Setting Rays of Summer CD Release Show featuring Natalie Cressman & Ian Faquini
Monday, April 8, 2019
$10 ADV / $12 DOS
Possessing a voice as cool and crystalline as an Alpine stream, Natalie Cressman is a rising singer/songwriter and trombonist who draws inspiration from a vast array of deep and powerful musical currents. She is releasing her 5th album in April 2019, this time in collaboration with Brazilian composer, guitarist and vocalist Ian Faquini. Drawing from impressionism, jazz, and the great Brazilian songwriting tradition, Setting Rays of Summer is a ten-track collection of original material featuring compositions in three different languages: Portuguese, English and French. With the warm instrumentation of acoustic guitar and trombone alongside two-part vocal harmonies hugging the Brazilian-accented Portuguese, Cressman & Faquini weave their musical voices together to create a fully orchestrated sound befitting a much larger ensemble.
Steadily evolving in many directions, the 27-year-old
Cressman has already put down deep roots in several overlapping scenes. A
prodigiously talented New York City-based trombonist, she’s spent the
past nine years touring the jam band circuit as a horn player and
vocalist with Phish’s Trey Anastasio. Deeply versed in Latin jazz,
post-bop, pop, and Brazilian music, she tapped the interlaced traditions
on her first two solo albums, 2012’s Unfolding and 2014’s Turn the
She released The Traces EP in 2017, revealing her latest evolution, as she expands her creative reach into post-production with meticulously crafted soundscaped tracks inspired by R&B singer/songwriter Emily King, the Prince-championed vocal trio KING, and particularly Australian avant-soul quartet Hiatus Kaiyote. The Traces EP follows on the heels of 2016’s Etchings in Amber, a gorgeous duo album with guitarist Mike Bono that introduced Cressman as a formidable musical force without her horn. While the project focuses on songs featuring lyrics she wrote for several Bono compositions, Cressman also wrote words and music for three of her songs, contributing to the atmospheric suite of jazz-inflected, genre-bending tunes.
When she’s not performing her own music, Cressman can be found collaborating with some of the most illustrious figures in rock, funk, jazz and beyond, which have included Carlos Santana, Aaron Neville, Dave Matthews, Phish, Big Gigantic, Escort, Wycliffe Gordon, Nicholas Payton, Anat Cohen, The Motet, and Umphrey’s McGee. Her passion for groove music hasn’t diluted her love of jazz. In 2016 SFJAZZ commissioned her to develop music for a concert celebrating the legacy of jazz trombonist/arranger Melba Liston. She also continues her long-standing musical relationship with world jazz innovator Peter Apfelbaum, performing with his band Sparkler. A fellow Bay Area native, Apfelbaum has hired Cressman since she was a young teen, a relationship that exemplifies the creative hothouse in which she was raised.
Her mother, Sandy Cressman, is a jazz vocalist who immersed herself deeply into the traditions of Brazilian music, collaborating with many of Brazil’s most respected musicians. Her father, Jeff Cressman, is a recording engineer and trombonist who recently concluded a two-decade run with Santana. Natalie quite naturally began studying trombone with her father, but set out to be a dancer rather than a musician. An aspiring ballet dancer until her junior year of high school, she changed courses when an injury sidelined her dance aspirations. Her parents provided entrée to a number of enviable opportunities, but Cressman’s own prodigious gifts continued to merit her presence in any number of high-profile settings. She soon found herself playing salsa with Uruguayan percussionist Edgardo Cambon e Orquesta Candela, Latin jazz with Pete Escovedo’s Latin Jazz Orchestra, world music with Jai Uttal and the Pagan Love Orchestra, and globally-inspired avant-garde jazz with multi-instrumentalist Peter Apfelbaum, a close family friend.
Cressman traveled east in 2009 to study at the Manhattan School of Music, and the following year jam band pioneer Trey Anastasio recruited her for his touring band. He met Cressman at 18, and “was instantly floored by how melodically and naturally she played and sang,” Anastasio says. “Natalie is the rarest of musicians. Born into a musical family and raised in a home filled with the sounds of Brazilian music, jazz and Afro-Cuban rhythms, musicality is in her DNA.” Her far flung musical passions continue to bear new fruit, as her identity as a horn player and a singer/songwriter evolve in different directions. Playing funk trombone in arenas and cavernous theaters has required developing an aggressive new vocabulary of shouts, growls, smears and yelps, a la the JB Horns’ Fred Wesley. Her vocal work in increasingly intimate and rhythmically insinuating settings has revealed an artist who can thrive in any setting, from raucous, reverberant halls to packed and pulsing lofts and nightclubs. In an epoch marked by infinite musical possibilities, Natalie Cressman is a singular force who draws from an improbable breadth of sonic realms.
Ian Faquini is a Brazilian composer, guitarist, and vocalist who was born in Brasília and has lived in Berkeley, California since the age of eight. He was a member of the renowned Berkeley High School Jazz program, and at the age of 15, Ian met the legendary Brazilian composer Guinga, who became his mentor and inspired him to pursue a career in music, drawing on the rich musical traditions of his Brazilian heritage. Ian went on to study at the California Jazz Conservatory in Berkeley and immediately after graduating joined the faculty there. He is also on the faculty at California Brazil Camp, alongside musical legends including Ivan Lins, Guinga, Chico Pinheiro, and Spok. Ian has become one of the most unique and respected guitar players in the San Francisco Bay Area, with his distinct compositional style and harmonic sense. He is also a brilliant accompanist, which has made him an in-demand collaborator with vocalists in the Bay Area and beyond.
In 2014, he released his debut album with flautist Rebecca Kleinmann, entitled Brasiliense, which features all original compositions by Faquini and draws from a wide range of musical sources from the 20th century, from impressionism and jazz to the great Brazilian songwriting tradition.
Faquini released his second album, Metal na Madeira, in 2016, this time in collaboration with acclaimed vocalist Paula Santoro, who hails from Minas Gerais. The image that ultimately emerges from Metal na Madeira is more than a portrait of two artists creating together. It also conjures the timeless landscape of the Brazilian Northeast, from which both artists draw immense inspiration. Into that space, Faquini and Santoro invite an all-star cast of collaborators, including Brazilian saxophone great Spok, leader of Recife’s Spok Frevo Orquestra; Bay Area multi-reedist Harvey Wainapel; trombonist Jeff Cressman; keyboardist and accordion player Vitor Gonçalves; bassist Scott Thompson; drummer/percussionist Rafael Barata; and pandeiro player Sergio Krakowski.
The album consists of nine original compositions by Faquini and presents a fresh take on traditional Northeastern rhythms such as Maracatu, Frevo, Baião, Xote, and Toada. Faquini’s music keeps one foot firmly planted in the past while stepping briskly towards the future with modern harmonic and melodic structures. The duo captivated audiences in Brazil and across the United States on their first tour together in the fall of 2016, receiving critical acclaim from the Seattle Times, Berkleyside, UK Vibe, and others, including The Mercury News’ “Best of 2016” list.