Archive

Monthly Archives: May 2011

Angel City Arts presents
WEDNESDAY JUNE 1, 2011 8PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908

Michael Formanek’s singular approach to the acoustic bass has led to an impressive range of musical associations. During his thirty-plus year career, he has played and/or recorded with Elvis Costello, Tim Berne, Uri Caine, Freddie Hubbard, Stan Getz, Marty Ehrlich, Chet Baker, Tony Williams, Gerry Mulligan, Bob Mintzer, Fred Hersch, Dave Liebman, Joe Henderson, Mark Isham, Toshiko Akiyoshi/Lew Tabackin Big Band, Mingus Big Band, Terumasa Hino, Cedar Walton, Attila Zoller, George Coleman, Jane Ira Bloom, Bob Moses, Gunther Schuller, Peter Erskine, Joe and Matt Maneri, Gary Thomas, Harold Danko, Dave Burrell, Joe Lovano,  and many others.

Composition also plays a significant role in Formanek’s overall musical profile, and four albums of his original music, Wide Open Spaces, Extended Animation, Low Profile and Nature Of The Beast have been released to critical acclaim on the Enja label. Am I Bothering You, a recording of solo bass performances made for Tim Berne’s Screwgun label, has firmly established itself as an important contribution to that genre. Formanek produced or co-produced all of these recordings and among the featured musicians are Greg Osby, Tim Berne, Mark Feldman, Dave Douglas, Marvin ‘Smitty’ Smith, Ku-umba Frank Lacy, Marty Ehrlich, Wayne Krantz, and Jim Black. Formanek received Chamber Music America’s New Works: Creation and Presentation Grant for 2000-2001 to compose a new piece for the Tim Berne/Michael Formanek Duo, which was recently performed in Philadelphia as part of the Chamber Music America Encore program for 2007. Formanek was commissioned to compose an original piece for the 150th anniversary of the Peabody Conservatory. The piece, The Open Book for jazz soloists with orchestra, was premiered at Peabody in February of 2007, and featured members of the Peabody Jazz Orchestra and the full Peabody Concert Orchestra under the direction of Hajime Teri Murai.

In 2010 Michael Formanek’s first CD as a leader and composer in more than a decade was released on the ECM label. The Rub and Spare Change features the amazing group of Tim Berne on saxophone, Craig Taborn on piano, and Gerald Cleaver on drums, and Formanek on bass, and has received numerous accolades including Five Stars in Down Beat Magazine, and a place on many best CD’s of 2010 lists.  As a result the Michael Formanek Quartet toured Europe in April of 2011, and continues to perform whenever possible in the US and elsewhere.

Michael Formanek website

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Craig Taborn is an American keyboardist and composer. Playing piano, organ, and Moog synthesizer, Taborn has worked mostly in jazz, although he also does dark ambient andtechno music.

Taborn became known for his membership in saxophonist James Carter’s band,[1] where he contributed to The Real Quietstorm (1994) and Conversation with the Elders (1996). In 1995, he graduated from the University of Michigan with a liberal arts degree.[1] During the 1990s he also worked with Mat Maneri[2] (Blue Deco, 2000), Roscoe Mitchell, Nate Smith, Gerald Cleaver, Lotte Anker, Dave Binney, Wayne Krantz, Adam Rogers and others. During the 1990s he also led his own trio.

In the 2000s he played in the US with Tim Berne (The Shell Game, 2001), in a trio with Susie Ibarra (Songbird Suite, in 2001 and Folkloriko in 2004). In 2002 he worked with Dave Douglas(Freak in), Hugh Ragin[1] and the Norwegian bassist Eivind Opsvik, with Marty Ehrlich in 2003, Drew Gress in 2004, and Chris Potter (Underground, 2005).

He has worked with many musicians including Chris Potter,[3] Nate Smith, Gerald Cleaver,Lotte Anker, Drew Gress, James Carter, David Binney, Wayne Krantz, Adam Rogers, David Torn, Tim Berne, members of The Bad Plus, and was a member of the Susie Ibarra Trio.

Craig Taborn website

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Tim Berne was born in Syracuse, New York in 1954, and was subjected to a perfectly normal childhood.  But he didn’t decide to take up music until nearly twenty years later when he was attending Lewis and Clark College in Oregon, putting most of his energy into intramural basketball.  At this point, while resting a sore ankle in his dormitory, Berne encountered a saxophonist who was selling his alto, and bought it on impulse.  “There was just something about the sound of the saxophone that got to me,” he says.

Musically, up to that point, Berne had always been motivated by all types of music, but especially by the great Stax artists like Sam and Dave and Johnnie Taylor, as well as Motown artists like Martha and the Vandellas and Gladys Knight.  This passion for the soulful quality in music would follow him for the rest of his career, a career that he could not possibly foreseen at the time.  “I hadn’t listened to much jazz, but then I heard Julius Hemphill’s album Dogon A.D., and that completely turned me around.  It captured everything I liked in music.  It had this Stax/R&B sensibility and it had this other wildness.  It was incredible.  That’s when I started playing.”

Berne moved to New York in 1974, sought Hemphill out, and entered into a sort-of apprenticeship with the elder musician.  The “lessons” they had together lasted for hours and covered everything from composition to record promotion to recording to pasting up handbills to aspects of magic and spirituality and, sometimes, even playing the saxophone.  “From the beginning,” Berne says, “even while I was still learning to play the saxophone, Julius always encouraged me to write my own music as well.  So it never occurred to me that most people don’t play their own music or aren’t bandleaders.  I thought that was just part of it.  You learn how to play music, you start a band, and that’s it.  Julius didn’t offer me one system, but a lot of possibilities, with the emphasis always on ideas and sound.”

Berne began issuing his own albums on his own Empire label in 1979.  Over the next five years he would record and distribute five albums under his own name which included such musicians as Ed Schuller, Olu Dara, Paul Motian, John Carter, Glenn Ferris and Bill Frisell.  Following two recordings for the Italian Soul Note label, Berne recorded Fulton Street Maul and Sanctified Dreams for Columbia Records.  These recordings coincided with an increasingly active worldwide touring schedule.

In 1988 Berne began a long relationship with the JMT label with the first of two recordings with the co-operative Miniature (with Joey Baron and Hank Roberts).  In 1989 Berne’s JMT release Fractured Fairy Tales was hailed as a masterpiece by the New York Times.  Berne’s JMT legacy climaxed with the historic Paris Concerts given by his quartet bloodcount, released in three volumes (Lowlife, Poisoned Minds and Memory Select).  These recordings have received unanimous praise.  Since 1994, bloodcount has performed over 250 concerts worldwide.

In 1996 Berne once again founded his own record label, Screwgun, and released a three CD set of live recordings by bloodcount, Unwound.  He also had a new string quartet, dry ink, silence, premiered by the Kronos Quartet at the Brooklyn Academy of Music.  1997 has found Berne touring the U.S. and Europe with bloodcount, writing music for large ensemble on commission, and preparing the next three Screwgun releases by his bands bloodcount and Paraphrase.  In addition, a recording of The Visible Man, a piece commissioned in 1992 for the Rova Saxophone Quartet, has just been issued on a disc called The Works, Volume 2 on the Black Saint label.

Tim Berne website

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photo by Maarten Mooijman Utrecht

Born May 4, 1963 and raised in Detroit, Gerald is a product of the city’s rich music tradition. Inspired by his father, drummer John Cleaver, he began playing the drums at an early age. He also played violin in elementary school, and trumpet in junior high school and high school. As a teenager he gained invaluable experience playing with Detroit jazz masters Ali Muhammad Jackson, Lamont Hamilton, Earl Van Riper, and Pancho Hagood. While attending the University of Michigan as a music education major, he was awarded a Jazz Study Grant, from the National Endowment for the Arts, to study with drummer Victor Lewis. He graduated in 1992 and began teaching in Detroit where he worked with Rodney Whitaker, A. Spencer Barefield, Marcus Belgrave, Donald Walden, Wendell Harrison, and with visiting musicians Hank Jones, Tommy Flanagan, Barry Harris, Kenny Burrell, Frank Foster, Cecil Bridgewater, Ray Bryant, Eddie Harris, Dennis Rowland, Howard Johnson, Diana Krall and Don Byron. In 1995 he accepted an appointment as assistant professor of Jazz Studies at the University of Michigan, and in 1998 also joined the jazz faculty at Michigan State University. He moved to New York in 2002. He has performed or recorded with Franck Amsallem, Tim Ries, Henry Threadgill, Roscoe Mitchell, Lotte Anker, Reggie Workman, Marilyn Crispell, Matt Shipp, William Parker, Craig Taborn, Kevin Mahogany, Charles Gayle, Mario Pavone, Ralph Alessi, Jacky Terrasson, Jimmy Scott, Muhal Richard Abrams, Dave Douglas, Tim Berne, Jeremy Pelt, Ellery Eskelin, David Torn and Miroslav Vitous, among others. His 2001 recording “Adjust” (Fresh Sound New Talent) was nominated in the Best Debut Recording category by the Jazz Journalists Association. “Gerald Cleaver’s Detroit” (FSNT), is an homage to his hometown and to the late, great Detroit drummers Roy Brooks, Lawrence Williams, George Goldsmith and Richard “Pistol” Allen. Cleaver leads the bands Violet Hour, NiMbNl, Uncle June and Farmers By Nature. ..

Gerald Cleaver website

BlueWhale website

FRIDAY  MAY 27, 2011  6:30 to 9:30PM
JAUS GALLERY
11851 La Grange Ave. Los Angeles, CA, 90025 | 424.248.0781

HOME ON LA GRANGE
curated by Kio Griffith.

design based on "El Proceso II" by Arian Dylan

Featuring:
Brian Dettmer, Arian Dylan, P-Jay Fidler, Dustin Fosnot, Clark Goolsby, Rich Jacobs, Jason Hernandez, Aska Irie, Alex Kopps, Jeff Ladouceur, Jacqueline Rush Lee, Jason Manley, Rebeca Méndez, Jason Polan, Kim Rugg, Bryan Schnelle, Robert The

Opening reception: May 27, 6:30pm to 9:30pm
Show runs from May 27 to July 3 2011

Modern day “grangerizers” hunt and gather outdated printed matter and everyday scrap to reconstruct the printed object. The show will survey expanded ideas of reworked books, album covers, consumer packaging and imaginary materials.

“Where seldom is heard a discouraging word And the skies are not cloudy all day… (from “Home on The Range”)

grangerize
1. to augment the illustrative content of (a book) by inserting additional prints, drawings, engravings, etc., not included in the original volume.
2. to mutilate (books) in order to get illustrative material for such a purpose.

Origin: 1880–85; after James Granger (1723–1776), English clergyman whose Biographical History of England (1769) was arranged for such illustrations.

Jaus Gallery website

FRIDAY MAY 27, 2011  9  |  10  |  11PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908

The Los Angeles Jazz Collective is a growing organization that is dedicated towards building a stronger jazz community in the Los Angeles area. Co-founded by pianist Gary Fukushima and saxophonist Matt Otto, the LAJC has 13 core members including guitarists Jamie Rosenn, Steve Cotter and Mike Scott, pianist-organist Joe Bagg, saxophonists Matt Zebley, Robby Marshall and Damon Zick, trumpeters Brian Swartz and Josh Welchez, bassist Ryan McGillicuddy and drummer Jason Harnell, plus a growing number of associate members.

The Los Angeles Jazz Collective has sponsored some concerts (including a collective performance last April that served as the official birth of the organization), has put out a sampler CD, and has some ambitious if realistic plans for the future. Recently I chatted with Gary Fukushima, Matt Otto and Jamie Rosenn, asking the three musicians how an organization of this sort can function given the economic difficulties of being a jazz musician in Los Angeles, along with the democratic and rather spontaneous nature of the music.

The LAJC’s membership includes many of the area’s talented younger artists, including pianist/organist Joe Bagg; saxophonists Matt Zebley, Robby Marshall and Damon Zick; drummer Jason Harnell; bassist Ryan McGillicuddy; trumpeters Brian Swartz and Josh Welchez, and guitarists Steve Cotter, Jamie Rosenn, and Mike Scott. There are currently 13 core members and a growing number of associate members. The collective has held meetings several times each month since November of 2007 and has already established a strong sense of community within the membership. Many members are on the faculty at various colleges and schools, and the collective intends to integrate enthusiastic students into this community. The LAJC aims to be a catalyst for those who play modern, creative jazz to represent the pioneering spirit that is the essence of the jazz tradition. The collective is compelled to live out that spirit by forging ahead in it’s members’s own compositions and performances.

Los Angeles Jazz Collective website

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WESTLAND TRIO @ 9pm

John Daversa: trumpet & flugelhorn
Todd Millstein: guitar
Damon Zick: tenor saxophone & bass clarinet

Each band member arranges his own compositions for this unique setting, resulting in an eclectic mix of jazz, blues, folk, and pop music. The lack of bass and drums lends a chamber music quality that opens up space for the music to wander into new places. The overall vibe is light, fun, and spontaneous. The band’s bassless, drummerless concept was originally inspired by Jimmy Giuffre’s trio from the 1950s, with Jim Hall and Bob Brookmeyer.

Westland Trio website

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JAMIE ROSENN TRIO @ 10pm

Jamie Rosenn is a guitar player committed to forging a personal sound that acknowledges the past but also points to the future. Trained at the New England Conservatory of Music in Boston, where he received a Bachelors Degree in Music, Rosenn studied with jazz luminaries Jimmy Giuffre, Ran Blake, Mick Goodrick, George Russell and Bob Moses. After completing his studies in Boston, Jamie moved to California where he attended the California Institute of the Arts (CalArts) in Valencia. At CalArts Jamie studied with Charlie Haden, Leo Smith and Joe LaBarbera and was a featured performer and composer on the ’94 and ’95 CalArts Jazz CDs. Since receiving his Master Degree from CalArts Jamie has been an active member of the Los Angeles jazz scene. In 1996 Jamie was chosen by the United States Information Agency to be an artistic ambassador and perform in a duo that took part in a seven week tour of the Middle East and South Asia. In addition to performing, Jamie also teaches and has taught at the Musician’s Institute, Saddleback College, the Los Angeles Music Academy, the University of California at Los Angeles, and CalArts. Jamie currently performs as a member of the trio JoE-LeSs shOe with Jason Harnell and Matt Otto who released their self titled CD in 2007. Additionally, Jamie co-leads the organ trio Option 3, with Joe Bagg and Mark Ferber that released their debut CD “Points Subtracted” in early 2008.

Jamie Rosenn website

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JOE BAGG TRIO @ 11pm

“A masterful organist” – Don Heckman, L. A. Times 

“A highly refined player with a light touch who listens” – Downbeat

Born and raised in Southern California, Joe started playing by ear on a toy xylophone at an early age. His parents quickly got him a piano teacher, and Joe took piano lessons for a few years after that. He discovered jazz while in college and immediately changed his major from computer science to music. Upon hearing that jazz pianist Kenny Barron was teaching at Rutgers University in New Jersey, Joe enrolled in the graduate program there and obtained his Masters degree, studying with Barron for two years. After a couple years in the Army, as a Russian linguist stationed in Germany, Joe moved back to the states to California, where he has been a fixture on the Los Angeles jazz scene. In 1997, Joe started playing the Hammond B-3 organ after meeting organist Larry Goldings in New York.

Since arriving in L.A., Joe has played and/or recorded with most of the jazz musicians in Southern California, as well as a number of visiting musicians including: Bobby Hutcherson, Madeleine Peyroux, Larry Goldings, Charles McPherson, Anthony Wilson, Seamus Blake, Lea Delaria, Brian Lynch, Billy Higgins, Arthur Blythe, Ralph Moore, Marvin “Smitty” Smith, Joe LaBarbara, Alphonse Mouzon, Jack Sheldon and many more. He also has played extensively overseas (Germany, France, Greece, Turkey, Dubai) and the States (Yoshi’s (Oakland), Birdland (New York), The Moore Theater (Seattle), The Alladin Theater (Portland), Richard’s (Vancouver)).

Joe Bagg website

BlueWhale website

THURSDAY MAY 26, 2011  9  |  10  |  11PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908

The Los Angeles Jazz Collective is a growing organization that is dedicated towards building a stronger jazz community in the Los Angeles area. Co-founded by pianist Gary Fukushima and saxophonist Matt Otto, the LAJC has 13 core members including guitarists Jamie Rosenn, Steve Cotter and Mike Scott, pianist-organist Joe Bagg, saxophonists Matt Zebley, Robby Marshall and Damon Zick, trumpeters Brian Swartz and Josh Welchez, bassist Ryan McGillicuddy and drummer Jason Harnell, plus a growing number of associate members.

The Los Angeles Jazz Collective has sponsored some concerts (including a collective performance last April that served as the official birth of the organization), has put out a sampler CD, and has some ambitious if realistic plans for the future. Recently I chatted with Gary Fukushima, Matt Otto and Jamie Rosenn, asking the three musicians how an organization of this sort can function given the economic difficulties of being a jazz musician in Los Angeles, along with the democratic and rather spontaneous nature of the music.

The LAJC’s membership includes many of the area’s talented younger artists, including pianist/organist Joe Bagg; saxophonists Matt Zebley, Robby Marshall and Damon Zick; drummer Jason Harnell; bassist Ryan McGillicuddy; trumpeters Brian Swartz and Josh Welchez, and guitarists Steve Cotter, Jamie Rosenn, and Mike Scott. There are currently 13 core members and a growing number of associate members. The collective has held meetings several times each month since November of 2007 and has already established a strong sense of community within the membership. Many members are on the faculty at various colleges and schools, and the collective intends to integrate enthusiastic students into this community. The LAJC aims to be a catalyst for those who play modern, creative jazz to represent the pioneering spirit that is the essence of the jazz tradition. The collective is compelled to live out that spirit by forging ahead in it’s members’s own compositions and performances.

Los Angeles Jazz Collective website

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BRIAN CARMODY QUARTET featuring NICK MANCINI @ 9pm

Brian Carmody grew up north of San Francisco in the town of Santa Rosa.  With both of his parents being musicians and educators, he was constantly surrounded by music.  He developed a passion for the drums in high school and began to teach himself to play by listening and playing along with his favorite records.  He began his formal training at UC Boulder in Colorado 1995.

In 1997 Brian moved to San Francisco to continue his education and immerse himself in the Bay Area jazz scene.  In 2001 he conferred a Bachelor of Music with an emphasis in classical percussion from San Francisco State University.  While at SFSU Brian was awarded a full scholarship and held the chair as principal percussionist of the University Orchestra.  During the 10 years he lived in San Francisco, Brian performed regularly at the top Bay Area jazz clubs as both a bandleader and a sideman.  He also gave private lessons and held the position of Director of Music at The School of Music and Fine Arts in Daly City.

Brian has recorded, performed and toured both nationally and internationally with many different music projects over the last decade.  In 2007 Brian met the talented vocalist Rachel Lauren and produced and arranged her debut release “Away From The Crowd”, an album he also played drums on.  Brian recently moved to Los Angeles where he is completing a Master of Music in Jazz Performance from the Thornton School of Music at USC. He continues to broaden his horizons by working as a producer, composer/arranger/sound designer for bands,films and companies while continuing to perform nationally and internationally both as a sideman and a leader.

Brian Carmody website

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DANIEL ROSENBOOM SEPTET @ 10pm

“Rosenboom is a phenomenon…His speed and singing high notes are amazing. He is a cool customer onstage, but what comes out of the mouthpiece is red hot.” – Mark Swed – Los Angeles Times

“Spectacular trumpet soloing…mesmerizing…” – BLG – Downtown Music Gallery

“Daniel Rosenboom’s trumpet and electronics tour de force Evolution caputres all the gravity of ’70s prog rock with a dramatic flair of Freddy Mercury -proportions…Rosenboom goes for the jugular both rhythmically and melodically, running through time signatures like a box of Kleenex at an AA meeting.” – Randy Nordschow – New Music Box

Daniel Aaron Rosenboom  is a creative trumpet artist, improviser, composer, and record producer who seeks break musical boundaries by fusing styles in new and inventive ways. By combining the sounds of creative improvised, contemporary classical music, rock, metal, hip-hop, jazz, experimental electronic, and traditional folk music from the Balkans, North India, and Middle East, he has created a brand of indefinable and hair-raising music.  For his compositions, he has been recognized with grants and awards from ASCAP, the Yvar Mikhashoff Trust for New Music, the American Composers Forum, and the Meet the Composer foundation.

In 2006, Rosenboom released his debut solo CD, Bloodier, Mean Son, which features world-premiere recordings of new works for solo trumpet and electronics, on Nine Winds Records.  In 2007, his gypsy-jazz-metal band, PLOTZ!, released their debut CD, Extraordinary Renditions, and in early 2008, his improvising experimental-jazz-metal band DR. MiNT released their debut album, Visions and Nightmares, on the pfMENTUM label.  In early 2009, Rosenboom released his own Book of Riddles, as well as PLOTZ!’s Live 2008, and DR. MiNT’s A New Symphony on SNP Records.  In 2009, Rosenboom was featured on his father’s album, How Much Better If Plymouth Rock Had Landed on the Pilgrims, both as a performer and co-producer.  In 2010, PLOTZ! released their highly anticipated 3rd album, The Kid, and Rosenboom was featured on Vinny Golia’s Octet album, Low and Inside: Music for Baritone Saxophones, and in 2011 The Daniel Rosenboom Septet released its debut album Fallen Angeles, featuring Daniel’s original compositions on Nine Winds Records.

He has appeared as a soloist and collaborator on festivals and in recitals at the International Trumpet Guild’s annual conference, University of York, England, the Royal Scottish Academy of Music and Drama, the La Mama Theater in New York City, at REDCAT (Roy and Edna Disney CalArts Theater), the Walt Disney Concert Hall in Los Angeles, the Bimhuis in Amsterdam, California Institute of the Arts, the Eastman School of Music, the Hague Jazz Festival, the Midpoint Music Festival, Sounds Like Now: Interpretations at 15, the Aspen Music Festival, Music Academy of the West, the Chosen Vale and Lake Placid Trumpet Seminars, Idyllwild Arts and Interlochen Arts Academy.  With orchestras and chamber ensembles, he has appeared on such stages as Walt Disney Concert Hall, the Berlin Philharmonie, Opera City in Tokyo, the Hollywood Bowl, and in music festivals all over the United States.

He plays regularly with The Daniel Rosenboom Septet, PLOTZ!, DR. MiNT, and the Vinny Golia Sextet, and is a member of the Industrial Jazz Group, Killsonic, Orkestar Mezé, Robby Marshall’s RootSystem, and GG’s Concert NineNet.  As a free-lance artist in Los Angeles, he has recorded for and been heard on ABC, ESPN, BMG, Killer Tracks, Paramount, Poobah Records, Nine Winds Records, 105.1 KMZT, and has played with such groups as the Los Angeles Philharmonic, Rochester Philharmonic Orchestra, Syracuse Symphony Orchestra, Philharmonie der Nationen, the New Century Players, the Los Angeles Valley Master Chorale, the Asia America Symphony Association, the Peninsula, Westchester, and Carson Symphony Orchestras. Other projects and collaborations include the Heidi Duckler and Collage Dance Theatre, Wadada Leo Smith’s Silver Orchestra, Vinny Golia Large Ensemble, the Los Angeles Trumpet Quartet (with John Fumo, Jeff Kaiser, and Kris Tiner), VR with guitarist David Veslocki, Irmin Schmidt from CAN, the Grande Mothers of Invention, Kai Kurosawa, Brad Dutz, Harris Eisenstadt, Markus Stockhausen, Sandeep Bagwhati, Pavel Novak, Matt Mayhall, Antony DiGennaro, Björkestra, and many others.

Daniel studied at the Eastman School of Music with master pedagogue James Thompson for his Bachelor of Music Degree. He also holds a Master of Music degree from UCLA where he studied with international trumpet virtuoso, Jens Lindemann, and a Master of Fine Arts degree from the California Institute of the Arts where he studied with Edward Carroll, Vinny Golia, John Fumo, Wadada Leo Smith, Miroslav Tadic, and Larry Koonse.  Other mentors have included Rosalina Sackstein, Roy Poper, Mark Gould, Markus Stockhausen, Thomas Sevens, Stephen Burns, and Gabrielle Cassone.

Daniel Rosenboom website

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BRIAN SWARTZ & THE SWARTESTRA @ 11pm

Swartz is a second-generation trumpeter; his father played for 30 years in the United States Air Force. This early exposure to music made a profound influence on him and he started playing trumpet at the age of ten. He studied with trumpet guru Bobby Shew, John Coppola (SFO), Bill Bing (CSUN), and LA studio legend Uan Rasey. Swartz’s dedication to mastering his craft and continually building upon his knowledge has brought him to prominence in the Los Angeles jazz scene. Swartz started his own group in 1996 and has become an accomplished composer and arranger, securing performances at most of the major jazz venues in Los Angeles. Swartz’s quintet has featured some of LA’s top sideman such as saxophonists Keith Fiddmont, George Harper and Matt Otto; pianists Brad Mehldau, Billy Childs, John Beasley, Bob Florence, Theo Saunders and Bill Cunliffe; bassists Jeff Littleton, Kevin Axt, Jeff D’Angelo and Darek Oles; and drummers Lorca Hart, Dick Weller and Aaron Serfaty. Swartz hosted a series at Lunaria in Century City called “The Best of LA’s Trumpets” which featured his quintet backing up many of LA’s greatest jazz trumpeters.

Brian Swartz website

BlueWhale website

SATURDAY MAY 28, 2011  
[Matinee] 3 to 6 pm
[Evening] 8pm to midnight

BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908

The Los Angeles Jazz Collective is a growing organization that is dedicated towards building a stronger jazz community in the Los Angeles area. Co-founded by pianist Gary Fukushima and saxophonist Matt Otto, the LAJC has 13 core members including guitarists Jamie Rosenn, Steve Cotter and Mike Scott, pianist-organist Joe Bagg, saxophonists Matt Zebley, Robby Marshall and Damon Zick, trumpeters Brian Swartz and Josh Welchez, bassist Ryan McGillicuddy and drummer Jason Harnell, plus a growing number of associate members.

The Los Angeles Jazz Collective has sponsored some concerts (including a collective performance last April that served as the official birth of the organization), has put out a sampler CD, and has some ambitious if realistic plans for the future. Recently I chatted with Gary Fukushima, Matt Otto and Jamie Rosenn, asking the three musicians how an organization of this sort can function given the economic difficulties of being a jazz musician in Los Angeles, along with the democratic and rather spontaneous nature of the music.

The LAJC’s membership includes many of the area’s talented younger artists, including pianist/organist Joe Bagg; saxophonists Matt Zebley, Robby Marshall and Damon Zick; drummer Jason Harnell; bassist Ryan McGillicuddy; trumpeters Brian Swartz and Josh Welchez, and guitarists Steve Cotter, Jamie Rosenn, and Mike Scott. There are currently 13 core members and a growing number of associate members. The collective has held meetings several times each month since November of 2007 and has already established a strong sense of community within the membership. Many members are on the faculty at various colleges and schools, and the collective intends to integrate enthusiastic students into this community. The LAJC aims to be a catalyst for those who play modern, creative jazz to represent the pioneering spirit that is the essence of the jazz tradition. The collective is compelled to live out that spirit by forging ahead in it’s members’s own compositions and performances.

Los Angeles Jazz Collective website

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JOSH AGUIAR ENSEMBLE @3pm

Josh Aguiar is one of LA’s up-and-coming trumpeters, pianists and composers in jazz and improvised music. While growing up in Los Angeles, Aguiar studied with legendary jazz cornetist Bob Bradford. Later he ventured out to Indiana University, Bloomington for undergraduate studies in jazz, graduating in 2000. At IU, he minored in Chinese, and subsequently spent the next 3 ½ years studying and eventually working in Taiwan. Returning to Los Angeles in 2004, Aguiar focused his attention on the local scene, and has been involved in a number of worthy projects. He recently completed his MFA in jazz studies at CalArts in Valencia, where he studied with Charlie Haden, David Roitstein, Vinny Golia, Larry Koonse, and many other fine musician instructors.

He has played with such jazz luminaries as Joe La Barbera, Bob Sheppard, Bill Cunliffe, Butch Morris, Vinny Golia, Darek Oles, David Baker. He has also lent his talents to popular music ensembles in Taiwan, such as indie band “Sticky Rice”, and LA-based funk-roots fusion ensemble “Subway to Venus.” Aguiar has been increasingly heading groups playing his own compositions at venues throughout the Los Angeles area.

A sensitive, lyrical player with a warm, rounded tone, Aguiar has earned numerous plaudits from colleagues in the field. In 2000, he was awarded second prize in the International Trumpet Guild’s Jazz Improvisation Contest. Also in 2000, at the recommendation of jazz education guru David Baker, he received a coveted Player’s Certificate after performing for a committee of Indiana University musical faculty. Saxophonist Chuck Manning of the LA Jazz Quartet summed up Aguiar’s playing: “He plays the trumpet with a depth and harmonic knowledge of someone twice his age. He also has something that is rare at any age and that is a soulful and swinging sound with a singular style that communicates a story in every solo.”

Josh Aguiar website

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JOSH WELCHEZ GROUP @ 4pm

I began playing trumpet in 1986 in New Jersey. I have had the privilege of playing with Karl Denson’s Tiny Universe, Carlos Malcolm’s Afro Jamaican Rhythms, Matt Otto Sextet, Buddy Childers’ Big Band, Anthony Wilson Nonet, Bill Holman Big Band, and Larry Goldings. I am a member of the Los Angeles Jazz Collective.

Josh Welchez website

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ADAM SCHROEDER QUINTET @ 5pm

Los Angeles based Baritone Saxophonist Adam Schroeder has rapidly become a major force throughout the global jazz scene.  Schroeder; a first call for a growing multitude of musical circumstances, is known equally for his hard-driving muscular swing, ferocious be-bopping, meticulous musicianship and leadership as well as his exquisite sound.  For Schroeder’s debut release “A Handful of Stars” (Capri Records July 20th, 2010), his approach has been described as possessing soul a la Carney, intricate lines like those of Chaloff and Adams, the in-the-pocket swing of Mulligan and the hard-driving take-no-prisoners approach of Smulyan.  This description of Schroeder’s approach is a concise ‘short list’ of the baritone saxophone lineage with which Schroeder’s name should duly be added for he is truly a master of the most unwieldy of traditional jazz instruments.

Born and raised in Sioux City, Iowa, Adam began his musical studies on alto saxophone while in grade school.  After an introduction to Charlie Parker in 1992, Schroeder’s musical interest became fixed solely within the jazz idiom.  Mr. Schroeder finally discovered his saxophonistic voice between his junior and senior years, switching from the alto over to the baritone saxophone.  Later that same year, Adam was asked to fill the baritone role in the college big band at Clark Terry’s International Institute of Jazz Studies.  The acceptance of this position sparked a relationship with the famed Clark Terry, which lead to a multitude of musical opportunities shared between the two players, ongoing still today.

In June of 2000, Downbeat Magazine named Mr. Schroeder the Co-Winner of the “Jazz Instrumental Soloist Award” (the 23rd Annual Student Music Awards); the first time that a Baritone Saxophonist has been given this prestigious honor.  Later that same year, Mr. Schroeder’s career took off with calls coming in from Columbia Artists (Maureen McGovern & John Pizzarelli in Concert), Clark Terry (The QE2’s 17th Annual Floating Jazz Festival), & Ray Charles; a call that started a four and a half year relationship up until the singer’s untimely passing.

Throughout his career, Adam has had the fortunate opportunity to play and record with a growing list of musical greats.  Among them are Clark Terry, the Clayton/Hamilton Jazz Orchestra, Anthony Wilson, Ray Charles, Diana Krall, John Pizzarelli, Bill Cosby, Bob Mintzer, Bennie Wallace, Michael Buble, Sting, Chris Botti, Louie Bellson, Gilbert Castellanos, Gary Smulyan, Joe Magnarelli, Gerald Clayton, American Idol, Gordon Goodwin, SUPERSAX, Mary Mary, Max Weinberg, the late Nick Brignola and Jack Nimitz, as well as the American Idol television show.  He is also endorsed by Yamaha  and RICO Reeds.

While maintaining an active schedule, Schroeder’s presence in the jazz community, both stateside and abroad, is felt not only in his intense musicality, but also in his outreach to the community as well.  When asked about his flourishing career, Adam replied, “Clark Terry has not ONCE stopped reaching out to others, always taking the time out of his life to give, be it mentoring in music or in life.  He instilled that in me from the moment we first met; that’s a lesson I’ll never forget and a lesson I strive to live up to each & every day of my musical life.”

Adam Schroeder website

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LEONARD THOMPSON TRIO @ 8pm

Leonard Thompson was born in March of 1972 and grew up in Capistrano Beach, CA. His father, Rex Thompson, was a jazz pianist and his mother an avid jazz listener and student of the bass. Leonard began playing professionally while fulfilling a geology degree at U.C. Santa Cruz in the 1990s. Since then he has been active in the San Francisco bay area, southern California, and most recently New York. Some ongoing collaborations have included performing and/or recording with saxophonist Matt Otto, guitarist Justin Morell, and vocalist Vicki Burns. Leonard has also enjoyed performances with vocalists such as Cleo Laine, Mary Stallings, Madeleine Peyroux, Sasha Dobson, Marlena Shaw, Giacomo Gates, Madeline Eastman, Kitty Margolis, Paula West, V.R. Smith, Julie Kelly and George Hubbard.

Leonard Thompson website

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MATT OTTO QUINTET @ 9pm

Matt Otto studied music performance and composition at Indiana University, Berklee School of Music, The New School for Social Research (BFA) and California Institute of the Art (MFA). Having lived in Japan for 5 years, New York City for 7 years and Los Angeles for 6 years, he has performed with a variety of artists including Anthony Wilson, Larry Koonse, Rashid Bakr, Ben Monder, Wada Leo Smith, Willie Jones III, Alan Ferber, Mark Ferber, Albert “Tootie” Heath, Gregory Hutchinson, Charlie Haden , Joe La Barbera, Junior Mance, Leroy Vinegar, Jimmy Smith, Ari Honig, Ben Street, Mike Moreno, Danny Weiss, Steve Cardenas, Larry Goldings, Eric Harland, Sheryl Bailey, Darek Oles, Erik McPherson, and many others.

While in Los Angeles, Matt co-founded of the Los Angeles Jazz Collective, an artist driven composers collective and record label dedicated to promoting and recording original creative improvised music and collaborating with other arts and music organizations.

He currently performs his original compositions with his Kansas City based quartet with members Gerald Dunn on alto saxophone, Jeff Harshbarger on acoustic and electric bass, and Mike Warren on percussion and drum set. Matt has recorded with the Anthony Wilson Nonet (“The Power of Nine” Groove Note 1035, 2006), Joeless Shoe ( Joeless Shoe, jcr, 2007), and 3-ish (Baobab, jcr 2009) and has several Cds recorded as a leader; 53 West 19th – Noir Records 1996, Red–Origin Records 2000, Q trio vol.1 (Jazz Collective records 2008) , and has appeared on over 15 CD projects as a side man.

Matt Otto website

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JOHN EHLIS ENSEMBLE featuring VINNY GOLIA @ 10pm

Guitarist John Ehlis is inspired by traditional music from around the world including Brazil, Cuba, India, Mali, South Africa and the Basque region of Spain and France. He rechannels the influences of these musically vast cultures into a unique sound that incorporates chanting, lyrical melodies, ambient sounds and collective improvisations. He also includes the sounds of mandolin, bamboo flutes, mbira and hand percussion into his performances.

Ehlis studied music under the direction of Grant Wolf at Mesa Community College and completed his formal music education at UC Riverside in 1989. He has performed throughout the United States for the past 20 years with musicians that include John Tchicai, Francis Wong, Jon Birdsong, Marie Afonso, Ken Butler, Joe Craven, Beth Custer, Tony Passerell, Rent Romus, Tapia and Leturia, the Gauden Bat Basque Dancers and Euskal Giroa. The John Ehlis Ensemble has two releases on his indie label Sívac Records. He has also led the improvisational ensembles Beautiful Cuba and Francis the First.

John Ehlis currently resides in New York City where he is collaborating with saxophonist Allen Won and percussionist Todd Isler in the Wu Wei Trio.

John Ehlis website

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VINNY GOLIA SEXTET @ 11pm

As a composer  Vinny Golia fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. Also a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from The National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer,Clausen Foundation of the Arts, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 50 piece Vinny Golia Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles.

A multi-woodwind performer, Vinny’s recordings have been consistently picked by critics and readers of music journals for their yearly “ten best” lists. In 1990 he was the winner of the Jazz Times TDWR award for Bass Saxophone. In 1998 he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Downbeat Critic’s Poll for Baritone  & Soprano Saxophone. In 1999 Vinny won the LA Weekly’s Award for “Best Jazz Musician”. Jazziz Magazine has also named him as one of the 100 people who have influenced the course of Jazz in our Century. In 2006 The Jazz Journalists Association honored him with a Lifetime Achievement  Award.

Golia has also contributed original compositions and scores to Ballet and Modern Dance works, video, theatrical productions, and film. As an educator Vinny has lectured on music & painting composition, improvisation, Jazz History, The History of Music in Film, CD & record manufacturing and self-production throughout the  United States, Europe, Mexico, New Zealand and Canada. He currently teaches at California Institute of the Arts. In 1998 Golia was appointed Regent’s Lecturer  at the University of California at San Diego. In 2009 Vinny Golia was appointed the first holder of the Michel Colombier Performer Composer Chair at Cal Arts.

Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry “the Hipster”  Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz Concert Jazz Band, Misha Mengelberg, Han Bennick, Lydia Lunch, Harry Sparrney and the Los Angeles Philharmonic Orchestra amongst many others.

Vinny Golia website

BlueWhale website

FRIDAY MAY 20, 2011 8:30PM
REDCAT [Roy and Edna Disney CalArts Theatre]
631 West 2nd Street, Los Angeles, CA 90012  |  213.237.2800

MARO AKAJI  |  KATSURA KAN  |  KOGUT
International butoh dance concert 

“Wonderfully saturnine, totally subversive, and downright hilarious.” – Allan Ulrich, The Voice of Dance (on Akaji Maro and Dairakudakan)

“Powerfully engaging…remarkable fluidity creating a kind of undersea lyricism.” – Lewis Segal, Los Angeles Times (on Katsura Kan)

“The emotions she (Kogut) portrays are exceptionally pure.” – Nation Review

Los Angeles, CA – REDCAT Roy and Edna Disney/CalArts Theater and Between Experiment, Form, and Culturalism: Butoh in History and Contemporary Practice (an interdisciplinary symposium at UCLA with performances, artist and scholar talks, panel discussions, workshops, and rare film screenings, on May 20-22, 2011) are proud to present international butoh performers Akaji Maro, Katsura Kan, and Kogut in Performance, on Friday, May 20, 2011, 8:30pm at REDCAT in Downtown Los Angeles. Tickets are $25 general, $20 students and seniors, and $15 CalArts students and faculty. To order tickets, please contact the REDCAT box office at 213-237-2800 or go to www.redcat.org. For media information, please contact Michael Sakamoto at michaelsakamoto@yahoo.com or (after May 3) at 310-562-7947.

This dance concert brings together three seminal Butoh practitioners from Japan and the USA, all of whom have contributed to bringing the form to a wider worldwide audience for decades. Legendary artist Akaji Maro performs one of his signature solos, “A Baby,” mixing dense physicality, playful absurdity, and captivating imagery. Katsura Kan performs his seminal solo work, “Time Machine,” a visceral and deeply personal exploration of the interaction of body, time, and the elements, and which has been presented worldwide in numerous countries. Kogut presents her solo dance, “Black Widow,” which plies the dangerous waters of our animal nature, evoking a world of attraction, danger, and desire, where an embrace of love can be a grasp of death.

Maro Akaji (Japan) is the Founder and Artistic Director of the legendary Japanese Butoh dance company, Dairakudakan, the first group to introduce theatricality and spectacle into Butoh in the 1970s. Maro was a key artist in the 1960s Japanese theater underground (“Angura”) movement and has since become one of the most widely known and respected Butoh artists worldwide as well as a successful Japanese film and television actor. For three decades, Dairakudakan has toured internationally throughout Asian and Western countries. This performance marks the first time since the 1980s that Maro has performed as a solo artist in Los Angeles.

Katsura Kan (Japan) is an internationally-acclaimed dancer, choreographer, and teacher who annually presents performances and workshops in numerous countries worldwide. Establishing his own multinational troupe, Katsura Kan & Saltimbanques, in 1986, Kan has worked with what he calls ”minority dancers” all over the world, in remote locations from Africa, the Mediterranean, Asia, the USA and Australia for the past 30 years. In addition to his creative works in cosmopolitan culture, Kan has been instrumental in the development of Butoh as an international art form. His most recent research utilizes the Butoh notation of Tatsumi Hijikata in concert with the theatrical approach of Irish Nobel Prize-winning writer Samuel Beckett.

Dancer-Choreographer Joan Laage (USA), known onstage as Kogut (“rooster” in Polish), is a first-generation American Butoh artist who studied under Butoh masters Ohno Kazuo and Ashikawa Yoko. After performing with Ashikawa’s group, Gnome, in Tokyo in the 1980s, Kogut settled in the early 1990s in Seattle, where she founded the group, Dappin’ Butoh, presented her work internationally, and helped to establish a Butoh community in North America. In the mid-2000s, she lived and worked as a teacher-performer in Poland for four years and has now returned to Seattle.

This concert is presented as the opening event in Between Experiment, Form, and Culturalism: Butoh in History and Contemporary Practice, an interdisciplinary symposium with performances, artist and scholar talks, panel discussions, workshops, and rare film screenings, on May 20-22, 2011. The symposium is dedicated to public dialogue around the proliferation of Butoh training and performance in Japan since the 1970s and across the world since the 1980s, and the experimentalism and openness that remain part of the genre’s continuing legacy. For general information, please contact UCLAButoh@gmail.com

This concert is made possible in part by UCLA’s Terasaki Center for Japanese Studies, the UCLA School of the Arts and Architecture, Departments of History and World Arts and Cultures, UCLA Asia Institute, UCLA Campus Program Committee, and the Japan Foundation.

Facebook event page – English
Facebook event page – Japanese
REDCAT event page

THURSDAY MAY 19, 2011 8PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908

Maalouf was born into a family of intellectuals and artists. The son of trumpeter Nassim Maalouf and pianist Nada Maalouf, nephew of the writer Amin Maalouf and grandson of journalist, poet and musicologist Rushdi Maalouf. He is currently the only trumpet player in the world[citation needed] to play Arabic music with the trumpet in quarter tones, which his father invented in the 1960s.

Maalouf has also earned prizes in the major classical trumpet competitions in the world. In July 2010, he was awarded the Instrumental Revelation of the Year Victory Prize (Frank Ténot prize) at the “Victoires du Jazz” competition[1] in Juan-Les-Pins.

Maalouf has never abandoned the Arabic trumpet. Although competitions take up a large measure of his time, he nevertheless continues to explore music from other angles, in particular improvisation and composition with Arabic music and Jazz. During his studies at the Paris CNSM, he followed jazz classes as assiduously as he did classical trumpet classes. His training in jazz is self-taught, derived from his experience with Big Bands and with different groups he has played with at different times. He often plays in Paris jazz clubs, frequently changing from one band to another in pursuit of the sound he is interested in. In 2000, Maalouf met producer Marc-Antoine Moreau, who introduced him to the cellist Vincent Segal. It was the beginning of a long and fruitful series of encounters. Amadou & Mariam, Matthieu Chedid, Lhasa de Sela, Angel Parra, Jeanne Cherhal, Arthur H, Marcel Khalifé…between 2000 and 2007, Ibrahim performed with many internationally famous singers and musicians, discovering the musical trade while exploring his own sound. His last great partnership was with his friend, the French singer Vincent Delerm, who asked him to accompany him on a promotion tour for his album Les Piqûres d’Araignées, a tour that ended in June 2007. In November 2008, Maalouf played in the opera « Welcome to the Voice » at the Chatelet Theater in Paris. Composed by Steve Nieve (Elvis Costello’s keyboardist) and directed by Muriel Teodori. On this occasion, Maalouf encountered on stage various artists including Elvis Costello, Sylvia Schwartz and Sting, who played the lead role in this performance. Sting asked him to play on one of the title songs of his October 2009 album. Maalouf then toured again with Vincent Delerm (January 2009) in a smaller formation where he derived a lot of pleasure from playing piano, wurlitzer, vibraphone, synthesizer, drums and trumpet, while finishing his 2nd album, planned for the Fall 2009.

Maalouf has composed music since he was very young. He presented his compositions for the first time in 1999. His first group « Farah » had a relatively strong Oriental Jazz flavor because he was accompanied by a saxophone, a ney (Middle-Eastern end-blown flute), a transverse flute, a piano, a double bass, a guitar, a buzuq (a long-necked fretted lute related to the Greek bouzouki) and Arabic percussions. A concert recording by this group was broadcast on several music channels between 2004 and 2005. The group did some studio tests, but never produced an album. In 2004, his encounter with Lhasa de Sela opened the doors of electro music to him. His collaboration with pop and rock singers made him discover other musical styles apart from jazz, classical music and Arabic music. Gradually, Ibrahim’s compositions began to reflect a more contemporary style. In 2006, after exploring many different musical paths, he met Alejandra Norambuena Skira (from the SACEM’s Action Fund), who introduced him to Jean-Louis Perrier. Jean-Louis helped him to form the band with whom he gave a concert on February 12, 2006 at the Paris New Morning Jazz Club. From that moment on, he became a recognized figure of the Paris Oriental Electro Jazz Scene. His music and his trumpet playing are strongly inspired by his Arabic culture, but the instruments around him (bass, electric guitar, drums, Arabic percussion and vibraphones) and the musicians with whom he performs give a more contemporary rock, electro and Jazz-Funk flavor to his music. His concerts are generally built around stimulating music that makes people want to get up and dance. But there is always a short, more contemplative, mystical interlude during his concerts, which he calls « a collective universal prayer ». Maalouf gets a lot of his inspiration from his culture of origin. This subject has been explored in the documentary « Souffle !» (Blow), directed by Christophe Trahand and produced by Cocottes Minutes between 2005 and 2006. Christophe Trahand followed Ibrahim for several months in pursuit of the key to his inspiration and to explore his relationship with his native country and the distance that separates him from it. This documentary was broadcast by TV5 MONDE and is available on DVD in the collection Docnet Films.

Ibrahim Maalouf website

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“Rosenboom is a phenomenon…His speed and singing high notes are amazing. He is a cool customer onstage, but what comes out of the mouthpiece is red hot.” – Mark Swed – Los Angeles Times

“Spectacular trumpet soloing…mesmerizing…” – BLG – Downtown Music Gallery

“Daniel Rosenboom’s trumpet and electronics tour de force Evolution caputres all the gravity of ’70s prog rock with a dramatic flair of Freddy Mercury -proportions…Rosenboom goes for the jugular both rhythmically and melodically, running through time signatures like a box of Kleenex at an AA meeting.” – Randy Nordschow – New Music Box

Daniel Aaron Rosenboom  is a creative trumpet artist, improviser, composer, and record producer who seeks break musical boundaries by fusing styles in new and inventive ways. By combining the sounds of creative improvised, contemporary classical music, rock, metal, hip-hop, jazz, experimental electronic, and traditional folk music from the Balkans, North India, and Middle East, he has created a brand of indefinable and hair-raising music.  For his compositions, he has been recognized with grants and awards from ASCAP, the Yvar Mikhashoff Trust for New Music, the American Composers Forum, and the Meet the Composer foundation.

In 2006, Rosenboom released his debut solo CD, Bloodier, Mean Son, which features world-premiere recordings of new works for solo trumpet and electronics, on Nine Winds Records.  In 2007, his gypsy-jazz-metal band, PLOTZ!, released their debut CD, Extraordinary Renditions, and in early 2008, his improvising experimental-jazz-metal band DR. MiNT released their debut album, Visions and Nightmares, on the pfMENTUM label.  In early 2009, Rosenboom released his own Book of Riddles, as well as PLOTZ!’s Live 2008, and DR. MiNT’s A New Symphony on SNP Records.  In 2009, Rosenboom was featured on his father’s album, How Much Better If Plymouth Rock Had Landed on the Pilgrims, both as a performer and co-producer.  In 2010, PLOTZ! released their highly anticipated 3rd album, The Kid, and Rosenboom was featured on Vinny Golia’s Octet album, Low and Inside: Music for Baritone Saxophones, and in 2011 The Daniel Rosenboom Septet released its debut album Fallen Angeles, featuring Daniel’s original compositions on Nine Winds Records.

He has appeared as a soloist and collaborator on festivals and in recitals at the International Trumpet Guild’s annual conference, University of York, England, the Royal Scottish Academy of Music and Drama, the La Mama Theater in New York City, at REDCAT (Roy and Edna Disney CalArts Theater), the Walt Disney Concert Hall in Los Angeles, the Bimhuis in Amsterdam, California Institute of the Arts, the Eastman School of Music, the Hague Jazz Festival, the Midpoint Music Festival, Sounds Like Now: Interpretations at 15, the Aspen Music Festival, Music Academy of the West, the Chosen Vale and Lake Placid Trumpet Seminars, Idyllwild Arts and Interlochen Arts Academy.  With orchestras and chamber ensembles, he has appeared on such stages as Walt Disney Concert Hall, the Berlin Philharmonie, Opera City in Tokyo, the Hollywood Bowl, and in music festivals all over the United States.

He plays regularly with The Daniel Rosenboom Septet, PLOTZ!, DR. MiNT, and the Vinny Golia Sextet, and is a member of the Industrial Jazz Group, Killsonic, Orkestar Mezé, Robby Marshall’s RootSystem, and GG’s Concert NineNet.  As a free-lance artist in Los Angeles, he has recorded for and been heard on ABC, ESPN, BMG, Killer Tracks, Paramount, Poobah Records, Nine Winds Records, 105.1 KMZT, and has played with such groups as the Los Angeles Philharmonic, Rochester Philharmonic Orchestra, Syracuse Symphony Orchestra, Philharmonie der Nationen, the New Century Players, the Los Angeles Valley Master Chorale, the Asia America Symphony Association, the Peninsula, Westchester, and Carson Symphony Orchestras. Other projects and collaborations include the Heidi Duckler and Collage Dance Theatre, Wadada Leo Smith’s Silver Orchestra, Vinny Golia Large Ensemble, the Los Angeles Trumpet Quartet (with John Fumo, Jeff Kaiser, and Kris Tiner), VR with guitarist David Veslocki, Irmin Schmidt from CAN, the Grande Mothers of Invention, Kai Kurosawa, Brad Dutz, Harris Eisenstadt, Markus Stockhausen, Sandeep Bagwhati, Pavel Novak, Matt Mayhall, Antony DiGennaro, Björkestra, and many others.

Daniel studied at the Eastman School of Music with master pedagogue James Thompson for his Bachelor of Music Degree. He also holds a Master of Music degree from UCLA where he studied with international trumpet virtuoso, Jens Lindemann, and a Master of Fine Arts degree from the California Institute of the Arts where he studied with Edward Carroll, Vinny Golia, John Fumo, Wadada Leo Smith, Miroslav Tadic, and Larry Koonse.  Other mentors have included Rosalina Sackstein, Roy Poper, Mark Gould, Markus Stockhausen, Thomas Sevens, Stephen Burns, and Gabrielle Cassone.

Daniel Rosenboom website

BlueWhale website