wilkes of Opus Productions, the same folks behind the King Crimson, Yes, and XTC reissues.
Says Alan, “Just as the album art is a bold, full-color shift from our previous sepia-toned artwork, so the music inside represents a wider sonic spectrum, and musical pace. The general theme is that there is often hidden and overlooked beauty to be found in unexpected places. There are references to the natural environment in many of the songs, and some of these are contrasted with a more urban experience, or interior mindset. To quote the title song, 'take a look around.'”
“Signs and Wonders” is available for streaming and download on September 28, 2018, but will also be issued in a 2-disc CD/Blu-ray package, with 44.1/16 stereo mixes on the CD, and 96/24 vocal and instrumental mixes in stereo, LPCM 5.1 surround sound, and DTS-HD 5.1 surround sound, along with a 16-page lyric book.
Additionally, there are videos to accompany every song on the album. These videos are available on the Blu-ray, and will be posted on YouTube throughout the year.
Watch Birdsong At Morning's video for the lead track from the album, “Waterfall”: https://youtu.be/hKvksNVhkeo
Formed in 2008, Birdsong At Morning began as an exercise in resurrecting long-dormant musical energies. Williams and Porter had gone to the New England Conservatory of Music, then played together in several groups, notably the star-crossed folk-rock ensemble, Knots and Crosses. Porter was a founding member of Talking To Animals, before playing for Aimee Mann and Patty Griffin, among others. Wilson established herself as a groundbreaking recording engineer in Boston, working with a broad spectrum of artists from punk (Salem 66), to pop (New Kids On The Block), before becoming the pre-eminent producer of New England singer/songwriters – Bill Morrissey, Patty Larkin, Catie Curtis, Chris Smither.
During the long period between the demise of Knots and Crosses – a demise precipitated by their calamitous signing with Island Records – and the formation of Birdsong At Morning, Williams embarked on parallel careers in music production and academia. He served as musical director for Dar Williams and engineered a number of records for Patty Larkin, while earning a PhD in Ethnomusicology from Brown University. He is currently Chair of the Department of Music at the University of Massachusetts Lowell, where he also serves as the Richard and Nancy Donahue Endowed Professor of the Arts, and has published a number of scholarly chapters and journal articles, all while maintaining a presence as a creative, performing musician. In his spare time, he is also a certified yoga instructor.
The depth of experience present in every aspect of the band's work helps to explain the professional quality that exists in this totally DIY project. The group releases its own records, designs its packaging, and does much of the engineering and musical production work. Of course, like many indie-minded endeavors, Birdsong At Morning is assisted by extraordinarily talented friends – long-time collaborative partner Ben Wittman (Paula Cole, Laurie Anderson, The Story) plays drums, Greg’s Talking to Animals compatriot Thomas Juliano frequently contributes guitar, and the band’s last two albums were recorded with David Minehan (The Neighborhoods, Paul Westerberg, Aerosmith) at his studio Woolly Mammoth Sound, and mastered by Grammy award winning engineer, Adam Ayan.
(September 19, 2018) During the 1960s Detroit was flush with such musical riches that sometimes great artists never quite got their full due, even as they created wonderful music. Such was the case with the Elgins, who were part of the Motown hit machine and scored the 1966 smash “Heaven Must Have Sent You (written by Holland-Dozier-Holland), but who are sometimes forgotten in the recollections of Detroit’s greats. We’re sad to inform SoulTrackers of the death of group co-founder Johnny Dawson.
Along with Robert Fleming, Cleo "Duke" Miller and Norman McLean, Dawson had recorded as The Downbeats before signing to Motown and changing their name to The Elgins. They added vocalist Saundra Edwards and scored a hit with “Darling Baby” in 1965.
Their follow up single, the Holland-Dozier-Holland penned "Heaven Must Have Sent You," shot up the pop and soul charts, and became the group’s signature song. Unfortunately, by the end of 1967, with no other hits, the Elgins broke up, seemingly for good. But a reissue of “Heaven Must Have Sent You” in the early 70s became a hit in Europe, and the group toured on it. That success also led to a reunion on Ian Levine’s retro Motorcity label in the 80s, and the group recorded into the 90s with moderate success.
Johnny Dawson was another important contributor to the glory days of Detroit soul music, and he will be missed.
For a more complete biography of The Elgins, visit http://www.uncamarvy.com/5Emeralds/5emeralds.html
ARTURO O’FARRILL JOURNEYS TO THE U.S.-MEXICO BORDER TO ERASE ATIFICIAL DIVIDING LINES TO ENVISION A FUTURE OF INCLUSION AND COLLABORATION BETWEEN NATIONS
Fandango at the Wall: A Soundtrack for The United States, Mexico and Beyond –
Available September 28 on Resilience Music Alliance
Inspired by the Fandango Fronterizo Festival, O’Farrill and Kabir Sehgal Bring Together the Afro Latin Jazz Orchestra with over 60 Musicians including Mandy Gonzalez, Regina Carter, Akua Dixon, Antonio Sanchez & Young People's Chorus of New York
From the barrage of “breaking news” alerts on the 24-hour news cycle to the incessant buzz and chirp of social media, there’s no shortage of reminders of the things that divide us: walls being built, lines being drawn, the notion of “difference” being wielded as a political weapon.
That’s what makes an artist like Arturo O’Farrill such an important voice for these times. As a pianist, composer, bandleader, educator, activist, and founder of the Afro Latin Jazz Alliance, O’Farrill has dedicated his life to not only crossing artificial borders but to erasing them in his wake. With his latest project, Fandango at the Wall, O’Farrill has created a stunningly ambitious and profoundly moving work that showcases the rich fruits that can grow from common ground.
Fandango at the Wall, due out September 28 via Resilience Music Alliance, is the brainchild of O’Farrill and his longtime collaborator and GRAMMY® Award-winning producer, Kabir Sehgal. The project brings together brilliant voices from a variety of cultural and musical traditions to tear down a variety of walls that isolate us – physical, musical, or cultural. The piece was inspired by Jorge Francisco Castillo, a musician and retired librarian who has organized the Fandango Fronterizo Festival for the past decade. The annual event gathers son jarocho musicians on both sides of the border wall between Tijuana and San Diego for a celebratory jam session.
“I found that idea so touching and elegant in its activism,” O’Farrill recalls. “I held it inside my soul and spoke to everyone I could about my hope to join the Fandango Fronterizo and record at the border, bringing special guests and making it a true collaboration.”
O’Farrill’s esteemed Afro Latin Jazz Orchestra and Castillo’s son jarocho musicians came together at the border, joined by a more than 60 gifted musicians representing both sides of that divide as well as several of the countries targeted by President Trump’s travel ban: Broadway singer-actress Mandy Gonzalez (Hamilton, In the Heights); jazz greats Regina Carter (violin), Akua Dixon (cello), and Antonio Sanchez (drums); multi-talented Mexican violin trio The Villalobos Brothers; son jarocho greats Patricio Hidalgo, Ramón Gutiérrez Hernández, and Tacho Utréra; French-Chilean rapper-singer Ana Tijoux; Iraqi-American oud master Rahim AlHaj and his trio; Iranian sitar virtuoso Sahba Motallebi; and many others.
“Thinking about this awful, awful moment in history – not just American history but world history – I wanted to confront the darkness that has overcome all our lives,” O’Farrill says. “Faced with such stupidity and mediocrity, why not at least try to do something valuable? My first thought was to bring not just great artists but also people from marginalized nations. We understand that humanity and community are so much stronger than cultural constructs, physical walls, or geo-political borders. We saw this in action: we saw our people fall in love with their people and become one people.”
A bestselling author, investment banker, and military veteran, Sehgal helped transform O’Farrill’s long-held dream into a reality despite the logistical and political hurdles. Ultimately the project took on three forms: this astoundingly gorgeous album of music; a book on the history of the troubled U.S.-Mexico relationship with a foreword by renowned historian Douglas Brinkley and an afterword by former U.N. Ambassador Andrew Young; and an in-production documentary focusing on the lives of the son jarocho musicians.
“It falls upon private citizens and individuals to promote cross-border friendship and rapprochement,"
Sehgal writes in his liner notes. “And that is ultimately the goal of Fandango at the Wall: to bring the people of the United States and Mexico together through music. After all, we don’t just share a border but families and friends, histories and futures. Our countries are interconnected, and our fates are interlinked.”
What is most striking about the music of Fandango at the Wall is that for all of the anger, frustration and strife that fueled its creation, it is an intensely joyous celebration that exults in the universal language of music. That notion has become a cliché, but it’s one that O’Farrill has always thrived on making vividly and unpredictably real. Hence the surprising hybrid of approaches on display: not just a mélange of world musics, but virtuosic jazz and striking contemporary classical approaches.
“It’s not just geopolitical borders that offend me,” O’Farrill explains. “It’s also cultural construct borders – the idea that there’s a high music and a low music, a high culture and a low culture. The belief that folk music isn’t as impressive or as important as jazz, or that Middle Eastern music isn’t valid because it’s not born in America. I wanted to destroy these walls, and in fact I found out that the presence of borders and walls and constructs serves an incredible purpose – it unites us in opposition even more than it divides us.”
Another border torn down by Sehgal and O’Farrill was the one between the pristine conditions of the recording studio and the thrilling festivities of the Fandango Fronterizo. Fandango at the Wall flows seamlessly between both settings, with five sessions undertaken in recording studios and outdoors at a live session straddling the border with music freely crossing back and forth.
“The most terrifying thing about being human is the fear of other people,” O’Farrill concludes. “Very few people have the freedom of spirit to embrace things they don't understand. So I really love the idea that Mexican families who enjoy jarocho music will be introduced to the virtuosity of Regina Carter, or that hardcore jazzheads will discover Patricio Hidalgo. I’m hoping that people will listen to this album and whether or not they understand the words or enjoy the music, they’ll take a moment to think about human beings that are not like them.”
“Fandango at the Wall is ultimately a project of convergence,” Sehgal writes. “I hope that as you listen to this music, you’ll hear the possibilities of what the relationship between the United States and Mexico can become. And that we as artists and activists continue to create the world in which we want to live.”
Also available as a book, eBook and Audiobook from Grand Central Publishing and Hachette Audio
For more information on Resilience Music Alliance, please visit: ResilienceMusic.com
Follow Resilience Music Alliance on Facebook
Resilience Music Alliance is a new force dedicated to empowering artists who celebrate
and challenge the human condition of Resilience. Resilience Music Alliance is proud to partner with such artists as Rondi Charleston, Ranky Tanky, Allan Harris, & Django Festival All-Stars
The non-profit Afro Latin Jazz Alliance (ALJA), co-producer of the album, was established by Arturo O'Farrill in 2007 to promote Afro Latin Jazz through a comprehensive array of performance and educational programs.
For more information on the Afro Latin Jazz Alliance, please visit: afrolatinjazz.org
Follow ALJA on Facebook
THREE-TIME GRAMMY® NOMINEE JOEY ALEXANDER FOLLOWS UP ACCLAIMED SPRING RELEASE ECLIPSE WITH NEW SPIRITUALLY & SOCIALLY FOCUSED RECORDINGS, HIGH PROFILE EAST & WEST COAST PERFORMANCES, & THREE NEW STUDIO VIDEOS
Unique New Projects with Themes of Faith & Peace Shed Light on Alexander’s Personal Convictions & Musical Versatility
Key Fall Dates
Release Date for Alexander’s Spiritually Uplifting Christmas Singles:
“Oh Come All Ye Faithful” & “What A Friend We have In Jesus”
+ Premiere of “Joey Alexander with Strings at JALC’s Rose Theater (NYC)
Sept. 21 (UN International Day of Peace):
Release Date for Legion of Peace (Songs Inspired by Nobel Laureates)
From the Lori Henriques Quintet feat. Joey Alexander w/ Muhammad Yunus (A Children’s Music Album Inspired by Nobel Peace Laureates)
December 13-16: Residency at SFJAZZ - MINER HALL
New York, NY – September 20, 2018 – Following the release of his critically acclaimed Spring album Eclipse, three-time GRAMMY® nominee Joey Alexander embarks on an exciting fall that includes the release of new music, some high-profile U.S. performances and the unveiling of three compelling in-studio videos from his Eclipse sessions. Alexander shares his musical voice via two unique new jazz releases evoking themes of Faith, Goodwill and Peace. All showcase different facets the 15-year-old’s expanding artistic depth and versatility.
Despite universally familiar traditions, Christmas has always been a holiday celebrated by each family and individual in their own personal style. On October 19, Alexander will unveil his own distinctive way to celebrate the holidays with his soulful and uplifting interpretations of the Christmas carol “O Come All Ye Faithful” and the beloved Gospel hymn “What A Friend We Have In Jesus.”
Alexander refers to the Christmas season as “simply the best time of year,” and as an artist who has routinely cited his faith as a central source of inspiration, the opportunity to record and release this music holds deep meaning for him. “My faith in Christ has helped keep me grounded,” says Alexander. “I chose ‘What A Friend We Have In Jesus,’ because Christmas is really about our relationship with Jesus, above all the usual Christmas season traditions.” As Alexander first experienced this Gospel song on Aretha Franklin’s iconic 1972 recording, he comments that his new recording of the classic also doubles as a tribute to the Queen of Soul, who he has loved since childhood and considers a key influence.
Also in the spirit of creating music with deeper meaning, Alexander chose this year to participate in Legion of Peace, a jazz-based Children’s music album with musical profiles of eight of our the world’s greatest peacemakers, namely the Nobel Peace Laureates Desmond Tutu, Malala Yousafzai, Leymah Gbowee, Jimmy Carter, Jody Williams, Ralph Bunch, Wangari Maathai and Muhammad Yunus (who provides the spoken word introduction to Legion of Peace.) Written and sung by GRAMMY®-nominated children’s music artist Lori Henriques, Legion of Peace comes out on Motema on September 21 (to celebrate the U.N. International Day Of Peace) and also features fellow Motéma artists Pedrito Martinez and Oran Etkin.
“I became interested participating in Legion of Peace band after hearing the project’s goals to promote peace, hope, and justice,” reflects Alexander, who also included his own songs with similar inspiration titled “Peace” and “Faithful” on his Spring release, Eclipse. “I think musicians have to be a force for good in the world. I hope my music brings people together and touches them in many ways: encouraging them, bringing them joy and peace, and reaches them spiritually.” Alexander, who anchors Henriques’ quintet from the piano chair, also improvises four almost Ravelian solo-piano preludes on the project which reveal yet another side to his creativity.
June 2018, when Alexander turned 15, also marked the fourth year since he burst onto the New York jazz scene by performing at the Jazz at Lincoln Center’s 2014 Gala at the Rose Theater in New York City. At the gala, then ten-year-old Joey Alexander performed his astonishing rendition of Monk’s ‘Round Midnight which inspired a spontaneous ovation from the astute audience, the Jazz at Lincoln Center Orchestra and the host Billy Crystal. After that momentous occasion, word spread quickly about the young family who had brought their extraordinary son to New York, so he would be able to progress further as an artist by ‘playing with the best musicians.’ What transpired next was one of the most rapidly ascendant careers ever seen in jazz. Now, four years, four releases and three GRAMMY® nominations later, the question of whether Alexander is the real deal, is no longer raised; the only question is, what will he do next? This year he returns to Rose Theater to perform with strings for the first time on October 19-20. “Joey Alexander with Strings” will showcase Alexander’s original compositions from Countdown and Eclipse, as well as perhaps some Monk and some spiritual offerings (collaborating with acclaimed composer/arranger Richard DeRosa on string arrangements).
Alexander also looks forward this fall to unveiling three never before seen in-studio videos from his Eclipse sessions this fall: a five camera shoot of the recording of his composition “Faithful,” featuring saxophonist Joshua Redman just released; a fascinating single camera video that witnesses the ‘birthing’ of the title-track “Eclipse” – a nine-minute opus of fiery creative improvisation recorded in reaction to the trio’s experience of the August 21, 2017 solar eclipse which took place on the first day of the sessions (PREVIEW THE VIDEO BELOW); and on Thanksgiving day, the in-studio video of Alexander’s soulful solo rendition of the Beatles’ “Blackbird,” in honor of the 50th Anniversary that day of that beloved classic.
Alexander will close out his fall schedule with a return to SFJAZZ’s Miner Auditorium, December 13-16, where his trio will premiere new original compositions, Christmas songs and other surprises.
All in all it’s been a highly productive year for the young artist, who in addition to a packed U.S. performing schedule has been honored internationally with invitations to perform at special events for the Louis Vuitton Foundation in Paris, The Asian Games in Jakarta, and for the 60th anniversary of relations between Indonesia and Japan taking place in Tokyo on September 25. The recording and release of Alexander’s video “Bali” - filmed in his homeland and set to his composition of the same name - was also a highlight of the year for the young artist, who has emerged not only as an astonishing young player, but as a developing composer of note and a particular favorite at Jazz Radio. (Eclipse, which included six original compositions, spent a nearly unprecedented nine weeks at #1 on JazzWeek Radio Chart). When asked what’s next, Alexander humbly responds: “As I play more of my original music, I enjoy and feel inspired to write even more.” It’s clear that the world can look forward more pleasing surprises from this dedicated young man.
About Joey Alexander
Since coming to the United States in 2014, the response to Joey has been astonishing. The Bali-born 15-year old has experienced one of the most rapidly ascendant careers in jazz history. Since releasing his chart-topping albums, My Favorite Things (2015), Countdown (2016), Eclipse (2018), Joey has earned a combined three GRAMMY® Award nominations, making him the youngest jazz artist ever nominated for a GRAMMY® Award. His musical adroitness earned him appearances on the GRAMMY® Awards, The Today Show, CNN, as well as CBS 60 Minutes profile by Anderson Cooper, fueling a rare level of public notoriety for Joey as a jazz musician, both within the jazz community and among the public at large.
Photo Credit: Jimmy Katz
October 11: Dakota Jazz Club, Minneapolis, MN
October 12-13: Jazz Bistro, St Louis, MO
October 19-20: Rose Theater @ Jazz at Lincoln Center, New York, NY
November 4: Sonesta Resort, Hilton Head Island, SC
November 11: Cabot Theatre, Beverly, MA
December 13-16: Miner Auditorium, SFJAZZ Center, San Francisco, CA
JOEY ALEXANDER ONLINE:
Website · Facebook · Twitter · Instagram
For more information on Motéma Music, visit motema.com
Zeer getalenteerd en één van de meest innovatieve rockmuzikanten. Zo zal Steve Hackett de geschiedenisboeken ingaan. Samen met Peter Gabriel, Phil Collins, Tony Banks en Mike Rutherford vormde hij de spraakmakende line-up van Genesis die het baanbrekende album ‘Selling England By The Pound’ (een lievelingsalbum van John Lennon) uitbrachten in 1973. Maar ook vanwege zijn songschrijverkunsten, zijn bijzonder gitaargeluid en zijn unieke gitaarspel. Hij beheerst als geen ander de ‘tapping’ techniek die ook door Eddie Van Halen overgenomen werd en het ‘sweep picking’.
Hackett beschikt over een oeuvre om u tegen te zeggen. Enkele van de vele hoogtepunten: de hitsingle “Cell 151”, de albums samen met Steve Howe in de super group GTR, de ‘Genesis Revisted’ en ‘Genesis Revisited II’ succesalbums, het album samen met Chris Squire van Yes ‘Squackett’, ...
Met de aankondiging van zijn nieuwe ‘Selling England By The Pound’ tournee weet Hackett enorm veel belangstelling op te wekken voor wat een spectaculaire en onvergetelijke show beloofd te worden: het gelijknamige album speelt hij integraal live, de 40e verjaardag van zijn doorbaak soloalbum ‘Spectral Mornings’ komt ruim aan bod, net zoals songs van zijn nog te verschijnen nieuwe plaat (release voorzien voor begin 2019).
Op paasmaandag 22 april 2019 staat legendarisch gitarist Steve Hackett samen met enkele van de beste muzikanten ter wereld in het Kursaal in Oostende met de ‘Genesis Revisited Tour 2019’ tournee. Een niet te missen show! De ticketverkoop start donderdag 27 september om 10u via livenation.be en proximusgoformusic.be.
DONDERDAG 27 SEPTEMBER, 10:00
€ 53,50 - € 44,50 - € 40,50 - € 35,25
earMUSIC is proud to announce the worldwide signing of Robben Ford – the blues, jazz and rock virtuoso, who is one of the most innovative and influential contemporary premier electric guitarists, vocalist and songwriter with a celebrated career that has spanned almost five decades.
The five-time Grammy nominee achieved worldwide fame for both, being a solo artist and for his collaborations with a diverse musical Who’s Who that includes Miles Davis, George Harrison, Steely Dan, Joni Mitchell, Dizzy Gillespie, Georgie Fame, Kiss and many more.
With both parents being passionate musicians themselves, Robben early found his love for music and especially for playing guitar – and it was a love that should last forever. Today his commitment to teaching and passing on what he’s learned over the years to current and future musicians is an essential component of his career.
Purple House, his forthcoming brand new studio album, co-produced by Casey Wasner, features nine powerhouse tracks and the album’s genesis, according to Ford, was simple and uncomplicated. “My concept for the record was to do something with a lot more emphasis on the production than I’ve had in the past”, says Robben. “I’m always pushing myself with each record. I haven’t made one record that sounded like the one before it and this was going to be no different. ‘Purple House’ was a great opportunity to try something really different.”
And he adds: “I used to deliberately write blues and rhythm and blues. The Blue Line, that band really focused on blues and rhythm and blues. Traditional. But over the years I’ve really tried to expand that and this new record, more than anything I’ve ever done, is a real departure from tradition in terms of the songwriting.”
On Purple House we hear special guests appearances such as blues powerhouse vocalist Shemekia Copeland; she sings a duet with Ford on “Break In The Chain.” Travis McCready, the lead singer of the Natchez, Mississippi band Bishop Gunn, contributes the lead vocals on “Somebody’s Fool.” And we hear a fantastic guitar solo of Bishop Gunn’s guitarist Drew Smithers on the album’s closing track “Willing To Wait”.
From end of October 2018 onwards Robben Ford will take Purple House on a European tour. The first dates in The Netherlands, France and Italy have just been released. Dates in the UK, Germany and Scandinavia in Spring 2019 will be announced shortly.
27.10. - Alkmaar - Podium Victorie, NL / 28.10. - EZ Hengelo – Metropool, NL / 29.10. - Utrecht - TivoliVredenburg, NL / 31.10. - Maastricht - Muziekgieterij, NL / 2.11. - Auxerre Le Silex, FR / 3.11. - Issoudun - Centre Culturel Albert Camus, FR / 4.11. - Lyon - Ninkasi, FR / 5.11. - Arles - Les Escales Du Cargo, FR / 7.11. - Montbelliard - Le Moloco, FR / 8.11. - Epinal - La Souris Verte, FR / 9.11. - Terville - Le 112, FR / 10.11. - Paris - Le Trianon, FR / 15.11. - Lucca – Teatro del Giglio, IT / 16.11. - Roma – Auditorium Parco della Musica, IT / 20.11. - Schio – Teatro Astra, IT / 22.11. - Cavaglio D’agogna – Pala Phenomenon, IT / 23.11. - Parma - Barezzi Festival, IT
All tour dates, updates and more information to be found under www.robbenford.com
W-FEST (B): 4 DAGEN, 3 PODIA, 78 ACTS O.A.
New Model Army, VNV Nation, The Primitives, Time Bandits, The Stranglers, Adam Ant, Tony Hadley, Johnny Hates Jazz, Nik Kershaw, Peter Hook & The Light, The Blow Monkeys, Sigue Sigue Sputnik Electronic, Lene Lovich Band 40 years, China Crisis, The Human League + nog 3 grote acts
-15 tot en met 18 augustus 2019 in Amougies/Mont-de-l'Enclus nabij Kluisbergen (B)-
Announcement party op 1 december 2018 in Vooruit Gent (B) met
Peter Murphy & David J playing BAUHAUS’ ‘In the Flat Field’
Het gebeurt niet vaak dat een organisatie tijdens het festival zelf al de bijna volledige line-up van de editie van het jaar erna bekendmaakt. W-Fest is een prettige uitzondering op die regel en is ook in een aantal andere opzichten behoorlijk uniek. Vorige maand trok dit Belgische ‘80s/new wave/EBM/synthpop-festival (met volwaardige camping) ruim dertigduizend fans tijdens een in alle opzichten geslaagde derde editie met acts waaronder Midge Ure; Kim Wilde; ABC; Paul Young; Marc Almond; A Flock of Seagulls; Heaven 17; D:uel (ex-Propaganda); Limahl; Vive La Fête; Captain Sensible; Wang Chung; Lords of Acid; DAF en special shows van Anne Clark en van Peter Murphy 40 years of Bauhaus celebration featuring David J.
Voor de komende editie volgend jaar (van donderdag 15 augustus tot en met zondag 18 augustus 2019 in Amougies; 45 kilometer van Gent en ongeveer twee uur rijden vanuit Breda) is festivalorganisator Erik De Ridder er in geslaagd om een nóg sterker affiche te programmeren, met 78 acts gedurende 4 dagen op 3 podia (genaamd hoofdpodium Synth Scene; Wave Cave en The Olivier Daout Dome). Een greep: New Model Army, VNV Nation, The Primitives, The Blow Monkeys, Time Bandits, Adam Ant, The Stranglers, VNV Nation, Johnny Hates Jazz, Nik Kershaw, Peter Hook & The Light, Tony Hadley, Sigue Sigue Sputnik Electronic, Lene Lovich Band 40 years, China Crisis, The Human League plus nog 4 aan te kondigen acts (op 1 december- zie hieronder).
De volledige line-up staat hier.
Announcement party met Peter Murphy & David J playing BAUHAUS’ ‘In the Flat Field’
Op 1 december organiseert W-Fest een announcement party in Vooruit Gent (B) waar de laatste 4 namen van W-Fest 2019 worden aangekondigd, waaronder twee headliners en afsluiter van main stage Synth Scene. Optredende acts zijn die avond Peter Murphy & David J playing BAUHAUS’ ‘In the Flat Field’ en opening act Astrasonic. Er zijn slechts 400 tickets beschikbaar, alle info staat hier.
W-Fest 2019 (B): 4 dagen, 3 podia, 78 acts
Alle info en het (bijna) volledige programma is te vinden op de site. Hieronder staan alle acts per dag op alfabetische volgorde; de vier laatste acts worden op 1 december aangekondigd.
De vetgedrukte namen staan op main stage Synth Scene.
Donderdag 15 augustus 2019
Adam Ant, Afterparty: The obsCURE, Blaine L. Reininger plays Tuxedomoon, Der Klinke, Empathy Test, In Strict Confidence, Kaelen Mikla, Merciful Nuns, Nox Interna, Signal Aout 42, Solar Fake, The Blow Monkeys, The Cassandra Complex, The Primitives, The Stompcrash , The Stranglers, Time Bandits, VNV Nation.
Vrijdag 16 augustus 2019
Afterparty: Letz Zeppelin, Allez Allez, Blaine L. Reininger plays Tuxedomoon, Inertia, Johnny Hates Jazz, Lebanon Hanover, Monréal Biarritz, Nik Kershaw, Ono Scream, Peter Hook & The Light, She Wants Revenge, The Breath Of Life, Tony Hadley, Toyah, Tristesse Contemporaine, True Zebra, Ultranoire, Vile Electrodes.
Zaterdag 17 augustus 2019
Afterparty: tribute to Pink Floyd, Blaine L. Reininger plays Tuxedomoon, Blutengel, China Crisis, Escape With Romeo, Holygram, Lene Lovich Band 40 years, Mesh, Nitzer Ebb, Portion Control, Psyche, Rendez-Vous, Schmutz, Shireen, Sigue Sigue Sputnik Electronic, Sono, The Human League, Then Comes Silence, Your Life On Hold.
Zondag 18 augustus 2019
And One, Apoptygma Berzerk, Apparaat, Blaine L. Reininger plays Tuxedomoon, Desperate Journalist, Eleven Pond, Fehlfarben, Lavvi Ebbel, Kowalski, New Model Army, Pink Turns Blue, Rational Youth, Red Zebra, The Foreign Resort, Whispering Sons, Saigon Blue Rain.
Het verhaal van Amougies: ‘het Woodstock van Europa’- volgend jaar een halve eeuw geleden
W-Fest vindt plaats op dezelfde locatie als het inmiddels legendarisch geworden Festival d'Amougies, het vijfdaagse pop-, (prog) rock- en jazz-festival dat van 24 t/m 28 oktober 1969 werd gehouden met onder meer Pink Floyd, Frank Zappa, Yes, Caravan, Captain Beefheart, Soft Machine en Ten Years After. Ongeveer 80.000 bezoekers kwamen op ‘het Woodstock van Europa’ af.
Hier staat een korte recap.
Tickets (prijzen exclusief servicekosten)
Alle soorten tickets en hun prijzen staan op de site. O.a.:
- 4 dagen (donderdag t/m zondag): € 150,-
W-Fest heeft een ruime camping met uitstekende faciliteiten en een grote keuze qua accommodatie. Alle soorten + prijzen staan hier.
Website & Social Media
A disco arrangement of John Williams' (USA) music to Star Wars (USA, 1977) – entitled "Star Wars Theme and Cantina Band" – by record producer Meco, aka Domenico Monardo (USA) in 1977, remains the only instrumental single to reach Platinum status by the Recording Industry Association of America (RIAA), having sold over 2 million units. The track featured on the album Star Wars and Other Galactic Funk, which outsold the original movie soundtrack and was also certified platinum.
Studio 54 was the epicenter of 70s hedonism - a place that not only redefined the nightclub, but also came to symbolize an entire era. Its co-owners, Ian Schrager and Steve Rubell, two friends from Brooklyn, seemed to come out of nowhere to suddenly preside over a new kind of New York society. Now, 39 years after the velvet rope was first slung across the club’s hallowed threshold, a feature documentary tells the real story behind the greatest club of all time.
Singer-Saxophonist, Danny Bacher is a fresh new face on the jazz landscape. His clean, crisp delivery is reminiscent of the true greats in entertainment. An engaging stage presence, a smooth-as-silk voice, and the gift of a storyteller all come together to complete his new recording, Still Happy
This swinging album features a compelling marriage of uplifting tunes and performances, delivered with the style and polish of a seasoned pro. “The way I like to connect to my audience is through humor, lightness and a positive message” says Danny. “I like to convey a positive message.” Offered without irony, these sentiments serve as the baseline philosophy behind Still Happy.
The album features arrangements by Danny and Allen Farnham, crafted to energize Danny’s indefatigable spirit; a rhythm section plus horns plus percussion galvanized tight by purpose and desire; Danny’s own “In Spite of All This, I’m Still Happy,” and “Joie de Vivre,” each complementing perfectly the project’s theme and variations; and signature moments of musicality and wit.
There is a wry yet reverential send-up of “Hooray for Hollywood,” a peek behind the dream factory curtain, replete with Danny’s original, happy-making lyrics (“You’ll be splurgin’ to see a surgeon/He’ll make your tuchas look good…”) “Hollywood” proves to be a touchstone, a contrast to the album’s final track, “Cloudy/Nuages.” Together they reveal the yin and yang of Danny’s personality. The former is exuberant, bracing, filled with vivacity; the latter, ruminative, introspective, private.
Danny looks to the heart (and feet) by endowing these tracks – and all others – with sophisticated subtlety. One hears traces of calypso (“Get Happy”), and doo-wop (“Shaking The Blues Away”), and pure Billie Holiday (“Getting Some Fun Out of Life”).
With both words and deeds, Still Happy reflects Danny’s North Star mandate: he aims to please. He is a pure soul, a humanist at heart, whose creativity aligns perfectly with a desire to spread joy. This album is the latest installment in his vision of a sing-along, bouncing-ball world. It is a simple reminder: in the hands of a master storyteller, music is magic.
Fresh from Boston, Mass., alternative country-rocker Chris Moreno has hit the ground running in Music City with It Was You, the lead single from his latest EP, Into the Night. It Was You, written by Moreno, has caught the attention of listeners and industry personnel alike — finding a home on many prominent playlists and racking up more than 110k streams on Spotify. The gritty, heartbreak anthem highlights Moreno’s masterful guitar skill paired with memorable lyrics that will have listeners longing for the past.
Moreno’s latest EP, Into The Night featuring the current single is available on iTunes, Spotify and all digital retailers now.
The single, accompanied by an official music video, is a meaningful one for Moreno who often draws inspiration from real-life situations. “It is a bittersweet one for me and probably my most personal yet,” Moreno says. “I wrote it at a time when I was struggling to move on from a relationship that had ended, but still had a lot of good. It’s a tough spot to be in.”
To view the official music video for It Was You click here.
The EP, written and recorded in Nashville and produced by Jonathan Roye (Kelsea Ballerini) is the follow-up to Moreno’s debut album Into The Sun. Since then, he has been earning the attention of country fans in Nashville and beyond with relatable lyrics, appealing melodies and unique, expressive vocals. Even country radio is taking note saying, “It's hard to define Chris and his music, but there is an aching in his voice and a very slight, sweet twang that softens the edge of his honest and impassioned rock delivery.”
About Chris Moreno: A lot can change in five years — just ask alternative country-rocker Chris Moreno who has spent the better part of the last decade elevating his artistry. After a short departure from music, Moreno rediscovered his love for writing and performing and hasn’t looked back since. A recent transplant to Nashville via Boston, Moreno released his debut album Into The Sun in 2016 featuring the single Try which received nationwide airplay. The song introduced Moreno’s classic, raspy voice and musical style — reminiscent of the alternative rock of the early 2000s mixed with modern country elements — to country radio. Upon its release, he hit the road for a slew of shows across the nation. For him, time off the road is rare which he embraces, saying, “I live on the road because that is where my people are. Without the fans none of this would be possible.” The consummate performer, Moreno combines his genuine love of music with a sincere delivery of every word he sings. With each song, listeners are met with a unique sound that feels both fresh and familiar at the same time.
For more information, visit Chris Moreno at the following:
‘Tijdens de theatershow projecteren we een eigenzinnig universum.
Een aanvulling op het cinematografische van onze muziek’,
zegt frontman Verdickt.
‘Het zijn associatieve beelden die ik zodanig heb gemonteerd
dat je kan zien hoe de binnenkant van mijn hoofd werkt.
Dat klinkt en beetje akelig,
maar dat valt best mee :-).’
‘We gaan van broos naar breekbaar.
Via grooves naar dansbare samenhorigheid.’
Luister naar de nieuwe single 'Het Maakt Je Sterker' HIER
Met een nieuwe single ‘HET MAAKT JE STERKER’
sluit BUURMAN de zomer van 2018 af.
En wat voor een zomer het is geweest !
St Jacobs in Gent, Oude markt in Leuven, Concert at Sea in Nederland,
Brussel, Herent, Genk, Mechelen, …
Le nouveau voisin est arrivé.
Volle pleinen bij valavond.
Dansende lijven tijdens
een goudgekleurde zonsondergang.
Het uitkijken naar de zomer van 2019
is bij deze al begonnen.
Verder zijn er nog concrete plannen in BUURMANland,
maar daarover later meer.
Eerst het vervolg van de theatertour en die nieuwe single de wereld in :
Want alles wat je niet kapot maakt,
HET MAAKT JE STERKER.
26/09 Rotselaar, MENA
06/10 Ravels, CC De Wouwer
17/10 Middelkerke, GC De Branding
21/10 Leopoldsburg, CC
25/10 Opwijk, GC Hof Ten Hemelrijk
27/10 Heist-Op-Den-Berg, CC Zwanenberg
31/10 Beveren, CC Ter Vesten
02/11 Zemst, GC De Melkerij
03/11 Aalst, De Werf
23/11 Sint-Eloois-Winkel, OC De Link
29/11 Mol, Zaal Rex
30/11 Overpelt, CC Palethe
07/12 Oostende, CC De Grote Post
08/12 Tienen, CC De Kruisboog
14/12 Bilzen, CC De Kimpel
21/12 Ternat, CC De Ploter
THE AUSTRALIAN PINK FLOYD ALL THAT YOU LOVE OP DONDERDAG 18 APRIL 2019 IN HET KONINKLIJK CIRCUS, BRUSSEL!
De Australische groep kondigt zijn terugkeer op de planken aan met de ‘All That You Love World Tour 2019’! The Australian Pink Floyd Show brengt daarmee Pink Floyd-klassiekers uit onder meer ‘Meddle’, ‘The Dark Side of the Moon’, ‘Wish You Were Here’, ‘Animals’ en ‘The Wall’ opnieuw tot leven. Maak je op voor ‘s werelds grootste en meest prestigieuze hommage aan de grootmeesters, op donderdag 18 april 2019 in het intieme kader van het Koninklijk Circus in Brussel!
Met ruim 4 miljoen verkochte tickets in meer dan 35 landen over de hele wereld, kan je niet naast het overdonderende succes van de band kijken. Gelauwerd door de internationale pers en met steun van David Gilmour himself, rijden ze een onberispelijk parcours, en dat al sinds hun allereerste optreden in Adelaide in 1988. Met een verbluffend oog voor detail wagen de Australiërs zich tot in de perfectie aan het legendarische oeuvre van de Britse groep. Omringd door muzikanten en een geluidstechnicus die nog met het échte Pink Floyd op tournee waren, verlegt TAPFS telkens weer de grenzen van het genre en prepareren ze steeds verbazingwekkendere optredens aan een immer groeiende fanbase. België ontsnapt niet aan het fenomeen, want doorheen de jaren ging het publiek al voor de bijl; zowel in de zaal (Koninklijk Circus, Koningin Elizabethzaal, Stadsschouwburg, Vorst Nationaal) als op de festivals (Rock Werchter, Suikerrock, Lokerse Feesten).
DONDERDAG 20 SEPTEMBER, 10U
54,50 EURO - 47,96 EURO
41,42 EURO - 37,06 EURO (Genummerde zitplaatsen).