[PROMO] Mia Vernaza – Mi Soledad (Single Digital)



Cantante y compositora, Colombiana, nacida en la ciudad de Cali cuyo nombre artístico es Mia Vernaza. Talentosa y apasionada Mía comenzó su carrera musical a la edad de 8 años. Edad donde comienza con sus estudios musicales enfocándose en la parte rítmica aprendiendo así las bases del timbal, conga y bongo. Posteriormente toma clases de trompeta. Todo este entrenamiento musical le abre las puertas para que comience a poner en practica lo aprendido y entra a formar parte de varios grupos infantiles de la ciudad de Cali. Mía también siempre ha estado influenciada por su talentosa hermana, la cual es pianista profesional y perteneció a un grupo femenino el cual fue muy famoso en la época de los noventa. Cuando Mía cumple 14 años comienza a tomar clases de técnica vocal y guitarra.

VIDA Y CARRERA

1994 – 1995: Mía forma parte de una academia musical para niños y participa en un grupo musical llamado “Las Ardillitas”. En este grupo musical, ella aprende a tocar percusión latina, conga, bongo y timbal.

1998 – 1999: Mía comienza a tomar lecciones de guitarra y técnica vocal. Es en este periodo donde comienza su carrera como cantante y entra a formar parte de “Armonía Orquesta”. Agrupación con la cual tiene la oportunidad de representar a Colombia en el Kinder Festival, evento que se realiza anualmente en Holanda por todo un mes.

2000-2001: Mía comienza su carrera como compositora. Es también en este periodo donde decide viajar a Estados Unidos a estudiar ingles.

2002-2006: Después de terminar su año como estudiante de intercambio, Mía regresa a Colombia y entra a formar parte de un grupo de Rock, Pop y ritmos latinos. Este grupo era el grupo residente de un bar llamado “La esquina”. Su participación en este grupo era como conguera y corista. En el 2003, Mía se muda a Bogotá y entra a estudiar actuación. Así mismo, ingresa a la universidad Javeriana a estudiar música con énfasis en ingeniería de sonido. En el 2005, su hermana la invita a ser parte de un trío musical el cual ella esta formando para viajar por un periodo de 6 meses a la India y Singapur, lugares donde se presentarían en diferentes hoteles tocando tanto música en español como ingles.

CARRERA ARTISTICA EN LOS ESTADOS UNIDOS

Mía Vernaza se muda a los Estados Unidos en el año 2007, donde busca nuevas oportunidades para su carrera como artista. Entre los años del 2007 al 2015 Mía participa en varios eventos públicos y privados en la ciudad de Tampa. Mía comienza a trabajar en su proyecto como solista, sus composiciones son una mezcla de Pop, rock y ritmos latinos. A finales del 2016 Mía entra a formar parte de GIG Music Group el cual es un sello disquero independiente de la ciudad de Tampa y estará presentando su primer sencillo y video “Mi Soledad” a mediados del 2017.

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[PROMO] Skully – The World is Going Crazy (Single Digital)



Originally from the Philadelphia area (Norristown PA). Skully found himself influenced and inspired by the sound of 90’s music. East coast and West coast hip hop was predominant to his musical foundation.

The south had yet to emerge as the powerhouse it is today, other than a few groups such as Outkast and SoSo Def.

At the age of 19, Skully moved south to The Greater Tampa Bay FL area. Immediately upon touching down in Florida Skully was fortunate to link up with a production group who is now known as Grammy award winning producers JUSTICE LEAGUE which allowed him to maintain his lyrical integrity through out the years.

Skully continued to compose music with JUSTICE LEAGUE up until they landed their deal in ’06. At that point, Skully found himself back to the drawing board, however with his dedication to his craft and his ability to connect with other individuals who shared his same passions he was able to help form the movement known as Vegaz Boyz.

Skully was inspired by the constant night life and the „All in“ lifestyle of „Vegas“ as well as those in his inner circle, so what started as an inside joke became a staple in the inner city night scene for the extravagant parties and non stop indulgence.

Now fueled by the energy from his surroundings, Skully began relentlessly recording and was determined to be the voice of his peers.

A spew of recordings eventually caught the attention of GIG Music Group and through negotiations and mutual goals being discovered, Skully made a wise decision to join forces with GIG Music Group to help take his music career to the next level of success….

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[PROMO] Clark Sommers Lens – By A Thread (Album Digital)

(Jazz, Instrumental Jazz, Modern Jazz)

Clark Sommers Lens – By A Thread (ears&eyes Records / ee:17-o64)

12” vinyl LP/digital release date: July 21st 2017 Pre-orders available: June 16th 2017

Quick Pitch Points:

– Vocalist Kurt Elling’s bassist who has performed on two Grammy-nominated recordings, one of which won the Grammy Award for Best Vocal Jazz Album in 2010

– Feature interview and front cover of Chicago Jazz Magazine, April 2017

– Release shows at Chicago’s famed Green Mill, Friday June 30th and Saturday July 1st featuring Jeff Parker

– Bassist for Portland’s pianist Darrell Grant in his Territory Ensemble, which includes Brian Blade, Joe Locke & Steve Wilson

– 12” vinyl LP release w/ download bonus track

Personnel:

Clark Sommers – bass/compositions (of Kurt Elling, Brian Blade)

Jeff Parker – guitar (of Tortoise, Isotope 217, Brian Blade Fellowship)

Kendrick Scott – drums (of Terence Blanchard, Herbie Hancock, John Scofield, Dianne Reeves, Maria Schneider, Wayne Shorter, Bilal, Christian McBride, David Sanborn, John Patitucci, Kurt Rosenwinkel, Robert Glasper, Stefon Harris, Kenny Garrett, Pat Metheny, Nicholas Payton)

Gary Versace – organ/rhodes (of John Scofield, John Abercrombie, Al Foster, Regina Carter, Maria Schneider, Madeleine Peyroux, Matt Wilson, Joe Magnarelli, Andy LaVerne, Adam Nussbaum, Brad Shepik, Ingrid Jensen)

Geof Bradfield – saxes/bass clarinet (of Marquis Hill, Dana Hall, Jeff Parker, Matt Ulery)

Special guests:

Joel Adams – trombone/megabone on ‘Pillage’

Vijay Tellis-Nayak – Moog on ‘Meet Me Halfway’ (bonus track)

Story: Renown backbone of a bassist reaches out on leading this stellar cast of equally supportive musicians on his first vinyl release, By A Thread.

Clark Sommers has traveled the world performing and recording with legendary musicians like vocalist and Grammy Award nominated and winning Kurt Elling (one of which won the Grammy Award for Best Vocal Jazz Album in 2009 where Sommers appears), Darrell Grant’s ‘The Territory’ group which includes Brian Blade, Steve Wilson and Joe Loche, Scott Hesse Trio which includes label International Anthem’s ‘beat scientist’ drummer/composer Makaya McCraven, his Ba(SH) trio with drummer force Dana Hall at the helms, Nate Lepine’s quartet and vinyl LP release featuring Nick Mazzarella & Quin Kirchner, among many others.

On top of these close knit relationships, he’s also performed with Cedar Walton, Von Freeman, Frank Wess, Ernie Watts, Ira Sullivan, Charles McPherson, Peter Bernstein, Bobby Broom, Ron Perrillo, Michael Weiss, George Fludas, Ted Sirota’s Rebel Souls, the Mighty Blue Kings and the Chicago Jazz Orchestra among others.

Sommers completed his undergraduate degree in Jazz Studies and World Music at California Institute of the Arts, where he studied with bass masters Charlie Haden and Darek Oles and also performed in the Charlie Haden Liberation Orchestra. He continues to seek expansion of his craft by pursuing his musical studies with masters such as David Grossman of the New York Philharmonic, Mike Longo and Stefon Harris. He recently completed two residencies at the Brubeck Institute in Stockton, California.

Sommers was on the front cover of the Chicago Jazz Magazine (April ’17) with a feature interview where he discusses the many influences and teachers that have made him the player he is today.

On this album, By A Thread, Sommers amasses some of the most important forward-thinking jazz artists on the current scene to release this vinyl LP. Here’s what Neil Tesser, a Grammy Award-winning American journalist, radio host, music critic, and author and in 2015, the recipient of the Jazz Journalists Association’s Lifetime Achievement Award in Jazz Journalism had to say in his liner notes for Sommers’ By A Thread:

“To be honest,” says Chicago bassist Clark Sommers, “I’m not a fan of bass-driven records.” So Sommers has gone ahead and made something quite different.

When Sommers refers to “bass-driven” jazz, he means this: a recording led by a bassist who, looking to break out from traditional roles, puts his instrument front and center and fills the solo space with as much knuckle-busting virtuosity as you might imagine. In such recordings, the bass may still occupy its time-honored role in modern music, acting seesawing between the drummer’s rhythms and the pianist’s harmonies. But the spotlight rests firmly on big technique and solo flash.

You won’t find that here; in fact, Sommers takes exactly one solo on this disc, in “Points Of Reduction.” Hearing it, you may wish he’d taken more. He produces a medium-dark sound of blueberries and coffee, and his lines have a lithe bounce. They don’t teem with empty verbiage; Sommers knows the space between the notes is as important as the notes themselves. And when he wraps it up, he slides effortlessly back into his main role, using the final note of his solo to start his accompaniment for the organ solo that follows. It’s a fine illustration of his stated intent to “not be a ‘bass virtuoso’ on this album,” in his words. “It’s more about the compositions and the music as a whole.”

It certainly helps to have such superb compositions and collaborators as those heard here. Listen to “By A Thread,” a perfect marriage of material and personnel. It has the energy of a whirling top, thanks to how Sommers has folded the off-kilter melody into the waltz meter, which also fosters a sense of displacement that the band exploits in the middle of the track. This would occur with any instrumentation; it’s baked into the tune. But consider how Gary Versace’s otherworldly organ sounds, and Jeff Parker’s mysterioso guitar effects, amplify that sense of displacement. Either of Sommers’s choices – the melodic swirl of the theme, or the timbral ingenuity of the soloists – would make for a memorable musical event; together, they identify what this album achieves throughout.

“I wrote this music with specific spaces for these people,” Sommers says. He first heard Parker in 1996, and even then, “He was so sparse and concise, and he had such a strong musical personality. He brings these sonic textures that I really wanted for this music. He’s a chameleon; he’ll play with Tortoise, and then the AACM, and then Joey DeFrancesco. But he never fails to sound like himself. Without him, this record would have been much less dimensional.” As for Versace, Sommers marvels, “He’s an unconventional conventionalist: he wants to re-invent the wheel every time out.” Versace has done this on virtually every recording to feature his organ work over the last two decades, with fresh and frisky solo ideas and imaginative use of the organ’s myriad timbres. “He’s the wildcard you know is in the deck – and you want him there,” says Sommers. “The combination of that with Parker’s sound was exactly what I was hearing.”

Sommers met Versace when both toured with Kurt Elling; that’s also where Sommers met drummer Kendrick Scott, his partner in propelling Elling’s band since 2011. “Kendrick has this incredible macro-sense of where each piece is going. He has all this virtuosity, but it’s transparent, never disrupting the flow. And I’ve never seen anybody who could so instantly get inside the music.” This comes to the fore in the up-tempo passages, as you’d expect. But listen to Scott’s sensitivity on the gentler “Meet Me Halfway,” or his orchestrational shimmers behind the sonic ghosts conjured by Versace and Parker on “Chasm,” to fully appreciate his embrace of the music’s soul.

Sommers has worked with the ear-opening saxophonist Geof Bradfield on a panoply of projects since 1997 and admits, “I hear his sound in everything I write and every band I conceive of. He has a total handle on the canon; his time is impeccable, his sound is defined and clear, but funky and greasy in all the right ways. He just has a voice. And as a composer – I wish I had a fraction of that. No doubt that he’s influenced my own writing.” But in addition to writing with Bradfield in mind – listen particularly to “Halfway” and also “Simple Act” – Sommers heard another horn in the mix. Enter trombonist Joel Adams, whose Chicago Yestet has included Sommers from its inception. “I didn’t want trumpet, and I didn’t want two saxophones. But I really like the way Jaco Pastorius used French horns, and having the trombone is my attempt to have some of that.”

Most of these compositions gestated for years before this recording, going as far back as Sommers’s time at California Institute of the Arts, where he studied with Charlie Haden while earning his degree in Jazz Studies and World Music. But the catalyst for completing these pieces – and in some cases rewriting them – came when Sommers studied composition with vibraphonist Stefon Harris.

“That’s when the light bulb came on. I could really articulate the harmonies I was hearing – the middle harmonies. Bass players work from the bottom up, the harmonic root of the chord; piano players work from the top down, from the melodic structure, so they get these other chord extensions. You can get away with being a bass player and not knowing that stuff; you can still have a great beat, feel, technique. I wanted more. This music is a direct result of bringing some clarity to harmony; it freed me up to make more deliberate choices.”

Bass-driven record? Uh-uh. Bassist-driven record? You got it. – Neil Tesser

Credits:

Recorded by Vijay Tellis-Nayak at Transient Sound in Chicago IL USA

Mixed by Todd Bergman in Los Angeles CA USA

Mastered by Gentry Studer in Los Angeles CA USA

Album artwork by Federico Maksimiuk (Fede Maks) & Ailim Melillan (Heroinax)

Layout by Federico Maksimiuk

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[PROMO] Spantraxx – Sunrise (Single Digital)



Spantraxx is a Dj/Producer from Finland that started back in 2000’s as a Dj at local clubs and continued along the years to make the nights of thousands people memorable. Around 2010 he began focusing on music production and after many failed projects, in 2016 managed to make himself visible to the scene by releasing “I’ll Go“, a house track with dreamy vocals that was sent to Protocol Radio demo submissions. From a total of seven days of exposure, “I’ll Go“ managed no.1 for five consecutive days. Courage added up and after the March 2017 release “Hey-Hey“ Spantraxx came up with new ideas that transformed old projects in well received releases. In April 2017 new tracks were ready and are expected to hit the online stores in May 2017. One of this releases is “Girl“ that comes with a deep ,melancholic feeling. “Girl“ is very well received song by the fans on YouTube and Soundcloud. The second track “Sunrise“ is a future bass experiment that did not went bad at all! The result is a song that got hundreds of thousands of impressions on Soundcloud and very good ratings on Soonvibe, bringing lots of fans to his website and Facebook page.

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[PROMO] Pastor Zaster – Zasterdamus (EP Digital)


„Pastor Zaster ist zurück, jetzt wird wieder geschossen.“

Der Fürther Rapper und Produzent veröffentlicht mit Zasterdamus seine vierte EP

Auf dem neuesten Machwerk von Pastor Zaster geht es hart zur Sache. Nachdem er Hollywood den Rücken gekehrt hat, ist der Fürther zurück auf den Südstadt Streets und zeichnet ein düsteres Bild seiner Nachbarschaft. Die fünf Anspielstationen wirken wie ein Drive Bye Shooting: Aus dem Nichts wird plötzlich das Feuer eröffnet, dann geht alles ganz schnell und am Ende ist man froh, heil aus der Sache herausgekommen zu sein.

Musikalisch ist die EP vom Westcoast Gangsta Rap der Neunziger inspiriert und pendelt zwischen G-Funk und oldschooligen Samplebeats. Unterstützung hat der Fürther für dieses Projekt vom Produzenten Clav Split und Rapper Farmer MC erhalten. Das Cover wurde von Daeni Chrome gestaltet und Mr. Hedgehog ist für das Mastering verantwortlich.

Die ganze EP kann kostenlos auf Bandcamp herunter geladen werden, einzelne Songs stehen auf Soundcloud zum Download bereit.

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[PROMO] Mad Article Ft. Kate Wild – Better Without You (Single Digital)

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From its smooth Rhodes opening to the tastefully layered percussive grooves which evolve throughout, the new single from enigmatic Australian based producer and songwriter Mad Article exudes an alluring warmth. Coupled with fresh electronic overtones, the track is sure to find a home both in clubs and on the airwaves.

Featuring deliciously hooky vocal contributions from UK based singer / songwriter Kate Wild, ‘Better With You’ makes a powerful statement for celebrating independence in love and life. A fusion of neo-soul, classic house and future disco, the single has a stylistic confidence and evokes a nostalgic sentiment which will be appreciated by fans of these genres.

The architect of this sonic design, Mad Article, is on a trajectory to international recognition; all the while remaining a shadowy identity who prefers the music to take centre stage. Clearly a master of the craft, one can only anticipate the finely polished gems which are to follow this debut release.

‘Better Without You’ has already attracted the attention of some industry heavy-hitters, with acclaimed mix engineer Arthur Indrikovs (Calvin Harris, Clean Bandit) and Yoad Nevo (Sia , Godfrapp, Sugababes) contributing their Midas touch to the final release.

With its top shelf production and across the board appeal, ‘Better Without You’ is destined to hit the charts with an unforgettable impact this season.

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