NEW RELEASES: MARLENA SHAW – GO AWAY LITTLE BOY: THE COLUMBIA ANTHOLOGY; RONNIE CUBER – RONNIE’S TRIO; RUTH KOLEVA – CONFIDENCE TRUTH

MARLENA SHAW – GO AWAY LITTLE BOY: THE COLUMBIA ANTHOLOGY

A huge set of work from the mighty Marlena Shaw – one that really documents the new level of genius she hit during her late 70s run at Columbia Records! After cutting some jazzier sides at Cadet in the late 60s, and some super mellow fusion ones at Blue Note in the early 70s, Marlena moved to big fame at Columbia during the mid 70s – working in a righteous smooth soul approach that skated the line between warm romantic ballads and righteous statements of female pride and power. The ultimate example of this is her fantastic remake of "Go Away Little Boy", merged here with the tune "Yu Ma", into a 7 minute track that has a sublime monologue in the middle – one in which Marlena accuses her man of hiding behind his heritage to not get down to business at a day to day level! Other tracks show Marlena as one of the most expressive, most together women in soul during the 70s – and the package features 28 tracks in all, including some rare single cuts too. Titles include "Yu-Ma/Go Away Little Boy", "The Writing's On The Wall", "No Deposit No Return", "Places", "Theme From Looking For Mr Goodbar", "I Thank You", "Touch Me In The Morning (rmx)", "It Was A Very Good Year/I'm A Foster Child", "I Think I'll Tell Him", "Sweet Beginnings", "More", "Pictures & Memories", "Moonrise", "Dreamin", "Rhythm Of Love", "Look At Me Look At You", "Shaw Biz/Suddenly It's How I Like To Feel/Shaw Biz", "I'll Be Your Friend", "Mama Tried", and "Walk Softly". ~ Dusty Groove

RONNIE CUBER – RONNIE’S TRIO

Ronnie Cuber's almost got a surprised look on the cover here – as if someone snapped the camera when he wasn't ready for the shot – but maybe that surprise also comes from the wonderful way in which his baritone sax works in a trio setting! The format here is one that's been familiar for tenorists from the late 50s onward – as the leader works with help from Jay Anderson on bass and Adam Nussbaum on drums – but the use of baritone in such a setting is a great change, especially when handled with the soulful depth that Cuber brings to his music! Ronnie clearly enjoys the freedom here, and definitely has a nice edge throughout – but he also never overindulges, and keeps most tunes at just the right level to maximize his creative flow. Titles include "Silver's Serenade", "Jean Marie", "The Jody Grind", "So Danco Samba", "Bernie's Tune", "All The Things You Are", and "Just Squeeze Me".  ~ Dusty Groove

RUTH KOLEVA – CONFIDENCE TRUTH

A lofty batch of modern pop soul from Ruth Koleva – a Bulgarian singer with the soaring voice and the kind of universally appealing approach that ought to make her a worldwide star! The production is breezily modern, with crisp beats and spacey keys, built for the kind of beaming, yet delicately emotional vocals that Ruth was seemingly born to sing, and the mix of effervescent pop and moving depth is a tough thing to balance. Ruth pulls it off masterfully! Includes "Oceans", "Run", "Tokyo", "A New Home", "Basil", "The Rain", "I Don't Know Why", "Wantchu" and "What You Say To A Girl?" and "Didn't I?". ~ Dusty Groove

NEW RELEASES: HUGH MASEKELA – MASEKELA ’66 – ‘76; JESSICA LAUREN - ALMERIA; ED JONES – FOR YOUR EYES ONLY

HUGH MASEKELA – MASEKELA ’66 – ‘76

A fantastic collection – way more than just a greatest hits set of work by South African trumpeter Hugh Masekela – and instead a special package put together by Hugh himself, shortly before his death – featuring an album-by-album selection of the best cuts from his Chisa Records releases, including the complete tracks of the albums Hedzohleh Sounds and I Am Not Afraid! During his Chisa years, Hugh really opened up his groove – taking the mix of jazz and South African soul of the early days, and fusing it with all the new influences he was picking up on the LA scene – then finding a way to go backwards, and open up new channels for African inspiration in his music – as he worked with a trans-Atlantic blend of musicians that also included help from members of The Crusaders too! The music here just gets hipper and hipper as the years go on – and the whole thing comes in a book-like package that also features great notes on every period of music – spread out over 3CDs, with a total of 47 tracks that include "Ha Lese Le Di Khana", "You Keep Me Hangin On", "Hush", "Stimela", "In The Market Place", "Jungle Jim", "Whitch Doctor", "Colonial Man", "Been Such A Long Time Gone", "African Secret Society", "If There's Anybody Out There", "Boermusiek", "Bajabula Bonke", "Child Of The Earth", "Woza", "Salele Mane", "Caution", "Yei Baa Gbe Wolo", "Mace & Grenades", "Blues For Huey", and "Son Of Ice Bag". ~ Dusty Groove

JESSICA LAUREN - ALMERIA

When Jessica Lauren first grabbed our ears 20 years ago, she was a keyboardist on the London contemporary scene – but with a much deeper jazz vision than most – an artist whose appearances on record always made any sort of song come across with a spiritual sound that was unique for the time! Move forward to the present, when so many others have finally hit Jessica's territory – and the pianist has stepped far forward again – to open up this rich flow of ideas that's overflowing with global elements as well! The album's easily Jessica's deepest work to date – and not only features her own great keyboards and percussion, but also this very cool wordless vocal style – borrowed a bit from Brazilian fusion of the 70s, but given a fresh spin here – and combined with instrumentation that includes woodwinds, marimba, percussion, flugelhorn, and drums. The whole thing's wonderful – with echoes and elements that evoke the special genre-crossing space of Bobby Hutcherson in the mid 70s, the work of Flora Purim and Airto, the 70s South African recordings of Dollar Brand – and some of the hippest sides of some of Lauren's London contemporaries. Titles include "Simba Jike", "Amalfi", "Kofi Nomad", "Teck Et Bambou", "Chocolate Con Churros", "Argentina", and "Beija Flor". ~ Dusty Groove

ED JONES – FOR YOUR EYES ONLY

Beautiful work from reedman Ed Jones – a key force on the London jazz scene for decades, but an artist who also seems to be completely reborn into a new setting with this album! Jones blows here in the company of younger musicians – including the great Riaan Vosloo on bass, whose work we loved with Nostalgia 77 – whose Benjamin Lamdin recorded the album, and really helps shape its soulful spirit! Yet the real star is Jones throughout – as most songs are his, and his tenor and soprano solos are more powerful than we ever remember – showing a depth in his talents that might have been lost forever, had he not gotten this chance to shine for Impossible Ark. Brigitte Beraha contributes vocals on one track – a tribute to Wayne Shorter – and titles include "Nomadology", "Pandora's Box", "Ebb & Flow", " Marielyst", "Solstice", and "Starbright". ~ Dusty Groove

TIMO LASSY lates release his 6th album MOVES

Timo Lassy is a man on the move. The Finnish tenor-giant, noted as a “rising star” in Downbeat and called “phenomenally great” by Tagesspiegel, now presents his sixth album in ten years. “Moves” is his grand opus, featuring his five-piece-band, as well as Ricky-Tick Big Band Brass, the legendary 71-year-old Fin-Jazz-star Eero Koivistoinen, rapper Paleface and singer Joyce Elaine Yuille from Spanish Harlem, USA. The first single “Lashes” coincided with a sold-out gig at the Savoy theatre in Helsinki. Allaboutjazz wrote about the band’s recent concert at WDR Jazzfest, recorded for arte TV: “These Finnish musicians have a great gift to authentically turn a style from the past into something fitting hot in the present time.”

Lassy’s newest movement can be seen as a result of his exceptional career so far. Raised in Helsinki and educated at the famous Sibelius academy there, he was a part of the Nu Spirit Helsinki movement early on, as well as the member of the Five Corners Quintet. From this renowned group, which recorded with legendary American vocalist Mark Murphy and was remixed by Nicola Conte, he went on to form his own Timo Lassy Band some ten years ago, “one of Europe’s sharpest bands” according to the Sunday Times UK and “quality swinging jazz with a difference” (Gilles Peterson). Five incredible albums – and a superb collaboration with José James – later Lassy presented the EP “When The Devils’s Paid” in 2017. The song, written by Timo and featuring vocals by Brazilian giant Ed Motta (with lyrics by British Acid-Jazz-legend Rob “Galliano” Gallagher), was playlisted on JazzFM in the UK for five consecutive weeks.

“Moves”, the new and sixth album, is a result of Timo Lassy’s musical path so far and a bold step into the future. It encompasses all the elements that have made his sound so far – from 60s Soul and Latin Jazz to soulful Vocal Jazz – and boldly moves in a modern direction, encompassing electronic sounds and even Hip Hop with Finnish rap-legend Paleface. A fantastic hour of musical magic that combines melodic depth and a richness of sound – most certainly Jazz that knows the tradition and feels the spirit of the moment.

NEW RELEASES: RITA COOLIDGE – SAFE IN THE ARMS OF TIME; WAAJU; BEN LAMAR GAY - DOWNTOWN CASTLES CAN NEVER BLOCK THE SUN

RITA COOLIDGE – SAFE IN THE ARMS OF TIME

2018 release from the veteran singer and songwriter. After ten years during which she bore witness to some of her life's greatest joys and deepest sorrows - and the publication of her acclaimed 2015 memoir, Detla Lady - Rita Coolidge is back with Safe in the Arms of Time, her 18th solo album and a reaffirmation of her indomitable spirit and unquenchable creative thirst. Safe in the Arms of Time is colored by Rita's pivotal role in the Los Angeles singer-songwriter scene of the 1970s, where she made her bones as a top backup singer - that's Rita on the refrains of Stephen Stills's "Love the One You're With" and Eric Clapton's "After Midnight" - before embarking on a platinum-selling solo career. "The idea was making an album that had the same appeal of my early records - to make a roots record about my own roots," Rita says. Rita and producer Ross Hogarth gathered an all-star lineup of the era's top musicians - guitarist Dave Grissom, bassist Bob Glaub, John "J.T." Thomas on keyboards and drummer Brian MacLeod - at L.A.'s Sunset Sound Recorders, the famed recording studio where Rita recorded her first solo albums. The album includes a duet with Keb' Mo'. Three songs were co-written by Rita Coolidge. Other songwriting contributions include Keb' Mo', Graham Nash and Chris Stapleton.

WAAJU - WAAJU

Olindo Records is delighted to present its second release and first LP by London based afro-latin jazz quintet Waaju. A project that never stands still, Waaju’s members have been busy as part of other ensembles (Caravela, Bahla, Jordan Rakei, and Ashley Henry to name a few), which means they cherish each time they get to make music together. The five cuts on this LP are only a snapshot of what they’re doing and continually trying to do - the tip of the iceberg - but one that speaks volumes about their intentions. Waaju is influenced by the samba funk of 1970's Brazil combined with the more widely known Louisiana funk of The Meters, et al. Its irresistible lilting rhythm and infectious energy are brought into a new modern jazz sphere displaying the spontaneity in improvisation of each member.

BEN LAMAR GAY - DOWNTOWN CASTLES CAN NEVER BLOCK THE SUN

One of the most unusual "best of" collections you'll ever own – given that it features material pulled together from seven different albums by Ben LaMar Gay – none of which were ever released! The package is more of a debut than anything else – and a hell of a musical statement, too – as Ben's music is almost completely without referent – and that's saying a lot, given the already genre-busting nature of other releases on the International Anthem label! We might list the music under jazz – as it does feature some jazz instrumentation – but there's also lots of electronic elements too, often used in these shape-shifting ways that criss cross with other elements – like bass clarinet, flute, viola, and voice – all kind of crashing together in waves of sonic energy that embrace multiple genres at once, but never have the hokey result of other music that might try to do such a thing. Instead, imagine Ben's voice as being this bold cut-up experiment (in the original William S Burroughs mode) – but one that might have been taken across the scope of an entire record collection, sweeping up snatches of jazz, electronica, orchestral music, folk, hip hop, and lots more – all with results that are as revolutionary as Burroughs' writing. Titles include "Muhal", "Music For 18 Hairdressers – Braids & Friends", "7th Stanza", "Gator Teeth", "Swim Swim", "Kunni", "Oh No Not Again", "Jubilee", and "A Seasoning Called Primavera".  ~ Dusty Groove

A new album from Uruguayan legend Hugo Fattoruso

Far Out Recordings has announced the new album from Uruguayan funk, jazz and candombe legend Hugo Fattoruso! After a twenty-year search for the man behind the cult 70s jazz-funk group Opa, we are honoured to present Hugo Fattoruso Y Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony and heavy funk attitude, under Hugo’s unique musical vision.

Born in the Uruguayan capital of Montevideo in 1943, composer, arranger and multi-instrumentalist Hugo Fattoruso has had a profound influence on every aspect of Latin American musical culture. From early beginnings, playing in his family band at street festivals around Uruguay, to fronting Los Shakers: South America’s answer to the Beatles, and one of the most successful rock and roll groups from the continent. At the end of the sixties Fattoruso was looking to broaden his musical horizons, and in 1969 he moved to New York where he formed Opa and went on to rub shoulders with the likes of Ron Carter and Creed Taylor.

Fusing Candombe with rock, jazz, funk and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. During the eighties Fattoruso moved to Brazil, where he continued to work and record with Brazilian artists including Milton Nascimento, with whom he composed the World Music Grammy winning Nascimento album in 1997. Fattoruso also famously collaborated extensively with Airto Moreira, arranging and playing on a plethora of hit records including Fingers and I’m Fine, How Are You. More recently Fattoruso’s music has been sampled by the likes Flying Lotus and Madlib.

With such a prolific career, Fattoruso’s relative obscurity seems odd. Uruguay is dwarfed on either side by Brazil and Argentina, and while geography may have something to do with it, Hugo’s own elusiveness may also explain why someone so influential has been hitherto, so underappreciated. A deeply humble figure, never settling for too long in any one place, Hugo has dedicated his life to music and little else. It has taken twenty years for Far Out to track down the man behind Golden Wings and Magic Time, and it wasn’t until label boss Joe Davis met a Uruguayan producer (over one too many artisanal beers) at a world music conference in Budapest, that he finally made contact with one of his musical idols.

Following a few internet meetings and some very long impassioned conversations about Hugo’s life, music and mutual musical friends in Brazil, Hugo began writing the new album, and Joe booked a seat on the next flight to Montevideo. Recorded at the state of the art Sondor Studios in Montevideo’s iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today’s Uruguayan jazz scene, including Hugo’s son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion and Nicolás Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathías, Guillermo Diaz and Wellington, who give the album its Afro-Uruguayan identity, transporting the listener to Barrio Sur, the spiritual home of Montevideo’s Candombe heritage.

DAVE KOZ AND HIS FRIENDS RETURN WITH SUMMER HORNS II FROM A TO Z, A STUNNING SET OF 11 CLASSIC TUNES

June 22, 2018 release features Gerald Albright, Rick Braun, Richard Elliot and Aubrey Logan with guest vocalists Jonathan Butler, Kenny Lattimore and Sheléa

  

Five years ago, after Dave Koz and Friends released Summer Horns—the GRAMMY-nominated album that paid tribute to classic songs featuring killer horn sections—all that the musicians could think about was how much fun they’d just had. They toured behind the album during the summer of 2013, then vowed to spend the following summer doing it all over again.

“The second tour was even better than the first,” says Koz, the world-class saxophonist who piloted the release, which rocketed to No. 1 on Billboard’s Current Contemporary Jazz Albums chart. “We had a total blast and the fans really gravitated toward it.”

There was no question in Koz’s mind that a sequel was in the stars, but getting everyone’s schedules to align was never going to be easy, each participant being a headliner with bookings well into the future. It took a few years but finally, says Koz, through “divine intervention,” a window of time opened up so that everyone could be in the same place at the same time.

Summer Horns II From A To Z, scheduled for release on June 22, 2018 via Concord Records, is the result, a stunning set of 11 more timeless tunes reimagined by Koz (soprano, alto, tenor and baritone saxes), joined by alto saxophonist Gerald Albright and tenor saxophonist Richard Elliot—both returnees from the earlier session—with new additions Rick Braun (trumpet) and Aubrey Logan (trombone and vocals). A crew of ace rhythm players collaborates with the Summer Horns lineup along with a who’s who of arrangers: Tom Scott (who’s worked with everyone from Frank Sinatra to Aretha Franklin to Steely Dan), Greg Adams (best known for Tower of Power, but also Santana and Elton John) and GRAMMY-winning arranger Gordon Goodwin. Braun, himself a legend of contemporary jazz, produced the album, with co-production by Koz.

With the creative team in place, the biggest dilemma facing Koz, Braun and the others was which songs to choose—or, rather, how to narrow down an enormous list of contenders. “My original list was in the hundreds,” Koz says. “We’d have good-natured arguments during weekly conference calls. We each pitched songs and then tried to get other people on our team.”

The final track list, 11 in all, is impeccable, to say the least. Opening Summer Horns II From A To Z is a medley of Earth, Wind & Fire’s 1976 smash “Getaway” and the KC and the Sunshine Band dance staple “That’s the Way I Like It.” Next up is “More Today Than Yesterday,” the only Top 20 hit from the Spiral Starecase, from the spring of 1969. “Most people, when they hear that song, think it was by Chicago,” says Koz. “It sounded so much like them.” The Crusaders’ “Keep That Same Old Feeling,” written by that group’s late trombonist Wayne Henderson, is next, with a horn arrangement by Adams (best known for his work with Tower of Power) and Braun.

The fourth track in the sequence gives the album its subtitle, “From A to Z.” It’s another medley, and on paper it seems an improbably marriage: Here, with a horn arrangement by Gordon Goodwin and rhythm arrangement by Goodwin and Braun, are the 1939 Billy Strayhorn standard “Take the ‘A’ Train,” made famous by Duke Ellington, seamlessly intertwining with hip-hop icon Jay-Z’s “Roc Boys (And the Winner Is).” Hence the A to Z.

How in the world did this one come about? Says Koz, “Somebody sent me ‘Roc Boys’ and said, ‘Jay-Z’s got this song that’s got a bunch of horns in it.’ I’m a fan but I don’t know that music well. I heard that track and I said, ‘That horn line is so great! We have to utilize it somewhere.’ Originally, it was going to be its own song. But also on the song list was ‘Take the “A” Train.’ Rick Braun said, said, ‘Wouldn’t it be great to do something so classic and so old and yet modernize it?’ It was [Concord Records president] John Burk, the executive producer of the album, who said, ‘Maybe the two songs could work together. It would be really funny to go from A to Z.’”

This Will Be (An Everlasting Love),” a Top 10 hit for Natalie Cole in 1975, is dedicated to the late vocalist, who was a friend of Koz’s. It’s sung on Summer Horns II From A To Z as a duet, by R&B star Kenny Lattimore and the young vocalist Sheléa. “We started to develop this track, which is very uptempo and really fun,” says Koz. “Tom Scott wrote a brilliant horn arrangement. And then we were thinking, maybe we should look for a male singer because anything we’d do with a female vocalist would immediately be compared to Natalie’s version. Tom came up with the idea of doing it as a duet. It’s not an easy song to sing and their vocal performance is a complete tour de force.”

“Before I Let Go,” written by Frankie Beverly of the R&B group Maze, features a lead alto sax solo by Gerald Albright, and is followed by Paul Simon’s pulsing “Late in the Evening,” from the singer-songwriter’s 1980 album One-Trick Pony. Koz remembers being in a restaurant with friends when Simon’s recording came on the house music system. He immediately emailed himself so he wouldn’t forget it when he got home. Braun didn’t even need to hear Koz’s reasoning: “It's in,” the producer told him. “I don't care what the others say.”

Playing acoustic guitar on the tune, and singing the lead vocal, is the South African great Jonathan Butler. “He went total South Africa on it,” says Koz. “Now this song has a completely new point of view. It pays homage to the original, but it takes it to a completely new place.”

Summer Horns II From A To Z only grows more intense as it plays on. If you want to make a funky record, you’ve got to have some Stevie Wonder on it, and it doesn’t get much funkier than 1971’s “If You Really Love Me.” Following that track is “Conga,” the 1985 breakthrough hit for Gloria Estefan and her then-band Miami Sound Machine. Aubrey Logan, the 30-year-old singer and trombonist on the album, provides the lead vocal. She received a special surprise while the group was recording the track.

“We got the track together and Aubrey always loved that song and looked up to Gloria as one of her mentors,” Koz says. “It’s got a great arrangement from Tom Scott and a really cool modern rhythm arrangement that Rick did. Gloria is a friend so I said to myself, ‘I have to play this for Gloria.’ I sent it off to her via email and said, ‘I just want you to know we're doing this Summer Horns record and we did your song and I hope you like it.’ I was just looking for a little musical blessing. She didn't send back an email; she sent back a track with her singing harmony to Aubrey's lead vocal! Aubrey’s jaw dropped to the floor.”

Michael Jackson’s Earth Song, with a horn arrangement by Scott and—as is the case with several tracks on the recording, a rhythm arrangement by Chris “Big Dog” Davis—features a lead tenor sax solo by Elliot and lead vocal by Ashling Cole. Summer Horns II From A To Z wraps up with a piece of vintage Americana, “Route 66,” written by Bobby Troup and recorded by everyone from Nat “King” Cole to the Rolling Stones. Logan, who Koz discovered when he saw her performing with the group Postmodern Jukebox, fronts the tune with her trombone and lead vocal. The horn and rhythm arrangement is courtesy of Goodwin, who fronts his own outfit called the Big Phat Band.

Recording Summer Horns II From A To Z, says Koz, was just as much of a treat as the first go-round in 2013. “It reminds me of my youth,” he says of this music. “I grew up playing in jazz bands. That’s how I was educated in music, playing in a saxophone section and playing in a big band, then sometimes doing small group stuff, playing with other horn players. For most horn players, even if you go on to do more solo work, part of your identity is rooted in being in a section and blending with others. How do you do this? How do you play that? All these fine nuances of music are in there somewhere.”

That passion is shared by all of the musicians who took part in the project, and audiences fortunate enough to catch a live Summer Horns show—they’ll be touring this summer—immediately feel the heat too. “With this music, the fans know every song,” says Koz. “And the musicians leave their egos at the door and show up with a commitment to the band. We know that this is not a replacement for our solo careers, that we will resume them eventually, so it’s not like we’re saying bye-bye to that. But people see all the star power on stage—where everybody could do a two-hour show on their own—the five of us with an incredible band, and it’s an event. Then we get addicted to the response from the fans! That’s why we did it again.”

NYC’S PREMIER FARSI FUNK BAND, MITRA SUMARA ANNOUNCE NEW ALBUM TAHDIG

Mitra Sumara, New York City’s only Farsi Funk group, is proud to announce their debut album Tahdig, set for release on June 8, 2018 on Persian Cardinal Recordings. This international party band revives the vibrant Persian pop and funk music silenced by the Iranian Revolution. The popular music of Iran in the 60s and 70s combined disco, funk, and Latin beats with Middle Eastern melodies and poetic lyrics. Mitra Sumara interprets hits by Iran’s beloved singers such as Googoosh, Soli, Leila Forouhar, and remakes intoxicating Southern Iranian Bandari beat tunes. The band is comprised of musicians drawn from New York’s indie-rock, jazz, and avant-garde communities and was founded by singer Yvette Saatchi Perez.

Yvette was adopted and raised by American parents in Los Angeles and through her search for her birth parents, came the journey and fruition of Mitra Sumara. After twenty years of writing and recording her own music (avant-pop group Birdbrain, I Fly; and H*E*R, Songs About the Mysteries of Housework and Nature) and performing in numerous rock bands and new music ensembles, Yvette discovered the popular music of pre-Revolutionary Iran. She founded Mitra Sumara after studying Farsi and uniting with her Iranian birth father. This project is an outgrowth of Yvette’s journey to reclaim her personal identity, and a love letter to the beauty of Iranian culture and music.

Yvette passionately tells, “As an adopted person, it is tremendous to find and make a connection with birth parents or any other blood relatives. My Iranian side is via my father which, for me, was the most compelling as I had always felt it was the key to my personal identity. I discovered this music while searching for my father. After I found him in 2009, I met other half-siblings, cousins, and an aunt. Then I began to study Farsi more seriously. A couple of years later, I created a band to play this awesome music. This music should be as popular among Americans as 70s Brazilian music, in my view. Mitra Sumara is an unexpected party band of American musicians putting a spin on Iranian tunes to bridge cultures. For years I sought a way to participate in the Iranian diaspora and this is my contribution. It’s a celebration of family and connection. It’s also the chance to present positive aspects of Iranian culture to the West.”

Although Mitra Sumara was founded in 2011, the group is only now ready to release their first full length. As the saying goes, “Good things come to those who wait,” and the results on Tahdig are definitely worth it. The reasoning behind the wait came down to finding the right producer for the project which Yvette eventually found with Salmak Khaledi. Meeting through a mutual friend, it wasn’t until Yvette discovered that Salmak was mentored at the Tehran Conservatory by session musicians that performed on most of the pre-Revolutionary pop recordings, that she knew she found the perfect producer for Mitra Sumara as the spirit of the original music comes full circle.

The diverse ten-track album showcases 70s Iranian pop and funk songs, spun with updated beats, modern production, NYC’s indie spirit, and psychedelic touches that is unquestionably Mitra Sumara. The band has taken forgotten music and has refreshed it with their own touch. The album title word Tahdig is a popular type of Persian food that translates into ‘bottom’ (‘Tah) and ‘dig’ (Pot). That is exactly what Mitra Sumara did through digging through these selections and stirring their pot of influences throughout.

In addition to Yvette, the full cast of musicians in Mitra Sumara is an all-star group consisting of Peter Zummo (trombone), Bill Ruyle (hammer dulcimer), Julian Maile (guitar), Jim Duffy (keyboards), Nikhil Yerawadekar (bass), Michael Evans (drums/congas), and Kaveh Haghtalab (drums/percussion). You may recognize Peter Zummo and Bill Ruyle as members of Arthur Russell's various bands, Nikhil Yerawadekar from Antibalas, and Michael Evans from David Grubbs, Michael Gira (Swans), Carla Bley, and Aimee Mann to name a few. The list goes on with such a top pedigree of talent that also stretches to the artwork with cover design by Iranian artist Homa Delvaray and videos from Alice Cohen, who is creating it using all Iranian imagery and cut outs of the band.

While most Americans have no idea what this music is, these songs have deep meaning for Iranians who lived in Iran before the American hostage crisis and the Iranian Revolution of 1979. The Revolution ended the careers of many popular singers. Many left for Europe or LA and still tour to this day. Younger Iranians have fond memories of their older relatives listening to these songs. Yvette adds, “This music bonds generations. I feel super privileged to be able to play this music and have Iranians and Americans come to our shows and have a good time.” In an era where governments want to build walls instead of bridges, it’s refreshing to hear a band bridging cultures and generations, who help keep history intact, while bringing the party vibes too. Don’t miss them in New York City on June 7th for their album release party at Nublu. More info at http://www.nublu.net

Tracklisting:

1. Bemoon ta Bemoonam

2. Helelyos

3. Shahre Paiz

4. Miravi

5. Mosem-e Gol

6. Gol bi Goldoon

7. Donya vafa Nadare

8. Manoto

9. Hamparvaz

10. Kofriam

New debut album from Alexandra Jackson: Legacy & Alchemy, as she pays hommage to the music of Brazil

Alexandra Jackson  is a new singer and songwriter from Atlanta.  A classically trained pianist, as a child her household was filled with the music of Miles Davis, Earth, Wind & Fire, and Michael Jackson, as well as that of Johnny Hartman, Luciano Pavarotti, and Antonio Carlos Jobim. The youngest daughter of Atlanta’s first African-American mayor, the late Maynard Holbrook Jackson, Jr., and businesswoman and NPR personality Valerie Richardson Jackson ... her grand aunt was Mattiwilda Dobbs, the African American coloratura soprano who was one of the first black singers to enjoy a major international career in opera.

Alexandra studied Jazz at the University of Miami, where she was exposed to a wealth of music, including Brazilian Jazz and MPB -- performing with Latin bands and Brazilian ensembles.  After finishing college, Alexandra moved to Los Angeles, where she spent time as a working musician. She then returned to Atlanta to begin performing in Jazz festivals in both the U.S. and in Europe.  She channels all of these experiences into her life and music.

... “My musical influences have provided me with a broad taste in what I listen to and how I write and think about music.  I love the music of Ivan Lins, Djavan, Caetano Veloso and Gilberto Gil, as well as that of Sarah Vaughan,Oscar Peterson,Take 6,Tony Bennett and Chaka Khan.  And,as a member of Generation X, I also embrace the music of Maxwell, D’Angelo, the Brand New Heavies and Jamiroquai ... It really just goes on and on.”

Her debut project: "Alexandra Jackson: Legacy & Alchemy" indeed channels this new artist's 4 primary musical loves and experiences: Brazilian Music, American Jazz & Soul, NeoSoul, and London Soul Jazz ... into a music alchemy intended for contemporary audiences worldwide.

The Scott Reeves Jazz Orchestra celebrates its first decade on Without a Trace

Duke Ellington famously insisted that he never wrote music for instruments, but tailored each piece for the particular individuals in his band. After nearly ten years together with a remarkably stable line-up featuring some of the most gifted musicians on the New York City jazz scene, the Scott Reeves Jazz Orchestra offers bandleader, composer and trombonist Scott Reeves a similar opportunity. The big band's thrilling second album, Without a Trace, showcases the results with a decade-spanning repertoire drawing from both original compositions and bold new arrangements of jazz standards.

Due out March 16, 2018 from Origin Records, Without a Trace draws on the influences of great big band composer/arrangers from Ellington and Gil Evans to Thad Jones, Bob Brookmeyer and Jim McNeely. Reeves spent years writing for the likes of Dave Liebman's Big Band, the Westchester Jazz Orchestra, Bill Mobley's Smoke Big Band, and the BMI Jazz Composers Orchestra before setting out on his own in 2008. Seeing the divide between swing traditionalists and more harmonically inventive modernists, Reeves decided to cull the best from both worlds, devising inventive harmonic progressions but never letting go of the vigorous swing that makes large ensemble music so exciting.

"I've had people describe my band as sounding like 'swinging dissonance'," Reeves says with a laugh. "A lot of my music is overtly swinging in the tradition of big band jazz, but in the majority of my work I'm trying to get away from the typical harmonic palette."

It helps when bridging such a stylistic gulf to be supported by some of the most talented and sought-after musicians in modern jazz, and Reeves can count many of them as regular band members for the whole of the 17-piece Orchestra's existence. The line-up on Without a Trace includes saxophonists Steve Wilson, Tim Armacost, Vito Chiavuzzo, Rob Middleton, Jay Brandford and Terry Goss; trumpeters Seneca Black, Nathan Eklund, Chris Rogers, Bill Mobley and Andy Gravish; trombonists Tim Sessions, Matt McDonald, Matt Haviland and Max Siegel; pianist Jim Ridl, vibraphonist Dave Ellson, bassist Todd Coolman, and drummer Andy Watson. Stunning vocalist Carolyn Leonhart, on a break from her busy touring schedule with Steely Dan, guests on the lovely title tune.

Having been able to get know his musicians' sounds so intimately over the years, Reeves has become adept at styling his arrangements to spotlight their particular talents. Not that there's much that a virtuoso like Steve Wilson - an in-demand guest soloist for most bands, but regular lead alto with Reeves' Orchestra - couldn't handle. Wilson's fiery yet controlled voice drove Reeves' take on Kurt Weill's classic "Speak Low," which begins with a nod to Bill Evans' classic rendition from his New Jazz Conceptions album before surging along on an Afro-Cuban beat. Trumpeter Chris Rogers and drummer Andy Watson follow with their own blistering solos.

Leonhart's elegant turn on Reeves' own "Without a Trace" follows. Where the orchestra's debut, Portraits and Places, featured wordless vocals as a coloristic element, here Reeves pens lyrics to craft a love song that matches the emotion and drama of some of the Songbook standards in his repertoire. Leonhart's subtle grace belies the tune's angular melody, which combine to conjure a uniquely dark-tinged atmosphere for the song. The familiar "All or Nothing at All" is completely reimagined in Reeves' handling, with an Ahmad Jamal-inspired groove and a taste of John Coltrane's immortal "Giant Steps," giving the timeless tune a feeling unmoored from any particular era.

"I always try to transform a song in some way when I do an arrangement," Reeves explains. "I learned that particularly from studying Gil Evans' music. He would take a tune and it would somehow end up in a completely different universe from where it originally started."

Reeves' entrancing original "Incandescence" was inspired by a trip to the south of France, where the composer - an amateur astronomer when away from the bandstand - marveled at the star-filled skies over a medieval walled village. The very next day he was at the piano in his rented house, capturing the majesty and mystery of that experience in music. "Shapeshifter" is similarly evocative, built on a tonal twelve-tone row that adds a touch of sci-fi strangeness (with an explicit wink towards Star Trek).

"JuJu" has been a favorite of forward-looking jazz musicians since Wayne Shorter first recorded it more than 50 years ago; of course, being one of the most forward-looking of them all, Shorter has never been interested in doing things the same way. John Patitucci, the longtime bassist in Shorter's revered modern quartet, gave Reeves the lead sheet for the sax icon's current approach to the song, which Reeves combines with a sax-section arrangement of Shorter's original solo, making this version something of a portrait of Shorter's incredible evolution. Another portrait of sorts, the lively "Something for Thad" closes the album with a brisk homage to another of Reeves' bandleading heroes, the great Thad Jones.

Though the prospect of leading a big band in the current music-industry environment is a daunting one, Reeves has learned all the right lessons from his mentors: assemble brilliant musicians; pen original, heartfelt music and inventive arrangements; innovate without losing touch with the tradition. With all of those elements radiantly in place, the Scott Reeves Jazz Orchestra takes its place among jazz's most compelling ensembles on Without a Trace.

Scott Reeves is a trombonist, alto flugelhornist, composer, arranger, author, and college jazz educator. A Chicago native, he attended Indiana University where his teachers included David Baker and Thomas Beversdorf. Over the years, he also studied improvisation with Woody Shaw and Kenny Werner, and arranging with Manny Albam, Mike Abene, Jim McNeely and Mike Holober. Reeves regularly performs with the Dave Liebman Big Band, the Bill Mobley Big Band, and the Valery Ponomarev Big Band, and has subbed with the Vanguard Orchestra, the Chico O'Farrill Afro-Cuban Jazz Orchestra, and the Oliver Lake Big Band. His own groups include the 17-piece Scott Reeves Jazz Orchestra, his quintet with saxophonist Rich Perry, and his 4-trombone, 3-rhythm band, Manhattan Bones. Reeves has been teaching jazz at the university level since 1976 and is currently a Professor at The City College of New York, CUNY. His two books, Creative Jazz Improvisation and Creative Beginnings (both published by Prentice-Hall), are among the most widely used texts in their field.

Cameron Graves – Planetary Prince: The Eternal Survival EP, feat. Stanley Clarke, Kamasi Washington, & Ronald Bruner, Jr.

Who is the Planetary Prince? According to keyboardist and composer Cameron Graves, it’s him. The title and concept go back long before the 35-year-old pianist struck his first piano key but in the past few years, Graves has surveyed a fair amount of the Earth as a member of the West Coast Get Down, a Los Angeles-based collective that also includes saxophonist Kamasi Washington, keyboardist Brandon Coleman and drummer Ronald Bruner, Jr.

Following on the heels of his 2017 critically-acclaimed debut album Planetary Prince, the fleet-fingered pianist is ready to continue the message with an EP entitled Planetary Prince: The Eternal Survival EP. This new collection of music features dynamic no-holds-barred live performances from Washington, Bruner, trombonist Ryan Porter, bassist Carlitos del Puerto, guitarist Matt Haze, and special guest Stanley Clarke, as well as two previously unreleased studio sessions.

Three of the five tracks were recorded in 2017 at Graves’ record release party held at the world-famous Troubadour nightclub in West Hollywood, CA - a room that has boasted more than 600 live albums from renowned artists, including Carole King, Elton John, The Eagles, Tim Buckley, Donny Hathaway and Merle Haggard. “The Troubadour was one of the first places that Return to Forever played,” says Graves. “Stanley was going to be performing with me. I had one of the guys there! It was just a legendary situation.”

Planetary Prince: The Eternal Survival EP Track Listing:

“Planetary Prince” (Live)

“Black Narcissus” (Live)

“The End of Corporatism” (Live)

“Titan”

“Kahuna”

The opening track features a rambunctious band engaging a rambunctious crowd for maximum energy. With a grand piano squeezed onto the tiny honky-tonk stage, Graves pounces on a riff that is more OzzFest than Monterey. Washington with his saxophone and trumpeter Philip Dizack pull the tune closer to a bullring, chomping with a matador’s confidence. Bruner keeps the procession tight from his drum kit going through stellar solos from Graves and Washington. “Ronald and I are telepathic,” says Graves. “I know where he’s going to go. He knows how I sound. I have a quirky sound. Ronald has a very precise sound. He compliments what I do.”

Joe Henderson’s “Black Narcissus” features Stanley Clarke on upright bass for a straight-ahead display of chops and melody. Clarke has been a mentor to many of the West Coast Get Down members, employing and collaborating with many of them including taking Graves on the road for the past four years. “The West Coast Get Down used to play a club in Hollywood called Piano Bar. That’s how we all got our sound. Everybody would come through the Piano Bar including Stanley Clarke’s son, Chris. It came up that Stanley was looking for someone to do keyboard stuff, and next thing I knew I was on tour.”

Clarke is responsible for Graves’ understanding of the tune, often calling it from the bandstand as an ode to the giants of jazz. “Cameron is an unusual kind of musician,” says Clarke. “It’s hard to put a label on him. You can’t say he’s a jazz musician, rock musician, classical musician. He’s well versed on all those genres of music. Very few piano players have a technique like he has.”

“I have a little bit of hip-hop in there and a little bit of Indian music, too, though,” clarifies Graves. “I played tablas for six years. I immersed myself into Indian music. Because I draw from all those styles, there is a certain quirkiness to my playing. It has this off-beat, on-beat, off-beat constant playing around with the rhythms. I’m in and out of every type of scale. I feel like everything works with everything in music. The dissonance and the consonance comes together to create that magic.”

That magic is on full display with “The End of Corporatism.” “It’s like a fast 7. I love to write in 7; 7 is just my favorite number. I love the feel of 7. It has a very advanced feel to it.” The advanced meter giddiness is propelled by a soulful band sound. The horns work in tandem while guitarist Matt Haze adds his own muscle. Washington offers a breathless solo imbued with melody and defiance. “I’m very much into the title of that song,” Graves says with a smile. “We’re ready.”

“Titan” is the first of two unreleased studio recordings featured on the EP. “I used to play that at Piano Bar all the time. It has a dark theme to it. I pulled that melody idea from the movie The Fifth Element. ‘Titan’ goes into the dark but it’s a journey into the light. It’s a wormhole.” The instrumental workout rumbles with angst, bassist Hadrien Feraud hums with electricity as Graves unravels an anxiety-inducing display of unparalleled technique. It is an authoritative display matched only by trombonist Ryan Porter’s carefully constructed retort.

“Kahuna is a Hawaiian belief. It’s almost like a Hawaiian religion,” says Graves. “It’s a spiritual practice. I put it together with The Urantia Book. You have to put it together to get a great spiritual grounding. When I was studying spirituality, I was getting way into the kahuna belief system and I got so inspired.” It is also the final track on this EP. Not quite imbued with an island vibe, the band still finds a deep pocket. Graves amazes with a mature pace but unwavering technical prowess. A solo by trumpeter Philip Dizack further highlights the inclusiveness.

The origin of the Planetary Prince comes from The Urantia Book, a 20th century philosophical manifesto. “It’s a spiritual book. It talks about the different Planetary Princes that rule each planet in this solar system and other solar systems. There is a consciousness of the planet.” The book has proven to have a considerable influence on Graves’ outlook on life and his music. “It compliments the music that I write. I like to write advanced music. I can write pop music but I’m very much into metal music -- death metal music. That’s a big influence on my writing. That dark element in there it’s just a cool compliment.”

A little over a year after releasing his recorded debut, Graves is here to show that he is not only surviving but thriving, blessing the solar system with the unmistakable sound of the Planetary Prince, bound for the stars.

The Rolling Stones 'The Studio Albums Vinyl Collection 1971-2016'

Whenever The Rolling Stones do anything, they do it with quality and gravitas. Having defined rock'n'roll in the '60s, The Rolling Stones entered their imperial phase in 1971 with Sticky Fingers. What followed is a run of albums that couldn't have happened at any other time, by any other band: the decadent excess of Exile On Main St, the Jamaican voodoo swamp of Goats Head Soup, the disco and punk-infused prowl of Some Girls. With each new decade, the Stones evolved while staying true to their roots, coming full circle in 2016 with Blue & Lonesome, a love letter to their first inspiration: the blues. Today, The Rolling Stones and UMe announce 'The Studio Albums Vinyl Collection 1971-2016,' a brand new limited edition vinyl box set collection, featuring 15 albums across 20 LPs released on June 15 2018.

'The Studio Albums Vinyl Collection 1971-2016' presents this monumental era in rock'n'roll history in a highly bespoke, lenticular mounted, limited edition box-set housing the 15 studio albums from Sticky Fingers through to Blue & Lonesome in faithful and intricate original packaging replications. Every album has been lovingly remastered and cut at revelatory half-speed at Abbey Road Studios, from vinyl specific original tape transfers designed to get the very best possibly sound from the format. Each album is pressed on heavyweight 180-gram black vinyl and includes a download card for HD digital redemption of the catalog and includes a numbered certificate of authentication.

Cut at half speed, these are among the highest quality vinyl pressings that these classic

Rolling Stones albums will have ever received. Half speed mastering and pressed to a very high standard ensures top notch sound quality for the listener. 

Special care has been taken to create packaging to the same high standards, with detailed artwork reproduction for each album including Some Girls, which comes housed in the replica design including 20 cut-outs on the cover, while the sleeve of Sticky Fingers is presented as Andy Warhol's original design, complete with a working zip with a hidden image underneath and Exile On Main St comes with a set of 12 original postcard inserts.

ABOUT THE PROCESS

Abbey Road Studios' engineers have been cutting grooves into discs since the studios first opened in 1931. In 2013, award-winning engineer Miles Showell joined their existing mastering team, bringing a wealth of disc-cutting experience with him.

One of the artisan techniques offered by Abbey Road Studios that results in the very highest quality sound reproduction is Half Speed Cutting. This process involves the master source being played back at precisely half its recorded speed while the cutting lathe is similarly turned at half the desired playback speed. This allows the cutting head twice the time to cut the intricate groove, allowing considerably more accuracy with important matters such as frequency extremes and micro-dynamic contrasts. The resulting cuts have excellent high frequency response (treble) and very solid and stable stereo images.

It's not quite as simple as running everything at half rate. There is an EQ curve applied to all vinyl records and by running the lathe at half speed, all the frequencies are wrong. However, the technical staff at Abbey Road Studios have had new custom-built filters installed which allow Miles to practice half speed cutting to the full on a modified Neumann VMS-80 lathe.

'The Studio Albums Vinyl Collection 1971-2016'

•Sticky Fingers (1971)

◦LP sleeve presented as Andy Warhol's original design complete with working zip and hidden image beneath

•Exile On Main St (1972) (2LP)

◦2LP in original style gatefold sleeve complete with inner-bags and set of 12 perforated postcards

•Goats Head Soup (1973)

◦LP in gatefold sleeve with two inserts

•It's Only Rock'n'Roll (1974)

◦LP with original heavyweight inner sleeve

•Black And Blue (1976)

◦LP in gatefold sleeve with original inner bag and lyric sheet

•Some Girls (1978)

◦LP housed in replica design including 20 cut-outs on the cover

•Emotional Rescue (1980)

◦LP with original sized poster

•Tattoo You (1981)

◦LP with original heavyweight inner sleeve

•Undercover (1983)

◦LP with original heavyweight inner sleeve and lyric sheet

•Dirty Work (1986)

◦LP with original heavyweight inner sleeve, red shrink wrapping and bespoke sticker

•Steel Wheels (1989)

◦LP complete with original inner sleeve and sales insert

•Voodoo Lounge (1994) (2LP)

◦2LP gatefold sleeve with original lyric inners

•Bridges To Babylon (1997) (2LP)

◦2LP with original lyric inners

•A Bigger Bang (2005) (2LP)

◦2LP gatefold sleeve with original lyric inners

•Blue & Lonesome (2016) (2LP)

◦2LP gatefold sleeve with original inners

THE ROLLING STONES 'THE STUDIO ALBUMS VINYL COLLECTION 1971-2016'

WILL BE RELEASED BY UMe ON JUNE 15 2018

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Tracklisting:

Sticky Fingers

Brown Sugar, Sway, Wild Horses, Can't You Hear Me Knocking, You Gotta Move, Bitch, I Got The Blues, Sister Morphine, Dead Flowers, Moonlight Mile

Exile On Main St

Rocks Off, Rip This Joint, Shake Your Hips, Casino Boogie, Tumbling Dice, Sweet Virginia, Torn And Frayed, Sweet Black Angel, Loving Cup, Happy, Turd On The Run, Ventilator Blues, I Just Want To See His Face, Let It Loose, All Down The Line, Stop Breaking Down, Shine A Light, Soul Survivor

Goats Head Soup

Dancing With Mr. D., 100 Years Ago, Coming Down Again, Doo Doo Doo Doo Doo (Heartbreaker), Angie, Silver Train, Hide Your Love, Winter, Can You Hear The Music, Star Star

It's Only Rock'n'Roll

If You Can't Rock Me, Ain't Too Proud To Beg, It's Only Rock'n'Roll (But I Like It), Till The Next Goodbye, Time Waits For No One, Luxury, Dance Little Sister, If You Really Want To Be My Friend, Short And Curlies, Fingerprint File

Black And Blue

Hot Stuff, Hand Of Fate, Cherry Oh Baby, Memory Motel, Hey Negrita, Melody, Fool To Cry, Crazy Mama

Some Girls

Miss You, When The Whip Comes Down, Just My Imagination (Running Away With Me), Some Girls, Lies, Far Away Eyes, Respectable, Before They Make Me Run, Beast Of Burden, Shattered

Emotional Rescue

Dance, Summer Romance, Send It To Me, Let Me Go, Indian Girl, Where The Boys Go, Down In The Hole, Emotional Rescue, She's So Cold, All About You

Tattoo You

Start Me Up, Hang Fire, Slave, Little T&A, Black Limousine, Neighbours, Worried About You, Tops, Heaven, Not Used To Crying, Waiting On A Friend

Undercover

Undercover Of The Night, She Was Hot, Tie You Up (The Pain Of Love), Wanna Hold You, Feel On Baby, Too Much Blood, Pretty Beat Up, Too Tough, All The Way Down, It Must Be Hell

Dirty Work

One Hit (To The Body), Fight, Harlem Shuffle, Hold Back, Too Rude, Winning Ugly, Back To Zero, Dirty Work, Had It With You, Sleep Tonight, Key To The Highway

Steel Wheels

Sad Sad Sad, Mixed Emotions, Terrifying, Hold On To Your Hat, Hearts For Sale, Blinded By Love, Rock And A Hard Place, Can't Be Seen, Almost Hear You Sigh, Continental Drift, Break The Spell, Slipping Away

Voodoo Lounge

Love Is Strong, You Got Me Rocking, Sparks Will Fly, The Worst, New Faces, Moon Is Up, Out Of Tears, I Go Wild, Brand New Car, Sweethearts Together, Suck On The Jugular, Blinded By Rainbows, Baby Break It Down, Thru And Thru

Bridges To Babylon

Flip The Switch, Anybody Seen My Baby?, Low Down, Already Over Me, Gunface, You Don't Have To Mean It, Out Of Control, Saint Of Me, Might As Well Get Juiced, Always Suffering, Too Tight, Thief In The Night, How Can I Stop

A Bigger Bang

Rough Justice, Let Me Down Slow, It Won't Take Long, Rain Fall Down, Streets Of Love, Back Of My Hand, She Saw Me Coming, Biggest Mistake, This Place Is Empty, Oh No Not You Again, Dangerous Beauty, Laugh I Nearly Died, Sweet Neo Can, Look What The Cat Dragged In, Driving Too Fast, Infamy

Blue & Lonesome

Just Your Fool, Commit A Crime, Blue And Lonesome, All Of Your Love, I Gotta Go, Everybody Knows About My Good Thing, Ride 'Em On Down, Hate To See You Go, Hoo Doo Blues, Little Rain, Just Like I Treat You, I Can't Quit You Baby

International Jazz Day 2018 Comes to a Close Following Celebratory Concerts in St. Petersburg and New Orleans

International Jazz Day 2018 came to a phenomenal close this evening in St. Petersburg, following an extraordinary All-Star Global Concert at the historic Mariinsky Theatre that capped off several days of educational outreach programs across the city. The concert, led by artistic co-directors Herbie Hancock (USA) and Igor Butman (Russia), was streamed live by the United Nations and UNESCO and on www.jazzday.com. It featured performances by an international roster of artists including Oleg Akkuratov (Russia), Till Brönner (Germany), Oleg Butman (Russia), Terri Lyne Carrington (USA), Joey DeFrancesco (USA), Fatoumata Diawara (Mali), Vadim Eilenkrig (Russia), Kurt Elling (USA), Antonio Faraò (Italy), James Genus (USA), Robert Glasper (USA), David Goloschekin (Russia), Hassan Hakmoun (Morocco), Gilad Hekselman (Israel), Horacio Hernandez (Cuba), Taku Hirano (Japan), Anatoly Kroll (Russia), Gaoyang Li (China), Rudresh Mahanthappa (USA), The Manhattan Transfer (USA), Branford Marsalis (USA), James Morrison (Australia), Moscow Jazz Orchestra (Russia), Makoto Ozone (Japan), Danilo Pérez (Panama), Dianne Reeves (USA), Lee Ritenour (USA), Luciana Souza (Brazil) and Ben Williams (USA). John Beasley (USA) served as musical director.

The All-Star Global Concert included special remarks from the International Jazz Day Co-Chairs: UNESCO Director-General Audrey Azoulay and UNESCO Goodwill Ambassador Herbie Hancock. The evening showcased incomparable musicians from around the world and their unique interpretations of jazz. Inventive pairings included The Manhattan Transfer delivering an exhilarating version of "Birdland" with the Moscow Jazz Orchestra, and renowned saxophonist Branford Marsalis performing "As Long As You're Living" alongside acclaimed vocalist Kurt Elling, German trumpet sensation Till Brönner and Italian pianist Antonio Faraò. The stunning vocalist Dianne Reeves joined forces with Russian saxophonist Igor Butman, Japanese pianist Makoto Ozone, and American rising star bassist Ben Williams for a breathtaking performance of "In A Sentimental Mood." The concert concluded with the entire cast performing a heartfelt rendition of John Lennon's beloved peace anthem, "Imagine."

Leading up to the All-Start Global Concert, St. Petersburg hosted a wide array of programming including master classes and workshops with Oleg Butman and Lee Ritenour; panel discussions exploring Jazz and Peace, Women in Jazz and Jazz and Roots Music; and jam sessions with the Thelonious Monk Institute of Jazz Performance Fellows.

Earlier in the week, the International Jazz Day festivities kicked off in New Orleans with an International Jazz Day Salute to New Orleans concert at the historic Orpheum Theater. Thousands attended this free concert commemorating the 300th anniversary of the founding of New Orleans, the birthplace of jazz. The show opened with an only-in-New Orleans second line fronted by the Preservation Hall All-Stars and featured performances by Herbie Hancock along with Patti Austin, Philip Bailey, Bilal, Terence Blanchard, Jon Cleary, Ledisi, Quiana Lynell, Herlin Riley and many others. The concert will stream on www.jazzday.com at 7pm et, following the broadcast of the All-Star Global Concert from St. Petersburg at 4pm et. In addition to the live concert, a series of engaging, in-school jazz education presentations were led by the Institute's teaching artists and educators at schools across New Orleans.

Celebrated around the globe each year on April 30, International Jazz Day highlights the power of jazz as a force for freedom and creativity, promotes intercultural dialogue through respect and understanding, and unites people from all corners of the globe.

International Jazz Day was adopted by the UNESCO Member Nations on the initiative of UNESCO Goodwill Ambassador Herbie Hancock. Established in partnership with the Thelonious Monk Institute of Jazz, the day is recognized on the official calendars of both UNESCO and the United Nations, and it is celebrated in more than 190 countries on all seven continents. Each year, schools, universities, libraries, jazz clubs, performing arts centers, artists and arts organizations of all disciplines around the world pay tribute to jazz through thousands of performances, education programs and community service initiatives.