SINGER-SONGWRITER-ACTIVIST DARRYL HOLTER SET TO RELEASE TWO-PART ALBUM DRAWING ON UNIVERSAL THEMES OF LOVE, REGRET, MEMORY, NOSTALGIA, HOPE, DEATH AND MORE
Roots & Branches, Available August 17
Produced by Ben Wendel, Features Special Guests: Becca Stevens, Shayna Steele, Anais Mitchell, Julia Holter, Chris Morrissey, Joe Henry, and Others
It can be argued that all great popular songwriting is about relationships—the bond between friends, the seminal one between lovers and the larger connection between society and its leaders. On Roots & Branches, the latest release from Los Angeles-based singer/songwriter and activist Darryl Holter, he draws inspiration from relationships of every stripe.
“The product of age and reflection, many of the songs on Roots & Branches are upbeat affirmations,” Holter says, “and most have universal themes like love and regret, memory and nostalgia, hope and death.” Like his first four albums—Darryl Holter, West Bank Gone, Crooked Hearts, and Radio Songs—Roots & Branches is beautifully recorded and produced by the multi-talented, composer/saxophonist and Holter family friend Ben Wendel.
“Ben took these songs and made charts of them, and when he brought these musicians all together and I listened to my songs, everything advanced to a higher level,” Holter says. “In some ways, the experience of the rehearsals, and then recording these is from the creative side the most fun in doing these albums. I’ve seen these songs that I created evolve in new and better directions.”
The album is divided into two distinct sections, each with its own band. The more traditional and acoustic Roots section that opens the album and harkens back to Holter’s days a folk features the heavyweight talents of Greg Leisz (pedal and lap steel), Todd Sickafoose (bass), Gabe Witcher (violin, piano, guitar) and Don Heffington (drums).
Equally important to the success of Roots and Branches, is Holter’s relationship with his daughter Julia Holter, who was also a part of his landmark 2016 album, Radio Songs: Woody Guthrie in Los Angeles 1937-39. Duet partners here on ‘Magazine Street” and “No Depression,” Julia is an accomplished singer/songwriter who has released four solo albums, the last of which, In The Same Room, was released on Domino Records in 2017. In the same year she also premiered her score for the 1928 silent film, The Passion of Joan of Arc.
Holter added more depth to his compositions by bringing some extremely talented guest vocalists including jazz singer and Snarky Puppy collaborator Becca Stevens, singer/Broadway stage actor Shayna Steele, singer and composer/producer of the folk opera Hadestown Anais Mitchell, New York-based bassist/singer/songwriter Chris Morrissey, and a man who really needs no introduction, the great singer/songwriter and record producer, Joe Henry.
Roots & Branches opens with the Holter original “Blind Man Blues,” a song about a man and woman talking about their relationship and the perils of hearing but not really listening.
“He’s regretting and realizing later in life what he’s missed,” Holter says. “She asks questions of him, why didn’t you ever trust me? Did you ever love me? It’s a conversation that doesn’t fully connect because he still doesn’t understand it.”
Another highlight of the Roots section of the album is “Highway 66,” an original song that connects to Holter’s deep knowledge and respect for the life and work of Woody Guthrie. In 2009 Holter accepted a fellowship from the Woody Guthrie Archives to do historical research based on unpublished archival materials; then in 2016 he published the book Woody Guthrie L.A.: 1937 to 1941 based on his research of the Oklahoma folk singer’s time in Southern California.
“This is a song about people leaving the dustbowl. It’s a song about what it was like for them to come to California. This is a family loading up the truck and getting ready to go. Goodbye Missouri and hello Santa Fe. I like the scenery of camping by the road. It’s something when I was a kid and we would drive up to northern Minnesota, my parents would sometimes stop the car by the side of the road and we would cook up a meal out there, and so it reminded me of that.”
Finally, in “Crazy For You,” Holter salutes what gives his life its strongest roots, the relationship he has with his wife Carole. “This all about how we met in Wisconsin and how she was different. I knew when I met her, I knew it was something new. I tried to deny it, I tried not to get pulled into this relationship, but “each night when I walked you home I felt empty and all alone. Crazy, crazy for you.’”
Roots & Branches divides in the middle of the album between two socially conscious tunes with similar titles, a heartfelt cover of The Carter Family’s “No Depression in Heaven,” and a Holter original “New Depression.”
“The Roots section is more acoustically-based, and it was a nice way to finish it off with a Carter Family song,” Holter says, “It was written during the Great Depression, and its theme is that yes, it might be the end of the world coming, but eventually we’ll all die and go to heaven where there is no depression.”
“My “New Depression” talks about the same issues: underemployment, unemployment, poverty, homelessness, disintegration of families, a whole range of issues were in the forefront of everyday thinking during the great depression. And just as the evangelicals really didn’t provide much of an alternative in the 1930s, the economic leaders of our country did very little during the great recession. Congress wouldn’t allow Obama to do more and many people never came out of it really and therefore you have Trump. It’s probably the only song that makes reference to Milton Friedman, John Maynard Keynes and Thomas Piketty.”
The forward-looking, more electric Branches part of the album focuses on contemporary sounds and issues. It has an equally distinguished group of younger players that includes Jebin Bruni (piano), Tim Young (electric guitar), Kaveh Rastegar (bass) and Aaron Sterling (drums).
Two covers, “King of the Hill” and “A Face in the Crowd,” the first written by Roger McGuinn (The Byrds) and Tom Petty and the second, a Petty hit from the album Full Moon Fever, combine to provide the tribute to the late singer/songwriter who also lived in Los Angeles. Roots & Branches closes with a hidden track called “20/20 Vision,” that explores the question of why people voted for Trump, particularly in Holter’s former home of Wisconsin.
“When Medgar Evers was killed, literally assassinated in his driveway, a lot of the folk singers at the time, like Phil Ochs, wrote blistering songs attacking the racists that killed him. But Bob Dylan wrote ‘Only A Pawn in Their Game’ and his message was very different. He said, ‘A south politician preaches to the poor white man you got more than the blacks don’t complain…’ but it ain’t him to blame, he’s only a pawn in their game.’ I wanted to crawl into that approach and try it out on people who voted for Trump.”
A tuneful, provocative collection that explores the intricacies of relationships both personal and universal, Darryl Holter’s Roots & Branches, points this vital, opinionated, historically aware artist in exciting new directions, hinting at the next chapter for this social activist and folk singer who loves his relationship with making music, that starts in time honored fashion, as he says in the liner notes, with “a guitar, a chord progression and a handful of lyrics.”
Darryl Holter · Roots & Branches
Release Date: August 17, 2018
For more information on Darryl Holter, please visit: darrylholter.com
PHOTO: ANNA WEBBER
Available September 21 on Mack Avenue Records
Album Features Marcus Strickland, Keyon Harrold, Yasushi Nakamura, Jerome Jennings, Caio Afiune, Cristian Rivera, & Roberto Quintero
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:
August 2 / Coral Gables Congregational United Church / Coral Gables, FL
August 11 / Richmond Jazz Festival / Richmond, VA
September 3 / Detroit Jazz Festival / Detroit, MI
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 / SF Jazz 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
Christian Sands · Facing Dragons
Mack Avenue Records · Release Date: September 21, 2018
For more information on Christian Sands, please visit: ChristianSandsJazz.com
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Will there be any music from earth left once the blue planet is no more? Perhaps the peruvian panpipes and Johann Sebastian Bach's sonatas floating around in space in form of the Voyager Golden Records?
That is a question ROCKET MEN cannot answer, but being musical globetrotters the band is on a mission to draw as much inspiration as possible from all around the world.
To look at earth and it's musical diversity from outer space. To escape the everyday pressure and the sensory overload. Being free and realizing which sounds of earth are really important.
ROCKET MEN was founded in 2016 by Valentin Mühlberger (Keyboards) and Philipp Püschel (Trumpet). They both knew each other from high school, and after they both left their hometown of Hannover and relocated to Leipzig and Hamburg, they quickly found new recruits for their new space adventure.
Besides it's founding members, the band consists of Lasse Golz (Saxophon, Reeds), Bertram Burkert (Guitar/Bass), Paul David Heckhausen (Electronics/Percussion) and Felix Dehmel (Drums).
The debut CD „Weightless" (2016) showcased the band's ability to combine the more traditional side of Jazz music with the infinity of space. In 2018 though ROCKET MEN drew inspiration not only from Jazz, but from the sounds of earth and all of it's multiple styles of music. That makes „Twerk & Travel in Space" an album that'll take you on a journey around the world.
The band's keyboardist Valentin Mühlberger brought vocal samples with him from his trip to brazil featuring the natives of north brazil. The song „Ngoma" (which translates to „Dance" in swahili) features recordings of trips to Zanzibar and Tanzania. Although some of the songs also feature and sample some US presidents, ROCKET MEN do not identify themselves as a political band. But they still try to reference current events and issues.
The opening track of the album „Twerk & Travel in Space" unfolds a driving electronic funk tune coupled with a fiery saxophone solo which is reminiscent of a balkan wedding. „Apollo 13" reminds of a rather beautiful jazz composition until the band's guitarist Bertram Burkert takes the song into a completely different direction and morphs it into a rock attitude. On „Kaleidoskop" Valentin Mühlberger creates a floating, dreamy atmosphere with his warm, heartfelt wurlitzer and keyboard sounds. The teamwork of Lasse Golz and Philipp Püschel is extraordinary. They manage to accent certain parts in the style of Duke Ellington, yet in the next moment their sound reminds you of a floating feather in the soft breeze on a sunday morning.
The album titel „Twerk & Travel in Space" inevitably refers to Miley Cyrus' invention in 2013. Philipp Püschel says: „ twerking is what happens if a jazz musician tries to dance." At first sight the titel seems to be rather confusing and odd, however it serves the purpose of bringing people together and combining different styles of music. Being a part of Hamburg's „JazzLab" collective, Püschel helps to blend the different musical genres of the city. The people attending the concerts are equally interested in Jazz, Rock, Hip Hop and many others. „If we had to label our music, Intergalactic Jazz, Drum & Space seems about right. Frankly we don't care what you call it. We just want to play music we love."
„Twerk & Travel in Space" is a diverse record that takes the listener on an adventure through space, time and all around the world. To say it with the words of Neil Armstrong „It's different, but very pretty."
Jazz legend and 10-time GRAMMY winner Wayne Shorter is set for the August 24 release of his long-awaited project Emanon, his first release since 2013’s Without A Net, which marked Shorter’s momentous return to Blue Note Records where he began his heralded recording career in Art Blakey’s Jazz Messengers in 1959. Emanon is an extraordinary musical and visual experience that presents a triple album of original music by Shorter performed by The Wayne Shorter Quartet—featuring Shorter on soprano and tenor saxophone with Danilo Perez on piano, John Patitucci on bass, and Brian Blade on drums—with and without the 34-piece Orpheus Chamber Orchestra. The music is accompanied by a graphic novel penned by Shorter with Monica Sly and illustrated by Randy DuBurke. Emanon is a physical-only release that will be available in two versions; a Standard Edition that packages 3x CDs with the graphic novel, and a Deluxe Edition that packages 3x 180g vinyl LPs and 3x CDs with the graphic novel enclosed in a beautiful hardcover slipcase. Emanon is available for pre-order today. Watch a preview video HERE.
The Wayne Shorter Quartet With Orpheus Chamber Orchestra
2. Prometheus Unbound
4. The Three Marias
The Wayne Shorter Quartet Live In London
1. The Three Marias
2. Lost And Orbits Medley
The Wayne Shorter Quartet Live In London
2. She Moves Through The Fair
3. Adventures Aboard The Golden Mean
4. Prometheus Unbound
In February 2013 upon the release of Without A Net, The Wayne Shorter Quartet performed four of Shorter’s compositions with the Orpheus Chamber Orchestra at Carnegie Hall in New York City. Shorter immediately brought the quartet and orchestra into the studio to record those same four pieces: “Pegasus,” “Prometheus Unbound,” “Lotus,” and “The Three Marias.”
“Just before Miles [Davis] passed,” Shorter remembers, “He said, ‘Wayne, I want you to write something for me with strings and an orchestra, but make sure you put a window in so I can get out of there.’ He definitely did not say, ‘Make the strings swing.’ Working with an orchestra is like crossing the street and talking to a neighbor you haven't talked to for 10 years. It's the thing the world needs now: joining forces.”
The title of this four-composition orchestral suite is also Shorter’s title character for the graphic novel: Emanon, or “no name” spelled backward. “When Dizzy Gillespie had a piece of music in the late 40s called ‘Emanon,’ it hit me way back then as a teenager: ‘No name’ means a whole lot. The connection with Emanon and artists and other heroes is the quest to find originality, which is probably the closest thing you can get to creation,” Shorter says. “Ralph Ellison’s Invisible Man and some comic heroes, they lose their power or identity and become something called human, so that a human being has to do the same thing that Superman and all of them do.”
Later, Blue Note president Don Was introduced Shorter, who is an avid comic book aficionado, to DuBurke’s illustrations, and the saxophonist became enamored with the Brooklyn-raised, Switzerland-based artist’s work in graphic novels on Malcolm X and Deadwood Dick. “I could sort of project myself into Randy’s general state of mind from childhood,” Shorter says. “I could see it in his drawings. He has those ‘I wish’ lines in his work; he’s aiming for how he wants the world to be.”
After DuBurke enthusiastically joined the project and had a long talk with Shorter about the composition titles, quantum mechanics, and much else, he got to work using those four pieces as inspiration. “I’d put the Emanon cuts on,” DuBurke says. “Or I’d watch Cosmos videos with Neil de Grasse Tyson. Whatever came into my head as I sat at the drawing board, I sketched in black and white or in color. Wayne said, ‘Nobody’s gonna edit you, just go with it.’ So I felt entirely free creatively, and delivered some first story sketches to Wayne.”
With DuBurke’s panels in hand, Sly, a screenwriter who helped Shorter and Herbie Hancock write their viral 2016 “Open Letter to the Next Generation of Artists,” worked with Shorter to develop and structure the graphic novel. Central to the story was the multiverse theory, or the idea that the universe we inhabit is one of an infinite number that all exist in parallel realities. Listening to each of four orchestral tracks, Sly and Shorter “came up with a fear that matched the vibe of the track,” Sly says. “That ‘fear’ then defined the world Emanon would be inhabiting in that specific universe of the story. And each of the four universes exists simultaneously—from what I know, that’s very in line with the improvisational, everything-exists-in-the-moment aspect of jazz.”
“Emanon is like so many characters in that role of trying to find a way in the world, and also make the world around him a better place,” DuBurke says. Longtime fans of Shorter may read something of the musician himself into the character. “Wayne is fearless in the face of adversity,” Sly says. “Excited by the prospect of the unknown. Brave enough to stand up for justice and stand out in a crowd, yet sensitive and aware of the value of each life around him.”
“Wayne is the great American composer,” Patitucci says. “It’s always been a matter of him having the chance to display all that he can do in large musical forms, and also in his other areas of brilliance and imagination like art and storytelling, too. So Emanon is a fulfillment of a lifetime vision.”
With Emanon, Wayne Shorter shares his artistic multiverse. Everyone will create his or her own experience with the novel and music—but be prepared for that experience to involve the unknown. “After reading and listening to Emanon, you might begin to notice alternative realities glimmering beneath the everyday world around you,” Esperanza Spalding writes in her introduction to the novel.
Blackwave., dé Belgische hip-hop sensatie van 2018, sluit op zondag 12 augustus de Lokerse Feesten af! Ze vervangen Gucci Mane, die zijn concert annuleerde. Het Antwerpse hip-hop duo brak door met het geweldige 'Elusive' (https://www.youtube.com/watch?v=WE7YZdfRHRY) (ft David Ngyah), heeft een ijzersterke live-reputatie en was vorige maand een van dé hoogtepunten op Rock Werchter (https://youtu.be/KcSmqlgkSmc) als afsluiter van de Klub C. De videoclip van nieuwe single 'Whasgood?!' (https://youtu.be/bb_VGSFIQ8o) ging in première op Billboard, en in het najaar verschijnt het langverwachte debuutalbum.
Laatste combi- en dagtickets voor maandag 6 augustus
De dagtickets voor vrijdag 3 augustus (Simple Minds, Arsenal, Jasper Steverlinck, Magnus DJ-set) zijn uitverkocht. Ook voor maandag 6 augustus (Clouseau, Bart Peeters, Niels Destadsbader, Discobaar A Moeder) en voor de combitickets gaat het heel hard, wacht niet te lang om uw tickets aan te schaffen (http://www.lokersefeesten.be/tickets) . Voor de andere dagen zijn er momenteel nog voldoende tickets beschikbaar.
Vier jaar nadat ze over de hele wereld potten braken met hun zelfgetiteld debuut is Jungle terug met nieuw werk. Het Londense collectief beloonde het lange wachten met niet één, maar twéé nieuwe singles. “Happy Man” en “House In LA” zijn beide doordrongen van Jungle’s heerlijke hypnotiserende vocals en funky vibes en luiden de komst in van een langverwacht nieuw album. 'For Ever' verschijnt op 14 september.
Met swingende nummers "The Heat", "Time" en "Busy Earnin" leert de wereld in 2014 de band achter Tom McFarland en Josh Lloyd-Watson kennen. Lovende commentaren van publiek en critici vliegen hen om de oren. Hun geluid is vernieuwend en uniek. Hun live performances keer op keer een onvergetelijke ervaring. Ook in België kunnen ze rekenen op een grote schare fans en spelen ze uitverkochte shows in AB en Trix.
Dit jaar keert Jungle eindelijk terug naar ons land, met een zomers optreden op Pukkelpop en een zaalconcert dit najaar! Wereldmuziek, seventies soul, vintage funk, psychedelische grooves, Jungle is het allemaal. Een geweldige muzikale avond, op donderdag 22 november in Trix. Tickets zijn beschikbaar vanaf donderdag 2 augustus om 10u.
DONDERDAG 2 AUGUSTUS
The new single featuring saxophonist Darren Rahn goes for radio adds on Monday.
Guitarist Blake Aaron was locked and loaded to release a new single on July 30 when fate intervened. Earlier this month, he received a track from chart-topping saxophonist Darren Rahn, which inspired Blake to write an entirely new melody. The guitar man’s record company, Innervision Records, and radio promoter flipped when they heard the demo, instantly recognizing the hit potential for “Groovers and Shakers.” The hustle was on and within ten days, the new track was produced and recorded by Aaron and Rahn, replacing the single Aaron had intended to drop on the same date. Several radio programmers who have already heard it are eager to add it into rotation on Monday.
“Groovers and Shakers” balances retro R&B dancefloor funk and urbane hipster cool jazz with panache. Aaron’s crisp electric jazz guitar licks pair divinely with Rahn’s vivacious tenor sax blasts throughout the sizzling summer single. The complementary tandem had wanted to collaborate dating back to an interview Rahn did a few years ago when Aaron hosted a nationally-syndicated radio show. The cut they crafted together recognizes the people behind the music, the fans, the radio programmers and the concert promoters who are keeping jazz vibrant and flourishing.
“In every aspect of our lives, there are ‘Groovers and Shakers' who make everything happen and our smooth/contemporary jazz community is no different. From the dedicated fans who follow the music online, on the radio and who come out to the concerts with smiles on their faces while dancing on their chairs to the people who tirelessly work at the radio stations to bring new music to the listeners; to the club, festival and event promoters; and to radio, print and online jazz media. Every one of them could have used their talents in any number of areas, but their passion for this music has inspired them to work – some even just as volunteers - to keep smooth/contemporary jazz thriving. It is these ‘Groovers and Shakers’ to whom this song is dedicated for without you, there is no jazz,” said Aaron, who for decades has been a fixture on the Billboard Top 10 singles chart.
Slated to appear on Aaron’s forthcoming “Color and Passion” album, “Groovers and Shakers” is the fifth single from the project tentatively slated to drop this fall, following “Riviera Nights,” “VIVID,” “Godfather Brown” and “Summer Ride.” The unconventional approach to recording an album over a period of years mirrors the successful path he followed for 2015’s “Soul Stories,” Aaron’s fifth album that was assembled and released as collection of diverse yet engrossing musical chapters only after three singles reached the Billboard Top 10.
Aaron performs frequently with his own band at venues across the nation along with being a busy first-call session player and producer. He’ll play the Derby City Jazz Festival at Churchill Downs in Louisville, KY on August 10, The King Center in Melbourne, FL on September 22 where he will share the marquee with Paul Taylor and Brian Simpson, and back home at SoCal’s jazz hot spot, Spaghettini, in Seal Beach on September 29.
For more information, please visit www.BlakeAaron.com.
CONTEMPORARY JAZZ KEYBOARDIST MARK ETHEREDGE TURNS TO THE CROWD TO HELP REALIZE HIS VISION FOR “LOVE PLANET”
Taking his concept of connectivity one step further as a follow up to his first contemporary jazz instrumental album, “Connected,” keyboardist Mark Etheredge plans to enter the recording studio this fall to bring his optimistic vision for the world to life musically. Reteaming with two-time Grammy winning producer-guitarist Paul Brown, “Love Planet” is a thematic endeavor espousing kindness, respect, compassion, justice and the power of love. To help bring the project to fruition, one that is expected to include guest appearances by several luminaries along with an ensemble of first-call session players, Etheredge launched an Indiegogo campaign offering a bevy of enticing premiums.
Like 2016’s “Connected,” which was powered by the title track that peaked at No. 6 on the Billboard chart, the pianist-keyboardist has composed an album worth of new material comprised exclusively of originals that he depicts as smooth, funky, jazzy and will even have a touch of gospel. Etheredge’s utopian world view spins on the axis of peace, where inclusion and hope reign.
“Growing up, my parents would tell me that basically, everyone is born good. I heard opposing viewpoints on that message over time, but I still believe it’s true. And it’s totally inclusive: we are all part of the ‘Love Planet,’” said Etheredge about the inspiration behind the title track of the collection he plans to drop in February preceded by a radio single the month before.
Even in demo form, the set’s sophisticated groove with a nocturnal feel on the piano-piloted “Resonance” bodes to be a radio single. The San Francisco-based Etheredge explains, “Wikipedia states: ‘In physics, resonance is a phenomenon in which a vibrating system or external force drives another system to oscillate with greater amplitude at specific frequencies.’ I think as humans, we all have opportunities to resonate with each other - to be in tune and find peace with each other - if we want it enough.”
“You&Me&Us” contemplates coexistence while addressing a number of “Love Planet’s” key motifs. Etheredge ponders, “How can we coexist peacefully with one another? Perhaps if ‘you and me’ think not just about one or the other’s wants or needs, but instead consider a third way - ‘us’ – that focuses on our shared interest in which we both benefit. Can we be kind? Can we be respectful of all the beings in the world? Can we practice compassion and justice? Can we be loving?”
He describes “Slow Train” by using a quote attributed to Dr. Martin Luther King Jr. that was based on an older writing from abolitionist minister Theodore Parker. “‘The arc of the moral universe is long, but it bends toward justice,’ said Dr. King. For me, it’s a strong message of hope - that together - we can get through challenging times.”
Scheduled to be recorded in Los Angeles, “Love Planet” is expected to consist of nine songs when complete. To get there, Etheredge’s newly-initiated crowdfunding campaign provides a variety of perks that allow supporters to contribute to the process and score unique keepsakes and collectibles. Opportunities include autographed CDs, digital wallpapers, a studio session photo book, a canvas print of the album cover art, t-shirts and pillows branded with the “Love Planet” logo, and the unforgettable experience of attending all the recording sessions. To view the offerings, please visit https://bit.ly/2uWxQLZ.
The tentative track listing for “Love Planet” is:
“On The Flip Side”
“We’ll Make It Through”
For more information about Etheredge, please visit https://marketheredge.com. On social media, look for the #loveplanetalbum hashtag.
The July 27 album release moves more than just bodies with the emotional radio single, “Missing You,” serving as testament.
NASHVILLE (23 July 2018): Four-time Grammy nominee Denny Jiosa sees parallels between the curvaceous body of the guitar and the human body. Indulging his passion for “sexy” Latin music, the jazz guitar slinger uses his electric and nylon-string guitar bodies to get people to move their body as well as expressively stir emotions on his eighth album, “Mueve Tu Cuerpo,” which drops July 27 on the Sonic Canvas Records/BFD imprint. Radio is already getting a taste with the evocative first single, “Missing You,” one of eleven songs Jiosa penned and produced for the collection.
Jiosa endeavored to craft an upbeat Latin-influenced, jazz-rooted album that would get people to move and grab attention via an exciting blend of musical styles. But he also wanted to go deeper, “shy away from the norm” and touch people emotionally. Beneath the energizing layers of exotic Latin percussion that create lusty rhythms and sensual grooves emerge moving harmonies and rousing melodies that resonate. Whether he’s furiously strumming impassioned nylon-string guitar rhythms, precisely picking lyrical phrases and bending extended notes, or intensely issuing scorched earth electric guitar pyrotechnics, Jiosa’s deft fretwork establishes and maintains a commanding presence throughout the recording.
“‘Mueve Tu Cuerpo’ is about what music does to get people to move. I wanted this to be an exciting, compelling and expressive blend, tapping into my huge passion for Latin music. I love the sounds, rhythms and sexiness of Latin music, which I blended with jazz rhythms, lines and harmonies. My intention from the outset was to reach a broad scope of listeners with this album. Guitar is one of the most expressive and sexy instruments. Whether I’m playing nylon string to electric guitar with an edge, it’s about moving people emotionally. If you can move people emotionally with an instrumental, then you’ve accomplished something,” said the Nashville-based Jiosa.
More than just sultry enticements to body movement or coaxing emotional responses, “Mueve Tu Cuerpo” also transmits meaningful messages. “Missing You” ruminates on the absence of Jiosa’s loved ones who have passed, such as his desire for his parents to be here to see their grandkids and hear his music. Alluring and mystical, “Dance In Heaven” contains the gut string guitarwork of multiple Grammy nominee Phil Keaggy. The festive, gospel-funk cut “Selah, Love Each Other,” featuring drummer Chester Thompson (Genesis, Frank Zappa), pays tribute to Jiosa’s late bassist, Chris Kent. John Santos contributes lead vocals to “Freedom Tower,” a song about the historic Miami structure that still stands as a landmark for Cubans who fled to the US in the 1960s and were processed at that location. The atmospheric meditation “From The Fire” appeared in the Christian film “Believe: The Misfit Pawn” a couple years ago and addresses embracing “the fire” we face in our lives.
Jiosa developed his brand of guitar play that borrows from jazz, rock, blues and R&B while living in Los Angeles where he studied under the tutelage of innovative guitarist Frank Gamble (Chick Corea). He dropped his solo debut, “Moving Pictures,” in 1995. Subsequent collections spawned a string of singles that proliferated the radio charts. Jiosa’s diverse body of work includes roles as a producer, engineer, mixer and/or guitarist for artists such as Yolanda Adams, Kirk Whalum, Take 6, Ben Tankard, Philip Bailey and Crystal Gayle. “Mueve Tu Cuerpo” is his first album in ten years. For more information, please visit http://jiosa.com.
Jiosa’s “Mueve Tu Cuerpo” contains the following songs:
“Mueve Tu Cuerpo”
“Dance In Heaven”
“Abre La Puerta”
“Selah, Love Each Other”
“From The Fire”
“Embracing The Fire” (remix)
Stanley Kubricks grensverleggend meesterwerk ‘2001: A Space Odyssey’ is in 2018 precies vijftig jaar oud, en dat mag gevierd worden. In dit concert trekken we met de symfonische filmmuziek de ruimte in en ontdekken we de muzikale rijkdom van verschillende generaties componisten die stuk voor stuk een eigen sound gaven aan het reizen door het heelal.
Het concert brengt ook een stukje kosmische filmmuziekgeschiedenis tot leven, met een focus op de grote componisten van de jaren tachtig en negentig van vorige eeuw, maar ook met werk van hedendaagse collega’s.
Een greep uit het meeslepende programma: space opera’s van John Williams, Alex North, Jerry Goldsmith, John Barry, Ennio Morricone, James Horner, Bill Conti, Elliot Goldenthal en Cliff Martinez. En natuurlijk de iconische soundtracks van ‘Star Wars’, ‘Star Trek’, ‘Moonraker’, ‘Alien’, ‘The Right Stuff’, ‘Mission to Mars’, ‘Solaris’, ‘The Martian’ en nog vele andere.
May the force be with you!
De dirigent Dirk Brossé (°1960, Gent) is een veelzijdig componist en een gerespecteerd dirigent op de internationale muziekscène. Momenteel is hij Music Director van The Chamber Orchestra of Philadelphia, muziek directeur van het Filmfestival Gent, en Music Director en principal conductor van de Star Wars in Concert World Tour.
Capitole, Graaf Van Vlaanderenplein 5, 9000 Gent
donderdag 18 oktober 2018
LEGENDARY PIANIST BOB JAMES RETURNS TO TRIO FORMAT AFTER DECADE-LONG STUDIO RECORDING HIATUS AS A LEADER FOR ESPRESSO
Album Features “Submarine” – Follow up to “Nautilus,” the Track That Earned James’
Unlikely Godfather of Hip-Hop Status
Available August 31 via evosound (Evolution Music Group), International Touring to Follow Album Release.
"... Bob James is to jazz what James Brown is to R&B -- the music
and the musician go hand and hand." – NPR
"If you make beats or play an instrument, bow down." – VICE Noisey
"...James solidified his place in jazz history with a certain touch on the keys
that’s influenced from the pianists he admired while being able to eventually
develop his own style that is often unmatched." – Huffington Post
"He knew how to grab listeners instantly with a seriously funky intro." – NPR
"Hip-hop would be considerably less funky without Bob James." – Complex
Long after establishing himself as one of America’s most accomplished composers, arrangers and instrumentalists, multiple-GRAMMY® Award-winner Bob James achieves his long-time ambition to return to the trio format he last utilized on 2004’s Take It From The Top, and embraced as an up-and-coming artist.
Scheduled to release August 31, 2018 on the evosound label (Evolution Music Group), Espresso is also James’s first studio recording as a leader since 2006’s Urban Flamingo. “Evolution Music Group presents high end and cutting-edge fidelity quality products, from packaging to audio,” says James. The album will be released on multiple formats including high quality 180 gram vinyl, MQA-CD, SACD, and hi-res audio download.
Though busy since 2006 with an array of projects, ranging from albums and appearances with the all-star contemporary jazz ensemble Fourplay to collaborations with David Sanborn, Keiko Matsui and other renowned artists, James hasn’t reclaimed his place in the spotlight as a solo performer — until now.
“I wanted to do this as part of a trio — piano, bass and drums,” James explains. “With Fourplay and in other larger settings, I loved that I could solo and then kind of disappear into the setting to accompany other soloists. To play in a trio requires a different level of commitment, with the piano being much more prominent. You need perhaps a greater degree of optimism and bravery. That was how I felt when I first got into music. Espresso is my attempt to recapture that.”
Inspiration for this project stems from a week-long engagement with sensational young bassist Michael Palazzolo and the respected veteran drummer Billy Kilson at the Blue Note in New York City last October. The musicians felt an immediate chemistry as they tackled standard repertoire as well as new James originals. Audiences sensed it too. “Soon everybody there was encouraging me to have the guts to jump in there and do this,” James recalls.
So, just two months later, the group reconvened at Stagg Street Studios in Van Nuys, California. With their inspired energy and musical bond the trio laid down the varied tracks that comprise Espresso. Two covers were on the list: an ear-opening reconfiguration of Fats Waller’s “Ain’t Misbehavin’” and an equally fresh perspective on “Mr. Magic” (which James had arranged and conducted on the 1975 Grover Washington session). The rest of the album comprises a stream of original material.
The funk strut of “Submarine” is a direct follow up to 1974’s “Nautilus” – one of the most heavily sampled songs in hip-hop. The classic sound perfectly blends in the fresh, complex, and rich textures from Espresso, which finds James sampling himself and recording over it. “Nautilus” samples range tracks from Jay Z, Tupac, Freddie Gibbs, 9th Wonder, and A Tribe Called Quest to Ghostface Killah, Slick Rick, Danny Brown, Wu Tang Clan, Mary J Blige, Pete Rock & CL Smooth, and many others.
The rest of the tunes, penned by James, reflect the same inventiveness and musical fluency that persuaded Quincy Jones to become his mentor and champion in 1963, after which he went on to work with Sarah Vaughan from 1965-1968, prior to his ground-breaking work as a producer and arranger for CTI. His expressiveness through both writing and performance permeates the rocking minor-key blues of “Bulgogi,” the definitive cool jazz of “Topside,” the whispered beauty of “Promenade,” the turbulent, more complex yet supremely listenable “Mojito Ride,” and every other moment on Espresso.
Whether creating and recording the unforgettable theme of TV’s Taxi or ascending to unlikely notoriety as a source of samples for hip-hop legends, James has already left an indelible imprint on American music and culture. Espresso makes it clear that his contributions will continue, and that his impact will only grow in years to come.
Bob James · Espresso
evosound · Release Date: August 31, 2018
For more information on Bob James, please visit: BobJames.com | Facebook | Twitter
For more information on evosound, please visit: www.evosound.com
A Whaling City Sound Compilation CD for Destination New Bedford.
The Whaling City Sound CD label has teamed up with Destination New Bedford to offer Calm Waters, Rolling Swells and Roiling Seas, a compilation CD to showcase the cultural, culinary, artistic, historic and ethnic highlights of the city.
Whaling City Sound has been releasing mostly jazz CDs over the last twenty years. This catalogue should be viewed in the context of a particularly jazz-fertile part of the world. Jazz has a deep and substantial history in New Bedford, but so do all of the arts.
Calm Waters, Rolling Swells and Roiling Seas is a relaxed progression of songs selected and then sequenced to flow from mellow to funky to edgy. The opening and closing selections, “Jennifer” and “Lovely Ernestina,” are not jazz. “Jennifer” is maybe country, some R&B, jazzy at times, smooth, all beautiful, and “Lovely Ernestina” is easily classified as a Sea Chantey. In between those two end tracks are jazz played in a variety of styles. We hope you enjoy the journey, and that it will lead some of you to further explore the music of some or all of the artists who donated their efforts for this project, either online or wherever fine music is sold these days.
Artists such as drummer Gerry Gibbs, as well as dad/vibist Terry Gibbs, and saxophonists Dave Liebman and Greg Abate are flanked by the likes of Jason Miles, Reggie Young, Rale Micic, and Marcus Monteiro, among others.
You may be listening to this CD because of a particular artist or song— which, of course, is a good reason on its own—or because you are the kind of jazz fan that is curious about what happens when artists are allowed a wide berth to showcase their singular talents in an ultra-personal way. We hope that you enjoy the music, and if you haven’t already done so, come down and have a taste of our fine city.
Yoko Ono has announced that she will release a new album, ‘Warzone’, on 19 October. The singer has also released the title track from the album today (July 24).
Ono will also premiere a new track from the album every Tuesday on streaming services and on her website. After over 50 years in the music industry, Ono has released twenty-albums. For her latest, Ono revisits 13 songs from her past work from 1970-2009 and reimagines them.
The singer has said that the lyrics and messages of the songs, which will be released through Sean Ono’s Chimera Music label, are still relevant today.
Ono said: “The world is so messed up. Things are very difficult for everybody. It’s a warzone that we are living in…I like to create things in a new way. Every day things change.”
The album includes a new version of ‘Imagine’ – a song which Ono finally received a song-writing credit for in 2017.
The album follows Ono’s 2016 ‘Yes, I’m a Witch Too’ where her songs were updated by artists including Moby and Death Cab for Cutie.
The track listing for Warzone is as follows:
2 Hell In Paradise
3 Now Or Never
4 Where Do We Go From Here
5 Woman Power
6 It’s Gonna Rain
8 Children Power
9 I Love All of Me
10 Teddy Bear
11 I’m Alive
12 I Love You Earth
THE BRUTALISTS are a new rock and roll group featuring founding L.A. GUNS member Mick Cripps and LONDON QUIREBOYS founder Nigel Mogg (nephew of UFO singer Phil Mogg). The group is rounded out by guitarist/vocalist Kent Holmes, bassist Robert Cripps and vocalist/drummer Charlie Nice.
THE BRUTALISTS' music is a mix of their influences - the dirty, leering blues of pub rock and R&B, the urgency of street punk and the synthesized dance ennui of post-punk, seasoned with bits of ska and reggae. They perform regularly in downtown Los Angeles and throughout California.
THE BRUTALISTS signed to Cleopatra Records in November 2017 and will have their self-titled debut album released on August 31, 2018. It will be available on both CD and all streaming platforms, and in a special limited edition vinyl pressing with silk-screened jacket!
1. I Don't Believe A Word
2. Wishing I Was Far Away
3. Form & Function
4. Meet Me Half Way
5. Jungle Nasty
6. Talk Of The Town
7. Look Whatcha Gone And Done
8. Know Your Value
10. You Got It
11. Enough Of Me [CD ONLY]
12. Drinking Alone [CD ONLY]
Pre-order the CD: https://cleorecs.com/store/shop/the-brutalists-cd/
Pre-order the vinyl: https://cleorecs.com/store/?s=brutalist&post_type=product
Pre-order the digital version: https://thebrutalistsband.bandcamp.com/
Met ‘Zoutelande’ scoorde Bløf de grootste hit in zijn carrière, met dank aan de vocalen van de Belgische Geike Arnaert, en het is nu ook de grootste Nederlandstalige hit ooit. Die titel behoorde lange tijd toe aan ‘Rood’ van Marco Borsato.
‘Rood’ van Marco Borsato was bijna twaalf jaar lang de grootste Nederlandstalige hit, maar verliest die titel nu aan ‘Zoutelande’, het nummer van Bløf en Geike Arnaert. Radiozender NPO3FM baseerde zich hiervoor op een puntensysteem waarbij een nummer elke week punten krijgt toegekend naargelang de notering in de Mega Top 50.
‘Zoutelande’ staat als sinds 18 november in de lijst, tien weken lang helemaal bovenaan, afgelopen week nog op de 31ste plaats. Daardoor sprokkelde het nummer op 36 weken tijd 1.380 punten, ‘Rood’ sprokkelde in diezelfde periode slechts 1.369 punten. Aangezien ‘Zoutelande’ waarschijnlijk nog niet meteen uit de Mega Top 50 verdwijnt, zal het verschil tussen beide nummers nog toenemen.
Het nummer brak vorige week ook al een record in de Vlaamse Ultratop doordat het 21 weken lang helemaal bovenaan die lijst stond. Nooit eerder stond een nummer zo lang op één in de Vlaamse hitgeschiedenis. Sinds augustus 2016 stond het record op naam van ‘Horizon’ van Tourist LeMC feat. Spiritual Wally die het toen op hun beurt van Fixkes hadden overgenomen.
Geen Radio 2 Zomerhit
Ondanks het ontegensprekelijke succes is Zoutelande echter niet opgenomen in de genomineerden voor de Radio 2 Zomerhit. Een gevolg van het veranderde reglement dat Radio 2 heeft opgesteld, zo schrijft Dag Allemaal.
Omdat de kijkers op 12 augustus mee zullen kunnen stemmen op hun favoriet, wordt van alle genomineerden namelijk verwacht dat ze zich op de dag zelf vrijmaken voor een optreden. Een voorwaarde waaraan Bløf en Geike Arnaert niet konden voldoen. Niet dat de ze daar zelf erg mee inzitten: “Het is best grappig dat jullie ‘Zoutelande’ als zomerhit beschouwen”, liet de zanger van Bløf weten aan Dag Allemaal. “Want eigenlijk speelt het zich af in de winter.” (bron: Nieuwsblad)
First World Blues is a project more than three years in the making from an amazing songwriter. Below you will find a little about Benjamin and the record as well as download and streaming links. Hard copies are available upon request. Benjamin is available for interviews via phone, email or in person, just give me a shout. I hope you dig the record, and as always, thank you for everything that you all do.
Check out the first single, "Raggedy Andy Williams" over on Americana Highways
“Raggedy Andy Williams,” features Douglas’ low gravelly voice, with its hurtin’ emotional cracking points, as he sings: “honestly Alice, how did you expect this Raggedy Andy Williams love story to end?” and touches our hearts with the tangibly earthy, predictable regret we can all relate to"
-Melissa Clarke, Americana Highways
"First World Blues is one of my most anticipated albums of 2018. Benjamin Jason Douglas is an extraordinary songwriter. He has a unique and effective way with words. It's a contender for the best albums of the year."
- Joe Wolfe-Mazares, Ear 2 The Ground Blog
East Nashville by way of a creek side suburb right outside of Baltimore, songwriter Benjamin Jason Douglas weaves classic American folk tales not unlike those of John Prine and Guy Clark. But he’s also lit up by the torch song sarcasm of Randy Newman. Those influences come to you mixed-up with the voodoo blues of Dr. John on a whiskey-soaked bender with Tom Waits.
His narratives pin laughter beside loneliness like two old friends who don’t really get along but make it work for the sake of the song. With every sneaky 7th and diminished chord struck by this gravelled soul, he aims to make light work of heavy hearts, as if only to convince himself he can. What you end up with is a sound that truly defies categorization, a magical potion of tent revival gospel and outsider anthems that are all his very own. Get down with this 3 star S.O.B., you’ll be glad that you did!
First World Blues, Douglas's debut record, was slow cooked for three years from 2014-2017 at Greenland studios in Nashville TN. Most of the songs were written in Nashville and crafted in the studio with Producer Joe Lekkas. Contrary to it being made in Nashville there were no hired guns used in its making. It was made with the help of friends who believed in the songs. The sound hinges on that collective vision, as 99% of the songs at conception were the brainchildren of one swollen head. With everything from upbeat revival worthy gospel (Tentpole), to darker sounding tales of desperation (Walking Down the Grain) and lot in between, the sonic landscape of the album is vast. Lyrically it contains a bit of personal journey clothed in the stories of others. They don't always fit but that's not always the point.
Ben Douglas - acoustic/electric guitar, keys, and lead vocals
Ryan Dishen- electric guitar and backing vocals
Erin Nelson- drums/percussion and backing vocals
Joe Lekkas- bass, keys, and backing vocals
Produced by Joe Lekkas @Greenland Studios
All songs written by Benjamin Jason Douglas except:
Track 8 Tchoupitoulas, written by Joesph Lekkas
Columbia Records/Legacy Recordings will release a new compilation album of Bob Dylan recordings, Live 1962 - 1966: Rare Performances from The Copyright Collections, on July 27
Bob Dylan's Live 1962 - 1966: Rare Performances from The Copyright Collections will be available digitally or on CD.
Most of the performances on the album have been previously available only on the extremely limited edition "50th Anniversary / Copyright Extension" albums (three highly-collectible compilations--released in 2012, 2013 and 2014--of rare early Dylan recordings).
Across two discs-worth of music, Live 1962 - 1966: Rare Performances from The Copyright Collections chronicles Dylan's transformation from groundbreaking acoustic "folk" artist to iconic force of pop culture.
The album features seminal recordings from the artist's coffeehouse era (Gerde's Folk City, 1962), his mythic 1963 breakout concerts at New York's Town Hall and Carnegie Hall, a duet with Joan Baez from the historic March on Washington (August 28, 1963), definitive performances from his European and world tours of 1965 and 1966, incandescent moments from the 1964 and 1965 Newport Folk Festivals and more.
Bob Dylan is slated to perform at the Fuji Rock Festival on July 29 and will be touring Asia and Australia this summer. Bob Dylan tour information
Live 1962 - 1966: Rare Performances from The Copyright Collections
01. Blowin' In The Wind – April 16, 1962 – Gerde's Folk City, New York City, New York
02. Corrina, Corrina – April 16, 1962 – Gerde's Folk City, New York City, New York
03. John Brown – April 12, 1963 – Town Hall, New York City, New York
04. Don't Think Twice, It's All Right – April 12, 1963 – Town Hall, New York City, New York
05. Bob Dylan's Dream – April 12, 1963 – Town Hall, New York City, New York
06. Seven Curses – April 12, 1963 – Town Hall, New York City, New York
07. Boots of Spanish Leather – April 12, 1963 – Town Hall, New York City, New York
08. Masters of War – October 26, 1963 – Carnegie Hall, New York City, New York
09. The Lonesome Death of Hattie Carroll – October 26, 1963 – Carnegie Hall, New York City, New York
10. When The Ship Comes In – August 28, 1963 – March on Washington, Washington, D.C.
11. The Times They Are A-Changin' – May 17, 1964 – Royal Festival Hall, London, England
12. Girl From The North Country – May 17, 1964 – Royal Festival Hall, London, England
13. Mr. Tambourine Man – May 17, 1964 – Royal Festival Hall, London, England
14. It Ain't Me, Babe – May 17, 1964 – Royal Festival Hall, London, England
15. To Ramona – July 26, 1964 – Newport Folk Festival, Freebody Park, Newport, Rhode Island
16. Chimes of Freedom – May 17, 1964 – Royal Festival Hall, London, England
Bob Dylan – vocal, guitar, harmonica
Joan Baez – background vocal [track 10]
01. One Too Many Mornings – June 1, 1965 – BBC Studios, London, England
02. It's Alright, Ma (I'm Only Bleeding) – April 30, 1965 – The Oval, City Hall, Sheffield, England
03. Love Minus Zero/No Limit – May 1, 1965 – The Odeon, Liverpool, England
04. Gates of Eden – May 7, 1965 – Free Trade Hall, Manchester, England
05. It's All Over Now, Baby Blue – May 1, 1965 – The Odeon, Liverpool, England
06. She Belongs to Me – May 10, 1965 – Royal Albert Hall, London, England
07. Maggie's Farm – September 3, 1965 – Hollywood Bowl, Los Angeles, California
08. It Takes A Lot To Laugh, It Takes A Train to Cry – July 25, 1965 – Newport Folk Festival, Freebody Park, Newport, Rhode Island
09. Desolation Row – April 13, 1966 – TCN 9 TV, Sydney, Australia
10. Baby, Let Me Follow You Down – May 11, 1966 – Capitol Theatre, Cardiff, Wales
11. I Don't Believe You (She Acts Like We Never Have Met) – May 11, 1966 – Capitol Theatre, Cardiff, Wales
12. Ballad of a Thin Man – May 20, 1966 – ABC Theatre, Edinburgh, Scotland
13. Visions of Johanna – May 6, 1966 – ABC Theatre, Belfast, Northern Ireland
Bob Dylan – vocal, guitar, harmonica
Bob Dylan – vocal, guitar, harmonica
Robbie Robertson – guitar
Al Kooper – organ
Harvey Brooks – bass
Levon Helm – drums
Bob Dylan – vocal, guitar
Michael Bloomfield – guitar
Barry Goldberg – organ
Al Kooper – bass
Sam Lay – drums
Tracks 9, 13:
Bob Dylan - vocal, guitar, harmonica
Richard Manuel - piano
Bob Dylan – vocal, guitar, piano (on Track 12)
Robbie Robertson – guitar
Garth Hudson – organ
Richard Manuel - piano (does not appear on Track 12)
Rick Danko – bass
Mickey Jones – drums
# # # # #
De zaken gaan uitstekend voor Tamino! Zijn concerten op 29 en 30 november in de AB zijn volledig uitverkocht. Om tegemoet te komen aan de vraag naar tickets heeft Tamino beslist een derde concert toe te voegen aan zijn tourschema. Hij zal eveneens te zien zijn op het podium van de Ancienne Belgique op zaterdag 1 december. Tickets zijn vanaf nu beschikbaar.
Op amper 21-jarige leeftijd kent onze landgenoot met Egyptische roots een ongezien succes dat tot ver buiten ons kleine landje reikt. Hij bezit zonder enige twijfel één van de mooiste stemmen uit de muziekscene. Sinds de release van zijn single “Habibi” in maart 2017 betovert Tamino zowel critici als publiek, die vol ongeduld uitkijken naar de release van zijn debuutalbum dit najaar.
Dit concert is een coproductie tussen AB en Live Nation.
It ain’t over ’til the German astronaut sings. On Friday night, Kraftwerk closed out their set at Stuttgart’s Jazz Open Festival in the most epic way possible by performing “Spacelab” with German astronaut Alexander Gerst, who’s currently stationed, oh, 400 kilometers above sea level.
As Gerst pointed out, he’s currently “one of only six people in space,”making him inarguably the coolest person in the universe right now. And to prove his cool, he used a tablet computer that was configured with a virtual synthesizer to duet with the group on the 1978 track.
Before all that, though, he gave a nice space lesson to the audiences:
“The ISS is a Man-Machine, the most complex and valuable machine humankind has ever built,” he explained. “Here in the European Columbus Laboratory, the successor to the Spacelab, the European Space Agency (ESA) is researching things that will improve daily life on Earth. More than 100 different nations work together peacefully here and achieve things that a single nation could never achieve. We are developing technologies onboard the ISS to grow beyond our current horizons and prepare to take further species into spaces, to the Moon and Mars.”
Does this guy know how to party or what? Watch the whole performance below, then look to the stars above.
Members from Hungarian, Trinidadian, Indian, Canadian, French & American Cultures.
In a time of increased nationalism and populism throughout the world, it is essential not to forget the true essences of the human condition: acceptance, growth through knowledge and culture, and the idea that a heterogeneous and homogeneous society can influence each other with extremely positive results while creating harmony. This idea is ever present with a group of four young men – from Hungarian, Trinidadian, Indian, Canadian, French and American cultures – brought together by the power of music and education, collectively naming themselves MND FLO.
The birth of MND FLO (pronounced “mind flow”) began as a trio between pianist Sharik Hasan, bassist Alexander L. J. Tóth, and drummer Anthony A. Tóth. For them, it was a story of an initial meeting where everything just clicked from the start. Formed in Boston, MA while studying at the Berklee College of Music, the trio experienced a time of endless musical experimentation, marking the beginning of a meaningful friendship that has lasted throughout the years.
Enter vibraphonist Simon Moullier: although arriving in Boston slightly later, he immediately found himself creatively exploring with the now developed trio. "Again, it was that instant connection. We really feel like he added his own unique voice, and that extra layer to the music that took it to a new level," states the collective quartet.
MND FLO's debut album From Time simply touches on the deep connection and duration of collaboration that the group has forged. The album features an array of ethnic subtleties, as well as their apparent hunger for creating new vessels of musical expression through electronic elements and atmospheric detail. "Ultimately, our main goal as a band is really to just break down the walls of whatever frame of mind someone might be in, invite them to be in the moment with us, and just let their MND FLO. We want to spread the message of exploring and crossing cultures in music, while using our outlet the best we can to create a sense of community in the world.”
The rich heritage between the members of MND FLO is something that's highly influential to all of them, and they often find themselves being asked where they all individually come from. Hailing from vastly different parts of the world including India, France, Trinidad, Hungary, and Canada, MND FLO has found a never-ending pool of inspiration to draw from within this diversity. "To us, one of the most beautiful things about creating music is digging into those roots and incorporating elements of your own culture within it," says the band.
Another concept that the group aims to achieve within their music is the idea, or interpretation of, what they like to call "Flo;” a feeling where everything fits into place, allowing for a sense of seamlessness and being fully immersed in the music. Aside from music, “Flo” can relate to everyday life. “There's Flo in the way you dress, there's Flo in the way you speak, it's in the mind, and it's almost always present when we all come together as a unit.”
MND FLO’s musical philosophy has never revolved around individual instruments or personalities, but rather as one unit, that moves together and flows together. Even as individually distinguished artists that reside in various cities, MND FLO always remains their artistic home, more of a state of mind than a geographical location. In a time where it seems rare to come across a band where all members are equally invested in every aspect, MND FLO emphasizes the fact that they love doing what they do and they love doing it together.
About MND FLO
In a variety of musical settings, the members of MND FLO have individually performed at Newport Jazz
Festival, Novosadski Jazz Festival, Kriol Jazz Festival, Nancy Jazz Festival, Jazz A Vannes, Panama Jazz Festival, Atlanta Jazz Festival, Tri-C Jazz Festival, Jacksonville Jazz Festival, Beantown Jazz Festival, Cambridge Jazz Festival, Toronto International Jazz Festival, International Jazz Day, Blue Note Jazz Club NY, Jazz at Lincoln Center NY, and various venues across France, Sweden, Russia, Finland, Spain, Portugal, Cuba, Italy, Austria, India, Germany, Cape Verde, Indonesia, UK, USA and Canada.
In addition, they have performed and/or recorded with internationally renowned artists including Herbie Hancock, Wayne Shorter, Marcus Miller, Terri Lyne Carrington, Ralph Peterson Jr., John Patitucci, Valerie Simpson, Patrice Rushen, Chris Potter, Walter Smith III, Donald Harrison, Darren Barrett, Bill Pierce, Billy Kilson, Tia Fuller, Sean Jones, Antonio Sanchez, Joe Lovano, Kurt Rosenwinkel, Jazzmeia Horn, Geri Allen, Vijay Iyer, Danilo Perez, Myron Walden, Warren Wolf, Gregoire Maret, Antonio Hart, Matthew Garrison, Steve Wilson, Thelonious Monk Institute, among many more.
MND FLO · From Time
Release Date: July 20, 2018
For more information on MND FLO, please visit: mndflo.com
Kylie Minogue is onmiskenbaar een superster, overal gekend en door iedereen geliefd. Met meer dan 90 miljoen verkochte albums wereldwijd op haar palmares fleurde de Australische schone 2018 op met de release van haar veertiende album ‘Golden’. Een verrassend album dat country mengt met Kylie’s pop/dance DNA. Daar koppelt de zangeres een nieuwe Europese tournee aan die haar dit najaar naar Brussel brengt.
Als veelzijdige artieste met haar ongeziene intelligentie verbond Kylie verschillende modetrends. Ze slaagde erin om haar muziek telkens heruit te vinden door trends voor te zijn en zo een steeds kritischer publiek te overtuigen. Van “I Should Be So Lucky” tot “Where The Wild Roses Grow” en van “Kids”, “Can’t Get You Out Of My Head”, “Come Into My World”, “I Believe in You” en “Slow”… de lijst met hits lijkt oneindig, onvervangbaar en onmiskenbaar efficiënt.
Met ‘Golden’ brengt Kylie een eerbetoon aan legendes uit Nashville, waar ze in samenwerking met Steve McEwan (Keith Urban) en Amy Wadge (Ed Sheeran) 12 nummers opnam. Een nieuwe uitdaging die ze met verve invult met singles “Golden” en “Stop Me From Falling” waarin ze samenwerkt met de Cubaanse reggaeton groep Gente De Zona. Mis de unieke kans niet om dit popicoon in alle intimiteit aan het werk te zien op donderdag 8 november in het Koninklijk Circus in Brussel !
VRIJDAG 27 JULI, 10U
(Beneden, ongenummerde zit- en staanplaatsen)
(Boven, genummerde zitplaatsen) 61,04 euros
(Boven, genummerde zitplaatsen)
Once Human will release their first ever live album titled “Stage Of Evolution” on September 28th via earMUSIC. The first single release “Flock Of Flesh” has been released today as Instant Grat and songstream video.
Having made waves with their 2015 debut, “The Life I Remember”, the band has dramatically progressed beyond the melodic death metal sound of that release into something more complex, emotional, distinct, and devastatingly heavy. Evolution was not just the title of Once Human’s sophomore release last year it was an armorplated declaration. And it evolved into something big. The video for their lead-off single “Eye Of Chaos” by now gathered more than 7.5 million views on YouTube alone. As not only the comments below their YouTube videos prove, Once Human fascinate with their complex and emotional sound, their thick, contorted riffs and Lauren Hart’s unique and bloodcurdling voice.
“Holy shit I did not expect that voice come out of that body”
“Possible to be turned on and terrified by a woman at the same time?”
“Okay she’s kinda cute but I don’t expect muc- HOLY SHIT SOME EXPLAIN HOW IN THE WHAT”
Stage Of Evolution is the consequential mutation of the Evolution album from studio to stage. It was recorded during last year’s US tour and features not only songs from the studio album but also a cover of Machine Head’s “Davidian”, a track from their 1994 debut album Burn My Eyes, co-written by Once Human’s Logan Mader, whose name will be familiar to metalheads not only as the original guitarist in Machine Head and his late 90s stint in Soulfly but also for his production and mixing work on records from the likes of Gojira, Fear Factory and Devildriver. Beside singer Lauren Hart unleashing her forceful voice the track also features guest vocals by Fred Leclercq of Sinsaeneum and Dragonforce.
I know it’s uncommon for a band who is not headlining to record a live album. We were able to pull it off because today’s technology and compact size of the necessary gear is a part of our everyday monitoring system. We had loads of fun on tour with Dragonforce. I’m so glad we captured a nice piece of it to share with all our fans! - Logan
With the lineup rounded out by drummer Dillon Trollope, bassist Damien Rainaud and guitarists Max Karon, everything about Evolution and its live counterpart Stage Of Evolution makes it clear that this is a band pushing itself to deliver something that truly stands apart.
The product will be available as digipak and digital, both for an unbeatable price.
1. Eye Of Chaos (Live)
2. Killers For The Cure (Live)
3. Mass Murder Frenzy (Live)
4. Gravity (Live)
5. Passenger (Live)
6. Pick Your Poison (Live)
7. Paragon (Live)
8. Davidian feat. Fred Leclercq (Live)
9. Flock Of Flesh (Live)
Official videos from the studio album:
Eye Of Chaos: https://youtu.be/9VHA0H8peZ0
Dark Matter: https://youtu.be/OTua2ZrZr7M
Rod Stewart will release his 30th studio album – “Blood Red Roses” – September 28th on Republic Records. The album highlights Stewart’s acclaimed songwriting roots – blending the poignant observation, self-reflective introspection and playful swagger which established him as one of the world's best-selling artists of all time. “Blood Red Roses,” offered as a 13-track standard and a 16-track deluxe from digital retailers is available for preorder now and includes an instant download of the album’s lead single "Didn’t I.”
“Blood Red Roses,” a deeply personal 13-track collection of originals and three covers, is quite simply peak Rod Stewart. The album’s first single, “Didn’t I” is about the damage drugs can do from a parents’ point of view. This new album, his first in three years, follows international bestsellers “Another Country” (2015) and “Time” (2013) and will be released nearly 50 years to the date of when he signed his very first solo recording contract.
‘I always think I make albums for a few friends and this record has that intimacy,’ Rod Stewart said. ‘Sincerity and honesty go a long way in life and the same is true in song-writing.’
Co-produced by Rod’s long-term collaborator Kevin Savigar, “Blood Red Roses” moves easily from acoustic driven folk through Motown-tinged pop/R&B to unadulterated rock’n’roll and heart-melting ballads.
Beginning today, fans who preorder the 13-song standard or 16-song deluxe album from digital retailers will instantly receive a download of "Didn’t I.”
With his signature voice, style and songwriting, Rod Stewart has transcended all genres of popular music, from rock, folk, soul, R&B, and even the American standards; making him one of the few stars to enjoy chart-topping albums throughout every decade of his career. He’s earned countless of the industry’s highest awards, among them, two inductions into the Rock and Roll Hall of Fame, the ASCAP Founders Award for songwriting, New York Times bestselling author, Grammy™ Living Legend, and in 2016 he officially became “Sir Rod Stewart” after being knighted by Britain's Prince William at Buckingham Palace for his services to music and charity. During his 50-plus year career, he’s amassed sales of more than 200 million albums and singles; and won himself legions of lifelong fans worldwide.
Blood Red Roses Full Track-listing:
1. Look In Her eyes
2. Hole In My Heart
4. Didn’t I
5. Blood Red Roses
7. Give Me Love
8. Rest Of My Life
9. Rollin' & Tumblin'
11. Honey Gold
12. Vegas Shuffle
13. Cold Old London
Deluxe Bonus Tracks:
1. Who Designed The Snowflake
2. It Was A Very Good Year
3. I Don't Want To Get Married
For more information, please visit RodStewart.com.
ROD STEWART ONLINE
Website | Facebook | Instagram | Twitter | YouTube
Suikerrock heeft belangrijk nieuws: Pitbull cancelt zijn optreden op Suikerrock. Dat is het minder goede nieuws.
Maar we hebben ook fantastisch goed nieuws: Superster Steve Aoki komt naar Suikerrock en neemt met veel goesting de plaats in van Pitbull op ons hoofdpodium! Je leest het goed: Op vrijdag 27 juli hebben we met Lost Frequencies (Live) en Steve Aoki twee internationale top dj’s op één podium, op één avond, op de Grote Markt van Tienen.
Fotografen zijn alvast gewaarschuwd, de man maalt niet om een grapje meer of minder op het podium en doet naast bootjevaren over het publiek niet moeilijk over taarten in de frontstage te mikken. Het aardbeienseizoen is net achter de rug, maar wie weet, als u vooraan staat (en dat weten we wel zeker) graait u zo wat ‘sweetness’ mee.
Het feestje van vrijdag boet dus geenzins ook maar een millimeter aan kracht in. De toch echt wel legendarische producer en oprichter van Dim Mak Records, Steve Aoki, laat in Tienen electro en house duiveltjes los die u over de hele markt op de hielen blijven zitten. De man stond trouwens de afgelopen jaren op zowat alle grote podia over de hele wereld, en zorgt telkens voor een uitzinnige menigte! Geen ontsnappen aan, en de free patisserie krijgt u er zo gewoon bij.
Alle andere helden van Suikerrock op vrijdag blijven meer dan ooit paraat, maar de timing wordt lichtjes aangepast waardoor het optreden van Lost Frequencies Live een half uur vroeger van start gaat. Met Steve Aoki, Lost Frequencies Live, Kraantje Pappie, Jebroer en Lil’ Kleine op het podium kan het niet anders dan één groot feest worden. Een feest dat je echt niet mag missen. Nog goed nieuws: er zijn nog tickets! Haast je naar de Suikerrock Ticketshop of Ticketmaster en bestel jouw tickets voor deze nu al onvergetelijke avond in Tienen!
VIP-tickets zijn te koop via de Suikerrock VIP ticketshop. Hou er rekening mee dat VIP-tickets voor zaterdag reeds uitverkocht zijn. Meer informatie over VIP-tickets is terug te vinden op de website.