LAWRENCE BLATT
Lawrence Blatt is quickly moving into the upper echelon of finger-picking acoustic guitarists, but with a background that includes a degree in microbiology, he also has deep insights into science and mathematics. On his second instrumental recording, Fibonacci’s Dream, Blatt combines his passions for music and math into a tribute to one of history’s most important mathematicians. This is album that will appeal to fans of jazz, folk, new age and acoustic guitar mastery.
Leonardo Fibonacci, a 13th Century Italian, published a pivotal book, “Liber Abaci” (Book of Calculation) when he was 32. He introduced Europeans to the use of Arabic numerals (the system we use today) and discovered the “Golden Ratio” that appears frequently in nature (petals on a sunflower, seeds in a pinecone, a nautilus shell or the cochlea in human ears).
Much musical theory follows Fibonacci mathematics, so Blatt decided to take it a step further on his recording and consciously apply math structures and sequences to his compositions by utilizing numerical ratios in his chord patterns, repeated phrases and tonal intervals. All music is naturally built on a mathematical foundation, so Blatt’s tunes do not sound academic or sterile, but rather melodic, colorful, accessible and exhilarating. While the song structures may have a mathematical consistency, Blatt points out that the emotions within each composition are inspired by people, places and life experiences.
“One thing I learned from my biology studies is the axiom that simple rules lead to complex behaviors,” explains Blatt. “So by integrating some of Fibonacci’s math into my music, I started with fairly simple structural rules. However, the result was music that became not only more complex, but more intrinsically-beautiful in its cohesiveness.”
Blatt’s fluid acoustic sound – sometimes created purely on a single guitar and other times featuring several layered and entwining instruments – can feature subtle counter-melodies, rhythmic interplays or even multiple parts played simultaneously on one guitar (lead, rhythm and bass at the same time, for example). Blatt’s exceptional technique mixes delicate nuances one moment with passionate fire the next. On the album, Blatt played all of the instruments -- both steel-string and nylon-string acoustic guitars, acoustic bass, an Hawaiian 8-string ukulele, a 128-year-old bowl-back mandolin, two small South American 10-string guitars (a charango and a ronroco), piano (on one tune) and ethnic percussion. He also composed, arranged and produced all the music. Blatt’s style bridges many genres including new age, neo-classical, folk and world music with subtle, hinted-at elements including Latin, Mid-Eastern, jazz, bluegrass, Hawaiian and pop-rock.
A rising star in the world of instrumental music and acoustic guitar finger-picking, Lawrence Blatt won an international radio LifeStyle Music Award and was named last year’s “Best New Artist” by New Age Reporter for his debut CD, the Top 10 airplay Out of the Woodwork. In addition, the album was selected as a finalist for the 2007 Independent Music Awards’ Best New Age Album. Meanwhile, Fibonacci’s Dream is already #2 on the international NAR chart. Both CDs can be purchased online at his own website (lawrenceblatt.com), CDbaby.com, Amazon.com, Tradebit.com, Musicishere.com, and digital download locations such as iTunes and Napster.
Blatt has studied under guitar players and recording artists such as Laurence Juber, Pierre Bensusan and Brian Gore. Following the technique used by those teachers, Blatt picks the strings using his fingertips rather than utilizing real or fake fingernails. Blatt uses both standard and open tunings on his guitars. Blatt also believes in “complete takes” when recording (rather than seeking perfection with patched-together solos), and does only minimal studio manipulation of the sound after it leaves his instrument.
Lawrence grew up initially in the Los Angeles-area (Van Nuys) through grade school, and then moved to Carmel, Indiana, where he attended junior and senior high school. He began classical violin studies at age eight (immersed in Mozart, Bach, Mendelssohn and Bernard Heiden) which continued through his senior year (although Lawrence also played classical bass for two years and learned basic piano skills). While still in junior high, he became the youngest member of the Indianapolis Youth Symphony (conducted by Jackson Wiley). In addition, when Blatt was twelve, he began learning guitar, and over the next decade became a part of the Indiana folk scene as a singer-songwriter-guitarist while continuing to study classical music.
In high school, Blatt was influenced by singer-songwriters such as Neil Young, James Taylor, Cat Stevens, Carole King, Jesse Colin Young, Van Morrison, Dan Fogelberg, America and Boz Scaggs. Blatt went on to graduate from Indiana University where he studied both microbiology and music (Leonard Bernstein was on the adjunct faculty giving lectures and concerts). Lawrence’s musical interest expanded to include artists such as John Lee Hooker, Al Jarreau, Joe Jackson and Chicago. Blatt moved to Los Angeles and earned his MBA and PhD degrees in science (“it was something I enjoyed and had an aptitude for”), and listened to a lot of folk (Steve Earle, Steve Goodman, John Prine, Lyle Lovett) and jazz (Larry Carlton, Brandon Fields). Blatt went to Boulder, Colorado, for five years, began his “serious music career,” and delved deeply into finger-style playing. In addition to studying with Juber at this time, Blatt was influenced by other finger-pickers including Dave Wilcox, Leo Kottke, Michael Hedges, Ottmar Liebert and The Netherlands’ Harry Sacksioni. In 2001 Blatt moved to San Francisco (where he now lives) and started performing regularly, recording and studying intensely with Brian Gore.
Shortly after Blatt released his first CD, Out of the Woodwork, several tunes received airplay on John Rothman’s current-affairs nationally-syndicated radio program, and listener response and sales were immediate. The album went on to be one of the most-played albums in its genre on radio stations around the world for several months. The title tune was chosen to appear on the compilation CDs Care Packages (distributed to American troops in Iraq) and GOA Chill Zone. “Here We Go” was licensed to appear in a Tom Green film (“Shred II”); “Under the Sun” appeared on the CD No Cover’s Best New Bands; “Z Squared” was included on the Java for Javelins compilation; and “Keiki Lullaby” will be used on the PBS/Showtime-TV magazine show “This American Life.”
On Fibonacci’s Dream, Blatt’s ability to perform multiple parts on a guitar without overdubs is showcased on the tunes “I’m Leaving Now” (influenced by Lindsay Buckingham), “Bern ‘The Bear’,” “Just Before Dawn,” and two that include a little percussion added -- “Five Nights” and “La Selva (The Rainforest)” (featuring the tiny South American ronroco). But in addition to these single-guitar spotlights, Blatt also creates wondrous multiple-guitar arrangements on the Latin-influenced “Una Vida (One Life)” with its 35-second solo charango coda, “Catalina,” “Fibonacci’s Dream” and “Song For Chava” (an homage to Blatt’s Eastern European heritage).
Several of the pieces develop interplay between the guitar and bass, such as “In A Heartbeat” and “A Little More Sunshine.” “‘In A Heartbeat’ is example of two guitars talking to one another,” Blatt explains, “like a first and second violin in an orchestra, where the melody only emerges when the two are playing together.” “I Remember When,” written in Hawaii using a “taro-patch tuning,” incorporates an eight-string ukulele. The album ends with a tune dedicated to “the senselessness of war.” “Move Um Out” moves from delicate harmonics to a marching pace and, following several brief lulls, into frenetic strumming and percussion.
“I didn’t set out to make an album of any particular genre. My music includes simple tunes, ones that are harmonically and rhythmically complex, some with a modern-sounding edge, and others with a mysterious quality and feeling that could have been written in the 18th century. As a solo instrumentalist, my guitar is my voice, and I have a lot I want to say.”
Friday, May 23, 2008
Thursday, May 15, 2008
AHN TRIO SHOWCASE MODERN-CLASSICAL, NEW AGE, FOLK & HIP-HOP ON FIRST SONY-BMG RECORDING
AHN TRIO
From the moment the Ahn Trio stepped onto the international music scene stage, they have defied categorization, broken musical barriers and revolutionized perceptions of classical music. They have become leaders in diversifying classical music in the 21st Century. Their trendsetting legacy continues with their fifth recording, Lullaby for my Favorite Insomniac, their debut CD on SONY BMG Masterworks (RCA Red Seal).Korean-born and Juilliard-trained, the Ahns are sisters – violinist Angella, pianist Lucia and cellist Maria. The trio builds bridges between diverse musical genres and transcends any preconceptions that exist in the classical music scene by embracing 21st century classical music as well as utilizing elements of new age, jazz, pop, folk, minimalism, avant-garde, chill, lounge and hip-hop. The trio works with composers who have many diverse influences, and the Ahns also continue to collaborate with many different types of artists."Every century has its own distinctive style of classical music," states Angella, "and our album reflects classical music in the 21st Century which, of course, is influenced by all different types of music in this modern era. We live in New York City and can't help but be inspired by all the exciting new music and art around us. Incorporating these elements feels like an entirely organic progression to us. We don't purposely set out to be rebellious."These musical sisters thrive on dissolving the barriers between art forms. They have fused their music with that of modern dancers (such as the David Parsons Dance Company), pop singers, club DJs, performance artists, photographers, lighting designers, installation artists, ecologists and even kite makers. Ahn Trio tours regularly and has sold out concert venues, from packed clubs to prestigious concert halls, all over the world.
Possessing an enviable combination of talent, style and beauty, the Ahn sisters have long been favorite subjects for the international press. The group initially made a big splash when they were featured early on in Time magazine (the cover heralded "Asian-American Whiz Kids"). They have gone on to be frequently featured on fashion pages in magazines such as Vogue, GQ, Harpers Bazaar, W, Marie Claire and Town & Country. Angella, Lucia and Maria also were named three of People magazine's "50 Most Beautiful People" in 2003, not just for their beauty but also for their outstanding musical accomplishments.Their first album of trio compositions by Ravel and Villa-Lobos won rave reviews ("This is one of Ravel's best, and never better played" - Audion Magazine). Their second recording won an ECHO Award (Germany's Grammy equivalent) and featured interpretations of pieces by Dvorak and Shostakovich. The trio then recorded two albums that introduced works that were written especially for them and which highlighted living composers. For their new CD on SONY BMG Masterworks, the Ahns planned an album they had been dreaming of doing for several years: their modern classical take on what they call “lullabies fit for 21st Century insomniacs.”
"Lullabies are traditionally very simple and beautiful melodies that are small yet powerful in their emotional content. In every culture they are the same. We started by choosing lullaby-worthy material and then did 'modern classical' treatments of them which for us meant creating something edgy but at the same time minimalistic since lullabies should always be simple," explains Maria Ahn. "Primarily our ingredients were our acoustic instruments with some very, very subtle electronica elements and a few non-classical singers."In addition to the title track by Kenji Bunch, they chose his "Dies Irie" and "Magic Hour" (the latter the fifth movement of his "Swing Shift" suite), and also had him arrange the classic Rodgers & Hart standard "My Funny Valentine." "We met Mary Rodgers, Richard Rodgers' daughter, while at Juilliard so we chose this tune as a tribute to her."
Also on the CD are two compositions by acclaimed-film-composer Michael Nyman – "Big My Secret" and the famous theme from the score for the film “The Piano” ("The Heart Asks Pleasure First") – with special transcriptions created by Nyman for the Ahn Trio. According to Lucia, “Nyman is one of our absolute favorite composers of our time. He is truly the innovator of a brand new approach to the modern soundscape.” Nyman, equally enthusiastic about working with the Ahns, calls them "my all-time favorite piano trio with a rare passion for new music.”On the new recording, the Ahn Trio also perform "Song On The Land" by piano prodigy and composer Ronn Yedidia (another who attended Juilliard), whom they enlisted to transcribe two other tracks – an instrumental version of the Korean pop hit "Dream" by JY Park (considered to be the Korean "P. Diddy") and the classic folk song "Solitary Singer" (written by folk icon and Disney film composer Terry Gilkyson for his 1948 Armed Forces radio show). "We fell in love with Laurie Lewis' version, so we used her arrangement as our starting point," Angella explains.The album contains eight pieces new to the group's recorded repertoire including Susie Suh's "All I Want," arranged by the Ahn Trio with Susie singing. The CD also includes newly-recorded versions of four compositions that appeared on previous CDs: "Magic Hour" by Kenji Bunch, "The Heart Asks Pleasure First" by Michael Nyman, Astor Piazzolla's "Oblivion" and their instrumental transcription of the David Bowie-Pat Metheny hit "This is Not America." Club-mix versions of four tunes are included as bonus tracks. "The remixes were pure fun," states Lucia. "We wanted international sound designers to take our music and make something completely new out of it."Lullaby for my Favorite Insomniac was recorded in Prague in the Czech Republic. The trio had recently traveled there to perform at the Czech Angel Awards (that country’s Grammys) with one of the country's top rock bands, the Tata Bojs, and two of the best Czech music producers – Dusan Neuwerth (also a member of Tata Bojs) and Jan P. Muchow (who plays in the experimental rock duo The Ecstasy of Saint Theresa). The Ahn sisters then asked Neuwerth and Muchow to co-produce the album with the trio.The Ahns feel that Lullaby for my Favorite Insomniac is “a reflective yet impulsive album” acknowledging who they are at this moment in time. "It's a concept we wanted to explore at this time in our career, and it is very personal because it is the first album that we were involved in the production," Maria explains.The Ahn Trio is already looking ahead to the future. Their next album will consist of all original works written especially for the trio. They are waiting with great anticipation a new Triple Concerto being written for them by Mark O'Conner. Upcoming plans include a recording collaboration with the Tata Bojs; performances in New York City, Mexico and Chicago, a new recording of their Christmas EP, and a tour in China and Korea that will include the premiere of Kenji Bunch's Hardware Triple Concerto in China.
Lullaby for my Favorite Insomniac can be purchased in stores nationwide as well as at online sales outlets including the Sony-BMG Music Entertainment Store (shop.myplay.com) and Amazon.com, or digital download locations such as iTunes. For more information on the Ahn Trio, visit sonybmgmasterworks.com, ahntrio.com or myspace.com/ahntrio.
From the moment the Ahn Trio stepped onto the international music scene stage, they have defied categorization, broken musical barriers and revolutionized perceptions of classical music. They have become leaders in diversifying classical music in the 21st Century. Their trendsetting legacy continues with their fifth recording, Lullaby for my Favorite Insomniac, their debut CD on SONY BMG Masterworks (RCA Red Seal).Korean-born and Juilliard-trained, the Ahns are sisters – violinist Angella, pianist Lucia and cellist Maria. The trio builds bridges between diverse musical genres and transcends any preconceptions that exist in the classical music scene by embracing 21st century classical music as well as utilizing elements of new age, jazz, pop, folk, minimalism, avant-garde, chill, lounge and hip-hop. The trio works with composers who have many diverse influences, and the Ahns also continue to collaborate with many different types of artists."Every century has its own distinctive style of classical music," states Angella, "and our album reflects classical music in the 21st Century which, of course, is influenced by all different types of music in this modern era. We live in New York City and can't help but be inspired by all the exciting new music and art around us. Incorporating these elements feels like an entirely organic progression to us. We don't purposely set out to be rebellious."These musical sisters thrive on dissolving the barriers between art forms. They have fused their music with that of modern dancers (such as the David Parsons Dance Company), pop singers, club DJs, performance artists, photographers, lighting designers, installation artists, ecologists and even kite makers. Ahn Trio tours regularly and has sold out concert venues, from packed clubs to prestigious concert halls, all over the world.
Possessing an enviable combination of talent, style and beauty, the Ahn sisters have long been favorite subjects for the international press. The group initially made a big splash when they were featured early on in Time magazine (the cover heralded "Asian-American Whiz Kids"). They have gone on to be frequently featured on fashion pages in magazines such as Vogue, GQ, Harpers Bazaar, W, Marie Claire and Town & Country. Angella, Lucia and Maria also were named three of People magazine's "50 Most Beautiful People" in 2003, not just for their beauty but also for their outstanding musical accomplishments.Their first album of trio compositions by Ravel and Villa-Lobos won rave reviews ("This is one of Ravel's best, and never better played" - Audion Magazine). Their second recording won an ECHO Award (Germany's Grammy equivalent) and featured interpretations of pieces by Dvorak and Shostakovich. The trio then recorded two albums that introduced works that were written especially for them and which highlighted living composers. For their new CD on SONY BMG Masterworks, the Ahns planned an album they had been dreaming of doing for several years: their modern classical take on what they call “lullabies fit for 21st Century insomniacs.”
"Lullabies are traditionally very simple and beautiful melodies that are small yet powerful in their emotional content. In every culture they are the same. We started by choosing lullaby-worthy material and then did 'modern classical' treatments of them which for us meant creating something edgy but at the same time minimalistic since lullabies should always be simple," explains Maria Ahn. "Primarily our ingredients were our acoustic instruments with some very, very subtle electronica elements and a few non-classical singers."In addition to the title track by Kenji Bunch, they chose his "Dies Irie" and "Magic Hour" (the latter the fifth movement of his "Swing Shift" suite), and also had him arrange the classic Rodgers & Hart standard "My Funny Valentine." "We met Mary Rodgers, Richard Rodgers' daughter, while at Juilliard so we chose this tune as a tribute to her."
Also on the CD are two compositions by acclaimed-film-composer Michael Nyman – "Big My Secret" and the famous theme from the score for the film “The Piano” ("The Heart Asks Pleasure First") – with special transcriptions created by Nyman for the Ahn Trio. According to Lucia, “Nyman is one of our absolute favorite composers of our time. He is truly the innovator of a brand new approach to the modern soundscape.” Nyman, equally enthusiastic about working with the Ahns, calls them "my all-time favorite piano trio with a rare passion for new music.”On the new recording, the Ahn Trio also perform "Song On The Land" by piano prodigy and composer Ronn Yedidia (another who attended Juilliard), whom they enlisted to transcribe two other tracks – an instrumental version of the Korean pop hit "Dream" by JY Park (considered to be the Korean "P. Diddy") and the classic folk song "Solitary Singer" (written by folk icon and Disney film composer Terry Gilkyson for his 1948 Armed Forces radio show). "We fell in love with Laurie Lewis' version, so we used her arrangement as our starting point," Angella explains.The album contains eight pieces new to the group's recorded repertoire including Susie Suh's "All I Want," arranged by the Ahn Trio with Susie singing. The CD also includes newly-recorded versions of four compositions that appeared on previous CDs: "Magic Hour" by Kenji Bunch, "The Heart Asks Pleasure First" by Michael Nyman, Astor Piazzolla's "Oblivion" and their instrumental transcription of the David Bowie-Pat Metheny hit "This is Not America." Club-mix versions of four tunes are included as bonus tracks. "The remixes were pure fun," states Lucia. "We wanted international sound designers to take our music and make something completely new out of it."Lullaby for my Favorite Insomniac was recorded in Prague in the Czech Republic. The trio had recently traveled there to perform at the Czech Angel Awards (that country’s Grammys) with one of the country's top rock bands, the Tata Bojs, and two of the best Czech music producers – Dusan Neuwerth (also a member of Tata Bojs) and Jan P. Muchow (who plays in the experimental rock duo The Ecstasy of Saint Theresa). The Ahn sisters then asked Neuwerth and Muchow to co-produce the album with the trio.The Ahns feel that Lullaby for my Favorite Insomniac is “a reflective yet impulsive album” acknowledging who they are at this moment in time. "It's a concept we wanted to explore at this time in our career, and it is very personal because it is the first album that we were involved in the production," Maria explains.The Ahn Trio is already looking ahead to the future. Their next album will consist of all original works written especially for the trio. They are waiting with great anticipation a new Triple Concerto being written for them by Mark O'Conner. Upcoming plans include a recording collaboration with the Tata Bojs; performances in New York City, Mexico and Chicago, a new recording of their Christmas EP, and a tour in China and Korea that will include the premiere of Kenji Bunch's Hardware Triple Concerto in China.
Lullaby for my Favorite Insomniac can be purchased in stores nationwide as well as at online sales outlets including the Sony-BMG Music Entertainment Store (shop.myplay.com) and Amazon.com, or digital download locations such as iTunes. For more information on the Ahn Trio, visit sonybmgmasterworks.com, ahntrio.com or myspace.com/ahntrio.
LONG WAY HOME BY DON IMMEL
DON IMMEL STARTS A REVOLUTION BY MAKING THE TROMBONE ONE OF TODAY’S MOST VERSATILE INSTRUMENTS
Don Immel is passionate about re-introducing the trombone into the music scene spotlight. With the release of his debut solo album, Long Way Home, he showcases his talents as a world-class trombonist and one of the few who can play equally well in the fields of jazz, classical, pop and chill.
“It has always bothered me that the trombone has fallen out of fashion as a melodic lead instrument during the past 40 years,” explains Immel (pronounced em-uhl). “I have found that listeners love the smooth, silky, sliding sound of the trombone, but they just don’t get exposed to it much anymore. Even though so few trombone-oriented recordings are made these days, I finally realized I shouldn’t let that stop me. If you have lemons, you make lemonade. If you play trombone, you should make a trombone album, which is why I gave a tongue-in-cheek title to one of my tunes, ‘Lemonade Alchemy’.”
The CD is loosely-categorized as smooth jazz, but contains elements of pop, traditional jazz, neo-classical, chill, new age and lounge music. The recording also shows Immel’s skills as a composer, producer and arranger. Long Way Home can be purchased online at CDbaby.com, amazon.com, digital download locations such as iTunes and Napster, and at his own website (donimmel.com).
Immel is one of the only trombone performers in the world who has served as the principal trombonist in major orchestras (the Honolulu Symphony Orchestra and the national Danish South Jutland Symphony Orchestra), performed onstage with top jazz acts (Chris Botti, Doc Severinson, Cyrus Chestnut, Jon Faddis, Billy Childs, Larry Coryell), backed renowned singers onstage (Renee Fleming, Elvis Costello, Bernadette Peters, Linda Ronstadt), and played on Hollywood film soundtracks (“Matrix 3: Revolutions,” “The Newton Boys,” “The Mothman Prophecies,” “Keeping The Faith” and “Crocodile Dundee in L.A.”).
But Don’s versatility doesn’t end there. He has led The Bryggeriet Chill Project (currently performing in Europe), his own jazz groups (The Don Immel Septet, Jazz Talk Octet), both a rock’n’roll horn band and a ska group, and small neo-classical ensembles (Quake, Lyric Brass Quintet, Hollywood Brass). Immel also has performed music for television (“Buffalo Soldiers,” “Rough Riders,” “Super Fire”), top video games (“Enter the Matrix,” “Total Annihilation”) and IMAX features (“Mission to Miur,” “Elephant Kingdom”).
However, Immel’s uniqueness as a musician primarily stems from his ability to bridge the considerable gap between the worlds of classical and jazz. A former university professor in charge of teaching classical trombone as well as jazz band and “The History of Jazz,” Immel says, “Classical music is very precise, almost completely written out, and only subject to slight variations of interpretation. Jazz is on the other end of the musical spectrum with tunes often loosely structured so that they can change with every performance; and in the case of the improvised sections, some of that music is actually being created right at that moment for the first and sometimes only time. There is strict knowledge and technical expertise required in the classical world while jazz is more about freedom, the interchange of ideas, pushing the envelope and interacting with the audience during concerts. With my music, I am attempting to incorporate the best of both fields, and mix in some ideas and sounds from a few other genres to spice things up even more.”
Long Way Home kicks off with the smooth jazz title tune and ends with “Last Dance” which moves into the modern classical realm with the trombone soloing over an unusual combination of cello, vibes and the South American bandoneon. In between those bookends there is even more variety such as two songs with guest vocalists – Jake Bergevin on “Fool’s Full Quiver” and Chandry Moore on “Whole Lotta” (a slow-and-sultry complete overhaul of the old Willie Dixon-Led Zeppelin classic). Immel’s gliding, sliding trombone is spotlighted on the soft-and-slow “Leaving Paradise” and “Still In Love.” There is funky band-interplay on “Lemonade Alchemy” and “See The Memo.” Avant-garde chill-out sounds are explored on “Dualife” and “Charm Offensive” (the chill music genre – also known as smooth electronica and soft techno -- originated in relaxation rooms just off dance floors and rave arenas).
For the recording, Immel brought together many of the best jazz musicians in the Seattle area including pianist Marc Seales (Larry Coryell, Bobby Hutcherson, Slide Hampton, Jackie McLean), drummer Gary Hobbs (Randy Brecker, Eddie Harris, Bud Shank, Glen Moore), bassist Dave Captein (Tom Grant, Rick Braun, Wynton Marsalis, Paul McCandless), guitarist Chris Spencer (Ernie Watts, Tom Scott, Mimi Fox), and percussionist and vibraphonist Ben Thomas (Jovino Santos Neto, Stephen Rush, Laura Caviani).
Don Immel has a musical bloodline. His grandfather Earl was a Professor of Music at Los Angeles Valley College; father Dean was a public school music director for 43 years; and uncle Jerrold composed music for film and television (the themes for “Dallas,” “Knots Landing” and “How the West Was Won”). Don was born in Simi Valley in Southern California, was raised in San Diego and went to high school in Auburn, Washington (a few miles south of Seattle). Don began studying classical piano from ages seven to eleven, but also started on trombone when he was nine. Early influences included classical (Richard Wagner’s “Ride of the Valkyries” and later Gustav Mahler), big band (Count Basie, Duke Ellington, Tommy Dorsey), jazz (Bill Watrous, J.J Johnson) and pop-rock (Chicago, Tower of Power, Blood Sweat & Tears, James Brown). Immel played in school bands and orchestras, and in college had his own rock’n’roll horn band (Otis Elevator and The Shafts).
Immel graduated from Central Washington University with two Bachelor of Music degrees (performance and music education), and taught music in public schools for two years while playing in a ska and reggae band (The Groove). He then attended Rice University in Texas where he earned his Master of Music degree in trombone performance and also performed regularly with the Houston Symphony Orchestra. He joined Pacific Lutheran University in Tacoma, Washington, as Director of Jazz Studies before moving to the University of Washington as Professor of Trombone. In addition, he played regularly with the Seattle Symphony, Seattle Opera, Seattle Pops Orchestra, Tacoma Pops, numerous chamber ensembles and the top traveling Broadway productions visiting the area. Immel’s growing love of jazz brought new influences such as John Coltrane, Miles Davis, Gil Evans, Cannonball Adderly, Chet Baker, Stan Getz, Stan Kenton, Freddie Hubbard and Michael Brecker. But Don also began listening to Air, Talvin Singh and Thievery Corporation.
Don moved to Hawaii to serve as the principal trombonist with the Honolulu Symphony Orchestra, and while there he also played with the Honolulu Pops and his own jazz group. Most recently he was hired as the solo and principal trombonist for the South Jutland Symphony Orchestra in Denmark where he currently lives. He teaches select students and clinics, performs in various chamber and brass ensembles, and tours Europe with his Bryggeriet Chill Project (“It’s the Danish word for brewery because we got our start playing at micro-breweries”). In recent years Immel also founded Quake -- an avant garde chamber group with woodwinds, strings, percussion and trombone – that mixes Schubert, John Cage and pop tunes with painters, dancers and storytellers for a multi-media presentation that has featured such guests as Walter Gray of the Kronos String Quartet.
“With my music I want to bring the warm, earthy sound of the trombone back to the attention of today’s audience,” explains Immel. “I also am excited about combining the technical aspects of classical music with the freedom of jazz along with the energy and excitement of contemporary pop forms. I don’t feel restricted by my instrument. I truly believe the sound of a trombone can fit into and enhance virtually any style of music. I hope to open people’s ears to the possibilities.”
Don Immel is passionate about re-introducing the trombone into the music scene spotlight. With the release of his debut solo album, Long Way Home, he showcases his talents as a world-class trombonist and one of the few who can play equally well in the fields of jazz, classical, pop and chill.
“It has always bothered me that the trombone has fallen out of fashion as a melodic lead instrument during the past 40 years,” explains Immel (pronounced em-uhl). “I have found that listeners love the smooth, silky, sliding sound of the trombone, but they just don’t get exposed to it much anymore. Even though so few trombone-oriented recordings are made these days, I finally realized I shouldn’t let that stop me. If you have lemons, you make lemonade. If you play trombone, you should make a trombone album, which is why I gave a tongue-in-cheek title to one of my tunes, ‘Lemonade Alchemy’.”
The CD is loosely-categorized as smooth jazz, but contains elements of pop, traditional jazz, neo-classical, chill, new age and lounge music. The recording also shows Immel’s skills as a composer, producer and arranger. Long Way Home can be purchased online at CDbaby.com, amazon.com, digital download locations such as iTunes and Napster, and at his own website (donimmel.com).
Immel is one of the only trombone performers in the world who has served as the principal trombonist in major orchestras (the Honolulu Symphony Orchestra and the national Danish South Jutland Symphony Orchestra), performed onstage with top jazz acts (Chris Botti, Doc Severinson, Cyrus Chestnut, Jon Faddis, Billy Childs, Larry Coryell), backed renowned singers onstage (Renee Fleming, Elvis Costello, Bernadette Peters, Linda Ronstadt), and played on Hollywood film soundtracks (“Matrix 3: Revolutions,” “The Newton Boys,” “The Mothman Prophecies,” “Keeping The Faith” and “Crocodile Dundee in L.A.”).
But Don’s versatility doesn’t end there. He has led The Bryggeriet Chill Project (currently performing in Europe), his own jazz groups (The Don Immel Septet, Jazz Talk Octet), both a rock’n’roll horn band and a ska group, and small neo-classical ensembles (Quake, Lyric Brass Quintet, Hollywood Brass). Immel also has performed music for television (“Buffalo Soldiers,” “Rough Riders,” “Super Fire”), top video games (“Enter the Matrix,” “Total Annihilation”) and IMAX features (“Mission to Miur,” “Elephant Kingdom”).
However, Immel’s uniqueness as a musician primarily stems from his ability to bridge the considerable gap between the worlds of classical and jazz. A former university professor in charge of teaching classical trombone as well as jazz band and “The History of Jazz,” Immel says, “Classical music is very precise, almost completely written out, and only subject to slight variations of interpretation. Jazz is on the other end of the musical spectrum with tunes often loosely structured so that they can change with every performance; and in the case of the improvised sections, some of that music is actually being created right at that moment for the first and sometimes only time. There is strict knowledge and technical expertise required in the classical world while jazz is more about freedom, the interchange of ideas, pushing the envelope and interacting with the audience during concerts. With my music, I am attempting to incorporate the best of both fields, and mix in some ideas and sounds from a few other genres to spice things up even more.”
Long Way Home kicks off with the smooth jazz title tune and ends with “Last Dance” which moves into the modern classical realm with the trombone soloing over an unusual combination of cello, vibes and the South American bandoneon. In between those bookends there is even more variety such as two songs with guest vocalists – Jake Bergevin on “Fool’s Full Quiver” and Chandry Moore on “Whole Lotta” (a slow-and-sultry complete overhaul of the old Willie Dixon-Led Zeppelin classic). Immel’s gliding, sliding trombone is spotlighted on the soft-and-slow “Leaving Paradise” and “Still In Love.” There is funky band-interplay on “Lemonade Alchemy” and “See The Memo.” Avant-garde chill-out sounds are explored on “Dualife” and “Charm Offensive” (the chill music genre – also known as smooth electronica and soft techno -- originated in relaxation rooms just off dance floors and rave arenas).
For the recording, Immel brought together many of the best jazz musicians in the Seattle area including pianist Marc Seales (Larry Coryell, Bobby Hutcherson, Slide Hampton, Jackie McLean), drummer Gary Hobbs (Randy Brecker, Eddie Harris, Bud Shank, Glen Moore), bassist Dave Captein (Tom Grant, Rick Braun, Wynton Marsalis, Paul McCandless), guitarist Chris Spencer (Ernie Watts, Tom Scott, Mimi Fox), and percussionist and vibraphonist Ben Thomas (Jovino Santos Neto, Stephen Rush, Laura Caviani).
Don Immel has a musical bloodline. His grandfather Earl was a Professor of Music at Los Angeles Valley College; father Dean was a public school music director for 43 years; and uncle Jerrold composed music for film and television (the themes for “Dallas,” “Knots Landing” and “How the West Was Won”). Don was born in Simi Valley in Southern California, was raised in San Diego and went to high school in Auburn, Washington (a few miles south of Seattle). Don began studying classical piano from ages seven to eleven, but also started on trombone when he was nine. Early influences included classical (Richard Wagner’s “Ride of the Valkyries” and later Gustav Mahler), big band (Count Basie, Duke Ellington, Tommy Dorsey), jazz (Bill Watrous, J.J Johnson) and pop-rock (Chicago, Tower of Power, Blood Sweat & Tears, James Brown). Immel played in school bands and orchestras, and in college had his own rock’n’roll horn band (Otis Elevator and The Shafts).
Immel graduated from Central Washington University with two Bachelor of Music degrees (performance and music education), and taught music in public schools for two years while playing in a ska and reggae band (The Groove). He then attended Rice University in Texas where he earned his Master of Music degree in trombone performance and also performed regularly with the Houston Symphony Orchestra. He joined Pacific Lutheran University in Tacoma, Washington, as Director of Jazz Studies before moving to the University of Washington as Professor of Trombone. In addition, he played regularly with the Seattle Symphony, Seattle Opera, Seattle Pops Orchestra, Tacoma Pops, numerous chamber ensembles and the top traveling Broadway productions visiting the area. Immel’s growing love of jazz brought new influences such as John Coltrane, Miles Davis, Gil Evans, Cannonball Adderly, Chet Baker, Stan Getz, Stan Kenton, Freddie Hubbard and Michael Brecker. But Don also began listening to Air, Talvin Singh and Thievery Corporation.
Don moved to Hawaii to serve as the principal trombonist with the Honolulu Symphony Orchestra, and while there he also played with the Honolulu Pops and his own jazz group. Most recently he was hired as the solo and principal trombonist for the South Jutland Symphony Orchestra in Denmark where he currently lives. He teaches select students and clinics, performs in various chamber and brass ensembles, and tours Europe with his Bryggeriet Chill Project (“It’s the Danish word for brewery because we got our start playing at micro-breweries”). In recent years Immel also founded Quake -- an avant garde chamber group with woodwinds, strings, percussion and trombone – that mixes Schubert, John Cage and pop tunes with painters, dancers and storytellers for a multi-media presentation that has featured such guests as Walter Gray of the Kronos String Quartet.
“With my music I want to bring the warm, earthy sound of the trombone back to the attention of today’s audience,” explains Immel. “I also am excited about combining the technical aspects of classical music with the freedom of jazz along with the energy and excitement of contemporary pop forms. I don’t feel restricted by my instrument. I truly believe the sound of a trombone can fit into and enhance virtually any style of music. I hope to open people’s ears to the possibilities.”
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