<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>Jazz</title> <atom:link href="https://occhimagazine.com/tag/jazz/feed/" rel="self" type="application/rss+xml" /> <link>https://occhimagazine.com</link> <description></description> <lastBuildDate>Sat, 19 Feb 2022 17:16:56 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <image> <url>https://i0.wp.com/occhimagazine.com/wp-content/uploads/2017/01/cropped-Occhi-new.jpg?fit=32%2C32&ssl=1</url> <title>Jazz</title> <link>https://occhimagazine.com</link> <width>32</width> <height>32</height> </image> <site xmlns="com-wordpress:feed-additions:1">84044510</site> <item> <title>Album Release: John Coltrane – A Love Supreme: Live in Seattle</title> <link>https://occhimagazine.com/album-release-john-coltrane-a-love-supreme-live-in-seattle/</link> <comments>https://occhimagazine.com/album-release-john-coltrane-a-love-supreme-live-in-seattle/#respond</comments> <dc:creator><![CDATA[Occhi]]></dc:creator> <pubDate>Fri, 22 Oct 2021 17:31:22 +0000</pubDate> <category><![CDATA[Music]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Press]]></category> <category><![CDATA[Review]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=25923</guid> <description><![CDATA[After nearly six decades, a private recording of a rare, nightclub performance by John Coltrane]]></description> <content:encoded><![CDATA[<body><p>After nearly six decades, a private recording of a rare, nightclub performance by John Coltrane of his magnum opus, this album gets a commercial release. Recorded in late 1965 on the culminating evening of a historic week-long run at The Penthouse in Seattle, A Love Supreme: Live In Seattle is a musical revelation of historic importance, capturing Coltrane as he began to expand his classic quartet-adding Pharoah Sanders on the second saxophone and Donald Garrett on second bass-and catapulting him into the intense, spiritually focused final phase of his career.</p> <p>The significance of A Love Supreme: Live In Seattle is heightened by the fact that Coltrane seldom performed his four-part suite after originally recording it in the studio in 1964. Composed and created as a public declaration of his personal spiritual beliefs and universalist sentiment, it became a best-seller and received a GRAMMY nod the next year. For more than six decades, it seemed the only recorded public performance of A Love Supreme took place at a French festival at Juan-Les-Pains in July 1965 and was released almost twenty years ago. The tape reels containing this performance from October 1965 sat in the private collection of Seattle saxophonist and educator Joe Brazil, heard by a few fortunate musicians and friends-and largely unknown until now.</p> <p>A Love Supreme: Live In Seattle is a fascinating and rare performance of the full suite, marked by a looser and more improvisational approach, and an overriding sense of communal participation-much like a Sunday church service; the lineup featured John Coltrane and Pharoah Sanders on saxophones, McCoy Tyner on piano, Elvin Jones on drums, and Jimmy Garrison and Donald (Rafael) Garrett on basses. Carlos Ward, then a young saxophonist just getting started on the scene, sat in as well.</p> <p>As music historian Ashley Kahn puts it in the liner notes, A Love Supreme: Live In Seattle “offers the first evidence of the master of spiritual expression performing his signature work in the close confines of a jazz club…on October 2, 1965, a Saturday, in Seattle, the necessary elements were in alignment: music, players, venue, a spirit of connection, a certain political charge. Coltrane chose to perform it, and significantly, the moment was recorded.”</p> <p>Kahn’s extensive liner notes tell the story of A Love Supreme: Live In Seattle not only through the words of the musicians themselves, but also through several witnesses whose lives were changed by Coltrane’s visit to Seattle in 1965 (his sole visit to the city as a leader), including Brazil, Ward, and bassist David Friesen, who states: “I’ve always pursued the spiritual aspect of the music and I still do. I remember sitting with Coltrane during one break that week and…what touched me was the way he treated other people. He showed mercy and kindness to people from what I could see around me for the week that I was there.”</p> <p>The music on A Love Supreme: Live In Seattle was recorded with a two-microphone set-up onstage, connected to an Ampex reel-to-reel machine, and the only copies of the tapes were well cared for, yielding a remarkably clear and distortion-free recording. “What’s remarkable is that tapes from this era often suffer over the years from heat or moisture damage, or simply being stacked horizontally,” writes engineer Kevin Reeves who produced this release. “However, these tapes are in excellent condition… and the results are among the best amateur recordings of John Coltrane we’ve had the pleasure to work on.”</p> <p>The story of the A Love Supreme suite is the story of John Coltrane-his musical journey and his spiritual path. It has become one of the most celebrated and influential recordings to come out of the jazz canon, revered and studied by musicians far beyond the jazz realm. Rolling Stone magazine consistently lists it among the top albums of all time. “Of his many musical creations, Coltrane looked upon A Love Supreme in a very special light,” Kahn notes in the liner notes to A Love Supreme: Live In Seattle. “He called A Love Supreme a ‘humble offering to the Divine; no other composition or recording was similarly offered nor did he append his signature to any other work. A Love Supreme was as much an individual testament as it was a public statement-a sermon of universalist belief.” A Love Supreme: Live In Seattle now expands the story of both a great musician and a timeless piece of music.</p> <p>Recorded by Joe Brazil at The Penthouse, Seattle WA</p> <p>Restored and Mastered by Kevin Reeves at East Iris Studios, Nashville, TN</p> <h6><em>Source: Crossover Media</em></h6> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/album-release-john-coltrane-a-love-supreme-live-in-seattle/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">25923</post-id> </item> <item> <title>Award Winning Jazz Singer, Songwriter Julia Biel Releases ‘Black and White- Vol.1’</title> <link>https://occhimagazine.com/award-winning-jazz-singer-songwriter-julia-biel-releases-black-and-white-vol-1/</link> <comments>https://occhimagazine.com/award-winning-jazz-singer-songwriter-julia-biel-releases-black-and-white-vol-1/#respond</comments> <dc:creator><![CDATA[Occhi]]></dc:creator> <pubDate>Tue, 18 May 2021 19:00:09 +0000</pubDate> <category><![CDATA[Feature]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[British]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Single]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=23948</guid> <description><![CDATA[Julia Biel is an award-winning original – singer, songwriter, piano player, producer, and guitarist –]]></description> <content:encoded><![CDATA[<body><p></p><a href="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/05/Julia_Biel_c-Jenna-Foxton.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="wp-image-23951 aligncenter" src="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/05/Julia_Biel_c-Jenna-Foxton.jpg?resize=640%2C427&ssl=1" alt="" width="640" height="427" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/05/Julia_Biel_c-Jenna-Foxton.jpg?w=720&ssl=1 720w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/05/Julia_Biel_c-Jenna-Foxton.jpg?resize=300%2C200&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/05/Julia_Biel_c-Jenna-Foxton.jpg?resize=72%2C49&ssl=1 72w" sizes="auto, (max-width: 640px) 100vw, 640px" /></a> <p>Julia Biel is an award-winning original – singer, songwriter, piano player, producer, and guitarist – whose neo mellow sound combines her jazz approach with art-pop sensibilities, Julia Biel’s unhurried, unmistakable and timeless voice drips with emotion with every syllable. Dubbed ‘fiercely gentle’ (Jazzwise) early on in her career, she continues to soothe and stir the listener in equal measure whether accompanying herself on her acoustic, stripped-back piano versions in her current ‘Black and White’ series or singing over fuller studio productions.</p> <p>With a mellow sound that combines a jazz-informed approach with art-pop and classic singer/songwriter sensibilities, it’s Biel’s voice and piano playing that feature on her 4th album release showcasing exclusively solo recordings. ‘Black and White, Volume 1’ comments on the binary concepts of ‘black’ and ‘white’ in what she feels should be a post-‘racial’ world.</p> <p>Using just the black and white keys of the piano and her mixed ‘black’ and ‘white’ heritage, the award-winning London-based and British-born artist ‘the best British vocalist to emerge in an age’ (THE INDEPENDENT) seeks to reach beyond the polarising concept of division along skin colors lines, to remind the listener of and to confront them with their own emotions – to take these two colors and transform them into a landscape of sonic colors in the process. “Because on the level of shared emotion is where everyone connects,” says Julia. “Skin color, background, political persuasion or any other social construct should have no bearing on our ability to empathize nor should these things be allowed to deny someone their right to expressing anything less than the full spectrum of human emotion.”</p> <p>Produced by revered saxophonist/producer Idris Rahman (Ill Considered) and mixed by Emre Ramazanoglu (whose broad-ranging credits include Sia, Steam Down, Lily Allen, Carly Rae Jepsen), the result is a set of intimate and raw solo recordings rendered spell-binding in large part due to hers being a voice like no other. Unhurried and unmistakable, dripping with emotion with every syllable, it’s a voice that unashamedly bends notes, whispers, the sound sometimes emerging pure of tone, sometimes cracking woundedly, or soaring with wordless ad-libs; liberated from artifice to be fully and freely expressive in the moment of the song being sung. Deceptively simple songs deal with confusion, pain, insecurity, joy, the power of words, the power of love to uplift us and also to constrain us, and more and are all imbued with her trademark poetic storytelling, revealing an ever-sharper perspective on life and love with repeated listens.</p> <p>“Black and White- Vol.1” will be released in the United States this June 25th</p> <p>images by Jenna Foxton: Julia Biel – ‘Black and White, Volume 1’ cover image (c) Jenna Foxton</p> <div class="jetpack-video-wrapper"><iframe title="Julia Biel - Three Little Words | LIVE at Schloßplatz, Stuttgart" width="640" height="360" src="https://www.youtube.com/embed/KHf_izgEuvA?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> <p></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/award-winning-jazz-singer-songwriter-julia-biel-releases-black-and-white-vol-1/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">23948</post-id> </item> <item> <title>In The Spotlight: Korean Violinist, Yoojin Park</title> <link>https://occhimagazine.com/in-the-spotlight-korean-violinist-yoojin-park/</link> <comments>https://occhimagazine.com/in-the-spotlight-korean-violinist-yoojin-park/#respond</comments> <dc:creator><![CDATA[Darryl Yokley]]></dc:creator> <pubDate>Thu, 29 Apr 2021 14:00:17 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[interview]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Press]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=23753</guid> <description><![CDATA[Yoojin Park is an amazing artist with one of the most unconventional stories. She started]]></description> <content:encoded><![CDATA[<body><p></p>Yoojin Park is an amazing artist with one of the most unconventional stories. She started her pursuit in music to become a world-class violinist, which she has accomplished quite well. Being the conscientious artist that she is, she didn’t feel she was a complete musician after discovering the art of improvisation and pursued studies in jazz improvisation. Today she is one of the most sought-after string players in jazz, R & B, hip-hop, and more. Here diversity mirrors that of her beloved instrument, which many associate with mainly classical music, but as we can see has a home in a myriad of musical genres. While she enjoys a successful career now, the road to it was anything but easy, and she is here to share her story… <p><strong>Growing up in Korea you were trained mainly in classical violin and achieved quite a bit of success doing it! When did you get interested in jazz and when did you decide to pursue it as a career?</strong></p> <p>I began playing violin at the age of 4 under the influence of my mom who is a classical pianist. By the age of 7, I started pursuing national violin competitions in classical music and was accepted into the renowned Korea National University of Arts. In my senior year, I had an opportunity to join Korean singer Lee Seung Hwan’s band as a member of his string quartet. At that time, I wanted to experience genres other than classical music, so I decided to go on tour with the group. For me, playing pop music was similar to classical because there was beautifully arranged music in front of me and all I needed to do was play it perfectly without any mistakes. There were some differences though, the biggest difference being the instrumentation. In this group, I was playing music with a drum set, guitar, and saxophone, none of which I had played with before. In the classical music world, we really don’t use that instrumentation. So, that experience was totally new to me and so much fun and exciting!</p> <p>While on tour, one night, the saxophonist was featured and he started playing some really interesting things on the stage and he wasn’t even reading written music. His playing sounded almost like some cadenza, so I was like “Wow! Bravo! That guy memorized that piece so perfectly, wow!” But soon, I noticed that the next day, he was playing something different than the night before, and again on the next day another totally different solo, so I was just curious and asked one of the band members “Hey that saxophone player… how many tunes did he have to memorize for this tour?” and a band member was kinda laughing and said, “He was actually improvising.” I was like “WHAT?? IMPROVISING? What is that? How could he do that??” he asked me if I knew how to read chords. I was like “CHORDS?? How can I read that, what is that??” I had no idea, and I was thinking to myself “man I’ve been playing my violin and music for my entire life, but I can’t play anything unless there is sheet music in front of me or something I already memorized? This is unacceptable!!” I felt like I wasn’t a real musician.</p> <p>After that day, the only thing I could think of was how I could learn how to improvise. Life is short and I had to learn that skill in this lifetime. I mean, the university I went to, Korea National University of Arts is the top university in South Korea, only 14 violinists are accepted a year and half of them are true geniuses who were skipping high school courses to attend the university because they are that great. I wasn’t one of the 7; I was part of the cohort who went high school but I still had a secure life in classical music waiting for me after graduation. With that being said, my desire and need for this “mysterious world of jazz and improvisation” made me change my path. I decided to move to Boston to study at the Berklee College of Music, pursuing jazz. Thinking back, I was very brave, full of passion, and had no idea what was actually waiting for me. My journey started from there.</p> <p><strong><a href="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-1.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class=" wp-image-23757 alignright" src="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-1.jpg?resize=380%2C651&ssl=1" alt="" width="380" height="651" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-1.jpg?w=350&ssl=1 350w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-1.jpg?resize=175%2C300&ssl=1 175w" sizes="auto, (max-width: 380px) 100vw, 380px" /></a>Coming from a classical background, was it a hard transition into the world of improvisation? What are some of the similarities and differences you feel that exist between these two worlds of music? </strong></p> <p>It was a hard transition, yes. So with all my dreams and passions, I came to Berklee and as soon as I stepped into a music class the reality hit me. You see, all new students have to take an ensemble-placement test and even though I couldn’t improvise, my sight-reading and technique score was good enough to get me placed into a good ensemble. In that ensemble, everyone already knew how to play Jazz from their younger years and were already killing it. In those classes, I felt insecure, and I had never felt that way before. To me, I couldn’t speak English plus I couldn’t play my violin while improvising. Words cannot express how hard a transition it was for me to shift from a classical background to the world of improvisation. As a classically trained musician, I had to learn how to practice interpreting the musical score in order to perform the composer’s ideas. I would practice the same things hundreds of times until I nailed it. But with the world of improvisation, having to learn how to perform with a blank music score and just chords written, creating my own composition in the moment was a real challenge. I felt the whole concept was totally different than how I learned to play and practice music, so I was very confused for many years.</p> <p>Thankfully I met a great teacher Darren Barrett at Berklee, who helped me understand the fundamentals of jazz and its vocabulary, and the more I studied, the more I started to see that all these great classical composer’s works, such as Mozart’s sonata variations, Paganini’s caprice 24 variations, and all the cadenzas in the great concertos, were actually improvisations. I realized those are the composers’ improvisations, using the same chords and ideas as the main body of work, but the composer was developing their music melodically and rhythmically. I also started to see that I was wrong to think that I had to create something with a blank score with just chords written when I’m improvising on a Jazz tune. I was really learning that there are actually beautiful existing melodies in jazz music! I now know that I can make my own variations on a jazz melody, melodically and rhythmically, while I’m improvising on a jazz tune, just like how Mozart wrote a variation on twinkle twinkle little star in his piano sonata and how Paganini did the same for the 24<sup>th</sup> caprice. Approaching improvisation this way helped me understand the connection between those two worlds of music. I also started writing all the chords in all the classical pieces I’ve studied so I can understand the chord structures more.</p> <p>Classical music has all these notes written perfectly but there are no chords written, and jazz music has all the chords written perfectly but not all the notes written. I had a chicken and egg situation, which one comes first? I started to find the similarities between the two worlds of music. I thought how once the two worlds of music perfectly unite as one in my mind, I would be at peace and there would be no creative limitation for me.</p> <p><strong>After studying at Berklee and Queens College has your career developed the way you envisioned or have there been some surprises along the way</strong></p> <p>After graduating from Berklee, I went to Queens College for my master’s program and although I was excited to enroll, I still had anxiety about my violin playing because people kept telling me to emulate saxophonists exclusively. Musicians were telling me to change my tone and remove my vibrato in order to match saxophone phrasing exactly. I was told my violin sound doesn’t sound like jazz, and that my violin sound has to be like a saxophonist when I play jazz. But honestly, I didn’t want to give up my violin tone nor vibrato which I’ve been developing my entire life. I didn’t like this new approach to my sound on violin, it was not right, it wasn’t me. Thankfully, I was fortunate enough to study with the great musician and teacher Antonio Hart, and he was the first one to encourage me to play my instrument for what it is – the violin. He was like “Why would you play your violin like a saxophone? Your violin has this beautifully unique sound, use every tool your violin has when you play Jazz. BE YOU!!”. That was an eye-opening moment for me, and ever since, my anxiety has gone and I’ve felt free to play jazz how I feel, using the full spectrum of violin nuances because of Antonio’s insight.</p> <p>My career developed the way I envisioned it would after studying at Berklee and Queens College because not only did I meet great teachers but also great friends! I was especially lucky to meet saxophonist Richard Parker through Queens College, who has remained one of the biggest influences on my life and music in the States. He helped me understand more about American culture as well as other types of music, like hip hop and R&B. My other American friends- Berklee musicians like pianist Victor Gould and saxophonist Godwin Louis, all of whom helped me grow in life and in music as well. Through all of the help and support from great teachers and friends I was able to continue to grow musically and creatively and began writing my own music. Later, after finishing my master’s program, I was able to record my debut album with Victor Gould, Godwin Louis, and Lonnie Plaxico. Antonio Hart produced my album and I was fortunate enough to sign with Universal Music Group International and release my debut album <em>West End</em> in 2013.</p> <p><strong>Have you faced any challenges in the industry because of your instrument, and if so can you talk about them? </strong></p> <p>Yes, especially at jam sessions. I don’t have any specific stories about people being disrespected because of my instrument, but at the same time, I never felt like they welcomed my violin either. At the sessions, I could feel the bad vibes from their facial expressions and gestures. Often I felt like my violin and I didn’t belong there. To that point, someone literally told me that it was going to be extra hard for me to make it in music because I’m an Asian trying to play jazz and improvisation with violin. I thought to myself if I’m thinking that way I’m never gonna win any situation by any circumstance. But instead of thinking like a victim, I thought to myself the opposite could be true, I can be more special because “I’m an Asian trying to play jazz and improvisation with violin” and that was something truly unique and special. I later found out about this amazing jam session in NYC “Producer Monday with Ray Angry & The Council of Goldfinger”. Producer Monday was the first jam session I’d ever been to that made me feel like I belonged and gave violinists opportunities to play first. Not only were they welcoming to all different types of instrumentalists and musicians but they also created the music in the moment, with every musician united together to help create great music, each one on the stage with no ego but love. It’s not like someone called the tune and it was all about who plays better and who knows the changes. Producer Monday’s great energy and vibes helped me change my mind from the challenges I faced in the industry because of my instrument, which led to more opportunities in the industry because of my instrument!</p> <p><a href="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-3.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class=" wp-image-23754 aligncenter" src="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-3.jpg?resize=640%2C369&ssl=1" alt="" width="640" height="369" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-3.jpg?w=909&ssl=1 909w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-3.jpg?resize=300%2C173&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/04/Yoojin-3.jpg?resize=768%2C443&ssl=1 768w" sizes="auto, (max-width: 640px) 100vw, 640px" /></a></p> <p><strong>You have your own group which has performed at the Blue Note, Rockwood Music Hall, and the Jazz Gallery and you have enjoyed an equally successful career as a collaborator for many great musicians such as Antonio Hart, Myron Walden, Victor Gould, Tivon Pennicott, Chien Chien Lu, and many more. Can you talk about some of the highlights of your career thus far?</strong></p> <p>After I released my album, I was able to perform my music from my album with my band in NYC. And I was so happy that on World Violin Day in 2019, when Blue Note gave me a shout out saying, “Today we celebrate violinists who have slain the stage at blue note” along with two other violinists. So while I was continuing working with my own group, I had these amazing opportunities to work with all of these other great musicians and leaders, for which I am so grateful. My first collaboration was with Victor Gould. Again, Victor and I went way back and he recorded my album and played for my group, and helped me a lot. So when Victor asked me to record his album I jumped at the opportunity. I hired other string players to put together for a string quartet and treated his project with the same care and love that I would my own. We recorded his beautiful debut album<em> clockwork</em> which was produced by Myron Walden. That’s where I met Myron and started to collaborate with him.</p> <p>In 2016 Myron started his own string project that I’ve been directing and performing in, The Myron Walden with String featuring Jon Cowherd. I was so blessed to be part of his project. One of my favorite songs is “Omni” by Brian Blade fellowship band, which was recorded by Myron and Jon. Working with them was like a dream come true! I learned so much from them while playing; Myron and I shared many visions for music, his ideas and musical philosophies are truly transcendent. I also had a chance to work with this amazing label, JMI Recordings, and recorded the violin part for Antero Sievert’s debut album <em>The_Underscore</em> where I collaborated with producer Steven Mandel.</p> <p>Collaborating with Chien Chien Lu and her producer Richie Goods was super fun! The grooves were killing and I had a blast recording her album <em>The Path</em>. Saxophonist, Tivon Pennicott called me and shared his amazing idea for the 24 string orchestra recording and I was like “YESSSSS” 24 strings? That’s another level. I was so excited and honored when he asked me to be concertmaster for his orchestra, and it was a joy to record his beautiful string orchestral compositions. We nailed it! His album <em>Spirit Garden </em>was absolutely beautiful and I was so proud of what we created. When I am working with others I am 100% in on their project, we are a team and I treat it as if it is my own project. I always listen to what the leader wants, and my job is to follow their direction the best I can and perform with a focus on adhering to the composer’s intent and respecting their unique artistry. Every album I have recorded with others are like my babies.</p> <p>I’ve also had some really great opportunities to work outside the jazz scene. I have been fortunate enough to work with this amazing EDM artist DJ KSHMR and went on tour performing at Ultra Korea, Ultra Singapore, Sunburn Festival in India, and IleSoniq in Montreal. The energy of the audiences for these huge EDM festivals is just a whole other level of energy. It’s so much fun, a totally exciting experience and I really enjoyed it. I have also worked with pop artists, shooting and recording for Vevo music videos with artists such as YUNGBLUD and Madison Beer. I had a chance to perform with Josh Groban, Sarah Brightman, Deborah Cox, and played with Nathan East and music director Greg Phillinganes for the Hudson Yards opening commemoration.</p> <p>Playing not only classical music but instead playing every genre of music with my violin all over the world, without any limitations to my personal creativity, is the reason I came here from Korea. I’m so blessed to be able to work with all these great musicians, artists, and leaders. I’ve enjoyed the journey I’ve had with all these amazing musicians and I’m looking forward to continuing to learn from and be inspired by them while we create more music together.</p> <p><strong>How often do you get to visit and play in Korea and do you see yourself wanting to have an active career in both countries? </strong></p> <p>I try to visit Korea at least once a year. But with the pandemic and all, I haven’t been able to visit for over 2 years now, and yes, I would love to have an active career in both countries. After I released my debut album, I wanted to perform in both countries but faced difficulties doing it. It was my first album, and no one really knew me, so it was necessary for me to build up my name. And I felt like to do that I needed to stick with one spot and one country. Every time I moved from both countries, I felt like I was losing connections, losing what I had built, and having to start over. I love Korea, that’s my home and everything is much more comfortable there with my family, friends, and language. But America is my second home. It’s already been 15 years since I moved here and I love it here as well. So I’m figuring out how to create a balance between both countries through performing and sharing my music.</p> <p><strong>How has the pandemic affected you and your career this past year? </strong></p> <p>Of course, most musicians lost all of their consistent work, I included. At first, I was watching, waiting, and hoping the pandemic wouldn’t last so long. But after I realized 2020 would be a long road back to normality, I looked towards myself and faced my musical needs like adjusting my violin setup. Often at a gig, I would use a pick-up mic with my sound going through an amp or PA. This is not the distinctive resonant sound expected from an acoustic violin. While continually playing through an amp, it’s easy to forget how important it is to work with the natural tone of the violin. During the pandemic, I really listened to what my violin was saying to me, and I realized that I needed to revisit the fundamentals and work on my tone, timbre, texture, and pitch. It turned about to be a really great opportunity to rebuild my relationship with my violin. Just the two of us!</p> <p><strong>Can you share with us any upcoming projects you have coming up? </strong></p> <p>Sure, I’m going to perform with Tivon Pennicott with Strings at Vermont Jazz Festival in May. I am also scheduled to record the music Reggie Workman as well as recording with Myron Walden’s String project this year. Also, I recently recorded Victor Gould’s 4th album and as well as Producer Monday’s album, and I look forward to hearing the final products. As for my own projects, I would really love to make my 2nd album. It’s been a while since my debut album and I’ve grown musically and personally since then! I have all these ideas and visions and compositions, so I would love to record my own project soon and share it all with the world!</p> <p> </p> <div class="jetpack-video-wrapper"><iframe title="Yoojin Park Quintet Live at Blue Note NYC" width="640" height="360" src="https://www.youtube.com/embed/p_cmx2xwiMg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> <p> </p> <p>I am so glad I got to hear Yoojin’s amazing story, and while the road to success may not have been an easy one I am glad she has persevered. It is definitely a story that has the potential to inspire violinists and any other unconventional instrumentalist, Asians, and other minorities, women… her story embodies and means so much for so many. With her strong will and determination, I am sure we are just beginning to get a taste of all she has to offer to the world!</p> <p>Her social media links are</p> <p><a href="https://www.instagram.com/yoojinparkviolin/?hl=ent">https://www.instagram.com/yoojinparkviolin/?hl=ent</a></p> <p><a href="https://www.facebook.com/yoojin.park.violinist">https://www.facebook.com/yoojin.park.violinist</a></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/in-the-spotlight-korean-violinist-yoojin-park/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">23753</post-id> </item> <item> <title>‘Live from the Prison Nation’ by Alonzo Demetrius</title> <link>https://occhimagazine.com/live-from-the-prison-nation-by-alonzo-demetrius/</link> <comments>https://occhimagazine.com/live-from-the-prison-nation-by-alonzo-demetrius/#respond</comments> <dc:creator><![CDATA[Jonathan Blackman]]></dc:creator> <pubDate>Mon, 18 Jan 2021 20:00:28 +0000</pubDate> <category><![CDATA[Music]]></category> <category><![CDATA[Reviews]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[Review]]></category> <category><![CDATA[Rising Stars in Music]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=22349</guid> <description><![CDATA[Whoever says jazz is dead clearly has not heard Alonzo Demetrius. The young trumpeter not]]></description> <content:encoded><![CDATA[<body><p>Whoever says jazz is dead clearly has not heard Alonzo Demetrius. The young trumpeter not only has language on the instrument and paired it with electronic effects, but he is also an amazing composer. His live recording “Live from the Prison Nation” is as real as it gets. The performance put on by his group is nothing short of spectacular, and the organicness of the live performance makes it even more exciting to listen to. He is joined by Yesseh Furaha-Ali on saxophone, Daniel Abraham Jr. on piano, Benjamin Jephta on bass, and Brian Richburg Jr. on drums. It is the first instrumental record produced by Onyx Productions outside of the amazing projects recorded by founder and legendary drummer, Ralph Peterson Jr. The fact that maestro Peterson is releasing this album on his label is a testament to the greatness of this amazing musician and his collaborators.</p> <p>“Expectations” starts with the strong-willed voice of Angela Davis and then Demetrius’ trumpet comes into the texture along with his band. The music is filled with a sense of earnestness and is always looking forward. The exchange that takes place between Demetrius and Furaha-Ali is simply amazing and filled with virtuosity. Then the two link up in unison to send off the piano solo played by Abraham which starts as pensive and quickly builds to a crescendo. The declaratory theme comes back in before fading out with a piano vamp that the listener will recognize from the beginning.</p> <p>There is a dark, unsettling atmosphere that hangs in the air upon listening to “The Principal.” The unsettling vamp that Demetrius plays over along with the effects he implements sets the stage perfectly for when the band finally comes in together. It’s a slow tempo that at times feels as if it is going out of tempo and fills the listener with a sense of anticipation. While this is the only selection on the album that is not composed by Demetrius, it definitely shows the young composer’s ability to program music into a story that flows from start to finish. Not one to keep the spotlight to himself, Demetrius allows a feature to further highlight Furaha-Ali’s amazing talents in “Yesseh’s Interlude.” The saxophonist displays amazing technique and an abundance of melodic ideas. “Mumia’s Guidance” is a tastefully orchestrated piece that fits with the pre recorded speech of political activist Mumia Abu-Jamal. Much like the aforementioned iconic figure, the music embodies a revolutionary state of mind. The strongly stated melody is a glistening beacon of light for those striving for change. The words and the music entangled together into one, seamlessly flowing together. It is a masterpiece that at the same time is a call for social justice and leaves the listener reflecting on the sounds of the music as well as the social landscape in which it was derived.</p> <p>The title of F.O.O. Shit no doubt stands out and grabs the attention of the listener. It’s as if to say, “Hey! Pay attention!” “F.O.O. Shit Intro” is a simple melody over the chant “This is what community looks like!” and it stirs the fighting spirit. “F.O.O. Shit” is a memorizing and exciting climax to this incredible project. Furaha-Ali takes house with a fiery solo followed by Demetrius’ effects trumpet playing, which is full of ideas and the sound effects implemented provide for a breath-taking sonic journey. The communication between all the band members is at times telepathic, much like the rest of this album. Demetrius has definitely assembled a great crew of musicians to bring his artistry to life, and the message is one that I hope people will take the time to listen to and reflect on. I look forward to many great things to come from this amazing artist.</p> <p> </p> <p>For further information on Alonzo Demetrius, please visit his <a href="https://www.ademetriusmusic.com/">website</a></p> <p> </p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/live-from-the-prison-nation-by-alonzo-demetrius/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">22349</post-id> </item> <item> <title>Poetry in Sound – A look at Mary Halvorson’s Code Girl ‘Artlessly Falling’</title> <link>https://occhimagazine.com/poetry-in-sound-a-look-at-mary-halvorsons-code-girl-artlessly-falling/</link> <comments>https://occhimagazine.com/poetry-in-sound-a-look-at-mary-halvorsons-code-girl-artlessly-falling/#respond</comments> <dc:creator><![CDATA[Jonathan Blackman]]></dc:creator> <pubDate>Tue, 05 Jan 2021 15:00:59 +0000</pubDate> <category><![CDATA[Feature]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Reviews]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Review]]></category> <category><![CDATA[Rising Stars in Music]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=22153</guid> <description><![CDATA[Very few artists today can fuse their musical influences as well as Mary Halvorson. The]]></description> <content:encoded><![CDATA[<body><p></p>Very few artists today can fuse their musical influences as well as Mary Halvorson. The composer/guitarist has an uncanny ability to meld all her influences into a unique voice that cannot be replicated by anyone. Her new release <em>Artlessly Falling</em> is no exception to this fact. A masterpiece where each tune is truly unique shows that the MacArthur Foundation recipient is not running short on ideas or inspiration. The eight tracks were written in poetic forms that Halvorson herself wrote, and the music that has come to fruition from her pen as a poet has created poetry in sound that I am sure audiences will want to “reread” again and again. She is joined by Amirtha Kidambi on vocals, Michael Formanek on bass, Tomas Fujiwara on drums, Adam O’Farrill on trumpet, María Grand on saxophone, and special guest vocalist Robert Wyatt. <p>This musical poetic landscape opens up with “A Nearing” which sets the tone for things to come. Formanek opens things up with a solo entrance that quickly settles into a groove that the band builds over. The versatility of the ensemble can be embodied in hearing Kidambi’s voice, which is serene at times and others direct with weight and intensity. The title track “Artlessly Falling” takes one through many emotions as the soundscape is continuously changing. The poetry effortlessly flows- or should I say falls- over these different sonic backdrops leaving the listener in a perpetual state of eager calmness. The improvisatory rubato feel builds and then suddenly a powerful groove comes from nowhere as the listener nears the end of their listening freefall before hitting the end of the tune. The eeriness of “Last Minute Smears” is almost as scary as the person and words that inspired them. Grand’s saxophone brings her own sense of melodic poetry to this track, and the bending sounds of the Kidambi’s vocals truly bring out the mood of this piece. “Mexican War Streets (Pittsburgh)” is magnificent in its delivery, and one can almost imagine it being the soundtrack to a vigilante movie.</p> <p><a href="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="size-full wp-image-22155 alignright" src="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=464%2C464&ssl=1" alt="" width="464" height="464" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?w=464&ssl=1 464w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=300%2C300&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=150%2C150&ssl=1 150w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=275%2C275&ssl=1 275w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=24%2C24&ssl=1 24w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=48%2C48&ssl=1 48w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2021/01/Cover_Halvorson_artlessly-falling.jpg?resize=96%2C96&ssl=1 96w" sizes="auto, (max-width: 464px) 100vw, 464px" /></a>The use of sound effects by Halvorson is genius and shows her diverse array of influences as heavy metal guitar then gives way to an almost Radiohead like sound, and from there I honestly am lost for words to describe the amazing ideas that she comes up with. Grand also graces this track with her vocals alongside Kidambi. Much like “Artlessly Falling” the opening sounds of “Muzzling Unwashed” reminds me of 60’s rock n’ roll with the chords that open the tune. Farrill’s solo is fluid with ideas seamlessly flowing one to the next. The three selections featuring British vocalist, Robert Wyatt is a testament to Halvorson’s artistic sensitivity. “Bigger Flames,” “Lemon Trees,” and the final track of the album “Walls and Roses” were written by the legendary vocalist, and one can truly not imagine anyone else singing these selections. The quirkiness of the poetry is brought to life in this final track where one might assume this was a rock album if they had walked in the room at the right moment. The twists and turns are what have come to personify the essence of Halvorson as an artist, and I truly believe she is one of the least predictable improvisers as Howard Mandel has said.</p> <p>Halvorson spent months writing the poetry that would be the blueprint for this music, and after it was done she said that music came rather quickly. I do believe that the arts are always indelibly intertwined, inspiring each other in an endless free fall of creativity. I truly enjoyed the brilliance of this album, and all the pieces fit together so well. From the cast of musicians to the way the music embodies the music and the music embodies the words, it is truly an art. It is to be appreciated, admired, pondered over, loved, hated, enjoyed, provoke thought, and most importantly– to just <em>be. </em></p> <p>For further information please visit the artist’s <a href="http://www.maryhalvorson.com/">website</a></p> <p><em>Photograph by James Wang</em></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/poetry-in-sound-a-look-at-mary-halvorsons-code-girl-artlessly-falling/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">22153</post-id> </item> <item> <title>In Conversation with Drummer Gene Jackson</title> <link>https://occhimagazine.com/in-conversation-with-drummer-gene-jackson/</link> <comments>https://occhimagazine.com/in-conversation-with-drummer-gene-jackson/#respond</comments> <dc:creator><![CDATA[Darryl Yokley]]></dc:creator> <pubDate>Thu, 31 Dec 2020 15:00:55 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[interview]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=22113</guid> <description><![CDATA[The late great Mickey Roker once said to me at Ortlieb’s Jazzhaus “Good drummers come]]></description> <content:encoded><![CDATA[<body><p></p>The late great Mickey Roker once said to me at Ortlieb’s Jazzhaus “Good drummers come out of Philly like cockroaches!”. He wasn’t lying! Philly drummers include Philly Joe Jones, Mr. Roker himself, Byron Landham, Edgar Bateman, Bruce Cox, Wayne Smith Jr., Chris Beck, Anwar Marshall, Justin Faulkner… the list can go on and on! Among the many great drummers hailing from the city of brotherly love is the legendary Gene Jackson. Having played with artists such as Herbie Hancock, Dave Holland, Wayne Shorter, and many others he has a resume second to none. You wouldn’t know it from just talking with him, as he is one of the kindest and most humble human beings there is. I’ve had the privilege of playing with him on a few occasions and can honestly say he is one of the warmest spirits we have in the world of jazz today! I had a chance to catch up with him and we had a wonderful discussion on his career, the pandemic, living in Japan, and much more! Below is a small bit of what we talked about, but to get to the full story please check out the podcast after! <p><strong>Hailing from Philly, who were some of your local influences as well as influences in the music in general?</strong></p> <p>My main influence when growing up in West Philadelphia was drummer Greg Mcdonald.</p> <p><strong>When did you make the move to NYC and how did the move shape your career?</strong></p> <p>I moved to NYC in 1987 after attending Berklee College Of Music. Many of my classmates had moved already to NYC and had become the musicians that everyone was talking about. The young Lions during that period had begun to shape the scene.</p> <p><strong><a href="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/12/menewedit-squashed.gif?ssl=1"><img data-recalc-dims="1" decoding="async" class="size-full wp-image-22118 alignright" src="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/12/menewedit-squashed.gif?resize=500%2C430&ssl=1" alt="" width="500" height="430" loading="lazy"></a>Do you feel New York is the necessary place to go to “make it” so to speak as a jazz musician?</strong></p> <p>NYC is definitely the center of Jazz music in the world and the experience of living there gives everyone a clear picture of how close the culture is tied to the music.</p> <p><strong>You have had an illustrious career thus far playing with Herbie Hancock, Dave Holland, and many more? Can you share some of the recordings or gigs that you remember the most?</strong></p> <p>Of course, the year of music I was privileged to share the stage with Herbie Hancock and Wayne Shorter were powerful inspirations to me however my work with Michelle Rosewoman, Robin Eubanks, Orrin Evans, Alex Sipiagin, and Charles Tolliver was equally inspirational and helped shaped my musical style.</p> <p><strong>You also are a founding member of the New York Standards Quartet. Can you tell us about some of the past projects that you all have done as well as any plans, post-Covid-19 of course?</strong></p> <p>The band NYSQ standing for the New York Standards Quartet group collective spearheaded by saxophonist Tim Armacost has consecutively toured every year mostly in Japan and six-CD releases. This year’s Pandemic has halted our momentum as it has done with many artists around the globe. We are all perplexed with no clear plan for the future at this point. I’m sure when things settle we will try and take off from where we left off.</p> <p><strong>When did you make the move to Japan and why?</strong></p> <p>I was going back and forth from Brooklyn to Japan from around 2004 and maybe from 2010, I began spending most of my time in Japan going to Brooklyn several months a year to sign my apartment lease which I kept up until this year. I basically moved to Japan because I met my life partner and now wife.</p> <p><strong>You’ve been there for quite some time now! In your opinion what are some of the differences between the music scene over there versus the states? </strong></p> <p>The music scene in Japan is very vibrant more so than many places in the world however since Jazz originated in America born from the Afro American experience there are cultural aspects of the music that really are taught and if someone is not from America they need to at least experience the cultural nuances which the music was spawned from. Japanese on the other hand has a rich culture that evolved adapting rules and structure such to live and to integrate foreign culture and concepts which in the case of Jazz lends itself to be partially adapted. However usually once the Japanese musician gets experience actually living in the American culture many become more adaptive to the cultural nuances of the Jazz experience.</p> <p><strong>Even though you spend a majority of your time over there you still enjoy a great career between the two countries. It’s a feat I myself aspire to hopefully achieve shortly! How have you gone about doing it and have there been many challenges in maintaining this career between the two countries?</strong></p> <p>I have been lucky and contribute most of my success of being able to somehow stay active in two countries to my association with Herbie Hancock for which I am grateful for this association. Also colleagues of mine with whom I’ve worked with, and we have high mutual respect, patiently wait and tailor schedules that coincide with my USA schedule.</p> <p><strong>Can you share any upcoming recording or performing projects you have lined up?</strong></p> <p>Right now most work is halted throughout the rest of the year and there are tentative recording projects people are considering. However nothing I can speak of at the moment. There are a few upcoming events in Tokyo with the local musicians that periodically will take place. I have a tentative tour in October with my long-time friend, guitarist Gene Ess who recently is frequent in Japan. This tour will be with the amazing pianist David Bryant who is also frequently in Japan and bassist Daiki Yasugakawa.</p> <p><strong>What advice would you give to musicians looking to move to Japan?</strong></p> <p>First off, unfortunately, musicians desiring to live in Japan can’t just move to Japan and look for gigs. In Japan, one is required to get a visa to be able to work and there is really no working around on getting the right visa to be able to legally work. It’s almost impossible unless one of the sponsors brings you over for a short tour which you will have to return to your origins after the sponsored tour. Personally, I had no idea I would eventually end up living in Japan but when I met my life partner it became clear where I wanted to be and as such, we got married. After marriage I was able to legally work in Japan thus unless you are married to a Japanese national it’s nearly impossible to move to Japan to live a life of playing music in Japan, unfortunately.</p> <p>My sincere gratitude to brother Jackson for his time, the wonderful stories, and the life lessons enveloped in this discussion. Again, be sure to check out the full podcast interview and stay tuned for more!</p> <p>For further information on Gene, please visit the following weblinks:</p> <ul> <li><u><a href="http://www.genejacksonmusic.com/">http://www.genejacksonmusic.com</a></u></li> <li><u><a href="http://www.drummerworld.com/drummers/Gene_Jackson.html">http://www.drummerworld.com/drummers/Gene_Jackson.html</a></u></li> <li><u><a href="http://pearldrum.com/artists/drumset-artists/gene-jackson">http://pearldrum.com/artists/drumset-artists/gene-jackson</a></u></li> <li><u><a href="http://www.flickr.com/photos/bygenejackson/sets/">http://www.flickr.com/photos/bygenejackson/sets/</a></u></li> <li><u><a href="http://www.nysq.org/">http://www.nysq.org</a></u></li> </ul> <h6><em>Photography by Mitsuhiro Sugawara</em></h6> <p><iframe title="Occhi Interview- Celebrated Drummer Gene Jackson by Occhi Arts & Entertainment Podcast" width="640" height="400" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?visual=true&url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F902895052&show_artwork=true&maxheight=960&maxwidth=640"></iframe></p> <p> </p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/in-conversation-with-drummer-gene-jackson/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">22113</post-id> </item> <item> <title>Meet Guthrie Ramsey – Performer and Scholar</title> <link>https://occhimagazine.com/meet-guthrie-ramsey-performer-and-scholar/</link> <comments>https://occhimagazine.com/meet-guthrie-ramsey-performer-and-scholar/#respond</comments> <dc:creator><![CDATA[Darryl Yokley]]></dc:creator> <pubDate>Mon, 06 Jul 2020 18:00:59 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[Single]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=19173</guid> <description><![CDATA[Guthrie Ramsey is a performer and educator– and he makes a point to balance the]]></description> <content:encoded><![CDATA[<body><p></p>Guthrie Ramsey is a performer and educator– and he makes a point to balance the two worlds, one influencing the other, in an endless flow of creative output. The musicologist, pianist, and composer now has four records released with his band MusiQology, the latest one entitled <em>A Spiritual Vibe Vol. 1 </em> having been released May 31st, 2020. He’s performed at the famous jazz club Blue Note in New York City, the Annenberg Center for Performing Arts in Philadelphia, and many other renowned venues. <p>As a scholar he received his doctorate in Musicology from the University of Michigan and is now a widely published author with many critically acclaimed works to his name, created a documentary film entitled <em>The Tests</em> <em>and Triumph of Bud Powell</em>, and was a co-curator for a 2010 exhibition at the National Museum of African American History and Culture, Smithsonian Institute just to name of a few of his achievements. Other accolades include being a Thurgood Marshall Dissertation Fellow at Dartmouth College, a DuBois Institute Fellow at Harvard University, has held visiting professorships at Princeton University and Harvard University, and recently he is set to be inducted into the American Academy of Arts and Sciences. Amidst all the new milestones the good doctor has reached recently, he was kind enough to give us an interview about his recent happenings.</p> <p><strong>What was your feeling when you found out you were being inducted into The American Academy of Arts and Sciences, and what does this mean for you?</strong></p> <p>I was speechless. I’ve been in this business for a long time and to get such an honor was surprising and gratifying. It’s something I never focused on, but when the news came you can’t help but think about how much work you’ve done over the years. And that makes you appreciate the recognition.</p> <p><strong>For those unfamiliar with your scholarly work can you share some of your work with our readers and where they can find them for reading?</strong></p> <p>I’d start with two books: <em>Race Music: Black Cultures from Bebop to Hip-Hop</em> (2003) and <em>The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Modern Jazz</em> (2013). There’s also a long essay titled <em>African American Music</em>, which was published on Kindle. It’s an overview of the history of African American Music. Other than that, people might check out my blog Musiqology.com, which has a lot of my public work written over the last decade. And there’s the museum catalogs to which I’ve contributed essays.</p> <p><strong>Can you share some of the things you’ve practiced over the course of your scholarly career that you feel have contributed to your current success?</strong></p> <p>I’ve been adamant to think about my creative output as related to my scholarship. That practice has given me the freedom to think about how they can inform one another. It also allows me to keep a steady stream of content flowing because I’m constantly moving between the two streams.</p> <p><strong>You have a new mixtape coming out that is very personal to you in nature. Tell us a little about the backstory for this project.</strong></p> <p>The new project is called A Spiritual Vibe, Vol. 1, and it dropped on May 31. It’s a collection of spiritual songs featuring contemporary-sounding interpretations and arrangements. It’s a very personal project because it maps my journey through cancer treatment and the Covid-19 global pandemic. The project is a reflection of the thinking that helped me get through those things.</p> <p><strong>How do you feel this one is similar and different from your other albums?</strong></p> <p>Besides it being a map of my journey to health, it represents a real stylistic departure from some of my earlier work. I’ve moved more into the digital sound world and it features much more singing than my previous CDs.</p> <p>Dr. Ramsey has been an avid supporter of mine for many years and I am of him as well. I want to thank him again for taking time out of his busy schedule to chat with me, and I hope to have him as a guest on the Occhi <a href="https://www.youtube.com/channel/UCh35aFFEzR6KGfwG5f-vIHw">YouTube Channel</a> in the near future to discuss all his recent happenings in depth. The success he is enjoying now is much deserved, and I’m looking forward to many more great accomplishments in the future. Be sure to check out his most recent release <em>A Spiritual</em> <em>Vibe Vol. 1</em> as well as his other albums and his published literary works.</p> <p>For more information, please visit</p> <p><a href="https://themusiqdept.bandcamp.com/album/a-spiritual-vibe-vol-1-2">https://themusiqdept.bandcamp.com/album/a-spiritual-vibe-vol-1-2</a></p> <p><a href="https://twitter.com/DrGuyMusiQology">https://twitter.com/DrGuyMusiQology</a></p> <p><a href="https://www.instagram.com/ramseymusic/">https://www.instagram.com/ramseymusic/</a></p> <p>Credits:</p> <p>Photo by Njr2 Photography<br> Album Cover Design by Mikel Washington</p> <p><a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="wp-image-19176 aligncenter" src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=640%2C640&ssl=1" alt="" width="640" height="640" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?w=640&ssl=1 640w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=300%2C300&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=150%2C150&ssl=1 150w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=500%2C500&ssl=1 500w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=275%2C275&ssl=1 275w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=24%2C24&ssl=1 24w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=48%2C48&ssl=1 48w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/07/A-SPIRITUAL-VIBE-COVER-ART.jpg?resize=96%2C96&ssl=1 96w" sizes="auto, (max-width: 640px) 100vw, 640px" /></a></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/meet-guthrie-ramsey-performer-and-scholar/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">19173</post-id> </item> <item> <title>Up Close and Personal with Franck Amsallem – Jazz Pianist, Composer and Singer</title> <link>https://occhimagazine.com/up-close-and-personal-with-franck-amsallem-jazz-pianist-composer-and-singer/</link> <comments>https://occhimagazine.com/up-close-and-personal-with-franck-amsallem-jazz-pianist-composer-and-singer/#comments</comments> <dc:creator><![CDATA[David Emmanuel Noel]]></dc:creator> <pubDate>Wed, 17 Jun 2020 13:00:37 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Reviews]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[David Emmanuel Noel]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Review]]></category> <category><![CDATA[Singer]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=18928</guid> <description><![CDATA[Franck Amsallem is a recognized name in the jazz world. Born in Oran and raised]]></description> <content:encoded><![CDATA[<body><p></p>Franck Amsallem is a recognized name in the jazz world. Born in Oran and raised in Nice, he lived in the United States for over twenty years, working as a professional musician. He’s played or collaborated with the likes of Gerry Mulligan, Joe Chambers, Gary Peacock, Bill Stewart, Joshua Redman, Maria Schneider, Jerry Bergonzi, Charles Lloyd, Bobby Watson, Roy Hargrove, Kevin Mahogany, Ravi Coltrane, Bob Brookmeyer, Roccisano, and Harry Belafonte to name a few. Now based in Paris, we caught up to discuss his career and the success of his CD, Gotham Goodbye, released in September 2019. The album pays homage to the 1990s and, whilst there are parallels with Amsallem’s earlier recordings with Peacock and Stewart, there’s fresh energy found in the nine original compositions, starting off with my favorite track <span class="style-scope yt-formatted-string" dir="auto"><em>From Two to Five</em>. The album compositions are masterfully delivered with saxophonist Irving Acao, Viktor Nyberg on bass, and drummer Gautier Garrigue. The production quality is second to none and a delight to hear from start to finish.</span> <p><span class="style-scope yt-formatted-string" dir="auto"> <a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="aligncenter wp-image-18934 " src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=640%2C360&ssl=1" alt="" width="640" height="360" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?w=880&ssl=1 880w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=300%2C169&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=768%2C433&ssl=1 768w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=878%2C494&ssl=1 878w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=475%2C267&ssl=1 475w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=270%2C152&ssl=1 270w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/499-v6R16-9-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=170%2C95&ssl=1 170w" sizes="auto, (max-width: 640px) 100vw, 640px" /></a></span></p> <p><strong>Hi</strong> <strong>Franck, thank you for granting the interview. Congratulations on your career to date. You took up the classical saxophone and the piano at age 7 at the local conservatory. How did the piano become your signature instrument? </strong></p> <p>In fact, I had played piano since the age of seven, but not seriously. I had a terrible teacher, and my parents were not musical. When I became a teenager, I was lured by the sound of jazz and blues. That was when I picked up the saxophone. However, I played piano naturally without having any teacher telling me what or how to play, which in hindsight was a really positive way of learning. The opposite happened in saxophone where, according to the French classical tradition, I cut my teeth on various early 20<sup>th</sup>-century composers (Glazounov, Ibert). This made for a contrived musical education that I resent to this day. Meanwhile, I became an in-demand jazz pianist on the Côte d’Azur quite early in my career, so, when at the age of 19 it was time to choose, I picked the piano as my instrument.</p> <p><strong>Who were role models or inspiring artists in your early career and why?</strong></p> <p>In 1977 I was lucky enough to witness one of the greatest jazz festivals ever to happen, right in my hometown, the Grande Parade du Jazz in Nice, France. That year, I listened, mesmerized, to the Thad Jones/Mel Lewis Jazz Orchestra, the Count Basie band, Charles Mingus, and various soloists, like Eddie Daniels, Clark Terry, Alan Dawson, and Hank Jones. These players inspire me to this day. When at a young age, you’re able to witness these organized jam sessions, you can’t but be stunned at how loose jazz sometimes is on stage. That was a formidable education in music-making. The following year, I listened to the Bill Evans Trio and the Stan Getz Quartet. These two musicians would end up being lifetime role models: Bill Evans for his incredible musical culture and nobility in playing; Stan Getz for his unsurpassed lyricism and depth in sound.</p> <p><strong>You were awarded a full scholarship to attend the Berklee College of Music in 1981-84, to study composition and arranging with Herb Pomeroy and Michael Gibbs. Can you recall your experience studying under these renowned artists?</strong></p> <p>With Herb Pomeroy, that was the first time I played under a conductor who was obviously a master at what he was doing. Every note I played, every chord I played had to fit, and, if you’ve never been through an experience like that, you won’t know what it is. Herb was also a master arranging & composition teacher. His <em>Line</em> <em>Writing</em> and <em>Writing in the Style of Duke Ellington</em> classes were two of the most important I ever attended. The techniques and material I was fed were top stuff. To this day, they are still on my mind. Michael Gibbs was an inspirational teacher. He made you listen to other kinds of music, a lot of which was from contemporary composers, and to analyze their techniques. He tried really hard to make us distill our compositional projects into a highly concentrated form. I learned a lot from him and from his way of approaching composing.</p> <p><strong>You moved to New York City in 1986 where you completed a Masters in Jazz Composition at the Manhattan School of Music, participating in BMI Jazz Composers Workshop, and collaborated with several iconic figures such as Gerry Mulligan, Bill Stewart, Joe Chambers, Roy Hargrove, and Joshua Redman to name just a few. In the company of so many iconic figures in the industry, was there a particular moment where you felt accepted and officially part of the New York scene?</strong></p> <p>A funny thing – I never felt completely a part of the New York scene, just like I never felt completely American in so many ways. To many, I remained a French pianist, even though I could swing as hard as most. I guess, due to my upbringing on a different continent and the highly personal way I play, I felt like I didn’t completely blend in, on so many levels, even though I had many great opportunities to play with the best. I guess, deep at heart, some people are more meant to be leaders than sidemen, and I’m one of them. In being a leader, you can shape the music the way you want and not according to anybody else’s whims. I think the closest I felt to being a part of the New York scene were the times I was able to lead a band in NYC. And, of course, in NYC, the people you play with are of such high caliber that you leave the gig feeling that it was an optimal performance. That’s truly when I could say I felt accepted.</p> <p><strong> In 1990 your debut recording as a leader, <em>Out a Day</em>, featuring Gary Peacock on bass and Bill Stewart on drums, was very well received by the international jazz press and highly praised by the Penguin Guide to Jazz Recordings. Looking back, having recorded 12 albums as a leader, how much of an impact do you feel this particular album had on your career?</strong></p> <p>That record started it all. First, because that music remains to this day – I’ll say immodestly – my joy. To come up with a first record that makes such an impact changes your life even though it takes years to understand how. Also, to prove you can hang with the best and, in this case, on mostly original material shows that your career has legs. Too often people can’t sustain longevity for multiple reasons. I think that, in my case, the fact that I’m a composer (I’ve written for big bands and string orchestras, as well as jazz tunes, of course) has helped me immensely. The album itself has been reissued four times. That says a lot.</p> <p><strong><a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/472-v6-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="aligncenter wp-image-18936 " src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/472-v6-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=640%2C428&ssl=1" alt="" width="640" height="428" loading="lazy" srcset="https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/472-v6-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?w=709&ssl=1 709w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/472-v6-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=300%2C201&ssl=1 300w, https://i0.wp.com/occhimagazine.com/wp-content/uploads/2020/06/472-v6-Franck-Amsallem-2019-Copyright-Philippe-LEVY-STAB.jpg?resize=72%2C49&ssl=1 72w" sizes="auto, (max-width: 640px) 100vw, 640px" /></a></strong></p> <p><strong>You returned to France in 2001,</strong> <strong>settling in Paris, where you’ve collaborated with the likes of Stephane Belmondo, Elisabeth Kontomanou, and Sara Lazarus. How do New York and Paris compare and what aspects of New York life do you miss?</strong></p> <p>These are two different animals. Leaving New York at the end of 2001 was a blessing for all the reasons you can imagine. In Paris, I felt like more of a human being, and I got to perform all over the world in places I had never set foot in, due to my French affiliation. Of course, I missed the music in New York and my musician friends, who always steered me in the right direction musically. But at some point, you also take directions based on lifestyle; at that point, in the early 2000s, I wanted to experience what it felt like to be a father and leave the rat race behind. It does look like I was coming home but, in fact, I had never lived in Paris before.</p> <p><strong>In 2009 you released your first singing album, </strong><strong><em>Amsallem Sings,</em> followed-up with <em>Franck Amsallem Sings, Vol. 2</em>, a trio album, released in 2014. How long was this project fermenting?</strong></p> <p>To also brand myself as a pianist–singer was a long time in the making. As a matter of fact, I took voice lessons at Berklee back in 1981! But the whole singing vibe wasn’t something I wanted to address early in my career. I’m still shy about singing, but it really was a tremendous opportunity for me to explore <em>The American Songbook</em> in ways I hadn’t done before. I now understand better how to phrase a melody, which is capital for anyone and too often overlooked. Young musicians should always pay close attention to singers!</p> <p><strong> Your latest album <em>Gotham Goodbye</em> pays homage to the New York scene of the 1990s whilst providing a contemporary twist. The album compositions are masterfully delivered with saxophonist Irving Acao, Viktor Nyberg on bass, and drummer Gautier Garrigue. Please share with our readers how the album, and collaborating with these talented artists, came about?</strong></p> <p>After a quartet gig we played at Duc des Lombards in Paris in 2016, I felt that this was a band to reckon with. Each of these individuals is a master and, as you can guess, much on-demand on the scene over here. They understood my music perfectly well, and it was time to present something different than standards and songs. I dug into a trove of original unpublished material as well as wrote some new music for the occasion; I found a sympathetic producer, Vincent Bessieres, from Jazz&People, and, after much grant writing, we were able to make it work. Our sound engineer Alban Sautour worked beautifully to give the music a contemporary twist. This wasn’t going to be another blowing session.</p> <p><strong><em>Gotham Goodbye</em> has been praised by the jazz press. This is connected to my next question; what have been the most challenging and rewarding aspects of being a recording artist?</strong></p> <p>I’d say the trick is in the longevity of it. Ideally, you have to come up with a new project, a new idea, a new concept almost every time you record something under your own name. In my case, to show that almost 30 years later I can renew my art yet one more time and show that my music is as fresh as it was 30 years ago is in itself a reward. A recording is something you must be proud of; it is your badge of honor, and you involve many people in a project like that – you better make it worthwhile for everyone.</p> <p><strong>What other projects should we look forward to seeing you involved in?</strong></p> <p>Because of Covid-19, everything is on hold. Gigs and tours are on the back burner. I have projects that involve writing for big band and/or string orchestras that have never seen the light of day. These will be future releases. I would also like to do a second opus with this fabulous quartet.</p> <p><strong>Where can we find out more about you?</strong></p> <p>Come by and say hello at the Duc des Lombards or at Sunside in Paris. Or drop me a mail through my website:</p> <p><a href="http://amsallem.com/">http://amsallem.com/</a></p> <p><a href="https://www.facebook.com/franckamsallem">https://www.facebook.com/franckamsallem</a></p> <p><a href="https://www.facebook.com/FranckAmsallemMusic/">https://www.facebook.com/FranckAmsallemMusic/</a></p> <p> </p> <p>Images- ©Jean-Baptiste Millot (Lead photo) and Philippe LEVY-STAB © 2019</p> <div class="jetpack-video-wrapper"><iframe loading="lazy" title='Franck Amsallem "From Two to Five" #studiolive' width="640" height="360" src="https://www.youtube.com/embed/ve0ikbb-I1I?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> <p></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/up-close-and-personal-with-franck-amsallem-jazz-pianist-composer-and-singer/feed/</wfw:commentRss> <slash:comments>2</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">18928</post-id> </item> <item> <title>Plume: From Paris, With Love!</title> <link>https://occhimagazine.com/plume-from-paris-with-love/</link> <comments>https://occhimagazine.com/plume-from-paris-with-love/#respond</comments> <dc:creator><![CDATA[Jonathan Blackman]]></dc:creator> <pubDate>Tue, 09 Jun 2020 18:00:10 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=18804</guid> <description><![CDATA[Plume -the name for many jazz musicians who were blessed to have heard him evokes]]></description> <content:encoded><![CDATA[<body><p></p><a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/Plume-1-%C2%A9-Eric-Garault.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="alignleft wp-image-18811 " src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/Plume-1-%C2%A9-Eric-Garault.jpg?resize=389%2C582&ssl=1" alt="" width="389" height="582" loading="lazy"></a>Plume -the name for many jazz musicians who were blessed to have heard him evokes feelings of admiration and reverence. Known for his honesty both on and off the bandstand he has earned the respect of many musicians from Philadelphia, New York, to Boston and beyond, earning him a place in the legends of lore even at such a young age! <p>However, with a promising career on the rise in the states, his honesty led him back to another familiar place he likes to call home- France. Being raised in both of these countries, he has embraced both cultures, but after some time in New York, he decided to move back to France for personal happiness. While he still comes back to New York on occasions the alto saxophonist virtuoso now calls Paris his home and is turning heads in Europe just as he did in the states. He was gracious enough to entertain an interview with Occhi Magazine to tell his wonderful story.</p> <p><strong>Can you give us a bit of background on your career?</strong></p> <p>I lived in NYC (Brooklyn) from 2007-2013. I hadn’t spent much time in the city before moving there so it did take me some time adjusting and figuring out the vibe – especially being in my mid-twenties. In the beginning, I spent a lot of time going to jam sessions just to play and connect. I mostly went to Cleopatra’s Needle, Fat Cat, and Sweet Rhythm which had a nice session on Thursdays hosted by Eric Wyatt. In the later years, I hung out a lot at Smalls. Most of my income was generated by teaching lessons through a music store, private lessons, and some busking. Busking ended up playing an important role for me over the years because it provided me with a steady opportunity to play a lot, dig deep into the music while making some money.</p> <p>Although I didn’t gig as much as I had wished to, I did get the opportunity to work with a lot of great peers while I was in the city: George Burton, Benito Gonzales, Stacy Dillard, Lawrence Clark, Duane Eubanks, Lawrence Fields, Zaccai Curtis, Justin Faulkner, Obed Calvaire, Chris Beck, Ben Williams and many more… I also traveled quite frequently to the Baltimore/DC area to play with Warren Wolf and made the occasional trip up to Boston to play Wally’s Café with Jason Palmer (both of whom I played with there every weekend for over 2 years between 2002-2005).</p> <p>I was also very fortunate to perform with the great bassist Bill Lee on several occasions and be part of a week-long show around Bird’s music at the Joyce Theatre led by tap dancer Jason Samuel Smith. It took me a while to figure out that I was more cut out to be a leader than a sideman, and had I figured that out earlier I would have certainly approached things much differently. Nonetheless, I eventually did lead my band a few times at Sweet Rhythm, Fat Cat, and Smalls most recently, as well as some smaller Brooklyn venues.</p> <p><strong>I read you were back and forth between New York and Paris, and now are permanently staying there. What made you decide to reside in Paris?</strong></p> <p>Leaving NYC was a very tough decision to make. I still love NYC and my musical heart is there – I greatly miss it. However being raised in two different countries (France and the USA), I felt like I was missing something in my personal life that NYC wasn’t fulfilling. Even though I knew a lot of people in NYC, I did feel quite isolated in a way and disconnected from a strong network of family and friends that I had experienced growing up as a teenager. In my opinion, one of the downsides of NYC is that the hustle never stops – meaning even if you want to take a break for a second and just “enjoy life” you really can’t afford to. I was at a point where I realized that I needed to balance my personal life and my professional life. I needed to have a life outside of music to keep inspired to make music.</p> <p>When I left NYC I wasn’t planning on going to Paris. I just knew I needed a break. I first spent some time in the south of France where my parents were at that moment. Then I went to Berlin for a couple of months, Lyon for a couple of months and then ended up in Paris because I couldn’t escape the fact that to make music you have to be in a big city where there are people that you can and want to play with as well as an abundance of opportunities. I wasn’t planning on staying in the beginning but things started to happen and I am still here!</p> <p><strong>Now that you are living in Paris full time did it take a long time to re-establish yourself among the local scene; Did previous trips assist with a smooth transition?</strong></p> <p>Well, I had lived in Paris for a year in 2001 and another year in 2006 right before moving to NYC. I would also spend some time in Paris every summer. So I really was not here that much but enough to know some people and to know what the scene was like. But I had never really done anything professionally speaking or very little at least, especially as a leader. When I moved back to Paris in 2015 I did somewhat start from scratch with the only exception that I knew many of the people who were here previously and had a good idea of what to expect in terms of the scene’s dynamic. I immediately reconnected musically with the cats I dug playing with back when I lived here in 2006. On a professional level, most of my work as a sideman did stem from new collaborations, especially with bassist Geraud Portal and trumpeter Hermon Mehari, who moved here from Kansas City in 2016. I also really started to think as a leader once I moved here because I realized I could no longer expect to be a part of something I aspired to (since what I had experienced in Boston and NYC did not exist here), I had to create it myself. That has been the biggest change for me and although difficult to deal with sometimes, it has forced me to change the way that I see and do things, so in the end, it has been extremely positive. One of the results of this is me finally putting out my debut record (which was overdue by almost 10 years at this point) and doing that has really propelled me into a new space.</p> <p><strong>How are the two scenes similar and different? Are there any aspects of New York life that you miss?</strong></p> <p>That’s a tough question to answer honestly. It is really difficult to compare the two scenes because jazz music is a Black American art form. One city is in the US and the other in Europe where Black American culture is non-existent on a local level. One thing that I have truly realized since I left the States is that an art form is inseparable from its culture. If you strip the art form from its culture you are left with theoretical knowledge which in itself is an empty shell. Jazz music isn’t just about chords, scales, and rhythm – there is also a whole lot of feeling, culture, philosophy, and history that is intricately part of the art form. The problem is that while you can learn the theoretical part in schools, much of the second part can’t be taught through a curriculum, except for history. The second part is a heritage that is passed down directly by people and the music itself. While Paris may have a lot of great players and music enthusiasts, the city lacks the presence of Black American culture in general, which results in a huge gap in essential elements such as the blues, swing, sound & the notion of developing an integral artistic identity. The closest insight or education you can get here is by checking out shows of American artists when they are in town, hanging with them, and of course checking out records, videos, and books. But that is still skimming the surface of things, looking at them from the outside. It will never replace the experience of being submerged in the culture which can truly only be achieved by living in the US for a while. When you live in NYC or a big city in the US, Black culture is all around you all the time in many ways. When you are part of a scene in the US you are surrounded by some amazing peers and many generations of musicians before you who have witnessed or even played with the masters of this music. It’s very different to be in this type of environment than in one where most people have learned the art form exclusively in a Conservatory. I moved back to the States to go to Berklee and NEC in Boston when I was 16 years old. Back then I knew my vocation was music but I really didn’t discover the music I wanted to play now until I got there. I learned a lot about music in both of these institutions’ classes but mostly on a theoretical and technical level. But as far as the substance of the music goes, I really learned that from listening and being around great peers at school, and later at Wally’s Café in Boston where I played for over 2 years between 2002 and 2005.</p> <p>Coming back to Paris, I’ve seen a lot of positive change between when I lived there in 2006 and now. The younger generation of musicians seem more eager and open to check out what is going on in the US and to keep up with current events. Nonetheless, the Paris scene has a lot of room to grow and could greatly benefit from the presence of American musicians who would want to move here.</p> <p><strong><a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/Plume-4-%C2%A9-Eric-Garault.1.jpg?ssl=1"><img data-recalc-dims="1" decoding="async" class="aligncenter wp-image-18812 size-large" src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/06/Plume-4-%C2%A9-Eric-Garault.1-1024x605.jpg?resize=640%2C378&ssl=1" alt="" width="640" height="378" loading="lazy"></a>Your album ‘Escaping the Dark Side’ has been very successful allowing you playing opportunities in Europe as well as New York. Can you tell us a little about the concept and inspiration behind this album?</strong></p> <p>As I mentioned before, this album for me was long overdue when I finally was able to complete it. Although most of the compositions were written during my NYC years (except for “Seek You Must” that I wrote in Paris in 2006) I was never in a position to financially make a record. Moving back to Europe was a sudden decision and a setback since it took me a while to re-establish myself and to start thinking about the album again.</p> <p>When I moved to Paris I organized a lot of sessions playing mostly standard repertoire to figure out who I wanted to play with. After I figured that out I brought out my book of compositions and we started to work on the music and eventually played a couple of shows with the repertoire. At that same moment, I met Vincent Bessieres who runs the “Jazz & People” label who really dug the music. We also clicked on a personal level and immediately after we started to plan the recording session. So in a way the album is a result of hard work, meticulous planning, and also a bit of fate. I do believe that things get done smoothly when the time is right and in this case, that is exactly how it happened!</p> <p><strong>In lieu of the current pandemic, how is the state of things over there in Paris?</strong></p> <p>Over here we had a police enforced lockdown for 55 days during which you could only go out for bare necessities with the exception of a short walk in a 1 km radius. The lockdown ended almost 3 weeks ago and things have slowly been progressing with bars and restaurants planning to partially open up next week. But for the moment there is still no scheduled date for concerts to start again. All musicians have had all of their gigs and summer festivals canceled like everywhere else. We are lucky here in France to have a system that supports artists pretty well, so for the moment the situation isn’t disastrous but we have no idea what is to come. When will gigs start again? Which venues will be able to open and under what circumstances? Will some venues even be able to continue to hire live bands considering the economic impact of this crisis? So many questions… For the moment everything is a bit up in the air so the best thing to do in my opinion is to stay patient but at the same time get ready for things to pick up again. But there’s no knowing at the moment the long term consequences of this crisis.</p> <p><strong>What are your plans for the future with regards to a second album, maybe touring with your band, post-COVID-19 of course?</strong></p> <p>Well… The band had some great gigs lined up for the summer (such as the Nice Jazz Festival) but unfortunately, everything has been canceled for the moment. I’m hoping that some of these gigs will be rescheduled as these were really our first festival gigs promoting the music from “Escaping the Dark Side”. Also, a second record was being planned to be recorded in September 2020 but with the crisis, everything is a bit in suspense until we find out how things will evolve. It might get pushed back a bit, or maybe the plan will have to change to accommodate new circumstances, we’ll see! But I’m hoping things will pick up again soon and that new music can be recorded as soon as possible!</p> <p>While we are deprived of hearing his genius on a regular basis in the states, we are fortunate enough to have his amazing record <em>Escaping the Dark Side</em> to get our fix until the real thing comes back in person! For our readers in Europe, you will be doing yourselves a tremendous favor by checking out Plume anywhere and everywhere he is playing, and Occhi Magazine anxiously awaits his next album and much more!</p> <p><em>Photo Credit: Eric Garault</em></p> <p>For further info please visit his <a href="https://www.plume-altosaxophonist.com/bio">website</a></p> <div class="jetpack-video-wrapper"><iframe loading="lazy" title="PLUME: Escaping the Dark Side (live at Sextan)" width="640" height="360" src="https://www.youtube.com/embed/Ir9SOc1jZko?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> <p> </p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/plume-from-paris-with-love/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">18804</post-id> </item> <item> <title>In Conversation with Grammy Award-Winning Trumpeter Nabaté Isles</title> <link>https://occhimagazine.com/in-conversation-with-grammy-award-winning-trumpeter-nabate-isles/</link> <comments>https://occhimagazine.com/in-conversation-with-grammy-award-winning-trumpeter-nabate-isles/#respond</comments> <dc:creator><![CDATA[Jonathan Blackman]]></dc:creator> <pubDate>Sun, 31 May 2020 13:00:39 +0000</pubDate> <category><![CDATA[Interviews]]></category> <category><![CDATA[News]]></category> <category><![CDATA[Spotlight on Jazz]]></category> <category><![CDATA[Critically Acclaimed Musicians]]></category> <category><![CDATA[Hip Hop]]></category> <category><![CDATA[Jazz]]></category> <category><![CDATA[JazzArtists]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Radio]]></category> <category><![CDATA[Songwriter]]></category> <guid isPermaLink="false">https://occhimagazine.com/?p=18620</guid> <description><![CDATA[Grammy award-winning trumpeter Nabaté Isles hails from the Big Apple. Deciding to pursue music seriously]]></description> <content:encoded><![CDATA[<body><p></p>Grammy award-winning trumpeter Nabaté Isles hails from the Big Apple. Deciding to pursue music seriously since the age of thirteen his dedication to his art has led him to play with artists such as Yasiin Bey (a.k.a. Mos Def), Christian McBride, Kenny Lattimore, Jill Scott, Dianne Reeves, Robert Glasper, The Mingus Big Band and many more as well as recording his debut album <em>Eclectic Excursions, </em>which has gained much success in its own right. With a performance at the white house for former President Barack Obama, five short film scores to his name, and working as the trumpet instructor for Rob Brown for his role as Delmond Lambreaux on the HBO series “Treme,” it’s safe to say he has had a very successful career up to this point. <p>There is another side to the gifted trumpeter and composer. He is equally passionate about the world of sports and has enjoyed a career as a sports broadcaster that has been just as successful. He hosts a TV show in Manhattan called ‘So Much to Talk About’ and started a podcast this past December called ‘Where They At’. On the podcast, he has featured elite figures such as Chuck D, George Foreman, Warren Moon, Darrelle Revis, Dan O’Brien, Larry Brown, David Robinson, and many others. With such a unique story of balancing these two unseeingly related worlds was too good an opportunity to pass up and we are pleased we had the opportunity to sit down with him to talk about his careers from past to present, and looking toward the future!</p> <p><strong>You have a very successful double career in music as well as in the sports industry. How did this come about and has there always been an even balance or were (or still are) times where one comes to the forefront? What sports did you play growing up?</strong></p> <p>I was always into sports and music growing up. If I wasn’t practicing trumpet I was watching a game during my high school years because I didn’t have time to play sports like I did in my elementary and junior high years. I played a lot of baseball, I did karate, and I also did some boxing in 7th and 8th grade… and basketball too, but I wasn’t that great at basketball. When I started to practice when I was 13 years old, I started to be serious about the trumpet. I would just practice and then watch sports if I wasn’t practicing, or I’d go outside to get some fresh air and hang out with friends. But yeah I’ve always loved sports and throughout the years I would always watch sports, and I am a big history person. I’m always into history whether it’s film, music, or sports history. Those are the three historical subjects that I would always be into as well as black history and how it related to jazz, R & B, etc. And black pioneers like black classical composers.</p> <p>I was always into sports and then I did this game show—I did a few game shows, but I did this one where I was successful called <em>Stump the Schwab </em>and I still keep in touch with Howie Schwab to this day. Years later, I won Sports Jeopardy. So when I won ‘Stump The Schwab’, I just saw throughout that time how there were some people who don’t know their sports but who are talking about it. I call them charlatans, to be honest. So I started to do a TV show public access in 2006 called <em>So much to talk about, </em>and I do that show to this day to keep providing a voice for what I see in sports and to conduct interviews. When I started <em>So much to talk about </em>I started to gain a reputation around the sports media landscape. I met and talked to people, developed good relationships with people from PR, and then I was covering college basketball games, then the Knicks games, then the Giants and the Jets, then Mets, as well as a lot of local events. Then after that I started to work in radio production working with ESPN New York and then NBA radio and I was at both places for a total of 6-7 years.<strong> </strong>Now I do my podcast <em>Where They At, </em>which takes up some time with preparations for guests, interviewing the guests, then editing.</p> <p>It was tough to balance the two careers especially when I started to get more immersed in sports media. It was a little time consuming doing both. So with my trumpet even when I got busy I always made sure I had my instrument and would put it to my face to keep my chops in shape, especially when I traveled. If I wasn’t traveling for gigs but rather sports production events and things like that I would always bring my trumpet. I would put a mute in and play in my hotel room or if I had a day off I could really work on some exercises, music, etc. So it’s always been about immersing myself in time management, especially the older I get.</p> <p><strong>Some people see the sports world as something not on the level of sophistication of music and the arts. The same may hold where people in the sports world see the arts as “cute” or not manly or cool; the high school jock vs. geek mentality if you will! Why do you feel that is and what can both sides do to disperse these notions?</strong></p> <p>I think when people are younger they have those preconceived notions that band people are nerds and geeks. I think that happens more with those younger as opposed to when athletes become professional and are older. For example, I think there is a correlation as there are many professional athletes that play musical instruments! Take Dan O’ Brien, who I interviewed on the fifteenth episode of my <em>Where they At </em>podcast. Dan played trumpet in the marching band as well as being a track and field and football athlete in high school, so he did both! So I think these stereotypes happen more when people are younger and immature and don’t see the discipline and diligence that is involved on both sides. But professional athletes, that’s all they do! They hang with recording artists and want to be them and vice versa where a lot of recording artists want to be professional athletes and a lot of them do some pro-am competitions as well as pick up games. So that’s pretty much how the vibe is now between musicians/recording artists and professional athletes.</p> <p><strong><a href="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/05/Nabat%C3%A9-Isles-Photo-4.png?ssl=1"><img data-recalc-dims="1" decoding="async" class="aligncenter wp-image-18625 " src="https://i0.wp.com/occhimagazine.com//wp-content/uploads/2020/05/Nabat%C3%A9-Isles-Photo-4.png?resize=640%2C600&ssl=1" alt="" width="640" height="600" loading="lazy"></a></strong></p> <p><strong>I find there are a lot of parallels between the two worlds in a lot of ways. Can you tell me some of the parallels between the two disciplines?</strong></p> <p>There are a lot of similarities between the disciplines. As mentioned before it takes a lot of discipline, diligence, REPETITION. To be a great musician you must have repetition and break down things to learn them, especially if you have trouble with a measure or two of a piece you have to repeat the segment over and over. And it’s the same in athletics. If a player has a weakness in a certain part of their game like a basketball player who doesn’t have a good jump shot they have to repeat the act of shooting over and over so they can get better. Another thing is film study. Studying your opponent. In music you don’t really have an opponent, but you do evaluate past musicians and current musicians to see what they do so well that YOU can’t do. Then you try and get better at these particular aspects. With athletes looking at film of your opponents you have to be able to dissect and thoroughly evaluate your opponents’ weaknesses and tendencies so you can attack those components.<strong> </strong>So there are many similarities between music and sports when it comes to the mindset and physical approach.</p> <p><strong>What are the positives and negatives of each?</strong></p> <p>There are positives and negatives to both. The positive for both is that you build an identity for yourself and you have a love for what you do. When you love it, whether it’s music or sports, it’s very fun! It’s very fun, especially if you want to pursue it because it’s a great thing. It builds self-esteem, discipline, and accountability because in music and sports, at the end of the day, they know if you didn’t put the work in. A negative is you’re competing against so many people in music and sports so you have to be willing to outwork, out strategize, you have to know your craft and know the history of your craft more than your competitors, or even your teammates/ fellow musicians. So that’s important to be able to figure out what you need to improve upon and be very gun-ho in learning as much as you can, addressing your weaknesses, augmenting your strengths, and learning who is out there in terms of your peers. See what they do well and implement into what you do. So those are some of the positives and negatives. Everyone is out there wanting to make it so that’s the thing; you’re exposed if you don’t put the work in. So that’s a positive and negative thing. You have to hold yourself accountable.</p> <p><strong>Your album Eclectic Excursions has amassed quite a bit of success as well as your other performances with legendary bassist Christian McBride, revered rapper Elzhi, Grammy-winning producer Sam Barsh and others. I know we are in the middle of a pandemic, but what are some of your plans for the future, or what were some of your plans pre Covid-19?</strong></p> <p>Eclectic Excursions was an honor and a privilege to be able to work with so many, so many wonderful musicians and artists that really were able to bring out their own creative identity to help illuminate my music more. I had 25 musicians overall involved in the project, working in various configurations for each of the tracks. Now I am looking to do my second album. I may record it in September but it may be longer due to the Covid-19 pandemic. Things may open up more in September, but I’m just not sure with scientists predicting that there may be a second wave in the fall that could be worse than the one that is currently going on now. So I’m writing music for my second album, which will be different, and it’ll have a lot of voices (artists) that will bring the compositions together. Also sports-wise, I have a couple of projects I’m working on. I am still recording my podcast <em>Where They At </em>and as of May 18th I now have 20 episodes, which I am blessed with because I started the podcast in December 2019 and it’s now May 2020 and I’ve recorded 20 episodes with hall of fame caliber athletes and it’s been great. The one guest who is not an athlete, but who is a major sports fan is the legendary hip-hop artist Chuck D. It was great to talk with him and he is an avid supporter of my first album and my music in general, and I’m just blessed to have him in my corner. But that’s what I’m working on right now, and I’m also doing some teaching throughout the spring via online due to schools being closed as well as giving private lessons virtually, of course.</p> <p><strong>You have your podcast where you are interviewing some very famous athletes! Tell us about your podcast, what are your goals with it, and who are some other future guests we might be on the lookout for? </strong></p> <p>The podcast has been a great honor thus far. It’s been a dream come true to be able to talk to these amazing athletes, many of whom I watched growing up and witnessed the zenith of their elite careers when I was younger. So it’s just so amazing that I get to talk with them for over an hour, and a lot of my interviews have been well over an hour and approaching two hours. Then some interviews have a part two where the interviews are over two hours each<strong>!</strong> But it’s been great and there is a lot that I want to do with it. I want to have more people know about it so I’m building my social media with it, and having people get into it more and promote it, and viewers are downloading and supporting which is great.</p> <p>Another beautiful thing about this platform is that there are hundreds and thousands of retired athletes so I am open to interviewing any compelling person especially an athlete who is doing wonderful things in their retirement. They may have excelled in a second career and/or are contributing to their community and uplifting people. That’s what’s really big. And I emphasize athletes that are inspiring others not just with what they did on the field, but with what they are doing in retirement. So I’m game to any sport… but I do want to interview a tennis player, a golfer, and a nascar racer! I haven’t had a chance to interview these athletes yet, but we’ll see!</p> <p><strong>Music and sports are very dear to you. Are you currently marrying the two worlds in your work or are there any plans to do so in the future? </strong></p> <p>First of all before I answer this final question, I want to thank you Jonathan, Darryl Yokley, and the Occhi Magazine team for featuring me. I’m honored that you guys would like to profile me! In response to the question I’ll tell you this…being involved in both music and sports for nearly fourteen years, I have to say, it’s taken me a long time to figure out how to marry both of them. To figure out what I can do to merge them both. And over the past couple of years I have been developing things to do that and what I do on my podcast is interesting. All the music I use for the soundtrack to my podcast is from my album, <em>Eclectic Excursions</em> so it gives me a chance to let people know who are listening expecting a sports podcast that the host is not just a sports broadcaster but also a professional musician with an album out of music I composed. And also being involved in the music industry as a musician and a composer for over two decades professionally it’s been really something to put my knowledge of both together. So I’m working on projects that build that synergy between the two and as you can see a lot of programming is emphasizing that now, which is good. But I feel very fortunate to be one of the few people that’s hosting sports programming and that has professional production experience in sports, but to also be a professional musician, composer, and producer as well. So I am blessed to be in the best of both worlds and as time goes on those worlds will merge together through my own voice and creativity. Thank you very much.</p> <p>We want to thank Nabaté for his time and we wish him all the best with both of his careers! Please be sure to visit his website and follow his social media for both his music and his podcast series, and stay tuned as we will hopefully have the privilege of following up with this amazing artist in the near future!</p> <p>Nabate online links are:</p> <p>Music website: <a href="http://www.nabateisles.com/" target="_blank" rel="noopener noreferrer">www.nabateisles.com </a></p> <p><a href="https://www.youtube.com/channel/UCgWS_fhARlAhQfwrjdVXHmw">Youtube</a></p> <p>Links to Eclectic Excursions:</p> <p>iTunes/Apple Music: <a href="https://itunes.apple.com/ca/album/eclectic-excursions/1413200355" target="_blank" rel="noopener noreferrer">https://itunes.apple.<wbr></wbr>com/ca/album/eclectic-<wbr></wbr>excursions/1413200355</a></p> <p>Spotify: <a href="https://open.spotify.com/album/1RhRQsuAAAuHuyGGWITtTw" target="_blank" rel="noopener noreferrer">https://open.spotify.<wbr></wbr>com/album/<wbr></wbr>1RhRQsuAAAuHuyGGWITtTw</a></p> <p>Amazon: <a href="https://music.amazon.com/albums/B07FMZXYHY?ref=dm_sh_MC9XyHRvVfrXX4DnYCNd6ZAAO" target="_blank" rel="noopener noreferrer">https://music.amazon.com/<wbr></wbr>albums/B07FMZXYHY?ref=dm_sh_<wbr></wbr>MC9XyHRvVfrXX4DnYCNd6ZAAO</a></p> <p>Links to the podcast:</p> <p><a href="https://spoti.fi/2QHuV4t">Spotify </a><a href="https://spoti.fi/2QHuV4t" target="_blank" rel="noopener noreferrer"> </a><a href="https://apple.co/2FkLYnP">Apple Podcasts</a><a href="https://apple.co/2FkLYnP" target="_blank" rel="noopener noreferrer"> </a><a href="http://bit.ly/3crxLomi">Google Play </a><a href="https://ihr.fm/3aF3jFY">HeartRadio</a></p> </body><div class="swp-content-locator"></div>]]></content:encoded> <wfw:commentRss>https://occhimagazine.com/in-conversation-with-grammy-award-winning-trumpeter-nabate-isles/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">18620</post-id> </item> </channel> </rss>