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Steph Richards
Steph Richards is a dynamic improvisor known for her innovative approach to the trumpet and interdisciplinary expression as a composer. An “innately adventurous trumpeter”, (Downbeat), she has collaborated with visionaries Henry Threadgill, Anthony Braxton, Muhal Richard Abrams and John Zorn as well as art pop luminaries Yoko Ono, St. Vincent, David Byrne and Laurie Anderson. Characterized by The New York Times as “boldly inventive…Richards composes in ways that standard notation could never document.” her works span interactions with film, poetry, electronics, choreography and scent and have garnered critical acclaim including Record of the Year by the New York Times and Downbeat. Her seminal record Supersense (2019) featuring all-star improvisers Jason Moran, Stomu Takeishi and Kenny Wolleson includes multimedia artist Sean Raspet creating singular, abstract scents to both inform and converse with the recording.
Mike Jurkovic's Best Releases of 2019
by Mike Jurkovic
It was this dozen plus of recordings, among many that deserve mention, that gratefully, again and again and again, pulled my attention away from binge watching the destruction of our cherished, yet all too vulnerable democracy. These are the recordings of 2019 that made it evident that we all need to remain vigilant and engaged, or ...
Take the Neon Lights
Label: Birdwatcher Records
Released: 2019
Track listing: Take the Neon Lights; Brooklyn Machine; Time and Grime; Rumor of War; Transitory (Gleams); Skull of Theatres; Stalked by Tall Buildings; All the Years of Our Lives.
Stephanie Richards: Take the Neon Lights
by Vincenzo Roggero
Sono due gli elementi principali che emergono all'ascolto di Take the Neon Lights : la straordinaria tecnica strumentale di Steph Richards, nella scia di innovatori come Nate Wooley e Peter Evans, ed una scrittura decisamente originale, anomala, anticonvenzionale. Al secondo album da leader, dopo l'eccellente debutto con l'elettronico Fullmoon, Richards scopre definitivamente le carte mettendo in ...
Stephanie Richards: Creative Music
by Kevin Press
Calgary's Stephanie Richards has been rubbing shoulders with some of the world's finest jazz players since putting down roots in New York City. The trumpeter has a passion for testing boundaries and an intuitive approach to her work. Her latest, Take the Neon Lights, is a tribute to her new home. All About Jazz: ...
Stephanie Richards: Take The Neon Lights
by Mike Jurkovic
Trumpeter/composer Steph Richards kicks ass and she wants you to know it from the very first cutting, fluttering evocations of Take The Neon Lights' title tune/opener to the near “Taps"-like silence that closes things out, “All the Years of Our Lives." With a colorful CV of playing alongside such boundary-busting, risk-taking players as David ...
2019 Winter JazzFest's Weekend Marathon: A Survival Guide
by Ludovico Granvassu
With each passing year, Winter JazzFest—New York's premiere jazz festival—has expanded the number of venues presenting an increasingly diverse array of musicians. There are several ways to approach a programme as dense and exciting as the 2019 edition of the two-day Marathon spanning January 11th and 12th. Thanks to an embarrassment of riches, festival goers face ...
Fullmoon
Label:
Released: 2018
Track listing: New Moon; Snare; Piano; Half Moon; Gong (Part I); Gong (Part II); Timpani; Full Moon (Part I); Full moon (Part
II).
Sean Moran, James Banner’s Usine and More
by Maurice Hogue
Exactly one day after the funeral of his beloved wife, and urged by friends and family, Polish saxophonist Leszek Żądło along with bassist Andrzej Cudzich and drummer Janusz Stefański entered Studio Stebo in Krakow, Poland in 1995 and recorded some very emotional and powerful music. Finally released, that recording is the feature on this week's episode ...
11th Annual Red Hook Jazz Festival To Be Held Sunday, September 16 From 2-6 PM — Marc Ribot And The Jazzbeens To Headline
“The Red Hook Jazz Festival exists contentedly on the margins, like its namesake neighborhood and much of the music on its bill…The mood in the audience was neighborly, with a higher ratio of small children to youngish adults than I’ve seen at any musical event not expressly pitched as a kids’ show.” —Nate Chinen, New York ...
