BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - ACKNOWLEDGEMENT

A veteran percussionist and pioneer of the Latin jazz genre since the early sixties, Bobby Matos has created an excellent fusion of Latin and Afro-jazz music on Acknowledgement. Matos records ten original hot and heavy, hip-moving compositions with his Afro Latin Jazz Ensemble and pays tribute to the legendary John Coltrane with Afro-Latin arrangements of three Coltrane standards. They include the four-note classic "A Love Supreme Acknowledgement," supported by some masterful playing from bassist John B. Williams, and "Tunji" and "Equinox," featuring fine tenor work by Frank Fontaine, Jr. and several solos by Danny Weinstein on viola and trombone.

Matos opens up the session with one of his own uptempo charts on "Manhattan Mozambique," which is followed by another upbeat piece dedicated to his musician son, "Song for Jud." Jud Matos, also a member of the band, plays the clave throughout but really shines on the guiro, bell and chekere on "Chango's Jazz." Not to be outdone, Bobby Matos comes through on congas and timbales in expressive style, marking this disc as an exciting percussion project. While the majority of the tracks here are instrumentals,"Songoro" and "Soy Lucumi" are two charanga-based tunes with vocals provided by Ismael "East" Carlo.

Two of the best scores on the album have to be the brief but sweet little number "Motivos de Jazz," highlighting Weinstein's performance on violin, and the melodically engaging "Evelyn," with pronounced play by Matos (timbales), Fontaine, Jr. (flute) and Theo Saunders (piano). This album contains an obvious Afro-Cuban accent that this Cuban-American reviewer can appreciate. Acknowledgement combines Latin jazz swing with a heavy Afro percussive backdrop, delivering a truly vibrant performance.


~ Edward Blanco
   http://www.lifeforcejazz.com/

BLOWOUT - THE SUPPORTING THEORY

Blowout is a musical collective concentrating on composition, improvisation, and communication in a jazz setting.

PRESS & REVIEWS:

“Blowout plays a rousing, raucous brand of post-Bop music, combining the arranging sensibilities and layered tempos of vintage Mingus with a quirky structuralist sensibility that recalls Phillip Johnston, and some occasional rock. I love the horn polyphony! Many of the tunes feature a kind of continual weave between Ewing's excellently portly trombone (check him out on "Solid Brass Numchuk") and the sinewy saxophones (listen to Bennett punish his bari on "Duplicity"), with Moran the comper/mischief-maker sprinting ahead of Germain and Lewis. Make no mistake, this is Jazz, not Jazz-Rock. Moran is an extremely tasteful electric player, who simply knows how to use the textures (and the history) of his instrument (including that extra low string for some serious rumble). He also displays a nimble swinging technique on his own "Ring around the Collar". But for all the tightly woven charts and nimble swing, the group sure does have range: check out the eeire atmospherics on "Tin Foil Is Not Soft", the heavy funking on "Nothing But Trouble", the sludgy menace of "Deuguelasse", or the noir-ish "Baby Be Mine". All in all, this is a nice surprising disc: a band with real personality, playing music with warmth and heart and - what's so rare these days- humor!” — Cadence Magazine

“All of the musicians… distinguish themselves not so much for what they contribute as what they leave out, restraining from making the pointless squeal or pseudo-virtuosic wail that characterizes so many first offerings in the modern-jazz world. …If this young band keeps going, the blowing is only going to get more ‘out’ — in the most complimentary sense of the word.” — SF Weekly

“Some music is so hip, you know, upon first hearing, there is no way it will ever find a large drawing. Like fine wine made in small reserves, it is to be savored when experienced. This is as candid a statement as can be made regarding the excellent compositional abilities found within the six-member band Blowout. The compositions are all clever and sharp, witty and urbane, but most especially fun. All of the compositions emphasize a true collective sound with no one instrumental texture predominating. The music on The Supporting Theory isn't what you might expect, and that's due to the way Moran handles his instrument. For the most part he plays single note lines which allow the music to have an airy space and freedom lacking in most jazz - think Kenny Wheeler's Angel Song ensemble.” — Jazz Review.com

“Their music is very much a modern day jazz fusion which has taken influences from World, Contemporary, Middle Eastern and Avant Guard to offer a blend of excitement and expression which is what jazz is all about. This is music to wake up and listen to, and an album full of energy, musicianship and composition and an album which has superb arrangements and will appeal to the jazz fan who wants a menu of steak and chips as opposed to a watered down consumme soup.” — EuroClubDeJazz.com

~ lifeforcejazz.com

MICHAEL CARVIN - LOST AND FOUND PROJECT 2065

Michael Carvin is a drummer of extraordinary talent, inventiveness and technique. His mastery affords him the ability to handle any musical situation and to skillfully pass on his knowledge of the instrument to an ever increasing number of students internationally. Born in Houston, Texas, Carvin’s musical training began at an early age with his father, one of the top drummers in Houston.

With that training, by the age of twelve, Carvin began playing professionally and won what would be the first of five consecutive Texas rudimental championships. Mr.Carvin’s diversified career has included a two-year tour with Earl Grant throughout Europe, Japan and the U.S., another two years as a staff drummer with Motown Records and extensive studio and television work on the west coast.

Joining Freddie Hubbard’s band in 1973, Mr.Carvin moved to New York where he quickly gained a reputation as a formidable jazz drummer. In addition to leading his own bands, Carvin’s vast playing and recording experience includes work with Dizzy Gillespie, Dexter Gordon, Jackie McLean, Hank Jones, McCoy Tyner, Illinois Jacquet, Pharoah Sanders, Bobby Hutcherson, James Moody, Hampton Hawes, Ruth Brown, Abbey Lincoln, Jimmy Smith, Hugh Masekela, Alice Coltrane, Cecil Taylor, Charles Brown, Terumasa Hino, Bobby Watson, Billy Bang, and many others.

Michael Carvin has established himself as one of the world’s most respected drum teachers and clinicians. Students from Europe, Japan and South America come to New York to study at the Michael Carvin School of Drumming. His book, “Something For All Drummers”, written with beginning, intermediate and advanced students in mind, provides information of improving sight reading and soloing abilities. Mr. Carvin has recorded over 150 albums. He endorses Pearl Drums, Istanbul Cymbals, Remo Drum Heads and the Michael Carvin Signature Drum stick which he designed.

~ lifeforcejazz.com

DAWAN MUHAMMAD - HEREAFTER

Dawan Muhammad qualifies as a unique kind of renaissance man. For Hereafter he plays woodwinds and flutes, is composer, arranger, conceptualizer, and label manager. But the reality is so much broader than that. He is a community activist and non-profit entrepreneur, as much concerned for the mental and cultural health of Bay Area communities, and propagation of this unique art form we call jazz, as he is about his own musical development. He gives back to the community in a variety of different, well-chronicled ways; he gives back to the music in this instance with Hereafter. 

Dawan¹s primary vehicle, LifeForcejazz, is not only the imprimatur of this recording, it is also a means of bringing arts and culture to various Bay Area communities, through a variety of after-school and weekend programs for youngsters and young adults. LifeForcejazz, which can be accessed on the web at www.lifeforcejazz.com (http://www.lifeforcejazz.com), also provides vehicles to assist independent jazz recording artists to better maximize their product and opportunities. Just who is the dynamic force behind LifeForcejazz?

Born in Dallas Texas, Dawan Muhammad seemed to naturally respond to jazz, even as a toddler. He later became intrigued by homegrown jazz artists like Buster Smith, Red Garland, Ornette Coleman, King Curtis, Kenny Dorham, David "Fathead" Newman, Cedar Walton, and James Clay, just to name a few. When Muhammad¹s family migrated to the San Francisco Bay Area, he took up the saxophone in middle school. By the time he entered military service his alto sax was just a memory, but his love for jazz and experience in the service drove him to resume his musical quest. He enrolled in correspondence courses from Berklee School of Music and was eventually stationed at McGuire Air Force Base in New Jersey where he came in contact with New York-based artists and mentors such as Frank Wess,George Coleman, Barry Harris, James Spaulding, Don Patterson, Joe Chambers and a host of others.

Following his service stint he earned degrees in Political Science and Islamic Studies from UC Santa Cruz. While matriculating, he co-founded Evidence Artistic Records with classmate Randy Masters and became immersed in developing ideas, vehicles, and means to assist in advancing the careers of his fellow artists. In 1994, Dawan and jazz legend Billy Higgins launched LifeForcejazz Records to pursue new projects and examine the impressive body of recordings in the can, some of which they never intended to release. However, due to the compelling nature of the music and a desire to build a label and distribution vehicles, more releases became inevitable. Which brings us to Hereafter.

The sessions that yielded this 10 track program stem from recordings laid down in December 1979; December 1987; and February 1988. Despite that passage of time, there is freshness in this music that is unmistakable. According to Dawan, "I have a somewhat suspect reputation for attempting to pull off spontaneous recording sessions, where musicians are called together at the last minute, the music is arranged on the spot, and everyone leaves the session wondering what happened." Wonder no more, the evidence is
finely wrought in Hereafter, which is a somewhat prophetic title considering its recording vintage and current release.

"Although these recordings were not intended for commercial use, as it turns out, I ended up releasing them for documentation purposes. The collaborating artists on these dates are a combination of long time friends and mentors, who were always willing to help me try out my ideas and bring some of their own to the table. I try to pay tribute to those who influenced me," says Muhammad. Indeed the music is delivered by a cast including several notable artists on the national and international stage. These include Ray Drummond (tracks 1-4) and Jeff Chambers (tracks 5-10), who anchor the date with their bulwark bass work, giving the music a firm foundation. The trumpet and flugelhorn chores are split between two underrated voices: Eddie Henderson (tracks 1-4), and the late Johnny Coles (tracks 8-10).

And speaking of underrated, the drum work on tracks 8-10 is contributed by one of the Bay Area¹s finest, Eddie Marshall. Rounding out the cast are such estimable players as pianists Paul Nagel (tracks 1-4) and Glen Pearson (tracks 5-10); drummers Guillermo Cantu (tracks 1-4) and Bob Braye (tracks 5-7); and trombonist Dan Marcus (tracks 8-10). One of the date¹s wild cards is Mondre Moffett on baritone horn, a member of the brass family seldom heard in jazz settings, but quite appropriate to the setting in which Dawan has cast it. Establishing the tone is our leader, who performs on soprano, alto, and tenor saxophones; bass clarinet, and flutes. The title track, Hereafter, establishes a medium tempo, contemplative mood, with flute and woodwind harmonies underpinning Henderson's bittersweet flugelhorn.

Capturing the mood, Dawan takes his solo on alto flute, which coupled with Henderson's flugelhorn is remindful of some of Herbie Hancock's voicings when Eddie was his trumpeter. Dawan adroitly switches to the alto after concluding his flute statement. West Oakland Strut, written by fellow Bay Area pianist Ed Kelly, provides a framework for Moffett's dexterous baritone horn. One of the hallmarks of this date is Muhammad's democratic leadership; he gives ample breathing room to his peers' expressions, never hogging the spotlight.

Dawan wrote a stately intro to Chick Corea¹s Now He Sings, arranging the composer's piano voicings for horns, this sextet rendition finds our leader on soprano sax. Bowing to the composing gifts of his fellow travelers, next up is pianist Paul Nagel¹s No Need, a superb showcase for Eddie Henderson¹s fluid drive trumpet, as he delivers a beautiful legato solo, spelled by Dawan¹s tenor this time. Speaking of his tenor, he takes his own Consider The Source on the big horn. It¹s a quartet showcase for the leader¹s tenor, which at least at this point in his career was his most broadly developed voice. Glen Pearson¹s lyrical Bree¹s Theme follows. It¹s a lovely, optimistically open piece and yet another fine tenor showcase for Dawan. His tenor has a warm, humanistic quality. Sneakin¹ A Peak Into Darkness by Jeff Chambers is a good blowing vehicle for Muhammad¹s soprano. The pianist sits this one out, leaving a bare bones sax, bass & drums setting, allowing Dawan to hang fly with his freest expressions on the date. His original piece Ota is an apt follow-up, a lovely flute ballad, and the entry point for the burnish-toned Johnny Coles. Eddie Marshall¹s Seems To Be is one of this disc¹s highlight themes, given a jaunty swagger in its delivery and Dan Marcus¹ fluid trombone adds a tasty voice on this piece.

The slightly introverted styling of Coles offers a nice contrast to Eddie Henderson from earlier in the date. While Eddie Henderson is more from the Freddie Hubbard school, Coles is more closely akin to a Kenny Dorham or Booker Little approach. The juxtaposition of the two trumpet & flugelhorn men lends the date a successful sense of balance. The surging Muhammad original, Muqaddimah, with its three horn frontline, has an almost Messengers-like quality. The selections on Hereafter offer music that grows and further unfolds with each listen. Makes one wonder what other goodies Dawan Muhammad has up his sleeve or rather, in his vault. The wait should be well worth it!

~Willard Jenkins
   http://www.lifeforcejazz.com/

RUMER - BOYS DON'T CRY

Atlantic recording artist Rumer has announced the U.S. release of her extraordinary new album, Boys Don't Cry. The collection -- which follows recent domestic release of the British singer/songwriter's acclaimed debut, Seasons Of My Soul -- arrives on these shores on September 25th.

Boys Don't Cry sees Rumer bringing her remarkable voice to a striking selection of songs penned and originally performed by some of the most iconic male songwriters of the 1970s. The album showcases stunning reinterpretations of classics like Daryl Hall & John Oates' "Sara Smile" and Townes van Zandt's "Flyin' Shoes" alongside lesser-known works by such legendary tunesmiths as Todd Rundgren, Isaac Hayes, Ronnie Lane, Paul Williams, Stephen Bishop and Terry Reid. (see track listing below).

The album has already begun drawing critical applause, with Mojo hailing it for "(showing) off Rumer's ability to inhabit, interpret and seek out the universal... Rumer's still-remarkable Karen Carpenter voice (is) the gentle hand on forehead, pure white linen, a kind of musical Florence Nightingale, quick to round up the strays, seal up the wounds and make everything lovely."

Rumer heralded next week's British release of Boys Don't Cry with a stellar rendition of the album's first single, Jimmy Webb's "P.F. Sloan," on the BBC's flagship music program, Later with Jools Holland. The singular performance -- which saw Rumer accompanied by the one and only Webb -- can be viewed now at Rumer's official website, www.rumer.co.uk/updates,watch-rumer-performing-with-jimmy-webb_129.htm?f=news. Additionally, Rumer will celebrate the release of Boys Don't Cry with a live show at London's St. James's Church which will be broadcast live via different online partners around the globe.

Here in the U.S., Rumer was among the superstar artists contributing her talents to Burt Bacharach & Hal David: The Library of Congress Gershwin Prize for Popular Song In Performance at the White House, an all-star PBS music special filmed as part of the Emmy Award-nominated PBS series, In Performance at the White House. The concert event, hosted by President and Mrs. Obama, was held earlier this month in honor of songwriters Bacharach and David's receipt of the Library of Congress Gershwin Prize for Popular Song and also features performances by Stevie Wonder, Sheryl Crow, Michael Feinstein, Diana Krall, Lyle Lovett, Arturo Sandoval, and many others. Burt Bacharach & Hal David: The Library of Congress Gershwin Prize for Popular Song In Performance at the White House premiered Monday, May 21st at 9 pm ET on PBS stations nationwide (check local listings). To view the clip of Rumer's performance click here: http://www.youtube.com/watch?v=aiOqnCns59Y

Fueled by the much-admired hit singles "Slow" and "Aretha," Seasons Of My Soul was a platinum certified popular success upon its initial 2010 U.K. release. What's more, the album proved an international sensation, reaching the top 10 in Belgium, Norway, Ireland, New Zealand, and the Netherlands.

Seasons Of My Soul was also a critical phenomenon, earning unprecedented acclaim for a debut album. Mojo hailed the collection as a five-star "Instant Classic," praising Rumer for "(achieving) perfect balance between effusion and restraint... It's as if Rumer is laying bare humanity's soul, such is her ability to create intimacy and emotional depth within a song." "A mellifluous aural balm of jazz and soul, these are songs of yearning and loss," declared Q in a four-starred rave, while Uncut applauded the album for its "dream-like melancholy, thanks to the tension between Rumer's sweet voice and her troubled lyrics." "Sensationally good," affirmed The Sunday Times, "Rumer has one of those voices -- a sort of confiding, conversational sigh, equal parts Laura Nyro, Karen Carpenter, Dusty Springfield, and Joni Mitchell -- you would be happy to listen to for days and days."

Furthermore, Rumer received rapturous praise for her live performances, with Q extolling "a voice pure as a primary colour, dappling occasional light towards Carole King, more seldom Alison Goldfrapp, but for the most part a fiery phoenix rising from the unmistakable ashes of Karen Carpenter." "Her vocals are a deft blend of bright, shining delicacy and the darkness of genuine heartache," declared The Independent of a headline appearance at London's famed Bloomsbury Theatre, with The Times proclaiming the show as "a classic pop moment." In addition, a performance at New York's Joe's Pub earned the admiration of the Daily News, who noted, "It's particularly gratifying in these melisma-mad days to hear a singer who doesn't throw her voice around athletically. Instead (Rumer) trusts the essential quality of her instrument to tell the tale."

The U.S. release of Seasons Of My Soul was followed by a number of high-profile TV appearances, including NBC's The Tonight Show with Jay Leno, E! News, and CBS Sunday Morning. The latter feature instantly established Rumer as a major star, catapulting the album to #1 on the iTunes Store as well as both Amazon and Barnes & Noble's digital albums charts.

Rumer - Boys Don't Cry Tracklisting
Release Date: September 25th

1. "P.F. Sloan" (Jimmy Webb)
2. "Be Nice To Me" (Todd Rundgren)
3. "Traveling Boy" (Paul Williams)
4. "Soulsville" (Isaac Hayes)
5. "Same Old Tears On A New Background" (Stephen Bishop)
6. "Sara Smile" (Daryl Hall & John Oates)
7. "Flyin' Shoes" (Townes van Zandt)
8. "Just For A Moment" (Ronnie Wood & Ronnie Lane)
9. "Brave Awakening" (Terry Reid)
10. "Welcome Back" (John Sebastian)
11. "A Man Needs A Maid" (Neil Young)
12. "My Cricket" (Leon Russell)

BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - UNITY

On his latest recording for LifeForce Jazz Records, in addition to 9 tracks with his regular working group, Bobby has also included 5 Afro Latin percussion jam sessions, with special guests Chembo Corniel, and Phoenix Rivera. There is also one track with special guest artists Binky Griptite and Bosco Mann (from the soul phenomenon “the Dap Kings”) as well as an appearance from the Doo Wop vocal group “the Mighty Echoes”.

Bobby’s 2 horn section switches easily between a jazzy frontline of sax and trombone to a violin and flute Charanga sound. In addition to several originals from the band members, there are tunes from masters like Wayne Shorter, Tito Rodriguez, Horace Silver, and Ray Rivera. For the first time on a recording, the band adds Puerto Rican rhythms (Bomba and Plena) to their repertoire of Jazz, Mambo, Son Montuno, Rumba, Mozambique, Charanga, and Iyesa.

Bobby’s band features jazz and Latin jazz veterans Theo Saunders (piano), John B. Williams (bass), Dan Weinstein (violin & trombone), Pablo Calogero (tenor sax & flute), Robertito Melendez (congas & panderetta), Frank Fontaine (tenor sax), and Jud Matos (percussion), as well as the leader on timbales, congas, percussion in addition to arranging several songs.

Bobby says "Occasionally times can get so stressful, depressing, and painful that everything seems hopeless, and out of nowhere you'll hear a great piece of music that suddenly transforms and transcends all the negative stuff. Music can actually change your brainwaves and even act as a healing force for the body. I've seen an old man with a walker get up and dance to a sensous Cuban danzon-mambo. I've seen crowds all moving in time to the beat of the music and I know that music has this power to unify us, and make us one"

~ lifeforcejazz.com

KSBR BIRTHDAY BASH JAZZ FESTIVAL

Saddleback College Radio Station KSBR (88.5 FM) is proud to announce that Hiroshima, Paul Brown, Chris Standring and Jackiem Joyner will be among the more than 30 musicians appearing at this year’s KSBR Birthday Bash Jazz Festival. The Birthday Bash debuts on Sunday, May 27, 2012 on the Village Green of Oso Viejo Park in Mission Viejo. Some of the other artists appearing at this year’s event include, trumpeter Greg Adams, Brazilian singing sensation Fabiana Passoni and Spyro Gyra keyboardist Tom Schuman. As always, there will be at least 5 very special guests who cannot be announced until they come on stage. Previous surprise artists have included Mindi Abair, Patti Austin, Chris Botti, Larry Carlton, Brian Culbertson, Bob James, Boney James, Joe Sample, Tom Scott, and Peter White.

The concert is co-sponsored by the City of Mission Viejo. This will be the 23rd year of the station’s largest fund raising event, and it celebrates the 33rd anniversary of jazz on KSBR 88.5 FM.New this year is the first annual Taste of the Bash that will feature over 20 restaurants and wineries showing off their finest creations. The Taste is an added value, so those purchasing tickets to the concert will be admitted to the Taste of the Bash for no additional charge. The Birthday Bash is the major fundraising event for KSBR-FM, Mission Viejo’s own community radio station at Saddleback College. Some of the restaurants who are confirmed to serve up are Pita Jungle in Newport Beach, California Pizza Kitchen in Mission Viejo, Chilis in Mission Viejo, Roma D’Italia in Ladera Ranch, as well as wineries Hamilton Oaks Vineyards from Trabuco Canyon and Long Shadow Ranch from Temecula. More restaurants and wineries that will be at the Taste of the Bash can be found at http://www.ksbr.org.

Platinum and Premium Gold VIP guests will be treated to a fine dining experience by The Anaheim White House Restaurant, Hanna’s Restaurant in Rancho Santa Margarita and Vintage Steak House in San Juan Capistrano; dessert will be provided by Donna B’s Bakery in Laguna Niguel, Tommy Bahama in Newport Beach and Oh For Sweet Sakes! in San Clemente. It’s a Grind Coffee in Mission Viejo will also be serving coffee. Islands Restaurant in the Mission Viejo Kaleidoscope will be serving lunch to the 100 plus volunteers who work tirelessly to make the festival a success. And, once again, Two Guys Grilling will be providing meals for the Bash All-Stars and their families.

The event will include a special tribute to Veterans. Saddleback College’s is the most significant tribute to veterans at any community college campus in the nation. In recognition of this event and the role that the college’s VETS (Veterans Education and Transition Services) Center plays in the community, the festivities will include a color guard performance and a special musical tribute to kick off the concert. In addition, veterans and active military personnel may purchase general admission tickets for just $25 through the Saddleback College VETS Center (949) 582-4252. The Center is open Monday – Thursday 9am to 4:30pm and Friday 9am to 12 noon.

Doors open at 3:00 pm; the Taste of the Bash will run from 3:00 P.M. to 6:00 P.M. Advance sale ticket prices begin at $45; $50 at the door. Reserved VIP seating is still available and is priced at $100-$175 per person. Tickets are available to the public at http://www.KSBR.org, at the Norman P. Murray Community and Senior Center and at the Fine Arts Ticket Office at 949-582-4656.

Located in Mission Viejo, Saddleback College provides quality higher education and training to the greater south Orange County community. Having served more than 500,00 students since 1968, Saddleback College offers over 300 degree and certificate programs to help students reach their personal, career, and educational goals.

When: Sunday, May 27, 2012
Gates open – 3:00 P.M.
Taste of the Bash 3:00 P.M. – 6:00 P.M.
Military Appreciation Festivities - 4:30 P.M.
Music – 5:00 P.M.
Location: Oso Viejo Park
24932 Veterans Way
Mission Viejo, CA 92692

MILTON SUGGS - LYRICAL VOLUME 1

In 2010 with his debut album as a leader, Things to Come, vocalist Milton Suggs established himself as an artist to be aware of and watch closely. He cements that idea with a strong showing in 2012 with the first volume in an anticipated series of albums simply and appropriately entitled, Lyrical.

Lyrical, Volume I was recorded in late 2011 and early in 2012 with some fine instrumental talent out of the midwest. Detroit pianist Michael Jellick, bassist Joshua Ramos, and drummer Greg Artry comprise the rhythm section while several talented horn players including trumpeters Corey Wilkes and Marquis Hill, as well as saxophonist Christopher McBride make strong statements as soloists.

True to its title, the album’s repertoire consists of arrangements by Milton Suggs of compositions from some of the most beloved musicians and composers in jazz all with original lyrics by Suggs. The album opens with three Wayne Shorter compositions: first, the powerful war-like anthem “Before It’s Too Late” (originally called “Armageddon”), followed by “Walking Out” (“Footprints”), before winding down to a moving ballad in “Jayme’s Song” (“Infant Eyes”), a father’s ode to his newborn daughter.

The musical as well as lyrical content of this album is an eclectic display of different styles as well as subject matter. With styles ranging from straight ahead swing, to bossa, to R&B influenced grooves, Suggs offers the diversity and accessibility that is coming to define his work. A self proclaimed romantic, he approaches the subject of love from many different angles; from laments of loss in songs such as “Only A Memory” (based on Lee Morgan’s “Ceora”) to praises of adoration in songs like “Side by Side” (based on Benny Golson’s ever popular “Stablemates”) his words go a long way in illustrating love’s complexity and vastness.

It has been two years since the release of Milton’s acclaimed debut album, Things to Come, and between now and then he certainly hasn’t been resting on his laurels. In addition to performing throughout the country in places such as The Kennedy Center in Washington D.C., Milton has been writing. Not only has he been building a catalogue of original music for later recording and release, but he has also spent much of his time crafting lyrics to the melodies of many of his favorite well known and lesser known jazz compositions to be released on subsequent volumes.

Writing is something for which Milton discovered a fondness at an early age. “I was probably in the third grade, around eight years old, when I found a book of poetry at a family member’s house,” recalls Suggs. “I read this one poem ‘She Walks in Beauty like the Night’ and I was mesmerized. From then on I was trying to write love poetry. When music came into the picture I began to understand how when great melodies are paired with honest and meaningful lyrics, the best of both worlds come together and create something new and special.” It is only fitting that an album like Lyrical is being released when it is. We were given a preview of Milton’s prowess as a lyricist on his previous album, and now it is being displayed on a larger scale.

“Things to Come was my manifesto, a declaration of some of the directions I intend to go in my career. So I’ve really been taking to time to see those goals through to fulfillment,” Suggs says.

“There is so much great music out there that the possibilities seem endless when it comes to putting words to melodies. I really enjoyed the project because it gives me the opportunity to step away from writing music and really focus on my appreciation for these great tunes by other artists.”

While the elder statesmen such as Wayne Shorter, Cedar Walton, and Benny Golson have provided Suggs with much lyrical inspiration, he also shows appreciation for a younger generation of artists such as trumpeter Roy Hargrove. “Joy Enough to Spare” is a lyrical treatment of Hargrove’s “Joy is Sorrow Unmasked” from his 2008 album Earfood. Not only does Suggs provide a warm vocal on this track, but he also accompanies himself on piano.

While the influence of masters such as Eddie Jefferson and Jon Hendricks was apparent with his previous album, Suggs adds a new dimension to his vocal styling that reflects the influence of soul singers Donny Hathaway and Marvin Gaye and even groups such as the Chi-lites and Blue Magic. “Of course soul is much of what I grew up listening to, so I wanted to explore possibilities of pairing some of those vocal recording techniques with the jazz standards,” Suggs says. On many songs from this album, Milton provides his own background vocal accompaniment, something that is not typically heard among jazz vocalists.

Milton’s soul music influence comes to life in the vibrant “Will You Fly with Me”, an R&B style song based on Tadd Dameron’s “Lady Bird” and Miles Davis’s “Half Nelson” with a track from producer and vibraphonist Justin “Justefan” Thomas. With a stunning solo from pianist Michael Jellick, this particular song offers what might be considered a more contemporary spin to an ever popular jazz classic.

When asked what possibilities might lie ahead within his career Suggs had this to say, “I definitely intend to keep putting out volumes of the Lyrical series, but for my next immediate project I would like to do an album of all original compositions. But for now I’ll just focus on making sure this album gets heard.” With a combination of great tunes, solid arrangements, exceptional vocals, and great lyrics accomplishing that goal should not be a problem.

HOT CLUB OF DETROIT - JUNCTION

Following up It's About That Time, Night Town and the eponymous 2006 debut Hot Club of Detroit - Hot Club of Detroit expands its sonic and compositional horizons with Junction. Retaining its original lineup of reeds, two guitars, accordion, upright bass and no drums, this is the band's fourth release for Mack Avenue Records. There are personnel changes, however, and for the first time, the Hot Club of Detroit is joined (on three tracks) by a vocalist: French musician Cyrille Aimée, a native of Django Reinhardt's hometown and third-place winner of the 2010 Thelonious Monk International Vocal Competition.


Junction's sound is at once vintage and boldly new, rooted in the legacy of Django Reinhardt but also the sensibilities of Ornette Coleman, Pat Metheny, John Zorn and even the rock band Phish. Far from a traditional gypsy jazz ensemble, Hot Club of Detroit (HCOD) proves itself a versatile modern jazz group, with a unique acoustic-electric sound that surges past expectations and genre boundaries.

"A lot of bands that model themselves after the Hot Club of France are now working with drummers, or percussion of some sort," says HCOD rhythm guitarist Paul Brady. "We never have. And by doing that it forces us to think creatively about what we can do without it. How can we approach odd meter, how can we approach certain grooves? Regardless of what a drummer can add, that absence to me is interesting and different."

Unfortunately, Junction comes at a difficult time. HCOD bassist Andrew Kratzat and his fiancée were both seriously injured in an auto accident in July 2011, and are currently on a long road to recovery. "This album is a dedication to both of them," declares Brady. "It's been tough for us, musically but also emotionally," adds HCOD accordionist Julien Labro. "Andrew is like a brother, a family member. But we're still hopeful, and one day I'm sure he'll be back to playing."

Honoring Kratzat's example, bassist Shawn Conley brings stellar musicianship to Junction. Another new face is saxophonist Jon Irabagon, winner of the 2008 Thelonious Monk International Saxophone Competition and member of the acclaimed punk-jazz quartet Mostly Other People Do the Killing. Andrew Bishop, also on reeds, makes appearances on three tracks, increasing the band's power and timbral variation. (Family obligations required Carl Cafagna, the group's original saxophonist, to step aside.)

Irabagon is assertive from the start, contributing his own "Goodbye Mr. Anderson" as the album opener. (The title comes from The Matrix, the chords to an extent from Bobby Hebb's "Sunny" and John Coltrane.) The writing partnership of Labro and lead guitarist Evan Perri is also central to the album's sound. From their rich creative exchange comes the flowing soprano sax/accordina melody of "Song For Gabriel" (named for pop legend Peter Gabriel); the Pat Metheny-esque 6/8 time of "Junction"; and the French-style waltz "Midnight in Detroit" (a parallel to Stephane Wrembel's "Midnight in Paris," used in the Woody Allen film). "The openings of 'Song For Gabriel,' and 'Junction' are very idiomatic to the guitar, which makes them feel like pop tunes to me," adds Perri.

Perri and Labro also co-arranged "Rift," by Phish's Trey Anastasio, to close the album, adding a foundation of brisk la pompe rhythm guitar, even a hint of Western swing, to a 1993 rock song of fairly epic (and very electric) proportions, though without abandoning the tune's structure. "I considered it sacrilegious, and refused to shorten the original form of 'Rift' during rehearsals!" Perri laughs.

Labro's pieces make clear his rigorous attention to craft and his wide-ranging influences. "The thing with 'Hey!'" he explains, "is that it was not supposed to be two tenors at first. When we knew Andrew was able to participate, I started thinking I could hear a dialogue and absolutely wanted to include his voice." John Zorn is the inspiration behind "Chutzpah," with a blasting free-form intro that gives way to precise ensemble passages and a riot of changing tempos and feels. The darker and calmer "Goodbye Mr. Shearing" honors the late piano master George Shearing, who in fact started out on accordion. "There are just a few recordings where he plays accordion and his language was great, so ahead of its time for the instrument."

Another Labro composition, "Django Mort," was inspired by a Jean Cocteau poem that was read at Reinhardt's funeral. Aimée sings the French text as the band plays in a laid-back shuffle feel with a romantic flair. "I tried to imagine when those words were first recited, perhaps with an organ playing in the background," Labro says. "So the accordion starts by itself, and the counterpoint is very Baroque. I also thought about Django being a jazz musician, and why not have a procession like they do in New Orleans. So I opened that up into a bluesy vibe, thinking about guitarists like Howlin' Wolf."

Just before "Django Mort" is Labro's arrangement of an unfinished Django Reinhardt mass, "Messe Gitane." While researching Django's death, Labro came upon the only recording of this remarkable work-in-progress, a roughly 10-minute fragment for solo organ. "Django never orchestrated any of it," Labro reports, "but you can tell that something bigger was supposed to arrive." Irabagon and Bishop both play clarinet on the piece, enhancing its chamber-like beauty.

Aimée also offers "a nice bit of vocal athleticism," in Brady's words, on the Angel Cabral tune "La Foule" ("the crowd"), a Parisian standard associated with Edith Piaf. "The lyrics are about two people who meet in a crowd and they dance," Brady offers, "and the party gets more and more crowded and they lose each other." Labro resets the popular waltz in a tricky but natural-sounding mixed meter. "The song is actually Peruvian in origin," he says, "so I wanted to bring that Latin back in. It was already in Cyrille's repertoire, but to sing it that fast with the different meters was a challenge, and she hung in there. She's really willing to take risks."

No less challenging was Ornette Coleman's "Lonely Woman," also arranged by Labro, featuring Irabagon on alto saxophone and Aimée singing a lyric written by Margo Guryan. Labro explains: "In the original, the time and the harmony are there but they're so loose. We needed to find a way to capture what the words are about, without destroying what Ornette intended."

Labro and Brady share composer credit on "Puck Bunny," which is slang for a female hockey fan. "A critic once called us 'puckish'," Brady explains, "so I was originally going to call this 'Puck,' as in the Shakespeare character." Brady also cites the free-spirited influences of Mostly Other People Do the Killing as well as Jason Moran's Bandwagon. Labro scored the piece for bass clarinet (Bishop) and sopranino saxophone (Irabagon), creating the widest possible sonic range. "What's great about having Jon and Andrew together," Labro says, "is that they can play so many woodwinds, so it gives you a lot to work with. You can mix and match and get totally different sounds."

Different sounds coming together, band members collaborating from different cities: all of this makes Junction the perfect album title. "It's a nice mix of pop-oriented material and also rather avant-garde stuff," Brady concludes. "I remember an interview with Marc Ribot, my favorite guitarist in the world, talking about how avant-garde and pop have a lot of crossover, and even some of the musicians are the same people, like Marc himself. It made total sense to me, and it came into my mind while preparing this record." Perri concurs: "We've always believed that if Django Reinhardt were alive today, he wouldn't play the same way he always did. In his short lifespan you can see how much evolution and vision he had. To pay tribute to him is to continue pursuing our own ideas."

Junction Track Listing:
Jon Irabagon / saxophones
Julien Labro / accordion/accordina
Evan Perri / acoustic/electric guitar
Paul Brady / rhythm guitar
Shawn Conley / bass
Cyrille Aimée / vocals (trks. 3, 7 & 10)
Andrew Bishop / tenor saxophone, clarinet, bass clarinet (trks. 4, 6 & 12)

1. Goodbye Mr. Anderson (Jon Irabagon) - 6:03
2. Song For Gabriel (Evan Perri, Julien Labro) - 4:23
3. La Foule (Angel Cabral, words by Michel Rivgauche) - 4:11
4. Hey! (Julien Labro) - 5:59
5. Chutzpah (Julien Labro) - 5:39
6. Messe Gitane (excerpts from Django Reinhardt's unfinished Mass) - 4:00
7. Django Mort (Julien Labro, words by Jean Cocteau) - 5:33
8. Junction (Julien Labro, Evan Perri) - 4:05
9. Midnight in Detroit (Julien Labro, Evan Perri) - 2:12
10. Lonely Woman (Ornette Coleman, words by Margo Guryan) - 5:44
11. Goodbye Mr. Shearing (Julien Labro) - 4:03
12. Puck Bunny (Paul Brady, Julien Labro) - 4:03
13. Rift (Trey Anastasio) - 5:57

Upcoming Performances:
June 28 / Dazzle Jazz / Denver, CO
June 30 / Jazz Aspen Snowmass / Aspen, CO
July 1 / Jazz at the Market / Vail, CO
July 28 / Chris' Jazz Cafe / Philadelphia, PA
July 29 / Snail Pie Lounge / Glenville, PA
July 31 / Iron Horse Music Hall / Northampton, MA
August 2 / World Café Live / Wilmington, DE
August 3 / Birdland - Django Reinhardt Festival World Yacht / New York, NY
August 11 / DjangoFest Colorado / Crested Butte, CO
August 17 / The Green Mill / Chicago, IL
August 18 / The Jazz Kitchen / Indianapolis, IN
September 16 / Pender Harbour Jazz Fest / Pender Harbour, BC
September 19 / DjangoFest / Whibley Island, WA
November 10 / Izzy Asper Jazz - Winnipeg Art Gallery (w/ Cyrille Aimée) / Winnipeg, Manitoba
January 26 / Centenary Stage Company / Hackettstown, NJ

http://www.hotclubofdetroit.com/

SCOTT GRIMALDI - THE COLOR OF MIDNIGHT

Jazz saxophonist Scott Grimaldi has released his debut album, The Color of Midnight featuring the artist on an array of saxophones and other woodwinds; he is also the producer and arranger. Although labeled as an instrumental smooth jazz album, some tracks have an unmistakable R ‘n’ B vibe. Scott composed three of the tracks and has assembled an impressive group of the best vocalists and musicians to bring The Color of Midnight to reality. After years of not so gentle nudging from legendary record producer, Tony Camillo, for whom Scott played in the studio since the 80’s, Scott finally got his chance to break out his own unique sound on this amazingly innovative project and groundbreaking album, one that cannot be defined by a single musical genre.

The Color of Midnight contains fresh new arrangements of classic hits from Stevie Wonder, Bruno Mars, Henry Mancini, Peter Cetera, Michael Jackson and R. Kelly, combined with Scott’s original compositions Batteries Not Included, I Promise & The Color Of Midnight. The work identifies his high-energy signature sound. A fan of jazz can hear the musical influences of David Sanborn, Tom Scott, Hubert Laws and Chicago.

From a gifted, musical family, Scott’s formal music training began with guitar lessons at 8 years old. A few years later, he gravitated towards the flute in the school band and thus began his serious studies with all of the woodwinds. In high school he mastered the bass guitar and studied woodwinds with jazz legend, Lenny Hambro while playing on the weekends with his parents’ popular club date band. After graduation, Scott attended Berklee College of Music, Boston, Mass. Within three years, he was sought after to work professionally on the road as an arranger/woodwinds player for a touring show band. After a two year stint, Scott returned to NJ to pursue work as a musician in the fields of recording, performances and as an arranger for song writer, Bill Giant. During that time, Scott studied privately with legendary teachers Adolph Sandole and Danny Trimboli and received a B.M. degree from the Manhattan School of Music, NY, NY.

For over two decades, Scott has performed with popular and iconic stage acts that include Aretha Franklin, Ray Charles, The Manhattan Transfer, Vanessa Williams, Frank Sinatra Jr., Rosemary Clooney, Linda Eder, The New Jersey Symphony Orchestra, Frankie Valli & The Four Seasons, The Temptations, Little Anthony & The Imperials, The Duprees and Etta James. His performance work includes several Broadway musicals including “Steel Pier”, “Kiss Of The Spider Woman” and “Me And My Girl”.

As a recording studio musician, Scott was a regular at Venture Sound Studios, playing for Grammy award winning record producer, Tony Camillo. He played for T.C. Records recording artists that include Freda Payne, The Dramatics & The 5th Dimension and produced Sandy Sasso’s “Mixed Grill”. His musical credits span television, film, and advertising.

In addition, Scott was a recognized industry expert in the field of music copyright infringement. His transcriptions were utilized by the iconic artists of the 80’s and 90’s, including Janet Jackson, R. Kelly, Billy Joel, Madonna and Aerosmith. His publishing credits include “The Rolling Stones Singles Collection”, “Phil Spector, Back To Mono” and “Sam Cooke’s Night Beat”.

In the field of music education, Mr. Grimaldi is an Adjunct Professor of the Fine Arts Dept. at Manhattan College, Riverdale, NY, since 1989. As co-director of the Jazz program at Princeton High School, Princeton, NJ, Scott has led his students to national recognition annually. His passion for developing his own protégés has led to enormous achievements for his private students, including top chair positions in Regions & All-State Bands/Orchestras, NJ Youth Symphony, NJPAC Jazz For Teens, as well as acceptances at the top conservatories in the nation.

His numerous talents and versatility in many aspects of the music industry have converged to give rise to the production of this new classic of smooth jazz, R & B, The Color of Midnight, the most talked about break out album in the genre in years.

~ grimaldimusic.com

JASON SMITH - BLUE MOON

Just when you thought just plain good old fashioned music was gone for good, along come Jason Smith. Jason’s Flying Solo project will remind you, and take you back to the forgotten era of when music was music. It was produced by Jason and his cousin and long time music partner, Gil Smith. The all instrumental compilation of “smooth jazz” tunes represents a newness and freshness for Jason who is ‘starting over’ in his musical career.


Jason first picked up the electrical bass at the early age of nine. He had told everyone at school that could play bass. In reality, he couldn’t but his father could. Jason ran to him for a ‘crash course’ and within two weeks time his father had taught him enough chords and notes to make it through the high school talent show. It was the beginning of Jason’s musical career.

He and Gil had instantly became serious partners. He studied for several hours a day and then he began taking private lessons. It wasn’t long before his music teacher noticed Jason’s tremendous natural aptitude for music, and he brought in a keyboard and began jamming with the future musicians. He taught them about song structure, and chord changes. Soon “Jason & The Boys,” were performing at all the neighborhood talent shows, contests and neighborhood dances. By the time Jason got to Junior High, the word was out that he was an instrumental master. All the young “homies,” in the neighborhood were coming to Jason and Gil to have their rap songs as professionally produced as their material was at that time. Jason and Gil had made quite a reputation for themselves around Los Angeles County High School for the Arts!

Young Smith was a hard worker and a fast learner. His skills earned him a scholarship to the famed Berklee School of Music in Boston where he studied for three years. While at Berklee, Jason became aware of a totally different music scene and the many different music styles. Returning back to California, Smith joined forces with brother Billy and to form the reggae band Caribbean Pulse. They recorded one album, Stand Up, which brought them household fame throughout the Caribbean. The band was formed in 2001, and 2003 Billboard magazine named them “Top Reggae Band.” They toured the Caribbean, Canada, Europe, South Africa and a few stateside dates. The album was entirely written and produced by Jason. Their joint recording, Jah Is My Rock, with Damian Jr. Gong Marley stayed on the Billboard chart for 20 weeks. In 2004 Jason produced the debut CD for veteran R&B recording artist Cuba Gooding, who had been the lead singer of the ’70s group, The Main Ingredient.

"Flying Solo is a very spiritual project for me. Everything on it has a meaning. I use the electric bass to speak for me,” states Jason Smith. It is a ‘coming out’ project for him: coming out of producing and writing for others. According to him, “My music is really heartfelt, totally adult music.” The title track was co-produced by Kowan Q. Paul Kowan, who is known for his production work with Craig David, Boyz II Men, Faith Evans and many others. This was one of Kowan’s last works before he tragically passed away. Also joining in on the production efforts is Gil Smith who is currently the Musical Director for Lil Wayne, Nicki Menaj, and Keri Hilson. “I worked with a great team of producers and writers, and I’ve waited a long time for this project. Once you hear it, you will agree, Flying Solo will surely soar!

~ thesmoothjazzartist.com

NEW RELEASES - LATIN CONCRETE, BODDI SATVA, ALAIN MION

CHRIS READE PRESENTS LATIN CONCRETE - A MODERN LATIN BEAT SUITE

Unlike many of the compilations to have emerged from the BBE stable, Latin Concrete is less about unearthing rare or unheard music and more about shining a light on a sound that has been developing in its own small corner of the musical spectrum over the last decade or so.

Chris Read approached this compilation, not as someone who grew up around Latin influenced music or with any lengthy history of involvement in it, but as a DJ and music fan who grew up listening to the early sample based music of the late 80s and early 90s has, ever since, set about exploring the many directions that music has travelled in. The music which appears on this compilation is the product of just one of those many avenues.

The tracks featured her! e come from a variety of sources but in many cases are the product of a generation of DJs and producers who similarly grew up listening to the sample rich hip hop, house and more of the 80s and 90s and have taken that influence and applied it to a particular sound, in this case the varied musical styles of the Latin Diaspora. This is modern Latin music from a DJ's perspective - rhythm heavy, beat driven and infectious. ~ bbemusic.com

BODDI SATVA - INVOCATION

Hailing from Central African Republic (C.A.R.), Boddhi Satva vowed early in his career to make a statement through a signature sound of his own. Ancestral Soul was born. When music is the soundtrack of universal rituals - birth, graduation, marriage, and ancestorship, that’s Ancestral Soul; when music is simultaneously an tense argument between passionate lovers, a intense freestyle session between- or a revolutionary political speech by live instruments – kora, piano, sax, flute, congas, cello, balafon and turntables, that’s Ancestral Soul; when deep house music has modern Congolese rumba as wife, West African voices as mistresses, and urban R&B and Afro-Cuban rhythms as occasional girlfriends, that’s Ancestral Soul.

Boddhi Satva subsequently became a demanded remixer as “Ancestral Soul” versions of mainstream tracks won over club audience! s across the globe, in addition to recognition from connoisseurs and tastemakers. 2012 will see the worldwide release of the debut album Invocation on BBE Records, after it was released in Africa in 2011 by Vega Records, the label of the legendary Louie Vega. The latter hand-picked Boddhi in 2008 to be an elite producer for Vega Records and a resident of Vega DJ tours.

Invocation confirms the solid place that Boddhi established for himself in the house music landscape. It is an ode to the ritual dimension and the spiritual power of music. It is a kaleidoscope that reflects the layers, nuances, colours, impressions and transformations that one experiences in life. ~ bbemusic.com

ALAIN MION & THE NEW CORTEX – LET’S GROOVE!

Alain Mion leads a new Cortex – grooving nicely, too – doing it live in Paris! Mion is at the grand piano for a good deal of the first side, energetically leading a great group on some stellar, timelessly jazzy numbers. The second half of the set has him on Fender Rhodes, for tracks that fully dive into the jazz funk vibe of classic Cortex.

The musicians are fantastic, too! Patrik Boman on bass, Gerard Prevost on electric bass, Adeline De Lepinay on percussion and some vocals, Michael Kersting on drums,and a great lineup of soulful saxes: "Loic Soulat Pietro Tonolo, Greg Deletang, Romano Pratesi and Phil Brohet. Includes a nice set of Mion originals including "Phila Nite Song", "The Wrong Soul Blues", "When The Ship Sails Away", "East St. Louis, 1917", "The Tap Tap", "Green Street" and more. (Includes MP3 download.) ~ Dusty Groove

TESSA SOUTER - BEYOND THE BLUE

Since her 2004 recording debut, Tessa Souter has established herself as a fearless innovator in vocal jazz—“broadly imaginative” (New York Times), “expressive . . . full of passion” (Philadelphia Inquirer), “direct and soulful” (Village Voice). NEA Jazz Master Sheila Jordan places her “at the top of my list of great talent.” On Souter’s new Beyond the Blue, her fourth CD and second for Motéma Music, the London-born Anglo-Trinidadian New Yorker has raised the bar once again. Souter assembled a dozen classical melodies by composers such as Beethoven, Brahms, Schubert, and Chopin. Three of the songs are familiar standards: “The Lamp Is Low” (Ravel), “My Reverie” (Debussy), “Baubles, Bangles and Beads” (Borodin). The others are new standards, with lyrics by Souter. All express the album’s leitmotif—exploring the shadows and light of love and intimacy.

The concept for the project came from Venus Records’ Tetsuo Hara, who co-produced the date with Jazz at Lincoln Center’s Todd Barkan and who suggested that Souter work with pianist Steve Kuhn and his trio (David Finck, bass, and Billy Drummond, drums). Augmenting the trio were tenor saxophonist Joel Frahm, vibist Joe Locke, and Gary Versace on accordion. It was Venus that originally released Beyond the Blue last year, in Japan only; now Motéma Music is releasing the CD to the rest of the world.

“Although this is a semi-classical project, it turned out to be the most impromptu recording I’ve ever done,” says Souter. “I was finalizing lyrics up to the very last minute, and the first time anyone—including me!—had laid eyes on the full program was when we all met in the studio. This meant everyone had to be super sensitive and creative, really listening and responding to each other in the moment, in the true spirit of jazz.”

The album’s title track is drawn from Chopin’s Prelude in E Minor (which in 1963 also inspired Antonio Carlos Jobim’s “Insensatez”). The second movement of Beethoven’s Seventh Symphony, which was featured in the film The King’s Speech, opens the album as “Prelude to the Sun.” And closing the program is Fauré’s Elegy, or “Brand New Day.” “I wrote those lyrics for Japan,” says Souter, “which had just suffered the devastating tsunami of March 2011.”

“In the larger sense, the source of the melodies is unimportant,” writes critic and CD annotatorWill Friedwald. “What’s important to [Souter] is narrative and swing. She is a storyteller above all.”

Tessa Souter never planned for an eventual career in music. When she moved to San Francisco from London in 1992, with a background in journalism (including six months as Chief Copy Editor at Elle Decoration and a stint as interim Features Editor for British Elle magazine), her plan was to be a full-time writer. Over the next two years she gradually developed a successful freelance practice writing for major magazines and newspapers, and helped found the Writer’s Grotto, which has become the heart of San Francisco’s vibrant literary scene.

By the time she relocated to New York City in 1997, Souter was ready to take the plunge into what would become a new career as a singer, with the great Mark Murphy serving as her close mentor. Her self-produced 2004 debut album, Listen Love, led to acclaimed headline performances at major jazz venues in Los Angeles, New York, and London, as well as in Russia, where she now regularly performs to sold-out concert halls.

She followed with 2008’s award-winning Nights of Key Largo (Venus Records) and, in 2009, her stunning Motéma debut, Obsession, about which JazzTimes’s Christopher Loudon wrote: “Souter’s crystalline contralto and impeccable phrasing are mighty arrows in her quiver, but it is her ability to become one with a song . . . that enables her to score successive bull’s-eyes.”

Souter, incidentally, is also the author of Anything I Can Do, You Can Do Better (2006), whose subtitle is “How to Unlock Your Creative Dreams and Change Your Life.” She knows whereof she writes.
Tessa Souter is looking forward to taking the music of Beyond the Blue to clubs and festivals. She’ll be appearing 6/4 at the Blue Note, New York (Kenny Werner, p; Joel Frahm, ts; Will Holshouser, acc; Sean Smith, b; Billy Drummond, d); 6/22 at the Rochester (NY) Jazz Festival; and 7/21 at the Marblehead (MA) Jazz Concert Series, Unitarian-Universalist Church. Midwest and West Coast dates for late summer/early fall are in the works.

www.sonicbids.com/tessasouter
www.tessasouter.com
www.myspace.com/tessasouter

THE COOKERS - BELIEVE

In an interview, drum great Billy Hart summed up his attitude toward The Cookers succinctly but emphatically: "Believe in us," he insisted (tacking an expletive onto the end that served to press the point home). Over the course of two albums, The Cookers have given jazz audiences plenty of reason to believe, and their Motéma Music debut, bearing the simple but eloquent title Believe, finds the all-star septet continuing to keep the faith in swinging fashion - their third release, celebrating their fifth anniversary as a working ensemble.


The credentials of these seven musicians are beyond reproach, but simply gathering a group of legends and throwing them into a recording studio isn't necessarily a recipe for success, points out David Weiss, the band's founder, chief organizer, and trumpeter. "A lot of basketball teams throughout the years have signed a group of all-stars and assumed they would win it all because they had assembled the best group of players imaginable and in the end lost because they never really considered that the group would not gel and could not play together," Weiss points out by way of illustration. "You can't just put a bunch of names together and expect it to be great. These guys just turned out to be the perfect combination."

It's impossible to foresee how any ensemble will gel until the first notes are played, of course, but The Cookers had an inherent advantage in the fact that these legendary jazzmen had all proven themselves integral components in great bands of the past. Harper was a member of groups led by Lee Morgan and Max Roach and served a two-year stint with Art Blakey's Jazz Messengers; trumpeter Eddie Henderson and drummer Billy Hart were both part of Herbie Hancock's electric Mwandishi ensemble; pianist George Cables played alongside Dexter Gordon and Art Pepper; and bassist Cecil McBee anchored Charles Lloyd's famed 1960s quartet with Keith Jarrett and Jack DeJohnette.

"This is a band," Weiss says, emphasizing the fact that the unit has cohered into something that transcends its all-star status. "But it's a band of guys who have been in a lot of the most important bands in the history of this music. They know what it's like to be in a band and what makes bands great."

The line-up is completed by Weiss and altoist Craig Handy, players from a later generation who nevertheless follow in their bandmates' fiery footsteps. The name comes from the Freddie Hubbard's classic two-volume album Night of the Cookers, classics featuring Lee Morgan, Harold Mabern, James Spaulding, Pete LaRoca, Big Black, and Larry Ridley. These Cookers approach their material in the same sense of adventurous exploration as Hubbard and his ensemble did, generating brilliant music out of seemingly basic elements.

Like their previous two critically acclaimed releases, Cast The First Stone (Plus Loin, 2011) and Warriors (Jazz Legacy Productions, 2010), Believe consists almost entirely of music written by the band members themselves, culled by Weiss from throughout their storied careers. For those earlier albums, however, Weiss pulled primarily from his own fondly-remembered favorites. Having exhausted his personal wishlist, this time out he had to dig a little deeper, providing the enviable opportunity to unearth some undersung treasures from his colleagues' back catalogues.

The disc opens with the jagged-edged "Believe, For It Is True," from Harper's 1980 album The Believer, which is followed by the mysterious unfolding of McBee's previously-unrecorded "Temptation(s)." McBee also contributes the free-form "Tight Squeeze," from his 1996 Palmetto release Unspoken. Cables' simmering "Ebony Moonbeams" was originally recorded on Freddie Hubbard's 1974 session High Energy, while Hart's buoyant "Naaj" was premiered on the drummer's 1988 album Rah.

What Weiss discovered during the process was that not only did these men's playing mesh together fluidly, so did their compositional styles. "They all complement each other perfectly," he says. "It makes for a more interesting program. Billy Harper's tunes are amazing, but if he's coming on like a sledgehammer, a George Cables tune balances things. If there's too much beauty - if there is such a thing - in George's tune, we have Cecil McBee's tunes for something a little more ethereal or experimental. They all come essentially from the same era, so they all speak a common language."

A prime example is the way that the brash fanfares of Harper's "Quest" are tempered by Cables' tender, strolling "But He Knows," before McBee's fragmented "Tight Squeeze" raises the blood pressure again, an effect counteracted by the joyous, palette-cleansing "Naaj."

The final selection finds The Cookers truly living up to their name on a blistering run-through of Wayne Shorter's "Free For All." The piece is the title tune from Art Blakey's 1964 hard-bop blow-out that also yielded "The Core," the ferocious Freddie Hubbard tune that was a highlight of The Cookers' 2010 debut. Blakey's Free For All was a landmark album for these master instrumentalists, Weiss explains.

"It was like me hearing my first Mahavishnu Orchestra record when I was 12 years old. It was one of those records that spoke to you as a kid and got you in touch with your love for the music. For them, it was Free For All."

And for countless aspiring jazz musicians who came after them, that landmark listening moment came via a classic album that, chances are, featured at least one of these players. The Cookers' line-up serves as a lifeline to one of the music's golden eras, a rare conglomeration of true living legends still making vital, modern music.

"Once you get these guys together and really see what they can do," Weiss says, "you see that they're not truly being recognized. They have direct ties to all the music that everybody, even younger people, came to this music listening to. They were part of what made jazz what it is and the classic records that attract most people to jazz, the greatest era of this music. Let's not forget where this thing came from and why it was so good: it's exciting music played with compassion and conviction and intensity. That's what these guys are doing."

It's that urge, to recognize and celebrate these tremendous artists while they continue to create at the height of their powers, that inspired the band to distill Hart's directive down to that one single word: Believe.

"It's a simple word for a philosophy," Weiss says. "Just believe in something. Care about something. And since you have this record in your hand, believe in this."

THE COOKERS' UPCOMING PERFORMANCES:
June 14 - Scullers, Boston, MA
June 15 - Hartford Jazz Society, Hartford, CT
June 17 - Playboy Jazz Festival, Hollywood, CA
June 20 & 21 - Yoshi's, Oakland, CA
June 22 - TD Vancouver International Jazz Festival, Vancouver, BC
June 26 & 27 - Jazz Alley, Seattle, WA
June 28 - Mt. Vernon Country Club, Golden, CO
July 28 - Caramoor Jazz Festival, Katonah, NY

~ http://www.motema.com/

CURUMIN - ARROCHA

Born of Spanish and Japanese parents 35 years ago, Luciano Nakata Albuquerque adopted the persona Curumin (KOO-roo-mean) as a way of exploring the possibilities of Brazil’s many sonic heritages. Known globally as the land of bossa nova and samba, the youthful vocalist/multi-instrumentalist/producer is on his own personal mission to create an inviting, sensual tone while eschewing any lust for stardom through mainstream sounds. On the pioneering Arrocha (Six Degrees Records), he has built upon prior success in creating a melodically addicting and rhythmically potent exploration of modern Brazil.

Discovered by California hip-hop outfit Blackalicious on a 2005 South American tour, the duo helped Curumin gain international recognition by releasing his debut, Achados e Perdidos, in the United States. After successfully launching his presence in the States at CMJ that same year, he was quickly booked to perform at Chicago’s World Music Festival and the M3 Conference the following year. Natalie Portman included his track ‘Tudo Bern Malandro’ on a compilation; when ‘Guerreiro’ was used in a Nike ad during the FIFA World Cup, the fame he never sought was ensured. The irony was not lost: he gave up pursuing a career in soccer to play music.

It was Curumin’s second album, JapanPopShow, that really launched him in 2008. His unique fusing of samba, reggae, electronica, funk and hip-hop earned him gigs at Central Park Summerstage, Los Angeles’s Grand Performances, the Montreal Jazz Fest, and San Francisco’s Stern Grove. He’s performed alongside Femi Kuti, Jorge Ben, Money Mark, Blackalicious and Juana Molina, and earned glowing accolades from the NY Times, Spin, the Village Voice and Billboard.com.

Four years after JapanPopShow, Curumin has produced a record that’s certain to surpass previous praise. Introduced to Six Degrees Records via his friend (and now label mate) Cêu, he’s excited to be creating exactly the music that’s inside of his head, blending catchy tracks with an integrity and inventiveness unique unto himself. For him, this is all he could imagine himself doing.

~ sixdegreesrecords.com

TEDESCHI TRUCKS BAND - EVERYBODY'S TALKIN'

Everybody's Talkin'—to be released on May 22, 2012 —is the title of the uplifting, energy-packed sophomore recording by Tedeschi Trucks Band, the 11-piece ensemble led by husband-wife team Derek Trucks and Susan Tedeschi that recently marked their first anniversary with a Grammy win for their debut album Revelator. TTB (as their fans know them) shows off a stunning rate of musical progress on Everybody's Talkin', eleven tracks selected from a year's worth of concerts from around the globe plus one new track ("Nobody's Free").

The performances—a hearty blend of originals and spirited covers of rock, R&B and even gospel classics—capture the group's roots-rich musical mix, laced with Truck's signature slide-guitar sound and fronted by Tedeschi's pliant, honey-to-husky voice (as well as her own gritty guitar-work). The collection also includes all of the joyful, spontaneous energy that has helped TTB build a growing circle of fans and earned them an unprecedented string of triumphs in just the past few months.

Besides the Grammy for Best Blues Album of the Year in February, Trucks himself, along with TTB bandmate Oteil Burbridge, were honored with a Grammy Lifetime Achievement Award for their membership in The Allman Brothers Band. In March, Tedeschi and Trucks were invited to perform at the White House with B.B, King, Buddy Guy, and yes, President Barack Obama himself (who sang a verse of "Sweet Home Chicago"). A week later, they appeared at the Apollo Theater, joining Eric Clapton, Keith Richards, and a host of guitar heavyweights in an all-star tribute to bluesman Hubert Sumlin. On April 30th Tedeschi and Trucks will perform at the United Nations General Assembly in New York at a concert to celebrate International Jazz Day. Other featured performers include: Herbie Hancock, Esperanza Spalding, Wynton Marsalis and others.

"I really never imagined it would have turned out quite like this, especially the last few months. The momentum picked up and it just really started rolling—everything kind of happened at once," says Trucks, who maintains that his focus, and that of TTB have remained steadfast on the music itself. "As over the top as a lot of that stuff is, the one thing I notice is, it doesn't really feel any different than being on the road and having successful shows. The way the band took shape musically around the time that we decided to record a live record was pretty exciting."

True to its intent, the tracks on Everybody's Talkin' flow one into the next with the collective spirit and lift of a typical TTB concert—raising the roof with a Saturday night sense of abandon, and gently concluding with a Sunday morning spiritual. Featured are versions of tunes from Revelator that are already crowd favorites—"Bound For Glory", "Love Has Something Else To Say"—some with added details, like the fresh horn part that pushes "Learn How To Love" a notch higher than the studio original, or the tasteful, quotes of "Swamp Raga" and "Little Martha" on slide-guitar that set the stage for "Midnight in Harlem". Other songs portray the group's abiding affection for a truly wide range of soulful and gritty forebears, including Stevie Wonder ("Uptight"), Elmore James ("Rollin' And Tumblin'"), Bill Withers ("Kissing My Love"), Joe Cocker ("Darling Be Home Soon"), Bobby Bland ("That Did It"), Harry Nilsson ("Everybody's Talkin'") and the traditional gospel ("Wade In The Water").

Beyond the song list, the most attention-grabbing aspect of Everybody's Talkin' is the marked progress of the group itself, as this past year has seen TTB develop at a jaw-dropping rate into a fully mature ensemble. What was at the outset a powerful lineup of players that drew its power from a rich brew of roots music—blues, gospel, soul, and rock— has matured like a fine wine. Tedeschi's vocals and Truck's guitar-work are front-and-center as in the beginning, yet have become more intuitively intertwined. Tedeschi's own guitar-playing is more strident and assured. TTB's ace rhythm section works together with a deeper sense of funk, and a more liberated jazz feel. As an ensemble, they build a song from a tender whisper to a soul-rending scream, and often extend the close of a well-chosen R&B number into a thrilling, open-ended jam. Onstage, they exhibit interplay on the level of a group with years of experience together, improvising with almost telepathic link between all the musicians.

As Everybody's Talkin' is assuredly a group album, so TTB stands as a true musical collective, as opposed to the standard lineup of bandleader-with-backup. It helps that the eleven-member ensemble is one overflowing with talent and musical familiarity: besides Tedeschi and Trucks who are married and have two children, Mike Mattison (former lead singer with the DTB) and Mark Rivers handle harmony vocals, while brothers Oteil Burbridge (longtime member of The Allman Brothers Band) and Kofi Burbridge (another DTB member) play bass, and keyboards and flute, respectively. The lineup also includes a pair of drummers—J. J. Johnson and Tyler Greenwell—and a horn-section with trumpeter Maurice Brown, tenor saxophonist Kebbi Williams, and trombonist Saunders Sermons (Sermons will also step forward for a vocal feature now and again, as he does on "Kissing My Love").

Trucks compares the rapid growth of TTB favorably with that of his first group, The Derek Trucks Band. "I remember the last five years with the DTB we started really feeling that the thousands of shows in front of 30 people in bars were finally starting to pay off, to the point that there was this wave of goodwill with people rooting for the band to make it. But I feel like this band went through that same thing in a smaller time scale."

According to Tedeschi, the group's accelerated progress owes much to the way that her husband leads the band—more like a jazz ensemble, allowing enough freedom for the group to find and nurture its own strengths. "Derek is a great leader in the way that he knows the potential of everyone in the band and has a really nice way of trying to show off all the talent in this group. Because it's such a big band, we only have so much time to play all the songs and make sure they're done right, but then you want to showcase people. I think he has a really good handle on how to make that work."

As evidence of this more democratic approach, Tedeschi points to the notion of TTB as a group that encompasses many possible lineups, depending on who's taking the spotlight or even onstage at any given moment. "There are times when I'll leave the stage or the horns might step away and it will just be a trio or a quartet out there, with Derek, Oteil and maybe J.J. doing their thing. Then slowly the others will start coming up and adding to the music. Every show is exciting but it's not always 11 pieces blaring at you. There's always a different mix and there's so much going on."

The mix Tedeschi speaks of is one that TTB shares with their audiences every time they hit the stage—gleefully delivering concerts that never fail to connect with their listeners. Everybody's Talkin' serves both as evidence of the smiles they leave behind as they continue to tour and develop, as well as a catalog of the group's first triumphant year, with a promise of more progress and adventures to come.

With a marked sense of pride, Trucks admits that at this point, "the only goals are to continue refining what we have, to keep the flame lit and keep rolling." "The great thing about this band," Tedeschi adds, "is that we realize we don't have to please anybody other than ourselves. And honestly if you can make this eclectic group happy, that's an accomplishment! It's moving fast in a really great direction."

Tracklisting:
Disc One:
1. Everybody's Talkin' (Live)
2. Midnight In Harlem (Swamp Raga intro with Little Martha) (Live)
3. Learn How to Love (Live)
4. Bound For Glory (Live)
5. Rollin' and Tumblin' (Live)
6. Nobody's Free (Live) *
7. Darling Be Home Soon (Live)
* New track

Disc Two:
1. That Did It (Live)
2. Uptight (Live)
3. Love Has Something Else To Say (with Kissing My Love) (Live)
4. Wade in the Water (Live)

TOUR DATES - 2012
5/27 - Summer Camp: Sunshine Main Stage, Three Sisters Park – Chillicothe, IL
5/30 - Murat Theatre – Indianapolis, IN
6/1 - Stage AE – Pittsburgh, PA
6/2 - Appel Farm Arts & Music Ctr – Elmer, NJ
6/3 - Mountain Jam Festival: East Stage – Hunter, NY
6/15 - Paramount Theatre – Seattle, WA
6/16 - The Britt Festival – Jacksonville, FL
6/17 - Arlene Schnitzer Concert Hall – Portland, OR
6/19 - The Center For The Performing Arts – Vancouver, BC
6/21 - Jack Singer Concert Hall – Calgary, AB
6/22 - Northern Alberta Jubilee Auditorium – Edmonton, AB
6/24 & 6/25 - Minnesota Zoo Amphitheater – Apple Valley, MN
6/27 - Overture Center For The Arts – Madison, WI
6/29 - TD Toronto Jazz Festival: Main Stage Marquee, Toronto, OH
7/6 - Winnipeg Folk Festival: Main Stage – Winnipeg, MB
7/7 - Thunder Bay Blues Festival – Thunder Bay, ON
7/10 - RBC Royal Bank Ottawa Bluesfest 2012 – Ottawa, ON
7/11 - Quebec City International Summer Festival – Quebec City, QC
7/18 - Ravinia Festival – Highland Park, IL
8/5 - Newport Jazz Festival: Main Stage, Fort Adams State Park – Newport, RI
8/11 - Toyota Pavilion At Montage Mountain – Scranton, PA
8/28 - Verizon Theatre At Grand Prairie – Grand Prairie, TX
8/29 - Sandia Casino Amphitheater – Albuquerque, NM
8/30 - Red Rocks Amphitheatre – Morrison, CO
9/1 - Comerica Theatre – Phoenix, AZ
9/2 - The Joint – Las Vegas, NV
9/5 - Hollywood Bowl – Los Angeles, CA
9/7 - Bob Hope Theater – Stockton, CA
9/8 - The Mountain Winery – Saratoga, CA
9/9 - Harrah's Rincon - Open Sky – Valley Center, CA
9/14 - Harvest Jazz & Blues Festival – Fredericton, NB
9/20 - Beacon Theatre w/ special guest Leon Russell – New York, NY
9/21 - Beacon Theatre w/ special guest The Wood Brothers – New York, NY
10/27 - Legendary Rhythm & Blues Cruise – San Juan, PR

http://www.tedeschitrucksband.com/.

DAVID BOSWELL - WINDOWS

Windows is the title of David Boswell's latest release on My Quiet Moon Records®. This record features the amazing musicianship of Jimmy Haslip (Yellowjackets, Allan Holdsworth, Jeff Lorber) on bass, Dean Taba on bass, Rod MacDowell on bass, his brother John Boswell (Hearts of Space recording artist) on the piano, and M.B. Gordy III (Rita Coolidge, Doobie Brothers) on the drums and percussion with John Fumo on trumpet in a guest spot.

Jazz guitarist David Boswell was born in San Francisco, CA, and raised in Saratoga, CA. His family was musically inclined (his older brother, John Boswell, also became a professional musician), and he began taking guitar lessons in second grade. At 12, he formed a rock band that played school dances. At 16, he attended a Pat Metheny concert he likened to "a religious experience" and became immersed in jazz. He later was chosen to be part of a group of young musicians who traveled to Woodstock, NY, to study with Metheny, Dave Holland, and Jack Dejohnette for several weeks. He made a living, however, in playing in the rock genre rather than jazz, as a member of the Bay Area band the Metro Jets, which recorded an album, About to Surface and played extensively around the San Francisco bay area. Moving to Los Angeles, he played in another rock group, Model 2, while earning a degree in the guitar program at the Grove School of Music. He also studied film scoring at UCLA, which was where he learned the intricacies of writing for a full orchestra.

Boswell became a session musician in Los Angeles, notably appearing on albums by such Broadway musical performers as Stacy Sullivan, Joanne O'Brien, Kevin Koelbl, Cindy Benson, and Franc d'Ambrosio, David Burnham.... While doing studio work, he was also working in a jazz trio with renowned bassist Dean Taba and drummer John Mosser. It was at this time that Boswell became a prolific composer and in 2004, he released his first solo album, Hold Tight to Your Dreams, on My Quiet Moon Records label. He followed it in March 2006, with his second album, Bridge of Art which celebrated a hit on the Smooth Jazz charts with the tune "Simple Life" followed by "I Like That" featuring Nelson Rangell on the saxophone and Yellowjackets co-founder Jimmy Haslip on the bass as well as his brother John Boswell on the Piano and MB Gordy on drums and percussion. He came back with the same rhythm section line-up for "Windows" with the addition of Dean Taba and Rod MacDowell sitting in the bass chair for a few tracks and John Fumo on the trumpet as a special guest on one track.

David Boswell has a unique approach to his music with his use of synthesized guitars, acoustic guitars and the incorporation of his voice as a melodic instrument. David's music transports the listener on amazing and special journeys. The music is cinematic at times yet always leaves you with beautiful melodies to sing in your head even when the music stops.
 
http://www.davidboswell.com/