Wednesday, October 01, 2014

Saxophonist JIMMY GREENE Releases Beautiful Life - Featuring Special Guests Including Kenny Barron, Javier Colon, Kurt Elling, and Pat Metheny, Among Others

Jimmy Greene's new release, Beautiful Life on Mack Avenue Records, is a celebration of the life of his 6-year-old daughter, Ana Márquez-Greene, whose life was tragically taken, along with 19 other children and 6 educators, on December 14, 2012 at Sandy Hook Elementary School in Newtown, Connecticut.

"I want the music to reflect the way that Ana lived," Greene says. He fulfills that mandate with an intense, cohesive, genre-spanning program-juxtaposing the hardcore instrumental jazz for which he is best known with traditional spirituals, contemporary Christian music, standard ballads and three original songs framing his own lyrics. Animating the repertoire is a gold-standard rhythm section (Renee Rosnes, piano; Christian McBride, bass; Lewis Nash, drums), augmented at various points by guitarists Pat Metheny and Jonathan DuBose, Jr.; pianists Kenny Barron and Cyrus Chestnut; vocalists Kurt Elling, Javier Colon and Latanya Farrell; spoken word from Tony® Award-winning actress Anika Noni Rose; a 13-piece string ensemble from the Hartford Symphony Orchestra; as well as an accomplished children's choir.
Greene himself is one of the most respected saxophonists of his generation since graduating from Hartt School of Music in 1997. He composed or arranged every selection and plays tenor and soprano saxophones as well as flute with customary authority, melodic focus and abiding soulfulness. 

"In the days after my daughter was killed, playing and writing music wasn't even a thought," the 39-year-old saxophonist says. "I was very much in shock, grieving deeply and trying to just function coherently. Family and friends surrounded us and held us up, and we received 10,000 communications-emails, texts, Facebook messages, voice calls, letters-from people around the world. The community of musicians was front and center for that support. When I called, they responded, 'Whatever you need, just say the word, and I'll be there.'"

In late January 2013, Greene, feeling that "I needed to get back to some sense of routine," resumed a regimen of practice and composition. Soon thereafter, Norman Chesky, the co-owner of Chesky Records and HDtracks, reached out with an extraordinary offer. 

"An intense amount of media attention was focused on my family and all of us in Newtown, so I was fairly guarded whenever communicating with someone for the first time," Greene relates. "But Norman offered to donate the production of a recording that I could do whenever I was ready, and to give me complete ownership. I was humbled and honored by his generosity, and began to devote my energies to the project."

Greene decided to weave lyrics and singers into the flow for the first time on one of his recordings. "Ana loved to sing and listen to singers, and had a wonderful singing voice," he explains. "So an album dedicated to her memory needed to have singers and songs that were important to her and me and my family." 

Beautiful Life opens with a recording of Ana singing the traditional "Saludos" ("Greetings") at a Christmas celebration (parranda) in Puerto Rico with her mother Nelba Márquez-Greene's family-and her father playing in the background-a year before her death. Greene segues to a section in which he and guitarist Pat Metheny perform "Come Thou Almighty King" before concluding with another family recording of Ana singing the hymn to her brother Isaiah's piano accompaniment.

The wistful "Last Summer," a quartet feature, evokes Greene's impressions of the photograph of his children-captured from the rear with their arms around each other's shoulders in the family's backyard in Winnipeg, Canada, where Greene taught at the University of Manitoba between 2009 and 2012-that appears on the cover of Beautiful Life.

The mellow tenor voice of Javier Colon, Greene's one-time classmate at Hartt who won the 2011 edition of NBC's The Voice, delivers Greene's lyric for "When I Come Home" supported by the quartet, Greene's signifying tenor saxophone and the strings.

Greene initially recorded "Ana's Way" instrumentally as "Ana Grace" on the 2009 recording Mission Statement. Complementing Grammy® Award-winner Kurt Elling's characteristically penetrating, graceful interpretation is the Linden Christian School Early Years Choir, comprising classmates of Ana and Isaiah in Winnipeg; solos by Greene and Rosnes distill the oceanic emotions of the lyric. "It was brutal seeing Ana's friends again, without Ana there amongst them," Greene says. "But we got through it somehow, and I think the results are very touching." 

Iconic pianist Kenny Barron joins Greene for conversational readings of the Broadway songs "Where Is Love?" from Oliver and "Maybe" from Annie, the latter featuring Greene's pure-toned soprano saxophone. "Kenny, Christian and Lewis were the rhythm section for the 1996 Thelonious Monk Competition, where I was named first runner-up," Greene recalls. "They made me feel welcomed and comfortable, that I could do this for my life, and so I wanted them involved." 

"My daughter loved Annie, and would sing 'Maybe' a cappella with great pitch and rhythm in the back of the car when we were driving around," Greene recalls. He includes "Where Is Love" in homage to Jackie McLean, his primary musical mentor, who showed Greene, then 15, the melody at their first meeting at Hartford's Artists Collective. 

The penultimate track of Beautiful Life, titled "Prayer," is Greene's musical setting of the text of the "Lord's Prayer." Cyrus Chestnut accompanies Greene's devotional tenor saxophone; illuminating the message is Latanya Farrell (who Greene met while attending Hartt), whose powerful contralto enchanted Ana as a toddler. 

Ana became a fan of Anika Noni Rose-a high school classmate of Greene's in Bloomfield, Connecticut-after hearing her inhabit the role of Princess Tiana in the animated film The Princess and the Frog. Rose's recitation of Greene's optimistic soliloquy "Little Voices" precedes another appearance by the Linden Children's Choir. 

"Many people have asked what they can do to help, and this is my answer," Greene says. "Let's remember what happened at Sandy Hook. We can each hold up our end of the bargain, which is to somehow learn to love ourselves, and then see past ourselves and love our neighbor. That's pretty simple, but if we all did it, I think our existence would be different." 

A portion of the proceeds from Beautiful Life will be donated to the following charities in Ana's name:

The Ana Grace Project of Klingberg Family Centers - initiated by Greene's wife Nelba, a licensed Marriage and Family Therapist, to promote love, community and connection for every child and family through partnerships with schools, mental health providers, community organizations and faith leaders.

The Artists Collective - where generations of children and families in Greater Hartford have gained access to world-class training in the arts.

A native of Hartford, CT, saxophonist, composer, and educator Jimmy Greene has emerged as a positive presence in the jazz world. His 9 solo recordings, released on various labels including RCA Victor, Sunnyside, and Criss Cross, have been met with much critical acclaim. In addition to his recordings and appearances as a leader, Greene appears on over 70 albums as a sideman, and has toured and/or recorded with Horace Silver, Tom Harrell, Freddie Hubbard, Harry Connick, Jr., Avishai Cohen, Kenny Barron, Lewis Nash, Steve Turre, the New Jazz Composers Octet and the Carnegie Hall Jazz Band, among many others. 

Greene is Assistant Professor of Music and Co-Coordinator of Jazz Studies at Western Connecticut State University in Danbury, CT. Previously, he served as Assistant Professor of Jazz Saxophone at the University of Manitoba (2009-2012). Greene was selected to receive the 2013 Governor's Arts Award in Connecticut, as well as grants and honors as a composer from ASCAP/IAJE (2006), Chamber Music America (2004), the State of Connecticut (2004) and the City of Hartford (2009).

Blue Note Records’ 75th Anniversary Celebrations Continue With Commemorative ‘Blue Note: Uncompromising Expression’ 5-CD Singles Box Set & Hardbound Book to Be Released November 4

Blue Note Records’ 75th anniversary celebrations continue in full swing. In addition to fall releases from Jason Moran, Otis Brown III, and Kandace Springs, as well as the continuation of the label’s successful vinyl reissue series, Blue Note/UMe will release a new label-spanning 5-CD singles box set as a companion piece to a new hardcover book, both titled Blue Note: Uncompromising Expression. The book and 75-track singles collection are both available now for preorder ahead of their November 4 release.

The Blue Note: Uncompromising Expression singles box opens with the label’s very first artist, pianist Meade “Lux” Lewis, and closes seventy five years later with the beautifully progressive sounds of Derrick Hodge. A sweeping overview of one of the world’s most diverse and celebrated Jazz catalogs, the 75-track collection also features singles by Jazz greats Art Blakey, Donald Byrd, John Coltrane, Norah Jones, Thelonious Monk, Cassandra Wilson, and many more. Curated by Jazz expert and author of the Uncompromising Expression book, Richard Havers, each of the collection’s discs covers a specific era of the label’s evolution, from boogie to bop, soul jazz to the roots revival of the 1990s, and 21st Century trailblazers including Robert Glasper and Gregory Porter. The new collection is presented in a beautiful slipcase with a 48-page booklet including a complete discography of its 75 featured singles.

Disc 1: From Boogie To Bop 1939 – 1953 
Disc 2: Messengers, Preachers and Hard Bop 1953 – 1958
Disc 3: Struttin’, Moanin’ and Somethin’ Else 1958 – 1960
Disc 4: Bossa, Blues and Hits 1961 – 1965 
Disc 5: Can You Dig It? 1953 - 2014

Authored by Richard Havers, the new Blue Note: Uncompromising Expression book is the first official illustrated history of Blue Note Records. Commemorating the storied label’s 75th anniversary, the 400-page hardcover book includes forewords by Wayne Shorter, Robert Glasper, and Blue Note President Don Was. The book details Blue Note’s impact on popular culture and celebrates more than seven decades of extraordinary music, as well as the label’s ongoing commitment to “Uncompromising Expression,” the tenet first set forth by Blue Note’s founder, Alfred Lion, a German immigrant who came to America to pursue his dreams and his love of music.

Tracing the evolution of jazz from the boogie woogie and hot jazz of the 1930s, through bebop, hard-bop, the avant-garde and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Featuring classic album artwork, unseen contact sheets, rare ephemera from the Blue Note Archives, commentary from some of the biggest names in jazz today, and feature reviews of seventy-five key albums, this is the definitive book on the legendary label.



A heady sound from Jungle Fire – a group who seem to be equal parts 70s Afro Funk and Latin – with percussion that rivals the best of the latter, and horns and guitar that match the best of the former! The group's got a super-sharp approach, but one that's never slick or commercial either – just really well-crafted instrumentation in a mostly vocal-free setting – which allows for plenty of great moments from the individual members, especially some of the reed players! The group have kind of snuck into our world through a handful of 7" singles, but they've really got our attention with this full length set – a record that includes the tracks "Firewalker", "Tropicoso", "Culebro", "La Mano", "Village Hustle", "Chalupa", "Snake Pit", and "Comencemos". (Includes bonus download, too!)  ~ Dusty Groove


Wonderful work from the team of Dave and Ansell Collins – a key act in helping Jamaican music transition from rocksteady to reggae at the start of the 70s – and a duo who had a surprising impact in the US, thanks to their funky style of work! Ansell handles all the keyboards – including acoustic piano produced with an echoey sound, and some great Hammond too – and Dave doesn't always sing so much as shout – in ways that are a bit like calls from a DJ in a set, but which also clearly have some James Brown inspiration too – but more in the way that James might shout and urge on his band. Their music here is heavy on soulful elements from America, but also has some plenty trippy early dub styles too – and tracks include "Sexy Dream", "Hot Sauce", "007", "Liquidator Shuffle", "Johnny Dollar", "Great Shocks Of Mighty", "Girl Of My Dreams", and "Mister Talkative".  ~ Dusty Groove


Some of the greatest sounds we've heard from Elizabeth Shepherd in years – a record that really returns the singer to her funky roots and soulful styles! There's a stripped-down vibe to the record we really love – mostly just Fender Rhodes from Shepherd, alongside her vocals – mixed with relatively loose, spontaneous work from a small group of rhythm players – who, like Elizabeth, are all stepped strongly in jazz, but find a way of making the music come across at a more funk-based level! The lyrics are wonderful, as always – a bit less singer-songwriter than some recent years, in a good way – and titles include "Baby Steps", "I Gave", "Willow", "What's Happening", "The Signal", and "Lion's Den".  ~ Dusty Groove



One of a pair of Prince records released on the same day – and this one that finds him in a lean, hard-hitting funk rock mode that we always love from him – and deservedly sharing credit with his 3rdeyegirl group. It's honestly a lot of fun to hear Prince having this much fun himself, in a small combo psych-rock-soul guitar mode – letting his Hendrix and Maggot Brain-era Funkadelic imflunces fly, and recalling his his own trailblazing 80s style. The 3rdeyegirl trio of Donna Grantis, Hannah "Ford" Welton and Ida Nielson more sharp indeed. Nice stuff! Titles include "Wow", "Pretzelbodylogic", "Aintturninaround", "Plectrumelectrum", "Whitecaps", "Fixurlifeup", "Boytrouble", "Stopthistrain", "Anotherlove", "Tictactoe", Marz" and "Funkinroll".~ Dusty Groove


A stunning set of work from the legendary Fela Kuti – seven full albums, served up in an ultra-limited box set – all hand-chosen by the equally legendary Brian Eno! Eno was a key supporter of Afro Funk in the 70s, and it's no surprise that just about every record here is one of Fela's standout classics – albums that include his excellent early UK recordings on London Scene, through Nigerian classics that include Shakara, Afrodisiac, Gentlemen, Upside Down, and Zombie – as well as the massively political, album-length jam of ITT (International Thief Thief)! Every album comes with the original record art too – and the set's one of the heaviest funk packages you could ever hope to find. ~ Dusty Groove


A cool contemporary group with roots in Tojo – hotbed of African voodoo culture, which is a strong inspiration on their sound! The music takes an older style of voodoo chants, and fuses it onto a more funk-based approach – one that draws on inspirations from 70s west African funk, but in a way that's more subtle than most of the other contemporary groups – a mode that still uses horns, but really strips down the sound a lot, so that the hypnotic vocal passages really take center stage! The production is great – very much in a vintage mode – and these guys are way than just another Afro Funk group, and have instead really stumbled onto something fresh and vital. Titles include "Wrong Road", "Ata Calling", "No Problem", "Dangerous Bees", "No Way To Go", "I Need A Job", and "Meva".  ~ Dusty Groove



James Brown really opens up on this early 70s classic – really showing the world the amazing groove he was crafting with his band – who were let loose to jam in the studio, spinning out some really long grooves – which were then cut down to make this sweet little record! The title cut was a big single for James at the time, but it's presented here in its full 9 minute version – a monstrous jam that's equal to anything on the Payback record, or the JBs albums too – and the album also includes the long two-part take of "Escapism", and another funky gem – "Blues & Pants", which snaps along for a solid 9 minutes too! The album's filled with heavy funk, and the longer tracks allow for plenty of instrumental flourishes from Fred, Maceo, and the other JBs – and honestly, the record is more of a People Records session than a Polydor record from James. Includes a monster of a bonus track: the 19+ minute complete take of "Escape-ism". ~ Dusty Groove


Raw power and righteous energy from James Brown – a set that still has all the best funk elements of his longer-form albums of the time, but which also packs an even stronger political message too! The vibe of the record is clear from the image on the cover – the most powerful since Payback – and James is even more focused in the lyrics, which bite harder than some of his other commentary of the period – while still allowing the JBs plenty of room to serve up some heavy funk in the process! Titles include the classics "Public Enemy #1" and "King Heroin", both hard soul political tracks – and the funkier side of The Godfather is represented by the killer cuts "Talkin Loud & Sayin Nothing" and James own version of "I Need Help" (which was also recorded by Bobby Byrd). The album also includes a great duet with Vicki Anderson on "Who Am I", the excellent title cut "There It Is", and a surprisingly nice version of "Never Can Say Goodbye" – as well as the single "I'm A Greedy Man". ~ Dusty Groove


Further genius from James Brown at the start of the 70s – a record that's starting to show some of the more open-ended grooves he'd explore with the JBs on their own albums – longer, stretched-out tracks that are way more than simple funk and soul! There's a sense of freewheeling energy here that's totally great – dynamic, powerful calls from James at the top of most tunes – and incredibly sharp work on horns and rhythm from the band – cutting grooves and turning lines like no other combo in the business, all with a great mix of deep soul and hard funk! The album features the 7 minute killer version of "Let a Man Come In & Do The Popcorn", plus "World (parts 1 & 2)", "It's A New Day (parts 1 & 2)", "Give It Up or Turn It Loose", "If I Ruled The World", "The Man In The Glass (part 1)", and "I'm Not Demanding (part 1)". A treasure trove of funk and soul! ~ Dusty Groove


An enduring classic from James Brown – quite possibly the strongest of his late 70s albums, and a record that nicely balances the harder funk of the early part of the decade with a more sophisticated style that almost gets slightly jazzy at times! The vocals are planted strongly at the top of most tunes – really calling out the shots and directing the rhythms – even though they seem tight enough to keep snapping along on their own – and also noteworthy are some of the mellower numbers on the set, which are almost more compelling than some of the groovers! Titles include "Bodyheat", "What The World Needs Now", "Don't Tell It", "Kiss In 77", "Woman", "Wake Up And Give", and "I'm Satisfied". ~ Dusty Groove


Easily one of the funkiest albums that James Brown ever recorded – and one of his few entries into the blacksploitation genre of the 70s! James really outdid himself for this one – working at a hard burning pace that had the JBs cooking up some killer funk for just about every number in the set – and which also has James himself stepping out vocally for a few key tracks. The album features the massive groover "People Get Up and Drive Your Funky Soul" – a slamming track that beats nearly every number in the JB 70s catalog – plus other cuts that include "To My Brother", "Brother Rapp", "Sexy Sexy Sexy", "Slaughter Theme", "Transmogrification", "King Slaughter", and "How Long Can I Keep It Up". ~ Dusty Groove

Tuesday, September 30, 2014

7th Annual Sunny Isles Beach Jazz Fest Returns With Weekend Celebration This November

The 7th Annual Sunny Isles Beach Jazz Fest returns to Florida's Riviera this November in a weekend celebrating the soulful sounds of jazz music.  Taking place from Friday, Nov. 14 to Sunday, Nov. 16, the event is being produced by the City of Sunny Isles Beach in partnership with the Sunny Isles Beach Tourism and Marketing Council to benefit Joshua's Heart Foundation.

"We are excited to host Jazz Fest 2014," said Sunny Isles Beach Mayor Norman Edelcup.  "This music festival weekend isn't only about extraordinary jazz.  It's an opportunity to experience all that Sunny Isles Beach has to offer.  Spend the day soaking in the sun on our white sand beach, discovering a new adventure, shopping or enjoying a spa day and then stroll over to the park on Saturday night for a cool jazz concert under the stars."

Expected to attract more than 2,000 festival goers, this year's Jazz Fest will celebrate the theme "What a Wonderful World," befitting Sunny Isles Beach where residents and guests alike enjoy world class weather, services, amenities and cultural activities.  The festival opens on Friday, Nov. 14 with a dinner event at Acqualina Resort & Spa on the Beach, located at 17875 Collins Avenue.

The main event takes place on Saturday evening at Heritage Park, 19200 Collins Avenue, featuring local jazz artists like Leon Foster Thomas, a unique force in modern jazz labeled as "the next big thing on his instrument" by All About Jazz, accompanied by the Melton Mustafa Orchestra. Other featured artists include LeNard Rutledge, named Best Jazz Artist by the Miami New Times, and celebrated vocalists Brenda Alford and Rochelle Lightfoot.

On Sunday, Trump International Beach Resort, located at 18001 Collins Avenue, will host a Jazz Brunch pairing a menu of savory Southern cuisine with soulful jazz to close the weekend festivities.

Visitors and residents alike are invited to enjoy one of Miami's most vibrant music festivals, with a jam-packed weekend of live music, culinary experiences and white sand beaches to enjoy.

The 7th Annual Sunny Isles Beach Jazz Fest is made possible with the support of the Miami-Dade County Tourist Development Council, the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

The event will benefit the Joshua's Heart Foundation, which aims to empower those in need and to improve their quality of life. This non-profit organization provides items of basic necessity, including food and water. The foundation also engages and educates communities at home and abroad about how to take steps towards fighting hunger and poverty on a global scale.

Sunny Isles Beach is ideally positioned to take advantage of everything South Florida has to offer. This eclectic destination nestled between Miami and Ft. Lauderdale is part laid-back coastal city, and part luxury resort and shopping mecca. Whether visitors are looking for a warm-weather holiday centered around golf or tennis, a family vacation with great activities for the kids, or an extraordinary and romantic wedding or honeymoon destination, look no further than Sunny Isles Beach.

Saxophonist Frank Catalano and Drummer Jimmy Chamberlin Pay Tribute to John Coltrane on Love Supreme Collective

Love Supreme Collective is the Ropeadope debut by Billboard chart-topping saxophonist Frank Catalano and longtime Smashing Pumpkins drummer Jimmy Chamberlin. Chicago-based Catalano and Chamberlin met in 1999 at the former Boulevard Cafe in Chicago's Logan Square neighborhood during a jam session that Catalano was hosting. On that night, the jam included John Medeski, DJ Logic, Steve Kimock, Les Claypool and Sugar Blue. Catalano and Chamberlin started playing together soon after for fun, mostly at each other's houses with the exception of a few Jimmy Chamberlin Complex performances. 

"I have been a fan and friend of Frank's for fifteen years and I am happy we are making music together," Chamberlin says. This collaboration has enabled Chamberlin to reconnect with his jazz roots. Fans of Chamberlin's drumming will be delighted to hear him in this context, as he demonstrates an inspired range of depth in his playing. "Jimmy is my favorite drummer and I think of him like he's my big brother," Catalano says. "We played together at the Green Mill in Chicago recently and I still have the music running through my body. It was so special, words can't properly express my feelings." 

While Catalano has nothing but joy and positive feelings for the music on Love Supreme Collective, this inspired album has its genesis in difficult circumstances. In 2011, Catalano sustained serious injuries after his car was hit by a drunk driver. He cites John Coltrane's A Love Supreme as the spiritual anchor during his difficult recovery. Catalano wanted to make a recording that embodied the love, thanks, and praise of A Love Supreme without copying it. Catalano was fortunate to have worked with A Love Supreme's legendary drummer, Elvin Jones, who Chamberlin cites as one of his biggest influences. As such, the passion felt for the material on this recording is easily apparent. 

For this project, Chamberlin enlisted his keyboardist from the Jimmy Chamberlin Complex, Adam Benjamin (Kneebody), and Catalano rounded up PolCat members Percy Jones (Brand X, Soft Machine) and Chris Poland (Megadeth) for the bass and guitar work, respectively. 

"This recording is about crafting emotions and feelings," Catalano says. "The way the guys set the tone and mood for each song is pretty unreal. Love Supreme Collective resembles a through composed contemporary classical piece with four movements." 

At Catalano's request, Ropeadope is selling the recording on iTunes as an "all or nothing," album, because, as Catalano says, "I didn't want this work separated and fragmented. While I am very proud of my recordings for the Savoy and Delmark labels, this is the first time I used my classical composition training to frame the work of a recording. This freed me to keep Coltrane, Von Freeman and other spiritual energy near my heart and under my fingers." 

Catalano is at a stage of his career as an established veteran in the Chicago jazz scene where he often hears questions regarding the direction of his music and career: What is important? What are you working to achieve? Are you happy with your situation? What are you going after? With Love Supreme Collective, Catalano chooses to answer these questions through his music. "It is easy to say words," he says, "but to express these emotions, thoughts, feelings in an instrumental album is something else. 'Psalm for John' is probably the most special on a personal level. A psalm can help inculcate belief in divine providence into one's consciousness. Percy Jones and I are bending our bass and soprano sax notes together at the same time, without discussing it, playing off each other, as if our minds are being fed this info. We did not filter or limit the music in any way.  It was a very powerful and spiritual experience. I want to thank everyone who is reading these words and checking out the music!" 

Upcoming Frank Catalano Performances with Jimmy Chamberlin:

October 26 / Iridium Jazz Club / New York, NY
November 14 / Mayne Stage / Chicago, IL
December 18 - 20 / Andy's Jazz Club / Chicago, IL

Upcoming Frank Catalano Sextet Performances:

October 10 & 11 / Andy's Jazz Club / Chicago, IL
October 31 - November 1 / Earshot Jazz Festival / Seattle, WA
November 28 & 29 / Andy's Jazz Club / Chicago, IL

Vocalist Hilary Gardner Delivers Her Debut Recording The Great City

Acclaimed vocalist Hilary Gardner grew up in Alaska, infatuated with New York City.  Her striking recording debut, The Great City, available on Anzic Records, is Gardner's love letter to her adopted hometown, great metropolises everywhere, and the big dreams they represent. The Great City is graceful, intimate and sophisticated, recalling classic records by Peggy Lee, Julie London, and Ella Fitzgerald. The album's program of songs is refreshingly broad, featuring songs both urban and urbane by composers such as Leonard Cohen, Vernon Duke, Joni Mitchell, Tom Waits, and Nellie McKay, among others. "I wanted to acknowledge the breadth of musical influences in my life while still making a cohesive musical statement," Hilary said. Elaborating on the title track, Hilary added, "I first heard this song sung by a very young Shirley Horn, and it immediately solidified and clarified what this album was going to be about. Funnily (appropriately!) enough, I was on the subway listening on headphones when this song came on for the first time. I had already been picking songs for the album, but as soon as I heard the first 'A' section of 'The Great City,' I knew I'd found the title track and thematic centerpiece of my record."

The Great City was recorded at Systems Two in Brooklyn under the guidance of Grammy-winning producer Eli Wolf, and features musical accompaniment and solos by friends and NYC jazz mainstays, Ehud Asherie (piano), Randy Napoleon (guitar), Elias Bailey (bass), Jerome Jennings (drums), Jason Marshall (saxophone), Tatum Greenblatt (trumpet) and Jon Cowherd (organ).

Hilary opens the recording with the beautifully melancholy, "No One After You", which Hilary first heard on Anjani's Blue Alert during an insomnia filled summer living in Spanish Harlem. "I immediately felt drawn to 'No One After You' because it evoked such strong memories of that time in my life: living uptown and waiting tables while trying to make this music thing happen, getting my heart broken, etc.," said Hilary. In 2010, Hilary was chosen by the Frank Sinatra estate to appear as the live, onstage singer in Tony-award winner Twyla Tharp's Come Fly Away.  Backed by a 19-piece big band, Hilary sang solos and duets with Frank Sinatra's voice in a performance hailed by critics as "wonderful" (Huffington Post), "elegant" (USA Today), and "terrific" (The New York Observer). So in a way Frank Sinatra gave Hilary Gardner her first big break, and "Brooklyn Bridge" (Sinatra premiered this Cahn/Styne song in the 1947 film, It Happened In Brooklyn), is Hilary's nod to Ol' Blue Eyes. "Aside from the fact that I immediately fell in love with the charm and sweetness of this song, I also knew I had to tip my proverbial hat to Frank Sinatra on my record." Hilary's bittersweet rendition of "Autumn In New York" is both luxurious and filled with longing. She reinvigorates Vernon Duke's classic standard with understated elegance. "The line, '. . . looking down on the city I hate and adore . . .' gave me goose bumps the first time I heard it, because it's so true. I love how urbane this whole lyric is, and it was really important to me that we recorded both full choruses so the entire lyric would be heard. Vernon Duke! He wrote the music and lyrics for this song in 1937, and I think it's the most elegant summation of the complexity of loving this city. I was so inspired by Billie Holiday's recording of this song, which is stop-you-in-your-tracks perfection. Her interpretation is so incredibly deep and subtle," said Hilary.

Other highlights on The Great City include Hilary's version of "Drunk On The Moon," the late-night ballad by Tom Waits (who Hilary fell in love with at age 12), evoking the original's snapshot of blue smoke curling around neon signs and the beauty of the urban underbelly. "This song is how the city feels after a long night, coming home after a very late gig," commented Hilary; "Sweetheart", inspired by Dan Hicks, and featuring Tatum Greenblatt on trumpet, who Hilary met while playing with Valery Ponomarev's big band together (along with Jason Marshall and Jerome Jennings); "You Came a Long Way From St. Louis" and "(Ah, the Apple Trees) When the World Was Young", both inspired by Anita O'Day; "This Little Town Is Paris," which represents Hilary's knack for finding relatively unknown gems that deserve to be heard. "The composer, Milton Schwartz, is a total mystery! I searched for any information about him, and came up with bupkis. Not even Jonathan Schwartz (legendary WNYC DJ, no relation) had any info. But what a little gem of a tune. A beautiful melody, a charming lyric . . . this is one of my favorite moments on the record," said Hilary.

The album concludes with poise and poignancy on "Manhattan Avenue."  Here, supported by Ehud Asherie's virtuosic piano accompaniment, Hilary interprets the gritty, contemporary lyric with sophisticated intimacy.  The simple grace of the song's arrangement is a tribute to the telepathic interplay between Teddy Wilson and Billie Holiday. That juxtaposition of sensibilities, timeless musicality melded with an in-the-now sentiment, poetically sums up The Great City. "We knew right away that 'Manhattan Avenue' would close the album, especially with the last line: Oh, but dreams come true/on Manhattan Avenue.  That's really the message of the album," Hilary says. "This city is complicated, frustrating, and magical, and dreams do come true here. They certainly have for me."

Hilary Gardner performs as a leader throughout New York City, appearing regularly at Birdland, Café Carlyle, Symphony Space, and Jazz at Kitano.  She is a frequent soloist with symphonies throughout the United States and has appeared with Connecticut's Ridgefield Symphony, the Minnesota Orchestra, and New York's Rochester Philharmonic. Multi-platinum recording artist Moby featured Hilary prominently on his 2009 release, Wait For Me (Mute Records/EMI). Most recently Hilary has been touring with the new vocal super-group Duchess, featuring fellow vocalists, and Anzic label-mates Amy Cervini and Melissa Stylianou. The group has just kicked off a three month residency at The 55 Bar, and will be releasing their debut album in early 2015, on Anzic Records.

Hilary Gardner - Upcoming Appearances: 

Oct 5 @ Birdland, NYC, CD Release Celebration for The Great City 
Featuring Hilary Gardner (vocals), Ehud Asherie (piano), Elias Bailey (bass), Jerome Jennings (drums), Jason Marshall (saxophone)

Oct 2 & 15  and Nov 6 & 19
Duchess Residency @ The 55 Bar, NYC
Featuring Amy Cervini, Melissa Stylianou & Hilary Gardner

Oct 9, sets at 8 & 10 PM
Duchess @ Snug Harbor, New Orleans, LA
With special guests Evan Christopher, Brian Seeger and others!


The piano-bass-drums trio has been given new life in jazz in recent years by the Bad Plus, Brad Mehldau and the late Esbjorn Svensson in EST. While Travis Wesley’s previous CD Natural Diversion paid tribute to such pianists as Red Garland, Wynton Kelly, Erroll Garner and Ahmad Jamal, Cycle By Three is a giant step forward. His playing is strikingly original and his interplay with bassist Toby Curtright and drummer Tom Marko during a program filled with colorful originals is consistently impressive.

“The music crosses over several genres,” says Wesley, “and I hope that it will be attractive not just to jazz enthusiasts but to many others. We wanted to modernize the sound of the piano trio, break some rules and display our own artistic voices. Drummer Tom Marko is very supportive, solid, and his musical comments are tasty and stylistically appropriate. Toby Curtright’s approach to the bass lies somewhere between the sounds of Scott LaFaro and Jaco Pastorius. His sound is perfect for this group’s concept.” Many of the selections have Wesley’s left hand and bassist Curtright stating the melodies together, giving the group an easily identifiable sound.

The pianist contributed six pieces to Cycle By Three. “Prelude” and “Postlude” bookend the set with identical themes (based off of Chopin’s “Prelude in E Minor #4″) that are interpreted in different ways. “Keeper Of Keys” has a melody line inspired by Bach, a floating quality and a backbeat that brings the piece to a climax. “Fading Friends” features the creative use of a hip hop groove that is soulful, joyful and a bit funky while still including a lot of improvisation. “Song For Madelynne” (dedicated to Wesley’s daughter) is the longest piece of the set. It has a catchy background and a creative drum solo by Marko. “Memoriam” is a hyper and inventive performance dedicated to Esbjorn Svensson and EST.

Bassist Toby Curtright brought in two songs that are also on Cycle By Three. Both works, “But He Himself Was Broken” and “For Us, This Is The End Of All Stories,” are instrumentals that have religious themes. The former uses Curtright’s bowed bass and repetitious figures from the piano very effectively while the latter is a ballad that is reminiscent of Pat Metheny in its harmonies. Also included on Cycle By Three is a lyrical, modernized and quietly emotional version of the Rodgers & Hart classic ”Spring Is Here.”

Travis Wesley was born and raised in Bloomington, Illinois. He began taking piano lessons when he was ten and, although he was most interested in classic rock at the time, he soon discovered jazz through his piano teacher. “Jazz is where I come from. The commitment and artistry that it takes to be able to play it is a lifelong pursuit.  It is the deepest form of artistic expression that there is.”

Wesley attended the Berklee College of Music for a year, earned a Bachelors degree in music from Eastern Illinois University, completed his Masters in 2005 and recently earned his doctorate. Wesley worked with saxophonist Willie Akins in St. Louis during 2004-05, became a well respected educator and has led his own groups for years in addition to appearing with some of the top musicians of the Midwest.

While Travis Welsey’s playing on 2012′s Natural Diversion showed his roots, Cycle By Three displays his individuality and creativity. This colorful and inventive set points the way towards the piano trio of the future.


Monday, September 29, 2014

Jazz Vibist Jason Marsalis Joins the Yamaha Artist Roster

A son of pianist and educator Ellis Marsalis and his wife Dolores, Jason began sitting in with his father’s jazz group at a young age, and eventually became a steady member of the band. He attended the New Orleans Center for the Creative Arts High School and continued to develop his skills by playing gigs with his father and brothers, Wynton, Branford and Delfeayo. Marsalis’s touring career bloomed after high school when he performed with jazz pianist Marcus Roberts. Despite his heavy tour schedule, Marsalis attended Loyola University in New Orleans and studied composition with Roger Dickerson.

“Jason continues to inspire people worldwide with his mastery as an artist and an educator,” said John Wittmann, director of Artist Relations and Education, Yamaha Artist Services Indianapolis. “With his exceptional skill on jazz vibraphone and international exposure, we look forward to a long, fruitful relationship.”

Marsalis has recorded, performed, or toured with a wide variety of artists, including Joe Henderson, Lionel Hampton, Casa Samba, Dr. Michael White, Ellis Marsalis, Thelonious Monk, Aretha Franklin, Christian Fabien and his own Latin-jazz group Los Hombres Calientes, among others. Marsalis and the entire Marsalis family received the National Endowment for the Arts Jazz Masters award in 2009, and appeared at the White House and the Kennedy Center in tributes to his father Ellis.

"Yamaha has always been reliable with instruments and the vibraphone is no exception to this,” said Marsalis, who performs with Yamaha’s three octave Gold Professional Gold Tour Vibraphone model, YV-3710 with a matte finish. “The instrument has a great, warm sound and is very comfortable to play.”

For more information, please visit



A really wonderful first album from Anthony Perkins – cut years before he shocked the screen in Psycho, at a time when he was arguably more committed to his role as a singer! Perkins is surprisingly great throughout – with a mellow, masculine approach that's a bit like Matt Dennis at the time – never overdone, but with just the right sort of inflections to really personalize the music. Tony never tries to belt it out of the park, and that's what we really like about the record – in that he's a much more honest, understated singer – a nice contrast to some of the more emotive talents on the charts at the time. Marty Paich provides the backing – in a great jazzy style that's similar to his work with Mel Torme – and titles include "April Fool", "Hit The Road To Dreamland", "How Long Has This Been Going On", "But Beautiful", "I Wish I Knew", "Accidents Will Happen", and "Better Luck Next Time". CD features 7 more bonus tracks too – including "If You Were The Only Girl", "If You'll Be Mine", "Melody For Lovers", "Fool In Love", and "A Little Love Can Go A Long Long Way". ~ Dusty Groove


Bassist Paul Brusger heads up this quartet, but the group's got strong contributions on all its four corners – tremendous baritone work from Gary Smulyan, who's becoming one of our favorite contemporary players on the instrument – plus soulful piano from Mike Ledonne, and just the right sort of swing from the great Louis Hayes! The players come together with a freshness that's noteworthy – really standing apart from even their other recent recordings – quite possibly due to the fact that every tune on the set (save one) is an original composition by Brusger, a writer with a really old school way of balancing lyricism and soul – a compositional strength that almost takes us back to Horace Silver or Duke Pearson. Titles include "In A Minor Funk", "When Will You Ever Learn", "All But One", "Bringin Home The Silver", "Waiting For The Next Trane", and "Andrea's Delight". ~ Dusty Groove


Maybe one of the most vibrant musical performances ever from the Ballister trio – for reasons that are recorded in the notes on the album – a stunning collaboration between Dave Rempis on alto and tenor, Fred Lonberg-Holm on cello and electronics, and Paal Nilssen-Love on drums and percussion! The players have a great way of swinging between sound and space – really letting things out to create the right sort of suspense, then bounding back in with the sort of bold energy that really feeds their fire – almost with a sensitivity that's surprising, given the situation! The album features one long live performance – divided up into "Front" and "Back" passages. (Yellow vinyl pressing, too!)  ~ Dusty Groove



Super Bad is right! This is hard-hitting funky James – from the badass cover right down to the extended tracks on the record, which point the way towards the hard live jamming of the classic Payback years! Everything wonderful is in place on the set – from the band's grooves at the bottom to James' on-fire vocals on the top – heard beautifully on the extended 10 minute version of the title cut "Super Bad" – which rolls through parts 1, 2, and 3 of the song! The album also includes another 10 minute funky cut – "Giving Out of Juice" – plus the classic "A Man Has to Go Back to the Crossroads", and three mellower ballads, but even they end up sounding kind of hip!  ~ Dusty Groove


A pivotal album from The Bar-Kays – a key post-Stax set, but one that's still very firmly grounded in Memphis funk! The groove definitely shows a bit more polish than before – the same sort of shift the Ohio Players made after moving to Mercury Records – but as with the Players at their best, there's still plenty of sharp edges and deeply funky moments on the record – and if anything, the shift has really given The Bar-Kays a way to evolve their sound past some of the heavier modes of the early days, without losing any of the appeal of their groove! Some cuts have some great keyboards – almost producing a spacey funk feel at points – and titles include "Too Hot To Stop (part 1)", "You're So Sexy", "Cozy", "Spellbound", "Whitehouseorgy", and the nice mellow track "Summer Of Our Love".  ~ Dusty Groove


A stunner of a soul set – put together to support the film on England's Northern Soul scene! The package is worth it for the music alone – a massive 54 tracks that stand together as one of the sweetest Northern Soul collections we've seen in years – a really great choice of material that mixes classics from the scene with the sort of newly-discovered gems that have really kept the scene going for far longer than anyone might have expected back in the 60s and 70s. All work here is of late 60s vintage, and titles include "I Gotta Find Me Somebody" by The Vel Vets, "Crying Over You" by Duke Browner, "Exus Trek" by Luther Ingram Orchestra, "Your Autumn Of Tomorrow" by The Crow, "Come On Train" by Don Thomas, "It Really Hurts Me Girl" by The Carstairs, "I Was Born To Love You" by Herbert Hunter, "She'll Come Running Back" by Mel Britt, "Little Love Affair" by Patrinelle Staten, and "You Don't Love Me" by Epitome Of Sound. And if that's not enough, the set also includes a bonus DVD – with an interview with Elaine Constantine, director of the film – plus an audio interview with legendary Northern Soul DJ Richard Sterling, and a slide show of his most cherished relics from the scene in the 70s. ~ Dusty Groove



A really tremendous album from the legendary Gil Scott-Heron – and a set that stands as one of his greatest statements from the 70s! The record is a wonderful example of Gil's work in two different styles – sweet mellow jazzy soul, and harder heavier protest poetry – the latter from his roots as a writer in touch with the streets, and the former part of a brilliant new direction that he was taking on the Flying Dutchman label. Side one features classic jazzy tracks recorded with Brian Jackson – like "Free Will", "The Middle Of Your Days", "Speed Kills", and "Did You Hear What They Said?". Side two moves over to a much sparer sound – and has Gil reciting some of his poetry with very heavy percussion, and a very righteous approach. The wisdom and knowledge of those pieces is a perfect example of the kinds of issues that were haunting black America in the early 70s – especially on the tracks "No Knock", "The King Alfred Plan", and "Sex Education: Ghetto Style". CD features 11 stunning bonus tracks – alternates of songs on the album, and some very cool "breakdown" tracks as well!  ~  Dusty Groove


Rare work from the RCA years of Sonny Rollins – all recorded during the time of his groundbreaking albums for the label in the early 60s, but never issued until this much later Japanese package! The title is quite apt – as the whole set really shows the development that Rollins brought to his music in the years after his classic album The Bridge – that open, freely expressive sound that took his already-great approach to tenor and really pushed it into something new – a bold, fresh style for the 60s that was full of power and freedom, but which took a very different direction than the music of John Coltrane or Archie Shepp. Music runs from bop standards to more thoughtful compositions – and even in the mellow moments, Rollins is really mindblowing – working in small group settings with players who include Herbie Hancock on piano, Jim Hall on guitar, Thad Jones on cornet, and either Ron Carter or David Izenzon on bass. Titles include "Afternoon In Paris", "Now's The Time", "I Remember Clifford", "Django", "When You Wish Upon A Star", "Travelin Light", and "Four". ~ Dusty Groove 


Sam Dees was one of the greatest unsung talents in 70s soul music – an important writer, arranger, and general background talent who helped so many other singers hit the heights – but who hardly ever issued much work under his own name! Apart from key singles and an important album on Atlantic, the recorded legacy of Dees isn't what it should be – given his impact on music, especially deep soul – but fortunately, sets like this have come along to correct that lack! As part of Sam's creative process, he would often record songs first on his own – not as rough demo tracks, but as surprisingly well done studio versions to illustrate the material – tracks that were often better than later versions of his tunes, and most of the other commercial soul on the market. This sweet set brings together 12 of those tracks – private recordings from Sam, of songs he'd later give to singers like Loletta Holloway, Ben E King, and others – an essential record from the great Dees, pressed up on super-heavy vinyl! Titles include the previously unissued "Married But Not To Each Other" – plus "Good Guys Don't Always Win", "Who Are You Gonna Love", "Con Me", "Only Lonely People", "False Alarms", "Standing In The Wings Of A Heartache", "The World Don't Owe You Nothing", and "Black Tattler". ~ Dusty Groove

Friday, September 26, 2014

Indie Soul Artist Gina Carey To Release Her Second Single From Upcoming Album “The Soulful Collection of Gina Carey” October 1st

It’s been 3 months since the release of Gina Carey’s first single “Through the Waters”, and now Gico Music is proud to announce the second single from her upcoming CD, “ The Soulful Collection of Gina Carey”, “Eyes of a Child” on October 1st .

Gina Carey’s “Eyes of a Child” is a smooth soulful mid tempo ballad loaded with intense emotion and deep powerful lyrics. “Eyes of a Child” talks about the importance of not losing the ability to pursue ones lifelong dreams, and challenges listeners to see life once again through the eyes of a child.

 “Eyes of a Child” was both written and produced by Gina Carey. Her husband, Recording Artist / Guitarist John Carey, contributed live bass and guitar. The single was recorded in Palm Desert California at the Gico Music Production Studios.

Throughout Gina Carey’s singing career, she has recorded 10 independently released CD’s including her latest two singles “Through the Waters” and “Eyes of a Child”.  Both singles “Through the Waters” and “Eyes of a Child” are following the footsteps of her 2011 CD release “Melodic”. Melodic” made its way to the #1 spot on the UK Soul Charts.

Gina Carey’s two latest singles, “Through the Waters” and “Eyes of a Child “seem to be trending the same manner as “Melodic”. Her first single “Through the Waters” from her upcoming CD “The Soulful Collection of Gina Carey” has already landed the #4 spot on the UK’s Danceteria’s Phatt 50 Charts and, although Gina Carey’s new single “Eyes of a Child” has not yet been released, it is also gaining superlative reviews and generous portions of Radio support.

“The Soulful Collection of Gina Carey” along with her two latest singles” will be released in March of 2015, however, “Eyes of a Child” will be available for digital download on October 1, 2014. “Through the Waters” is currently available.

Check out "Eyes of a Child on Youtube:

Jazz Crooner Lourdes Duque Baron Releases Debut Single From Her Second Album

Classic jazz is not unfamiliar to Lourdes Duque Baron as her first album entitled “Feeling Good At Any Age” contained classic cover songs with a contemporary twist. But her debut single from her new upcoming EP My Spring In Paris is a first glimpse at her original music talent. Teaming up again with producer Andrew Lane, who also produced Baron’s last album and who also frequently collaborates with jazz music royalty Ron Ellington Shy, Baron winds up with a mellow, whimsical single that recalls the passionate late-night European sophistication of traditional jazz mixed with a contemporary sound. Listen to My Spring In Paris here.

“My Spring In Paris” is a song Lane co-wrote a few years back with artist Maya Tremblay and shelved until the right music artist came along to record it. He chose this song for Baron because of “her worldliness and her deep vocal sound.” Lane also happened to compose the arrangement. It's not just the sound, it's the emotion and feel of the song…very '60s standards like Frank Sinatra’s “We Just Couldn’t Say Goodbye" or Burt Bacharach's "Walk on By", classic and romantic jazz songs.

If any music could be called accessible it's this, with its warm intimacy and classic good taste. Baron’s look and sound has been referred to as ‘timeless.’ This new single is a masterpiece and could very well prove to be so. After all, some things are timeless for a reason; they need no updating, only replicating. Time will tell. "My Spring In Paris" is now available on iTunes, Amazon and MTV.

Lourdes Duque Baron's other projects include her two bestselling books "Scripted In Heaven" and "I Called Myself Cassandra," as well as her upcoming feature film in development, an adaptation of her book "Scripted In Heaven."


Behind every musical overnight sensation are years of toiling away in rehearsal halls, recording studios and sweaty nightclubs meticulously honing one’s craft. In trumpeter Joey Sommerville’s case, it’s more than two decades of writing, recording and touring to cultivate his following and establish his presence on the national scene. On October 28, the award-winning soul-jazz musician, songwriter and producer will release a new collection of songs that he’s been working on as far back as 1993 that will comprise his fifth album, “Overnight Sensation,” slated for release on his Jayvox imprint. The title track will crank up the party when it is serviced to radio stations for airplay at the end of this month. 
Sommerville’s forte is serving as an impresario of fun and funky frolics and pretty harmonies that touch the heart. He wrote or co-wrote nine of the disc’s ten tracks and produced the entire session sharing production duties on two cuts with fusion icon Jeff Lorber. Like a ringmaster who skillfully unifies the eclectic acts of a three-ring circus, the trumpeter who also plays flugelhorn, piano, keyboards, synth bass and drum programming on the record has scripted a colorful collection of short stories with his horn serving as the common thread binding gripping chapters in contemporary and straight-ahead jazz, R&B, hip hop and rock.

“In this era of singles downloads, I still believe in the concept of albums and a cohesive body of music,” said the Atlanta, Georgia-based Sommerville, who will perform at an album launch gig there on October 30 at the Suite Food Lounge. “I’ve always wanted to record these songs and I really like them, but they didn’t fit on previous projects. They were all inspired by real life experiences thus they have meaning. The long journey that is a music career is a marathon, not a sprint, and the timing finally came around for these songs to be recorded for the first time. Surprisingly, they fit together despite being written over a long period of time and the variety in their sound and style.”

Sommerville’s trumpet seduces on the sensuous “Desire” highlighted by gossamer guitar from legend Earl Klugh. Venturing in a divergent tangent, Sommerville tosses a bone to Jeff Bradshaw on a raucous and imaginative take on “Caravan,” a scintillating thrill ride that Duke Ellington never would have seen coming. “Red Cups Up” is a playful party anthem while Sommerville surprises when he steps to the mic on the stunner “I Just Wanna Be With You” on which his husky voice quivers and cracks with raw emotion while crooning an autobiographic story of romance to his wife. A spiraling Lorber groove, “The Next Big Thing” is a tightly-wound R&B-jazz-funk mélange illumined by Sommerville’s trumpet and quirky synth along with a touch of sax from Elan Trotman. The elegiac “Rebecca of Birmingham” was penned years ago after Sommerville’s grandmother passed and is graced by a stirring blues-jazz guitar eulogy from Eric Essix. “Karma” induces reflection during the straight-ahead jazz exercise after which Sommerville closes the album with the throwback R&B instrumental “Forever” followed by the boisterous “The Passport Life.”                   

A spotlight soloist on the Grammy-nominated and Juno Award-winning album “Alegria” by Cirque du Soleil, Sommerville’s 2007 release “Like You Mean It” won the American Society of Young Musician’s All That Jazz Award in 2009. His trumpet artistry was featured on Hidden Beach Recordings’ “Unwrapped Volume 4” and he’s written and produced a Top 20 single for Bob Baldwin and an album by Rhonda Smith that features performances by Prince, Sheila E. and gospel icon Fred Hammond. Sommerville is a high-octane performer who is a regular at festivals and on music cruises. Outside of music, he can be heard voicing spots for BMW, Coke, Ford, the U.S. Army and more. 

The songs contained on the “Overnight Sensation” album are:
“Overnight Sensation”
“Red Cups Up”
“I Just Wanna Be With You”
“The Next Big Thing”
“Rebecca of Birmingham”
“The Passport Life”



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