Hij is nog maar een tiener wanneer hij zijn briljante, titelloze debuutplaat uitbrengt in 2012. Met hits als “Holdin On”, “On Top” en “Sleepless” wordt het eerste album van Australiër Flume wereldwijd meteen op luid applaus onthaald. In de twee jaar die daarop volgen, weet de jonge artiest zich te profileren als een gevestigde waarde in de internationale muziekscene. Daar dragen enkele schitterende liveshows (o.a. op Coachella, Lollapalooza, Reading & Leeds) en spraakmakende remixes van artiesten als Lorde en Disclosure ongetwijfeld toe bij! In 2016 komt opvolger ‘Skin’ uit en er is op dat moment geen ontkennen meer aan: Flume is het nieuwe wonderkind van de elektronische scene! Mede dankzij de monsterhit “Never Be Like You” (feat. Kai) mag hij voor zijn tweede album de Grammy Award voor Best Dance/Electronic Album in ontvangst nemen. Met de tour die aan de release gekoppeld is, zorgt hij voor één van de hoogtepunten op Rock Werchter en concerteert hij groots in Vorst Nationaal.
 
2019 is het jaar van zijn comeback. Eerst met een 38 minuten-durende mixtape ‘Hi This Is Flume’, onmiddellijk gevolgd door zijn eerste nieuwe single sinds 2016, “Friends” (feat. Reo Cragun). Vandaag is er het splinternieuwe “Let You Know”, een samenwerking met London Grammar, en de aankondiging van een nieuwe tournee! Een Belgische halte is voorzien op donderdag 7 november in de Lotto Arena. Tickets voor dat concert zijn beschikbaar vanaf vrijdag 21 juni om 10u.

 
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The urbane contemporary jazz “Night Groove” is among Billboard’s most added singles, setting up the July 12 album release.
​
PENSACOLA (10 June 2019): Don’t be fooled by the quiet facade. Pianist Gino Rosaria has an uncommon depth that stems from being a native of culturally diverse Curaçao, possessing a master’s degree in classical music performance and having a love of jazz. Each element helps shape the music he composes, produces and plays as a first-call session musician and sideman. Crafting his third album, “Still Waters Run Deep,” dropping July 12, is a purposeful leap into the soul-jazz sea as a solo artist with something to say. Collecting playlist adds and earning most added status on the Billboard chart, the set’s first single, “Night Groove,” is a slick R&B ride with Rosaria’s shimmering keys engaging in melodic banter with Marcus Anderson’s saxophone.         
In addition to Anderson, Rosaria’s collaborators on “Still Waters Run Deep” include an array of chart-topping smooth/contemporary jazz artists such as saxophonist Elan Trotman, drummer Eric Valentine, flautist Althea Rene, multi-horn man and arranger David Mann, Roman Street’s acoustic guitarist Noah Thompson, and electric guitarist Adam Hawley, who co-wrote and co-produced “Night Groove” and the disc’s likely second single, “Sunday 3PM.” Rosaria’s compositions were inspired by such collaborations, adventures with his three-year-old son, Simon, and recognizing that it was time to make his own unique musical statement.
“I knew it was time for me to step out as a solo artist. I've been putting it off for a long time and playing with other artists. I have some good material to release to the world. Because of my Caribbean and Latin roots, I think I have something special to offer musically. I don't know how to explain it except by showing it through my music. My time has come to step out onto that stage, not as a sideman, but as Gino Rosaria, The Pianist,” said Rosaria, who moved to the US from Curaçao in 2003 and resides in Pensacola, Florida.
Rosaria considers himself to be reserved except when it comes to expressing himself musically. “I have some very strong feelings and passion deep down inside that I bring out through my music.”
“Still Waters Run Deep” pours nine jazz, R&B, fusion, Latin and funk instrumentals and closes with the stunning and sparse piano and jazz vocal “Unconditional” sung by Brynnevere, who penned the poetic lyrics for the love song.
Days prior to the album’s street date, Rosaria will perform the material at a record release concert on July 7 at Seville Quarter in Pensacola, which will be recorded live with the aim of packaging it as a CD/DVD. Also in Pensacola, Rosaria will lead his band on stage at Gulf Coast Summer Fest: Jazz Edition on August 30.         
Rosaria teamed with saxophonist Chris Godber for the 2012 holiday album, “Joy Peace Christmas.” The following year, he dropped “Some Other Time.” Simon’s birth inspired the 2016 Groove Symphony project “Simon Says” for which Rosaria served as bandleader, blending classical, jazz, Latin and Caribbean nuances and satisfying his desire to write orchestral music that could serve as film scores. As a sideman, he can be found in the company of Hawley, Rene, flautist Kim Scott, violinist Karen Briggs and clarinetist Tim Laughlin among others.          
“Still Waters Run Deep” contains the following songs:
 
“Night Groove” featuring Marcus Johnson
“Road Trip” featuring Althea Rene
“Island Life”
“Sunday 3PM” featuring Elan Trotman
“The Night is Still Young”
“Gentle Touch”
“Pool Party”
“Funkin’”
“Rush Hour”
“Unconditional (A Song For My Son)” featuring Brynnevere
                     
For additional information, please visit https://ginorosaria.com.

Ik zag Eric Conley tweemaal live aan het werk met zijn tributeshow The Barry White Experience. Hij stond voor december geprogrammeerd in het Kursaal in Oostende. Groot was dan ook mijn verwondering toen ik deze aankondiging door zijn echtgenote op Facebook las:

Dear friends,
I am sorry to inform you, that my husband Eric Conley passing away after a long illness. We miss him terribly, but the memories he left us will comfort us a lot. Please remember him, as he was always in a good mood, generous and kind. In this difficult time we ask you to refrain from any Inbox message. THANK YOU...
​
Eric will be buried:on 
Thursday, June 13, 2019 2:00 PM 
Murray Brothers Funeral Home Cascade Chapel
1199 Utoy Springs Rd. SW
Atlanta, Georgia 30331

After the groundbreaking success of Animazonia (14 weeks on charts) #1 NACC Latin Chart and #21 NACC Jazz Chart,  #16 RMR Jazz Chart

Never Before Released in the US 
Turkish Label MCC is proud to present

MELBREEZE - Amethyst 

Add Date Radio: June 24, 2019
United States Street Date: July 26, 2019

Featuring: Scott Kinsey: All keyboards & Arrangements
Gary Novak Drums
Jimmy Haslip: Electric Bass
Arto Tunçboyaciyan: Percussion& Background vocals
James Zota: Baker Electric Guitars
Oz Noy: Electric Guitars
Jeff Richman: Electric Guitars
Doug Livingston: Pedal Steel Guitar
Brad Dutz: Percussion
Judd Miller: EVI
Bob Reynolds: Saxophones & Clarinets
Naina Kundu: Background vocals
 
Born in the historic port city of Smyrna, Turkey; home to the illustrious Greek and Roman settlements. As an only child, she grew up in a house where music flowed freely, and she found company in art. It is her international upbringing and her continued thirst for education and growth that sparks the creativity of each of her releases. Amethyst is set to release in the Summer of 2019.
Amethyst marks the beginning of a new series of music by Melbreeze.
After the success of Animazonia, the public was introduced to a trailblazer that offered something uniquely different in the latin and jazz vocal genre. Her latest album focuses on a slice of the American songbook but with a Melbreeze twist. That twist is approach with an avant-garde flair and sensibility that only Melbreeze could imagine and dream up.

Helping her realize the dream of Amethyst is her longtime collaborator, bassist Jimmy Haslip and producer, keyboardist and arranger Scott Kinsey. Joined by a team of top Los Angeles musicians Gary Novak: drums; Arto Tunçboyaciyan: percussion, background vocals; James Zota Baker: electric guitars; Oz Noy: electric guitars; Jeff Richman: electric guitars; Doug Livingston: pedal steel guitar; Brad Dutz: percussion; Judd Miller: EVI; Bob Reynolds: saxophones, clarinets and Naina Kundu: background vocals. Each selection is transformed into an unmistakable signature performance by Melbreeze continuing on the success already achieved with Animazonia.

Melbreeze has a very specific aesthetic (you have to hear to understand) with the release of Amethyst, that vision is coming into to focus, each release has a transformative approach and Amethyst deepens the mission Melbreeze is on to create her own unique signature sound.
 
PLAYERS AND INSTRUMENTS:
Melbreeze: Lead Vocals
Scott Kinsey: All keyboards & Arrangements Gary Novak Drums
Jimmy Haslip: Electric Bass
Arto Tunçboyaciyan: Percussion& Background vocals
James Zota: Baker Electric Guitars
Oz Noy: Electric Guitars
Jeff Richman: Electric Guitars
Doug Livingston: Pedal Steel Guitar
Brad Dutz: Percussion
Judd Miller: EVI
Bob Reynolds: Saxophones & Clarinets
Naina Kundu: Background vocals

TRACKS AND TIMES: 
1 Summertime
Music: George Gershwin Lyrics: Edwin DuBose Heyward 3:36

2 The sound of silence
Music & Lyrics: Paul Simon 3:43

3 The man I love
Music: George Gershwin Lyrics: Ira Gershwin 4:43

4 God bless the child
Music: Arthur Herzog Lyrics: Billie Holiday 4:43

5 Everything must change
Music & Lyrics: Benard Ighner 5:33

6 Sailor and widow
Music & Lyrics: Keren Ann Zeidel 3:29

7 Cry me a river
Music & Lyrics : Arthur Hamilton 3:58

8 Friendless
Music: Benny Carter Lyrics: Paul Boynton Vandervoort 4:57

9 Send in the clown
Music & Lyrics: Stephen Sondheim 6:28

10 Greensleeves
Anonymous 6:20

11 Hallelujah
Music & Lyrics: Leonard Cohen 4:29

12 Islands in the stream
Music & Lyrics: Barry Gibb, Maurice Gibb, Robin Gibb 5:10

13 Missing You
Music & Lyrics: Leonard Marki, Charles Alan Sandford 4:54

It’s that “pinch me” moment every young singer dreams of – that split second when your childhood idol becomes not only a fan but also your most vocal supporter and encourager. For Presley Tennant, life’s been a surreal whirlwind since Kelly Clarkson spun her chair around 30 seconds into the 16-year-old vocal powerhouse’s rendition of “Stone Cold” during the blind auditions of Season 16 of “The Voice.”
Declaring of her fellow judges, “They are insane! That’s Demi Lovato. That’s a big ol’ range, ya’all,” the three-time Grammy winner invited Presley to join “Team Kelly” and mentored her through the Live Cross Battles and the Playoffs. But their lovefest didn’t end there. When they met up at the show’s finale – where Presley and three of her fellow competitors tore it up on Stevie Nicks’ “Edge of Seventeen” – Clarkson learned that her young protégé would be attending her show that week at The Venetian in Las Vegas. Eight years after Presley sang “Because of You” at her first ever audition for a local competition, Kelly invited her to duet on the classic hit with her live onstage.
“From the time I’ve been a little girl, I’ve grown up performing,” says Presley, whose performance of “Stone Cold” has racked up nearly two million views. “So it’s always been a comfortable place for me. But having been a fan of Kelly’s since I was a little girl, my experiences on ‘The Voice’ and at the Venetian brought everything full circle, like we were meant to connect somehow. When I did the Blind Audition, I was just trying to do my best, and when she turned around so quickly, it was an amazing shock. I seriously wanted to jump around and cry, but I kept things cool and professional to get through the song. Singing and entertaining have always been second nature to me, and I’m excited about the way my time on ‘The Voice’ and my association with Kelly are helping me achieve a whole new level in my career.”
While “The Voice” may have earned her the attention and admirations of millions, the multi-talented Southern California based Presley’s been on a dynamic trajectory as an indie artist these past few years, under the guidance of famed choreographer and creative director Rosero McCoy, President of Rosero, Inc. McCoy has  created a choreography and development team – including songwriter/producers Mischke Butler and Adam Watts - dedicated to helping Presley become the all-around artist and performer she is destined to be. “I see myself as having no stylistic limitations, welcoming many genres I admire and grabbing inspiration from each of them,” Presley says. “Rock has that grit, R&B and soul are all about emotion while pop has that fun dance and high energy feel that’s always a blast to sing and perform.”
Taking vocal lessons on a regular basis, she has worked with some of the most renowned coaches in the industry, including Brittany McMains, Mischke Butler, Valerie Moorehouse, Michelle Gruska, and Trelawny Rose (The Voice). Recording at famed facilities like Westlake Studios, Henson Studios and Revolver Studios, she has worked with producers/engineers David Lei Brandt, Brett Pemberton, Adam Watts, Alex Cantrell, Bill Appleberry, Erik Isaacs, Ken Caillat, and Bill Smith. The songwriters Presley has collaborated with include Eric McCoy, Adam Watts, Cory Clark, Nitanee Paris and Erik Isaacs.  
On May 22, two days before the Clarkson show at The Venetian, Presley dropped her latest single, the emotional power ballad “Me and You,” which she is currently filming a video for. She is currently in the studio working on her first EP. Her previously released tracks since 2016 reflect those passions for a multitude of genres. In 2018, her eclectic output included “Childish,” a playful pop/hip-hop collaboration with emerging rapper Well Written; “Stronger,” an inspirational EDM/hip-hop joint, also with Well Written; “So Special,” an exotic hip-hop flavored tune with King Lion Miguel; and the tour-de-force mystical pop ballad “The Woods.” Prior to that, Presley released the high energy EDM jam “Bff” and two other tracks with Well Written, the fiery power-pop/EDM song “Soda Pop” and sassy “O.O.T.D.,” which features a spirited rap by the singer.
“No matter who I am collaborating with, I have always pushed to record my original music,” says Presley, who counts her influences as everyone from contemporary greats Lovato, Jessie J and Christina Aguilera to soul legends Aretha Franklin and Etta James. “I’ve been writing songs since I was 12 or 13, and while the styles may vary as I’ve worked towards defining myself as an artist, there are always elements in each tune that uniquely reflects who I am. Musically and lyrically, I always want to make music and write storylines that are true to myself.
“The themes have evolved since I started writing because I have a lot more life experiences to draw emotions from,” she adds. “There is so much more that I want to stay now than I could have fathomed just a few years ago. As I continue to grow into who I am and the artist I want to be, I’m enjoying navigating the cool twists and turns and working with so many talented people who bring out the best in me.”
After acing the American Idol program on PlayStation 4 at age 7, Presley took the initiative to search for and call up a local vocal teacher and arrange for lessons. At 10, A knockout performance at a local Boys and Girls Club competition in Temecula, CA – where she was voted “fan favorite” - led to Presley joining the popular girl group 5LPs (five little princesses), with whom she recorded, danced and performed throughout the U.S. and abroad, everywhere from school presentations to amusement parks and other prestigious venues. By 12, she had performed for greats like The Jacksons and Kelly Rowland and recorded in the famed Westlake Recording Studios in Michael Jackson’s Villa. 
Over the past few years, Presley has done over 100 live performances. She was named as the Headliner at the Rise Up Tour event at the Avalon in Hollywood. She’s commanded the stage at the Hard Rock Café Hollywood, the NAMM show, VidCon and House of Blues. Presley also performed at a halftime show at Staples Center in front of 15,000 kids on two separate occasions. Other live shows include LA Live ESPN, GramMarch, Charity Events at Starwest Studios, the Charles Schulz Theatre at Knott's Berry Farm (in front of 2000 kids), National Cheer/Dance Competition for Sharp International in Las Vegas, Orange County Fair and the LA Dance Magic Nationals.
In addition, she has sung the National Anthem at Staples and Honda Center for KISS on several occasions. Presley was also selected as an Ambassador for Young Women with the LA Sparks WNBA and attended several events promoting growth & confidence amongst her peers. For 2017, she was selected as an entertainer for Sharp International and has performed at 8-10 events, including Hawaii and the Nationals in Las Vegas; these shows have average audiences of 600-2000 kids per event, ranging in age from 6 to 18. Presley has also been interviewed and featured in a variety of radio, magazine and blogs, discussing her career and incredible journey. 
“Sometimes, I enjoy looking back at the different experiences of my life, and am humbled by the opportunities I’ve had to share my music in so many ways,” she says. “Yet I’m never going to achieve my goals if I just keep looking back, so I’m very determined to push myself to be better today than I was yesterday as both a person and an artist. Being a true well-rounded artist/performer and being able to represent and be a voice for my generation are the most important aspects of everything I am doing now. I truly want to use my music as a platform to inspire young people and up and coming artists who have the same dreams I do. Just like Kelly Clarkson has done for me, I want to leave a meaningful, lasting impact on everyone whose hearts I am able to touch.”

CD Release Event
Lincoln Center's Midsummer Night Swing
Wednesday July 10, 2019
6pm - Damrosch Park

Dance floor opens at 6:00 pm
Dance lesson at 6:30 pm
Live music at 7:30 pm 
Single Tickets
In advance: $18 
Day-of: $22
Tix Link: https://tickets.lincolncenter.org/booking/production/bestavailable/18036
 
The Eyal Vilner Big Band celebrates the release of its latest album Swing Out!, the fourth effort from the critically acclaimed ensemble, that follows the trajectory of its previous three discs (Introducing the Eyal Vilner Big Band, Almost Sunrise and Hanukkah) of advancing the tradition of big band jazz into the 21st Century. A marvelous collection of new arrangements of jazz and swing classics, as well as original compositions by Vilner, the date confirms the band’s well-earned stature as one of the most swinging groups on the scene today. Inspired by the band’s collaboration with the New York City swing dance community it’s a crowd-pleasing venture guaranteed to get you up out of your seat and moving to the soulful rhythms.

A powerful 18 member group comprised of some of New York’s finest musicians, including both seasoned veterans and talented young newcomers, its music which derives from the jazz, swing and blues traditions, strives to bring a unique voice to these perpetually evolving art forms.  Marked by its continuously grooving rhythm section, tight ensemble playing, inventive soloists, along with the compelling vocals by Brianna Thomas and Brandon Bain, the band has grown to become a favorite with the New York swing and jazz scene, performing sold out shows at many of the city’s most prestigious venues, including Jazz at Lincoln Center, Birdland, Smalls, Minton’s Playhouse, Swing 46, The Django and Central Park SummerStage. 

Eyal Vilner himself has earned an important place as one of the leading voices in the New York Swing Scene.  Together with professional swing dancer Gaby Cook and a group of leading New York dancers, the accomplished alto saxophonist/clarinetist/composer/arranger initiated a weekly jam where musicians and dancers get together to improvise and learn about each other’s languages of sound and movement, inviting artists from different backgrounds to collaborate and create something beautiful together.  Swing Out! is the culmination of these sessions, recorded live in the studio with dancers dancing to the swinging sounds, both sweet and hot, of the Eyal Vilner Big Band.  Vilner proclaims, “Ever since I started playing, for me, swing was the thing.” He says, “I remember having conversations with my teachers back in Tel Aviv about the bands that really swung and how that feeling is so essential to the music we call jazz. But it was only after I started swing dancing myself that I began to truly understand just what that means.”
 
Swing Out!, marks an important development in the evolution of the Eyal Vilner Big Band, one that is the direct result of the band’s interaction with the swing dance community.
 
Vilner says, “In the past few years, we’ve started playing more and more for swing dancers. This has really influenced the way I play and write music. I fell in love with the dance and have become really passionate about the connection between musicians and dancers in the swing world. This exchange between dance and music, movement and sound, feels so new and refreshing - yet so natural and familiar. It feels like we’re bringing it back to where jazz and swing dancing grew up and developed together, influenced and inspired by one another.”
 
The program on the album represents different sides of the band’s music. The disc opens with Vilner’s “Downhill,” a new piece that has already become a favorite on the New York Lindy Hop scene.  A hard-grooving outing with a shuffle beat that recalls the sound of Art Blakey and the Jazz Messengers, it features Vilner’s soulful alto solo along with trumpeter Brandon Lee and plunger muted trombonist Rob Edwards. Duke Ellington’s “In A Mellow Tone” reminiscences the sumptuous dynamics of Count Basie and features vocalist Brianna Thomas. Thomas is featured again on “Dinah”, an up-tempo outing that is part of the band’s New Orleans program with Vilner wailing on both alto and clarinet and guest Andrew Miller on washboard. The Crescent City excursion continues on “Do You Know What It Means (To Miss New Orleans),” with veteran trumpeter James Zollar delivering a growling plunger muted trumpet solo.
 
The music moves up the river to Missouri for W. C. Handy’s “Saint Louis Blues”.  Featuring Thomas’s soulful vocal, it opens with a habanera beat and then traverses through Dixieland, swing and shuffle rhythms before finishing off with two big shout choruses where the band plays a Louis Armstrong solo orchestrated for all 12 horns. Vocalist Brandon Bain makes his debut with the band singing the romantic ballad “That’s All” on a pretty arrangement that also features Vilner’s lyrical and smooth toned alto sax. “Big Apple Contest” is taken from the 1939 film Keep Punchin’ that includes Frankie Manning’s spectacular choreography. Originally performed by Whitey's Lindy Hoppers it has become one of the most iconic dance routines in the swing dance community. Vilner notes, “In the swing community dancers create such impressive and musical choreographies that express jazz recordings through their dance. This inspired me to do the same on my end and write an arrangement that’s inspired by this classic choreography and expresses the dance through the music.” “My Baby Just Cares for Me” is Vilner’s tribute to Nina Simone, originally commissioned by his fellow Israeli saxophonist Eli Degibri to be performed at the Red Sea Jazz Festival. “Going Uptown” is another dance inspired Vilner original. He says, “One of the basic first moves that swing dancers learn is a 6-count basic, which for me was so weird because the music is in 4/4! I made the melody start with a 6-count phrase and played with that motif throughout the song. At some point we even go into a brief waltz, but then end with a smacking big hit to bring us back to swing!” The R & B classic “5-10-15 Hours” is a straight up party tune with lots of call and response between Thomas and the band. Vilner’s tribute to the Andrews Sisters, “Bei Mir Bist Du Schoen,” opens with his wailing clarinet leading the band into classic swing mode that propels gritty solos by Michael Hashim and James Zollar followed by a big shout chorus.  The date comes to an exciting close with Vilner’s epic arrangement of Mahalia Jackson’s “I’m on My Way to Canaan Land” that features a guest appearance by virtuoso flautist Itai Kriss and as Thomas displaying her strong gospel roots as the song alternates between Middle Eastern and Afro Cuban rhythm.
 
Vilner once again has created a compelling collection of exhilarating original compositions paired with well-chosen standards, adorned with his impeccable arranging skills, all brought to life with his vivid pen and an outstanding line-up of masterful performances that continue the tradition of excellence known as The Eyal Viler Big Band.
 
Liner Notes by Russ Musto, New York City Jazz Record

Swing is in! All over the world, from Manhattan to Moscow, audiences these days are embracing the sound of big band jazz that gets listeners up from their seats and out moving on the dance floor. “Ever since I started playing, for me, swing was the thing,” proclaims Israeli born saxophonist/clarinetist/composer/arranger Eyal Vilner. He says, “I remember having conversations with my teachers back in Tel Aviv about the bands that really swung and how that feeling is so essential to the music we call jazz. But it was only after I started swing dancing myself did I begin to truly understand just what that means.” Recalling sessions with his mentor, Count Basie saxophonist Frank Wess, Vilner notes “I think about how his sound and phrasing and sense of rhythm just made you feel so good! You could not not move to it!”

Swing Out!, the fourth album by the Eyal Vilner Big Band, marks an important development in the evolution of this fantastic group comprised of some of New York City’s finest musicians; one that is the direct result of the band’s interaction with the swing dance community. Vilner says, “In the past few years, we’ve started playing more and more for swing dancers. This has really influenced the way I play and write music. I fell in love with the dance and have become really passionate about the connection between musicians and dancers in the swing world. This exchange between dance and music, movement and sound, feels so new and refreshing - yet so natural and familiar. It feels like we’re bringing it back to where jazz and swing dancing grew up and developed together, influenced and inspired by one another. It’s like we’re bringing it back home.”

In what may very well be a first, this disc was recorded live in the studio with dancers dancing while the musicians played. Vilner says, “We are striving to create something new in the genre and tell our story through these aesthetics. The program on the album represents different sides of our music as a band.” The disc opens with Vilner’s “Downhill”, a new piece that has already become a favorite on the Lindy Hop scene in New York. A soulful outing, it has a solid shuffle beat that recalls the sound of Art Blakey and the Jazz Messenger’s classics like “Moanin’” and “Dat Dere”. Vilner steps back from his conductor’s podium to take the album’s first solo, his smooth toned alto gliding rhythmically over the funky rhythm, after which trumpeter Brandon Lee takes a high flying turn, followed by trombonist Rob Edwards, who gets down and dirty with a plunger muted statement.

Vilner’s arrangement of Duke Ellington’s “In A Mellow Tone” was written in tribute to Count Basie and his band’s sumptuous dynamics. Vocalist Brianna Thomas sings the original Milt Gabler lyric with silky elan and then adds her self-composed vocalese chorus based on a Trummy Young trombone solo around which Vilner orchestrated the piece. Thomas is featured again on “Dinah”, an uptempo outing that is part of the band’s New Orleans program with Vilner wailing on both alto and clarinet and Andrew Millar’s washboard sharing rhythm section duties with Eran Fink’s drum kit. The Crescent City excursion continues on “Do You Know What it Means (To Miss New Orleans)”, with veteran trumpeter James Zollar delivering a growling plunger muted trumpet solo after which pianist Jordan Piper, bass trombonist Ron Wilkins and clarinetist Evan Arntzen follow with their own easy grooving improvisations.
 
The music moves up the river to Missouri for W. C. Handy‘s “Saint Louis Blues”. Vilner’s idiosyncratic arrangement, featuring Thomas’s soulful vocal, opens with a classic habanera beat that Jelly Roll Morton famously described as “the Latin tinge” and then traverses through Dixieland, swing and shuffle rhythms before finishing off with two big shout choruses where the band plays a Louis Armstrong solo orchestrated for all 12 horns. Vocalist Brandon Bain makes his debut with the band singing the romantic ballad “That’s All” on a pretty arrangement that also features Vilner’s lyrical alto sax. “Big Apple Contest” is taken from the 1939 film Keep Punchin’ that includes Frankie Manning’s spectacular choreography. Originally performed by Whitey's Lindy Hoppers it has become one of the most iconic dance routines in the swing dance community. Vilner notes, “In the swing community dancers create such impressive and musical choreographies that express jazz recordings through their dance. This inspired me to do the same on my end and write an arrangement that’s inspired by this classic choreography and expresses the dance through the music.”

“My Baby Just Cares for Me” is Vilner’s tribute to Nina Simone, originally commissioned by his fellow Israeli saxophonist Eli Degibri to be performed at the Red Sea Jazz Festival. Thomas sings the melody over Piper’s jaunty piano accompaniment after which saxophones and brass play Vilner’s orchestration of Simone’s original piano solo. “Going Uptown” is another dance inspired Vilner original. He says, “One of the basic first moves that swing dancers learn is a 6-count basic, which for me was so weird because the music is in 4/4! I made the melody start with a 6-count phrase and played with that motif throughout the song. At some point we even go into a brief waltz, but then end with a smacking big hit to bring us back to swing!” Vilner describes the Ruth Brown R&B classic “5-10-15 Hours” as “a straight up party tune with lots of call and response between Brianna and the band, bluesy solos by baritone saxophonist Eden Bareket and pianist Piper, and a shout chorus that I developed from one of the piano licks on the tune’s original recording.” His tribute to the Andrews Sisters, “Bei Mir Bist Du Schoen”, opens with his wailing clarinet leading the band into classic swing mode that propels Michael Hashim’s gritty tenor solo. The date comes to an exciting close with Vilner’s epic arrangement of “I'm on My Way to Canaan Land” that features a guest appearance by virtuoso flautist Itai Kriss and has Thomas displaying her strong gospel roots as the song alternates between the Baladi groove to 6/8 Afro Cuban rhythm.

The joyous tension of syncopated rhythms that is called swing is a hard to define entity, but one that has spread from venues like Harlem’s Savoy Ballroom to night clubs and dance halls all over the world, propelling happy feet to move with the pulsations of music that just makes one feel good. That feeling is evident throughout this disc and in all the music played by the Eyal Vilner Big Band. Vilner knows “it don’t mean a thing if it ain’t got that swing” and you can hear it here. Just listen.

PLAYERS AND INSTRUMENTS:
All music arranged by Eyal Vilner (BMI)
 
Eyal Vilner - alto sax, clarinet, flute, conducting, arrangements
Vocals: Brianna Thomas, Brandon Bain
 
Bryan Davis - lead trumpet
Michael Sailors - trumpet
Brandon Lee - trumpet
James Zollar - trumpet
 
Robert Edwards - trombone
Mariel Bildsten - trombone
Ron Wilkins - bass trombone
 
Bill Todd - alto sax, clarinet and flute
Jordan Pettay - alto sax
Evan Arntzen - tenor sax, clarinet
Michael Hashim - tenor sax
Eden Bareket - baritone sax
 
Jordan Piper - piano
Ian Hutchison - bass
Eran Fink – drums
 
Special guest: Itai Kriss – flute (track 12), Andrew Millar – washboard (track 3)

TRACKS AND TIMES: 
Swing Out!
Eyal Vilner Big Band
 
1           Downhill…………….........………….....151 bpm           (3:53) 
             by Eyal Vilner (BMI). Solos: Vilner, Lee, Edwards
2           In a Mellow Tone………………………130 bpm          (4:42)
             By Ellington & Gabler
3           Dinah……….........………….................. 210 bpm           (3:36)
             by Akst, Lewis & Young. Solo: Vilner
4           Do You Know What it Means………...111 bpm           (3:52)
             by Alter & Lange. Solos: Piper, Wilkins, Arntzen, Zollar
5           Saint Louis ……….........………….........169 bpm          (4:29)
             by Handy. Solos: Hashim, Piper
6           That's All….……….........………….......72 bpm            (3:50)
             by Haymes & Brandt. Solo: Vilner
7           Big Apple Contest……….........………...218 bpm         (2:57)
             by Norman. Solos: Vilner, Bildsten, Arntzen, Sailors, Davis
8           My Baby Just Cares for Me…………….125 bpm        (3:24)
             by Donaldson & Kahn
9           Going Uptown……….........…………....202 bpm          (3:29)
             by Eyal Vilner (BMI). Solos: Lee, Sailors
10         5-10-15 Hours…………………………. 136 bpm           (3:25)
             by Toombs. Solos: Bareket, Piper
11         Bei Mir Bist Du Schoen………………...185-235 bpm  (3:48)
             by Secunda, Jacobs,Cahn & Chaplin. Solos: Hashim, Piper, Zollar
12         I’m on My Way to Canaan Land……….127 bpm        (6:30)
             by Jackson. Solos: Kriss, Fink 

​New single produced by two-time Grammy winner Paul Brown goes for playlist adds on June 17
 
NEWARK (X June 2019): Committed to continue the momentum created by last year’s “Walk The Walk” album in pursuit of his goal of becoming a contemporary jazz headliner, trumpeter Rob Zinn will drop a new single, “All In,” that goes for playlist adds on June 17. The track that bridges the gap leading to his third studio album is produced by two-time Grammy winner Paul Brown. 
 
Zinn wrote “All In” with Brown and Lew Laing Jr., who crafted the rhythmic urban groove and smooth harmonies that illumine the big city backdrop for the hornman’s cool jazz declarations. Tapping into his diversity as a musician and composer, to Zinn, the cut that sounds like a nocturnal drive on the coast on a summer eve makes a statement - professionally and personally.           
 
“I am 100% committed, ‘all in’ this journey of becoming an international trumpet player and composer and will remove any obstacle standing in the way of achieving my goals. The song also speaks to the relationship that I am in, in that I am ‘all in’ with her as my love, soulmate and life partner. Sharing this journey with her is a beautiful thing. ‘All In’ is a statement, if you will, about the commitments that I’ve made to my music, my artistry and my relationship - not necessarily in that order,” said Zinn, who plays Tin Pan in Richmond, Virginia this Saturday (June 8) with saxophonist Tony Exum Jr.  
 
“Walk The Walk” showcases Zinn’s versatility, incorporating funk, Latin, R&B, rock, pop and urban jazz. With Brown in the producer’s chair and on guitar, the set features trumpet and sax collaborations between Zinn with Andrew Neu and Michael Paulo. Singles issued from the collection garnered global airplay and earned most added status on the Billboard chart. The record built on Zinn’s 2016 solo debut, “Yesterday Again.”
 
Born in Maryland and raised in nearby Delaware, Zinn has played trumpet and flugelhorn in a wide array of settings - from swing and jazz big band to blues, dance and tribute bands. A top-drawer sideman, Zinn has performed with a luminous list of soul-jazz hitmakers, including Brown, Rick Braun, Richard Elliot, Adam Hawley, Jazmin Ghent, Nick Colionne, Eric Marienthal, Kim Waters, Brian Bromberg, Jackiem Joyner, Marion Meadows, Chieli Minucci and Ragan Whiteside. Fronting his own band, Zinn opened for Grammy winners Norman Brown and Jeff Lorber Fusion as well as Pieces of a Dream. This year, Zinn performed at several prominent jazz festivals such as Berks Jazz Festival, Mallorca Jazz Festival and Sandy Shore’s Jazz Weekender. Zinn also played 2019 gigs in popular jazz clubs such as Philadelphia’s South paired with Neu and Spaghettini near Los Angeles where he accompanied Brown.
 
While work has only just begun on his next album, Zinn is eager to share “All In,” which reveals growth and maturity.    
 
“My latest single embraces a fresh, groove centric, new type of song from me. Everything comes from my heart. Most of my song titles have deep meaning to me and are personal reflections about my life.  Naming a song is important. It has to mean something. I am ‘All In’ my musical journey and my commitment to my love.”
 
For more information, please visit http://robzinn.com. 

Just days after losing the legendary Dr. John, New Orleans music scene, and the city alike, is hit with another loss.  Spencer Bohren, guitarist, musician, performer, storyteller passed Saturday with his family gathered at his side.  Bohren had been diagnosed with stage IV prostate cancer, which had metastasized to his bones.  
Bohren came from a family of gospel singers from Casper, Wyoming.  The family performed in the Rockies and on the plains.  Bohren first started performing publically at 14.  From his background in Gospel Bohren began to indulge in other streams of musical influence ranging from blues, folk, country, and other earthy musical styles.  
Moving to New Orleans with his family in the 1970's he became a fixture on the local music scene with his National steel guitar on his lap and an accompanying story for the audience.  According to the Advocate, Bohren was the Monday night act at Tipitina's from 1978-through-1982.  
Bohren toured nationally and in Europe numerous times.  He also recorded a number of albums, including his 2006 tome about Hurricane Katrina, "The Long Black Line".  
In September he learned he was suffering from prostate cancer.  Bohren went public with the news in November and let his fans and friends know he was seeking a holistic treatment aimed at boosting his immune system.  
Focusing on recovery, Bohren cancelled a number of tours.  But in April, after being admitted to a hospital in intense pain from a fractured hip, doctors informed Bohren the cancer moved to his bones.  
After completing several rounds of radiation treatment Bohren was able to performed recently at Jazz Fest.  It was his final public performance.  

​Williams’ powerful new record – her second with Grammy-winning producer Danny Blume –weaves the blues into her unique style of contemporary roots music.
 
On the heels of Billie’s self-titled debut album, which received critical praise and worldwide airplay, Hell To Pay offers a collection of eleven new originals that showcase Williams’ songwriting and vocal prowess. Billie draws inspiration from heartbreak with her hard-hitting opening track “Damn,” and from devotion with her classic-style soul tune “You.” Deeply affected by our troubling times, she also expresses her anger and concern in the feminist anthem “Ten Million Sisters,” and the title track “Hell To Pay,” which speak to the #metoo movement and the deepening socioeconomic divide.
 
Skillful writing, strong vocals, and world-class musicians make Billie Williams’ Hell To Pay a record that will leave a lasting impression across the musical spectrum.
 

 
Al sinds 2013 is Banks één van de meest stijlvolle en getalenteerde sterren aan het firmament van de alternatieve muziek. Haar laatste optredens dateren intussen alweer van 2017, maar haar terugkeer – met nieuw werk! – is niet veraf. Op 19 november staat ze op de planken van het Koninklijk Circus in Brussel, met haar nieuwe langspeler ‘Ill’ onder de arm. Tickets zijn verkrijgbaar vanaf vrijdag 14 juni om 10u.
 
Jillian Rose Banks groeit op in Los Angeles en ontpopt zich al snel tot een uitzonderlijk schrijverstalent. In 2013 levert ze twee EP’s af, waarvoor ze zich liet omringen door Sohn, A$AP Rocky, Lil Silva en Jamie Woon. Haar muziek – tussen indiepop en r&b – houdt als geen ander het midden tussen een intens geladen soulspirit en sferische sounds. In 2014 toert ze de wereld rond met haar debuutplaat ‘Goddess’, die goed was voor een hoop bekroningen. Opnieuw twee jaar later is er het magnifieke ‘Altar’, dat bol staat van verfijnde ballades. Banks trekt het publiek steeds dichter naar zich toe met haar grensverleggende liveprestaties.
 
Vandaag is ze een gevestigde waarde; een zachte maar stormachtige diva van de moderne tijd. Ze onthulde zopas nog “Gimme”, een nieuwe track die al goed is voor 8 miljoen streams, maar vooral als voorbode dient voor haar derde plaat, die deze zomer in de rekken ligt!

 
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BOMBATAZ - RODEO
nieuwe clip uit hun debuut EP ¡Kapao!
uit op 7 juni via Fake Records
Zaterdag 29/06 staan ze op Couleur Café ​

​Het Brusselse Bombataz wordt al eens het Belgische equivalent van 'De Jeugd Van Tegenwoordig' genoemd, maar ze zijn niet voor één gat te vangen. Naar eigen goeddunken plukken deze vier muzikale alleskunners elementen uit elk mogelijk genre, gaande van een streepje jazz en een likje dansbare funk tot een snuifje synthhop, om uiteindelijk een onvergelijkbare cocktail te bekomen die te allen tijde even dansbaar is. Op hun eerste EP '¡Kapao!', (uit via Fake Records), voert Bombataz een vrijwel onmogelijke spagaat uit met een jaloersmakend gemak. Nu eens klinken ze spectaculair virtuoos, dan weer grappig en speels. Soms ijzig melancholisch om even later naadloos over te gaan in maffe stemeffecten en bevreemdende samples. Waar andere groepen al snel genadeloos uit de eerste bocht zouden gaan, houdt Bombataz het stuur stevig vast tijdens een heerlijk ritje door hun universum.

Check de nieuwe single 'Rodeo" 
Rodeo is de tweede single van de EP ¡kapao! die Bombataz in Februari op de mensheid losliet. Het nummer is een brief van een arme muzikant die hopeloos verliefd is op een bevallige dame, die hem echter niet ziet staan. De worsteling met de ongrijpbare liefde wordt figuurlijk voorgesteld door een woeste rodeo. Bombataz zingt in alle talen en dit keer in het Spaans. Zo steken ze subtiel de draak met clichés en proberen ze de landsgrenzen te overstijgen.
 
Muzikale invloeden: Prince, MGMT, Justin Timberlake, D’Angelo, Manu Chao, Ambitious Lovers, Stuff. …
​

De clip kwam tot stand door een artistieke samenwerking tussen Yasmin Van der Raewelaert en cloudshaper (Vincent Wilms). Yasmin is een beeldende kunstenares en muzikante. Het uitgangspunt was dat de bandleden van Bombataz zelf zouden meespelen in de clip. Hendrik (toetsenist) speelt de arme muzikant die hopeloos verliefd wordt op de geliefde van maffiabaas Marco, vertolkt door Vitja Pauwels (zanger/gitarist). Casper (drummer) speelt cupido  en schiet altijd raak met zijn liefdespijlen. Ruben (bassist) speelt de ruige handlanger van Marco de maffiabaas. De wulpse vriendin van Marco wordt gespeeld door Aurélie Bayad.  De clip is opgebouwd uit absurde scènes en taferelen in een banale setting, de Belgische kust. Alle shots zijn gebaseerd op de tekst van de single ‘Rodeo’ en worden getoond als ‘snapshots’ zonder een bepaalde verhaallijn.

 


7 juni                                       NOSTA, Opwijk
29 juni                                    Couleur Café 2019, Brussel
30 juni                                     Copacobana festival 2019, Gent
6 juli                                        NYX festival 2019, Meerhout
19 juli                                      Trefpuntfestival Gentse Feesten 2019, Gent
20 juli                                      MOONFIELD 2019, Mol

​TRIGGERFINGER . ARNO . GABRIEL RIOS . THERAPY? . THE VAN JETS . TIGA . FELIX DA HOUSECAT . YVES DERUYTER . MURDOCK . GRUPPO DI PAWLOWSKI. JOYHAUSER . JARREAU VANDAL . BLACK MAMBA . DVTCH NORRIS . L’OR DU COMMUN . MISS ANGEL . PEET . JAY MNG . LUIE LOUIS . DJ LICIOUS . MAXIM LANY . LEFTO b2b RED D . ASA MOTO . CHUKI BEATS INVITES: K1D / YUNG MAVU / GANGTHELABEL . MONOLOC . OMDAT HET KAN SOUNDSYSTEM ft AVERAGE ROB . GOE VUR IN DEN OTTO . AMBER BROOS . MILO SPYKERS . KAISERR . TIJANA T . KIMMAN . HAKIMM . J. ROOTS . EPPO JANSSEN . ILSE LIEBENS . THE WHATEVERS . GABRIELLA VERGILOV

41 nieuwe namen, het programma is compleet! Op zaterdag 10 augustus komt Triggerfinger weerwraak nemen voor de onweersshow van vorig jaar, Arno viert zijn 70e verjaardag, The Van Jets nemen afscheid, en Therapy? en Yves Deruyter zorgen voor nòg meer fun en hits. Tiga vervoegt The Chemical Brothers en Charlotte de Witte op vrijdag 9 augustus. Donderdag 8 augustus wordt één groot urban / hip hop feest met naast Tourist LeMC, Roméo Elvis en Zwangere Guy nu ook Murdock, Black Mamba en een alweer top-editie van All Eyes On Hip Hop met Jarreau Vandal, Dvtch Norris, Miss Angel en vele anderen. En in de Red Bull Music room verwelkomen we verder ondermeer Gruppo Di Pawlowski, Joyhauser, Felix Da Housecat, Lefto b2b Red D én Chuki Beats Presents.

​Alle dagen zijn hiermee in voorverkoop, via www.lokersefeesten.be. Opgelet: de dagtickets voor vrijdag 2 augustus zijn reeds uitverkocht, er zijn echter wel nog 10-dagen combitickets te koop, net als dagtickets voor alle andere dagen.
 
Check ook zeker het complete uurschema voor de 10 dagen op de website (https://www.lokersefeesten.be/wp-content/uploads/2019/06/programma-uurrooster-zw.pdf) , het aftellen kan beginnen!

 
Tickets voor de Lokerse Feesten 2019 zijn te verkrijgen op de website:
www.lokersefeesten.be

Het Festival gaat door in het centrum van Wespelaar, letterlijk ‘naast de kerk’, Grote Baan, 3150 Wespelaar. Toegang tot het Festival is gratis!!

Ons programma:
Vrijdag 16 Augustus 2019
19:00 – 20:15  Steven Troch Band
20:45 – 22:15   Lucky Peterson featuring Tamara Tramell
22:45 – 00:15   Tinsley Ellis
 
Zaterdag 17 Augustus 2019
13:30 – 14:30   Dave Warmerdam Band
14:30 – 15:30   Vitor Bacalhau
16:00 – 17:00   Johnny Burgin and Quique Gomez
17:30  – 18:30  Watermelon Slim
19:00 – 20:15   Bobby Radcliff Band
20:45 – 22:15   Jamiah Rogers
22:45 – 00:15   Shemekia Copeland
 
Zondag 18 Augustus 2019
13:30 – 14:30   Stef Paglia Trio
15:00 – 16:15   Dany Franchi
16:45 – 18:00   Whitney Shay
18:30 – 19:45   Breezy Rodio
20:15 – 21: 30  Kirk Fletcher
21:45 – 23:15   Mud Morganfield
 
More Info: Swing Wespelaar
​

​JONAS WINTERLAND
PLAATS ONDER DE ZON (ft. Chantal Acda)
uit op 07 /06
Een nummer uit het nieuwe Winterland album dat dit najaar verschijnt. (via Evil Penguin) 

Na een sabbatjaar verschijnt Jonas Winterland opnieuw op de radar met de zomerse single ‘Plaats onder de zon (ft. Chantal Acda)’. In het najaar volgt zijn 4e full album ‘Berichten uit de schemerzone’. Daarop brengt de Leuvense troubadour verslag uit over een persoonlijke en artistieke zoektocht naar zichzelf. Dat heeft deze keer niet alleen liedjes opgeleverd, maar ook een collectie kortverhalen.
 
Nu is er alvast ‘Plaats onder de zon (ft. Chantal Acda)’, Jonas Winterlands hoogstpersoonlijke ode aan de liefde. Een lied over elkaar in evenwicht willen houden en doemgedachten uit elkaars hoofd proberen te praten. In de studio vroeg het lied hardnekkig om een zalvende vrouwenstem, en die werd gevonden bij collega-songwriter en verwante ziel Chantal Acda. Twee herfstige songwriters die samen verrassend zomers klinken.
 

​Dr. John, the New Orleans musician who blended black and white musical styles with a hoodoo-infused stage persona and gravelly bayou drawl, died Thursday, his family said. He was 77.
In a statement released through his publicist, the family said Dr. John, who was born Mac Rebennack, died "toward the break of day" of a heart attack. They did not say where he died or give other details. He had not been seen in public much since late 2017, when he canceled several gigs. He had been resting at his New Orleans area home, publicist Karen Beninato said last year in an interview.
Memorial arrangements were being planned. "The family thanks all whom have shared his unique musical journey, and requests privacy at this time," the statement said.
His spooky 1968 debut Gris-Gris combined rhythm 'n blues with psychedelic rock and startled listeners with its sinister implications of other-worldly magic. He later had a Top 10 hit with "Right Place, Wrong Time," collaborated with numerous top-tier rockers, won multiple Grammy awards and was inducted into the Rock & Roll Hall of Fame.
A white man who found a home among black New Orleans musicians, he first entered the music scene when he accompanied his father, who ran a record shop and also fixed the P.A. systems at New Orleans bars.
As a teenager in the 1950s, he played guitar and keyboards in a string of bands and made the legendary studio of Cosimo Matassa his second home, Rebennack said in his 1994 memoir, Under a Hoodoo Moon. He got into music full-time after dropping out of high school, became acquainted with drugs and petty crime and lived a fast-paced life. His gigs ranged from strip clubs to auditoriums, roadhouses and chicken shacks. The ring finger of Rebennack's left hand was blown off in a shooting incident in 1961 in Jacksonville, Florida.
He blamed Jim Garrison, the JFK conspiracy theorist and a tough-on-crime New Orleans district attorney, for driving him out of his beloved city in the early 1960s. Garrison went after prostitutes, bars and all-night music venues.
The underworld sweep put Rebennack in prison. At that time, he was a respected session musician who had played on classic recordings by R&B mainstays like Professor Longhair and Irma Thomas, but he was also a heroin addict. After his release from federal prison in Fort Worth, Texas, at age 24, Rebennack joined friend and mentor Harold Battiste who had left New Orleans to make music in Los Angeles.
Rebennack, who'd long had a fascination with occult mysticism and voodoo, told Battiste about creating a musical personality out of Dr. John, a male version of Marie Laveau, the voodoo queen.
In his memoir, Rebennack said, he drew inspiration from New Orleans folklore about a root doctor who flourished in the mid-1800s.
Battiste, in a 2005 interview, recalled, "It was really done sort of tongue-in-cheek."
But Dr. John was born and Rebennack got his first personal recordings done in what became Gris-Gris, a 1967 classic of underground American music.
In the years that followed, he played with The Grateful Dead, appeared with The Band in director Martin Scorsese's The Last Waltz documentary, jammed on The Rolling Stones' Exile on Main Streetalbum and collaborated with countless others — among them Earl King, Van Morrison and James Booker.

Het unieke stemgeluid van Paul Carrack is als de eerste douche na een uitgeregend festival: deugddoend en verfrissend. Met zijn enorme staat van dienst heeft de Brit alles in huis voor een opwindende doortocht op Blues Peer. 'The Man With The Golden Voice', zoals Carrack in de BBC-televisiedocumentaire over zijn leven juist wordt gekenschetst, kan putten uit een imponerende back catalogue. Met de groepen Ace (‘How long’), Squeeze (‘Tempted’), Mike and the Mechanics (‘The Living Years’) en als huurmuzikant bij Roxy Music, Roger Waters en Ringo Starr bouwde Carrack aan een vlekkeloze staat van dienst, die vanaf 1983 werd opgeschroefd met de solohits ‘I Need You’ en ‘Dedicated’. Behalve een steengoede zanger-gitarist is hij ook een gezegend toetsenist en songwriter. Zo maakten grootheden als Sting, Eric Clapton en Phil Collins van zijn diensten gebruik.
Ondanks al zijn werk voor anderen, metselde de intussen 68-jarige Carrack ook aan een solocarrière die hem zeventien soloalbums opleverde, waarvan ‘These Days’ de jongste is. Het is opnieuw een waardige soulplaat vol zwoele blue-eyed soul en aangrenzende genres, gezongen door een ervaren muzikant die op deze plaat laat horen dat hij mee kan met de beste leerlingen van de klas.
Paul Carrack en zijn band geven het beste van zichzelf op zaterdag 20 juli. Vergeet je jezelf niet te douchen na Blues Peer?
De lente-actie is ondertussen verlopen. Tickets zijn hier vanaf nu beschikbaar aan het standaard tarief.
Tot in Peer, alweer!

KOOP HIER TICKETS
WWW.BLUESFESTIVAL.BE 

Eindelijk is het zover: met 'Fever Dream' heeft Of Monsters and Men een langverwachte nieuwe plaat klaar. De laatste drie jaar schaafde de IJslandse band samen met producer Rich Costey (MUSE, Vampire Weekend, Chvrches) aan een opvolger voor 'Beneath The Skin' (2015) en 'My Head Is An Animal' (2011), de platen die hen katapulteerden van schattig indiefolkgroepje tot de wereldtopper die ze vandaag zijn. Het voorbije decennium voelde voor de leden van Of Monsters and Men aan als een droom, maar wie hen van nabij gevolgd heeft weet dat ze hard voor hun succes hebben moeten knokken. In 2011 werd een demo van hun song “Little Talks” out of the blue opgepikt door een radiostation in Philadelphia, een stad waar de vijf IJslanders nog nooit waren geweest. Vanaf toen ging het snel. Of Monsters and Men maakte een fenomenale beurt op het gerenommeerde showcasefestival SXSW in Austin, Texas, en voor ze het wisten lag debuutplaat 'My Head Is An Animal' in de rekken. In een tijd waarin de platenverkoop op een historisch dieptepunt stond ging het debuut probleemloos multi-platinum, en toen moest hun wereldtournee nog beginnen.

Na die explosieve beginjaren waarin OMAM onvermoeid tourde, festivalpodia veroverde en tv-publieken omverblies trok de band zich terug in IJsland om aan hun tweede plaat 'Beneath The Skin' te werken. Die opvolger evenaarde probleemloos het succes van het debuut, en Of Monsters and Men werd de eerste IJslandse band die erin slaagde 1 miljard streams te halen op Spotify. Niets dan goed nieuws dus, en toch nam Of Monsters and Men pas de laatste jaren tijd om even stil te staan bij hun waanzinnige carrière. Een carrière die begon met megahit “Little Talks” en van daar alleen maar exponentieel groter werd. De laatste twee jaar waren voor OMAM vooral een periode om even terug tot zichzelf te komen en op zoek te gaan naar de band die ze altijd al wilden zijn. Om te beginnen: de muziek. Daar waar Of Monsters and Men vroeger altijd samen in de repetitiehoek kroop tot een plaat klaar was, gaven ze elkaar dit keer meer ademruimte en plek om eigen ideeën uit te werken. De drijvende kracht achter de nieuwe plaat is nieuwsgierigheid: Of Monsters and Men stapt vol vertrouwen uit hun comfort zone en gaat op zoek naar wat er vandaag leeft. Verwacht invloeden die gaan van The National en Arcade Fire over Childish Gambino en Solange tot The Yeah Yeah Yeahs. In de teksten gaat deze plaat dan weer heel persoonlijk. Kernleden Ragnar en Nanna schreven hun nummers elk afzonderlijk, waardoor er in de songs een introspectie kroop die heel uniek is voor een OMAM-plaat.

“We wilden niet gewoon herhalen wat we al eerder hebben gedaan,” zegt Nanna over 'Fever Dream'. “We vinden het belangrijk om vooruit te kijken naar de lange carrière die nog voor ons ligt. We willen onze tijd nemen om platen te maken waar we trots op kunnen zijn.” Het is een statement dat ingaat tegen het tempo van de muziekwereld van vandaag, maar Of Monsters and Men heeft nooit het typische traject gevolgd, en de IJslanders zijn niet van plan er nu mee te beginnen. Op 5 november staan ze op de planken van De Roma. Tickets zijn beschikbaar vanaf vrijdag 14 juni om 10u.

Dit concert is een coproductie van Live Nation en De Roma.

 
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MAAK KENNIS MET DE TOTAAL VERNIEUWDE DJ "LAMORAL" STAGE
 
De voormalige DJ village wordt dit jaar niet enkel en alleen in een nieuw en uitdagend jasje gestoken wat productie betreft. Naast een gloednieuwe naam zijn er inhoudelijk ook heel wat nieuwigheden. Dance en Urban worden de laatste jaren steeds belangrijker, ook op ‘klassieke’ rockfestivals. Als Rock Zottegem houden we graag de vinger aan de pols en hebben we daarom een nieuwe partner onder de arm genomen:
 
NEVER GROW UP [https://nevergrowold.be]
 
DJ LINE-UP VRIJDAG 05/07
 
Vrijdag wordt een knaller van formaat met een line-up om u tegen te zeggen. Internationale kleppers worder er ondersteund door de crème de la crème van de Beligische dans scene. Houesekeeping door: Konna, Maxime Lany, Cloonee (UK) en Nico Morano. Het Italiaanse duo Mathame, bekend van de Afterlife parties op Ibiza, zijn naast Tomorrowland exclusief op RZ in België te vinden en sluiten de hoogmis op vrijdag af.
 
Mathame (IT)
 
Mathame is a name that defines the audio-process developed by brothers Amedeo and Matteo Giovanelli. It began in 2013, whilst they were living in a forest at the slopes of Mount Etna, where they both worked crafting their unique sound. They absorbed and studied wide-ranging musical influences: from rock pirate radio to dance music culture, from spiritual chant experiences to hip hop and pop. Mathame released their first EP on Vaal’s label Bastaard in 2015, followed it up in 2017 with a brilliant EP for Tiefschwarz's Souvenir and exploded in 2018 with a hit single on Tale Of Us’ label Afterlife, containing the highly-anticipated “Nothing Around Us” and “Fade Into You” tracks, that have become an international success.
 
Nico Morano
 
Throughout the years the sound of Nico Morano has developed into one of the most sophisticated ones in Belgium. His blend of deep, melodic house with a strong emotional touch has been picked up by many others. This resulting in Nico playing more than 100 gigs a year in Belgium only. From the highly respected clubs such as La Rocca, Café D’Anvers, Fuse and Ampere to praised festivals such as Paradise City Festival or Tomorrowland where he's hosting his own stage.
 
Cloonee (UK)
 
"The last few years have been meteoric for Cloonee as a producer." - IHouseU. Following his infectious debut EP on Elrow Music in 2017, Cloonee went on to release some of the scenes' most influential labels, solidifying his break onto the scene and gaining support from major taste-makers including Solardo, Lee Foss & Fisher. Cloonee continued his rise into 2018 releasing "no-nonsense tech house" - Earmilk, on major labels such as Lee Foss' Repopulate Mars, Michael Bibi's Solid Grooves and US powerhouse Desert Hearts.
 
Maxim Lany
 
Over the past years, Maxim Lany has created his very own acclaimed sound, which not only made him a household name, but also led him to do what he is most passionate about. He is fully focused on creating new music and expressing himself through his unique DJ sets where he takes the audience on a musical journey. Maxim Lany is a Belgian DJ and producer and a well-known figure in the Belgian electronic music scene.
 
Konna
 
Konna’s musical journey started in January 2014 with a mission to bring music with an emotional value to the dancefloor. He has a unique vision on how music should sound. Konna easily translates his selection of tracks into a coherent entity, each record has its own part in the jigsaw of sound.
 
DJ LINE-UP ZATERDAG 06/07
 
Op zaterdag brengt Lamoral voor het eerst in de geschiedenis van Rock Zottegem een programmatie met focus op urban en funky house. Dj geweld van dienst: Black Mamba (Stubru), Vunzige Deuntjes Soundsystem (NL) , DC Salas, Kaptain E-Glow, Enzo Siffredi (UK/Defected)  en Jay Baker... twerk, twerk, twerk. Het belooft dus een zwoel dansfeest te worden aan Lamoral.
 
Black Mamba
 
Black Mamba is the alter ego of Ghent-based Noonah Eze. Since debuting in 2016, she strives to bring a new vibe to nightlife with a bold mix of personal favorites and fresh new music. Spinning tracks that can be broadly labeled as ‘urban’, Black Mamba moves between R&B classics, new school hip hop and global sounds.
 
Vunzige Deuntjes + MC
 
Vunzige Deuntjes Soundsystem is a collective consisting of Jay Junior, Nayla, Nikki Adriana, Nicky Jane, Raynor Bruges and MC Panka. They will hit you with the dirtiest hip hop, R&B and dancehall tracks the scene has to offer. You probably already know them from their own events, Vunzige Deuntjes, which are, just like these guys, all over both Belgium and the Netherlands. The party sure is gonna be lit with these guys on stage!
 
DC Salas
 
Brussels new-kid on the-block DC Salas has been getting much love since his emotive and flamboyant debut release ("Peru"), released on Belgium's Doctor Vinyl (whose team is behind the global phenomenon/documentary on New-Beat: "The Sound Of Belgium"), getting huge supports from Ivan Smagghe, Tale Of Us, Breach, Maya Jane Coles, and Luciano. Not the type of resting on his laurels, he's directly re-invented his sound, embracing a darker blueprint in the process and released tracks and remixes on a plethora of cool labels such as Kill The DJ, B-Pitch Control, Clouded Vision, Relish, My Favourite Robot, Correspondant or Marketing, and even co-founding the Biologic imprint with French cohort Abstraxion.
 
Enzo Siffredi (UK)
 
Creator and main man of Wired, Below The Belt & minimal kids, inspired and driven by the piano of Paolo Conte, Brasens’s guitar and Berlin’s underground, Enzo regards himself as an outsider. His aim is not to adapt musically to a stereotype label or style but to remain innovative and experimental, precisely maintaining the distinctive sound that makes Enzo Siffredi so recognisable.
 
With an extended discography of over 150 tracks across dozens of labels and hundreds of compilations, Enzo scored a n.1 House track “Sometimes” on Defected in 2015 as well as receiving worldwide support and appreciation including a WMC nomination. His “She Babao” anthem has gathered over 5 million plays online and countless features on documentaries, TV programs and series across the globe.
 
Kaptain E-glow
 
“Hello there, and welcome to the exciting world of hip”. Op zaterdag zal Kaptain E-Glow als tweede deejay met stijlvolle house tunes de Lamoral stage opvrolijken voor de dansers onder jullie. Kaptain E-Glow brengt melodieuze house gelardeerd met veel 'blackness': soul, afrobeat, jazz, tropical vibes & urban shizzle, die dag én nacht kleuren. Ontpopte zich intussen tot een, euh, 'house'-hold name op Rock Zottegem. All things funky for the finest in you!
 
Jay Baker
 
He began to play the drums when he was six years old. Merely 4 years later he was already passionate about house music and started with dj’ing and producing. Hard work paid off. He received positive feedback throughout different channels and became more and more respected in the dj-scene.
 
At the age of 15 he got the chance to perform at one of the biggest clubs in Belgium. He was the opening act for well-known dj’s like R3HAB and Nervo. But this was only the beginning...
 
 
 
© Rock Zottegem 

​Een nieuwe naam op het roster is Philemon: melodieuze lo-fi pop uit Sint-Niklaas. In 2013 won Anton De Boes met zijn vorige groep het provinciaal rockconcours, Oost.Best en een tijdlang vond hij onderdak bij indie band Coyote Melon. Nu is het tijd voor een nieuw soloproject. Gedreven door een voorliefde voor de sixties maakt Anton lo-fi pop die doet denken aan Elliott Smith, The Beatles, Pavement of Grandaddy. Zijn eerste single Tomorrow kwam in 2017 in première uit bij Dansende Beren en was oa te horen op Studio Brussel.

De nieuwe single van Philemon heet "Are You Coming To Get Me”. Het is een traag en meeslepend nummer waarin een monoloog over aftakelen gevoerd wordt. De luchtigheid van de melodie zorgt voor een welgekomen contrast dat de luisteraar op een verkeerd spoor brengt. Anton heeft voor deze single samengewerkt met Pascal Deweze (Sukilove, Metal Molly, Warhaus) als producer, die als geroepen kwam om de sixties-vibe van dit nummer mee in een opname om te zetten. Ook Michiel Balcaen (Balthazar, Warhaus, Rosenahl) en Kim Van Elsen (Coyote Melon, Philemon) speelden mee op drums en gitaar.

De clip van ‘Are You Coming To Get Me’ kan je hier checken:

Op zaterdag 16 november vindt de tweede Sportpaleiseditie van KNTXT plaats. KNTXT, dat is een concept met een duidelijke doelstelling: een kwaliteitsvolle techno-ervaring, met de beste nationale en internationale acts. Na edities in Brussel, Gent en Antwerpen en een eigen stage op Tomorrowland, bracht KNTXT de allerbeste technobeats van het moment vorig jaar voor het eerst naar het Sportpaleis. Naast bezielster Charlotte de Witte, die overigens onlangs door BBC Radio 1 werd aangesteld als resident dj(!), tekenden ook technogrootheden Chris Liebing, Len Faki en Sam Paganini present. DVS1 en One Track Brain maakten de line-up van de grootste KNTXT editie ooit compleet. Bekijk de aftermovie hier.
 
Deze week pakt KNTXT uit met de indrukwekkende line-up voor de tweede editie. Vijf dagen lang wordt elke dag een nieuwe naam bekend gemaakt. En de eerste is al meteen niet van de minste! Charlotte de Witte stond als Godmother van de Belgische techno aan de bakermat van dit hyperpopulaire concept en mag dus zeker niet op de affiche ontbreken. Ze speelt een set van 3 uur! De dj en producer heeft haar kwaliteiten ruimschoots bewezen, zowel in de studio als achter de decks. Met haar compromisloze en eigenzinnige stijl verovert ze de hele wereld. Ze is een graag geziene gaste op de grootste podia op aarde - ze stond eerder dit jaar o.a. op Coachella, Detroit Movement en was de eerste Belgische headliner op IMS in Ibiza - en sprokkelde een adembenemende lijst aan referenties bij mekaar: een debuut van Essential Mix op BBC Radio 1, een passage in Boiler Room, de cover van DJ MAG en support van Resident Advisor, MixMag en XLR8R. We hebben nog lang niet het laatste gezien van de getalenteerde Charlotte de Witte!
 
KNTXT in het Sportpaleis, dat is feest tot in de vroege uurtjes. Tickets zijn nu beschikbaar. Get 'em while they're hot!

Dit evenement is een coproductie van Live Nation en Tomorrowland.

 
TICKETS NU BESCHIKBAAR
TICKETS VIA
PROXIMUSGOFORMUSIC.BE
LIVENATION.BE
​
TICKETPRIJS
€45,30
(INCL. SERVICEKOSTEN)

Fischer-Z is een Engelse band die al werd opgericht in 1977. Als ‘brainy, quirky, energetic and hook-laden art punks’ pasten ze goed tussen generatie/genre-genoten als XTC, Talking Heads, Wire and Mission Of Burma. Spil van de band was en is nog altijd de componist/zanger John Watts. Ten tijde van de opkomst van new wave- en post-punk-groepen verschijnt in 1979 het debuut-album “Word Salad” met o.a. de hit-single “The Worker”. Een jaar later verschijnt “Going Deaf For A Living” met o.a. de live-klassiekers “Limbo” en “So Long” en in 1981 is er de release van hun bekendste album “Red Skies Over Paradise” met songs als “In England”, “Berlin” en “Marliese”. Dat jaar staan ze ook op het Pinkpop-podium. Een jaar eerder zijn ze al present op Torhout/Werchter.

Fischer-Z heeft in z’n 42-jarig bestaan veel commericeel succes gekend (met het uitbrengen van 20 albums, meer dan 2 miljoen album verkopen en 3.000 concerten over de hele wereld), maar werd de band toch ook vooral geroemd om z’n ‘sharp tuneful songcraft, poetic lyrics, astute social and political commentary, on-point musicianship and experimental textures’. Nog steeds zit frontman John Watts, ‘the heart and soul of the ever-evolving Fischer-Z’, vol passie en dadingsdrang, en blijft Watts ‘as pointedly literate, prolific, political and defiant as ever’. “I believe movement is life”, zegt Watts. “I want to always keep moving and growing. After all, you’re only as good as your latest stuff, and that’s what keeps me going. This is not an oldies band! I’m an artist in words and music, and I consider it a massive privilege to be still writing songs and performing these live. I feel like I am doing my best stuff as I get older, and I still have the energy and that is fantastic”.
​
Fischer-Z vindt het nog steeds een uitdaging om hun live-publiek te trakteren op bevlogen en artistiek verantwoorde vertolkingen van de favoriete tracks uit hun inmiddels immense catalogus, maar de band is ook nog steeds hun eigen geschiedenis aan het herschrijven door nieuwe muziek te componeren. Het op 13 september te verschijnen album “Swimming In Thunderstorms” bevat enkel nieuwe songs; ‘it’s an album of now in song and spirit, with beefy, dreamy and poppy rock guitars, celestial atmospherics and arty and imaginative touches’. Fischer-Z leeft als nooit tevoren!
​

​It's no secret that Rihanna wears many hats. On top of being a singer, actress, beauty mogul, and most recently, a fashion designer, the 31-year-old multihypenate can now say that she is officially the world's highest paid female in the music industry.
In Forbes' annual list of America's Richest Self-Made Women for 2019, Rihanna topped the list as the highest paid woman in the music industry, estimating her worth to be $600 million. The publication stated that good portion of Rihanna's wealth was acquired through her lucrative partnership with luxury good company, LVMH, with whom she launched her Fenty Beauty cosmetics line with in 2017. Since Fenty Beauty's inception, Forbes reported that the cosmetics line has earned Rihanna $570 million in just 15 months of business.
Along with Fenty Beauty, Rihanna has expanded her prowess to clothing, creating her Savage x Fenty lingerie brand with Tech Style Fashion Group and starting her recent foray into high-end clothing with Fenty, alongside LVMH. “They extended the offer to me and it was a no-brainer because LVMH is a machine,” Rihanna said of her clothing line to The New York Times Style Magazine. “Bernard Arnault was so enthusiastic; he trusted me and my vision.” The clothing line, which launched on May 22, is anticipated to expand her wealth.
The esteemed honor places Rihanna ahead of many of her peers within the music industry. Madonna came second behind Rihanna, who was reported to be worth $570 million, while Celine Dion ($450 million), Beyoncé ($400 million), and Taylor Swift ($360 million) round out the top five richest women in music.

26.09.2019
Koninklijk Circus, Brussel
Tickets te koop vanaf vrijdag 7 juni om 10u.
TICKETS

12.10.2019
Koninklijk Circus, Brussel
LAATSTE TICKETS

De afgelopen jaren speelde Lindsey Stirling al twee keer in een uitverkochte Ancienne Belgique en Stadsschouwburg in Antwerpen. Het concert op zaterdag 12 oktober 2019 in het Koninklijk Circus zit ondertussen zo goed als vol. Ze voegt op 26 september een extra concert toe in het Koninklijk Circus.  
Alleskunner Lindsey is wereldwijd uitgegroeid tot een waar fenomeen dankzij de combinatie van haar unieke muzikale stijl (folk, pop en dubstep) met spraakmakende en theatrale liveshows waarin hits, dansers en videoprojecties het publiek tot een kookpunt brengen.
In de vijf jaar die volgden op haar gelijknamige debuutalbum uit 2012 groeide de electro-impresario, violiste, danseres en artieste in alle stilte en nederigheid uit tot een van de meest innoverende sterren van de 21e eeuw.
Ze verwierf vooral ook veel bekendheid met haar interpretaties van bekende soundtracks van videogames waaronder Zelda, Assassin’s Creed, Skyrim en Pokemon. Haar muziekvideo’s werden op YouTube miljoenen keren bekeken en het aantal trouwe fans groeit nog dagelijks.
Haar derde studioalbum, 'Brave Enough’, debuteerde op plaats 5 in de top 200-albumlijst van Billboard, steeg daarna naar de eerste plaats in de Billboard eindejaarslijst van beste elektronische albums en leverde Stirling in 2017 een Billboard Music Award op voor beste elektronische album. In 2017 bracht Lindsey ook haar eerste kerstalbum uit, getiteld 'Warmer in the Winter'. Dit album, boordevol klassieke en originele nummers, werd al snel nummer 1 van de nieuwe kerstalbums van 2017, nog voor populaire zwaargewichten zoals Gwen Stefani en Sia.
Met een wereldwijde fanbase is Lindsey Stirling de eerste artieste die klassieke viool met moderne dans op een geloofwaardige manier weet te combineren. De ticketverkoop voor het extra concert op 26 september in Koninklijk Circus start op vrijdag 7 juni om 10u via www.greenhousetalent.be.

Greenhouse Talent waarschuwt voor illegale ticketwebsites en benadrukt dat Ticketmaster het enige officiële verkoopkanaal is. De zwarte lijst met doorverkopers is te vinden op ilovemyticket.com.

Grammy winning jazz drummer Lawrence Lo Leathers was found dead, the New York Times, ABC News, and other sources report. Leathers was discovered in the stairwell of the Bronx apartment building where he lived around noon on Sunday. Emergency medical technicians pronounced him dead at the scene. He was 37.
Leathers’ death was allegedly the result of a physical dispute that ensued Sunday morning between Leathers, his 41-year-old girlfriend Lisa Harris, and 28-year-old Brooklyn man Sterling Aguilar. Harris and Aguilar have been charged with manslaughter and criminal negligent homicide.
Known for his swinging drumming, Leathers was an established figure within the local New York City jazz scene, playing frequently at Smalls Jazz Club and Dizzy's Club Coca-Cola. Born in Lansing, Michigan, Leathers began playing drums professionally at age 15. He attended the Julliard School, where he met pianist Aaron Diehl and bassist Paul Sikivie. The three formed a rhythm section known as the Aaron Diehl trio and went on to become the backing band for singer Cécile McLorin Salvant.
Leathers was featured on Salvant’s two albums, 2017’s Dreams and Daggers and 2015’s For One to Love, which both won Grammy Awards for best jazz vocal album.