#Dan Chmielinski

[sonicziggy]

"If You Want the Rainbow, You Must Have the Rain" by Martina DaSilva, Dan Chmielinski, Michael Stephenson, Dida Pelled https://ift.tt/ZgP2AbX

[donospl]

PODSUMOWANIE ROKU 2022 - Jazz (świat)

PODSUMOWANIE ROKU 2022 – Jazz (świat)

ALBUM ROKU 2022 Cecile McLorin Salvant „Ghost Song” Nonesuch Records WYRÓŻNIENIA: Max Andrzejewski “Mythos” – Backlash Music Jane Ira Bloom “Picturing the Invisible – Focus 1” – Anderson Audio Nikol Bokova “Naked Pieces” – Soleil et Pluie Patricia Brennan “More Touch” – Pyroclastic Records Chimytina “Constellations” Avishai Cohen “Naked Truth” – ECM Emmet Cohen “Uptown in Orbit” – Mack…

[mostlymonk]

Monk Tribute Stream

Chad LB Quartet Chad LB – sax Steven Feifke – piano Dan Chmielinski – bass Bryan Carter – drums

0:01:00    Green Chimneys 0:10:25    Rhythm-A-Ning 0:20:20    Round Midnight 0:33:25    Straight No Chaser 0:50.40    Driftin’ (Herbie Hancock) 1:01:30      I Mean You  

[jazzviewswithcjshearn]

Chase Baird: A Life Between (Soundsabound Records, 2019)

Chase Baird: tenor saxophone; Nir Felder: guitar; Brad Mehldau: piano; Dan Chmielinski: bass; Antonio Sanchez: drums.

31 year old saxophonist Chase Baird returns with his second recording as a leader after nearly a decade gap following 2010's Crosscurrent. Quite often, when musicians release albums sparingly over lengthy time periods it's usually a period of personal research and development, and with this album Baird comes back with a bang.  He recruited a jazz super group for seven fascinating originals (and 1 classical adaptation) comprised of one of the most influential pianists of his generation, Brad Mehldau, guitarist Nir Felder, bassist Dan Chmielinski, and Baird's current band mate in Migration, Antonio Sanchez on drums. What this quintet shares is an selfless devotion to having their fingers on the pulse of a particularly fertile movement in New York jazz, of which musicians like Chris Potter, Mark Giuliana, Kendrick Scott, David Weiss  Donny McCaslin, Camila Meza and Adam Rodgers among others have been a vital part.

Baird was born in Seattle, and exposed to music by his father where rock was an early influence.  He picked up tenor saxophone at the age of ten, and  at age fourteen was mentored by the late great Michael Brecker, arguably one of the most important post Coltrane tenors.  He has also played or recorded with vibraphonist Mark Sherman, Chaka Khan and the Mingus Big Band.

Baird  has an appealing sound, quite warm, and dark in the lower and middle registers, and bright up top combined with fluid, flexible ideas.  He brings forth a strong melodic stamp informed by a lot of modern pop music with a rockish freedom that all the quintet members tear into at will; after all, the inter generational group of musicians all grew up on pop, rock, and electronic music in addition to jazz.  The rockish bent that mood wise at times recalls Nirvana and Radiohead is apparent right at “Ripcord”.  Felder wields crunchy power chords, Sanchez leans hard into a thudding dead snare at the intro into a singable melody.  The rapport the drummer and saxophonist share is evident immediately, and Brad Mehldau is right at home with a careful reflection.  “As You Are” finds Baird lyrical in a lilting waltz, but “Reactor” once again brings the rock heat. Chmielinski's effect laden bass and Sanchez's drums are in lockstep with each other as the drummer subdivides beats in his signature way at the start of the track, and the rhythm section locks into the crevices of the groove during  his solo on a vamp.   The saxophonist is at his absolute best on the title track sharing the solo spotlight in chunks with Felder, “Dream Knows No End” supported by the guitarist's atmospheric reverb drenched backing, and “Wait and See”.  The track is explosive as the saxophonist and drummer duel a la Elvin Jones and Trane, Trane and Rashied Ali or Michael Brecker and Jack DeJohnette.  The tune is an outright swinger, guitar and bass dig in as well. The well rounded program closes with Schumann’s “Imwunderschonen Monat Mai”, which Mehldau renders introspectively during his solo, almost as if one of his own compositions. Felder's hymn like support is a plus as well.

Sound

A Life Between is a terrific sounding and well mastered recording.  Most new jazz recordings these days are immune from the loudness wars that plagued much of the late 90's and early 00's.  The sound stage contains natural sounding piano, bass, and drums with subtle slick production touches when called for such as reverb on snare, and delay on tenor saxophone, dipping into modern pop and rock post production.  Baird's saxophone is rich, has weight, Sanchez's drums have percussive snap and the sound of wood sticks on drum heads and metal rims.  The mastering is vivid and dynamic. The sound is overall consistent with well recorded jazz albums over the past 3 decades.

Closing thoughts

Chase Baird is a very strong writer, and the crack quintet sounds as if it is a road band, honed over a lengthy period of playing together. Fortunately, when a group comes together that shares the same vision, that kind of gel happens. Baird is also a provocative improviser, and his contribution to Sanchez' Migration, as well as the present album make one hope it won't be too long before another record of his own happens.

Music: 8.5/10

Sound: 8/10

[jazzviewswithcj]

Circuit Kisser: Faking The Moon Landing, (Soundsabound, 2019)

Dan Chmielinski: electric bass, and  synthesizers; Chase Baird: EWI; Mathis Picard: synthesizers; Diego Joaquin Ramirez: drums.  Synthesizers used: DSI Prophet ‘08, Korg Polysix, Korg Prologue, Moog Grandmother, Moog One, Moog Subphatty, Moog Voyager, Oberheim OB-8, Roland Juno-106, Roland SE-02,  Yamaha CS-60

Circuit Kisser is the brainchild of bassist and multi instrumentalist Dan Chmielinski.  It is a unique ensemble in that the quartet, featuring “Chimy” on bass and synthesizers, Chase Baird on EWI, Mathis Picard on keyboards, and Diego Joaquin Ramirez on drums are a performing unit that with the exception of drums are completely based in analog synthesis. The band also plays live in real time without sequencers.   What makes Faking The Moon Landing the group’s debut so fascinating is how the bassist’s interest in analog synthesizers contributes to a unified whole, often going far beyond the scope of “jazz” music.  Chmielinski, who first fell in love with analog synths while scoring a soundtrack often has ingenious ways of blending each synthesizer so it’s nearly impossible to decipher the instruments from each other.  A great example is how on “No Known Universe”, the odd metered 7/8 ostinato hinted at by Baird in it’s Coltrane ish introduction is later echoed flawlessly from Picard’s keyboards.  Picard is effervescent, here and elsewhere such as on the intro of “Atomic Bliss”.  The ostinato conceived as the bassist/multi instrumentalist was walking down the street, creates a visual picture within the listener of a 80’s CGI rendered model spinning in space.  Baird’s EWI is volcanic, ripping fierce arpeggios with the portamento of his custom Roland GR300 inspired patch called “light bender” baked right in.  The ostinato also is a launching pad for the Irish born Ramirez to dive into audacious ideas.

“Circa 1986” features a chordal based riff a bit reminiscent of Louis Cole’s projects including Knower.   It’s brightly swinging groove brings Baird back into the forefront with a bridge almost out of a Bob Mintzer era Yellowjackets tune, again Ramirez shines over an ostinato.

The rest of the album creates some wonderful sound portraits, with the cheeky theme of “Boss Level” providing irony to the music of a boss level in a game, and the closing title track providing an epic conclusion.  

Sound:

Faking The Moon Landing was recorded at Redacted Studios in New York, recorded by Nathan Prillaman and mixed and mastered by Prillaman and Chmielinski.  Sonically, it  really is a pleasure to listen to.  Chmielinski took a hands off, classical style approach to the mastering and the synths themselves almost dictate the dynamics naturally.  Synths cover the rear of the sound stage as well as the sides and foreground.  Picard’s leads and solos naturally bounce with stereo delay, Baird’s EWI also bounces with delay from the left and right channels, and Ramirez’s drums provide the organic element with the acoustic contrast.  The album is a subtly layered effort that not only shows care and consideration of the musical vision but just as much care and consideration for the listener as well.

Concluding Thoughts:

Circuit Kisser brings forth a strong statement on where jazz influenced or improvised music is in the present era.  It’s evident from listening that all the musicians bring their influences and where they come from to the table and the biggest reward is eminently accessible but complex music that will interest everyone from fans of progressive rock, to the jazz-rock of the 70’s, fans of video games music, synthwave and more.  Faking The Moon Landing  is a fabulous debut, and the band’s future progress and recordings are eagerly anticipated.

Music rating: 10/10

Sound rating: 9.5/10

Equipment used for review:

Audiolab CDT6000 transport

Schiit Bifrost 2 DAC

Marantz NR 1200 stereo receiver (as pre amp)

Marantz MM 7025 power amplifier

Focal Chora 826 speakers

[santyjazz]

Chase Baird, A Life Between, 2019

Escuchando Jazz! Chase Baird, A Life Between, 2019

A Life Between (2009)

Ya por estas fechas bien entrado este raruno 2020 y aún ando escuchando novedades del 2019. La que nos ocupa hoy, no quería para nada que se me olvidara de recomendárosla. Es el segundo trabajo como líder del saxofonista Chase Baird, A Life Between, publicado en 2019 para Soundsabound Records.

Chase Baird es un saxofonista norteamericano al que conocemos en La Montaña…

[luciochaves]

Listen/purchase: My Universe feat. Joel Ross by ChimyTina: Martina DaSilva and Dan Chmielinski

[burlveneer-music]

Marc Cary - Life Lessons

Making music for me has always been part of my healing process. Music has provided a place in this world for me to express myself in ways that words could not help me articulate. The journey to being the best person I can possibly be has always had this musical component. It has opened up countless opportunities for me to explore cultures and learn from many people around the world. Through music, I have made relationships that have been life changing in positive ways and have been documented by many recordings. Life Lessons is a testament to these lessons and is a culmination of three years of developing a sound and concept with Dan and Diego through our weekly performances at The Harlem Sessions. We wanted to document our time together and the sound we had developed together by recording and releasing this collection of compositions. We recorded in January 2020, only weeks before life as we knew it changed, as we moved into a Pandemic and lockdown, making this document and it’s title even more relevant to me. The timeliness of this album and when we recorded becomes more profound, especially as we are nearing 1 year of not being able to play each week together, at the same time as taking on board how many people from our community who have departed from this earth because of the pandemic. It also really magnifies the love and joy that the 3 of us have for each other.

Personnel : Marc Cary, Diego Joaquin Ramirez, Dan Chmielinski Marc Cary plays - Piano; Fender Rhodes; Dave Smith Prophet 12; Dave Smith Mopho; Octatrak; Genome Sequencer(IoS); Lemur Mapping (IOs); UAD processing

[rich4a1]

Marc Cary Life Lessons

Marc Cary Life Lessons #CDReview #roots #rootsrock #songwriter #makingascene #Country #spotify #americana #countryrock #originalmusic #youtube #Mondaymotivation #MusicMondays @MarcCaryMusic

Marc Cary Life Lessons Sessionheads United Keyboardist Marc Cary is veteran who built his reputation backing such giants as Abbey Lincoln, Betty Carter, Roy Hargrove, Jackie McLean, and Randy Weston. Yet, with now 18 albums as a leader, this trio debut Life Lessons, with bassist Dan Chmielinski and drummer Diego Joaquin Ramirez reveals a very contemporary stance. That is due in part to his use of…

[contrabassconversations]

470: Dan Chmielinski on Jazz at Juilliard

I’ve known Dan Chmielinski for over a decade, and it has been a real pleasure watching his career unfold.  Dan grew up in metro Chicago, and I had the privilege of being his bass teacher through middle and high school.   

  Dan started playing bass at age 3 with Virginia Dixon, and he has one of the most natural and fluid approaches to the bass that I’ve ever seen.  After high school, Dan attended Juilliard for for his bachelor’s and master’s degrees, whee he studied with Ron Carter. 

  Dan has toured the world, performing with artists such as Joey Alexander, Wynton Marsalis, The Jazz at Lincoln Center Orchestra, and Jeff "Tain" Watts.  His main project right now is Four by Four.  Here’s a link to their trailer on YouTube.

  We dig into all kinds of topics:

what the Juilliard jazz studies audition is like (hint: it’s intense!)

the Richard Davis Foundation Conference - Dan attended as a student from ages 3-18, and he is now a faculty member

teaching for the Jazz at Lincoln Center Jazz for Young People Program

the focus required to develop a career as a New York City jazz bassist

advice for younger musicians

  Be sure to follow Dan on Instagram to keep up to date with his latest activities!

  Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle!

Contrabass Conversations is sponsored by:

Upton Bass String Instrument Company

Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.

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Check out this episode!

[mostlymonk]

I Mean You

Joey Alexander Trio

Joey Alexander – piano Dan Chmielinski – bass Ulysses Owens Jr – drums

[jazzviewswithcjshearn]

Single review: Chase Baird “Pulsar”(Outside In Music, 2020)

Chase Baird: tenor saxophone, EWI; J3PO: Fender Rhodes, synthesizers; Dan Chmielinski: Moog bass; Steve Lyman: drums.

Saxophonist Chase Baird (now burgeoning guitarist and singer-songwriter!) made waves last year with his most fully realized composition and band leader statement yet A Life Between (Sounds A Bound) featuring an all star band with Brad Mehldau, Nir Felder, Dan Chmielinski and Antonio Sanchez.  Another one of Baird's passions is electronic music and synthesis; something explored on his brand new single “Pulsar”, featuring his tenor and EWI, Julian Pollack (also known as J3PO) on piano, Fender Rhodes and synthesizers, Dan Chmielinski on Moog bass and Steve Lyman on drums.  The track, initially conceived as an electronic dance oriented piece becomes more of a hybrid with jazz improvisation in the center.  “Pulsar” paints a broad post futurist portrait of the unknown, and discovery. J3PO's ring modulated Fender Rhodes speak of this uncertainty of a new world, visions in the listener's mind reminisce about early 80's videos and space and technological innovation as juicy, throbbing Moog bass wiggles it's way into the open, minimal space.  Triumphant chord progressions signal the delight of exploration and signs of life as astronauts explore the new world.  Baird's saxophone and J3PO's acoustic piano in tandem, stake claim boldly of this new world,  Baird's EWI euphorically states the anthemic chorus while Lyman all the while is slicing the beat different ways acoustically emulating the programming of Aphex Twin and Squarepusher.  The drummer weaves in and out of these divisions during an intense solo over a bass ostinato before themes resurface to close.

Production:

Early demo versions of “Pulsar” were rendered from Baird playing every single part on EWI, to which J3PO decided to eventually play the parts himself.  As this track was created during quarantine of the post COVID 19 era, it's truly remarkable that it sounds like a live band playing in real time.  The entire group played their parts separately to a click! Unlike decades past, where it could be occasionally clearly heard parts were done separately and phoned in (think Frank Sinatra's hugely successful Duets albums) modern recording technology is to a point where tracks can be recorded in different cities, and continents and sound completely of a piece.  The  24 bit/48 kHz master file has a huge soundstage, the authoritative crack of Lyman's  reverbed snare is impressive, as are the floaty, weighty analog synth pads, and present atmospheric EWI. The Focal Chorus 716 again shows it's strength with the percussive snare cracks, and sinewy Moog bass.  The Schiit Modius DAC presents clear separation and a very wide sound stage equivalent to a 2:35 aspect ratio in film if there was an aural equivalent.

Track rating: 9/10

[personally-content-blog]

03.11.17

I told Julia earlier this week that I was interested in getting into art but I didn’t know how to.  I also asked her how she spotted “good” art and she told me to look at a collection of artists so that when we got back from break she could take me to a museum and help me out.  Anyways, I wrote down my first reactions to each artist she listed for me and I thought it would make a great second post.  So here we are.  Dasha Kudinova and Winston Chmielinski impressed me the most so definitely check them out!

First Reactions (without reading anything on these artists):

Janet Fish - I love her color schemes and she always brings a new aspect to still life and ironically I would classify that new aspect as a liveliness.  Her dimensions are rejuvenating.

David Hockney - Although I don’t think he is the most talented I appreciate his ability to make certain paintings have a realistic aspect to them.  His simple color schemes allows him to bring attention to even the simplest details and always has a strong focal point to each painting which is aesthetically pleasing to me.  Yes that’s the word I would use to describe him.  Aesthetic.

Zaha Hadid - While searching her name I noticed “architecture” was the first suggestion beside her name and I can see her use of geometry in her painting.  When she paints a cityscape it almost seems like she’s an outsider with all the organized jumble she lays across the canvas though with her nature landscapes she seems to be at peace.  Something about that is relatable and brings me to like her art as well.

Dan Flacin - As far as the previous artists go, Dan Flavin has not impressed me much.  I’m naturally drawn to lights and I think his art is pretty.  Would love to see it in real life though it looks like each piece is a huge photo opportunity haha.  Again definitely an exhibit to see in real life.  Would be like an adult playground of sorts.

Frank Stella - This is the kind of art I would like to put in my atrium or maybe bathroom or study or just somewhere in my house.  There’s one piece that looks like the shape of a snow pea and he uses triangles and diagonal shapes that looks so cool to me.  I feel like it would be a lot of fun to try to mimic Frank if given the opportunity.

Dasha Kudinova - Dasha’s works are so perplexing to me.  I think of each cluster of intricacy to be a different person and when it’s just a singular cluster it makes me think that each color is separating a different mood or feeling each person has and how it’s all just mixed together to form one being.  When there are two clusters I think of the exchange that happens and how we share ourselves with one another turning each person into new colors.  She has a flowery atmosphere on each canvas.  I like her.  She’s a good one haha.

Andrey Bogush - Okay so I like the feeling Andrey’s pieces evoke from me.  It’s a warm, mystical, and draws out a sense of wonder in me though it feels like he’s a great musician whose songs sound very similar even though you know each song is about something new and different.  I would be interested in seeing his works in a gallery and reading all the descriptive captions.

Winston Chmielinski - First thing that comes to mind is the intimacy Winston creates by painting such close up images.  Not only that but the use of red/pink in each piece also makes me think that.  In each I see a sort of pain amidst the expressions on each persons face or lack there of.  And even though he only has one thing on his canvas it seems so filled.  Quite impressive Winston quite impressive.

Robert Rauschenberg - This one may be brief.  I see a lot of John F. Kennedy and his art seems quite modern.  It just doesn’t really make sense to me but I don’t think it’s supposed to yet.

Marina Abromović - I think Marina focuses on the intimacy between different human interactions and how each thing you do affects someone else in one way or another.  She seems like someone who went through some shit in her lifetime and can’t help but express it day in and day out now.  Very cool idea Marina very cool ideas.

Eric Fiscal - He seems to really focus on the connectivity between people as well as art and people.  His beach scenes look like family reunions almost where everyone is just there but no one is really having fun.  I appreciate his ability to proportionate people’s body very well.  I feel like we’re almost seeing parts of his life through his eyes because these situations seem too real to just be thought of as “oh I would love to paint this scene.”

Gustav Klimt - I see many images of the same painting so I’m guessing this is his most famous piece.  I’ve seen this somewhere but I’m not sure where.  The girl seems very simple though her dress is so intricate.  The eyes are maybe a reflection of her want for attention but the random symbols and shapes do not have a meaning to me.  Definitely another I would have to read on to understand motives and symbolisms.

[opsikpro]

The Jazz Gallery Presents: Michael Thomas Live Recording

The Jazz Gallery Presents: Michael Thomas Live Recording

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Photo by Dan Chmielinski, courtesy of the artist.

This Wednesday and thursday, The Jazz Gallery is pleased to welcome saxophonist Michael Thomas to our stage for two nights of performances. Since moving to New York in 2011, Thomas has become an ace big band sideman, appearing on big band records by Miguel Zenon and Dafnis Prieto, as well as performing with Maria Schneider and John…

[ghostzali2011]

SPORTOURISM-Pianis muda nominasi Grammy Awards 2016 dan 2017 Joey Alexander pulang ke Indonesia. Saat pulang kampung, dia berniat menggelar konser di Balairung Sapta Pesona, 11 November dan ICE BSD, Tangerang, 12 November 2017.

“Rencana lokasi konser Joey Alexander akan berlangsung di dua tempat. Pertama di Balairung Sapta Pesona Gedung Kemenpar, 11 November. Satunya lagi di ICE BSD, Tangerang pada 12 November 2017. Terakhir kali Joey tampil di tanah air pada 22 Mei 2016 yang lalu di JIExpo Kemayoran Jakarta," kata Lucy Willar dari I Can Studio Live, Rabu (4/10) malam.

Harga tiket dari pertunjukan Joey Alexander di Indonesia ini akan segera diriis dalam waktu dekat. Sebelum tampil di Indonesia, Joey Alexander diagendakan tampil di Jepang, 4 November, Singapura, 7 November dan Hong Kong, 9-10 November.

Inilah konser tingkat dewa. Semua kemahiran Joey bermain piano akan ditampilkan di Indonesia. Dijamin Anda akan happy. Apalagi, bekal yang dia bawa sudah cukup mantap. Nominasi Best Improvised Jazz Solo untuk lagu “Giant Steps” dan Best Jazz Instrumental Album untuk “My Favorite Things” di Grammy Awards, menjadi modal kuat untuk memberikan suguhan terbaik bagi pecinta musik jazz yang akan menonton aksinya di Balairung Sapta Pesona dan ICE BSD.

Bagi yang penasaran dengan album Countdown, sebaiknya kosongkan jadwal pada 11-12 november 2017 nanti. Kedatangannya ke Indonesia medio November nanti, akan dibarengi dengan promo album Countdown miliknya.

Album Countdown ini sendiri berisikan sepuluh lagu. Tujuh lagu merupakan cover dan tiga lagu adalah komposisi orisinal. Lagu-lagu yang dibawakannya ulang adalah lagu "Countdown" dari John Coltrane, "Criss Cross" dari Thelonious Monk, "For Wee Folks" dari Wynton Marsalis, "Chelsea Bridge" dari Billy Strayhorn, "Freedom Jazz Dance" dari Eddie Harris, "Smile" dari Charlie Chaplin, dan "Maiden Voyage" dari Herbie Hancock. Tiga lagu orisinal adalah "City Lights" (sempat dibawakan singkat di Grammy), "Sunday Waltz" dan "Soul Dreamer".

Di album ini, Joey Alexander diiringi dua musisi yaitu Larry Grenadier (bassist untuk Pat Metheny dan Brad Mehldau) dan Ulysses Owens, Jr. (drum). Di track "Maiden Voyage" dan "Freedom Jazz Dance", ia berkolaborasi dengan Chris Potter (saxophonist untuk Dave Douglas dan Dave Holland). Khusus di tiga lagu, ia mengajak pemain contrabass-nya ketika live yaitu Dan Chmielinsky.

Menteri Pariwisata Arief Yahya pun semakin bangga pada Joey. "Anak muda ini membuat saya jatuh hati. Itu sebabnya kita gelar konser hari pertama pulang kampung di Kementerian Pariwisata. Joey benar-benar endorser pariwisata Indonesia. kita akan terus dukung dan support," kata Menpar Arief Yahya

Sebelumnya, Kementerian Pariwisata (Kemenpar) melalui Visit Indonesia Tourism Officer (VITO) di Paris ikut mendukung musisi belia Indonesia Joey Alexander (14) tampil dalam konser Festival All Stars di New Morning, Paris, Perancis, pertengahan Juli yang lalu.

Predikat Joey sebagai publik figur dinilai mampu memikat para penggemarnya untuk lebih menyadari keindahan wisata yang dimiliki Wonderful Indonesia. “Aktivitas Joey di sosial media dapat membantu kita dalam mempromosikan suatu event. Jadi kalau ada satu event, dan ada endorser-nya, event itu nilainya akan jauh lebih tinggi, penontonnya pun akan jauh lebih banyak,” ujar Arief Yahya. (*)

via SPORTOURISM.ID