{"title":"Shop Newvelle","description":"","products":[{"product_id":"nv007lp-john-patitucci-irmaos-de-fe","title":"John Patitucci - Irmãos de Fé","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAudiophiles will thrill at the vividness of the analog sound here, especially the rich depth of Patitucci’s six-string bass on 'Sinhá.' But Newvelle’s devotion to the LP does have one drawback: It’s hard to imagine anyone listening to this music and not wishing there was room for more.\" – DownBeat, \u003cmeta charset=\"UTF-8\"\u003e★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"UTF-8\"\u003eI brought the album to High End Munich and the Los Angeles Audio Show and played in many rooms… each play brought the room to a literal standstill.\" –Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eDevotion is a strong word, but the pieces chosen by Patitucci, Silberstein and Boccato can inspire no other sentiment. Buarque, Nascimento, Jobim, Gismonti, Garôto, Dominguinhos… giants and poets. These songs are so strong. The standard jazz repertoire is full of brilliant tunes that are twisted and stretched to fit whatever design the player brings to it. And when the song is really special, it shines its own light regardless. But the songs on this record demand a different sort of reverence.\u003c\/p\u003e\n\u003cp\u003eThe three musicians on this record are not just musicians who love the music of Brazil, but are true scholars of the music. Lyrics, intentions, personalities, instrumentations, and histories were all discussed in rehearsals and studio just as much as chord changes, tempos and inflections. These songs have stories to tell.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eJohn Patitucci\u003c\/strong\u003e on acoustic and electric bass, \u003cstrong\u003eYotam Silberstein\u003c\/strong\u003e on acoustic and electric guitar, and \u003cstrong\u003eRogério Boccato\u003c\/strong\u003e on drums and percussion.\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\u003eNV007\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Irmão de Fé\"\u003c\/li\u003e\n\u003cli\u003e\"Catavento\"\u003c\/li\u003e\n\u003cli\u003e\"Pr'um Samba\"\u003c\/li\u003e\n\u003cli\u003e\"Desvairada\"\u003c\/li\u003e\n\u003cli\u003e\"Olha Maria\"\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\"Samba do Grande Amor\"\u003c\/li\u003e\n\u003cli\u003e\"As Vitrines\u003c\/li\u003e\n\u003cli\u003e\"Nilopolitano\"\u003c\/li\u003e\n\u003cli\u003e\"Sinha\"\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\/john-patitucci\"\u003eJohn Patitucci\u003c\/a\u003e - Acoustic and Electric Bass \u003cbr\u003e \u003ca href=\"\/pages\/yotam-silberstein\"\u003eYotam Silberstein\u003c\/a\u003e - Acoustic and Electric Guitar \u003cbr\u003e \u003ca href=\"\/pages\/rogerio-boccato\"\u003eRogério Boccato\u003c\/a\u003e - Drums \u0026amp; Percussion \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 class=\"p1\"\u003e\u003cstrong\u003eWhat if it’s about the song?\u003c\/strong\u003e Jazz has been defined by the beat, the instrumentation, the provenance or background of the musician, the historical antecedents, “If it swings, it’s jazz,” “If you have to ask, you’ll never know...” But beneath it all there’s the bedrock of improvisation. Jazz is the music that is improvised—of the moment—it’s about the musician making a statement in time, not a composer building something timeless. But is it jazz if everything that is created in the moment is in service to the song? A composition not as a vehicle for a musician to express himself, but all the talents of the improviser expended in devotion to the song?\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDevotion is a strong word, but the pieces chosen by Patitucci, Silberstein and Boccato can inspire no other sentiment. Buarque, Nascimento, Jobim, Gismonti, Garôto, Dominguinhos… giants and poets. These songs are so \u003cem\u003estrong\u003c\/em\u003e. The standard jazz repertoire is full of brilliant tunes that are twisted and stretched to fit whatever design the player brings to it. And when the song is really special, it shines its own light regardless. But the songs on this record demand a different sort of reverence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe three musicians on this record are not just musicians who love the music of Brazil but true scholars of the music. Lyrics, intentions, personalities, instrumentations and histories were all discussed in rehearsals and studio just as much as chord changes, tempos and inflections. These songs have stories to tell.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Irmãos de Fé” speaks of a battle for freedom… the lyrics oscillate between depictions of an idyllic future and a message of peace, on the one hand, with imagery of blades and violence on the other. The line that gets repeated twice at the end of the song invokes this dichotomy with such power —“Mesmo a dor vai te sorrir” (“Even your pain will smile at you”). John and Rogerio have both played with the great Milton Nascimento, who penned two tracks on this record, and is such a pivotal figure in the history of Brazilian music. The time feel here is colossal. If I can wax poetic here for a second, it’s not just about the metronomic feel of the time. There’s a tone to the time, a weight and an intention. Storytelling.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSide A closes with a heartbreaking rendition of Antonio Carlos Jobim’s “Olha Maria.” Speaking of guitarist Yotam Silberstein’s musicianship at the session, John said “Yotam's knowledge of this music is such that you can hear the full sound of the original recording's orchestra just through his guitar alone.” It is incredibly difficult to make a bowed melody, like John does here, sound so effortless. That fluidity of touch and technique is a special gift of John’s and a big part of what has made him one of the most popular and respected living bassists. And what a story he’s telling here so achingly and unsentimentally. The song speaks of a love not just lost but set free. Written by founding fathers of Bossa Nova, Antonio Carlos Jobim and Vinicius de Moraes along with the great Chico Buarque, there’s a deep self knowledge, wit and intelligence embedded in this piece:\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp class=\"p1\"\u003e(Translation help from Rogerio Boccato)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOlha Maria\u003c\/p\u003e\n\u003cp\u003eLook (or know this), Maria.\u003cbr\u003eI really wished to\u003cbr\u003eMake you a prey\u003cbr\u003eOf my poetry\u003cbr\u003eBut today, Maria\u003cbr\u003eTo my surprise\u003cbr\u003eTo my sadness\/sorrow\u003cbr\u003eYou need to leave.\u003c\/p\u003e\n\u003cp\u003eLeave, Maria\u003cbr\u003eThat you look so beautiful.\u003cbr\u003eYou are so eager\u003cbr\u003eTo abandon me\u003cbr\u003eI feel Maria (\u003cem\u003efeel here is the same word for sorry\u003c\/em\u003e)\u003cbr\u003ethat You were only visiting\u003cbr\u003ethat Your body moves\u003cbr\u003eWanting to dance\u003c\/p\u003e\n\u003cp\u003eLeave, Maria\u003cbr\u003eThat you are all naked\u003cbr\u003eThat the moon calls for you\u003cbr\u003eThat you are so womanly\u003cbr\u003eBurn, Maria\u003cbr\u003eIn the flame of the moon\u003cbr\u003eMaria the gypsy\u003cbr\u003eMaria the tide\u003c\/p\u003e\n\u003cp\u003eLeave singing\u003cbr\u003eMaria running away\u003cbr\u003eAgainst the big wind\u003cbr\u003ePlaying, sleeping\u003cbr\u003eIn a mountain range lap (in the side of a hill)\u003cbr\u003eIn an empty field\u003cbr\u003eOn a riverbed\u003cbr\u003eIn the arms of the sea\u003c\/p\u003e\n\u003cp\u003eGo away, joy\u003cbr\u003eThat life, Maria\u003cbr\u003eLasts just for a day\u003cbr\u003eI won’t delay you\u003cbr\u003eRun, Maria\u003cbr\u003eFor life does not wait\u003cbr\u003eIt's your springtime\u003cbr\u003eYou can not miss it\u003c\/p\u003e\n\u003cp\u003eGo ahead, Maria\u003cbr\u003eFor I would have only \u003cbr\u003eMy agony\u003cbr\u003eTo offer to you\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp\u003eThroughout this record, John, Yotam and Rogerio play masterfully, but to pick out specific solos or high points seems almost antithetical to the spirit of the recording. There is a collective, transporting narrative here that is evident in every note. Rather I’d like to use this space to again show some of the depth of writing and hopefully to give some insight into the \u003cem\u003esound\u003c\/em\u003e that is informing the record.\u003c\/p\u003e\n\u003cp\u003e“Sinhá”, which closes the record, is a song written recently by João Bosco and Chico Buarque. It tells a uniquely Brazilian story from the perspective of a slave being beaten for supposedly seeing the plantation master’s wife bathing in the river. The slave is pleading and saying, “I could not have seen her, I was not there, I can’t even see well, I had already left, I was watching the birds, etc…” As the song progresses we see the slave crying to Jesus but in his language of Yoruba, which speaks to the difficult history of Yoruba slaves, disguising their deities in the names of Catholic saints. The poetry of the song brings an entire tragic history replete with the beautiful musical detritus of civilizations reborn in foreign lands. In the last stanza the song turns again, as an “heir,” possibly the progeny of this slave and the mistress of the plantation (and as a tormented singer possibly Buarque himself and by extension modern Brazilian society), speaks of the bewitching power of the plantation.\u003c\/p\u003e\n\u003cp\u003eThere is a paradox in the regional specificity of these songs and their overwhelming universal truth. Music that speaks not just across languages but through a deeper medium. These songs are not conveyances for improvisational flights of fancy. John, Yotam and Rogerio bring their considerable gifts and unique voices to express the song, and the song alone, and perhaps that is the higher calling.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e--Elan Mehler\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cp\u003e“Sinhá”, by João Bosco and Chico Buarque\u003c\/p\u003e\n\u003cp\u003eIf the lady Bathed,\u003cbr\u003eI was not there.\u003cbr\u003eFor God Our Lord's sake\u003cbr\u003eI did not look at Sinha.\u003cbr\u003eI was there on the farm.\u003cbr\u003eI'm not one that looks at anyone.\u003cbr\u003eI have no more greed,\u003cbr\u003eCan't even see well.\u003c\/p\u003e\n\u003cp\u003eWhy put me in the trunk?\u003cbr\u003eWhy maim me?\u003cbr\u003eI swear to you, lord,\u003cbr\u003eI never saw Sinha.\u003cbr\u003eWhy treat me so badly?\u003cbr\u003eWith such blue eyes \u003cbr\u003eI now make the cross sign (like in the Catholic tradition).\u003c\/p\u003e\n\u003cp\u003eI just arrived at the weir,\u003cbr\u003elooking for the sabiá (a bird).\u003cbr\u003eI looked at the trees.\u003cbr\u003eI did not look at Sinha.\u003cbr\u003eIf the lady undressed,\u003cbr\u003eI had walked beyond already.\u003cbr\u003eIt was in the milling.\u003cbr\u003eI was in Xerém.\u003c\/p\u003e\n\u003cp\u003eWhy whittle my body?\u003cbr\u003eI did not look at Sinha.\u003cbr\u003eWhy, lord.\u003cbr\u003eMy eyes you will stick?\u003cbr\u003eI cry in Yoruba\u003cbr\u003eBut I pray for Jesus.\u003cbr\u003eWhy will you \u003cbr\u003ePrevent me to see the light?\u003c\/p\u003e\n\u003cp\u003eAnd so will end --\u003cbr\u003eThe story of a singer\u003cbr\u003eWith his pillory's voice \u003cbr\u003eAnd airs of a lord. \u003cbr\u003eA tormented singer and heir \u003cbr\u003eOf the name and reputation\u003cbr\u003eOf a fierce slave lord,\u003cbr\u003eAnd of the ills of a slave\u003cbr\u003eThat in the plantation bewitched Sinhá.\u003c\/p\u003e\n\u003c\/div\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/John_Patitucci_-_Irmaos_de_Fe_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33206282314,"sku":"NV007LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Patitucci_1.jpg?v=1623489822"},{"product_id":"nv008lp-kevin-hays-lionel-loueke-hope","title":"Kevin Hays \u0026 Lionel Loueke - Hope","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Hope is a heartfelt and unpretentious state-ment by two artists who do not ignore their own cultural roots but seek ways to connect them to other  experiences  or  to  find  common  threads.\"}' data-mce-fragment=\"1\"\u003eHope is a heartfelt and unpretentious statement by two artists who do not ignore their own cultural roots but seek ways to connect them to other experiences or to find common threads.\" –\u003cem\u003eDownBeat\u003c\/em\u003e, \u003cmeta charset=\"UTF-8\"\u003e★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Hope is a heartfelt and unpretentious state-ment by two artists who do not ignore their own cultural roots but seek ways to connect them to other  experiences  or  to  find  common  threads.\"}' data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"UTF-8\"\u003eIt’s a blend of beauty and substance.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eTension in music often leads to some of the most rewarding recordings and performances – when there’s cross-talk around who should take the lead, when someone is pushing and someone else is pulling, when the band isn’t resting in the beat but subjugating it. Duke Ellington’s great 1962 trio recording, \u003cem\u003eMoney Jungle\u003c\/em\u003e\u003cemp\u003eMoney Jungle\u003c\/emp\u003e, featuring Max Roach and Charles Mingus, was famously tense. You can hear it in the way Roach and Mingus are constantly snapping at each other, but their respect for Ellington takes precedence and leads to one of the finest trio records ever made.\u003c\/p\u003e\n\u003cp\u003eLionel and Kevin don’t need to find a balance between them because they are both serving something else. Whatever you want to call it – “truth,” “higher power,” “music” – that’s the third party here.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eKevin Hays\u003c\/strong\u003e on piano and vocals and \u003cstrong\u003eLionel Loueke\u003c\/strong\u003e on guitar and vocals.\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\u003eNV008\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Violeta\"\u003c\/li\u003e\n\u003cli\u003e\"Hope\"\u003c\/li\u003e\n\u003cli\u003e\"Aziza Dance\"\u003c\/li\u003e\n\u003cli\u003e\"Feuilles-O\"\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\"Milton\"\u003c\/li\u003e\n\u003cli\u003e\"Twins\u003c\/li\u003e\n\u003cli\u003e\"Veuve Malienne\"\u003c\/li\u003e\n\u003cli\u003e\"All I Have\"\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\/kevin-hays\"\u003eKevin Hays\u003c\/a\u003e - Piano \u0026amp; Vocals \u003cbr\u003e \u003ca href=\"\/pages\/lionel-loueke\"\u003eLionel Loueke\u003c\/a\u003e - Piano \u0026amp; Vocals \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\u003eTension in music often leads to some of the most rewarding recordings and performances—when there’s cross-talk around who should take the lead, when someone is pushing and someone else is pulling, when the band isn’t resting in the beat but subjugating it. Duke Ellington’s great 1962 trio recording, \u003cem\u003eMoney Jungle\u003c\/em\u003e, featuring Max Roach and Charles Mingus, was famously tense. You can hear it in the way Roach and Mingus are constantly snapping at each other, but their respect for Ellington takes precedence and leads to one of the finest trio records ever made.\u003c\/p\u003e\n\u003cp\u003eLionel and Kevin don’t need to find a balance between them because they are both serving something else. Whatever you want to call it—“truth,” “higher power,” “music”—that’s the third party here. I’ve been blessed as a musician and a producer to witness some incredible and even historic music. I’ve never been around anything like when Lionel and Kevin stepped into the studio.\u003c\/p\u003e\n\u003cp\u003eChemistry is a strange word for it. What microcosmic reactions are going on here when two musicians connect so viscerally? Often musicians talk about “feeling time” the same way. Can there be a blunter description of a fundamentally mystical idea? Lionel Loueke’s home country of Benin in West Africa is a long way from Kevin Hays’ hometown of Greenwich, Connecticut. Is there a deeper truth that they’ve both discovered?\u003c\/p\u003e\n\u003cp\u003eThe compositions on this record have their own synchronicity as well. \u003cstrong\u003eVioleta \u003c\/strong\u003ewas written by Kevin for the great Chilean singer, musician, folklorist and composer Violeta Parra. Kevin first heard Parra on a recording with the iconic Brazilian singer Milton Nascimento, immediately fell in love with her voice and dedicates this song to her “great spirit.” \u003cstrong\u003eHope\u003c\/strong\u003e was written by Lionel during a difficult time in his life. Lionel said, “Hope kept me alive,” and describes the song as “another song for peace and love.” As for \u003cstrong\u003eAziza Dance\u003c\/strong\u003e, he remarks: “Aziza is a little creature you can find in the forest if you are lucky, the god of inspiration in Beninese mythology.” \u003cstrong\u003eFeuilles-O\u003c\/strong\u003e is a traditional Haitian song that Kevin fell in love with and arranged (that’s Kevin singing the melody in Haitian Creole). The song is about a medicine man healing a sick child. Hays’s \u003cstrong\u003eMilton\u003c\/strong\u003e was written for and inspired by Nascimento, whose influence is clear in the falsetto intro, driving 5\/4 rhythm and contagious exuberance. \u003cstrong\u003eTwins\u003c\/strong\u003e was written by Lionel for his friend, the producer Mikele Locateli, when Mikele had twins, but it’s also about the “deep connection you can have between two people.” \u003cstrong\u003eVeuve Mallienne\u003c\/strong\u003e, which means “Malian widow,” is a cry from a wife who lost her husband to war and a demand for peace. Kevin actually wrote lyrics to \u003cstrong\u003eAll I Have\u003c\/strong\u003e, which speak “of the discovery of the wealth of spiritual truth that's always there, but often gets obscured by our involvement in things of the material world and our (even more often) cluttered minds.”\u003c\/p\u003e\n\u003cp\u003eThere’s a commonality of intention and inspiration here. A search for—or rather, a reliance upon—something beneath the surface. This is, of course, something that is represented and searched for in \u003cem\u003eall \u003c\/em\u003emusic, not just improvisational music, but the connection between Lionel and Kevin is so clear and warm that it is hard not to try to understand it. For these musicians who grew up across the globe from each other, to pull at the subterranean strands of connection, expose them to the world, and turn them on so they glow and illuminate—this is fundamental to the very idea of “hope.” For whether you find solace in the divine, the spiritual or the human, it’s this sort of communion that we’re all searching for, and relying upon.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Kevin_Hays_Lionel_Loueke_-_Hope_Liner_Notes.pdf?v=1598292797\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33206282378,"sku":"NV008LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Hays_1.jpg?v=1623489842"},{"product_id":"nv009lp-jon-cowherd-gateway","title":"Jon Cowherd - Gateway","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"This quartet is clearly having fun, egos aside, letting the improvisation speak for itself.\"}' data-mce-fragment=\"1\"\u003eThis quartet is clearly having fun, egos aside, letting the improvisation speak for itself.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"This quartet is clearly having fun, egos aside, letting the improvisation speak for itself.\"}' data-mce-fragment=\"1\"\u003e\"The fine blend of music and talent heard here results in a very peaceful and soothing listening experience.\" –The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eJon assembled a stellar band for this record and specifically wrote this music for them and this session. There’s something here that strikes at the truth of improvised music, a collective attempt to build something unique.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eJon Cowherd\u003c\/strong\u003e on piano, \u003cstrong\u003eBrian Blade\u003c\/strong\u003e on drums, \u003cstrong\u003eSteve Cardenas\u003c\/strong\u003e on guitar, and \u003cstrong\u003eTony Scherr\u003c\/strong\u003e on bass.\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\u003eNV009\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Gateway\"\u003c\/li\u003e\n\u003cli\u003e\"Piano Improvisation #1\"\u003c\/li\u003e\n\u003cli\u003e\"Memorial Day\"\u003c\/li\u003e\n\u003cli\u003e\"Wandering Heart\"\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\"Warriors\"\u003c\/li\u003e\n\u003cli\u003e\"A Beautiful Something\u003c\/li\u003e\n\u003cli\u003e\"Piano Improvisation #2\"\u003c\/li\u003e\n\u003cli\u003e\"Braun's Bronco\"\u003c\/li\u003e\n\u003cli\u003e\"Piano Improvisation #3\"\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\/jon-cowherd\"\u003eJon Cowherd\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/brian-blade\"\u003eBrian Blade\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/steve-cardenas\"\u003eSteve Cardenas\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/tony-scherr\"\u003eTony Scherr\u003c\/a\u003e - Bass \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 style=\"text-align: center;\" class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cem\u003e“There is always the feeling that we could go any place without having a destination.”\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cem\u003e– Brian Blade on playing with Jon Cowherd\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eJon and Brian met in 1988 when they were both studying at Loyola University in New Orleans. Brian had just arrived on campus, and they were assigned to play in the rhythm section for auditioning horn players. As Jon tells it, “We hadn’t been formally introduced before we began to accompany the students auditioning but, I immediately felt a commonality with him just from his playing. At the first break he approached me and said, ‘Hi, my name is Brian Blade.  I feel like we hear music in a similar way.’” They’ve been playing together ever since, and cofounded the Fellowship Band in 1997. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" class=\"p4\"\u003e\u003cspan class=\"s1\"\u003e\u003cem\u003e“He absolutely influences me and inspires me in the way that his compositions all have a great vibration and mood and architecture.”\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cem\u003e– Brian Blade on Jon’s compositions\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eI love that Brian used the word “architecture” to describe Jon’s writing.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThese songs do feel designed almost as much as written.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThis is not to say they are fussily constructed—melody, rather than harmonic ostentation or ornate structure, is the driving principle on every piece.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eBut around that melodic thread, Cowherd builds castles to explore.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003e\u003cem\u003eGateway \u003c\/em\u003eis a great title for this record, because there are so many moments in these compositions when you’re stepping through some edifice that Cowherd has built and discovering another chamber to explore.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThere is a wealth of ideas here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eJon says that he usually constructs his songs out of improvisational moments, so it’s a treat to see him build some of these ideas from scratch.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eEach of the solo piano improvisations on this record has a fully fleshed-out song embedded beneath the surface. Jon’s playing displays an uncanny lyricism. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eJon assembled a stellar band for this record. This is Steve Cardenas’ second time recording for Newvelle, after shining on Ben Allison’s “Quiet Revolution.” Steve’s one of those New York guys that quietly define what New York Jazz is. He’s a first-call guitarist because he can fit his sound into almost any context, but you always know it’s him. Tony Scherr is a quadruple threat—brilliant song writer, singer, guitarist and bassist. In addition to being a formidable singer and composer, Brian Blade is widely considered one of the greatest jazz drummers of all time. However, when you see him play, what jumps out at you is the joy that suffuses him when he’s playing. Huge grin, lighting up every beat he touches. It’s that ephemeral quality that all of the musicians on this record have. It’s not an expertise crafted and funneled into an instrument, but rather talent that looks for an outlet and will take any avenue that it can to escape. In between takes, all of the musicians would pull guitars off the wall and jam. Dance parties broke out regularly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eJon specifically wrote this music for these musicians and this session.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eWatching these guys traverse these tunes and finding all the interesting corners to bend their ideas around was a pleasure and an inspiration. There’s something here that strikes at the truth of improvised music, a collective attempt to build something unique. A master class on how to take direction without sublimating your own unique perspective. One person builds a gateway and then you walk through it together.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eThe destination? You’ll know when you get there.\u003c\/span\u003e\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Jon_Cowherd_-_Gateway_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33206282442,"sku":"NV009LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Cowherd_1.jpg?v=1623489833"},{"product_id":"nv010lp-chris-tordini-midnight-sun","title":"Chris Tordini - Midnight Sun","description":"\u003cblockquote\u003e\n\u003cp\u003e\"T\u003cspan data-sheets-userformat='{\"2\":835,\"3\":{\"1\":0},\"4\":{\"1\":2,\"2\":16773836},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Double bassist Tordini is accompanied by guitarist Greg Ruggiero and singer Becca Stevens, and the trio's emotional performance of \\\u0026quot;My Funny Valentine\\\u0026quot; is one for the ages… on the trio's reading of \\\u0026quot;Everything Happens to Me\\\u0026quot;—their hot swing and mischievous gait are wonderful stuff. This charming album gets my late vote for one of 2017's best.\u0026quot;}\" data-mce-fragment=\"1\"\u003ehe trio's emotional performance of 'My Funny Valentine' is one for the ages. [And] on the trio's reading of 'Everything Happens to Me'—their hot swing and mischievous gait are wonderful stuff. This charming album gets my late vote for one of 2017's best.\" –Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":835,\"3\":{\"1\":0},\"4\":{\"1\":2,\"2\":16773836},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Double bassist Tordini is accompanied by guitarist Greg Ruggiero and singer Becca Stevens, and the trio's emotional performance of \\\u0026quot;My Funny Valentine\\\u0026quot; is one for the ages… on the trio's reading of \\\u0026quot;Everything Happens to Me\\\u0026quot;—their hot swing and mischievous gait are wonderful stuff. This charming album gets my late vote for one of 2017's best.\u0026quot;}\" data-mce-fragment=\"1\"\u003e\"Stripped of any superfluous trappings, allowing the individual performances to stand on their own merits.\" –\u003cem\u003eAll About Jazz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBassist \u003cb\u003eChris Tordini\u003c\/b\u003e and vocalist \u003cb\u003eBecca Stevens\u003c\/b\u003e have played together for well over a decade, having met when they were both studying at the New School in Manhattan. For Becca, Chris embodies the most integral trait for a bassist. “Whatever note he chooses to play is always going to feel like home. There’s no bullshit there.” Here, they're joined by \u003cb\u003eGreg Ruggiero\u003c\/b\u003e on guitar.\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\u003eNV010\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"What Reason Could I Give?\"\u003c\/li\u003e\n\u003cli\u003e\"Portrait\"\u003c\/li\u003e\n\u003cli\u003e\"If I Should Lose You\"\u003c\/li\u003e\n\u003cli\u003e\"Midnight Sun\"\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\"My Funny Valentine\"\u003c\/li\u003e\n\u003cli\u003e\"Everything Happens To Me\u003c\/li\u003e\n\u003cli\u003e\"Prelude To A Kiss\"\u003c\/li\u003e\n\u003cli\u003e\"Peace\"\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\/chris-tordini\"\u003eChris Tordini\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/becca-stevens\"\u003eBecca Stevens\u003c\/a\u003e - Vocals \u003cbr\u003e \u003ca href=\"\/pages\/greg-ruggiero\"\u003eGreg Ruggiero\u003c\/a\u003e - Guitar \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\u003eHonesty in music is a tricky concept. For many musicians there’s a ‘truth’ that’s inherent in the music and it’s their job to uncover it. Or, there’s a personal truth that can be expressed only by removing all the tricks, licks, patterns and technique that musicians spend their life acquiring. It’s about accessing something that’s made ‘real’ by the imperative of its existence. It’s what’s left when the unnecessary has been excised.\u003c\/p\u003e\n\u003cp\u003eI’ve known of Becca Stevens’ singular interpretations of jazz standards for a long time, so I was excited when Chris said he wanted to work with her and Greg Ruggiero on a record. In fact, I first became familiar with Chris’s music from his longtime work in Becca’s band. Becca and Chris have played together for well over a decade, having met when they were both studying at the New School in Manhattan. For Becca, Chris embodies the most integral trait for a bassist. “Whatever note he chooses to play is always going to feel like home. There’s no bullshit there.”\u003c\/p\u003e\n\u003cp\u003eBecca left straight from the second day of this recording session to the airport. She was flying to Georgia to visit her grandmother, Phyllis Hudgins. Phyllis had been suffering from cancer for a long time and had decided, with the help of some courageous medical professionals, to turn off her pacemaker.\u003c\/p\u003e\n\u003cp\u003eWhen Becca had last spoken with Phyllis, she had asked her if there was any particular standard that her grandmother would like Becca to record. Phyllis requested “My Funny Valentine.” Phyllis remembered a rendition by Becca when she was still in high school. Becca sang the melody and while the band was soloing, she danced with her grandfather, Phyllis’ late husband. Phyllis told Becca, “You can sing it to me because ‘my figure is less than Greek, and my mouth is a little weak’.”\u003c\/p\u003e\n\u003cp\u003eDespite being covered by nearly every great jazz singer of the modern era, ‘My Funny Valentine,’ is not a lyrical masterpiece. When you imagine a young lover singing it, it’s saccharine in its sentiment, and rings false in its perception. As the music critic Will Friedwald wrote: “‘My Funny Valentine’ is a man’s idea of the way he imagines women think about men.” But at this session, parts of the lyrics kept on breaking free from their canonical meaning and fastening to Becca’s childhood memories. As a very young girl, Becca used to play with her grandmother’s curly hair, often to Phyllis’s exasperation. “Stay little valentine, stay,” became this selfish call, to hang on for a couple more days so that Becca could see her again. After the take, we discussed ways to “fix” the end of the first chorus. Becca had become overcome with emotion right after the lyric, “don’t change a hair for me…” We went so far as to plug in a new vocal track before realizing what should have been clear from the start. The take was perfect as it was.\u003c\/p\u003e\n\u003cp\u003eChris starts and ends this record with songs from the great Ornette Coleman. “What Reason Can I Give” which has some fragmented, beautiful lyrics from Ornette himself, and Chris’s solo interpretation of “Peace.” “Peace” is from Ornette’s iconic album The Shape of Jazz to Come, and its boldness is derived from its clarity and simplicity. It’s the kind of melody that feels discovered more than composed. As Chris plays it, it’s a simple story, clearly told. A truth spoken.\u003c\/p\u003e\n\u003cp\u003eLast May in Georgia, Phyllis Hudgins’s family gathered around her, they spent her last days telling stories and jokes. But mostly, they played music.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Chris_Tordini_-_Midnight_Sun_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33206282506,"sku":"NV010LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Tordini_1.jpg?v=1623489742"},{"product_id":"nv011lp-aruan-ortiz-cuban-nocturne","title":"Aruán Ortiz - Cuban Nocturne","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Cuban Nocturne is both a testament to Aruan Ortiz’s musicianship, and a historical tribute to Cuban classical music.\"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003eCuban Nocturne is both a testament to Aruán Ortiz’s musicianship, and a historical tribute to Cuban classical music.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eWhen filmmaker Ben Chace finished shooting the movie \u003cem\u003eSin Alas\u003c\/em\u003e (Without Wings) in Cuba he reached out to Aruán Ortiz to score it. The haunting original “Cuban Nocturne,” the title song on this album, is the film’s theme.\u003c\/p\u003e\n\u003cp\u003eSparked by that collaboration with Chace, these songs became a reflection on the music that saturated Ortiz's childhood. A repertoire that, for the most part, he has never played before. As Ortiz weds his singular genius for improvisation to the classical repertoire of his homeland, what emerges is an investigation of selfhood. It’s the sound of a man balancing and synthesizing the elements of his musical identity.\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\u003eNV011\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Cuban Nocturne (Theme from \u003cem\u003eSin Alas\u003c\/em\u003e)\"\u003c\/li\u003e\n\u003cli\u003e\"Tres Lindas\"\u003c\/li\u003e\n\u003cli\u003e\"Musica Callada\"\u003c\/li\u003e\n\u003cli\u003e\"Picotazos\"\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\"Interlude\"\u003c\/li\u003e\n\u003cli\u003e\"Danza Negra\"\u003c\/li\u003e\n\u003cli\u003e\"Los Tres Golpes\"\u003c\/li\u003e\n\u003cli\u003e\"Interlude 2\"\u003c\/li\u003e\n\u003cli\u003e\"Ilusiones Perdidas\"\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\/aruan-ortiz\"\u003eAruán Ortiz\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\u003eWhen the film maker Ben Chace finished shooting the movie Sin Alas (“Without Wings”) in Cuba he reached out to Aruán Ortiz to score it. (The haunting original “Cuban Nocturne,” is the film’s theme.) In addition, Ben had a particular piece in mind for the film—Ignacio Cervantes’ “Ilusiones Perdidas.” The short, playful and haunting piece is very well known in Cuba but has special resonance for Aruán. It’s a piece of music he’s been circling since childhood.\u003c\/p\u003e\n\u003cp\u003eSparked by that collaboration between Aruán and Ben, these songs became a reflection on the music that saturated Aruán’s childhood, a repertoire for the most part, perhaps surprisingly, he has never played before. As Aruán weds his singular genius for improvisation to the classical repertoire of his homeland, what emerges is an investigation of selfhood. It’s the sound of a man balancing and synthesizing the elements of his musical identity.\u003c\/p\u003e\n\u003cp\u003eBorn in Santiago de Cuba in 1973, Aruán studied in the formidable Russian-style conservatory training that was ubiquitous in Cuba at the time. However, Aruán had never played the classic Cervantes repertoire, because Aruán was not a piano major. In fact, it was a complete coincidence that sent him on the path to being a musician at all. Aruán went to the local conservatory audition only to accompany his older brother, who had expressed an interest. When they arrived, they learned that his eight-year old brother was too old to audition. After passing the audition, Aruán remembers being immediately drawn to the piano but his mother convinced him that violin, perhaps because of its size and easy portability, was the better choice. Despite being one of the only students there without a family background in music, Aruán loved the discipline and rigor of the school and fell hard for the music. He spent the next eleven years studying violin and viola at the conservatory.\u003c\/p\u003e\n\u003cp\u003eAfter rising to the top level at the conservatory, Aruán moved to Havana to attend the famed “Instituto Superior de Arte.” He spent two years in the uncompromising classical viola course before ultimately abandoning viola and returning to his first love, piano. Despite being five years older than his classmates, Aruán returned to Santiago de Cuba and re-enrolled at the conservatory, this time as a pianist.\u003c\/p\u003e\n\u003cp\u003eIn 1996, when Aruán was 22, a cassette tape of his original music for piano found its way to the great pianist and educator, Cecilio Tieles, leading to an invitation to continue his classical piano studies in Spain. Of all the time that Aruán has spent studying music, he credits his three years studying with Tieles in Catalonia as the most rigorous. It was here he dove deep into the music of the great composers, chief among them the Catalonian master Fredrico Mompou, whose “Musica Callada” is represented on this record. In 1999 Aruán transferred to a modern music conservatory in Barcelona where he could finally start a formal study of Jazz. From there, Aruán won a scholarship to the Berklee School of Music in Boston. However, he spent an additional two years in Spain saving for his trip, mostly from giving salsa lessons. So it was not until 2002 that Aruán arrived Stateside, a full 22 years after starting his musical studies. A life drenched in musical pursuit.\u003c\/p\u003e\n\u003cp\u003eTo make a record of Cervantes and other giants of Cuban classical music like Romeu and Lecuona is something that Aruán called “A huge responsibility…I wanted to tackle these pieces from a different angle. They are written very clean—like Mozart. This music is written so completely that it doesn’t really lend itself to improvisation. I wanted to very carefully add embellishments without changing the character of the piece but using the same vocabulary.” As a composer and improviser, Aruán’s recorded work, full of shifting meters and enigmatic titles, is relentlessly modern. Here, in contrast, he’s interpreting music that is nakedly romantic, crystalline and exposed.\u003c\/p\u003e\n\u003cp\u003eAfter fifteen years in the United States and nine records under his own name, this recording is a fresh look at the music that shaped Aruán’s youth. An examination of the musical fabric of Cuba from an artist now raising two sons of his own in his adopted home of Brooklyn. There’s no easy reductive comparisons to make here, not composer vs. interpretation, nor improvisation vs. composition, nor modernity vs. history. Instead, I hear a persistent undertone—a spirit shaped throughout the globe and the resonance of a life lived in music.\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\/Aruan_Ortiz_-_Cuban_Nocturne_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":33206282570,"sku":"NV011LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Ortiz_1.jpg?v=1623489716"},{"product_id":"nv012lp-rufus-reid-terrestrial-dance","title":"Rufus Reid - Terrestrial Dance","description":"\u003cblockquote\u003e\n\u003cp\u003e\"Superb\" –Audiophile Audition\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe music that Rufus writes on this record offers no apologies. He does not dabble. When Rufus told us he wanted to write some music for trio plus string quartet, our principal concern was that we’d be looking at another “with strings” record, with the string quartet serving as a cursory sonic bedding for a couple of supremely accomplished improvisers to bounce around on. However, this is music whose structure is wedded to its intention and execution. Rufus is a capital C \"Composer,\" and he digs deep here.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eRufus Reid\u003c\/strong\u003e on bass, \u003cstrong\u003eSteve Allee\u003c\/strong\u003e on piano, \u003cstrong\u003eDuduka Da Fonseca\u003c\/strong\u003e on drums, and the \u003cstrong\u003eSirius Quartet\u003c\/strong\u003e's Fung Chern Hwei, Gregor Huebner, Ron Lawrence, and Jeremy Harman on strings.\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\u003eNV012\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"This I Ask of You\"\u003c\/li\u003e\n\u003cli\u003e\"It's Time to Shout it Out\"\u003c\/li\u003e\n\u003cli\u003e\"Tippin'\"\u003c\/li\u003e\n\u003cli\u003e\"Tranescape\"\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\"Celestial Dance\"\u003c\/li\u003e\n\u003cli\u003e\"You Make Me Smile\u003c\/li\u003e\n\u003cli\u003e\"Falling In Love\"\u003c\/li\u003e\n\u003cli\u003e\"Cedar's Blues\"\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\/steve-allee\"\u003eSteve Allee\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/duduka-da-fonseca\"\u003eDuduka Da Fonseca\u003c\/a\u003e - Drums \u003cbr\u003e \u003cb\u003eSirius Quartet:\u003c\/b\u003e \u003cbr\u003e  -  Fung Chern Hwei \u003cbr\u003e  -  Gregor Huebner \u003cbr\u003e  -  Ron Lawrence \u003cbr\u003e  -  Jeremy Harman \u003cbr\u003e \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\u003eRufus Reid’s voice is a wondrous thing. It feels like it emanates from the center of the earth. There’s nothing judgmental, cantankerous, preachy or self-important to Rufus, and despite his myriad accomplishments he’s as humble and kind as they come. But still, when you talk with Rufus, you get told.\u003c\/p\u003e\n\u003cp\u003eThe music that Rufus writes on this record offers no apologies. He does not dabble. When Rufus told me he wanted to write some music for trio plus string quartet, my principal concern was that we’d be looking at another “with strings” record, with the string quartet serving as a cursory sonic bedding for a couple of supremely accomplished improvisers to bounce around on. However, this is music whose structure is wedded to its intention and execution. Rufus is a capital C composer, and he digs deep here.\u003c\/p\u003e\n\u003cp\u003eReid has toured and recorded with Eddie Harris, Nancy Wilson, Harold Land and Bobby Hutcherson, Lee Konitz, the Thad Jones and Mel Lewis Jazz Orchestra, Dexter Gordon, J.J. Johnson, Jack DeJohnette, Art Farmer, Stan Getz, Kenny Burrell, Kenny Barron, and countless others. However, he is equally well known as an educator. His book, \u003cem\u003eThe Evolving Bassist\u003c\/em\u003e, has been the industry standard for bass method since 1974. In 1981, Reid and Dr. Martin Krivin created the acclaimed Jazz Studies and Performance Program at William Paterson University, where he mentored hundreds of young musicians from around the world. But after retiring from WPU in 1999, he took an unexpected turn and started attending the weekly sessions of the BMI Jazz Composer’s Workshop. He spent a total of five years attending the free workshop in NYC that welcomes musicians of varied skill levels. In 1999, Reid got his first commission by winning the Charlie Parker\/Manny Albam competition.\u003c\/p\u003e\n\u003cp\u003eI imagine, when you’ve walked with giants like Rufus has, it’s easy to become complacent. His spot in the firmament as one of the preeminent bassists of his time has been secure for decades. Bassists are generally tasked with keeping things together, so if you’re exceptional, eventually everyone knows you hold it down. If you’re building cathedrals and you need a foundation you call someone like Rufus Reid, who can establish a bedrock for you like few have in history. But the greats know that no matter how far down you go, you can never reach bottom. So you head back to school. You listen voraciously. You search for new sounds. You learn from your students. You build your own cathedrals.\u003c\/p\u003e\n\u003cp\u003eI’m not saying everyone needs to write or arrange in order to reach their artistic potential. Or even that there’s necessarily more personal expression in the composed work. There are many ways to keep cracking the veneer of your skill to display your character, and in the end we serve the music, not the other way around. So, of course, it’s not the level of craftsmanship on display here that makes this record extraordinary, nor even the audaciousness of the writing that makes this one shine. It’s that in composition and interpretation there is the coherent expression of novel and fully formed ideas. Something new and beautiful in the world.\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_-_Terrestrial_Dance_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":33206282634,"sku":"NV012LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Reid_1.jpg?v=1623489951"},{"product_id":"season-one","title":"Newvelle Season One: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\"The sound is beautifully crisp, and the packaging...is elegant and spare.\" –\u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Both the artistic merits and recording quality are extremely high.\" –Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThis is the critically acclaimed first season of Newvelle Records, winner of\u003cem\u003e The Audio Beat \u003c\/em\u003eRecordings of the Year Award. This complete box set includes six, 180-gram vinyl records and a premium collector’s box. It features the extraordinary American poet \u003cb\u003eTracy K. Smith\u003c\/b\u003e and legendary French photographer \u003cb\u003eBernard Plossu\u003c\/b\u003e. Albums include:\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eMeantime\u003c\/em\u003e - Frank Kimbrough\u003c\/b\u003e \u003cbr\u003eFeaturing Andrew Zimmerman, Chris Van Voorst Van Beest, R.J. Miller, and Riley Mulherkar\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eReturn\u003c\/em\u003e - Jack DeJohnette\u003c\/b\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eSome Other Time\u003c\/em\u003e - Noah Preminger\u003c\/b\u003e \u003cbr\u003eFeaturing Ben Monder, John Patitucci, and Billy Hart\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eStrength and Sanity\u003c\/em\u003e - Don Friedman\u003c\/b\u003e \u003cbr\u003eFeaturing Phil Palombi and Shinnosuke Takahashi\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eQuiet Revolution\u003c\/em\u003e - Ben Allison\u003c\/b\u003e \u003cbr\u003eFeaturing Ted Nash and Steve Cardenas\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eArgentinosaurus\u003c\/em\u003e - Leo Geonvese\u003c\/b\u003e \u003cbr\u003eFeaturing Esperanza Spalding and Jack DeJohnette\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\"This is a series of uniquely produced, well-recorded, musically adventurous jazz albums by some of today’s most highly regarded composers and players.\" –Analog Planet\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\u003eNVN001-NV006\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 and 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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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":33206282698,"sku":"NVSLP001-FULL","price":400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Full_1.jpg?v=1623489897"},{"product_id":"season-two","title":"Newvelle Season Two: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eNewvelle is arguably producing today's best sounding new jazz recordings.\" –Hi-Fi+\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Once again Newvelle has expanded our musical horizons with crystalline acoustics supporting first class musicians stretching out in new directions.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eOur second series of records features artwork by the incredible French photo collective \u003cstrong\u003eTendance Floue\u003c\/strong\u003e. Includes box set designed by \u003cstrong\u003eAntoine Leroux\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eIrmãos de Fé\u003c\/em\u003e - John Patitucci Trio\u003c\/b\u003e \u003cbr\u003eFeaturing Yotam Silberstein and Rogerio Boccato\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eHope\u003c\/em\u003e - Kevin Hays \u0026amp; Lionel Loueke\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eGateway\u003c\/em\u003e - Jon Cowherd Quartet\u003c\/b\u003e \u003cbr\u003eFeaturing Steve Cardenas, Tony Scherr and Brian Blade\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eMidnight Sun\u003c\/em\u003e - Chris Tordini Trio\u003c\/b\u003e \u003cbr\u003eFeaturing Becca Stevens and Greg Ruggerio\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eCuban Nocturne\u003c\/em\u003e - Aruán Ortiz\u003c\/b\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eTerrestrial Dance\u003c\/em\u003e - Rufus Reid Trio\u003c\/b\u003e \u003cbr\u003eWith Steve Allee and Duduka Da Fonseca, featuring the \u003cb\u003eSirius Quartet\u003c\/b\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"The praise the label has received for its releases has been universal, not only for the music but also for the high-quality packaging and artwork.\" –The Audio Beat\u003c\/p\u003e\n\u003cp\u003e\"A\u003cspan data-mce-fragment=\"1\"\u003elbum covers with gorgeous photography, stylish box sets that enclose the LPs, noise-free vinyl, and natural- and open-sounding recordings that do an excellent of capturing both ambiance and detail.\" –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\u003eNV007-NV012\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 and 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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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":33206289290,"sku":"NVSLP002-FULL","price":400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S2_Full_1.jpg?v=1623489917"},{"product_id":"nv001lp-frank-kimbrough-meantime","title":"Frank Kimbrough - Meantime","description":"\u003cblockquote\u003e\n\u003cp\u003e\"T\u003cspan data-mce-fragment=\"1\"\u003ehe recording oozes texture and tonal truth.\" –The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Meantime boasts clean, realistic, well-balanced, and alluring sound.\"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-textstyleruns='{\"1\":0,\"2\":{\"6\":1}}{\"1\":8}' data-mce-fragment=\"1\"\u003e\u003cem\u003eMeantime\u003c\/em\u003e boasts clean, realistic, well-balanced, and alluring sound.\" –The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMeet Newvelle's debut album. We went to Frank with the idea for Newvelle because his music embodied exactly the sound we wanted to celebrate. Lyrical, melodic, focused on tone, and completely direct. Frank passed at the end of 2020, and what everyone seems to remember about him was that he was completely present in the moment. He never owned a cell phone and he didn't compromise his vision for anyone.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eFrank Kimbrough\u003c\/strong\u003e on piano, \u003cstrong\u003eAndrew Zimmerman\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eChris Van Voorst Van Beest\u003c\/strong\u003e on bass, \u003cstrong\u003eR.J. Miller\u003c\/strong\u003e on drums, and \u003cstrong\u003eRiley Mulherkar\u003c\/strong\u003e on trumpet.\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\u003eNV001\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Alabama Song\"\u003c\/li\u003e\n\u003cli\u003e\"Laughing at Gravity\"\u003c\/li\u003e\n\u003cli\u003e\"Twenty Bars\"\u003c\/li\u003e\n\u003cli\u003e\"Laverne\"\u003c\/li\u003e\n\u003cli\u003e\"Elegy for PM\"\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\"Katonah\"\u003c\/li\u003e\n\u003cli\u003e\"Meantime\"\u003c\/li\u003e\n\u003cli\u003e\"Four by Four\"\u003c\/li\u003e\n\u003cli\u003e\"Last Night When We Were Young\"\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\/frank-kimbrough\"\u003eFrank Kimbrough\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/andrew-zimmerman\"\u003eAndy Zimmerman\u003c\/a\u003e - Tenor Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/chris-van-voorst-van-beest\"\u003eChris Van Voorst Van Beest\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/r-j-miller\"\u003eR.J. Miller\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/riley-mulherkar\"\u003eRiley Mulherkar\u003c\/a\u003e - Trumpet \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\u003e“It’s not art unless it has the potential to be a disaster”. That’s a quote attributed to the street artist Banksy. It’s an awfully feel good quote from such a counter-culture guru. It’s a call for audacity but it also carries a note of Horatio Alger. “We can all make art as long as we’re fearless.” Where it gets interesting for me is the intersection of technique and art. To spend your life painstakingly building the scaffolding of your craft, and then to really let go and fall every time. That’s the guiding light of improvised music.\u003c\/p\u003e\n\u003cp\u003eThe classic Kurt Weil composition “\u003cstrong\u003eAlabama Song\u003c\/strong\u003e” kicks off this record. I’m always interested in the way a rhythm section musician leads a group with horns. You can step in front and trail-blaze or you can leave space in the music to let the musicians lean in. It’s the difference between being a “front man” and being a leader. This piece is such a great vehicle for presenting Andrew Zimmerman’s tone. Andrew takes the melody at face value, playing it pure. To play a melody simply and yet to create something unique in the world is perhaps the greatest of musical gifts. Frank’s solo is an extension of that melody. In fact nowhere on this record, to my ears, do any of the musicians lose sight of the melodic framework of the compositions. This music is not about using these tunes as a vehicle for self-expression but rather allowing the tune to express itself through the player. Neat trick.\u003c\/p\u003e\n\u003cp\u003e“\u003cstrong\u003eLaughing at Gravity\u003c\/strong\u003e” is one of a trio of compositions that Frank wrote for this record. He described to me a late night in November with silence seeping through the walls of his apartment from his neighborhood in Queens. Frank sat down with one sheet of music paper at the dining room table and sketched out “Laughing at Gravity,” “Elegy for PM” and “Meantime” in a half hour hit of inspiration. “Laughing” is a gospel-tinged tune flipping from a vamping “A” section to a dancing melodic bridge. Frank cuts out at the beginning of Andrew’s solo and lets him pick up a head of steam before sliding back into the groove.\u003c\/p\u003e\n\u003cp\u003e“\u003cstrong\u003eTwenty Bars\u003c\/strong\u003e” is a song that Frank recorded on his first album “Lonely Woman,” for Mapleshade. It’s an extended blues form and has a timeless feel to it. The way drummer, RJ Miller plays around the time is stunning. To swing that hard while never having to make anything explicit is reminiscent of the great Paul Motian.\u003c\/p\u003e\n\u003cp\u003eThe great pianist and composer Andrew Hill wrote “\u003cstrong\u003eLaverne\u003c\/strong\u003e” for his wife. Frank and Andrew were good friends and Andrew’s music has always claimed a deep place in Frank’s heart. “A lot of Andrew’s music is thought of often as being quite dark and complicated, you know, these churning rhythms... but this tune is just a song and it’s a very happy song, and I’ve always liked it.” Riley Mulherkar joins on trumpet for the first time on this track. Riley was getting his masters at Juilliard where Frank teaches and Frank invited him last minute to sit in on a couple of tunes. Riley has a round sound and mature concept that belies his youth.\u003c\/p\u003e\n\u003cp\u003eClosing out the first side is “\u003cstrong\u003eElegy for P.M.\u003c\/strong\u003e” This is maybe my favorite Kimbrough composition. The clarity of the melody cloaks so much that digs deep. I love Chris Van Voorst Van Beest’s phrasing behind Frank’s solo, RJ’s refusal to play the easy answer... Zimmerman and Frank have such chemistry... “I thought Andrew played my music really, really well. You know, he’s playing what I’m hearing, ‘cause you can’t write what you hear. You can do your best but the inflection, the phrasing, the interpretation of the music, even with all the notes there, that cannot be right, but with Andrew it was perfect.”\u003c\/p\u003e\n\u003cp\u003e“\u003cstrong\u003eKatonah\u003c\/strong\u003e” opens up side two with a jolt of energy. From the first hit of the melody to the last note there is a sustained intensity that feels effortless. Riley opens up for a chorus using the full timbre of the horn and Andrew’s cool response builds in intensity and then Frank burns his solo right through the last chorus of the melody.\u003c\/p\u003e\n\u003cp\u003eRather than open up the form for traditional solos, “\u003cstrong\u003eMeantime\u003c\/strong\u003e,” continually cycles through a deceptively simple Kimbrough melody. There’s just enough harmony to hang something beautiful on. Tension and release, never predictable, and always with the carefully chosen tone trumping the paroxysm of notes.\u003c\/p\u003e\n\u003cp\u003e“\u003cstrong\u003eFour by Four\u003c\/strong\u003e,” is another tune from Frank’s back catalogue. It’s got a touch of Monk in there, but in its execution and harmonic depth it’s pure Kimbrough. Andrew tackles the trickier changes with aplomb. I love the interaction behind Zimmerman’s solo between Frank, Chris and RJ. Always searching, never acquiescent, always listening and reactive.\u003c\/p\u003e\n\u003cp\u003eFrank has a gift for finding under appreciated classics. The record closes with the Harold Arlen standard “\u003cstrong\u003eLast Night When We Were Young\u003c\/strong\u003e.” How this song is not covered more often is a mystery. There is nowhere more vulnerable in improvised music than in melody and Riley’s trumpet shows a depth that marks him as a leading young talent. There is great value within the swirling eddies of cacophony and rhythmic multiplicities but one can find places to hide in there. The well formed improvised melodic statement is the most exposed and unprotected place on the bandstand and because of this, it can shoulder the most emotional weight. This quintet dances on the edge of catastrophe.\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\/Frank_Kimbrough_-_Meantime_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":33771874378,"sku":"NV001LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Kimbrough_1.jpg?v=1623489781"},{"product_id":"nv002lp-jack-dejohnette-return","title":"Jack DeJohnette - Return","description":"\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003e\"An album of careful contemplation and obvious personal stake.\" – \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFor more than five decades, Jack DeJohnette has been the rhythmic anchor behind some of the most innovative and groundbreaking jazz ever captured in the studio or created on stage, collaborating with legends like Miles Davis, John Coltrane, Thelonious Monk, Keith Jarrett, Pat Metheny and many others.\u003c\/p\u003e\n\u003cp\u003eBut even before he was a drummer and NEA Jazz Master, DeJohnette took his first musical steps on piano. He steps into the spotlight alone with this release, his very first solo piano recording, featuring two brand new compositions as well as reinterpretations of compositions recorded with earlier bands and projects.\u003c\/p\u003e\n\u003cp\u003e“Recording a solo piano project is very challenging, because it’s just you,” he says. “So I really had to think about the repertoire – what I would record, what would make sense. I wrote two new pieces, and I also played some of my earlier works that I had recorded previously with various ensembles. It was a challenge for me – and an exciting one – to play my own music in a new way. I didn’t want to be in competition with other musicians. I just wanted to make a statement with this record.”\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\u003eNV002\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Ode to Satire\"\u003c\/li\u003e\n\u003cli\u003e\"Ebony\"\u003c\/li\u003e\n\u003cli\u003e\"Silver Hollow\"\u003c\/li\u003e\n\u003cli\u003e\"Lydia\"\u003c\/li\u003e\n\u003cli\u003e\"Blue\"\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\"The Dervish Trance\"\u003c\/li\u003e\n\u003cli\u003e\"Indigo Dreamscapes\"\u003c\/li\u003e\n\u003cli\u003e\"Song For World Forgiveness\"\u003c\/li\u003e\n\u003cli\u003e\"Exotic Isles\"\u003c\/li\u003e\n\u003cli\u003e\"Ponta de Areia\"\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\/jack-dejohnette\"\u003eJack DeJohnette\u003c\/a\u003e - Piano \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\u003e\u003cstrong\u003eJack DeJohnette revisits his roots with his first solo piano recording. \u003cem\u003eReturn\u003c\/em\u003e features new compositions and reinterpretations of Jack’s classics.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMost musicologists agree that the piano is a percussive instrument as well as a melodic and harmonic instrument. Based on this widely accepted premise, the piano and the drum come from the same place.\u003c\/p\u003e\n\u003cp\u003eNEA Jazz Master recipient and legendary jazz drummer J\u003cstrong\u003eack DeJohnette\u003c\/strong\u003e knows this as well as any musicologist, and probably better. For more than five decades, DeJohnette has been the rhythmic anchor behind some of the most innovative and groundbreaking jazz ever captured in the studio or created on stage. Along the way, he has collaborated with legends: Miles Davis, John Coltrane, Thelonious Monk, Keith Jarrett, Pat Metheny and many others.\u003c\/p\u003e\n\u003cp\u003eBut even before he was a drummer, DeJohnette was a pianist. He took his first musical steps on piano as a child before switching to drums, but colleagues and fans who know him best also know him as a brilliant piano composer whose keyboard work has been featured on various recordings over the course of his career.\u003c\/p\u003e\n\u003cp\u003eJack DeJohnette the pianist steps into the spotlight alone in the spring of 2016 with the release of \u003cstrong\u003e\u003cem\u003eReturn\u003c\/em\u003e\u003c\/strong\u003e, the very first solo piano recording of his long and distinguished career. \u003cstrong\u003e\u003cem\u003eReturn\u003c\/em\u003e\u003c\/strong\u003e, scheduled for a vinyl-only release in April of 2016 on Newvelle Records, features two brand new compositions as well as reinterpretations of compositions recorded with earlier bands and projects. Newvelle’s new and exciting subscription only business model caters to the serious audiophile listener.\u003c\/p\u003e\n\u003cp\u003e“Recording a solo piano project is very challenging, because it’s just you,” he says. “So I really had to think about the repertoire – what I would record, what would make sense. I wrote two new pieces, and I also played some of my earlier works that I had recorded previously with various ensembles. It was a challenge for me – and an exciting one – to play my own music in a new way. I didn’t want to be in competition with other musicians. I just wanted to make a statement with this record.”\u003c\/p\u003e\n\u003cp\u003eThe statement is clear from the very first track, “Ode to Satie,” a brand new composition from DeJohnette. The piece draws its inspiration from – and pays tribute to – the short, atmospheric Gymnopedies composed by French pianist Erik Satie in the late 1800s. “They are very peaceful compositions, especially when you consider the frantic world we live in,” says DeJohnette. “They have always relaxed me, so I drew inspiration from them when I composed this piece. I wanted to conjure up the moods they represent. When you hear the track, you can hear Satie’s influence.”\u003c\/p\u003e\n\u003cp\u003e“Ebony” is a reinterpretation of the DeJohnette composition originally wrote and recorded for the 1980 album, \u003cem\u003eSpecial Edition\u003c\/em\u003e. “I had never recorded it on solo piano, so it was fun to do it that way. My approach here is totally different from the arrangement that I recorded with that band. It’s in a number of different odd meters – three-four, seven-four, six-eight – which just makes it a fresh take on one of my past compositions.”\u003c\/p\u003e\n\u003cp\u003e“Silver Hollow” revisits the classic DeJohnette piece first recorded for the \u003cem\u003eNew Directions\u003c\/em\u003e album with guitarist John Abercrombie, trumpeter Lester Bowie and bassist Eddie Gomez in 1978. “Silver Hollow is the name of the area where I live in upstate New York,” says DeJohnette. “It’s a very special piece that celebrates an equally special place. It’s a song that captures the love I have for this beautiful part of the country.”\u003c\/p\u003e\n\u003cp\u003eEvery artist has a muse, and DeJohnette has Lydia, his wife and life partner of many years. “Lydia,” which DeJohnette originally recorded with Dave Holland, John Abercrombie, Alex Foster and Mike Richmond for the \u003cem\u003eNew Rags\u003c\/em\u003e album in 1977, is his ode to her. “This song gets better and better every time I play it,” says DeJohnette. “Lydia is a very, very important person in my life. She is my inspiration. A lot of things I have accomplished in my career would not have been possible without her wisdom and inspiration. I’m blessed. I have a great muse. I love her very much.”\u003c\/p\u003e\n\u003cp\u003eThe version of “Blue” within this set is at least the third version DeJohnette has recorded since he first composed it for the Gateway Trio’s \u003cem\u003eGateway 2\u003c\/em\u003e album in 1977. He recorded it again with Special Edition a few years later. “This version is more rubato than previous versions,” says DeJohnette. “The tempo is more elastic. And it’s in a minor key, which makes it a dark but beautiful melody.”\u003c\/p\u003e\n\u003cp\u003eThe second of the two new pieces on \u003cstrong\u003e\u003cem\u003eReturn\u003c\/em\u003e\u003c\/strong\u003e is the churning “Dervish Trance,” a song inspired by the whirling meditative dance of the Sufi Dervishes. “I had actually come up with the melody while touring with the Spring Quartet, an ensemble consisting of Joe Lovano, Esperanza Spalding and Leo Genovese and myself. We performed the song live several times before I adapted it further for this recording. I titled the composition “Dervish Trance,” being inspired by Sufi who I had seen a few years ago – once on TV and then again in person. It’s fascinating to just watch them spin around when they get into this altered state of consciousness,” says DeJohnette\u003c\/p\u003e\n\u003cp\u003eThe atmospheric “Indigo Dreamscapes” originally appeared on \u003cem\u003eParallel Realities\u003c\/em\u003e, DeJohnette’s 1990 recording with Pat Metheny and Herbie Hancock. “This version has kind of a pastel sound to it,” says DeJohnette. “It has a nice simple melody and groove. I just like the way it feels.”\u003c\/p\u003e\n\u003cp\u003e“Song for World Forgiveness” first appeared on \u003cem\u003eLive in Tampere and Berlin\u003c\/em\u003e, a 2000 collaborative recording project featuring DeJohnette and saxophonist, clarinetist and composer John Surman. “I wrote the piece as a meditation to put a positive vibration into the world,” says DeJohnette. “There are a lot of things that humanity has done to itself that need to be undone before we can move to a better place, and we can’t do that unless we find a way to forgive. It’s a song for forgiveness so we can elevate ourselves and move to the next level of consciousness.”\u003c\/p\u003e\n\u003cp\u003eThe breezy and carefree “Exotic Isles,” also from the \u003cem\u003eParallel Realities\u003c\/em\u003e album, “is a sound that reminds me of some nice island in the Mediterranean,” says DeJohnette. “That’s the kind of feeling it’s always given me. That was the title that came to me after I wrote it.”\u003c\/p\u003e\n\u003cp\u003eThe haunting closer, “Ponta de Areia,” was written by Brazilian guitarist, pianist, vocalist and composer Milton Nascimento, a longtime favorite of DeJohnette. “The idea behind the song is that there was a train that used to go to Ponta de Areia in Brazil,” he explains. “People used to get there by bridge, but then the bridge was taken down, so there was no way to get there by railroad anymore. So the people lost their connection to the outside. The melody is repetitive, and the more you play it, the more beautiful it becomes. In the beginning, it has a nice sort of nursery rhyme – a light, airy treatment of the melody. And I ended it the same way. It’s a nice way to say goodbye and send the listeners on their way.”\u003c\/p\u003e\n\u003cp\u003eWhatever the connection between drums and piano – percussion, melody, rhythm, harmony or all of the above – DeJohnette admits that he didn’t think about it too much when he went into the studio to lay down tracks in the making of \u003cstrong\u003e\u003cem\u003eReturn\u003c\/em\u003e\u003c\/strong\u003e. “I was just going for a mood, a feeling,” he says. “I didn’t try to intellectualize anything. I just wanted to take the music to a different space and let the spirit take me – and take the listener – wherever it wanted to go. It’s a collaboration of mind, body, soul and spirit. It’s a return to something basic and universal and beautiful.”\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Jack_DeJohnette_-_Return_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33771876682,"sku":"NV002LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_DeJohnette_1.jpg?v=1623489812"},{"product_id":"nv003lp-noah-preminger-some-other-time","title":"Noah Preminger - Some Other Time","description":"\u003cblockquote\u003e\n\u003cp\u003eThis release \"\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Newvelle Record’s latest release in their LP subscription series continues their winning streak in issuing state of the art LP recordings.\"}' data-mce-fragment=\"1\"\u003econtinues [Newvelle's] winning streak in issuing state of the art LP recordings.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Newvelle Record’s latest release in their LP subscription series continues their winning streak in issuing state of the art LP recordings.\"}' data-mce-fragment=\"1\"\u003e\"This music is too urgent to be missed.\" –The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe line on Noah Preminger is that he’s a bad ass. He knows how to box, rides a motorcycle, and jumps out of planes. Maybe Noah’s hiding something.\u003c\/p\u003e\n\u003cp\u003eHere’s an artist at the peak of his powers, stripping his technique to the bone and laying melody on the table. Backed by a band of all-stars and with no artifice, few second takes and a lack of gratuitous chops, Noah follows the tradition of the greats. This album does what great jazz music is supposed to do: capturing a moment in time – an emotion so fleeting it can’t be expressed in words – and crystalizing it in wax forever.\u003c\/p\u003e\n\u003cp\u003eOn a ballad, you’re as exposed in the moment as improvised music can make you. Noah’s not a badass, he’s a poet. Just another sensitive dude, trying to speak the truth.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eNoah Preminger\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eBen Monder\u003c\/strong\u003e on guitar, \u003cstrong\u003eJohn Patitucci\u003c\/strong\u003e on bass, and \u003cstrong\u003eBilly Hart\u003c\/strong\u003e on drums.\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\u003eNV003\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"My Little Brown Book\"\u003c\/li\u003e\n\u003cli\u003e\"Semenzato\"\u003c\/li\u003e\n\u003cli\u003e\"A Ghost of a Chance\"\u003c\/li\u003e\n\u003cli\u003e\"Una Limosna por el Amor De Dios\"\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\"Porcelain\"\u003c\/li\u003e\n\u003cli\u003e\"Try a Little Tenderness\"\u003c\/li\u003e\n\u003cli\u003e\"Melancholia\"\u003c\/li\u003e\n\u003cli\u003e\"Boots of Spanish Leather\"\u003c\/li\u003e\n\u003cli\u003e\"Some Other Time\"\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\/noah-preminger\"\u003eNoah Preminger\u003c\/a\u003e - Tenor Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/ben-monder\"\u003eBen Monder\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/john-patitucci\"\u003eJohn Patitucci\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/billy-hart\"\u003eBilly Hart\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\u003eThe line on Noah Preminger is that he’s a bad ass. Noah knows how to box. If he wanted to, Noah could kick your ass. Noah rides a motorcycle, and says inflammatory things. Noah jumps out of planes.\u003c\/p\u003e\n\u003cp\u003eMaybe Noah’s hiding something.\u003c\/p\u003e\n\u003cp\u003eHere’s an artist at the peak of his powers, stripping his technique to the bone and laying melody on the table. Backed by a band of all-stars and with no artifice, few second takes and a lack of gratuitous chops, Noah follows the tradition of the greats. To me, this is Noah’s finest album, and one of the best records of recent years, not because of its concept or even its execution, but because it does what great jazz music is supposed to do; capturing a moment in time --an emotion so fleeting it can’t be expressed in words-- and crystalizing it in wax forever.\u003c\/p\u003e\n\u003cp\u003eOn a ballad, you’re as exposed in the moment as improvised music can make you. Noah’s not a badass, he’s a poet. Just another sensitive dude, trying to speak the truth.\u003c\/p\u003e\n\u003cp\u003eThe tunes:\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eMy Little Brown Book\u003c\/strong\u003e: The Strayhorn original probably most famously recorded by Coltrane and Ellington on their 1963 release. It’s a bold choice for a first track, diving head first into the number-one-inevitable-comparison for every tenor player. But Noah’s a head-first kind of guy and this version is its own beast in every way. Ben Monder is probably the preeminent living guitarist these days along with Frisell, Methany, and Rosenwinkel. Like any true artist this preeminence is a result of ‘voice’ more than anything else. There’s no mistaking Ben Monder for anyone else both in sound and concept. When Noah enters his sound is so full and present, one chorus of the melody is all that’s needed here to get the full weight of the composition and the voices of all the musicians heard. When you’re fully invested in the moment the moment can tell a whole story by itself.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eSemenzato\u003c\/strong\u003e: This is the only original on the record. A haunting cyclical composition whose melody is strong enough to provide a framework for blowing. John Patitucci opens up the soloing with a quick change from his assured bowing work to pizzicato. By any measure John is a master and one of the most lyrical bassists of this or any time. Check out his interactions with Noah as the tenor returns to pick up his solo. Intuition of the highest order.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eA Ghost of a Chance\u003c\/strong\u003e: Here, that intuition expands as Monder lays out and the track is tackled with just the trio. Again, Preminger is able to give just a taste of the melody before launching into a solo that contains just enough of the original melodic content to keep you grounded while maintaining his own voice all the way through. I love the little cadenza Noah drops at the end of the tune. Fearless stuff.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eUna Limosna por el Amor de Dios\u003c\/strong\u003e: While growing up, Noah used to play through the works of composer Agustín Barrios with a friend who played classical guitar. This piece in particular stayed with him through the years. There’s three layers of Monder’s already thick sound on this one and Noah’s tone shines like a lighthouse. I love the broken feel from Billy Hart here. Billy claims to be the most recorded jazz drummer in the world and I believe it. Billy is a fierce presence but always a supporting one --everywhere at once but never stepping on anyone’s toes. The pocket that Hart and Patitucci find on this record is as deep as they come.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003ePorcelain\u003c\/strong\u003e: I don’t think it’s even left field anymore to cover rock and pop hits on jazz records, but this one’s still a surprise. It’s such a faithful rendition. No one is trying to out-rock Nirvana or mine a piece of pop-fluff for a new angle at a melody and a chuckle of recognition. This is a true cover, and one borne from love of the original. Californication from the Red Hot Chili Peppers is one of Noah’s favorite albums. There’s Patitucci’s sound again, singing the counter melody. No wasted notes or gestures from anyone. This is my favorite track on this album.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eTry a Little Tenderness\u003c\/strong\u003e: There’s a sustained continuity of improvisation from Noah’s chorus into Monder’s solo and to the out chorus that’s such a difficult thing to pull off. The whole piece is tied firmly to the melodic core of the piece. Monder’s coda at the end of Perminger’s little cadenza sums up this idea and the song perfectly. A collaboration of the highest order.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eMelancholia\u003c\/strong\u003e: Here’s another tune from the Duke Ellington Canon but a less well known one. First recorded solo piano by Duke in 1953. Noah was going for a specific feel which took the band a moment to find. This was the only tune which required a couple takes to nail the feel and form of the tune. Again John’s soloing is featured. There’s not too much more that can be said about an artist of Patitucci’s stature. Patitucci’s an original, whose mastery of technique is used to hone a conduit to his own personal truth.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eBoots of Spanish Leather\u003c\/strong\u003e: Here’s a Bob Dylan tune from his seminal recording “The Times They Are a-Changin'”. Just the trio of Noah, Ben and John makes this a meditative and calming piece. It’s ballsy and beautiful, and it plays it straight.\u003c\/p\u003e\n\u003cp class=\"custom-indent\"\u003e\u003cstrong\u003eSome Other Time\u003c\/strong\u003e: Noah ends the record with another standard. Again divorcing the emotional core of the piece from the melodic content, so that the whole piece, composition and improvisation, is joined. The band plays this old tune like they’ve never heard it before. Listen to Billy and Ben dance around the corners of this melody while John holds it down. Here, Noah spends even more time on the cadenza, not so much out on a limb as already falling through space. It’s not the landing that counts. It’s the jump.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Noah_Preminger_-_Some_Other_Time_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33771877194,"sku":"NV003LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Preminger_1.jpg?v=1623489933"},{"product_id":"nv004lp-don-friedman-strength-and-sanity","title":"Don Friedman - Strength and Sanity","description":"\u003cblockquote\u003e\n\u003cp\u003e\"I\u003cspan data-mce-fragment=\"1\"\u003et’s a thoughtful revisiting of some brilliant music that still isn’t heard as often as it should be. It also glows with personal significance, suggesting the efforts of an accomplished and worldly artist returning to a pivotal moment from his youth.\" –\u003cem\u003eJazz Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"The trio is blended impeccably and each instrument holds its own in the final mix.\"}' data-mce-fragment=\"1\"\u003eThe trio is blended impeccably and each instrument holds its own in the final mix.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe legendary pianist Don Friedman passed away in 2016, the same year he recorded this album. Don was was a brilliant, humble, spirited and compassionate person. We are enormously grateful that he recorded this project.\u003c\/p\u003e\n\u003cp\u003eHere, Don's trio used as jumping off points the tunes of trumpet phenomenon Booker Little, with whom Don recorded two extraordinary albums – \u003cem\u003eOut Front\u003c\/em\u003e and \u003cem\u003eBooker Little and Friend\u003c\/em\u003e – in 1961. Although not canonical works, these two albums are known to the initiated as diamonds, and have stood as testament of Booker's genius.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eDon Friedman\u003c\/strong\u003e on piano, \u003cstrong\u003ePhil Palombi\u003c\/strong\u003e on bass, and \u003cstrong\u003eShinnosuke Takahashi\u003c\/strong\u003e on drums.\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\u003eNV004\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Moods in Free Time\"\u003c\/li\u003e\n\u003cli\u003e\"Looking Ahead\"\u003c\/li\u003e\n\u003cli\u003e\"Quiet Please\"\u003c\/li\u003e\n\u003cli\u003e\"Strength and Sanity\"\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\"Calling Softly\"\u003c\/li\u003e\n\u003cli\u003e\"Victory and Sorrow\"\u003c\/li\u003e\n\u003cli\u003e\"We Speak\"\u003c\/li\u003e\n\u003cli\u003e\"Man of Words\"\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\/don-friedman\"\u003eDon Friedman\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/phil-palombi\"\u003ePhil Palombi\u003c\/a\u003e - Bass \u003cbr\u003e Shinnosuke Takahashi - 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\u003eIn 1961, the young (23 years old) trumpet phenomenon, Booker Little, recorded two extraordinary albums. Booker was a visionary musician, possessing a close to flawless technique, a burnished, round and beautiful sound and a purely modern conception. His music was completely original and deeply lyrical. Although those two records, \"Out Front\" and \"Booker Little and Friend\" are not canonical works, they are known to the initiated as diamonds, and have stood for 56 years as testament of Booker's genius. They did no less than point to entire new worlds of harmonic and emotional possibility in American music. Booker Little died that same year from complications arising from a blood disorder. Those recordings feature two of his closest collaborators Max Roach and Eric Dolphy on Out Front as well as musicians such as Julian Priester, Ron Carter Pete LaRoca, Reggie Workman. And on both records the young pianist \u003cstrong\u003eDon Friedman\u003c\/strong\u003e was featured.\u003c\/p\u003e\n\u003cp\u003eWhen we were first looking for projects to produce, at the very top of my list was a project with Don Friedman, returning to some of these beautiful Booker compositions. For two days last September, Don brought his working trio (one he referred to as his favorite trio that he ever worked with) featuring Phil Palombi and Shinnosuke Takahashi to East Side Sound. They weren’t trying to recreate sounds from the record but really used these tunes as jumping off points in the true jazz tradition.\u003c\/p\u003e\n\u003cp\u003eDon passed away from pancreatic cancer in June 2016. Don was my piano teacher when I first moved to NYC. I am blessed to have known him and studied with him, he was a brilliant, humble, spirited and compassionate person. We are enormously grateful that he recorded this project.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoods in Free Time:\u003c\/strong\u003e Starts with the “Free Time” part, which is a change from the original Booker version. Listening back with Phil Palombi, Phil noted “You really captured the 1960’s Don Friedman.” Over his decades long stint with Clark Terry, Don got known as an accomplished straight ahead player, but he was always equally comfortable playing open and free. It’s great to hear him back in this expressive mode.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLooking Ahead:\u003c\/strong\u003e Kicks off with the melody swinging hard. Shinnosuke Takahashi is a drummer to watch out for. Crisp, without sounding overly technical, his drum solo opening the solo section is a marvel. Don clearly had not lost a step as he tears through a couple of choruses, never sacrificing melodic content for speed… Phil Palombi’s bass solo shines bright with a quick chorus. Phil’s a player who wears his influences on his sleeve (He’s a scholar of the great Scott Lafaro, an old roommate of Don’s!) but who’s voice is unique and whose facility on the instrument is impeccable.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eQuiet Please:\u003c\/strong\u003e Is a jigsaw of a tune. Booker had such an incredible ability to weave disparate elements of a composition into a tune with a singular emotional identity. Don navigates the shifting time feels admirably in his solo. Phil gets some more time to state his case before Don and Shinnosuke trade 8 bar sections, cleverly utilizing the half time sections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrength and Sanity:\u003c\/strong\u003e This song is truly a lost masterpiece. The trio laid down a beautiful version of this track but we were so enamored with this solo version that we ended up using this instead. I can’t imagine a more evocative interpretation of this one, here’s hoping it becomes part of the standard repertoire, for it certainly deserves it. Listen to the way Don grabs the full capabilities of the Steinway to get his ideas across. Completely unafraid to make the piano roar on a “ballad.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCalling Softly:\u003c\/strong\u003e One of the things I love about Don’s approach on this album is how simply and loosely he interprets the melodies here. These are not easy tunes but Don plays them like they are. Phil again shows why he’s one of the best bassists working in NYC with this solo.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVictory and Sorrow:\u003c\/strong\u003e Again a composition that takes quick left turns. The trio’s interpretation is full of life and swing. Listen to the first serpentine melodic phrase in Don’s solo. Here is an artist operating at the full peak of his artistic powers of communication.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWe Speak:\u003c\/strong\u003e This is the opening track from Booker Little’s “Out Front.” What a clarion call this opening phrase is! I’m so impressed with the joy which this band brings to this material. Don chose to write some solo changes rather than the open dirge in C minor that Booker had to blow over.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMan of Words:\u003c\/strong\u003e This is a composition that Booker dedicated to the writer Nat Hentoff. It’s a free form piece with Booker soloing over a repeated descending line in the horns. The real melodic content is improvised. In this version Phil’s arco bass takes the “melody” while Don plays over the top. Here we hear Don at his freest on the record and what a treat to hear him tackle material like this. We listened once in the studio to the original version that Booker recorded, to get the flavor of the piece. Don remarked about Booker’s astonishing vitality and sense of purpose and that perhaps his knowledge of his sickness informed his playing… that he knew somehow that he did not have long to say what he had to.\u003c\/p\u003e\n\u003cp\u003eDon lived a long life, full of many satisfactions and rewards, musical and otherwise. He left behind a body of work that’s a marvel and ripe for re-examination. This record is a call back to one of his earliest recordings, but it is also a testament to an artist whose strength and heart were a force and an inspiration throughout his incredible career.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Don_Friedman_-_Strength_and_Sanity_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33771878218,"sku":"NV004LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Friedman_1.jpg?v=1623489753"},{"product_id":"nv005lp-ben-allison-quiet-revolution","title":"Ben Allison - Quiet Revolution","description":"\u003cblockquote\u003e\n\u003cp\u003e\"T\u003cspan data-mce-fragment=\"1\"\u003ehe album is a delightfully intimate affair.\" –Downbeat, \u003cmeta charset=\"UTF-8\"\u003e★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThere’s a romanticism to this band that’s an essential but often neglected part of the “New York” sound. This might be a “Quiet Revolution,” but it comes from a fierce resolve to play from the heart.\u003c\/p\u003e\n\u003cp\u003eThis album highlights the work of Jim Hall, not only one of the most important guitarists in jazz history, but a capital C \"Composer\" whose writing was a vital part of his identity as a musician.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eBen Allison\u003c\/strong\u003e on bass, \u003cstrong\u003eTed Nash\u003c\/strong\u003e on saxophones and clarinet, and \u003cstrong\u003eSteve Cardenas\u003c\/strong\u003e on nylon and steel string guitars.\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\u003eNV005\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"All Across the City\"\u003c\/li\u003e\n\u003cli\u003e\"Move It\"\u003c\/li\u003e\n\u003cli\u003e\"Waltz New\"\u003c\/li\u003e\n\u003cli\u003e\"Sleeping Tiger\"\u003c\/li\u003e\n\u003cli\u003e\"Pony Express\"\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\"Careful\"\u003c\/li\u003e\n\u003cli\u003e\"The Train and The River\"\u003c\/li\u003e\n\u003cli\u003e\"Lookin' Up\"\u003c\/li\u003e\n\u003cli\u003e\"Truth is Stranger than Fiction\"\u003c\/li\u003e\n\u003cli\u003e\"Love Theme From Spartacus\"\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\/ben-allison\"\u003eBen Allison\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/ted-nash\"\u003eTed Nash\u003c\/a\u003e - Saxophones and Clarinet \u003cbr\u003e \u003ca href=\"\/pages\/steve-cardenas\"\u003eSteve Cardenas\u003c\/a\u003e - Nylon \u0026amp; Steel String Guitars \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\u003eIt’s not that Jim Hall was ever under appreciated. Jim Hall was always known, by anyone who knew what was up, as one of the most important guitarists in Jazz history, but the way he played was so tender, and supportive, that his name never rung out the way some of his contemporaries did. Hall was a capital C composer from the start, and his writing was a vital part of his identity as a musician. His writing continued till the end of his career, and indeed he even grew so far as to write for big bands and symphony orchestras. However, it’s also rare to hear people talk about Jim Hall as a composer, and it’s refreshing to have that aspect of him highlighted by the luminous \u003cstrong\u003eBen Allison Trio\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll Across the City\u003c\/strong\u003e, is one of Jim’s most well known compositions. For good reason. What a lyrical piece of music. The best tunes are the ones that feel like they’ve already been there for ever, just waiting to be uncovered. Ben Allison has such a round burnished tone on this piece. Ben's often thought of as a composer and band leader, but I think he has one of the biggest, clearest and unique sounds on the instrument to be found anywhere. Ted Nash’s initial entrance is something to be treasured as many times as possible. On the other end of that compositional spectrum, this sounds effortless, but it’s a line that couldn’t be written with pen and paper in a million years.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMove It\u003c\/strong\u003e is a slippery and smart composition given a new twist by Allison’s grooved bass line. The changes are from the standard “Softly as in a Morning Sunrise.” It’s clear by the way Steve Cardenas opens up this tune why he’s one of the most in demand guitarists in New York and was one of the favorite guitarists of late greats like Paul Motian and Charlie Haden. Clear melodic phrasing, gorgeous tone on nylon or steel string, and supportive in all the right spaces. (He’s also quickly becoming a staple at Newvelle Records, look for him next year on Jon Cowherd’s record). When Ted and Ben start soloing together you can really feel all the years that this band has played in various configurations. They breathe together, the closest thing to telepathy I’ve heard in many years.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWaltz New\u003c\/strong\u003e is another tricky, smart and subversive contrefact tune, this time over “Someday My Prince Will Come.” Again, there’s a brilliant display of empathetic simultaneous soloing. The whole band manages to develop thematic improvised material. Listening to them toss back and forth little melodic fragments is delightful, and they do it with such ease. No wonder this band has taken on the moniker “The Easy Way.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSleeping Tiger\u003c\/strong\u003e is a re-imagining of one of Allison’s compositions from his stellar 2001 record “Riding the Nuclear Tiger.” It’s got a completely different feel in this context and brings out the melodic content much more sharply. Without the percussion it’s easier to hear links with Jim Hall’s subversive melodic lines within the tricky juxtapositions of this tune. Nash must have one of the finest tones on clarinet on the planet.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePony Express\u003c\/strong\u003e is a tune of Jimmy Giuffre’s, first played with a trio of Hall and Bob Brookmeyer, as the first part of his “Western Suite.” Listen to the way that Allison and Cardenas combine to immediately create that wide expanse of sound. What a way to end the first side. One of the things this trio does so well is not try and compensate for the lack of a percussion instrument. Never over playing and letting the natural timing and breath of the band stand on its own. Listen to the expert way that Cardenas and Allison build tension in the open blowing section under Ted. What a treat.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCareful\u003c\/strong\u003e is a 16 bar blues that Hall wrote in the 50’s and is perhaps his most recorded song. This is such a laid back take on the tune, and swings so effortlessly and \u003cem\u003ehard\u003c\/em\u003e. Solos are stellar across the board. Never showy, always melodic, always swinging.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Train and The River\u003c\/strong\u003e gets us back to Jimmy Giuffre’s western infused writing. I love the way he can take such a simple melodic idea and wrap such complex ideas around it. Again Nash plays some clarinet and his tone is striking. Listen to the way he “comps” with Cardenas before laying into some whole notes. It can’t be said enough how these guys play \u003cem\u003etogether\u003c\/em\u003e. Such a supportive and musical symbioses is a rare thing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLooking Up\u003c\/strong\u003e was written by Hall for Pat Metheny for a duo record they did in 1999. The take here is a clinic of playing in the “pocket.” Ben’s brief solo shines. Not just a beautiful tone and approach but a fully conceived improvisational compositional statement. Not bad for 45 seconds.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTruth is Stranger than Fiction\u003c\/strong\u003e is an original by Ted Nash. The melodic, thematic similarities between this and “Sleeping Tiger” show again how simpatico the approaches of Allison and Nash are. Nash might be one of the most under-rated blues saxophonists on the planet. Fearless stuff.\u003c\/p\u003e\n\u003cp\u003eThe trio closes the record with the Alex North classic \u003cstrong\u003eLove Theme From Spartacus\u003c\/strong\u003e. Incredibly, Ted Nash’s father and uncle both played on the original soundtrack recording. This is a rare faithful rendition of the tune, with the transcribed counter melodies from the original. There’s such longing in this composition and in this rendition. There’s a romanticism to this band that’s an essential but often neglected part of the “New York” sound. This might be a “Quiet Revolution,” but it comes from a fierce resolve to play from the heart.\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\/Ben_Allison_Trio_-_Quiet_Revolution_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33771881930,"sku":"NV005LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Allison_1.jpg?v=1623489726"},{"product_id":"nv006lp-leo-genovese-argentinosaurus","title":"Leo Genovese - Argentinosaurus","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"The sound quality of this recording is exceptional.\"}'\u003eThe sound quality of this recording is exceptional.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThere is such life in this music. Something huge rearing from the pre-historic jungles of South America and poking its head into a studio in New York City and reminding the world that music can speak to us all, anywhere, if we let it.\u003c\/p\u003e\n\u003cp\u003eTo be in a room with three musicians playing so effortlessly was a positively electrifying experience. You get the feeling that Leo, Esperanza, and Jack can just inhale nitrogen and oxygen and exhale music.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eLeo Genovese\u003c\/strong\u003e on piano, \u003cstrong\u003eEsperanza Spalding\u003c\/strong\u003e on bass and voice, and \u003cstrong\u003eJack DeJohnette\u003c\/strong\u003e on drums, melodica, and voice.\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\u003eNV006\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Chacarera Y Mas\"\u003c\/li\u003e\n\u003cli\u003e\"Cosmic Church\"\u003c\/li\u003e\n\u003cli\u003e\"Lamento del Limonero\"\u003c\/li\u003e\n\u003cli\u003e\"Baile A Lo Divino\"\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\"Diableros\"\u003c\/li\u003e\n\u003cli\u003e\"Vidalita\"\u003c\/li\u003e\n\u003cli\u003e\"Argentinosaurus\"\u003c\/li\u003e\n\u003cli\u003e\"Ethiopian Blues\"\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\/leo-genovese\"\u003eLeo Genovese\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/esperanza-spalding\"\u003eEsperanza Spalding\u003c\/a\u003e - Bass \u0026amp; Voice \u003cbr\u003e \u003ca href=\"\/pages\/jack-dejohnette\"\u003eJack DeJohnette\u003c\/a\u003e - Drums, Melodica, and Voice \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 class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA quick anecdote is indicative of the level of musicianship that’s displayed on this record. After laying down these tracks we needed the musicians to pose a bit with their instruments so Paul could get some more photos. It was Jack’s idea that they should jam a little a bit while switching instruments. With Jack DeJohnette playing piano, Esperanza Spalding on the drums and Leo Genovese playing bass, they played for 45 minutes without pause. Now it's not unheard of to hear musicians stretch out on a second instrument, or switch with their band members for a lark during sound check, but what was surprising was the level this trio can take it to. Esperanza playing Jack’s licks on the traps and Leo doing his best Esperanza impersonation. Jack on piano is, of course, Jack on piano, a towering artist on both piano and drums (go back and listen to our second record in this season, if you don’t believe me). I guess what I’m saying, is that to be in a room with three musicians playing so \u003cem\u003eeffortlessly \u003c\/em\u003ewas a positively electrifying experience\u003cem\u003e. \u003c\/em\u003eYou get the feeling that Leo, Esperanza and Jack can just inhale nitrogen and oxygen and exhale music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cstrong\u003eChacarera Y Mas\u003c\/strong\u003e is a song with music written by Leo to lyrics written by the great Argentinian guitarist Ica Novo. Enough ink has been spilled about what a singular talent Esperanza Spalding is. It seems unfair that one person could have such facility, tone and concept on a beast of an instrument like the upright bass and additionally possess a singing voice of such beauty and power. The effortless way this band slips into the open solo section is indicative of the nature of this session. The empathetic nature of this band is stunning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eAlong those lines, the way Leo’s \u003cstrong\u003eCosmic Church \u003c\/strong\u003ewas recorded is a fascinating study in spontaneity and improvisation. The song is a little diptych of a suite, with the first section being this rather open cosmic, harmonically adventurous piece followed by settling into a B section laying heavy on the Gospel. However, as Leo was just explaining the feel of the second section to Jack and Esperanza they started in on the Gospel section. The groove was immediately so \u003cem\u003eheavy \u003c\/em\u003ethat in the moment they switched the arrangement around and segued to the “Cosmic” part of the tune afterwards. It’s a level of intuition and trust that was a thrill to behold.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe next tune is a sly reference to a phrase in a mixed review of a performance by this trio (featuring Joe Lovano and performing as “The Spring Quartet”) where a critic wrote that Leo “reached backward to play enough purposefully off-key notes to fill a lemon farm.” Hence, \u003cstrong\u003eLamento del Limonero, \u003c\/strong\u003e(sorry for the lemonade). This tune starts off with an unsettling harmonic cadence, but turns into a burner in a hurry. Dig what the master DeJohnette has to say as Leo and Esperanza lay out the framework for what’s to come in the opening bars. Nobody, ever, has been able to build a contained storm on the drums the way DeJohnette does. To me this band always knows where it is and where it's going. Even in the midst of abstraction and fragmentation they are breathing and moving together. Dissonance in the service of collective expression. There’s more than one way to serve a lemon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe finale track of Side A, \u003cstrong\u003eBaile a lo Divino, \u003c\/strong\u003eopens with Jack DeJohnette on melodica. Listen closely and you can hear him echo some of the themes of Limonero that Leo was playing. The quick interplay between Leo and Jack segues into some beautiful exchanges between Leo and Esperanza with commentary from Jack on the cymbals. This is big-hearted music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eSide B opens with the burner of the record, \u003cstrong\u003eDiableros. \u003c\/strong\u003eThe Tyner-esque melody shifts between two repeating modal refrains. What sets this apart, is both the intensity of the swing and the clarity of the melodic content. Sometimes an improviser can sound too “comfortable” on uptempo tunes. A display of technique devolving into a sangfroid air of predictability. Not this trio. Leo can go in any direction at any time and often chooses a couple of directions at once. All this without losing his cool. Check out DeJohnette’s solo over Esperanza’s vamp before the theme returns… No one in the booth was sitting by the end of this take.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cstrong\u003eVidalita \u003c\/strong\u003eis my favorite track on the record, beautiful and strange and melodic. It’s a neat trick to write and perform a song that feels like a simple melody but is totally full of unconventional choices and left turns. There’s a tenderness here that is beautifully conveyed without anything feeling careful or tentative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe title of \u003cstrong\u003eArgentinosaurus \u003c\/strong\u003ecomes from the gigantic dinosaur named for Leo’s homeland where the first leg bone (the size of a man) was discovered. From the moment Esperanza sets up the vamp you can sense something large making its way over the horizon. Again the band flirts with total abstraction but never tips over the edge. There’s so much meat on the bone here. I love the start stop interactions between DeJohnette and Genovese and the lock step nature of everything Spalding lays down. But mostly it’s the full conception of the tune, building a beginning and a middle and an end, when chaos is just around the corner, that’s so striking and enormous…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eIn case you’re wondering that’s Mr. DeJohnette making the opening call at the commencement of the final track of the record, \u003cstrong\u003eEthiopian Blues.\u003c\/strong\u003e This piano is the same Fazioli that Jack recorded on supplied by our good friends at Klavierhaus. Check out the resonance on that low end as Jack makes the call. I love the way the melodic figure gets spun around over the vamp in the bass.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eOften I see a band made up of such superb musicians referred to as a “well oiled machine” or a sports car that’s able to take turns and hug the corners and perform flawlessly. I prefer Leo’s more organic metaphor for something so full of life. And there is \u003cem\u003esuch\u003c\/em\u003e life in this music. Something huge rearing from the pre-historic jungles of South America and poking its head into a studio in New York City and reminding the world that music can speak to us all, anywhere, if we let it.\u003c\/span\u003e\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Leo_Genovese_-_Argentinosaurus_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33771882570,"sku":"NV006LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S1_Genovese_1.jpg?v=1623489846"},{"product_id":"season-three","title":"Newvelle Season Three: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003eA \"smartly chosen roster of talent and..rich, analog sound.\" –\u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"The music is at once serene, then boisterous and probing, with fragmented instrumental lines and rhythms, ample lyricism and a restless ambition.\" –The Audio Beat\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eOur third series of records features artwork by photographer \u003cstrong\u003eMaciej Markowicz\u003c\/strong\u003e. Includes box set designed by \u003cstrong\u003eAntoine Leroux\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eCharlie \u0026amp; Paul\u003c\/em\u003e - Steve Cardenas\u003c\/b\u003e \u003cbr\u003e Featuring Loren Stillman, Thomas Morgan, and Matt Wilson\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eHalf Light\u003c\/em\u003e - Andy Zimmerman\u003c\/b\u003e \u003cbr\u003e Featuring Dave Douglas, Kevin Hays, and Matt Penma\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eClose Your Eyes\u003c\/em\u003e - Lionel Loueke\u003c\/b\u003e \u003cbr\u003e Featuring Reuben Rogers and Eric Harland\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eStrata\u003c\/em\u003e - Skúli Sverrisson \u0026amp; Bill Frisell\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eAncestros\u003c\/em\u003e - Francisco Mela\u003c\/b\u003e \u003cbr\u003e Featuring Hery Paz, Kris Davis, and Gerald Cannon\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eFair Weather\u003c\/em\u003e - Jason Palmer\u003c\/b\u003e \u003cbr\u003e Featuring Leo Genovese, Joe Martin, and Kendrick Scott\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eA \"\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"bright roster of artists and a sumptuous visual design\"}' data-mce-fragment=\"1\"\u003ebright roster of artists and a sumptuous visual design.\" –WBGO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"bright roster of artists and a sumptuous visual design\"}' data-mce-fragment=\"1\"\u003e\"The musicians on Newvelle demonstrate that the light touch can be as expressive in its own way as more extroverted fare.\" –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\u003eNV013-NV018\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 and 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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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":49846143764,"sku":"NVSLP003-FULL","price":400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Full_1.jpg?v=1623489907"},{"product_id":"nv101lp-piano-noir","title":"Piano Noir","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;You could read and enjoy the story in silence and listen to the record without reading, though consuming both simultaneously produced a movie-like experience.\\n\\nThis set is as well presented as Charlie Haden's noir-themed Quartet West albums and that's saying a great deal.\u0026quot;}\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003eYou could read and enjoy the story in silence and listen to the record without reading, though consuming both simultaneously produced a movie-like experience.\" –Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAfter reading a profile of renowned writer Douglas Kennedy, we reached out to see if he might be interested in writing an original work for Newvelle. By the end of the week, with a quick breakfast meeting, Douglas agreed. And we quickly realized the resulting piece required its own frame of original compositions.\u003c\/p\u003e\n\u003cp\u003eTen months later, we had a stellar band in our regular studio in the Lower East Side to record an original set of music inspired by the story, featuring \u003cstrong\u003eElan Mehler\u003c\/strong\u003e, \u003cstrong\u003eMichael Blake\u003c\/strong\u003e, \u003cstrong\u003eJason Palmer\u003c\/strong\u003e, \u003cstrong\u003eSimón Willson\u003c\/strong\u003e, and \u003cstrong\u003eDor Herskovits\u003c\/strong\u003e. With artwork designed by Case Simmons and Austin Lynch.\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\u003eNV101\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Christopher's Place (Piano Noir Theme)\"\u003c\/li\u003e\n\u003cli\u003e\"How To Be Alone\"\u003c\/li\u003e\n\u003cli\u003e\"L'Amour Fraternel\"\u003c\/li\u003e\n\u003cli\u003e\"Call Your Own\"\u003c\/li\u003e\n\u003cli\u003e\"Ms. Pedantic\"\u003c\/li\u003e\n\u003cli\u003e\"Rabbit \u0026amp; Bear\"\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\"Oscar's Hideaway\"\u003c\/li\u003e\n\u003cli\u003e\"Crazy Ivan\u003c\/li\u003e\n\u003cli\u003e\"Waltz for Shelley\"\u003c\/li\u003e\n\u003cli\u003e\"Any Place But Here\"\u003c\/li\u003e\n\u003cli\u003e\"Christopher's Place (Piano Noir Theme)\"\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\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\u003e\u003cstrong\u003eby Douglas Kennedy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“She was a bike messenger. I met her because, on that December night, it was she who delivered weed to my apartment. Her name was Shelley. A name which the ageing hipster in me always responded to, as it conjured up an earlier girlfriend who shared the same faux-poetic name. I met the first Shelley around the time we were about to kick Saddam Hussein out of Kuwait. She dressed in long-flowing diaphanous skirts and India-pilgrimage white linen shirts. She dreamed of being an ‘abstract expressionist choreographer’ - whatever that was - and fulfilled all those longings I had back then for the ethereal bohemian girl of my dreams. Last I heard she was a divorced accountant living in that capital of depressed mundanity: Hartford, Connecticut. Such is the way of life when you decide you have no choice but to play the American conformist game.\u003c\/p\u003e\n\u003cp\u003e\"I should talk. Once upon a time I was going to play jazz piano and become the next Bill Evans...”\u003c\/p\u003e\n\u003c!-- split --\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","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":574516887572,"sku":"NV101LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Noir.jpg?v=1623489949"},{"product_id":"nv013lp-steve-cardenas-charlie-paul","title":"Steve Cardenas - Charlie \u0026 Paul","description":"\u003cblockquote\u003e\n\u003cp\u003e\"T\u003cspan data-sheets-value='{\"1\":2,\"2\":\"\\\"there’s a conversation in the music, there’s interaction, there’s comments throughout\\\"\"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003ehere’s a conversation in the music, there’s interaction, there’s comments throughout.\" –\u003cem\u003eDownBeat\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Featuring impeccable acoustics and coffee table art cover LP presentation.\" –Audiophile Audition\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThere’s so much personality in the music of the great Charlie Haden and Paul Motian. Not in the reductive meaning of the word, implying idiosyncrasy or identifiable devices, rather that listening to their music gives you a palpable sense of having known the artist. This is how an artist can enter a pantheon of sorts. Not through building giant edifices of achievement but by pouring so much of oneself into the music that the music reflects the person.\u003c\/p\u003e\n\u003cp\u003eSteve Cardenas has crafted a tribute to Charlie and Paul in not just the interpretation of their compositions but the level of attention and focus that seems to shimmer off the music. It feels like Charlie and Paul are there in every improvised moment.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eSteve Cardenas\u003c\/strong\u003e on guitar, \u003cstrong\u003eLoren Stillman\u003c\/strong\u003e on alto saxophone, \u003cstrong\u003eThomas Morgan\u003c\/strong\u003e on bass, and \u003cstrong\u003eMatt Willson\u003c\/strong\u003e on drums.\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\u003eNV013\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Kalypso\"\u003c\/li\u003e\n\u003cli\u003e\"Tangram\"\u003c\/li\u003e\n\u003cli\u003e\"Asia\"\u003c\/li\u003e\n\u003cli\u003e\"La Pasionaria\"\u003c\/li\u003e\n\u003cli\u003e\"In The Moment\"\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\"Prairie Avenue Cowboy\"\u003c\/li\u003e\n\u003cli\u003e\"Riff Raff\"\u003c\/li\u003e\n\u003cli\u003e\"Pocket Full Of Cherry\"\u003c\/li\u003e\n\u003cli\u003e\"For Turiya\"\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\/steve-cardenas\"\u003eSteve Cardenas\u003c\/a\u003e - Guitar \u003cbr\u003e \u003ca href=\"\/pages\/loren-stillman\"\u003eLoren Stillman\u003c\/a\u003e - Alto Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/thomas-morgan\"\u003eThomas Morgan\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/matt-wilson\"\u003eMatt Wilson\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\u003eIt’s easy enough to call them giants, those artists that are enshrined in the collective imaginations as having achieved greatness. I think it’s simple to describe people like Charlie Haden and Paul Motian as “genius” or “towering” or even “talented” because the truth might be a little scarier. What if the great artists are simply the ones whose expression resonates because of its honesty? Where does that leave the rest of us when someone can say something that is so simple and true that it endures eternally?\u003c\/p\u003e\n\u003cp\u003eThere’s so much personality in the music of Charlie and Paul. Not in the reductive meaning of the word implying idiosyncrasy or identifiable devices, rather that listening to their music gives you a palpable sense of having known the artist. This is how an artist can enter a pantheon of sorts. Not through building giant edifices of achievement but by pouring so much of oneself into the music that the music reflects the person. I never knew Paul Motian or Charlie Haden, but I feel like I did. Their music has changed the context of my surroundings. Musicians like Charlie and Paul built the world we live in.\u003c\/p\u003e\n\u003cp\u003eThe musicians on this record did know Charlie and Paul. Leader, Steve Cardenas played in Paul Motian’s band for 14 years and Charlie Haden’s for 10. Loren Stillman also played long tenures with both. Matt Wilson worked extensively with Charlie and Thomas Morgan was Paul Motian’s first call bassist for over a decade. There’s little that connects the compositional style of Charlie and Paul. Maybe there’s more hard edges and quick turns in the music of Motian. Even Charlie’s more cutting pieces like “Pocket Full of Cherry” sound like lullabies. But what draws them together, to my ears, is a certainty of melodic purpose and a child like wonder and freshness. Songs that sound discovered instead of composed.\u003c\/p\u003e\n\u003cp\u003eMany of the songs on this record don’t have traditional harmonic frameworks to improvise over. Rather, the entire song is hung off of the central melodic idea. There’s such looseness and room to breathe in these pieces. I love the way that the band speaks together on the opening track. It takes all of three seconds to establish a unique color. These musicians have so much clarity in their tone and approach. I’m resisting giving a play by play account of each song, but I can’t help also bringing attention to the improvised section on Haden’s “La Pasionaria”. The melody, simple and true, tapers off and Thomas Morgan’s bass is left alone. Each member of the band enters during Thomas’s unstructured solo, Matt first with mallets, then Loren and Steve. What’s remarkable is that Thomas doesn’t have to step back to make space for these other soloists. There isn’t the common give and take as one soloist recedes to let someone else shine. Everyone is using their own voice to say the same thing and it builds so naturally that all the effort of a group improvisation is invisible, as it should be.\u003c\/p\u003e\n\u003cp\u003eSteve Cardenas has crafted a tribute to Charlie and Paul in not just the interpretation of their compositions but the level of attention and focus that seems to shimmer off the music. It feels like Charlie and Paul are there in every improvised moment. Steve, Loren, Thomas and Matt have made a record of such sustained commitment and clarity that it takes my breath away. Of course the greatest tribute to such singular artists is to speak your own truth.\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\/Steve_Cardenas_-_Charlie_Paul_Liner_Notes.pdf?v=1598292792\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":1387430576148,"sku":"NV013LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Cardenas_1.jpg?v=1623489969"},{"product_id":"nv014lp-andy-zimmerman-half-light","title":"Andy Zimmerman - Half Light","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Half Light is beautifully recorded and Zimmerman's strikingly-original compositions deserve to be heard. \u0026quot;}\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003e\u003cem\u003eHalf Light\u003c\/em\u003e is beautifully recorded and Zimmerman's strikingly-original compositions deserve to be heard.\" –\u003cem\u003eAll About Jazz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMost of these songs are Andy Zimmerman's compositions – sketches that he lets the band tease apart and put back together. The unique voice isn’t always a prodigy or a technical wizard or an uncanny ear. Because no matter how fast you learn, you’ll never know it all. It’s how you live and who you are that makes you a creator. It’s about a perspective and a desire to share it.\u003c\/p\u003e\n\u003cp\u003eAndy, Matt Penman, Kevin Hays and Dave Douglas are all masters on their instruments, but much more importantly they have voices that are singular and true.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eAndy Zimmerman\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eDave Douglas\u003c\/strong\u003e on trumpet, \u003cstrong\u003eKevin Hays\u003c\/strong\u003e on piano, and \u003cstrong\u003eMatt Penman\u003c\/strong\u003e on bass.\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\u003eNV014\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Half Light\"\u003c\/li\u003e\n\u003cli\u003e\"Clearing\"\u003c\/li\u003e\n\u003cli\u003e\"Orr Springs Road\"\u003c\/li\u003e\n\u003cli\u003e\"Montreux\"\u003c\/li\u003e\n\u003cli\u003e\"The Bay Area\"\u003c\/li\u003e\n\u003cli\u003e\"Two Sapphires\"\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\"Crossing Iowa\"\u003c\/li\u003e\n\u003cli\u003e\"Bess You Is My Woman Now\u003c\/li\u003e\n\u003cli\u003e\"Lena's Dance\"\u003c\/li\u003e\n\u003cli\u003e\"Sunset And The Mockingbird\"\u003c\/li\u003e\n\u003cli\u003e\"Golden Hours\"\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\/andrew-zimmerman\"\u003eAndy Zimmerman\u003c\/a\u003e - Tenor Saxophone \u003cbr\u003e \u003ca href=\"\/pages\/dave-douglas\"\u003eDave Douglas\u003c\/a\u003e - Trumpet \u003cbr\u003e \u003ca href=\"\/pages\/kevin-hays\"\u003eKevin Hays\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/matt-penman\"\u003eMatt Penman\u003c\/a\u003e - Bass \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\u003eIt’s a bit of a dream for me to listen to this record. A collection of some of my favorite musicians in the world playing a music that sparkles with personal vision. For many people, this might be the first time they’ve heard the music of Andy Zimmerman, but for me Andy is as essential to my own personal musical development and taste as any of the greats. I’m genuinely jealous of the people that get to hear Andy for the first time.\u003c\/p\u003e\n\u003cp\u003eI’ve never liked the word “talent.” As a society we view talent the same way we viewed intelligence in the 1950’s. You’re either “smart” and you go to college or you’re not and you work with your hands. Before Howard Gardner’s theory of multiple intelligences and the proliferation of educational theories since the 60’s, being smart was a simple on-off switch. In most ways we use the same black and white approach to music in 2018. It’s common to say “I don’t have any musical talent” or even “my son\/daughter has no gift for music.” Music is a non-representational art-form--it’s not mimicking something found in nature--it is constructed full cloth from the ether. It stands outside of every societal and linguistic marker we have. It’s bigger than our known world and yet, and YET, we insist on this binary, reductive formula. Talent, you either have it or you don’t.\u003c\/p\u003e\n\u003cp\u003eI’ve known and admired Andy Zimmerman’s music for twenty years. We played duo piano and sax throughout our years together in New York University’s fledgling Jazz program. We toured in Europe together and he recorded with me on my first record in 2007. Andy’s got a sound on the horn that is all his own. There’s a musicality in his improvisation that feels sung and never constrained or constructed. I’ve seen people react immediately to Andy’s playing, people not used to listening to Jazz suddenly turning their heads. Something universal is in his playing. For me, Andy could run major scales up and down the instrument and it would still speak volumes. This is perhaps becoming more of a love-letter than liner notes, but as awkward as it might be to say it, maybe this is what’s left when you take “talent” out of the picture. Music, especially instrumental music, is this amorphous, enormous, pervasive, profound thing. It sits outside of every parameter we can frame it with. It doesn’t speak about anything other than itself and it only has meaning when you share it with someone. Music either speaks to you or it doesn’t. If nothing else, love’s at least a bigger and more inclusive word for its source than “talent”.\u003c\/p\u003e\n\u003cp\u003eThe songs on this record sound like nothing else I’ve heard. Most of these songs are Andy’s compositions, sketches that he lets the band tease apart and put back together. The unique voice isn’t always a prodigy or a technical wizard or an uncanny ear. Because no matter how fast you learn, you’ll never know it all. It’s not how quick you can master something that matters; it’s do you have something to say? Learning how to read when you’re two years old is not an indicator of whether or not you’ll someday write a great novel. It’s how you live and who you are that makes you a creator. It’s about a perspective and a desire to share it.\u003c\/p\u003e\n\u003cp\u003eAndy, Matt Penman, Kevin Hays and Dave Douglas are all masters on their instruments, but much more importantly they have voices that are singular and true. What’s talent compared to truth? We play music to forget technique. We spend our lives honing a skill set that allows us to be as transparent as possible. We are trying to do nothing more or less than show as much of ourselves as the listener can hear.\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\/Andy_Zimmerman_-_Half_Light_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":1567907446804,"sku":"NV014LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Zimmerman_1.jpg?v=1623489472"},{"product_id":"nv015lp-lionel-loueke-close-your-eyes","title":"Lionel Loueke - Close Your Eyes","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003eClose Your Eyes\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e pushes further into Newvelle's improvisational and multifaceted accounting of classics.\" –All About Jazz\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThis is Lionel Loueke’s first ever record of standards. Yet Lionel sounds only like Lionel, even when he’s playing some of the most represented jazz of all time. It’s refreshing to find that, yes, there is something completely new to be heard in “Footprints,” “Solar,” “Body And Soul,” and “Blue Monk.”\u003c\/p\u003e\n\u003cp\u003eHe recorded this record on a one-day break between a tour with Chick Corea and a tour with Herbie Hancock. Everyone wants to play with Lionel. There is something in the warmth of Lionel’s tone on guitar and his vocals that is so inviting.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eLionel Loueke\u003c\/strong\u003e on guitar and vocals, \u003cstrong\u003eReuben Rogers\u003c\/strong\u003e on acoustic bass, and \u003cstrong\u003eEric Harland\u003c\/strong\u003e on drums.\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\u003eNV015\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Footprints\"\u003c\/li\u003e\n\u003cli\u003e\"It Might As Well Be Spring\"\u003c\/li\u003e\n\u003cli\u003e\"Moon River\"\u003c\/li\u003e\n\u003cli\u003e\"Solar\"\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\"Blue Monk\"\u003c\/li\u003e\n\u003cli\u003e\"Body And Soul\"\u003c\/li\u003e\n\u003cli\u003e\"Close Your Eyes\"\u003c\/li\u003e\n\u003cli\u003e\"Naima\"\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\/lionel-loueke\"\u003eLionel Loueke\u003c\/a\u003e - Guitar \u0026amp; Vocals \u003cbr\u003e \u003ca href=\"\/pages\/reuben-rogers\"\u003eReuben Rogers\u003c\/a\u003e - Acoustic Bass \u003cbr\u003e \u003ca href=\"\/pages\/eric-harland\"\u003eEric Harland\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\u003eLionel is maybe my favorite example of a musician whose prodigious technique serves to augment rather than obscure his voice. Want to play the notoriously tricky Coltrane tune Countdown, at 260 BPM? No problem. How about we try it in 13\/8? Sure, simple as breathing. But that’s not the impressive part. The trick is how to play “Countdown” in 13\/8 at 260 BPM and sound exactly like yourself. I’m getting sidetracked already as “Countdown” isn’t even on the record (though you can hear\/watch it being recorded on this page). The point is that there are so few musicians alive today, or of any era, who have an authentic, individual, unmistakable voice. This is Lionel Loueke’s first ever record of standards. Lionel sounds only like Lionel, even when he’s playing some of the most represented jazz of all time. It’s refreshing to find that, yes, there is something completely new to be heard in “Footprints,” “Solar,” “Body and Soul” and “Blue Monk.”\u003c\/p\u003e\n\u003cp\u003eLionel actually recorded this record on a one-day break between a tour with Chick Corea and a tour with Herbie Hancock. Everyone wants to play with Lionel. There is something in the warmth of Lionel’s tone on guitar and his vocals that is so inviting. Listen to the way that Lionel opens the record with “Footprints” and then turns around to run a duo version of “It Might As Well Be Spring” with Reuben and then a duo version of “Moon River” with Eric Harland. Check out that big round sound of Eric Harland on “Moon River.” What a masterclass in touch and restraint. Reuben on “It Might As Well Be Spring” is so supportive and loose, letting Lionel lean ALL the way back. It’s almost like Lionel is taking the listener in to a cocktail party and introducing him around to all the players before re-starting a lively conversation with the trio in “Solar.”\u003c\/p\u003e\n\u003cp\u003eI love the versatility and edge that this band can tap into. On Side B, when the band hits “Blue Monk,” there’s almost more BB King in it than Monk. Give attention to when Eric clocks that cymbal crash in the first chorus of Lionel’s solo, almost like he’s saying “deal with this,” and of course, Lionel does. “Body and Soul” is the other end of that coin. Running the form straight down: a quick intro, a loose take on the melody, and an improvised cadenza from Lionel to end it -- everything that could be said is already there in the focus and clarity of the interpretation. Then “Close Your Eyes” is where the band completely stretches out. As Lionel said at the time, “There’s magic in this one.”\u003c\/p\u003e\n\u003cp\u003eThe record closes with Lionel’s solo version of “Naima.” At the session, Lionel said it’s like “Naima visits Africa.” Certainly, Lionel, like all artists, is an amalgamation of all his experiences and his influences. His West African Benin background informs his interpretations in a way that feels so organic and clear. It’s almost as if he can accordion his whole past and musical background on top of itself to dizzying affect. He is live-tracking those vocals even when his singing is in a separate time signature and style than his guitar playing. All these connections and hard-earned skill are overlaid on top of each other and express themselves effortlessly. There is a synthesis of all these influences and a welcoming way he can make it all available to the casual listener that is all his own. Maybe he takes Naima to Africa, but the world is coming to Lionel.\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\/Lionel_Loueke_-_Close_Your_Eyes_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":12205965312068,"sku":"NV015LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Loueke_1.jpg?v=1623489851"},{"product_id":"nv016lp-skuli-sverrisson-and-bill-frisell-strata","title":"Skúli Sverrisson and Bill Frisell - Strata","description":"\u003cblockquote\u003e\"Icelandic bassist Skúli Sverrisson and guitarist Bill Frisell sound like they were made to play together, combining exceptional harmonic depth and simpatico counterpoint on.\" – \u003cem\u003eDownBeat\u003c\/em\u003e\n\u003c\/blockquote\u003e\n\u003cblockquote\u003e\"Even on first listen, Strata evokes a feeling of familiarity so rich that it bleeds into nostalgia.\" – \u003cem\u003eJAZZIZ\u003c\/em\u003e\n\u003c\/blockquote\u003e\n\u003cblockquote\u003e\"On the surface this is music of simple design, but there is a depth to the layers that adds up to music that is much greater than the sum of its parts.\" – \u003cem\u003eAll About Jazz\u003c\/em\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eNewvelle's first-ever reissue features guitarists Skúli Sverrisson and Bill Frisell from their sold out Season Three release \u003cem\u003eStrata\u003c\/em\u003e. While recording this in 2017, the connection between the two musicians was palpable. With Skúli and Bill there’s a shared internal language – a sense of inevitable logic, hypnotizing and surreal.\u003c\/p\u003e\n\u003cp\u003eThis limited edition repressing of 1,000 copies is now available exclusively through Newvelle Records.\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\u003eNV016R\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e180-gram black vinyl LP\u003cbr\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003eSingle pocket 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\u003eChris Muth, Dangerous Music\u003cbr\u003eNew York, New York, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePressing\u003c\/td\u003e\n\u003ctd\u003eQuality Record Pressing\u003cbr\u003eSalina, Kansas, USA\u003cbr\u003e\n\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\"Sweet Earth\"\u003c\/li\u003e\n\u003cli\u003e\"Instants\"\u003c\/li\u003e\n\u003cli\u003e\"Vanishing Point\"\u003c\/li\u003e\n\u003cli\u003e\"Ancient Affection\"\u003c\/li\u003e\n\u003cli\u003e\"Came To Light\"\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\"Cave Of Swimmers\"\u003c\/li\u003e\n\u003cli\u003e\"Amedeo\"\u003c\/li\u003e\n\u003cli\u003e\"Afternoon Variant\"\u003c\/li\u003e\n\u003cli\u003e\"Segment\"\u003c\/li\u003e\n\u003cli\u003e\"Her Room\"\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\/skuli-sverrisson\"\u003eSkúli Sverrisson\u003c\/a\u003e - Electric \u0026amp; Acoustic Bass Guitar \u003cbr\u003e \u003ca href=\"\/pages\/bill-frisell\"\u003eBill Frisell\u003c\/a\u003e - Electric \u0026amp; Acoustic Guitar \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 never been at a session like the one that we had in June of 2017 with Skúli Sverrisson and Bill Frisell. Sometimes you can really sense a connection between two musicians, some fitting together or a frisson of common experience and spontaneous invention. But this was of another order—a quiet and profound communion. With Skúli and Bill there’s a shared internal language—a sense of inevitable logic—hypnotizing and surreal.\u003c\/p\u003e\n\u003cp\u003eThe studio is a charged environment—a kinetic energy of ideas about to be born, loaded with expectation and possibility. Emotions tend to come to the surface in both good and bad ways. Bill and Skúli hit a deep vein in the first hour and never needed to come up for air. They would track a song of Skúli’s while seated across from each other, barely speaking. Then we would listen back in the control room. After the song was over, no one would say a word for a moment, as if a spell had been cast. Then Bill might look over at Skúli and say, “What do you think if I tried to overlay something on this one?” While Bill tracked a second guitar, Skúli would sit with his head cradled in his hands. When Bill would return to the control room, Skúli would lift his head, wearing a beatific smile.\u003c\/p\u003e\n\u003cp\u003eThis spell was only stirred once. On the second day of tracking, the film maker Jim Jarmusch came by for lunch. Jim is a longtime fan of Bill’s music. His arrival was a brace of movement and charm. He’d tell a couple of stories, and then we’d sit in silence while Bill and Skúli tracked something. “Brothers from another mother, these two,” I caught Jim muttering under his breath.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSkúli Sverrisson:\u003c\/strong\u003e “Bill’s been a thread throughout my creative life. I wrote songs for this session, but Bill has been such an inspiration to me that, even on songs I wrote before I met him, he was already there.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Frisell:\u003c\/strong\u003e “Skúli was one of those guys that I kept hearing about but hadn’t heard his music. Before I heard what he did, I was already wondering, ‘What’s with this guy?’ He had such a huge range, playing with some of my favorite musicians and in styles all over the map. The first time I heard him, the beauty of it touched me right away... I don’t listen to much music. I mostly listen to someone like Duke Ellington—real classics. But I got two of his albums and I kept putting them on. I wouldn’t have known that he was influenced by me. He was tapped in to something I dream of. When we did the recording, it took it to 100%, it felt like something that was in my imagination, but even deeper and further.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSS:\u003c\/strong\u003e “There seemed to be a clear path to the center of the music. The session with Bill was so easy—no complications anywhere. And then having Jim Jarmusch there! He was almost like a ‘ghost producer.’ He’s another one of my heroes, such a great and surreal experience. I was only in New York for three days to record the album, and the whole thing came together so easily and to have Jim there... I really came back home and thought, ‘Did that really happen—was that a dream?’”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBF:\u003c\/strong\u003e “This was really special for me, I’d wanted to play with Skúli for a long time and this was an ideal situation. Sometimes you play music with someone in another context, in someone’s band or at a session, and you think, ‘I’d like to do a project with that person’; but this was the first time we played together. It felt so immediate, like ‘This is it, right now.’”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSS:\u003c\/strong\u003e “I knew Marc Urselli from decades ago when he reviewed a rather obscure record of mine, “Seremonie.” Later we did many tours together with Laurie Anderson, when Marc was the front-of-the-house engineer. We became friends and I felt very connected to him.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarc Urselli (recording engineer):\u003c\/strong\u003e “Bill and Skúli are two of my favorite musicians of all time and having them together in the studio was most enjoyable. They are both so modest and so soft-spoken that (barely!) hearing their comments and compliments to each other, one incredible take after another, was both delightful and hard to believe. Being there when the two played almost felt imposing, in a way. It was like a sacred experience only a few lucky ones were allowed to be a part of.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBF:\u003c\/strong\u003e “Playing alone is so difficult because you get nothing back. But as soon as just one other person plays, there’s a direct response , like an electrical current that returns. It starts to go. You play something and right away it comes back, like a two-stroke engine. Everything you need is there... There’s an elegance to it. I almost feel like I didn’t even play on this record. Compositionally, what Skúli brought is so amazing. There wasn’t anything for me to do, everything was there already. So natural for me to fall into, so effortless. What Skúli chose to play and what he wrote—he built this structure that didn’t have anything blocking me but it was holding me up the whole time. It feels like we’ve known each other longer than we have. And it feels like the start of something.”\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\/Skuli_Sverrisson_Bill_Frisell_-_Strata_Liner_Notes.pdf?v=1598292796\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":12205966458948,"sku":"NV016R","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/20220522_newvelle_repress_skuli_shop_v2.jpg?v=1653672221"},{"product_id":"nv017lp-francisco-mela-ancestros","title":"Francisco Mela - Ancestros","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe playing is highly expressive; extending phrases or collapsing them, without lavish embellishments but often with raw energy...Mela is a master of nuance and flexibility, regardless of the style the group is engaged in\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\" –All About Jazz\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\u003cspan\u003eListening to Mela’s quartet will keep a listener on their toes, with its intense energy...[It] continues the Newvelle tradition of presenting innovative artists free rein to express their musical talents.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eIt’s not wise to listen to a Francisco Mela record with pre-conceived notions. But, if you come to listen, the reward is profound. Mela’s musical energy is pure and powerful and when you get him in the room with a band this skilled and empathetic, his perspective flows clean from the source.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eFrancisco Mela\u003c\/strong\u003e on drums, \u003cstrong\u003eHenry Paz\u003c\/strong\u003e on saxophone, \u003cstrong\u003eKris Davis\u003c\/strong\u003e on piano, and \u003cstrong\u003eGerald Cannon\u003c\/strong\u003e on bass.\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\u003eNV017\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Black Movie\"\u003c\/li\u003e\n\u003cli\u003e\"Duende\"\u003c\/li\u003e\n\u003cli\u003e\"Vino\"\u003c\/li\u003e\n\u003cli\u003e\"Ornette\"\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\"It's Good To Be Free\"\u003c\/li\u003e\n\u003cli\u003e\"Not So\"\u003c\/li\u003e\n\u003cli\u003e\"Mumbo Jumbo\"\u003c\/li\u003e\n\u003cli\u003e\"Ancestros\"\u003c\/li\u003e\n\u003cli\u003e\"It's Free To Be Good\"\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\/francisco-mela\"\u003eFrancisco Mela\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/hery-paz\"\u003eHery Paz\u003c\/a\u003e - Sax \u003cbr\u003e \u003ca href=\"\/pages\/kris-davis\"\u003eKris Davis\u003c\/a\u003e - Piano \u003cbr\u003e Gerald Cannon - Bass \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\u003eIt’s not wise to listen to a Francisco Mela record with pre-conceived notions. But, if you come to listen, the reward is profound. Mela’s musical energy is pure and powerful and when you get him in the room with a band this skilled and empathetic, his perspective flows clean from the source.\u003c\/p\u003e\n\u003cp\u003eOn the title track, “Ancestros,” Hery Paz is playing the Chinese horn, the Suono, which travelled from China to Cuba with migrant workers in the mid-19th Century and became so vital a part of Cuban carnival tradition that it was renamed the “corneta china.” Here it bridges an intro and outro into a driving modern and unique piece replete with deft improvisational frameworks in which the musicians are let loose to roam. Francisco’s music is fiercely individual, but you can hear how his background and his influences intermingle and how the outlook of the great Paul Motian and Andrew Hill (both also represented on the album on Hill’s “Not So” and Motian’s “Mumbo Jumbo”) shine brightly in Mela’s compositions. I’m amazed by the microcosms—worlds of their own—that Mela builds with his compositions.\u003c\/p\u003e\n\u003cp\u003eOn every track, the incredibly responsive and intuitive playing of Kris Davis prods at the thematic material from all sides, bringing out every reaction and tendril of an idea from Mela’s writing. I love the way she dissects Mela’s themes and re-assembles them in her solos. Hery Paz is also a singular voice on the saxophone and bass clarinet. Check out the opening of the record as the unaccompanied melody on solo bass clarinet roots around almost like it’s finding its shape as it goes. Paz’s tone on the instrument is deep and personal and the record begins almost as if a Prokofiev character is peeking into view. Throughout the record, the accompaniment from Mela is so instantly reactive while being simultaneously supportive that the band dances in lock step, no matter how furious and wild the steps. Of course, from one end to the other, you can hear the huge impact of Gerald Cannon. Gerald and Mela play together worldwide in McCoy Tyner’s trio (and the Crash Trio with Newvelle favorite Leo Genovese), so their synergy and swing come as no surprise; but the effortless way in which the tempo can establish itself and then dissolve and re-emerge is a master-class in poise and feel.\u003c\/p\u003e\n\u003cp\u003eAt the end of the loose 5\/4 driving feel of “Vino” captured in the video here, you can hear Mela exclaiming, “Wow, I was listening to that in my head for a long time. Just like that!” His vision snaps into focus in the collective improvisation. Just like he imagined it and never to be repeated the same way again.\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\/Francisco_Mela_-_Ancestros_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":12205967343684,"sku":"NV017LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Mela_1.jpg?v=1623489775"},{"product_id":"nv018lp-jason-palmer-fair-weather","title":"Jason Palmer - Fair Weather","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"It will undoubtedly become a collector’s item.\"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003eIt will undoubtedly become a collector’s item.\" –The Arts Fuse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe repertoire on this record falls right into place. Arrangements of some lesser known standards (Jason calls them “derangements”) are accompanied by a couple of originals that complement the melodic drive of these tunes. Jason’s writing on this record runs contrary to some of the more rhythmically and harmonically complicated compositions that he’s been honing at Wally’s, the Boston café where he's played for the past two decades.\u003c\/p\u003e\n\u003cp\u003eHis choice to play the simple and true on this record, and the way the band coalesces around this choice, speaks volumes about the discoveries of a life of musical investigation. It’s not how far you go but how deep you dig that matters.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eJason Palmer\u003c\/strong\u003e on trumpet, \u003cstrong\u003eLeo Genovese\u003c\/strong\u003e on piano, \u003cstrong\u003eJoe Martin\u003c\/strong\u003e on bass, and \u003cstrong\u003eKendrick Scott\u003c\/strong\u003e on drums.\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\u003eNV018\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Nameless\"\u003c\/li\u003e\n\u003cli\u003e\"Fair Weather\"\u003c\/li\u003e\n\u003cli\u003e\"Easy Living\"\u003c\/li\u003e\n\u003cli\u003e\"Moonlight Becomes You\"\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\"Miracles\"\u003c\/li\u003e\n\u003cli\u003e\"You Know I Care\"\u003c\/li\u003e\n\u003cli\u003e\"Nefertiti\"\u003c\/li\u003e\n\u003cli\u003e\"Raise The Love Ceiling\"\u003c\/li\u003e\n\u003cli\u003e\"Old Folks\"\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\/jason-palmer\"\u003eJason Palmer\u003c\/a\u003e - Trumpet \u003cbr\u003e \u003ca href=\"\/pages\/leo-genovese\"\u003eLeo Genovese\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/joe-martin\"\u003eJoe Martin\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/kendrick-scott\"\u003eKendrick Scott\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\u003eHaving grown up in the Boston area, I know what it is like to live in a city that’s musically in thrall to New York. There’s the small feeling of abandonment as each year another crop of young musicians make the trek to NYC to see if they can cut it with the world’s best. This underlines the central fallacy of many musical and artistic narratives. Because, of course there is no meaningful metric with which to judge art other than the personal. You can’t measure yourself against the best, because music, and especially improvised music, is a non-representational art form without parameters. What you can do is to search for a home for your music to grow, or to build your own home—to carve out a space to nurture your music and help others do the same.\u003c\/p\u003e\n\u003cp\u003eThere are a number of exciting venues in Boston but the oldest and the one with the most flavor is Wally’s Café. Wally’s has been hosting live jazz nightly since 1947, and it has a sense of history that few venues have. Almost every weekend over the past 19 years, Jason Palmer has been leading the band at Wally’s.\u003c\/p\u003e\n\u003cp\u003eThere is a clarity and honesty in Jason’s playing that I find unmistakable. Jason says that if it wasn’t for his extended residency, he doesn’t think he’d still be playing music today. It is at Wally’s that Jason found the space to build a world view and the technique to express it. In his words, it’s “done wonders for my playing, composing, confidence, patience, etc. The residence there has given me a more solid reason to continue to do the work in this music that’s required to get better. I’ve been able to retain consistent bands and write and arrange for them, and I always have an audience.” This record shows how clearly devoted Jason is to the tradition of jazz without being beholden to it. This isn’t statement music. Free of gimmicks, this is music whose integrity and honesty is the statement.\u003c\/p\u003e\n\u003cp\u003eIf you’re familiar with Newvelle’s first season, then you already know the iconoclastic fearless musician, Leo Genovese. Leo seemingly can find the closest melodic distance between two disparate points in record time. His technique is prodigious and he can take corners at speeds unavailable to many professional musicians, but he often chooses to go right through the wall to get to where he needs to be. Leo likes to tear holes in the fabric of the song to let the light peek through at odd angles and illuminate something that everyone else was missing. Leo reminds me of the stories about Zen masters who answer a question with a swift wrap upside the head, but then...enlightenment.\u003c\/p\u003e\n\u003cp\u003eIt’s not an overstatement to say that Kendrick Scott and Joe Martin are among the most in-demand rhythm section on the planet. Despite their huge technical abilities, it’s clearly their tone that sets them apart from the crowd. Individualistic and full, it is a tone born of clarity rather than crafted by an idiosyncratic urge to stand out. Like all the greats, they can sound only like themselves but can play with anybody.\u003c\/p\u003e\n\u003cp\u003eThe repertoire on this record falls right into place. Arrangements of some lesser known standards (Jason calls them “derangements”) are accompanied by a couple of originals that complement the melodic drive of these tunes. Jason’s writing on this record runs contrary to some of the more rhythmically and harmonically complicated compositions that he’s been honing at Wally’s. His choice to play the simple and true on this record, and the way the band coalesces around this choice, speaks volumes about the discoveries of a life of musical investigation. It’s not how far you go but how deep you dig that matters.\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\/Jason_Palmer_-_Fair_Weather_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":12205968523332,"sku":"NV018LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S3_Palmer_1.jpg?v=1623489817"},{"product_id":"season-four","title":"Newvelle Season Four: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eThis is a label that has completely gone its own way. Everything about the presentation, sound and aesthetic of these records is superlative. Every release comes as fresh surprise, but there is no surprise when it comes to the production values.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"That will surely be a highlight, but then everything from Newvelle is.\" –The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThis complete box set includes six, 180-gram vinyl records and a premium collector’s box. The season features original paintings by \u003cb\u003eHery Paz\u003c\/b\u003e and original text by \u003cb\u003eTim Sultan\u003c\/b\u003e. Albums include:\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003ePreminger Plays Preminger\u003c\/em\u003e - Noah Preminger\u003c\/b\u003e \u003cbr\u003eFeaturing Jason Moran, Kim Cass, and Marcus Gilmore\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eBroken Shadows\u003c\/em\u003e - Broken Shadows\u003c\/b\u003e \u003cbr\u003eFeaturing Tim Berne, Chris Speed, Reid Anderson, and Dave King\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eMore Than Enough\u003c\/em\u003e - Gregory Tardy with Bill Frisell\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eFrom Scratch\u003c\/em\u003e - Billy Lester\u003c\/b\u003e \u003cbr\u003eFeaturing Rufus Reid and Matt Wilson\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eChurch on Mars\u003c\/em\u003e - Kenny Werner\u003c\/b\u003e \u003cbr\u003eFeaturing Dave Liebman, James Genus, and Terri Lynn Carrington\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eCongeries of Ethereal Phenomena\u003c\/em\u003e - Hank Roberts\u003c\/b\u003e \u003cbr\u003eFeaturing Jacob Sacks, and Vinnie Sperrazza\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLike a multi–Michelin-starred restaurant that boasts a prix fixe, 15-course tasting menu, when it comes to a full-on sensory immersion into 21st-century jazz, Newvelle leaves nothing in the kitchen, or at the curb.\" –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\u003eNV021-NV024\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 and 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 Pressing\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":12665284493400,"sku":"NVSLP004-FULL","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Full_4.jpg?v=1623489892"},{"product_id":"newvelle-muri","title":"Newvelle Muri: Complete Box Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNewvelle Records continues to be at the cutting edge of opening ears of listeners eager to explore a wide palette of musical expression, recorded in top grade studio settings, and now live in chamber hall quality acoustics...The Muri box set is full of musical treasures to cherish.\" –Audiophile Audition, \u003cmeta charset=\"UTF-8\"\u003e★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003eThe sound on these discs couldn’t be more clear or precise; the music is low-key, thoughtful, and resolutely melodious.\" –The Arts Fuse\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eNewvelle Records is proud to present Newvelle Muri, a special edition vinyl collection recorded live at Musig im Pflegidach in the alpine village of Muri, Switzerland.\u003c\/p\u003e\n\u003cp\u003eCurated by heralded music impresario Stephan Diethelm, this collection contains six, 180 gram LPs of beautifully recorded live music, uniquely available on vinyl:\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eEyes of the World\u003c\/em\u003e – Gilad Hekselman\u003c\/b\u003e \u003cbr\u003eFeaturing Aaron Parks and Kendrick Scott\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eGullfoss\u003c\/em\u003e – Nadje Noordhuis Quintet\u003c\/b\u003e \u003cbr\u003eFeaturing Maeve Gilchrist, Jesse Lewis, Ike Sturm, and James Shipp\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eSupa Nova\u003c\/em\u003e – Eric Harland\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eAargau\u003c\/em\u003e – FORQ\u003c\/b\u003e \u003cbr\u003eFeaturing Henry Hey, Chris McQueen, Kevin Scott, and Jason \"JT\" Thomas\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eUn Silencio Que Llegó de Lejos\u003c\/em\u003e – Marta Gómez\u003c\/b\u003e \u0026amp; \u003cb\u003eAndres Rotmistrovsky Duo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem\u003eWishes\u003c\/em\u003e – Gadi Lehavi\u003c\/b\u003e \u003cbr\u003eFeaturing Romeu Tristão and Daniel Dor\u003c\/p\u003e\n\u003cp\u003eThis young group of musicians represents the absolute pinnacle of the art form, captured impeccably in the midst of creation. Sustained by the energy of the live performances, these tracks lean more into the beat than traditional Newvelle studio recordings.\u003c\/p\u003e\n\u003cp\u003eNewvelle Muri is pressed, mixed and mastered to our exacting standards by the same team that brings you the standard Newvelle seasons. The box set features stunning original photography from \u003cb\u003eMarilyn Clark\u003c\/b\u003e and an essay series in six parts by acclaimed writer \u003cb\u003eMichel Mettler\u003c\/b\u003e.\u003c\/p\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\u003eNVM001-NVM006\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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":12950548611160,"sku":"NVSM001-FULL","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Full_04.jpg?v=1623489873"},{"product_id":"nv019lp-noah-preminger-preminger-plays-preminger","title":"Noah Preminger - Preminger Plays Preminger","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Dark rumbles and bittersweet melodies portend brooding mystery and unstable romance.\"}'\u003eDark rumbles and bittersweet melodies portend brooding mystery and unstable romance.\" –The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Dark rumbles and bittersweet melodies portend brooding mystery and unstable romance.\"}'\u003e\"The saxophonist channels the circumspection and the longing of the 1955 film’s original soundtrack into a watery, wandering melody.\" –\u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"Dark rumbles and bittersweet melodies portend brooding mystery and unstable romance.\"}'\u003e\"\u003cem\u003ePreminger Plays Preminger\u003c\/em\u003e adds to the tenor player’s epic catalog of soul-satisfying musical brilliance.\" –\u003cem\u003eJazz Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe idea to record this album had been with Noah since he was in high school, when his aunt, who taught a film studies class, first screened \u003cem\u003eAnatomy of Murder\u003c\/em\u003e\u003cemp\u003eAnatomy of a Murder\u003c\/emp\u003e for him.\u003c\/p\u003e\n\u003cp\u003eAnd the musicians on this album feel so dialed in – like a collective recital of some foundational American myth. There’s a heaviness to this album. Not a ponderousness, but rather an element that speaks of a second truth behind the music.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eNoah Preminger\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eJason Moran\u003c\/strong\u003e on piano, \u003cstrong\u003eKim Cass\u003c\/strong\u003e on bass, and \u003cstrong\u003eMarcus Gilmore\u003c\/strong\u003e on drums.\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\u003eNV019\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 Pressing\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\"For Advise and Consent\"\u003c\/li\u003e\n\u003cli\u003e\"For Stalag 17\"\u003c\/li\u003e\n\u003cli\u003e\"Theme From The River Of No Return\"\u003c\/li\u003e\n\u003cli\u003e\"For Laura\"\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\"Way Early Subtone From Anatomy of a Murder\"\u003c\/li\u003e\n\u003cli\u003e\"Stay With Me From The Cardinal\"\u003c\/li\u003e\n\u003cli\u003e\"For Bunny Lake is Missing\"\u003c\/li\u003e\n\u003cli\u003e\"Theme From Bonjour Tristesse\"\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\/noah-preminger\"\u003eNoah Preminger\u003c\/a\u003e - Tenor Sax \u003cbr\u003e \u003ca href=\"\/pages\/jason-moran\"\u003eJason Moran\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/kim-cass\"\u003eKim Cass\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/marcus-gilmore\"\u003eMarcus Gilmore\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 style=\"text-align: center;\"\u003e\u003cem\u003ePreminger Plays Preminger \u003c\/em\u003eis a record of music based on and adapted from the films of the great director, Otto Preminger.\u003c\/p\u003e\n\u003cp\u003eNoah Preminger has seen this film many times before, but now it’s the third time this week that he has watched “The Cardinal,” it’s the second time he’s going through it with the sound turned off. He’s searching for a scene that hooks him. When he finds it, he’ll loop it and let it play over and over on repeat. Eventually, he’ll pick up his horn.\u003c\/p\u003e\n\u003cp\u003eThe idea to record this album has been with Noah since he was in high school, when his aunt, who taught a film studies class, first screened Anatomy of a Murder for him. It takes nerve for a teenager, listening to Duke Ellington’s jazz score, perhaps the most famous of all time, to say to himself, “I can do that.” But, of course, Noah had a way into the films of Otto Preminger all his own.\u003c\/p\u003e\n\u003cp\u003eNoah was born about one month after Otto Preminger died in 1986. Noah was raised on stories from his grandmother about Otto, a cousin of his grandfather, Jack Preminger. They had grown up together in Czernowitz, Austria-Hungary (now Chernitsi, Ukraine). To Noah, these giants of the arts, these progenitors of whole classifications of music and film (Film Noir, Swing!), were brought down to earth for him – made corporeal, maybe even people he could relate to.\u003c\/p\u003e\n\u003cp\u003eThen—the films of Otto Preminger kept creeping into Noah’s life. As an undergraduate at New England Conservatory, Noah fell in with the iconoclastic pianist, Ran Blake. Ran also happened to be a film buff and someone deeply connected with the visual and cinematic in his approach to music. Ran even taught a course at NEC that was dedicated to understanding Film Noir in a way that could let it affect a student’s compositional and musical identity. Ran and Noah ended up poring over the scores of Preminger’s films together.\u003c\/p\u003e\n\u003cp\u003eThe musicians on this album feel so dialed in. There’s something on this record that feels to me like a collective recital of some foundational American myth. There’s a heaviness to this album. Not a ponderousness, but rather an element that speaks of a second truth behind the music. I may not always see the films of Otto Preminger in the music, but I can feel the weight of narrative that seems to expand these tunes with some inner glow.\u003c\/p\u003e\n\u003cp\u003eWe control only a tiny fraction of our own biographies and we continually try to create and shape the stories that come to define us. This record of Noah’s is a singular vision and of course one rooted—like all good improvised music—very much in the moment, but it’s also a collective effort. A joint effort not just of these extraordinary musicians in a Lower East Side Recording studio in 2018, but also a reverberation that stretches from turn-of-the-century Austria through 1950’s Harlem, through a childhood in rural Connecticut and a revelatory screening with a scholarly aunt, and through the halls of New England Conservatory with one of the totemic educators and musicians at the turn of the next century. Sometimes—when the stars really align—we can share stories about where we come from, who we are, and who we want to be, all at the same time.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Noah_Preminger_-_Preminger_Plays_Preminger_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":19735083384920,"sku":"NV019LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Noah_Preminger.jpg?v=1623489930"},{"product_id":"nv020lp-broken-shadows","title":"Broken Shadows","description":"\u003cblockquote\u003e\n\u003cp\u003e\"P\u003cspan data-mce-fragment=\"1\"\u003elaintively beautiful.\" –The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eNamed for one of Ornette Coleman’s most evocative compositions, this band debuted for the Konceptions Music Series at Brooklyn’s Korzo. It's a remarkably balanced vehicle for performing Coleman’s work, approaching it with fearless experimentation, deep grooves, and wicked humor.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eTim Berne\u003c\/strong\u003e on alto saxophone, \u003cstrong\u003eChris Speed\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eReid Anderson\u003c\/strong\u003e on bass, and \u003cstrong\u003eDave King\u003c\/strong\u003e on drums.\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\u003eNV020\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 Pressing\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\"Body\"\u003c\/li\u003e\n\u003cli\u003e\"Toy Dance\"\u003c\/li\u003e\n\u003cli\u003e\"Song For Ché\"\u003c\/li\u003e\n\u003cli\u003e\"Ecars\"\u003c\/li\u003e\n\u003cli\u003e\"Walls-Bridges\"\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\"Una Muy Bonita\"\u003c\/li\u003e\n\u003cli\u003e\"Civilization Day\"\u003c\/li\u003e\n\u003cli\u003e\"Broken Shadows\"\u003c\/li\u003e\n\u003cli\u003e\"C.O.D.\"\u003c\/li\u003e\n\u003cli\u003e\"Dogon A.D.\"\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 Tim Berne - Alto Saxophone \u003cbr\u003e Chris Speed - Tenor Saxophone \u003cbr\u003e Reid Anderson - Bass \u003cbr\u003e Dave King - 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\u003eKorzo is a small Eastern European restaurant in South Slope Brooklyn. Until recently, its back room hosted one of the most exciting music series in New York. They presented the kind of program you could find only in NYC and, these days, you might find only in Brooklyn. When longtime collaborators Tim Berne and Chris Speed were planning a show at Korzo, they had a very short conversation about what kind of material to play. In “about five minutes” they had decided on the music of some of their idols and mentors: Ornette Coleman, Julius Hemphill, Dewey Redman and Charlie Haden. In even less time they had picked their rhythm section of Reid Anderson and Dave King.\u003c\/p\u003e\n\u003cp\u003eIn 1974 it was Julius Hemphill’s record “Dogon A.D.” that got Tim Berne started in music. This record hit Tim so hard when he heard it that he tracked Julius down in Brooklyn and asked him for lessons. This, mind you, was before Tim could play \u003cem\u003eanything\u003c\/em\u003e on the saxophone. Here’s Tim on Julius’s influence:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTim Berne:\u003c\/strong\u003e “He’s my mentor. I didn’t play saxophone until I started with Julius. I was his first student, maybe even his only student ever. There wasn’t much happening for him; he was just kind of waiting. He was a legend in the Midwest but an outlier in New York. Julius gave me these tone exercises and composition lessons, even though I was at the ‘Mary-had-a-little-lamb’ stage of musical development. The confusion was inspiring, because you have to be self-motivated. The importance of sound was the thing he stressed the most. We would do three hours of long tones, then go get some food, and then come back and work on compositions. They weren’t typical one-hour lessons—they took all day. We became great friends. We even ended up living together briefly.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElan Mehler:\u003c\/strong\u003e “Could you even run major scales when you met him?”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTB:\u003c\/strong\u003e “I still can’t play major scales!”\u003c\/p\u003e\n\u003cp\u003eThe shows at Korzo, however impeccably curated, were not always well attended. But this one, boasting the progenitors of the Brooklyn scene (already christened as “Broken Shadows”) and compositions that will never stop being on the cutting edge, was packed. They had a couple of encore performances at Korzo, and then, riding the electricity generated there, they hit the road and toured the States and Europe. As I’m writing this, they are at the jazz mecca, playing a week at the Village Vanguard.\u003c\/p\u003e\n\u003cp\u003eThis isn’t the type of music that you can make with a typical “all-star” band. And this band, despite the acclaim of each of its members, is not a construction but something closer to a brotherhood. Not only have all four musicians known each other for decades, but they have established themselves at the foreground of creative music. And, of course, it’s this connection that drives the success of this band. These songs continue to inspire this level of connection, because it’s not just a way of playing music—it’s a way of \u003cem\u003ehearing\u003c\/em\u003e music. It’s why Tim spent hours playing long tones at Julius Hemphill’s apartment in the 70’s and it’s why, just down the street, 40 years later, they could set everyone sideways at Korzo. It’s about a devotion to listening and a collective responsibility to the sound. There’s something fundamental, universal and transcendent here, not so much created by Ornette, Dewey, Charlie and Julius as \u003cem\u003eaccessed\u003c\/em\u003e by them. They found a door straight through the center of the music, and those that are really listening can walk through it.\u003c\/p\u003e\n\u003cp\u003eSomething that often gets lost about the music of Ornette, Julius, Charlie and Dewey is its collective nature. Despite, or perhaps because of, the towering genius of these composers, this is music that can’t be pinned to the page. It is born of ideas bouncing between musicians in deep connection with one another. Paradoxically, what makes this album successful as a tribute is also what makes this album completely unique.\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\/Broken_Shadows_-_Broken_Shadows_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":19735084302424,"sku":"NV020LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Broken_Shadows.jpg?v=1623489735"},{"product_id":"nv021lp-gregory-tardy-with-bill-frisell","title":"Gregory Tardy with Bill Frisell - More Than Enough","description":"\u003cblockquote\u003e\n\u003cp\u003e\"Recorded, as always with impeccable acoustics, by Marc Urselli...Greg and Bill let the music flow with a gentle and sure assurance. Their blend is exquisite, whether in call and response, or with the use of special guitar effects. It is an intuitive pairing of artists that listen and respond, letting the mood develop creatively.\" –Audiophile Audition\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eGreg’s never been known for playing pretty music. He came up with the “young lions” of the early 90’s under the influence of Wynton Marsalis. He was drafted into the Elvin Jones Jazz Machine by Nicholas Payton. A fierce musician with a burning sound and a reverence for Coltrane, Greg set the scene on fire with his arrival in New York in 1994. Now, 25 years later, we hear a more contemplative, elegiac Tardy. After a lifetime of his sound directing his experiences, his experiences now inform his sound.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eGregory Tardy\u003c\/strong\u003e on clarinets and saxophone and \u003cstrong\u003eBill Frisell\u003c\/strong\u003e on acoustic and electric guitar.\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\u003eNV021\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 Pressing\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\"Single Petal of a Rose\"\u003c\/li\u003e\n\u003cli\u003e\"More Than Enough\"\u003c\/li\u003e\n\u003cli\u003e\"Ask Me Now\"\u003c\/li\u003e\n\u003cli\u003e\"Worried Woman\"\u003c\/li\u003e\n\u003cli\u003e\"Dreamer (A Song For My Dad)\"\u003c\/li\u003e\n\u003cli\u003e\"Baby Cry\"\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\"Monk's Mood\"\u003c\/li\u003e\n\u003cli\u003e\"JL's Wish\"\u003c\/li\u003e\n\u003cli\u003e\"Monica Jane\"\u003c\/li\u003e\n\u003cli\u003e\"Blood Count\"\u003c\/li\u003e\n\u003cli\u003e\"Ask Me Now\"\u003c\/li\u003e\n\u003cli\u003e\"Hard Times\"\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\/gregory-tardy\"\u003eGregory Tardy\u003c\/a\u003e - Clarinet \u0026amp; Saxophones \u003cbr\u003e \u003ca href=\"\/pages\/bill-frisell\"\u003eBill Frisell\u003c\/a\u003e - Acoustic \u0026amp; Electric Guitar \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\u003eWe look for the story. Maybe the story of how a song comes to be, or how a chance meeting becomes a musical relationship that becomes a record. The story of how a life in all its complexity leads to a pinnacle of self-actualization. We build narratives to promote and to critique. Ideally, music can provide a respite from all that. It’s not that music has a monopoly on a truth that language can’t access; it’s that music exists outside of language all together. And that is, in fact, what makes it true.\u003c\/p\u003e\n\u003cp\u003eHere’s a narrative about Gregory Tardy:\u003c\/p\u003e\n\u003cp\u003eGreg’s never been known for playing pretty music. He came up with the “young lions” of the early 90’s under the influence of Wynton Marsalis. He was drafted into the Elvin Jones Jazz Machine by Nicholas Payton. A fierce musician with a burning sound and a reverence for Coltrane, Greg set the scene on fire with his arrival in NYC in 1994. Now, 25 years later, we hear a more contemplative, elegiac Tardy. After a lifetime of his sound directing his experiences, his experiences now inform his sound.\u003c\/p\u003e\n\u003cp\u003eOr…\u003c\/p\u003e\n\u003cp\u003eIt’s the mid 80’s and Tardy can’t get to his regular spot playing for tips on the street in front of a local café in New Orleans. That’s the money spot, and now he’s not sure how he’ll buy groceries this week. New Orleans has other riches though. He’s setting up in coffee shops, passing the hat with Brian Blade, Nicholas Payton, Eric Revis, and a whole murderers row of young New Orleans jazz greats-to-be. When he gets the call from Nicholas Payton to ask if he wants to join Elvin Jones’ Jazz Machine he responds, “Do you really need to ask me if I want to play with Elvin?”\u003c\/p\u003e\n\u003cp\u003eWith Elvin, he found his footing, surfing on the huge waves of sound Elvin would generate from the back of the bandstand. He saved enough money from touring to move to NYC in 1994. He was quickly signed to Impulse Records and began touring his own music worldwide. And suddenly things turned. Reviewers were calling him derivative, too much a devotee of Coltrane—there was a backlash against the whole ethos of the “young lions” traditionalist movement. It didn’t matter that Tardy was actually almost a decade older than the crop of musicians associated with the movement, or that his music wasn’t backwards looking at all. Still, the critiques stung Greg and he moved consciously to court work with Andrew Hill and Dave Douglas, purveyors of the downtown scene. Pushing Greg out of his comfort zone and playing progressive and free music. It was here that Greg hooked up with Bill Frisell, joining his quintet with Ron Miles and Tony Scherr and Kenny Wollensen.\u003c\/p\u003e\n\u003cp\u003eOr…\u003c\/p\u003e\n\u003cp\u003eGreg is in high school in the Midwest. His family is full of musicians, both his parents sing Opera. Despite Greg’s dedication to classical clarinet, he’s a metal head and a devotee of RUSH. Finally, his older brother plays him a recording of Coltrane playing “Monk’s Mood” and it hits Greg like a thunderclap: “I didn’t understand what they were doing but I knew I wanted to do it.” There’s a series of leaps of faith and now Greg’s life revolves around Jazz—eventually he heads to New Orleans to start really workshopping.\u003c\/p\u003e\n\u003cp\u003eThe next thunderclap hits in 1996, after playing for years with Elvin, when Greg dedicates his life to Jesus Christ. Ten years after that, in 2006 Greg leaves Bill Frisell’s Quartet to take up music ministry to a congregation of 8,000 strong at the Times Square Church in the hopes of pursuing a preaching career. For four years, Greg played his horn minimally, focusing on his family and his congregation, working hard as a music writer and band leader of the church, and playing a lot of piano.\u003c\/p\u003e\n\u003cp\u003eIt was while he was at the church that his hands started to bother him. Typing long hours and his work on the piano, or perhaps his lack of work on the sax after a lifetime of playing hours every day, led to carpal tunnel syndrome in both hands. It became so bad that Greg couldn’t hold his daughter’s hand as she crossed the street, or type his pin code into an ATM without his hands seizing up. He had surgery on both hands. With impeccable timing, the University of Tennessee called to offer him a permanent position. Leaving full-time ministry wasn’t an easy decision, but Greg took the job.\u003c\/p\u003e\n\u003cp\u003eAs Greg started playing his horn again he found that his hands were slowly getting better. Now he reckons his hands are at about 90% of where he was before he took the Church position. Living in Knoxville, teaching and raising his family while playing and touring worldwide, Greg feels like he’s right where he is supposed to be.\u003c\/p\u003e\n\u003cp\u003eOne thing that Greg has been searching for in his life has been the right opportunity and setting to record “Monk’s Mood”—the song played on his brother’s turn-table that got him started on this journey. Hearing Bill lay down acoustic guitar while Greg blows the melody of “Monk’s Mood” is a revelation. All of these narratives are true. But the real truth, of course, is in the music.\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\/Gregory_Tardy_with_Bill_Frisell_-_More_Than_Enough_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":19735084892248,"sku":"NV021LP","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Gregory_Tardy.jpg?v=1623489797"},{"product_id":"nv022lp-billy-lester-from-scratch","title":"Billy Lester - From Scratch","description":"\u003cblockquote\u003e\n\u003cp\u003e\"A\u003cspan data-sheets-userformat='{\"2\":6723,\"3\":{\"1\":0},\"4\":[null,2,13228792],\"9\":0,\"12\":0,\"14\":[null,2,0],\"15\":\"Arial\"}' data-sheets-value='{\"1\":2,\"2\":\"a pianist of unfailing sensitivity and unpredictable instinct\"}' data-mce-fragment=\"1\"\u003e pianist of unfailing sensitivity and unpredictable instinct.\" –WBGO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":6723,\"3\":{\"1\":0},\"4\":[null,2,13228792],\"9\":0,\"12\":0,\"14\":[null,2,0],\"15\":\"Arial\"}' data-sheets-value='{\"1\":2,\"2\":\"a pianist of unfailing sensitivity and unpredictable instinct\"}' data-mce-fragment=\"1\"\u003eLester \"is one of those artists who’s almost completely unknown but who, once you hear him, stays melded in your mind.\" –Slate, Top 10 Records of 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThere’s a radical integrity to Billy’s music. He’s interested in playing exactly what he feels in the moment and nothing else. While certainly many master improvisers are capable of extraordinary feats of improvisation – building castles of sound from the barest of inputs – Billy apparently won’t even bend his concept to adhere to basic narrative conceits. Billy’s creations don’t need to escalate to some pinnacle of expression. They just are.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eBilly Lester\u003c\/strong\u003e on piano, \u003cstrong\u003eRufus Reid\u003c\/strong\u003e on bass, and \u003cstrong\u003eMatt Wilson\u003c\/strong\u003e on drums.\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\u003eNV022\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 Pressing\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\"You'd Be So Nice To Come Home To\"\u003c\/li\u003e\n\u003cli\u003e\"These Foolish Things\"\u003c\/li\u003e\n\u003cli\u003e\"Scrapple from the Apple\"\u003c\/li\u003e\n\u003cli\u003e\"Darn That Dream\"\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\"How Deep is the Ocean\"\u003c\/li\u003e\n\u003cli\u003e\"Back Home in Indiana\"\u003c\/li\u003e\n\u003cli\u003e\"Body and Soul\"\u003c\/li\u003e\n\u003cli\u003e\"Yesterdays\"\u003c\/li\u003e\n\u003cli\u003e\"I Surrender Dear\"\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\/billy-lester\"\u003eBilly Lester\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/rufus-reid\"\u003eRufus Reid\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/matt-wilson\"\u003eMatt Wilson\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 style=\"text-indent: 50px;\"\u003eMost musicians I’ve met, myself included, have spent their time searching for beauty in music. We strive day after day to create something beautiful and unique. Billy Lester presents a counter-thesis. What if one is completely unconcerned with beauty and holds only \u003cem\u003etruth\u003c\/em\u003e as one’s musical compass?\u003c\/p\u003e\n\u003cp style=\"text-indent: 50px;\"\u003eThe “typical” form for a jazz standard is a statement of the melody or “theme” and then a solo or series of solos (melodic improvisations over the harmonic parameters of the piece), then a return to the original melody before coming to some sort of arranged or spontaneous ending. Often on a “standards” record, the band will play each song two times and then we’ll decide later which one we like better. With this session, featuring the legendary all-star rhythm section of Rufus Reid and Matt Wilson, Billy would play just the barest outlines of the melody to start and then take off in whatever direction moved him at that moment. On the second time through the tune, however, he’d count in the band and then play something completely tangential to the melody. After a couple of hours of this, I pulled Billy aside to talk:\u003c\/p\u003e\n\u003cp\u003e— “Billy, on the second take, you’re not playing the melody at all, just going straight into solos.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLong pause\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e— “But I played the melody on the first take.”\u003c\/p\u003e\n\u003cp style=\"text-indent: 50px;\"\u003eBilly’s approach is one of complete improvisation. It’s not enough to play something original, you have to play something entirely new to the world. Every time. Even to play the melody a second time and pretend he had not just played it 10 minutes before, was a bridge too far for Billy.\u003c\/p\u003e\n\u003cp style=\"text-indent: 50px;\"\u003eBilly studied with the great pianist and educator Sal Mosca for 16 years. These were intense lessons devoted largely to ear training exercises, transcriptions, and endless harmonic configurations. At the age of 32, Billy found himself in a crisis of identity. After delving so deeply for so many of his formative years into the techniques of Sal (and Lennie Tristano, Sal’s mentor), Billy had no idea what his own musical identity was. One morning, Billy sat down at the piano, closed his eyes and focused on his own emotional state. He found, if he concentrated long enough, that the feelings he had in that moment had their own sound. He reached out one hand and found that note on the piano. This experience, of playing one “true” note, flooded him with gratitude. Billy says that that moment, in his early thirties, is the moment he became an artist.\u003c\/p\u003e\n\u003cp style=\"text-indent: 50px;\"\u003eEvery day, over the next 40 years, Billy would go through this process of finding “his” interior sound—sometimes sitting in silence and waiting for long periods of time before playing that first note. As the first note leads to another, he’d occasionally find himself “hearing” something in his head that his hands couldn’t articulate. He’d then stop, write down the phrase he was hearing in his mind and then play it in all twelve keys. Gradually over the decades his studio filled with notebooks of ideas.\u003c\/p\u003e\n\u003cp style=\"text-indent: 50px;\"\u003eThere’s a radical integrity to Billy’s music. He’s interested in playing exactly what he feels in the moment and nothing else. The beauty of his music (and I find a veritable wellspring of beauty in his playing) comes not from the \u003cem\u003epursuit\u003c\/em\u003e of beauty but from the inherent artistry of a moment in time expressed completely. While certainly many master improvisers are capable of extraordinary feats of improvisation—building castles of sound from the barest of inputs—Billy apparently won’t even bend his concept to adhere to basic narrative conceits. Billy’s creations don’t need to escalate to some pinnacle of expression. They just are.\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Billy_Lester_-_From_Scratch_Liner_Notes.pdf?v=1598292799\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":19735085416536,"sku":"NV022LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Billy_Lester.jpg?v=1623489731"},{"product_id":"nv023lp-kenny-werner-church-on-mars","title":"Kenny Werner - Church on Mars","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Church on Mars [is] arguably the finest release on Newvelle yet.\"}' data-sheets-userformat='{\"2\":833,\"3\":{\"1\":0},\"9\":0,\"11\":3,\"12\":0}' data-mce-fragment=\"1\"\u003eChurch on Mars [is] arguably the finest release on Newvelle yet.\" –\u003cem\u003eJazzwise\u003c\/em\u003e, ★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThere’s something mischievous and otherworldly in these compositions and instrumentation. Kenny slyly dropped in overdubbed Fender Rhodes and Hammond B3 Organ in surprising places. Single notes and sparse chords here and there that make the listener go, “Did I just hear that?”\u003c\/p\u003e\n\u003cp\u003eAs Kenny says, \"You must hear every sound as a gift. It \u003cemp\u003eall\u003c\/emp\u003e sounds good.\"\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eKenny Werner\u003c\/strong\u003e on piano, Fender Rhodes, and Hammond B3 Organ, \u003cstrong\u003eDavid Liebman\u003c\/strong\u003e on tenor and soprano saxophones and flute, \u003cstrong\u003eJames Genus\u003c\/strong\u003e on bass, \u003cstrong\u003eTerri Lynn Carrington\u003c\/strong\u003e on drums, and \u003cstrong\u003eVivienne Aerts\u003c\/strong\u003e on vocals on \"Embraceable You.\"\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\u003eNV023\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 Pressing\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\"Feel Good\"\u003c\/li\u003e\n\u003cli\u003e\"Church On Mars\"\u003c\/li\u003e\n\u003cli\u003e\"Tender Mercies\"\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\"Superfluous\"\u003c\/li\u003e\n\u003cli\u003e\"Embraceable You\"\u003c\/li\u003e\n\u003cli\u003e\"Think Of One\"\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\/kenny-werner\"\u003eKenny Werner\u003c\/a\u003e - Piano, Fender Rhodes, and Hammond B3 Organ \u003cbr\u003e \u003ca href=\"\/pages\/dave-liebman\"\u003eDave Liebman\u003c\/a\u003e - Tenor, Soprano Saxophones, and Flute \u003cbr\u003e \u003ca href=\"\/pages\/james-genus\"\u003eJames Genus\u003c\/a\u003e - Bass \u003cbr\u003e \u003ca href=\"\/pages\/terri-lyne-carrington\"\u003eTerri Lyne Carrington\u003c\/a\u003e - Drums \u003cbr\u003e \u003ca href=\"\/pages\/vivienne-aerts\"\u003eVivienne Aerts\u003c\/a\u003e - Guest Vocalist on “Embraceable You” \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\u003eLike pretty much everyone who has studied jazz since the mid-90s, I’ve been to a master classes led by Kenny Werner. The thing that stuck with me is when he would say, “You must hear every sound as a gift. It \u003cem\u003eall\u003c\/em\u003e sounds good.” Then he would lean his full weight onto the keyboard and the piano would bark out a cluster of notes and Kenny would turn with a beatific smile on his face and say “nectar… it’s all nectar.” And it’s true, in that moment you heard something sweet and true in that sound.\u003c\/p\u003e\n\u003cp\u003eKenny wrote the totemic book “Effortless Mastery,” so it’s not a surprise to see him mid musical phrase, looking almost absent minded as his fingers glide over the keyboard. He’ll reach over and mash a cluster of keys with his fist, or reach inside the piano to rest his hand on the strings (like he does at the beginning of “Tender Mercies”), but nothing seems forced or even forceful. Kenny takes huge swings—great giant leaps of intuition and risk. Yet it never sounds even slightly strained. You could set his piano on fire and, when Kenny played it, it wouldn’t look dangerous. I’ve seen him drag his hand slowly across the keys with his fingers limp, and I’ve seen him paw at the piano as if all of his fingers are fused together. And every time, there it is—nectar.\u003c\/p\u003e\n\u003cp\u003eThis band came together at Berklee School of Music where Kenny, Dave, Terri Lyne and the original bass player for this record, Esperanza Spalding, all teach. In a very impromptu forum session for the Berklee Global Jazz Institute the quartet got together and played a set of mostly free music. Kenny describes himself as a very responsive player:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eMy improvisations, even during my solo are principally going to be concerned with responding to the ideas the band is throwing at me. So I want to play with a band with great ideas! When I’m playing with a band that’s principally backing me up, that to me is boring and I’m doing all the work!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePlaying at the forum, Kenny found himself playing sounds and ideas that he had never heard before. It was then that he knew he had to get this band into a studio.\u003c\/p\u003e\n\u003cp\u003eIn the studio, James Genus filled in for Esperanza due to an illness. But Kenny was delighted to be playing with James for the first time. “James is a master” says Kenny “and he set up everyone amazingly.”\u003c\/p\u003e\n\u003cp\u003eI love the title of this record. There’s something mischievous and otherworldly in these compositions and instrumentation. Kenny slyly dropped in overdubbed Fender Rhodes and Hammond B3 Organ in surprising places. Single notes and sparse chords here and there that make the listener go “Did I just hear that?” The title track “Church on Mars,” has an ethereal quality but it didn’t yet have a title when it was recorded. Kenny heard it in playback, and at the very last moment decided it needed some Hammond B3 in the mix. “This is how they pray on Mars,” he said.\u003c\/p\u003e\n\u003cp\u003eThe record really gets spacey in the instrumental section of “Embraceable You.” Right where you think the bass and drums would start laying into the chord changes for the band to solo over, instead, the bottom drops out of the song and suddenly you’re looking down at the stars. Kenny told Dave, “Whatever note I play, you should play, a note that’s a major 7th or a minor 9th away.” These are arguably the two most dissonant or abrasive sounding intervals in western music. And yet…nectar.\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\/Kenny_Werner_-_Church_on_Mars_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":19735085580376,"sku":"NV023LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Kenny_Werner.jpg?v=1623489839"},{"product_id":"nv024lp-hank-roberts-congeries","title":"Hank Roberts - Congeries of Ethereal Phenomena","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe panoply of styles allows Roberts to exploit all of his virtuosic and extended techniques. He can sound like a guitarist, a bassist, a violinist, as well as a cellist, and his bowing, plucking, and everything in between are exquisitely captured in a shallow but resonant soundscape that gives crystalline presence to Sacks’ brisk, angular pianism, and a spacious spread to Sperrazza’s sensitive, restrained drumming.\" –The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eHank originally hails from Indiana, and he possesses the graciousness, kindness, and quick smile that people associate with the Midwest. But as you can hear on this record, Hank is also a visionary with a unique, uncompromising point of view. There’s an unbridled, take-no-prisoners imagination and inventiveness at work here.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eHank Roberts\u003c\/strong\u003e on cello and vocals, \u003cstrong\u003eJacob Sacks\u003c\/strong\u003e on piano, and \u003cstrong\u003eVinnie Sperrazza\u003c\/strong\u003e on drums.\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\u003eNV024\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 Pressing\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\"Blind Resonance\"\u003c\/li\u003e\n\u003cli\u003e\"Welcome\"\u003c\/li\u003e\n\u003cli\u003e\"Necklace\"\u003c\/li\u003e\n\u003cli\u003e\"Evidence\"\u003c\/li\u003e\n\u003cli\u003e\"Cayuga\"\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\"Trio 7\"\u003c\/li\u003e\n\u003cli\u003e\" Back Home In Indiana\/Donna Lee\"\u003c\/li\u003e\n\u003cli\u003e\"Feb 20\"\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\/hank-roberts\"\u003eHank Roberts\u003c\/a\u003e - Cello \u0026amp; Voice \u003cbr\u003e \u003ca href=\"\/pages\/jacob-sacks\"\u003eJacob Sacks\u003c\/a\u003e - Piano \u003cbr\u003e \u003ca href=\"\/pages\/vinnie-sperrazza\"\u003eVinnie Sperrazza\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 had what I thought was a great “producer idea” when we were thinking of the title for this record. With its vague landscape cover, its Americana-turned-sideways musical aesthetic, the provenance of its leader and the fact that it covered the title song, the title seemed a sure fit. I also loved the sly bait and switch of a simple record title and the intricacies of the music held within. “Hey Hank, I’ve got an idea on the title for the record, how about…\u003cem\u003eIndiana\u003c\/em\u003e.” Hank paused for a minute and said something along the lines of “I’ll give it some thought.” Later, he sent me the title \u003cem\u003eCongeries of Ethereal Phenomena\u003c\/em\u003e. We went with Hank’s title.\u003c\/p\u003e\n\u003cp\u003eHank originally hails from Indiana, and he possesses the graciousness, kindness and quick smile that people associate with the Midwest. But as you can hear on this record, Hank is also a visionary with a unique, uncompromising point of view. There’s an unbridled, take no prisoners, imagination and inventiveness at work here. I keep finding new corners of this music, and I find that fragments of these tunes fill my head when I’m least expecting it. I especially love the attention, care, and creativity that Jacob Sacks and Vinnie Sperrazza bring to this music. This is very “complicated” music, played as if it were simple. That’s a hard thing to do. Listen to the way Vinnie starts keeping time on “Evidence”—it’s just a hint and it’s skittering all over the kit, but it feels as simple as a tapping foot and it \u003cem\u003eswings\u003c\/em\u003e. On the same tune, check out the beginning of Jacob’s solo, when Hank starts to take over the bassline. There’s no step back into something safe or established, just the relentless engagement with the material. This is how you should cover Monk. Jettison all affect and lean hard into the curves.\u003c\/p\u003e\n\u003cp\u003eWhen I connected with Hank about recording for Newvelle, I talked with him about how I’m drawn to music that I call “melodically driven.” Music that speaks clearly and lyrically. When listening back after the first day, Hank had a little half-smile on his face. He leaned over to me and said, “You see, it’s melodically driven. I’ve just got a couple of melodies going on at the same time…”.\u003c\/p\u003e\n\u003cp\u003eIt’s become cliché to discuss how a certain music or artists transcend genre. “Is this Jazz?” has long since become the most overplayed card in the critic’s deck. But, more impressive than Hank’s nonchalant traversing of musical genres, is that the integrity of his music is strong enough to contain contrary musical ideas at the same time. Maybe it’s simplest to say that this record, like all great art, is neither commentary nor reflection. It’s easier to describe what it isn’t than what it is, but essentially, it speaks for itself no matter what we titled it.\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\/Hank_Roberts_-_Congeries_of_Ethereal_Phenomena_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":19735085613144,"sku":"NV024LP","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/S4_Hank_Roberts.jpg?v=1623489801"},{"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":"nvm001-gilad-hekselman-zuperoctave","title":"Gilad Hekselman - Zuperoctave","description":"\u003cblockquote\u003e\n\u003cp\u003eA \"vibrantly brisk performance.\" –\u003cem\u003eJazzwise, \u003cmeta charset=\"UTF-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e★★★★\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cstrong\u003eGilad Hekselman\u003c\/strong\u003e has established himself as one of the leading voices in jazz guitar. Only a few years after his arrival to New York in 2004, this native Israeli was already sharing stages with some of the greatest artists in the New York jazz scene including Chris Potter, Eric Harland, Mark Turner, Anat Cohen, Ari Hoenig, Esperanza Spalding, Jeff Ballard, Ben Wendel, Gretchen Parlato, Avishai Cohen, Jeff \"Tain\" Watts, Tigran Hamasyan, Aaron Parks, Becca Stevens, John Scofield, Terri Lyne Carrington, Danilo Perez and Peter Bernstein among many others.\u003c\/p\u003e\n\u003cp\u003eHere, he's joined by \u003cstrong\u003eAaron Parks\u003c\/strong\u003e and \u003cstrong\u003eKendrick Scott\u003c\/strong\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\u003eNVM001\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"VBlues\"\u003c\/li\u003e\n\u003cli\u003e\"Eyes Of The World\"\u003c\/li\u003e\n\u003cli\u003e\"Tokyo Cookie\"\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\"Stumble\"\u003c\/li\u003e\n\u003cli\u003e\"The Way There\"\u003c\/li\u003e\n\u003cli\u003e\"Lullaby To Myself\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672661078104,"sku":"NVM001","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Gilad_1.jpg?v=1623489792"},{"product_id":"nvm002-nadje-noordhuis-quintet-gullfoss","title":"Nadje Noordhuis Quintet - Gullfoss","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eIt brings deep contentment and a warm glow, both magisterial, yet still challenging. It inspires like a general leading the troops to victory, and yet it can be be disquieting as well...\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"UTF-8\"\u003eI had never heard of Australian trumpeter Nadje Noordhuis before her LP \u003cem data-mce-fragment=\"1\"\u003eGullfoss\u003c\/em\u003e arrived. I was immediately taken in by her seductive music.\" –The Arts Fuse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eCombining cinematic sweep, transportive emotion, and rich melodic grandeur, Australian-born trumpeter\/composer \u003cstrong\u003eNadje Noordhuis\u003c\/strong\u003e possesses one of the most unforgettably lyrical voices in modern music. Her deeply-felt, clarion tone and evocative compositional gift meld classical rigor, jazz expression, and world music accents into a sound that is distinctively her own.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eMaeve Gilchrist\u003c\/strong\u003e, \u003cstrong\u003eJesse Lewis\u003c\/strong\u003e, \u003cstrong\u003eIke Sturm\u003c\/strong\u003e, and \u003cstrong\u003eJames Shipp\u003c\/strong\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\u003eNVM002\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Migration\"\u003c\/li\u003e\n\u003cli\u003e\"Indian Pacific\"\u003c\/li\u003e\n\u003cli\u003e\"Waratah\"\u003c\/li\u003e\n\u003cli\u003e\"Silverpoint\"\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\"Kilarney\"\u003c\/li\u003e\n\u003cli\u003e\"Seven Miles\"\u003c\/li\u003e\n\u003cli\u003e\"Laneway\"\u003c\/li\u003e\n\u003cli\u003e\"Gullfoss\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672672710744,"sku":"NVM002","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Nadje_1.jpg?v=1623489867"},{"product_id":"nvm003-eric-harland-supa-nova","title":"Eric Harland - Supa Nova","description":"\u003cblockquote\u003e\n\u003cp\u003eHarland \"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eknows just how he wants to shape the sounds he is playing with; he is ready to change a broad cymbal hit to some rim-shot chatter at the drop of a hat. I don’t know anything quite like \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSupa Nova.\" \u003c\/em\u003e–The Arts Fuse\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMulti-GRAMMY nominated drummer, Eric Harland is one the most in-demand drummers of his generation. He has been recognized in the \u003cem\u003eBoston Globe\u003c\/em\u003e, \u003cem\u003eNew York Times\u003c\/em\u003e, \u003cem\u003eJazzTimes\u003c\/em\u003e, \u003cem\u003eModern Drummer\u003c\/em\u003e, \u003cem\u003eAll About Jazz\u003c\/em\u003e, \u003cem\u003eThe New Yorker\u003c\/em\u003e, \u003cem\u003eDownBeat\u003c\/em\u003e, \u003cem\u003eL’uomo Vogue\u003c\/em\u003e and other prominent publications.\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\u003eNVM003\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Transparency\"\u003c\/li\u003e\n\u003cli\u003e\"Leaving\"\u003c\/li\u003e\n\u003cli\u003e\"Stratum\"\u003c\/li\u003e\n\u003cli\u003e\"heART\"\u003c\/li\u003e\n\u003cli\u003e\"Unobstructed\"\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\"The Challenger (1986)\"\u003c\/li\u003e\n\u003cli\u003e\"Fresno\"\u003c\/li\u003e\n\u003cli\u003e\"Lost Soul\"\u003c\/li\u003e\n\u003cli\u003e\"BeBox\"\u003c\/li\u003e\n\u003cli\u003e\"Mbalax\"\u003c\/li\u003e\n\u003cli\u003e\"D.A.R.E.\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672674316376,"sku":"NVM003","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Harland_1.jpg?v=1623489765"},{"product_id":"nvm004-forq-aargau","title":"FORQ - Aargau","description":"\u003cblockquote\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"It's guitar heavy vision, balanced by keyboards that both lighten the vibe, but also provide funkiness to ease the presentation. Reverb and back-beat help broaden their tracks.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSustained by the energy of the live performances, Muri's tracks lean more into the beat than traditional Newvelle studio recordings. FORQ features \u003cstrong\u003eHenry Hey\u003c\/strong\u003e, \u003cstrong\u003eChris McQueen\u003c\/strong\u003e, \u003cstrong\u003eKevin Scott\u003c\/strong\u003e, and \u003cstrong\u003eJason \"JT\" Thomas\u003c\/strong\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\u003eNVM004\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Taizo\"\u003c\/li\u003e\n\u003cli\u003e\"635 South\"\u003c\/li\u003e\n\u003cli\u003e\"Crush\"\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\"Gerard\"\u003c\/li\u003e\n\u003cli\u003e\"Grout\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672674578520,"sku":"NVM004","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_FORQ_1.jpg?v=1623489770"},{"product_id":"nvm005-marta-gomez-andres-rotmistrovsky-un-silencio-que-llego-de-lejos","title":"Marta Gómez \u0026 Andres Rotmistrovsky - Un Silencio Que Llegó de Lejos","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGómez’s voice is perfect for this intimate setting: rich, personalized, touching without devolving into sentimentality...This is exquisite singing and playing.\" –The Arts Fuse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cstrong\u003eMarta Gómez\u003c\/strong\u003e has developed an extensive music career which has placed her as one of the most interesting singer-songwriters on the world music scene today. She mixes the joy of the Caribbean with the nostalgia of the Andes, adding jazz and pop elements, taking the authenticity of South American indigenous folk music into a new realm.\u003c\/p\u003e\n\u003cp\u003eAndres Rotmistrovsky's bass guitar is heard on more than 50 albums and he has worked with acclaimed artists including \u003cstrong\u003eJoan Baez\u003c\/strong\u003e, \u003cstrong\u003eSertab Erener\u003c\/strong\u003e, \u003cstrong\u003eRuben Blades\u003c\/strong\u003e, \u003cstrong\u003eLa Mala Rodriguez\u003c\/strong\u003e, \u003cstrong\u003eEva Ayllon\u003c\/strong\u003e, and \u003cstrong\u003eLeon Gieco\u003c\/strong\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\u003eNVM005\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Tengo El Alma Herida\"\u003c\/li\u003e\n\u003cli\u003e\"Lucía\"\u003c\/li\u003e\n\u003cli\u003e\"Plegaria Para un Niño Dormido\"\u003c\/li\u003e\n\u003cli\u003e\"Yo te Espero\"\u003c\/li\u003e\n\u003cli\u003e\"El Día que me Quieras\"\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\"Canción en Sol\"\u003c\/li\u003e\n\u003cli\u003e\"El Museo de las Distancias Rotas\"\u003c\/li\u003e\n\u003cli\u003e\"Está Linda la Mar\"\u003c\/li\u003e\n\u003cli\u003e\"Soy Pan, Soy Paz, Soy Más\"\u003c\/li\u003e\n\u003cli\u003e\"Como un Secreto\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672674709592,"sku":"NVM005","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Gomez_1.jpg?v=1623489862"},{"product_id":"nvm006-gadi-lehavi-wishes","title":"Gadi Lehavi - Wishes","description":"\u003cp\u003ePlaying by ear from a very early age and experimenting with improvisation drew Gadi Lehavi naturally to jazz. A visit to New York opened a door to the world. He was discovered by the renowned jazz musician Ravi Coltrane, who invited him to play together at the famous Village Vanguard and Birdland jazz clubs.\u003c\/p\u003e\n\u003cp\u003eSince then, Gadi Lehavi has been performing in music festivals around the world, and already has the privilege of performing and collaborating with some of the greatest musicians of our time.\u003c\/p\u003e\n\u003cp\u003eFeaturing \u003cstrong\u003eGadi Lehavi\u003c\/strong\u003e, \u003cstrong\u003eRomeu Tristão\u003c\/strong\u003e, and \u003cstrong\u003eDaniel Dor\u003c\/strong\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\u003eNVM006\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\u003eMusig im Pflegidach, Muri, Switzerland\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\u003eMPO\u003cbr\u003eVillaines-La-Juhel, France\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\"Intro\"\u003c\/li\u003e\n\u003cli\u003e\"Wishes\"\u003c\/li\u003e\n\u003cli\u003e\"No Vowels Allowed\"\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\"From Silence\"\u003c\/li\u003e\n\u003cli\u003e\"Mantra\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":32672677036120,"sku":"NVM006","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Muri_Gadi_1.jpg?v=1623489786"},{"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":"newvelle-new-orleans","title":"The New Orleans Collection: Complete Set","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003eThe musicians—and the room—are right there, every guitar lick, bass pluck, and snare sizzle lifelike in detail and dynamics.\" –Stereophile\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt’s a treasure chest of musical delights, all housed in typical pristine gate fold packaging.\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eNewvelle Records is proud to present \u003cem\u003eThe New Orleans Collection\u003c\/em\u003e, Newvelle’s set of four new recordings from the greatest generation of New Orleans artists. Recorded in the spring of 2020, each album is now available exclusively on vinyl—recorded and pressed with the uncompromising quality that Newvelle fans have come to expect from the label. \u003cbr\u003e\u003cbr\u003eThe legacy and breadth of New Orleans music is beautifully represented in this limited edition collection of four single sleeved records. Newvelle New Orleans includes albums led by the soul queen herself \u003cstrong\u003eIrma Thomas\u003c\/strong\u003e, the inimitable Delta blues guitarist \u003cstrong\u003eLittle Freddie King\u003c\/strong\u003e, the wildly expressive funk and R\u0026amp;B pianist \u003cstrong\u003eJon Cleary\u003c\/strong\u003e, and the joyful jazz pianist, and musical mentor to many, the late \u003cstrong\u003eEllis Marsalis\u003c\/strong\u003e. \u003cbr\u003e\u003cbr\u003e The New Orleans Collection is a physical testament to the vibrancy of New Orleans music—preserving the legacy of New Orleans for generations of listeners, present and future.\u003cbr\u003e\u003c\/p\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\u003eNVN001-NVN004\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e4x 180-gram clear vinyl LPs\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eJacket\u003c\/td\u003e\n\u003ctd\u003e4x Tip-on gatefold jackets\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\u003eMisha Kachkachishvili, Esplanade Studios\u003cbr\u003eNew Orleans, Louisiana 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 Pressing\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":33022773755992,"sku":"NVSN001-FULL","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/NO_Full_1.jpg?v=1623489976"},{"product_id":"nvn001-irma-thomas","title":"Irma Thomas - Love is the Foundation","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThomas sounds like a precious jewel placed in an exquisite setting. The whole package is a work of art, from the striking black and white cover photo by Daymon Gardner, a head shot portrait in meticulous detail that seems to reveal something deep and essential in Thomas’ character; to the art museum quality graphic design and the opaque pearl vinyl disc that graces your turntable like a designer outfit.\" –\u003cem\u003eOffbeat\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eA \"masterpiece\" –Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eReturning to the studio for her first album in over a decade, soul powerhouse Irma Thomas is back. With vocals that will sweep you away into a different time and space, Irma Thomas is rooted by her phenomenal accompanying band featuring Preservation Hall Jazz Band pianist \u003cstrong\u003eKyle Roussel\u003c\/strong\u003e, \u003cstrong\u003eJohnny Vidacovich\u003c\/strong\u003e on drums, and the late \u003cstrong\u003eAlfred “Uganda” Roberts\u003c\/strong\u003e on percussion. Roberts and Vidacovich played together since the late 60s as rhythm partners for many of the 60s and 70s R\u0026amp;B greats, including Professor Longhair.\u003c\/p\u003e\n\u003cp\u003eProviding the brass for the album are \u003cstrong\u003eAndrew Baham\u003c\/strong\u003e on trumpet, \u003cstrong\u003eRoderick Pauling\u003c\/strong\u003e on saxophone, and \u003cstrong\u003eTerrence Taplin\u003c\/strong\u003e on trombone. Thomas is supported by vocal backing from \u003cstrong\u003ePaggy Prine\u003c\/strong\u003e, \u003cstrong\u003eSierra Green\u003c\/strong\u003e, and \u003cstrong\u003eKyshona Armstrong\u003c\/strong\u003e. And, bridging two great American musical traditions, \u003cstrong\u003ePaul Defiglia\u003c\/strong\u003e and \u003cstrong\u003eStephen Daly\u003c\/strong\u003e join the band to contribute bass and guitar all the way from Nashville.\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\u003eNVN001\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\u003eMisha Kachkachishvili, Esplanade Studios\u003cbr\u003eNew Orleans, Louisiana 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 Pressing\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\"My Love Is\"\u003c\/li\u003e\n\u003cli\u003e\"I Don't Know\"\u003c\/li\u003e\n\u003cli\u003e\"It's Too Late\"\u003c\/li\u003e\n\u003cli\u003e\"Picture On The Wall\"\u003c\/li\u003e\n\u003cli\u003e\"Perfidia\"\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\"So Long\"\u003c\/li\u003e\n\u003cli\u003e\"Don't Go To Strangers\"\u003c\/li\u003e\n\u003cli\u003e\"Love Is The Foundation\"\u003c\/li\u003e\n\u003cli\u003e\"Crying Eyes\"\u003c\/li\u003e\n\u003cli\u003e\"Second Chance\"\u003c\/li\u003e\n\u003cli\u003e\"Our Day Will Come\"\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 Irma Thomas - Vocals \u003cbr\u003e Johnny Vidacovich - Drums \u003cbr\u003e Alfred ‘Uganda’ Roberts - Congas \u003cbr\u003e Kyle Roussel - Piano, Wurlitzer, B3 Organ \u003cbr\u003e Stephen Daly - Electric guitar, pedal steel guitar \u003cbr\u003e Paul Defiglia - Electric and upright bass \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\u003e“I always choose songs that have good storylines. And on this particular session they all had great storylines. May not have been some that I would do or say personally, but you don’t always look at it from a personal standpoint. You look at it like a script, and you are playing a role and telling a story and you want it to be believable. So you have to picture yourself in that. What would you do if you were in that position? And it makes it easier to sing, because in your head while you’re singing it you are that person in that position. And since I been around since mud I’ve had a lot of life and living under my belt, so it's not hard for me to put myself in a lot of those positions.”\u003c\/p\u003e\n\u003cp\u003e--Irma Thomas, January 14, 2020\u003c\/p\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\/Irma_Thomas_-_Love_is_the_Foundation_Liner_Notes.pdf?v=1607021140\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\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\/Irma_Thomas_-_Love_is_the_Foundation_Liner_Notes.pdf?v=1607021140\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33022835621976,"sku":"NVN001","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/NO_Irma_1.jpg?v=1623489807"},{"product_id":"nvn002-little-freddie-king","title":"Little Freddie King - Going Upstairs","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLimited quantity available\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":769,\"3\":{\"1\":0},\"11\":3,\"12\":0}' data-sheets-value='{\"1\":2,\"2\":\"This project captures the authentic, incredibly raw style that King embodies, but it also expands on his forms of expression with solo, acoustic, and even gospel influence.\"}'\u003eThis project captures the authentic, incredibly raw style that King embodies, but it also expands on his forms of expression with solo, acoustic, and even gospel influence.\" –Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eYou’ve never met anyone quite like the charismatic Delta blues guitarist and vocalist Little Freddie King. \u003cem\u003eGoing Upstairs\u003c\/em\u003e captures the authentic, incredibly raw style that King embodies, but it also expands on his forms of expression with solo, acoustic, and even gospel influence.\u003c\/p\u003e\n\u003cp\u003eBorn in Mississippi, King rode the rails to New Orleans at the age of fourteen, began to study guitar, and soon found himself performing in juke joints across the city. King mastered his craft and recorded the first New Orleans electric blues album (\u003cem\u003eHarmonica Williams and Little Freddie King\u003c\/em\u003e) before setting off to tour with John Lee Hooker and Bo Diddley.\u003c\/p\u003e\n\u003cp\u003eHere, King is backed by his longtime band members \u003cstrong\u003e‘Wacko’ Wade Wright\u003c\/strong\u003e on drums and \u003cstrong\u003eRobert Louis diTullio, Jr.\u003c\/strong\u003e on harmonica. The album also features the playing of Nashville guitarist \u003cstrong\u003eStephen Daly\u003c\/strong\u003e and bassist \u003cstrong\u003ePaul Defiglia\u003c\/strong\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\u003eNVN002\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\u003eMisha Kachkachishvili, Esplanade Studios*\u003cbr\u003eNew Orleans, Louisiana 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 Pressing\u003cbr\u003eSalina, Kansas, USA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e* \"Going Upstairs\" recorded by Ian Wood at BJ's Lounge in New Orleans, Louisiana, USA\u003c\/p\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\"Bywater Crawl\"\u003c\/li\u003e\n\u003cli\u003e\"Pocket Full Of Money\"\u003c\/li\u003e\n\u003cli\u003e\"Going Up The Mountain\"\u003c\/li\u003e\n\u003cli\u003e\"Bad News\"\u003c\/li\u003e\n\u003cli\u003e\"I Used To Be Down\"\u003c\/li\u003e\n\u003cli\u003e\"Coming Home To Jesus\"\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\"Bus Station\"\u003c\/li\u003e\n\u003cli\u003e\"Stand At Your Door\"\u003c\/li\u003e\n\u003cli\u003e\"Can't Do Nothing Baby\"\u003c\/li\u003e\n\u003cli\u003e\"Mean Little Woman\"\u003c\/li\u003e\n\u003cli\u003e\"Going Upstairs (Live At BJ's Lounge)\"\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 Little Freddie King - Vocals, Electric and Acoustic Guitar \u003cbr\u003e ‘Wacko’ Wade Wright - Drums, Tambourine \u003cbr\u003e Stephen Daly - 2nd Guitar and Slide \u003cbr\u003e Paul Defligia - Bass \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\u003e“Like a hundred years from now, the way I feel, to my knowledge, I don’t think it will be any more blues. But I hope that some of the younger people \u003cem\u003edo\u003c\/em\u003e latch in to it, you know, and play the real old roots, the real old blues. It’s better than any dose of medicine that any doctor can write you a prescription for. The real thing about it, the younger race they don’t know what the blues is because they didn’t live the blues and they didn’t go through hard tribulation and hard times. When you work so hard a whole year and you don’t get no money for it, you don’t get paid for it. Then you go out there you ain’t got decent clothes to wear. You got a pair a shoes. You wear them, go have holes in them. Then you gotta get a piece of cardboard to put in it to try and keep the rocks from getting in your shoes. You see they didn’t have to go through all of that. They didn’t have hard times for the blues to set in their system. It’s not there because they didn’t have to go through it. If they done went through it then they would understand and realize what it’s all about. It hits them and they enjoy and they love it, but they can’t reach it because they didn’t go through that same process. They know it's real real blues, it's such a thrill, but they still don’t understand it. To understand what they don’t understand they’d have to go through it. If they had gone through it, it’d be there.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e--Little Freddie King January 18, 2020\u003c\/p\u003e\n\u003cdiv 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\/Little_Freddie_King_-_Going_Upstairs_Liner_Notes.pdf?v=1607021139\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\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\"\u003e Continue reading \u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv 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\/Little_Freddie_King_-_Going_Upstairs_Liner_Notes.pdf?v=1607021139\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33022835654744,"sku":"NVN002","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/NO_LFK_1.jpg?v=1623489858"},{"product_id":"nvn004-ellis-marsalis-with-jason-marsalis","title":"Ellis Marsalis with Jason Marsalis - For All We Know","description":"\u003cblockquote\u003e\n\u003cp\u003e\"\u003ci\u003eFor All We Know...\u003c\/i\u003enow stands as the capstone to a legendary jazz career, though the easy rapport between father and son also give it the air of a conversation around the table.\" –WBGO\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIf Newvelle’s intent is to make albums that are stand-alone works of art, this is a masterpiece.\" –\u003cem\u003eOffbeat\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eJazz pianist Ellis Marsalis joined Newvelle Records in the studio just a few weeks before his passing. This album, his last recording, finds him returning to some of his earliest works. In addition to a few new pieces, Marsalis revisits works from the earliest days of the modern jazz movement in New Orleans. He remembers moments that impacted the trajectory of the genre—such as when Coltrane came to listen to Marsalis and James Black and was blown away by their use of mixed meter. Ellis is joined on several songs by his youngest son Jason Marsalis on the vibraphone, and on one track with special accompaniment by Jason’s daughter Marley Marsalis on percussion and piano.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\"\u003c\/em\u003eIn this final release, Ellis Marsalis provides a testament to a musical life well-lived.\" –All About Jazz \u003c\/p\u003e\n\u003c\/blockquote\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\u003eNVN004\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\u003eMisha Kachkachishvili, Esplanade Studios\u003cbr\u003eNew Orleans, Louisiana 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 Pressing\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\"E's Knowledge\"\u003c\/li\u003e\n\u003cli\u003e\"Remembering John\"\u003c\/li\u003e\n\u003cli\u003e\"For All We Know\"\u003c\/li\u003e\n\u003cli\u003e\"Magnolia Triangle\"\u003c\/li\u003e\n\u003cli\u003e\"My Funny Valentine\/Nobody Knows The Trouble I've Seen\"\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\"A Groove For Bags\"\u003c\/li\u003e\n\u003cli\u003e\"E's Sound\"\u003c\/li\u003e\n\u003cli\u003e\"Discipline Meets The Family\"\u003c\/li\u003e\n\u003cli\u003e\"Beautiful Old Ladies\"\u003c\/li\u003e\n\u003cli\u003e\"Orchid Blue\"\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 Ellis Marsalis - Piano \u003cbr\u003e Jason Marsalis - Vibes, Percussion \u003cbr\u003e Marley Marsalis - Percussion, additional Piano (on Discipline Meets Family only) \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\u003e“See, there was really no modern jazz in New Orleans. There were individual players who had come into the music the same way I did: listening to the recordings and having their ears challenged by what they heard on the recording. There was a record shop on Rampart Street, I forget the name of it, we used to just call it the Bop Shop, and the lady who worked there would call a series of us about once a month and say, 'We got some new stuff here.' And we would go down and listen and get the 78 records coming out of New York, then go home and learn what we could from listening, go to jam sessions and work it out.\u003c\/p\u003e\n\u003cp\u003e\"So the direct contact was usually the 78 records that was being recorded by Charlie Parker, Max Roach, Dizzy Gillespie, Miles, Dexter Gordon. Those guys. The music was fairly simple. It was lots of blues, some ballads maybe, and what they called rhythm changes. So when you would learn that, you would be in a position to increase the language of the music by working on it, by practicing it.\u003c\/p\u003e\n\u003cp\u003e\"I had been playing more and more piano with Harold Batiste and a clarinetist Alvin Batiste, and a drummer named Edward Blackwell and an assortment of bass players. But we didn’t really have jobs in a sense of a jazz gig. We didn’t have that. We would sometimes play at each other’s house and work on some songs that were original, that we were writing. In a way, as musicians, it sort of reminded me of sandlot football. You do it because it’s communal. You and a bunch of guys get together and play. It wasn’t because you figured you was going to make a lot of money doing that. It was an all encompassing experience in terms of learning music from a practical standpoint, because you wasn’t going to get it in anybody’s school.”\u003c\/p\u003e\n\u003cp\u003e- Ellis Marsalis, February 16, 2020\u003c\/p\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\/Ellis_Marsalis_with_Jason_Marsalis_-_For_All_We_Know_Liner_Notes.pdf?v=1607021138\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\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\/Ellis_Marsalis_with_Jason_Marsalis_-_For_All_We_Know_Liner_Notes.pdf?v=1607021138\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33022835687512,"sku":"NVN004","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/NOLA_Ellis_1.jpg?v=1623489761"},{"product_id":"nvn003-jon-cleary","title":"Jon Cleary - So Swell","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLimited quantity available\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is the party music many of us most closely associate with New Orleans and you are invited to crank the shit out of it because the louder you play this one the better it sounds.\" –Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"A true celebration of the party spirit of New Orleans music. Cleary shows his total assimilation of the New Orleans tradition...\" –\u003cem\u003eOffbeat\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFunk, jazz, R\u0026amp;B – these genres are so deeply rooted in New Orleans that it’s no wonder the young British pianist Jon Cleary was compelled to move to the city to play. In the early 80’s, he was painting the bar at the famous Maple Leaf Bar, where he listened to James Booker play live every week while soaking in the sounds of New Orleans piano greats such as Huey “Piano” Smith, Mac Rebennack, Fats Domino, and Professor Longhair.\u003c\/p\u003e\n\u003cp\u003eNow, four decades later, New Orleans has fully embraced Cleary as one of its own. Coming full circle for this recording, Cleary is backed by James Booker’s rhythm section — from his last studio album \u003ci\u003eClassified\u003c\/i\u003e — \u003cstrong\u003eJames Singleton\u003c\/strong\u003e on upright bass and \u003cstrong\u003eJohnny Vidacovich\u003c\/strong\u003e on drums. They are joined on several tracks by \u003cstrong\u003eJames Rivers\u003c\/strong\u003e, a legendary New Orleans saxophone player who played on many New Orleans funk and R\u0026amp;B classics from Big Chief to Carnival Time.\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\u003eNVN003\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\u003eMisha Kachkachishvili, Esplanade Studios\u003cbr\u003eNew Orleans, Louisiana 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 Pressing\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\"Swanee River Boogie\"\u003c\/li\u003e\n\u003cli\u003e\"Two Wrongs\"\u003c\/li\u003e\n\u003cli\u003e\"I Call It Pretty Music\"\u003c\/li\u003e\n\u003cli\u003e\"Just Because\"\u003c\/li\u003e\n\u003cli\u003e\"So Swell When You're Well\"\u003c\/li\u003e\n\u003cli\u003e\"Second Line on Monday\"\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\"We're No Exception\"\u003c\/li\u003e\n\u003cli\u003e\"I Get The Blues When It Rains\"\u003c\/li\u003e\n\u003cli\u003e\"Lottie Mo\"\u003c\/li\u003e\n\u003cli\u003e\"Pony Boy\"\u003c\/li\u003e\n\u003cli\u003e\"Tuburculucas and the Sinus Blues\"\u003c\/li\u003e\n\u003cli\u003e\"Since I Don't Have You\"\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 Jon Cleary - Vocals, Piano, B3 Organ, Percussion \u003cbr\u003e James Singleton - Upright Bass \u003cbr\u003e Johnny Vidacovich - Drums \u003cbr\u003e James Rivers - Saxophone \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\u003e“My family was Londoners but my mom and dad moved down to the country when I was very little. What I heard was what every kid heard at that time. We had one program a week on English TV called Top of the Pops, which was usually pretty dreadful. But through my family I had access to this other world of music. They all were music lovers and they all had tastes that were in a particular area. One of the people I learned the most from was my Auntie, who around ’73 was a striking gorgeous girl with big afro and platform shoes and hot pants. And so I’d go through her record collection and there was Donny Hathaway, and all kinds of hip Staple Singers, Dr John, the Right Place, Wrong Time album. And her brother, my uncle, had recently returned from a long stay here in New Orleans. He was an exotic character that would flit in and out of our lives depending on where he was traveling in the world. One minute he’d be working on sardine boats in the Mediterranean and the next thing he was living in a cave in southern Morocco right on the edge of the Sahara. And then one time he came back and he’d been in New Orleans for about 2 or 3 years and he was raving about a piano player that he would see called Professor Longhair, and that name just always really tickled me, Professor Longhair. So I was probably 10 or 11 years old at that time. And when I’d go up and stay with him and visit he had piles of New Orleans 45s that he’d brought back in suitcases and we’d spend hours .. he knew I was interested and gave me a lot of encouragement and say you should hear this, and check this out. So I got a great education in New Orleans R\u0026amp;B from him. He had 45s by Professor Longhair and Clarence Henry, Smiley Lewis, all kinds of great people. Obscure bands like Jiving Gene and the Jokers that still people don’t talk about. So that was the stuff that I really liked. Part of the appeal perhaps was because it was so rare. No one else knew anything about it. No one else at my school had ever heard of Professor Longhair. No one in England had ever heard of Professor Longhair. There were no ‘Fess albums then, just 45s... So anyway, I learned from records. I didn’t know it was funk at the time. It was just very syncopated music that spoke of something exotic to a young child in England in the 1970’s. ”\u003c\/p\u003e\n\u003cp\u003e--Jon Cleary March 12, 2020\u003c\/p\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\/Jon_Cleary_-_So_Swell_Liner_Notes.pdf?v=1607021138\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\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\/Jon_Cleary_-_So_Swell_Liner_Notes.pdf?v=1607021138\" class=\"btn-link\"\u003e Download printable PDF \u003c\/a\u003e\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33022835818584,"sku":"NVN003","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/NO_Cleary_1.jpg?v=1623489829"},{"product_id":"newvelle-volume-one","title":"Newvelle Volume One","description":"\u003cp\u003eExperience the full beauty of vinyl. Newvelle Volume One is a thoughtfully curated selection of tunes from the first three subscription seasons, including two previously unreleased tracks available exclusively as part of the compilation.\u003c\/p\u003e\n\u003cp\u003eRecorded and pressed with the attention to detail that sets Newvelle apart, Newvelle Volume One is a taste of the exceptional vinyl quality and distinct artistic vision that has been praised by \u003cem\u003eThe New York Times\u003c\/em\u003e as a “throwback to jazz’s midcentury glories.”\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\u003eNVVOL1\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\u003eSingle sleeve jacket\u003cbr\u003e\n\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“Last Night When We Were Young” – Frank Kimbrough\u003c\/li\u003e\n\u003cli\u003e“Aziza” – Kevin Hays and Lionel Loueke\u003c\/li\u003e\n\u003cli\u003e“There in a Dream” – Steve Cardenas (previously unreleased)\u003c\/li\u003e\n\u003cli\u003e\"This I Ask of You\" – Rufus Reid\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“Pony Express” – Ben Allison\u003c\/li\u003e\n\u003cli\u003e“Olha Maria” – John Patitucci\u003c\/li\u003e\n\u003cli\u003e“Vanishing Point” – Skúli Sverrisson with Bill Frisell\u003c\/li\u003e\n\u003cli\u003e“Cosmic Church” – Leo Genovese\u003c\/li\u003e\n\u003cli\u003e“If I Should Lose You” – Don Friedman (previously unreleased)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":33285662113880,"sku":"NV102LP","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/V1_Album.jpg?v=1623489925"},{"product_id":"becca-stevens-and-elan-mehler-pallet-on-your-floor","title":"Becca Stevens and Elan Mehler - Pallet On Your Floor (Digital)","description":"\u003ca href=\"https:\/\/palletonyourfloor.bandcamp.com\/album\/pallet-on-your-floor\" class=\"bttn bttn--secondary product-form__cart-submit mt2\" target=\"_blank\"\u003e Download \u003c\/a\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eThese two artists have an abundance of commendable projects in their portfolios, but this stripped-down collection is a most striking showcase of their talents.\" –All About Jazz, \u003cmeta charset=\"UTF-8\"\u003e★★★★\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eRenowned singer, songwriter, and guitarist \u003cstrong\u003eBecca Stevens\u003c\/strong\u003e joins Newvelle's \u003cstrong\u003eElan Mehler\u003c\/strong\u003e in the studio for Newvelle's first digital release – a gorgeous collection of standards and folk tunes.\u003c\/p\u003e\n\u003cp\u003eBecca and Elan are both huge fans of Gillian Welch, and the duo beautifully cover the Welch track “Elvis Presley Blues” as well as Welch’s version of the title track, “Make Me a Pallet on Your Floor.” Originating in the 19th century, “Make Me a Pallet on Your Floor” has been interpreted by hundreds of artists in a variety of styles and with many alternative lyrics. Welch’s version is notable for its deviation in tone from the ribald to a search for sanctuary.\u003c\/p\u003e\n\u003cp\u003eAvailable on Bandcamp for download and streaming.\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\u003eNVD01\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\u003col\u003e\n\u003cli\u003e\"Elvis Presley Blues\"\u003c\/li\u003e\n\u003cli\u003e\"But Beautiful\"\u003c\/li\u003e\n\u003cli\u003e\"I Ain't Got Nothing but the Blues\"\u003c\/li\u003e\n\u003cli\u003e\"Our Love Is Here to Stay\"\u003c\/li\u003e\n\u003cli\u003e\"Deep Purple\"\u003c\/li\u003e\n\u003cli\u003e\"Just Squeeze Me\"\u003c\/li\u003e\n\u003cli\u003e\"Make Me a Pallet on Your Floor\"\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Newvelle Records","offers":[{"title":"Default Title","offer_id":39927939530948,"sku":"NVD01","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1598\/3657\/products\/Pallet_Album.jpg?v=1623489721"}],"url":"https:\/\/www.newvelle-records.com\/collections\/shop-newvelle.oembed?page=4","provider":"Newvelle Records","version":"1.0","type":"link"}