Фирма Sunnyside Records

Disciplinary Architecture

The summer of 2019 brought pianist/composer Glenn Zaleski to a new milestone in his life. As he left his twenties, he also found out that he was expecting his first child. This led Zaleski to a period of reflection. He began to reexamine his youthful

The original pieces on her stylistically diverse and explorative recording were selected with the intention of taking the listener on a journey and telling the story in a direct and honest way. These are compositions that Roemer felt needed to come out so that she could continue her growth and explore new pathways. The pieces span from her time in Paris to her time in New York, many having been written with her ensemble and special guest artists in mind. Many of the lyrics, hers and otherwise, began as poetry. Roemer moved to New York and dove directly into the jazz scene there, performing regularly at Rockwood Music Hall, Jazz at Kitano Hotel and Cornelia St. Café, and completing her Master of Music in jazz studies at Queens College. Roemer was anxious to record as soon as she arrived. One of the many musicians she met was bassist Alex Claffy, whose enthusiasm for collaboration motivated Roemer to push through the production of House of Mirrors. Roemer set up recording dates and they brought on pianist Addison Frei and drummer Adam Arruda. The story is introduced by the title track, a meditative piece exploring decisions made and paths taken, that’s mood is amplified by guest Gilad Hekselman’s sensitive but spacious guitar. The haunting “Beauty Is a Wound” is a tribute to Roemer’s mother, the music going straight to the heart with stripped-down, minimalist but emotionally charged accompaniment by percussionist Rogerio Boccato. The intrepidly upbeat “Virgin Soil” is an benison given to a sister to go out and find one’s own way; gorgeous solos from Dayna Stephens and Frei emphasize Roemer’s message. Roemer intentionally includes German language in her music, as there has not been much use of the language in contemporary jazz, which she delivers in a natural, relatable way. In seeking German poetry, she discovered Felice Schragenheim’s “Deine Hände,” an uplifting love poem, written by a courageous woman who knew misfortune and died young at the hands of the Nazis, that Roemer arranged exquisitely for the quartet. The intensely persistent “Dark Night of the Soul” utilizes St. John of the Cross’s poem for content but really shines with Roemer’s brazen recitation of her own writing accompanied by Ben Monder’s guitar exploration. Hermann Hesse’s “Manchmal” is a blue-tinged appeal for humans to see our reflection in nature and mend our relationship with it

In the early 1900s Béla Bartók was introduced to the folk music of the Romanian people in Transylvania. His immediate infatuation with the music led him to a lifelong pursuit to record and catalog these beautiful regional pieces. Bartók spent eight years traveling the Romanian countryside recording and transcribing these pieces, which he would spend the rest of his life collating into six catalogs containing over three thousand tunes, simply entitled Romanian Folk Music. The composer’s own compositions would be influenced at every level by his folk studies. Lucian Ban grew up along Bartók’s collecting path in Transylvania and by the end of the ‘90s he would leave Romania to pursue his career in jazz music in New York City

Pianist, composer and arranger Carolina Calvache on her new album: “Vida Profunda is an ode to poetry and to life. The chosen poems and my original lyrics are the best vehicles for me to open my heart to the world because they relate to events that happened in my life or to people close to me. The title song comes from the poem Canción de la Vida Profunda (Song of the Profound Life) by Colombian writer Porfirio Barba Jacob. The second title “El Pájaro Yo” (The Me Bird) has the same name as the original poem by Chilean writer Pablo Neruda. The text of the song “Hope” is extracted from the poem “Lift every voice and sing” by African-American poet James Weldon Johnson. The song “Childhood Retreat” is based on the poem with the same name written by American poet Robert Duncan. “El Rastro” is extracted from the short story “El Rastro de tu sangre en la nieve” (The trail of your blood in the snow) by Colombian writer Gabriel Garcia Márquez. The song “Let Me Come With You” is extracted by the poem “Moonlight Sonata” by Greek poet Yiannis Ritsos. The original songs “No te vi crecer”, “Te conocí de nuevo”, “Stella”, “Sin un Despido”, are some of my stories and my first attempt to write lyrics.”

Miles Davis’s Birth of The Cool sessions, were recorded in 1949 and 1950 and released in 1957. More than fifty years later, when young trumpeter Bobby Spellman purchased a CD of these recordings, he became enchanted with the music. Spellman’s fascination with these performances led him to chase that same spirit for his own collection of nonet recordings, Revenge of the Cool. Spellman found after studying the scores that much of the attraction came from the unique colors and textures that were generated by the unique mid-sized ensemble along with the unique compositional style that lent itself to both jazz and classical styles, prefacing the Third Stream movement that would come soon after. Musicians: Bobby Spellman (Trumpet & Slide Trumpet, Composer, Arranger) Nonet band