Tuesday, November 14, 2017

RED PIANO RECORDS TO RELEASE THE GAIA WILMER OCTET: MIGRATIONS


RED PIANO RECORDS TO RELEASE
THE GAIA WILMER OCTET: MIGRATIONS

Thursday, December 14th 8PM
NEW YORK CD-RELEASE CONCERT @ Shapeshifter Lab

The Gaia Wilmer Octet is: Yulia Musayelyan – flutes; Song Yi Jeon – voice; Gaia Wilmer and Gustavo D’Amico – saxophones; Leandro Pellegrino – guitar; Vitor Gonçalves – piano and accordion; Mayo Pamplona – bass; Richie Barshay – drums

MIGRATIONS, introduces the music of Brazilian composer and saxophonist Gaia Wilmer, an emerging voice in the contemporary jazz community. Drawing inspiration from Brazilian music, its harmonies, rhythms and melodies, and from contemporary jazz, Gaia creates a unique and colorful world of music that is both cerebral and emotional. Her music draws inspiration from composers such as Hermeto Pascoal, Guillermo Klein, Kenny Wheeler, Vijay Iyer and Maria Schneider, and the pieces generate their shapes and feelings from the idea of home; the strong relationship with Brazilian and Latin American cultures and with contemporary jazz and the relationship between people.

The opener, AFTER THEM, was the first piece written for this octet. It was written between Gaia attending concerts and master classes by Vijay Iyer, Maria Schneider and Geri Allen, and draws its inspiration from those experiences. It begins alternating between one main bass line and a rhythmic idea in the piano inspired by Iyer’s music. The shapes and textures of the lines, both in the bass and in the top melodies come from impressions of Schneider’s melodies and orchestrations. The melody evolves into a flute solo by Yulia Musayelyan that leads back to the opening bass line, and the return of the main melody.


CRIANÇADA started as an exercise playing with constant structures and developed in to an energetic tune with a joyful melody that plays with the relationships between 3/4, 6/8 and 6/4 and the different ways of feeling those meters. The title of the tune means, “a bunch of kids”. The solo section follows the same idea with Leandro Pellegrino on guitar and Gustavo D’Amico on tenor saxophone interacting with each other.

The title piece, MIGRATIONS, was written after a Guillermo Klein concert in Boston and features Raphael Lehnen on bombo legüero and Song Yi Jeon on voice. Written specifically for these artists and inspired by Klein’s music, this piece was the first one written after the group was settled, and serves as a tribute to the great animal migrations around the globe. Centered around the interval of a third, the piece starts with an acappella introduction, developing this intervallic motif. The composition was also inspired by the Kenny Wheeler album, “Music for Large and Small Ensembles”.

HELEN came from the idea of exploring modes found in scales other than the common major. The ostinato, the chords and the melody are based on the mixolydian b6 mode from the melodic minor scale. It is the only composition on the album (with the exception of Hermeto Pascoal’s “Acuri”) that was written for a smaller ensemble and not specifically for the octet. It is dedicated to Helen de la Rosa, the drummer who first played the tune. 

CHÁ is a ballad written for love and friendship, and explores free improvisation between the wind players. It starts with a free duet with Gustavo D’Amico on soprano saxophone and Gaia on alto that leads to the main theme. It also features solos by Mayo Pamplona on bass and Vitor Gonçalves on accordion.

The harmonic ideas of the energetic NO TALKING came from the constant structure and geometric atmosphere of “Giant Steps”. In the first section, the main motif is transposed and developed in myriad harmonic ways, while separated by a minor third. The second section presents a contrasting idea that is also transposed and developed but this time by major thirds. Soloists include Gaia and Song Yi Jeon on voice.

NOSTALGIAS is a melancholic, through-composed ballad based on the intervals of a second and a sixth. It has a four-part structure where the C section is a variation of the A section and the D section is a variation on the B section. The whole form repeats twice with Leandro Pellegrino soloing on guitar over the second A and B and Gaia Wilmer embellishing the C.

Hermeto Pascoal’s ACURI was recorded by his group in 1989 on his first “Mundo Verde Esperança”, an album that was never released. The piece was recorded by Pascoal’s new group on his most recent album and pays homage to Chick Corea with a new title, “Um Abraço Chick Corea”. This version, recorded by Gaia’s octet, gets a creative treatment with a exciting and virtuosic flute/piccolo line, played by Yulia Musayelyan, as well as some harmonized lines with the saxophones and new counter melodies played by Leandro Pellegrino on guitar and Gustavo D’Amico on tenor saxophone. The second exposition, a samba in 7/4, with Song Yi Jeon playing the melody along with Pellegrino while the winds float in and around, followed by D’Amico’s solo in a faster samba in 7/8. Gustavo’s solo is followed by Gonçalves’ solo in 3/4 that leads back to the introduction and the head out.


MIGRATIONS is an exciting introduction to the music of Gaia Wilmer. The group performs the program with verve and virtuosity. This recording is certain to create fans of the fertile musical mind of Gaia Wilmer.



Please Visit: www.redpianorecords.com, www.gaiawilmer.com


Press Enquiries on Red Piano Records and Frank Carlberg:
Jason Paul Harman Byrne @ Red Cat Publicity
Tel 646 259 2105

www.RedCatOnTheLoose.blogspot.com

Monday, October 23, 2017

Bassist/Composer OR BAREKET Connects With His Roots On His Debut Recording – OB1

           
  




FOR IMMEDIATE RELEASE:


Bassist/Composer OR BAREKET Connects With His Roots
On His Debut Recording – OB1
Available October 6, 2017 on Fresh Sound

OB1 is Bareket’s Debut Recording & Features Shahar Elnatan-guitar, Gadi Lehavi-piano, Or Bareket-bass, Ziv Ravitz-drums/mixing & mastering, with Special Guests Vitor Gonçalves-accordion & Keita Ogawa-percussion




Perfectly timed, given how fully realized the music feels, from the compositions to the execution. This track, “Joaquin,” is a bright embodiment of the album’s ideals, brimming with springy energies and smart details. - Nate Chinen, WBGO - Take Five

Bareket's omnivorous musical mind is as irresistibly restless as his fingers, and the results are wonderful to behold. - Geno Thackara, AllAboutJazz

While OB1 embraces a variety of styles and moods, it all works as an integrated whole that feels rich and breathable. This is an auspicious debut by a prodigious bassist who, additionally, reveals a persuasive sense of composition. - Felipe Freitas, JazzTrail

OB1 is a memorable debut that stands out as much for the excellent musicianship as for its thoughtful melodic content. One hopes Or Bareket continues his quest for what he has created here bodes well for his future as both a musician and composer. - Richard Kamins, StepTempest


Born in Jerusalem and raised in Buenos-Aires and Tel-Aviv, bassist/composer/bandleader, and first-call sideman for the likes of Ari Hoenig, Jean-Michel Pilc, Leon Parker, Aaron Goldberg, Sam Yahel, Yotam Silberstein, Camila Meza, Dida Pelled, Nitai Hershkovits, Cyrille Aimee and many others, Or Bareket has established himself as one of the most versatile and sought-after bassists on the NYC scene. Winner of the 1st prize at the International Society of Bassists’ jazz competition in 2011, Bareket’s multiculturalism informs his unmistakable sound.

Bareket’s approach to improvisation/composition, magnificently displayed on his debut album, OB1, is informed by Mediterranean, South American and North African folklores, all interpreted through his deep knowledge and appreciation of the American Jazz tradition. However these traditions took time to connect and conspire. Bareket found a missing part of his musical DNA in 2014, when he embarked on his first trip back to Buenos Aires as an adult, to perform at The Buenos Aires Jazz Festival. Bareket explains, “for me, that experience of being in Buenos Aires affirmed and brought to light the source of a lot of my musical choices – rhythmically, melodically and texturally – aesthetics that I felt attracted to but didn’t know their origin, so I just chalked them up as being idiosyncratic. Being in Buenos Aires caused me to realized where they had come from and it was a very strong affirmation of my musical instincts and intuition. This opened up a process through which I could just write – for the first time in my life I could just let the music come out and just let it be what it is. Amazingly, after I had a body of work ready to go, the band pretty much presented itself.” The result is the compelling music on his debut recording, OB1.

The process of writing OB1 started with the realization for Bareket that as an artist you can create your own folklore, tell your own story, with whatever life puts at your disposal. After years of playing as a sideman with many of his musical heroes and mentors, he felt that it was time to start developing his own musical world, where he feels perfectly at home, and all of his intuitiveness as a bassist are in alignment with the way the music is written.

Bareket elaborates, “throughout 2014-2015 I started collecting musical ideas from different parts of my life- daydreams, emotions too subtle or ambiguous for words, folkloric rhythms and forms from my grandparents’ homelands of Morocco, Iraq, Israel and Argentina. I let those ideas grow into songs and gradually started playing them with my friends and peers. I finally decided to record this music when I found the right band for it - Shahar Elnatan-guitar, Gadi Lehavi-piano and Ziv Ravitz-drums/mixing & mastering, had the perfect sensibility for my compositions-they are all deeply intuitive and soulful musicians. Beyond their ability to resonate with the way I hear rhythm and harmony and bring my ideas to life, they also added new colors and dimensions to the music-ones I couldn’t have imagined when I wrote it. The same goes for the special guests on the recording, Keita Ogawa-percussion and Victor Gonçalves-accordion.”

Music has always been a physical, primal experience for Bareket, more than an intellectual or even an emotional one.
Growing up between different places, and with a mixed cultural heritage, the bassist/composer has become comfortable moving, adapting to new situations and flowing with the changes life brings. “I have never really felt completely at home anywhere, never had a distinct sense of what my own roots are. The only place where I always felt a complete sense of belonging was while being immersed in music, or more specifically, in rhythm. First as a child listening and later as a musician performing. That moment of being fully present, connected, vibrant and still at the same time, is where I feel most at home. The music on this album, OB1, comes from this place, and was written with the intention of sharing it with the performers and listeners,” Or Bareket.


  
More on Or Bareket:
Bareket started playing the electric bass at age 16 after hearing Jaco Pastorius. At 18 he took up the double bass and began studying with Teddy Kling (principal bass at the Israeli philharmonic), and later with Professor Michael Klinghoffer (former assistant to maestro Gary Karr). Simultaneously Bareket began working extensively on the Israel jazz scene and studying with bassist Avishai Cohen, among others. Bareket was the winner of the 1st prize at the International Society of Bassists’ jazz competition in 2011

Since moving to New York, Bareket has performed, recorded, and toured with a wide array of artists all over the world. Notable names include Ari Hoenig, Jean-Michel Pilc, Leon Parker, Aaron Goldberg, Sam Yahel, Yotam Silberstein, Camila Meza, Dida Pelled, Nitai Hershkovits and Cyrille Aimee. He has also worked with Gilad Hekselman, Peter Bernstein, Hamilton De Holanda, Banda Magda, Eli Degibri, Chris Potter, Mike Moreno, Billy Hart, Victor Lewis, Don Friedman, Elliot Zigmund and others.

Or is a multiple-time recipient of the America-Israel Cultural Foundation scholarship for outstanding performers and the Eubie Blake Fellowship. He has participated in Betty Carter’s “Jazz Ahead” at the Kennedy center, The Steans Institute Ravinia Workshop, and the Banff Workshop for Jazz and Creative Music.



This album is dedicated to my father, Ofer Bareket (1954-2016) - thank you for raising me to be the man and the musician I am, and for teaching me that only a broken heart can be an open heart - Or Bareket, New York City, 2017


    
Please visit: www.orbareket.com


Press Enquiries on Or Bareket & OB1,
Please Contact:
Jason Paul Harman Byrne
Red Cat Publicity
Tel 646 259 2106


CONTAGIOUS MUSIC PROUDLY PRESENTS THE DEBUT RECORDING FROM PIANIST/COMPOSER EDEN LADIN - YEQUM






CONTAGIOUS MUSIC PROUDLY PRESENTS THE DEBUT RECORDING FROM PIANIST/COMPOSER EDEN LADIN - YEQUM
Featuring Eden Ladin – piano, keyboards, compositions, Dayna Stephens – tenor sax and EWI (tracks 1,4,9,10), 
John Ellis – tenor and soprano sax (tracks 2,5,6,7,11)
, Gilad Hekselman – guitar, Harish Raghavan –  bass, 
Daniel Dor – drums, with special guests Camila Meza – vocals (track 8 & bonus track 12) & Yonatan Albalak – guitar (track 3)
Available on Contagious Music – October 6, 2017!
  
After nearly nine years of living in NYC and being an in-demand sideman for the likes of Omer Avital, Myron Walden, Wallace Roney, Ari Hoenig, bassist Avishai Cohen, Camila Meza, trumpeter Avishai Cohen and many others, pianist/composer/bandleader Eden Ladin proudly announces the release of his debut album, Yequm, to be released on Dayna Stephens’ label, Contagious Music on October 6. This long awaited moment reveals an artist who has paid his dues, gained knowledge and racked up experience. During his time on the scene he has allowed his artistry to steep in the longstanding tradition of being a first call sideman in New York City. Therefore, what we hear on his debut album, Yequm, is a fully-formed artist who was able to sit in silence, listen to the music resonating in his mind, and uncover a personal narrative of original compositions, reflecting years of musical exploration, traveling back and forth between New York and Tel Aviv, and experiences around the world. The music is co-interpreted by Dayna Stephens, John Ellis, Gilad Hekselman, Harish Raghavan and Daniel Dor, alongside special guests Camila Meza and Yonatan Albalak. The title – Yequm is Hebrew for “Universe.” Welcome to pianist Eden Ladin’s Yequm, an exciting, unique and brilliant debut from a young artist bursting with talent and promise.

Contagious Music label owner/saxophonist/composer/bandleader Dayna Stephens said of Ladin and Yequm,Eden has a limitless imagination when it comes to melody harmony and how to weave his influences into his sound. I've being inspired by his writing and playing and in both aspects he clearly has a strong foundation that comes from studying masters that span many genres. As I’ve seen him develop over the years he has built on that foundation a unique sound creation that is beautifully displayed on Yequm. When hearing it for the first time, Eden mentioned to me that he hadn’t found a way to release it, the solution then became obvious, this is NEED TO HEAR music to my ears, and through Contagious Music I’ll do my best to allow it to blossom.”



About The Music on Yequm with Eden Ladin:
Lonely Arcade Man – The entire album is comprised of original compositions by Ladin. This was originally written as an electronic track and is based on an imaginary story the pianist/composer had about a character trapped inside an arcade game. “Every time someone plays the game he is happy, but once they're finished he lives inside this little digital world by himself. Sometimes I can feel like this man (don’t we all?).”

Smell / Faded Memory – This tune was in progress for many years, and has had many transfigurations. The first four bars come from an idea Ladin had back in 2006, when he was still in his teens and wasn’t completed until 2013/2014. “In other words this song was a work in progress for about 9 years. The song examines that feeling you get when you recognize a familiar smell from the past. For example a hint of that perfume your grandmother wore when you were 5 can revive vivid childhood memories, almost like a flashback. That sensation is really unique.

From The Frozen Cave – This serves as intro to the next track on the album. “Throughout the years I’ve worked a lot with one of my best friends and musical brother, Yonatan Albalak. It was very important for me to have him on this record, even if for one track (as he lives in Israel). I sent him the track, told him the imaginary story surrounding it (see below), and asked him to play an intro for it; I knew he would understand me. He later sent me four different takes that were all amazing. The one we chose here was exactly what I envisioned.

The One Warm Hearted Man Living In The Kingdom Of Ice – This is another tune that was a work in progress for many years – Ladin is an artist that allows compositions to take their time as they come into maturity. “The story takes place on a frozen planet engulfed in huge, blue glaciers, frozen lakes, and endless snowstorms. At the peak of the highest mountain lies a dark castle and inside lives an evil witch with a frozen heart. She terrorizes the zombie-like people of the planet; they all fear her. But there is one man, a warrior hiding in a cave; he has a warm heart. With his flaming sword and after years of strict practice he is now ready to defeat the evil witch and set the people of the planet free! This song tells the story of that man.”

The Way We Used To Laugh – This composition reflects feelings and thoughts about when you have to let someone go, who was very dear to you. “In a relationship - things can get complicated and problematic to a point where it can't be fixed. Even though this song was composed after such a time, it draws from the joyful memories we’ve shared and the laughs we’ve had together back when everything was wonderful.

Safta (Grandma) – “Dedicated to my late grandmother, Rachel Plotkin, honoring a very special and unique person. When I was little she would often sit next to me while I practiced the piano, playing intimate concerts for her. During the final days as her illness progressed I wanted to return to Israel; however, it was important to her that I complete my senior recital first and then travel on the following day… But it was too late. She passed away on the day of my senior recital. She was the most positive person I've known, influencing me through the way she saw the world. She helped me understand that despite the sufferings of life, one should always dwell on the positive-there’s positivity in everything. This song is playful, not morbid, in celebration of her life and positive spirit. I chose to merge tracks 5 and 6 as they both remember the loss of people I’ve truly loved and they embrace their influence on my life.”

Times Square – “Reflects on the best and worst place in NYC. I took a video with my phone, went home, watched it next to my keyboards, and this melody just came out of me.

Dreams – “Everything is possible there… People you love that are not a part of your life anymore can show up suddenly… But you can't always really reach them… I wanted a dreamy atmosphere and decided there would only be vocals, piano, and about 7 layers of keyboards synths.  I was fortunate to have my good friend and incredible musician Camila Meza singing on this one.

Gambit – The seed of this track came from a phrase Ladin transcribed from a song by the electronic group, Boards Of Canada, which he is very influenced by. He composed a new melody and harmony on this idea and it grew from there. The title reflects Ladin’s recent fascination for Chess, and captures a situation in which a player risks one or more pieces to gain an advantage in position, a “gambit.” Obviously a risky thing to do because it’s a situation you must know how to get out of or you will lose the game - also a metaphor for life, sometimes you’ve got to risk a lot in order to become better.

Schlompi – “Schlompi was a toy store in Tel-Aviv that I used to go to as kid. This song that has kind of a playful and silly melody with hints of childhood melancholia, which reminded me of toy stores, and this store in particular.”

Autumn Song – “was written in autumn of course. I’ve always found autumn to be a very special time of year—a time of new beginnings on one hand but also of endings: happiness and mourning; rain and sun.





Press Enquiries on EDEN LADIN, YEQUM, and Contagious Music:
Please Contact Jason Paul Harman Byrne @ Red Cat Publicity

Tel 646 259 2105, Email redcatjazz@mac.com, www.redcatontheloose.blogspot.com