Text from Do Velho Ao Novo blog
My Space Page
TwistedJazz fav did it again! High ranked in our best of 2008 list...of course!
The title of the album was inspired both by the eponymous community center below Brenneck’s apartment and the natural rhythm that has continued to move this project forward. Shortly after its release as Dunham’s debut 45rpm single, the song “Make the Road by Walking” was sampled by fellow Brooklynite Jay-Z for his smash hit from American Gangster, “Roc Boys (and the Winner is…)” (later declared by Rolling Stone to be the No. 1 single of 2007).
Make the Road by Walking is a soulful exploration by a talented young group of musicians into the possibilities of instrumental music; an original, personal, and uncompromised creation that embodies the sound of a select group of musicians in one distinct place, at one particular moment in time. “This album is kind of a window into our world on Menahan Street,” says Brenneck. “In a way, we’re simply the street’s unofficial house band.”
Lonnie's Official Page
Based in Strasbourg, the man behind the Kira Neris project is a truly unique individual. Motivated by an absolute passion and desire for all things radio and music related from the age of 11, it was inevitable that one day he would produce his own creative masterpiece full of the influences of his formative years. Having explored most genres and styles, from a brief affair with Rock to a longer relationship with House and Dance music, Jazz and Classic Groove are now his regular partners in producing what is without doubt original and captivating music.
“Incredible new jazz music” Gilles PetersonKira Neris @ LastFm
Juno Award Nominated "Vocal Jazz Album of the Year" 2007
Voted #3 Jazz Album of the Year 2006 on Gilles Peterson's Worldwide BBC Radio 1 London
Imagine a cold winter night in Toronto, walking past a small jazz club, when you catch through the folds of your scarf the warm deep grooves of a jazz trio playing to an intimate crowd. Welcome to the scene a fresh new sound from singer/songwriter Elizabeth Shepherd.
There are times when something new comes along at once familiar and yet completely original. The album ‘Start to Move’ from the Elizabeth Shepherd Trio is just that. But what’s more she has added her own unique blend of jazz-funk, soul, blues, and samba to the fundamentals of Jazz – improvising a deep driving bass from Scott Kemp, the swinging beat of the drum from Colin Kingsmore, and Elizabeth’s playful piano and captivating voice to tie it all together. Recorded over the winter of 2005/2006, you can feel yourself with them, locked away in a small studio, protected from the cold winter night, pushing through track after track for that deep warm sound.
The two innovators behind Five Corners Quintet, composer, producer and arranger Tuomas Kallio and the band's benevolent svengali and record label manager Antti Eerikäinen initially were simply set out to release a few vinyl singles of stylish jazz music tailored for the dance floor. As the first three vinyl single releases received a huge response among the press and international taste makers and at the same were all sold out, The Five Corners Quintet project slowly evolved into an established and more serious phase. This meant two things: setting up a live band and a CD-album project.
The debut album Chasin' The Jazz Gone By came out in September 2005, spent 11 weeks in the Finnish album TOP-40 chart and has been released in Europe (SonyBMG and Ricky-Tick Records/Timewarp), USA (Milan Entertainment/WEA) and Japan (Columbia International). The album and the vinyl singles preceding it have already sold more than 40.000 copies in total. Not bad for a jazz recording in 2005.
In musical terms the goal of TFCQ is to set an example of how dance floor friendly contemporary production can fruitfully meet the musical craftsmanship of the past, creating music that sounds as hip as the classic jazz records but is at the same time structurally polished and easily accessible music of today. Not housey nu-jazz, but jazz in the classic modernist spirit.
Charlie "Yardbird" Parker had been a hero of Clint Eastwood's since childhood, and Eastwood, having been disappointed in such jazz biopics as Young Man with a Horn, really wanted to make a true jazz fan's movie about the music. He cast Forest Whitaker as Parker, the legendary alto sax player, and Diane Venora as Chan, Parker's wife. The film shows how Parker, a genius who changed the face of modern music, was hampered and eventually destroyed by his appetite for women, food, and drugs. The two leads do a great job giving a recognizable human face to the characters' complex relationship. With wit and warmth, Bird tells the story in direct and honest terms, avoiding all sentimentality. Eastwood's love of Parker's music comes across in the tremendous care that he and composer Lennie Niehaus took with reconstructing it, using Parker's original solos. Eastwood and cinematographer Jack N. Green also patterned the dark, moody look of the film after old photos of musicians who used to appear in jazz magazines. Music lovers will be thrilled with the result, and movie lovers will find plenty to engage them in this moving tale of a great man battling his demons.
Baltimore City Paper -- October 24, 2000
Wilson hasn't sounded this good for some time—elegant, unforced and buoyant. And in the rhythm. Most of the tracks are underpinned by kit drummer Herlin Riley and Nigerian drummer and percussionist Lekan Babalola. Wilson calls herself the “unproducer,” but her decision to create Loverly's arrangements from the drums up, starting with rhythm patterns suggested by Babalola and Riley, contributes immensely to a set shot through with mettle.Great songs, great singing, and a great band. Lovely indeed.
Pianist Esbjörn Svensson Dies in Diving Accident
Daily News Headlines
Pianist Esbjörn Svensson, leader of the Swedish jazz trio E.S.T. that appeared on the May 2006 cover of DownBeat, died Saturday, June 14 in a diving accident in Sweden. He was 44
When Svensson founded E.S.T. in 1993 with drummer Magnus Öström on drums and bassist Dan Berglund, little did he know that 15 years later the group would stand as such a major force in the European--and international--jazz scene. In fact, the group’s appearance on the cover of DownBeat marked the only time that a European band has appeared on the cover of the magazine.
Born April 16, 1964 in Västeras, Sweden, Svensson grew up in a musical family. His mother played classical piano, his father loved Ellington, and Svensson listened to the latest pop hits on the radio. In high school, Svensson played in his first bands, along with taking piano lessons for three years. He followed this with four years of musical studies at the University in Stockholm. As Dan Ouellette wrote in his cover story on E.S.T., Svensson developed a piano style that clearly showed the influences of Bill Evans and Thelonious Monk (including the album E.S.T. Plays Monk, while incorporating modern electronic and sampling elements to his music. Most importantly, he created his own voice on the piano, and led a band that had developed its own identity.
While E.S.T. did sign to Columbia Records in the United States and release two albums on the label, and occasionally toured the country, the group never reached the rock-star status that it achieved in Europe. Svensson did not alter his music to try to cross over to a U.S. audience. As he said in the DownBeat cover story: ”I don’t think that people who like the music care whether we’re from here or Sweden. They want to hear good music.”
"Esbjörn Svensson was the finest of all men I ever met, humble, modest, respectful,” said his manager, Burkhard Hopper. “His light truly lit the world and his music inspired people in all corners of this world.”
E.S.T. had recently finished recording its 12th album, Leucocyte.
Svensson is survived by his wife and two children.
4hero are that rare sort of group whose career refuses to be summed up in the narrow bounds of a 300 word review. Suffice to say, they were there at the birth of Jungle and have played the role of the scene’s eccentric uncles ever since, following their muses under a slew of aliases. Though they’ve been busy with other projects, this is their first new album since 2001’s Creating Patterns. Where that album alternated classic tunes with driving left-field instrumentals, Play With The Changes is much more straightforward.
The album bursts into life with a lightning break before acquiring strings, horns, harp and Carina Anderson, familiar to 4hero fans from the previous album’s standout cover version, “Les Fleur”. “Morning Child” is best described as anthemic soul. “Take My Time” continues in like fashion with a slightly more electronic, funkier edge. “Sink Or Swim” is all Fender Rhodes and a stop-start broken beat rhythm. Two exceptions to the album’s silky flow come towards the end with “Why Don’t You Talk”, a track that sounds surprisingly like jazz rock and the brief guitar-led finale, “Dedication To The Horse”.
Almost every track has at least one guest, including the likes of 70s superstar songwriter/producer Larry Mizell, broken beat musicians Bembe Segue and Kaidi Tatham, and street poet Ursula Rucker. The latter’s mother earth focus signals a rare moment of unease and echoes her lyrical contribution on “Loveless”, the opening track on 1998’s Two Pages. The ever-shifting personnel gives the album a sense of variety, both in terms of vocals and rhythms. However, there’s no loss of cohesion due to 4hero’s production skills and, in particular, their string arrangements. Play With The Changes is a breath of summer sunshine. Its sophisticated affirmation is welcome, though it’s difficult not to mourn the loss of 4hero’s experimental edge.
(Κείμενο: Colin Buttimer, BBC)