spotlight photo: spotlight Spotlight2.jpg





Jaijai, what a wonderful mission you've undertaken to create such a place for artistic minds to meet and share their hearts. A place to renew faded determinations, and revive lessened momentums. A place to display our wares and reconfirm to one another that we actually are on the right track.

I commend you, Jaijai, for caring so much that you created this castle of the heart for all of us. I want to share my praise for all of the new friends as well as old friends that I've met and will meet here in our castle. Here we can garnish the where-with-all, the strength, the conviction, and the selflessness through our symbiosis, to share our gift to the world with an unbiased agenda.

My mentor, Daisaku Ikeda says of art: "A beautiful flower delights and refreshes the hearts of all people equally, no matter what soil it grows in. That is the power of beauty. The same is true of great art. It is this spirit that the German poet Heinrich Heine sang of when he wrote that once the peapod bursts open, the sugar peas inside are for everyone to enjoy."

Let's be audacious, my friends!

Buster Williams


Earma Thompson On Piano Jazz

She was a mainstay on the Chicago jazz scene for over 50 years before releasing an album as a bandleader herself. On this 2005 episode of Piano Jazz, the pianist performs tracks off Just In Time.

Jane Bunnett And Maqueque: The New Queens of Afro-Cuban Jazz

Canadian saxophonist and flutist Jane Bunnett has dedicated her life to Cuban music. Her latest project is Maqueque, an all-female band of young Cuban artists blending folkloric grooves and jazz.

Songs We Love: Terence Blanchard, 'Dear Jimi (Feat. The E-Collective)'

Blanchard's new record LIVE focuses on black art and black lives. For this Jimi Hendrix homage, he puts down the trumpet and pitch-bends the mournful melody on synth.

Watch Jordan Rakei Perform 'Eye To Eye' Live In The Studio

A rare talent emerging from London's current nexus of jazz, hip-hop, and electronic musicians, the soul singer performs his emotive new track.

First Listen: Orquesta Akokán, 'Orquesta Akokán'

A new album, recorded in a legendary Cuban recording studio, pays meticulous homage to the country's musical history and identity.

Click the image to give us your ideas for great festivals, events, fundraisers, sponsors, investors, etc. Let's combine our databases to bring us all to the next level of networking!

The Jazz Network reserves the right to approve, decline, ban or suspend membership at anytime without notice at its own discretion.


“Wow!  You have a beautiful vibrant recording.  BRAVO to you and Joel!  I think the two rhythm sections compliment one another quite well.  Thank you for inviting me to participate and I am glad I could be a part of it.”
--Rufus Reid


Saturday, May 7, 2011
The Music of Joy

I download and listen to "Composers Datebook" every day. The 2- minute program, a production of American Public Media and the American Composers Forum, usually deals with a particular composer, either celebrating his or her birthday or the day they passed or the premiere of an important work.

On this date in 1824, an audience in Vienna, Austria, heard the premiere of Ludwig van Beethoven's "Ninth Symphony", the composer's final major work, the one that features the "Song of Joy" as its final section.  That stunning piece of music came to mind today as I played the new CD by multi-reed player and composer Paul Lieberman.  No, he doesn’t rework the Beethoven masterpiece and his music is not really classical.  It is, however, filled from beginning to end with joy. 

After graduating from Yale in 1978, Lieberman moved to New York City where he continued his studies and played for dance companies. Working with Airto and Flora Purim solidified his love for Brazilian music and Lieberman moved to Rio De Janiero in the mid-1980s where he met and married his wife as well as becoming a popular studio musician. After returning to the US, he played with a slew of musicians from the jazz, soul and rock worlds and continued to work with many Brazilians. In 2006, he began to teach and study at the University of Massachusetts/Amherst, earning his Master's Degree in Jazz Composition and Arranging.  Currently, he tours with Jaimoe's Jass Band, has been working with the Arturo O'Farrill Big Band, and has started a new Saxophone Quartet with Marty Ehrlich, Jason Robinson and Gary Smulyan.

"Ibeji" (self-released) is the long-awaited debut recording from the Boston, Massachusetts-area resident. Blessed with 2 cracker-jack rhythm  sections (either bassist Rufus Reid and drummer Tim Horner or bassist Nilson Matta and drummer Duduka da Fonseca) and a program that ranges from sparkling originals to classic tunes from Brazil to jazz standards to one of the best covers of a Beatles tune by a jazz player, the recording shines.  The secret weapon is the brilliant work of co-producer and pianist Joel A. Martin, whose playing has is so effervescent that it jumps out of the speakers as if to hug the listener. Even his work on the slow tunes sparkles.  Lieberman plays tenor, alto and soprano saxophones plus flute, alto flute, piccolo, percussion and adds several vocal flourishes.

One of the more fascinating aspects of the program is how Lieberman uses his American rhythm section to re-imagine the Brazilian tunes (Jobim's "Inutil Paisagem" as a shuffle! and Ivan Lins' ballad "Doce Presenca" with a strong blues feel and opening phrase hearkens back to "April in Paris") and the Brazilian rhythm section to give new life to classic pieces such as Al Dubin & Harry Warren's "Lulu's Back in Town" (bossa nova) and "I'll Remember April" as a sprightly samba. I have always loved Lennon & McCartney's "In My Life", a somewhat melancholy love song that looks back on "people and things that went before."  Lieberman takes the tune up several notches, overdubs several flutes then rises atop Matta's melodic bass lines, da Fonseca's sprightly rhythms, and Martin's intelligent piano fills to create a piece that celebrates life to its fullest.  On the leader's "Voa Livre" ("fly free"), cellist Eugene Friesen and drummer Jaimoe (he, an original and current member of the Allman Brothers Band)  make guest appearances, filling out the sound.  Lieberman plays the enchanting melody on several flutes while Friesen moves gracefully behind him.  The leader makes a sudden and subtle shift to saxophone while his wife adds a wordless vocal, harmonizing with the cello.  The effect is pleasing and oh-so-sweet, even as the saxophone and drums build the intensity.  The program closes with "Beatriz", a lovely ballad from the pens of Edu Lobo and Chico Buarque, played only by Martin and Lieberman (alto flute).  "Lovely" is a weak word for this stunning, heartfelt, and emotional work.

In truth, "Ibeji" is "soul" music through and through, in the way that John Coltrane's "A Love Supreme", JS Bach's "6 Suites for Cello", and, yes, "Song of Joy"  is "soul" music to my ears.  The music comes from a place that combines technique, intelligence, experience, emotions and risk-taking that pushes the musician beyond the ordinary or the commonplace. How one reacts to this joyful creation is a matter of personal taste but, for this listener, I am going to return to this recording over and over because I like just how fine this music makes me feel.

--Richard Kamins


"Good god, this song is beautiful. It sent chills up my spine... When the year ends, this album will undoubtedly receive some Top Ten recognition.”
Dave Sumner, All About Jazz (Aug 12, 2011)


“Lieberman demonstrates his instrumental mastery and also reveals himself as a formidable composer... He is a soulful player on any instrument, conveying deep emotional content...
Lieberman's affection for both American jazz and Brazilian music is evident in his compositions and arrangements...and his excellent performance.”


“The CD is a beguiling mix of originals with American and Brazilian standards... [The] concept guaranteed variety and surprise, but what you're most likely to pick up on from the first few bars is buoyancy — a beat that floats on every track and pervasive ensemble joie de vivre... He gives his flute — the airiest of instruments, after all — real body. And his articulation makes an easy ride of the tricky rhythmic and harmonic turns. His piccolo work is perhaps even more arresting.  On..."Lulu's Back in Town" he gives the instrument a warm, woody timbre even as he clearly limns every grace note and trill at high speed... Lieberman discovered his own Brazilian accent early on...The source of his accent is still a mystery, but he clearly never lost it.”

Read more:



Views: 35


You need to be a member of THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" to add comments!


© 2018   Created by Jaijai Jackson.   Powered by

Badges  |  Report an Issue  |  Terms of Service