Trio Blastphemy will play City Winery’s Klezmer Brunch series on Sunday 4/27. Sets are at 11 and 12:30, food is available (and good to boot). We’ll play music from the Klezmer repertoire as well as music from the Balkans, Haiti, and perhaps even some Bach Sinfonias. With Curtis Hasslebring (trombone) and Marcus Rojas (tuba).
Raskolnikov (a very fun band) is led by Chris Stromquist (a very fun drummer). Also involved are Tim Vaughn (a very fun trombone player), Yoshie Fruchter (a very fun guitarist) and Matt Pavolka (a very fun bass player). We’ll be playing very fun balkan rock and roll with lots of shenanigans. We’ll be playing at St. Mazie (a very fun place) in Williamsburg. www.stmazie.com for more info on that. Sets at 10 and 11:30 or so.
My quartet will be returning to Barbès as part of our continuing monthly residency on Tuesday April 8th. We’ll have the whole gang – Curtis Hasselbring (trombone), Vinnie Sperrazza (drums) and Matt Pavolka (bass).
February 16, 2014
11 AM & 12:30 PM
February 11, 2014
7 & 8 PM
January 10, 2014
January 7, 2014
Music for Trumpet and Accordion. Arrangements of music by Shostakovich, Ornette Coleman, Satie, and originals.
376 9th St. (corner of 6th Ave.) Park Slope, Brooklyn 347 422 0248
Smart Balkan-Tinged Tunesmithing and Improvisation from the Ben Holmes Quartet:
Trumpeter Ben Holmes’ Quartet is one of those great bands that defies categorization. Rhythmically, they are most defnitely a jazz group; melodically, they encompass everything from Balkan music, to klezmer, to a cinematic sensibility, with plenty of improvisation and elements of both the high Romantic and the avant garde. Over the past couple of years, Continue Reading →
There is a subset to contemporary jazz that is avant in a slightly different way than flat-out free jazz: there is often a modern compositional bent with evolved rhythmic and harmonic complexities in the head structures that are very contrasting to the sort of symmetrical and short phrases bop favored, and tend to be more evolved than some of the fully free improvisers’s setup motifs. The compositional element can often extend beyond the head format and come into play at any point in what otherwise would be the solo routines. Continue Reading →