{"title":"Season Five","description":"\u003cspan data-mce-fragment=\"1\"\u003eNever-before-heard music, recorded and mixed at East Side Sound in New York by Marc Urselli and mastered by Alex DeTurk.\u003c\/span\u003e","products":[{"product_id":"season-five","title":"Newvelle Season Five: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\"Clear vinyl. Artful designs. A shiny, luxe collector’s box. No question, albums from the Newvelle imprint are beautiful to the eye.\" –\u003cem\u003eDownBeat\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIf Newvelle Records is any indication, jazz's future looks bright.\" –Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe Season Five box set includes six, 180-gram vinyl records featuring never-before-heard music, along with a premium Newvelle collector’s box to hold the complete series, featuring\u003cspan data-mce-fragment=\"1\"\u003e the poetry of \u003cstrong\u003eLee Upton \u003c\/strong\u003eand photography of \u003cstrong\u003eTim Barber\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRufus Reid and Sullivan Fortner\u003c\/b\u003e: Jazz great Rufus Reid returns to Newvelle to record a third time. This time bringing with him rising superstar Sullivan Fortner. This is an intimate and profound glimpse of these two masters at work.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePablo Ablanedo Octet\u003c\/b\u003e: Featuring an absolutely stellar line up of musicians, this record is a re-union of a group that Pablo led in 2001. Featuring \u003cb\u003eAnat Cohen\u003c\/b\u003e, \u003cb\u003eJenny Scheinman\u003c\/b\u003e, \u003cb\u003eChris Cheek\u003c\/b\u003e, \u003cb\u003eJerome Sabbagh\u003c\/b\u003e, \u003cb\u003eDiego Urcola\u003c\/b\u003e, \u003cb\u003eBen Monder\u003c\/b\u003e, \u003cb\u003eFernando Huergo\u003c\/b\u003e, \u003cb\u003eFranco Pinna\u003c\/b\u003e and \u003cb\u003eDaniel Ian Smith\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDave Douglas and Elan Mehler\u003c\/b\u003e: Dave Douglas is arguably the most prolific and celebrated jazz musician working today. On this record Dave and Newvelle's own Elan Mehler split compositional duties on works based on poetry and haikus. Featuring the stellar singer \u003cb\u003eDominique Eade\u003c\/b\u003e, with \u003cb\u003eJohn Gunther\u003c\/b\u003e, \u003cb\u003eSimón Willson\u003c\/b\u003e, and \u003cb\u003eDayeon Seok\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCarmen Staaf\u003c\/b\u003e: Current critical darling Carmen Staaf brings her elite trio featuring \u003cb\u003eMichael Formanek\u003c\/b\u003e and \u003cb\u003eJeff Williams\u003c\/b\u003e in for a breathtaking record of originals and standards.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePatrick Zimmerli\u003c\/b\u003e: Genius composer and multi-reedist Patrick Zimmerli brought a unique band to record a selection of new compositions. Featuring Newvelle favorite \u003cb\u003eKevin Hays\u003c\/b\u003e on piano and \u003cb\u003eSatoshi Takeishi\u003c\/b\u003e on drums.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOWL Trio with Kurt Elling\u003c\/b\u003e: The OWL Trio features the unique voices of \u003cb\u003eWill Vinson\u003c\/b\u003e on saxophones, \u003cb\u003eLage Lund\u003c\/b\u003e on guitar, and \u003cb\u003eOrlando Le Fleming\u003c\/b\u003e on bass. Featuring the massively acclaimed and lauded vocalist \u003cb\u003eKurt Elling\u003c\/b\u003e, singing original works by the band.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNewvelle has cultivated a passionate community of members who commit to an entire season of new music from both veteran artists and rising stars.\" –The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003ch2\u003eCollection Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV025-NV030\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e6x 180-gram clear vinyl LPs\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003e6x Tip-on gatefold jackets in collector's box\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":30297586434136,"sku":"NVSLP005-FULL","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Full_1.jpg?v=1623489881"},{"product_id":"nv025lp-rufus-reid-with-sullivan-fortner","title":"Rufus Reid with Sullivan Fortner - Always in the Moment","description":"\u003cblockquote\u003e\n\u003cp\u003e\"I\u003cspan data-mce-fragment=\"1\"\u003enstant chemistry and camaraderie — along with a gem of an album.\" –WBGO\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eRufus Reid never stops. His first instrument was the trumpet, which he started playing in middle school. By the time he graduated from high school, Rufus knew the draft was coming for him, so he found an audition for the Air Force band and got to work. His mom wasn’t happy about his not going directly to college, but she knew it was better to carry a trumpet than a rifle.\u003c\/p\u003e\n\u003cp\u003eLater stationed in Japan, Rufus saw Duke Ellington, The Modern Jazz Quartet, Charlie Persip, Horace Parlan, and Philly Joe Jones. He’d been teaching himself the bass when he first saw the Oscar Peterson Trio with the immortal Ray Brown on bass. “Now that’s what I want to do.” Upon leaving the military in 1966, Rufus sold his trumpet, bought a bass and got back to work.\u003c\/p\u003e\n\u003cp\u003ePianist \u003cstrong\u003eSullivan Fortner\u003c\/strong\u003e joins Rufus on this album. The two met after Rufus heard of the young pianist on the scene and caught his inaugural stint at the Village Vanguard in 2019.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV025\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Always In The Moment\"\u003c\/li\u003e\n\u003cli\u003e\"Reminiscing\"\u003c\/li\u003e\n\u003cli\u003e\"The Meddler\"\u003c\/li\u003e\n\u003cli\u003e\"Duke Ellington's Sound of Love\"\u003c\/li\u003e\n\u003cli\u003e\"It's The Nights I Like\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"I Can't Explain\"\u003c\/li\u003e\n\u003cli\u003e\"Come Out And Play\"\u003c\/li\u003e\n\u003cli\u003e\"The Peacocks\"\u003c\/li\u003e\n\u003cli\u003e\"Sophisticated Lady\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/rufus-reid\"\u003eRufus Reid\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/sullivan-fortner\"\u003eSullivan Fortner\u003c\/a\u003e - Piano \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003eOn the title track of this record, I can hear each note \u003cem\u003elean\u003c\/em\u003e towards the next, glowing with anticipation. “Always in the Moment,” as a concept, is an impossibility. Just being “in the moment” some of the time is a challenge that most of us struggle with daily.\u003c\/p\u003e\n\u003cp\u003eRufus Reid never stops. Rufus was born in 1944 in Atlanta, Georgia, and raised in Sacramento, California. His first instrument was the trumpet, which he started playing in middle school. By the time he graduated from high school, Rufus knew the draft was coming for him, so, as high school was finishing up, he found an audition for the Air Force band and got to work. His mom wasn’t happy about his not going directly to college, but she knew it was better to carry a trumpet than a rifle.\u003c\/p\u003e\n\u003cp\u003eThe band was a concert and marching band, built for playing martial themes for dignitaries and Taps at funerals. First stationed at Maxwell Air Force Base, in Montgomery, Alabama, in 1962, Rufus was the only African-American in the band. The Air Force felt like they couldn’t march in segregated Alabama with a mixed-race band, but they weren’t going to tell Rufus to stay behind--so they didn’t march at all. They’d get together in the mornings to practice some music and then they’d have the rest of the day off. If Rufus left the base he learned to stay on the “black side” of town. It was here that Rufus heard iconic live concerts of James Brown, Ike and Tina Turner and Bobby Blue Bland. Rufus remembers one day visiting a club in Birmingham with some friends. The crowd was dancing to “Senõr Blues” by Horace Silver. “\u003cem\u003eI thought, ‘what is this? Who wrote that bass line?’ That was the start for me.” \u003c\/em\u003eBack in Montgomery, Rufus finagled a key to the Air Force instrument room. He’d spend whole afternoons and evenings alone in that room in Montgomery, sequestered on a military base--a trumpet player in a marching band that didn’t march--teaching himself the upright bass.\u003c\/p\u003e\n\u003cp\u003eIn 1964 Rufus got stationed in Japan. Here, the scene was much more integrated. Rufus loved being in Japan and loved the people, food and the culture, and they \u003cem\u003erevered\u003c\/em\u003e jazz. In Japan Rufus would march with the band and travel the country, but his home base was in Tachikawa, North of Tokyo. He had a lot of free time, especially at night. Tokyo was one of the premier destinations for American touring acts, Rufus would see concerts multiple times a week and he’d hit the local jam sessions in between. He saw Duke Ellington, The Modern Jazz Quartet, Charlie Persip, Horace Parlan, Philly Joe Jones… He’d been teaching himself the bass for about three years when he first saw the Oscar Peterson Trio with the immortal Ray Brown on bass. \u003cem\u003e“Now that’s what I want to do.”\u003c\/em\u003e Upon leaving the military in 1966, Rufus sold his trumpet, bought a bass and got back to work.\u003c\/p\u003e\n\u003cp\u003eArriving as a classical bass major at Northwestern University near Chicago in 1967, Rufus had the bass in his hands “17 hours a day.” They couldn’t teach him to play Jazz but they could teach him how to develop a good \u003cem\u003esound. \u003c\/em\u003eThis is where Rufus learned how to really study the instrument. His focus on tone is where his journey as one of the greats of the instrument really began.\u003c\/p\u003e\n\u003cp\u003eRufus stayed in Chicago after graduating, where he landed the house bassist gig at the Jazz Showcase: \u003cstrong\u003e“\u003c\/strong\u003e\u003cem\u003eThe Jazz Showcase was a Godsend to me. Each week a new musician come to town and play with the band. Kenny Burrell, Milt Jackson, James Moody, Kenny Dorham, Sonny Stitt, Hank Mobley, Philly Joe Jones, Roy Hanes, Harold Land, Bobby Hutcherson, and the great Eddie Harris, who taught me so much... Every week was like going to school.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAlmost 50 years later, long since having moved outside of New York City, Rufus first heard Sullivan Fortner. There was chatter about a new young pianist on the scene, so when Sullivan played his inaugural stint at the Village Vanguard in 2019, Rufus came to listen and he stayed for both sets, smiling and enjoying the trio truly enjoying each other.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“It’s been a LONG TIME since I’ve had so much fun at a concert. I don’t often react so strongly to the younger musicians I hear.\u003c\/em\u003e \u003cem\u003eSullivan has a lot of facility but you don’t even necessarily notice how skilled he is. In this music, we’ve lost a lot of our elders. We talk about Tommy Flanagan, Hank Jones, Barry Harris and soon we will speak about Sullivan that way too. Sullivan has the sort of mentality and musical savvy that I recognize in the greats.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“When I started out, I was always the baby in the band. Now, I haven’t been the baby of the band in a long time and I’m almost 45 years older than Sullivan, but I love that we made this record together. I’m glad that we can show that age doesn’t matter and that ultimately it’s about the music. The astounding part for me was it was just one or two takes for each piece. You can rehearse forever and get it squeaky clean, but this is something different. A moment recorded, and for me it was special.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eImprovisational music demands this tethering to the now, and that pursuit becomes a framework for your life. The discipline, the places, the stories, the love, the teachers, the cultures you embrace and the cultures that embrace you--you breathe all of that in and then you let it all go--and find the moment.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Rufus_Reid_with_Sullivan_Fortner_-_Always_in_the_Moment_Liner_Notes.pdf?v=1598292799\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32735887818840,"sku":"NV025LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Reid.jpg?v=1623489956"},{"product_id":"nv026lp-pablo-ablanedo-chistreza","title":"Pablo Ablanedo - Chistreza","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe music is rhythmically and sometimes structurally complex; it’s always melodically satisfying.\" –The Arts Fuse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The considerable degree of balance and integration of melody, harmony and rhythm, of composition and improvisation, of exploration, individuality and tradition is impressively maintained throughout this seductively beckoning recital.\" –LatinJazzNet\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSome twenty years ago, Pablo Ablanedo led an octet of New York musicians that is absolutely remarkable in retrospect. Every musician in this band would go on to stellar international careers: Anat Cohen, Jenny Scheinman, Chris Cheek, Jerome Sabbagh, Ben Monder, Fernando Huergo, and Franco Pinna, with Diego Urcola arriving on trumpet.\u003c\/p\u003e\n\u003cp\u003eThis same band has re-united from all corners of the world to play through new works of Pablo's once again. It speaks to the strength of the band's belief in Pablo’s sound that this record came together at all. Pablo has never stopped creating or evolving his sound.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003ePablo Ablanedo\u003c\/strong\u003e on piano, \u003cstrong\u003eAnat Cohen\u003c\/strong\u003e on clarinet, \u003cstrong\u003eJenny Scheinman\u003c\/strong\u003e on violin, \u003cstrong\u003eChris Cheek\u003c\/strong\u003e on tenor and soprano saxophone, \u003cstrong\u003eJerome Sabbagh\u003c\/strong\u003e on tenor and soprano saxophone, \u003cstrong\u003eDiego Urcola\u003c\/strong\u003e on trumpet, \u003cstrong\u003eBen Monder\u003c\/strong\u003e on guitar, \u003cstrong\u003eFernando Huergo\u003c\/strong\u003e on electric bass, \u003cstrong\u003eFranco Pinna\u003c\/strong\u003e on drums, and \u003cstrong\u003eDaniel Ian Smith\u003c\/strong\u003e on additional saxophones on \"Karmavaleando\" and \"Bipolarious.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV026\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"La Señal\"\u003c\/li\u003e\n\u003cli\u003e\"Karmavaleando\"\u003c\/li\u003e\n\u003cli\u003e\"Plaisantriste\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Chistreza\"\u003c\/li\u003e\n\u003cli\u003e\"Ti Mi Do\"\u003c\/li\u003e\n\u003cli\u003e\"Bipolarious\"\u003c\/li\u003e\n\u003cli\u003e\"Winter Variations\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/pablo-ablanedo\"\u003ePablo Ablanedo\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/anat-cohen\"\u003eAnat Cohen\u003c\/a\u003e - Clarinet \u003cbr\u003e \u003ca href=\"\/pages\/jenny-scheinman\"\u003eJenny Scheinman\u003c\/a\u003e - Violin \u003cbr\u003e \u003ca href=\"\/pages\/chris-cheek\"\u003eChris Cheek\u003c\/a\u003e - Tenor and Soprano Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/jerome-sabbagh\"\u003eJerome Sabbagh\u003c\/a\u003e - Tenor and Soprano Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/diego-urcola\"\u003eDiego Urcola\u003c\/a\u003e - Trumpet \u003cbr\u003e \u003ca href=\"\/pages\/ben-monder\"\u003eBen Monder\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/fernando-huergo\"\u003eFernando Huergo\u003c\/a\u003e - Electric Bass \u003cbr\u003e \u003ca href=\"\/pages\/franco-pinna\"\u003eFranco Pinna\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/daniel-ian-smith\"\u003eDaniel Ian Smith\u003c\/a\u003e - Additional Saxophones on Karmavaleando and Bipolarious \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003ePablo Ablanedo was a sensitive kid growing up in the 1970’s in Buenos Aires. Although his childhood centered around playing fútbol in the streets, he was drawn to music as far back as he can remember. As a young child, he remembers hiding the tears that would come from hearing the classical music that his mom would play around the house. At that time, it was not an option to pursue music, and as a boy he felt his first interest should be fútbol.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003e“I went countless times to the stadiums with my father, and I remember very vividly the powerful, euphoric, and terrifying feeling of chanting and jumping with thousands of other people at the same time. For me it was a \"tribalistic\" happening. What is also particularly exceptional and striking about all this was the spontaneous and involuntary, yet still musically notable canonic-like echoes created as a natural result of thousands of people stretching their passion around the stadium.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIt wasn’t until Pablo was 15 years old that he started studying piano. Pablo soon discovered that teaching came very easily to him and by his early 20’s he was teaching piano full time around his neighborhood. It wasn’t until the age of 28 that he moved to Cambridge Massachusetts to study music composition at Berklee. There he studied with the legendary educator and composer Herb Pomeroy.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003e“He was very important to me. He opened up some channels inside of me. For me composition is composition, not ‘Jazz composition.’ I felt at Berklee there were a lot of formulas and boxes to check off. With Herb, even if you don’t use his techniques, you learn about how to think about music.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIt was at Berklee that Pablo met the founding members of the ensemble featured on this record. The band got started in 1999 based on a “flood” of music he started writing in his final year at Berklee. Upon graduation, as most of the band moved down to NYC, Pablo had a full studio of students in the Boston area and little prospects for paying the rent in NYC. The rhythm section, (Pablo, Franco and Fernando) would wake up at dawn for the 4 hour drive to New York, rehearse in the afternoon and hit the gig that night and then drive back to Boston in the middle of the night. Pablo remembers a show at The Knitting Factory in 2000. The band rehearsed that day for the gig, but the audience failed to show up. As it became clear that no one was coming, his octet, featuring 7 musicians who would soon be the leading lights of the international jazz scene, without deliberation played the entire set to an empty room. Pablo headed back to Boston that night with his heart full.\u003c\/p\u003e\n\u003cp\u003eI met Pablo when I moved to Cambridge in 2015. He had just published his first pedagogical book, which I started using in my own teaching practice. Pablo sent me some of his recordings from the early 2000’s, and I mused that if we could get those musicians together to record again it could be really special. Frankly, I thought it was a long shot, but in fact I’ve rarely had a session come together so seamlessly. All of these musicians have grueling touring schedules, and some live thousands of miles away, but everyone was immediately committed to recording Pablo’s music again.\u003c\/p\u003e\n\u003cp\u003eEach musician in this band would go on to stellar international careers: Anat Cohen, Jenny Scheinman, Chris Cheek, Jerome Sabbagh, Ben Monder, Fernando Huergo, and Franco Pinna. Avishai Cohen, the trumpeter in the original band could not make the trip from India (though he tried to make it work), but Diego Urcola has been playing Pablo’s music for years as has Daniel Ian Smith. Giants, all of them. But what makes this record truly special to my ears is the deep universality in Pablo’s writing that is brought out so distinctly by the unique personalities in the band. Pablo told me once that the best compliment he can receive is to overhear someone after a concert carelessly singing one of his melodies.\u003c\/p\u003e\n\u003cp\u003eWhether it’s a thunderous stadium or Diego’s whisper quiet muted trumpet—Pablo says he is searching for proof of a resonating, human experience. I do not believe this record could have been made in any other universe than this one. It is a product of its conception, 20 years of perspective, patience and personality waiting to burst forth.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Pablo_Ablanedo_-_Chistreza_Liner_Notes.pdf?v=1598292799\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32781712949336,"sku":"NV026LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Ablanedo.jpg?v=1623489941"},{"product_id":"nv027lp-dave-douglas-and-elan-mehler","title":"Dave Douglas and Elan Mehler - If There Are Mountains","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"The compositions are memorable, the solos beautifully attuned to the subjects, the rhythm section lively as well as supportive. \"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003eThe compositions are memorable, the solos beautifully attuned to the subjects, the rhythm section lively as well as supportive.\" –\u003cem\u003eThe Arts Fuse\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eDave Douglas is a prolific trumpeter, composer, educator and entrepreneur known for the stylistic breadth of his work and for keeping a diverse set of ensembles and projects active simultaneously. His unique contributions to improvised music have garnered distinguished recognition, including a Doris Duke Artist Award and two GRAMMY® nominations.\u003c\/p\u003e\n\u003cp\u003eNewvelle co-founder and artistic director Elan Mehler, who began pitching Dave to record for the label since the very beginning, joins on this album.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eDave Douglas\u003c\/strong\u003e on trumpet, \u003cstrong\u003eElan Mehler\u003c\/strong\u003e on piano, \u003cstrong\u003eDominique Eade\u003c\/strong\u003e on vocals, \u003cstrong\u003eJohn Gunther\u003c\/strong\u003e on tenor saxophone, clarinet, and bass clarinet, \u003cstrong\u003eSimón Willson\u003c\/strong\u003e on bass, and \u003cstrong\u003eDayeon Seok\u003c\/strong\u003e on drums.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV027\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"If There Are Mountains\"\u003c\/li\u003e\n\u003cli\u003e\"We Saw You Off\"\u003c\/li\u003e\n\u003cli\u003e\"Even a Nameless Stream\"\u003c\/li\u003e\n\u003cli\u003e\"Wolf Orchard\"\u003c\/li\u003e\n\u003cli\u003e\"Haiku\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Here on the Plains\"\u003c\/li\u003e\n\u003cli\u003e\"Village of no Bells\"\u003c\/li\u003e\n\u003cli\u003e\"The Spring Current\"\u003c\/li\u003e\n\u003cli\u003e\"With Your Singing\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/dave-douglas\"\u003eDave Douglas\u003c\/a\u003e - Trumpet\/compositions \u003cbr\u003e \u003ca href=\"\/pages\/elan-mehler\"\u003eElan Mehler\u003c\/a\u003e - Piano\/compositions \u003cbr\u003e \u003ca href=\"\/pages\/dominique-eade\"\u003eDominique Eade\u003c\/a\u003e - Vocals \u003cbr\u003e \u003ca href=\"\/pages\/john-gunther\"\u003eJohn Gunther\u003c\/a\u003e - Tenor Sax, Clarinet and Bass Clarinet \u003cbr\u003e \u003ca href=\"\/pages\/simon-willson\"\u003eSimón Willson\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/dayeon-seok\"\u003eDayeon Seok\u003c\/a\u003e - Drums \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003eI’ve been pitching Dave Douglas to come record for Newvelle Records since the label began, so it genuinely surprised me when Dave proposed recording a project together. Dave had set some haikus to music in the early 2000’s, and we had covered one of those songs — “Village of No Bells” — on a gig we played together in Denver. I loved the way Dave told an almost parallel story to these short lines from 17th century poet Basho, amplifying the message but also turning it on its head.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eVillage of No Bells\u003c\/b\u003e\u003cbr\u003e Basho\u003cbr\u003e (Composition: Dave Douglas)\u003c\/p\u003e\n\u003cp\u003eVillage of no bells\u003cbr\u003e Spring evenings\u003cbr\u003e What’s to listen for?\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eDespite my lack of knowledge of Japanese poetry, I started reading haikus and searching for a “click” that would inspire some compositional ideas for me. It was rough going. I had expected this world of ancient Japanese poems to yield images and gestures that would be fertile ground for musical exploration. Haikus, to my uneducated ears, were often quotidian and startlingly matter of fact. But, inspired by Dave’s faith in me, I spent weeks reading through collections, feeling completely lost. Then, I found my spark:\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eEven a Nameless Stream\u003c\/b\u003e\u003cbr\u003e Yosa Buson\u003cbr\u003e (Composition: Elan Mehler)\u003c\/p\u003e\n\u003cp\u003eMay rains\u003cbr\u003e Even a nameless stream\u003cbr\u003e Is a frightening thing\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eI heard those first two words, “May rains,” in an ascending interval of a fifth. A declaration and a harbinger and the rest of the song followed in minutes. I loved building these compositions out of such coded input. It felt like a key to a secret world. When I heard what Dave had been composing in our first rehearsal, it sent me reeling (and back to the drawing board on my own tunes). Dave is well-known in certain circles for his fastidious charts, but not in the way you would expect. There’s a movement in improvised music toward the overly elaborate composition. Mixed meter, thorough composition, elaborate counterpoint, and huge stylistic changes are all commonplace. In contrast, Dave’s compositions are generally very simple but also very precise. This rigor of attention is actually freeing for the musician, because the departure point is so clear. Something in Dave’s style has a clear consonance with the haiku form: “Start here. Jump.”\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eWe Saw You Off\u003c\/b\u003e\u003cbr\u003e Text by Saigyo\u003cbr\u003e (Composition: Dave Douglas)\u003c\/p\u003e\n\u003cp\u003eWe saw you off\u003cbr\u003e And returning through the fields\u003cbr\u003e I thought, Morning dew had wet my sleeves\u003cbr\u003e But it was tears\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eWith Your Singing\u003c\/b\u003e\u003cbr\u003e Text by Basho\u003cbr\u003e (Composition: Dave Douglas)\u003c\/p\u003e\n\u003cp\u003eWith your singing make me lonelier than ever\u003cbr\u003e You solitary bird\u003cbr\u003e Cuckoo of the forest\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eWhat an incredible band we’ve pulled together for this record! John, Dominique, Simón and Dayeon have such unique perspectives and voices, and it was humbling to see how they threw themselves into these compositions. This band coalesced around the initial gig in Denver in 2018. Dave and Dominique had known each other for many years. I had just met Dominique at a Lee Konitz show, and we subsequently played a duo show. Dominique is a bit of a legend around Boston. She’s been a mentor and a teacher to many if not most of the outstanding vocalists of the last couple of decades, and her years of work with Ran Blake are a continual astonishment.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eIf There Are Mountains\u003c\/b\u003e\u003cbr\u003e Santoka Taneda\u003cbr\u003e (Composition: Dave Douglas)\u003c\/p\u003e\n\u003cp\u003eIf there are mountains\u003cbr\u003e I look at the mountains\u003cbr\u003e On rainy days\u003cbr\u003e I listen to the rain\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpring, Summer, Autumn, Winter\u003cbr\u003e Tomorrow, too, will be good\u003cbr\u003e Tonight, too, is good\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eThe Spring Current\u003c\/b\u003e\u003cbr\u003e Text by Buson\u003cbr\u003e (Composition: Elan Mehler)\u003c\/p\u003e\n\u003cp\u003eWading through it\u003cbr\u003e Her feet muddied\u003cbr\u003e The spring current\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eWorking on these pieces made me think of one of my favorite poets and song writers, Adam-McBride Smith. Adam has a real gift for evocative natural depictions. I had set to music a poem of his, “Here on the Plains,” for a project we released together in 2010. I knew it would be perfect for this band. OnceI started tinkering with it, I reached out to Adam about working on something new, and he wrote the astonishing lyrics to “Wolf Orchard.”\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eWolf Orchard\u003c\/b\u003e\u003cbr\u003e Text by Adam McBride-Sm\u003cbr\u003eith (Composition: Elan Mehler)\u003c\/p\u003e\n\u003cp\u003eIn orchard dreams\u003cbr\u003e The hired man’s gone\u003cbr\u003e And hounds lie low\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHow the gold grass climbs\u003cbr\u003e In orchard dreams\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn orchard dreams\u003cbr\u003e How the cold frost limes\u003cbr\u003e The wire bound cross\u003cbr\u003e And foxglove crowns\u003cbr\u003e The fruitless beams\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNow the cold keeps time\u003cbr\u003e Disordered scenes\u003cbr\u003e And bootless dreams\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMan’s gone now\u003cbr\u003e And wolves lie down\u003cbr\u003e In Orchard dreams\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e\u003cb\u003eHere on the Plains\u003c\/b\u003e\u003cbr\u003e Text by Adam McBride-Smith\u003cbr\u003e (Composition: Elan Mehler)\u003c\/p\u003e\n\u003cp\u003eThrough the window\u003cbr\u003e We watch the wind blow\u003cbr\u003e Silver breakers through the summer fields\u003cbr\u003e Storm-clouds’ shadows\u003cbr\u003e Swallow silos\u003cbr\u003e Homes and hedgerows\u003cbr\u003e Man the harpoons!\u003cbr\u003e\u003c\/p\u003e\nHere on the plains we wake\u003cbr\u003e To find the air grown salty\u003cbr\u003e Our talk saltier still\u003cbr\u003e Interlaced with courtly pleasantries,\u003cbr\u003e And perilous dipthongs from old world tongues\u003cbr\u003e Our hands would almost\u003cbr\u003e Mistake the plow handle for keel\u003cbr\u003e\n\u003cp\u003eAnd we go sailing off\u003cbr\u003e Into the endless waves of grass\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eThe overwhelming emotion I get out of listening again to the record, almost a year after we got out of the studio, is gratitude. I’m writing these notes in June 2020, and the world feels VERY unbalanced and frightening. It’s such a balm to feel thankful. To feel connected—with these poets, these amazing musicians, the music, the Newvelle Community, Marc Urselli and our home at East Side Sound, the visual artists who lend us their work every year… It all spins out into something larger and it alights on an evening like this, like an enormous gift.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Dave_Douglas_and_Elan_Mehler_-_If_There_Are_Mountains_Liner_Notes.pdf?v=1598292799\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32781725073496,"sku":"NV027LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Douglas.jpg?v=1623489747"},{"product_id":"nv028lp-carmen-staaf-woodland","title":"Carmen Staaf - Woodland","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eStaaf's music sounds simple at first, but once its spell infuses you, there's no letting go. Beauty abounds.\" –Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Bracingly energetic\" –\u003cem\u003eDownBeat\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eWhen a band unites the way that Carmen, Michael and Jeff do, it sings of a profound connection. It can reach through a stereo or even a Zoom meeting, grab you by the lapels and say, “There is something MORE in this world.” It gives us hope. We are all in this together. Here’s the proof.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eCarmen Staaf\u003c\/strong\u003e on piano, \u003cstrong\u003eMichael Formanek\u003c\/strong\u003e on bass, and \u003cstrong\u003eJeff Williams\u003c\/strong\u003e on drums.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV028\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Caterpillars\"\u003c\/li\u003e\n\u003cli\u003e\"Strindberg\"\u003c\/li\u003e\n\u003cli\u003e\"The Hunt\"\u003c\/li\u003e\n\u003cli\u003e\"Waltz for Julian\"\u003c\/li\u003e\n\u003cli\u003e\"Pannonica\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Canons\"\u003c\/li\u003e\n\u003cli\u003e\"Multiple Ultimate\"\u003c\/li\u003e\n\u003cli\u003e\"Snap Out of It\"\u003c\/li\u003e\n\u003cli\u003e\"Evergreen\"\u003c\/li\u003e\n\u003cli\u003e\"Borderline\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/carmen-staaf\"\u003eCarmen Staaf\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/michael-formanek\"\u003eMichael Formanek\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/jeff-williams\"\u003eJeff Williams\u003c\/a\u003e - Drums \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv class=\"liner-notes-content\" id=\"liner-notes-content\"\u003e\n\u003cdiv class=\"inner-content\" id=\"inner-content\"\u003e\n\u003cp\u003eCarmen Staaf says she feels self-indulgent when she plays the compositions of Thelonious Monk. Something about enjoying yourself too much. It feels so good to her to inhabit his world that perhaps she can forget about communicating something new. Carmen doesn’t need to worry. What shines through on Monk’s “Pannonica,” the sole cover on the record, is the revelry and playfulness that she brings to her interpretation of the piece. She’s luxuriating in there. In fact, there’s that feeling throughout this record. You can hear it, perhaps most clearly on the opening track \u003cem\u003eCaterpillars\u003c\/em\u003e. A freely improvised romp, it’s almost giddy with freedom and the joy of shared expression.\u003c\/p\u003e\n\u003cp\u003eJeff Williams and Michael Formanek are, of course, giants of this scene. Both are composers and band leaders with decades of experience and band mates that could fill a Hall of Fame. You can hear their joy, too. I might be projecting here, but it sounds almost like the joy of discovery. I remember them grinning at each other through the glass at the recording studio at the end of another buoyant take, almost as if asking each other, “\u003cem\u003eare you hearing this?\u003c\/em\u003e”\u003c\/p\u003e\n\u003cp\u003eI started writing these liner notes in that same spirit of joy–I have the record spinning loud at the moment. And I’m thrilled by it, again. This record was recorded almost a year ago, but it seems much longer than that. We are currently four months into the covid-19 shut down. Four months backdropped by persistent hum of anxiety and despair. Four months without human touch. For many, many people, four months filled with unspeakable tragedy and hardship. Also, four months without live music or any communal gathering around the arts. As dark as this feels at the moment, right now I’m reminded again of why I love music and why I love music like \u003cem\u003ethis\u003c\/em\u003e especially.\u003c\/p\u003e\n\u003cp\u003eThere are layers upon layers of communication. We know that verbal expression is just the skin on the milk. We all crave something deeper. When a band unites the way that Carmen, Michael and Jeff do, it sings of a profound connection. It can reach through a stereo or even a zoom meeting, grab you by the lapels and say, “There is something MORE in this world.” It gives me hope. We are all in this together. Here’s the proof.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca style=\"opacity: 0.8; display: block; text-align: center;\" class=\"read-more-trigger smooth-scroll\" href=\"#liner-notes-top\" data-mce-style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\" data-mce-style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca class=\"btn-link\" href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Carmen_Staaf_-_Woodland_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32781726711896,"sku":"NV028LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Staaf.jpg?v=1623489738"},{"product_id":"nv029lp-patrick-zimmerli-book-of-dreams","title":"Patrick Zimmerli - Book of Dreams","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSaxophonist Patrick Zimmerli puts his virtuosic playing on display on \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eBook Of Dreams\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, a cluster of his original jazz tunes and sensitively arranged Songbook standards.\" –\u003cem\u003eDownBeat\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThese tracks were composed by Patrick over a period of nearly 20 years. His primary work is as a composer of larger commissioned projects, and the pieces and arrangements on this album would suddenly come to him, almost fully formed. Perhaps, in the middle of working on an Oratorio, Patrick would awake with a meditative stripped-down arrangement of “Insensatez,” or, while composing say a Piano Concerto, the haunting melody of “Algo Mas” would bubble up from the submerged mind.\u003c\/p\u003e\n\u003cp\u003eHe started a file to collect these pieces and named it Book of Dreams. Often written very early in the morning, these pieces came without effort – gifts from the unconscious.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003ePatrick Zimmerli\u003c\/strong\u003e on soprano and tenor saxophone, \u003cstrong\u003eKevin Hays\u003c\/strong\u003e on piano, and \u003cstrong\u003eSatoshi Takeishi\u003c\/strong\u003e on drums.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV029\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Algo Mas\"\u003c\/li\u003e\n\u003cli\u003e\"Torsion\"\u003c\/li\u003e\n\u003cli\u003e\"Insensatez\"\u003c\/li\u003e\n\u003cli\u003e\"Wedding Song\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"60 Morningside\"\u003c\/li\u003e\n\u003cli\u003e\"Crow or Dove\"\u003c\/li\u003e\n\u003cli\u003e\"Fly Me to the Moon\"\u003c\/li\u003e\n\u003cli\u003e\"Dreamscape\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/patrick-zimmerli\"\u003ePatrick Zimmerli\u003c\/a\u003e - Soprano and Tenor Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/kevin-hays\"\u003eKevin Hays\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/satoshi-takeishi\"\u003eSatoshi Takeishi\u003c\/a\u003e - Drums \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003ePicture this: It’s March 2020 and Patrick Zimmerli is holed up in Eastern France with his family in the Vosges mountains. Outside his wife’s family farm there is a pasture, filled with the particularly hardy stock of cows that are prevalent in the area. Patrick thinks the cows might benefit from some music in their lives. So for the next 10 weeks you can find him in the early evenings serenading his bovine neighbors on solo saxophone. According to Patrick, they seem to appreciate it.\u003c\/p\u003e\n\u003cp\u003eI’m sharing this anecdote here because it feels so germane to this recording. New Yorker, Patrick Zimmerli, blowing his tenor to the \u003cem\u003evaches, \u003c\/em\u003ein the midst of a global pandemic—it’s one of those images, or occurrences, that feel like it is right at the edge of conscious thought.\u003c\/p\u003e\n\u003cp\u003eThe material on \u003cem\u003eBook of Dreams \u003c\/em\u003ewas composed by Patrick over a period of nearly 20 years. Patrick’s primary work is as a composer of larger commissioned projects. While working on these commissioned works, the pieces and arrangements on this album would suddenly come to him, almost fully formed. Perhaps, in the middle of working on an Oratorio, Patrick would awake with a meditative stripped-down arrangement of “Insensatez,” or, while composing say a Piano Concerto, the haunting melody of “Algo Mas” would bubble up from the submerged mind. He started a file to collect these pieces and named it \u003cem\u003eBook of Dreams\u003c\/em\u003e. Often written very early in the morning, these pieces came without conscious effort—gifts from the unconscious.\u003c\/p\u003e\n\u003cp\u003eAs a producer, my first question is often, “What’s a project you’ve had under your hat for a long time that’s looking for an outlet?” Newvelle was built with this kind of record in mind.\u003c\/p\u003e\n\u003cp\u003ePatrick Zimmerli and pianist Kevin Hays go way back to the early 80s when they both were selected as National YoungArts award winners. This is Kevins’ third go-round with Newvelle, and I’ve written a lot about him in the past: his flawless technique, burnished tone, and boundless melodicism. Both young musicians were heavily lauded. In fact, by the time Patrick had graduated high school, both he and Kevin had won numerous national awards. Both arrived on the scene in NYC in the early 90s, already performing with some of the top musicians in the field.\u003c\/p\u003e\n\u003cp\u003eHowever, Patrick was soon to take several musical left turns. He started falling hard for the deep structural complexity of classical modernists like Milton Babbitt, and Elliott Carter. His writing grew more elaborate and challenging. It was in his second working quartet that Patrick met the extraordinary drummer Satoshi Takeishi through his brother, bassist Stomu Takeishi. This band, alongside Newvelle stalwart Ben Monder, would work for weeks on elaborate compositions of Patrick’s—counting out rhythms and singing melodies before even picking up their instruments. While Patrick was writing these more and more elaborate and precise works, the occasional melody would slip in and get filed in his \u003cem\u003eBook of Dreams\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThere’s no bassist on this album, which leaves space for the particular compositional style of Patrick’s. Kevin can play orchestrally here, with the full Steinway at his disposal, and Satoshi can dance around the edges. And they can go as big, or bigger, as any standard quartet. That huge tone that Satoshi gets is partially from a taiko drum head that he uses instead of a floor tom. In the studio, Patrick was more specific with his direction than almost anyone I’ve seen leading a record date. Despite its spontaneous providential arrival, this is music that is conceived fully before ever vibrating in the air. The resulting sound-texture and concept that this trio gets is completely unique. A dream captured.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Patrick_Zimmerli_-_Book_of_Dreams_Liner_Notes.pdf?v=1598292799\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32781727662168,"sku":"NV029LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_Zimmerli.jpg?v=1623489944"},{"product_id":"nv030lp-owl-trio-with-kurt-elling-life-of-the-party","title":"OWL Trio with Kurt Elling - Life of the Party","description":"\u003cblockquote\u003e\n\u003cp\u003e\"A sterling partnership\" –Jazziz\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe listener can hear in this intimate album the same ambience and intellectual curiosity that appealed to Kurt in the small Brooklyn club where he first heard the OWL Trio's Orlando Le Fleming, Will Vinson, and Lage Lund. In this drumless and pristine supportive context, Kurt, by his own admission has “nowhere to hide.” In this music, a “whisper will carry instead of a shout” and Kurt doesn’t need to blazingly proclaim his intentions – he can simply let them glow.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eWill Vinson\u003c\/strong\u003e on alto saxophone, \u003cstrong\u003eLage Lund\u003c\/strong\u003e on guitar, \u003cstrong\u003eOrlando le Fleming\u003c\/strong\u003e on bass, and \u003cstrong\u003eKurt Elling\u003c\/strong\u003e on vocals on \"Life of the Party\" and \"Perfectly Out of Place.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNV030\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram clear vinyl LP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eTip-on gatefold jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressings\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"French Song\"\u003c\/li\u003e\n\u003cli\u003e\"Life of The Party\"\u003c\/li\u003e\n\u003cli\u003e\"Struggle Session\"\u003c\/li\u003e\n\u003cli\u003e\"We'll Be Together Again\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Melanchollie Willage\"\u003c\/li\u003e\n\u003cli\u003e\"Perfectly Out Of Place\"\u003c\/li\u003e\n\u003cli\u003e\"Wistful Thinking\"\u003c\/li\u003e\n\u003cli\u003e\"Time on My Hands\"\u003c\/li\u003e\n\u003cli\u003e\"The End of a Love Affair\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/will-vinson\"\u003eWill Vinson\u003c\/a\u003e - Alto Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/lage-lund\"\u003eLage Lund\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/orlando-le-fleming\"\u003eOrlando le Fleming\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/kurt-elling\"\u003eKurt Elling\u003c\/a\u003e - Vocals on “Life of the Party” and “Perfectly Out of Place” \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003eThe general consensus is that, yes, it‘s possible to dislike someone, hate them even, and still make incredible music together. There are too many examples to cite of bandmates who ignore each other on tour but still create transporting music when they hit the stage. If this is so, then what happens when bandmates create music with people they’re truly close to, when they’ve roomed together for years, when they’ve spent decades sharing drinks and meals and celebrating life’s milestones together. This may not necessarily make the music \u003cem\u003ebetter,\u003c\/em\u003e but it must make the music \u003cem\u003edifferent\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eOrlando le Fleming, Will Vinson and Lage Lund all arrived in New York City near the turn of the millennium. Orlando and Will were from the UK and Lage from Norway. They met in New York, where they were all in-demand musicians and played together in various ensembles, often at Smalls or when Will played regularly at the 55 Bar. The trio eventually formed when Will got another gig at the tiny Bar Next Door, which demanded a quieter, smaller ensemble. Their first album, which made quite a splash in 2012, was recorded spur-of-the-moment in an abandoned church with no rehearsal or set list. Tension in the recording studio can keep everyone on their toes -- ears wide open, looking out for the next hairpin turn. But trust -- trust lets you close your eyes and fall.\u003c\/p\u003e\n\u003cp\u003eKurt Elling first heard the OWL Trio at a tiny bar in Brooklyn. According to Kurt, the bar seats about four people and he was one of them. He was immediately drawn to the trio, finding the music “very intelligent, very melodic…and it all seems so effortless to them, the way they play together and how they play at a really high level of intellect and emotion.” Ever since then, Kurt has wanted to join them for a recording date. However, first he had to know about that gig in that little bar in Brooklyn where the OWL Trio was hiding. It turns out Kurt and Will know each other through the friendship that their wives, Jennifer Elling and Jo Lawry, have shared for many years. In fact, the first time that Lage Lund played with Kurt was as part of the ceremony at Will’s wedding.\u003c\/p\u003e\n\u003cp\u003eEveryone familiar with Kurt Elling’s music knows he’s an extraordinary story-teller. Listening to him recite poetry, like the Corso poem on Lage’s “Life of the Party” (whose lyrics were written by Joy Lund, Lage’s wife), you can hear the narrative enthusiasm and charisma clearly. He could almost make the same impact without words altogether. But it’s the trust these guys have for each other that allows Lage to ask Kurt to bring in a poem for this section of the song. It’s the history the four men share that creates the environment where a record like this can grow. Kurt said that the feeling of making this record was unique. The trio sounds so intimate and exposed, with “nowhere to hide.” “Oh, I don’t need to make my voice so big. I can just whisper this,” he said. The music on this record should not be separated from its conception. Kurt called the OWL trio “very much a thinking person’s music.” This strikes me as true, but what also excites me about this record is how deeply past the intellect it goes. This isn’t music constructed in an ivory tower and unfurled in the studio. It’s music born of a thousand connections -- late night conversations, friends in common, whole lives woven together... It’s all in there if you listen closely.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/OWL_Trio_featuring_Kurt_Elling_-_Life_of_the_Party_Liner_Notes.pdf?v=1600160553\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32781729464408,"sku":"NV030LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S5_OWL.jpg?v=1623489937"},{"product_id":"owl-trio-with-kurt-elling-life-of-the-party-digital","title":"OWL Trio with Kurt Elling - Life of the Party (Digital)","description":"\u003ca class=\"bttn bttn--secondary product-form__cart-submit mt2\" href=\"https:\/\/newvellerecords.bandcamp.com\/album\/life-of-the-party\" target=\"_blank\"\u003e Download \u003c\/a\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"A sterling partnership\" –Jazziz\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe listener can hear in this intimate album the same ambience and intellectual curiosity that appealed to Kurt in the small Brooklyn club where he first heard the OWL Trio's Orlando Le Fleming, Will Vinson, and Lage Lund. In this drumless and pristine supportive context, Kurt, by his own admission has “nowhere to hide.” In this music, a “whisper will carry instead of a shout” and Kurt doesn’t need to blazingly proclaim his intentions – he can simply let them glow.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eWill Vinson\u003c\/strong\u003e on alto saxophone, \u003cstrong\u003eLage Lund\u003c\/strong\u003e on guitar, \u003cstrong\u003eOrlando le Fleming\u003c\/strong\u003e on bass, and \u003cstrong\u003eKurt Elling\u003c\/strong\u003e on vocals on \"Life of the Party\" and \"Perfectly Out of Place.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ePhotography by \u003c\/span\u003e\u003cstrong\u003eTim Barber\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNVD011\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003eHigh-quality digital download\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"French Song\"\u003c\/li\u003e\n\u003cli\u003e\"Life of The Party\"\u003c\/li\u003e\n\u003cli\u003e\"Struggle Session\"\u003c\/li\u003e\n\u003cli\u003e\"We'll Be Together Again\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Melanchollie Willage\"\u003c\/li\u003e\n\u003cli\u003e\"Perfectly Out Of Place\"\u003c\/li\u003e\n\u003cli\u003e\"Wistful Thinking\"\u003c\/li\u003e\n\u003cli\u003e\"Time on My Hands\"\u003c\/li\u003e\n\u003cli\u003e\"The End of a Love Affair\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/will-vinson\"\u003eWill Vinson\u003c\/a\u003e - Alto Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/lage-lund\"\u003eLage Lund\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/orlando-le-fleming\"\u003eOrlando le Fleming\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/kurt-elling\"\u003eKurt Elling\u003c\/a\u003e - Vocals on “Life of the Party” and “Perfectly Out of Place” \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003eThe general consensus is that, yes, it‘s possible to dislike someone, hate them even, and still make incredible music together. There are too many examples to cite of bandmates who ignore each other on tour but still create transporting music when they hit the stage. If this is so, then what happens when bandmates create music with people they’re truly close to, when they’ve roomed together for years, when they’ve spent decades sharing drinks and meals and celebrating life’s milestones together. This may not necessarily make the music \u003cem\u003ebetter,\u003c\/em\u003e but it must make the music \u003cem\u003edifferent\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eOrlando le Fleming, Will Vinson and Lage Lund all arrived in New York City near the turn of the millennium. Orlando and Will were from the UK and Lage from Norway. They met in New York, where they were all in-demand musicians and played together in various ensembles, often at Smalls or when Will played regularly at the 55 Bar. The trio eventually formed when Will got another gig at the tiny Bar Next Door, which demanded a quieter, smaller ensemble. Their first album, which made quite a splash in 2012, was recorded spur-of-the-moment in an abandoned church with no rehearsal or set list. Tension in the recording studio can keep everyone on their toes -- ears wide open, looking out for the next hairpin turn. But trust -- trust lets you close your eyes and fall.\u003c\/p\u003e\n\u003cp\u003eKurt Elling first heard the OWL Trio at a tiny bar in Brooklyn. According to Kurt, the bar seats about four people and he was one of them. He was immediately drawn to the trio, finding the music “very intelligent, very melodic…and it all seems so effortless to them, the way they play together and how they play at a really high level of intellect and emotion.” Ever since then, Kurt has wanted to join them for a recording date. However, first he had to know about that gig in that little bar in Brooklyn where the OWL Trio was hiding. It turns out Kurt and Will know each other through the friendship that their wives, Jennifer Elling and Jo Lawry, have shared for many years. In fact, the first time that Lage Lund played with Kurt was as part of the ceremony at Will’s wedding.\u003c\/p\u003e\n\u003cp\u003eEveryone familiar with Kurt Elling’s music knows he’s an extraordinary story-teller. Listening to him recite poetry, like the Corso poem on Lage’s “Life of the Party” (whose lyrics were written by Joy Lund, Lage’s wife), you can hear the narrative enthusiasm and charisma clearly. He could almost make the same impact without words altogether. But it’s the trust these guys have for each other that allows Lage to ask Kurt to bring in a poem for this section of the song. It’s the history the four men share that creates the environment where a record like this can grow. Kurt said that the feeling of making this record was unique. The trio sounds so intimate and exposed, with “nowhere to hide.” “Oh, I don’t need to make my voice so big. I can just whisper this,” he said. The music on this record should not be separated from its conception. Kurt called the OWL trio “very much a thinking person’s music.” This strikes me as true, but what also excites me about this record is how deeply past the intellect it goes. This isn’t music constructed in an ivory tower and unfurled in the studio. It’s music born of a thousand connections -- late night conversations, friends in common, whole lives woven together... It’s all in there if you listen closely.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/OWL_Trio_featuring_Kurt_Elling_-_Life_of_the_Party_Liner_Notes.pdf?v=1600160553\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":41521673371844,"sku":"","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/20220515_newvelle_digital_owl_trio_shop.jpg?v=1652635951"},{"product_id":"pablo-ablanedo-chistreza-digital","title":"Pablo Ablanedo - Chistreza (Digital)","description":"\u003ca class=\"bttn bttn--secondary product-form__cart-submit mt2\" href=\"https:\/\/pabloablanedo.bandcamp.com\/album\/chistreza\" target=\"_blank\"\u003e Download \u003c\/a\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe music is rhythmically and sometimes structurally complex; it’s always melodically satisfying.\" –The Arts Fuse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The considerable degree of balance and integration of melody, harmony and rhythm, of composition and improvisation, of exploration, individuality and tradition is impressively maintained throughout this seductively beckoning recital.\" –LatinJazzNet\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSome twenty years ago, Pablo Ablanedo led an octet of New York musicians that is absolutely remarkable in retrospect. Every musician in this band would go on to stellar international careers: Anat Cohen, Jenny Scheinman, Chris Cheek, Jerome Sabbagh, Ben Monder, Fernando Huergo, and Franco Pinna, with Diego Urcola arriving on trumpet.\u003c\/p\u003e\n\u003cp\u003eThis same band has re-united from all corners of the world to play through new works of Pablo's once again. It speaks to the strength of the band's belief in Pablo’s sound that this record came together at all. Pablo has never stopped creating or evolving his sound.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003ePablo Ablanedo\u003c\/strong\u003e on piano, \u003cstrong\u003eAnat Cohen\u003c\/strong\u003e on clarinet, \u003cstrong\u003eJenny Scheinman\u003c\/strong\u003e on violin, \u003cstrong\u003eChris Cheek\u003c\/strong\u003e on tenor and soprano saxophone, \u003cstrong\u003eJerome Sabbagh\u003c\/strong\u003e on tenor and soprano saxophone, \u003cstrong\u003eDiego Urcola\u003c\/strong\u003e on trumpet, \u003cstrong\u003eBen Monder\u003c\/strong\u003e on guitar, \u003cstrong\u003eFernando Huergo\u003c\/strong\u003e on electric bass, \u003cstrong\u003eFranco Pinna\u003c\/strong\u003e on drums, and \u003cstrong\u003eDaniel Ian Smith\u003c\/strong\u003e on additional saxophones on \"Karmavaleando\" and \"Bipolarious.\"\u003c\/p\u003e\n\u003cp\u003ePhotography by \u003cstrong\u003eTim Barber\u003c\/strong\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2\u003eAlbum Facts\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eCatalog\u003c\/td\u003e\n\u003ctd\u003eNVD012\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003eHigh-quality digital download\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003eRecording Detail\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eRecording\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMixing\u003c\/td\u003e\n\u003ctd\u003eMarc Urselli, East Side Sound\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMastering\u003c\/td\u003e\n\u003ctd\u003eAlex DeTurk, The Bunker Studio\u003cbr\u003eBrooklyn, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eTrack Listing\u003c\/h2\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"La Señal\"\u003c\/li\u003e\n\u003cli\u003e\"Karmavaleando\"\u003c\/li\u003e\n\u003cli\u003e\"Plaisantriste\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Chistreza\"\u003c\/li\u003e\n\u003cli\u003e\"Ti Mi Do\"\u003c\/li\u003e\n\u003cli\u003e\"Bipolarious\"\u003c\/li\u003e\n\u003cli\u003e\"Winter Variations\"\u003c\/li\u003e\n\u003cli\u003e\"Una Mas\" (Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eLiner Notes\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/pages\/pablo-ablanedo\"\u003ePablo Ablanedo\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/anat-cohen\"\u003eAnat Cohen\u003c\/a\u003e - Clarinet \u003cbr\u003e \u003ca href=\"\/pages\/jenny-scheinman\"\u003eJenny Scheinman\u003c\/a\u003e - Violin \u003cbr\u003e \u003ca href=\"\/pages\/chris-cheek\"\u003eChris Cheek\u003c\/a\u003e - Tenor and Soprano Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/jerome-sabbagh\"\u003eJerome Sabbagh\u003c\/a\u003e - Tenor and Soprano Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/diego-urcola\"\u003eDiego Urcola\u003c\/a\u003e - Trumpet \u003cbr\u003e \u003ca href=\"\/pages\/ben-monder\"\u003eBen Monder\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/fernando-huergo\"\u003eFernando Huergo\u003c\/a\u003e - Electric Bass \u003cbr\u003e \u003ca href=\"\/pages\/franco-pinna\"\u003eFranco Pinna\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/daniel-ian-smith\"\u003eDaniel Ian Smith\u003c\/a\u003e - Additional Saxophones on Karmavaleando and Bipolarious \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"liner-notes-top\"\u003e\n\u003cdiv id=\"liner-notes-content\" class=\"liner-notes-content\"\u003e\n\u003cdiv id=\"inner-content\" class=\"inner-content\"\u003e\n\u003cp\u003ePablo Ablanedo was a sensitive kid growing up in the 1970’s in Buenos Aires. Although his childhood centered around playing fútbol in the streets, he was drawn to music as far back as he can remember. As a young child, he remembers hiding the tears that would come from hearing the classical music that his mom would play around the house. At that time, it was not an option to pursue music, and as a boy he felt his first interest should be fútbol.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003e“I went countless times to the stadiums with my father, and I remember very vividly the powerful, euphoric, and terrifying feeling of chanting and jumping with thousands of other people at the same time. For me it was a \"tribalistic\" happening. What is also particularly exceptional and striking about all this was the spontaneous and involuntary, yet still musically notable canonic-like echoes created as a natural result of thousands of people stretching their passion around the stadium.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIt wasn’t until Pablo was 15 years old that he started studying piano. Pablo soon discovered that teaching came very easily to him and by his early 20’s he was teaching piano full time around his neighborhood. It wasn’t until the age of 28 that he moved to Cambridge Massachusetts to study music composition at Berklee. There he studied with the legendary educator and composer Herb Pomeroy.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003e“He was very important to me. He opened up some channels inside of me. For me composition is composition, not ‘Jazz composition.’ I felt at Berklee there were a lot of formulas and boxes to check off. With Herb, even if you don’t use his techniques, you learn about how to think about music.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIt was at Berklee that Pablo met the founding members of the ensemble featured on this record. The band got started in 1999 based on a “flood” of music he started writing in his final year at Berklee. Upon graduation, as most of the band moved down to NYC, Pablo had a full studio of students in the Boston area and little prospects for paying the rent in NYC. The rhythm section, (Pablo, Franco and Fernando) would wake up at dawn for the 4 hour drive to New York, rehearse in the afternoon and hit the gig that night and then drive back to Boston in the middle of the night. Pablo remembers a show at The Knitting Factory in 2000. The band rehearsed that day for the gig, but the audience failed to show up. As it became clear that no one was coming, his octet, featuring 7 musicians who would soon be the leading lights of the international jazz scene, without deliberation played the entire set to an empty room. Pablo headed back to Boston that night with his heart full.\u003c\/p\u003e\n\u003cp\u003eI met Pablo when I moved to Cambridge in 2015. He had just published his first pedagogical book, which I started using in my own teaching practice. Pablo sent me some of his recordings from the early 2000’s, and I mused that if we could get those musicians together to record again it could be really special. Frankly, I thought it was a long shot, but in fact I’ve rarely had a session come together so seamlessly. All of these musicians have grueling touring schedules, and some live thousands of miles away, but everyone was immediately committed to recording Pablo’s music again.\u003c\/p\u003e\n\u003cp\u003eEach musician in this band would go on to stellar international careers: Anat Cohen, Jenny Scheinman, Chris Cheek, Jerome Sabbagh, Ben Monder, Fernando Huergo, and Franco Pinna. Avishai Cohen, the trumpeter in the original band could not make the trip from India (though he tried to make it work), but Diego Urcola has been playing Pablo’s music for years as has Daniel Ian Smith. Giants, all of them. But what makes this record truly special to my ears is the deep universality in Pablo’s writing that is brought out so distinctly by the unique personalities in the band. Pablo told me once that the best compliment he can receive is to overhear someone after a concert carelessly singing one of his melodies.\u003c\/p\u003e\n\u003cp\u003eWhether it’s a thunderous stadium or Diego’s whisper quiet muted trumpet—Pablo says he is searching for proof of a resonating, human experience. I do not believe this record could have been made in any other universe than this one. It is a product of its conception, 20 years of perspective, patience and personality waiting to burst forth.\u003c\/p\u003e\n\u003cp\u003e– Elan Mehler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"read-more-overlay\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ca href=\"#liner-notes-top\" class=\"read-more-trigger smooth-scroll\" style=\"opacity: 0.8; display: block; text-align: center;\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 20px; opacity: 0.8; text-align: center;\"\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/files\/Pablo_Ablanedo_-_Chistreza_Liner_Notes.pdf?v=1598292799\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":41521674420420,"sku":"","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/20220515_newvelle_digital_pablo_ablanedo_shop.jpg?v=1652635960"}],"url":"https:\/\/www.newvelle-records.com\/collections\/season-five\/product_01-box-set.oembed","provider":"Newvelle Records","version":"1.0","type":"link"}