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LatinXoxo – January 12, 15 and 17 at Under the Radar Festival 2023 at Joe’s Pub – is Migguel Anggelo's nonconforming and self-accepting rallying cry: a break from “Latin Lover” clichés and his own Venezuelan father's gendered expectations. With indelible precision, weaving in and out of the audience, the artist connects past and present while unraveling the stereotypes that would otherwise constrain him. LatinXoXo was designed to immerse an audience in a highly personal story. It is an artful collage of theater, queer comedy, physical movement, and sumptuous song selections. The musical repertoire spans decades of pop hits, his own original compositions, and the Spanish boleros that defined his youth. These performances are part of the Joe's Pub + Under the Radar: In Concert series.

In 1988, John Fedchock assembled a group of musicians that would soon become his heralded 16-piece John Fedchock New York Big Band. On September 18, 1992, the band went into NYC’s Skyline Studios to record their first album, the eponymously titled “New York Big Band”. Since then, the band has garnered widespread acclaim and Fedchock has earned Grammy nominations. This Birdland performance will mark exactly three decades since that historic recording session, and Fedchock’s band will be in full celebration of that debut recording’s 30th anniversary. This will also be Fedchock’s birthday, so plan on a gala event!
 
The John Fedchock New York Big Band’s five CDs on the MAMA and Reservoir Music labels have all received high praise from critics and extraordinary success on national jazz radio charts. In addition to performances in New York City, the band has toured nationally and performed abroad at international jazz festivals. Regarded as one of the most perceptive and versatile trombonists on the scene today, Fedchock’s reputation as a soloist is also widely acknowledged, leading Hot House NYC magazine to label him as “one of the living masters of his instrument”.
 
The JFNYBB is full of A-list NYC soloists that bask in the spotlight of Fedchock’s dynamic originals and imaginative arrangements, creating a sound that not only honors but expands on the tradition of the American big band. Don’t miss this special appearance celebrating such an iconic and historic event.

“an unabashed celebration of the large band format.”
-THE CHICAGO TRIBUNE

“John Fedchock’s New York Big Band commands your attention and holds it. This band of peerless pros takes advantage of Fedchock’s exciting arrangements.”
-DOWNBEAT

“a superb collection of players, executing the music with a particularly New York-tinged blend of conciseness and energy.”
-LOS ANGELES TIMES

“Cheerful syncopation, served with spit-and-polish precision.”
-THE NEW YORK TIMES

JOHN FEDCHOCK NEW YORK BIG BAND:
saxes: Mark Vinci, Charles Pillow, Rich Perry, Troy Roberts, Scott Robinson
trumpets: Tony Kadleck, Craig Johnson, Scott Wendholt, Barry Ries
trombones: John Fedchock, Keith O'Quinn, Clark Gayton, George Flynn
piano: Allen Farnham
bass: Dick Sarpola
drums: Dennis Mackrel

In 1988, John Fedchock assembled a group of musicians that would soon become his heralded 16-piece John Fedchock New York Big Band. On September 18, 1992, the band went into NYC’s Skyline Studios to record their first album, the eponymously titled “New York Big Band”. Since then, the band has garnered widespread acclaim and Fedchock has earned Grammy nominations. This Birdland performance will mark exactly three decades since that historic recording session, and Fedchock’s band will be in full celebration of that debut recording’s 30th anniversary. This will also be Fedchock’s birthday, so plan on a gala event!
 
The John Fedchock New York Big Band’s five CDs on the MAMA and Reservoir Music labels have all received high praise from critics and extraordinary success on national jazz radio charts. In addition to performances in New York City, the band has toured nationally and performed abroad at international jazz festivals. Regarded as one of the most perceptive and versatile trombonists on the scene today, Fedchock’s reputation as a soloist is also widely acknowledged, leading Hot House NYC magazine to label him as “one of the living masters of his instrument”.
 
The JFNYBB is full of A-list NYC soloists that bask in the spotlight of Fedchock’s dynamic originals and imaginative arrangements, creating a sound that not only honors but expands on the tradition of the American big band. Don’t miss this special appearance celebrating such an iconic and historic event.

“an unabashed celebration of the large band format.”
-THE CHICAGO TRIBUNE

“John Fedchock’s New York Big Band commands your attention and holds it. This band of peerless pros takes advantage of Fedchock’s exciting arrangements.”
-DOWNBEAT

“a superb collection of players, executing the music with a particularly New York-tinged blend of conciseness and energy.”
-LOS ANGELES TIMES

“Cheerful syncopation, served with spit-and-polish precision.”
-THE NEW YORK TIMES


JOHN FEDCHOCK NEW YORK BIG BAND
Birdland
Sunday, September 18
5:30pm

saxes: Mark Vinci, Charles Pillow, Rich Perry, Troy Roberts, Scott Robinson
trumpets: Tony Kadleck, Craig Johnson, Scott Wendholt, Barry Ries
trombones: John Fedchock, Keith O'Quinn, Clark Gayton, George Flynn
piano: Allen Farnham
bass: Dick Sarpola
drums: Dennis Mackrel
percussion: Bobby Sanabria

SEPTEMBER 16TH, FRIDAY - 8PM
SOAPBOX GALLERY, 636 DEAN STREET, BROOKLYN, NY, 11238
RESERVATIONS, CLICK HERE.

"Her delightfully casual and welcoming voice, defying gravity in a manner not unlike a legend such as Blossom Dearie or peer Kat Edmonson, has the special charm that’s easy on the ears with the potential to stir your heart."
- John Ephland

Coming to performing later in life, Chicago-based vocalist/songwriter Roberta Brenza makes the most of this debut recording experience - It's My Turn to Color Now - as she enlists a brilliant team of playmates - producer & drummer Matt Wilson, pianist Dawn Clement, bassist Cameron Brown, saxophonist Stacy Dillard, along with special guest, legendary vocalist Sheila Jordan. Together they sculpt an intriguing set of thoughtfully arranged songs such as "Watch What Happens" & "Bye, Bye Blackbird," jazz standards like "Take Five" & Don Cherry's "Art Deco," along with two revealing Brenza originals. Having lived in both French and Italian-speaking cultures, she also offers fresh takes on “Les Feuilles Mortes/Autumn Leaves” and “Estate." Channeling the long developing feelings of music she was first exposed to as a child listening to her father's collection, Brenza presents as a full-formed package, revealing new insights from the lyrics as she paints from a vibrant musical palette.

PERFORMANCE BAND:
Roberta Brenza vocals
Stacy Dillard tenor & soprano saxophone
Dawn Clement piano
Cameron Brown bass
Matthew Wilson drums
Sheila Jordan vocals

“Bill Frisell, …is probably the most important and innovative exponent of jazz guitar in his generation.” The Atlantic The Bill Frisell Trio with bassist Thomas Morgan and drummer Rudy Royston joins a rich legacy of three-member groups: the trios of Nat Cole, Hank Jones, Erroll Garner, Bill Evans and many others. It’s a heritage all but defined by the tensions between tradition and individuality, continuity and change, that have always informed jazz and spark every performance by the Frisell Trio. “All three of these musicians have a deep sense of structure along with their exploratory approach to making music, so they can elaborate but never move too far away from what they need to do to serve the song. This trio is a sterling example of balancing that architectural sensibility with the spirit of spontaneity at the same time,” says Lee Townsend, producer of the Trio’s new recording Valentine. Frisell, whose eternally boyish appearance and folksy way of talking belie a probing intellect, is attuned to the mysterious but scientifically grounded strength of the combination of three improvising musicians. The trio configuration is, after all, a musical permutation of the “power of three” central to every field from mythology and religion to mathematics and physics since Zeus, Poseidon, and Hades made up the triumvirate of Greek Gods. As with every triangle, the Bill Frisell Trio draws its strength from having three separate sides (the musicians, each with his own sensibility) connected by three vertices (the harmony, melodies, and tempi of the material). Frisell, as the leader and chief composer, established the framework of meticulous untidiness and open-eared generosity, playing with economical wisdom and unforced daring. Thomas Morgan plays in and around Frisell’s guitar lines, supporting them and building from them in counterpoint that sounds both wholly organic and full of surprise. And Rudy Royston brings a third layer of feeling to the group while holding everything together. “The music is about everyone trusting each other to the point where everybody’s in the state of mind where you don’t know what’s going to happen next, and you feel safe enough to try anything. It’s … the trust that makes risks possible,” says Frisell. The result is a vivid demonstration of the capacity of masters like Frisell, in the manner of Ellington, to push themselves, their collaborators, and their audiences to unexpected heights through the ever-restless force of their creativity. After more than two years playing jazz clubs and concert halls across the United States and throughout Europe performing a repertoire they varied every night, the Bill Frisell Trio has gelled as a group dedicated to fluidity and spontaneity.

To most of us, the adventures of trailblazing trumpeter, vocalist and songwriter Bria Skonberg are borderline unbelievable. “I play jazz because it’s the closest I can get to flying.…spreading joy, relating the human experience, and putting good into the world to counteract the negative. I want to make music that makes people feel, and think.”– Bria Skonberg Described as “one of the most versatile and imposing musicians of her generation” (Wall Street Journal) she recently sang the music of Aretha Franklin alongside Michelle Williams of Destiny’s Child, played with U2 at the Apollo, sat in with the Dave Matthews band, was a featured guest with Jon Batiste and performed the Star Spangled Banner at Madison Square Garden for a NY Rangers game. A bandleader since her teens, Bria has performed festivals and stages the world over, including New Orleans Jazz & Heritage Festival, Monterey Jazz Festival, Newport Jazz Festival, Montreal Jazz Festival, and over a hundred more. In 2016 Bria released her debut LP on Sony Masterworks which won a Canadian JUNO award and made the Top 5 on Billboard jazz charts; her music has over 10 million streams on Spotify. A 6x Downbeat Rising Star, further accolades include the Jazz at Lincoln Center Swing Award, Best Vocal and Best Trumpet from Hot House Jazz Magazine and Outstanding Jazz Artist at the Bistro Awards. The “shining hope of hot jazz” (NY Times) has been at the forefront of a revival of classic American music as both a performer and educator, programming concerts and workshops for students of all ages. She has been on faculty at the Teagarden Jazz Camp (2008-present) and Centrum Jazz Camp, performs outreach on behalf of Jazz at Lincoln Center, is currently developing educational activities for the Louis Armstrong House Museum and co-directs the New York Hot Jazz Camp she co-founded in 2015. In 2018 Lincoln Center sought out her leadership for a tribute to the first integrated all female big band, the International Sweethearts of Rhythm, which launched her acclaimed group Sisterhood of Swing. In 2019 she was a featured member of Monterey Jazz Festival on Tour for 26 dates alongside Cecile McLorin Salvant, Christian Sands, Melissa Aldana and Jamison Ross. Bria is a member of the Town Hall Ensemble, an all star cast directed by Steven Bernstein that celebrates the cultural and musical history of New York city. She tours constantly bringing her own signature sound of fiery trumpet playing and smoky vocals together with storytelling and adventurous concoctions of classic and new.

Go behind the scenes of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning 2002 film. Three of today’s most compelling artists—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—star as a trio of women from different eras who each grapple with their inner demons and their roles in society. Met Music Director Yannick Nézet-Séguin will conduct the world-premiere production by Phelim McDermott. In this first look, Met General Manager Peter Gelb moderates a discussion with members of the creative team, and cast members perform highlights from its powerful score.

WORKS & PROCESS AT THE GUGGENHEIM
The Metropolitan Opera: “The Hours” by Kevin Puts
October 31, 2022 7:30–8:30 pm EDT
1071 Fifth Avenue, New York, NY 10128

For more information and to purchase tickets, please visit https://www.guggenheim.org/event/the-metropolitan-opera-the-hours-by-kevin-puts

ABOUT WORKS & PROCESS
An independent process-focused non-profit performing arts organization, Works & Process illuminates the artistic process of creators from the world's largest organizations and simultaneously champions artists representing historically underrecognized performing arts cultures by providing rare longitudinal studio-to-stage fully-funded creative residency, commissioning, and presenting support. Works & Process provides audiences with unprecedented access to creative process with programs that blend artist discussions and performance highlights, with the goal of fostering greater understanding and appreciation and broadening representation. This season Works & Process celebrates New York artists, street and social dance, and after four decades at the Guggenheim expands beyond the museum to also present at Gibney Center, Lincoln Center, and The New York Public Library for the Performing Arts, with the Jerome Robbins Dance Division. Our ongoing LaunchPAD "Process as Destination" residency program knits together a constellation of 10 residency centers across New York state to support creative process.

"But praise and gratitude also must go to Works & Process and Jacob's Pillow. These organizations have not only been providing lifelines to artists during the pandemic, they have also been directing attention and resources to dance communities often neglected by the institutions of concert dance."
– The New York Times

"An exceptional opportunity to understand something of the creative process" – The New York Times

Live Jazz performance

Doors: 7PM | Show: 8PM LPR COVID-19 Policies: https://lpr.com/about-lpr-nyc/covid-19/ With her captivating charisma and radiant spirit, Daymé Arocena effortlessly blends traditional Santerían chant, jazz stylings, contemporary R&B influences, and Afro-Cuban rhythmic complexity for audiences worldwide. Her passion for the musical traditions of her homeland is boundless – “reigniting the Cuban soundtrack wherever she plays” (NPR). At every performance, Daymé coaxes her audiences into lively call-and-response chants with an irrepressible smile on her face, enamoring the whole audience in her charm. “Scat-singing over her trio’s swaying rhumbas and cha-cha-chas,” (DownBeat), Daymé’s impact upon the history of Cuban music is undeniable. On September 6, 2019, Daymé released Sonocardiogram on Brownswood Recordings to resounding critical applause. Celebrating the rich elements of Afro-Cuban culture and Santería, Sonocardiogram also tells the story of Daymé as a creative spirit. The album is a finely crafted arc exploring her sources of Santería, dedication to legacy of Afro-Cuban musicians, an homage to family, and of course always inspired, sincere, and hopeful. Daymé was introduced to the world stage through Gilles Peterson’s Havana Cultura Mix project, which brought producers from around the world to Cuba to record with local musicians. Daymé enchanted a packed audience at the London launch of that album, and since then has released four breathtaking albums as a bandleader, including 2017’s Cubafonía – named one of The Arts Desk’s best albums of 2017. NPR claims there’s “never a dull moment” on the recording, and Billboard sums it up perfectly: Cubafonía is a “must-have on any playlist.” Daymé looks forward to the release of a new, upbeat Latin dance themed album in late 2021. The WOMEN’S VOICES series celebrates the role that female artists play in the preservation and promotion of their respective cultures and traditions.

Flat 9 Entertainment presents the Phoenix Amplified Jazz Experience featuring Gail Jhonson/Jazz in Pink and Saxophonist/Flutist Paula Atherton. This will an exciting night of contemporary and smooth jazz music featuring two chart-topping artists. Gail and Paula have performed nationally and internationally over the years on various jazz festivals and concert tours. This will be an amazing night of music performed by two influential women in Jazz! Gail Jhonson...piano, vocals, music director, composer, educator, and author... What an extensive journey this lady has traversed thus far in her career in the music industry! Hailing from Philadelphia, PA, Gail is a Berklee College of Music alumni and in 2020, she received a master's degree from Southern New Hampshire University in conjunction with Berklee College of Music, in Music Business. Her national break in the industry stemmed from her landing her first major gig with Morris Day of The Time. She relocated to Los Angeles, where she also taught for many years at Hollywood's famed Musicians Institute. As a musician, she has worked with some of the top artists in the business, like Brenda Russell, Jermaine Jackson, Pink, Norman Brown, Patti Austin, Jeff Lorber, Bobby Womack, and Jonathan Butler. And this is just the shortlist! Saxophonist, flutist Paula Atherton has enjoyed a long and varied career in contemporary and mainstream jazz. Her acumen on her instruments are poised and adept. Her full-length album Can You Feel It has already begun to garner real accolades with her single also titled "Can You Feel It," landing a #1 hit, three weeks in a row on Billboard. What is even more cementing about this accolade is she also landed #1 slots on Mediabase and #1 on the Smooth Jazz Network. New York-based sax player/vocalist and songwriter Paula Atherton has shared the stage with such contemporary jazz notables as The Rippingtons, Nick Colionne, Chuck Loeb, Cindy Bradley, Brian Simpson, Althea Renee, Four80East, David Sanborn, Bob James, Marc Antoine, Hiroshima, Gerald Albright, and Chieli Minucci. Paula has also worked in the traditional jazz field; one of the notable performances being a week-long engagement at the Blue Note NYC with pianist and jazz legend, Hank Jones. . Paula also performed with Grammy award-winning singer Dee Dee Bridgewater at the Annenberg Theater, for the Palm Springs Women's Jazz Festival.