现任乐团成员：
钢琴手BobJames（团长）
吉他手LarryCarlton
鼓手HarveyMason
贝斯手NathanEast

1991年至今，成军十几年，不论是各人或是整个团体在这期间都拥有杰出的成绩单，拿下无数奖项、荣誉等，想到爵士乐，就会想起他们在爵士乐坛的辉煌成绩，喜欢爵士的人都会听过爵士四人行（Fourplay）的名字。
成军十年，得奖无数

过去十年来最受欢迎的跨界爵士乐（CrossoverJazz）演奏团体，说是爵士四人行，他们应该当之无愧。1991年乐团成立，由钢琴手BobJames当任团长，目前的成员包括了吉他手LarryCarlton、鼓手HarveyMason以及贝斯手NathanEast。至于,曾经是创始团员的吉他手LeeRitenour，在1998年乐团录制《4》这张专辑时，因为无法兼顾自己创办的i.e.Music唱片公司而离开，改由LarryCarlton入替。 新吉他手vs旧吉他手谈到LarryCarlton，不得不提他不久前在葛莱美与teveLukather一起获得的最佳流行音乐专辑《NoSubstitutions-LiveInOsaka》。他与LeeRitenour都是加州地区出身的顶尖吉他好手，交情也匪浅。团员更换后，作品风格之基调依旧不变;但可以感觉到的是LarryCarlton的吉他弦音比LeeRitenour有更强的节奏感。在2002年7月23日，爵士四人行发行了他们的最新专辑《Heartfelt》，这也是他们自1991年发行他们的首张专辑《Fourplay》以来的第八张专辑。这也是他们加盟RCA新东家以来的首个杰作。新作品拋开传统，把他们全新的风格注入其中，希望让歌曲散发更大的魅力、更独特的韵味。

The debut album by Emma-Jean Thackray feels exactly like the sort of thing we’ve been longing for over the last 12 months: a transcendent, human, shared experience. Across its 49 minutes, Yellow draws glowing lines between ‘70s jazz fusion and P-Funk, the cosmic invocations of Sun Ra and Alice Coltrane, and the gorgeous orchestration of the Beach Boys.

In April 2019, 22a boss and multi-instrumentalist, Tenderlonious embarked on a trip to Pakistan to work with Lahore based instrumental quartet, Jaubi. Following on from the highly acclaimed, three track limited edition 10” vinyl release of ‘Tender in Lahore’ earlier this year, 22a presents the full suite of improvised ragas from a one day recording session in Lahore, Pakistan. The pure sounds of Indian and Pakistani
classical music act as a framework for deep and spiritual improvisations between Tenderlonious on flute & soprano saxophone and Jaubi band members, Kashif Ali Dhani on tabla and vocals, Zohaib Hassan Khan on sarangi and Ali Riaz Baqar on guitar. This cross cultural collaboration also features Polish composer and keys player Marek Pędziwiatr on synth drone.
Like most of us, Ed ‘Tenderlonious’ Cawthorne has had to overcome troubles in life. Music however has always been a guiding light leading him onto the right path. It was whilst in his darkest place that he taught himself to play the soprano saxophone; bringing much needed focus and discipline back into his life. Much like his musical heroes John Coltrane and Yusef Lateef - who were both inspired by eastern spiritualism and the deep tradition of Indian classical music - Ed has always been searching for something different and much deeper.
The seeds for a young Tender to embark on this musical path were planted during his father’s secondments to the East as a Ghurkha Officer. However it was after hearing the North Indian Classical flautist Ronu Majumdar’s ‘Raga Mangal Bhairav’ that Tender knew this was a musical style that he had to explore.
Ironically it was in a grimy London pub, after a few too many beers that the reality of this record started to come to life. Whilst reminiscing about previous musical journeys in Poland with Lukasz Wojciechowski from Astigmatic Records, we were reminded of an instrumental quartet from Pakistan - Jaubi. We later discovered that Jaubi is an Urdu
word for “whatever/whoever”. Creating whatever sounds good, with whoever feels good, is the groups guiding principle - a vibe we could relate to. Drinks continued to flow and we further explored the idea of a trip to Lahore in Pakistan, where the band resides.
That evening after getting home from the pub, we told our families and friends that we were planning to go to Lahore and record an album with Jaubi. We were met with heavy resistance from family and government travel advice. Our families and friends regularly fed us articles about why it is dangerous to travel to Pakistan due to the risk of terrorism, kidnappings, tropical diseases, etc. - the list was endless. The Pakistani
embassy also showed resistance by rejecting our visas. Twice! The project felt destined for failure, however we persevered with the Lahore dream. We learned not to believe everything people tell you. This was more than a musical quest now - it was about breaking down cultural misconceptions.
Through many hours of hard work and planning we arrived in Lahore on the 9th of April 2019, greeted with nothing but love and humility. Lahore is something special; full of positivity, care and hope. It was, thankfully, all a stark contrast to the negativity we heard about Pakistan before arriving. It was not long into the first day and that first studio session that we realised this trip would be a real awakening. Nothing whatsoever was written down during the recording sessions - no sheet music, no song titles. It was sincere. All egos were left behind and hearts and souls were open and poured into the music.
Opening track ‘Shalah Bagh’ is inspired by the Mughal gardens in Lahore we visited one morning on our trip. It is a fully improvised track guided by Kashif Ali Dhani on tabla and vocals, with Tenderlonious on soprano saxophone. Raga Chandrakauns acts as the basic framework, evolving into a free conversation between tabla and saxophone.
‘Azadi’ is the Urdu word for freedom and is a pure raga composed in the beautiful and devotional pentatonic Raga Bairagi, also based in the 12 beat rhythmic cycle (Ektaal). Like everything during these sessions, this raga was shown to Tender moments before the one take recording and what ensued was an improvised conversation between the musicians. Featuring Jaubi members Zohaib Hassan Khan on sarangi - Zohaib is a 7th generation sarangi maestro and one of only 5 professional sarangi players left in Pakistan practicing this ancient art form. Plus Jaubi guitarist and band leader Ali Riaz Baqar, providing the guitar accompaniment. ‘Kirwani’ is a musical scale in Hindustani classical music. It is an Indian raga specially suited for instrumental music. The scale is the same as the harmonic minor in western music. Kashif Ali Dhani on tabla and Tender on flute join for a spontaneous and therapeutic exchange.
Side two begins with ‘Azeem’, which provides a peaceful moment for reflection with Tender on alto flute, Kashif Ali Dhani on vocals and Zohaib Hassan Khan on sarangi. ‘Kirwani part ii’ is an alternate take of the aforementioned original, this time featuring Tender on soprano saxophone in conversation with Kashif Ali Dhani on tabla. The album finishes with ‘Impressions’ a pure raga (Raga Ba Khizer), the taala (rhythmic cycle) is Ektaal (12 beat cycle). It is similar to the raga that Tender first heard Ronu Majumdar play. This beautiful scale, that Tender would often practice back home, becomes the musical framework for rich improvisations. Joined by Zohaib Hassan Khan on sarangi with Kashif Ali Dhani providing the stunning backdrop on tabla, weaving in and out of complex rhythmic patterns. Marek Pędziwiatr, from EABS & Astigmatic Records, provides the synth drone backdrop on all of the tracks.
This album fulfils part of a dream for Tenderlonious and 22a. It would not have been possible without the help of Łukasz Wojciechowski and Astigmatic Records, who helped us bring this idea to life. The next stage is bringing these wonderful musicians from Pakistan over to the UK and Europe to record, perform and fulfil their dreams – Inshallah.
credits
releases November 27, 2020
Ed ‘Tenderlonious’ Cawthorne; flutes & soprano saxophone
Members of Jaubi:
Kashif Ali Dhani; tabla & vocals
Zohaib Hassan Khan; sarangi
Ali Riaz Baqar; guitar
also featuring:
Marek Pędziwiatr; synth drone
Recorded at Riot Studios, Lahore
Mixed by Rhys Downing
Executive Producer; Oliver Reeves
A&R; Łukasz Wojciechowski
Special thanks to:
Khalid Salimi, Mohammad Riaz Baqar, Uzma Rao & Farad Humayun

Following in the long lineage of great Cuban pianists, from Jorge Bolet to Gonzalo Rubalcaba, the brilliant young pianist Roberto Fonseca has been called "the most promising and important talent in Cuban music." On Zamazu, the former member of the Buena Vista Social Club -- he replaced Rubén Gonzalez after his departure -- distinguishes himself as a spectacular player, composer, arranger and bandleader. With bassist Orlando "Cachaito" Lopez, Brazilian percussionist Carlinhos Brown, vocalist Omara Portuondo and Spain's flamenco guitar sensation Vincente Amigo.



From his thoughtful, Herbie Hancock-inspired harmonies on "Tierra En Mano" to his driving groove on the churning bata-fueled "Clandestino" to his exotic, Oriental flavored "Congo Arabe," Fonseca incorporates a wealth of musical influences on Zamazu. There's a touch of American gospel in the passionate title track, an undercurrent of infectious Brazilian groove along with a tinge of American funk on the spirited "Zamazamazu" and an elegant old school feel on the Cuban guajira "Dime Que No." The darkly alluring and introspective "Llego Cachaito," a showcase for the great Cuban bassist Orlando "Cachaito" Lopez, is a delicate number that reveals Fonseca's sensitive side while the frantically uptempo interlude "Asi Baila Mi Madfre" is a knuckle-buster that showcases his prodigious keyboard technique. Clarinetist and longtime musical partner Javier Zalba helps conjure up feelings of melancholy and longing on the haunting "Suspiro" and "El Niejo" while Fonseca also turns in a dramatic son montuno reading of Abdullah Ibrahim's "Ishmael," which is augmented by eight-piece string section. And in one of the most emotionally charged moments on Zamazu, he teams with Buena Vista Social Club singer Omara Portuondo for a poignant reading of "Mil Congojas," a tune that Fonseca used to play as an intimage duet in concert with the late Ibrahim Ferrer up until the singer's passing in August, 2005.

The multi-instrumentalist and composer’s concept album about Black existence cites everything while saying nothing. The record collapses under its own inertia.

Mixed by Floating Points and Matt Mysko, and recorded at Abbey Road, “Space Is The Place” is the first track to be released from Ezra Collective's second, highly anticipated second EP “Juan Pablo: The Philosopher” due this Autumn.
Juan Pablo: The Philosopher shows respect and influence from the greats before them, but with the undoubtable and undeniable Ezra Collective grit. This is a cosmic journey that crosses spheres of influence, eras and tempos - it's the perfect build from the solid Chapter 7 foundations.
Ezra Collective is:
TJ Koleoso - Bass
Femi Koleoso - Drums
Joe Armon-Jones - Piano
Dylan Jones - Trumpet
James Mollison - Tenor Saxophone
Featured Artists:
Nubya Garcia - Tenor Saxophone
Theon Cross - Tuba

"Both Sides, Now" is a single by Joni Mitchell. Her recording first appeared on the album Clouds, released in 1969. She re-recorded the song in a Jazz style for the album of the same name, released in 2000.
It is one of Joni Mitchell's best-known songs (with "Big Yellow Taxi," "Woodstock," and "A Case of You"). It was written in March 1967, inspired by a passage in Henderson the Rain King by Saul Bellow.
I was reading Saul Bellow's "Henderson the Rain King" on a plane and early in the book Henderson the Rain King is also up in a plane. He's on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song. I had no idea that the song would become as popular as it did.[1][2]
Judy Collins made the first commercially released recording of the song in 1968, shortly after Mitchell wrote it, which reached #8 on the U.S. pop singles charts and won a 1968 Grammy Award for Best Folk Performance. The record peaked at #3 on Billboard's Easy Listening survey, and has become one of Collins' signature songs.
Fairport Convention recorded the song as a demo in 1967. The band's recording did not become available until 2000, however, when it appeared on The Guv'nor Vol 4 by Ashley Hutchings. (A live recording featuring Judy Dyble from 1981 is included on Fairport's Moat on the Ledge album.)
Both Joni Mitchell's album Both Sides Now and a 2003 Mitchell rerecording of the song are featured in the 2003 movie Love Actually.
Rolling Stone ranked "Both Sides, Now" #170 on its list of the 500 Greatest Songs of All Time.
The song was published by Scholastic as a picture book, Both Sides Now, illustrated by Alan Baker, in 1992 (ocm24629360).

Japanese limited edition reissue of 1976 album featuring Dewey Redman, Charlie Haden & Paul Motian, 24 carat gold disc packaged in a miniature LP sleeve. ECM Records. 2002.

Flautist and saxophonist, Chip Wickham returns with Blue to Red, his most absorbing and cosmically-charged offering to date. Soaring flute melodies, lush harp arpeggios and glistening Rhodes keys interact across six journeying, spiritual jazz compositions, leaning on a rich palette of sounds beyond borders, space and time.
Channeling the spirit of Alice Coltrane and Yusef Lateef via the lens of a hip-hop, electronic and club music educated ear, Blue to Red encompasses Wickham’s disparate set of production influences with his Manchester and spiritual jazz education.
The album, not only seeks to forewarn Earth’s possible Mars-like future but seeks to tap into the interplanetary, cosmic nature of music. “It’s a culture crisis rather than a climate crisis, one that can only be solved if we go right to the core of how we live as human beings”.
Born and raised in Brighton, UK, Wickham moved to Manchester to attend college. He soon moved into music going on to perform and record with a formidable and diverse list of artists from his Manchester base including Nightmares on Wax and Andy Votel as well as regular funk excursions with The New Mastersounds. However it was upon his meeting of Mancunian trumpeter/bandleader of Gondwana Orchestra, Matthew Halsall, and other influential... more
credits
released May 8, 2020
Chip Wickham, Flute and Sax
Jon Scott, Drums
Simon ‘Sneaky’ Houghton, Double Bass and Cello
Dan ‘JD 73’ Goldman, Keys
Amanda Whiting, Harp
Rick Weedon, Percussion
All songs written and arranged by Chip Wickham
Recorded at Big Noise Studios in Essex +
Recording Engineer: Simon ‘Stingray’ Davies
Mastering: Pete Maher
Mixed & Produced: Chip Wickham

With their captivating cinematic sound and a warm and intense presence, Little North bonds with their audience from the very first note. The sound of the band is way bigger than their classic piano trio constellation suggests. In a melting pot of modern minimalism and Nordic jazz tradition and with an intensity that draws threads to the jazz scene of New York, Little North has what it takes to add the next exciting chapter to the history of Scandinavian jazz.
Their third album ‘Finding Seagulls’ has been warmly received by critics at home and abroad and has been ‘album of the week’ on Danish National Radio P8 Jazz. The album has received international airplay on UK Radio Jazz FM and Berlin Radio Flux FM, among others.
On the upcoming album ‘Familiar Places’ the trio expands on their already well defined sound.
The energy and warmth of the guitar and raw expressive intention from the trumpet, adds new depths to their musical universe, while the strong sound of the trio makes a continuum. ‘Familiar Places’ present a wide range of emotions and sonic landscapes while continuously diving into the essence of Little North.
‘Familiar Places’ features Kasper Tranberg (DK) on trumpet and Viktor Spasov (SE) on guitar. Tranberg has been a strong voice on the European music scene for more than two decades. Lately he is, beside his own work, known for his collaborations with a.o. Marc Ducret, Steve Swallow, Tim Berne, Django Bates, Tyshawn Sorey, Gianluigi Trovesi and Yusef Lateef.
Swedish/Bosnian guitar jedi Viktor Spasov is a rising star hailing from Stockholm, Sweden. His easily recognizable and expressive sound on the guitar is beautifully integrated on ‘Familiar Places’. Spasov recently released the second EP in his own name, presenting story driven indie music in the form of a singer/songwriter.

Shai Maestro (1987) is one of the most promising and talented pianists of his generation. Since his debut with his own trio in 2011, Shai has shaped a strong and unique personal identity and has portrayed an incredible musical fluidity, making Shai and his band one of the most powerful and harmonious groups in the jazz today.

ECM. 2000.