Saturday, December 21, 2024

Lee Mendelson Film Productions Announces the Release of Complete Vince Guaraldi Soundtrack for "Be My Valentine, Charlie Brown"


Lee Mendelson Film Productions (LMFP) is excited to unveil the full Vince Guaraldi soundtrack for Be My Valentine, Charlie Brown — marking the first-ever release of the complete score from the beloved 13th animated Peanuts® special. Originally airing on CBS-TV on January 28, 1975, this timeless special earned an Emmy® nomination for Outstanding Children’s Program. Today, it is available for streaming on Apple TV+.

The soundtrack features all 24 original cues that make up the heart of the special’s score, now available across 22 tracks. For the first time ever, fans will also enjoy 8 additional bonus tracks, some never-before-heard, offering a fresh experience of this cherished Peanuts classic. The 42-minute album represents the longest individual soundtrack produced by LMFP to date.

Vince Guaraldi's Signature Sound

Vince Guaraldi, renowned for his jazz-inspired compositions, returns with a stunning score that seamlessly blends mid-tempo originals, timeless favorites, and even a mambo. One of the defining features of the Be My Valentine, Charlie Brown soundtrack is the use of the ARP String Ensemble synthesizer, an innovative instrument that Guaraldi employed throughout the score to create a distinctive, string-laced sound that elevates the music’s emotional impact.

Album Highlights

Among the album’s standout tracks are:

  • “Heartburn Waltz”: The centerpiece of the album, featuring eight dynamic variations that capture the essence of love and longing.
  • “Jennie L.” and “There’s Been A Change”: Ballad-like tracks that evoke emotion and nostalgia, perfect for Charlie Brown’s journey through Valentine’s Day.
  • “Pawpet Overture”: An upbeat, fun track that brings the Peanuts gang to life with a lively beat.
  • “Woodstock’s Mambo”: A playful, rhythmic piece that captures the whimsical spirit of the beloved character.
  • “Freddie’s Mood”: A classical-inspired piece, paying homage to Chopin, which accompanies Snoopy’s “pawpet” show in the special.

In addition to these highlights, the album features several bonus tracks, offering alternate versions of the familiar themes, including “Last Call for Love,” a rare extended jam recorded during the session that has never been heard before.

The First Time You Can Hear the Full Score

Until now, the magic of Vince Guaraldi’s full score has been hidden beneath dialogue and sound effects from the special. This release gives fans the chance to fully appreciate the melodies and emotional depth that Guaraldi wove into the music, unencumbered by the usual distractions. It’s a treat for both new listeners and long-time fans of the Peanuts franchise.

The Creative Team Behind the Soundtrack

The album features a talented group of musicians who helped bring Guaraldi’s compositions to life: Guaraldi himself on piano, electric piano, clavinet, ARP String Ensemble, electric harpsichord, and guitar; Seward McCain on bass; Vince Lateano on drums; and John Scott Trotter as the music supervisor. The soundtrack was produced by Sean Mendelson and Jason Mendelson, mixed at Bones and Knives by Terry Carleton, and expertly restored and re-mastered by Vinson Hudson.

Exclusive Vinyl Release

The album will be available on January 17, 2025, including a limited-edition variant on Heartburn Red vinyl. This exclusive 12” BioVinyl version will be released as a Record Store Day Indie Exclusive, available at participating stores, offering Peanuts and vinyl collectors a chance to own a truly special piece of music history.

Final Thoughts

For fans of Vince Guaraldi, the Peanuts franchise, and classic holiday specials, this complete Be My Valentine, Charlie Brown soundtrack release is a must-have. The album not only captures the spirit of the special but also allows listeners to experience the full depth and beauty of Guaraldi’s timeless score. Whether you're revisiting an old favorite or experiencing it for the first time, this release is sure to resonate for years to come.

Don't miss your chance to own a piece of this musical treasure — pre-order the Be My Valentine, Charlie Brown soundtrack today and celebrate the Peanuts gang in a whole new way!

Friday, December 20, 2024

Nicole McCabe Announces New LP A Song to Sing – Out March 7, 2025 via Colorfield Records

Los Angeles-based saxophonist Nicole McCabe is set to release her highly anticipated new LP A Song to Sing on March 7, 2025, via Colorfield Records. Known for her bold and innovative approach to jazz, McCabe has already made waves with her past albums and collaborations, including Mosaic and Landscapes. Now, with A Song to Sing, she continues to push boundaries and expand the possibilities of the saxophone in the modern jazz landscape.

A Journey Into the Unexpected

Recorded at Pete Min's Lucy’s Meat Market Studio, A Song to Sing brings together McCabe's rich, experimental sensibility with a collection of powerful collaborators. The album is a masterclass in genre-defying music, blending elements of jazz, electronic, and improvisational forms. While some tracks lean into the traditional jazz textures McCabe is known for—such as the drum kit and sax workout “Inner Critic”—the album also embraces the adventurous spirit of Colorfield Records, a label that challenges musicians with unexpected curveballs in the studio. Players are encouraged to experiment, pick up new instruments, and explore new sonic territories, leading to rich, layered compositions that merge the acoustic and electronic worlds.

On tracks like Passages, the interplay between McCabe’s woodwinds and analog synths is hypnotic, at times blurring the lines between the two. The result is a sound that is simultaneously forward-thinking and deeply connected to the history of jazz, one that never slows down or stagnates. As Bandcamp Daily aptly put it, A Song to Sing reminds listeners that even in an era where jazz has evolved far from its origins, “the past still has plenty to say.”

Praise for McCabe’s Artistry

Nicole McCabe has earned recognition for her distinct voice and approach to the saxophone. All About Jazz describes her playing as “humble and respectful,” with “a true cognizance of the tradition from where her art comes from, and a feeling of surrender to where the music is directionally headed.” Her ability to balance tradition with innovation has made her one of the most exciting voices in the contemporary jazz scene.

About the Artist

McCabe is a saxophonist, composer, and educator hailing from Marin County, California, and currently based in Los Angeles. A rising star in the city’s vibrant jazz community, she has previously released several acclaimed albums, including Mosaic (Ghost Note Records), Landscapes (Fresh Sound), and Introducing Nicole McCabe (Minaret). Her latest project, What Is My Porpoise?, a collaboration with bassist Logan Kane, is currently available, showcasing her unique blend of electro-jazz and improvisation.

Her extensive experience as a sideman includes performances and recordings with jazz luminaries such as Ari Hoenig, Dan Weiss, David Binney, Sasha Berliner, and Amy Aileen Wood, among others. McCabe’s influence in the Los Angeles scene also extends to her work as a teacher and mentor, currently serving as a lecturer at Loyola Marymount University and a mentor in California State University, Northridge’s Jazz Studies program. Additionally, McCabe is a regular contributor to Los Angeles' vibrant improvised music scene, performing at venues like ETA and Altamira Sound.

Release Calendar:

  • Jan 22, 2025: Single 1 (TBD) + Album Announcement
  • Feb 12, 2025: Single 2 (TBD)
  • March 7, 2025: A Song to Sing LP Release


Cici Arthur (Toronto musicians Joseph Shabason, Chris A. Cummings, and Thom Gill) announce 'Way Through' LP out 2/21

Even after years of living in the same city, there are moments of surprising discovery—times when a familiar street or neighborhood suddenly feels new. It might happen during a detour to avoid traffic or an aimless wander on a quiet weekend morning. You find yourself in a part of town that feels both unfamiliar and familiar at once, as though you've uncovered a hidden corner of a childhood home. For a few seconds, you might struggle to reconcile this new terrain with the streets you know so well. But then, around the corner, the familiar landmarks reappear, and logic returns. In the end, you realize you’ve been within the same neighborhood all along, even though it seemed like a different world.

This sense of discovery and shifting perspective is at the heart of Way Through, the new album from Toronto-based musicians Chris A. Cummings, Joseph Shabason, and Thom Gill, who have come together under the moniker Cici Arthur. Announced today, Way Through will be released on February 21st, 2024, via Western Vinyl, and is available for pre-order now.

The first single, All So Incredible, is out today, accompanied by a stunning video directed by Nicholas Krgovich. Featuring rare, time-capsule footage shot in the late 60s by Gary Whitefield Coward and generously provided by Mara Coward, the video offers a window into the past, beautifully complementing the song's poignant emotional tone. You can watch the video now on YouTube.

With Way Through, the trio has created something expansive—large-scale setpieces designed to showcase Cummings' vocals and songwriting. Producer-instrumentalists Shabason and Gill infuse the album with a rich blend of influences, from the sophisticated slink of Antonio Carlos Jobim to the lush romanticism of Frank Sinatra. The album captures the communal spirit of Shabason’s previous projects, but takes it to new, panoramic heights. It features an impressive lineup of collaborators, including drummer Phil Melanson (Sam Gendel, Sam Amidon, Andy Shauf), frequent partner Nicholas Krgovich, and renowned violinist Owen Pallet, who arranges a 30-piece orchestra for the album. Dorothea Paas’s glassy harmonies weave through the arrangements, adding depth to the rich textures of the trio’s sound. The result is a work that is both grand in its scope and intimate in its emotional vulnerability—characteristic of much of Joseph Shabason’s work.

The idea for the album began in 2020, when Chris Cummings found himself at a crossroads, having lost his job of twenty years due to the COVID-19 pandemic. In his early fifties, with a lifetime of plans and dreams now in flux, Cummings threw himself into full-time music creation for the first time. His leap of faith resonated deeply with his collaborators, inspiring them to craft bespoke arrangements that would elevate his distinctive voice and lyrical sensibility. “I wanted to make a big record for Chris,” Shabason says. “Something grand, something that felt like a full band, something with all the energy of an orchestra swelling behind him.”

Despite the album’s expansive sound, Cummings’ approach to singing remains understated and introspective, as he navigates emotional terrain with delicate precision. His lyrics capture the quiet complexities of urban life—city lights gleaming in rain puddles, mixed emotions playing out under gray skies. In Cartwheels for Coins, he reflects on the conflict between ambition and reality: “If I could be all that once looked so great and grand, I would have died for an occasion to rise to, but it’s a gray sky, nothing to say, mixed emotions always get in the way.” These reflections encapsulate the spirit of Way Through: an album that navigates the tension between the grandeur of dreams and the grounded nature of everyday life.

For Cummings, the title track Way Through represents a kind of personal revelation. In 2020, as he faced the uncertainty of his future, he began exploring new paths—literally and figuratively. Taking bike trips through suburban neighborhoods he'd never visited, he discovered new ways of seeing his city, mirroring the broader journey of life itself: full of unexpected turns, dead ends, and, ultimately, the possibility of finding a way through. The track echoes this sentiment: “What good are dead ends when I’m looking through a way through,” Cummings sings, over a swelling brass section. “When the miracle you’d hoped for never comes, it’s hard to take, but it’s your fault for hoping.”

For all its orchestral splendor, Way Through offers a refreshing dose of realism. It’s an album about navigating life's unexpected turns with honesty and grace, and celebrating the beauty of what lies in between the highs and lows.

Way Through will be available everywhere on February 21st, 2024, and the first single, All So Incredible, is out now. 

Jesse "JTJazz" Thompson Unveils Highly Anticipated Single “Cape Town Coast” – A Rhythmic Journey Into the Soul of Africa

Jesse "JTJazz" Thompson, the multi-talented pianist, composer, and keyboardist from Dayton, Ohio, is back with his latest musical offering: “Cape Town Coast”. This highly anticipated single promises to take listeners on a dynamic journey of rhythm, energy, and passion, infused with a unique African groove that is destined to captivate audiences everywhere.

The Heartbeat of Africa, Now in Your Ears

“Cape Town Coast” is more than just a song—it's a musical experience. With syncopated rhythms, vibrant island energy, and an uplifting vibe, the track embodies the spirit of Africa’s coastal life while maintaining the signature smooth jazz flair that Thompson has become known for. Describing the song, Thompson says, “It’s an uplifting experience—a movement. The syncopated beats and African groove give it a raw energy, and the melodies flow in such a way that you can’t help but feel good.”

With its infectious rhythms, smooth melodic lines, and passionate energy, “Cape Town Coast” is set to become a standout in Thompson's already impressive catalog. Its fusion of contemporary jazz with African-inspired rhythms will take you on an unforgettable musical journey, from the first beat to the last note.

From Dayton to the World: The Journey of JTJazz

Born in the heart of The Land of Funk, Dayton, Ohio, Jesse Thompson’s music is deeply rooted in the sounds of funk, soul, and R&B. He grew up surrounded by the legendary influences of local acts like Slave, Ohio Players, Lakeside, and Zapp featuring Roger Troutman, which shaped his unmistakable sound—a mix of rich, soulful grooves and electrifying keyboard mastery.

Thompson’s musical career has been anything but conventional. For over two decades, he was a vital member of the acclaimed Columbus-based R&B/Jazz ensemble NexLevel. Throughout his tenure, NexLevel performed alongside smooth jazz icons like Boyz II Men, Fourplay, Mindi Abair, Warren Hill, and many others. Thompson's work with NexLevel earned him a loyal following and numerous opportunities to perform with genre greats such as Eric Darius, Adam Hawley, Althea Rene, and the late Nick Colionne.

Though content in his role as a sideman, the global pandemic in 2020 served as a turning point for Thompson. With live shows on hold, he decided to channel his energy into creating something new—a burst of positivity he called “Weekend Groove”. This track, featuring flutist Althea Rene, became an instant hit and marked the start of Thompson’s solo career. His debut album, The Inauguration of JTJazz, followed shortly after, showcasing his versatility and eclectic influences.

The Creative Collaboration Behind “Cape Town Coast”

As Thompson continues to carve his path as a solo artist, his collaborations have remained key to his sound. “Cape Town Coast” is the product of a powerful partnership with acclaimed producer/guitarist Adam Hawley, known for his work with the likes of George Benson and Marion Meadows. In addition, Judah Sealy, an in-demand saxophonist, contributed his own writing and production skills to the track, bringing it to life with his dynamic saxophone work.

With “Cape Town Coast”, Thompson is pushing the boundaries of smooth jazz, blending global influences with his distinct musical style. He describes the track as “a celebration of life, energy, and cultural rhythms,” and it’s clear from the very first listen that this is a song that will make you feel alive. Whether you’re listening to it on a sunny afternoon or in the middle of a crowded dance floor, “Cape Town Coast” is designed to uplift and energize.

A Rising Star in the Smooth Jazz World

Jesse Thompson’s rise as a solo artist has been nothing short of meteoric. From his early days in NexLevel to his debut single “Weekend Groove” and now with “Cape Town Coast”, he continues to make waves in the smooth jazz and R&B scenes. His live performances have further solidified his place as a dynamic force in the music world. Thompson’s ability to connect with audiences is unparalleled—whether he’s playing alongside Eric Darius, Paul Taylor, or opening for Peabo Bryson and Boney James at prestigious events like the Jazz Legacy Foundation Gala in Hampton, VA, his energy and charisma shine through every note.

Thompson has also been a sought-after sideman, contributing to projects by artists such as saxophonist Jeanette Harris on her latest album Saxathrone. Yet, it’s his solo work—like “Cape Town Coast”—that has truly showcased his ability to combine his technical skill with deep emotion, crafting songs that resonate with listeners on a personal level.


WHAT!!!!: George Whitty and Ellis Hall's In the World Fuses Soul, Funk, and Social Consciousness, with a Fresh Twist on R&B Classic

Brace yourself for In the World, the electrifying new album from the powerhouse duo WHAT!!!!, featuring legendary keyboardist George Whitty and soulful singer Ellis Hall. The album, set to drop on January 17, 2025, brings together their decades of musical mastery, blending searing soul ballads, thought-provoking social commentary, deep spirituality, and infectious funk. With every track, In the World celebrates their musical bond and the serendipity that brought them together as the Whitty Hall Artistic Team.

One of the album’s standout moments is their bold, brass-heavy reimagining of Isaac Hayes’ iconic “I Thank You” — a classic first made famous by Sam & Dave in 1968. Hall’s fiery vocals and the duo’s tight grooves inject new life into the track, elevating it to exhilarating new heights. It’s a heartfelt expression of gratitude for the incredible journeys each artist has taken, and the cosmic forces that led them to this moment of collaboration.

Ellis Hall sums it up with his signature humor: “George and I haven’t decided yet which one of us is Sam and which is Dave,” he quips. “But we really flicked the switch. We’ve both worked with so many amazing people, but from the moment we started working together, it felt like we were two peas in a pod. True brothers from another mother! I keep telling George to get outta my head, sucka! Seriously, we’re like mad scientists who somehow know how to carve out a song. If it’s funk, we want it to get deep into your soul. If it’s a ballad, we want it to heal your soul.”

Whitty, a multi-Grammy winner, adds: “For us, it’s all about spreading as much joy as possible. We’ve both worked with icons in the industry, but none of those projects had the raw energy and positive momentum we experienced right from the start with this one. Every time Ellis sent me tracks, it felt like Christmas Day! We couldn’t wait to dig deeper into each song.”

That spirit of enthusiasm is infectious, and it didn’t go unnoticed. The album’s lead single, the thought-provoking Die Living, quickly became a major radio success, landing in the top five for its promoter and earning over 10,000 spins across terrestrial and internet radio nationwide. A simmering blues-soul anthem, Die Living came to Whitty in a flash of inspiration and turned into a gospel-tinged track with a raw, front-porch vibe. Hall’s vocals and organ, along with his guitar work, drive the track, delivering a powerful message: wring every drop of meaning from life before it’s too late.

The song’s lyrics, “Cause I want to die living / Help me sail into the sun / And I want to die believing / Life has just begun,” reflect the duo’s philosophy on living fully. Whitty recalls, “Ellis added his lyrical touch to my original idea, which was all about how everyone—from wise elders to joyful young kids—can teach us about living. He has an amazing knack for complementing my words with just the right ones.”

Following Die Living, the album’s second single, Some Days Were Meant for Rain, offers a soulful, reflective mood. Originally recorded by Hall on Tower of Power’s 1987 album Power, this dreamy track was a fan favorite during his tenure as the band’s frontman from 1984 to 1988.

The creation of WHAT!!!! has been decades in the making. Whitty remembers the first time he heard Hall perform in 1988 at The Bottom Line in New York City: “Ellis kicked my ass so hard that night, but I didn’t have the nerve to approach him. Fast forward a decade and a half, and Alec Berfield, Ellis’s manager, kept pushing us to connect. When I finally sent him the tracks for Hug Me, everything just clicked—it was divine timing.”

Hug Me, the first song recorded for the project, is an expansive, anthemic power ballad that pays tribute to the courage of the Ukrainian people amid the ongoing war with Russia. The track is a reworking of the Ukrainian hit Obiymy by Slava Vakarchuk and features the ethereal vocals of Ukrainian singer Maryana Golovko. The song was quickly released on the fundraising platform United 24, accompanied by a poignant video that combines performance footage with images of war-torn Ukraine, underscoring the song’s message of resilience.

In the World also features live recordings from January 2024 at Inner Sanctum Studios in Coos Bay, Oregon, with bassist Armand Sabal-Lecco (Paul Simon), drummer Aaron Haggerty (Kool & The Gang), and guitarist David Ford, who co-produced the album. Among the live tracks is Why Should I Care, a socially conscious song written by Hall years ago after learning of the Jonestown tragedy and a previous Israel-Palestine conflict. Hall performed it at African American summits in South Africa and Zimbabwe, where it became one of Nelson Mandela’s favorite songs.

A Legacy of Musical Mastery

The personal and professional histories of George Whitty and Ellis Hall are as storied as they come. Whitty’s career as a producer and session musician spans work with artists like Santana, Celine Dion, Herbie Hancock, and Chaka Khan, with four Grammy wins for his work on albums by Michael Brecker, Randy Brecker, and the Brecker Brothers. He’s played with legends like The Brecker Brothers, David Sanborn, and Chaka Khan, and his contributions as a keyboardist on major albums like Santana’s Supernatural and Michael Brecker’s Tales from the Hudson are iconic.

Ellis Hall, who has been sightless since age 18, rose to fame as the frontman of Tower of Power and has written over 4,000 songs across genres. He’s performed with Stevie Wonder, James Taylor, George Benson, and Maurice White, and his work has appeared in films like The Lion King 2, Shrek 2, and Bruce Almighty. His deep, soulful voice has graced countless stages, making him a revered figure in the world of soul, gospel, and blues.

In the World is not just an album; it’s the culmination of years of friendship, collaboration, and musical evolution. George Whitty and Ellis Hall are living proof that true artistry only deepens with time, and this album is a powerful testament to their enduring creative bond.

In the World will be released January 17, 2025, in collaboration with Mike Dion and ITI Records.

Thursday, December 19, 2024

Microplastique Unleashes Bold, Eclectic Soundscapes in blare blow bloom! – A Live Album Celebrating Improvisation and Musical Innovation


Microplastique Unleashes Bold, Eclectic Soundscapes in blare blow bloom! – A Live Album Celebrating Improvisation and Musical Innovation

Microplastique, led by the visionary Adam Shead, presents blare blow bloom!, a daring new album capturing the essence of their 2024 U.S. tour. With 10 tracks recorded live in concert across five cities—Cleveland, Detroit, Milwaukee, Lafayette, and Indianapolis—this album reveals the ensemble's extraordinary ability to transform, reinterpret, and energize each composition, night after night.

From the moment the album kicks off with the fiery "blare," listeners are thrust into the raw energy of microplastique’s world. Known for their unrelenting sound and inventive use of "tiny instruments," the band harnesses every ounce of intensity, pushing the limits of volume and texture in a performance that elicits a cathartic audience reaction. Following the explosive opening, the second track, "blow," delivers a percussive solo that blurs the line between the minimalist precision of Roscoe Mitchell’s small percussion and Tony Oxley’s dense, textural playing.

But blare blow bloom! isn’t all about high-octane moments. Track four offers a striking shift, as the ensemble creates a beautifully sparse sonic landscape—an ethereal ballad that highlights lush, improvised harmonies between flute, melodica, and harmonica. The juxtaposition of these contrasting energies defines the album’s dynamic nature. By track nine, the ensemble dives deep into minimalist territory, drawing inspiration from Steve Reich’s iconic percussion works. As the album progresses, the pieces continue to surprise, with the final track resembling a Charles "Threadgill-inspired" composition that evolves from a slow, deliberate march into a full-throttle swing, with the horns of Ben Zucker and Molly Jones weaving together in rhapsodic dialogue.

blare blow bloom! is a sonic journey that is as playful as it is profound, blending grounded improvisation with otherworldly moments. It's a unique fusion of sound that speaks to both the absurd and the serious, inviting listeners to experience a captivating world of musical invention.

Meet the Creators Behind Microplastique

The ensemble brings together a diverse group of musicians, each with a distinct voice and background.

Ben Zucker – A celebrated improviser and multi-instrumentalist, Zucker is known for their "stirring compositions" and "lifetime of musical curiosity" (Chicago Reader). With contributions across North America and the UK, Zucker has played a pivotal role in experimental music scenes, working with a wide range of artists and frequently performing on vibraphone, brass, and electronics. Zucker’s mastery of improvisation is a cornerstone of the ensemble’s sound.

Molly Jones – A versatile performer and composer, Jones blends her experience in jazz, new music, and Balkan brass with her background in software engineering and mindfulness practices. She brings a unique electroacoustic flavor to the group, adding depth with saxophones, flutes, and electronics. Her work is characterized by playfulness, attention, and a deep connection to sound exploration.

Josh Harlow – A pianist and keyboardist with a diverse musical palate, Harlow is a fixture in Chicago’s music scene. Known for his work with groups like Teiku and Submerser, Harlow’s collaborations with notable musicians including Wadada Leo Smith and Michael Formanek have solidified his reputation as a talented and innovative keyboardist. His contributions to microplastique inject a soulful complexity into the ensemble’s sound.

Adam Shead – A driving force behind microplastique, Shead is an acclaimed composer, improviser, and multi-instrumentalist whose work spans continents. Having collaborated with legendary musicians such as Roscoe Mitchell and Marilyn Crispell, Shead’s compositions for microplastique are bold, experimental, and deeply rooted in improvisational exploration. As a permanent member of the NYC-based band Cellular Chaos and the founder of multiple ensembles, Shead continues to push boundaries with his creative endeavors.

blare blow bloom!

blare blow bloom! is more than just an album—it’s a testament to microplastique’s ability to take risks and create a musical world where chaos and control coalesce. With performances that transform nightly, the ensemble’s improvisational prowess and inventive use of sound bring each track to life in its own unique way. Whether diving into minimalist exploration or pushing the boundaries of texture and volume, microplastique’s blare blow bloom! is an album that’s as bold as it is captivating, capturing the essence of their live energy and pushing the limits of what’s possible in modern jazz and experimental music.

Tracklist Highlights:

  1. blare – A fiery opening full of raw energy and bombastic sound.
  2. blow – A percussion solo that delves into dense, textural minimalism.
  3. Track 4 – A sparse and balladic exploration, with lush, improvised harmonies.
  4. Track 9 – Minimalism meets percussion ensemble, inspired by Steve Reich.
  5. Final Track – A Threadgill-inspired composition that transitions from march to up-tempo swing.

blare blow bloom! is a must-listen for fans of experimental jazz, modern improvisation, and the thrilling possibilities of live music.


Jackson Potter Announces New Album small things – A Masterful Blend of Tradition and Innovation

Guitarist and composer Jackson Potter, based in New York City, is set to release his second album as a bandleader, small things, on January 24th, 2025, via Shifting Paradigm Records. This highly anticipated album showcases his unique blend of traditional jazz and modern composition, featuring a stellar lineup of New York musicians, including saxophonist Jaleel Shaw and tenor saxophonist Troy Roberts.

Potter, who grew up in St. Paul, MN, was immersed in music from an early age. His father, a guitarist, taught him to play the instrument at 10, following the musical legacy of his mother, Joyce Paul, a Nashville country singer who once opened for Elvis Presley. Joyce’s 1969 hit single "Phone Call to Mama" even charted on the Billboard Hot Country Songs list. With such a musical heritage, Potter quickly made his mark, winning several guitar competitions in his teens. In 2016, he moved to Miami to study jazz guitar at the Frost School of Music under John Hart, laying the foundation for his professional career.

Potter’s debut album, Restless (2021), received widespread acclaim, reaching the Top 3 on Roots Music Report’s Jazz Album Chart and garnering recognition from critics and audiences alike. Since relocating to New York City in 2021, Potter has performed at iconic venues like Dizzy's Club, The Django, Jazz at Lincoln Center's Atrium Stage, and The Aman. His performances alongside notable musicians such as Richie Nuzz, Tyreek McDole, and April Varner (winner of the 2023 Ella Fitzgerald Vocal Competition) have further cemented his reputation as a versatile and dynamic musician.

small things marks a significant evolution in Potter's artistry, capturing his growth as a guitarist, composer, and arranger since moving to NYC. The album features a carefully curated quintet, with Potter on guitar, Alex Ridout on trumpet, Troy Roberts on tenor saxophone, Hamish Smith on bass, and Marcello Cardillo on drums. The album also features special appearances by Jaleel Shaw (saxophone) and Sophia Formella (vocals) on the title track.

The compositions on small things reflect a range of influences, from the straight-ahead swing of traditional jazz to more modern, boundary-pushing sounds. Tracks like “Sophia’s Waltz” and “Mr. M” nod to classic jazz, while “small things” and “Background Noise” explore more contemporary styles. Potter’s music blends the old and the new, creating a distinctive sound that is both timeless and fresh.

Highlights of the album include Potter’s lush interpretation of the jazz standard “Smoke Gets in Your Eyes” and his adventurous guitar work on “Trams.” With its captivating melodies, virtuosic solos, and emotional depth, small things is an album that truly showcases Potter's artistic maturity and innovation.

As Potter reflects, “small things is about capturing the essence of personal and artistic growth. New York has been a place where I’ve been able to expand my musical horizons, and this album reflects that journey.”

About Jackson Potter

Jackson Potter is a guitarist, composer, and bandleader based in New York City. Raised in St. Paul, Minnesota, Potter began playing guitar at the age of 10, influenced by a strong musical legacy from his mother, a country singer. He went on to study jazz guitar at the University of Miami’s Frost School of Music before moving to New York City to pursue a career in music. Since then, Potter has become a sought-after performer and collaborator in the jazz and music scenes, performing with renowned musicians and earning acclaim for his innovative compositions and captivating guitar work.

small things is his second album as a leader, following his debut Restless (2021), and it marks an exciting new chapter in his career as an artist.

Antoine Cara Unveils Status Quo – A Bold New Album Blending Jazz, Funk, and Fusion

French-born drummer, composer, and producer Antoine Cara announces the release of Status Quo, a dynamic new album that showcases his talents as a player, writer, and leader. Featuring an impressive lineup of musical legends—guitar virtuoso Mike Stern and trumpet icon Randy Brecker—on three tracks each, Status Quo offers an exciting fusion of hard-hitting funk, Latin jazz, melodic pop, and uptempo jazz, with Cara’s vibrant, multi-genre approach at its core.

“I wanted to create energetic, feel-good music with horns, percussion, guitars, and keys,” says Cara. “With the incredible musicians who joined me, we were able to bring the solo sections to life, each artist contributing their distinctive sound and phrasing. The drums play a central role, not just as part of the ensemble, but also as a featured solo instrument. Seven of the nine tracks include drum solos, which are an essential part of the project.”

Cara’s remarkable musicianship and inventive sonic vision make Status Quo a captivating listen from beginning to end. As the leader of this vibrant ensemble, he showcases his mastery of rhythm and groove, while placing the drums at the forefront of the album's musical journey.

To craft the album’s sound, Cara drew inspiration from his experience in electronic music production, utilizing techniques like chopping micro-samples and creating musical collages. “Some of the horns come from sample banks I used, transposed and time-stretched,” he explains, highlighting his ability to merge electronic and live jazz sounds. Anchoring the album’s energy is French bassist Kevin Reveyrand, whose impeccable groove and production experience serve as the foundation for the nine tracks. “Kevin brought his incredible sound, groove, and production skills,” says Cara.

Other key highlights include Yvonnick Prene’s soulful harmonica solos, which are both lyrical and expressive on tracks like “When We Were Young” and the closing “Nevermind.” Yannick Soccal’s powerful tenor saxophone adds a fiery edge to “Status Quo,” “Déjà Vu,” and “Let’s Play.”

Keyboardist Jerry Léonide (known for his work with Christopher Cross and Frank Gambale) contributes rich textures and fiery solos on “Wrong Turn,” “Let’s Play,” and “Quidproquo,” further enhancing the album’s musical depth. Guitarists Oz Noy and Nazim Kri bring their distinctive styles to Status Quo, with Noy contributing to “Take It Easy” and Kri adding flavor to “Déjà Vu.”

“Challenging myself was a key motivation behind this album,” Cara reflects. “After years of working as a producer and mixing engineer in electronic dance music, I wanted to test those skills in jazz and funk. The title Status Quo reflects the feeling of being stuck in a loop—a routine where change feels elusive. This album is about breaking free from that cycle, trying something different, and stepping out of familiar situations. It represents personal and professional growth, pushing past fear, and breaking the cycle of the status quo.”

About Antoine Cara

Antoine Cara, born and raised in France, is a versatile drummer, composer, and producer. He began his musical journey studying classical percussion, later focusing on jazz drumming at the American School of Modern Music in Paris and the conservatory in the 9th district. In 2006, Cara moved to New York City to further his studies at the Manhattan School of Music and City College of New York. He quickly immersed himself in the city's vibrant music scene, performing with a range of artists and projects. Notably, he toured with Lulu Gainsbourg, son of the legendary Serge Gainsbourg, performing his father’s iconic repertoire.

In addition to his work in jazz, Cara has also made a significant mark in the world of electronic dance music, signing with Ultra Music/Sony and releasing tracks with over eight million streams on Spotify. With Status Quo, he now brings his eclectic background together, creating an album that bridges genres and reflects his multifaceted musical vision.

Tango, Spirituals, and Cultural Reflections in Trace of Time by Apollo Chamber Players


\Featuring Commissions from Hector del Curto and Adolphus Hailstork, Plus Works by Julia Smith, Jessie Montgomery, Astor Piazzolla, and Agustín Bardi on Azica Records

“Apollo recasts music for a diverse and multi-ethnic generation.” – Strings Magazine

Apollo Chamber Players have will released their seventh album, Trace of Time, a digital debut on Azica Records. This album features a unique blend of cultural narratives, reflecting on the passage of time and the way diverse traditions endure in our collective memory. The collection includes works by Héctor Del Curto, Julia Smith, Jessie Montgomery, Adolphus Hailstork, Astor Piazzolla, and Agustín Bardi. Three of these pieces were commissioned by Apollo with the explicit request that each composer weave aspects of their own heritage into the music, resulting in an album that traverses genres ranging from Argentine tango to African-American spirituals and West African rhythms.

Apollo Chamber Players, based in Houston, is a distinguished ensemble known for its vibrant interpretations and commitment to multicultural programming. The core group consists of violinists Matthew J. Detrick and Anabel Ramirez Detrick, violist Aria Cheregosha, and cellist Matthew Dudzik. For Trace of Time, they are joined by esteemed bandoneonist Héctor Del Curto and guest violists Melissa Reardon and Ashleigh Gordon.

This album continues Apollo’s mission to use music as a vehicle for storytelling, celebrating the rich diversity of cultural expressions and fostering connection across communities. The ensemble’s previous album, Moonstrike (2022), was lauded for its “inestimable, multi-cultured, rhythmic chamber sounds” (Take Effect), and Trace of Time builds on this foundation. The album is visually enhanced with digital artwork created by Houston-based artist Lynn Lane, featuring portraits of the composers and a cover image of a classic Argentine “farole” streetlamp—a poignant symbol of time, guiding light, and historical memory, including its use in the Underground Railroad as a symbol of freedom.

Matthew J. Detrick, founder and director of Apollo, notes: “Trace of Time is a journey of musical discovery and cultural connections. It builds upon what Apollo does best—celebrating the creativity of composers whose works reflect the dynamic and beautiful world we live in. We hope this album will contribute to fostering cultural harmony for generations to come.”

**Key Works on Trace of Time

Héctor Del Curto’s Trace of Time—the title track of the album—was commissioned by Apollo and reflects Del Curto’s deep Argentine roots. A GRAMMY® Award-winning bandoneonist, Del Curto blends tango, milonga, and waltz with the influences of his mentors, including Osvaldo Pugliese, Astor Piazzolla, and Pablo Ziegler. Written during the COVID-19 pandemic, the work captures the sense of time standing still and reflects on the shared, surreal experiences of that period. As Del Curto wrote in his composer’s note, the piece serves as a “trace to find myself in the future when recollecting this challenging time for human history.”

Also by Del Curto is Bien Curiosa (“Very Inquisitive”), a lively milonga-inspired piece dedicated to his son, Santiago Del Curto. The work is an adventurous exploration of the milonga rhythm, infused with dissonance and chromaticism, offering a fresh take on the traditional style.

Another Apollo commission, Deep River: Rhapsody for String Quartet by Adolphus Hailstork, draws from the spiritual Deep River and reflects on the journey of enslaved people who hoped for freedom by crossing the Ohio River. Hailstork’s arrangement is both poignant and energetic, conveying a sense of hope amidst the hardship, ultimately embracing the distant vision of freedom.

Julia Smith’s Quartet for Strings (1964) is a deeply evocative work reflecting the landscapes and character of Texas, the state of both Smith and the Apollo ensemble. Its three movements range from energetic to melancholic, capturing the vast emotional breadth of the Lone Star State. This album marks the first contemporary recording of this “lost” work.

Jessie Montgomery’s Voodoo Dolls is a rhythmic and expressive exploration of West African drumming patterns and chant motifs. Commissioned by the Jump! Dance Company of Rhode Island, this suite was choreographed to depict dolls from various cultures, including the titular voodoo dolls, Russian Matryoshka dolls, and others, each representing different facets of identity and tradition.

Astor Piazzolla’s Tango Ballet, an iconic work in the Nuevo Tango tradition, is a key highlight. Originally composed in 1956 as a film score, Piazzolla reworked it in 1964 into a piece for string quartet and orchestra. Its six continuous movements—slow-fast-slow—mirror the structure of Gershwin’s An American in Paris and offer a sophisticated meditation on the tango form.

Agustín Bardi’s Gallo Ciego (1927), a celebrated tango, is reimagined here through a new arrangement by Jisoo Ok. This work, once a staple of Osvaldo Pugliese’s orchestra, captures the drama and vitality of Argentine tango, and Apollo’s performance offers a fresh take on this classic.

About Apollo Chamber Players
Apollo Chamber Players, hailed for their “rhythmic flair and virtuosity” (The Strad), are dedicated to recasting music for a global, multi-ethnic audience through innovative programming and collaborations. The ensemble has performed on prestigious stages such as Carnegie Hall, The Kennedy Center, and in Cuba, and they are frequent guests on American Public Media’s Performance Today.

Apollo's commitment to contemporary music and diverse voices is reflected in their extensive commissioning project, which includes more than 50 works by leading composers such as Jennifer Higdon, John Corigliano, and Libby Larsen. Their 20x2020 initiative, which concluded with the commission of 20 multicultural works, includes pieces by composers like Jerod Impichchaachaaha' Tate and Tracy Silverman.

Apollo is also a passionate advocate for community engagement, working with schools, at-risk youth centers, and refugee organizations. Their Library Voyage project, a groundbreaking initiative to perform in every Harris County/Houston Public Library, is the first of its kind in the nation.

Hector del Curto
Héctor del Curto is a GRAMMY®-winning bandoneonist recognized as one of the leading figures in the tango world. Born into a musical family, he was awarded the title of “Best Bandoneon Player Under 25” in Argentina and later became a member of Osvaldo Pugliese’s and Astor Piazzolla’s orchestras.

Melissa Reardon
Melissa Reardon, a GRAMMY®-nominated violist, is known for her exceptional versatility across musical genres. She is a member of the Borromeo String Quartet and the artistic director of the Portland Chamber Music Festival.

Ashleigh Gordon
Ashleigh Gordon, a charismatic violist, has performed with renowned ensembles such as Germany's Ensemble Modern and the Chineke! Orchestra. She is co-founder and artistic director of Castle of our Skins, a Boston-based initiative that celebrates Black artistry through music.


With Trace of Time, Apollo Chamber Players continues to push the boundaries of classical and contemporary music, offering a rich tapestry of cultural reflections and musical innovation.

Wednesday, December 18, 2024

Eric Bell's "Vulnerability" Blends Jazz, Blues, and Global Influences for a Bold Musical Statement

Emerging as a new voice in the contemporary jazz scene, pianist Eric Bell is unafraid to venture into uncharted territory. While jazz is undoubtedly a primary influence, Bell’s music draws from an eclectic mix of genres, including gospel, country, blues, and even pop. His debut album, Vulnerability, released on August 5, 2024, exemplifies his unique approach, blending traditional jazz elements with boundary-pushing sounds and a deep respect for musical history. The album features Bell's core trio—bassist Cole Sainburg and drummer Nico Vasquez—alongside special guests guitarist Dean Anbar and tenor saxophonist Eric Hirschhorn, creating a potent combination of established jazz techniques and fresh, inventive ideas.

A Diverse Soundscape Fueled by Experimentation

The result is a musical landscape that’s as unpredictable as it is captivating. Bell’s trio spends ample time rehearsing, focusing not only on tight grooves but also on creating complex, layered soundscapes that expand the boundaries of the classic jazz trio. The group can swing with tremendous energy, but they are equally at ease exploring more experimental territories.

The album opens with “Start”, an atmospheric track with a moody, free-time intro, featuring a dialogue between Sainburg and Vasquez before Anbar adds texture over Bell's repeating piano and Hammond organ ostinatos. "I’ve always been fascinated by how jazz artists open their albums," Bell explains. “For Vulnerability, we used soundscapes, reverb guitar, and Hammond organ in addition to the standard jazz trio setup.”

Bell's diverse influences are felt throughout the album, which nods to both his personal tastes and broader musical traditions. One standout track is his arrangement of “The Way You Look Tonight,” which pays tribute to South African flugelhorn legend Hugh Masekela. Unlike many jazz interpretations of the classic ballad, Bell’s version retains the romantic intimacy of the original, while adding a distinct, rhythmic flavor that channels Masekela’s influence.

Explorations of Rhythm, Tempo, and Emotion

Wayne Shorter's "Witch Hunt" is another highlight, where Bell’s trio takes on a complex, interactive arrangement. Shorter famously said that jazz is about the challenge of daring to create something new. In Bell’s arrangement, the musicians play freely with tempo and rhythm, allowing each section to change pace at any time. “Once we finish playing the form, one of the players will give a large, bombastic cue,” Bell explains. “Then there is silence, and I set a new tempo by playing part of the opening line.”

In “Hans”, Bell offers a tribute to two great musical figures: film composer Hans Zimmer and Israeli bassist Avishai Cohen. The composition juxtaposes the cinematic, lyrical qualities of Zimmer's work with the intensity of Cohen’s bass, creating a compelling contrast of moods.

A particularly poignant track is “Fighting the Sun”, inspired by Bell’s trip to Japan. While waiting outside an ancient castle under the intense heat, Bell’s only way of enduring the sun was through music. The track features a continuous quarter-note drumbeat as a symbol of the relentless Japanese sun, with the tension between the tempo and the music representing the struggle between nature and humanity.

Vulnerability in Sound and Meaning

The album’s title track, “Vulnerability”, touches on the contrast between bebop’s fast tempos and complicated harmonies and the more laid-back, soulful pace of gospel music. Bell explains that playing jazz with simple changes and slow tempos requires bravery and vulnerability—a theme that runs through the album. “Vulnerability” captures the courage it takes to embrace simplicity in a world that often values complexity.

The album concludes with “I Didn’t Need You Anyways”, a track that contrasts its title’s apparent bitterness with a more reflective message about the “gatekeeping” mentality of older jazz musicians. Bell explains, “I have learned a lot from my jazz elders, but I felt confined by the pressure to impress them, instead of focusing on the music itself.” This tune blends traditional jazz elements with a New Orleans parade beat, soulful harmonies, and a straight-ahead swing solo section, highlighting Bell’s deep respect for jazz tradition while making his own path forward.

A Fusion of Tradition and Innovation

Vulnerability is a striking debut that showcases Eric Bell’s ability to blend jazz tradition with forward-thinking innovation. The album balances heartfelt tributes to jazz legends with an openness to experimentation and cross-genre influences, creating a distinctive and deeply personal sound. With his trio and collaborators, Bell has crafted an album that is both exploratory and rooted in the musical history that inspires him.

Fans of jazz that pushes boundaries while staying true to its roots will find much to love in Vulnerability. As Bell continues to grow as a musician, it’s clear that his blend of influences and commitment to musical integrity will make him a key figure in the contemporary jazz world.

Joe Alterman and Houston Person Serve Up Southern Soul Jazz on Brisket for Breakfast - A Celebration of Friendship, Food, and Music

Joe Alterman, a gifted pianist from Atlanta, Georgia, has always embraced a musical journey that blends Southern roots with jazz tradition. While his early passion for bluegrass and the blues shaped his musical identity, Alterman soon became captivated by jazz greats rooted in the blues, such as Oscar Peterson, Les McCann, and Houston Person. These influences helped guide Alterman toward becoming an acclaimed torchbearer of the genre, known for his fresh approach to jazz that pays homage to its roots while adding his unique voice.

In Brisket for Breakfast, Alterman teams up with legendary saxophonist Houston Person for a joyous live album that showcases their deep musical bond and shared love for Southern culture. Set for release on February 7, 2025, the album is a celebration of the duo's friendship, their mutual appreciation for good food (especially Southern comfort food), and their exuberant, soul-filled jazz interpretations. As the album's title suggests, Brisket for Breakfast is a hearty, down-home experience, steeped in the warmth and soul of the South.

A Soulful Partnership Built on Blues

The connection between Alterman and Person goes beyond music. Both share a passion for blues-rooted jazz, with Person’s burly tenor sax sound and Alterman’s soulful, blues-infused piano lines coming together seamlessly on stage. "Every time we're on stage together, from the first note I hear, I feel so lucky to be in the room with Houston, let alone playing with him," Alterman says. "His sound makes me realize how great it is to be alive." The feeling is mutual, with Person adding, “Joe plays with a lot of humor, and he's just an all-around nice guy.”

Their musical chemistry is palpable throughout Brisket for Breakfast, recorded live during two performances in Georgia: one at the Breman Museum & Cultural Center in Atlanta and the other at the Savannah Music Festival. Alterman’s long-time trio—bassist Kevin Smith and drummer Justin Chesarek—provides solid support, with a rhythm section that evokes the soulful traditions of the South. "Joe keeps that southern heritage alive," Person says. "You get a little bit of country and western, a little bit of gospel, he plays all of that stuff with feeling."

From Fan to Collaborator: The Story Behind the Music

Alterman’s admiration for Houston Person dates back to his childhood, when he would listen to Person’s recordings and dream of meeting the saxophonist. The two first crossed paths at New York University in 2010, when Person gave a masterclass that Alterman attended. “Houston walked in the room and said, ‘Who wants to play some blues?’” Alterman recalls. “He counted off the slowest blues imaginable, and it was clear from the start that the blues is not easy.” Despite the 50-plus years between them, Alterman and Person immediately hit it off, forging a close mentorship and a musical partnership that would grow into a lasting friendship.

Alterman’s relationship with Person has been integral to his development as a musician, with Person joining him for live performances and contributing to two of Alterman’s previous albums, Give Me the Simple Life (2012) and Georgia Sunset (2015). Brisket for Breakfast represents the culmination of their musical journey together, capturing the joy and camaraderie they share when performing live.

Track-by-Track Highlights

Brisket for Breakfast opens with the Sammy Cahn and Jimmy Van Heusen classic, “The Second Time Around,” a playful duet between Person’s breathy tenor and Smith’s bass, before the rhythm section gently kicks into gear. The track is a perfect introduction to the album’s laid-back but swinging vibe. “That’s All” showcases Person’s elegant side, while the lesser-known “Namely You” channels a high-spirited, freewheeling energy. “Since I Fell for You” dives deep into the blues, with Alterman and Person delivering a soulful interpretation, while “Only Trust Your Heart” brings a light Latin flavor to the mix.

One of the standout tracks is the sultry R&B ballad “Never Let Me Go,” which takes on a more intimate, late-night vibe. The album closes with the celebratory gospel-tinged rendition of “You Are My Sunshine,” a perfect ending to an album brimming with warmth and soul.

The Spirit of Brisket for Breakfast

From the playful exchanges between Person’s saxophone and Alterman’s piano to the intimate moments shared between the trio, Brisket for Breakfast is a tribute to friendship, food, and the joy of making music. “Our goal with Brisket for Breakfast was to make sure that you can tell that we were smiling while we were playing,” Alterman shares. Indeed, the album’s infectious joy and uplifting spirit shine through in every note.

Brisket for Breakfast is an album that invites listeners to experience the heart and soul of jazz, as Alterman and Person bring the comfort of Southern traditions and the excitement of live jazz to every track. It’s a celebration of life, music, and the bonds that form through shared experiences—whether on stage or over a good meal.

Lucia Sarmiento Breaks Free with Debut Album Escape – A Bold Fusion of Jazz, Fusion, and Personal Expression

Peruvian American tenor saxophonist Lucia Sarmiento’s debut album Escape marks the arrival of a distinctive voice in contemporary jazz, one that blends daring improvisation with rich cultural influences and deep personal expression. With her powerful, commanding sound and vibrant personality, Sarmiento brings an intensity to her music that resonates deeply with listeners, making her a rising star in the jazz world.

Sarmiento, now based in Chicago after spending ten years in Minneapolis, has crafted a record that’s both a tribute to her musical influences and a reflection of her journey as an artist. Escape is an exhilarating mix of smooth jazz, jazz fusion, Afro-Peruvian rhythms, funky beats, and synthesizer colors, all wrapped in the rich tones of her saxophone and flute. But it’s also an album that highlights Sarmiento’s fearless approach to music—a trait she says she’s always carried with her. "When I play the saxophone, I love that feeling of danger," she shares. "I'm drawn to music filled with intensity and risk that captures every fiber of your being in the moment; that’s why I love jazz."

A Journey from Peru to the Jazz World

Sarmiento’s musical roots trace back to her early years in Lima, Peru, where she was first introduced to jazz through the sounds of legends like Charlie Parker, Sonny Rollins, and John Coltrane. But her journey didn’t stop there. By the time she attended the McNally Smith College of Music in Saint Paul, Minnesota, on a scholarship, she discovered more modern jazz giants, including Michael Brecker, Bob Mintzer, and Chris Potter. "Minneapolis raised me musically," she reflects. "It’s a smaller city, but the music scene is vibrant, steeped in the legacy of Prince. I began performing with Prince’s long-time collaborators and Weather Report’s legendary drummer Eric Gravatt right out of college."

Her time in Minneapolis was formative, not only in terms of honing her skills but also in cultivating a musical identity that could transcend genres. "I explored every genre from Minneapolis funk to brass band, from Motown to free jazz," she says. "What was really important was that I came to develop my own sound." The influence of players like Brecker, Mintzer, and Potter remains strong in her approach—combining strength with urgency in every note.

Escape – An Amalgam of Styles and Cultures

Sarmiento's debut album, Escape, is an exciting tapestry that blends genres, styles, and cultures, weaving together the intricacies of jazz with the boldness of rock and Latin grooves. "I’ve always felt different as a Latina in jazz," Sarmiento admits. "For years, I had been a side woman, but I always dreamed of leading my own band and telling my story through music. Music has always been the lodestar illuminating my path, and it has taken me all over the world."

The album’s title track, which was initially released as an experimental single, captures the essence of Sarmiento’s creative journey—a song in three movements that blends various styles, textures, and emotions, from sensuality to happiness and uncertainty. It’s a perfect representation of her dynamic approach to jazz.

“Look Up,” the third track, is one of the album’s standouts, drawing heavily on Afro-Peruvian influences. The beautiful melody dances over intricate rhythms, demonstrating Sarmiento’s ability to merge beauty and complexity in a way that feels effortless. “I remember sitting in my studio during a long cold Minneapolis winter, looking out the window at the gray sky. I remembered the stunning sunsets in my hometown of Lima, and ‘Look Up’ was born,” she recalls. The song, which Sarmiento originally titled "Peruvian Skies," evokes the innocence and wonder of looking up to the sky for inspiration.

Another notable track, "Porcelain," is a reimagining of the Red Hot Chili Peppers' hit from 1999. The song starts with a beautiful vocal choir before transitioning into Sarmiento’s signature saxophone improvisation, creating a dreamy and ethereal atmosphere. "I wanted to sing it myself," she explains. "I recorded the melody and layered nearly twenty tracks of vocal harmonies for a dreamy, ethereal quality."

Musical Collaborations and Special Guests

One of the highlights of Escape is the impressive lineup of guest musicians that Sarmiento brings together. Snarky Puppy guitarist Mark Lettieri features on the track “Dreamland,” which blends dreamy textures and an infectious melody with a groovy 7/8 rhythm. Lettieri’s gritty guitar solo, paired with Sarmiento’s expressive saxophone, adds a layer of complexity and depth to the track.

Another standout collaboration is with trumpeter Adam Meckler, who adds his magic to "The Prof." Meckler, a college professor turned collaborator, is given free rein to craft a dynamic horn arrangement, and his trumpet solo adds fire to the track’s pulsating energy. "Adam is amazing," Sarmiento notes. "I told him to do his thing over the end of the song, and he did, creating a fantastic horn arrangement and a face-melting trumpet solo."

From Pop to Jazz: A World of Experiences

Before her debut album, Sarmiento had already experienced a wide range of musical worlds. In 2021, after a decade-long hiatus from playing guitar, she was invited to join Pitbull's world tour. "Even though I hadn’t played guitar in ten years, I said yes," she remembers. "Ten days later, I was on a plane to Miami to rehearse with Pitbull for a year-long stadium tour." As the only woman in Pitbull's 60-person crew, she thrived as both the saxophonist and guitarist, performing for 70,000 people a night. Her experience with Pitbull and later with Colombian reggaeton star Karol G on her 2023 US tour exposed Sarmiento to the world of pop and live performance, offering a stark contrast to the improvisational nature of jazz. "In jazz, the music is paramount," she says. "In pop, the visuals and the show often take precedence. Sometimes, I felt like I was more of an actress than anything else, and I loved it."

Escape – A Personal Refuge

When asked about the album title, Sarmiento reflects on its significance. "Escape is perfect," she says. "The song was written during a turbulent time in my life. At the time, the process was so healing to be with myself and my music in the studio. And that’s what music has always been to me. A place where my mind can escape to and tune out all the unnecessary noise or problems. My place of refuge and solace. With ‘Escape,’ I can leave all the noise behind.”

With her debut album, Lucia Sarmiento has not only found her voice but is now offering it to the world—bold, expressive, and filled with an infectious sense of adventure. Escape is an album that captures the essence of who she is as both a musician and a person—one who is not afraid to take risks, explore new territories, and embrace the full range of human emotion. For listeners seeking a fresh, dynamic voice in jazz, Escape is the perfect entry point to Lucia Sarmiento’s extraordinary musical journey.

Track Highlights:

  • “Signal Flow” – Electro-jazz fusion with a funky bebop bass and dreamy saxophone.
  • “Morning Delight” – A smooth, sexy saxophone melody leading into an energetic jazz fusion piece.
  • “Look Up” – Afro-Peruvian rhythms with a lively 12/8 time signature.
  • “Porcelain” – A reimagined Red Hot Chili Peppers classic with lush vocal harmonies and ethereal sax.
  • “Dreamland” – Featuring Mark Lettieri’s gritty guitar and a robust 7/8 groove.
  • “The Prof” – A collaboration with trumpeter Adam Meckler, featuring a face-melting trumpet solo.

Conrad Herwig: Celebrating Over 25 Years of the Latin Side Series


New York-based jazz trombonist Conrad Herwig has established himself as a formidable force in both the Latin and mainstream jazz worlds, recording nearly 30 albums as a bandleader and earning four GRAMMY® nominations. His latest release, The Latin Side of McCoy Tyner (Savant Records), is the newest installment in his celebrated Latin Side series, which has spanned more than two decades. This album follows The Latin Side of Mingus (Savant, 2022) and the series’ previous tributes to jazz legends such as Horace Silver (2020), Joe Henderson (2014), Herbie Hancock (2010), Wayne Shorter (2008), Miles Davis (2004), and John Coltrane (1996). Each of these albums brings fresh, vibrant Latin interpretations to iconic jazz works, featuring a diverse array of collaborators, including Randy Brecker, Ruben Blades, Michel Camilo, Joe Lovano, Eddie Palmieri, Paquito D'Rivera, and Dave Valentin, among others.

Herwig’s latest project, The Latin Side of McCoy Tyner, continues his legacy of musical innovation, blending Tyner’s groundbreaking jazz compositions with Afro-Cuban and Afro-Caribbean rhythms. Reflecting on his deep connection to McCoy Tyner and other jazz giants, Herwig says, “I’ve been blessed with mentors like McCoy, Horace Silver, Miles Davis, and Eddie Palmieri. Eddie Palmieri is not just my mentor; he’s also my son’s godfather. Afro-Cuban and Afro-Caribbean music are ancient traditions—40,000 years old, going back to Africa—and they’re a gift to the planet. You accept this gift with reverence and respect.”

The Latin Side series is a testament to Herwig’s unique ability to fuse diverse musical traditions. Raised in Hawaii, he was influenced by trombone greats like Trummy Young, Generoso Jiménez, and Barry Rogers, while also immersing himself in jazz under the guidance of Clark Terry, Buddy Rich, and Joe Henderson. Herwig's musical journey took him from playing Tejano and cumbia on a Texas stage to becoming an integral part of New York's vibrant Latin jazz scene. In NYC, he performed with legends such as Mario Bauza, Tito Puente, Paquito D'Rivera, Michel Camilo, and Victor Paz. After years of gigging in the Bronx, Palmieri famously awarded him his "salsa badge," cementing Herwig's place in the Afro-Cuban jazz world.

Herwig’s experience in both the Latin and jazz worlds allowed him to develop the concept for the Latin Side series, which he began experimenting with as a member of Palmieri’s octet. Herwig recalls, “Eddie always encouraged us to take chances and experiment. Sometimes we’d play ‘Azucar,’ then overlay ‘Impressions’ on top of it, or play ‘EP Blues’ and suddenly jump into ‘Blue Train.’ It was all spontaneous.” This spirit of musical freedom gave birth to The Latin Side of John Coltrane in 1996, the first album in the series. Now, more than 27 years later, Herwig’s The Latin Side of McCoy Tyner stands as the latest evolution of this musical journey.

As Herwig explains, The Latin Side of McCoy Tyner is a dream project for him: “McCoy is one of my heroes. He literally wrote the book on jazz piano. I grew up listening to his classic albums, and interpreting his music is both an honor and a responsibility. It’s about honoring McCoy’s legacy while also respecting the Latin traditions. This project is a dream come true.”

More on Conrad Herwig:

Conrad Herwig is a master trombonist equally at home in Latin and mainstream jazz. Voted #1 Jazz Trombonist by DownBeat magazine and a multiple nominee for Trombonist of the Year by the Jazz Journalists Association, Herwig is in high demand as a sideman. He has performed with jazz greats such as Joe Henderson, Horace Silver, McCoy Tyner, and Joe Lovano, as well as Latin music legends like Eddie Palmieri, Tito Puente, Paquito D'Rivera, and Michel Camilo. Herwig is also a longtime member of the Mingus Big Band, having served as musical director and arranger for the band’s 2011 GRAMMY®-winning Live at the Jazz Standard.

In addition to his extensive performance career, Herwig has appeared on over 200 albums and has received numerous accolades, including the 2006 Paul Acket Award (formerly the “Bird Award”) at the North Sea Jazz Festival. He is a recipient of grants from the National Endowment for the Arts and has served on the Board of Advisors for the International Trombone Association. As Artistic Director and Chair of Jazz Studies at Rutgers University’s Mason Gross School of the Arts, Herwig continues to influence the next generation of jazz musicians.

Herwig’s career spans more than four decades, during which he has performed and recorded with jazz legends such as Clark Terry, Buddy Rich, Miles Davis, and Quincy Jones, as well as with the Gil Evans Orchestra. His career is a testament to the power of musical cross-pollination, cultural exchange, and the evolution of genres through respect and artistry.

New Orleans Jazz Luminary Matt Lemmler Drops Two New Albums Celebrating Culture, History, and Faith

“Powerhouse: New Orleans in Stride Volume III (Trios, Quartets & Quintets)” and “The Book of Psalms Volume I” now available

Renowned New Orleans jazz pianist, vocalist, and educator Matt Lemmler has once again exceeded expectations with the simultaneous release of two distinct and deeply resonant albums: Powerhouse: New Orleans in Stride Volume III (Trios, Quartets & Quintets) and The Book of Psalms Volume I. Both albums are now available on vinyl, CD, and digital platforms via his New Orleans Jazz Revival label, with another highly anticipated release due in January.

Lemmler, a proud ambassador of New Orleans jazz, continues to channel the city’s rich musical heritage, blending its storied traditions with his personal artistic vision. His latest recordings reflect his dedication not only to preserving the cultural and historical legacy of The Big Easy but also to sharing its profound influence on his life and music through his dynamic performances, recordings, and educational efforts.

“Powerhouse: New Orleans in Stride Volume III” expands upon Lemmler’s earlier New Orleans in Stride series, bringing fresh vitality to the project with his unique piano skills and a talented lineup of collaborators. Co-produced by Lemmler and Misha Kachkachishvili, the album features an all-star ensemble of musicians, including drummer Brian Blade, saxophonist Joel Frahm, bassist Nathan Lambertson, and trumpeter Ashlin Parker. Together, they offer a captivating exploration of New Orleans jazz in trio, quartet, and quintet formats. The album’s opening track, “Powerhouse (Theme from Looney Tunes),” is a swinging tribute to the timeless animation music of Bugs Bunny cartoons, dedicated to comedian Robin Williams and Lemmler’s late friend, Colette Buis.

As Lemmler explains, "I used to hear this kind of music growing up with the great Bugs Bunny cartoons. This track is dedicated to Robin Williams and to Colette, who was a powerhouse in her own right, always bringing joy and humor into our lives.”

Other standout tracks include Lemmler’s soulful rendition of “The City of New Orleans,” a tribute to the classic song made famous by Arlo Guthrie, and a powerful, genre-defying take on the spiritual “I Am A Poor Wayfaring Stranger,” which creatively integrates Stravinsky’s “Serenata” to create an emotionally stirring fusion of classical and jazz elements.

Lemmler also honors the legendary Nat King Cole with a tribute to the timeless ballad “Nature Boy,” and delivers a funk-infused version of “Bye Bye Blackbird,” a nod to the jazz giants Miles Davis and John Coltrane. Lemmler explains, “This arrangement premiered at our local screening of the ‘Miles Davis: Birth of the Cool’ documentary. After the screening, we recorded it live in the studio the next morning, as part of the ‘Powerhouse’ album."

A digital bonus track, “Come Sing Your Song To Me,” closes the album with a soothing, lullaby-like melody, rounding out the album with a tender touch.

"The Book of Psalms Volume I” is a deeply personal project born from Lemmler’s ongoing “Psalm Sundays: Live From New Orleans” initiative, a series he began during the challenging period when his stepdaughter was diagnosed with leukemia. Now in remission, Lemmler has compiled 21 Psalms and three canticles into this sacred solo piano and vocal album. Drawing directly from scripture, Lemmler’s compositions are infused with soulful melodies and inspired lyrics. He’s currently working on additional volumes, with plans for The Book of Psalms Volume II and Volume III to complete his ambitious musical journey through the Psalms.

"I’ve been composing music to the Psalms for the last two years, sharing them live every Sunday,” says Lemmler. “This project has been incredibly healing for me, and I hope it will bring comfort to others, just as it has to me and my family."

In addition to his music career, Lemmler serves as a jazz piano professor at Loyola University College of Music and Media in New Orleans, where he nurtures the next generation of jazz artists. His diverse career also includes performing with some of New Orleans’ most iconic figures and touring internationally. He has appeared at major jazz festivals, mass performances, and educational workshops around the world.

Known for his skillful arrangements and film scoring work, Lemmler’s contributions to jazz continue to inspire, and his latest releases are further proof of his enduring commitment to the art form.

Both Powerhouse: New Orleans in Stride Volume III and The Book of Psalms Volume I are available now through digital platforms, vinyl, and CD via New Orleans Jazz Revival.

Tuesday, December 17, 2024

Judy Wexler Unveils No Wonder – A Journey Through The Great American Songbook


Celebrated West Coast jazz vocalist Judy Wexler is back with her seventh album, No Wonder, set for release on January 24, 2025. Known for her emotionally resonant voice and distinctive interpretations of lyrics, Wexler’s latest project marks her first full exploration of songs from the Great American Songbook.

A Stellar Career Defined by Unconventional Repertoire

With a 20-year career that has established her as one of the most captivating jazz vocalists on the West Coast, Wexler has built a reputation for defying convention. She’s known for taking on material that often lies off the beaten path. In 2021, her album Back to the Garden presented 1960s pop tunes through sophisticated jazz arrangements, while in 2019, she explored contemporary jazz with Crowded Heart, showcasing rare gems by modern jazz artists.

As Dan Bilawsky of All About Jazz puts it, "Judy Wexler is more than a mere singer of songs. She’s an actress, mood painter, song archaeologist, and vocalist par excellence."

Now, in No Wonder, Wexler embraces the classic songs of the American jazz canon, adding her unique stamp of interpretation with the help of Jeff Colella, her longtime pianist and arranger, who co-produced the album.

The Heart of No Wonder: Personal Interpretations of Timeless Standards

The album's title track, "No Wonder", written by vocalist and songwriter Luciana Souza, opens the collection with an irresistibly energetic performance by Wexler. Souza’s original composition sets the tone for an album filled with vibrant and nuanced takes on beloved standards. Wexler’s voice, warm and intimate, brings depth to each piece, whether it’s the evocative, noir-inspired treatment of Michel Legrand’s "The Summer Knows" or the West Coast cool of "You Stepped Out of a Dream".

A longtime admirer of Kitty Margolis, Wexler adds her own lyrics to Cedar Walton’s hard-bop instrumental “Firm Roots,” retitled "Firm Roots (Are What You Need to Win)". The track features fiery trumpet and drum solos, showcasing Wexler’s natural ability to swing with ease.

Wexler also revisits Henry Mancini's iconic "Slow Hot Wind" with a sultry arrangement, featuring Bob Sheppard on sensuous soprano sax. Another highlight is her playful take on Blossom Dearie's classic "I Wish You Love," with a spirited arrangement by Brian Swartz that features a fun soli with Danny Janklow on tenor sax.

A Unique Blend of Styles

For a unique twist on Leonard Cohen’s "Dance Me to the End of Love", Wexler asked Colella to arrange the song in Klezmer style. This emotional rendition, paired with Sheppard’s plaintive clarinet and a captivating guitar solo from Larry Koonse, is a standout track.

The album closes with a stripped-down version of "The Night We Called It a Day", a classic recorded by everyone from Frank Sinatra to Bob Dylan. Wexler’s wistful vocals are supported only by Colella’s subtle, sensitive piano work, offering a moment of pure intimacy to close the album.

A Team of A-List Musicians

Wexler’s stunning vocal delivery is complemented by a stellar group of musicians who elevate the album with their masterful musicianship. The ensemble includes some of the busiest and most respected players in the Los Angeles jazz scene: Danny Janklow (Stevie Wonder, Wayne Shorter), Bob Sheppard (Joni Mitchell, Chick Corea), Jay Jennings (Snarky Puppy), Larry Koonse (John Patitucci, Luciana Souza), Gabe Davis (Arturo Sandoval), and Steve Hass (Christian McBride, The Manhattan Transfer).

The arrangements, primarily written and produced by Colella, give each track an innovative touch, reflecting his deep understanding of Wexler's vocal style and strengths.

Wexler’s Storytelling and Musicality Shine Through

Wexler’s ability to tell a story through song has always been one of her greatest strengths. On No Wonder, she brings a depth of emotion, shifting rhythms, and creative melodic variations, allowing the narrative of each song to unfold in a way that is both intimate and grand.

As always, her voice is at the forefront, delivering subtle twists in phrasing and use of dynamics that keep listeners engaged from start to finish. Her voice is not just a tool for singing—it’s an instrument of expression, capturing the essence of the music while adding her own distinctive flair.

A Must-Listen for Jazz and Vocal Fans

With No Wonder, Judy Wexler continues to prove that she is more than just a jazz vocalist. She is a master interpreter, a storyteller, and a true artist who can imbue classic songs with fresh life. This album offers a sophisticated blend of vocal artistry, innovative arrangements, and top-notch musicianship, making it an essential listen for both jazz aficionados and fans of beautiful, soulful music.

No Wonder will be available digitally on January 24, 2025, through Jewel City Jazz/A-Train Entertainment, with physical copies available on Amazon, Bandcamp, and other retail outlets.


Tracklist:

  1. No Wonder
  2. The Summer Knows
  3. You Stepped Out of a Dream
  4. Never Will I Marry
  5. Firm Roots (Are What You Need to Win)
  6. Slow Hot Wind
  7. I Wish You Love
  8. Dance Me to the End of Love
  9. That Sunday, That Summer
  10. A Weaver of Dreams
  11. The Night We Called It a Day

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