Music Genre

Garry DW Judd, Theo Travis – Improvisation on Electric Nocturne No. 38 (Spotify)

“It is unnecessary to worry about anything and it makes no sense to rush any events. Striking serenity in the face of Nocturnes with -Improvisation on Electric Nocturne No. 38- by classical composer -Garry DW Judd- and tenor saxophonist -Theo Travis-.”

“Ненужно ни о чём беспокоиться и нет смысла торопить любые события. Поразительное умиротворение в лице ноктюрна -Improvisation on Electric Nocturne No. 38- от классического композитора -Garry DW Judd- и тенорового саксофониста -Theo Travis-.”

Theo Travis plays tenor saxophone in this warm and cozy relaxing track. It's deeply reflective with a jazzy twist thanks to Theo's playing. Ideal for relaxing/study/chilling/coding/neoclassical playlists.

Garry Judd is a contemporary classical composer whose music is driven by such diverse influences as the English Experimentalists, Erik Satie and Percy Grainger. His music has been played on BBC Radio 3, ClassicFM, and other broadcasters in the USA, Germany and France, by such performers as the Royal Philharmonic Orchestra, Leslie Howard and Courtney Pine.

Chris Abelen 7 – GDP feat. Chris Abelen [trombone] (Video)

“Dramatic soprano, expressive trombone and saxophone, bass clarinet and double bass and drum rhythms rustling – all this together creates such an expressive, improvisational beauty.”

“Драматическое сопрано, выразительный тромбон и саксофон, бас кларнета и контрабаса и шуршащие ритмы барабанов – всё это в совокупности рождает такую выразительную, импровизационную красоту.”

Trombonist Chris Abelen doesn’t think (or talk) like other composer bandleaders—the kind who work to further their careers. He lives just outside Amsterdam, and is plugged into the scene there, but he isn’t one for hanging in the Bimhuis café till all hours, or mounting bands to play international summer festivals. He has a disarming habit of describing his process as chaotic, or plain nuts: When I put this bassist and drummer together, each wrongly assumed the other would keep time. Or he’d tell you how uncomfortable someone was playing in his band. When he put out the archival live recording Proost, he was careful to mention how little the original audience had cared for it. For example.

And yet the music always comes out right. That musician who felt uncomfortable sounded great in his band, and Proost is one of the overlooked modern Dutch gems. Proost for tentet, Dance of the Penguins and What a romance! for his headbutting quintet, Space for quintet, strings and Ab Baars—there isn’t a dud in Abelen’s discography. But he can also keep you waiting far too long for his next project, such as this one, a radical departure from those loosey-goosey recordings.

As Chris Abelen tells it, it’s the usual cockup. This instrumental music began as a vocal project with an almost entirely different band. “My friend Bastiaan Geleijnse and I—he’s one of the writers of the political cartoon Fokke & Sukke—had been talking for years about writing an opera, but decided to start with something more manageable.” So Bastiaan came up with a story about office work in an age of efficiency experts. “A day at the office was first intended as an album with both sung and instrumental tracks, but I wrote too many pieces and we finished only two songs. Since we needed more time to work on those, I decided to make this instrumental-overture album to a program which might never be realized. I don’t know whether to treat this album as a stand-alone production or not, but we are working on that vocal album, with lyrics in English.

“I started the project with a different line-up, using good friends of mine from the Amsterdam community. The first rehearsal wasn’t bad at all, but it sounded like ‘more of the same.’ So I fired my friends, except for Tini Thomsen and Yonga Sun—we are still friends—and I decided to go in a different direction, more pop or funk or whatever. The result is an album with quite simple tunes—still more of the same?—but with a different feel and assigned solo slots—not more of the same.”

The first band included his peers; the new one is mostly Dutch and German players a generation or so younger than the leader. In his old quintet (with Tobias Delius, Corrie van Binsbergen, Wilbert de Joode and Charles Huffstadt), the foundation could be fluid; the forms had room to stretch and snap back. To change up, Abelen makes this septet all about a certain kind of precision: the music is tight and superbly balanced. Abelen suggests one point of reference with the title “Remembering Willem B,” where Chris plays a valedictory solo for his old friend. As a fledgling in the ’80s, Chris had played trombone in the Breuker Kollektief, and later worked as Willem’s digital copyist, readying parts for that more-or-less 10-piece band, which had its own on-the-grid precision, and musicians who kept busy in foreground or background roles.

“Willem and I we got along very well, and we were an unbeatable duo when it came to complaining about the world, and music in particular. And I agree, there are some similarities with his music, in terms of being tight and on the grid. On the other hand, Willem didn’t like to write ‘song’-like compositions at all. As influences go, I always liked the Zeeland Suite of Leo Cuypers—‘hey, it’s allowed to write a singable melody!’—and the music of Paul Termos and Guus Janssen more than Willem’s music.” Plus, Breuker had a compulsion to fill all the space on the sheet music, so no player was ever idle. Chris Abelen lets the music (and musicians) breathe more than that.

Abelen does have a gift for melody—hear that soprano saxophone line on “It’s Time,” say, or even its bassline. Or the slightly arch and beboppy melody “GDP.” Or “Back to Work” with its echolalic call-and-response. (That one has the kind of sturdy architecture one associates with Breuker.) Or the lovely horn chorales that break out all over. “Not Love” starts out like Abelen’s Big Ballad—his James Bond theme—until bass clarinet sends it somewhere else, and then the original theme comes back in different guise, Abelen showing that thrifty Dutch composer’s way of parceling out materials. The whole program bristles with bustle: every office should work so smoothly.

In that pop vein, tunes are short and tightly constructed, but plentiful improvised solos are part of the job’s benefit package. The band’s best known player and relative elder, trumpeter Angelo Verploegen, like Abelen came up in the ’80s and made his name in the ’90s, as member of the hardbopping Houdini’s. Verploegen gets a few fine solos but his unofficial concerto is “The hall,” which shows off his virtues: chops, lyricism, beautiful tone, the way he leaves space in a line, and the bluesy inflection you don’t hear coming. Angelo and Chris had played together once years ago, at a festival in Morocco. The other players came to the leader a little closer to home.

“I had heard Tini play with the New Rotterdam Jazz Orchestra. The nice thing about her soloing is, she really uses the low regions on both bass clarinet and baritone, and with a lot of power.” (She has a band called MaxSax.) Thomsen played alongside alto and soprano saxist Floris van der Vlugt in the band Windkracht 7, and they blend very well. His soprano solo on “It’s Time” demonstrates his clear tone and elegant improvising—he doesn’t go straight for the pinched upper register. Drummer Yonga Sun (of the quartet Talking Cows, among other bands) recommended Munich-born bassist Ulrich Wentzlaff-Eggebert—drummers know who they can get along with, sometimes after playing four bars together. Chris rehearsed with them both and liked the chemistry. The bassist and drummer link up beautifully; they can dance lightly or get heavy—as on the rocky second section of “A day at the office.”

The youngest player here is head-turning rock guitarist Thijs Huibens. “I knew him as a friend of my son Willem, who plays saxophones,” Abelen says. “They met in high school and play in some little bands, workshopping standards or playing heavy rock. I liked the way he played mostly by ear, and not via extensive studies of the Holy Chord Changes. Guitarists who only play notes or get a standard jazz-guitar sound bore me—they won’t explore tone the way a singer or horn player will. At first Thijs had some problems with all these notated parts, but he put in a lot of work, figuring out all this music in sometimes really unfriendly guitar keys.” “Delay” is his mini-concerto, an essay in mutable guitar timbres. I love those strummed mid-bar accents on “More circus” too.

There is some tight interactive playing here for sure—the improvised counterpoint on “More circus,” notably. With everyone attentive to good intonation, that penchant for precision really pays off, as in the rising, falling and converging lines on “Huub.” (Some good low bass clarinet on that one, too.) As mentioned, this project began with office workers, and any Dutch-scene insider might correctly guess the tune’s named for the Bimhuis’s tireless director Huub van Riel, who can navigate through myriad distractions much the way the trombone melody does.

The last thing to mention about A day at the office is how it was put together, more like a pop than a jazz record, in layers. Chris Abelen recorded it mostly at his home studio, one instrument at a time. That decision was partly quixotic (it allows for “music minus one” play-along versions), partly economic (“If I had to pay for the time spent mixing and editing this album I could have bought a small car”), and partly practicality, convenience, and psychology. “In a studio there is always a kind of pressure to play a solo in one or two takes—and to tell everyone you only needed one. Needing more is regarded as amateuristic. But if we had to record more takes to get a satisfying solo, no problem.” Everyone can relax and focus, and be ready for their moment.

The proof’s in the final report. The players don’t sound like they’re watching the clock, waiting for work to be over. They sound psyched, rested and ready. Putting this music together, Chris Abelen struck a blow for worker comfort, efficiency, and effective time management.

–Kevin Whitehead (july 2016)

Innocenzo Genna Interview on Nagamag



What are the genres that describe better your music style?

Innocenzo Genna:
My solo-piano compositions of Innocenzo Genna fall within the categories of neoclassical, with frequent combinations into blues and jazz. I am similarly conservative as a composer, for my music drawing heavily on harmonic and melodic practices found in 18th and 19th-century European compositions

Few words about your musical background and career?

Innocenzo Genna:
I always lived music in multiple dimensions: as a musician, firstly performer and entertainer, and then composer, but also as a technology scholar. My interest in music is not only artistic and emotional, but also professional, because for years I have been working in the Internet and technology sector as a lawyer and policy expert, so as to be involved in the major political debates concerning music and technology: from P2P to online piracy, from online platforms to the liberalization of collecting societies, up to the recent European copyright reform. Such an intense professional activity enriched my musical vocation, while adapting my classical practice with modern and pop piano, blues and jazz, so as arranging the various genres into a personal compositional style. The many trips in Italy and abroad have contributed to creating the context of images, memories and fantasies from which his compositions are born.

Do you remember your first connection of love to music that was the right impact to be a music artist now?

Innocenzo Genna:
When I was 4 years old my father forgot to pick me up from the nursery. While waiting for my father arrival, the nuns left me own the refectory where an old piano stand. I spent a couple of hours trying to play it, I was aware that it was not a toy, it was something to be treated with respect. From that point onwards, I was fascinated by pianos

When did you start to compose music?

Innocenzo Genna:
The father of a friend of mine had a grand piano and lots of jazz and blues music sheets. he invited me to play them. For me it was a kind of revelation, because I finally found out the name and the notes of music I have been looking for (there was not Youtube an that time). Bacharach, Mancini, Lewis, ecc . It was a re relation from me. By reading such notes, I realized that there is something even greater than playing music: composing music. I was 16 years old.

When did you start to publish your music?

Innocenzo Genna:
Very late, because normally I was playing in public as an entertainer and a club pianist, not as a composer. I always found my music to be too delicate and introspective to be played in events with a large audience. However, some people accidentally heard my compositions during private events, and they strongly urged me to publish it.

Music has no borders and many of us we may listen to more genres that we are mainly involved. So share with Nagamag which track comes first in your mind from music but is NOT similar to your genre?

Innocenzo Genna:
Keith Emeson "Inferno - Main Title Theme"

Of Course Nagamag would love to listen also which track from a similar artist you admire?

Innocenzo Genna:
Ryuichi Sakamoto "Merry Christmas Mr. Lawrence"

Discover & Listen to Innocenzo Genna

Innocenzo Genna on Spotify

Innocenzo Genna's Signature Track

Innocenzo Genna on Social Media


Innocenzo Genna's Website

Monc – Cardboard Rocketship (Spotify)

“Does music heal? Oh yeah! Does she heal lonely, empty souls? Yes! And musicians and performers like Monc have a unique flair that helps them hit the right strings of our soul. Check out his new album, Sweet Songs of Survival. Healing is already on your doorstep.”

“Музыка лечит? О, да! Она исцеляет одинокие, опустевшие души? Да! И такие музыканты и исполнители, как Monc обладают уникальным чутьём, которое помогает им нажимать на нужные струны нашей души. Послушайте его новый альбом Sweet Songs of Survival. Исцеление уже на пороге вашего дома.”

Heart-wrenching and immersive, Sam Newton's new single 'Ground Me' paints a soundscape of longing. The track builds upon a foundation of acoustic guitar, elepian electric keyboard, pedal steel and theremin to support a lyrical yearning for normality and satisfaction.

The song represents a new creative freedom for Newton, as he continues to experiment with unique instrumentation, production and arrangement in his newly completed home studio.

Sydney country-folk songwriter Sam Newton is an artist who has clearly studied the greats, listening to and learning the meticulous craft of combining words and melody, mood and emotion, with raw and poetic honesty.

Newton is now three albums (Set in Stone, Violet Road, Stare Into The Dark) deep into his career and since the release of his first EP nearly a decade ago, he’s played a plethora of shows through NSW, QLD and VIC – in bars, pubs and on festival stages (Dashville Skyline, Tamworth Country Music Festival, Bendigo Blues and Roots Festival, Newtown Festival, Cully Fest) and been featured in Rhythms magazine (Nov/Dec 2016), Australia’s leading roots music print publication.

Whether solo or with his band, it’s the songs that take centre-stage, delivered with that high and lonesome voice that can equally convey fractured emotions and assured resilience as he sings about subjects such as infatuation, mental health and relationships – both damaged and on the ascent.

Fans of artists such as Townes Van Zandt, Wilco, Willie Nelson and Paul Simon will find much to admire in the music of Sam Newton. From recording albums to playing shows, filming videos and streaming live songs, he’s the epitome of the modern troubadour.

Justin Nicholls – Winter (Dancing Into Sleep) (Spotify)

“Justin Nicholls' music is unique. It is not possible to convey the feeling of being immersed in his works in words. Wye Valley Seasons is a multi-instrumental album where living instruments are woven together like tree branches. A true therapy for body and soul.”

“Музыка Justin Nicholls уникальна. Ощущение от погружения в его произведения словами передать не представляется возможным. Wye Valley Seasons - мультиинструментальный альбом, где словно ветви деревьев сплетены воедино живые инструменты. Настоящая терапия для души и тела.”

Winter (Dancing Into Sleep) is the third movement from Wye Valley Seasons, an exciting new pastural Jazz symphony. This piece was Inspired by the changing seasons of the Wye Valley which has been the composers home for the past 18 years. This 40 minute epic takes us on a breathtaking, kaleidoscopic journey into nature. As emotive as it is colourful, this high energy piece packs a punch live on stage and will unify audiences of all ages and musical tastes. Its aim is to reconnect us to nature through rhythm, melody and harmony. It received a rapturous response at its debut performance in August 2019 at the Pygmy Pinetum summer concert in Gloucestershire.

Justin says: This is my four seasons. Pulsing rhythms, rich saxophones & woodwinds, grooving bass, guitar & piano and lush tribal voices. This is my musical interpretation of the Wye Valley’s ever-changing light, colour and energy throughout the year. Living here has been a constant source of inspiration and renewal for me. This music is dedicated to Terry & Beryl Ellis - dear friends much missed and true natives of this magical river valley.

Jodie Miles – I’m With You (Spotify)

“Single I'm With You is a hymn to charity through the eyes of children, and they thus represent all the holy and innocent, what was left in our world of unfulfilled dreams. Kindness, warmth and comfort to you and your home.”

“Сингл I’m With You это благотворительный гимн глазами детей, а они тем самым отражают всё то святое и невинное, что осталось в нашем мире несбыточных грёз. Добра, тепла и уюта Вам и Вашему дому.”

About this song:

"Over the past few months my 7-year-old daughter and I have found it helpful for our own mental health wellbeing to focus on being creative through music, and as our response we’ve recorded a song called ‘I’m With You’.

In order to support other children that may be experiencing difficulties, we’re fundraising for the children’s mental health charity, Place2Be. This charity provides much needed advice and support for not only children, but their families and school staff too, ensuring that children are supported in every aspect of their lives.

If you like the song, we’d love for you to help us raise awareness through simply adding this to your playlist and/or discussing this on your blog. If you’d like to join us in supporting this cause, and spreading the word, we’ve set up a JustGiving page:

Of course this is about the music, and how it moves people’s emotion. From my own experience, I know how important music is in helping, as is access to mental health support during early years, and for us to do as much as we can to help children who are struggling with mental health problems. This is especially true right now.

Thank you for taking the time to read this. Please feel free to share to help raise awareness, to help ensure that no child has to face mental health problems alone."

Jodie Miles

Fuat Tuaç – Late Bloomer (Spotify)

“What makes a jazz singer and musician Fuat Tuaç? He suddenly encountered in your way, and just as well, almost imperceptibly for you is in your playlist. Do you like jazz? In this case, your choice is obvious!”

“Что делает джазовый певец и музыкант Fuat Tuaç? Он внезапно встречается на вашем пути и точно также, почти незаметно для вас, оказывается в вашем плейлисте. Вы любите джаз? В таком случае ваш выбор очевиден!”

Kara Morton – Play & Pray (Spotify)

“Meditative mood of the singer and producer Kara Morton Atelier Valencia. Carefree existence and slight tingling throughout the body - all this in their joint work Honey Queen.”

“Медитативное настроение от певицы Kara Morton и продюсера Atelier Valencia. Беззаботность бытия и лёгкое покалывание по всему телу - всё это в их совместной работе Honey Queen.”

This track off their new EP takes us down in a jazzier path, featuring Kara Morton's sultry vocals and playful lyrics about new connections. Other musicians contributed some parts to this including a stand-up bass line from Rising Appalachia's David Brown.

David Whitman – With Love (Spotify)

“Music David Whitman is a bouquet of passions and a deep, sincere respect for his work. The album Soul Flow is an example of defeating improvisations within the framework of Jazz, and ensemble percussion as an inventive element of hunting technical masterpieces.”

“Музыка David Whitman это букет из страсти и глубокого, искреннего уважения к своему творчеству. Альбом Soul Flow пример поразительной импровизации в рамках изысканного Джаза, а ансамблевая перкуссия как изумительный элемент ловкого технического мастерства.”

This song received an Independent Music Award nomination for Best Instrumental Jazz Song. The album received two other IMA nominations and won four Global Music Awards. John Raymond, one of DownBeat magazines most watched young trumpet players, marvelously interprets the feature.

David Whitman brings a passion and deep respect for the music to the stage wherever and whenever he performs. Praised for his versatility, he possesses a high level of skill across a broad range of percussion styles and ensemble situations. Critics provide affirmation ; “His spirit echoes the playing of Art Blakey,” and “his goal of capturing the high standards of … prestigious jazz labels is dazzlingly achieved,” with playing that is hailed as “swinging,” “mesmerizing,” and “invigorating,” with “mesmerizing brushwork,” “youthful exuberance,” and “deft technical skill.”

David’s first album as leader ("Oh, Clara!") was recently released on the North Park label to critical acclaim, winning an Independent Music Award for Best Instrumental Jazz Album in 2018, as well as a nomination for Best Producer. His second album as leader (“Soul Flow”) won four Global Music Awards (Production, Composition, Jazz, Album - – all Silver), and three additional Independent Music Award nominations (Best Jazz Song, Best Blues Song, and Best Producer).

David has also toured, performed, or recorded with The Who, Geoffrey Keezer, Peter Townshend, Jimmy Dorsey Orchestra, John Raymond, Johnny Mathis, Weird Al Yankovic, Roger Nierenburg, and so many more amazing artists.

Periklis Biskinis Interview on Nagamag



What are the genres that describe better your music style?

Periklis Biskinis:
Συνθέτω σε ένα πεδίο Rock-Jazz-Latin με προτίμηση στον ελληνικό στίχο όπου θεωρώ ότι συντονίζομαι συναισθηματικά και νοητικά.

(I compose in a Rock-Jazz-Latin field with a preference for Greek lyrics where I find myself emotionally and mentally attuned.)

Few words about your musical background and career?

Periklis Biskinis:
Είμαι ένας συνθέτης και καθηγητής μουσικής, συγκεκριμένα φωνητικής και σύγχρονου πιανου και έχω ασχοληθεί με πολλά είδη μουσικής. Ύστερα απο τις κλασσικές μου σπουδές, δίπλωμα κλασσικού πιάνου, κλασσικού τραγουδιού και ανωτέρων θεωρητικών ασχολήθηκα με την Jazz, Jazz ενορχήστρωση πνευστών και εγχόρδων όπως και με την ηχοληψία και την μουσική Τεχνολογία. Διδάσκω 20 χρόνια σύγχρονο τραγούδι και σύγχρονο πιάνο με σκοπό οι μαθητές μου να βίωνουν την ελευθερία έκφρασης της ψυχής τους με γέφυρα την μουσική και τον ήχο. Κάνω παραγωγές σε τραγουδιστές και συνθέτες και συνθέτω, ηχογραφώ και είμαι παραγωγός της δικής μου μουσικής δισκογραφίας. Έχω παίξει σε πάρα πολλές σκήνες στην Αθήνα και σε όλη την Ελλάδα όπως στον Σταυρό του Νότου , Faust, Zoo κτλ Έχω δημιουργήσει με επιτυχία δύο μεγάλες ορχήστρες οι οποίες είναι η Πλαστελίνη και οι Μαντρας.

(I am a composer and music teacher, specifically into vocal and modern piano and I have been involved in many types of music. After my classical studies, diploma in classical piano, classical singing, and advanced theories, I dealt with Jazz, Jazz orchestration of winds and strings as well as sound recording and music technology. I have been teaching contemporary songs and contemporary piano for 20 years in order for my students to experience the freedom of expression of their soul with music and sound as a bridge. I do productions for singers and composers and I do recordings and I am a producer of my own music discography. I have played on many stages in Athens and all over Greece such as Stavros to Notou, Faust, Zoo, etc. I have successfully created two great orchestras which are Plastelini and Mantras.)

Do you remember your first connection of love to music that was the right impact to be a music artist now?

Periklis Biskinis:
Θυμάμαι όταν πήγα να μάθω πίανο στο ωδείο στην ηλικία των 5 ετών. Από τότε η σχέση μου με τον ήχο και τα μουσικά οργάνα ξεκίνησε. Ερωτεύομαι τον πειραματισμό με νέα μουσικά οργάνα και το επιδιώκω να μελετάω καινούργια όργανα μουσικής.

(I remember when I went to learn piano at the conservatory at the age of five. Since then my relationship with sound and musical instruments began. I fall in love with experimenting with new musical instruments and I seek to study them deeper.)

Music has no borders and many of us we may listen to more genres that we are mainly involved. So share with Nagamag which track comes first in your mind from music but is NOT similar to your genre?

Periklis Biskinis:
Mick Harvey "Out of time man"

Of Course Nagamag would love to listen also which track from a similar artist you admire?

Periklis Biskinis:
Soul Jazz Orchestra "Mista President"

Discover & Listen to Periklis Biskinis

Periklis Biskinis on Spotify

Periklis Biskinis's Signature Track

Periklis Biskinis on Social Media

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