ZUBATTO SYNDICATE LIVE IN SEATTLE JULY 21

ONE OF SEATTLE'S FRESHEST OTHERWORLDLY TALENTS ZUBATTO SYNDICATE FOLLOW THE RELEASE OF THEIR SELF-TITLED DEBUT AS PART OF EARSHOT JAZZ PRESENTS -- JAZZ: THE 2nd CENTURY SERIES also co-featured TRIPTET

THE BAND WHO FELL TO EARTH: ZUBATTO SYNDICATE

SEATTLE COMPOSER/GUITARIST ANDREW BOSCARDIN'S ZUBATTO SYNDICATE REVAMPS THE BIG BAND TRADITION WITH THEIR DEBUT RELEASE AND LIVE PERFORMANCE

THURSDAY, JULY 21, 2011 - 7:30pm

At Chapel Performance Space, Good Shepherd Center
4649 Sunnyside Ave N
chapelspace.blogspot.com

Admission is $5-$15, sliding scale. More information about Second Century series performances at earshot.org or (206) 547-6763

Advance tickets on sale now: www.brownpapertickets.com or call 1-800-838-3006

for more info on the gig: Event info on Facebook

members of the ZUBATTO SYNDICATE
on July 21 and on the cd:
Byron Vannoy – drums
David Marriott, Jr. – trombone
Greg Sinibaldi – bass clarinet and tenor saxophone
Francine Peterson – bassoon
Chad McCullough – trumpet
Janet Putnam – oboe and English horn
Tim Carey – bass
Mack Grout – keys
Mark Taylor – alto saxophone
Jim DeJoie – baritone saxophone
Jesse Canterbury – clarinet
Andrew Boscardin – guitar

As in past years, the goal of the JAZZ: THE SECOND CENTURY series presented by Earshot Jazz is to feature performances of music that simultaneously question and expand the conventional boundaries and parameters of the jazz form. One of the eight bands chosen by a blind panel is the ZUBATTO SYNDICATE. The Seattle based ensemble is co-billed with TRIPTET on the 3rd of four events in July, each highlighting two projects chosen for this engaging series.

The Zubatto Syndicate, a 12-piece ensemble under the direction of composer and guitarist Andrew Boscardin, just has released its self-titled debut recording as a digital download, CD, and limited-edition audiophile vinyl double LP, featuring distinctive artwork by noted science-fiction artist Franco Brambilla.

Drawing sounds from rock, hip-hop, funk, soul and Brazilian music, Zubatto Syndicate is a highly original take on the Big Band jazz tradition. Seeking to find the musical place where Maria Schneider meets the Mahavishnu Orchestra, and the Roots meet Radiohead by way of Mingus, Zubatto combines detailed arrangements and inventive harmonic ideas with rhythmic settings and idioms atypical of the jazz orchestra, as realized by the some of the top improvising musicians in Seattle.

The recording was made with the support of the American Music Centerʼs CAP Recording Program, made possible by endowment funds from the Mary Flagler Cary Charitable Trust, as well as through the funds raised with the micro-patronage website Kickstarter.com.

The fusing together of disparate sounds and ideas – pop and jazz, combining orchestral winds with electric sounds, the new and the traditional – is a central theme for the band, in the music as well as the nods to classic Science Fiction in the song titles and the album artwork. “Science fiction imagery was part of the concept of the band and music from the very beginning,” says Boscardin. “Even before writing a note of music, I wanted to use classic science fiction art from the 50’s for posters, and promotional materials and started collecting as many vintage magazines as I could get my hands on. The idea of a modern or forward-thinking Big Band, to me, conjured up the same tension between seemingly contradictory elements as vintage science fiction artwork. One embodies something new harkening back in time to a rich tradition and pulling those associations forward to now. The other is something old and often kitschy reaching forward in time to an imaginary future. It was that idea that appealed to me – to create something that was as “out of time” as that artwork. The group name itself, was intended to sound futuristic and mysterious in a campy fashion. We all know that words that start with ‘Z’ are automatically futuristic.”

Even the instrumentation of the band reflects this idea, with the more traditional Big Band instruments like saxophones and brass being joined by orchestral woodwinds from one end of the spectrum and an electric rhythm section from the other. “I wanted a group that provided a big palette and lots of textures but that was still nimble and rocks like a band one-third its size. If there is a Big Band equivalent of the Led Zeppelin maxim ‘Tight But Loose,’ that’s the idea for Zubatto. We’re still a chamber group or bar band, just a relatively big one with a bassoon.”

The music itself covers a wide range of ideas and styles. There’s the sounds and structure of punk and metal in “Mechas Over Manhattan,” a swaggering hip-hop groove under the woodwind and synth textures of “A Brief History of Time Travel,” a dancing Brazilian samba powers “Saturn 9,” a lazy blues shuffle swings through “The Trouble With Earth Women” and a chunky guitar rock riff combines with a horn fanfare for “Lords and Ladies of Venus.” All of these different ideas are unified by the unique sound of the band and its instrumentation and the voice of Boscardin’s compositions.

In today’s economic climate, the musical, monetary and logistical challenges encountered in presenting daring and ambitious large scale musical projects is at times, a daunting task. Andrew Boscardin has embraced this formidable process and created an artistic statement with the Zubatto Syndicate that will impress, inspire, and illuminate fans of profound and celebratory musical vision.

The album is available directly from the band at http://www.zubattosyndicate.com, as well as from CD Baby, iTunes, Amazon.com and other online and retail outlets.


For media info, interviews, jpgs please contact Brad Riesau at Rolling Thunder PR (p) 909-744-0704 (e) rollingthunderpr@gmail.com

ELECTRONIC PRESS KIT: http://zubattosyndicate.com/zs/zubatto-syndicate-electronic-press-kit/

What the press is saying about Zubatto Syndicate:

"Zubatto Syndicate, proves that big band jazz can be as modern and daring as anything carved out by a smaller jazz combo and follows in the tradition of Gil Evans, the Carla Bley Big Band or some of Frank Zappa’s oeuvre." -- Doug Simpson, Audiophile Audition (June 21, 2011)

“Mechas Over Manhattan” was featured in the June online digital sampler by UTNE READER

"A big band unafraid to foray into the modern pop idiom."
- Jonathan Zwickel, Seattle Times (Jul 16, 2010)

"The Seattle music scene is known for many genres of music, most notably grunge, indie-rock, and hip-hop. Zubatto Syndicate gives Seattle a good reason to add big band jazz to this list. Whether youʼre a jazz novice or enthusiast, Zubatto Syndicateʼs mass musical influence and improv talent will get you dancing and appreciating this local twist on traditional big band jazz."
- Suzi Pratt, Seattle Show Gal (Apr 12, 2010)

"Music that's solid and involving. On guitarist/leader Andrew Boscardin's
compositions—which lay down intricate patterns and odd-hued harmonies—the band delivered some great soloing, especially from alto player Clark Gibson. This is a band that deserves a hearing."
- Mark D. Fefer, Seattle Weekly (Apr 14, 2010)

"It's really up-tempo. It's not the kind of thing you're going to want to listen to sitting down and watching. (Not) a sleepy jazz show where you sit down and have your drinks."
- Hugo Kugiya, The Seattle Times (Apr 13, 2010)

"Big band the way youʼve never heard it before. Go so you can tell all the Johnny-come-latelies you heard it first. Editor's Pick"
- Brangien Davis, Seattle Magazine (Oct 30, 2009)

"If you feel like dancing to Zubatto Syndicate, it'll be because you can't resist a snaky bass riff. In fact, if all goes well, you'll want to drop your pants. Boscardin's arrangements unfold in surprising ways... The solos are uncharted territory."
- Michael Baker, The SunBreak (Oct 19, 2009)

CHECK OUT VIDEO FROM ZUBATTO SYNDICATE

From Andrew Boscardin's blog about the June 11 CD release party for the debut self-titled album by ZUBATTO SYNDICATE:

"Thanks to everyone who made it out to the Zubatto Syndicate release party on June 11. It was an extremely fun show and it was great to see old friends and make a bunch of new ones too! We played almost the entire record and debuted our cover of Metallica’s “Master of Puppets.” Apparently, our version is so heavy that it made it a fellow in the audience fall unconscious off his bar stool. This really happened! He may also have been drinking – it was a party after all.

If you couldn’t make it, here are a couple of videos from the show. Sadly, the video of “Master of Puppets” wasn’t complete, so you’ll just have to wait to hear our version. We will be playing it at the Earshot Jazz show on July 21, so come check it out!"

VIDEO FROM THE GIG - LIVE AT THE BLUE MOON:

"The Green Boy From Hurrah":




"Lords & Ladies of Venus":




"Mechas Over Manhattan":





www.zubattosyndicate.com

Trumpeter EVAN WEISS creates MATH OR MAGIC

DON'T MISS THIS STELLAR NEW RELEASE ON INNER CIRCLE MUSIC

Composer/trumpeter EVAN WEISS
MATH OR MAGIC
His Debut CD on Greg Osby's Inner Circle Music Label




Chamber Music For Fans of Modern Composition, Neo-Classical, Jazz and Beyond

What the press is saying about MATH OR MAGIC:


“…one of the leading lights for the big bands of tomorrow to look up to. Clearly a case of auspicious beginnings, if he does nothing more than run at this speed, he’ll always be finishing first. Hot stuff.”
-- Midwest Record

“A very impressive debut recording from trumperter composer Evan Weiss. He’s got a gorgeously sweet tone, sanded around the edges just right…”
-- JazzWeekly.com

“****…the young composer blends minimalism, neo-classical, jazz and chamber music into a unified whole which has many interlocking parts, conjoined thematic units and associated layers.”
-- Audiophile Audition

“Beautiful strings, vocal intrigues, piano wonderment and spell-weaving that just won’t let you disengage once you start listening to it.”
-- Dick Metcalf/Zzaj Productions



Evan Weiss was born and raised near Seattle, Washington and now back in North Texas after a year in NYC. In addition to playing the trumpet, much of his childhood was spent hiking and camping in the mountains of the Pacific Northwest. While composing and improvising at an early age, he recognized the value of nature as a source for limitless inspiration. His daring and innovative debut recording MATH OR MAGIC on Greg Osby's Inner Circle Music label, touches on the organic and complex interconnections between the creative, the intellectual and the spiritual elements in Weiss's emerging palette.

Although he is well versed in bebop and swing, Evan’s improvisations are a departure from the traditional jazz solo. He is part of a new wave of musicians who seek an intensely personal approach to music. In the spirit of his jazz predecessors, Evan seeks to help the music evolve and grow for generations to come.

Evan’s debut album Math or Magic features voice, strings, woodwinds, symphonic percussion, and cinematic sound effects to send the listener through a mesmerizing array of musical environments. This project displays a sense of maturity and compositional unity that is very rare among musicians of such a young age.


Check out the interview with Evan at AllAboutJazz.com

EVAN WEISS - Math Or Magic - Inner Circle Music INCM 018

Available on iTUNES and at the following websites...


www.evanweissmusic.com


www.innercirclemusic.net



For media information & press kits please contact Brad Riesau of ROLLING THUNDER PR - rollingthunderpr@gmail.com or 909-744-0704

THE BAND WHO FELL TO EARTH: ZUBATTO SYNDICATE

SEATTLE COMPOSER/GUITARIST ANDREW BOSCARDIN'S ZUBATTO SYNDICATE REVAMPS THE BIG BAND TRADITION WITH THEIR DEBUT RELEASE

The Zubatto Syndicate, a 12-piece ensemble under the direction of composer and guitarist Andrew Boscardin, has released its self-titled debut recording as a digital download, CD, and limited-edition vinyl double LP, featuring distinctive artwork by noted science-fiction artist Franco Brambilla.

Drawing sounds from rock, hip-hop, funk, soul and Brazilian music, Zubatto Syndicate is a highly original take on the Big Band jazz tradition. Seeking to find the musical place where Maria Schneider meets the Mahavishnu Orchestra, and the Roots meet Radiohead by way of Mingus, Zubatto combines detailed arrangements and inventive harmonic ideas with rhythmic settings and idioms atypical of the jazz orchestra, as realized by the some of the top improvising musicians in Seattle.

The recording was made with the support of the American Music Centerʼs CAP Recording Program, made possible by endowment funds from the Mary Flagler Cary Charitable Trust, as well as through the funds raised with the micro-patronage website Kickstarter.com.

The fusing together of disparate sounds and ideas – pop and jazz, combining orchestral winds with electric sounds, the new and the traditional – is a central theme for the band, in the music as well as the nods to classic Science Fiction in the song titles and the album artwork. “Science fiction imagery was part of the concept of the band and music from the very beginning,” says Boscardin. “Even before writing a note of music, I wanted to use classic science fiction art from the 50’s for posters, and promotional materials and started collecting as many vintage magazines as I could get my hands on. The idea of a modern or forward-thinking Big Band, to me, conjured up the same tension between seemingly contradictory elements as vintage science fiction artwork. One embodies something new harkening back in time to a rich tradition and pulling those associations forward to now. The other is something old and often kitschy reaching forward in time to an imaginary future. It was that idea that appealed to me – to create something that was as “out of time” as that artwork. The group name itself, was intended to sound futuristic and mysterious in a campy fashion. We all know that words that start with ‘Z’ are automatically futuristic.”

Even the instrumentation of the band reflects this idea, with the more traditional Big Band instruments like saxophones and brass being joined by orchestral woodwinds from one end of the spectrum and an electric rhythm section from the other. “I wanted a group that provided a big palette and lots of textures but that was still nimble and rocks like a band one-third its size. If there is a Big Band equivalent of the Led Zeppelin maxim ‘Tight But Loose,’ that’s the idea for Zubatto. We’re still a chamber group or bar band, just a relatively big one with a bassoon.”

The music itself covers a wide range of ideas and styles. There’s the sounds and structure of punk and metal in “Mechas Over Manhattan,” a swaggering hip-hop groove under the woodwind and synth textures of “A Brief History of Time Travel,” a dancing Brazilian samba powers “Saturn 9,” a lazy blues shuffle swings through “The Trouble With Earth Women” and a chunky guitar rock riff combines with a horn fanfare for “Lords and Ladies of Venus.” All of these different ideas are unified by the unique sound of the band and its instrumentation and the voice of Boscardin’s compositions.

In today’s economic climate, the musical, monetary and logistical challenges encountered in presenting daring and ambitious large scale musical projects is at times, a daunting task. Andrew Boscardin has embraced this formidable process and created an artistic statement with the Zubatto Syndicate that will impress, inspire, and illuminate fans of profound and celebratory musical vision.

The new ZUBATTO SYNDICATE release features

Andrew Boscardin: guitar / Janet Putnam: oboe and English horn / Jesse Canterbury: clarinets / Greg Sinibaldi: bass clarinet and tenor saxophone / Francine Peterson: bassoon / Mark Taylor: alto saxophone / Jim DeJoie: baritone sax and bass clarinet / Chad McCullough: trumpet / David Marriott, Jr: trombone / Mack Grout: keys / Tim Carey: electric bass / Byron Vannoy: drums.


The album is available directly from the band at www.zubattosyndicate.com, as well as from CD Baby, iTunes, Amazon.com and other online and retail outlets.


For media info, interviews, jpgs please contact Brad Riesau at Rolling Thunder PR (p) 909-744-0704 (e) rollingthunderpr@gmail.com


ELECTRONIC PRESS KIT: http://zubattosyndicate.com/zs/zubatto-syndicate-electronic-press-kit/

What the press is saying about Zubatto Syndicate:

"A big band unafraid to foray into the modern pop idiom."

- Jonathan Zwickel, Seattle Times (Jul 16, 2010)

"The Seattle music scene is known for many genres of music, most notably grunge, indie-rock, and hip-hop. Zubatto Syndicate gives Seattle a good reason to add big band jazz to this list. Whether youʼre a jazz novice or enthusiast, Zubatto Syndicateʼs mass musical influence and improv talent will get you dancing and appreciating this local twist on traditional big band jazz."

- Suzi Pratt, Seattle Show Gal (Apr 12, 2010)

"Music that's solid and involving. On guitarist/leader Andrew Boscardin's

compositions—which lay down intricate patterns and odd-hued harmonies—the band delivered some great soloing, especially from alto player Clark Gibson. This is a band that deserves a hearing."

- Mark D. Fefer, Seattle Weekly (Apr 14, 2010)

"It's really up-tempo. It's not the kind of thing you're going to want to listen to sitting down and watching. (Not) a sleepy jazz show where you sit down and have your drinks."

- Hugo Kugiya, The Seattle Times (Apr 13, 2010)

"Big band the way youʼve never heard it before. Go so you can tell all the Johnny-come-latelies you heard it first. Editor's Pick"

- Brangien Davis, Seattle Magazine (Oct 30, 2009)

"If you feel like dancing to Zubatto Syndicate, it'll be because you can't resist a snaky bass riff. In fact, if all goes well, you'll want to drop your pants. Boscardin's arrangements unfold in surprising ways... The solos are uncharted territory."

- Michael Baker, The SunBreak (Oct 19, 2009)

SHAULI EINAV PLAYERS FEATURE IN DOWNBEAT

Published 5/5/11 DownBeat Magazine
by John Ephland

Shauli Einav
All About The Beauty

Checking out Shauli Einav's debut recording, Opus One (Plus Loin Music), one wonders
how this gifted saxophonist might fit into the current wave of talented, young Israel musicians on today's jazz scene. Think Avishai Cohen, Omer Avital and Anat Cohen for starters.

"I used to dance in an Israeli folk dance group," Einav recalls, thinking about growing
up in Israel. "My father was their accordionist and my older sister also danced there." As if to make a connection with Opus One, he adds, "I think that Israeli folk music has influenced my compositions."

To anyone taking a Blindfold Test on any of the nine pieces composed and arranged by the leader, Opus One would come across as a smartly played, swinging and evocative jazz album. Even with titles like "Hayu Leilot," "Shavuot" and "Jerusalem Theme," there's no obvious way to hear this music other than as something straight out of the Big Apple.

Some of that might be because Einav relocated to the States after he served in the Israeli army and earned his bachelor's degree from the Jerusalem Academy of Music and Dance. He then received a master's degree from the Eastman School of Music in Rochester, N.Y. From there it was on to New York City in 2008, where he has made a name for himself. Four reasons why the 29-year-old Einav garners attention in a crowded field are his mentors: Walt Weiskopf, Dave Liebman, Harold Danko and the late Arnie Lawrence. A saxophonist and top-flight educator, Lawrence moved to Israel in 1997 and founded the International Center for Creative Music in Jerusalem. As a common denominator among many of his peers, Einav says, "Arnie influenced almost every new Israeli jazz musician that has come to New York since the '90s."

Asked about the players who join him for Opus One, Einav is effusive about everyone on
board. "In each one of these musicians I see integrity, honesty and kindness," he says. "When the people are like that, in addition to being superb musicians, you cannot go wrong."

Speaking more specifically, Einav notes, "I've known Shai Maestro since we were very
young, and it has been amazing for me to see how well he's done in his career, taking the piano chair with the Avishai Cohen Trio for the last five years. Joseph Lepore, in addition to being one of the busiest bassists in town, was one of the most welcoming people that I've met. Johnathan Blake is one of my favorite drummers, and he's usually playing with other great Israeli musicians, such as Omer and Avishai. After a referral from a friend, I met [trombonist] Andy Hunter a few weeks before the recording. I was not disappointed, to say the least."

The music on Opus One reflects the same friendly vibe that Einav describes when speaking of his bandmates. From the bop-oriented "Kavana" to more straight ahead swing with "The DameIin" to ballads like "New Era Ballad" and "Naama," the cohesion of the tight rhythm section coupled with the Einav/Hunter front line sets the stage for some very intriguing solos, especially from the leader, whose maturity and style indicate a great amount of heart and soul. That spirit is also reflected in the arrangements and compositions, which combine sophistication with memorable melodies.

When Einav refers to "delivering a message to the world," he's mainly talking about the lessons he learned from Lawrence. "Opus One, for me:' Einav explains, "is like a book of short stories. Each tune has its own story but at the same time they connect to each other. I tried taking the listener on a trip into my own life. I called it Opus One because it is a compilation of works collected through my last two years since coming to New York City."

Even if one weren't aware of Einav's background, the quality of his playing and writing
make him a noteworthy young talent, regardless of how his music might get classified.
"Categorizing is really hard and sometimes contradicts the music," Einav notes. "So I'd just say that it's all music. And like my mentor Arnie Lawrence liked to say, 'It's all about the beauty.' At the same time, I understand that by knowing the backstory, one can really connect more to the artist, which means a great deal to me."

http://www.shaulimusic.com/downbeat-review

SUBSCRIBE TO DOWNBEAT MAGAZINE

KEN FIELD'S REVOLUTIONARY SNAKE ENSEMBLE RETURNS TO NYC

ROLLING THUNDER PR

Boston’s Acclaimed

REVOLUTIONARY SNAKE ENSEMBLE
Bringing their Avant Second Line New Orleans Funk Back For the First Time in Two Years

"The Revolutionary Snake Ensemble, a writhing, horn-heavy group led by the Boston-based saxophonist and composer Ken Field, dresses in feathered masks and sequined robes and covers a broad range of funk- and New Orleans-inspired music. A seasoned collection of horn and percussion players, the group, which is closing in on two decades of music-making, puts a funky spin on everything from Billy Idol to Ornette Coleman." -- The New Yorker



Dressed a la Mardi Gras in feathered masks and multi-colored, sequined costumes, playing music that riotously combines the rhythms of New Orleans brass bands with improvisation and heaping undercurrents of funk, the Revolutionary Snake Ensemble inhabits that rare musical planet on which Sun Ra, James Brown, George Clinton & Parliament Funkadelic, and a myriad of New Orleans marching bands jointly reside.

They return to New York with a special line-up including trombonist Josh Roseman and drummer Kenny Wollesen with shows on May 20 at Barbes and May 22 at The Stone. The shows will be recorded so come out and be part of the celebration.

video of the REVOLUTIONARY SNAKE ENSEMBLE

Formed in 1990 by Boston saxophonist & composer Ken Field (Birdsongs of the Mesozoic, Willie Loco Alexander, Chandler Travis Philharmonic, Bridgman/Packer Dance, Sesame St) the sound of RSE is celebratory improvisational music rooted in New Orleans brass band tradition and encompassing modern stylistic threads as diverse as the harmonic, energetic, rhythmic and visual eclecticism of the jazz avant-garde filtered through a 70s funk dynamic. By rearranging and recon-textualizing traditional tunes, pop/rock, funk and jazz compositions alongside Field’s own original charts, Revolutionary Snake Ensemble celebrates, expands and transforms the brass band tradition.

"(Revolutionary Snake Ensemble) captures the abandon of a street parade while expanding its stylistic scope...it's got the essential ingredients spiced with fresh flavors" – jazz critic Dan Ouelette

"(RSE) may operate from the traditions of New Orleans music, but the boundaries are pushed wide open when they actually play…doing all of the high art ministrations of improvisation and having an audible party at the same time really is the best of both worlds." – Performer Magazine

"…booty-shaking and brain stimulating music" -- Splendid

Their first CD, Year of the Snake, on Innova Recordings was released in 2003. It included music by Field as well as Sun Ra, John Scofield, James Brown, and others, with liner notes written by two-time Grammy-winning New Orleans music producer Scott Billington.

The Revolutionary Snake Ensemble's 2nd release, Forked Tongue, bowed in 2008 on Cuneiform. The disc showcases a wide range of the Snakes' repertoire. It includes unique arrangements of traditional New Orleans marching music and spirituals and of music by such diverse songwriters as William Broad (aka Billy Idol), Ornette Colemen, Norman Span, and Jay Livingston & Ray Evans, as well as original material by Field.

REVOLUTIONARY SNAKE ENSEMBLE

Ken Field/alto sax
Alex Smith/electric bass
Blake Newman/acoustic bass
Joey Lefitz/drums
Kenny Wollesen/drums
Alex Asher/trombone
Josh Roseman/trombone
Daniel Heath/trombone
Jerry Sabatini/trumpet

BARBES on FRI. MAY 20 – 8pm
376 9th St. (corner of 6th Ave.) Park Slope, Brooklyn 347-422-0248
A $10 (very strongly) suggested donation
www.barbesbrooklyn.com

THE STONE on MAY 22 – 8-9:15pm
Avenue C & 2nd Street, NYC, $10
thestonenyc.com

##

www.revolutionarysnakeensemble.org

kenfield.org

for media information, hi-res jpgs, interviews, guest list etc.
please contact Brad Riesau at Rolling Thunder PR (p) 909-744-0704 or (e) rollingthunderpr@gmail.com

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DANJAM ORCHESTRA NYC CD RELEASE PARTY May 15

ROLLING THUNDER pr

DANIEL JAMIESON’S DANJAM ORCHESTRA’S SUDDEN APPEARANCE FOR OA2 RECORDS CELEBRATED WITH CD RELEASE PARTY AT MILES’ CAFE IN NEW YORK CITY — LATEST NEWS & EVENTS — Fresh from two triumphant evenings where his Danjam Orchestra thrilled hometown crowds in Toronto, saxophonist/composer/educator Daniel Jamieson celebrates the May debut of SUDDEN APPEARANCE with a New York City CD release party at Miles’ Café on May 15th, ‘11. Produced by esteemed pianist/composer/educator Jim McNeely, the disc features Jamieson’s wide-ranging compositions and well-honed arranging skills, which in the hands of his handpicked jazz orchestra swing, inspire and challenge listeners with a program of emotional depth and stylistic diversity. The album features the track "Song for Anna" for which Jamieson was awarded an ASCAP young jazz composer award. Jamieson is pleased to announce that the New York date will feature not only jazz heavyweight John Riley from the recording band on drums, but one of Daniel’s mentors, renowned saxophonist Tim Ries. Ries’s years as a soloist with Maria Schneider Jazz Orchestra as well as his diverse resume with everyone from the Rolling Stones and Sheryl Crow to Joe Henderson and Maynard Ferguson, and his own groundbreaking work as a leader makes Ries one of the most in demand players on the jazz and studio scene over the past two decades. Influenced early on by the legendary Canadian composer and arranger Rob McConnell’s Boss Brass and Tentet recordings, the young Jamieson saw himself driven to a career in music. He began studying composition and three years later recorded this ambitious project. “It is an honor and privilege to be able to write for such a diverse group of high level artists. They all bring their unique voices to the band, and I look forward to making music with them for many years to come. I arranged the compositions on this CD specifically for this group of musicians, and their personalities really come across in the music.” New York based musician Daniel Jamieson grew up in Toronto, Canada. Dan has appeared as a guest artist in various jazz festivals across Canada and has performed as a soloist with the Toronto Symphony Orchestra. Daniel has performed with artists such as Ingrid Jensen, Tony Malaby, Tim Ries, Guido Basso, and Dave Young to name a few. Daniel was awarded the Rising Young Star Award at the 2008 Prince Edward County Jazz Festival. Currently Daniel works as a freelance performer, composer and educator in the New York area and writes for his own 10 piece jazz ensemble the “Daniel Jamieson Tentet” and his own big band the “Danjam Orchestra”. Jamieson attended Claude Watson Arts Program at Earl Haig Secondary School and participated in the Humber College Community Music School Program. Daniel holds a Bachelor of Music degree in Jazz Performance from the University of Toronto where he studied with Tim Ries. Daniel also holds a Master of Music degree from the Manhattan School of Music where he studied with Jim McNeely. Calling on McNeely, his former teacher to produce this album was a wonderful move for Jamieson who knew he’d be busy conducting and playing on the session. “It was terrific to hear the music he had written finally come to life in the rehearsals and the recording sessions,” McNeely enthusiastically notes. “Dan assembled a talented ensemble of mostly young players who are starting to make their mark on the New York and Toronto jazz scenes. He brought in the great John Riley on drums (my old colleague from the Vanguard Jazz Orchestra) to help steer the rhythm section and add his years of experience to the music. Dan’s writing covers a broad spectrum: standards and originals ranging from the more traditionally constructed ‘Smile’ to the darting, dissonant treatment of ‘Alone Together’. The band does a great job with all of it. One of the most impressive things for me is the solo playing throughout the recording.” From the energy of the piece, “Chance Encounter” to the chiaroscuro atmospherics of “Ballad for Hope” the young composer has brought a decidedly cinematic richness to the arrangements on this project. Moments of surprise and contrast abound throughout as the soloists rise to music composed with their particular talents in mind. Of note are the award-winning “Song for Anna” penned for the extraordinary flautist Anna Webber and the Charlie Chaplin composition, “Smile” which concludes the program and features the leader on the saxophone. SUDDEN APPEARANCE is a formidable debut from a major new composing talent. In the words of producer McNeely, “I really enjoyed being a part of this recording. It announces the arrival of a new, vital force in the big band world. Let’s hope that we can all hear a lot more in the future from Daniel Jamieson!” DANIEL JAMIESON’S DANJAM ORCHESTRA OA2 Records / International release: May 2011 The CD, digital download, and scored & parts of SUDDEN APPEARANCE are available for purchase at www.danjam.ca Watch Daniel Jamieson’s video introduction to the recording of SUDDEN APPEARANCE: http://www.youtube.com/watch?v=ex0jznsc8 CATCH DANIEL JAMIESON’S DANJAM ORCHESTRA Featuring Tim Ries and John Riley NYC CD RELEASE PARTY Sunday May 15th – 10pm-11:30pm Miles' Cafe 212 East 52nd Street New York, NY 10022-6201 (212) 371-7657 http://www.milescafe.com/ny/ Daniel Jamieson - conductor/composer Andrew Gould, Alex LoRe, Tim Ries, Mike Ruby, Sam Dillon - woodwinds Dan Urness, Jon Challoner, Mat Jodrell, Nadje Noordhuis - trumpets Sara Jacovino, Eric Miller, Heather Segger, Max Seigel - trombones Melissa Stylianou - voice Matt Davis – guitar / Florian Höfner - piano Sam Anning – bass / John Riley – drums CD PERSONNEL Andrew Gould, Alex LoRe, Anna Webber, Mike Ruby, Sam Dillon - woodwinds Dan Urness, Matt Holman, Mat Jodrell, Philip Dizack - trumpets Sara Jacovino, Eric Miller, Heather Segger, Max Seigel - trombones Jihye Kim - voice Nils Weinhold – guitar / Sam Harris - piano Justin Gray – bass / John Riley – drums Eddy Hackett - percussion "The band was tight, arrangements and compositions, first class. Don't miss this stellar orchestra when you get a chance to see them." - TorontoJazz.ca

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