Gianluca Pellerito Quintet - Blue Note New York - March 21st 2016 8pm

Gianluca Pellerito, the 21 year-old Italian drummer, lives and studies in Boston at the prestigious Berklee College of Music. He and his quintet will play on March 21 at 8pm, on one of the most famous stages in the world: the Blue Note in New York. Pellerito is currently the only Italian band leader scheduled in 2016 at the legendary Blue Note in New York.

                       

He will perform with his quintet: Michael Eckroth (Piano), Sheryl Bailey (Guitar), Marco Panascia (Bass), Karen Marie (Singer), and will perform his funky, sparkling and intriguing jazz. In 2009, Gianluca was the world youngest musician to play as band leader at the Blue Note when he was only 14 when he made his debut at Blue Note in Milano.

                       

Gianluca has already released two albums:The first in 2009 is titled "Three Drums Show" with Peter Erskine – Alex Acuña and an orchestra – Etichetta The Brass Group Records – a live recording at the Verdura Theatre in Palermo on July 29, 2009. The second album, "Jazz my Way" Herbie Hancock Tribute, was released in 2013. It was recorded by a quintet at the Umbria Jazz Winter on December 28, 2012 and the concert preview was performed on July 5, 2013, during the opening evening of the Umbria Jazz Summer 2013, for the Emercy Universal label.

                       

He was born in Palermo, Sicily on May 1,1994, His first concert at age 8 took place at the Umbria Jazz 2002 with the Berklee band. His first concert as band leader came when he was 13 with "Gianluca Pellerito and Orchestra" at the Golden Theatre in Palermo when Gianluca was added to the noted repertoire of the Jazz della Fondazione Brass Group. He and an orchestra with 30 musicians attended the event together with well-known artists including John Pizzarelli, Rachelle Ferrell, Billy Childs and others.

                       

Gianluca met Peter Erskine when he was 14 and Erskine invited the young drummer to open his concert. Once back in America, Peter Erskine in an interview with the magazine Rhythm, said, "Gianluca Pellerito reminds me so much of when I was young and I believe he will be my future"

                       

A great friendship follows and two years later it gives life to the live concert and album "Three Drums Show" with three drums on the stage: Erskine's, Gianluca's and Alex Acuña's along with the great orchestra of the Fondazione The Brass Group.

                       

At 16 Gianluca was invited by the Kennedy family to play at the Kennedy Center in Washington. Two tours in the United States will follow, with stops in New York and Washington. In 2011 he was the special guest at a concert of the Incognito. Band leader Bluey Maunick called Gianluca again when the band played at the Blue Note.

I have a special bond with the Blue Note – Gianluca Pellerito stated– the Blue Note is a magical venue. I debuted at the Blue Note in Milano when I was 14 and today being in its historical venue in New York is like a dream come true for me.

                       

Peter Erskine, the person who discovered him, said: "The very first time I heard Gianluca Pellerito playing was with the Orchestra Jazz Siciliana for the Kenton project. It immediately reminded me when I was younger. He is a greatly talented young man. Being on the stage with him was and will still be an honor for me".

                       

Alex Acuña said: "I believe that Gianluca is a great musician and I think I can learn a lot from him. I am looking forward to sharing the stage with him, and with Peter, of course".

NEW RELEASES: HAKON KORNSTAD – TENOR BATTLE; THE BROKEN ORHESTRA - GLASS (FEATURING MELENTINI); HAROLD DANKO – LOST IN THE BREEZE

HAKON KORNSTAD – TENOR BATTLE

The title's a bit misleading – as the record's hardly the sort of tenor battle you might have heard from Wardell Gray and Dexter Gordon back in the day – and instead, the title's a bit of a pun, in that Hakon Kornstad plays both tenor sax, and sings in a tenor voice too! The record opens up in this really magical flow that begins with the saxophone sound of Hakon Kornstad, and blends in sublime sounds on instruments that include harmonium, cimbalon, harpsichord, and percussion – plus some excellent work from bassist Per Zanussi, who really grounds the whole thing. The record's easily one of the most compelling we've heard from Kornstad so far – that's saying a lot, given the strength of his other albums – and Hakon's got this new level of sensitivity that really comes through in the way he approaches his sound – not just his core performance on tenor, but also his use of a bit of flute, and process of looping live with the instrumentation too. Many of the compositions are from operatic sources – part of Kornstad's growing fascination with the format – and Hakon also sings a bit, in this stunning tenor voice that's really wonderful – completely captivating, especially amongst this instrumentation – and never forced or hokey at all. We'd hardly believe that such blend could come off so well – but it does, and with uniquely beautiful results – on titles that include "Je Crois Entendre Encore", "Song Of India", "En Fermant Les Yeux", "Morgen", and "Marechiare". ~ Dusty Groove

THE BROKEN ORHESTRA - GLASS (FEATURING MELENTINI)

The Broken Orchestra are a UK based production duo creating soulful, chilled yet experimental music with layers and textures of instrumentation and sounds. They began creating music in 2010 and since then have worked with world-renowned vocalists Inyang Bassey, Shawn Lee and Natalie Gardiner. In 2012 they released their first full length album ‘Shibui’ which was released in Japan through P-Vine Records. In 2015 they continued to develop and work with a range of vocalists and followed up with a series of single releases featuring female emcee Lady Paradox on ‘Digital Age’ and the heart felt vocals of Jack Conman with ‘Shallow Humour’. Both tracks received national airplay on BBC Radio 6 Music with ‘Shallow Humour’ also being featured on BBC Radio One.The latest single release from The Broken Orchestra see’s a return to layered textures and experimental sounds with the surreal but intriguing vocal talents of Melentini. Written as collaboration between the duo and Berlin based vocalist, ‘Glass’ features a haunting blend of layered vocals and subtly crafted instrumentation. Whilst musically remaining routed in the simplistic style and sound the duo has evolved and grown over the past few years, it has been highlighted as an exciting progression in the collectives’ development.

HAROLD DANKO – LOST IN THE BREEZE

A really well-balanced trio outing from pianist Harold Danko – so much so that almost all the compositions here are attributed to the trio of Danko, bassist Jay Anderson, and drummer Jeff Hirshfield! That sort of compositional credit is key to the workings of the record – as the role of the players is very equal, and there are even moments when Anderson's bass seems to take more of the center stage than Danko's piano – in a really great way that creates a marvelous interplay between the two instruments. Hirshfield is maybe a bit more understated on drums, but clearly plays a key role throughout – and titles include "Fall Splits", "Big Squeeze", "Salt N Sugar", "Stumble Crush", and "Fish Road" – plus versions of Duke Jordan's "If I Did Would You" and "Paula". ~ Dusty Groove

Smoke Sessions Records Releases Harold Mabern's Afro Blue as Limited Edition 180 Gram Double LP to Celebrate Esteemed Pianist's 80th Birthday

Smoke Sessions Records is set to release Harold Mabern's latest album, Afro Blue, as a limited edition 180 gram double LP on Friday, March 11. This special release, which was mastered by renowned mastering engineer Kevin Gray, was pressed at Memphis Record Pressing and includes a tip-on gatefold album jacket.

Three nights at Smoke Jazz & Supper Club will support the release and celebrate the esteemed pianist's 80th birthday from Friday, March 18 through Sunday, March 20 with a rotating lineup of special guests. On Friday, Mabern will be joined by vocalist Kurt Elling, bassist John Webber and drummer Joe Strasser; Saturday will feature guitarist Russell Malone, bassist John Webber and drummer Jimmy Cobb; and on Sunday by he will be joined by tenor saxophonist George Coleman, bassist Bob Cranshaw and drummer Joe Farnsworth. 

With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years - ever since his early days playing with the unparalleled Betty Carter.

On this album, Mabern has selected five of his favorite vocalists -- who also just happen to be some of the most popular and respected singers on today's scene -- and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively, and eminent guitarist Peter Bernstein on one track as well.

"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."

Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs - all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals.

Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend.

Legendary Bassist Ron Carter Comes Home as Detroit Jazz Festival's 2016 Artist-in-Residence

The Detroit Jazz Festival, the world's largest free jazz festival, announced that legendary bassist, cellist, composer and Detroit native Ron Carter will be its 2016 Artist-in-Residence. During his esteemed 50-year career, Carter has played on many of the most important jazz recordings with greats such as Miles Davis, McCoy Tyner, Herbie Hancock, Chick Corea and Wayne Shorter. He has appeared on more than 2,000 albums, making him the most-recorded jazz bassists of all time, in addition to earning two GRAMMY® Awards.

Carter, who has appeared at the Detroit Jazz Festival several times -- including an acoustic performance with last year's Artist-in-Residence Pat Metheny, which was one of the highlights of the Festival -- will orchestrate a variety of unique performances and collaborations that can only be found at this year's Festival. Details on his performances will be unveiled in April at a luncheon in Detroit announcing the 37th Annual Detroit Jazz Festival lineup.

"I have been to many wonderful places in my life, but no matter where I go, Detroit will always be home. It has shaped who I am and has had a tremendous impact on my life and music," said Carter. "It is an incredible honor to be an Artist-in-Residence from Detroit at one of the world's greatest festivals held in the heart of my hometown. I am thrilled to get the opportunity to become more involved with this world-class event and work with talented jazz students in a place that's so special to me."

As Artist-in-Residence, Carter will contribute to the Festival's continued efforts to support and grow jazz through education in Detroit and beyond. A lifelong educator himself, Carter will pull from his 18 years as a faculty member of The City College of New York's music department and participate in educational initiatives to nurture and develop young local talent in Metro Detroit.

At the Festival, Carter will occupy a traditional opening Friday night slot. He also will play collaborative sets with special guests throughout the weekend, including varied musical explorations unique to the Detroit Jazz Festival.

"When you think of legendary double bassists, Ron Carter is a name that comes to mind very quickly. We are ecstatic he has agreed to be our ambassador this year, extending his lifelong connection to Detroit and years of commitment to this Festival," said Chris Collins, Artistic Director of the Detroit Jazz Festival. "His personality and music are iconic and greatly reflect our values at the Detroit Jazz Festival -- artistry, expression and sharing the human experience through jazz."

Carter was born in Ferndale, Michigan, in 1937. He moved to Detroit when he was ten-years-old and later attended Cass Technical High School. He earned a bachelor's degree from the Eastman School of Music in Rochester, New York, and his master's degree in double bass performance from the Manhattan School of Music in New York City in 1961.

Carter's prolific catalogue features records with many jazz, rock and blues greats including Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, Bobby Timmons and more. Carter spent much of the '60s as a member of Miles Davis Quintet, which also featured pianist Herbie Hancock, saxophonist Wayne Shorter and drummer Tony Williams. He has toured the U.S. and Europe extensively.

Throughout his career, Carter has been named "Outstanding Bassist of the Decade" by The Detroit News, "Jazz Bassist of the Year" by DownBeat and "Most Valuable Player" by the National Academy of Recording Arts and Sciences. He was elected to the DownBeat Jazz Hall of Fame in 2012.

The 37th annual Detroit Jazz Festival will take place September 2 - 5, 2016. The festival spans several city blocks in downtown Detroit - from Hart Plaza to Campus Martius - with four stages and more than 100 performances.

The official Artist-in-Residence announcement was made Monday night during a performance by pianist and composer, Randy Weston with the Wayne State University Big Band "Celebrating the Music of Randy Weston and Melba Liston" at the Max M. & Marjorie S. Fisher Music Center in Detroit.

 

Norah Jones Set To Perform At Both Newport Folk Festival And Newport Jazz Festival This July

Nine-time Grammy Award winning singer and songwriter Norah Jones will perform the rare feat of appearing at both the Newport Folk Festival and Newport Jazz Festival on consecutive weekends this July. Demonstrating her versatility and wide appeal, Norah will make her first-ever solo appearance at the Folk Festival on Saturday, July 23 having previously performed at the 2014 festival with her band Puss n Boots and as a special guest with the legendary singer Mavis Staples. The following weekend Norah will make her first-ever appearance at the Jazz Festival on Saturday, July 30.

"Norah Jones is one of America's great singers of songs," said festival founder and music industry icon George Wein. "The scope of her artistry is so broad that it's possible for her to appear at both the Newport Folk Festival and Newport Jazz Festival, while still feeling comfortable that she will reach her audience and fans at these two historic cultural events. We are proud to have her with us."

Norah is currently putting the final touches on her sixth solo album, which is due to be released this Fall on Blue Note Records.

Norah Jones first emerged on the world stage in February 2002 with the release of Come Away With Me, her self-described "moody little record" that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Since then, Jones has sold over 40 million albums worldwide and become a nine-time Grammy-winner.

She has since released a series of critically acclaimed and commercially successful solo albums-Feels Like Home (2004), Not Too Late (2007), The Fall (2009), and Little Broken Hearts (2012)-as well as albums with her collective bands The Little Willies and Puss n Boots. The 2010 compilation ...Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Herbie Hancock, Willie Nelson, Outkast, and Foo Fighters. Little Broken Hearts, which was produced by Danger Mouse, was a fascinating step in Jones' artistic evolution, revealing her to be one of the music world's most consistently intriguing singer-songwriters.

The Pittsburgh Promise Announces "A Night of A Million Possibilities" Featuring an Exclusive Concert by Jazz Great Wynton Marsalis

On Thursday, November 10, 2016, the Keepers of The Promise will treat Pittsburghers to "A Night of a Million Possibilities," an exclusive gala evening featuring internationally acclaimed jazz musician and composer Wynton Marsalis and his small group, at a concert celebrating the success of The Pittsburgh Promise and its scholars.

                  

This one night only event is expected to raise $1 million for The Pittsburgh Promise Scholarship Fund which is working toward raising $68 million in order to sustain scholarships at least through the class of 2028. Thus far, The Pittsburgh Promise Scholarship Fund has achieved 73% of its $250 million fundraising goal, and has invested more than $74 million by sending 6,279 qualifying Pittsburgh Public Schools graduates to post-secondary education and a prosperous future.

                  

"A Night of a Million Possibilities" is being hosted by a broad-based advocacy group known as the "Keepers of the Promise," which operates exclusively to support and promote the work of The Pittsburgh Promise by increasing visibility and awareness through outreach and fundraising initiatives.

                  

In addition to entertaining Pittsburghers at the November gala, Wynton Marsalis, a renowned educator and arts advocate, plans to conduct a special Master Class for high school music students representing Pittsburgh Public Schools, during his visit.

                  

"Pittsburgh's future depends on helping its young people to fulfill their dreams," said Wynton Marsalis. "I'm so glad to be part of a musical celebration in Pittsburgh where the community comes together to fund education and create limitless possibilities for urban youth," added Mr. Marsalis. 

                  

Founder of Legendary Entertainment Thomas Tull and his wife Alba, who make Pittsburgh their second home, have agreed to be honorary co-chairs for the event. Mr. Tull is Chairman of the Board and CEO of Legendary Entertainment which has co-produced the recent major motion pictures, Jurassic World and Straight Outta Compton as well as producing Krampus, the Gothic Horror film Crimson Peak, Godzilla, Pacific Rim, and the Jackie Robinson biopic 42. Mr. Tull is also part of the ownership group of the Pittsburgh Steelers football team.

                  

"Alba and I are proud to be a part of one of Pittsburgh's great causes to help the next generation realize their potential," said Thomas Tull. "Getting more students to continue their education or training beyond high school benefits everyone. We're looking forward to this special evening with our Pittsburgh neighbors and enjoying the talents of Wynton Marsalis."

                  

Commenting on plans for the Gala, Pittsburgh Promise Executive Director Saleem Ghubril said, "Nothing is more important to us than shining the light on, and fueling the fires of, our city's kids, in whom live millions and millions of possibilities. We are exhilarated by the 'Keepers of the Promise,' their commitment to the mission of The Pittsburgh Promise, and their support of this gala. We are so thankful to Thomas and Alba Tull for deepening their engagement in Pittsburgh through investing in the futures of our kids. On behalf of our Board of Directors, staff, and supporters, we are beyond thrilled to have the great Wynton Marsalis visit with our high school music students and perform at our November Gala."

                  

"A Night of a Million Possibilities" will take place on Thursday, November 10, 2016, beginning at 6:00 p.m. at downtown Pittsburgh's Wyndham Grand Hotel. For information about purchasing tickets, tables, or sponsorships, visit www.PittsburghPromise.org/gala, or call 412-745-2220. Individual tickets are $250 and table sponsorships start at $2,500. Corporate sponsorships are also available.

                  

Wynton Marsalis, a New Orleans native, is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture.  He has recorded more than 80 jazz and classical recordings, which have won him nine GRAMMY® awards and sold over 7 million copies worldwide. Marsalis made history in 1997, when he became the first jazz musician ever to win the Pulitzer Prize for his oratorio Blood on the Fields. He has written six books including: Jazz ABZ: An A to Z Collection of Jazz Portraits, illustrated by poster artist Paul Rogers; Moving to Higher Ground: How Jazz Can Change Your Life with Geoffrey C. Ward; and Squeak, Rumble, Whomp! Whomp! Whomp!, also illustrated by Paul Rogers. 

                  

Wynton's lifetime commitment to inspiring and uplifting people though artistic excellence in jazz, has had an unparalleled impact both in the United States and around the world. He serves as the Managing and Artistic Director of Jazz at Lincoln Center and the Director of Jazz Studies at the Juilliard School in New York City. 

                  

The Pittsburgh Promise, a scholarship program for Pittsburgh Public Schools students, advocates for improving the quality of education and increasing the preparedness and diversity of the region's workforce. Pittsburgh has the largest Promise program in the United States. For more information about The Pittsburgh Promise, visit www.pittsburghpromise.org

Award-winning, inspirational songwriter Nate Brown announces the release of "Your Love"

Award-winning, inspirational songwriter Nate Brown announces the release of "Your Love," the highly anticipated single from the forthcoming album "Open Heaven." The single was recorded live in Venice, alongside Italy's prestigious Veneta Philharmonic Orchestra, which will be performing this fall with Grammy-nominated artist Andrea Bocelli. "Your Love" captures the wholesome and organic sound fans can expect from "Open Heaven" by Nate Brown & Friends, which will launch this fall.

Sublimely orchestrated, the song is an artistic expression of the overwhelming feeling of God's unconditional love, explains Brown. "I want to remind listeners that 'Love' itself is the greatest commandment from God," he adds, "and His love for us reaches beyond the human imagination. When you've experienced the true love of God it becomes indescribable and undefined. God's love cannot be contained within our human understanding of what love is; we'll never understand why He loves us so much. He just does, and He does so in spite of our many imperfect ways."

    

Brown is the founder and CEO of Gentle Giant Music Ministries, an international artist management company based in Maryland. He's earned a positive reputation for his music and production throughout Europe, having performed in well-known theaters and churches, as well as making multiple appearances on RAI Television. Brown studied at the Duke Ellington School of the Arts, Berklee College of Music and the University of the Arts. 

  

"Your Love" features lead vocals from Christie Dashiell, who entered the public eye as a contestant on NBC's hit show "The Sing-Off" as part of the group Afro-Blue. The Veneta Philharmonic Orchestra is conducted by the renowned Diego Basso. Background vocalists on the single include members of Gentle Giant Music Ministries, regional winners of the Verizon Wireless How Sweet the Sound competition in 2013. "Your Love" was mixed by award-winning engineer Ken Lewis and produced by Stellar Award nominee Christopher Leach.

An experienced and award-winning songwriter and multi-instrumentalist, Nate Brown has worked with the likes of Wynton Marsalis, Roy Hargrove and the late Grover Washington, Jr., among many others. As the founder of Gentle Giant Music Ministries, Brown has been at the helm of one of the fastest-emerging Christian/Gospel music companies in the US. Gentle Giant Ministries has embarked on six European tours, and the company's debut album – "Open Heaven" – will be available in fall 2016. 

ERIC CLAPTON – THE LIVE ALBUM COLLECTION 1970-1980

This spring sees the release of all of Eric Clapton's live albums from his recording period with Polydor/RSO,1970-1980. A vinyl-only title, it is a companion set to the January, vinyl-only box set release of all of his Polydor/RSO solo studio albums spanning the same period. Similarly, each album here has been newly remastered and pressed on heavyweight vinyl. Capturing live concerts in New York, California, Rhode Island, Tokyo and London, the collection includes Eric Clapton's 1973 concert at London's Rainbow with an all-star line-up featuring Pete Townshend, Steve Winwood, Ronnie Wood and Jim Capaldi.

                  

Eric Clapton, who recently celebrated his 70th year, needs little by way of introduction, as a renowned solo artist in his own right as well as a member of the Yardbirds, Cream and Derek and the Dominos. He is the only three-time inductee to the Rock and Roll Hall Of Fame and is one of the most important and influential guitarists of all time. He has been the recipient of 17 Grammy Awards, 1 Brit Award and 1 Bafta.

1.Derek & The Dominos – Derek & The Dominos In Concert (00602547509475)

- Live double album, recorded in 1970, released in October 1973.

- Recorded at the Fillmore East in New York.

- Features – 'Why does Love Got To Be So Sad', 'Let It Rain' and 'Bottle Of Red Wine' amongst others.

2.Eric Clapton' Rainbow Concert (00602547423634)

- Recorded at London's Rainbow Theatre in January 1973.

- All star line up includes Pete Townshend, Steve Winwood, Ronnie Wood and Jim Capaldi. 

- First live performance where Eric used his famous Stratocaster guitar "Blackie".

- Features – 'Badge', 'Presence Of The Lord' and 'Pearly Queen' amongst others.

3.Eric Clapton – E.C. Was Here (00602537590940)

- Recorded in 1974 & 1975 at the Long Beach Arena,  California, London's Hammersmith Odeon and the Providence Civic Centre, Rhode Island.

- Peaked #14 in the UK chart and #20 in the US Billboard chart.

- Features – 'Have You Ever Loved A Woman' and 'Drifting Blues' amongst others.

4.Eric Clapton – Just One Night (00602547504968)

- Recorded at the Budokan Theatre, Tokyo, Japan.

- Certified gold, the album reached #2 in the US and #3 in the UK.

- Features – 'Cocaine', 'Rambling On My Mind' and 'Wonderful Tonight' amongst others.

                  

NEW RELEASES: THE THREE DEGREES - STRATEGY: OUR TRIBUTE TO PHILADELPHIA; THE SOUL SNATCHERS – WHERE Y’AT?; AMANA MELOME – LOCK & KEY: THE REMIXES

THE THREE DEGREES - STRATEGY: OUR TRIBUTE TO PHILADELPHIA

This legendary trio of singers go back to their Philly Soul roots of the 70s – and come across surprisingly well in the process! We'll be the first to admit that we were a bit wary, given the cover and relative age of the group – but Three Degrees really step up strongly here, thanks in part to some tight core arrangements that reprise the best Philly sound of the 70s, without ever trying too hard to update the style or give things a too-contemporary twist! The arrangements aren't credited, but production is by Buzz Amato, who also works in the backing group – and the grooves have a warm blend of funky currents and strings that really fit the reworkings of "Love Train", "If You Don't Know Me By Now", "Strategy", "Ain't No Stoppin Us Now", "You'll Never Find Another Love", "Me & Mr Jones", and "TSOP". ~ Dusty Groove

THE SOUL SNATCHERS – WHERE Y’AT?

Mighty nice work from The Soul Snatchers – a Dutch group, but one who've got a deep funk sound that matches a lot of combos in the American underground in recent years! These guys start with a very old school approach to the groove – a sound steeped in older modes of Memphis and Muscle Shoals – with all the burning organ lines, funky guitar, and soulful horns that reference might imply – and vocals are in English throughout, sung by a male singer with a surprisingly strong, raspy sound that comes across better than we remember from the group's last record! Easily their best material so far – with titles that include "Keep Workin", "Just Like Sly", "Stop Fightin", "Use It Up", "Little Love", "Foolishness", and "Humpin & Bumpin". ~ Dusty Groove

AMANA MELOME – LOCK & KEY: THE REMIXES

Soulful jazz-pop songstress, Amana Melomé has released "Lock & Key: The Remixes". Hot on the heels of her 2015 EP "Lock and Key", this remix EP sees the magic touch of producers Mark de Clive-Lowe, Opolopo, Daz- I-Kue (Bugz In The Attic), Filip, Slimbo and Firefly, who got their hands on Amana‘s sultry vocals and put their own signature spins on them. The original "Lock and Key" album was produced by grammy award nominated Adam Berg and Itai Shapira, known for their work with artists such as Aloe Blacc, Alice Russel and Rhye, to name a few. It showcased Melomé’s passion for all types of music, however the Euro-Caribbean-American artist’s roots are in jazz, having had her grandfather Jimmy Woode record with such greats as Duke Ellington and Ella Fitzgerald. On the remixes EP the tracks of the original album get reimagined for the forward thinking soulful dancefloor. Mark de Clive Lowe’s soulful house remix of titletrack "Lock and Key" recently debuted on SoulBounce, and Essence.com featured Opolopo's remix of "Icarus" in their 'New and Next' column spotlights. From broken beat to house, from breaks to afrobeat and beyond, this EP is sure to find its way onto every party playlist!

Variations - the New Recording From Award-Winning Drummer/Composer STEVE GROVER

Brooklyn-based Red Piano Records is proud to announce the release of Variations by Steve Grover, a drummer and composer from Maine. This album features a stellar ensemble of jazz musicians from the New York City, Boston and Maine jazz scenes: Steve Grover (drums & compositions), Frank Carlberg (piano), Sean Farias (bass), Christine Correa (voice), Andrew Rathbun, George Garzone and Duncan Hardy (saxophones), and Chris Klaxton (trumpet). Variations is a song cycle largely dedicated to excerpts from The Monk Variations, a longer work by the poet and scholar Anthony Walton. Grover describes how he came to work with this piece by saying that, "It is a continuation of my interest in working with text, primarily poetry, and underscores a continuing fascination with how the interplay of text and music can affect the destiny of the composing process."

Grover's entry into the world of jazz composition began in 1985, when he composed Blackbird Suite, a song cycle based on the Wallace Stevens poem Thirteen Ways of Looking At a Blackbird. In 1994 Grover won the Thelonious Monk Institute of Jazz/BMI Jazz Composers Competition for Blackbird Suite. After a performance at the Kennedy Center in November, 1994, Grover recorded a CD of the music which was released in 1997 to excellent reviews. 

The songs on Variations use developmental excerpts from the larger, more complete Walton poem. Grover explains, "At the time Anthony sent me these excerpts, he was still working on the piece. We independently developed our creations, and so his much more complete finished piece elaborates on the textual excerpts that I used as the basis of the songs completed for Variations. I think it is an opportunity for the listener and reader to experience how two artists from two different disciplines can come to arrive at separate but compatible artistic conclusions."

The songs on Variations reflect a variety of musical perspectives. Here is a description of the music contained within:

Prelude is a medium-up tempo 'freebop' melody in two-part harmony that hints at, but never fully suggests, an underlying chord structure. The vibrant opening solos and free interplay help to introduce the listener to the musicians on the CD.

Darkness With Light begins a series of eight songs drawn from the text. After a moody, descending chromatic bass and piano line, Christine Correa sings the melody, its chromatic movement moving in the opposite, ascending direction, expanding into wider intervals. Increasingly intense improvising over the swinging form by Rathbun and Carlberg helps to stimulate some rhythm section interplay.

Let There Be Darkness follows, with a brooding, slightly latin straight 8th groove underlying a minor key melody sung by Correa. The shifting modalities of the song help to stimulate strong improvising from Rathbun, Carlberg and Farias, with an animated contribution from Grover's drumming helping to provide the group with shifting dynamics over its eight minute journey.

Illumination is a jazz waltz with an ambiguous melodic and harmonic scheme and a surprising elision at the end of the form. Following the introduction, Correa comes in with the wide-ranging melody. Correa also participates in the group interplay over the groove, which ends with Carlberg intoning the opening vamp. Saxophonist George Garzone's sensitivity on this piece displays another aspect of his musicality. Trumpeter Chris Klaxton also plays with a high level of grace and maturity.

Seeing This has two melodies: the first is an instrumental introduction played by Klaxton and alto saxophonist Duncan Hardy, and the second is the poem melody sung by Correa over the same form. The medium tempo rock feel is loose and allows for an energetic discussion between the participants.

In The Undivided Darkness begins with a haunting free improvisation by Carlberg before he plays the chromatic introduction, cueing the vocal by Correa. The melody takes a swift turn to underscore the lyric, moving into a jazz ballad section. After a return to the top, there is a brief free improvisation before the recapitulation and a repeated coda.

Space is a swinging, medium tempo jazz form that mirrors the playfulness of the text. Correa gets a chance to freely interpret the melody with her deft rhythmic phrasing and expressive gift, while the rest of the song is highlighted by some chorus-trading by Carlberg and Grover before the out-head. Also, the young alto saxophonist Duncan Hardy displays his maturing jazz intelligence and swinging, creative approach.

As A Dark Star is the most open and free of the pieces on Variations. It is initially characterized by a rubato rhythmic landscape and a repeating bassline, over which the melody emerges, first with Correa's vocal, then joined by Klaxton and Garzone. A languid collective improvisation ensues over the vamp, followed by a declamatory line signaling a second, more intense free section. A separate nine note horn line eventually brings us back to the original vocal melody, and the piece closes on the vamp.

As In Night suggests, in its sensitive introduction, a more lyrical respite from the preceding composition. Correa sings the melodic line with an appropriate balance of expression and restraint, and Garzone follows with the melody again on saxophone, followed by a beautiful solo in the classic tenor tradition. The melody returns before the simple ending on this spacious, sensitive ballad.

Scales is a medium jazz waltz. Following the introduction, a melody emerges comprised of a series of notes and their intervallic variations. The piece climaxes with a two-horn duet and a motivated rhythm section before the return to the vocal and the coda.

Postlude concludes Variations.It is a straight eighth piece in 6/4 time. Although the structure is a conventional AABA form, the open fifths of the melody help to create an ambiguous tonal framework, paving the way for a concise free section before returning to the melody and an improvised fade.

 

RareNoiseRecords Presents THE BEAUTY OF DISASTER by German composer and producer J. PETER SCHWALM

The well-known slogan "One picture is worth a thousand words", created by the advertising industry in the early nineteen-twenties and now a general cultural meme, could equally sensibly be applied to the field of music. Instrumental music, in particular music generated by electronic means, has, over the last several decades, become of central importance to popular culture: you only need to think about Brian Eno's "Music For Airports", which helped define the genre of "Ambient" music and create a permanent bond between music and everyday reality. Similarly, the compositions and music productions by J.Peter Schwalm are testament to the power of tones without words.

Since 1998 and for six years, Schwalm worked continually with Eno, releasing numerous joint works, including the album "Drawn From Life" and the soundtrack to the film "Fear X" by Nicholas Winding Refn, all the while giving celebrated joint performances in Europe and Japan.

Since 2006, Schwalm has been repeatedly invited by the Punktfestival in Kristiansand, where he performed as celebrated live-remixer. As one of the most respected exponents of this particular art form, he collaborated with several well known music ensembles, including the Ensemble Modern from Frankfurt.

In 2013, the London New Music Icebreaker Ensemble commissioned Schwalm to write a piece of music from material originally composed by Kraftwerk; the resulting composition, "Kraftwerk Uncovered - A Future Past", was successfully toured by both in Germany and Ireland.

The new album by J.Peter Schwalm, The Beauty Of Disaster, continues this tradition, by exemplifying the suggestive powers of instrumental music, while drawing inspiration from contemporary images: "I had been deeply impressed by satellite images of the catastrophic oil spill in the Gulf of Mexico while composing new pieces for this album. These surprising photos, which so reminded me of paintings, seemed to embody the very same deep duality between the dark melancholia they depicted and a continuous, meshed sense of hope, an embedded ray of light, as did the compositions I was working on." As such, these compositions of J.Peter Schwalm seek to balance the aesthetics of electronic with that of orchestral music. His swelling arrangements mark the difference between opulence (desired) and bombast (to be avoided at all costs), while his electronic sounds highlight his unique techniques, developed way beyond what is achievable by regular plug-ins. Many passages are completely devoid of beat, thus achieving a deep sense of contemplation in music.

"Some works are based on the principles of "Live Remix" which I developed during and since my repeated appearances at the Punkt Festival" explains Schwalm "while others are rooted in the technique of Multi-track composing I developed." Also, emotional depth is more important than technical detail:

"While, for example, Zirkeltrilogie, was created on the basis of a traditional notion of harmonic resolution, I am less concerned with concepts and more with the question "How can I best express my inner feelings, my inner tensions?"" continues Schwalm "If anything, I have focused my attention primarily on the philosophical notion of attraction towards the Limitless, towards Change, which has influenced so many writers and composers. I feel in fact most germane to a thought formulated by the psychologist Robert A. Johnson: "Death, which awaits us in romantic love, is not destruction of life, but the blossoming of the inner world".

The abandonment of speculative noisiness, which thoroughly characterizes Schwalm's nuanced, atmospheric music, is nonetheless also a conscious choice in opposition to the spirit of our times: "I find a number of my pieces to be already quite loud or at least tempestuous" says Schwalm "while others only reveal their emotional loudness after several listening sessions. All in all, I compose music with inquisitive posture, and I am not interested in generating adverse of positive reactions by means of quick, overwhelming noise."

J.Peter Schwalm, was born in Frankfurt am Main in 1970, where he conducted his studies in music and drumming. He founded his first electro-jazz music project 'Slop Shop' in 1993, positioning himself firmly between music genres. A number of maxi-single releases were followed by the ensemble's first album in 1998, 'Makrodelia', which eventually reached Brian Eno's hands, leading to an offer of collaboration. The two met and performed a few months later in the German Hall for Arts and Exhibitions, together with Kraut-rock legend Holger Czukay. Two albums and film scores later, the two went their separate ways. In the following years, Schwalm composed music for the Stuttgarter Ballett, for the Lyceum Theatre in Sheffield, for London choreographer Hofech Schechter and the Series "Das Neue Werk" of German radio NDR. Since 2008, Schwalm has been regularly playing with Norwegian electric guitarist and sound-sculptor Eivind Aarset and with bassist Tim Harries. In 2013, Schwalm was commissioned to write and perform a piece by the Deutsches Jazzfestival in Frankfurt.

Schwalm counts jazz innovator Miles Davis as early significant influence, as well as film work by Stanley Kubrick: "In a certain way" he laughs gently "I am still inspired by Bitches Brew. The piece "Himmelfahrt" arose following similar principles: there is a rhythm, a theme, but rather than studio improvisations, a large number of live cuts which I injected into the piece."

Other pieces, such as "Zirkeltrilogie" or "Endknall" were rather more influenced by György Ligeti: "Since seeing Lux Aeterna at the age of 15, I became deeply fascinated by his compositions made of tonal surfaces." It was of course Ligeti's music which significantly contributed to the metaphysical depth of Stanley Kubrick's 2001 Space Odyssey.

The Beauty Of Disaster is J.Peter Schwalm's most personal work to date: Its partly microscopically developed, partly dynamically driven tonal landscapes absorb the listener into an unconventionally modern, yet timeless world; His use of abstract form serves purposes of beauty and elegance, rather than complication, as he invites the listener into a voyage of discovery of new perspectives rather than excite her with conundrums. Herein lies the meaning of the pictures of the Gulf of Mexico described at the beginning of this piece, when the discovery of a new perspective allows perception of the beauty of disaster.

TRACKS

1. The Anxt Code

2. Himmelfahrt

3. The Beauty of Disaster

4. Numbers Become Stories

5. Stille, Blitz und Donner

6. Zirkeltrilogie

7. Wunschklangregister

8. The End and the Beginning

9. Angstphantasie

10. Endknall

Free Jazz Icon ROSWELL RUDD Joins Pianist JAMIE SAFT and Colleagues TREVOR DUNN and BALAZS PANDI on Strength And Power

In a remarkable example of uncanny group-think, pianist-keyboardist and RareNoise regular Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard, Red Hill) joins with longtime collaborators Trevor Dunn on bass and Balazs Pandi on drums and master trombonist Roswell Rudd on the astounding, purely improvised Strength and Power. Recorded live in Saft's home studio near Woodstock, New York, this intergenerational offering features the 44-year-old pianist, 47-year-old bassist, 32-year-old Hungarian drummer and 80-year-old avant-garde pioneer blending organically, telepathically on a set of conversational music running the gamut of dynamics and emotions.     

           

As Saft explains, "All the music was completely improvised in the studio. No predetermined compositions at all. No hand signals, no charts: nothing but trust, deepest intuition, and mutual respect."         

       

The key to this highly interactive session, says Rudd, was not chops but rather the participants' highly attuned listening skills. "The really important thing, especially with collective improvisation, is that you're playing off of each other. So the music comes as a result of listening to each other and your response to the other players. I really found myself delving deeply on this occasion because the other musicians were

not only putting it out there but they were also responding in depth. When you're lucky enough to be in the company of very proficient musicians who not only can play but also can listen deeply, this is what I think I love more than anything else in the performance of music."         

        

The revered trombonist, who came up playing Dixieland or trad jazz music while attending Yale University in the mid 1950s and later made his mark in the free jazz world through collaborations with Cecil Taylor, Archie Shepp, John Tchicai and longtime collaborator Steve Lacy, is a formidable presence on this RareNoise recording. Whether it's his lyrical playing on the spacious ballad "Luminescent," his unrestrained blowing on a surging "The Bedroom," his conversational plunger work on "Cobalt Is a Divine" and the title track or his early New Orleans tailgate-styled testifying on "Struttin' for Jah Jah," Rudd's trombone resounds with history, humor and humanity. Dunn provides thick grooves and potent contrapuntal lines throughout (particularly when he is paired in a duet with Rudd on "Dunn's Falls") while Pandi propels the proceedings with kinetic backbeats and swinging momentum. Saft, performing on his 1966 Steinway Model L piano at his home studio, adds spiky comping, cascading call-and-response lines and some exploration inside the piano. "This piano has a unique sound," he says. "It's darker than most modern pianos. Sometimes I will use paper and pen if they are handy as tools to modify the acoustic piano, but mostly it's just real time manipulation of the inside of the piano with these two hands."

"The piano is a strange and opulent instrument," adds Saft. "It is a physical object which requires adherence to the basic laws of physics. The greatest pianists understand how to harness the power of gravity and understand the internal mechanisms of the instrument and how they relate to the laws of gravity. I always work to use gravity to my advantage as an instrumentalist. With proper understanding of the way the piano and the human body interact, one can constantly push the instrument into new areas while retaining a deep and rich tone. Whether I'm seated at the piano or working inside the piano, I'm still always dealing with laws of physics. The idea is to let gravity do all the work for you. This gives a deep and crisp tone and maximum technical flexibility."     

           

Saft explains that this collaboration with Rudd was partly born out of proximity. "Roswell and I live five miles or so from each other in Kerhonkson, New York. Roswell and Verna Gillis, his brilliant partner, have recorded a number of times at my studio Potterville International Sound. This is how we initially met. It was clear very quickly that we needed to make music together."                

Rudd says that the Strength And Power session is a continuation of "the pursuit of mystery" that he has tirelessly been on throughout his entire career, from his days as a collegiate Dixielander to the present. "This river that runs through all of my performing and recording from the earliest times, it's essentially what we did over at Jamie's that day. It's a special recording and I look forward to getting back together with the musicians, Balazs, Trevor and Jamie, and doing more, taking it out and playing for audiences somewhere. I'd love to play it for a bunch of people with thirsty ears."

Adds Saft, who has also racked up numerous credits on various John Zorn projects over the years, "It's a great privilege to make music with a true legend of improvised music such as Roswell. His compositions are deep and vast, his sound is unmistakably brilliant, and most of all he's a truly beautiful human being. The last point is crucial here: when one improvises with such a beautiful person all is possible. Roswell constantly strives to impart his love of sounds to humanity. His positivity and shining vibe make this clear, obvious, and essential."

TRACKS

1. Strength & Power

2. Cobalt is a Divine

3. The Bedroom

4. Luminescent

5. Dunn's Falls

6. Struttin' For Jah Jah

Bassist Marcos Varela Bridges Releases Debut CD San Ygnacio, Features Veterans George Cables, Billy Hart and Clifton Anderson

New York City is a long way from tiny San Ygnacio, Texas - not only measured in miles (around 2,000, for the record) but also in temperament. Born and raised in Houston, bassist Marcos Varela nonetheless traces his roots back to the historic Texas town where his family has lived on the same ranch since at least the 1750s. Based in New York for the last 12 years, Varela takes stock of how far he's come on his leader debut, San Ygnacio, due to be released March 18 on Origin Records.

Drawing on collaborators from throughout his time in New York, Varela assembles a stand-out cast of veterans and peers. The album's core rhythm section is composed of two jazz giants: pianist George Cables, a key mentor, and drummer Billy Hart, one of Varela's earliest employers. They're joined by another longtime employer, trombonist Clifton Anderson, as well as two of Varela's most gifted contemporaries, saxophonists Dayna Stephens and Logan Richardson. On two tracks, Varela features his one-time collective quartet with up-and-coming players Arnold Lee (alto, son of bassist/composer Bill Lee and half-brother of director Spike Lee), Eden Ladin (piano) and Kush Abadey (drums).

Varela is a graduate of Houston's renowned High School for the Performing & Visual Arts, where his fellow alumni include Jason Moran, Robert Glasper, Eric Harland, Chris Dave, and Beyoncé. He arrived in NYC to continue his studies at the New School, leading to opportunities to perform with a wide range of artists including Cables, Hart, Anderson, Moran, Geri Allen, The Last Poets, the Mingus Big Band, Kendrick Scott, Billy Harper and Tyshawn Sorey, among countless others. He has also composed music for several film and TV projects, including director Domenica Cameron-Scorsese's film "Roots in Water."

"This record is a culmination of my New York experience," Varela says of San Ygnacio. "It features some of my favorite people to play with and recalls some of the positive experiences I've had during my New York days."

Legendary bassist Ron Carter contributed the album's liner notes, where he writes that Varela's "tone, choice of notes and compositions will place his playing and name on the list of bassists to be heard." A hero turned mentor, Carter is just one of the jazz elders who have taken note of Varela's talents and encouraged the bassist along his path. While still in college, he was invited to join longtime Dizzy Gillespie drummer Charlie Persip's big band. Around the same time, Hart included Varela in a sextet of young players that also featured rising stars Theo Croker, Sullivan Fortner, and Irwin Hall.

"Billy encouraged us to challenge him and keep him young, and then he wanted to impart his experience and knowledge onto us as well," Varela says. "It was a great learning experience."

Three of the tracks on San Ygnacio come from the repertoire of Hart's sextet: "Pepper" and "Picturesque" are both George Mraz compositions, while "Lullaby for Imke" is a gentle ballad that the drummer recorded on a 2006 quartet release, presented here in a new arrangement by pianist Ezra Weiss. "Picturesque" is the album's sole trio piece, with Varela and Cables doubling up on the angular melody, while the brisk "Pepper" is highlighted by the pairing of Dayna Stephens' tenor and Varela's arco playing.

The album opens with its only standard, Cables' bold arrangement of "I Should Care." Varela says, "Especially on a debut record, the jazz community wants to hear you play over a standard and know that you have that ability. If you can't play a standard, it negates your jazz legitimacy. Besides, I've spent a lot of time playing that music, I loved George's arrangement, and I wanted something that everyone could get together and be creative on immediately."

Varela's "Colinas de Santa Maria" is named for his family's ranch in San Ygnacio, which has been in his family's possession since at least a mid-18th century Spanish land grant. While he grew up in Houston, Varela spent plenty of time visiting family at the ranch and enjoying the town's unchanged Spanish architecture. He evokes a sense of nostalgia for that time and landscape, while saxophonist Arnold Lee contributes a vivid, wistful solo. The same quartet, whose members Varela continues to play with in other contexts, returns on Eden Ladin's simmering "Red on Planet Pluto."

The leader takes the spotlight on "Mitsuru," a bass feature composed by Anderson, who often used the tune to feature Varela in the trombonist's own band. Anderson also contributes and plays on the mid-tempo swinger "Sister Gemini." Cables, who Varela met through the auspices of Betty Carter's Jazz Ahead program at the Kennedy Center, wrote the intoxicating waltz "Looking For the Light," which Varela calls "one of my favorite George pieces - it really encourages you to play lyrically."

The album concludes with Varela's "Where the Wild Things Are," a modern burner named for his favorite childhood book. Following a darkly atmospheric introduction, the piece erupts into a bristling melody, finally leading into a raucous solo showcase for Billy Hart. The tune is the prime example of Varela's approach to bridging the generations represented in his band. "I wanted to take the veterans out of their comfort zone," he explains. "I wanted to flip the script a little bit and try something different, have them be adventurous and play some songs they wouldn't normally be heard playing. I wanted to push people in different directions to create a new sound."

An intriguing mix of personalities and influences, generations and sounds, San Ygnacio traces Marcos Varela's journey from Houston to New York, a trek rich with experiences and opportunities. It's a striking debut that points the way toward even more music - and miles - to come.

www.marcosvarelamusic.com

SWISS-BORN US-BASED VOCALIST GABRIELA MARTINA RELEASES DEBUT ALBUM NO WHITE SHOES

Great art often arises out of transition and displacement. For the extraordinary Swiss-born, Boston/New York-based vocalist and composer Gabriela Martina creating a body of original music in her new setting has meant grappling with big questions and forging a singular sound out of a disparate array of influences, from jazz, funk and pop to gospel and Alpine roots music (as a child Martina yodeled in her family's Swiss singing group). Martina's arresting and utterly personal debut album No White Shoes introduces a rapidly evolving artist steeped in jazz but unfettered by the music's prevailing conventions. 

Martina has cultivated a powerfully evocative sound with her crystalline voice, honed through concerts throughout the world.  She's performed with Meshell Ndegeocello, Jack DeJohnette, and Angelique Kidjo, and recorded with veteran drummer J.R. Robinson. In addition, she performed at the 2009 Montreux Jazz Festival in guitarist Lee Ritenour's band as a semi-finalist in the Shure Voice Competition.

Though No White Shoes includes a couple of brilliantly interpreted jazz standards, Martina focuses on improvisation-laced originals that combine singer/songwriter introspection with sophisticated harmonies. Informed and inspired by the quietly tumultuous process of acculturation, she uses music as a vehicle to wrestle with her protean identity.

The album opens with "Narcissus," a song that elaborates on the symbolism of the album's striking cover art, with Martina's face obscured by a mirror. More than a source of expression, Martina's music is a vehicle for hard-won self-knowledge.

Sassy, mesmerizing, and tinged with funk, the celebratory "No White Shoes" speaks to Martina's eagerness to break free from mainstream conventions. As it builds to an ecstatic climax, it's easy to see why this plea and declaration became the album's centerpiece. Conceived as a rejection of Switzerland's cozy cultural cocoon, the song speaks to Martina's insistence on hewing to her own path.

"In Switzerland everything is so comfortable and so beautiful on the surface," Martina says. "It's a song about breaking boundaries and questioning traditions and musical conventions. It's a positive message. It stands for new ways, for something other than the mainstream, for being your own self, and walking your own way."

More than a singer/songwriter, Martina is also a savvy bandleader who has attracted a core band featuring some of Boston's finest players. A working ensemble for about four years, her band is built upon the supple rhythmic support of drummer Alex Bailey, a player with the chops to join heavyweights like Oscar Peterson and David "Fuze" Fiuczynski. He forms a potent rhythm section tandem with another rising young Boston star and recent Berklee grad Kyle Miles on acoustic and electric bass, a highly versatile player who has accompanied Angelique Kidjo, Patrice Rushen, Greg Osby, and Roy Hargrove, among many others. 

The brilliant Czech-born pianist Jiri Nedoma, a prolific accompanist who has collaborated with the Grammy Award-winning drummer Terri Lyne Carrington and vocalist Gabrielle Goodman, brings a probing harmonic sensibility and canny use of space into the ensemble. And internationally raised Finnish guitarist Jussi Reijonen, whose credits include work with drum star Jack DeJohnette, flamenco legend Pepe de Lucia, Palestinian oud/violin master Simon Shaheen, and fretless guitar pioneer David Fiuczynski, reaches effortlessly across genre conventions.

Born in Lucerne, Switzerland, Martina was no stranger to urban settings before moving to Boston. But she spent her childhood in a bucolic idyll, amidst a family dairy farm surrounded by orchards. The third of four children in a tight-knit working class family, she grew up in a highly musical environment. At the age of five, she discovered her passion for singing while yodeling with her family's traditional Swiss group.

Before coming to Berklee College of Music in 2008, Martina studied at the Vocaltech Music School in London and the Jazzschool in Lucerne.  While there, she became a ubiquitous presence on the Swiss scene, performing with an array of bands including Talking Loud, Soulvirus, the pop-rock group PinkBliss, the electro/urban trio Aromat, an a cappella duo Not2help, and her own jazz duo with pianist Luzia von Wyl.

In 2010 Martina released a critically hailed EP Curiosity, which included her original song "Ain't Nobody", a finalist in the ASCAP Foundation Young Jazz Composer Awards 2012. Performing around US East Coast and beyond, she has honed her original repertoire with her band at clubs around the region. She's also the co-founder of IMS, an ongoing, bi-weekly free improvisation concert series which began in 2013 in Cambridge, MA.

Her album No White Shoes represents a major step in the singer's sojourn as a 21st century musician exploring an array of influences, styles and issues, a journey that's intoxicating and utterly unpredictable.

www.gabrielamartina.com