Rebecca Kilgore & Dave Frishberg - Why Fight The Feeling

Size: 136,6 MB

Time: 57:54

File: MP3 @ 320K/s

Released: 2008

Styles: Jazz Vocals

Art: Front

01. Thank Your Lucky Stars (2:34)

02. Let's Get Lost (3:30)

03. Can't Get Out Of This Mood (3:46)

04. The Lady's In Love With You (3:27)

05. Say It (Over And Over Again) (3:40)

06. Then I Wrote The Minuet In G (2:20)

07. Somebody, Somewhere (3:17)

08. The Moon Of Manakoora (3:14)

09. On A Slow Boat To China (2:40)

10. I Wish I Didn't Love You So (3:14)

11. Says My Heart (2:44)

12. What Are You Doing New Year's Eve (4:23)

13. Sand In My Shoes (5:09)

14. What A Rhumba Does To Romance (2:41)

15. Why Fight The Feeling (4:01)

16. I Believe In You (4:30)

17. Sit Down, You're Rockin' The Boat (2:36)

Pianist Dave Frishberg describes Frank Loesser as his hero, succinctly describing the importance of Loesser to songwriters everywhere. Loesser could have no better champions than vocalist Rebecca Kilgore and Frishberg. They make the art of interpreting song seem natural and easy, despite the fact it's truly a craft to get to the heart of a great song so elegantly and simply. These two are relaxed and deeply in tune with what makes a great song and a great performance. Here they take on tunes both famous and obscure from the Loesser oeuvre 17 in all still just a small fraction of the composer's prolific output.

Frishberg once called "What Are You Doing New Year's Eve" a perfect song and so it's an appropriate vehicle to hear how two masters can 'improve' upon perfection. Kilgore makes it resonate emotionally for both its specific season and for the rest of the year too. We hear the rarely sung verse and the two achieve a breathtaking intimacy.

These songs have a little of everything humor, pathos, intelligence and often all in the same piece. Try "Let's Get Lost," which Chet Baker took in a wisp of blue. Frishberg and Kilgore find the blue too but there's more than a hint of Latin in Frishberg's brilliant accompaniment as Kilgore anticipates getting away.

The album closes with two true show-stoppers. Kilgore finds the architecture in "I Believe in You" (from How to Succeed in Business Without Really Trying) and reveals just how terrific an actress she can be. And Frishberg complements her artistry by following her emotional lead. "Sit Down You're Rocking the Boat" comes from Guys and Dolls and what pianist and singer accomplish is combining personal expression with the feel of an entire Broadway cast rocking the house. This kind of magic can be found throughout this collection. ~Review by Donald Elfman

Personnel: Rebecca Kilgore: vocals; Dave Frishberg: piano

Why Fight The Feeling   

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Rebecca Kilgore - Moments Like This

Size: 127,8 MB
Time: 54:38
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals
Label: Moonburn
Art: Front

01. I Hear Music (3:40)
02. Dream (3:20)
03. Oh! You Crazy Moon (3:44)
04. You're My Everything (3:51)
05. Now That I Need You (3:34)
06. Miami Beach Rhumba (3:07)
07. Moments Like This (3:18)
08. Summer Song (3:45)
09. Summer Night (2:02)
10. The Day I Found You (3:50)
11. Tulip Or Turnip (2:28)
12. My Kind Of Trouble Is You (4:33)
13. You Say You Care (3:09)
14. Social Call (4:10)
15. I Told Ya I Love Ya (3:22)
16. This Can't Be Love (2:38)

How lucky we are! Super song stylist Rebecca Kilgore is now recording with comparative regularity. Moments Like This is her 5th release in a little more than two years. Some of these have been under her name, on others she guests. But the result is the same, hearing more of one of the most scintillating jazz singers on today's scene. This album is the first she has cut with her trio which she regularly performs with at jazz venues in and around her home base, Portland Oregon. Added to the crew is bassist Scott Steed, whose credits include working with Kitty Margolis and Mark Murphy.

Kilgore continues her journey through the book of romantic standards and traditional pop material. Also on the program are some not too often heard pieces like Dave Brubeck's wistful "Summer Song", Xavier Cugat's Latin favorite "Miami Beach Rhumba" and Don George's questioning "Tulip or Turnip". Kilgore's voice is not one of the strongest (loudest) in the business preferring a delicate, light approach to each of the tunes she performs. Nonetheless, whether they be ballad, up tempo swinger, or a tune with a Brazilian beat, she delivers them with absolute authenticity and authority. This earns her a spot high on that list of singers who, even though they occasionally employ a vocal gambit like scatting, made their name on the basis of their straightforward way with a tune. Among the notables on this list are Ella Fitzgerald, Carol Sloane, Helen Merrill, Rosemary Clooney, Peggy Lee, Anita O'Day, June Christy and yes, Doris Day. For this session, Kilgore applies her unique brand of vocal commentary to songs favored by her high priestesses of song colleagues. "I Told Ya I Love Ya (Now Get Out)" is from Anita O'Day. The upbeat "This Can't Be Love" recalls Fitzgerald's version from her Rodgers and Hart songbook. "Moments Like This" was favored by Peggy Lee and "Tulip or Turnip" by Carol Sloane.

The support by her trio is admirable. They excel whether it be in shaping the musical framework for Kilgore's vocalizing or by the many opportunities she gives them to solo. One prime example of the latter is "You're My Everything", a vehicle for Randy Porter's groovy piano and offering very fancy bass playing by Scott Steed. Neil Masson's drums go a beyond keeping time with some creative stick handling. This is another triumph for Ms Kilgore and is highly recommended. ~Review by Dave Nathan

Personnel: Rebecca Kilgore - Vocals; Randy Porter - Piano; Neil Masson - Drums; Scott Steed - Bass

Moments Like This

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Vanessa Rodrigues - Soul Project / Soul Food For Thought

Album: Soul Project
Size: 175,0 MB
Time: 75:22
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Hammond Organ, Soul Funk
Art: Front

01. Marble Rye ( 7:43)
02. Runnin' & Rippin' & Runnin' ( 6:38)
03. One-Eyed Monster ( 5:43)
04. The Red Dirt Jam ( 7:39)
05. Be Careful What You Wish For (10:33)
06. Bemsha Swing ( 6:39)
07. Killa-Jewel In Da House ( 6:59)
08. Bou-Ya ( 7:36)
09. Supabad Stanley ( 8:07)
10. Sconk ( 7:41)

The band:
Vanessa Rodrigues - Hammond B-3 organ
Donna Grantis - guitar
Jean-Pierre Levesque - drums

Special guest - DJ Killa-Jewel - turntables

One of the most pleasant surprises of the '04 Ottawa International Jazz Festival was organist Vanessa Rodrigues, who appeared as part of saxophonist Dave Turner's quartet. At a mere 26 years of age, she delivered accompaniment so empathic and solos so well constructed that the only disappointment was that her work had never been documented on record. Until now. With Soul Project Rodrigues steps out with infectious grooves and outstanding playing, paying homage to the established organ trio tradition while remaining completely modern.
While Rodrigues has a strong background in everything from classical piano to more spiritual works on church pipe organ, it's clearly the soul-drenched music of artists like Dr. Lonnie Smith, with whom Rodrigues spent a month as a live-in student, that is her main passion. On Soul Project Rodrigues is teamed with guitarist Donna Grantis, a player with a warm, Grant Green-esque tone and similarly blues-informed approach; and drummer Jean-Pierre Levesque, who is as comfortable with the New Orleans second line approach of “Marble Rye” as he is the deeper funk of “The Red Dirt Jam.” Turntablist DJ Killa-Jewel is featured on four of tracks, adding a taste of hip hop to the mix.
The album's vibe bears some precedence in guitarist John Scofield's collaboration with Medeski, Martin and Wood, A Go Go, in terms of its in-the-pocket approach, but it avoids the more idiosyncratic playing typical of Scofield and Medeski. That's not to say Rodrigues and her trio are without energy and edge. Rodrigues is a more inside player, but with a keen sense of development—check out her playing on “The Red Dirt Jam,” where she fashions a solo that builds in intensity so gradually one is almost unaware that it's happening. Similarly, on “Be Careful What You Wish For,” Levesque takes DJ Killa-Jewel's solo and invisibly pulls up the dynamics. As much as everyone's playing reflects an intellectual bent, the inherent physicality of the group gives it much of its appeal.
While the programme consists mainly of originals penned by Rodrigues and Grantis, the trio's take on Thelonious Monk's classic “Bemsha Swing” is notable for demonstrating just how one can take liberties without losing sight of a tune's essence. Building the music over a quasi-reggae feel, Rodrigues stretches and twists the recognizable theme so that it lives in a completely new context. Grantis' solo is so relaxed it sneaks up on you.
As democratic as things are, this is really Rodrigues' showcase. While her training, including attendance at the Banff Centre for the Arts and a degree in jazz piano from McGill University, gives her formidable technical ability, she never sacrifices feel for more cerebral concerns. Soul Project, as well-executed as it is, is an audacious début all about heart and soul from an artist who will no doubt continue to be heard from in the future. - John Kelman

Soul Project

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Album: Soul Food For Thought
Size: 110,7 MB
Time: 47:30
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Hammond Organ, Soul Funk
Art: Front

01. Funky Pickle (5:00)
02. Chompy (5:29)
03. What's In This (5:03)
04. Ode To Monsanto (7:13)
05. Watermelon Man (6:31)
06. Planted (6:55)
07. Eater's Manifesto (6:33)
08. Funky Pickle (Alternate Take) (4:43)

Vanessa Rodrigues is a prolific local musician whose latest project blends a healthy combination of funk, groove and jazz with food activism. It's called Soul Food For Thought and the self-proclaimed Hammond Diva – she rocks the Hammond B3 organ like nobody's business - brings mindfulness to her complex and innovative tunes.

As with all good musicians, Rodrigues continues to push herself to new musical boundaries. Her collaborators are just as committed to complex music and food activism as she is, but that came more from synchronicity than careful planning. Soul Food For Thought brings together Rodrigues with DJ Killa Jewel and drummer Jean-Pierre Lévesque, long-time collaborators, and newcomers, MC BluRum13 and guitarist Olivier René-de-Cotret. This powerful group not only makes music that makes your hips swing all on their own, but digs under the surface of the food industry.

The album can't easily be classified, since songs slip easily between genres like fresh, organic fish, now jazz, now funk, and even the occasional hip hop groove. Speaking of fish, one very addictive song on the new album, Chompy, is named for the infamous two-jawed fish pulled from Lake Athabasca near the Alberta tar sands. It's a low groove that makes good use of the history of organ music in dark films and though the river described isn't quite a black lagoon, you'll taste traces of it in the rich sound.

The organ also has a history of powerful celebration, particularly in churches and this comes through in Eater's Manifesto, the most evangelical song on the whole album. Without using words, it insists on dancing, joining in and taking a different look on what's on the plate in front of us, and how it got there. Like all good gospel grooves, it carries you along with it, enticing you to agree instead of forcing an idea down your throat.

Any jazz lover knows of the fierce and sometimes destructive competition between singers and musicians. On this project though, you'll only hear creative and thought-provoking riffs from an up and coming rapper surrounded by satisfying grooves. Vanessa has a long history as an impressive band leader, so rather than fight for space, she makes room for all collaborators to add their special blend of spices and they always solo with the understanding that it's ultimately her recipe.

MC BluRum13 raps on two tracks, What's In This, a song asking a fairly reasonable question of our boxed food culture; and Planted, a fascinating story told from the perspective of a plant itself. If you're into Michael Pollan, you'll find these two songs edgy, topical and much less preachy than other activist music out there.

You don't have to love Herbie Hancock to love Watermelon Man and this version will have you craving fresh grooves for weeks to come. Ode to Monsanto blows kisses at one of the giants in the industry and winks at their, shall we say, insouciant attitude towards organic, local foods. Pick up a copy of this eclectic and altogether mouth-watering menu that is sure to tickle your musical palette.

Soul Food For Thought

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Gaia Mattiuzzi - Laut

Size: 118,9 MB
Time: 51:57
File: MP3 @ 320K/s
Released: 2013
Styles: Contemporary Jazz, Vocal Jazz
Art: Front

01. Bettellied (5:09)
02. Harmonie (6:39)
03. Images Of A Wayward Soul (5:15)
04. Morenica (9:11)
05. Prospectus (5:13)
06. Ibla Balms (2:09)
07. The World Feels Dusty (5:23)
08. Nightfall (6:46)
09. Duquillity (6:08)

From Brecht to Steve Lacy and Mal Waldron , through the Sephardic traditions , Charles Baudelaire , Nina Simone , Rabih Abou Khalil , Aaron Copland and Emily Dickinson and, of course , a couple of original songs signed by Fabrizio Puglisi and Cristiano Calcagno .
The voice of Gaia Mattiuzzi leads the listener through Laut in so many ways of understanding music search , to want to use a single definition. Search understood according to the various possible meanings : experimental synthesis of roots and different references , creativity, recovery setting to opera singing , drama , sound combinations . The course is supported with great properties and the presence of two musicians as Fabrizio Puglisi and Cristiano Calcagno able to find effective solutions in response to changes in voice and expression to the different contexts . In two passages , moreover, the bass Stefano Senni adds to the trio - ie Morenika , revived recently by Avishai Cohen, Steve Lacy and Prospectus .
The choice of a sparse dimension because it is able to cover in a comprehensive manner the sound spectrum , allows the three musicians to move with great agility in different terrains crossed with the result that operate on separate planes to look for connections between the lines as well as having to meet the roles prebuilt tools . And then , song after song , alternate solutions aimed to play in a concrete manner as required by the score and programmatic intentions : unison between voice and piano; layers of sound electronics prepared piano and percussion ; strict structures and informal situations .
Laut plays in a manner consistent with the idea of provoking a reaction between the materials squad and the disc is the need on the part of Mattiuzzi , Puglisi and Calcagnile to see what happens to the points of departure once mixed and matched and compared with their experiences. In this sense, the three do not care about consistency punctual, where in practice each step is derived strictly from the previous one , but point to the overall package to make the game stand out among the many Contasti of "weave" side by side in the mosaic . ~Google translation from Italian

Laut

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Zoe Schwarz & Rob Koral - Celebration

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 56:23
Size: 129,7 MB
Art: Front

(5:32)  1. Cry Me A River
(2:21)  2. Don't Explain
(1:49)  3. Let's Fall In Love
(3:18)  4. My Funny Valentine
(3:24)  5. When I Grow Too Old To Dream
(4:15)  6. Let's Explain
(1:59)  7. Is You Is Or Is You Ain't My Baby
(3:46)  8. Boulevard Of Broken Dreams
(5:12)  9. The Man I Love
(2:58) 10. You Don't Learn That In School
(5:17) 11. Until The Red Thing Comes Along
(3:14) 12. Careless Love
(3:55) 13. Baby Baby All The Time
(2:20) 14. That Old Feeling
(2:55) 15. Empty Rooms
(4:00) 16. Sitting On Top Of The World

Few performance formats can illuminate a talent and facility like the duet. Schwarz and Koral create a certain edgy intimacy on Celebration that is both very contemporary and quite traditional at the same time. Over the course of 16 jazz standards, blues and originals, the pair spin out a well-balanced musical vision, one that is well-conceived and performed. When all of these elements coalesce, exceptional music is made. Heavy on the jazz standards (a swinging "Sitting On Top Of The World" being the sole "blues") Celebration is a jazz vocal lesson.  Jazz needs its standards to remain grounded in where it came from, but also as a vehicle with original compositions to track where it is going. The opening standards "Cry Me A River" and Billie Holiday's sublime "Don't Explain" are preformed simply, even nakedly, exposed. Schwarz's voice balances between angry resignation and despair as is necessary for the lyrics. The inclusion of a Holiday tune is no mistake as Schwarz's delivery bears the influence of that great singer. 

But, Schwarz is no mere imitator of Holiday, only an attentive student with her eye (and ear) on something different, newer, and more revelatory.  Koral proves a grand accompanist for Schwarz. His guitar style is well informed and not plagued by the need to show off every technical arrow that obviously exists in his musical quiver. On "When I Grow To Old To Dream," Koral begins with a single-note choral that is melancholy and virtuosic without being showy. He puts that 1920s-30s vibe on the vocal section of the piece, a vibe he extends through the Louis Jordan classic "Is You Is or Is You Ain't My Baby." The has a great walking-bass facility that makes his support that much more valuable convincing. He co-composes "Let's Explain" with Schwarz, a clever bookend to Holiday's "Don't Explain," that is about Holiday. Where this could often go very wrong, Schwarz and Koral make it all look easy on this breezy, listenable collection. ~ C.Michael Bailey    http://www.allaboutjazz.com/php/article.php?id=41964#.Uwf5jIVZhls

Personnel: Zoe Schwarz – vocals;  Rob Koral - guitars

Celebration

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Freddy Cole - Love Makes the Changes

Styles: Vocal, Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 55:39
Size: 128,5 MB
Art: Front

(5:35)  1. Love Makes the Changes
(5:59)  2. On My Way to You
(5:31)  3. Wonder Why
(5:42)  4. The Right to Love
(6:19)  5. Alone With My Thoughts of You
(4:36)  6. A Sinner Kissed An Angel
(5:42)  7. Brother, Where Are You?
(4:01)  8. Do You Know Why?
(6:09)  9. Just the Way You Are
(6:02) 10. Like a Quiet Storm

When jazz vocalist Freddy Cole sings, it's with a built-in groove that's unshakeable, with warm, honeyed tones that wrap the lyrics in velvet and set them down firmly in the pocket. Cole has one great little album here; if you thought it was impossible to produce a modern-day jazz vocal album that's not infused with endless oodles-of-noodles riffing that shows you nothing except the ability of the vocalist to sing everything but the melody, be prepared for greatness. With a small combo led by pianist Cedar Walton and tenor saxophonist Grover Washington, Jr., Cole has a backdrop that never gets in the way of his magic nor does anything that doesn't help the song. Timber-wise, he owes a lot of his phrasing to his older brother, Nat "King" Cole, and Francis Albert Sinatra, but Freddy ultimately remains his own man and that's what makes this album such a success. Ten or 12 stars, at least. ~ Cub Koda   http://www.allmusic.com/album/love-makes-the-changes-mw0000038669

Personnel: Freddy Cole (vocals, piano); Grover Washington, Jr. (soprano & tenor saxophones); Eric Alexander (tenor saxophone); Cedar Walton (piano); Hiram Bullock (guitar); George Mraz, Will Lee, David Williams (bass); Ben Riley, Kenny Washington (drums).

Love Makes the Changes

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Aleks Girshevich Trio - Tomorrow

Styles: Jazz, Post-Bop
Year: 2012
File: MP3@320K/s
Time: 42:30
Size: 97,4 MB
Art: Front

(6:48)  1. Strange Memories
(5:23)  2. Tomorrow
(5:08)  3. The Other Side
(3:20)  4. Fragility
(6:14)  5. Broken Promises
(7:54)  6. 222
(4:48)  7. Where Were You?
(2:51)  8. Dithering

The word "prodigy" comes from the Latin prodigium, which means "sign" or "portent." Jazz boasts its fair share of these exceptional individuals, including drummer Tony Williams, pianist Keith Jarrett, saxophonist Grace Kelly and Troy "Trombone Shorty" Andrews. Folks on the Colorado music scene have been talking for years about the tremendously talented drummer Aleks Girshevich, who was born in 2001. Now with Aleks' debut CD, appropriately titled Tomorrow, it's time for the rest of the jazz world to take note of this remarkable young man.  Like many jazz prodigies, Aleks grew up with music. His father, Vlad Girshevich, is a pianist and composer who began playing classical music at age four in his native Uzbekistan; when Vlad emigrated to America in the 1990s, his talent was quickly recognized by the musical community, including fellow pianist Herbie Hancock. 

Aleks, who was born in Uzbekistan but emigrated soon after, started imitating complex rhythms on a drum pad at age four, and when he received his first drum set two years later, he immersed himself in advanced Cuban and Brazilian rhythms. Aleks started sitting in on his father's gigs, rapidly gaining in ability and experience, and at age ten he recorded his debut CD with his father and bassist Dave Arend, an innovative San Francisco bassist who moves easily between jazz, classical and electronica.  Tomorrow is an immensely pleasing combination of elegant swing, original craftsmanship, and engaging melodies provided by Vlad. "Strange Memories," a spritely tune with a funky undertone, showcases the group's talent: Vlad provides sparkling piano runs that possess an intricate filigree; Arend's chocolaty, bending bass notes add a pleasing depth; and Aleks supplies a steady boil underneath the others while revealing a nice instinct for accent work. 

Other standouts include "Fragility," a lovely, delicate tune highlighted by Aleks' subtle cymbals; the up-tempo yet faintly melancholy "Broken Promises," which includes moving solos by Vlad and Arend; and "Dithering," a vigorous improvisation that accentuates the group's imaginative energy and offers an intriguing direction for future projects. In Todd Leopold's CNN.com article "The Making of a Prodigy," Professor Ellen Winner states: "You can say that prodigies are our best hope. They are our future. They are precious resources." Like all resources, such budding talent needs to be nurtured and understood, and happily Aleks Girshevich is surrounded by a supportive musical family. Judging from his excellent playing on Tomorrow, Aleks has a firm foundation to grow upon, and a shining future worth watching. ~ Florence Wetzel   

http://www.allaboutjazz.com/php/article.php?id=41613#.UwqJtoVZhhk
 

Personnel: Aleks Girshevich: drums; Vlad Girshevich: piano; Dave Arend: bass.

Tomorrow

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Tim Armacost - Fire

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 67:35
Size: 155,0 MB
Art: Front

(7:38)  1. Norwegian Wood
(5:43)  2. The Old Familiar Faces
(5:14)  3. Long Haired Girl
(7:25)  4. Pennies From Heaven
(6:21)  5. The Tabla Master
(6:53)  6. Maconde
(6:41)  7. There's A Lull In My Life
(6:42)  8. Voyage
(7:05)  9. Imprint
(7:50) 10. Bailey's Blues

Tim Armacost has led a life of constant motion. He has gathered knowledge and experience around the globe, which forms the foundation of his passionate brand of jazz. After landing in New York in 1993, Armacost quickly established his presence as a leader, releasing his first two albums, “Fire” (Concord) and “Live at Smalls” (Double Time) to critical acclaim. His hard hitting third release, “The Wishing Well,” (Double Time) announced the arrival of Armacost’s working unit, featuring Bruce Barth, Ray Drummond, and Billy Hart. The group has completed six successful tours in  Europe and Asia, working with sponsors Northwest Airlines, Marriott Hotels and Volkswagen. The band is now celebrating the release of its second recording, “Brightly Dark.” (Satchmo Records) Working with his quartet, the cooperative group Hornz in the Hood with fellow saxophonists Craig Handy and Ravi Coltrane, Ray Drummond’s “Excursion Band,” and co- leading the Brooklyn Big Band with Craig Bailey, Armacost is now seriously in the mix. Armacost's career is already distinguished by performance and recording credits alongside the likes of Al Foster, Jimmy Cobb, Kenny Barron, Tom Harrell, Billy Hart, Victor Lewis, Jeff “Tain” Watts, Ray Drummond, Roy Hargrove, Paquito D'Rivera, Claudio Roditi, Bruce Barth, Dave Kikoski, Don Friedman, Lonnie Plaxico, Robin Eubanks, Charlie Shoemake, Pete Christlieb, Randy Brecker, Akira Tana, Valery Ponomarev, the Maria Schneider Orchestra, and the David Murray Big Band. He has toured throughout East and West Europe, Japan, India, and the United States. 

Armacost describes his early upbringing as a pendulum swing between his hometown of Los Angeles, Tokyo, and Washington D.C. He began his musical training on clarinet in Tokyo at the age of eight. By sixteen he had switched to tenor saxophone, and was working in big bands around Washington. The turning point into a jazz career came back in LA at eighteen, where Armacost met his two primary teachers, Bobby Bradford and Charlie Shoemake. Through them he learned the fundamentals of melody and harmony, and was exposed to the giants of modern jazz, who would give shape to Armacost's early development. Among them were: Sonny Rollins, Hank Mobley, John Coltrane, Charlie Parker, Ornette Coleman, Freddie Hubbard, Tom Harrell, Sonny Stitt, Pete Christlieb, Harold Land, and Clifford Brown. Armacost graduated Magna Cum Laude from Pomona College with a major in Asian Studies in 1985. His restless spirit took him to Amsterdam later that year, where he established himself on the jazz scene, attained fluency in Dutch, and became the head of the Sweelinck Conservatory's saxophone department. After gaining seven years worth of extensive performing, teaching, and recording experience in Europe, Armacost raised his stakes once again and headed for India. Having studied melody and harmony for twelve years, Armacost arrived in New Delhi with the goal of concentrating on rhythm. He had the good fortune to become a student of the tabla master Vijay Ateet. 

Under Mr. Ateet's guidance, Armacost explored the rich rhythmic tradition of Hindustani classical music. With the sponsorship of The United States Information Service, and the Delhi chapter of Jazz India, Armacost performed frequently with Indian jazz and classical musicians. He returned to India to play at the Jazz Yatra, Bombay’s international jazz festival in 1998. Indian rhythmic concepts continue to be a source of inspiration in Armacost's development as an improviser. As evidenced by his recently recorded pieces “The Tabla Master,” “Indian News,” and “Afro Pentameter,” Hindustani music has also profoundly influenced Armacost's compositional style. Throughout twenty-five years of frequent traveling to Japan, Tim Armacost has developed a deep and special relationship with its people. He is a fluent speaker of Japanese, which he studied as an exchange student at Waseda University, and is an active student of Japanese culture and religion. His performances there have included such great musicians as Terumasa and Motohiko Hino, Fumio Karashima, Nobuyoshi Ino, Fumio Itabashi, Shingo Okudaira, Benisuke Sakai, Kiyoto Fujiwara, and Yutaka Shiina.    http://musicians.allaboutjazz.com/musician.php?id=3476#.Uw69D4VZhhk

Fire

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