Esperanza Spalding – Junio

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Esperanza Spalding – Junio
Esperanza Spalding – Esperanza

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Esperanza Spalding is here to stay. Bassist, singer and composer, she began playing in small jazz and blues venues around her hometown of Portland, Oregon. A Berklee College of Music Graduate and Instructor, Spalding has worked with such notable artists as Michel Camilo, Dave Samuels, Regina Carter, the Boston Pops Orchestra, Pat Metheny, and Terri Lyn Carrington and Patti Austin, and recently toured Mexico with Joe Lovano. She is the 2005 recipient of the prestigious Boston Jazz Society scholarship for outstanding musicianship.
At only 21 years of age, she's most similar to what is known as a "total musician." In addition to singing and playing the bass, she is a composer and does all of her own arrangements. She also arranges her own versions of works of important contemporary composers. In JUNJO, the first musical production under the direction of this American artist, Esperanza gives her touchs to pieces that range from the modern jazz trio to contemporary Brazilian music, to Argentine folk music. For her, this project is a dream come true. It is as a same time, her first CD as well as the first production under her direction. The trio is completed with the artistry of two excellent musicians, pianist Aruán Ortiz and drummer Francisco Mela. JUNJO has Esperanza's personal seal: the superb sense of time that she possesses and always succeeds in communicating to her audiences, and her great devotion to the instrument she plays.


Tracklisting:

01. The Peacock (J.Rowles)
02. Loro (E.Gismonti)
03. Humpty Dumpty (C.Corea)
04. Mompouana (A.Ortiz)
05. Perazuán (E.Spalding-A.Ortiz)
06. Junjo (E.Spalding)
07. Cantora de Yala (G.Leguizamón-M.Castilla)
08. Two Bad (E.Spalding)
09. Perzaela (E.Spalding-F.Mela)

Recorded in April 6& 7, 2005 by Peter Kontrimas, PBS Studios, Westwood, MA.

About her:

"Ace of Bass."
- Bill Beuttler, Globe Correspondent, April 22, 2005

"That charmingly girlish enthusiasm, equal parts bubbly and hip, is something you don't see much of in jazz. One more reason that Spalding is a performer to watch."
- Bill Beuttler, Globe Correspondent, October 25, 2005

"She communicates her upbeat personality in everything she plays. She is definitely headed for a great career, and it will be soon."
- Gary Burton, multiple Grammy winning vibraphonist

"Esperanza Spalding is a wonderful young bassist."
- Joe Lovano, Grammy Award winning saxophonist, Downbeat Magazine's Tenor Player of the Year

"Esperanza Spalding transports the old-school diligence to the new-school flavor. She radiates artistry and possesses the same certain "it" factor that you see in the time-honored legends. She's not only promising, she's delivering - with a musical articulation rarely ever seen. Not to mention the sparkling personality, poise, and professionalism.
"She's got staying power. Her students will learn a great deal about how one should interact in the music industry by her sheer example. Esperanza is the REAL DEAL, even when she's not playing a single note."
- Darcie-Nicole Wicknick, Founder "...Ask Darcie" Music Business Consulting, Velvet Stylus, Freelance Journalist, and Co-Founder of the Boston Hip-Hop Alliance

"All of the instrumentation pales behind lead singer Esperanza Spalding's absolutely gorgeous vocals"
- Delusions of Adequacy review

"Her singing is supremely suave and perfectly controlled."
- Willamette Week

"I've had the pleasure of listening to Esperanza at a recent performance. I was struck by the maturity with which she sang. Her delivery was flawless, and her ability to play bass and sing at the same time simply blew my mind."
- Walter Beasley, Grammy Award winning jazz saxophonist and producer

"She is simply the most promising musician I've come across in recent years. Such maturity and musicality would have been impressive enough had she been in her thirties, but she's barely twenty."
- Alain Mallet, pianist of the Paul Simon Band & Phil Woods Quintet

BOZILO ( Bojan Z, Karim Ziad, Julien Lourau ) - Live

Born in a music loving family in Belgrade in 1968, Bojan Zulfikarpasic starts playing the piano at the age of 5. “In my country, music is a very widespread activity, and since working days finish quite early, family and friends would gather at my parent’s house as early as 3 o’clock in the afternoon to socialize and play music until late at night. I used to go to sleep listening to these Yugoslavian folksongs. Then I discovered Bach, Ravel and Debussy through my teachers, The Beatles – thanks to a friend – and Brazilian music with my father. I played these tunes by ear, trying to find the right chords, which already amounts to a jazz attitude”. As a teenager, while continuing his lessons in music school, he starts playing in bands and becomes known musician on the Belgrade jazz and rock scene (resulting in 1989 in receiving the award for Best Young Jazz Musician of Yugoslavia).

In 1986 he receives a scholarship to study three months with Clare Fischer at the Blue Lake Fine Arts Camp in Michigan in the USA. Then, after his military service in former Yugoslavia, where in the army orchestra he discovers the richness of traditional Balkan music, he moves to Paris in 1988, to become in a few years time an unavoidable name in French jazz. He applies for the CIM, a school of reference for many young artists, where he quickly settles in and starts working with other musicians. With guitarist Noël Akchoté he plays all the Parisian bars and clubs, both as a duo and in quintet formation. Next to that he starts playing with contemporaries like Julien Lourau, Magic Malik and others.

The rise to recognition begins in 1990. Replacing the pianist of bassist Marc Buronfosse’s quartet (with François Merville on drums and Julien Lourau on sax), Bojan wins the prize for best soloist at the ’Concours de la Défense’ and his appearance does not go unnoticed by some of France’s biggest names in jazz. From 1991 he starts working with famous French double bass player Henri Texier in his successful Azur Quartet, later followed by clarinettist Michel Portal, both of them bringing him on to the big stages of France, Europe and further. With his special language – consisting of a mature jazz vocabulary with subtly dosed folkloric influences from the Balkans – Bojan leaves an indelible imprint on all the groups he plays with.

Apart from playing and recording as a sideman, Bojan leads his own formations.

In 1993 he starts his collaboration with Label Bleu with the debut album of the Bojan Z Quartet, which he recorded in New York, followed by Yopla!, his second quartet recording, released in 1995. In 1999, he releases his successful multi-ethnical project Koreni, inviting eight musicians from different horizons among whom Algerian percussionist Karim Ziad, Turkish ney master Kudsi Erguner, Macedonian rock guitarist Vlatko Stefanovski and some old friends from Belgrade, bassists Predrag Revisin and Vojin Draskoci.

After some years of thought and reflection on the endeavour of solo piano playing, Bojan records his internationally praised and revered cd Solobsession, released in 2001. This album, full of superb compositions and out-of-the-ordinary piano playing, confirms once again his status as a jazz pianist who resembles no other, with seemingly unlimited talents.

As well with the groups of musicians like Texier, Portal and Lourau, as with his own bands, trio and solo he’s been playing at big festivals like Montreal, North Sea Jazz, Paris Jazz Festival, Copenhagen Jazz Festival, Jazz in Marciac, La Roque d'Anthéron etc. and in famous concert halls like Palau de la Musica in Barcelona and Konzerthaus Wien.

In 2002 Bojan Zulfikarpasic is granted the title of Chevalier de l’ordre des Arts et des Lettres by the French government and receives the Prix Django Reinhardt for Musician of the Year from the French Académie du Jazz.

His fifth album for Label Bleu, his first in trio format "Transpacifik" marks the beginning of colaborations with american musicians, such as bassist Scott Colley and New York jazz drummer Nasheet Waits.
It was recorded in New York in 2003. Since he's playing with Ben Perowsky, or Ari Hoenig on drums and the great french bassist Remi Vignolo.

In 2005 he was awarded the "European Jazz Prize" ( Hans Koller Prize) as the best european jazz artist.

His latest CD "Xenophonia" was released in 2006, and has won the prize "Les victoires du jazz 2007" as the best album of the year.

Now the new musical project is out Bozilo - Live is available.






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Claudio Roditi - Braziliance x 4

The long and ardous road I Chose for my artistic life, fifty years ago, has only now begun to pay off. In my search to find an original trumpet voice and to find a music that blends the two cultures I belongs to, I have only recently started to come to terms with all of it. I have finally accepted the fact that I have something worthwhile to offer that can make people feel good, and that can also make the musicians with whom I associate feel some kind of fulfillment when we play together. That's more than I asked for, and I thank God, my family and friends for the support, always. ( Claudio Roditi )

In a unique two-day venture, trumpet/flugelhorn player Claudio Roditi has created Brazilliance X4, a stunning tribute album to the land he loves, celebrating with colleagues that he's known and worked with for many years, all of them fellow Brazilians. The repertoire is as classy as the players: a jazz standard ("Tune Up"), five pieces by Brazilian luminaries (Johnny Alf, the late Victor Assis Brasil, Joao Donato, the late Durval Ferreira, and Raul de Souza), and four Roditi compositions. All of these tunes are treated in the best bossa nova tradition, which as this is written is a half-century old and as fresh and vital as ever.

Rating All Music Guide ****1/2

Trumpet & Flugelhorn - Claudio Roditi
Bass - Leonardo Cioglia
Drums - Duduka da Fonseca
Piano - Helio Alves

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Blink - The Epidemic Of Ideas is out now!!!

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blink.’s debut recording,”the epidemic of ideas”, is 12 original compositions pushing the boundaries of jazz, funk, future music and electronica. Blink. Is a musical collective steeped in the youthful examination of the time honored tradition of jazz. They came together in the fall of 2006 with the purpose of coming up with new ideas and improvisations.
They have performed in venues spanning North America, Asia, Europe, Africa and South America. Their compositions have been commissioned and performed byut the International Contemporary Ensemble, The Peoria Ballet Company, and have received awards from the Illinois Arts Council.
If you love jazz, experimentation and new approaches to music, then you shouldn’t miss this remarkable cd.

Jeff Greene: acoustic and electric basses, samples, and harmonium

Quin Kirchner: drums, cymbals, percussion, and glockenspiel

Dave Miller: electric guitar and effects

Greg Ward: alto saxophone


Force fields emanate from and pour back into a source. This dynamic creates a self-generating system. When a group of musicians conglomerate, each playing a different instrument, each intent on developing a specific sound idea, but all beginning from a center, their dynamic is a self-generating system similar to the way force fields work. Blink embodies the boldness to self-generate, The Epidemic of Ideas its recorded results.
The minute-long first track, appropriately titled "Sum," is an overture for how each instrument will proceed. The growth of the recording comes in how each instrument subsequently reaches out to the other, how they combine to eventually expand into a huge sound ("Secret Weapon pt 1)." Each cut seems to establish a step to an apotheosis ("Rivers and Tides," "Glass"), measuring the breadth of each instrument's capacity to be itself.

The alto saxophone carries the reins for much of the album in carefully appointed single tones ("Rivers and Tides"). The guitar follows closely behind, counteracting the sax line or melding with it ("Rivers and Tides," "I Am"). The bass and guitar connect to reinforce tones that seem scattered but which are really shunted to a specific place. The bass clearly controls the spine-full undertones("Rivers and Tides," "I Am," "Underground Games"), while the drums are struck fervently into drawing together the instruments and keeping them within the same channel. Sometimes, the whole group unites in a march-like forwardness ("Rivers and Tides," "Glass," "I Am") that takes over the sense of time.

The instrumentality shifts gears a bit when the concept of the whole finds a resting place in the details of a variety of new and playful sounds ("Sources," "Displacement," "Glass," "I Am," "Misadventures") that reset the group's direction. It is notable how the acoustic instruments lean into an electronic tendency. Questions can be raised about what is electronic and what is not, given the tempo or the intercession of one instrument with another, particularly with regards to the use of percussion ("Glass""). The guitar seems to be the only electric device and its sound pushes the climb towards a summit where the musical heights of this recording are realized ("Glass"). The guitar also explores territory that upends the idea that it is a string instrument ("I Am").

The recording has a shape. The music is coherent and small at the beginning, and expands and contracts throughout the recording's progression, reaching ostensible finales. But the instruments retreat and regain their separateness only to then reinvest themselves through a ceaselessly melodic sound; they put themselves into another constrained space that has the same potential of opening up to the skies. On the closing and appropriately titled "We Disappear," the guitar brings the group home, producing a quiet resonance that is nothing less than healing.

Lyn Horton - All About Jazz

John Taylor - Phases now available

Phases offers a more introspective listening of Taylor, always accompanied by a natural, admirable melodic sense.
"The title of this album accurately describes the way the music moves on this absorbing set. But Phases also describes just the latest development in the formidable musical imagination of one of Europe’s contemporary-jazz giants."
(John Fordham)

John Taylor was born in Manchester (25th September 1942) and first came to the attention of the jazz audience in 1969 when he partnered saxophonists Alan Skidmore and John Surman. He was later reunited with Surman in the short-lived group Morning Glory and in the 1980’s with Miroslav Vitous’s quartet.

In the early 1970s he was accompanist to the singer Cleo Laine and started to compose for his own sextet. John also worked with many visiting artists at Ronnie Scott’s club and later became a member of Ronnie’s quintet.

In 1977 John formed the trio Azimuth, with Norma Winstone and Kenny Wheeler. The group was described by Richard Williams as “…one of the most imaginatively conceived and delicately balanced contemporary chamber-jazz groups’. The trio made several recordings for ECM Records and performed in Europe, the USA and Canada.

The 1980s saw John working with groups led by Jan Garbarek, Enrico Rava, Gil Evans, Lee Konitz and Charlie Mariano as well as performing in duo contexts with Tony Coe and Steve Arguelles. Composing projects included a commission for the English choir Cantamus with Lee Konitz and Steve Arguelles and pieces for the Hannover Radio Orchestra with Stan Sulzmann.

John is currently a member of Kenny Wheeler’s quartet and large ensemble and performs in duo and quartet settings with John Surman – their recording of ‘Ambleside Days’ on ahum won critical acclaim. In 1996 John played organ on John Surman's choral work 'Proverbs and Songs' from Salisbury Cathedral, later released on ECM Records. During the 1990s he made several recordings also for ECM with Peter Erskine's trio with Palle Danielsson on bass.

In 2000 John made a new collaboration with Azimuth and the Smith Quartet for the Weimer Festival. Also in that year he recorded 'Verso' with Maria Pia De Vito and Ralph Towner.

John celebrated his 60th birthday year in 2002 with a Contemporary Music Network Tour in which he presented his new trio with the drummer Joey Baron and Marc Johnson on bass. The tour also featured the Creative Jazz Orchestra playing John's composition 'The Green Man Suite'. In July 2002 John received the BBC Jazz Award for 'Best New Work' for this suite.

His trio recording with Marc Johnson and Joey Baron was released early in 2003 and September 2003 saw the release of his solo CD 'Insight' on Sketch. In 2004 John recorded 'Where do we go from Here?' in duo with Kenny Wheeler and 'Nightfall' with bassist Charlie Haden. They subsequently performed at the Montreal Jazz Festival. Also that year John formed a new trio with Palle Danielsson and Martin France. They performed at the Vancouver Festival and recorded 'Angel of the Presence' for CAM Jazz. This recording was released in January 2006 to coincide with their UK tour and has received critical acclaim.

John has been professor of Jazz Piano at the Cologne College of Music since 1993 and became a Lecturer in jazz at York University in 2005.

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Guy Davis - Guy Davis - Sweetheart Like You

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Talent and charisma...Davis performs with authority." -New York Times

"impeccable craftsmanship and lyric vision." -Living Blues

The name of this new cd comes from Bob Dylan's song of the same name on his 1981 "infidels" album. To all you blues purists and aficionados, I justify this selection by the knowledge that Bob Dylan was reincarnated from a very big fat black bluesman, and all that talent got squeezed into his skinny little body. Herein, I recreate early songs, some from around WWI, including two from Lead Belly and one from Son House, as well as several post WWII tunes performed by Big Joe Williams and Muddy Waters.
And Yes... more brand new originals by me.
(Guy Davis )

Whether Guy Davis is appearing on “Late Night With Conan O’Brien” or nationally syndicated radio programs such as Garrison Keillor’s, “A Prairie Home Campanion”, “Mountain Stage” or David Dye’s,“World Café”., in front of 15,000 people on the Main Stage of a major festival, or teaching an intimate gathering of students at a Music Camp, Guy feels the instinctive desire to give each listener his ‘all’.

His ‘all’ is the Blues.

The routes, and roots, of his blues are as diverse as the music form itself. It can be soulful, moaning out a people’s cry, or playful and bouncy as a hay-ride.

Guy can tell you stories of his great-grandparents and his grandparents, they’re days as track linemen, and of their interactions with the infamous KKK. He can also tell you that as a child raised in middle-class New York suburbs, the only cotton he’s picked is his underwear up off the floor.

He's a musician, composer, actor, director, and writer. But most importantly, Guy Davis is a bluesman. The blues permeates every corner of Davis' creativity.

Throughout his career, he has dedicated himself to reviving the traditions of acoustic blues and bringing them to as many ears as possible through the material of the great blues masters, African American stories, and his own original songs, stories and performance pieces.

His influences are as varied as the days. Musically, he enjoyed such great blues musicians as Blind Willie McTell (and his way of story telling), Skip James, Manse Lipscomb, Mississippi John Hurt, Elizabeth Cotton, and Buddy Guy, among others. It was through Taj Mahal that he found his way to the old time blues. He also loved such diverse musicians as Fats Waller and Harry Belafonte.

His writing and storytelling have been influenced by Zora Neale Hurston, Garrison Keillor, and by the late Laura Davis (his one hundred and five year-old grandmother).

Davis' creative roots run deep. Though raised in the New York City area, he grew up hearing accounts of life in the rural south from his parents and especially his grandparents, and they made their way into his own stories and songs. Davis taught himself the guitar (never having the patience to take formal lessons) and learned by listening to and watching other musicians. One night on a train from Boston to New York he picked up finger picking from a nine-fingered guitar player.

Throughout his life, Davis has had overlapping interests in music and acting. Early acting roles included a lead role in the film "Beat Street" opposite Rae Dawn Chong and on television as ‘Dr. Josh Hall’ on "One Life to Live". Eventually, Davis had the opportunity to combine music and acting on the stage. He made his Broadway musical debut in 1991 in the Zora Neale Hurston/Langston Hughes collaboration "Mulebone", which featured the music of Taj Mahal.

In 1993 he performed Off-Broadway as legendary blues player Robert Johnson in "Robert Johnson: Trick the Devil". He received rave reviews and became the 1993 winner of the Blues Foundation's "Keeping the Blues Alive Award” presented to him by Robert Cray at the W.C. Handy Awards ceremony.

Looking for more ways to combine his love of blues, music, and acting, Davis created material for himself. He wrote "In Bed with the Blues: The Adventures of Fishy Waters" -- an engaging and moving one-man show. The Off-Broadway debut in 1994 received critical praise from the New York Times and the Village Voice.

Davis' writing projects have also included a variety of theatre pieces and plays. "Mudsurfing", a collection of three short stories, received the 1991 Brio Award from the Bronx Council of the Arts. The Trial", (later renamed, "The Trial: Judgement of the People"), an anti-drug abuse, one-act play that toured throughout the New York City shelter system, was produced Off-Broadway in 1990, at the McGinn Cazale Theater. Davis also arranged, performed and co-wrote the music for an Emmy award winning film, "To Be a Man". In the fall of 1995, his music was used in the national PBS series, "The American Promise".

Davis also performed in a theater piece with his parents, actors/writers Ruby Dee and the late Ossie Davis, entitled "Two Hah Hahs and a Homeboy", staged at the Crossroads Theatre in New Brunswick, NJ in the spring of 1995. The show combined material written by Davis and his parents, with music, African American Folklore and history, as well as performance pieces by Hurston and Hughes. Of Davis' performance, one reviewer observed that his style and writing "sounds so deeply drenched in lost black traditions that you feel that they must predate him. But no, they don't. He created them."

For the past decade, Davis has concentrated much of his efforts on writing, recording, and performing music. In the fall of 1995, he released his Red House records debut "Stomp Down Rider", an album that captured Davis in a stunning live performance. The album landed on top lists all over the country, including in the Boston Globe and Pulse magazine.

Davis' next album, "Call Down the Thunder", paid tribute to the blues masters, but leaned more heavily towards his own powerful originals. The electrifying album solidified Davis' position as one of the most important blues artists of our time. It too was named a top ten album of the year in the Boston Globe and Pulse, and Acoustic Guitar magazine called it one of the “thirty essential CDs from a new generation of performers”.

Davis' third Red House disc, "You Don't Know My Mind", which includes backing vocals by Olu Dara, explodes with passion and rhythm, and displays Davis' breadth as a composer and powerhouse performer. It was chosen as ‘Blues Album of the Year’ by the Association For Independent Music (formerly NAIRD)The San Francisco Chronicle gave the CD four stars, adding, "Davis' tough, timeless vocals blow through your brain like a Mississippi dust devil."

Charles M. Young summed up Davis' own take on the blues best when he wrote his review in Playboy magazine, "Davis reminds you that the blues started as dance music. This is blues made for humming along, stomping your foot, feeling righteous in the face of oppression and expressing gratitude to your baby for greasing your skillet."

Guy’s fourth album was, “Butt Naked Free”, the first of all of the albums since that have been produced by John Platania, former guitarist for Van Morrison. In addition to John on electric guitar, it includes musician friends such as Levon Helm (The Band), multi-instrumentalist, Tommy “T-Bone” Wolk (Hall & Oates, Carly Simon, ‘Saturday Night Live’ Band), drummer Gary Burke (Joe Jackson), and acoustic bassist, Mark Murphy (Walt Michael & Co., Vanaver Caravan). The musicians all performed “Waitin’ On the Cards to Fall” from this album on the Conan O’Brien show.

Of the fifth album “give in kind”, Music critic Dave Marsh wrote, “Davis never loses sight of the blues as good time music, the original forum for dancing on top of one's sorrows. Joy made more exquisite, of course, by the sorrow from which it springs.”

It was this album that caught the ear of Ian Anderson, founder and lead singer of one of Rock & Roll’s greatest bands, “Jethro Tull”, who invited Guy to open for them during the summer of 2003. He wrote in his invitation, “Folk Blues (Sonny Terry, J.B. Lenoir) is where I started. Hearing Guy is like coming home again.”

In fact, there are many notables in the entertainment world who call themselves Guy Davis fans including Jackson Browne, Maya Angelou, and Jessica Lange, who had Guy perform his take on the Bob Dylan song, “What’s a Sweetheart Like You (Doing in a Dump Like This)” for a special fundraiser she and her husband Sam Shepard organized for Tibetan Monks in Minnesota.

“Chocolate to the Bone”, Guy’s sixth album followed with more accolades and acclaim including a W.C. Handy award nomination for “Best Acoustic Blues Album”. In fact, Guy has been nominated for nine ‘Handy Awards’ over the years including for “Best Traditional Blues Album”, “Best Blues Song” (“Waiting On the Cards to Fall”) and as “Best Acoustic Blues Artist” two times.
His latest album, “Legacy” was picked as one of the Best CDs of the Year by National Public Radio (NPR), and the lead track on it, “Uncle Tom’s Dead” was chosen as one of the Best Songs of the Year. This of course is ironic as FCC rules won’t allow it to be played on the air, but it’s a fitting tribute none the less. The only other artist on both lists was Brian Wilson of the Beach Boys fame.

The cover for this album was drawn by noted comic book artist and graphic illustrator, Guy Davis. The tongue-in-cheek cartoon strip that is included in the liner notes, is a collaboration between the two Davis’. A winery in California completes the triumvirate as it is headed by a man also named Guy Davis. He created a limited edition wine in their honor with the label artwork done by illustrator Guy.

Bluesman Guy has contributed songs on a host of ‘Tribute’ and ‘Compilation albums’, including collections on bluesmen Charley Patton and Robert Johnson, for Putumayo Records collections including, “From Mali to Memphis” and the children’s album called, “Sing Along With Putumayo”, for tradition-based rockers like the Grateful Dead, songwriters like Nick Lowe, and for Bob Dylan’s 60th birthday CD called, “A Nod to Bob”, even on a Windham Hill collection of Choral Music, and alongside performers like Bonnie Raitt, Jackson Browne, and Bruce Springsteen for a collection of songs written by his friend, legendary folksinger, ‘Uncle’ Pete Seeger, called, “Where Have All the Flowers Gone”.

However, easily the proudest recording project he’s been involved with is the one produced by his friend Larry Long, called “I Will Be Your Friend: Songs and Activities for Young Peacemakers”, in which Guy contributes the title track. It’s a CD collection of enriching songs combined together with a teacher’s aide kit to help teach diversity and understanding. It is all part of the national “Teaching Tolerance” (www.tolerance.org) campaign and continues to be distributed by the Southern Poverty Law Center, and sent to every public school in the country to help combat hatred.

And speaking of children’s projects, Guy wrote a couple songs and recorded with Dr. John for Whoopi Goldberg’s “Littleburg” series, and appeared and sang in “Jack’s Big Show”, both for the Nickelodeon network, “Nick, Jr”.

Guy has also done residency programs for the Lincoln Center Institute, the Kennedy Center, the State Theatre in New Jersey, and works with “Young Audiences of NJ”, doing classroom workshops and assembly programs all across the country and in Canada for Elementary, High School, and College students.

Most recently Guy had the honor of appearing in the PBS special on Jazz and Blues artist, the late Howard Armstrong. And he was an honored guest at the Kennedy Center Awards, in which his folks received their medals, alongside other recipients like Warren Beatty, Elton John and composer John Williams from the President of the United States.

Is This The Future ?

Stefano Raffaelli - Malastrana

Dopo aver svolto studi classici per dieci anni, studia improvvisazione per il triennio 1987/89 con Franco D'Andrea al Centro Professione Musica di Milano. L'anno seguente frequenta un master di specializzazione con il contrabbassista Dave Holland ed il batterista Jan Christensen. Nel 90 si perfeziona piano-jazz con Mike Melillo alla Jazz University di Terni. Nel corso del 1991 frequenta un seminario della Manhattan School of Music di New York, guidato dal pianista Harold Danko e dal trombettista Lew Soloff. Negli ultimi anni ha suonato in Italia, Austria, Germania e Francia con musicisti (e amici) quali Tino Tracanna, Bruno De Filippi, Alberto Nacci, Rosalynn Robinson, Davide Di Gregorio, Stefano Colpi, Flavio Zanon, Walter Civettini, Gianni Basso, Rudi Migliardi, Fiorenzo Zeni, Miki Loesch, Helga Plankesteiner, Nicola Fazzini, Enrico Tommasini, Beppe Pilotto, Irio De Paula, Francesco Bearzatti, Stefano Bertoli, Roman Hinteregger, Peter Paul Hoffmann, Luis De La Crus, Stefano Menato, Alan Farrington, Gilson Silveira, Franco Testa e molti ancora. Si dedica inoltre ad arrangiamenti in ambito pop e sonorizzazioni per documentari, video e CD ROM interattivi. Nel 1995 esce "People", il suo primo disco, per l'etichetta indipendente Erga. Dal 1997 collabora con l'etichetta milanese Halidon per la quale produce vari progetti nu-jazz e chillout ("Nomads", "The secret of Ra"). Per la stessa etichetta esce nel corso del 2002 il disco a nome " Cimarosa Collective", progetto elettronico realizzato in collaborazione con il d.j. Marcello De Angelis e numerosi musicisti provenienti da esperienze e contesti diversi. Dal 2003 collabora con il canale satellitare SKY TV. Nel 2004 inizia la collaborazione artistica con la label indipendente Self-Mediane per la quale produce "Divo Italiano"(2006) e "Songs to Remember" (2007). Dal 1994 responsabile della Sezione Musica del Centro Didattico Musicateatrodanza di Rovereto(TN). Docente presso la stessa scuola per i corsi di Pianoforte Jazz e per i laboratori di Arrangiamento e Software. Dal 2007 è Direttore Didattico per i tre settori Musica, Teatro e Danza. All'attività di musicista affianca la passione per l'arte pittorica contemporanea che lo porta a produrre ed esporre regolarmente i propri lavori in Italia.

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Stefano Raffaelli - Malastrana
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