What a difference an “e” makes, especially in jazz. Remove the last one from Elliot Levine’s name and you get Elliot Levin, a free jazztenor saxophone and poet from hell with whom Levine is frequently confused. Even with the “e” back in place, this talented keyboardist and composer from the Baltimore/Washington area sometimes gets calls inquiring about hiring a Hebrew cantor. Levine just directs these to the proper place, the New York cantor, choir director and composer Ellliot Levine, and then goes back about his business of getting funky.

Levine’s background includes plenty of that, including an especially noteworthy stint behind soul giant Wilson Pickett. He has also worked with groups such as King Britt and Silk 130. Levine gigs regularly at clubs and festivals, including the St. Croix Jazz Festival. His group has opened for Brian McKnight and Freddy Jackson.

Featuring vocalists Brian Blunt and Koshka Raynelle.
Brian Blunt sang backup for Bruce Springsteen at the Superbowl.
Koshka Raynelle performed on America’s Got Talent and American Idol.

Having traversed the world in search of intriguing sounds from virtually every corner of the globe with his beloved Spanish guitar en tow, Lawson Rollins has come full circle on his aptly titled fourth solo album, “Full Circle,” which will be released July 16th by his Infinita Records.

Adopting a “less can be more” philosophy on the twelve new songs that he composed allows the focus to be on Rollins’ captivating melodies and dexterous fretwork that unfold over worldbeat rhythms and multicultural instrumentation. Radio listeners will be introduced to the collection Rollins produced with multi-platinum producer Dominic Camardella (Ottmar Liebert, Flora Purim, 3rd Force) when the first single, “Momentum,” is shipped to stations in June.

Just as he has on his previous releases, Rollins entered the recording studio with Camardella (keyboards, piano) and a gifted ensemble comprised of Grammy-winning violinist Charlie Bisharat, bassist Randy Tico, percussionist Dave Bryant and saxophonist/flutist Richard Hardy. Rollins plays classical, flamenco and electric guitars on “Full Circle” along with keyboards and drum programming. The multilingual etchings of the erudite guitarist fluctuate in tone and speed. Rooting the compositions in sparser settingsthan utilized on his earlier albums(“Elevation,” “Espirito” and “Infinita”), the storytelling guitarist spins enthralling escapades with his six-string that are the focal point of the sonicscapes.

Rollins relishes the challenge of presenting material masterfully performed as audacious amalgams constructed of mesmerizing melodies and exotic rhythms mined from Afro-Cuban rumba, bossa nova, samba, mystical Middle Eastern, tango, reggae, rock, classical and jazz. Each cut was thoughtfully crafted resulting in numerous highlights on the disc. “Momentum” rides a relentless rumba-flavored groove seasoned with a hint of Japanese folk music along a marching motion of melody. The rumba party continues on “Pursuit,” which incorporates an Appalachian fiddle motifto the thrilling chase. “Flight” and “Bloom” romance by way of sultry bossa nova ambiances and a pristine nylon guitar sound. The title cut recalls Rollins earlier work as a member of Young & Rollins(2000-2006) with an updated approach to the salsa stylings. “Gone From Here” is a sprawling rumba meets rock stroll on which Rollins makes a rare pronouncement on electric guitar. Another diverse number that Rollins refers to as a “journey piece” because of its deviation from the typical song structure, “Shifting Seasons” is like 4 songs in one song that meldsfolk, Asian elements, rumba and bolero rhythms.

“’Full Circle’ is somewhat of a return to my roots in a sense, with the focus shifting to a sound that is more centered and grounded in the instrument I know best -the nylon string Spanish guitar. I was determined and indeed excited to create a cohesive, guitar-focused album. I had to reign in my instinct to apply layer upon layer of sound to any given track. That’s not to say that ‘Full Circle’ does not have some adventurous musical rides, but the heart of the album can be found in concise musical statements. Woven throughout the fabric of the recordings is the constant thread of the guitar. ‘Full Circle’ is perhaps the most accurate, pointed expression of my guitar style and approach to melody and songcraftto date,” said the San Francisco-based Rollins. Rollins has generated over 7.5 million YouTube views, an extraordinarily high number for an instrumentalist in his genre. Over 6 million views came from the release of three astonishing performance clips – “The Fire Cadenza,” “Santa Ana Wind” and Locomotion” – with the balance comprised of fans posting videos of their own attempts to replicate his astoundingly prodigious techniques. Rollins scored a #1 radio single at Billboard with “Moonlight Samba” from the “Espirito” album in addition to collecting several Top 30 contemporary jazz radio hits. Last year, he guest hosted a national radio program on Sirius XM and was profiled in Guitar Playermagazine, which marveled “He possesses ungodly classical chops, with dazzling speed, uncanny accuracy, and a beautifully delicate touch.”

The songs contained on Rollins’ “Full Circle” album are:
“Momentum”
“Point of Attraction”
“Pursuit”
“Flight”
“Horizon”
“Bloom”
“Full Circle”
“Serpent’s Tale”
“The Offering”
“Gone From Here”
“Shifting Seasons”
“Promise”

For more information, please visit www.lawsonrollins.com.

Snappy Too is the sequel to James Morrison’s recording of twenty years ago titled Snappy Doo and features Morrison playing four trumpets, four trombones, five saxophones, flugel horn, bass-trumpet and piano! Now that’s what you’d normally call a “one-man-big-band” but Morrision partnered with drummer Jeff Hamilton for this very large over-dubbing project.

The result is stellar and you’re going to be amazed at the professional sound that engineer Tod Deeley has given this recording by putting down one instrument at a time. This creative odyssey features James playing such great songs as “All Of Me,” on solo trumpet, “Up A Lazy River,” on solo baritone sax and trumpet, and “Some Day My Prince Will Come,” on guitar and bass-trumpet, among 8 others. It’s funny that on an album with only two players that the sound is as big as it is.

Hats off to this innovative project and the technical expertise that went into making it happen. Check it out. It’s Snappy Too!

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Beckoned by the dulcet tones of violin, bass, and the female voice spiraling through the darkness, the stranger was helplessly drawn towards the last lit trailer in camp that seemed to have sprung forth from another time. This chance meeting’s outcome: lePercolateur.

Fueled by coffee black as the night the musicians played ’til the sun began painting the eastern horizon red, and carnivale rose ’round them from the ether.

Winding their caravan through the windiest of cities, lePercolateur has spent the time since this fateful night sweeping in to transport concert-goers to a time where music was a liberating and cathartic respite from persecution–where the frenetic energy of struggling to simply ‘be’ coalesced with the unbridled spirit of gypsy music and burgeoned into swing dancing.

Individually, they are three titans of contemporary music: Rick Braun, the gifted trumpeter/flugelhornist with the golden voice; GRAMMY® Award-winning tenor saxophonist Kirk Whalum, the Memphis-born wunderkind who mixes Beale Street, gospel, the blues and bop; and Norman Brown, the GRAMMY®-winning guitarist who brings a Louisiana lilt to his Wes Montgomery/George Benson influenced six-string soulful strut. They came together eleven years ago as the supergroup known as BWB and their historic album Groovin’, made them one of the most sought-after groups at that time.

This terrific triad reassembles with the June 18, 2013 release of Human Nature on Heads Up International, a division of Concord Music Group (international release dates may vary). This long-awaited sequel to their debut project spotlights BWB’s stupendous reimaging of eleven selections made famous by the King of Pop, Michael Jackson.

“We made the first BWB record in 2002 when we were all on Warner Bros. Jazz,” Braun says. “We did a world tour behind the record. And then we’ve all been off doing our own thing – so this is really a reunion. We have an incredible amount of respect for each other: We phrase together. We complete each other’s sentences, musically. We’re really just a good bunch of guys making music, and grateful to be doing that.”

Preview the album

Wing Sing is the follow- up to the highly successful Grammy Nominated Jazz Album Heaven Bound. Wing Sing is a wonderful change to the Smooth Jazz and R&B sound. Once again Lyn shows off his stylized lyrical piano technique with some beautiful original melodies.

Vincent Lyn (piano, keyboards)
Curtis Long (bass)
Gil Hawkins Jr. (drums)
Urbano Sanchez, Jr. (percussion)
John Gerardi (guitar)
Michelle Bradshaw (background vocals)

Red Sun (feat. Gil Hawkins, Urbano Sanchez & Curtis Long) 3:48
Walk On By (feat. Michelle Bradshaw) 4:08
Don’t Say Goodbye (feat. Michelle Bradshaw) 5:59
Cote D’azur (feat. Gil Hawkins, Urbano Sanchez & Curtis Long) 5:05
See You in Rio (feat. John Gerardi & Curtis Long) 4:58
That’s What You Do to Me (feat. Michelle Bradshaw) 4:45
Be Mine Tonight (feat. Gil Hawkins & Curtis Long) 5:39
Wake Me Up (feat. Gil Hawkins, Urbano Sanchez & Curtis Long) 4:59
Take Flight (feat. John Gerardi & Curtis Long) 3:38
The 4 Crazies (feat. Curtis Long, Gil Hawkins & Urbano Sanchez) 4:41
Cantowood (feat. Curtis Long, Gil Hawkins & Urbano Sanchez) 5:01
That’s What You Do to Me (Reprise) 2:00

NEXT Collective is an exciting ensemble of experienced jazz artists. The collective includes alto saxophonist Logan Richardson, tenor saxophonist Walter Smith III, guitarist Matthew Stevens, keyboardists Gerald Clayton and Kris Bowers, bassist Ben Williams, drummer Jamire Williams, trumpeter Christian Scott and producer Chris Dunn.Cover Art is their debut recording for Concord Music Group.

The record was concieved by Concord Senior Director of A&R, producer Chris Dunn as a vehicle to feature these musicians on a project of covers from their generation. Each member of the collective chose to interpret and arrange songs by Jay Z and Kanye West (“No Church In The Wild,”) Drake (“Marvin’s Room,”) N.E.R.D (“Fly or Die,”) Bon Iver (“Perth,”) and Little Dragon (“Twice,”) among others. Listen with open ears and remain focused because they take you on a musical journey that you’ll remember for some time.

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Benji’s 2nd creative endeavor, a solo album of guitar music inspired by many great composers from Brazil and around the world. All titles are original compositions comprised of. choros, sambas, Baiaoes, Waltzes and other styles of his own making.

1. In Memory of Luke (4:33)- I began writing this piece very spontaneously in November of 2010 not knowing it was the foreshadowing of a very unfortunate event that took place: a dear friend of mine had committed suicide, I had found out a few days into the composition process and it was then that it dawned on me that this piece would be in memory of Luke.

2. Choro em Fado (2:19)- English translation (Choro in Fado)this composition’s title in a way speaks for itself, but will need a bit of translation: Choro: means little cry and Fado: means fate or destiny, Fado, from portugal and choro, from Brazil, are both styles of music that share in common the desire to express deep longing for something or someone.

3. Choro in E major (3:47)- This piece was inspired by a 2nd encounter with one of the greatest composers of Brazil, Guinga, at a camp in the redwood forests in California. He played for us one of his latest compositions at the time called Blue eyes, it was so beautiful!!!

4. Truffaut (2:38)- A title composed in homage of the great film maker From France, Francois Truffaut. It hints at melodies from one of my favorite of his films called (The 400 Blows)
5. Nostalgia (2:49)- Came from a very peaceful meditative moment and almost came out all at once. It may be Nostalgic for a time and place that only exists within the heart.

6. Baiao for Gershwin (3:23)- This track got its name firstly for it’s rhythm that is called Baiao from the North east of Brazil, where I had spent a couple of months when I was 19. The second part of the title was for some harmonic feelings that reminded me of Gershwin’s music.

7. Escuridao no Ceu (2:47)- Can mean (Obscurity in the sky). It has a dark introspective imagery, while feeling holy and peaceful at the same time.

8. Valsa Lullabye (5:07)- This piece was inspired by working through and arranging another song by a great composer from Brazil named Edu Lobo. In english it means (lullabye waltz).

9. Choro pra Garoto (3:08)- This choro was dedicated to another great composer from Brazil named Garoto , the title in english is (Choro for Garoto).

10. Quando o Sol Raiar (1:55)- Translation: (When the sun rises) I wrote this song very spontaneously in the midst of playing a set at a club in NYC.

11. Baiao de Leemore (5:06)- Translation: (Baiao for Leemore) This piece was dedicated to my girlfriend that I love very much. It goes to many interesting moods and places, filled with surprises, just like her!!! It is a Baiao that starts out very much rubato for a while then goes in to time.

12. Torment (3:13)- This track expresses feelings of torment but also of releasing these feelings and moving in to new places to express other emotions such as joy, curiosity, or feelings of sentiment.

13. Introspective (2:31)- I started playing around with a musical idea that came to me after I had played a show accompanying a play at The graduate program at New School University in NYC and it was finished over a period of a year or so.

14. Choro tip toe (1:54)- This is one of my favorites. For me, It has some absurdity to it, mixed with sarcasm and aggression. I think it must have been what I was feeling in the moment and came out all at once.

Sunnie Paxson’s modern jazz sound is upbeat and intriguing. The songs sound as if they were recorded live because of the spontaneity and invigorating quality of the sound.  On “Duke Ellington’s Sound of Love,” Ms. Paxson plays solo and communicates this rarely heard Charlie Mingus classic with a very personal and intimate feeling. This solo discovery is one of the best performances on the recording. By contrast, Ms. Paxson’s performance in a trio setting with Stanley Clarke on bass and Ron Bruner, Jr. on drums is quite assessable. Together their interplay on such songs as “Seabound,” “Dolphin Dance,” and “Three Wrong Notes,” gives the listener a complete listening challenge and sentimental appeal.

“Stella By Starlight,” “Something for Nothing” and “One Step Beyond” all lend themselves to classical music and love themes. The movements and phenomenal bowed bass solo by Clarke in “Stella By Starlight” and  the addition of a string quartet (whose music was arranged by Sunnie Paxson) to the latter two songs feature commendable performances by Ms. Paxson. Each of these songs provides a glimpse into the borderless creativity of Ms. Paxson who makes the challenge of creating dozens of songs for Bohemian Sun seem easy.

Her winking nod to Javad Maroufi on “Khabhaye Talaei” is a further expression of Paxson’s ingenuity which spans from the modern sounds of contemporary jazz to this dynamic interpretation of Maroufi’s beautiful music. Overall, Bohemian Sun puts the woman behind the music directly in the spotlight and there you will find a diverse musical personality whose interesting perspectives and renditions will make you an instant fan. Buy Bohemian Sun today.

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Still on the shy side of 30, Ulysses Owens Jr. has garnered an international reputation as drummer of choice for Christian McBride, Nicholas Payton, and Kurt Elling, three very different personalities who are very particular in what they want to hear from the kit.

On his Criss Cross leader debut, Owens Jr. convenes Christian McBride and Nicholas Payton, as well as pianist Christian Sands(even more visible for his work in McBride’s trio), rising star alto saxophonist Jaleel Shaw (Roy Haynes’ main sax voice for the last five years), and trombonist Mike Dease.

The leader finds fresh approaches to various flavors of the swing timeline — Art Blakey and the refractions of Buhaina established by Mulgrew Miller and Bobby Watson (each a one-time employer); Tony Williams’ two phases with the Miles Davis Quintet; Ed Thigpen’s crispness with the Oscar Peterson Trio — within a 21st century context.

Luz is the latest release from Costa Rican drummer/percussionist/ composer Luis Munoz, Munoz, a double ACAM Award winner for Jazz Composer of the Year wrote, arranged and orchestrated the nine songs on the CD.  It features singers Magos Herrera and Teka Penteriche alongside Munoz, Adam Asarnow on piano, Tom Etchart on acoustic bass, and other guest musicians.

The recording opens with Teka Penteriche singing the vocal version of “El Sueno De Adan,” a beautiful homage to Munoz’s son that was previously released as an instrumental titled “Adam’s Dream” onInvisible (Pelin Music, 2010). It is followed by the title track from that same release and features a very lovely muted cornet performance by Jonathan Dane. Luis Munoz provides additional pianism and plays drums also.

The remaining seven tracks also reveal Munoz on piano, shekere, percussion, and background vocals, and once again offer listeners his dedicated musicality and compositional integrity. Give Luz a listen and then buy it at the SOTJ store.

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There’s no question about it: pianist/vocalist Eliane Elias is amazingly versatile. On May 28, 2013, Concord Jazz presents Elias’ I Thought About You (A Tribute To Chet Baker), an album that offers her personalized spin on the work of a key American jazz artist while spotlighting her connection to the singer-instrumentalist tradition (international release dates may vary). It fully demonstrates the range of interests that Elias’ art now boasts, and arrives with a statement of purpose: jazz repertoire can sound totally fresh when delivered with ingenuity and passion.

Long known for her native feel of Brazilian music, this new disc truly demonstrates Elias’ expertise in yet another realm: an interpreter of American standards. An expressive, swinging singer and insightful instrumentalist and arranger, on I Thought About You she thoughtfully switches the size and approach of her impressive ensemble from track to track, yielding to each tune’s inner logic.

Her choice of musicians underscores her decision to have her music move in various ways. Along with guitarist Oscar Castro-Neves, drummer Rafael Barata and percussionist Marivaldo dos Santos unite with Elias and husband, esteemed bassist Marc Johnson, for a few of the Brazil-slanted tracks. The other core band members are the always impressive guitarist Steve Cardenas and the exquisite drummer Victor Lewis. If you hear a deep chemistry between the bass and drums, remind yourself that Johnson and Lewis were once part of Stan Getz’s most limber rhythm section. At various points, Elias’ former husband Randy Brecker drops in to add some of his incisive brass magic to the mix.

By and large, Elias has turned to pieces from the Great American Songbook that have been associated with Baker. Some are swaggering and bluesy, some are poignant and graceful, some are intimate and bittersweet – each is addressed like the jewel that it is.

“When selecting the repertoire, I chose songs that portrayed a wide spectrum of Chet’s work,” she says, “not only the ballads for which he was best known, but also the mid tempo and up tempo pieces he performed with such fluidity and inventiveness throughout his career.”

Matt Herskowitz blends jazz and classical influences on his new solo piano recording titled Upstairs. Released on Justin Time Records, the CD was recorded live at Upstairs Jazz Bar & Grill in Montreal, Quebec, Canada on November 6, 2011. Upstairs is Mr. Herskowitz’s follow up to his 2010 acclaimedJerusalem Trilogy and features songs composed by Dave Brubeck (“Dziekuje”), Michel Petrucciani (“Cantabile”), J.S. Bach (“Bach A La Jazz) and George & Ira Gershwin (“But Not For Me,” and “I’ve Got Rhythm”).

Herskowitz also wrote and arranged several originals for the program. The night opened with Mr. Herskowitz’s interpretation of Dave Brubeck’s rhapsodic homage to Chopin titled “Dziekuje.” His performance got raves from the late pianist himself and Herskowitz’s tribute to his friend is certainly one of the most inspired performances on the recording. Further inspiration came from Mr.  Herskowitz’s visit to Moscow as a competitor in the Tchaikovsky International Piano Competition. “Waltz In Moscow” is a refined piece that emphasizes Herskowitz’s classical influences and calls attention to his fluid pianism. He further accentuates his classical flair in “Traumerei” by Robert Schumann.

His stellar arrangement makes this masterwork accessible to a new generation of pianists who may excel in the classical/jazz genre by adding it to their repertoire. The entire recording underlines Mr. Herskowitz’s virtuosity and finesse as a pianist and ranks among his finest works. Buy Upstairs today at the SOTJ store.

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Shining like the moon…

She was born with a story on her lips, a tune in her ear, and the purpose implied by her name, Offiong Bassey, God’s Moon, on her heart. Music and storytelling for Offiong have always been second-nature: “I inhale my surroundings and exhale melodies. I perceive my world and create another with rhythm and harmony.”

Singer, songwriter, producer, and poet, Offiong Bassey is an exciting new artist that draws upon the numerous influences that have touched her life. As the first generation from her Nigerian family born in the U.S., the soul, jazz, gospel, and Latin music of America reside within her just as comfortably as the musical traditions of West Africa. She brings to them her unique ear for harmonies and phrasing, her ground-shaking, power vocals, and her unmatched versatility to create music that is fresh, inspiring, and just plain fun.

Though her sound is one-of-a-kind, Offiong has had many teachers. The first of these was her namesake, her grandmother, who would sing her traditional songs from their Efik tribe, imparting to Offiong the power of music and the richness of her cultural heritage and storytelling tradition. At a young age, Offiong began to see her name, God’s Moon, as a call to be a reflection of her creator’s light, as the moon is to the sun, through story and song.

That call continued to sound in her ear like an endless melody that she heard in everything, as it guided her on her path. Along the way, she found further inspiration in other great teachers, artists ranging from Angelique Kidjo, Miriam Makeba, and Fela Kuti to Rachelle Ferrell, Lauryn Hill, and Jonathan Butler.

Music followed her to Yale University, where she sang in acclaimed singing group Shades, was a celebrated soloist on its 2005 album, Sankofa, and directed and performed “A Moonlit Evening”, an intimate concert of original songs she produced during her senior year. Her artistry has been deepened by her extensive travels to places like Japan, Spain, Panama, Nigeria, and Ghana, and she has shared her inspiring story in song with diverse audiences, including South African youth in Johannesburg, attendees at the U.S. Africa Business Summit in Washington D.C., and music lovers at Boston’s GreenSoul Fest. Most recently, she was honored to perform for the Obong (King) of Calabar, Nigeria and the Governor of Cross River State, Nigeria.

Titles from her self titled release include:

LEGITIMATE CHILD
This song affirms that all people, regardless of the circumstances of their birth, their past, or their present, are legitimate and purposeful in the eyes of their Creator. On this song, we decided to bring together the groove of Calypso with the majestic call of traditional Calabar-style Nigerian drumming to herald the coming of the honorable, the worthy, the blessed Legitimate Child.

Some call you fatherless, some call you motherless/ some call you hopeless, some call you “a mess”/ but it is not how they address you/ it’s the name that you answer to that matters in the end

EDIDEM
This chorus is in my native tongue of Efik and is an adaptation of a prayer my grandparents taught me based on the Biblical Psalm 91. I went back to my roots on this one, singing over a traditional “Ekombi” rhythm from my family’s Efik tribe.

EFIK
Edidem, sn mi ke-eka ubok fo/ yak mi nsinedo nwere/ nwere, nwere, nwere/ yak mi nsinedo nwere/ Abasi, db mi ke-idak mba fo, yak mi nsinedo nwere/ nwere, nwere, nwere, yak mi nsinedo nwere

ENGLISH TRANSLATION
Lord, take me in the palm of your hands/ and there I will be able to roll around/ roll, roll, roll/ at rest in you/ God, hide me in the shadow of your wings/ and there I will be able to roll around/ roll, roll, roll/ at rest in you

WEATHERMAN
This track serves as a reminder that there is more to life than what we see and that there is One that transcends even our most trusted systems of understanding. We focused here on creating a dynamic sound that brought together some of my favorite influences, merging smooth Afro-jazz, contemporary soul, and the lyrical sharpness of spoken word poetry.

What’s forecasted won’t necessarily happen/ don’t you judge by the clouds in the sky ’cause/ the environment could change in the blink of an eye/ some things the weatherman will never, ever know

FULL MOON
Without the light of the sun, the moon cannot shine, and the moon in its fullness is a reflection of the sun. When we are in line with the sun (or source), we reflect the fullness of that light, but as human beings we are constantly waxing and waning, shifting and changing. My name, Offiong Bassey, means God’s moon, so this song is of special significance to my journey in life to become the embodiment of what my name implies. The Afro-Peruvian rhythms of this song transformed my vocal approach in the most unexpected yet organic of ways.

I’m waxing, I’m waning, anticipating, full moon

MISTAKING CHIVALRY FOR CHAUVINISM
This track is pure fusion – a rap song with West African chants, R&B flavor, a Hip Hop beat, a funky bass line, and even a Country-style guitar. This is the story of an “independent woman” that has been burned by love and finds it difficult to trust. She mistakenly characterizes the gentlemanly advances of her suitor as chauvinistic. He has to wear her down and succeeds around minute two. This one is for the ladies and the men that want to win their hearts.

I mistook his chivalry for chauvinism/ all the love he gave to me/ I didn’t have faith in him/ that he would view me as an equal intellectually/ or that he thought I could administrate effectively/ but I was wrong, he admired qualities in me/ wanted to insure that I was comfortable and happy/ so he pulled out my chair, opened the door and closed it/ paid for me at dinner, and I’m thankful

CONCLUSION
We have all experienced the consequences of our tendency to rush to judgment without having all the facts. This Afrobeat jam channels the legacy of the great Fela Kuti with its blaring horns, its fun, raucous energy, and its Afro-centric take on raw funk. The groove really took me over and inspired me to break out with some rap – in Nigerian Pidgin English, of course.

Sometimes you take an unseen action, you take half-heard remarks/ and you construct a story – character, props, and plot/ you judge a situation with inadequate information/ you ain’t supposed to do that

CHASING AFTER THE WIND
Sometimes we lose ourselves chasing after the wind, pursuing things that do not last. Materialism, vanity, and compromised self-worth are all just the result of a loss of perspective, when we lose sight of our true destiny and purpose. On this track, we worked to strike a balance between the Afro-pop groove that drives the song forward and the fluid jazz-soul vocals that whisper like the elusive wind.

See the wind slips through my fingers, money doesn’t always linger/ clothes get moths and food will rot/ but what I’ve got isn’t meaningless; this blessing will endure for eternity

OWO IBA ME ITA
I like to call this tune “a song for friends.” Everybody knows that it’s better to have two or three good and faithful people around you than to surround yourself with a crowd of folks in whom you cannot trust. We set this song, which is in both Efik and English, to West African Highlife with a Makossa drum beat to give it a celebratory feel. Speaking of faithful friends, I asked my brother Eniang Bassey to grace this track with his djembe drumming skills.

When I feel the whole world is against me/ and I can’t tell my friends from my enemies/ I’m so glad to see it’s not quantity but quality I really need/ ’cause two or three can make a majority/ when we’re bound together in love, it doesn’t matter, we can rise above the maze

WILD OATS
Who’s ever heard of the term “sowing your wild oats” (or “sowing your ‘royal’ oats”)? It’s when we scatter ourselves, with respect to our money, our time, or our bodies, without considering the repercussions of our actions and the value of what we have to offer. This is a song about setting the priorities in our lives, and I drew on a soulful ’70s vibe to couple the songs honest lyrics with an old school feel.

We can’t sow wild oats forever; our efforts will fly away like a feather/ what do you reap? What will you reap?/ if you gain the whole world and forfeit your soul/ a temporary high leads to long-lasting lows/ what do you reap?

IT MIGHT BE HARD
Through all that I’ve faced, I’ve realized that even in the most difficult of times, I’m still in the arms of the Almighty, and in that quiet place, there is comfort. We drew upon the emotional honesty of the American gospel tradition to create a soundscape that mirrored the song’s message while inspiring a more candid vocal interpretation of that message.

You pick me up when I feel put down/ You’re a faithful friend, and I know full well now/ That it might be hard, but it won’t be hell/ as long as You’re with me, I have the eternal promises/ oh it might be hard, but it won’t be hell because/ hell is separation from You

EFIK PRAISE MEDLEY
This is a medley of songs in my native language of Efik. Nothing gets people lifted quite like a Nigerian praise chorus, so we gave this track that flavor, with a characteristic big brass band, percussive bass line, and exuberant guitar solo, to give it a fervent, infectious energy that transcends language barriers.

EFIK
Iyang dobuyo/ eyen Abasi modo ku ubom o

ENGLISH TRANSLATION
Peace be still/ for the Son of God is inside the boat

Book Review by Paula Edelstein

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A great vocalist has a way of inhabiting a song, living it and making it their own. It takes especially great powers of interpretation for a singer to take a song defmitively recorded by a legendary artist and give it new life with a fresh interpretation. Phil Perry takes on the ultimate challenge with the opening track of his new album, the indelible “You Send Me,” recorded in classic style by the peerless Sam Cooke, whose own unique phrasing style actually shapes the melody of the tune, which he wrote.

Yet Phil Perry transforms the song while still retaining its essence, opening in “old school” style and then transmuting it into contemporary soul music. Few singers around today could have done it but those who have experienced the magic of Phil Perry’s talent will not be surprised.

With special guests Chante Moore and Najee, Phil delivers a splendid mix of originals and notable covers in a style befitting the man James Ingram who calls Perry “the most powerful singer I have ever heard.”

“As always, when working with Big Dog (Davis), we try to address all the relevant directions relating to the material,” Phil explains. “We try to keep the classic essence while allowing me to be the artist that I am. What that means is singing the melody without it being sterile, inserting new background ideas and different instrumentation-to contemporize the sound without removing the essence of classic R & B.”

Produced by the multi-talented Chris “Big Dog” Davis, who has produced the likes of  Will Downing, Maysa, and Kim Burrell, SAY YES, is a beautiful collection of original  compositions co-written by Phil Perry and Davis, as well as reinventions of signature hits by such icons as Paul McCartney, Paul Simon, Michael McDonald & Carly Simon and Sam Cooke. The CD features classic songs such as “Bridge Over Troubled Water,” “The Long And Winding Road,” “You Belong To Me” and the aforementioned “You Send Me.” On “Bridge Over Troubled Water,” Davis gives the track a subtle groove which takes the song out of pure balladry and Phil subtly gospelizes it, in short a fresh approach to a song that has been recorded many times by other artists.

“We were going for identifiability (on the classic cover songs),” Phil says. “Just because you cover a classic doesn’t mean you should lose yourself and what you are as an artist. I think that’s what separates any ‘classic’ endeavor we undertake from anyone else who is
doing covers. We respect, then add.”

The original compositions on SAY YES deliver finely-wrought romantic balladry that takes its cue from classic soul balladry but gets just enough contemporary treatment so that it does not sound “retro.” And always, there is a hint of jazz in Phil’s phrasing. In
short, the album is state-of-the-art Phil Perry, exalting and explicating the many facetsof love.

Phil Perry has been devoted to music from a young age. Born and raised in East St. Louis, Phil was exposed to the art of great singing early in life. “Growing up I always knew that I wanted to be a singer,” recalls Phil. “I would watch and listen to all the great singers like Nat “King” Cole, Johnny Hartman, Arthur Prysock and Billy Eckstine that my mother listened to while she cleaned the house.”

After a spell as the lead singer of the Montclairs (whose “Begging’s Hard To Do” was a moderate R&B hit and “Make Up For Lost Time” became a cult favorite in British soul music circles), in the early 70s Phil quickly became one of the most sought-after backing vocalists in the music business. Phil launched his solo career in 1991 with THE HEART OF A MAN, which featured an impressive re-make of Aretha Franklin’s “Call Me,” that hit #1 on the R&B charts. Phil’s 1994 album PURE PLEASURE yielded another hit with his version of “If Only You Knew” and also featured a seven-minute version of The Spinners’ classic “Love Don’t Love Nobody.” Known for his skill in multiple musical genres, Phil began achieving success in the contemporary jazz arena through his featured vocals on albums by Lee Ritenour, The Rippingtons and others. His next solo album, ONE HEART ONE LOVE, hit the Top Five of the Billboard Contemporary Jazz chart.

2000′s critically-acclaimed BOOK OF LOVE was followed by the 2001 album MAGIC, which highlighted Phil’s songwriting prowess.

Busy as a touring artist and in-demand session vocalist-whose credits include work with everyone from Patti LaBelle, Anita Baker, Peabo Bryson and George Duke to Quincy Jones, Barbra Streisand, Boz Scaggs and Rod Stewart-Phil returned in 2006 with CLASSIC LOVE SONGS, putting his own stamp on such tunes as Lionel Richie’s “Hello,” Marvin Gaye’s “I Want You,” and The Temptations’ “Just My Imagination.”  The 2007 album A MIGHTY LOVE brought enthusiastic reaction from music buyers starving for the kind of authentic, heartfelt music that has been Phil’s stock in trade. The father of four, Phil has been actively working to foster Arts education through the  Philill Foundation, an organization founded and led by his wife of twenty years, Lillian ”Tang” Tynes, a notable soul and jazz vocalist in her own right. “It’s important to me,” Phil says, “because my wife has a vision for a Charter School that educates through all genres of the arts. Also we are both artists so we wanted to give back to the youth through art and education.”

With SAY YES Phil Perry reasserts his claim as one of the most impressive of a dwindling number of vocalists on the contemporary scene who can deliver musically impressive, emotionally substantive art. ”When I make a record,” Phil says, “my goal is always to make something I can be proud  of. As I travel across the country I can definitely say there’s a market out there for traditional R&B. I think this album is a good representation of what classic soul music is in the digital age.”

Harmonica legend Toots Thielemans celebrates his 90th birthday with European Quartet on his latest release by Challenge Records titled 90 Years. This great CD features unique and previously unreleased live recordings taken from Thielemans’ latest tours around the world. The set also comes with a DVD that contains select materials from his most recent concert in Japan!

The songs on Disc One are both rare and well-known classics including “Waltz For Sonny,” “The Dragon,” “What A Wonderful World,” and “One Note Samba.” The DVD showcases Thielemans performing “Autumn Leaves,” “Midnight Cowboy,” and “Bluesette” plus three other songs. For someone who is 90 years old and playing a harmonica, listeners would never know that Thielemans is up in age because his breathing and technique are both still amazing.

The master is joined by Karel Boehlee on piano and synthesizer, Hein Van de Geyn on double bass, and Hans van Oosterhout on drums. Their exemplary accompaniment is in the pocket and brings out the best in the melodies that Thielemans plays on harmonica. This is an exciting live program that should be in your collection.

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Feels Like Home is a jazz CD with a bit of funk, soul, swing and lots of feel. Mike keeps an organic and real vibe on this CD joined by the best in the business inclunding Brian Bromberg, Rick Braun, Jeff Lorber, Jeff Golub, Alex Acuna and many more!
Looking at that all-star list of sidemen and accompanists you would think that this is another smooth jazz release fostered by the Lorber crew, but think again. This CD is jazzy and smooth. It is not all smooth jazz, but it is all groove jazz.

Soweto-born vocalist Lorraine Klaasen pays homage to “Mama Africa” on her new Justin Time recording titled A Tribute to Miriam Makeba. This is the follow up to her triumphant release Africa Calling and has received a Juno Award nomination in the world music category. Eleven new songs grace this fascinating program that features Senegalese guitarist Assane Seck, Benin-born percussionist Moise Yawo Matey and her longtime bassist Sebastian Andrew Whiteman.

Ms. Klaasen’s voice is powerful and rings with joy on six classic Miriam Makeba compositions including the popular “Click Song,” a Xhosa play song which incorporates the technique of ‘click singing;’ “Jolinkomo”  the Xhosa praise song that young women sing when they cheer their young men into battle; and “Lorraine” a song of self-reflection, among others. Among the more memorable highlights are Makeba’s “Pata Pata,” and “Iphindela,” which concludes the recording.

Overall, this is a fine tribute to one of the world’s most beloved singers and receives the benefits of Lorraine Klaasen’s prolific storytelling and lovely vocals.

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Three-time GRAMMY nominee Boney James has returned to former label Concord Records with a dynamic, genre-busting album The Beat. One of the most successful instrumental artists of our time with sales totaling over 3 million records, James’ new project fuses his R&B/Jazz roots with Latin rhythm and percussion.

“This record was born of my love for both Latin and R&B music and became a mash-up of the two genres. The initial inspiration for the record was Sergio Mendes’ “Batucada (The Beat),” which I re-imagined as a funk tune.” “Batucada (The Beat)” reunites Boney with trumpet great Rick Braun. “Rick and I have a wonderful history. There is a certain edge and energy that comes out when we play together that creates a really cool vibe.”

Other special guests on the project include eclectic R&B soul singer Raheem DeVaughn and spoken word phenom The Floacist. The first Urban AC single, going for adds in mid-February, is “Maker of Love,” a sexy, soulful song featuring DeVaughn. “Raheem is an artist I’ve wanted to work with for a long time and we actually met by following each other on Twitter! I sent him the track and he came back with an incredible lyric and finished vocal,” says James.

UK poet and musician The Floacist (former partner of Marsha Ambrosius) brings a seductive flow to “The Midas (This is Why)” which adds to the World Music flavor of the album. James says, “This track is a real serious mash-up with the R&B groove, the shekere and conga percussion, coupled with the ‘Euro’ vibe from The Floacist!”

Other treasures on the album include James’ fresh take on Stevie Wonder’s R&B/Latin classic “Don’t You Worry ‘Bout a Thing,” along with originals by James that run the gamut from subtle and sophisticated with tracks like “Acalento (Lullaby)” and “Mari’s Song,” to high energy with “Sunset Boulevard,” and “Powerhouse.”

James produced the record and wrote (or co-wrote) eight songs. The album marks his return to Concord Records. Mark Wexler, General Manager/SVP, Concord-Telarc Label Group says, “Boney is one of those unique artists that truly understands his outstanding talent and knows how to blend his originality with what his fans love to hear. We couldn’t be more thrilled to have him back as part of our Concord family.” James is equally enthusiastic about re-joining the label, “Concord and I have had great successes, previously, and I couldn’t be more excited to be working with them on one of the best records I’ve ever done.”

In addition to his GRAMMY nominations, James is a Soul Train Award winner (Best Jazz Album) and has been honored with an NAACP Image Award nomination for Best Jazz Album. He has accumulated four RIAA Certified Gold Records. To date, nine of James’ albums have reached No. 1 on the Billboard Contemporary Jazz Chart and two have reached the top 10 on the R&B Albums Chart, a rare feat for an instrumental artist.

Boney is also renowned for his compelling live performances. According to The Boston Globe: “Let’s make something perfectly clear: James is not a smooth jazz player. Yeah, he is often grouped with people like Kenny G and Najee, but his music is muscular and gritty….James swaggers across the stage like a blacktop hero draining trays on an overmatched opponent. He even weaves his way through the crowd, all but daring them not to have a good time.”

Boney will be on tour for all of 2013 following the release of The Beat.

Initial tour dates are:

• 3/30 Detroit MI – Fox Theater
• 4/6 Las Vegas NV- Boulder Station
• 4/18 Panama City Beach FL- Seabreeze Jazz Fest
• 4/20 Durham NC- Carolina Theatre
• 4/23 Bergen NJ- Bergen PAC
• 4/24 Glenside PA- Keswick Theatre
• 4/25 Cleveland OH- Ohio Theatre
• 4/26 Pittsburgh PA- Byham Theatre
• 4/27 Buffalo NY- Buffalo State PAC
• 4/28 Alexandria VA- The Birchmere
• 7/21 San Dimas CA- Jazz Fest West
• 10/12 San Diego- Smooth Jazz Cruise
• 10/25 Troy NY- Troy Savings Bank Music Hall
• 10/26 New Haven CT- Lyman Center
• 10/27 Boston MA- Wilbur Theater

GRAMMY award winner Cheryl Bentyne is at her best when singing with her group The Manhattan Transfer. However as a soloist, she has come into her own as a fascinating interpretor of songs written by the legendary composer Cole Porter. As with her previous 2009 import release The Cole Porter Song book, on Let’s Misbehave: The Cole Porter Songbook, Ms. Bentyne offers her fans a wide array of Porter’s hits including “Night and Day,” “Begin the Beguine” and “My Heart Belongs to Daddy.”

Joining in on the fun is a superb coterie of musicians including guitarists Tom McCauley, Octavio Bailey and Larry Koonse; Corey Allen on keyboards and banjo; Doug Webb on reeds; Chris Tedesco on trumpet; bassist Kevin Axt also on tuba; Dave Tull on drums/percussion; and 2 heroic performances by the late jazz tenor sax giant James Moody in one of his final recorded appearances. The vocals are humorous, sexy, and mysterious and Bentyne’s inventive singing style swings and sizzles. This is one of her better offerings as a band leader and you’re sure to enjoy it. Check it out. Click HERE to purchase.

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It has not taken Esperanza Spalding long to emerge as one of the brightest lights in the musical world. Listeners familiar with her stunning 2008 debut, Esperanza, and her best-selling 2010 release Chamber Music Society, were well aware that the young bassist, vocalist and composer from Portland, Oregon. was the real deal, with a unique and style-spanning presence, deeply rooted in jazz yet destined to make her mark far beyond the jazz realm

That judgment was confirmed on February 13, 2011, when Spalding became the first jazz musician to receive the GRAMMY® Award for Best New Artist. On March 20th, 2012, Heads Up International, a division of Concord Music Group, gives us Spalding’s latest release, Radio Music Society, her most diverse, ambitious and masterful recital yet. 11 songs are accompanied by conceptual short films, which further express Esperanza’s inspiration and story behind each track. Shot in various locations including New York City; Barcelona, Spain; and Portland, Oregon; all videos will be available to purchasers ofRadio Music Society as a digital download or a DVD on the deluxe version.

Radio Music Society is a companion, rather than a sequel, to Spalding’s previous disc, which reached No. 1 on theBillboard Contemporary Jazz Chart. “Originally I thought it would be fun to release a double album,” she explains, “One disc with an intimate, subtle exploration of chamber works and a second one in which jazz musicians explore song forms and melodies that are formatted more along the lines of what we would categorize as “pop songs.” Those are the two things that really interest me, and it intrigues me to think about different presentation approaches while writing each kind of song. On the pop song side, I think about listeners who aren’t into jazz, but I also think about the people within my musical community who can interpret each idea best.”

“Radio Song,” the new disc’s opening track, both sets the tone and confirms the aptness of Spalding’s “radio music” metaphor. “Everyone has the experience of turning on a car radio,” she explains,” mindlessly flipping through the dial and suddenly a fragment grabs you and you’re totally digging it. I wanted to capture that moment when the music just sinks in. It’s about the power of song, and how at the least it can save the day.”

Fleshing out the concept with original music was second nature to Spalding. “I have this book of music that I’ve written, and so much of it fit either the Chamber Music or Radio Music concept. Songs develop for me in fragments, so for these projects, I took my notes and organized them into coherent works of music.”

In the process, Spalding added her original, affirmative perspective to classic radio music themes. Songs about love run a full gamut. “Hold On Me” is a narrative of unrequited love, inspired by people who cling to dreams of relationships that can never be realized. “Let Her,” one of Spalding’s older compositions, was inspired by “different people I’ve known who are in miserable situations, then complain when they end.” “Cinnamon Tree,” written to cheer up a friend, celebrates platonic love, and Spalding’s belief that “the love between friends is just as important as romantic love.”

“Crowned and Kissed,” with references to King Arthur and Midas, is about “the unsung royalty in your life, men and women who quietly, every day do the most honorable things, and who deserve to be honored even if they don’t end up with castles and thrones.” The edgy “Smile Like That” marks the moment a person realizes that his or her partner has developed other interests. “I’m saying, `Okay, I get it, let’s not beat around the bush,’” Spalding explains.

Her takes on the state of our country and our culture are equally fresh and insightful. “Vague Suspicions” confronts society’s short attention span and our habit of absorbing horrific events and celebrity gossip as part of the same media overload. The brief “Land Of The Free” speaks to the sinister system of false imprisonment by outlining the case of one innocent victim who spent 30 years in jail for a crime he did not commit.

“Black Gold” is specifically addressed to young boys of color. “So much of our strength is drawn from resistance and endurance,” she explains, “but black pride didn’t just start with the slave trade. I wanted to address our nobility, going back to our incredible ancestors in pre-colonial Africa. I remember meetings when I was in elementary school about being strong as young black women, and I don’t think the boys had those meetings. This song is meant to speak to those young men, and I imagined it might one day be something that a parent could sing to his or her son.”

Radio Music Society also features “City of Roses,” a celebration of her native Portland, Oregon that Spalding was commissioned to write by Banana Republic, and two cover tunes. Taking the advice of one of her mentors, tenor saxophone giant Joe Lovano: “When you do a classic, you have to find your own reason for doing it.” Spalding charges Stevie Wonder’s “I Can’t Help It” with the energy of apprehensive new love and adds original lyrics to Wayne Shorter’s “Endangered Species.”

The music is realized by many of the brilliant musicians who are part of Spalding’s ever-expanding universe. In addition to longtime partners Lovano, keyboard player Leo Genovese and drummer Terri Lyne Carrington, the ranks contain jazz legends Jack DeJohnette and Billy Hart; guitar heroes Jef Lee Johnson and Lionel Loueke; an array of master vocalists including Algebra Blessett, Lalah Hathaway, Gretchen Parlato, Leni Stern and Becca Stevens; hip-hop giant Q-Tip (who performs on and co-produced two tracks); and two Portland-based musicians, Janice Scroggins and Dr. Thara Memory, who provided essential mentorship in Spalding’s youth.

Four tracks feature the horn section of the American Music Program, a youth big band of musicians age 12 to 18 directed by her longtime mentor and teacher Dr. Memory, who conducts and provides horn arrangements; while the soulful pianist on “Hold on Me” is Ms. Scroggins, who Spalding studied with as a child. “Both of them are phenomenal artists who aren’t well known outside of the Northwest,” Spalding emphasizes. “Janice Scroggins was, quite honestly, too deep for me when I was eight years old. She unifies completely the sounds of gospel, blues and jazz, our American roots music. And Dr. Thara Memory, the teacher I came up through, has dedicated his life to spreading the message of this music. I had to have his youth band on the record, because they’re part of my Music Society, too.”

Among its many strengths, Radio Music Society is a celebration of the men and women who have helped cultivate Spalding’s talent, as well as those who have nurtured her vision and inspired her along the way. “I’ve had the honor and blessing of working with so many phenomenal jazz musicians over the years,” she says. “As I’ve gotten to know them and their music, I’ve grown to love them as family and colleagues. I wished for an opportunity for us all to interpret songs together, so that they can be heard and received by a larger audience. All my personal heroes who are revered in the jazz world – like Joe Lovano and Terri Lyne Carrington – should be heard by a mainstream audience, because what they manifest in their music is so beautiful, sincere and uplifting. I think they literally bring good into the lives of the people who hear them. So I’ve tried to put together a program of music that speaks to the non-jazz listener, but can still provide a viable foundation for my jazz heroes to express themselves. Hopefully, people can enjoy all the elements of my music without being told which genres it is ‘supposedly’ a blend of. Everyone is invited to listen with no pre-conceived notions. It’s a journey. Think and feel for yourself. But, most importantly, ENJOY!”

“Art doesn’t thrive with too much analyzing and explaining,” Esperanza Spalding notes, “The idea of `radio music’ is very broad.” Radio Music Society is destined to expand the concept even further, not to mention the horizons of the music world’s most exceptional young artist.

In addition to the great guitar playing that Lee Ritenour offers his listeners on his latest release called Rhythm Sessions, the 12 distinctive rhythm sections he employed are what makes this recording a masterpiece. The musicians he invited to play on these 12 sessions are an elite group of award-winning veterans as well as exciting newcomers who compliment Lee Ritenour’s amazing sound with their own versatility and innovative musical techniques.

Among the stellar special guests are Chick Corea, George Duke, Stanley Clarke, Christian McBride, Dave Grusin, Marcus Miller and the winners of Lee Ritenour’s Annual Six-String Theory International Competition and many others. The set includes compositions you are sure to love since they embrace a variety of sounds and grooves, all rooted in jazz, but also layered with shades of funk, R&B, Latin, World Music and more. Ritenour produced, arranged and wrote 5 of the songs with several of the featured musicians as inspiration.

The set opens with “The Village,” a funky piece that features George Duke out front on Fender Rhodes and Moog synthesizer with Lee, Stanley Clarke, Dave Weckl and Munyungo Jackson doing their thing. This song features a dynamic solo by Clarke on acoustic bass and the awesome chops of Ritenour. “River Man” features Kurt Elling’s expressive vocals and storytelling and the accompaniment of Dave Grusin, Nathan East, Will Kennedy, Ariel Mann and a soulful solo by Lee Ritenour. This is one great song and is certain to get a second and third listen from you, dear listener. With a dynamic aggregation of musicians that includes Patrice Rushen and Marcus Miller, Lee once again proves his worth as a musician and dynamic interpreter on Herbie Hancock’s “Fat Albert Rotunda.” Miller contributes his trademark funky bass riffs and Patrice Rushen’s distinct character on acoustic piano shines through beautifully.

Christian McBride offers his awesome acoustic bass interpretation during a solo on “800 Streets By Feet” – a song made famous by EST. Chick Corea’s “Children’s Song” gets an update from the master himself as he and Lee are accompanied by Alan Pasqua, Peter Erskine, Chuck Berghofer and Ariel Mann. John Beasley’s piano playing on “Spam-Boo-Limbo” is an effective highlighter for Lee’s spirited guitar playing. One of the prettiest songs on the CD is “Rose Petals.” The song is played with the same delicacy as a rose petal and everyone contributes brilliant bits of musicality. While all of the songs on this great program are priceless, the addition of these masterful players makes this one of Lee Ritenour’s best recordings in his repertoire. Click HERE to Buy Rhythm Sessions now.

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After wowing the straight-ahead jazz world and garnering worldwide acclaim, 20-year-old wunderkind Grace Kelly has set her sights upon winning hearts in the mainstream with an infectious crossover confection that was delivered on Valentine’s Day. Putting the saxophone aside to charm with her enchanting voice, the lilting stomp and clap single, “Sweet Sweet Baby” is available on Woodward Avenue Records.

“This song is inspired by the feeling of falling in love with love. It’s a song that captures that special time when someone is totally infatuated – whether it is with a girlfriend, boyfriend, spouse, child, grandchild, pet or musical instrument. It celebrates euphoria and joy. But most of all, it’s a song that celebrates love,” said Kelly, who solos on her trademark alto sax on the frolicking, candy-coated track sweetened with morsels of jazz amidst a playful pop panorama.

With eight albums already to her credit – one per year since she was twelve – Kelly’s prodigious skills have won the Boston native who graduated the prestigious Berklee College of Music at age 19 numerous awards, extensive media coverage that spans CNN, magazine covers, features and rave reviews in the pages of Glamour, Downbeat, JazzTimes, and the Los Angeles Times, and glowing praise from jazz titans including Wynton Marsalis, Randy Brecker and Jimmy Heath. Her mentors include alto sax greats Lee Konitz and Phil Woods, both of with whom she has recorded duet albums. Kelly’s busy touring schedule is chocked full of gigs around the globe at which she leads her own band or performs with luminaries such as Chris Botti, Harry Connick Jr., David Sanborn, Dave Brubeck, Dee Dee Bridgewater, Esperanza Spalding and Jamie Cullum.

Marsalis was so impressed that he invited the then sweet 16-year-old musician to perform at President Barack Obama’s first Inauguration Celebration. Her burgeoning trophy case displays five ASCAP Foundation’s Young Jazz Composers Awards and a pair of Boston Music Awards. Kelly was the youngest person ever named in the Downbeat Critics Poll after being selected as one of the magazine’s Alto Saxophone Rising Stars each year from 2009-2012 and she also has the distinction of being voted Boston’s Best Jazz Act in four consecutive years by the Boston Phoenix/WFNX Best Music Poll.

Recorded May 18, 2010 at Cubadisco, one of the biggest musical festivals in Cuba, at Teatro Amadeo Roldan in Havana, Ninety Miles Live At Cubadisco features vibraphonist Stefon Harris, saxophonist David Sanchez, Tand trumpeter Christian Scott bringing their stellar musical visions of the Afro-Cuban aesthetic to thousands of fans.his live recording reflects their ability to communicate the power of music as a universal language and solidifies their roles as musical ambassadors. This is a very adventurous project that features excellent soloing from all three bandmates.

GRAMMY nominee Stefon Harris contributes two tracks including “This Too Shall Pass,” and “Brown Belle Blues,” which were written especially for this project. GRAMMY winner David Sanchez brings his cross-cultural vision via his signature sound that merges elements of Afro-Cuban rhythms with bebop on his “City Sunrise,” and “The Forgotten Ones.” GRAMMY nominee Christian Scott contributes “Paradise Found,” a tune written by Donald Harrison. They get a help from two of Cuba’s revered pianists – Harold Lopez-Nussa and Rember Duharte, each of whom lead their own quartets.

Overall, this seven song masterwork explores the chemistry of Ninety Miles (the two-disc CD/DVD package released June 21, 2011) and takes their virtuosity to another level as musicians from different cultures who converse in a common language that transcends words. Check it out. Buy Ninety Miles Live At Cubadisco now.

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This priceless recording from Wayne Shorter is his first album on the Blue Note recording label as a leader in 43 years. Without A Netis a nine-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet’s European tour in late 2011, the one exception being the 23-minute tone poem “Pegasus.”

“Pegasus”  features the quartet with The lmani Winds which they recorded at Walt Disney Concert Hall in Los Angeles. Joining Wayne on this searing new album are his long-running quartet featuring pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade.The album features six new Wayne Shorter compositions, as well as new versions of his tunes “Orbits” (from Miles Davis’ Miles Smiles album) and “Plaza Real” (from the Weather Report album Procession).

The quartet also reinvents the title song from the 1933 musical film Flying Down To Rio, which film buffs (such as Shorter) know as the first on-screen pairing of Fred Astaire and Ginger Rogers. Click HERE to buy your copy.

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London-based crew of stellar young musicians including pianist Andrew McCormack, saxophonist Graeme Blevins, trumpeter Quentin Collins and drummer Martyn Kaine on his latest release titled The View From Here. Together they blend their creative visions on eleven diverse tracks that reveal their communicable band chemistry and transferable songwriting capabilities. The rhythmic title track is based on a catchy ostinato figure played by Kyle Eastwood on electric bass and Andrew McCormack’s left-hand piano lines.

Graeme Blevins and Quentin Collins float in half time on top of their urgent undercurrent and create a dreamy effect. For “M.E.” (written for Kyle’s mother) is a loping, melodic piece that features the bassist stretching out on an expressive electric solo while later in the song, Collins exhibits his penchant for Lee Morgan/Freddie Hubbard daring chops. This is one great recording and has sounds and rhythms that everyone will enjoy.

Just one listen to “Sirocco” will conjure memories of the Mediterranean with its blend of flamenco handclaps and Eastwood’s mesmerizing pulse on acoustic bass. McCormack’s versatile pianism is creatively placed in a great solo that leaves the listener freely exploring the tempo-shifting piece alongside the band. The entire band turns in exceptional performances on The View From Here and in turn, you dear listener, will feel the effects of this dynamic quintet. Check it out and then order your copy HERE.

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Originally recorded at Festival Mondial du Jazz d’Antibes, La Pinede, Juan-les-Pins, France on July 25, 1969 and at Folkets Hus in Stockholm, Sweden on November 5, 1969, this is the first officially released music of Miles Davis with his awesome “third quintet.”

This one-of-a-kind box set also features a kinetic video of their concert in Berlin.  There are 3-discs, a DVD, and liner notes offering new information about the great Miles Davis jamming with such inspired musicians as pianist Chick Corea, saxophonist Wayne Shorter, drummer Jack DeJohnette, and bassist Dave Holland!

The set lists showcase Davis’ Quintet playing music from his bebop, hard bop, modal, and electric eras with freewheeling solos from Davis and Shorter, aggressive bass playing by Holland, electric keyboards from Chick Corea, and power drumming by DeJohnette.

Much of the material is completely re-imagined, played with a muscular, intense, communicative freedom that is innovative and creative.  Songs such as “‘Round Midnight,” “Spanish Key “Nefertiti, the 14-minute “Bitches Brew” will thoroughly entertain you and the DVD offers a panoramic, view of the band with great sound. Miles Davis Quintet: Live In Europe 1969 The Bootleg Series Vol. 2 is energetic, complex yet accessible, exciting and ground-breaking. Buy it today.

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From the opening act of “Speak Low” to the final blues benediction of “Funkin’ It Up,” Hi Fly succeeds in reflecting the multi-dimensional and expressive guitar of John Stein. In this journey, he boldly leads his ensemble in search of the elusive, yet enticing element that all jazz musicians live for – swing.

Indeed, they do find it, over and over again, as the quartet weaves its way through an impeccable display of standards and originals, both fresh and new. (Wayne Everett Goins, from the liner notes)

John Stein, guitar; Jake Sherman, piano and Hammond organ; John Lockwood, acoustic bass; Zé Eduardo Nazario, drums.

Live From Stern Grove Festival features the remarkable bandleader and timbalist Pete Escovedo out front with an amazing coterie of musicians having fun and treating their fans to the show of a lifetime. Accompanying Mr. Escovedo is his dynamic tentet that includes his sons Juan and Peter Michael as well as special guests: daughter Sheila E. on congas and vocals (“Solo Tu,” “Dance”); Arturo Sandoval on trumpet, (“Suenos De Los Torreros”); Ray Obiedo on guitar (“Brasiliero”); and Dave Koz on sax (“True or False”).

This is one great show because of its exemplary soloing by guitarist Michael Angel on “True or False” and the consummate performances by Sheila E. on “Dance” and “Solo Tu.” But it’s Pete Escovedo swinging rendition of “Fly Me To The Moon” that makes this set special. All of the performers are amazing on their respective instruments but after performing for over 50 years with an amazing Who’s Who of musicians, Pete Escovedo is still hotter than hot and is this live show’s brightest star. Check it out. Click HERE to buy your copy today.

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The Sirens is acclaimed saxophonist Chris Potter’s ECM debut as a leader, an album of mood and melody inspired by The Odyssey in both its epic atmosphere and its timeless humanity. Potter, who has been featured on many ECM albums by Dave Holland and Steve Swallow, as well as making a profound contribution to the contemporary classic Lost in a Dream with Paul Motian and Jason Moran, has composed a cycle of irresistible songs without words.Chris Potter wrote all of the compositions except “The Shades” which was written by Craig Taborn and David Virelles.

“Wine Dark Sea,” opens the program and immediately sets the tone for the recording. Potter’s lyrical and emotional saxophone voice tells the story of this affecting metaphor as his bandmates provide their creative visions. An extended piano solo adds to the beauty and mystique of this piece. The title track, “The Sirens” features a highly creative bass clarinet introduction by Potter whose solo is colored by light pianism.

Larry Grenadier adds a splendid bowed double bass solo later in the composition that seamlessly flows into Potter’s tenor saxophone event. All 9 songs are conveyed by a  virtuosic, strikingly textured band: with Potter on tenor and soprano saxophones and bass clarinet, plus Craig Taborn (piano), David Virelles (prepared piano, celeste, harmonium), Larry Grenadier (double-bass) and Eric Harland (drums).

Potter declaims lyrical lines over the dynamically inventive rhythm section, as coloristic keyboards shimmer like stars in the night sky. Check it out then click HERE to buy.

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Scott and Tan worked very closely throughout every process – from selecting musicians to making arrangements and editing! Through Scott, she met John R. Burr, two-time Grammy Winner and the pianist of Alison Brown’s Quartet. As someone who composes on the piano, Tan had dreamt of finding a pianist just like John! As with her own creations, when Tan heard John’s piano pieces, the words simply appeared in her head. Thanks to John’s assistance, she was given the wonderful song “If I Do Not Return” to compose, the last title she wrote for “Paradise”

The other musicians, including Dan Robbins (bass), Paul Van Wageningen (drums), Kristen Strom (Sax/flute) and Michael Spiro (Percussionist, five-time Grammy nominee) added wonderful spices and enhancements to the flavor of the CD. The title track, “Paradise”, was written during the production process, in honor of the remarkable feeling it was to be among these awesome musicians! For the post-production, she brought in Gary Mankin (Mix) and Ken Lee (Master), both hidden jewels of the Fog City, who knew how to keep a common thread throughout the CD, while still recognizing the special meaning behind each song.

During rehearsals and the recordings, Tan would explain what inspired her to write the songs and how the arrangements might develop along with the lyrics. The musicians sincerely responded to the content of those songs through their common passion for music, contributing amazing input and unique vitality to the CD… and bringing out the best in her. As she was recording her voice, she would lock into the mood of the songs by going back to the state of being when she wrote them. The gentle voice she uses in her Jazz style comes from her years of voice training, while the freedom of phrasing of some of Tan’s pop songs are the influence of Jazz improvisation.

Tan Ping’s life as a long-time musician and singer have given her the knowledge and understanding of exactly what she was looking for in the creation of “Paradise”. The experience and confidence of being a professional musician in Taiwan led Tan to not only refuse compromises in the quality of this new CD, but also to keep the music as real as possible by leaving the spontaneity in the mix. “Paradise” is the best of what Tan Ping has in to offer, and is a treat for the soul that can be enjoyed again and again. “This world is what we make it, sing the Paradise in your heart!”

This stellar release, by saxophonist and composer Joe Lovano is his most fully realized representation of a career-long quest to explore the notion of universal musical language. The album is an 11 track tour de force that represents 10 of Lovano’s original compositions along with a stunning interpretation of the Billy Strayhorn ballad “Star Crossed Lovers.”

The album features his core Us Five ensemble of pianist James Weidman, bassists Esperanza Spalding and Peter Slavov, and drummers Otis Brown and Francisco Mela and is augmented with guitarist and fellow Blue Note artist Lionel Loueke. This record has funk, swagger and should be in your record collection. Click HERE to buy Cross Cullture.

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French folk singer Cécile Hortensia blends cultures and music styles in her bilingual debut album “Papillons”, fusing her French roots with her adopted American culture in a bilingual, bi-cultural collection of songs.

Born in Nancy, France,  Cécile now lives in Arizona and each of the 12 tracks on Papillons explores a different side of the daring journey she took, seeking to find adventure in a new cultural perspective.

With the 2007 release of The Source - his debut recording as a leader – drummer and composer Kendrick Scott established a reputation right out of the gate as an explorer, someone with a generous measure of wisdom and insight to counterbalance his youth and newcomer status.

Nearly six years later, Scott and his band continue to dig beneath the surface to find the deeper truths in Conviction,their new CD scheduled for release on Concord Jazz. As the title suggests, Conviction is the vehicle by which Kendrick and company look past the mundane and examine the motivating forces that propel us through life, even in those times when the greater truths are obscured by the tedium of the everyday.

“The first record was almost like a potluck project,” says Kendrick, who has developed associations with numerous high-profile jazz figures in the decade since his emergence from the Berklee scene in 2003. “There were so many of my friends and people whom I love to play with, and I wanted to have them all in one place on that record. But Conviction is something different. I wanted to make this more of a band statement. This current lineup of the band just molded itself around this music, and then took it in all different kinds of direction at the same time. It all came together so easily and so well.”

The streamlined version of Oracle on the new recording includes saxophonist and bass clarinetist John Ellis, guitarist Mike Moreno (the only member to also appear on The Source) pianist Taylor Eigsti and bassist Joe Sanders. Guest vocalist and guitarist Alan Hampton makes appearances on two tracks.

“These guys create a totally different vibe from the band on the previous album,” says Scott. “They bring something that has definitely added to my writing. The way they interpret my compositions is exactly the way I want them to be interpreted. I provide them with just a few elements and ideas to get started, and then they take it wherever they feel it should be taken – which always turns out the be a good place.”

The album plays as a continuous and seamless stream of music with no breaks between tracks, the net result being an atmospheric soundscape rather than a series of individual tracks. The set opens with Scott’s nod to his gospel roots in a traditional prayer in which seeks to be an instrument of peace, faith, hope and love. The prayer segues immediately into the shimmering “Pendulum, which showcases the captivating solo work of saxophonist John Ellis atop the solid foundation set up by Taylor Eigsti on piano and the full-bodied rhythm section of Scott and Sanders.

“Pendulum,” originally performed by UK indie electronic band Broadcast, moves seamlessly into a melodic cover of avant popster Sufjan Stevens’ “Too Much,” a song propelled by Hampton’s intriguing vocals and a lurching backbeat that forces the listener to engage and come along for the ride.

Scott and company deliver an expertly rendered cover of Herbie Hancock’s “I Have a Dream,” which morphs directly into a short and quiet – but nonetheless intense – solo bass track entitled “We Shall Overcome By Any Means.” The haunting “Liberty Or Death” is built on a simple four-note piano riff that escalates to near-crescendo proportions midway through its near seven-minute run time.

The title track, written by Derrick Hodge (also the co-producer on Conviction), is built on a piano/bass/drum configuration that dances around any clearly defined rhythmic pocket, yet establishes a unique groove nonetheless.

In the final stretch, “Serenity” once again features the vocals of Alan Hampton. The following track “Be Water,” includes an opening monologue by legendary martial arts master and philosopher Bruce Lee that encourages a shapeless, fluid approach to the creative process rather than adherence to any concrete style. “Be water, my friend,” he intones more than once, as the track segues into a piece of music that is just that – fluid, flowing, energetic and crystal clear.

The closer, “Memory of Enchantment,” is a gentle solo piano piece crafted with plenty of breathing space between the notes and a poignant melody that briefly conjures a sense of urgency but ultimately instills a sense of closure and peace.

“Just like the title suggests, I’d like this album to encourage people to consider their own convictions,” says Scott. “We can live day to day and not really think about what our greater purpose is in this lifetime. What inspires me most about life are the opportunities we have to create and evolve. At any given moment, it’s our knowledge – and unfortunately, sometimes our lack of knowledge – that informs everything we do. And in those actions, if we’re wise enough to recognize it, there’s a quiet understanding that whatever we do has a purpose. With that understanding comes a sense of conviction. This record is my way of trying to give more thought to the things that I sometimes take for granted. Hopefully, I can take the listener on that same journey of self-discovery.”

On Live at Scullers, saxophonist Grace Kelly offers a set mostly composed of new material which shows off her remarkable instrumental virtouosity and her winsome vocal versatility. She ups her style quotient with the likes of Jason Palmer on trumpet, Zach Brown on bass, Pete McCann on guitars/ukulele, Mark Walker on drum, Eric Law on cello. Jamie Woods & Chantale Sterling are her backing vocalists.

The opening track, “Please Don’t Box Me In,” is traditional yet contemporary. She melds the two styles seamlessly as Jason, Pete, Zach and Mark help her stretch her creativity. The stunningly diverse set of songs also features great performances inspired by Grace Kelly’s environment, travels, friends and lovers. Listeners will hear her inspired moments on the smoldering “Night Time Star,” her colorful homage about a visit to Montana on “Autumn Song” and her country-tinged ballad “Kiss Away Your Tears.”

“Searching for Peace” won Grace Kelly the 2011 ASCAP Jazz Composers Award. It is a scintillating burner that takes you on a musical journey that you’ll remember long after the song is over. The set closes with two familiar standards, both of which the saxophonist has recorded in the past. “The Way You Look Tonight” is reprised from Man With the Hat, and her groove-oriented take on “Summertime,” which she previously recorded on her 2006 album Every Road I Walked.

This live recording seems especially created for her faithful fans at Scullers. She captures the energy of the audience and more importantly connects with them.

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Rocket Science continues the trio’s forward momentum with highly personal adaptations of The White Stripes, KT Tunstall, and Bob Marley. Pop icons are revered, then amiably turned on their heads. Two Mexican Corridos and a 170-year-old Quebec folk song also appear. Clearly, Durra finds inspiration in music far from his roots.

The group has not stood still since their last release; new bassist Ryan McGillicuddy has helped the group find an airy, lighter sound. The band has also evolved further away from the traditional balance between soloist and accompaniment. There’s a sense that all instruments are part of the drum kit. These are fine musicians taking chances and making discoveries. The group has much to say, some of it with great humor, which in itself is very, very rare.

1. The Hardest Button To Button 3:05
2. One Love 4:28
3. Black Horse And The Cherry Tree 4:26
4. Home 4:58
5. El Mango 3:33
6. Nine Eleven 4:29
7. According To You 3:45
8. Living For The City 4:48
9. Back In The USSR 4:13
10. Un Canadien Errant 3:54
11. In My Life 4:59
12. La Puerta Negra 2:18

Musicians:
Louis Durra – piano (Louis is pronounced LOO-ess, Durra is pronounced like “Durable”).
Jerry Kalaf – drums (Kalaf rhymes with “bailiff”)
Ryan McGillicuddy – bass
Larry Steen – bass on 1&7.

While recognized for his band leading skills on his international tours and countless CD’s (as well as for his sideman work with Dr. Lonnie Smith, Joe Locke, and Ari Hoenig, among others) One marks guitarist Jonathan Kreisberg’s first recording made up of entirely solo guitar performances. The program boasts a daring range of material and introduces the world to his unique polyphonic approach. Although at times it’s hard to believe, the entire recording is one man on one guitar with no overdubs, loops or extra tracks!

Modern jazz, a Brazilian mythical tale as heard on “Canto de Ossanha”, folk, and improvised music for an imaginary science fiction soundtrack (“Escape From Lower Formant Shift,”) are all refracted through Kreisberg’s prism to create a bold and complete tale. The repertoire includes original music alongside compositions from Wayne Shorter, Leonard Cohen, Rodgers & Hammerstein and others. Click HERE to purchase this CD.

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From the stages of Broadway to the soundstages of Hollywood, Valarie Pettiford has charmed audiences with her performances. A Fosse-trained dancer, Pettiford was nominated for her work in the musical revue, Fosse, which paid homage to her mentor. As an actor, she has created characters for which fans still recognize her, such as Big Dee Dee Thorne on the hit sitcom, Half and Half, and Aunt Geneva, whose rehearsal dinner musical number nearly stole Jumping the Broom from co-stars Angela Bassett, LorEtta Devine and Paula Patton. For those who have had the pleasure of hearing Valarie Pettiford sing, whether in a musical or one of her women cabaret shows, it is her smooth, decadent and resplendent voice that they remember.

Pettiford’s second solo album, “Velvet Sky”, is a collection of original lullabies to which she brings  a tenderness and wealth of emotion. All of   the thirteen tracks on this new album were written especially for her by two legendary writing teams – Ron Abel (music)/Chuck Steffan (lyrics) and Michael Orland (music)/Jamie Wooten (lyrics). The songs range from playful numbers that are meant to inspire play between parents and their children, as well as softer tracks to lull babies (of all ages) to sleep.

“I am very proud of this project. It was a real labor of love,” enthuses Pettiford. “Ron and Chuck were writing together, while Michael and Jamie were writing together – and then they switched partners for a few songs, which was a really fascinating endeavor!

They created the most amazing lullabies for me to sing. I think people- especially parents, single parents, and soon-to-be parents- will really connect with this music, which will help them connect more with their babies.”

When asked about what originally drew her to a lullabies project, Pettiford says, “At the time, my husband, Tony Rader, and I were thinking about having children and thought what a beautiful idea it would be to record an album of lullabies during that period. I also thought my voice was well-suited for lullabies. That’s what was so great about having the songs written just for me. Ron, Chuck, Jamie and Michael all knew my voice very well, and they wrote for my strengths.”

Though she loves each track equally, one song in particular strikes a deep personal chord with her, a chord to which she feels many women can relate. ‘My Miracle’, the final track on this beautifully crafted album, written by Wooten and Orland, “touches the core of any woman who has had difficulty having children,” she explains, “It speaks to the beauty of an impossible dream realized.”

“After all these years,
After all those tears,
I never thought I’d ever feel this way.
To hold you in my arms, to keep you safe from harm,
To whisper in your ear and softly say,
You’re my miracle. My miracle.

How do I describe the way I feel inside?
When I lean down and look into your eyes,
How could I have known,
How fast the years had flown,
And how fortunate I found you in time.
You’re my miracle, my miracle.

You see, miracles have a way of coming true
For everybody else, but not for me.
God was saving something special for my life.
And something special is what you turned out to be.
You’re my miracle, my miracle…
My miracle.”

- ‘My Miracle’ from “Velvet Sky”

Pettiford set out to create something that encouraged playtime between parents and their children, to engage both parties. “Velvet Sky” does just that and more. Lullabies are some of the most cherished musical moments because of the intimacy they inspire. That authenticity and joy is captured in perfect harmony with this collection of lullabies, and kids of all ages will love these new musical gems.

www.officialvalariepettiford.com

With its hard-driving beats, funky rhythms and stellar pop-centric sensibility, vocalist, pianist and composer Peter Cincotti’s fourth album, Metropolis, might be perceived as a sharp left turn from the jazz-focused, boy-crooner sound that established his career a decade ago. But Cincotti seesMetropolis, for which he wrote all 12 songs, as more evolutionary than revolutionary, marking his continuance along a musical path that he started mapping as early as age three.

Cincotti was just 18 when, in 2003, his eponymous debut album for Concord catapulted him to international fame. Endless comparisons were made to the singing and playing style of Harry Connick Jr. (one of Cincotti’s early mentors and strongest boosters) and Cincotti was often hailed as the post-millennial answer to Frank Sinatra. Looking back a decade, Peter recalls, “I was surrounded by a lot of people who want you to repeat things-to make the same record over and over again. [Back then] I did have a lot of idols in the Sinatra mold, and still do, but that was always just one room in the house for me. I never wanted to live just in that one room. I might come back to it, but I also wanted to discover the rest of the house-to keep adding and exploring new rooms, rather than sitting on the couch. Even with the first album, my goal was to find a personal approach to the [jazz] genre. Music for me is about creating something, not repeating something.”

Actually, Cincotti sees his musical journey not as a straight line, but as a connected series of circles, somewhat comparable to the bases on a baseball field. That first album and his like-minded 2004 Concord follow-up, On the Moon, were doubles that together brought him full circle to home base. Then, with 2007′s East of Angel Town (released by Warner Brothers Records in Europe and Asia; then two years later in the U.S.), Cincotti’s first album of exclusively original material, which moved away from jazz and into the pop arena, it was the beginning of a second circle (kind of a line drive that got him to first base). That album went gold overseas and yielded Cincotti’s last hit single “Goodbye Philadelphia”, which reached number #1 on pop radio charts throughout Europe and kept him touring there for the last several years. Now, withMetropolis, he’s rounding that same circle toward second. Though, judging from the quality of his craftsmanship as both composer and musician, Metropolis seems destined to be a home run.

For Cincotti, the first step in the two-year arc of Metropolis‘ creation was finding the right producer. His earlier albums were shaped by industry heavyweights-the first two by Phil Ramone, the third by David Foster. This time around, Cincotti chose the younger but equally dynamic John Fields. “I met with a whole bunch of people,” says Cincotti, “but as soon as I met John, we clicked. He’s produced such a wide variety of music – everything from The Jonas Brothers and Miley Cyrus, to Switchfoot and other rock bands, and once I got to know him, I discovered there was this whole other side of him that was heavy into the blues-funk Minneapolis sound, which is where he’s from. All those different elements were key to this record, and it was exciting to collaborate with someone who speaks many different musical languages.”

That Fields is also a richly accomplished multi-instrumentalist (on Metropolis he appears on all 12 tracks, alternating among guitar, bass and keyboards) was critical to the album’s development. “John is like a one-stop music shop,” Cincotti enthuses, “which is really cool, because it meant that everything could be done simultaneously. It was never like ‘next Wednesday we’re going to be adding guitars,’ so you’d have to wait around for a week until guitar day. Every element of every song was considered early and at once. Even mixing decisions were made immediately. John and I would build each track and then there was a select group of musicians who would enhance the concept.” Some contributors, like violinist, keyboardist and string arranger Stephen Lu and drummer/percussionist Dorian Crozier, appear on the majority of tracks. Others-including guitarist Peter Thorn, Prince’s drummer Michael Bland and guitarist David Ryan Harris-make less frequent appearances, handpicked to add their distinct magic to specific tracks. Percussionist and effects wizard Ken Chastain is, for example, a close friend of Fields’ and, as Cincotti explains, “We were working on the title track and John said, ‘I think Ken would totally get this; let’s see what he can bring to it.’ It was a very gratifying way to make a record.”

Though “Metropolis” was the last track completed, it drives the album’s theme, which examines the joys and ills of the contemporary urban experience from multiple perspectives. “The album is,” says Cincotti, “meant to be representative of how we live today. It’s not one particular city, but the urban landscape in general. I wanted each song to feel like a neighborhood within Metropolis, and for the storylines within the songs to somehow seem as if they were occurring simultaneously.”

The album opens with its set piece, the title track, strongly reminiscent of the Pet Shop Boys’ infectiously propulsive electronica. Later tracks “Graffiti Wall,” partially inspired by the twentieth anniversary of the Berlin Wall’s demolition, and “World Gone Crazy,” with its condemnation of society’s tech-fueled ferocity, further speak to the overarching theme.

The remaining tracks focus more on personal tales within this urban jungle. “There are,” says, Cincotti, “a few songs on the album about commitment, beginning with “My Religion.” It’s polar opposite is “Forever and Always.” Both are about becoming someone else for the sake of a relationship, but the first comes from the dark side of commitment and the second from the light.”

Romantic upheaval is also prevalent. “Take a Good Look” traces a disintegrating relationship. As Cincotti explains, “The beginning of the song is a question, the middle a feeling, and the end an undeniable belief that the relationship is over.” The closing track, “Before I Go,” is also about departures but, he says, “has a sort of cockeyed optimism in it. It’s about trying to freeze that moment in time before you have to say goodbye, honestly believing you can fight the inevitable.”

But, proof that Cincotti has not entirely lost heart, there are also several songs that suggest a more upbeat attitude towards love and its possibilities. “Do or Die” tells of a guy infatuated with a workmate who is finally given his chance when he finds himself alone with her in an elevator. “It is,” says Cincotti, “all about making the first move – that ‘fight or flight’ response that sometimes goes through your head when you’re interested in someone.” Irresistible attraction is also central to “Magnetic.” “In this case,” says Cincotti with a laugh, “the guy’s excuse is that it’s pure physics: ‘don’t blame me,’ he’s saying, ‘I have no control over this.’” And “Fit You Better” is a clever tale of, as the lyric suggests, ‘perfect opposites’ whose marked differences are what make the romance work.

Though all 12 tracks demonstrate Cincotti’s escalating skill and maturity as a songwriter, two are particular standouts. “Madeline” again concerns commitment, but with an intriguing twist. The guy in the piece is unswerving in his long-term dedication to one woman, yet realizes that a former lover will always cloud his memory. “I was interested,” says Cincotti, “in the idea of someone from the past forever tainting the present. What it may be like to move forward while accepting the fact that the rest of your life will be haunted by someone you will never have again.” And, dovetailing the through themes of modern urban life and romantic entanglements is “Nothing’s Enough.” Cincotti sees the song as “a big question mark. It concerns [societal] excess; how people my age have become accustomed to quick changes and immediate gratification on every level. The question is: How does that mindset affect modern day relationships?”

Ultimately, Cincotti would like listeners, who nowadays often approach music in terms of individual track downloads rather than complete albums, to “listen to the album as an album. I’m hoping people will press ‘pause’ on the craziness of their daily lives and actually experience the entire record. It’s a lot to ask in this day and age, but this album is all about creating another world-the [quasi-mythical] world of Metropolis-and I want them to feel like they’ve actually been there.”

Love is a universal language and Paris Combo confirms that music is as well. The five-piece French band that has garnered global acclaim and an immense following for its unique mélange of colorful cabaret, elegant jazz, multicultural world music and sassy alterna-pop has released their fifth studio album, the appropriately titled “5,” on DRG Records.

It has been since 2004 that Paris Combo released a new album, “Motifs,” which was supported with a concert tour that visited the iconic Hollywood Bowl where they were accompanied by the Hollywood Bowl Orchestra. The troupe consisting of chanteuse Belle du Berry, Potzi (guitar), François Jeannin (drums, percussion, vocals), and David Lewis (trumpet, flugelhorn, piano) reunited in 2010 after a four-year hiatus and spent a year writing, rehearsing and rediscovering their hallmark sound. After adding new bassist Emmanuel Chabbey to the lineup at the end of 2011, they returned to extensive touring where they performed new material that evolved into “5” and delivered another memorable show at Hollywood Bowl.

“In 2006, we gave ourselves the luxury of taking a break from touring and recording so each of us could return to his or her individual musical sources – a breathing space to allow inspiration to happen. Four years later, we reunited in a rehearsal studio – in Paris of course – and without even playing our previous repertoire, together we started composing new songs. The group’s chemistry was magic straightaway. Right from the first notes, the chords, the melodies, and the grooves sounded spontaneous and naturally like ‘Paris Combo.’ It was like a reunion with an old friend. The tone was set and we knew we would have fun co-writing our new material and exploring all the different aspects of the group’s identity – the ‘Paris Combo style,’” said du Berry, whose lyrical muse remains love.

On “5,” du Berry ruminates on the crazy extremes of amour sung in her native French: love at first sight, love lost, broken love, the dream of love, the brilliance of love, “volcanic anger” produced by love, love’s persistence and love’s enduring immortality. Behind her alternately aching, playful, graceful, tantalizing, and always alluring vocals, the band, with the assistance of a three-piece string section, sets captivating backdrops and intriguing sound collages constructed from artsy Europop, rambunctious riffs, smoky jazz, charismatic cabaret, swinging grooves, exotic Latin, African and rumba rhythms, and mystical Middle Eastern and gypsy nuances.

Lewis said, “We are thrilled to be releasing ‘5’ in the U.S. We have always felt very much appreciated by audiences there and we are thoroughly looking forward to touring there again. After 15 or so tours, the States are an important part of the group’s story.”

Paris Combo’s story began in the early ‘90s when du Berry, Potzi and Jeannin first performed together in Paris as members of a quirky retro revue before going on to collaborate at the closing ceremony of the Albertville Winter Olympic Games in 1992. Lewis joined the fold in 1994 and the outfit honed their sound playing in cafes and on barges along the Seine. Their self-titled 1997 debut disc arrived as the swing revival was in full bloom and instantly appealed to fans internationally while generating critical praise yet the band’s wide-ranging mix set them apart. The movement multiplied with the release of their sophomore outing, “Living Room,” which went gold in France in 2000. Their third set, “Attraction,” attracted more followers the following year and was followed by a live album in conjunction with extensive concert tours in the U.S., Europe, Asia and Australia.

(Rick Scott)

Catch Paris Combo live at the following U.S. concert dates (additional dates may be added):

April 19 – Cleveland, OH – Museum of Art

April 20 – Bloomington, IN – Buskirk-Chumley Theater

April 21 – Chicago, IL – City Winery

April 23 – Indianapolis, IN – The Cabaret at the Columbia Club

April 24 – Livermore, CA – Bankhead Theater

April 26 – San Francisco, CA – California Institute of Integral Studies

April 27 – Santa Monica, CA – The Broad Stage

April 28 – Irvine, CA – Soka Performing Arts Center

April 30 – New York, NY – Joe’s Pub

May 1 – Reston, VA – Center Stage at Reston Community Center

May 2 – Brooklyn, NY – Littlefield

May 3 – Boston, MA – Berklee Performance Center

Covering a broad range of musical styles, this jazz-influenced groove-pop record featuring an eight-piece band puts Justin Horn’s versatility as a vocalist, composer, arranger, and lyricist clearly on display.

Justin Horn was raised in the shadow of the Lionel Hampton Jazz Festival, and the influence of jazz on his wide-ranging groove-based pop music is clear. Justin studied music and philosophy at the University of Idaho, working closely with renowned composer and arranger Dan Bukvich. He currently resides in Auckland, New Zealand, where he is pursuing a Ph.D. focusing on the philosophy of music.

Top New York City vibist Christos Rafalides has released his second recording with Manhattan Vibes titled Blue November. The recording features Sergio Salvatore on piano, Mike Pope on bass and Vince Cherico on drums. The group’s sound is from a vibraphone centric perspective with shades of Latin consciousness and elements of dance and groove. As a quartet, each member brings a vast array of influences and musicality which transcends musical boundaries.

From the intensity of “Red and Black” to the airy tenderness of “Days of Silence,” the music exudes the pure essence of the quartet – one of mutual respect. Click HERE to purchase the CD.

Reprinted with permission of…

Albert Einstein once said “We all dance to a mysterious tune, intoned in the distance by an invisible piper.” For multi­-talented saxophonist and consummate creative spirit Marion Meadows, the allure of music was never too far. The charismatic, strikingly handsome, eloquent and debonair musician, who happens to moonlight as’ a brilliant digital designer/photographer, and semi-professional cyclist originally had aspirations to become a veterinarian. “Reaching people through music has always been rewarding for me. Expressing yourself through an instrument and having listeners run through so many emotions is an artistic impression like no other,” says Marion. With a clear trajectory in sight, the stars aligned for Meadows one evening at Grand Central Station, when his saxophone was mysteriously overheard reverberating through the Big Apple’s oldest railway.

Emmy-winning TV composer Jay Chattaway (Star Trek fame) was so enchanted that he introduced Marion Meadows to Grammy-winning pianist, producer and label owner Bob James, who helped Meadows to launch his career as a solo artist. Close to 25 years later, scores of sold out shows, twelve critically heralded albums, a string of radio hits and collaborations with luminaries.like Stevie Wonder, Eartha Kitt, The Temptations, George Benson and Norman Connors, Meadows is not through yet. “I have immersed myself in so many styles, from old school funk, jazz, rock and pop that a great tune is a great tune and 1 draw inspirations from all styles of music, but it is also from the outdoors and the beauty the world has to offer that inspire me each day” states Marion. February 26, 2013, Shanachie Entertainment in conjunction with Listen 2 Entertainment Group will release Whisper, Marion Meadows’ IalJerde6UT.” Featunngmosily. originals, Meadows dances a delicate~ balance between soul and fire, intellect and emotion, and sensitivity and brawn, making Whisper, an exhilarating musical foray into one of contemporary jazz’s most brilliant minds and recognized soprano saxophonists.

A musician unafraid to boldly fuse diverse influences, Marion Meadows sculpts a borderless musical tapestry on Whisper. “I came up listening to Miles Davis, John Coltrane and Duke Ellington but at the same time musicians like Earth Wind & Fire, Chaka Khan, Chicago and Parliament Funkadelic,” confesses Meadows who early on cut his teeth playing in Avant-Garde jazz groups alongside heavyweights Rashied Ali and James Blood Ulmer. Whisper, Marion Meadows’ first new recording in four years, features the saxophonist’s agile and ethereal soprano styling’s and some robust tenor work. It opens with the majestic, intoxicating and rhythmic driven “The Visitor,” which segues into the melodious and scintillating title track, co-written by keyboardist and long-time collaborator Michael Broening. Meadows produced Whisper along with Carlos Pennisi, Bob Baldwin, Rahni Song and Broening. The album’s first single is the enticing, funky and hypnotic “Black Pearl.” Just like its namesake and gemstone, Meadows’ pearl is multi­ layered, producing a beautiful interior within each shimmering chorus.

Keyboardist Carlos Pennisi co-authored the song and helped Marion to compose five songs on the album. “Carlos helped me really try different musical ideas on Whisper. He is an amazing composer and multi-instrumentalist born in Italy with a great sense of using colors in his productions. As an artist I’m searching to try new ideas, and he definitely brought that to the table.” “Timeless,” is an evocative and tender impressionistic ballad, co-written with keyboardist Rahni Song, who joins Meadow on the track along with Pennisi and harmonica player Julian Davis. “Curves,” is an uplifting get-on-the-dance-floor anthem that serves up the right combination of grit and soul, while “Magic Life” and “Golden Curtin,” showcase Marion Meadows’ knack for crafting unforgettable melodies that magically have a way of transporting you. Meadows breathes new life into two jazz classics on Whisper, borrowing from the Freddie Hubbard and Dave Grusin songbooks. Freddie Hubbard’s 1970s landmark CTI classic “Sky Dive,” soars with Meadows’ own buttery soul rendition featuring his tenor and soprano alongside trumpeter Joey Sommerville. Dave Grusin’s 1980′s chestnut “Marcosinho,” gets revitalized with Meadows’ sparkling new take.

Recording Whisper for Meadows was truly a labor of love and part of that process was the joy of collaborating with friends. Longtime associate and keyboardist Bob Baldwin joins Marion on two of the album’s tracks, “Bottoms Up” and “Turn Up The Quiet.” Meadows says of his friend, “Bob always delivers!” Turn Up The Quiet” marks one of the high points on the project, as the duo score a home run.

Marion’s tender soprano gracefully teases and caresses the seductive melody as Baldwin finds all the accents to drive the song home. Flautist Ragan Whiteside joins Meadows on the show-stopping number, “Bottoms Up.” Marion calls Whiteside and Althea Rene (who is featured on “Golden Curtain,”) “two of the greatest flautists I know.” Not afraid to get loose and turn up the heat Marion Meadows serves up a scorcher on “Wild Thing,” a James Brown inspired romp that escalates things to a sweat inducing fevered pitch.

Hailing from West Virginia and raised in Stamford, CT, Marion Meadows began his musical endeavorsatage eight, studying clarinet. At age 15, after hearing iconic saxophone masters like Sidney Bechet, Coleman Hawkins, Johnny Hodges and Stanley Turrentine, Marion Meadows’ switch to saxophone was imminent. During high school, he earned a coveted spot in the All-State Orchestra and Jazz Band and was afforded the opportunity to travel throughout Europe. His experiences during this time made him reconsider his ambitions for medical school and a career as a veterinarian. Upon graduation, Meadows attended the renowned Berklee School of Music in Boston, later transferring to SUNY Purchase School of the Arts. While still a student, the ambitious saxophonist worked steadily as a sideman.

He jokes that he “got a graduate degree playing clubs.” He was also fortunate to study with the best including Joe Henderson, Dave Liebman and Eddie DanielsWhile at Berklee, Marion Meadows had another serendipitous encounter, this time with drummer producer extraordinaire Norman Connors, who was then playing with legendary saxophonist Pharaoh Sanders. Meadows says, “Norman Connors was really the guy who discovered me as an artist. The man who gave me my first shot.” Connors’ recorded Marion’s song “Invitation” and later extended an invitation to Marion to join his band. Connors, who collaborated with many of R&B and jazz’s greatest singers, afforded Marion the opportunity to work alongside such dynamic voices as Jean Carne, Phyllis Hyman, Glenn Jones, Angela Bofill, and many others. “That was a nice graduate school.-sort of speak”, laughs Meadows. After graduating with honors from Connors’ University, the well-rounded saxophonist spent time honing his chops on the avant-garde circuit in the ensemble “Aboriginal Music Society,” which featured guitarist James Blood Ulmur, percussionist Juma Sutan and pianist Kasa Allah.

In 1990 Marion Meadows made his recording debut, For Lover’s Only featuring Eliot Lewis, Porter Carroll, Brian Keane and Average White Band alumnus Alan Gorrie. Two years later he joined forces with Will Downing, Bob Baldwin, Angela Bofill and Norman Connors for his sophomore recording Keep It Right There. Further solidifying his rightful place in the pantheon of great saxophonists, Meadows released Forbidden Fruit in 1994. He was joined by an eclectic all-star cast that included Eric Benet, SWV, Don Grusin and Dori Caymmi, among others. Body Rhythm came in 1996 and Pleasure, the following year. Around this time Marion Meadows relocated from Connecticut to the Valley of the Sun – Phoenix, AZ. He also settled at a new recording home, Heads Up International, where he released his sixth album, Another Side of Midnight in 1999, calling on a little help from some friends Bob Baldwin, Omar Hakim and Norman Brown followed by Next To You in 2000 and In Deep in 2002.
Player’s Club in 2004 spawned two hit singles “Suede” and “Sweet Grapes,” and have gone on to be Marion’s signature songs.

Dressed To Chill (2006) included memorable renditions of hits by R Kelly and Luther Vandross and joined Meadows with Chuck Loeb and his longtime touring keyboardist and vocalist Will Brock, among others. Secrets and its title track in 2009 advanced to the top of smooth jazz radio charts. During this time Meadows also relocated to Hawaii and has spent the past several years living in both locations. In addition to touring steadily on his own, Marion Meadows is also a member of the highly sought after Sax And the City Tour fronting the band with fellow reedman Paul Taylor, with additional guests Jessy J, young saxophone sensation Vincent Ingala and pianist vocalist extraordinaire Joe McBride”

The Maestro Duke Ellington once said “My attitude is never to be satisfied, never enough, never!” Like the maestro, Marion Meadows, is never content to rest on his laurels. With a four-year intermission between recordings, Marion Meadows is back with Whisper and ready to share his gift with the world. “Shhhhhhhhh, the show is about to begin.”

Although Chick Corea and Gary Burton are a duo who don’t offer a huge portfolio of collaborations, they certainly make the most of what they have released. Witness Crystal Silence, which since its introduction in 1972, has begotten a succession of ever-more-dazzling collaborations, including Lyric Suite For Sextet, Chick Corea and Gary Burton: Live In Munich, among others, and now, missing no opportunity for a new set of duet music, Corea and Burton’s Hot House reveals two masters at work who after 40 years are as excited as ever about the music they’re playing and are genuinely enjoying themselves.

On his second live trio album, A Celebration of Diz and Miles, jazz pianist Mike Longo pays tribute to two of the greatest jazz trumpet players of all time, Dizzy Gillespie and Miles Davis. Longo played extensively with Gillespie for a quarter-century, and jammed onstage with Davis during shared club dates in New York City (three-sets-a-night for nine-weeks) in 1969 and 1970.

Longo is backed by renowned jazz stalwarts Paul West on bass and Ray Mosca on drums. The most remarkable aspect of this new live album is that it is completely intuitive as well as being 99-percent improvisational (except for the basic melody statements). Since Longo has played many times with West and Mosca in many band settings over the past four decades, and since the material was well-known, the trio did not rehearse. “I just showed up with a list of tunes. Even the intros and endings are improvised,” Mike states. “We hadn’t even planned to do an album, but at the last minute my producer, Bob Magnuson, decided to record it.”

The concert appropriately took place at the John Birks Gillespie Auditorium at the Baha’i Center in New York City, and the album contains highlights from two completely different (TAKE OUT HYPHEN BETWEEN THE WORDS “completely” and “different”) sets performed June 26, 2012. This is free-wheelin’, deep-exploratory, impulsive, instinctual live jazz at its best, based in be-bop traditions, but always pushing into new territory. “Jazz audiences expect every concert, each set, to be something new, fresh and exciting, and my goal is to deliver that,” Longo states. “These tunes will never be played again exactly like they were that night.”

Longo, who in his early days studied privately with Oscar Peterson and played while still in high school with Cannonball Adderly, explains that the most challenging aspect of the concert was creating spontaneous piano-trio arrangements of tunes originally played by larger ensembles with one or more horns. “However, I have been doing this in concert and on my studio trio recordings for the past few decades, so I am very familiar with the difficulties involved in trying to capture the essence of a horn tune on piano. On some of these pieces I tried to get two or three lines going simultaneously representing several horn parts as well as the original keyboards, and then bring my own thing into it.”

A Celebration of Diz and Miles and many of Longo’s other recordings are on the Consolidated Artists Productions label (CAP) and are available online in the CD format at Jazzbeat.com and CDbaby.com, selected retail outlets, and also as digital downloads at sites such as iTunes, Rhapsody, eMusic, Amazon-downloads and many other internet locations.

Although Longo has performed with dozens upon dozens of distinguished jazz musicians during his career, he has a special place in his heart for Dizzy and Miles. Gillespie hired Mike as the pianist for the Dizzy Gillespie Quintet in 1966, a position Mike held through nine years of non-stop touring and recording, and for several years he also was the musical director for the band before striking out on his own. But even then, he worked frequently with Dizzy for another 16 years. “I was always learning from Dizzy. He had the greatest depth of understanding of rhythm of any musician I ever met.”

When Mike arrived in New York City as a young man, Miles was playing at Birdland with a band that included John Coltrane and Cannonball Adderly, who got his former piano player into the gig. Backstage after meeting Miles, Longo asked Adderly what it was like working with Miles and Cannonball said, “He has a hell of a mind.” Later, while in Dizzy’s band, Longo met Miles many times. “Miles looked up to Dizzy as a mentor. They both had a lot of respect for each other.” In 1969 they were both playing with Quintets and were both booked into the Village Gate in New York to play three sets a night for six weeks. Every night, every set, Miles sat in with Dizzy’s band giving Longo the opportunity to play with both jazz legends on the same stage together. The following year the quintets were also booked together at the Club Baron in Harlem for three more weeks of stage sharing. During these stints, Miles paid Longo a high compliment when he said about the tight interaction between Dizzy and Mike, “Sounds like you cats got married.”

A Celebration of Diz and Miles kicks off with the Davis tune “All Blues” with Mike weaving the inner horn parts into the theme statment simultaneously. (“playing multi-part Bach fugues in college helped prepare me to do this”), followed by Gillespie’s “Con Alma” (“many times Dizzy and I played it as a duo in concert”). Other Dizzy tunes include “Ow” (“I first played this in high school years before I met Diz, and the tune taught me a flow of accentuation that I had never experienced before.”), “Here Tiz’” (“ever since I recorded it for my successful studio album, Float Like a Butterfly, I wanted to get a live take of it”), and Gillespie’s signature tune “A Night in Tunisia” (“I played it so many times with Dizzy that it was challenging to come up with a different approach here, so I embraced a sort of call-and-response with myself in the solo followed by an atonal cadenza”). The trio also tackles various Mile Davis numbers such as “Milestones” (“I always loved that record”), “Freddie Freeloader” (“a simple melody with a deep, deep groove like Picasso drawing a masterpiece with just a few lines”) and “So What” (“a great, great tune from Kind of Blue that was a turning point for Miles as he moved from diatonic to modal music”). Also included are two standards (“Summer Time” and “You Don’t Know What Love Is”) that Miles recorded (“those gave us the chance to do some deep exploration”).

“Playing with true jazzmen like Paul West and Ray Mosca is a real joy,” says Longo, “because they were willing to follow me wherever I headed, and I went in some strange directions. Paul can just about read my mind, and Ray is one of the few drummers who can contrapuntally answer me. I like drummers to play counter to what I am playing. Paul and I played together at the Playboy Club in the early days, and we played together with Dizzy for a couple of years too, and then with my trio after I left Diz. More recently he played on my Float Like a Butterfly CD. Ray played on my first live trio album a decade ago. Ray has been in many of my trios over the years.”

Among their many credits, West has played with Erroll Garner, Dinah Washington, Ray Charles and Billy Eckstine, and Mosca played with Oscar Peterson as well as Zoot Sims, Lena Horne, Billy Taylor Trio, Chet Baker and Benny Goodman.

Longo’s background includes earning his Bachelor of Music degree in classical piano at Western Kentucky University while also playing with the Hal McIntyre Orchestra, Hank Garland and the Salt City Six. Mike moved to New York and became a house pianist at the Metropole Cafe where he played with Coleman Hawkins, Henry Red Allen, George Wettling, Gene Krupa and other jazz notables. Eventually Longo also got to work with many great singers — Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing, to name a few. Longo did an extended stay at Embers West with bassist Paul Chambers accompanying acts such as Frank Foster, Frank Wess, Clark Terry, Zoot Sims and Roy Eldridge. In addition, over the years Mike has performed on albums by Dizzy Gillespie, Astrud Gilberto, James Moody, Buddy Rich, Lee Konitiz and many others. Longo started his own recording career in the early Sixties and now has two-dozen solo albums to his credit (three of them with his big band, the New York State of the Art Jazz Ensemble). In addition, Longo is revered as a master jazz teacher (he has written numerous textbooks) and he also is releasing instructional DVDs in an eventual four-disc series titled The Rhythmic Nature of Jazz.

“It felt completely natural to me to do a piano-trio concert and a recording of music associated with Dizzy and Miles,” says Longo. “Everything Miles did was wonderful. If I had to pick one word to describe him, it would be ‘deep.’ Dizzy was always pushing me to go further and learn new things. Sometimes in concert in the middle of my solo he would give me ideas by coming over and whispering a rhythm in my ear or pounding a tambourine right next to my head. Other times I would finish my solo and Diz would refuse to come in, and even if I felt I was running out of ideas, he pushed me to dip deeper and deeper into that creative well and bring out what he knew I had in me.”

Live In Hollywood captures Poncho Sanchez doing what he does best for the past 30 years…letting it rip! As one of Concord Picante’s most valuable players, the multiple GRAMMY- winning artist continues to convey the vibrant sounds of Latin Jazz wherever he is…be it Hollywood, California or San Juan, Puerto Rico. While this exceptional set just happened to be recorded live at the Hollywood & Highland KKJZ Summer Concert Series in Hollywood, California, make no mistake about the Afro-Carribbean influences you’ll hear as a result of Sanchez’s many travels abroad.

Opening with “Promenade,” this swinging set gets the audience involved and ready for a medley of Poncho Sanchez’s songs that includes “Mi Negra” and “Baila Baila.” Later in the program, Sanchez pays tribute to a couple of his biggest influences – Clare Fischer on “Morning” and percussionist Mongo Santamaria on “Afro Blue.” Gary Foster performs a great melody line on the alto saxophone and the song is arranged as a cha-cha. “Afro Blue,” which was written by Mongo Santamaria is delivered as a high-energy tribute complete with excellent soloing by Sanchez, flute, and the vibrant horn section that introduces and closes this all-time favorite.

The set ends with a hot salsa titled “Son Son Charari,” and from the sounds emanating from the audience, Poncho Sanchez and his Latin Jazz Band had things really fired up. Overall, Live In Hollywood is the next best thing to being there. Click HERE to buy the CD now.

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On Smash, her debut on Concord Jazz, Patricia Barber reiterates her unique position in modern music as a jazz triple-threat – imaginative pianist, startling vocalist, and innovative composer. With a new band and a dozen new compositions, she also continues her two-decade crusade to retrieve the ground that jazz musicians long ago ceded to pop and rock: the realm of the intelligent and committed singer-songwriter, tackling even familiar subjects (like love and loss) with a nuance and depth beyond the limits of the Great American Songbook.

Once again – in the crisp chill of her vocals, as well as the fiery feminine intellect that informs her music and lyrics – Barber makes most of her contemporaries sound like little girls.

A prime example is the title track, where Barber paints the end of a love affair with subtly stated allusions to destruction: the erosion of edifices; a bloody road accident. The lines are more akin to poetry than conventional song lyrics, as she depicts “the crumbling of tall castles built / on kisses and blood / and dreams so like sand.” The song’s reprise compares “the sound of a heart breaking” to “the sound of / the red on the road” – a devastatingly effective mélange of synesthetic imagery. Aided by a raw, forceful guitar solo, the performance illuminates a counter-intuitive realization about loss:

“It just struck me, as it does everyone who experiences great loss, that on the outside, no one can tell,” Barber explains. “You go to the grocery store, and everything’s the same, which is shocking. It struck me that this is the sound of a heart breaking: silence. You’re alone. And I felt that this was an interesting juxtaposition, since the sound of a heart breaking should be the loudest, screamiest, shriekiest combination of sounds there could be.”

Barber has another song on the subject of “loud, shrieky” emotion: “Scream,” paradoxically set to a gentle, quiet melody that belies its message, and which has proved extremely popular with those audiences hearing it prior to this recording. “Scream / when Sunday / finally comes / and God / isn’t there . . . . the soldier / has his gun / and the war / isn’t where / we thought it would be.” As Barber points out in conversation, with only the slightest sarcasm, “It’s an angry song – and everyone wants that.”

Her anger finds a more whimsical (but no less impactful) outlet in the catchy “Devil’s Food,” written specifically from Barber’s perspective as a gay woman: “boy meets boy / girl meets girl / given any chance / to fall in love / they do . . . / like loves like / like devil’s food / like chocolate twice / I’m in the mood / for you . . . .” She wrote the song in reaction to last year’s highly publicized efforts to quash gay-marriage initiatives around the country:

“It made me mad, and it made me want to make a declaration – but to make it fun. I find one of the best ways to bring people to your perspective is of course to charm them, and music can always do that. That’s how I get a lot of people thinking about a lot of things. I mean, the lyrics are fairly graphic – ‘sweet on sweet, meat on meat’ – but the music is so beguiling, I think I make the case. And when it becomes clear that it’s turning into a gay disco song, it’s really fun watching people’s reaction, which is surprise and mostly delight.”

It’s not the usual territory trod by jazz singers and songwriters; we’re a long way from “The Man I Love.” (“Smart songs about the way we think and live, not just about the way we love,” wrote Margo Jefferson in The New York Times.)

Much of Barber’s magic lies in setting these words to music as fully evocative as it is coolly provocative. Many of her arrangements attain a thrilling friction between style and substance. (For a defining example, turn to “Redshift,” in which Barber weds the science-geek lyric – itself a miraculous marriage of physics and love – to the gentle lull of a bossa-nova beat.) Throughout the album, her Chicago-based quartet – comprising the superlative rhythm team of bassist Larry Kohut and drummer Jon Deitemyer, with the edgy and arresting John Kregor on guitars – functions as a translucent extension of Barber’s own musicality, while her piano work enjoys a prominence that some of her newer fans may not previously have experienced.

One song, “Missing” – perhaps the album’s most indelible portrait of heartache – came about in an unusual way: “This was a commission, I guess you could call it. A woman sent me a letter and her story, and a very small check, and asked if I could turn it into a song. It was sort of an outrageous request, but it really hit me, so I wrote it; it was my idea to take the story through the four seasons. In some ways, it’s the sleeper of the record. When I play this in concert, a lot of people cry at this one.”

The other songs on Smash represent the fruit of Barber’s decision to write what she calls a “syllabic song series”; these pieces resulted from a disciplined framework, based on the number of beats in each poetic line. (For instance, “The Swim” consists entirely of two-syllable lines; “Spring Song” has three such phonemes per line; “The Wind Song,” six.) “I studied the songwriters, but now I just study the poets,” she explains. “I’m trying to make the poetry of a finer order. But I still need to rhyme, because rhyme is rhythm, and rhythm is music.”

Audiophiles will be especially glad to know that Smash reunites Barber with her long-time recording engineer Jim Anderson (with whom she first worked in 1994, on her Premonition Records debut Café Blue.) Anderson – who is Professor of Recorded Music at New York University’s Tisch School for of the Arts – has again captured Barber’s music with the clarity and presence that led Stereophile Magazine to label Café Blue a “Record To Die For.” HDTracks and Mastered for iTunes versions of Smash are also available.

After her long association with Premonition and then Blue Note Records, Barber self-released her two most recent albums – recorded at Chicago’s legendary Green Mill, her weekly showcase for more than two decades – and had no plans to sign with anyone else at this point in her career. “I didn’t have a contract, or even a recording in mind,” she states. “I assumed that when I had a group of ten or so new songs I would probably put it out myself.” Halfway through this process, Barber received an offer from Concord, which she promptly turned down: “I was really enjoying the freedom of not having a label, especially in this environment, and just doing what I always do – trying to advance myself musically, practicing a lot, and locking in on what I consider a really good band.”

But the persistence of Concord producer Nick Phillips won out. “He came to see me, and he reminded me so much of Bruce Lundvall,” Barber recalls, referring to the former Blue Note president with whom she worked closely. “I had been grieving the loss of that professional relationship. And then Nick mentioned that he has great respect and admiration for Bruce. So we hit it off personally, and that’s what it takes for me.”

That, and the chance to take her time – to read poetry, practice piano, and do some gardening on a tract of farmland she owns in Michigan, a welcome getaway from city life in Chicago. That’s how Barber’s ideas take root and bloom. She remains an electrifying performer, but performance is not the most important aspect of her art. “My favorite part is the internal part – the research,” she points out. “All the interesting stuff happens inside your head and at the piano.”

Fortunately, those of us not in Patricia Barber’s head or at her piano still get to enjoy the fruits of that labor.

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