Tingvall Trio - Vattensaga

The TINGVALL TRIO was founded in 2003 by the Swedish pianist and composer Martin Tingvall. The pieces composed by him are characterized by catchy melodies which sweep along not only jazz lovers quickly and tend to stay with you long afterwards. Not only the technical ability of the musicians carries away. The three Hamburgers play Scandinavian jazz with Cuban reminiscences and an easy rock'n'roll attitude. In the expressive ballads also Nordic melancholy and liveliness resonate, however. Listening closely one can recognize traditional Swedish folk songs as one of the elements of the compositions. Despite the wide variety in their backgrounds, a level very much their own emerged from their creative alliance. Among the mentors who taught Swedish pianist Martin Tingvall his craft was Bobo Stenson. Jürgen Spiegel from Bremen, Germany gigged mostly as a veritable rock drummer, but audiences were "boffoed" above all by his enormously multifaceted playing and the vividness of this percussion work. Bass player Omar Rodriguez Calvo from Cuba was already a sideman of Ramon Valle and Roy Hargrove among others. Regards the new cd we can tell that follows "Skagerrak" and "Norr" and with it the trio finalizes their trilogy of nordic stories. Recorded at the famous ArteSuono studio in Italy, bestknown for a series of great ECM recordings, "Vattensaga" stands for an even improved group sound and the outstanding songwriting qualities of Martin Tingvall. Thirteen new musical pearls, leaving space for sound paintings of drummer Jürgen Spiegel , the mediterranean lightness of double bass player Omar Rodruguez Calvo and the bright piano playing of Martin Tingvall , experiencing a Fazioli grand piano fort he first time. A definite highlight of the trios band history so far.

John Proulx - Baker's Dozen ( Remembering Chet Baker )

“You can tell immediately that John’s approach to jazz is both new and refreshing; showing great respect for both the melody and the lyric — a rare thing among jazz vocalists. I’ll bet that Chet Baker is looking down on John saying, ‘Yeah, John, go for it’.”

-- William Claxton (Jazz photographer)

“This introduction to young, talented John Proulx does a great job of showing us what he is about: Strong musicianship, great intonation, mellow swing and a soothing, almost vibrato- less Chet Baker like tone quality. Bravo, John!”

-- John Clayton (3-time grammy nominated bassist, composer, and conductor)

"It's takes a lot of imagination as well as natural talent to make jazz standards sound fresh and vital. John sings and plays so beautifully and is an outstanding songwriter as well. He's simply a joy to hear"

-- Michael Feinstein

John's latest CD on MAXJAZZ, "Baker’s Dozen-Remembering Chet
Baker” is a tribute to the late trumpet player and vocalist. It features
legendary musicians Chuck Berghofer, Joe LaBarbera, and special
guest, Dominick Farinacci on trumpet. John’s 2006 debut CD, “Moon
and Sand”, has garnered national and international acclaim, and his
fan base is quickly growing. In addition to his own trio, John has
performed with the likes of Anita O'Day, Natalie Cole, and Marian
McPartland.

John is also a Grammy-winning composer. Jazz legend, Nancy Wilson,
recorded "These Golden Years", a song that John co-wrote with lyricist
D. Channsin Berry, for her 2006 Grammy-winning CD, Turned to Blue.
Jazz singer, Mary Stallings, also recorded "Stuck in a Dream", a tune
John co-wrote with lyricist K. Lawrence Dunham, on her 2005 release,
Remember Love.

John began his formal musical education at the age of 3 in Grand
Rapids, MI on Suzuki violin, but quickly switched to classical piano
lessons. His grandfather, Clyde Proulx, was a jazz guitarist who
introduced him to the world of jazz. Hooked on the freedom of
improvisation, his education took him to Chicago to study at Roosevelt
University’s Chicago School of Performing Arts. In 2001, John moved
to Los Angeles to further his musical pursuits. He has emerged as a
young talent on the Los Angeles jazz scene and loves the wide-range
of opportunities the city has to offer.

Ben Sidran - Dylan Different

"I met Bob Dylan once, a long time ago. He was an electrified wolf pressed up against the back of a booth at the Marigold Ballroom in Minneapolis. I saw him from the stage and told my Albert Grossman joke : "Here's a man whose last name should have been hyphenated."
After the set I went over to the booth and said "Bob you influenced me a lot."
Bob saiad "Oh, yeah ?"
Speaks were coming off of him. I passed Bob Dylan on a stairway once, fifteen years ago. He was coming down and I was going up. His security guy was walking in front of him, like he was clearing the road of lepers, and he said to me, "Get Back!".
Bob was looking down at his feet. He never looked up.
Under his hood, he looked just like a ghost. I dreamed about Bob Dylan once. It was just last year. I was standing in this long line. And everybody in the line had a stack of cards with writing on 'em and we were all just waiting to go into this big room and justify our lives by putting the cards in order.
And I had a plan.
I was gonna turn all my cards over so they looked like they were blank and I was gonna hand them in that way. And there was a long line of people coming out of that big room too and one of them was Bob Dylan. And he said, "Ben, what are you gonna do ?" And I showed him my cards and he handed me a pencil and said, " Man, you better get busy !"
I wrote a song for Bob Dylan, just hte other day. The chorus goes like this :
"We are the tears of a man in Thailand that wash up on a distant shore
We are the wings of a butterfly in China that started the oceans' roar
We are the straw that broke the camel's back, the bull in the china store
We are here but for a minute and gone for a whole lot more"
I never played it and maybe I never will.
But I know one thing.
If I ever meet Bob Dylan again, I'm not gonna bring it up. "

Ben Sidran



Ben Sidran has been a major force in the modern day history of jazz and rock & roll having played keyboards with or produced such artists as Steve Miller, Mose Allison, Diana Ross, Boz Scaggs, Phil Upchurch, Tony Williams, Jon Hendricks, Richie Cole and Van Morrison.
It's been a long and varied journey for Ben Sidran—from playing boogie woogie piano as a six year old in Racine, Wisconsin, leaning into his jazz records, listening to a Blue Mitchell solo "literally like an Eskimo huddled around a fire", to growing up to play boogie woogie piano around the world and, eventually, recording with Blue Mitchell on his first solo album. Despite the reality that Sidran is better known in Europe and Japan than in America—a fact of life for most jazz musicians—Ben Sidran is an American success story.



Track List

Everything Is Broken
Highway 61 Revisited
Tangled Up In Blue
Gotta Serve Somebody
Rainy Day Woman
Ballad of a Thin Man
Maggie's Farm
Knockin' On Heaven's Door
Subterranean Homesick Blues
On The Road Again
All I Really Want To Do
Blowin' in the Wind

Ben Sidran — Vocals, Piano, Wulitizer, Hammond B3, Fender Rhodes

Alberto Malo — Drums and Percussion

Marcello Giuliani — Acoustic and Electric Bass

Rodolph Burger — Guitar, Vocal on "Blowin' in the Wind"

Bob Malach — Tenor Saxophone, Flute, Bass Clarinet

Michael Leonhart — Trumpet, Flugelhorn

Amy Helm — Background Vocals

Georgie Fame — Vocal and Organ on "Rainy Day Woman #12 & 35"

Jorge Drexler — Vocal on "Knockin' on Heaven's Door"

Leonor Watling & Luca — Backgroiund Vocals on "Knockin' on Heaven's Door"

Ralph Towner - Paolo Fresu : Chiaroscuro ( Ecm 2085 )

Chiaroscuro” introduces a new duo and a rare instrumental combination – trumpet and acoustic guitar. The repertoire: a programme of old and new Ralph Towner compositions and duo improvisations, plus an old Miles Davis favourite, its presence a key to the musical priorities at work here.

The album was recorded last autumn in Udine, but the story of the Towner/Fresu alliance really begins further South, at a festival in Sardinia, 15 years ago. Towner had been commissioned to write music for a local ensemble. Fresu was its trumpeter. “I didn’t know him at all then,” Ralph recalls, “but from the very first phrase that he played, I thought: ‘This guy really understands melodies!’ And I thought there and then that we should do some more work together.”

The composition played that night, “Punta Giara”, resurfaces here in rearranged form, along with pieces shaped especially for this album, including the title track, a study in strong contrasts. The atmospheric “Sacred Place”, heard in two versions, and “Doubled Up” bring Towner’s new baritone guitar to the fore. Tuned a fifth below his classical concert guitar it allows him new flexibility in the low range, and the freedom to be, effectively, his own bassist on the clever “Doubled Up”, the most overtly jazz-like of the new tunes. .“’Doubled up’ has many meanings, of course, including doubled up with laughter. Here the theme is sequenced, so to speak, the events happen twice, each theme ‘doubled’ by the two players.”

Two pieces from Ralph’s ECM back-catalogue are revisited: “Wistful Thinking (originally heard as a solo piece on “Open Letter”, in 1992), and “Zephyr” (first scored for the band Oregon on 1987’s “Ecotopia”).

Of the subtle account of “Blue In Green”, Towner says., “I’d always wanted to do that song with a trumpet.” Paolo Fresu’s clear, vibratoless sound acknowledges its debt to Miles. Fresu has always been forthright about his formative influences (his bold remaking of “Porgy and Bess” in 2001 being a case in point). For Towner, as for so many musicians, “Kind of Blue” was a pivotal recording: “The whole ensemble was amazing, but especially Miles and the great Bill Evans working together - my favourite musicians of all time, in the improvising sphere.”

The album concludes with “Two Miniatures” and “Postlude”, improvisations that put the spotlight on the 12.string guitar, extending an approach that had worked well on Ralph’s solo albums “Anthem” and “Time Line”. “I like to do these free things – well ‘free’ is really a misnomer. The same compositional process is at work, but you only get one shot at it.”

Barbara Casini - Formidable ! ( Philology )

Non finisce piu' di stupire questa cantante-chitarrista fiorentina innamorata fin da ragazzina del Brasile ormai divenuta la sua seconda patria musicale. Tuttavia la scoperta della bossa nova, di Jobim, João Gilberto & co., non è stato un punto di arrivo in cui si sono fermati i suoi interessi musicali ma l'inizio di un lungo viaggio che le ha consentito di incontrare da un punto di vista interpretativo dai Beatles agli standards jazz passando per quello che per alcuni versi può essere considerato un cd fondamentale per la sua crescita artistica. Stiamo parlando naturalmente di “Vento” registrato con Enrico Rava per l’etichetta francese Label Bleu, con Stefano Bollani al pianoforte, Giovanni Tommaso al contrabbasso, Roberto Gatto alla batteria, e con l’accompagnamento dell’Accademia Filarmonica della Scala diretta da Paolo Silvestri, autore degli arrangiamenti.Ora abbiamo il piacere di rincontrarla impegnata nella canzone d’autore francese. In “Formidable!”, nuova produzione Philology, Barbara interpreta 12 classici di Charles Trenet. Grazie alla sua bella ed espressiva voce, all’impeccabile accompagnamento di Fabrizio Bosso, tromba, Pietro Lussu, pianoforte, e Ares Tavolazzi, contrabbasso abbiamo il piacere per il nostro udito e per il nostro cuore di ascoltare in una veste totalmente nuova brani immortali come “La Mer”, “J’ai Connus De Vous”, “Boum!”, “Le Soleil Et La Lune” sino ad arrivare alla toccante “Que Reste-T-Il De Nos Amours”, che chiude l’album.

Ecco come la stessa Barbara descrive questo suo ultimo lavoro " Un viaggio in auto da sola, la voce di Trenet alla radio in uno dei suoi brani piu' famosi.... e io, colpita al cuore da quel canto, all'improvviso voglio sapere tutto di quello che chiamano il "cantante pazzo".... la sua musica è teatro e poesia, e io voglio indossare le sue canzoni, voglio diventare un po' francese e un po' pazza anch'io : cosi' nasce questo progetto e questo nuovo dico, come sempre per un nuovo incanto e il desiderio di portarlo con me e trasmetterlo agli altri "

A noi non resta che augurare a tutti buon viaggio e buon ascolto !

- Barbara Casini – Formidable! Feat. Fabrizio Bosso, tromba, Pietro Lussu, pianoforte, e Ares Tavolazzi, contrabbasso.

Enrico Pieranunzi - Wandering ( Cam Jazz )

Not only is Enrico Pieranunzi considered the best jazz composer and pianist in Europe, he is also regarded as an amazingly prolific artist. The ideas and the music never stop. Perhaps that creative restlessness is why he named his third release of 2009, Wandering. The recording is his 14th for the acclaimed Italian jazz label, CAM Jazz, which will release the new music in the United States on October 13, 2009 in digital form only.
Pieranunzi’s release of three recordings this year presents a unique opportunity to understand his diverse influences and distinctive voice in light of these very different discs. With Enrico Pieranunzi Plays Domenico Scarlatti , the fearless Roman took on an unprecedented challenge: improvising on the sonatas of the famous classical composer Domenico Scarlatti. He followed that with the ephemeral Dream Dance, the seventh album he’s recorded with his long-time American partners, bassist Marc Johnson and drummer Joey Baron.
Now with Wandering, he returns to solo form such as on Scarlatti, but returns to his own evocative compositions and mastery of his own personal process. As always, Pieranunzi plays elegantly and with such astute technical ability that it heightens the tension for the listener. He also captures the emotional undercurrents of the music expertly, stoking our imaginations.

Writes Paul Benkimoun in the liner notes,
“Harmonic and melodic progressions appear as events in the course of the stories told in Wandering… ‘Fermati A Guardare Il Giorno’ has this evocative power. Who knows why ‘Wandering 2,’ as ‘Dark,’ engender black and white images…With its repeated bass vamp, ‘Improstinato 2’ too recalls a dark menace…A master in creating atmospheres, Enrico Pieranunzi allows us to hear all of the tenderness which he is capable of in the tune ‘Rosa Del Mare’; … ‘For My True Love’ finds its intensity in the delicacy with which Pieranunzi exposes in different ways the same thing: words of love…Through the multiple facets which make up each of its pieces, Wandering yields a portrait of Enrico Pieranunzi. Thanks to a magnificent pianistic mastery, to an extended dynamic and to the amplitude of his sound palette, the artist manages not to be repetitive albeit remaining himself in every instant.”

The Jazz Tribe - Everlasting ( Red Records )

The Jazz Tribe are :
Ray Mantilla
Bobby Watson
Jack Walrath
Xavier Davis
Curtis Lundy
Victor Lewis

The Jazz Tribe is a group created by producer and manager Alberto Alberti in the early 90s, specifically as an original production for the La Spezia Jazz Festival. Alberti joined skilfully, with love and talent as he was used to do, some of his preferred musicians: Bobby Watson, alto saxophone player that pushed on an higher level the jazz language with his undoubtedly unique and innovative style; Ray Mantilla, top percussionist from the Latin Jazz group, one of the greatest percussion player from the modern jazz scene ever (played with Art Blakey, Herbie Mann. Stan Getz, Max Roach); Jack Walrath, trumpet player and arranger with a very peculiar and innovative style (worked for many years with Charles Mingus besides his own groups as a leader); Walter Bishop Jr., today no more with us, but one of the top piano player from the Be- Bop Era, mainly by the side of Charlie Parker; Joe Chambers, one of the most important drummer from the modern jazz scene; Steve Grossman, guest member of the Jazz Tribe, great tenor sax player from the post-Coltrane Age by the side of J. Bergonzi, M. Brecker, B. Berg, D. Liebman; on the bass, Charles Fambrough, nowadays almost forgotten musician, he played for many glorious years with Art Blackey's Jazz Messengers in the top line-up including Wynton Marsalis and Bobby Watson himself (Cd recordings can easily testify his superb musical qualities).
The concert given by all those musicians has been recorded and released by Red Records, ad memoriam futura, titling "The Jazz Tribe" and placing itself as a milestones between the crossroads of the top contemporary mainstream jazz expressions: it finds its roots from the latin and afro-cuban experience that enriched the great jazz tradition from Jelly Roll Morton, Mario Bauza, Dizzy Gillespie, Parker, Blakey, Silver, Dorham, Getz … that still nowadays brings towards new enthusiastic musical experiences such as the Jazz Tribe, probably one of the most important and meaningful of all the times.

At the beginning of the new millennium, Ray Mantilla & Bobby Watson, leaders of this cooperative group, asked Red Records to produce a new recording, "The Next Step" (quite meaningful title, isn't it?), bringing ad hoc original compositions and a upgraded line-up: the great pianist Ronnie Mathews (even he recently missed), that took Walter Bishop Jr.'s place; Victor Lewis, one of the greatest drummer and musician of the last 30 years that strictly worked by the side of B. Watson, and Curtis Lundy, Watson's collaborator since the Miami University times, singer Carmen Lundy's brother, bass player that worked with many musicians such as Betty Carter, and leader of several groups released by Sunnyside recordings.
The Next Step isn't a simple group's evolution: it points out the liveliness of the latin and afro-cuban tradition grafted on the great jazz history (we have to listen carefully to certain maeican and argentinian influences on Walrath music).
The tradition evolving or, better, innovation without revolution adapting themes, harmonies and sounds toward a more contemporary sensibility.
The Next Step has been considered a masterpiece of its genre thanks to the excellent soloists, their solid backgrounds, innovative rhythmic sections, involving grooves and imaginative melodies.
One of the characteristic aspect of the Jazz Tribe's music appears to be its easiness in enjoying the audience and, at the same time, its extremely complex execution. Innovation stands in rhythmic and harmonic aspects and both in the sensibility of understanding the more than ever cultural importance, specifically in the American melting pot society, of the latin influences: it faces already existing cultures generating new synthesis and original languages.
After the successful 2007 tour that brought The Jazz Tribe playing in many European countries in front of enthusiastic audiences, our musicians went on April 2008 back again in recording studio to play the tunes of the tour, and finally here to listen to in this current CD.
In this recording Ronnie Mathews, seriously ill, has been substituted by the talented pianist Xavier Davis, a young musical revelation discovered by Bobby Watson, as he always paid attention to contemporary rising stars.
The recording has been accurately mixed by Bobby Watson himself in a Kansas City studio: very high listening quality, clean and brilliant sounds but, most of all, this CD shines for the music in itself for its capability in reporting the present times with deep and sincere intentions.

Seamus Blake - Bellwether

New York based tenor saxophonist/composer Seamus Blake is recognized as one of the finest and most creative young players in jazz.

John Scofield, who hired him for his “Quiet Band,” calls him “extraordinary, a total saxophonist.” In February 2002, he took first place in the Thelonious Monk International Jazz Saxophone Competition in Washington D. C. As the winner, he performed with Wayne Shorter and Herbie Hancock.

Seamus Blake was born in England and raised in Vancouver, Canada. At age 21, while still a student at Boston's prestigious Berklee College, he was asked to record with legendary drummer Victor Lewis. After graduation, he moved to New York, where he rapidly established himself on the New York jazz scene.

Seamus has released five albums on Criss Cross Records, from his 1993 debut “The Call” to the 1995 premiere of the “Bloomdaddies,” a “funky, alternative grunge jazz band”, to “Way Out Willy,” which was released in February 2007. He has also recorded as a leader for the Fresh Sound label. "Stranger Things have Happened" (now available on itunes) features Kurt Rosenwinkel as well as Jorge Rossy and Larry Grenadier from the Brad Mehldau trio.

Blake is a long standing member of the Grammy nominated group, the Mingus Big Band, and is featured on the last six albums. He continues to play and record with the Victor Lewis Quintet, as well as with Bill Stewart and Kevin Hays. He has also performed and/or recorded with Franco Ambrosetti, Dave Douglas, Jane Monheit, Kenny Barron, Sam Yahel, Kurt Rosenwinkel, Michael Brecker, Randy Brecker, Pat Metheny, Joe Lovano, Joshua Redman, Brad Meldhau, Larry Grenadier, Wayne Krantz, Jorge Rossy, Jack Dejohnette, Brian Blade, Jeremy Pelt, Eric Reed, David Kikoski, Al Foster and many others.

Ever since he debuted with The Call back in 1994, saxophonist Seamus Blake's star has been on the rise and he continues to be a valued member of the Criss Cross family.

As a follow-up to Way Out Willy, Blake's latest features pianist David Kikoski, guitarist Lage Lund, bassist Matt Clohesy, and drummer Bill Stewart on another electrifying set of originals that sparkle with creativity and the kind of integrity that marks the best of today's current generation of jazz artists.

Among a decidedly upbeat set of tunes, highlights further include some deeply moving statements from the saxophonist and Lund on the introspective The Song That Lives Inside. Rounding out the mix are takes on John Scofield's Dance Me Home and a third stream-inspired reworking of Debussy's String Quartet in G Minor, Opus 10.

Stefano Bollani - Stone In The Water ( Ecm 2080 )

Stefano Bollani piano

Jesper Bodilsen double-bass

Morten Lund drums

The Italian virtuoso, pianist Stefano Bollani, began his collaboration with bassist Jesper Bodilsen and drummer Morten Lund in 2003. The chemistry between the 3 musicians has from the start been exceptional and their albums have been praised by critics and have sold several thousand copies.

The first album MI RITORNI IN MENTE that was released in 2003 was among the 10 best selling records in Italy that year. Following Danish and Italian tours, it became clear that this constellation was destined to be of a more permanent nature. They have been invited to play at clubs and festivals all over the world - their debut in New York was a successful concert at the legendary Birdland Club.

You need not be a musician to understand what bassist Jesper Bodilsen means when he says, “The fascinating thing about playing with Stefano is his brilliant musicality. You never know what’s going to happen; all you know is that it is so very inspiring. His playing combines playfulness and humor with something very deep.”

This is probably in part due to the fact that Bollani has always expressed himself in a wide range of idioms. Although classically trained, he has played jazz and pop since childhood, and even once contemplated a vocalist career. The diversity and unbiased outlook are two traits he shares with bassist Jesper Bodilsen and drummer Morten Lund. After fifthteen years of collaboration on numerous projects, these two musicians are possibly the tightest bass/drum team of their generation on the Danish jazz scene.

The trio’s first album was dominated by Italian tunes and standard type material. On their second album GLEDA the trio finds a melodic and original tone in a music concentrated around Scandinavian songs. This album was nominated for an Australian Bell Award in the category – Best International Jazz Release in 2006.

The carefully picked material enables the music to flow from this trio in a steady current of intelligence, imagination and delight in playing. Bollani finds his phrases in a deep understanding of the harmonic structures, allowing him to display extreme boldness without ever betraying the melody. Bodilsen is a granite foundation, demonstrating a large and flexible tone and an undisputed authority, while Lund spurs them on, constantly varying his sound.

They have succeeded in creating a beautiful, refreshing and modern sound in a wonderfully well-defined recording. Hearing one of Europe’s great pianists interpret these tunes is pure pleasure and together this trio turns the songs into small miracles!

Jesper Bodilsen and Morten Lund both attended Denmark’s Royal Music Academy in Aarhus, and have played together in numerous contexts since then, along the way becoming, as has been frequently noted, the tightest bass/drums team of their generation on the Danish jazz scene. Bodilsen has been playing professionally since 1985 and has performed and/or recorded with Joe Lovano, Tom Harrell, Enrico Rava, Ed Thigpen, John Abercrombie, James Moody, Jeff Tain Watts, Paolo Fresu among others. Lund has performed and recorded with Mike Stern, Curtis Stigers, Cæcilie Norby, Lars Danielsson, Ulf Wakenius, Christian McBride, Avishai Cohen, Chris Minh Doky, Silje Nergaard, Viktoria Tolstoy, Anders Jormin, Bobo Stenson, Lars Jansson, Bob Mintzer, Tom Harrell, Johnny Griffin, Phil Woods, Etta Cameron, NHØP, and many others. Bodilsen and Lund have each appeared on around 100 albums. “Stone in the Water” is their first for ECM.

With “Stone in the Water” the three players move, with immense subtlety, through a fascinating programme that includes new pieces by Bollani and Bodilsen, plus ballads by Caetano Veloso and Antonio Carlos Jobim, and Poulenc’s “Improvisation 13 en mineur”, bringing fresh colours to the piano trio genre.

Tracklist :

Dom de iludir ( Caetano Veloso )
Orvieto ( Jesper Bodilsen )
Edith ( Jesper Bodilsen )
Brigas nunca mais ( A. C. Jobim / V. D. Moraes )
Il cervello del pavone ( Stefano Bollani )
Un sasso nello stagno ( Stefano Bollani )
Improvisation 13 en la mineur ( Francis Poulenc )
Asuda ( Stefano Bollani )
Joker in the Village ( Stefano Bollani )

Vedi anche :

Enrico Rava - New York Days

Richard Galliano - Paris Concert ( Theatre du Châtelet )

"The story of a painter, a musician, a composer, an artist; music has never been as close to a pictorial work of art as the music of Richard Galliano. The maestro now stands in front of the white canvas, at the Foyer du Theatre du Châtelet..."

Theatre du Châtelet. The temple of Parisian music, just a short walk from the bakns of the Seine. There, in front of his audience, Richard Galliano makes his entrance with only the accordion. Double the responsibility yet double the joy to play in front of his own people.

A festive maze of sounds, that touches the form : jazz, tango French song...waills of blues emerge from the folds of his accordion. Travelling with his compositions, the ones that brought him to perform on stage throughout the world, without forgetting those of Astor Piazzolla, who he has always loved and celebrated in his own way. Yes, because Galliano knows how to shape the material to himself : the teaching of the composer from Mar de La Plata are well visible, but as a starting point, not as a landing place.

Moving, never taking for granted the solutions, always at the service of the melody and the rhythm - principle elements of dance - very attentive to the depth and the form; because, like few artists, Galliano joins technical skill and syntactical knowledge of the music from the 1900s with an uncommon emotionality.

Chat Pitre opens the album, one of the most beautiful pieces written by this accordion player from Cannes, and is followed by Gnossienne 1 and Gnossienne 2 by Erik Satie.

But there is a lot of Italy in his latest "Paris Concert", and not only for the italian label, Cam Jazz, that has realeased this work ( for which Galliano had already recorded the beautiful "L'Hymne à l' Amour", inviting vibraphonist Gary Burton ), but also for his tribute to a very popular Italian song, Caruso, which brought worlwide fame to Lucio Dalla.

And then "Round Midnight" by Thelonius Monk, an artist that Galliano is particularly attached and to whom he has rendered homage many times during his career: a version thought out in absolute respect for the Monkian concept.

If, as Virginia Woolfs writes, in solitude we give passionate attention to our lives, to our memories and the details around us, then this solo album gifts us with a Galliano in his most profound essence, as artist and as a man".

John Tchicai Lunar Quartet - Look To The Neutrino

Approaching jazz from a wide scope, Afro-Danish American John Tchicai is a composer/saxophonist whose music is internationally known for its compelling sense of rhythm, drama and humor, its freedom, spirituality, healing qualities and ultimate freshness. He recorded with both John Coltrane ("Ascension") and John Lennon ("Life with Lions"), founded ensembles like "New York Art Quartet", "Cadentia Nova Danica" and "John Tchicai & the Archetypes"; he has composed for jazz & classical ensembles and he records, tours and teaches continuously. John Tchicai is the first recipient of a lifetime grant for Jazz performance from the State of Danmark.


"It is not often one meets a person in the music-business who menage to combine three very different activites into one but that is the case with Enzo Carpentieri. He is able to be the perfect host, an organizer of concerts and at the same time a top notch drummer who can make his drumset sound as if he didn't do anything else the whole day. I first Enzo the 2nd of June 2006 at the Zero Zero Jazz Festival in Abano, where I was doing a workshop and the day after a duo concert with pianist Greg Burk. Now in 2008 Enzo invited me for more surprises. There was a concert with the group "Dolphiana" that I didn't know at all, which became a very inspired me. Then some days after, we started recording the material for the present Cd with Enzo on the drumset, my man and co-composer Greg Burk on the piano and with bassist marc Abrams who Enzo and Greg already knew and spove very highly of, and they were right. Mark was exactly the man needed to make the group a harmonious unity with his optimistic and flexible attitude which is a must in the creative improvisational encounters of today.
John Tchicai

Bozilo - Live

Born in a music loving family in Belgrade in 1968, Bojan Zulfikarpasic starts playing the piano at the age of 5. “In my country, music is a very widespread activity, and since working days finish quite early, family and friends would gather at my parent’s house as early as 3 o’clock in the afternoon to socialize and play music until late at night. I used to go to sleep listening to these Yugoslavian folksongs. Then I discovered Bach, Ravel and Debussy through my teachers, The Beatles – thanks to a friend – and Brazilian music with my father. I played these tunes by ear, trying to find the right chords, which already amounts to a jazz attitude”. As a teenager, while continuing his lessons in music school, he starts playing in bands and becomes known musician on the Belgrade jazz and rock scene (resulting in 1989 in receiving the award for Best Young Jazz Musician of Yugoslavia).

In 1986 he receives a scholarship to study three months with Clare Fischer at the Blue Lake Fine Arts Camp in Michigan in the USA. Then, after his military service in former Yugoslavia, where in the army orchestra he discovers the richness of traditional Balkan music, he moves to Paris in 1988, to become in a few years time an unavoidable name in French jazz. He applies for the CIM, a school of reference for many young artists, where he quickly settles in and starts working with other musicians. With guitarist Noël Akchoté he plays all the Parisian bars and clubs, both as a duo and in quintet formation. Next to that he starts playing with contemporaries like Julien Lourau, Magic Malik and others.

The rise to recognition begins in 1990. Replacing the pianist of bassist Marc Buronfosse’s quartet (with François Merville on drums and Julien Lourau on sax), Bojan wins the prize for best soloist at the ’Concours de la Défense’ and his appearance does not go unnoticed by some of France’s biggest names in jazz. From 1991 he starts working with famous French double bass player Henri Texier in his successful Azur Quartet, later followed by clarinettist Michel Portal, both of them bringing him on to the big stages of France, Europe and further. With his special language – consisting of a mature jazz vocabulary with subtly dosed folkloric influences from the Balkans – Bojan leaves an indelible imprint on all the groups he plays with.

Apart from playing and recording as a sideman, Bojan leads his own formations.

In 1993 he starts his collaboration with Label Bleu with the debut album of the Bojan Z Quartet, which he recorded in New York, followed by Yopla!, his second quartet recording, released in 1995. In 1999, he releases his successful multi-ethnical project Koreni, inviting eight musicians from different horizons among whom Algerian percussionist Karim Ziad, Turkish ney master Kudsi Erguner, Macedonian rock guitarist Vlatko Stefanovski and some old friends from Belgrade, bassists Predrag Revisin and Vojin Draskoci.

After some years of thought and reflection on the endeavour of solo piano playing, Bojan records his internationally praised and revered cd Solobsession, released in 2001. This album, full of superb compositions and out-of-the-ordinary piano playing, confirms once again his status as a jazz pianist who resembles no other, with seemingly unlimited talents.

As well with the groups of musicians like Texier, Portal and Lourau, as with his own bands, trio and solo he’s been playing at big festivals like Montreal, North Sea Jazz, Paris Jazz Festival, Copenhagen Jazz Festival, Jazz in Marciac, La Roque d'Anthéron etc. and in famous concert halls like Palau de la Musica in Barcelona and Konzerthaus Wien.

In 2002 Bojan Zulfikarpasic is granted the title of Chevalier de l’ordre des Arts et des Lettres by the French government and receives the Prix Django Reinhardt for Musician of the Year from the French Académie du Jazz.

His fifth album for Label Bleu, his first in trio format "Transpacifik" marks the beginning of colaborations with american musicians, such as bassist Scott Colley and New York jazz drummer Nasheet Waits.
It was recorded in New York in 2003. Since he's playing with Ben Perowsky, or Ari Hoenig on drums and the great french bassist Remi Vignolo.

In 2005 he was awarded the "European Jazz Prize" ( Hans Koller Prize) as the best european jazz artist.

His latest CD "Xenophonia" was released in 2006, and has won the prize "Les victoires du jazz 2007" as the best album of the year.

Now the new musical project is out Bozilo - Live is available.






E' possibile acquistare il cd BOZILO ( Bojan Z, Karim Ziad, Julien Lourau ) - Live
presso il negozio di cd on line www.moonlightrecords.com