Perdu son pot
pourri-pot de fleurs
chez mamie dans
Grand Nord
A minuit à la barbe 
de Mickey les 
voleurs dans 
leur tire enfuis
N’était du menu
fretin, le gaillard
porte le pet
 bon matin
Les limaces ne sont
plus dans  les jardins,
elles étaient au
Son sosie
s’en est saisi
poulet fermier
Minou connu
des coquins
sans donner
sa langue au chat
Maintenant il plante
sans plainte les



by Ana Isabel O


I don't Love you

I don’t love you, I adore the infinite song of your mind and your words. I don’t love you, I adore the artwork of your hands, the poetic expression of your lips and eyes. I don’t love you, I adore your faithfulness on the parallel/opposite of every you and us

I don’t love you, I adore each step you do in the land oppressed by the oppressed in the past. I don’t love you, I adore you are giving time to what is left to us each night in the whole land.



Deep water waved lapse of fear. A million stars up in the sky,

one shines brighter we can’t deny made of dust, wind, marvel,
much more plus nothing.Time, space all along masters are not
of intertwined thoughts. Love really that is, as simple as water
turning in fire and long after your night, it woke to the wings of
the roses transformed in sword you have sharpen with fever,
fused together to be what we want in the universe will.
Hush up though you make jealous who can’t understand this
root from above, already volte-facing our dreams to soar

Copyright–Ana Isabel O


By the River

Soon the equinox will pass the wardrobe of our weather too,
your sweetness dressing every hill and your splendorous heart
making new all things while the wind kiss us floating across edges,
the sound of your eyes is singing to me a breathtaking lullaby.

Copyright–Ana Isabel O

Whats Not

Delight admiration tenacity hunch latent is in all creation subtle caress uniting hearts and all mankind on fervency and deity not with passion or being afraid for in real love no possession persevere and cannot lose what is divinely free, timeless vainglory the binding is, poisoning what love not is, see how this is turning in infinite circles because that’s what love is.

Copyright–Ana Isabel O

Cape Town

Wind honouring the holy streams
forth memories beholding beauteous
your wise delight timeless music rings
south or east across lands and mirrors
dance and heaven divine bliss spring.

Copyright–Ana Isabel O

Big Ego

Oh how much and many love your grace beauty and pilgrim soul awaken. If only you could bend with those precious gifts bars disuniting land sorrows but paced upon mountains faith face amid stars. Long time ago you said fifth autumn I counted then, birdwatching glamorous wings never noticing those five your heart have not grown old please read as I do in every inch of all stars the everlasting whisper of your eyes.

Copyright–Ana Isabel O




Cosmic secret garden twisted joy under Earth this very day, on your lips my name vibrations of bells, I told you noons and days will kidd not, its divine go out again eastern poet watch our stars foretelling seventh heaven, time has set us free under a timeless moon.

Copyright–Ana Isabel O


Middel East Don Juan

Beneath the moonlit sky somesthesia, pure your sweetness and goodness are yet allure sorrows hide but trust time will remove breastwork thus for the intolerable load of greediness that on segregation lies my heart is sore oh one day when we will be in another circle, son will witness how time won over evil and bad while the speechless presence of your boldness caress what is more gentleness .

Copyright–Ana Isabel O

Engulfing five truncated perceptions
shining out sunning over words which
became complicated for feeling talks,
garden without gates would you not shake,
wait not to feel breath on lips just hear
the hibiscus kissing a setting moon,
heart sighs in tune to dancers wheeling
echoes of soul perception into your blood.










Copyright–Ana Isabel O


Lajee Dance

Jasmine and olive trees running in your veins, sweeping lowlands,
paragon sea, hazed mountain range, dark soil, so much handsomeness, terribleness, bloodshed the world don’t see, flooding encroachers ashen klutz gather. Lajee dancers fourteen springs only, far in what purview Mustafa, Mo’taz, Omar? Where are they mountain rangers?! Five days passed already by, wherever they hold them our meditations will fly.

Copyright–Ana Isabel O


Countryless Girl.
Of yard toughest girl she was, believing never on vacuous shifts,
stick she engulfed not, journey through manifold paths,
stabs and ruefulness regret never; knight face turns always to inner sky,
just hunting admiration from aside, through magic universe she is now;
under same sky or moon kisses might born; no mordant whip decided
she will feel thus in silent resolved in her woodland dreams with no weep.

Copyright–Ana Isabel O



By the River
Grey-blue gazing all steps, brown river and fluffy skies,
enthralling blooms, honey bee your love is otherwise,
smooth without sighs yet so vulnerable your laughterful
nature, whispering feasts of blissful full moon .

Copyright–Ana Isabel O



Truth hurting harder than lies on a cold world lose hold, heartless behind, motherless child took laughter and now is harvesting sudden notes sweetly played by deep spell, hand holding, pressing, caressing whispering softly while persevering on bliss where spirits and sound of silence are beating around a kiss.

Copyright–Ana Isabel O



Truth words answering questions through it all
faithful in manners good, forgiving, giving
understood unconquerable soul, patiently bearing
while rising and setting sun, beautiful gloom night
wonder lead over gorgeous city with treasures
and this marvelous unwrapped love.

Copyright–Ana Isabel O


Say it, name it, do no wonder more, your dream is mine
same we both desire, souls discover two sides, whatever
rides among emotions cannot see decline, no distances for
sea reveals what we know would never die.

Copyright–Ana Isabel O


White collar slayers, endeavoring world vogue,
chain-sing bill and coo feinging benevolence
while everyone knows that truce smell petrol,
crack, Vultur gryphus warbles pestilential bluff!

Copyright–Ana Isabel O



Softheartedness embroidering no pains you mock not me,
so protective unstained regard, the crossness slipped away
days now weeks terpsichorean, superb matchless knight
exquisite taste of fragrant love every day this heart enjoys!

Copyright–Ana Isabel O



Dark moons of languor eyes,
poet reading between the lines,
parlance shuffled with inky fire,
sea soften scenery while emphasizing
unspoken soul, riff and rhythm-ing.

Copyright–Ana Isabel O



Humbug fasten when found that mind,
for certain mentations were sweet,
unlocking out of bounds threshold;
supposed hearing really cannot grasp,
no laughter not tears supercilious
dropping images words so waltz around
was not that long, hence today could say
trustworthy soul has not been.

Copyright–Ana Isabel O




Butterflies zigzagging kisses flying alike ,
no lose no win rather lost on a grove,
from this path till skies to your hand,
from my pencil to our paper, hereunto we
get puzzle out beyond strong length ties .

Copyright–Ana Isabel O


All New.
This is nirvana all the long, merriment and tuneful encompass,
whom ardency and affection unceasingly, you holding us together there, where all shimmering consent and we too run to love now and more, dutiful in ourselves, oh yes we discern only pleasance to enjoy!

Copyright–Ana Isabel O


Long time these eyes haven’t see aerodynamic wings
now you are strong little bee, your heart is flying
and flinging all these five years from dichoptic vision
this world take no control of your pride and purity,
magnificent exploding in sun in shade: hurry honey!

Copyright–Ana Isabel O


To : Mayar Junaidy

Red Feather
Some immortal feathers I sent
in letters crumpled on the floor
had no name sitting down on the steps
never say goodbye to oriental pearl
from that sea. Oh! Red flying feather
a bird is singing louder around thee.

Copyright–Ana Isabel O


Out and in of beautiful sea’s swings
listening to petals opening a sound
we have so much desired to go to
the garden, fruits are in all shapes,
tastefully sunsets and mornings
brighten up sky the cold win plus
patience you made them every one.

Copyright–Ana Isabel O


Before Twenty Seventeen

Vanilla scent burning what you set on fire
sorrow and joy, our sins won’t fly although
desire burning distanced of turns, no surrender
no retreat of light rich with life… afternoon…
a husky humming light a match smoking
where gasoline leaked among butterflies…
Oh …fireworks?!

Copyright–Ana Isabel O


Blue Moon
My mind talks to you with loud silence
from any horizon to all weird zenith,
a rude cold wind singing in my ear
lips remembering those lightly kisses,
this very night we remain together
watching the locks of a deep blue….

Copyright–Ana Isabel O












The “AYE” For Archbishop Desmond TUTU

“The Aye” is adapted from Ana Isabel Ordonez’s “The Extraordinary Love Story of Aye Aye and Fedor.”









“Just call me Arch”–Desmond Tutu

Monseiugneur Desmond Tutu was born in the state of Transvaal at Klerksdorp in South African. He attended Johannesburg Bantu High School. He dreamt of being a physician but his parents could not afford to send him to medical school. In 1954 South African government did not extend the rights of citizenship to blacks and The National Party had risen to power on the promise of instituting a system of apartheid. South Africans were legally assigned to official racial groups; each race restricted to a separate living area. Black people couldn’t vote and were only represented in the local governments by tribal homeland representatives. Interracial marriage was forbidden, blacks were legally barred from certain jobs, and prohibited from forming labor unions. They needed passports for travel within the country. Critics of the system could be banned from speaking in public and subjected to house arrest.

Desmond Tutu refused to cooperate when the government ordained an inferior system of education for black students. He subsequently was banned from working as a teacher and on the advice of his bishop he began to study for the Anglican priesthood. In 1960 Tutu was ordained as a priest in the Anglican Church.

Meanwhile the South African government began a program of forced relocation of Black Africans and Asians from newly designated white areas. Millions were deported to the homelands, then permitted to return as guest workers. From 1962 to 1966 Desmond Tutu lived in England, where he earned a master’s degree in theology. He taught theology in South Africa for five years, then returned to England to serve as an assistant director of the World Council of Churches in London. In 1975 he was the first Black African to serve as Dean of St. Mary’s Cathedral in Johannesburg. From 1976 to 1978 he was Bishop of Lesotho. In 1978 he became the first Black General Secretary of the South African Council of Churches.

As a Bishop Tutu used the national platform to denounce the apartheid system as “evil and unchristian,” calling for equal rights for all South Africans and a system of common education. He demanded the repeal of the oppressive passport laws as well as an end to forced relocation, encouraged nonviolent resistance to the apartheid regime, and advocated an economic boycott of the country. Though the government revoked his passport to prevent him from traveling and speaking abroad his case soon drew the attention of the world and the international public raised an outcry.

Tutu rose to worldwide fame during the 1980s as an opponent of Apartheid. In 1984, Desmond Tutu was awarded the Nobel Prize for Peace, “not only as a gesture of support to him and to the South African Council of Churches of which he is leader, but also to all individuals and groups in South Africa who, with their concern for human dignity, fraternity and democracy, incite the admiration of the world.” In 1986 he was awarded with the Albert Schwitzer Prize for Humanitarianism . In 1986 he was elected Archbishop of Cape Town, the first Black African to serve in this position. It placed him at the head of the Anglican Church in South Africa and made him defacto Archbishop of Canterbury, spiritual leader of the Church of England. In 1987 Tutu was awarded with the Pacem in Terris Award International economic pressure and internal dissent forced the South African government to reform and in 1990, Nelson Mandela of the African National Congress was released after almost 27 years imprisoned on Robben Island. In 1991 the South African government at last began the repeal of racially discriminatory laws.

In 1994 after the country’s first multi-racial elections, President Nelson Mandela appointed Archbishop Tutu to chair the Truth and Reconciliation Commission, investigating the human rights violations of the previous 34 years. Tutu counseled forgiveness and cooperation, rather than revenge for past injustice. In 1996 he retired as Archbishop of Cape Town and was named Archbishop Emeritus. Then he served for two years as Visiting Professor of Theology at Emory University in Atlanta, Georgia. Published collections of his speeches, sermons and other writings include Crying in the Wilderness, Hope and Suffering, and The Rainbow People of God.

In 1999 he was awarded with the Sydney Peace Prize. In 2007, Desmond Tutu joined former South African President Mandela, former President Jimmy Carter, retired U.N Secretary General Kofi Annan, and former Irish President Mary Robinson to form The Elders, a private initiative mobilizing the experience of senior world leaders outside of the conventional diplomatic process. Tutu was named chair of the group. Carter and Tutu have traveled together to Darfur, Gaza and Cyprus in an effort to resolve long-standing conflicts. The same year he was award with the Ghandi Peace Prize. Desmond Tutu’s historic accomplishments and his continuing efforts to promote peace in the world were recognized by the United States in 2009 when Barack Obama gave him the Presidential Medal of Freedom. In 1955 Desmond Tutu married Nomalizo Leah Shenxane, they have four children and have been happily married for six decades. His house on Vilakazi Street in Soweto, Johannesburg, is registered as part of Johannesburg’s historical heritage.

In 1986 Jazz wizard Miles Davis dedicated his album Tutu to Desmond Tutu. He contacted Virgin Radio on 15 October 2007 in the “Who’s Calling Christian” phone-in where famous people call in order to raise a substantial amount of money for charity.

Tutu has donated some of his own cells to the ongoing effort to research the diversity of the human genome. In 2009 Tutu joined the project “Soldiers of Peace,” a movie against all wars and for global peace. He is one of the patrons of The Forgiveness Project and delivered the charity’s inaugural annual lecture in 2010.

In 2014 the Mayor of Cape Town Patricia De Lille allocated the Granary Building to Mama Leah and Tata Tutu to build a museum and preserve his legacy.

Tutu’s followers know him as a great man who, since the demise of apartheid, has been active in the defence of human rights and uses his high profile to campaign for the oppressed. He has campaigned to fight HIV/AIDS, Poverty, Racism, Sexism, Homophobia and Transphobia. Tutu supports assisted dying and believes in assisted death.

On October 2nd Monnseigneur Tutu launched The Book of Joy with his holiness Dalai Lama, a project to spread joy and understanding among human begins over our planet. For six years he’s been the chair of the Annual Peace Conference in Cape Town.

“The Aye” is adapted from Ana Isabel Ordonez’s “The Extraordinary Love Story of Aye Aye and Fedor.”

The choreography comes together in a sparkling fusion of music, dance and narration to be performed on two special nights of this 2016 year by the Jazz Dance Theatre with Sifiso Kweyama as choreographer. The shows are to honour Nobel Peace Laureate Archbishop Emeritus Desmond Tutu, in celebration of his 85th birthday, and with the opening choreography for the annual Peace Conference in Cape Town.

The dance theatre extravaganza depicts a beautiful and magical love story between two threatened animals, a lemur Aye Aye and a white lion Fedor–each of whom define the term “opposites attract” in a fantastic universe called the Musical Forest.

The narrative is enhanced and fleshed-out via weighty, emotive roles for the dancers.”The Aye” From “The Extraordinary Love Story of Aye Aye and Fedor”. This is the world premiere of the show. The book has been translated into four languages and has graced the shelves of the Beijing and Frankfurt book fairs. The dance theatre version will be seen for the first time by South African audiences. The music was composed by Dutch pianist Michiel Braam. In performance it includes amusing narration by singer Dean Bowman. The definitive recorded version is performed by eBraam which includes drummer Dirk-Peter Kölsch, guitarists Pieter Douma and Jorg Lehnardt, and harpist Ulrike von Meyer.

The Aye is quite simply a magical show, featuring a fantastic set, a superb jazz-rock score, inspired choreography and mischievous masks hand made in South Africa by La Carla Masks.

The Aye is a brilliant music and spectacular dance extravaganza that is not to be missed.

The Story/Ballet

Midnight. Not a sound in the jungle. Suddenly an explosion of music and lights reveals a larger-than-life wildlife experience. Lights tear across the bush landscape catching the darting image of an animal reaching a unique place, the Musical Forest. It is a special moment when all animals in the story are reunited, finally free. They have escaped from a zoo with the courageous help of a lemur, Aye Aye, inspired by her love for Fedor who bravely reunites all animals who are now allowed to celebrate who they are.

While Aye Aye was free to run wild and enjoy the forest, Fedor was stuck in a zoo. The two meet while he is in captivity. They strike up a friendship that helps them both make some important discoveries and launches them on a journey to places they never thought they’d go. Although the animals at the zoo had a difficult time in captivity, the story has a happy ending, thanks to the courage and quick thinking of Aye Aye and Fedor.

In this first scene they and the other animals of the Musical Forest emerge, dancing to express their unique abilities and special traits. All the animals begin to reveal themselves and their wisdom. It is the contemplation of this gift that keeps these animals deep in thought.

ANA ISABEL ORDONEZ, Producer, Writer, Poet and Illustrator

Author and illustrator Dr. Ana Isabel Ordonez is a renaissance woman who shares her love of the natural world with young readers. An educator, scientist and lecturer, Ordonez has travelled the world, enjoyed varied cultural experiences and met interesting people and animals along the way. Thanks to her extensive education in France and the United Kingdom (with Masters and Ph.D.’s in genetics, forestry and animal biology) she has a strong base of knowledge when it comes to various animal species, helping make her books and poetry educational, inspirational and entertaining. Her early poetry was profoundly influenced by the French symbolists, especially Verlaine and Parnassianists like Théophile Gautier.

Ordonez’s goal when writing “The Extraordinary Love Story of Aye Aye and Fedor” was to show both the diversity and the similarities between members of the animal kingdom. She also wanted to communicate the idea that like humans, animals want to be happy, respected, safe and free. Aye Aye and Fedor’s journey is a great example of friendship and cooperation between friends who on the surface seem to be very different from one another, but who have similar goals and a desire to share their lives together.

With”The Aye” ballet series the poet wants to bring happiness and awareness to others, to touch the inner being of people she does not know. Ordonez also wants to touch young dancers with a unique love story filled with wisdom and rhythm, surrounding a loving friendship that exists between threatened animals. As both lemurs and white lions are rare and threatened species, so this show speaks to the important issue of appreciating and protecting endangered animals.

The whimsical illustrations in the book and the CD album will appeal to children because they look much like the colourful, bright, humorous drawings that many children enjoy making themselves. As an artist, Ordonez puts an emphasis on playfulness as well as on capturing the nature and spirit of characters. The overall effect is a show that both kids and adults will love. A very sensitive being, Ana Isabel is passionate about the importance of education, music, poetry and art. Her Ruby Flower record label has become an important asset for the arts and music community.

SIFISO KWEYAMA, Director and Choreographer

Born and bred in KwaZulu Natal Mr. Kweyama has established himself as one of the well-respected teachers and choreographers in the country. Sifiso started training in 1989 at Phenduka Dance Theatre in Durban. In 1993 Joined the Jazzart Dance Theatre in Cape Town by Alfred Hinkel where he was trained in Contemporary African Dance and went on to perform in numerous Jazzart’s award winning productions.

He has worked with higher institutions such as the Tshwane University of Technology, University of Pretoria as an African dance and contemporary dance lecture respectively. His contribution to the arts has seen Kweyama being invited by the two US institutions to lecture on dance and to choreograph for the University of South Florida and University of Southern California in America. Because of his knowledge in African dance Sifiso has been invited to assess dance by University of Cape Town in numerous times, Zululand University (Ongoye), National School of the Arts in Braamfontein and East Rand in Johannesburg

His dance career has seen him travel to countries such as Morocco, America, Germany, Abidjan, Angola, China just to mention a few. He has choreographed numerous works with various companies in the country and abroad with companies such as Moving into Dance, Ballet Theatre Afrikan, Flatfoot Dance Company, Jazzart Dance Theatre, First Physical Theatre, Remix Dance Company, Repertory Dance Company (USA) just to name a few.

He is currently the Artistic Director of Jazzart Dance Theatre.

Jazzart Dance Theatre

The 43 year-old Jazzart Dance Theatre is acknowledged as South Africa’s leading contemporary dance theatre company that has, and continues, to exert a powerful influence on the development of dance in South Africa. The company has over the years garnered many awards for innovative choreography and the consistent development of extraordinary performers.

The Jazzart methodology ensures that strong technique is matched with a uniquely South African dance philosophy that is rooted in the diversity of the culture and traditions of our country. Its prodigious creative and critical output allows it to use dance as a transformative tool and to fully interrogate social awareness and cultural inclusiveness – thus embodying the transformative principles and values of South Africa’s Bill of Rights.

Company Dancers:

Adam Malebo

Tracey September

Jazzart Second year Trainees:

Abdul-Aaghier Isaacs

Amber Jodie Andrews

Darion Adams

Gabriella Dirkse

Ilze Williams

Keenun Wales

Luyanda Mdingi

Lynette du Plessis

Mandisi Ngcwayi

Paxton-Alice Simons

Siphosethu Gojo

Tanzley Jooste

Thandiwe Mqokeli

Vuyolwethu Nompetsheni


Michiel Braam is a Dutch pianist and educator, Director of the Jazz Pop Music and Dance Department in Niemejen, Netherlands. An absolute maverick on the piano and in his compositions, he’s frequently seen in jazz festivals and jazz clubs the world round. In 1988, Braam was honoured with the Podium prize and in 1997 he received the Netherlands’ most important jazz prize, the VPRO/Boy Edgar Award.

The Aye album features the group eBraam performing Braam’s own jazz-rock compositions written specially for the ballet: “Introduction,” “Aye Aye At Work.” “Small Meets Big,” “Prison vs Dreamy Freedom,” “Restful Peaceful,” “Bad Weather,” “Enclosure To Enclosure,” “Escape,” “Happy March,” and “Love”. Braam manages to inject his infectious skill and enthusiasm into the sequences to make every track fresh and cheerful. Each one is given a nice tempo treatment in a breezy ride from start to finish. Bowman adds his share of the soothsayer’s touch to the whole endeavour and his work is surely a highlight of it all.

“The music was written by Dutch pianist-composer Michiel Braam and his eBraam band with some beautiful guitar work by guests Pieter Douma and Jorg Lehnardt. It is an eclectic blend of fusion jazz with memorable themes and a wide variety of grooves and moods to fit Ms. Ordonez’s story of love and liberation. Dean Bowman’s narrative captures the essence of the story nicely and ultimately the ballet will send the whole thing further into the story zone that the book gives us so amusingly and deeply.

Children of all ages will take to this, whether they have read the first book or not (though they should, ideally while listening to the CD). It holds its own with brilliance and a total experiential vibe.

Ana Isabel Ordonez carries the day!”

–Gapplegate Guitar Review

Together with Frans Vermeerssen he co-leads the sextet All Ears (with Herb Robertson, Frank Gratkowski, Wilbert de Joode and Michael Vatcher). He has worked also with musicians like George Lewis, Benjamin Herman, Han Bennink, Conny and Hannes Bauer and Steve Argüelles. The orchestra Bik Bent Braam was considered to be one of the main bigger orchestras in the field of improvisation-music and performed worldwide, as does the trio BraamDeJoodeVatcher still does.

In 2007 Braam composed Nopera, a sort of music theatre piece in which the written parts could be performed at random and contained lots of room for improvisation. The libretto was written in the Nothingyettish language. In 2012 Bik Bent Braam disbanded and a septet named Flex Bent Braam took its place. In 2013 the first program of that band, “Lucebert,” was presented on stage and followed up with an album.

In 2015 eBraam recorded “The Extraordinary Love Story of Aye Aye and Fedor”, with singer Dean Bowman as narrator, after Ana Isabel Ordonez’s children’s book, in a bigger project that involves also dance and fine art.


Dean Bowman is a singer known and praised worldwide for his angelic voice. He began singing in church and has appeared on many releases and on stage, working in both gospel and jazz styles. The New York native regularly performs all around the world. Ana Isabel’s tale and ballet captures the veteran vocalist Bowman in an intimate performance that showcases his smooth, honey voice and winning delivery. His narration of Ordonez’s love tale/poetry never sounds phony or forced and the tale itself exemplifies directly such an authenticity.

LA CARLA, Mask Designer

Carla Engelbrecht is a South African female, born in Johannesburg and raised in Durban. She tells us, “As a child I have always been exposed to art and creating beautiful environments. Her father dabbled in oil painting and her mother always encouraged her to experiment with arts and crafts. She had a very successful Floral Art School in Durban and did a lot of flower arrangements for functions, weddings and events as well as gave courses where she also organized job placements for students at the completion of the course. Carla always helped out and all through her school years learned the trade of floral art. Understandably, this has helped her tremendously with the masks.


The Extraordinary Love Story of Aye Aye and Fedor
The Extraordinary Love Story of Aye Aye and Fedor

“The Extraordinary Love Story of Aye Aye and Fedor” -Vol I

A tender love story about two threatened animals; the lemur Aye Aye and Fedor the white lion, who obtained what they are searching for: freedom, beauty, marvel, joy, and adventure!.

ISBN-10: 0615833349

ISBN-13: 978-0615833347
French :

“L’Extraordinaire Histoire d’Amour d’Aye Aye et de Fedor”-Vol I

Un coup de foudre inédit entre un lion blanc, Fedor, et un lémurien , Aye Aye, qui leur procurera de la joie, de la beauté et de l’aventure!.

ISBN-10: 0615833357

ISBN-13: 978-0615833354

Spanish :

“La Extraordinaria Historia de Amor de Aye Aye y Fedor”-Vol I

Una historia de amor especial entre un león blanco, Fedor y un lémur, Aye Aye,

que obtienen lo que desean : belleza, maravilla, alegría, amor y aventura!.

ISBN-10: 0615858988

ISBN-13: 978-0615858982

German :

“Die aussergewöhnliche Liebesgeschichte von Aye Aye und Fedor”-Vol I

Die aussergewöhnliche Liebesgeschichte swischen Fedor, dem weissen Löwen, und Aye Aye, dem Lemur. Zusammen werden sie viel Freude, Schönheit und Abenteuer erleben.

ISBN-10: 0615795307

ISBN-13: 978-0615795300


AVAILABLE ON : AMAZON, Barnes & Noble, Tower.com, Amazon Expanded Distribution.

How Aye Aye met Roibeard the Giraffe
How Aye Aye met Roibeard the Giraffe


“How Aye Aye met Roibeard the Giraffe”- Vol II

A colorful story about Roibeard, a mysterious goofy giraffe and the lemur Aye Aye. Their connection helps to understand how to tame our own shadows.

ISBN-10: 0615844820

ISBN-13: 978-0615844824

Spanish :

“Aye Aye Encuentra Roibeard La Jirafa”

La historia de Roibeard, una jirafa misteriosa y torpe y el lémur Aye Aye. La conexión entre los dos ayuda a entender cómo domesticar nuestras propios miedos.

ISBN-10: 0615871364

ISBN-13: 978-0615871363

AVAILABLE ON : AMAZON, Barnes & Noble, Tower.com, Amazon Expanded Distribution.

"Aye Aye and Licec the Black Panther"
“Aye Aye and Licec the Black Panther”


“Aye Aye and Licec Black Panther” Vol III

Print Length: 29 pages

Page Numbers Source ISBN: 0996917322

AVAILABLE ON : AMAZON, Barnes & Noble, Tower.com, Amazon Expanded Distribution.

"Aye Aye, Professor Tekyp and the Hyperbrits"
“Aye Aye, Professor Tekyp and the Hyperbrits”


“Aye Aye, Professor Tekyp and Hyperbrits” Vol IV

Print Length: 28 pages

ASIN: B01A3K757M

AVAILABLE ON : AMAZON, Barnes & Noble, Tower.com, Amazon Expanded Distribution.

"How Roibeard Helps Sorely the Cheetah"
“How Roibeard Helps Sorely the Cheetah”

“How Roibeard Helps Sorley the Cheetah” Vol V

Print Length: 28 pages


AVAILABLE ON : AMAZON, Barnes & Noble, Tower.com, Amazon Expanded Distribution.







The Extraordinary Love Story of Aye Aye and Fedor 

Choreographed by Virginie Mecene of Martha Graham Academy in New York and by Sifiso Kweyama of Jazzart Dance Theatre in Cape Town, South Africa


Music Composed by Michiel Braam

Narrated by Dean Bowman

Aye Aye and Fedor’s album is a treat and will become a favourite for children. The story glides through a magical and victorious universe.

Ana Isabel Ordonez’s “Extraordinary Love Story of Aye Aye and Fedor” album is a treat! This will become a favourite for children who dream of a life on the stage. To kids who love animals, dancing or acting, this venture will seem a magical place in a Musical Forest, and every detail–from the outstanding narration of singer Dean Bowman to eBraam’s phenomenal Jazz-rock compositions–is fascinating. Children who don’t fantasise about performing, however, will probably be mystified by the detail about every aspect of the tale. The inclusion of child-alike illustrations, will make sense to listeners; those who would love to be Aye Aye or Fedor probably will be acting out the tracks.

Following the narration and music, the story glides through a magical and victorious universe. Ordonez’s lighthearted drawings match the incredible tone of Bowman’s narration and eBraam’s music; both basis of ballet as choreographed by Virginie Mecene of Martha Graham Academy in New York and by Sifiso Kweyama of Jazzart Dance Theatre in Cape Town, South Africa, where the ballet will be performed this fall as part of the festivities honouring long time Apartheid fighter, Social Rights activist and Peace Nobel Laureate Desmond Tutu.

For those who haven’t read the book, the cd will be an appealing tool. Ana Isabel’s books happen in her very astute and strong-minded universe, a place where this Biologist and ingenious writer take charge a series of stories about a female lemur Aye Aye, who leads a zoo to a new kind of magical happy jungle: The Musical Forest.

Animals on Ordonez’s journey are threatened like the lemur Aye Aye and Fedor, a white lion, who is protective with the adoptive family of animals and learn the old wive’s tale of the jungle from Licec, a sleaky black panther, “Aye Aye and Licec the Black Panther”. Subtle lessons in conciliation, love, friendship, non-sense, humour, loyalty, and tribal law float about these imaginative tales.

This first Musical Forest narration & music’s album about the extraordinary love story of two threaded animals, Aye Aye and Fedor is recounted by master singer, Dean Bowman, with a new special talent for entertaining audiences of all ages. The music was composed by pianist Michiel Braam.

Let’s hope Ana Isabel will continue with the great series, and we will see more narration-music-ballet releases of such tales as “How Roibeard Helps Sorley the Cheetah” a story about an anguished cheetah and his battle against selfishness, insecurity and fears. Roibeard’s redemption from his dissipation “How Aye Aye Met Roibeard the Giraffe” and “Aye Aye, Professor Tekyp and Hyperbrits” in which the Musical Forest witnesses a farcical ritual and get honoured by Professor Tekyp” awareness and lexicon!

Get the first cd of the series now, this edition with Dean Bowman and eBraam promises to enchant children and adults as it brings the pleasure of hearing this unique story for the first time. The album is released on Ruby Flower Records, an indie label devoted to avant garde Jazz and new music, founded by trumpeter Herb Robertson & Ana Isabel who is without a doubt an inimitable woman having the knack for blending unconventional candour in the soul of a naughty child!
ALBUM: The Extraordinary Love Story of Aye Aye and Fedor/ Narration & Music is available in all of Amazon’s marketplaces worldwide :

Books by Ana Isabel are available in all of Amazon’s marketplaces worldwide :

Books by Ana Isabel are available in Barnes & Noble :

Dimitri Sobanski


eBraam with Guests and Dean Bowman, The Extraordinary Love Story of Aye Aye and Fedor


Happy March

Thursday, July 28, 2016

eBraam with Guests and Dean Bowman, The Extraordinary Love Story of Aye Aye and Fedor

In the interests of full disclosure, I should say before I begin that Ana Isabel Ordonez is owner of Ruby Flower Records, the label that happily has released ten of my own albums with an 11th on the way. The CDs I review here I have no financial or artistic connection with, so I approach the contents with an impartiality.

OK, so we have at hand two versions of the Fusion-Prog-Jazz-Rock opus The Extraordinary Love Story of Aye Aye and Fedor (Ruby Flower). It is out in two versions, one with a narrative of Ana Isabel Ordonez’ striking story line from her first children’s book of the same name; the other with only the music by eBraam and Guests. The music in the second version is somewhat rearranged and at times lengthened in parts.

You get an idea of the vividly primal illustrations from the book version with several of them on the CD. This narrative-music edition at hand today will be the basis of two ballet versions: as choreographed by Virginie Mecene for the Martha Graham Academy, and by Sifiso Kweyama in Cape Town, where the ballet will be performed this fall by the Jazz Dance Theater as part of the festivities honoring Desmond Tutu.

The music was written by Dutch pianist-composer Michiel Braam and his eBraam band with some beautiful guitarwork by guests Pieter Douma and Jorg Lehnardt. It is an eclectic blend of fusion jazz with memorable themes and a wide variety of grooves and moods to fit Ms. Ordonez’s story of love and liberation.

The music holds its own, Dean Bowman’s narrative captures the essence of the story nicely and ultimately the ballet will send the whole thing further into the story zone that the book gives us so amusingly and deeply.

Children of all ages will take to this, whether they have read the first book or not (though they should, ideally while listening to the CD). It holds its own with brilliance and a total experiential vibe.

Ana Isabel Ordonez carries the day!


You can get both on Amazon.com. Here is a link to start you off: https://www.amazon.com/Extraordinary-Story-Fedor-Narration-Music/dp/B01IJ007ZA/ref=sr_1_fkmr0_1?ie=UTF8&qid=1469705641&sr=8-1-fkmr0&keywords=eBaum+with+Guests+and+Dean+Bowman

The Extraordinary Love Story Of Aye Aye And Fedor

Aye Aye

Music: http://soundcloud.com/rubyflower/small-meets-big-narrated-by

Ana Isabel Ordonez is a journey-woman jazz advocate, writer, illustrator, poet and much more, who does everything with absolute passion. Besides her adventurous work and collaboration with jazz titan Cecil Taylor and late poet/political activist Amiri Baraka, avant garde trumpeter Herb Robertson, late poet, humanitarian and political activist Trudy Morse, iconic Marshall Allen of Sun Ra’s Arkestra as well as amazing figures like Elliot Levin, Evan Parker a.m.o., she’s also known for her philanthropic work and manifold collaboration as impresario for various figures in the Jazz world. She delivers the goods even if it is without the fanfare given to lesser storytellers. Notable and memorable also were her events at Le Poison Rouge MC’d by Bill Cosby and NY1 anchorwoman Cheryl Wills, as well as her altruistic endeavours with Chris Lawford, member of American Kennedy’s family royalty. In the active course of her career she has commingled Biology, history, jazz and poetry.

Ordonez now writes/illustrates children’s books and works on theatre pieces. In the children’s book department she’s innovating again, calling up singer Dean Bowman and pianist Michiel Braam to do an utterly alluring, compelling music and narration album based on her book “The Extraordinary Love Story of Aye Aye and Fedor.” This musical-narrative sequence is now being choreographed in New York by Virginie Mecene and the prestigious Martha Graham Academy and simultaneously in Cape Town by the esteemed Jazz Dance Theatre with Sifiso Kweyama as choreographer. All this is in preparation for shows to honour Nobel Peace Laureate Archbishop Emeritus Desmond Tutu.

Dean Bowman is a singer known and praised worldwide for his angelic voice. He began singing in church and has appeared in many releases and on stage, working in both gospel and jazz styles. The New York native regularly performs all around the world.

Michiel Braam is a Dutch pianist and educator, director of the Jazz Pop Music and Dance Department in Niemejen, Netherlands. An absolute maverick on the piano and in his compositions, he’s frequently seen in jazz festivals and jazz clubs the world round.

Ordonez’s tale captures the veteran vocalist Bowman in an intimate performance that showcases his smooth, honey voice and winning delivery. His narration of Ordonez’s love tale never sounds phony or forced and the tale itself exemplifies directly such an authenticity.

This album features the group eBraam performing a set of chestnuts, namely Braam’s own jazz-rock compositions : “Introduction”, “Aye Aye At Work”, “Small Meets Big”, “Prison vs Dreamy Freedom”, “Restful Peaceful”, “Bad Weather”, “Enclosure To Enclosure”, “Escape”, “Happy March”, and “Love”. Braam manages to inject the requisite skill and enthusiasm into the sequences to make every track fresh and cheerful. Each one is given a nice tempo treatment in a breezy ride from start to finish. Bowman adds his share of the soothsayer’s touch to the whole endeavour and his work is surely a highlight of it all.

The album comes with lovely illustrations from the book, very disarmingly child-like. The narrative is enhanced and fleshed-out via the weighty eBraam musicianship, including drummer Dirk-Peter Kölsch, guitarists Pieter Douma and Jorg Lehnardt, and harpist Ulrike von Meyer.This is a wild, original and adventurous new Ordonez project which ought to be listened to, read and seen . The quick-witted Ana Isabel seem to be reborn bigger and better every seven years!
Brilliant project and release!



Aye Aye & Fedor : Music for Ballet & Theater Narration and Music


Aya Aye's Baobab

Dean Bowman, an eclectic singer and educator from the New York scene, has already explored original paths in various music ensembles as well as solo, always with a special virtuosity in his endeavors.

He comes to the fore now narrating overtop ten amazing jazz-rock compositions by Dutch master pianist Michiel Braam and his band. The spoken story is based on “The Extraordinary Love Story of Aye Aye and Fedor” an inspiring children book written by biologist, illustrator, poet, writer, producer Dr. Ana Isabel Ordonez, a renaissance and do-gooder woman who swings with la creme de la creme of New York’s art scene. The album is released on her record label Ruby Flower which she founded more than a decade ago with New York avant garde trumpeter Herb Robertson.

The album is enchanting and serves as a part of a bigger project that involves also dance, theatre and fine art. Recorded in the Netherlands and New York the release conveys a series of festive vignettes; the listener will ramble equitably around cooking magical jingles and phrases. Every opus evidences Braam’s phenomenal skills as composer and keyboardist as well as the musical excellence of guitarists Pieter Douma and Jorg Lehnardt, drummer Dirk-Peter Kölsch and harpist Ulrike von Meyer ripping apart the rulebook with singular impetus. eBraam wallop and whoop through moving sequences and bold soundscapes sealed with purposeful exchanges rounding off and enhancing the story-tale upon which Bowman’s voice leaves its powerful imprint. Douma and Kolsch gazump and set in motion sticks and strings even while providing guideposts of auditory sensations fashioned with rapture, track after track. The music expeditions tool up a vivid contrast to Dean Bowman’s meaningful chronicle, winged with superb swaying and rocking tones with emotional amplitudes and powerful exchanges.

A refined blend of ardour and very acute musical artistry give equilibrium to each song of this second-to-none album. Without a doubt Ordonez knew how to put all this together with her inimitable imagination. Braam’s compositions are considerably well keyed to the tenderness, sagacity and self-awareness of Ana Isabel’s children’s book. The ultimate totality transcends and unifies via multi-media consensus in which the trip spells out into sounds of rich sharing.

This audio-only prelude gives a fascinating earful of eBraam-Guests-Bowman-Ordonez new integrated concept of dance-music-narrative-theatre. It will absorb and carry off audiences and listeners to a magical place. The winner tandem of media inject into ears and eyes a fierceness, a power of friendship with an authentic story with more than a touch of love. Fantastically recommended!

Dean Bowman & Ebraam : The Extraordinary Love Story Of Aye Aye & Fedor

Musical Forest
Musical Forest



Order From Chaos

Order From Chaos

Friday June 1st 2012 Tel Aviv Opera House, Israel
A Silent Story by
Ana Isabel Ordonez
With the granted permission of Auschwitz Birkenau Museum, Poland

Trailer Order From Chaos

Live music by :
Marty Ehrlich, clarinets, flute, saxophones
Omer Klein, piano
Drew Gress, bass
Ralph Alessi, trumpets
Roberto Dani, drums

Starring :
Mariaclara Ordonez

Film Editors :
Hernando Visbal
Aaron Baustert

Camera Operators :
Alexander Kowlowsky
Reid Farrington
Avital Davidzon
Hernando Visbal
Bonnie Sobansky
Ana Isabel Ordonez

Music composed by:
Marty Ehrlich : Chaos
Omer Klein : The Holy Land
Ralph Alessi : The Big Picture
Produced and Directed by:
Ana Isabel Ordonez

Sponsors :
Augusta Savage Gallery, University of Massachusetts
La Belle Usine a.s.b.l.
Alvaro Ordonez

Copyright © Ruby Flower Records 2012
All Rights Reserved


A Touch of Noir

A Touch of Noir
A Touch of Noir


The film documentary A Touch of Noir put together by Dr. Ana-Isabel Ordonez and François Olivieri pays homage to film noir, which is based on the dramatic look portrayed in German Expressionism and cinematography. Ordonez and Olivieri add a new dimensional to its presentation with live improvised music played by avant-garde musicians during the showing of these films in select theaters throughout the USA and Europe. Film noir is a form of filmmaking that accentuates the drama of human emotions by using techniques which manipulate lighting and camera angles and take audiences inside the heart of the characters. These techniques were implemented by Hollywood directors such as Fritz Lang, Robert Siodmak and Michael Curtiz during the 1940’s and 1950’s. Ordonez and Olivieri’s project A Touch of Noir, creates a platform for avant-garde musicians to improvise music scores during the showings of the film, thereby, making it a unique sensory experience at each showing.

She proclaims, “Since this documentary is a silent film, the improvised music brings another art form and dimension to the experience and adds to it the musical score, which will create the intangible feeling that those film noir represented visually.”

The accompaniment of avant-garde musicians varies from venue to venue, so the improvised scores which correlate with the images on the screen are different at each showing. The purpose of this project is to demonstrate that avant-garde jazz musicians can enhance the dramatic expressions presented in film noir with aural representations that intensify the visuals, and therefore, bridge two forms of artistic expressions in a way that has been overlooked before by cultures.

Ordonez expresses, “A Touch of Noir, the project, was born in my mind when I saw Mark Dresser, Denman Maroney, and Herb Robertson performing The Cabinet of Dr. Caligari at the Bimhuis in Amsterdam in 2005. This film is the gem of German Expressionism. Film noir’s aesthetics are deeply influenced by German Expressionism, but despite the overwhelming presence of avant-garde jazz at the time, the link between improvisation and film noir is absent, as Hollywood studios imposed traditional romantic scores, which didn’t fit the angular depiction of these stylish crime dramas.”

A Touch of Noir became a reality when Ordonez and Olivieri received a grant from the Luxembourg European Cultural Capital 2007. “I have been living in Luxembourg for nine years, so when the Luxembourg European Capital 2007 was going to be launched, I had the idea to do a project which combined my passion for film noir and jazz. The project was entirely in my hands. Through our local non-profit association La Belle Usine a.s.b.l., I contacted François Olivieri, cultural animator at Dudelange town hall, and invited him to join me in the adventure.”

Ordonez delivers, “Together we built up the first film noir installment called A Touch of Noir. I submitted A Touch of Noir and the musician’s line-up to the sponsors. The Dutch Embassy in Luxembourg, the USA American Embassy in Luxembourg, Ville de Dudelange, Sofitel Hotel, Cottage Hotel, Imprimerie Kremmer & Müller and Domain Cep D’Or all believed in the idea, and their funding was of great help, as they gave us the chance to accomplish this project. La Belle Usine a.s.b.l. and Ruby Flower Records also provided funds for A Touch of Noir. “

She explains, “A Touch of Noir depicts the best moments of film noir as viewed from the wounded male perspective, à la James Dean, and has been performed with great success in Europe (Luxembourg, Netherlands).” She elaborates, “For A Touch of Noir, François Olivieri created a loner, introverted, troubled, hard-boiled, pessimistic protagonist trapped in the hands of his own destiny. Herb Robertson possesses an enigmatic speaking voice, and François Olivieri and I chose him for narrating the monologue.”

She exposes, “Almost every film noir features men who often function as the typical female archetypes. Like the femme fatale, the hard-boiled protagonist wants more than he should more money and often a dangerous dame, too. Neither character can resist society’s demands, yet both have a cynical perspective on life. The femme fatale is not always the only woman in the life of the male main character. There is often a balance of the evil femme fatale with another pure and virtuous woman who only wishes the best for the protagonist, but he is often powerless to make the choice of the woman who is best for him.”

To offer audiences insight into the women of film noir whom the wounded males are attracted to, Ordonez put together Shades of Jazz on Noir, which she provides, “For Shades of Jazz on Noir I conceived a dangerous female who lures, tempts, and seduces the protagonist with her glamorous, sensual allure, and is able to quiet men with a stern glance.” She classifies, “This new addition shows the antagonistic character of film noir, which is the femme fatale. Shades of Jazz on Noir is like the isomer of A Touch of Noir.”

It is impossible to talk about A Touch of Noir without mentioning Shades of Jazz on Noir, which Ordonez cites, “Shades of Jazz on Noir is the second installment of a film noir and jazz series created for the Luxembourg European Cultural Capital 2007.” Both A Touch of Noir and Shades of Jazz on Noir are film documentaries, which are accompanied by avant-garde musicians during each of their showings.

She proposes, “A Touch of Noir and Shades of Jazz on Noir were conceived to combine the passion and despondency of classic film noir with the texture and dynamism of modern improvisation.” She describes about the showings, “Audiences will experience the music with film noir as it could have been.”

She acknowledges, “As I’m neither a cinematographer nor a film editor, I searched for a film editor, whom I met at a jazz festival in Groningen, Netherlands and sought advice from people who work in theatre and cinema.” She notes, “The excerpts used for both film projects come from film noir that are now in the public domain. The film is a documentary not a commercial project (DVD). It is used as a tool for improvisers and aimed to be shown in schools, festivals, jazz clubs (which occurred in Luxembourg and Bimhuis, Amsterdam).”

She declares, “Film noir is one of my favorite cinematographic genres, so to assemble the films I first dug in and enlarged my own collection. We also used material from François Olivieri’s personal collection and from local film forums. For both installments, classic film noir excerpts were organized following the screen-board.”

She analyses, “The element of original improvised ‘jazz’ adds the sense of hearing to the visual, to which the audience members can respond as a collective or individually. The audience can interpret this experience as they individually or collectively feel. There is no right or wrong in the interpretations. Every interpretation and experience will be sole and subjective to the participants, performers and observers alike.”

She divulges, “For the first installment, A Touch of Noir, I discussed the ideas and aim of the project with Dutch pianist and composer Michiel Braam, who actually wrote a book that contains composed music while musically improvising with the film. The Bad Big City Band was formed with highly skilled improvisers. For our premiere in Dudelange, Luxembourg, in addition to Michiel Braam and Herb Robertson. I invited violinist Terry Jenoure, bassist Wilbert De Joode, drummer and percussionist Gerry Hemingway, saxophonist Steve Potts, reedist Frank Gratkowski, trombonist Wolter Wierbos, vibraphonist Pascal Schumacher, and cellist Thilo Krigar.”

She stipulates, “The music of A Touch of Noir is basically improvised and every now and then some written notes can come around. Michiel Braam decided that there would be no director; every musician’s role was completely equal. That meant that if any musician felt like the time was right to play any part from the written music, they just made clear that intention musically or with a signal. The forms of the written parts (slow, fast, loud, quiet, etc) were not fixed, which allowed the music to be played more than once and with different formations within the band.”

She establishes, “Confidence and a searching ability add distinct personalities in each of these musicians’ correspondence with each other.”

She discusses, “When A Touch of Noir performance popped up in New York, I had no doubt to call Gerry Hemingway. I’ve known Gerry for several years now; he is a charismatic leader and one of the greatest drummers I have ever met in the avant-garde scene, a fine inventor and improviser; I love his work. Gerry played on the premiere of A Touch of Noir in Dudelange (1st June 2007). His performance was awesome. Gerry knows very well the project, A Touch of Noir. Herb has also invited Terry Mac Manus on guitar. We love his voice and manipulations on the strings.”

The upcoming showings of A Touch of Noir will also feature reed musician Matt Darriau, whom Ordonez has a close bond with and discloses, “A Touch of Noir (edited version) was my present to Matt Darriau because the paradox between the supreme artistry and emotional fragility is so powerful in Matt’s music and character that I know that any performance lead by Matt will certainly pave a new thing on the approach of visual image and multi-language music input. Matt is a creator, a very special space case. You have to be spaced and very special anyway to keep up with the avant-garde.”

She reminisces, “The second performance of A Touch of Noir was recently presented at the Bimhuis in Amsterdam. For this occasion we gathered a nonet composed of pianist Michiel Braam, cellist Jörg Brikmann, bassist Santiago Botero, violinist Rick Sturtewagen, drummer Michael Vatcher, saxophonist Roby Glod, trombonist Wolter Wierbos, reedist Frank Gratkowski, and trumpeter Herb Robertson. Actually, this was the first time that I had the opportunity to work with a big band, but indeed I have made different projects with Herb Robertson and Frank Gratkowski and personally know Terry Jenoure, Wilbert De Joode, Gerry Hemingway, Wolter Wierbos, Pascal Schumacher, Michael Vatcher, and Roby Glod. I met Jörg Brikmann and Rick Sturtewagen through Michiel Braam, Santiago Botero through Wilbert De Joode, and Steve Potts through Roby Glod. Thilo Krigar was recommended by Herb Robertson.”

She applauds, “Working with special people like this makes things run very smoothly and effortlessly. All of the ensemble players are strong in their personal approaches to improvisation and they have unique voices on their instruments that can really sing!.”

She stresses that this project is “only used for academic and pedagogic purposes. It’s a sole digital DVD.”

Ana-Isabel Ordonez’s experience with avant-garde musicians stems from her position as co-founder and co-owner of Ruby Flower Records, which she shares, “Ruby Flower Records was founded in 2005.” She instructs, “We are a small independent label just willing to put out great avant-garde music, so we never had the inclination toward big business and making tons of money. Our love is in the art and for being a part of it, to get some of the music to people who are interested in this music and its artists. There are a lot of struggling artists who never receive the attention they deserve. Imagining that every artist can get a big record contract and become a millionaire is just not reality, but you can always keep your message real.”

Her projects for the Luxembourg European Cultural Capital 2007 are guided by her sense of keeping her messages real. “The visual arts create stories and present images,” as she juxtaposes, “Cinema and music are art forms, and all art utilizes expressions of emotions. Actors and musicians are artists of an emotional display because their expressiveness is what evokes a response in their audience. The synchrony between visual art stimulus and improvised music indicates how much feelings and emotions interact. It is reflected and also reflects the depth of the engagement of musicians, so the moods will eventually mesh. You need to have compatible timing to coordinate your movements. Improvisers can bring others under the sway of their own. In this project every musician is a leader and the mark of a powerful leader or performer is being able to move audiences in this way.”

She sums up, “Overall, I realized that rhythmic structure through visual images provides necessary timing cues to aid in expression and intelligibility. Images and music can be used as motivational tools to elicit eye contact, cause/effect skills, and peer interaction. For musicians, the access to a repertoire of media resources significantly enhances the abilities to communicate. Expressiveness and receptive language are approached by imbedding the desired response into music as a way of providing a syncopation and breaking in the unexpected!”

Each showing of A Touch of Noir can promise unexpected happenings with a cast of musicians who apply their own interpretation to the visuals being presented in the film. The project promotes free-thinking and individual expressions, which avant-garde jazz shares with film noir. Ordonez’s goal is to enlighten people’s perceptions by having them experience the juxtaposition of these two cultural art forms in a way that deepens the visuals emotionally for audiences.

Tour Schedule for A Touch of Noir:

April 9, 2008 @ The Stone in New York, New York

April 20, 2008 @ Barbes in Brooklyn, New York


Shades of Jazz on Noir

Shades of Jazz on Noir
Shades of Jazz on Noir


Yes, yes, yes.

Whenever a woman artist grabs hold of a female stereotype and shakes it out to dry, it’s cause to celebrate. Ana Isabel Ordonez, created a montage of gangsters’ molls and fallen women from the classic noir tradition for a jazz/film event— Shades of Jazz On Noir at Galapagos Art Space on Wednesday, April 15th During the film, Freak Lip Kill Jazz Trio improvised providing drama, pathos, and romance. The women were the same women we’ve all come to love and fear, iconic women; Lana Turner, Rita Hayworth, Lauren Bacall, Agnes Moorehead, Janet Leigh, and a very young Simone Signoret. They were tough dames and they meant trouble, with a capital T. But they were also vulnerable. They just needed a strong man.

In the opening scene, a terrified woman runs down a lonely highway; chic and disheveled in a belted trench. Gorgeous and dangerous. It’s classic noir. But instead of the classic soundtrack— a very modern accompaniment of saxophone, bass, and guitar. The marriage of film and music really worked, it played both with and against the genre. Then the screen went blank. The trio stopped playing. The audience heard a woman, a voice-over, telling the tale of a modern day love story. She’s a real woman. She’s not a stereotype. She’s smart, she’s strong, she’s sexy. She’s so 21st century. The images are not. The juxtaposition is startling. The performance alternated, back and forth; film/music, then voice-over.

Originally, of course, the noir women were filmed from the male gaze. Ordonez reframes them literally with the montage, the modern voice-over and the music. Alexis Cuadrado on bass led the narrative, along with Brad Shepik’s guitar and Adam Niewood’s saxophone. There was a stunning shot of Lana Turner’s legs— the camera literally caresses them. Then it traveled up those celebrated gams accompanied with a sharp and almost discordant sax solo. Other images included: Rita Hayworth flipping her hair, Lauren Bacall batting her lashes at Bogie, Barbara Stanwyck in a tragic kiss with Glenn Ford. It’s hot stuff, made even hotter with the music.

Galapagos in Dumbo is a gorgeous space; islands of red curved banquettes— floating in shallow pools of water. The maritime theme echoes throughout the cavernous, two story space with state of the art sound and light equipment. The programming is artsy, eclectic, and pop cultural as well. On any given night, there might be a film premiere, nerd speed dating, stripping, or an opera. The ticket prices to these events are very inexpensive. The staff is lovely. The neighborhood is grand.

Today’s guest blogger, LA Slugocki is an award winning writer and producer, has lived in New York City for twenty years.


JAZZ JOURNALISM : More than 1000 written reviews.

JAZZ JOURNALISM: Welcome To Us by Dennis González Band of Nordic Wizards

Old vintages are precious gifts for some ears, produced by Dennis Gonzáles and the amazing Polish jazz promoter and human being Marek Winiarski (with Zdzislaw Gogulski), Welcome To Us was released ten years ago and has become a timeless album to listen to.

Texan trumpeter and educator Dennis Gonzales saliently allays here soothing phrases and impeccable sounds along Sidsel Endrensen uttering on “Prologue”. Gonzales’s “Song for A Poet” encapsulates the colour of each regard and the hope that he gives off. The title track “Welcome To Us” is mood glowing. Gonzáles blows notes in roomy musings. On “Monkey Scratch Dance” Dennis takes off on a groovy line that brings about pleasant sounding textures with scrumptious detail, releasing bassist Terje Gewelt, drummer Pål Thowsen and trumpeter Nils Petter Molvaer to a sustaining, unbridled book-ending smoothly the tune.

“Kraków Na Wiosne” captures us quite friendly with glorious horn solos pacing on and off Slavinian flurries, the melody being wound up by pianist Bugge Wesseltoft and Thowsen’s drums. “Song for A Singer” honors a touching vocal celebration, evolving in an assiduous replenished orchestration. Dennis González Band of Nordic Wizards attempts peculiar rakes and resonances. Their music is highly spirited and fluent on “Song For A Singer” and “Epilogue”.

Trumpeter Dennis Gonzáles blazes every space he uses with such elegance, poetry and pertinence (a trait which sets him apart from the swollen widespread denominator of snot-ridden trumpeters). It’s in the subtlety of his playing and generosity that Gonzáles is big-hearted and particularly on his acute attacks, sparkling voice, and upper substantiality that kicks off as casual. After a decade, Welcome To Us testifies the important place Dennis Gonzáles holds in the jazz escene.

Additional Info
Artist / Group Name:Dennis González Band of Nordic Wizards
CD Title:Welcome To Us
Genre:Free Jazz / Avante Garde
Year Released:1996
Record Label:Govi Records
Tracks:Prologue, Warszawa, Song for a Poet, Welcome To Us, Monkey Scratch Dance, Kraków Na Wiosne, Song for a Singer, Rail, Epilogue
Musicians:Dennis Gonzáles (trumpet, flugelhorn, guitar, percussion, texts), Nils Petter Molvaer (trumpet, percussion), Bugge Wesseltoft (piano, synth), Terje Gewelt (bass), Pål Thowsen (drums), Sidsel Endresen (vocals)
Label Website:-
Rating:Five Stars



JAZZ JOURNALISM : Dead Men (are heavier than broken hearts) by Christopher Woitach and the Cathexis Orchestra


Oh! How lucky can one be in having Christopher Woitach’s latest release Dead Men (are heavier than broken hearts), written as a tribute to the crime and literature noir author Raymond Chandler.

The Chandleresque private eye style has marked a big influence in film noir. Chandler’s erudition reviews on pulp fiction, hardboiled styles, similes, parodies and pastiches, recalling crime and passion, fatality, decaying characters, blossomy settings, despair…. and the fated characteristics of film noir. What is essential to know is that all of Chandler’s novels have been adapted for film noir, most notably Howard Hawks The Big Sleep (who don’t remember the scenes of the incendiary couple Bogie/Baby?).

Besides, jazzy elements were introduced on film noir in the 40s, but factual jazz scores really appeared from the 50s. When jazz creation is blended with film-noir, the alchemy magically works in a right balance.

Woitach pays tribute to Chandler’s written moods on « Playback », « Openings1 «, « Marlowe’s Roscoe », The Simple Art of Murder”, “Dames”, “High Window”, “The Big Sleep”…. nine gems that prove how Chandler brings to mind an academic iconic and intriguing reference.

As the great composer, guitarist and man of learning Woitach can be, it took him ten years to concoct this project. These cooking substances have nothing to do with an assemblage of the worst clichés of jazz inspired by fiction/film noir. This is an out-standing release with the essential qualities required to introduce Chandler’s technical side.

Woitech inflects superstitious jazzy lyricisms blessed with the extensive ability that his band reveals through their instrumental and vocal hackings, particularly on “Playback” culminating in an arduous-gloomy and poly-measured consonance of “The Big Sleep”.

The success of Woitach’s inspired latest piece of art sojourns in his talent to mix up sounds and vocals which will gather many kinds of listeners. After all…. every life has a Chandleresque side and Woitach’s caught/crushed sound machineries on destiny will delight the jazz and film-noir passionate coterie for sure. Five stars!

Additional Info
Artist / Group Name:Christopher Woitach and the Cathexis Orchestra
CD Title:Dead Men (are heavier than broken hearts)
Genre:Free Jazz / Avante Garde
Year Released:2006
Record Label:Teal Creek Records
Tracks:Playback, Openings1, Marlowe’s Roscoe, The Simple Art of Murder, Dames, High Window, The Big Sleep
Musicians:Christopher Woitach (guitar, v-guitar), Greta Matassa and Stephanie Porter (vocals), Tom Bergeron (alto saxophone, vocals), Keller Coker (trombone, vocals), Tim Jensen (flute, baritone saxophone, bass clarinet, vocals), Dan Schulte (bass), Julian Macdonough (drums)
Label Website:-
Rating:Five Stars