więcej o wykonawcach

• Adam Pierończyk Solo
  

  • Adam Pierończyk - saksofon

  RECITAL SOLOWY NA SAKSOFON SOPRANOWY

  “Mistrzostwo Pierończyka na saksofonie sopranowym jest po prostu niewiarygodne, wyróżnia się aksamitnym brzmieniem w środkowym rejestrze i niesamowicie wysokimi dźwiękami (altissimo)…”
  Frankfurter Allgemeine Zeitung / Niemcy

  “Adam Pierończyk, prawdopodobnie najlepszy saksofonista w Polsce, powala!”
  Stereophile / USA

  “Brzmienie jego saksofonu jest bogate, fantastyczne i zjawiskowe”
  JAZZTOKYO / Japonia

  “Najlepszy, najbardziej kreatywny i innowacyjny kompozytor i saksofonista w polskim jazzie”
  MVS Noticias / Meksyk

  “Światowego formatu mistrz fantazji i wyjątkowej wirtuozerii”
  Frankfurter Allgemeine Zeitung / Niemcy

  “Pierończyk dosłownie śpiewa.
  Lekko i naturalnie, jak ptaki o wiosennym poranku: o pięknie dnia, uroku życia.”
  Stef Gijssels / Belgia 

   

  Recital solowy na saksofon sopranowy jest rzadkością na skalę światową.

  To istniejący już 10 lat bardzo ważny, osobisty i wirtuozerski projekt Adama Pierończyka. Piękne brzmienie i melodie oraz rzadko spotykane wyprawy, eksplorujące na ogół niedostępne rejestry tego wymagającego instrumentu. Autorska muzyka improwizowana.

  Adam Pierończyk do tej pory wydał prawie 30 płyt pod własnym nazwiskiem, w tym aż trzy albumy solowe na saksofonie sopranowym: “The Planet Of Eternal Life” zarejestrowana w XlV-wiecznych gotyckich ruinach w niemieckim Peitz (wytwórnia Jazzwerkstatt Berlin, 2013), “Oaxaca Constellation”, nagrana w Meksyku, w dawnym klasztorze San Pablo w Oaxace (2021), na której znajduje się 35 miniatur oraz “On The Way” (premiera: sierpień 2023).

  W tym roku po raz 18. został wybrany Saksofonistą Sopranowym Roku wg magazynu Jazz Forum.

  W wersji Solo Pierończyk pojawił się dotąd w nietypowych i prestiżowych miejscach wielu światowych metropolii takich jak m.in.: Tokio, Paryż, Londyn, Berlin, Nowy Jork, Nowy Orlean, Sao Paulo, Brasilia, Meksyk, Teheran, Casablanca, Oaxaca, Rabat, Frankfurt, Hamburg, Praga, Budapeszt, Wiedeń, Zurych oraz niemalże w całej Polsce.

• Joshua Redman Group feat. Gabrielle Cavassa
  

  • Joshua Redman - Saxophone
  • Gabrielle Cavassa - Vocals
  • Paul Cornish - Piano
  • Philip Norris - Bass
  • Nazir Ebo - Drums

  As the world reopened in 2022, Joshua Redman criss-crossed the globe to celebrate the anniversary of the very first band he assembled some thirty years ago. That band, Brad Meldhau, Christian McBride and Brian Blade, reunited in the recording studio to create the Grammy-nominated CDs (RoundAgain and LongGone) and joined him on tour, selling out concert halls everywhere they performed.

  Joshua now turns his attention to his next project, WHERE ARE WE, which will be released in September of 2023. WHERE ARE WE marks the first time that Joshua has included a vocalist (Gabrielle Cavassa) on a record, and features Aaron Parks on piano, Joe Sanders on bass, and Brian Blade on drums; with special guests Nicholas Payton (trumpet), Kurt Rosenwinkel (guitar), Peter Bernstein (guitar), and Joel Ross (vibes).

  Joshua notes that “the surface concept of WHERE ARE WE is rather simple: each of the songs on the album is about, or at least makes reference to, a specific geographical location (city or state or region) in the United States: Bruce Springsteen’s “Streets of Philadelphia,” Count Basie’s “Going To Chicago,” Rodgers & Hart’s “Manhattan” and John Coltrane’s Alabama,” etc etc… So, on one level, this is an album “about” America — at once a celebration and a critique. But it is also, to varying degrees, a ballads album, a standards album, an album of romantic longing, an album of social reflection, an album of melodic invention, an album of improvisational adventure, an album of mashups (stylistic and titular), perhaps even a tribute album of sorts.”

  Conceived and planned during pandemic lockdown, states Joshua, “it was a dream come true to finally have a chance to connect Aaron, Joe, and Brian — 3 of the most sub- limely lyrical and deeply grooving musicians on the planet, who, somehow, had never before played together as a rhythm section.And it was a transformative experience to collaborate with Gabrielle — a vocalist of uncommon style, sincerity, and soul.This was my first time ever recording with a singer on one of my own projects; and I relished the challenge of discovering and inhabiting new musical roles for myself — not only as a featured soloist and “lead,” but also as supportive accompanist and interlocutor.The magic of this particular gathering of musicians was that we were able to come together from points afar, to converge (physically and creatively) in a particular place at a particular time; and to embrace, with fullest imagination and without slightest reservation, the ethic of “serving the songs.” In this sense, WHERE ARE WE is perhaps above all a meditation on the power and importance of place — the unique human beauty created when we locate ourselves in shared physical spaces together with others; the loss, anomie, and angst suffered when we divide ourselves unnaturally and unjustly apart.”

• Kenny Garrett
  

  • Kenny Garrett - Alto Sax
  • Rudy Bird - Percussion
  • Corcoran Holt - Acoustic Bass
  • Keith Brown - Acoustic Piano
  • Ronald Bruner - Drums
  • Melvis Santa - Vocals/Keyboards

  Kenny Garrett’s latest release, Sounds from the Ancestors, is a multi-faceted album. The music, however, doesn’t lodge inside the tight confines of the jazz idiom, which is not surprising considering the alto saxophonist and composer acknowledges the likes of Aretha Franklin and Marvin Gaye as significant touchstones. Similar to how Miles Davis’ seminal LP, On the Corner, subverted its main guiding lights – James Brown, Jimi Hendrix and Sly Stone – then crafted its own unique, polyrhythmic, groove-laden, improv-heavy universe, Sounds from the Ancestors occupies its own space with intellectual clarity, sonic ingenuity and emotional heft.

  “The concept initially was about trying to get some of the musical sounds that I remembered as a kid growing up – sounds that lift your spirit from people like John Coltrane, ‘A Love Supreme’; Aretha Franklin, ‘Amazing Grace’; Marvin Gaye, ‘What’s Going On’; and the spiritual side of the church,” Garrett explains. “When I started to think about them, I realized it was the spirit from my ancestors.”

  Indeed, Sounds from the Ancestors reflects the rich jazz, R&B, and gospel history of his hometown of Detroit. More important though, it also reverberates with a modern cosmopolitan vibrancy – notably the inclusion of music coming out of France, Cuba, Nigeria and Guadeloupe.

  The core ensemble for Sounds from the Ancestors consists of musicians that Garrett has recorded and toured with in recent past – pianist Vernell Brown, Jr., bassist Corcoran Holt, drummer Ronald Bruner and percussionist Rudy Bird. The album also features guest appearances from drummer Lenny White, pianist and organist Johnny Mercier, trumpeter Maurice Brown, conguero Pedrito Martinez, batá percussionist Dreiser Durruthy and singers Dwight Trible, Jean Baylor, Linny Smith, Chris Ashley Anthony and Sheherazade Holman. And on a couple of cuts, Garrett extends his instrumental palette by playing piano and singing.

  “It’s Time to Come Home,” a sauntering yet evocative Afro-Cuban modern jazz original, kicks off the album. Garrett’s melodic passages, marked by capricious turns and pecking accents, signals a “call to action” for kids around the world to come home after playing outside all day.  While Garrett originally composed the song in 2019, this incarnation reflects his experiences playing with iconic Cuban pianist and composer Chucho Valdés.

  Garrett then pays tribute to the late, great trumpeter and composer Roy Hargrove with the dynamic “Hargrove,” a bracing original that evokes the namesake’s mastery of reconciling hard-bop’s intricate harmonic and interactive verve with late-20^th century hypnotic R&B grooves and hip-hop bounce. The song also slyly references John Coltrane’s A Love Supreme, which accentuates both the earthy and spiritual nature of Hargrove’s music and Garrett’s saxophone virtuosity. “What I respected about [Hargrove] is that he was borrowing from all the different genres, different experiences and bringing it to the table,” Garrett says. “And that’s what I did on this track.”

  Traces of the Black American church also surge through “When the Days Were Different,” a warm mid-tempo original with a melody that faintly recalls Sounds of Blackness’ 1991 gospel classic, “Optimistic.” “The idea was to take it back to the church,” Garrett explains. “[The song] reminds me of being at a gathering with family and friends having a good time eating, drinking and spending quality time together.”

  On the rhythmically intrepid “For Art’s Sake,” Garrett pays homage to two legendary drummers – Art Blakey and Tony Allen. Bruner concocts a stuttering rhythm that alludes to both modern jazz and Nigerian Afrobeat, while Bird adds polyrhythmic fire with his circular conga patterns. On top, Garrett issues one of his patented searing melodies that twists and swirls as the propulsion slowly gains momentum.

  Drums and percussion are again highlighted vividly on the swift “What Was That?” and “Soldiers of the Fields/Soldats des Champs.” The former finds Garrett in quintessential form as he navigates through a thicket of torrential polyrhythms and a jolting harmonic bed with the steely determination and dexterity associated with Coltrane and Jackie McLean. The latter is a magnificent two-part masterpiece that integrates martial beats, Guadeloupean rhythms and a haunting cyclical motif on which Garrett crafts pirouetting improvisations that dazzle with their initial lithe grace and increasing urgent wails. Garrett explains that “Soldiers of the Fields/Soldats des Champs” is a tribute to the legion of jazz musicians who fought to keep the music alive. “They’re the first ones to get hit and shot at in the line of fire on the fields of justice. ‘Soldats des Champs’ is also a tribute to the Haitian soldiers who fought against the French during the Haitian Revolution.”

  The leader’s love for Afro-Cuban jazz returns on the dramatic title track, which begins with Garrett playing a slow melancholy melody on the piano before the music gives way to a soul-stirring excursion, filled with passionate vocal cries from Trible and moving Yoruban lyrics from Pedrito, paying respect to Orunmila, the deity of wisdom. “[The song] is about remembering the spirit of the sounds of our ancestors – the sounds from their church services, the prayers they recited, the songs they sang in the fields, the African drums that they played and the Yoruban chants,” Garrett says. The album closes as it opened with “It’s Time to Come Home,” this time Garrett uses his saxophone as a rhythmic instrument to have a conversation with the percussionist without the vocal accompaniment.

  With his illustrious career that includes hallmark stints with Miles Davis, Art Blakey and The Jazz Messengers, Donald Byrd, Freddie Hubbard, Woody Shaw and the Duke Ellington Orchestra, as well as a heralded career as a solo artist that began more than 30 years ago, Garrett is easily recognized as one of modern jazz’s brightest and most influential living masters. And with the marvelous Sounds from the Ancestors, the GRAMMY® Award-winning Garrett shows no signs of resting on his laurels.