Thursday, January 19, 2017


For Immediate Release:


Available March 10, 2017 on Clean Feed Records

"In the right hands an alto saxophone can emit airy sounds that are buoyant and light and move smoothly across any disturbances that might intersect their paths. New York reedist Michaël Attias is a fluid, inventive improviser whose performances are marked by that deft and nimble touch.” – Peter Margasak, The Chicago Reader

"Like a high-quality electronic product manufactured by the Panasonic Corporation, the career of alto saxophonist Michaël Attias has always involved being slightly ahead of his time...” – Ken Waxman, JazzWord

Nerve Dance – saxophonist/composer/bandleader/conceptualist Michaël Attias’ sixth album (available on Clean Feed Records, March 10, 2017), which deals with the aesthetics of spontaneity, the theory of elasticity and the concept of equality in music, is an expansive, spirited debut from Michaël Attias’ new Quartet, featuring Aruán Ortiz (piano), John Hébert (bass) and Nasheet Waits (drums). On Nerve Dance, we are regaled with hearing four hearts, minds and bodies hooking up at an extremely high level on nine Attias compositions, and two from Hébert. Each piece exercises a different set of muscles and faculties for the band and every member of the Quartet carries within them the historical knowledge and a fluency in the multitude of dialects of this music; consequently we hear them free within the compositions, deep into the zone of this collective creation, transcending their respective instruments and completely surrendering to the music.

Attias has been influenced by literature, film, painting, extensive travel, life in general, and of course, a wide spectrum of music, ranging from Moroccan Gnawa rhythms to Renaissance Polyphony, Ligeti, Debussy and the 2nd Viennese School; the AACM, Ornette Coleman, Cecil Taylor and Steve Lacy, also Andrew Hill, Paul Motian, Lee Konitz and Warne Marsh, plus the first and lasting loves, Ellington, Coltrane, Monk, Miles and Bird. Attias’ music, while dedicated to “creation” rather than “re-creation”, remains firmly rooted in the avant-garde, conceptualized as the true tradition of this music from its earliest recordings onward. Attias asserts that the revolutionary, adventurous spirit of the major figures of jazz, including his aforementioned influences, made bold strokes of genius that only seem inevitable in retrospect, and have paved the way for the audacious improvisers of today who remain singular and fearless in the face of mass conformity. There exists an instinctual, visceral need in Attias and his cohorts to play music that is honest, that rejects inertness and fully embraces the meaning of creativity and evolution. This music is found on Nerve Dance.      

Attias, a quietly fierce, improvising force on the international scene, has worked with Anthony Braxton and Paul Motian, and is a frequent collaborator/sideman for Kris Davis, Ralph Alessi, Tony Malaby, Oliver Lake, Anthony Coleman (and many others), and also leads three bands, his new Quartet, Renku (featuring John Hébert and Satoshi Takeishi), and Spun Tree (featuring Ralph Alessi, Matt Mitchell, Sean Conly and Tom Rainey). He has also composed for theatre, film, big band, and orchestra. So why this new Quartet, and why Ortiz, Hébert and Waits? “There was a particular chemistry I was looking for and a kinship of approach that I can only describe as a fiery mathematics whose combustion is in the blowing itself, a group identity so strong that it becomes the overriding composition. This band is big fun to play with. Everyone has in common a deep lyricism and a very personal way of bringing design to the turbulence and turbulence to the design. We all share a fearless commitment to every moment of the music, to making it breathe and dance – balancing the yins and yangs, fire and receptivity, mystery and clarity... Hébert, Nasheet and I have played together in countless situations over the last fifteen years, and, of course, those two for years played together with Andrew Hill whose music is a big inspiration to us all. They bring a deeply singing quality and dance to everything they do. Aruán is the new agent in this chemistry; he has all the qualities I've mentioned and a kind of visionary approach to sound and time, order and chaos that I really appreciate. Music demands of us, as players and listeners, that we put our emotions, minds, bodies, and nervous systems on the line and give it some attention, but the reward is that we can all share in the dance”, explained Attias.

More on the music on Nerve Dance with Michaël Attias:
Dark Net is the most recorded piece of Attias’. Previously on Renku (2005), Renku in Greenwich Village (2016) and on Eric Revis' Parallax (2013) with Jason Moran, Ken Vandermark, and Nasheet Waits. “Hearing Eric's version prompted me to revisit the piece both on the last Renku album and on Nerve Dance. It's in 3/4, 24 bars. The melody and bass line are two snakes coiling and uncoiling around a 6-beat phrase inspired by Elvin Jones. Intervals and durations are twinned.”

Nerve & Limbo is a diptych – two radically different approaches to the same harmonic material, which are woven back into the structure of the album later as Le Pèse-Nerfs and Ombilique. “The ‘active’ Nerve section articulates a metric-intervallic structure of variable length and transposition, the ‘passive’ Limbo is a listening to the accumulation of its overtones, inspired by the piano sound of dear departed friend Masabumi Kikuchi.”

Scribble Job Yin Yang - “Another in the series of tunes I've written on the NY subway. They're all definitely New York City tunes. The title echoes the underlying rhythmic chant of 6 against 8. The scribble of the melody is a type of cadence inspired by Charlie Parker.”

Boca de Luna – This track features Attias, solo. “It’s me playing both saxophone (left hand) and piano (right hand) – laying out the harmonic canvas to Moonmouth . . . with erasures . . .”

Moonmouth – “The melody is Ariadne's thread through the maze of a fully notated piano part in 17/8. The harmony explores a sequence of superimposed triadic inversions. It establishes the strictest grid on the album.”

La Part Maudite – Written when Attias was 20. “I had forgotten about writing this until I found the chart in a box when moving Uptown in the summer of 2015. The melody is written across a 6 bar additive cycle (4/4, 2/4, 5/4, 3/4, 6/4, 4/4). The title is lifted from Georges Bataille's book of economics (translated as ‘the Accursed Share’) – in which he says: “The sexual act is to Time what the tiger is to Space.” That line could be the epigraph to the whole album.

Le Pèse-Nerfs – Title of Antonin Artaud's 1927 collection of poems, journal fragments and essays. It can be roughly translated as “the Nerve-Scale.” “Artaud's idea of the poet-artist-actor playing on his/her nervous system, breath, physiology as on an instrument to register and express thought, vision, extreme states of being, is a big influence for me . . . This revisits the material from the ‘Nerve’ section of Nerve and Limbo.

Rodger Lodge – “A beautiful tune by John Hébert, one of my favorite composers of today . . . shades of Mingus ballads, serpentine form and melody.”

Dream in a Mirror – “I was in a recording studio the day Ornette Coleman died. I have loved and revered Ornette since I was fourteen years old. All I could do when I heard the news was to play his ‘Clergyman's Dream’ over and over. This ‘Dream’ is its reflection in minor.”

Ombilique – Revisits the material from the “Limbo” section of Nerve & Limbo.

Nasheet “is a tribute in 3/4 to our great drummer by John Hébert. It explores a similar rhythmic terrain and serpentine counterpoint to ‘Dark Net’, which opens the album. I feel a deep kinship to John's playing and writing, and we all love Nasheet!

For a full-length bio, itinerary, photos and more, please visit:  

Press enquiries about Michaël Attias and Nerve Dance
Please Contact Jason Paul Harman Byrne at Red Cat Publicity:
Tel 646 259 2105, Email, Website

Tuesday, January 10, 2017



Available 1/27/17 on Whirlwind Recordings

***Save The Date***
Friday, February 17, 2017 @ The Jazz Gallery

"This warm, spacious and empathically played album unites her [Ingrid] with her saxophonist and composer sister Christine, along with bass, drums and imaginative guitarist Ben Monder, on an all-Jensen . . . the harmonies are subtly mysterious and the group playing a delight." 
John Fordham, The Guardian
 "The album oscillates satisfyingly from ECM-like atmospherics to far more visceral sections. It also achieves a rare distinction of being able to simultaneously combine tranquillity with rhythmic vibrancy, coalescing in a near hypnotic fusion of tone and colour. A rare delight." 
Roger FarbeyAll About Jazz

Infinitude official album trailer #1

Infinitude official album trailer #2

Infinitude official album trailer #3

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 brilliantly to various commissions to compose for jazz orchestras around the globe. 

For their Whirlwind Recordings debut, Infinitude, available on January 27, 2017, 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, and with an emphasis on the question, "how are we going to dive into this pool and swim together?" The resulting immersion, recorded at Studio Pierre Marchand in Montreal over 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" (Christine Jensen), 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 the grittier, rock-tinged "Swirlaround" (Christine Jensen), and a freewheeling, even punkish interpretation of Kenny Wheeler's "Old Time"

The soft, melodic beauty of "Hopes Trail" (Ingrid Jensen) 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" (Christine Jensen) features especially connected trumpet and alto adventures, all underpinned by Ben Monder's textures and the spirited rhythm team of Hollins and Wikan. Extended lines in the elegant "Dots and Braids" (Ingrid Jensen) - 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" (Ben Monder) hints at the sisters' expertise in an orchestral jazz setting. 

"Duo Space" (Ingrid Jensen) and "Trio: Garden Hour" (Christine Jensen) 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 empathetic 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." 

Press enquiries about Christine and Ingrid Jensen and Infinitude
Please Contact: Jason Paul Harman Byrne at Red Cat Publicity: 
Tel 646 259 2105, Email

Management for Christine and Ingrid Jensen: 
Heidi Fleming, Fleming Artist Management
Tel 514 827 4830, Email

Friday, December 9, 2016

GUITARIST/COMPOSER YOTAM SILBERSTEIN Announces The Release of His Fifth Recording As a Leader: THE VILLAGE


The Village EPK  

GUITARIST/COMPOSER YOTAM SILBERSTEIN Announces The Release of His Fifth Recording As a Leader: THE VILLAGE

Yotam Silberstein (guitar), Aaron Goldberg (piano), 
Reuben Rogers (bass) and Gregory Hutchinson (drums)

Available 1/27/17 on jazz&people 

(an indy label based in Paris and distributed worldwide by harmonia mundi/PIAS) 

"Since his arrival in New York in 2005, Israeli guitarist Yotam Silberstein has made an impact on the scene with his precision bebop lines and fleet-fingered improvisations." 
JazzTimes Magazine
"Unadorned hollow-body guitar work freely invites comparison to releases from the heyday of Blue Note Records. He isn't piggy backing on memories. He's forging his own path with skills and style." 
All About Jazz

Upcoming Tour Dates in Celebration of The Village:
December 29 - Bar Next Door, NYC - Duet with Peter Bernstein
January 16 - 12 on 14 - Warsaw, Poland
January 18 - Unterfahrt - Munich, Germany
January 20 - Jazz Club Lustenau - Lustenau, Austria
January 21 - Zigzag, Berlin, Germany
January 26 - Sunset/Sunside Jazz Club - Paris, France
February 8 - The Jazz Standard - NYC CD RELEASE CELEBRATION!
W/Glenn Zaleski, Matt Penman & Eric Harland
February 20-26 - Velenje Workshop, Slovenia
March 5 - Atlanta Jewish Music Festival, Georgia
March 18 - Copernic - Paris, France

Upon arriving in NYC in 2005 from his native Tel-Aviv on a full scholarship to The New School, word spread like wildfire that an exciting new player, guitarist Yotam Silberstein, had arrived on the scene. None other than the legendary James Moody took him under his wing (providing an instant endorsement of his prowess with jazz and all of its off-shoots/sub-genres), and he quickly bonded with musicians such as Antonio Hart and Roy Hargrove. His early success in NYC wasn't without precedent however, with Silberstein winning the coveted "Israeli Jazz Player of The Year" award at age 21, and quickly following that up with a critically-acclaimed debut album, a performance at the prestigious Umbria Jazz Festival, and an extensive tour of Europe and the Middle East. But having the nod from Moody raised his profile to the extent that within six years of settling in the Big Apple, Silberstein had been called upon to work with such luminaries as The Heath Brothers, Paquito D' Rivera, Monty Alexander, Hargrove, the Dizzy Gillespie Alumni All-Stars and others. Most recently, Silberstein has been in the studio with the great John Patitucci, laying down tracks for the bassist/composer's new trio recording, Irmãos de Fé.  
Now, Silberstein, along with guitarists such as Lage Lund, Peter Bernstein and his fellow countryman Gilad Hekselman, represents one of the inspiring and influential forces of jazz, and guitar, in NYC and around the world. Following up four recordings as a leader (The Arrival  - 2003, Next Page - 2009, Resonance - 2010 and Brasil - 2011), and dozens of recordings as a sideman, Silberstein is quite proud and happy to present his new recording, The Village, to the world. It is by far his finest work, in that Silberstein was able to bring together many influences that are meaningful to him, including music from the Middle East, Brazil, Spain, Portugal, Argentina, Uruguay and of course jazz and blues, all fully absorbed and forged into a unique and coherent voice. The Village will be released on the jazz&people label on January 27, 2017 (released in Europe on December 2).  

For the recording of The Village Silberstein surrounded himself with close friends,
Aaron Goldberg (piano), Reuben Rogers (bass) and Greg Hutchinson (drums), who collectively could only be described as a world-class, dream-team rhythm section, allowing the grandeur of the guitarist's mastery to shine through unadulterated. "I was so happy in the studio looking around and seeing my band members who are each virtuosos on their instruments, and dear friends; they understand and support my musical vision, and play my music as if they wrote it!," said Silberstein.

Yotam Silberstein and The Village offer additional, unequivocal proof that Israel is a promised land for jazz musicians, and testimony that the art form of jazz guitar, and the harmonic language of jazz, brought to life by Kenny Burrell, Wes Montgomery, Grant Green, Lennie Tristano and many others, is alive and evolving in the music of Yotam Silberstein.  


More about the music on The Village with Yotam Silberstein:

1. Parabens - "Congrats" in Portuguese. I wrote this little blues two years ago on my birthday, and because of that, and because the rhythm is "baião" from northern Brazil, I decided to name it "Parabens".

2. Milonga Gris.  The first time I heard this haunting piece, composed by one of my biggest influences, the great Carlos "Negro" Aguirre, I was completely blown away. I wanted to do something different with it, later I got to play it with my dear friend and incredible musician Andrès Beeuwsaert, who also contributed this arrangement.

3. Nocturno is a little lullaby, a night song. I first recorded this tune on my album Brasil with Roy Hargrove and Toninho Horta, but I felt the need to do something different with it, and I really like this quartet's version of it. 

4. The Village is dedicated to Greenwich Village, NYC, which is a very important place for me. Musically and spiritually, it is the vibrant center of jazz scene and this song reflects that, to me. It also refers to the fact that the world has become one global village, with easy access through the Internet and social media to different styles of music and musicians from all over the planet.  

5. Stav - "Autumn" in Hebrew. I originally wrote this for a film soundtrack (the film never came out), so I decided to keep it for this album. Originally I wrote the melody for cello, but Reuben Rogers plays it more beautifully than I could have imagined.

6. Fuzz is dedicated to my friend and great tenor player Asaf Yuria. The guys are swinging really hard on this one!

7. I wrote Albayzin after a very inspiring visit to the beautiful city of Granada, Spain. After the death of the great Paco de Lucia, I decided to dedicate this one to his memory.

8. Changes - meaning chords/harmony, and this song has a lot of them!

9. O Voo da mosca - "the flight of the fly" in Portuguese, was written by one of my favorite musicians and biggest influences, Jacob do Bandolim, from Brasil. This song was so difficult to translate from mandolin to guitar, that it took me about two years to work on it, but I'm very happy with the result.

10. October was written on a beautiful Fall day in October. I was sitting in Prospect Park in Brooklyn with my guitar and felt very inspired to write this.

11. Lennie Bird was composed by another one of my major influences, the great Lennie Tristano. It's based on the chord changes of the standard, "How High the Moon."

# # # #

Press enquiries about Yotam Silberstein and The Village Please Contact: 

Jason Paul Harman Byrne at Red Cat Publicity: 
Tel 646 259 2105, Email



Available February 10, 2017

  The Frank Carlberg Large Ensemble is: Kirk Knuffke, John Carlson, Dave Smith, Jonathan Powell - trumpets; Alan Ferber, Brian Drye, Chris Washburne, Max Seigal - trombones; John O'Gallagher, Jeremy Udden, Sam Sadigursky, Adam Kolker, Brian Landrus - saxophones; Christine Correa - voice; Frank Carlberg - piano, Johannes Weidenmueller - bass, Michael Sarin - drums; JC Sanford - conductor

***SAVE THE DATE!!!***
October 9, 2017 @ Dizzy's Club Coca-Cola!

Monk Dream, Hallucinations and Nightmares EPK
Monk Dream, Hallucinations and Nightmares EPK

"The pianist's writing and versatility come across like line drawings which break a solid page of text in a publication. Thematic links to Thelonious Monk's crooked time sense (especially on Now and Forever) and Herbie Nichols' joyous abandon (more pointedly on Get it?), allow Carlberg to create a space where bop, cool and free impulses intersect."
- Ken Waxman, The Whole Note (on Carlberg's Cosmopolitan Greetings)
"Frank Carlberg is pushing boundaries and we will be watching closely"
- Steve Williams, UKVibe

MONK DREAMS, HALLUCINATIONS AND NIGHTMARES, the new large ensemble recording from Frank Carlberg (on Red Piano Records, February 10, 2017), draws its inspiration from the work of Thelonious Monk. The album taps into the atmosphere and orbit of Monk; infected by, informed by, in awe of Monk, and presented as an act of love and respect. The pieces generate their shapes from splinters, cells and feelings found in and around Monk's music, as well as from his verbal utterances in the form of advice and/or cryptic observations. MONK DREAMS, HALLUCINATIONS AND NIGHTMARES is not intended as a tribute album, but rather as, "a celebration of the beauty and vitality of his music that has impacted me profoundly," explained Frank Carlberg. "I thought it fitting to present this recording during the Monk Centennial year, 2017."

Why Monk? Carlberg explains: "For me, a Monk-inspired project is quite personal. Monk's music has been central to my musical life from very early on. The clarity of his thought, the uncompromising nature of his art, the emotional impact Monk's music has made on me; this recording is a culmination of all these elements, and being able to record this music with these remarkable musicians is really a dream come true for me!"

The opener, DRY BEAN STEW, borrows shapes and snippets from Monk's, "I Mean You". It begins with mysteriously pulsating sounds and noises that gradually develop into a restless rhythm, alternating between longer and shorter beats. This tempo with an irregular gait meets up with a descending motif that echoes "I Mean You." After several shifts the pulse slows to half-time and features resonant wind voicings. Suddenly the metrically unsettled tempo returns with cascading figures in counterpoint hurtling towards a blistering solo by John O'Gallagher on alto. The end of O'Gallagher's solo leads back to the half-time feel and a piano excursion by Carlberg. The band's swinging statement then concludes with a transition to a tutti rhythmic romp serving as a back drop to trumpeter John Carlson's soaring, emotive lines. A long ascending line is followed by the cascading horn lines, with increased counterpoint, before the band delivers one more short statement in half-time. A humorous wink to the classic Monk intro ends the piece on a light note.


RHYMES features a lyrical a cappella bass solo by Weidenmüller as an introduction. Once the band enters, Clark Coolidge's evocative poem, "Rhymes with Monk" (read here by poet Paul Lichter), permeates the whole piece. The band commentary features brief solo spots by Jeremy Udden on alto saxophone, and David Smith on trumpet, as well as many allusions to Monk-like shapes by the horn sections.

SPHERE is an energetic romp centered around the pitch of Bb. Washburne's trombone sets the tone before the horns gradually enter in playful rhythmic counterpoint with occasional interruptions. A hint of "Straight No Chaser" enters the fray but disappears just as quickly. After a metric modulation and some tonal shifts Udden's alto takes over with a lyrical disposition. The horns re-enter and build to a climax of organized chaos. After a brief tempo change Washburne and the simmering rhythm section bring the tune to a playful ending.

After some bird-like textures on A DARKER SHADE OF LIGHT BLUE the melancholic melody enters gradually bringing the whole band together in a short tutti statement. Brian Landrus takes over with a yearning bass clarinet solo supported by bass and drums. Clustered voicings provide a backdrop to the solo. A tempo is established with Sarin setting the stage for a bass line with bass trombone and bass clarinet. Carlson solos with gusto on trumpet and a lively sectional counterpoint leads to a rambunctious finale that quickly dissipates into silence.

BEAST, with its distant echoes of Monk's "Ugly Beauty" evokes a somber merry-go-round atmosphere. Alan Ferber's trombone is featured to great effect, building the intensity before the re-entry of the thematic material.

YOU DIG! is a lively verbal Monk quote, sung by Christine Correa. The music rushes forward with reckless abandon, and after breathless woodwinds and relentless brass, O'Gallagher matches the intensity in his brilliant alto solo. After the band returns, drummer Michael Sarin has the spotlight and dispatches a delightfully inventive solo turn before a last humorous slow reiteration of the text.

NO FEAR, MY DEAR opens with stately low winds and bass providing the environment for Sarin's percussive ruminations. After a gradual orchestral build Adam Kolker's tenor plays a beautifully crafted call and response solo with the band. Eventually the ensemble takes over and borrows some phrases of "Ruby, My Dear" in rich orchestration. An open wind pyramid of perfect fifths brings the piece to a close.

The motivic and harmonic materials of INTERNATIONAL MAN OF MYSTERY are mostly derived from the interval of a sixth (the interval also structurally significant in Monk's "Misterioso"). Udden provides solo commentary to the orchestral setting before giving way to a Frank Carlberg piano solo. The cornet of Kirk Knuffke then builds to the orchestral high point of the piece. A few more sixths in mixed winds end the piece in a ritardando.

Another Monk quote provides the text for the setting in ALWAYS NIGHT. Trumpeter Carlson blows over a churning rhythm section background before Correa enters with the short declamatory yet mysterious vocal line. After some instrumental interruptions the line re-appears twice more. The piece ends with a collective improvisation where Correa and Carlson lead the way.

Thelonious Monk's classic ROUND ABOUT MIDNIGHT gets an extended, creative treatment here. Carlberg says: "I wanted to include this piece here in all its glory. Being probably Monk's most famous composition (and most frequently recorded...) I wanted to honor the exquisite design of the piece while adding a personal take on it. I also wanted to incorporate a hint of the traditional intro as well as coda with a certain compositional transformation of the original." Knuffke is the featured soloist throughout and turns in an exquisite performance on cornet. The band is richly orchestrated and brilliantly performs the dynamics from a hush to a roar.

is not your grandfather's Big Band music. Specifically, it offers new perspectives on Monk's music, and on compositions for large jazz ensemble in general. It celebrates Thelonious Monk on his centennial while forging new paths in modern jazz by balancing the improvisational impulses with exciting orchestral and structural designs.
Press Enquiries on Red Piano Records:  
Please Contact Jason Paul Harman Byrne at Red Cat Publicity
NEW Tel # 646 259 2105,