That’s how I found the Benny Lackner Trio.

I’m sure I’m showing my age. I’d been doing this kind of thing since at least 1978, all over the world, finding little recorded gems in the oddest of places. And, of course, nobody says RECORD store any more…

But there I was, exploring, discovering, at the (now defunct) CD Warehouse in the Emporium in Bangkok. For some reason they were the local distributor for the Nagel Heyer label, so over time I picked up a few of their releases, like Benny Lackner Trio’s Not The Same and Sign Of The Times. Riveting stuff.

Fast forward another four years. An email from Benny, an interest in touring in Southeast Asia, and, remarkably, some support for travel from the Berlin Senate Cultural Affairs Department. 160 emails later, and the tour is ready to go!

Born in Berlin, Benny Lackner moved to California at the age of thirteen. He received his Bachelor of Fine Arts from the California Institute of the Arts under the direction of Charlie Haden and David Roitstein. From 1997 to 1998 he studied privately with his mentor, Brad Mehldau.

The Benny Lackner Trio is one of a handful of recent groups who are busy reinventing and reinvigorating the piano trio. Influenced by the work of Keith Jarrett, Ahmad Jamal, and Bill Evans, they’ve nonetheless put their own distinct personality into their output, and drawn comparisons to groups like The Bad Plus and E.S.T., and artists like Jason Moran and, of course, Brad Mehldau. The sound is acoustic piano, bass, and drums, spiced with occasional electronic ornamentation. One minute they may be interpreting a Mingus, Monk or Gershwin tune, the next putting a jazz spin on Hendrix, Prince, or Bjork, before delivering some incredible original tunes.

The 2006 recording probably brought Benny the most press coverage of his fledgling career. AllAboutJazz said “Lackner can be tagged a young-lion as of this writing… Sign Of The Times proves itself a wonderfully realized work of art, every tune a highlight, and with it Lackner steps into the ranks of fully developed jazz artists.” JazzTimes said “Sign Of The Times is piano trio music not for the faint of heart… (this trio’s) raw creative energy and brute force is directed by Lackner’s musical sophistication and imposing technical facility.”

From June 14 to June 22, the Benny Lackner Trio will perform around Southeast Asia, starting with workshops and a concert in Bangkok, Thailand. Further shows will be held in Phnom Penh, Kota Kinabalu, Jakarta, Ho Chi Minh City, and Hong Kong… check our event page for more details!

Scott Henderson claims to be a blues-rock guitar player. His early fascination with monster rock guitarists like Jimmy Page and Jeff Beck, and blues greats such as Albert King and Buddy Guy, tempered by the influence of jazz music, led him finally to the style of music he is most famous for playing and composing. In his early professional years he played with Chick Corea’s Elektric Band, violinist Jean-Luc Ponty, and Weather Report’s Joe Zawinul, and then set out to create his own sound with bands like Tribal Tech and Vital Tech Tones.

Bangkok fans will no doubt remember Scott’s 2009 visit as a key member of the “Super Jazz Trio”, but this year marks the first time that Scott has been able to lead his own Trio to Thailand. Featuring Travis Carlton on bass, and Alan Hertz on drums, the Scott Henderson Trio has toured extensively in the U.S., Europe, South America, and Japan, playing music from Scott’s considerable catalog of blues and electric jazz fusion compositions.

This is also the first time that Scott will perform in Chiang Mai, affording the North’s electric guitar aficionados a great chance to see him up-close and personal.

Two great shows, and the start of a busy year for Enlightened Planet! See you there!

Tickets for the Bangkok show are available through ThaiTicketMajor outlets or on the web; tickets for the Chiang Mai show are available through the Furama Chiang Mai on 053-415222.

I wasn’t interested in just one musical genre. I wasn’t interested in just one nationality, or just one instrument, or just one record label… I wasn’t interested in JUST ONE of anything. I wanted EVERYTHING.

I wanted to present artists who were masters of their instruments, artists who were incredible composers, artists who had created phenomenal recordings, artists with the intellect and the strength to take on a challenge, and artists who were confident enough to build on those skills and those past glories, and continue innovating and producing new works in their own chosen paths.

Stanley Jordan is clearly one of those artists.

Stanley Jordan came to prominence with the release of his 1985 debut gold-selling album Magic Touch, a revolutionary project that dually placed him at the forefront of re-launching legendary Blue Note Records into a contemporary entity in jazz and beyond, as well as establishing the then-twenty- something Jordan as among the most distinctive and refreshing new voices of the electric guitar.

Key to Jordan’s fast-track acclaim was his mastery of a special “tapping” technique on the guitar’s fretboard instead of conventional strumming and picking. While a handful of other virtuoso players were using similar techniques, Stanley’s fluid and melodic use of tapping captured the imagination of listeners via his inherent warmth and sensitivity.

But the success of that first release created a bit of a trap for a musician who was known for his eclectic interests. Because he debuted on the Blue Note label, he was marketed as a jazz progressive when what he was trying to stress was music beyond stylistic boundaries. Subsequent albums found Jordan caught in a frustrating web of wanting to usher his audience into deeper levels of his artistry while record companies craved more of the stuff that had whisked him to the top of the charts.

After a self-imposed exile from the rat race in the 90’s that included a retreat into the mountains of the southwestern part of the US, Stanley Jordan has re-emerged with a new life’s direction. “Most people – if and when they find their calling – come to see themselves in some sort of service capacity,” he states. “Right now I feel a strong desire to bring my music to the people not just for entertainment, but also for inspiration and healing.”

His latest CD release, 2008’s State Of Nature, is a gorgeous and sweeping recording which brings together all these key aspects of Jordan’s approach to life: the musical virtuosity and eclecticism, the love of nature, the drive to learn and evolve and improve.

“Part of the reason I made this album were revelations I discovered in my journey to try to become a better person,” he states. “The other reason is that I discovered some disturbing information about environmental issues… The two main ideas that consumed my thoughts were these: human beings need to get back to nature, which extends to the environment as well as our bodies – the part of nature we carry around with us – and we need to evolve intellectually, spiritually, and politically.”

This thought process led to the underlying inspiration for the song structures and themes of State Of Nature. The resulting music finds Stanley weaving classical, jazz and rock textures to get across his messages of atonement and harmony. Beyond his signature touch technique on guitar, Stanley utilizes other revolutionary techniques, such as playing two guitars at once, playing guitar and piano simultaneously, and incorporating sounds of nature that he recorded himself.

Enlightened Planet is delighted to be supporting the presentation of Stanley Jordan, live in concert, in both Thailand and Singapore.

Please join us on October 7th at M Theatre Bangkok, as Prart Music Group and Singha present the Stanley Jordan Jazz Concert…

Or please join us on October 10th at The Esplanade Recital Studio in Singapore, for A Night with Stanley Jordan, supported by locally based jazz trio Weixiang on piano, Christy Smith on bass, and Eddie Layman on drums.

The good people at Niu’s on Silom Jazz Club & Wine Bar are ready to put on a show. A big show, a REALLY big show. It’s so BIG it’s going to have to be held outside the club. It’s so VERY BIG you may have already gotten some of the advance word, but let me do this right and give you the full announcement:

On December 11th and 12th, 2009, the open-air courtyard at Baan Silom Arcade will be transformed into a “dream of jazz, blues, and world music” for Niu’s 1^st International Bangkok Jazz Festival!

This is the single biggest event with which Enlightened Planet has ever been involved, and we are finally able to live up to our long-standing company vision and present jazz, blues, and world music, all in one major event.

Enlightened Planet is directly responsible for four of the international acts at the festival, all of which are making their first ever appearance in Thailand: 2009 Blues Music Awards Acoustic Artist of the Year Eden Brent on piano and vocals, the ultimate acoustic roots blues duo of Phil Wiggins and Corey Harris, the electric groove-oriented jazz of super saxman Chris Potter and his Underground quartet featuring Adam Rogers, Scott Colley, and Nate Smith, and the soulful sound of Cameroon-born jazz bassist and vocalist Richard Bona and his group.

The festival will also feature Thailand’s own Koh Mr. Saxman, a fusion of jazz and ethnic music with Francois Lindemann and Tewan Sapsangyakorn, rising British piano star Gwilym Simcock with his trio, and American sax sensation James Carter with his organ trio.

These are going to be two great evenings out: the cool night air of a Bangkok December, comfortable seating for 400 music lovers, fine wines, delicious food, and the famous hospitality of Niu’s on Silom… and, of course, a splendid variety of music from around the world guaranteed to clear your mind, stir your heart, and free your soul! And you’re not going to find that anywhere else…

There has already been an excellent article in the Bangkok Post about this event. Over the next few days I will provide more information about these fine artists and their music.

Tickets for the Niu’s 1^st International Bangkok Jazz Festival are available through ThaiTicketMajor and their associated outlets, or by contacting Niu’s on Silom Jazz Club & Wine Bar on 02-2665333 or at reservation@niusonsilom.com. Tickets are 3500 THB for one night, or 6000 THB for a two-night pass.

Ari Hoenig is a drummer and bandleader who is truly making a huge name for himself in the highly competitive New York jazz scene, and winning audiences over worldwide. In 2008, Ari put on a virtuoso display in Bangkok with pianist Jean-Michel Pilc. This year, fresh from a tour of Australia, Ari returns with a totally different lineup for two nights at Niu’s on Silom Jazz Club & Wine Bar: the Ari Hoenig Quartet featuring Gilad Hekselman, Jamie Oehlers, and Orlando Le Fleming.

“One of the most promising jazz percussionists of his generation, Ari Hoenig is worth watching.” – All Music Guide

He is, first and foremost, a remarkable musician who happens to play the drums. His phenomenal sense of rhythm and polyrhythm and his ability to take over the melody from behind the kit are simply an exhilirating experience to see in person.

“Ari Hoenig is drumming’s new resourceful shining light – his drums dance and flirt with the soloist like few you’ll hear.” – All About Jazz

Over the past year he has put together a top-notch international group to bring his musical ideas to life, including 2005 Gibson Montreux International Guitar Competition winner Gilad Hekselman, 2007 Australian Jazz Musician of the Year Jamie Oehlers on saxophone, and Britain’s Orlando Le Fleming on bass. Whether they’re adding a post-bop twist to a Gershwin tune, putting their signature on a Coltrane standard, or soaring through an original Ari Hoenig composition, you’ll enjoy the freshness of the sound and feel the passion and excitement of the artists. This is music for purists and adventurers alike!

“The payoff arrives in this band without much delay. The set started with a Thelonius Monk tune, which Mr. Hoenig has thoroughly altered, with a highly rearranged theme and extra arrangements to frame the solos. Mr. Hekselman, playing complex chords with extended harmony, moved his solo toward a peak. About two minutes in the audience began yelling.” – New York Times

Join us on November 4th and 5th at Niu’s on Silom Jazz Club & Wine Bar at 9:30pm for the exclusive presentation of the Ari Hoenig Quartet. Tickets available through ThaiTicketMajor, or by calling Niu’s on Silom on (02) 266-5333.

Ari Hoenig (born on November 13, 1973 in Philadelphia, Pennsylvania), is a jazz drummer, composer and educator known for his unusual and intense approach to drumming emphasizing complex rhythms in direct harmony with other group members.

Hoenig is also known for his unique ability to modify the pitch of a drum by using drum sticks, mallets, and even parts of his body (such as his hands and elbows). Using this technique, he can play any note in the chromatic scale, virtually any melody, and even improvise on a chord structure in the same way as any other instrumentalist would.

Hoenig has released 6 CDs as a bandleader, and has performed or recorded with jazz greats Mike Stern, Joshua Redman, Herbie Hancock, Kurt Rosenwinkel, Richard Bona, Dave Liebman, Chris Potter, Toots Thielemans, Dave Holland, Joe Lovano, Pat Metheny, and Pat Martino, among others.

Gilad Hekselman studied classical piano from age six to nine in his native Israel, before taking up the guitar. By age 12 he was a regular performer on a weekly children’s television show. In 2005, at the age of 22, he won the Gibson Montreux International Guitar Competition, which opened doors for him at jazz festivals around the world. After moving full-time to New York he’s been able to perform with top jazz talents like Chris Potter, John Scofield, Gretchen Parlato, Sam Yahel, Anat Cohen, Jeff Ballard, and Jeff ‘Tain’ Watts. He has also released two CDs as a band-leader, Split Life and Words Unspoken, and is set to participate in an all-star jazz release this year called Disney Jazz.

Recognized as one of Australia’s leading jazz musicians, Jamie Oehlers was the winner of the White Foundation World Saxophone Competition at Montreux Jazz Festival in 2003. He was won numerous other awards in Australia, has performed at jazz festivals around the world, and in the past year has played gigs in the US, Great Britain, Japan, Singapore, Hong Kong, China, and the Philippines. He has performed with international artists such as Charlie Haden, Ronnie Scott, Cindy Blackman, Jamie Cullum, and Eric Harland, and has created eight CDs as a bandleader. When he is not performing he is the Coordinator of Jazz Studies at the Western Australia Academy of Performing Arts.

Englishman Orlando Le Fleming was torn between a love for cricket and a passion for music, right up until he received a place at London’s Royal Academy of Music, which seemed to settle the matter for the time being. He quickly established himself as one of the UK’s most prominent bass players, in demand from both local British artists and from visiting international stars. He’s performed with the bright lights of British jazz such as Jason Rebello, Iain Ballamy, and Guy Barker, and with touring US musicians such as Branford Marsalis, Bill Charlap, George Coleman, and Dave Liebman. After moving to New York he joined Jane Monheit’s band for three years, and continued to build a strong reputation by performing with Billy Cobham, Joey Calderazzo, and David Sanchez.

And I don’t mean just any man, bar, or Friday night.

It’s Friday, September 5, 2008, and I’m going into Harry’s Bar on Boat Quay in Singapore to meet a former colleague for happy hour. It’s an after-work ritual I probably went through a hundred times in the eight years I lived on this island nation, roughly evenly split with visits to the aptly named Ice Cold Beer on Emerald Hill.

I settle onto a bar stool at a small table inside. I’m an “insider” today, forgoing the constant parade of people going by on the path outside for the air-conditioned smoke-free environment in the pub. My friend shows up almost immediately, and we order a pint of Kilkenny (me) and an Archipelago Samui (him) to start off the evening.

I glance around at the familiar surroundings a few times before it gradually dawns on me that there must be SOMETHING GOING ON. A few balloons scattered among the rafters, blue posters up on the walls, a standing sign kind of blocking the entrance way, and the waitress warning us that tonight we have to leave the bar by 8:00pm if we don’t have tickets to the jazz festival.

The JAZZ FESTIVAL?!?

NOW it’s important that I take a closer look at the posters and signs…

THIS is what I’m talking about. Enlightened Planet was founded on the premise that it is too hard for musicians to fly all the way out from the States or Europe to do ONE gig in ONE city in Southeast Asia, and that it would be better for EVERYONE involved if we could make it possible to get multiple gigs organized… better for the artist, better for the promoter, better for the sponsors, and better for the AUDIENCE. So I make it my life’s work to stay in touch with the music scene, particularly the jazz scene, in Bangkok, Singapore, Kuala Lumpur, Hong Kong, Jakarta, Shanghai, Taipei, Seoul… you get the picture.

So why is it that I am walking into one of my FAVORITE bars in the world and being SURPRISED by a JAZZ EVENT?

Well, let me tell you, it was a great evening. Christy Smith, Eddie Layman and Nicholas Lim, three-quarters of Harry’s house band ChromaZone, were joined by 2007 Grammy Award-winning trumpeter Brian Lynch, tenor sax player Keith Loftis, and trombonist Vince Gardner. The “theme” for Harry’s “first international jazz festival” was a tribute to Art Blakey’s Jazz Messengers, of which Brian is an alumnus, though of course they strayed from that for a few original tunes as well. Toward the end of the evening Mandy Gaines added her considerable vocal talents to just go right ahead and push things completely over the edge.

Wish I would have known about it sooner… maybe I could have caught Saturday or Sunday night, or the workshop they organized to go along with the shows. Or maybe we could have arranged something for the guys in Thailand as well.

But my hat’s off to Mohan Mulani, CEO of Harry’s Holdings, who not only made this event possible, but was right there in the thick of it. Thanks also to Andrew Koh, General Manager of Harry’s Bar Boat Quay, and of course to Christy Smith who was driving the bass all evening and who was, as I understand it, responsible for getting all these great musicians together.

Now let’s go make some more music…