Friday, June 29, 2018

Electrifying Eight-Piece Wonder-Band The Suffers Serve Up Their Delicious Blend Of Gulf Coast Soul on Everything Here


There is a contagious and combustible energy every time the eight-piece wonder-band The Suffers steps on the scene. NPR's Bob Boilen attributes the band's allure to their "Soul, straight from horn to heart." He adds, "This band is on fire when it's in front of an audience...but the intensity of their shows are also captured in the studio." Following The Suffers' electrifying late night TV debut on Letterman in 2015, David Letterman exclaimed, "If you can't do this, get out of the business!" There is something undeniable about The Suffers (whose name is a reference to the 1978 Jamaican film Rockers starring Leroy "Horsemouth" Wallace, Jacob Miller and Burning Spear, among others), that instantly hits home with their audiences. "We make music for all people," says lead vocalist Kam Franklin. "At this point, we've played all over the world and one thing is certain - if the music is good, the people will enjoy it." Since 2011, the H-Town heroes have been on a steady grind and have no plans of stopping. It seems the secret to their success is simple. Keyboardist Patrick Kelly confides, "There is a universal groove in the music that we play," while bass guitarist Adam Castaneda adds, "I don't think any of us are trying to impress anyone with our technical abilities, we just want to make them dance."

July 13, 2018, Shanachie Entertainment will release The Suffers' highly anticipated label debut Everything Here. Guitarist Kevin Bernier says, "Everything Here, as a whole, explores the many aspects of who we are as people through songs. We've had crushes on people, we've had our hearts broken, and we've moved through all the difficult times so that we can experience the joyful moments."  The Suffers have got everything you need and there's no need to look further - a heaping dose of soul, a dash of reggae, a splash of jazz, a pinch of salsa, a hint of rock 'n' roll and a dollop of hip hop and funk - and that is just a few ingredients simmering inside their magical Gulf Coast soul. Percussionist Jose Luna says, "The glue that holds us together is our experience. We have all played with so many bands and musicians through the years that we have learned how not to step on each others toes."  The Suffers however will get your feet moving on Everything Here, a riveting collection of 15 originals that shows mad love for Houston (there are even cameos from Houston rappers Paul Wall and Bun B), explores the many sides of love, celebrates the virtues of individuality, reminds us of the destruction of Harvey and resilience of the human spirit  and declares love for their mothers.  All of these themes coalesce into one soulful soundtrack.   The band co-produced the album with John Allen Stephens and Zeke Listenbee co-produced on several tracks.   Trombonist Michael Razo explains, "One of our goals was to have the songs on the album flow or tie into each other. Like creating an album where you just press play and let it go without having to skip to the next song."  The album's new single is "Do Whatever," opens with tight and soul-stirring horns, thumping bass lines and Kam laying down the law singing "Full on disclosure, I'm not here for exposure. I came to have a good time so let me shine....Do whatever feels right all night, alright, alright!"

The Suffers' drive coupled with their can't lose attitude and serious chops have taken them from their beloved Houston to the world stage (they are the first band to break nationally out of Houston in a long time). "We're a testament to teamwork and camaraderie resulting in things working out even when the odds are against a positive outcome," says drummer Nick Zamora. "The wonderful thing about music is that it is ultimate universal communication," reflects trumpeter Jon Durbin.  The Suffers have played sold out shows in Japan and Latin America, turned out audiences at the Newport Folk Festival and Afropunk Festival and made believers of just about anyone who has experienced their live shows.  With the release of Everything Here, The Suffers are bound to further endear die-hard fans and make believers of new ones. "I'm most proud that we are still here going at it," concludes Kam Franklin. "All the travels, new friends, and fans we've gained along the way are just an added bonus to a much bigger dream."


Orrin Evans and the Captain Black Big Band Returns with Raucous Live Recording, Presence


The influence of the late playwright and educator Donald Evans has always loomed large over the Captain Black Big Band. Pianist and bandleader Orrin Evans named the band for his father’s brand of pipe tobacco, the aroma of which always announced his father’s presence in the house. The big band’s third album, Presence, is a celebration of the warmth and spirit of the elder Evans, but more importantly it’s quite simply a celebration – an approach to not only music but life that Evans inherited directly from his parents.

Presence, due out September 21 via Smoke Sessions Records, features a scaled-down 11-piece version of Evans’ long-running big band, recorded live at a pair of venues in his hometown of Philadelphia: Chris’ Jazz CafĂ© (where the band made its debut in late 2008) and South Jazz Parlor. The line-up features a core group of collaborators that the pianist tends to refer to as “a family” or “a village” more than a band. Most of the musicians on this recording have played with Captain Black for years, while many of them have contributed compositions and arrangements to the ensemble’s ever-growing book.

The album’s cover art, drawn by a close friend, depicts the face of Donald Evans gazing upon the band, his enlivening spirit embodied by the diversity and raucous sense of joy that Captain Black always brings to the stage. “There was always a party in my household,” Evans says. “I always looked forward to events at the house, where guests would gather around the piano in our living room. That leads into how I approach the Captain Black Big Band. I try to create that party and to have people in the band that are fun seekers.”

That pervasive sense of familial camaraderie shines through the music on Presence, especially in the band’s smaller, tighter incarnation. The band’s downsizing can be explained in part by practical considerations: it makes an easier fit for their long-running stint on the intimate stage of Smoke Jazz & Supper Club, for one. It’s also been easier to manage as Evans’ schedule has become more crowded since joining The Bad Plus in January.

But the 11-piece band also represents a distillation of the larger ensemble, pared down to a close-knit core of players that know each other very well, can navigate the music with the spontaneity of a small band, and simply enjoy the experience of sharing the stage together.

“I look for something different in the Captain Black Big Band,” Evans says. “I look for the ability and desire to be part of a family. I actually get disappointed sometimes when other people don’t see the appeal of that. You have to be ready and down to be a part of this. That all stems from what I saw growing up in my household.”

The Captain Black Big Band’s taut, boisterous energy bursts out of the gate with trombonist David Gibson’s aptly-named “The Scythe.” The tune’s keen-edged theme evokes a ferocious round of soloing from the composer as well as saxophonist Troy Roberts, trumpeter Josh Lawrence and the leader, recently name “Rising Star Pianist” in the 2018 DownBeat Critics’ Poll.

Robert’s vigorous tenor leads the way into Eric Revis’ bracing “Question,” originally recorded by Tarbaby, the collective trio that Revis and Evans share with drummer Nasheet Waits. Evans opens John Raymond’s “Onward” with a meditative intro that lends a spiritual overtone to the piece’s sense of inspirational uplift, answered by the composer’s swelling trumpet solo, which soars ever higher as it draws strength from the band’s powerful backing.

Evans’ own “When It Comes” finds the band teasing out its raw edges, enjoying a playfully tempestuous give and take. Raymond’s blustery solo rides the avalanche of Anwar Marshall’s roiling rhythms, while Evans adds incisive interjections. Another Evans original, the spring-loaded “Flip the Script” prompts a spirited dialogue between Roberts and alto saxophonist Caleb Curtis. The surging groove of Roberts’ “Trams” is established with an audience participation clap-along, parrying the roaring horn thrusts of the tune.

Evans tenderly establishes the mood for his own “The Answer,” while Lawrence’s explosive title track, originally recorded on his own album Color Theory with Evans in the band, ends the set on a characteristically vibrant note. All that’s left is a brief, ramshackle reprise of “When It Comes” that sends listeners off with the band’s rambunctious clamor in their ears.

“In all the bands I lead, my concept is allowing for the unknown to happen,” Evans concludes. “This is a real, raw and honest representation of what happened on stage on those nights.”

Orrin Evans and the Captain Black Big Band · Presence
Smoke Sessions Records · Release Date: September 21, 2018


Thursday, June 28, 2018

Louie Vega – NYC Disco


The mighty Louie Vega pays tribute to the New York scene that gave him a start – and which he helped transform with his classic club work of the past few decades! The set's a fantastic celebration of the spirit of disco, but is delivered with a very contemporary vibe – not straight house, but that warmer blend of the music that first started hitting the Paradise scene in the second half of the 80s – when folks weren't afraid to go back and borrow some of the best moments of the 70s, and work them into leaner grooves for the new generation. 

Vega was a key part of that generation – and there's a spirit here that's very much in keeping with his early Masters At Work material, especially when it got collaborative – as the record features work from guests, and a lot of classic tracks that are transformed in Vega's hands. 

Louie mixes lots of new music with his remixes – so the album is quite different than a remix record – and new guests include Josh Milan, The Martinez Brothers, Patrick Adams, Anane, Rochelle Fleming, Barbara Tucker, DJ Jazzy Jeff, and Tony Touch – amidst older work by John Davis, Sylvester, Luther Vandross, Rhyze, Greg Henderson, and Klassique. 27 tracks in all – including "Rebel Nation" by Louie Vega with Patrick Adams & Cloud Two, "He Promised Me" by Bebe Winans, "Love Having You Around" by Louie Vega, "Get Myself Together (Louie Vega rmx)" by Luther Vandross, "Dreamin (Louie Vega rmx)" by Greg Henderson, "This Beat Is Mine" by Vicky D, "Cosmic Disco" by Dub Disco Band, "Get With The Funk" by Louie Vega, "Dance (Disco Heat) (Louie Vega rmx)" by Sylvester", "Somebody's Loving You (Ray Reid 12" mix)" by Klassique, "Let's Do It (Louie Vega interpretation)" by Leroy Burgess & Convention, and "Gotta Get Outta Here" by Lucy Hawkins.  ~ Dusty Groove

VOCALIST ARIANNA NEIKRUG, WINNER OF THE 2015 SARAH VAUGHAN INTERNATIONAL VOCAL COMPETITION, MAKES HER CONCORD JAZZ DEBUT


After winning the 2015 Sarah Vaughan International Vocal Competition then performing at the Montreal International Jazz Festival the following year, 25-year-old singer and songwriter Arianna Neikrug makes her grander introduction to the music world with the August 24, 2018 release of Changes on Concord Jazz.

Produced by the Grammy-winning pianist and arranger Laurence Hobgood, Changes displays Neikrug’s gift for interpreting tunes from the Great American Songbook and more recent pop and R&B classics from the ’70s. The disc also contains two originals that reveal some of Neikrug’s journey from her hometown of Los Angeles to New York City, where she argues she truly belongs.

Hobgood, who recruited his regular trio mates – drummer Jared Schonig and bassist Matt Clohesy – for Changes, describes Neikrug as “an intellectual and complex person.” “I can honestly say that she’s the most theoretically informed singer that I’ve ever worked with – in terms of just knowing music,” Hobgood says. “She understands the basic structures of music and how to talk about it. She has a healthy combination of being strong-willed with being totally open-minded to suggestions. Those are attributes of a singer with a long career.”

Changes begins with a hypnotic reading of “No Moon at All” on which Neikrug initiates by pairing her comely soprano with Hobgood’s economical piano accompaniment. Soon after the rhythm section enters the fray and buoys her along as she demonstrates her assured sense of swing, bluesy phrasing and remarkable scatting acumen.

Neikrug’s graceful rendition of “Spring Can Really Hang You Up the Most” is the second of the Great American Songbook compositions to appear on Changes. Neikrug says that she started singing the Fran Landesman and Tommy Wolf tune when she was only 17, but with little understanding of its emotional subtext. “How could I? First of all, living in Los Angeles, I only had summer my whole life. So, what is spring?” Neikrug laughs. “After I first moved to New York, I finally understood what spring was all about. I found out why so many songs are written about the weather and the seasons, because they make a huge difference in your mental and emotional state.”

The disc shift gears with Neikrug’s divine makeover of Al Green’s R&B staple, “Let’s Stay Together” on which she sings the pleading lyrics and succinct melody atop Hobgood’s beguiling arrangement. Hobgood suggested the song to Neikrug during one of their first think-tank sessions while they were scanning Rolling Stone magazine’s “100 Best Songs.”

Neikrug’s burgeoning songwriting talent gets the spotlight with “Changes,” the disc’s title track. Spurred by a lithe samba rhythm, the song touches on the difficult period between graduating from Frost School of Music at the University of Miami with a bachelor of music degree in studio music and jazz vocal performance and applying for the Sarah Vaughan International Vocal Competition. “I was going through my first major depressive episode,” she recalls. “I was experiencing a rough time because I didn’t have any structure or job yet. It was weird for me to be out in the real world and think, ‘Okay? What do I do?  How do I make a schedule? Where do I go?’”

Now in hindsight, Neikrug sees that struggling, transitional period as a blessing because it afforded her some of life’s big lows and highs, which enabled her to write more convincing life-based songs and interpret emotionally gripping standards. “Having to build yourself up when you’re down is not an easy thing to do” she says. “But how else are you going to write music from the heart and emote these big experiences that you can put into your art? In the worst way, it’s kind of cool.”

Changes continues with the first of two intriguing mash-ups, “Never Let Me Go/I’ll Be There.” Neikrug and Hobgood delve into Ray Evans and Jay Livingston’s 1956 standard as a sparkling duet before the rhythm section slides in for a sumptuous rendition of the Jackson Five’s Motown gem. “I’ve been pitching ‘I’ll Be There’ as just a lush jazz ballad to a number of singers for about 15 years. Nobody has bit until now,” Hobgood says.

Neikrug returns to jazz standards with a blistering version of “The Song Is You,” on which she flaunts her rhythmic and tonal agility before delivering her second original “New York Song,” articulating her long desire to move to the Big Apple then returning to standard repertoire again by digging deep into the jazz canon for her bewitching, R&B-laden refurbishing of “After You’ve Gone,” a Henry Creamer and Turner Layton classic that’s 100-years-old. At the Sarah Vaughan International Competition, she’d performed a vastly different, more up-tempo treatment of “After You’ve Gone” during the final round.

Neikrug then performs what she argues is the song that sealed her win at that aforementioned competition – Bob Dorough and Terrell Kirk’s “Devil May Care.” Again, she explains that Hobgood’s mesmeric arrangement differs from the one she performed at the competition, which she described as “sassier and more down-home blues.

Changes concludes with its second mash-up – two Joni Mitchell songs “Help Me/Be Cool.” After college graduation, Neikrug went on a Joni Mitchell binge, beginning with the 1971 landmark LP, Blue. “[‘Help Me’] sounds almost as if it were written for my voice,” Neikrug says. “The key is perfect; the melody is perfect. The song is challenging enough that I had a desire to learn it.  But it was also about storytelling and being young and full of angst.”

After agreeing on “Help Me,” Hobgood suggested intertwining it with “Be Cool.” Neikrug had her reservations though. “To be honest, the first time I heard it, I said, ‘OK, could you give me something a little bit harder to sing?’” Neikrug laughs. “But Laurence wanted to do a mash-up. It almost resembles how I wish pop music sounded. It still sounds really hip but it’s challenging, eye-opening and re-imaginative.”

Blending the right amount of reverence for the jazz tradition with a knowing glance to modern pop and R&B classics, sprinkled with two inviting originals, Changes will delight both jazz purists and novices without making any unwise artistic compromises as she superbly negotiates the glories of jazz’s past with a wide-eyed optimism that betrays her tender age. “When you’re recording your debut album, fresh out of college, you’re not exactly sure how you want to present yourself,” Neikrug explains. “It was easier figuring that out by discovering who I didn’t want to be. I’m just trying to take the jazz tradition and move it in my direction.”


 




 

Pat Metheny Elected into the Prestigious Royal Swedish Academy of Music


Founded in 1771 by King Gustav III, the Royal Swedish Academy of Music is one of the Royal Academies in Sweden. The academy's purpose is to promote art music and musical life. It shall thus follow developments within Swedish and international music circles, take initiatives to advance musical culture as well as support education, research and artistic development in music's various fields.

The news comes just months after the guitarist, composer, and bandleader received the National Endowment for the Arts Jazz Master Award (the United States’ highest national award for a jazz artist) as well Jazz FM’s “PRS For Music Gold Award” for lifetime achievement.

Additionally, the 20-time GRAMMY® Award winner kicks off a 24-city European tour this week with Antonio Sanchez, Linda May Han Oh, and Gwilym Simcock, followed by a U.S. tour this fall. Complete tour schedule listed below.

Royal Swedish Academy of Music Voting Board:
“The American Guitarist and Composer Pat Metheny is one of the world's most significant living jazz musicians. He has an unmistakable sound and is an improviser with what appears to be an infinite flow of ideas. He has collaborated with most of the biggest names in the jazz, but also with composers and artists like Terry Riley, Steve Reich, Joni Mitchell and David Bowie. His discography is extensive. Metheny has driven many types of projects in the course of his career, both traditionally and experimentally. Some with a wide, inclusive appeal, others with a narrower, more searching side. Pat Metheny is also a diligent writer in all topics that appeal to music.”

With his addition to the Academy, Metheny will join a select group of the most renowned and influential musicians/composers in the world, including, but not limited to: Marilyn Mazur (Composer, Musician), Palle Mikkelborg (Jazz musician, composer), Lars-Ulrik Mortensen (Cembalist, Conductor), Riccardo Muti (Conductor), Paul Mega (Conductor), Susanna Mälkki (Conductor), Truls Dark (Cellist), Jon Nordal (composer), Per Nørgård (composer), Sakari Oramo (Conductor), Roger Parker (Musician), Krzysztof Penderecki (composer), Arvo Pärt (composer), Steve Reich (composer), Wolfgang Rihm (composer), Gennady Rozhdestvensky (Conductor), Poul Ruders (composer), Kaija Saariaho (composer), Aulis Sallinen (composer), Esa-Pekka Salonen (Conductor), Peter Schreier (Chamberlain), Heinrich W. Schwab (Prof., Dr. Phil), Leif Segerstam (Chief Captain), Grigory Sokolov (Pianist), Leon Spierer (Concertmaster), Simon Steen-Andersen (Tonsettare), Atli Heimir Sveinsson (Tonsettare), Bent Sørensen (composer), Olav Anton Thommessen (composer), Péteris Vasks (composer), Christian Zacharias (Conductor).

PAT METHENY TOUR DATES:
Jun 28 Figueira de Foz, Portugal
Jun 29 Lisbon, Portugal
Jun 30 Castelo Branco, Portugal
Jul 1 Porto, Portugal
Jul 2 Madrid, Spain
Jul 4 Valencia, Spain
Jul 5 Cordoba, Spain
Jul 6 San Javier, Spain
Jul 7 Barcelona, Spain
Jul 8 Vitroles, France
Jul 10 Merano, Italy
Jul 12 Kiel, Germany
Jul 13 Dusseldorf, Germany
Jul 14 Rotterdam, Netherlands
Jul 16 Stuttgart, Germany
Jul 17 Gardone Riviera, Italy
Jul 19 Perugia, Italy
Jul 20 Rome, Italy
Jul 21 Borgia, Italy
Jul 22 Molfetta, Italy
Jul 24 Pescara, Italy
Jul 25 Arona, Italy
Jul 26 Aosta, Italy
Jul 28 Marciac, France
Aug 2 Great Barrington, MA
Aug 3 Newport, RI
Aug 4 Newport, RI
Aug 5 Portsmouth, NH
Sep 26 Lebanon, NH
Sep 27 Ridgefield, CT
Sep 28 Morristown, NJ
Sep 29 Stony Brook, NY
Sep 30 Beverly, MA
Oct 2 Burlington, VT
Oct 3 Portland, ME
Oct 5 Philadelphia, PA
Oct 6 N Bethesda, MD
Oct 7 Red Bank, NJ
Oct 9 Toronto, CAN
Oct 10 Ann Arbor, MI
Oct 11 Carmel, IN
Oct 12 Chicago, IL
Oct 13 Brookfield, WI
Oct 14 Madison, WI
Oct 16 Boulder, CO
Oct 17 Denver, CO
Oct 19 Portland, OR
Oct 20 Vancouver, Canada
Oct 21 Bremerton, WA
Oct 22 Eugene, OR
Oct 24 Sacramento, CA
Oct 25 Oakland, CA
Oct 26 Los Angeles, CA
Oct 27 San Diego, CA
Oct 28 Santa Barbara, CA


New Releases: Gerald Alston; Jason Palmer – Jason Palmer At Wally’s Volume 1; Skymark - Vitrual Stars


Gerald Alston

Brilliant solo work from Gerald Alston – the first album issued under his own name, after a strong legacy of work with The Manhattans! Alston's vocals are wonderful here – beautifully crafted, with a sense of maturity and feeling that most of his younger soul contemporaries couldn't match – polished with the kind of class that kept The Manhattans strong well into the 80s – but updated nicely with some of the more adult soul modes of the latter part of the decade. Production is by Stan Sheppard and James Varner, who know to keep things laidback to keep Alston at his best – and titles include "Stay A Little While", "You Laid Your Love On Me", "I've Waited All Night", "Activated", "We've Only Just Begun", and "I Come Alive When I'm With You". (Part of the Disco Fever 40 series!)  ~ Dusty Groove


Jason Palmer – Jason Palmer At Wally’s Volume 1

Trumpeter Jason Palmer has given us some great creative projects in recent years – but this time around, he's in a wonderfully back-to-basics mode – working with an excellent combo in a small club in Boston – on long tracks that really stretch out and let us hear his imaginative skill on solos! The core group is a quintet – with the excellent Noah Preminger on tenor, and Max Light ringing out nicely on guitar – driven by rhythms from Simon Willson on bass and Lee Fish on drums – players who keep a nice sense of structure in the tunes, even while things are open enough to really let the solos expand! Chris McCarthy plays Fender Rhodes on one track on each volume – and all titles are great originals by Palmer – really showing his dynamic vision as a leader. Titles on this first volume include "Gabby", "Kemerovo", "Preservation Of The Lower 9th Ward", "Be Aware", and "Stop Drop & Roll". ~ Dusty Groove

Skymark - Vitrual Stars

Skymark is Marc Friedli – a European keyboardist with a real love of vintage instruments – Arp, Moog, Prophet, Roland, and more – all of which he brings to bear nicely in this very groovy set! As with his previous record, the vibe here is kind of late 70s/early 80s – some warmer keyboard modes, some a bit more electro – as are the vocals on the album, which are slightly more prominent than before, but often highly processed – so that they're maybe a lot more down in the mix than the keyboards, with deeper tones that are more likely to slide into the basslines and rhythms. Yet although understated, the vocals also maybe give the album more of a spiritual core than ever before – on titles that include "Yesterday's Flame", "The First Special Feeling", "Insomnia", "Our Shelter", "The Center Of My Joy", and "The Power Of A Positive Smile". ~ Dusty Groove

Dave Grusin - 5 Original Albums (One Of A Kind / Mountain Dance / Out Of The Shadows / Night Lines / Cinemagic)


Five full albums from keyboardist Dave Grusin – packaged together in a single set, with tiny LP-styled covers for each CD! First up is one of our favorites – the album One Of A Kind, which is a sweet funky fusion outing that really sums up some of the best Dave Grusin modes of the 70s! This excellent LP from 1977 really captures the best of the Grusin soundtrack style – heard in the 70s on shows like Barretta, or in films like Three Days of the Condor – mellow fusion with a tightly arranged style – lots of nicely isolated instrumentation, and the kind of spare and spacey grooves that you'd expect from a hip CTI session! Musicians include Grover Washington on saxes, Dave Valentin on flute, Ron Carter on bass, and Steve Gadd himself – plus Grusin on a lot of sweet keyboards – and titles include great cut "Modaji", plus "Heart Is A Lonely Hunter", "Catavento", and "Montage". 

Mountain Dance has a similar vibe, too – nice and lean – and one of Dave's funkier albums of the time – with cuts that include "Captain Caribe", "Rondo", "City Lights", "Rag Bag", and "Mountain Dance". 

Out Of The Shadows has a nice sort of vibe – not the too-smooth later sound of the GRP label, and instead this nice balance of electric keyboards and acoustic piano – delivered with help from key contemporaries who include Lee Ritenour on guitar and Steve Gadd on drums! Production is nicely understated – and titles include the mellow stepper "Serengeti Walk", plus "Last Train To Paradiso", "She Could Be Mine", "Crystal Morning", "Hokkaido", and "Sweetwater Nights". 

Night Lines is a record that has Dave Grusin elevating a bit more into the jazz/soul mainstream – as the set has the keyboardist working with a few more crossover modes than before, but all in a way that seems to demonstrate his many years in various kinds of music! The album was a key entry in the new sound of fusion during the mid 80s – maybe a bit sharper than later smooth jazz, but with efforts from some leading lights of that generation to come – including David Sanborn and Marcus Miller. Phoebe Snow sings a bit on the record – which might provide her with one of her more exciting settings in years – and titles include "Power Wave", "Thankful N Thoughtful", "Night Lines", "Tick Tock", "Bossa Baroque", and "Secret Place". 

Cinemagic is a famous pairing of the keyboards of Dave Grusin with the orchestrations of the London Symphony Orchestra – served up at a level that made the record a giant hit for so many folks who wouldn't have touched a Dave Grusin record a decade before! The tunes are a bit different than usual – all film tunes, as you might expect, delivered in a way that's not afraid to lean on all the sentimental currents of the tunes – which come from films that include Tootsie, Heaven Can Wait, The Heart Is A Lonely Hunter, Three Days Of The Condor, and The Goonies. Titles include "Condor", "An Actor's Life", "It Might Be You", "Heaven Can Wait", "The Heart Is A Lonely Hunter", and "Goodbye For Cathy". ~ Dusty Groove



New Releases: The Stanley Clarke Band – The Message; Girl Named Nino – Moonlight Daughter; Leata Galloway - Tenderly


The Stanley Clarke Band – The Message

Bassist Stanley Clarke is right on message here – serving up the kind of cosmic sounds and soulful styles that he first brought to his music many years back! This time around, Clarke's got some great help onboard – keyboardist Cameron Graves, who we've really loved from his own recent work – really soaring alongside Stanley's always-deft work on electric bass – more dynamic here than we might have expected, and also given some strong direction from drummer Mike Mitchell. Beka Gochiashvili plays acoustic piano in the core quartet – and the album also features contributions from Skyeler Kole, Steve Blum, and Trevor Wesley on vocals – and Doug E Fresh on a bit of beatbox too! There's lots of surprises along the way, and titles include "The Rugged Truth", "Lost In A World", "Enzo's Theme", "To Be Alive", "And Ya Know We're Missing You", "Combat Continuum", and "After The Cosmic Rain/Dance Of The Planetary Prince". ~ Dusty Groove

Girl Named Nino – Moonlight Daughter

Captivating, genre-defying indie soul from Girl Named Nino – a girl originally from Tbilisi, Georgia who has long called the Chicago area home, has a sound as far reaching as her travels, but it still feels intimate and personal! Her voice is front-and-center throughout Moonlight Daughter, in both the vocals and in the distinctive songcraft, and it's strong on both fronts. As a singer, she has a way of balancing classic jazz vocal influences with more modern soul, global/multi-lingual pop and even a bit of hip hop. Likewise with the songs and the production. Nino and partner Pablo Gordy – who together handle all of the writing, arranging, production and instrumentation – have this knack for layering styles and sounds, but with such strong songwriting core, they can no doubt play even the most lushly-produced songs here in a stripped down setting without losing the heart and soul of it. Titles include "Moonlight Daughter (Flowers To The Moon)", "Whiskey & Cigarettes (Chaser)", "Little Lady (Keep Your Lights On)", "Four Letter Words (Siren)", "The Revolution (Lost At The Bazaaar)", "Jukebox Joint (Heard You, Watched You)", "As We Love (Asa Nisi Masa", "Valentine" and "Deda (Mother)". ~ Dusty Groove

Leata Galloway - Tenderly

Leata Galloway is a name you might recognize from a classic soul album in the 80s – but here, the singer's moved into quite strong jazz vocal territory – working with small combo backings on most numbers, and working through a set of classic tracks that all have a very nice vibe! The shift is quite a surprise from Leata's earlier work – and it's great to hear that raspy, crackling style in a mode that's much more unadorned – with plenty of warm basslines from Larry Ball, who co-produced and arranged the set with Galloway – and musicians who include Phil Upchurch on guitar, Frank Zatoli on piano, and Ron Brown on tenor. Titles include "All Blues", "Moondance/Fever", "Desafinado", "I Want To Be Loved", "Yeah Yeah", "Tenderly", "Stella By Starlight", and an excellent version of Ahmad Jamal's "Ahmad's Blues". ~ Dusty Groove



Wednesday, June 27, 2018

New Releases: Al Di Meola - Elegant Gypsy & More Live; John McLaughlin - Live At Ronnie Scott's; Michael Sarian & The Chabones - Leon


Al Di Meola - Elegant Gypsy & More Live

With his acclaimed current studio album 'OPUS', Al Di Meola not only topped the TOP 5 of the Official German Jazz Album Charts and burst to #1 position in the US Contemporary Jazz Album Charts, but once again proved his status as a 'guitar superstar'. His curriculum vitae is full of exciting musical moments and incredible works and he still finds ways to challenging himself: he is a jack-of-all-trades, who does not take a real break in supposedly quieter times. Al Di Meola is burning for his passion - the music. With 'Elegant Gypsy & More LIVE'; partly recorded on his very successful 'Elegant Gypsy 40th Anniversary'-US Tour in 2017, Al Di Meola proves once again that jazz music tremendously 'rocks'. Above all, for him it is also a journey back to his musical beginning, which he brings to new heights with fantastic versions of songs like 'Race With Devil On Spanish Highway', 'Flight Over Rio', 'Midnight Tango' or 'Egyptian Danza'. Available on CD and Digital.

John McLaughlin - Live At Ronnie Scott's

Live at Ronnie Scott's is a single vinyl that features 6 songs from the CD. The music has been completely remastered for this release. It features all the Mahavishnu Orchestra songs that appear on the CD. The venerable London jazz club and its charismatic namesake gave so much to McLaughlin s career, the roots of which extend as far back as McLaughlin s stint as a member of the club s house band in the 1960s. Since then, his pioneering spirit, instrumental virtuosity, and improvisational fearlessness have taken him around the world, put him on stage alongside fellow giants such as Miles Davis and Tony Williams, and has given listeners a series of compelling, revolutionary recordings that have redefined improvised music for generations to come. Limited Edition of 1,000.

Michael Sarian & The Chabones - Leon

Albeit mostly playful, there's a common stigma against gingers (people with red hair) throughout the world, and my home country Argentina is no different. Although they don't believe gingers have no soul, and although they don't believe gingers are vampires; they do believe they're bad luck. There's this saying, Colorado Yeta, which roughly translates into 'bad luck ginger' (yeta = bad luck; = yeta, Colorado = ginger). To be honest, I never felt discriminated against because of my red hair, but I did stand out. Originally, the album title was going to be Colorado Yeta, which is the more introspective track, melancholic, almost like a ballad. But I knew that non-Spanish speakers would have a hard time pronouncing and understanding that title. Additionally, I didn't want the whole album to have this defeatist vibe to it, so I thought about what positive twist I could give the fact that I am, in fact, a ginger. Enter LeĂłn (lion). Yes, I have long red hair and a beard, but the lion speaks to more than just my, or anyone else's, appearance. It speaks to anyone who's ever felt 'less than' for any reason, because they too can be a lion. The lion represents anyone who grows into who they are, and owns it. The album, although not chronological, is somewhat autobiographical. Throughout the title track, we try to blur the line between playing in duple and triple meter, and eventually get into a chacarera sort of feel that does exactly that. It doesn't hurt that Jim Piela plays an incredibly beautiful solo that makes us stop worrying about what meter we're in. The second track, No 3, is a feature for our drummer, Josh Bailey. The rest of the band holds out chords (voiced without the third), giving him plenty of space to play freely. The top voice of the chord progression spells out what I call the 'colorado yeta' melody, which also appears in the intro to Casquito, and in a way prepares the listener for it. - Michael Sarian

 


New Releases: Strunz & Farah – Tales Of Two Guitars; Alain Mallet – Mutt Slang; Pete Malivererni Trio - Heaven


Strunz & Farah – Tales Of Two Guitars

All new material in Strunz & Farah's new studio recording, Tales of Two Guitars, the latest chapter in the continuing story of the two virtuoso guitarists who have created an original and enduring body of guitar music. Rhythmic and colorful, and recorded with 11 guest musicians, Tales is a musical storybook of a fully evolved style of playing and composing which has been highly influential among guitarists everywhere. The new recording has 13 original pieces, full of contrasts both compositionally and instrumentally, ranging from the rhythmic to the romantic to the jazz-influenced, incorporating in varying degrees their classic mix of Latin, Middle Eastern and Jazz influences.

Alain Mallet – Mutt Slang

After working 25 years as a busy pianist and composer, Alain Mallet finally decided it was time to put out a CD that would truly capture his unique voice and outlook. Mallet has been a sideman for such high-profile acts as Madeleine Peyroux, Phil Woods, and Paul Simon, and his compositions have been recorded by jazz greats like Gary Burton, Dave Samuels, and Paquito D’Rivera, among many others. But until now, he’s never recorded his own CD as a leader. Mutt Slang is a genre-bending, eclectic project suffused with the diverse cultural influences that have shaped Mallet’s musically adventurous spirit. The project reflects Mallet’s deep philosophical views on art and culture, and was influenced by Miles Davis’ 1958 sessions, Jacques Brel, the Globe Unity Orchestra, Peter Gabriel, Elis Regina, Keith Jarrett’s American quartet, Stevie Wonder, Rachmaninov’s Third Concerto, and Salif Keita, to name just a few. The rhythm section comprises some of the top players on the scene today, including veteran percussionist JAMEY HADDAD (Dave Liebman, Simon Shaheen, Paul Simon), bassist Peter Slavov (Joe Lovano), and drummer Abraham Rounds (Meshell Ndegeocello, Seal). Mutt Slang is a two-CD set. The first CD is a standard, high quality, stereo recording, while the second CD was engineered with additional audio channels for surround sound by Elliot Scheiner, the multi-Grammy winning music producer and engineer. This is a project that seemingly embraces the whole world, yet it’s articulated with a decidedly American jazz accent by a masterful pianist joined by a coterie of veteran and up-and-coming jazz luminaries.

Pete Malivererni Trio - Heaven

Pianist, composer, educator Pete Malinverni has been a fixture on the New York City Jazz scene since moving there in the early 1980s from his hometown of Niagara Falls, NY, where he'd begun Classical Piano studies at the tender age of six. Since moving to NYC, Pete has recorded fourteen times as a leader, including in solo piano, trio, quartet, quintet, big band and choral contexts. All his recordings have been received by critics and the public alike and have seen heavy airplay on all platforms, from the radio to the internet. Throughout his time in NYC, Pete has established performing, recording and inspirational contact with a host of masters on the scene there, including Joe Lovano, Vernel Fournier, Charles Davis, Mel Lewis, Dennis Irwin, Jon Faddis, Karrin Allyson, Steve Wilson and many, many others. These collaborations have happened in studios and on stages like the Carnegie Recital Hall, the Caramoor Festival, the Piccolo Spoleto Festival, the Rome Music and Image Festival, the Santiago (Chile) Jazz Festival and others, as well as in New York's great clubs, such as the Village Vanguard, Birdland, the Blue Note, the Village Gate, Bradley's, Smalls and Mezzrow. These experiences, along with his work in inspirational settings such as the Devoe Street Baptist Church in Brooklyn (Minister of Music), the Westchester Reform Temple in Scarsdale, NY (Pianist and Conductor) and the Pound Ridge Community Church (Director of Music), have convinced him that music must be treated as a sacred gift, to be passed on freely to fellow musicians and listeners, with passionate control. www.jazznetworkworldwide.com


Sony Music Entertainment/Legacy Recordings Sign Exclusive Distribution Deal with Prince Estate Covering 35 Essential Catalog Titles from 1978-2015


19 Prince Catalog Titles to Be Available Beginning in 2018

Sony Music Entertainment and the Estate of Prince Rogers Nelson have inked an exclusive distribution agreement covering 35 essential previously released album titles from the Prince catalog, it was announced today.

The Prince catalog covered under the new agreement will be distributed by Legacy Recordings, a division of SME, with worldwide rights beginning immediately to 19 previously released album titles (originally released between 1995-2010). The list of album titles includes The Gold Experience (1995), Emancipation (1996), Rave Un2 The Joy Fantastic (1999), The Rainbow Children (2001) and 3121 (2006), as well as titles originally distributed by Sony including Musicology (2004) and Planet Earth (2007). Additional album titles from the 2014-2015 era will also be distributed with worldwide rights under the deal in the future. 

In addition to the album titles from the 1995-2010 era, the agreement also includes rights to other previously released material recorded post-1995 including singles, b-sides, remixes, non-album tracks, live recordings and music videos.

Starting in 2021, Sony/Legacy's distribution rights will be expanded to include 12 Prince non-soundtrack catalog albums, featuring iconic music recorded by the artist from the 1978-1996 era for distribution in the United States. Music from this period covered under the agreement includes the highly renowned albums Prince (1979), Dirty Mind (1980), Controversy (1981), 1999 (1982), Around The World In A Day (1985), Sign 'O' The Times (1987), Lovesexy (1988), Diamonds and Pearls (1991) and [Love Symbol] (1992) as well as hit singles "1999," "Little Red Corvette," "I Wanna Be Your Lover," "Raspberry Beret" and much more.  

"A true artist and visionary, Prince changed the world with his music, bringing love, joy and inspiration to millions," said Richard Story, President, SME Commercial Music Group. "Sony Music is honored to play a part in keeping Prince's music alive and making it available for generations of lifelong listeners and future fans."

"The Sony team's enthusiasm and deep knowledge of Prince's music make them the ideal partner to release these iconic bodies of work," said Prince Estate entertainment adviser Troy Carter. "We're looking forward to working with the heirs and Sony on giving fans what they've been waiting for – more great music from Prince."

Legacy Recordings, the catalog division of Sony Music Entertainment, is home to the world's foremost library of historically significant commercial recordings, a peerless collection of works by the most significant musical artists of the 19th, 20th and 21st centuries. Across a variety of platforms, the label has revolutionized the catalog market, offering contemporary music fans access to thousands of meticulously restored and remastered archival titles representing virtually every musical genre including popular, rock, jazz, blues, R&B, folk, country, gospel, Broadway musicals, movie soundtracks, rap/hip-hop, world music, classical, comedy and more.

The Prince Estate passionately presents Prince's life and work, and cultivates opportunities to further his legacy. As the singular, authoritative source on all things Prince, The Prince Estate inspires and educates fans, celebrates Prince in his totality, and stewards Prince's legacy into the future. www.princeestate.com


Adventures in Time and Space, the second release by Alchemy Sound Project, blends jazz, classical and world music


When Alchemy Sound Project initially came together, their mission seemed as elusive as the medieval mystics that inspired their name: after all, combining five distinctive composers, separated by miles and even continents, each melding jazz, classical and world music influences in their own unique ways, into a single ensemble that also played to their individual gifts as performers and improvisers - well, that all starts to make turning lead into gold seem like child's play.

Despite those challenges, Alchemy's debut Further Explorations (the title suggesting that they were already looking forward, even their first time out), made an impressive impact, earning widespread critical acclaim and earning the band a place on DownBeat Magazine's Best Albums of 2016 list. Many a collective ensemble has managed one great album before disbanding; the proof is in the longevity. Now, Alchemy returns with their second outing Adventures in Time and Space - due out June 15, 2018 via Artists Recording Collective - and the results are even more compelling this time around.

"We're committed to each other," says pianist Sumi Tonooka who originally masterminded the project. The five core members of Alchemy Sound Project were initially brought together by the Jazz Composers Orchestra Institute, a program of the American Composers Orchestra and the Center for Jazz Studies at Columbia University that encourages jazz composers to explore writing music for symphony orchestra. Saxophonist Erica Lindsay attended the first JCOI session in 2010; at her encouragement, both Tonooka (a frequent collaborator) and trumpet player Samantha Boshnack (a former student of Lindsay's at Bard College) enrolled in the second round in 2012. There, Tonooka and Boshnack met and bonded with bassist David Arend and multi-reedist Salim Washington. For this release, the band is supplemented by trombonist Michael Spearman and drummer Johnathan Blake.

"We all wanted to write in a way that helps each other grow as composers but also provides a platform for us to experiment," Tonooka says. "It's a community of sorts, a support system that allows us to have our music heard within a certain context. We write for each other, we learn from each other, we're all growing in our own ways and it's coming out in the music."

Forming Alchemy Sound Project provided a means to hone the members' composing chops with an encouraging, supportive and skilled ensemble. But all five have also broadened their musical horizons in other ways as well. Most remarkably, at a time when orchestras across the country are under scrutiny for the dearth of female composers represented in their repertoires, the ensemble boasts three female composers who've had their innovative work performed by major orchestras.

Tonooka served as composer-in-residence for the South Dakota Symphony Orchestra and was commissioned by Seattle's Northwest Symphony Orchestra to write her piece "For Malala," an homage to Pakistani activist Malala Yousafzai, the youngest Nobel Prize laureate in history. Lindsay's piece for drum set and orchestra, "Mantra," was performed by the Detroit Symphony Orchestra, while another orchestral composition, "Inner Dialogue," was read by the American Composers Orchestra. Boshnack's piece "Coelacanth: In Its Own Time," was premiered by the Northwest Symphony Orchestra in 2015.

That's not to discount the guys, who have also been making waves as composers. Arend is currently working on an orchestral commission for the Bellingham Festival of Music's 2019 season and recorded two concertos featuring himself and Washington with the Moravian Philharmonic Orchestra. Based in Durban, South Africa, where he teaches at the University of KwaZulu-Natal, Washington recently received a commission from the Jazz Foundation to arrange big band charts of his music as well as the music of South African pianist Nduduzo Makhathini.

"We've all broadened our experience," Tonooka says. "Everyone in this band is really unique, and when we come together it creates a very interesting picture."

The title Adventures in Time and Space offers a broad explanation for why that picture is developing in such a vivid fashion. The six pieces on the album are just that - sonic adventures - but they're also born of the time these five composers have spent together and the travels and communions they've shared. "I think each of us as composers now are really starting to understand the range and the possibilities that each player, who is also a composer, offers," says Lindsay, who wrote the title tune. "That opens up our compositional scope and gives us a really rich palette to work from."

Lindsay's two contributions bookend the album, the transformational narrative of the title track providing an enticing opening, and the buoyant "Jeff's Joy," penned in tribute to drummer/bandleader Jeff Siegel, closing on a celebratory note. Arend's mysterious "Ankh" was inspired by early Egyptian alchemists. "The Ankh was a symbol of eternal life," Arend notes, "of life beyond this mortal life. The music's dreamy melody and subtle harmonic shifts are inspired by this symbol."

Boshnack's "Song of the Whistle Wing" draws on her childhood memories of growing up in rural New York. "I started the piece by trying to capture the nostalgia of the call of the mourning doves," she says. "I then incorporated the whistling sound their wings make during takeoff and landing." Tonooka's moving "Transition Waltz (for Matt)" was penned for her longtime friend Matt Yaple, a Philadelphia composer and presenter who'd recently left his longtime apartment for a new home that doubles as a performance space. "I've known Matt for more than 30 years and he's finally transitioning into this life that he's always wanted," Tonooka says. "So I thought I would write something for him to help celebrate our friendship and the fact that he's moving forward."

Washington's "Odysseus Leaves Circe" was originally intended to accompany an exhibition of Romare Bearden's paintings in Cape Town. While the show never happened, Washington had already immersed himself in the artist's work and this piece, as vibrant and multi-layered as Bearden's work, was the result. He says, "I loved the painting 'Odysseus Leaves Circe.' The color and composition haunted me. So I tried to write a composition that on the one hand gave voice to the painting and on the other referenced the story of Odysseus trying to free himself from the pull of Circe and her charms."

Alchemy Sound Project is a collective of composer-performers whose music combines elements of jazz, world music and modern chamber music. This diverse and eclectic group aims to blur the boundaries between notated composition and improvisation. The alchemy of these individual voices working together results in music that is powerful, original and highly interactive. Pianist Sumi Tonooka, saxophonist Erica Lindsay, trumpet player Samantha Boshnack, bassist David Arend and multi-reedist Salim Washington are all unique and forward-thinking composers traversing the borders between the composed and the improvised. Alchemy Sound Project is committed to synthesizing the individual voices and experiences of diverse composers into a musical experience that is fresh and new.


Stefon Harris & Blackout - Sonic Creed


Vibraphonist, composer, educator, and bandleader Stefon Harris and Motema Music are proud to present the long-awaited new album from Stefon Harris & Blackout, Sonic Creed, available September 28, 2018. The album is Harris and Blackout's first recording since Urbanus (which earned a Grammy nomination for Best Contemporary Jazz Album in 2009), and 2004's Evolution. The conception and birth of Sonic Creed came about as a result of Harris bursting with this music, this sound, and this album, inside of him. "What pushes me to release a new album is the answer to the question; if I don't record this music will the sound of this music exist in the world? And if the answer is no, then we have to go into the studio!", says Harris.

Sonic Creed is about music that chronicles the story of a people and their time on earth. It is a reflection of African American life in the late twentieth and early twenty-first centuries. Furthermore, it is a sonic manifestation and creed of family, community and legacy. Harris explains that, "these core assets of the Black community are the messages of Sonic Creed, and we honor our legacy by exploring the music of masters such as Bobby Hutcherson, Abbey Lincoln, Wayne Shorter and Horace Silver. Their music is timeless and is the literal aural expression of those community assets". The album therefore serves as a representation, through Harris and Blackout's existence and experience, of Black American life in the present. "I want to document our time on the planet in the here and NOW! What is the sound of 'Black Lives Matter' for example? What is the sound of electing the first African American President of The United States? What is the sound of right now? This is what Blackout represents. It's art for our sake", states Harris.

Nextbop.com called Stefon Harris & Blackout, a "scintillating ensemble that's as versed in modern jazz as it is with rhythms, melodies and soundscapes associated with R&B, pop, hip-hop and funk." Will Layman stated in Pop Matters that when Stefon Harris "burst on the scene in 1998 with A Cloud of Red Dust on Blue Note, he seemed suddenly and gloriously too good to be true. Here was a classically trained percussionist playing hot and smart on the jazz instrument that seems perpetually to have the fewest contenders. Harris splashed into view as the logical successor to Bobby Hutcherson - bold and thrilling, inside the tradition but surging outward." And, John Murph recently reported in DownBeat Magazine that, "Sonic Creed riveted the packed house [at The Kennedy Center] with an exploratory, tightly focused set that placed high stakes on rhythmic agility, communicative alertness and spontaneous invention, starting off with a blistering reading of Horace Silver's 'The Cape Verdean Blues.' Each member admirably held their own next to Harris, whose virtuosic and imaginative improvisations can certainly prove unnerving for lesser talents."

Sonic Creed more than lives up to the abundance of praise that has been raining down on Harris for years, opening with a funkified version of "Dat Dere". "Every Blackout record starts with a classic tune which we put a Blackout stamp on. Art Blakey was an educator, a mentor of the highest order and a pioneer in jazz education, and this is something that resonates very deeply within me. This pays tribute to a master of our music", says Harris.

"Chasin' Kendall" was written for Harris' two sons, and is a remembrance and reflection of family get-togethers that Harris experienced growing up, where the soundtrack was always the likes of Donny Hathaway, The Temptations and Marvin Gaye. The song is built on a bass line that Harris "found" on the piano, which is reminiscent of that time, and the music of that time. It also makes Harris smile!

Next up is "Let's Take A Trip To The Sky", written for his wife while Harris was on the road during their 10th wedding anniversary. The lyrics, sung by Jean Baylor, are Harris' reflections on their love, and on allowing love to perpetually grow and evolve.

Horace Silver's "The Cape Verdean Blues" gets the Blackout treatment/stamp, adhering to the "sonic creed" of, "paying tribute to our ancestors and masters the way they would want it done - in a way that expresses our time on the planet", proclaims Harris.

Harris and Blackout tackle Wayne Shorter's "Go" (from Shorter's Schizophrenia) with deep respect and love for the master saxophonist/composer. Harris explains, "Wayne could say two sentences to you that could completely change your life, and he did that to me several times. Ultimately the lesson he imparted on me, the takeaway, was to hold steadfast to the 'sonic creed' of authentic expression, to always represent our lives and times honestly and with courage.

"Song Of Samson", written by Lasean Keith Brown, son of pianist Donald Brown Jr., expresses another "sonic creed" of Blackout, which is to record originals from other living artists, recognizing that it's equally important to play music composed by your peers as it to record music from the masters. This tune is an example of the African American experience interacting with Afro-Caribbean culture, and a representation of Blackout's holistic view of the African diaspora.

Stefon Harris beams when the conversation turns to the late, great Abbey Lincoln. "She was so intelligent and courageous, and just so beautiful. She sang in a way that made you feel as if she was just telling you a story. I learned to phrase from vocalists, especially Abbey!" Harris came in with an arrangement of "Throw It Away", but drummer/co-producer Terreon Gully suggested a different approach. He instructed the crew at Systems Two to turn off all the lights in the studio and let the band know when they were rolling. It was pitch black, the band summoned Lincoln's spirit, listened intently, and relying on their kinship and trust, launched into the music. The first take is what you hear on the album.

Arguably, the only tune that could logically follow the emotional momentousness of Blackout's version of "Throw It Away", is Bobby Hutcherson's "Now", with vocals arranged and sung by 2018 Grammy nominee, Jean Baylor. The beauty of this composition cannot be overstated, and the band expresses their reverence for the late vibraphone master with aplomb. "Hutch was such a beautiful human being, and a genius, harmonically, and technically, of course. He had an insatiable curiosity, and it was a privilege to witness him evolving and growing throughout his life. He would always tell me, 'family first', and I took that to heart", says Harris. These days Harris absolutely loves melodies and derives so much joy from telling a story. "Now" has a simple, but beautiful, repeating melody that's like a chant. Baylor wanted to try something on the spot in the studio and Harris, having the wisdom of a good leader, allowed her all the time she needed. "Jean is just amazing, and when she said she's hearing something and wanted to try it out, I instantly agreed because I trust her instincts. She created layer after layer of vocals, in the moment - and we just had to step aside so she could let this beauty out of her soul."

Sonic Creed closes with a tribute to Michael Jackson, "Gone Too Soon". Harris, like many others, was hurt when Michael Jackson passed away. "His music was a perfect example of Black American life - he wasn't just a pop icon, but also a cultural and artistic icon, and very much part of the narrative of my people", says Harris. "His contributions were significant to say the least, and it pained me to see how people characterized him, sometimes in a derogatory way, so I wanted to pay tribute to him here." "Gone Too Soon" also provided Harris with an opportunity to shine a light on another musician coming up behind him. In this case, Harris performs a duet with vibraphonist Joseph Doubleday (the first ever vibraphonist accepted to the Jazz Studies program at Juilliard, and a coveted sideman with Chris Potter's Underground Orchestra, The Kenny Barron Quintet, The Ralph Peterson Fo'tet, and many others).

Stefon Harris' passionate artistry and astonishing virtuosity have propelled him to the forefront of the jazz scene. Heralded as "one of the most important artists in jazz" (The Los Angeles Times), he is a recipient of the prestigious Martin E. Segal Award from Lincoln Center, has earned four GRAMMY™ nominations, and has been named Best Mallet player eight times by the Jazz Journalists Association. He was also chosen Best Vibes in the 2018 and 2017 DownBeat Magazine Critic's Poll, the 2016 JazzTimes Expanded Critics Poll, the 2014 JazzTimes Critics Poll and the 2013 DownBeat Magazine Critics Poll.

NPR's All Things Considered praised Mr. Harris' audacious CD Urbanus, which also earned a GRAMMY™ nomination for Best Contemporary Jazz Album, as one of "The Year's Best New Jazz" recordings. As a member of the SFJAZZ Collective, Harris was featured on their 2014 recording, Wonder: The Songs of Stevie Wonder, which won an NAACP Image Award for Outstanding Jazz Album.

Stefon Harris received his Bachelor of Music degree in classical music and Master of Music degree in jazz performance at Manhattan School of Music (MSM). He teaches in person at universities throughout the world and virtually via his Distance Learning Studio, has led curriculum development at the Brubeck Institute, and serves as Jazz Advisor for Jazz Education at New Jersey Performing Arts Center. Prior to being named Associate Dean and Director of Jazz Arts at MSM in July 2017, Mr. Harris was Visiting Professor at Rutgers University and served on the jazz faculty of New York University for the past decade. "The Art of Listening," part of a series of documentaries focusing on Harris' community work in arts education in Kalamazoo, won 3 Gold Camera awards and 3 Michigan EMMY nominations.

As a thought leader, Mr. Harris leads transformative presentations on corporate leadership development and team empowerment to Fortune 50 companies using jazz as a metaphor. His inspiring 2012 TED talk, "There Are No Mistakes on the Bandstand," has gained nearly three-quarter of a million views to date. Mr. Harris has served on the Board of Directors for Chamber Music America and WBGO-FM and is currently on the Board of Advisors for the Percussive Arts Society.

In addition to Sonic Creed (on Motema Music), Harris has recorded as part of The Classical Jazz Quartet, with Kenny Barron, Ron Carter and Lewis Nash, as a member of the SFJAZZ Collective, as well as recording and performing with many of music's greatest artists, including Joe Henderson, Wynton Marsalis, Milt Jackson, Lionel Hampton, Herbie Hancock, Wayne Shorter, Bobby Hutcherson, Cassandra Wilson, Diana Krall, Dr. Billy Taylor, Max Roach (MSM alumnus), Cedar Walton, Mulgrew Miller, Benny Golson, Bobby Watson, Chaka Khan, Kurt Elling, Buster Williams, Dianne Reeves, Ry Cooder, Charlie Hunter, Common, and Pablo Zeigler.

His venture into new technological advances led to the co-founding of The Melodic Progression Institute (MPI) in 2013 with partner Clif Swiggett. With a focus on designing innovative ways to help musicians learn and grown, MPI released its first app in 2016, Harmony Cloud™, an ear-training learning tool now available on iTunes.

We are thrilled to announce that educator, musician and entrepreneur Stefon Harris has been named a recipient of the 2018 Doris Duke Artist Awards. One of the most prestigious programs in the arts, "the Doris Duke Artist Awards invest in exemplary individual artists in contemporary dance, jazz, theater and related interdisciplinary work who have demonstrated their artistic vitality and commitment to their field." Harris joins 6 artists from various disciplines including Dee Dee Bridgewater, Regina Carter, Michelle Dorrance, (dance), Murial Miguel (theater), Okwui Okpokwasili (dance), Rosalba Rolan (theater). More information at www.ddcf.org. Harris has also just won the 66th Annual DownBeat Critics Poll in the vibraphone category. 

 

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