Tag Archives: Katherine Growdon

World Poetry Celebrates the Great Scott Reeves!

 

 

To buy the CD , go to https://www.creativejazz.com/ 

Ariadne’s Notes: The World Poetry Café Radio Show  on  June 28,  1-2 pm PST on CFRO 100.5 FM with the team of Ariadne Sawyer, Producer and host, Victor Swartzman , super tech and Sharon Rowe special volunteer  welcomed  the e-Poem section by Ahmad Al-Khatat. He was born in Baghdad on May 8th. From Iraq, he came to Canada at the age of 10, the same age when he wrote his very first poem and also Md Khalilur Rahman, a published poet from  Dhaka, Bangladesh  with a love poem.

https://www.facebook.com/100010381603885/posts/601260053563376/

We also welcomed the  wonderful and talented creators from three disciplines, animated poetry, Nick Curl, Jazz musician and educator, Scott Reeves with his new CD Jazz Orchestra’s Without a Trace . Media courtesy of Braitwaite and Katz .The amazing actress Niketa Calame with her words of wisdom and answer to a young actor from Nigeria . 

I am featuring each featured  guest separately  on this site to give them more exposure. This feature is for the wonderful musician and educator Scott Reeves.

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The Scott Reeves Jazz Orchestra celebrates its first decade on Without a Trace from Origin Records. 

This17-piece big band’s second release features a stellar line-up of New York City jazz greats on bandleader/composer/trombonist Reeves’ vibrant originals and reimagined jazz classics.

The Scott Reeves Jazz Orchestra celebrates its first decade

on Without a Trace, due out March 16, 2018 from Origin Records

The 17-piece big band’s second release features a stellar line-up of New York City jazz greats on bandleader/composer/trombonist Reeves’ vibrant originals and reimagined jazz classics

“[Reeves’] compositions are sophisticated yet accessible, his arrangements scrupulously burnished and invariably engaging.”

– Jack Bowers, All About Jazz

 “This group of fabulous musicians are continuing and developing the great tradition of big band music.” – Adrian Fry, London Jazz News

Duke Ellington famously insisted that he never wrote music for instruments, but tailored each piece for the particular individuals in his band. After nearly ten years together with a remarkably stable line-up featuring some of the most gifted musicians on the New York City jazz scene, the Scott Reeves Jazz Orchestra offers bandleader, composer and trombonist Scott Reeves a similar opportunity. The big band’s thrilling second album, Without a Trace, showcases the results with a decade-spanning repertoire drawing from both original compositions and bold new arrangements of jazz standards.

Scott’s two books, Creative Jazz Improvisation and Creative Beginnings (both published by Prentice-Hall), are among the most widely used texts in their field.

They have been used in the USA at schools such as the University of Southern California, University of Texas, Cincinnati Conservatory, Rutgers, William Paterson University, City College of New York, Georgia State University, Philadelphia University of the Arts, Temple University, Miami/Dade College and High School for the Performing Arts, University of Minnesota, and Berklee. 

In Europe, they have been adopted by academies such as Brunel University in London, The Royal Conservatory in Brussels, and the Università della Musica in Rome.

Scott has also written eleven articles and papers on jazz; his article on jazz arranger Gil Evans was the feature story for a 1995 issue of Jazz Educators Journal. His compositions and arrangements for jazz ensemble are available from Reebone Music, Aebersold Jazz, and UNC press.

“I’ve had people describe my band as sounding like ‘swinging dissonance’,” Reeves says with a laugh. “A lot of my music is overtly swinging in the tradition of big band jazz, but in the majority of my work I’m trying to get away from the typical harmonic palette.”

It helps when bridging such a stylistic gulf to be supported by some of the most talented and sought-after musicians in modern jazz, and Reeves can count many of them as regular band members for the whole of the 17-piece Orchestra’s existence. The line-up on Without a Trace includes saxophonists Steve Wilson, Tim Armacost, Vito Chiavuzzo, Rob Middleton, Jay Brandford and Terry Goss; trumpeters Seneca Black, Nathan Eklund, Chris Rogers, Bill Mobley and Andy Gravish; trombonists Tim Sessions, Matt McDonald, Matt Haviland and Max Siegel; pianist Jim Ridl, vibraphonist Dave Ellson, bassist Todd Coolman, and drummer Andy Watson. Stunning vocalist Carolyn Leonhart, on a break from her busy touring schedule with Steely Dan, guests on the lovely title tune.

Having been able to get know his musicians’ sounds so intimately over the years, Reeves has become adept at styling his arrangements to spotlight their particular talents. Not that there’s much that a virtuoso like Steve Wilson – an in-demand guest soloist for most bands, but regular lead alto with Reeves’ Orchestra – couldn’t handle. Wilson’s fiery yet controlled voice drove Reeves’ take on Kurt Weill’s classic “Speak Low,” which begins with a nod to Bill Evans’ classic rendition from his New Jazz Conceptions album before surging along on an Afro-Cuban beat. Trumpeter Chris Rogers and drummer Andy Watson follow with their own blistering solos.

Leonhart’s elegant turn on Reeves’ own “Without a Trace” follows. Where the orchestra’s debut, Portraits and Places, featured wordless vocals as a coloristic element, here Reeves pens lyrics to craft a love song that matches the emotion and drama of some of the Songbook standards in his repertoire. Leonhart’s subtle grace belies the tune’s angular melody, which combine to conjure a uniquely dark-tinged atmosphere for the song. The familiar “All or Nothing at All” is completely reimagined in Reeves’ handling, with an Ahmad Jamal-inspired groove and a taste of John Coltrane’s immortal “Giant Steps,” giving the timeless tune a feeling unmoored from any particular era.

“I always try to transform a song in some way when I do an arrangement,” Reeves explains. “I learned that particularly from studying Gil Evans’ music. He would take a tune and it would somehow end up in a completely different universe from where it originally started.”

Reeves’ entrancing original “Incandescence” was inspired by a trip to the south of France, where the composer – an amateur astronomer when away from the bandstand – marveled at the star-filled skies over a medieval walled village. The very next day he was at the piano in his rented house, capturing the majesty and mystery of that experience in music. “Shapeshifter” is similarly evocative, built on a tonal twelve-tone row that adds a touch of sci-fi strangeness (with an explicit wink towards Star Trek).

“JuJu” has been a favorite of forward-looking jazz musicians since Wayne Shorter first recorded it more than 50 years ago; of course, being one of the most forward-looking of them all, Shorter has never been interested in doing things the same way. John Patitucci, the longtime bassist in Shorter’s revered modern quartet, gave Reeves the lead sheet for the sax icon’s current approach to the song, which Reeves combines with a sax-section arrangement of Shorter’s original solo, making this version something of a portrait of Shorter’s incredible evolution. Another portrait of sorts, the lively “Something for Thad” closes the album with a brisk homage to another of Reeves’ bandleading heroes, the great Thad Jones.

Though the prospect of leading a big band in the current music-industry environment is a daunting one, Reeves has learned all the right lessons from his mentors: assemble brilliant musicians; pen original, heartfelt music and inventive arrangements; innovate without losing touch with the tradition. With all of those elements radiantly in place, the Scott Reeves Jazz Orchestra takes its place among jazz’s most compelling ensembles on Without a Trace.

*Source: Katherine Growdon, Braithwaite and Katz with thanks.

 

World Poetry Celebrates the Wonderful Erin McDougald!

 

 

 

 

 

 

 

Posters from our upcoming event from the VPL and Vani Pradeep.

Ariadne’s Notes: The World Poetry Cafe Radio Show, May 3 on CFRO, 100.5 FM 1-2 pm PST was honored to feature Selwyn Jacob from the National Film Board speaking about his retrospective film The Road Taken and publicist Katja De Bock who brought some tips for upcoming actors in the studio. 

Also  calling in at 1:30 PM PST, was the wonderful jazz musician from Chicago Erin McDougald   celebrating her new CD “Outside the Soiree”  and giving her thoughts about being an outsider and the MeToo movement. She kindly agreed to answer a question from a young aspiring musician from Arkansas who asked her about the role of women in music and how the Me Too movement has affected women in the music industry. 

All the guests who have been asked questions from youth around the world have been so helpful in answering . As one youth from Senegal stated: ” They give us hope and tell us to believe in ourselves.” The World Poetry family is honoured to show support for the wonderful youth of this world-the shinning lights of the future. we would like to also thank Braithwaite and Katz for sending us such wonderful artists. braithwaitekatz 

The World Poetry Team does a great job keeping us on the air and interviewing fascinating guests. 

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Vocalist Erin McDougald‘s fourth studio recording, Outside the Soiree, is a heartfelt ode to all the outsiders – those independent-minded souls who find themselves, by choice or by fate, living outside the halls of power: neglected by history, oppressed by the majority, lonely in love, bucking the trends, swimming upstream.  Erin McDougald

Due out March 16, 2018 (Erin’s birthday!) from Miles High Records, Outside the Soiree offers a thematic narrative explored through “McDougald’s evocative artistry” (Chicago Music Guide), a voice that Jazz Improv Magazine has called a “rare instrument to be savored… sweet and spicy, positively mercurial.” The subject matter is poignantly and uniquely expressed from unexpected musical angles as Erin seamlessly amalgamates, modernizes and reinterprets obscure standards, her own original composition and genres “outside” the jazz idiom within a progressive jazz mentality.   

She’s joined by a stellar band featuring guitarist and pianist Rob Block, bassist Cliff Schmitt, drummer Rodney Green, percussionists Mark Sherman and Chembo Corniel, and saxophonist Dan Block. The band is given the imprimatur of a couple of born outsiders who’ve become insiders (and legends) through decades of singular artistry: saxophonist David Liebman and trumpeter Tom Harrell.  

Erin

McDougald is well acquainted with the outsider’s existence; she tends to be one herself. Known by her fans as “the Flapper Girl,” the Chicago-based improvisational jazz singer is a progressive thinker with a throwback aesthetic. She embodies the sensuality and fierce emancipatory attitude of an audacious fashionista and political egalitarian in her personality and artistry. With a moniker evoking a ’20s-era flapper she’s not interested in glamorous nostalgia, but instead spotlights the formidable female icons that stemmed from an era of resistance that forever changed American culture and its musical heritage.  

As McDougald regularly points out to audiences, flappers were suffragists, with libidos, rhythm, style and social cachet. As “the flapper girl of modern vocal jazz”, Erin’s artistry has become synonymous with marrying vintage foundations and contemporary concepts in her rhythmic, daring interpretations of era- spanning jazz, from American Swing through the Post-Bop catalogue. Her ability to borrow music from other genres and infuse a jazz treatment has garnered her fans of all ages, and collaborators with global renown.  

Miss McDougald has appeared and or recorded with members of the elite jazz scene that include Nicholas Payton, Paul Wertico, Ira Sullivan, Carlos Henriquez, Ben Wolfe, Von Freeman, Howard Levy, Roy Hargrove and many others. Downbeat critic and Jazz Journalist Association President Howard Mandel declares, “McDougald is one of the finest and freest voices in jazz OR pop today.” The late Verve Records producer/conductor/arranger Buddy Bregman emphatically stated of Erin in 2006, “There’s an essence to her singing that is all her own… not a mimicked, watered-down version of someone else, but… a very deep, soulful connection to the songs she chooses. Her pitch and phrasing are superb, but there is something about her interior-very sweet… she has ‘It’. My favorite singer to come along since Anita O’Day in her prime.”  

With performances in sold-out venues from Chicago to Paris, McDougald has headlined The Chicago Jazz Festival’s Heritage Stage, and premier jazz venues such as The Jazz Showcase, The Allerton, Green Dolphin Street, The Green Mill, 54 Below, Smalls, Anthology, Savanna Jazz, The Mint, Dizzy’s of San Diego, The Velvet Note, BluJazz, The Acorn Theater, Notes Jazz Club, and Le Bilboquet in Paris, among many others.  

Outside the Soiree is a sublime symposium of venerable soloists and emerging talents that expose a raw synergy and emotive message. Erin’s keen idea to turn Charles Deforest’s obscure, melancholy 1950’s ballad “Don’t Wait Up for Me” into a liberating, rhythmic 5/4 proclamation also crystalizes the style and strengths of featured soloists David Liebman on soprano saxophone and Tom Harrell on trumpet (with impeccable embellishment by drummer Rodney Green). Likewise, the sophisticated and changing time signatures on Erin’s “Midnight Sun” shed light upon vibraphonist Mark Sherman’s musical eloquence where again Liebman shines in a flurry of pithy soprano sound.

Brothers Rob and Dan Block create an ethereal, sorrowful beauty on the group’s Chorinho-styled adaptation of the Broadway musical song “Unusual Way;” Tomoko Block (Rob’s wife) teamed up with Rob to arrange this gem, showcasing Rob’s quietly weeping guitar solo and Dan’s haunting clarinet playing. Percussionist Wilson “Chembo” Corniel is strongly showcased along with bassist Cliff Schmitt on Erin’s original composition and title track “Outside the Soiree” in a connected, reflexive and moving journey through Erin’s poetic lyricism and mournful melody. Hard-swinging is Erin with her band on songs like “Spring Can Really Hang You Up the Most” and “Don’t Be on the Outside;” exceptional elements of avant-garde singing and playing are showcased on the CD’s final cut, “The Parting Glass,” a deftly reimagined traditional Irish funeral hymn in a minor key, performed with thundering gravity. The addictively nuanced Cha-Cha rendition of “Brother, Can You Spare a Dime?” gloriously highlights the band with undulating musicality and fervor.  

McDougald celebrated with a concert on her birthday – the album’s release date – Friday, March 16, 2018 at The Acorn Theater in Three Oaks Michigan

Recorded & Mixed by Dae Bennett. Liner Notes by Howard Mandel (Jazz Journalists Association, DownBeat). Album concept, design & overall production: Erin McDougald. Co-executive producers: Larry Young & Mark Sherman. Photography: Gulnara Khamatova. Artwork: Miriam Dauber. Graphics: Lisa Ghisolf. Publicist: Ann Braithwaite – ann@bkmusicpr.com Radio Promoter: Mark Elf – jenbayjazz@gmail.com

Source: Braitwaite and Katz

World Poetry Celebrates the Talented Kelley Montgomery!

Ariadne’s Notes: The World Poetry Café Radio Show welcomed local Vancouver, BC, Canada poet Kelley Montgomery, poet and musician. Kelley’s work is heard on the show every week , presented by sound engineer Victor Swartzman.  Kelley has developed quite a following with listeners and it was a great pleasure to have  him on the show reading his poems and singing his unique songs. 

Also, featured on the show was music of the Jazz Singer Allegra Levy with her new CD Between Cities and Poetic News and Creativity Rocks. Source: Braitwaite and Katz, Katherine Growdon.

LISTEN HERE FOR RADIO SHOW!

Kelley Montgomery writes:

“My name is Kelley Montgomery and I have been in this world, more or less, for 46 years.

If my feet were held to the fire and I was forced to call myself something I would probably call myself an artist.

These day I feel mostly fresh off the battlefield. The war was quite brutal, many times I felt deep within the darkest of pit and other times little better than a ghost, but there was some sunshine along the way. 

I am too Godly to ever feel alone and have too vibrant of an inner life to ever feel bored.

My equilibrium is a wonderful place to reside and my love of God, myself and others is something that I reap solace from and never take for granted.”

A Poem song:


When I am pressed to write

A poem about me

I force my eyes inward

To pull out what I see

 

It’s not a simple answer

To drink from the heart

So many times at ropes end

So many times at the start

 

I guess I feel lucky

To even try to express

And I think of my calling

Is it not love to impress?

By Kelley Montgomery  (C) All rights reserved.