Free of genres, EYOT brings a beautiful eclectic sound that swims from rock to jazz, punk and ambient, impressionism to
romanticism, all
formed into strong compositions. Their live performances are filled with
energy and emotions that bring the listener deep into their personal
world and create a unique experience.After their critically acclaimed albums “Horizon” and “Drifters” that
brouth them more then 100 concerts in 18 countries, EYOT brings us
“Similarity”. Forged in Nis - Serbia, Crafted in Bristol UK, produced by
Get the Blessing’s Jim Barr, this album brings a mix of many styles.
Pink Floyd mixed with Nirvana, Radiohead and legacy of famous Eastern
European composers of classical music, spiced up with the Balkan
traditional music, it’s a recipe that EYOT presents to you in it’s own
way. EYOT
John O'Gallagher is considered one of the most compelling alto saxophonists and composers at work today on the New York jazz scene. He is known for an innovative style which pushes the boundaries of jazz while rooted in it's tradition."Mr. O'Gallagher is an exploratory alto saxophonist with a clear melodic streak" - The New York TimesBorn in Anaheim Califorina in 1964 he began playing alto saxophone in grade school after his family moved to Spokane, Washington. Upon graduating high school he studied briefly at Eastern Washington University before moving to Boston to attend Berklee College of Music. There he studied with legendary saxophone gurus Joe Viola, Jerry Bergonzi and George Garzone. During the past 25 years living in New York he has become known for his projects as a leader, and as a sought after sidemen, working with artist such as Joe Henderson, Maria Schnieder, Kenny Wheeler, Billy Hart, Tony Malaby, Jeff Williams, Tom Rainey, Chris Cheek, Ralph Alessi, Rudresh Manhathappa, Mike Formanek, Ben Monder and numerous others.Jeff Williams was raised in Oberlin, Ohio where he began playing drums at age eight. Self-taught, with the aid of his parents' collection of jazz recordings as a guide, he started playing gigs with local professionals at age fourteen. Jeff's mother, Ann Williams, moved to New York to pursue a jazz singing career when he was nine, introducing him to a number of musicians who would be his early mentors, including drummers Jo Jones, Herb Lovelle, Elvin Jones, and Oliver Jackson. In 1967 Jeff made his recording debut with the psychedelic group Ant Trip Ceremony (Cicadelic).Sam began playing the double bass aged 16, taking classical lessons and teaching himself jazz. Whilst studying both disciplines at Trinity College of Music with Corin Long and Steve Watts respectively, he began to perform professionally on the British jazz scene. Since graduating seven years ago, Sam has appeared regularly at many established jazz venues in London and around the UK, as well as embarking on numerous international tours throughout Europe, America, Canada and Brazil.Sam is a member of Jeff Williams' UK-based quartet, award-winning saxophonist Julian Arguelles' quartet, vocalist Emilia Martensson's band, and Andrew McCormack's UK trio. As a sideman he has performed with Ethan Iverson, John O'Gallagher, Stan Sulzmann, Martin Speake, Nikki Iles, Bobby Wellins, and Jim Hart among many others. He is also proud to be involved in a number of exciting projects with his contemporaries, including the George Crowley Quintet and the Michael Chillingworth Sextet. SAM LASSERSON
Mike Collins on piano
His
development as a jazz musician began when he attended the legendary
Glamorgan Summer Schools learning from and playing with some of the best
players on the British scene (Stan Sulzman, Simon Purcell, Niki Iles,
Liam Noble, Julian Siegel to name but a few). As well as gigging
regularly on the lively Bristol scene, and throughout the South West and
Wales with his trio and quartet, Mike co-led a Quintet for a number of
years with Pete Judge (Get the Blessing). “..elegant..accomplished … perhaps a classic in the making.. Indicating a great live experience” London Jazz News“a voice all his own.. an
achievement in lyricism .. a stunning band …would grace any jazz lover’s
library” Charley Dunlap, Listomania.1/2 “.. mixes attractive melodies with a rhythmical flexibility… the easy confidence of a quartet enjoying itself”All About Jazz “Pastoral … gentle.. Collins sound.. closest to John Taylor’s or Bobo Stenson’s” Marlbank. MIKE COLLINS TRIO
"Homepath" é o primeiro álbum do Bardo e o Banjo, e reúne os singles que
foram lançados em seus 2 EP's anteriores ("Synergy" 2013, "Lakeside"
2014) em um trabalho que explora a fundo a sonoridade rústica que a
banda veio aprimorando ao longo de seus quase 3 anos de existência.
Nesse primeiro álbum, Wagner Creoruska Junior (músico, compositor) e o
produtor Cesar Benzoni exploram elementos diferentes, além dos já
convencionalmente usados pelo Bardo e o Banjo: sons de colheres, tin
whistle, gaita e até sapateado irlandês fazem participações nas faixas
do álbum. A junção de instrumentos novos com a música rústica do grupo
fazem de "Homepath" um álbum que mostra todas as facetas da música do
Bardo e o Banjo, levando o ouvinte a uma experiência completa no
universo da música tradicional/folk e do bluegrass. O BARDO E O BANJO
This album is dedicated to my Grandfather, William Henry Morgan. I keep
one of my most cherished possessions in a dusty old shoe box full of
memories. It's an old memorex cassette tape of my Grandpa picking and
singing alone in his basement room. He picks and sings some of his
favorites on the very guitar I would eventually learn to play on - The
guitar that has inspired everything I have done in the last 15 years of
my music career, including this collection of songs. I picked a couple
that he loved and some that have always kept me company in many dark,
lonely, motel rooms across this country. From the
painfully-hard-to-record "Grandpas Guitar," to a drunkin’ late night
version of "Dead Flowers" — these songs are as close to the real me as I
have been in a long time. Hell, I even threw in a song by the man
himself from that old cassette tape that started the whole thing. WHITEY MORGAN
Blues guitar phenom Eric Gales was born and raised in Memphis, learning
to play at age four from older brothers Eugene and Manuel in imitation
of their upside-down, left-handed style (a tradition actually passed
down from their grandfather, Dempsey Garrett Sr., who was known to jam
with the likes of Muddy Waters and Howlin' Wolf). Winning his first
blues contest at 11, four years later Eric signed to Elektra to issue
his 1991 debut LP, recorded with Eugene on bass; Picture of a Thousand
Faces followed in 1993. Manuel (who previously performed under the alias
Little Jimmy King) reunited with his siblings for 1995's Left Hand
Band, credited to the Gales Brothers.A newly matured Gales returned in spring 2001 to release his debut for
MCA, That's What I Am. Often billed as the second coming of Jimi
Hendrix, Gales, an adequate singer at best but a dynamite guitarist,
suffered for the comparison. With Gales always influenced by Hendrix and
the power trio format, his next albums, 2006's Crystal Vision and
2007's Psychedelic Underground, both released by Blues Bureau Records,
seemed like facsimile Hendrix albums, right down to the album art. His
next two releases from Blues Bureau, 2008's The Story of My Life and
2009's Layin' Down the Blues, found the Hendrix influence muted
somewhat, but Gales, a breathtaking guitarist at times, still seemed to
be looking for a way out of the Hendrix shadow and into his own voice.
Gales returned in 2010 with Relentless, a collection of 13 originals,
and followed it with the passionate Transformation a year later in 2011.
Theall-instrumental Ghost Notes arrived in the fall of 2013. ~ Jason
Ankeny & Steve Leggett, Rovi ERIC GALES BAND
Hailing from Austin, Texas, Venson further proves her endurance on her
latest set, The Light In Me, which bursts with traditional blues
aesthetics but upholds melodic soul for a rich blend that is tailor-fit
for her spunky and witty style. As a fellow South Texan myself, she's
pretty much kinfolk as she's knows that everything is in fact bigger
here, and her sound reflects it in pounds as numbers such as the pew-stomping "Always Free," horn-peppered sway of "Best For Last" and
her single "The Love I Give," are bold and infallible entries. And if
it's subdued that you want, then Venson can whisper loving poetics this
side of "Beauty Of Your Love" and the cushy acoustic title track to
place you in the calm of her storm. Though there are many vibrant voices
that come our way daily, a lot don't get to stand on a table and shout
out loud, but Venson, on the other hand, has the boisterous attitude as
well as the creative drive to create tunes her way without bending to
any so-called rules, and those elements will spark and have her elbow
her way to the front of the line without a misstep. JACKIE VENSON
Discerning urban jazz fans searching for something new to get jazzed and
groove about don’t need to have A Vicarious Experience to make it
happen—they just need to get hip to the melodic and cool old school soul
meets contemporary funk of veteran saxophonist Reggie Codrington. While
the Fayetteville, North Carolina native is new on many people’s radars,
he’s actually been performing and recording since the early 90s and has
eight previous CDs, several under the name Reggie C; the most recent of
these are Sunny Days (2008), Vision of Dreams (2010), Christmas With
Pops (2009) and Journey Back Home (2005), which was produced by Phil
Davis, who has worked with Stanley Clarke, George Duke and Al Jarreau,
among many others.Produced by and featuring the tenacious bass playing of Brian Morgan
(whose many credits include George Benson), A Vicarious Experience finds
Codrington—whose primary voice is the curved soprano sax--in a
romantic, optimistic mood, using the changing vibes of the songs (and
the listener’s imagination) to chronicle the ups, downs, excitement and
challenges of a romantic relationship from track to track. While many
artists cite their parents as prime influences on their careers,
Codrington takes that one step further, inviting his father Ray—who
helped Codrington develop his skills and learn improvisation—to play
trumpet throughout the recording.“When I make a record, I always want to have a warm sound with
harmonies,” he says, “and in this case that means having dad play a lot
of horn parts and percussion. When we were making the album, I found
myself in a 70s and 80s type groove, inspired by everyone from De La
Soul funk rhythms to Sade and Parliament. I grew up listening to old
school R&B/funk so that’s a pretty natural influence for me. The
process began with Brian sending me some great tracks and me putting
melodies to them, then arranging harmonies and atmospheres around my
lead sax. The romantic story thread emerged from the emotions I was
experiencing at the time with the lady I was dating. I thought it might
be fun to invite people into my musical heart this way.” REGGIE CODRINGTON
Carmen Lundy began her professional career in Miami, FL as a jazz
vocalist and composer when there were very few young, gifted and
aspiring jazz vocalists on the horizon. Over four decades later, Ms.
Lundy is celebrated throughout the world for her vocal artistry and is
highly regarded for her jazz innovation.Currently on the Afrasia
Productions label, Carmen is releasing her 14th album in the Fall of
2014. Almost two years in the making, “Soul To Soul” consists of new
original songs by Lundy, and a few very special collaborations. The
album features legendary artists - specialists on their respective
instruments - including Patrice Rushen, Geri Allen, Randy Brecker, Ada
Rovatti, Warren Wolf, Bennie Maupin, harpist Carol Robbins, and Simphiwe
Dana, a stunning South African vocalist and composer, among others.The
highly regarded 2012 release “Changes” (Afrasia Productions) is on
several ‘Top 10 Albums of 2012’ lists, and continues to garner both
critical and popular acclaim. Said James Nadal of All About Jazz, “With
her release of Changes, veteran singer Carmen Lundy rises to that
proverbial summit to enjoy the rarefied air of the chosen few.” Terri
Lyne Carrington’s Mosaic Project - Grammy Winner for Best Jazz Vocal
Album of 2011- features the Carmen Lundy composition “Show Me A Sign”,
with Ms. Lundy’s original performance from the album “Solamente”
reinvented on the arrangement. CARMEN LUNDY
