SCOTT AMENDOLA TRIO

LIFT
(Sazi Records 2010)
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LISTEN TO THE 'LIFT' PODCAST

SCOTT IS CURRENTLY
ON TOUR


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THE NEW ALBUM: SCOTT AMENDOLA | CHARLIE HUNTER 'PUCKER'

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PUCKER is here! The new record by Charlie Hunter and yours truly, featuring my music, plus a song my grandfather, the great Tony Gottuso, wrote for me. About a year ago after Charlie released "Not Getting Behind Is The New Getting Ahead", Charlie and I both had this idea to do another duo record of my music. PUCKER marks 20 years of Charlie and I playing together. WOW! I fondly remember the early days of the weekly Elbo Room gigs in San Francisco. The constant touring. Back in the 90's we were on the road, what seemed, all year, and loving it. Here's to at least 20 more. Head to the store and check out PUCKER and some special deals we've got brewing over here at scottamendola.com. Thanks for checking in. More to come!

SCOTT AMENDOLA TRIO 'LIFT'

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I'm very excited to announce the release of my new record Lift. AND I'm very happy to announce that it's on my own label, SAZi records. Lift features Jeff Parker on guitar, and John Shifflett on bass, 8 new songs of mine, and some gorgeous artwork by my friend and comrade Victor Zubeldia. I highly recommend checking out Victor's work. Jeff, John, and I will be playing some live dates in October to support the release. Check the shows page for details. I also recorded a podcast about Lift, the songs, the process, etc. Head over to the Audio/Video page and you'll be able to click and check it out! Many thanks to Art Granoff for making this happen. I'm hoping to take the trio out and about as much as possible so keep an eye out.

 

SCOTT AMENDOLA AWARDED COMMISSION TO WRITE PIECE FOR THE OAKLAND EAST BAY SYMPHONY

The trio hits the road starting Saturday, October 23rd in Los Angeles at the Blue Whale. We'll be on the west coast only for now. Come out and celebrate with us. We hope to see you!

'LIFT' REVIEWS

audiofile audition review

allaboutjazz review

SCOTT AMENDOLA AWARDED COMMISSION TO WRITE PIECE FOR THE OAKLAND EAST BAY SYMPHONY

OAKLAND EAST BAY SYMPHONY AWARDS COMMISSIONS TO FOUR EMINENT COMPOSERS IN “NEW VISIONS/NEW VISTAS” CALIFORNIA COMMISSIONING PROJECT
Original works by Scott Amendola, Benedikt Brydern, Rebeca Maule and Narada Michael Walden to premiere in 2009-10 and 2010-11 seasons OAKLAND, Calif., February 17, 2009 – Michael Morgan, Music Director of the Oakland East Bay Symphony (OEBS), announced today the winners of the New Visions/New Vistas commissioning project, made possible by a grant from The James Irvine Foundation. Scott Amendola, Benedikt Brydern, Rebeca Maule—n and Narada Michael Walden, all eminent composers with backgrounds in non-classical genres including jazz, Afro-Cuban, soul, R&B and electronic music, were selected by Morgan out of a total of 130 submissions.

The call for New Visions/New Vistas entries, which actively sought submissions from artists throughout California working in any non-classical genre ranging from jazz and hip-hop to world music and R&B, was distributed through multiple public and industry channels in October 2008 with the support of an advisory panel composed of renowned composers, musicians and producers, including Orrin Keepnews, Laurie Lewis, Luis Medina, Walter Hawkins, Jon Jang and Zakir Hussain. Composers who are legal residents of California and have not had any of their music publicly performed by a professional symphony orchestra were eligible to enter samples of their work along with a written description of their proposed piece for OEBS.

“The quality of the submissions and the imagination in many of the proposals made it difficult to choose only four composers,” said Morgan. “There were at least ten composers I would commission if I could. I hope in the future to work with some of those not chosen today. The process was very enlightening.” Amendola, Brydern, Mauleon and Walden will individually be paired with composer mentors for an intensive, one-on-one creative process focused on the practical aspects of writing for symphony orchestra, including advice on score and parts preparation and orchestration. The esteemed mentors are Elinor Armer, David Conte, Laurie San Martin and Laurence Rosenthal. The four finished pieces will be performed and recorded by the Symphony in subscription concerts at Oakland’s Paramount Theatre in the 2009-10 and 2010-11 seasons.

Throughout his 19-year-history with the Oakland East Bay Symphony, Morgan has possessed a continued passion for expanding classical repertoire while enhancing the Symphony’s role in the community. The music director has achieved this through innovative programming that reaches across cultural boundaries with projects such as a concerto for live DJ and orchestra that was performed with DJ Spooky in 2004, as well as last year’s concert celebrating the Persian New Year featuring Iranian composers and performers. With the generous, ongoing support of The James Irvine Foundation, OEBS continues to cultivate emerging talent through its commissioning programs and to present informative, free composers’ forums, seminars and workshops for the Bay Area community.

   


AVAILABLE NOW - EXCLUSIVE DOWNLOAD!
Scott Amendola Band - Live in New York

Jenny Scheinman - violin
Nels Cline - guitar
Charlie Hunter - 7-string guitar
Scott Amendola - drums and electronics

Recorded April 25th, 2008 at The Jazz Standard.

Scintillating groovelacious mischief, playing original music by Scott.

Click here for more info and sound clips.

BILL FRISELL'S ALL HAT FILM MUSIC RECORD
Hey! I'm on a Bill Frisell record! it's some music for a Canadian Film called All Hat. Bill Frisell, Jenny Scheinman, Greg Leisz, Viktor Krauss, and yours truly. Some fun down home music. Check out the review below.

The problem with attempting to define Americana is that it is an all-encompassing term culturally speaking. As far as music goes, Americana runs the gamut from the Grateful Dead to Willie Nelson and just about everything in between. Equally, the music of guitarist Bill Frisell is difficult to describe without embarking on a short essay, and perhaps because of his eclecticism his music defines the essence of Americana as well as any and better than most.

This original score for Canadian film maker Leonard Farlinger's All Hat sees Frisell accompanied by familiar associates—Jenny Scheinman on violin, Greg Leisz on steel guitars and mandolin and Viktor Krauss on bass, as well as Scott Amendola on drums and percussion, and Mark Graham on harmonica. Scheinman, Leisz and Krauss have long accompanied Frisell on his ongoing journey into the country, bluegrass and folk which has characterized much of his music this last decade; not for nothing does All Hat sound like a proper group outing.

Frisell has always been able to mine the simplest tune and extract unexpected riches; the main theme, for example, is visited four times and yet sounds radically different each time, going from the beautiful acoustic guitar version with shuffling drum beat and Scheinman's train-rhythm violin, to a Johnny Cash-style chug-along romp, to a most graceful Southern waltz.

There are thirty one pieces ranging from thirty seconds to four minutes long, but there is a powerful continuity about this score. Frisell's music is often pictorial, and these sixty minutes are like an uninterrupted journey through changing landscapes, as sun and moon slowly chase each other's tails. One can easily imagine the wide plains and prairies, fields of wheat and small, nondescript towns either side of endless, straight highway. It's not all pastoral reverie however, and there are several interludes where Frisell's dark guitar-distortion rumbles, brooding and foreboding, like storm-heavy skies.

In many ways Frisell is ideally suited to cinema composition as it is remarkable how much he can weave in one minute, seemingly without breaking sweat; the tune “Hardy Race” may be the best one-minute square-dance ever, with mandolin and slide providing the melody while Krauss, Amendola and Scheinman lay down a delightful, bobbing rhythm. On All Hat the music rocks and grinds at times, burns slowly at others, and melts into the sunset, accompanied by Frisell's loops and ringing single note lines.

Producer Lee Townsend (as much a part of the Frisell posse as any of the musicians) has, as ever, done a beautiful job with this wonderful soundtrack, music which is outstanding in and of itself. Without having seen Leonard Farlinger's film, it is surely safe to say that if it is as satisfying as Frisell's music, then it is a must-see. All hats off to Frisell. - Ian Patterson, All About Jazz

More to report soon. Please keep coming 'round. New stuff will be popping up here often.

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