Jazzwise previews Andre Canniere’s ‘The Darkening Blue’ ft. Ivo Neame, Michael Janisch, Tori Freestone, Ted Poor and Brigitte Beraha. Release date 14th October

This autumn will see the release of trumpeter and composer Andre Canniere’s third Whirlwind album, following  Forward Space and Coalescence. The Darkening Blue is inspired by poems of Rainer Maria Rilke and Charles Bukowski and imaginatively combines the haunting and mystical elements of Rilke with the grit and boldness of Bukowski into a uniquely cohesive programme of music. The album will feature Tori Freestone – sax, Ivo Neame – piano, Michael Janisch – double and electric bass, Ted Poor – drums and guest vocalist Brigitte Beraha.

 

 

For full details of tour dates go: here and scroll down to see the album and tour preview in Jazzwise Magazine.

 

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Listen to ‘Bluebird’ from ‘The Darkening Blue’

 

Zhenya Strigalev announces major European Never Group tour dates + latest reviews and feature in Jazzwise Magazine

Alto saxophonist and composer Zhenya Strigalev is one of the rising stars of the European jazz scene and is fast building a reputation on both sides of the Atlantic for his exhilarating take on contemporary jazz. His live shows are as exciting as they are uniquely eccentric, and next month he will be embarking on a series of dates in Europe taking in Spain, Holland, England, Germany, Sweden, France, Switzerland and finally Russia next March. (Scroll down for details)

Scroll down to see the recent ‘Turning Point’ feature in Jazzwise magazine in which Zhenya talks about the album that changed his life.

 

Enjoy these two videos recorded live during Zhenya’s recent tour of the British Isles and here are the highlights from the latest reviews for recent release Never Group.

“Delightfully anarchic.”
Die Presse

“New and full of promise.”
Orkester Journalen (Sweden)

“A tight, tight power trio… a recording not to be missed.”
Lira Magazine (Sweden)

“A wild and impetuous free jazz soundscape full of wit… Captivating.”
In Music 

“A fresh wind blowing through jazz fusion, peppered with a number of high-quality ideas.”
Musik Zirkus

“Stylistically diverse… An unpredictable mixture that somehow fits together despite all the contradictions and variations.”
Hörspiegel 

 

 

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Confirmed dates so far: For details of line-ups and tickets go: here

29/10/16 Sunset Jazz Club, Girona, ES 

12/11/16 Amsterdam Jazz Festival, NL

13/11/16 Zigfrid von Underbelly, London, UK

30/11/16 Unterfahrt, Munich, DE

01/12/16 Zig Zag Jazz Club, Berlin, DE

02/12/16 Nefertiti Jazz Club, Göteberg, SE

03/12/16 Jamboree Jazz Club, Barcelona, ES

04/12/16 SalaClamores, Madrid, ES

05/12/16 Clasijazz, Almeria, ES

06/12/16 Petit Faucheux, Tours, FR

07/12/16 Pannonica, Nantes, FR

08/12/16 Cri du Port, Marseille, FR

09/12/16 Le Crescent, Maçon, FR

10/12/16 Lantaren Venster, Rotterdam NL

11/12/16 Pflegi Muri, Muri, CH

01/03/17 Paradox, Tilburg, NL

02/03/17 Bimhuis, Amsterdam, NL

★★★★ from The Jazz Mann and All About Jazz among latest reviews for Ryan Quigley’s ‘What Doesn’t Kill You’ + live show review from supporting tour and photos from Cork show

Ryan Quigley Press 3 Alan McCreadieEnjoying a career which includes key roles with prominent UK symphony orchestras and big bands, plus recording/touring projects with Aretha Franklin, Quincy Jones, Tom Jones and Randy Brecker (to name but a few), trumpeter and composer/arranger Ryan Quigley now unveils his ten-track album What Doesn’t Kill You – a quintet release with Paul Booth (tenor sax, flutes), Steve Hamilton (piano, Fender Rhodes), Michael Janisch (double bass) and Clarence Penn (drums).

Having worked for a number of years with Scottish band Brass Jaw, as well as releasing his own album Laphroaig-ian Slip, Quigley’s experience shines through in this new set of originals which suggests the passion of early ‘60s hard-bop and early ‘70s fusion, yet is up to date in forward-thinking appeal. Here is music born out of strong compositional melody which, in turn, sparks honest improvisational freedom; and while it features the leader’s assured, incisive trumpet, the sense of group coequality remains blissfully evident throughout this near-hour-long session.

This release – bookended by lyrical, echoic solo trumpet – finds Ryan Quigley delighting in the opportunity of working with good friends who share his innate desire for musical integrity, and whom he also counts amongst his musical heroes: “My hope is that this recording captures something of that ambition, and that listeners can feel its warmth, depth of feeling… and friendship.”

Here are the highlights from the latest round of reviews for the album:

“Strong melodic themes are a constant throughout and the playing from a stellar cast is terrific… Bright, inventive and vivacious.”
★★★★ The Jazz Mann (full review)

“Ryan Quigley proves with his latest recording that he can write swinging and engaging tunes as well as he plays them. A very satisfying set indeed demanding frequent replays.”
★★★★ All About Jazz (full review)

“It’s a great set of tunes, firmly grounded in the tradition as codified in the hard-swinging 1970’s, with everyone playing their hearts out and a real feeling of warmth and friendship between the participants.”
Jazz Views – Album of the week (full review)

“Full of sparkle and dynamics… Hugely enjoyable.”
London Jazz (full review)

“Strong melodies, a cohesive, collective sound, and the assured improvisational flights one would associate with Quigley and his band mates.”
Bebop Spoken Here (full review)

“An exhilarating evening of jazz… Steeped in the traditions of the idiom, but in no way restricted by those traditions.”
Seen & Heard International (live review)

 

 

Listen to a full length version of the title track below:

 

 

These excellent photos were taken by Richie Tyndall at Crane Lane Theatre, Cork. To see the full album, go: here

 

 

 

Ivo Neame Quintet starts tour this week ft. Tori Freestone, Jim Hart, Huw Williams and Dave Hamblett

Collaborating again with UK luminaries (including three fellow Whirlwind artists) Tori Freestone (saxes/flutes), Jim Hart (vibraphone), Tom Farmer (bass) and Dave Hamblett (drums), this collection of eight Ivo Neame originals gyrates energetically with complex written grooves and varying instrumental colors to spark opportunities for venturous, improvised blowing.  A player whose style – whether through programmatic or differing improvisatory structures – is certainly distinct amongst today’s jazz pianists, his particular aspiration for Strata is that it might reveal “memorable themes which make an impact on the listener, both musically and emotionally”.

This week, Ivo starts his tour of the UK with his quintet featuring Tori Freestone (saxes/flute), Jim Hart (vibraphone), Huw Williams (bass) and Dave Hamblett (drums.)

 For further details go: here

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Tori Freestone continues El Barranco tour tonight. Latest accolades include ★★★★ reviews from The Irish Times and Kind of Jazz and Hi-Fi News & Record’s Album Choice for October

Tenor saxophonist Tori Freestone continues her tour in support of latest release ‘El Barranco‘ in Devon tonight.

Reaching into the heart of improvised music has become second nature to Tori and perennial colleagues Dave Manington (double bass) and Tim Giles (drums). Following their warmly-received 2014 release In the Chop House and subsequent live appearances, the trio have relished the opportunity to reconvene in the studio to record this collection of intuitive explorations (often first takes) of predominantly original compositions, including a pair of London Jazz Festival commissions.

From moments of intensity and volume to passages of calm, folk-influenced soundscapes, In the Chophouse and El Barranco showcases three highly experienced and eclectic musicians at their very best. From the first note their approach to openness allows the music to dictate the proceedings which also invites the listener to take a strong role in the interpretation of the music. Freestone’s assent to solo artist has been a timed move, but one that has been certainly worth the wait.

The album continues to draw great critical acclaim and here are the highlights from the latest reviews:

 

“Brims with passion and invention.”
★★★★ Kind of Jazz (full review)

“Freestone’s hypnotically inventive improv is a deeply personal one… A tenor saxophonist worthy of more recognition.”
Jazzwise Magazine (website)

“Strong melodic intelligence with a playful, at times reckless sense of adventure.”
★★★★ The Irish Times (full review)

“Another interesting, varied and enjoyable recording.”
Sandy Brown Jazz (full review)

“This is a powerful follow up.”
Hi-Fi News & Record (Album Choice October)(website)

“Everything on this CD gels perfectly… A CD which is both imaginative and accessible.”
Northern Echo (website)

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El Barranco – Album Launch Tour (details)

27 September – Ashburton Live, Ashburton, Devon

28 September – Dempseys Jazz Club, Cardiff

7 October – The Bebop Club @ The Bear, Hotwell, Bristol

9 October – Marsden Jazz Festival

3 November – Trinity Theatre, Tonbridge

31 Jan 2017 – Oxford Jazz Society

5 Feb 2017 – Colchester Jazz

Preston Glasgow Lowe release video message to Japanese audiences prior to their show at Tokyo’s Billboard Live next month

Next month, Preston-Glasgow-Lowe, whose eponymous debut album was released earlier this year to a flurry of critical acclaim from around the globe, will be making their first appearance in Japan  at Billboard Live Tokyo. See how Billboard are previewing the event: here

Writing and performing together since 2012, London-based David Preston (guitar), Kevin Glasgow (six-string electric bass) and Laurie Lowe (drums) have steadily honed their own particular style of complex riffs and thunderous rhythms complete with subtle, low-level electronics and overdubs. The project’s creative and developmental processes open up a panoply of textures and colors – from open, contemplative oases to heavyweight, blistering maelstrom – yet it all emanates from this close collaboration of just three musically-incisive minds.

 

 

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 ‘Elephant and Castle’ from the album

 

Rory Simmon’s Monocled Man ‘We Drift Meridian’ ft. Emilia Mårtensson, Ed Begley, Chris Montague and Jon Scott released today + Clash Music feature + upcoming tour dates

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Click here for a CD, digital albums, ALAC, FLAC, MP3s and more 

 

2 for 1 OFFER:
Purchase We Drift Meridian  in CD format and receive a copy
of Monocled Man’s debut album Southern Drawl for FREE
(offer works vice versa)

 

“It drifts, continuously, fluidly, yet is forever rooted, forever in thrall to the meridian.”
Clash Music (full feature)

You wouldn’t even know they were there… but the minute islands and atolls amidst the vastness of our world’s oceans provide intriguing inspiration for Monocled Man’s second album, We Drift Meridian – a concept devised by trumpeter, multi-instrumentalist and composer Rory Simmons. With established colleagues Chris Montague (electric guitar) and Jon Scott (drums/electronics), plus vocal contributions from Emilia Mårtensson and Ed Begley, Simmons layers-up haunting electronic and acoustic soundscapes which reflect the remoteness and sometimes curious histories and characters associated with these far-flung, isolated spaces.

Monocled Man’s ethos of through-composition and open improvisation is carried over from their debut release on Whirlwind, Southern Drawl – but here, a distinctive new dimension is introduced, emanating from Simmons’ predetermined, home-studio-produced sonic environments. Cinematic beds of sound, carefully crafted with modular synths, sequencers and chopped audio, are all fashioned into an expansive framework which provides a springboard for individual artistry. Chris Montague’s characteristically oblique guitar style and Jon Scott’s hard-hitting, sparky drumming – both of which are unwaveringly inventive – join with Simmons’ plaintive trumpet in generating these appropriately drifting, searching panoramas. But, far away from ambient lifelessness, this is a creative band whose energy also frequently crackles with filmic urgency as pulsating, electronic textures erupt into industrial, post-prog fervor.

‘Tromelin’ (a small, uninhabited sandbank island in the Indian Ocean, east of Madagascar, with a history of shipwrecks and abandoned slaves) is depicted by electronic call signs, dramatic percussion and forlorn trumpet riffs, whilst ‘Deception Island’ (a natural harbour in the South Pacific Ocean whose early 20th century whaling history saw hundreds of men accommodated there) bubbles with electronic vigor and Ed Begley’s punky vocals; and ‘Marie Betsy’ (a Deception resident who was the first female ever to be in Antarctica) is portrayed through reverberating swathes of electronics and Montague’s clanging, countrified guitar.

Title song ‘We Drift Meridian’ features the lucid vocals of Emilia Mårtensson, expressing Simmons’ lyrics of isolation with an almost disturbing, empty realism; and ‘Mount Terror’ (referring to HMS Terror – one of two of Her Majesty’s ships lost off Canada following an abandoned 19th century expedition, but rediscovered as recently as 2014) skitters intensely to Scott’s vital rhythms before becoming submerged by weary, mournful electronics. ‘Mount Cerberus’ and ‘Queen Tirza’, too, perpetuate the pervading themes of loneliness and despair as Simmons’ trumpet improvises freely across fluctuating, anguished audio collages.

One of the most eery island tales – interpreted in both Scott Moorman Adrift and Fiction Afloat – recalls when a 17ft whaler, with a crew of five, went missing off Hawaii. Several years later, a small, Hawaii-registered boat was discovered on atoll Taongi, 2,000 miles away… and a shallow grave alongide revealed a human jawbone which was matched to crew member Scott Moorman’s dental records. Such bizarre, aching hopelessness is represented by chiming repetition, seabird-calling trumpet and, later, Mårtensson’s and Begley’s intertwined vocals which speak of history becoming immortalised in stories.

Known widely for his contribution to the UK and international jazz scenes, Rory Simmons’ approach to Monocled Man expresses the broader palette of music which currently inspires him; and We Drift Meridianembraces conceptual cohesiveness through textures and lyrics which evoke mystery, solitude and even desperation. As Simmons confirms: “These are instrumental and electronic explorations which have a meaning and, in context, hang together musically – it’s an exciting, natural progression of the band.”

 

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Tour Dates (details and tickets)

Rory Simmons– trumpet/keyboards/electronics, Chris Montague – guitar, Jon Scott – drums/electronics

Guest vocalists – Emilia MartenssonEd Begley

OCT 4th – Servant Jazz Quarters, Dalston, London (official album launch) + support from Chris Sharkey

OCT 27th – Jazz Nursery, Waterloo, London

NOV 18th – Vortex Jazz Club, Dalston, London (EFG London Jazz Festival)

MOBO Awards nominates Michael Janisch for Best Jazz Act 2016 for his latest album/band Paradigm Shift – public vote now available

WWR founder, bassist and producer Michael Janisch has been nominated for a 2016 MOBO Award in the Best Jazz Act category for his latest project Paradigm Shift.  Now in it’s 21st year, the award show will take place at The SSE Hydro, Glasgow in November.  The other nominees include Esperanza Spalding, Cory Henry, Bill Laurance and Jacob Collier.

Visit MOBO’s website: here

 

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Bassist and composer Michael Janisch has established himself as a tireless creative force across the developing international spheres of contemporary improvised and experimental music.  His current cross-genre project as composer and bassist Paradigm Shift – which ambitiously combines electro-acoustic, contemporary jazz, free improvisation, future-funk, multi-metered groove, punk and electronica – has seen the release of the eponymous, far-reaching double album (October 2015). This world-class sextet line-up of Paul Booth (reeds), Jason Palmer (trumpet), Leonardo Genovese (keys), Colin Stranahan (drums) and Alex Bonney (electronics/effects) has performed extensively across Europe since the release (also featuring Jason Yarde (reeds), Andrew Bain (drums) and Cedric Hanriot (keys)), garnering airplay on BBC Radio 6’s Gilles Peterson Worldwide, JazzFM, NPR and WDR Radio, and has led to considerable and effusive industry feedback:

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“Paradigm Shift is as exciting a jazz record as any from the last 10 years.”
★★★★★ Jazz Journal

“Sheer dynamism”
★★★★ All About Jazz

“Wide ranging, creative and thrilling, a superb achievement.”
Jazz Views

“An electro-acoustic mix of dazzling improvisations, post-processed electronics, with unique and creative compositions.”
URB Magazine

“Exceptional”
Musik Reviews

“A highlight of Janisch’s eventful career to date.”
 ★★★★ Jazzwise Magazine

“Surely this double album is one of the truly successful works in this year within this genre.”
Music an Sich

“Paradigm Shift, is a groove-centric ride in a souped-up engine. Its moving parts are clearly in all working order, shifting and flowing like they were built that way. The rhythm section of Janisch, drummer Colin Stranahan, and pianist Leo Genovese is outstanding.” – NextBop

“A stellar international sextet… catch them if you can.”
★★★★ The Jazz Mann

“A wealth of imaginative, engaging jazz has been produced by bands that expertly bridge the styles of free-flowing acoustic jazz and electronic styles, but Michael Janisch’s Paradigm Shift must surely be one of the most accomplished.”
The Jazz Breakfast

“Paradigm Shift finished off the night with a tour de force display of instrumental firepower that ranks alongside any jazz gig I’ve been to in the past, and I’m including some very big names in that list.”
Mumble Music

 

Voting for the awards is now available on the MOBO site: click here

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Jamie Cullum features Monocled Man (Rory Simmons) ‘We Drift Meridian’ on BBC Radio 2 + video premieres and previews

“A fascinating mix of jazz, electronic music, improvised music… It’s really quite uncategorisable this and I think if you’re someone who’s interested in music that has many different layers and complexities to it but is also just a fabulous listen from beginning to end then you’re going to absolutely love this.”
Jamie Cullum (listen to feature on BBC Radio 2)

Official worldwide release date – Sept 23, 2016

 

You wouldn’t even know they were there… but the minute islands and atolls amidst the vastness of our world’s oceans provide intriguing inspiration for Monocled Man’s second album, We Drift Meridian – a concept devised by trumpeter, multi-instrumentalist and composer Rory Simmons. With established colleagues Chris Montague (electric guitar) and Jon Scott (drums/electronics), plus vocal contributions from Emilia Mårtensson and Ed Begley, Simmons layers-up haunting electronic and acoustic soundscapes which reflect the remoteness and sometimes curious histories and characters associated with these far-flung, isolated spaces. Known widely for his contribution to the UK and international jazz scenes, Rory Simmons’ approach to Monocled Man expresses the broader palette of music which currently inspires him.

With the official release date this Friday, We Drift Meridian has already been making waves. Broadcaster and musician Jamie Cullum featured a track on his BBC Radio 2 show, Prog magazine (website) premiered the video for Marie Betsy and tweeted the feature to over 50,000 followers and online music site Gigslutz (website) premiered the accompanying video to the track ‘Tromelin’.

To sample all the tracks from the album click: here

Here’s a round up of all the press and social media coverage of the album so far (click for full feature): Prog MagazineRhythm & BoozeAnti Music NetworkGolden MixtapeHigh VioletVents MagazineThe Music RagGigslutz

Ingrid & Christine Jensen’s ‘Infinitude’ with Ben Monder, Fraser Hollins and Jon Wikan to be released October 28th

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“With this line-up and these compositions, it’s really easy to channel the freer ideas that are still in the context of the music, but which provide us with the ability to go to that place where we all feel like we’re most ourselves – and that truly is a gift.” – Ingrid Jensen

 

Infinitude – the concept of boundless possibility – is at the center of the music of Ingrid and Christine Jensen. Over the past twenty years or so, as trumpeter and saxophonist respectively, the West Canadian sisters have each shaped prolific careers in contemporary jazz, collaborating with influential names such as Clark Terry, Maria Schneider and Terry Lynn Carrington, working with large and small ensembles, and responding to various commissions to compose for jazz orchestras around the globe.

For their Whirlwind debut, the Jensens have realized a long-held ambition – to write for and perform in the more intimate setting of a quintet, combining their intuitive, sibling trust with the creativity of renowned guitarist Ben Monder and the foundational artistry of bassist Fraser Hollins and drummer Jon Wikan. The particular rapport within this grouping is expressed by Christine (composer of half of this album’s material), describing the environment as being less about soloing, but with an emphasis on the question, “How are we all going to dive into this pool and swim together.” The resulting immersion, recorded in the studio across two days, sounds both live and organic, with Ingrid confirming her close relationship with her sister: “It doesn’t actually feel like we’re producing. We already have this flow which continues as we perform together – we can find space, and craziness, and find our way in and out of it, as well.”

The conversational feel which pervades this album’s sixty-eight minutes is illustrated in opening track ‘Blue Yonder’, where Ingrid’s mellifluous trumpet technique (sounded through her custom-created flugel-cupped mouthpiece and ‘flumpet’ bell) melds with Christine’s warm, legato alto to conjure the aura of a wordless vocal. Such grace is echoed by the often understated though lynchpin presence of Ben Monder (whose effect is explained by Christine as “something which is intimate, yet full of the future”); and that same quiet fire is evident in grittier, rock-tinged ‘Swirlaround’ and a freewheeling, even punkish interpretation of Kenny Wheeler’s ‘Old Time’.

The soft, melodic beauty of ‘Hopes Trail’ transcends its underlying inspiration of political disillusionment, reinforcing our need to, at least, musically rise above (accentuated by ascending, chromatic soprano); and written for a kindred spirit of Christine’s, the chirpy mobility of ‘Octofolk’ features especially connected trumpet and alto adventures, all underpinned by Ben Monder’s textures and a spirited rhythm section. Extended lines in Ingrid’s elegant ‘Dots and Braids’ – which reflect Christine’s lyrical saxophone persona – are contrasted with shorter statements (also informally referencing Canadian pianist/composer David Braid), while the increasing fullness of buoyant, bossa-infused ‘Echolalia’ (written by Monder) hints at the sisters’ expertise in an orchestral jazz setting.

‘Duo Space’ and ‘Trio: Garden Hour’ provide a different perspective, their reduced instrumentations and improvisations offering further insight into the deep-seated need of these imaginative musicians to express themselves and search out new sounds in an arena which welcomes such freedom. Describing the experience, Ingrid says: “I need that interaction and empathy experience which comes from playing good gigs with good people; a creative outpouring of my soul. With this line-up and these compositions, it’s really easy to channel the freer ideas that are still in the context of the music, but which provide us with the ability to go to that place where we all feel like we’re most ourselves – and that truly is a gift.” As Christine concludes: “What Ingrid and I have worked on together for so long has now finally been documented in a special way that includes some surprises, especially with our choice of the wonderful Ben Monder – when he says, “I’m gonna play”… you just know that it’s going to be something real special and meaningful. For us, with Infinitude, this is just the beginning.”

 

Listen to ‘Swirlaround’ from Infinitude

 

 

 

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