Coda

Outra Coisa by Anat Cohen & Marcello Gonçalves The connection between Moacir Santos and the guitar has been on my mind ever since I heard Baden Powell play Moacir Santos's music on the album “Baden Powell swings with Jimmy Pratt.” I've always loved the rich orchestral sounds of Moacir's compositions but could not imagine how to transfer the large ensemble sound I heard into my solo guitar. Last year, reading Moacir Santos's scores directly from his songbook, I was surprised how perfectly it fit the 7-string guitar, in the original key, as if the music was composed for the instrument. I spent a year working on that repertoire and when Anat visited Brazil, I proposed that we get together so I could show her the arrangements I’d been working on. The clarinet was Moacir’s first instrument. If his compositions sounded so beautiful on the guitar, I could only imagine how special they would sound played by Anat on the clarinet. Anat proposed meeting directly at a recording studio and so we did. When we started playing, Anat, who has known me for many years, said: “I have never seen you so happy!” I responded: “I’ve never been!” This recording documents those two happy days in the studio. I hope you enjoy listening to this music as much as we enjoyed playing it. Marcello Gonçalves, July 2016 credits released April 28, 2017 Anat Cohen - clarinet Marcello Gonçalves - 7-string guitar All compositions by Moacir Santos Arrangements by Marcello Gonçalves http://anzicstore.com/album/outra-coisa

Cat Toren's HUMAN KIND by Cat Toren's HUMAN KIND PROCEEDS GO TO THE ACLU! Details: cat-toren.com/human-kind-project/ LINER NOTES These compositions are inspired by both the free form jazz of the 1960’s and a personal expression of the resurgent civil rights movement that is upon us. Jazz has always been music of expression and of the people. In the late 60’s, as John and Alice Coltrane and their contemporaries were bringing jazz to new levels of experimentation and cross-culturalism, the sociopolitical climate was fraught with tension. There were benefits held for the Congress Of Racial Equality (CORE) at the infamous Five Spot Cafe, Nina Simone was singing “Mississippi Goddam” at Carnegie Hall and producer/concert promoter Norman Granz was demanding that venues adhere to mixed seating for his Jazz at the Philharmonic tours which featured artists such as Dizzy Gillespie and Ella Fitzgerald. America has come a long way, but this recent regression is a wake up call that the work is far from over. Some feel uncomfortable as liberal values creep into their communities (when you’re used to privilege, equality feels like oppression - anon.) while others don’t see civil liberties as a primary issue. In keeping with tradition, this album will benefit organizations that fight for civil liberties and human rights. “Well, I think music, being an expression of the human heart, of the human being, itself, does express just what is happening.” —John Coltrane Interview with Frank Kofsky 1966 The HUMAN KIND project believes in an understanding that what happens to your neighbour is held in humanity’s shared unconscious mind and is passed down generationally until our efforts transcend this unconsciousness. Americans recently decided how they would cast their vote based on their personal priority issues. If our collective priorities do not include making a considerable effort toward the public good - gender equality, racial equality, equal rights for the LGBTQ2 community, freedom of religion, the right to clean air and water, basic healthcare and quality education for all - as a minimum requirement, then we suffer as a global community. When the perceived health of one’s tax bracket is of greater concern than the health and happiness of others, we enable this suffering. This music is meant to nourish the initiative to crack the door open to see outside one’s sphere. It is meant to abate ignorance and stoke the fire of compassion. It is meant to energize the soul so that we the people can mobilize, organize and get out there! It is meant to touch the spirit and keep the faith. It is meant to inspire so that we might begin to take steps to transcend unconsciousness. Cat Toren New York, 2017 This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal. — Toni Morrison credits released January 21, 2017 Cat Toren - Piano/Keyboard/Compositions Xavier Del Castillo - Saxophone Yoshie Fruchter - Oud/Guitar Jake Leckie - Bass Matt Honor - Drums https://cattorenband.bandcamp.com/

re: dawn (from far) by Jeremy Cunningham Quartet Drummer Jeremy Cunningham has been a staple on the Chicago jazz scene since moving to the city in 2009—he’s played with everyone from Von Freeman to Caroline Davis, and is getting his Masters in Jazz Performance at DePaul—but one thing was always missing: an album under his own name. But that was then. This is now: re: dawn (from far) will be released on June 17 from ears&eyesRecords. re: dawn (from far) is Cunningham’s solution to what he used to see as a “missed opportunity” to record something tangible with his closest colleagues and mentors. On the highly collaborative album, he’s joined by guitarist Jeff Parker (Tortoise), Josh Johnson (a 2012 Thelonious Monk Institute fellow), and Matt Ulery (Loom). Years ago, Cunningham and Johnson played a number of times with the renowned Parker, a mentor figure to both of them. The seed of the album was planted when, at one gig, Parker mentioned offhandedly that they should all consider making a record. “We were too scared to take him seriously,” Cunningham laughs, and before long, both Johnson and Parker had moved to Los Angeles. Initially, Cunningham saw this as a wasted chance; soon enough, though, he decided to call them... more credits released June 17, 2016 Personnel: Jeremy Cunningham - drums (Caroline Davis, Meridian Trio) Jeff Parker - guitar (Tortoise) Matt Ulery - bass (Loom) Josh Johnson - alto saxophone (Holophonor, Thelonious Monk Institute) Dustin Laurenzi - tenor sax (Twin Talk, Snaarj) Andrew Toombs - wurlitzer, piano (Davey Knowles) https://jeremycunningham.bandcamp.com/album/re-dawn-from-far

Thanks for this recommendation jlhoots. It took me a while to locate it but it was well worth the effort. Excellent music and the background notes are helpful too. Here's a link to the music: https://samboshnackquintet.bandcamp.com/album/nellie-bly-project

Wax & Wane by Brandee Younger Evoking the musical equivalent of rare gems, Younger emerges from the legacies of Dorothy Ashby and Alice Coltrane as she ushers in a new era that celebrates the unsung titan of string instruments. Born during the REVIVE Music and Blue Note Records sessions for “Supreme Sonacy Vol. 1,” Younger’s latest album is a testament to her musical forebears that fuses classical technique with the persistent groove at the core of the Black music canon. Produced by Casey Benjamin, “Wax & Wane” features flutist Anne Drummond and long-time members of Younger’s quartet, tenor saxophonist Chelsea Baratz and bassist Dezron Douglas, who trades in his upright bass for electric. Joining them are drummer Dana Hawkins and esteemed guitarist Mark Whitfield. Celebrated string duo Chargaux joins Younger for the project’s interludes. “Wax & Wane” builds on the jazz/hip-hop/funk foundation laid down by Younger’s “Dorothy Jean”, Supreme Sonacy Vol. 1’s lead single that premiered on “Wax Poetics” in July of this year. “Exploring the depths of Ms. Ashby’s music was certainly a treat,” says Benjamin. “I can’t think of a better person than Brandee to channel the true essence and continue the lineage of Ms. Ashby’s work through her own voice, spirit and experience. I’m happy to ride along on the... more credits released February 19, 2016 Wax & Wane BRANDEE YOUNGER Featuring Anne Drummond Brandee Younger, harp Anne Drummond, flute Dezron Douglas, electric bass Mark Whitfield, guitar Dana Hawkins, drums Chelsea Baratz, tenor sax Chargaux, violin & viola https://brandee.bandcamp.com/

Hi all, I hope it's okay to start a new thread. I'll post my Bandcamp recommendations here instead of the obscure album thread. It's not very obscure when I post a link to the material. Most of what I listen to today are lesser known musicians trying to grow an audience. First up is Arthur Vint and Associates Death Rides A Horse released July 14, 2017 Arthur Vint - drums Ian Stapp - bass Jon Cowherd - piano Tony Scherr - electric guitar Roy Williams - acoustic guitar Andrew Halchak - bass clarinet, flute Rich Perry - tenor sax Blanca Cecilia González - violin Yvonnick Prene - harmonica All songs written by Ennio Morricone and arranged by Arthur Vint Produced by Arthur Vint https://arthurvint.bandcamp.com/

Big Pocket Orchestra by Melisa Bertossi released May 1, 2016 Matias Muñoz: keyboards Sergio Lopez: drums and percussion Alejandro Mazzoni: bass, double bass, guitar Ale Ortega: trombones, accordion, guitar Adriano Torregiani: saxophones, flute, harmonica Alberto Perez Jordana: trumpets, flugelhorn Melisa Bertossi: soprano sax Music from movie classics reinvented by the Big Pocket Orchestra ! Lots of fun. https://melisabertossi.bandcamp.com/album/big-pocket-orchestra

Thanks Paul. Here's another gem The Busker by Jacob Duncan, John Goldsby, Craig Wagner Jacob Duncan’s The Busker is a treasure. The protagonists of Duncan’s autobiographical compositions are fellow companions, drifters, and triumphant nomads exclaiming their insignificance. The album balances acute sonic observations of a traveler’s microcosm with grand hints at the struggle to understand the macrocosm. The compositions are melodically-driven, sincere, musical conversations between storytellers. The improvisations are undisguised and earthy, exploring comings and goings, estrangements, and connections. Duncan’s arrangements are sometimes sad, sometimes playful, and always original. They are well-served by his masterful companions, John Goldsby on double bass and Craig Wagner on acoustic guitar. It is paradoxical that The Busker, a musical memoir of an erican music. Duncan’s compositions are constructed of the greatest melodic aspects of the American songbook and, the intimate, yet universal colloquialisms of the American folk traditions. Despite being instrumentals, each piece evokes the voice of a troubadour lulling the listener into a lucid dream, in which they become the teller of their own tall tales. credits released November 18, 2016 Jacob Duncan - alto saxophone John Goldsby - bass Craig Wagner - acoustic guitar https://jacobduncan1.bandcamp.com/album/the-busker

Hey everyone, First post on this forum. Some of you may remember me from JazzCorner. I find that I spend a lot of time listening to tunes on Bandcamp. I hope this is the correct place to share these under the radar and often unknown musicians. If not, show me where to post so I don't clog up the wrong thread. Roman Filiu: alto saxophone Jerome Sabbagh: tenor saxophone Rick Rosato: bass Daniel Dor: drums Marta Sanchez: piano All compositions by Marta Sanchez credits released October 1, 2017 Fresh Sound Records New Talent Recorded, mixed and mastered at Big Orange Sheep by Michael Perez Cisneros Cover Art by Alicia Martin Lopez Pictures by Tayla Nebesky Design by Rafa Ross Executive Producer: Jordi Pujol https://martasanchezquintet.bandcamp.com/album/danza-imposible