TONY BENNETT CELEBRATES 50TH ANNIVERSARY OF "I LEFT MY HEART IN SAN FRANCISCO"

Tony Bennett's signature song, "I Left My Heart in San Francisco," marks its 50th anniversary from its original recording date on January 23, 1962. The song garnered Bennett his first Grammy Award for "Record of the Year," and as a Grammy nominee this year for Duets II, Tony holds the longest span of Grammy nominations in the music industry. Upon the release of  Tony Bennett: The Complete Collection, the most extensive collection of Tony's recordings to date, the New York Times commented, "We aren't likely to see a recording career like this again." On January 27, PBS' Great Performances will premiere "Tony Bennett: Duets II," a stunning visual presentation of the full performances from Bennett's #1 CD, Duets II, featuring Tony recording with Lady Gaga, Carrie Underwood, Aretha Franklin, John Mayer, the late Amy Winehouse and a host of others.

In 1961, Ralph Sharon, Tony's pianist and musical director at the time, took the sheet music for "I Left My Heart in San Francisco," a song written by George Cory and Douglass Cross, with him as he prepared to go on the road with Bennett, knowing that the singer was making his first performance in San Francisco. They rehearsed the song after a show at The Vapors Restaurant in Hot Springs, Arkansas (President Clinton would later confide to Tony that he was at his performance that evening, peeking through the club windows). Satisfied that they had a song with a local theme to add to the San Francisco engagement, Tony performed the song live at the Venetian Room in the Fairmont Hotel in San Francisco. The song went over so well that at Bennett's next recording date in NY, he added the song to the track listing and Columbia Records made it the "B" side of a record that all concerned felt was destined to be a hit, a lovely song called "Once Upon A Time," from the Broadway show "All-American." Recorded in NYC on January 23, 1962, Bennett recorded it in one take and the song was highlighted by a gorgeous orchestration by Marty Manning, who had worked on several Bennett hits. As Tony recalls, "I was convinced that 'Once Upon A Time' was going to be a smash and a few weeks after it came out the Columbia rep called me and said, 'Turn the record over, San Francisco is really catching on.'" From a grassroots hit, "I Left My Heart in San Francisco" made Bennett an international star and began his long-standing love affair with the city by the bay.

The song, rarely covered by any other artist, has become an integral part of San Francisco's cultural landscape and is played after every Giants win in their stadium. Tony painted a heart for the city's "Hearts in San Francisco" project, which is on permanent display in Union Square. This Valentine's Day, February 14, Bennett will return to San Francisco's Venetian Room to perform his signature song and his many hits for a benefit event in support of the University of California, San Francisco's Division of Cardiology.

THE JEFF LORBER FUSION - GALAXY

Trailblazing keyboardist/composer/producer Jeff Lorber revisits a sound he helped pioneer on his latest recording, Galaxy, set for release on January 31, 2012, on Heads Up International, a division of Concord Music Group. Yellowjackets' bassist Jimmy Haslip joins him in this 21st century version of the Jeff Lorber Fusion along with saxophonist Eric Marienthal, trumpeter Randy Brecker, percussionist Lenny Castro, guitarists Paul Jackson Jr. and Larry Koonse, and drummers Vinnie Colaiuta and Dave Weckl. Haslip also co-produced the album and co-wrote five tunes with Lorber.

"What I like about working with Jimmy is he's very intuitive," says Lorber. "It's often hard for me to wear so many hats so I really count on him for advice. I have a lot of confidence in him and really trust him. He has a good big picture sensibility, and he really loves the whole recording process, like I do."

"Coming into the project, I felt like Jeff was plugged in with an explosive energy," Haslip says. "He was writing up a storm. I just wanted to help in any way I could. Jeff is an incredible producer, and I learned a lot working with him." Following up on his GrammyY®-nominated 2010 release, Now Is The Time, Lorber again culls from his early catalog but gives a fresh approach to some of his most highly requested compositions, including "Wizard Island," "City," "The Samba" and "The Underground."

"Essentially this album is a part two," Lorber says. "It features the same rhythm section, but it's even more into the jazz fusion direction. It's more energetic and the performances are tighter." Galaxy spotlights 11 originals - all instrumentals - that cover the scope of electrified jazz. The disc opens with "Live Wire" "At over seven minutes long, it's a real powerful, up-tempo song," says Lorber. "It's fun to play and hopefully just as fun to listen to. "

"Live Wire," like most of Galaxy, is a showcase for the work of renowned drummer Vinnie Colaiuta. "We had three days with Vinnie to cut basic tracks," Lorber says. "Basically, he's the best drummer on the planet, so once he lays down his drum parts - which are like the foundation - you're ready to go. His work really inspired the rest of us."

That inspiration also lives on "Big Brother," a tune that recaptures the essence of contemporary jazz, while the soulful and funky "Montserrat" works a groove loosely based on the Police's 1980 hit "When the World Is Running Down, You Make the Best of What's Still Around." While Colaiuta handles most of the drumming on Galaxy, Lorber recruited Dave Weckl to perform on the title track. "Weckl has been on my last three records," Lorber says. "And I love the way he plays."

Lorber's look back at jazz fusion is also a look at the present, and to the future, including vibrant reinterpretations of "City," from the Jeff Lorber Fusion's 1980 LP on Arista, Wizard Island (which introduced a young saxophonist named Kenny Gorelick, better known as Kenny G), and "The Underground" featuring trumpeter Randy Brecker, from Lorber's 1993 album on Verve Forecast, Worth Waiting For.

Among Lorber's favorites is "Horace" (dedicated to Horace Silver), the American jazz pianist and composer who inspired so much of his playing. "Horace Silver was one of the first guys I ever heard that I could understand what he was doing," says Lorber. "Along with Ramsey Lewis, he's one of the forefathers of fusion jazz. He blended funk and a melody with jazz. Sometimes he's not given a much credit as he deserves."

The Latin-influenced "The Samba," originally from the 1978 album, Soft Space, on the Inner City label, highlights the skills of guitarist Larry Koonse. "Larry is awesome," Lorber says. ‘LA has some wonderfully talented musicians, and he's pretty well known in the straight ahead scene here."

Those who have heard Lorber perform live know how hard his band grooves, and "Wizard Island" from the Wizard Island album, is one of his most requested tunes, "I've always focused on instrumentals that are going to be fun to play live," says Lorber. "We've been doing so much touring, and songs like this were made for live performance."

Much of Galaxy was mixed by Michael Brauer at Electric Ladyland in New York City. Brauer's credits include the Rolling Stones, Bob Dylan, Paul McCartney, Coldplay, My Morning Jacket, Ben Folds and John Mayer. "I think Michael is brilliant," says Lorber. "His mixes are always so creative. Michael's like a musician, only his instrument is the mixing board."

The fresh sounds on Galaxy expand the possibilities of where technology is taking music - the old becoming new, the modern becoming post modern. "It's a step up from the last album," Lorber says. "It's more energetic, harder hitting and even more cohesive. This record really takes fusion to another level."

CHICK COREA / EDDIE GOMEZ / PAUL MOTIAN – FURTHER EXPLORATIONS

The contributions of pianist, composer, arranger and bandleader Bill Evans to the language and appreciation of jazz continue to have a profound influence on musicians. Join master pianist Chick Corea as he leads original Evans alumni - bassist Eddie Gomez and the late drummer Paul Motian - on Further Explorations, a two-CD live set of 19 tracks released on Concord Jazz, a division of Concord Music Group. The spirit of Evans comes alive thanks to the vibrant simpatico shared by these three master musicians.

Produced by Corea, Further Explorations was recorded May 4-17, 2010, live at the Blue Note in New York City. (2011 marks the 50th anniversary of the release of Evans' original Explorations LP with Motian and bassist Scott LaFaro on the Riverside label.) In preparation, Corea, Gomez and Motian examined the entire Bill Evans discography. Instead of approaching the music as a tribute, his material provides more of a template. Each musician also contributes original material. The results are inspired, as this elevated piano trio plays with near-telepathic empathy and a remarkable blend of ingenuity and emotional depth.

Disc one kicks off with "Peri's Scope," from Evans' LP Portrait in Jazz, "Gloria's Step," a Scott LaFaro classic from Evans' LP Sunday at the Village Vanguard, and Irving Berlin's "They Say That Falling in Love Is Wonderful," from the Broadway show Annie Get Your Gun. Other highlights include Sammy Fain and Bob Hilliard's "Alice in Wonderland," from Evans' LP Waltz for Debby, Evans' hauntingly beautiful ballad "Laurie," from the LP We Will Meet Again, Corea's loving tribute "Bill Evans" and Thelonious Monk's "Little Rootie Tootie."

As an added bonus, the first disc features an unrecorded piece by Evans called "Song No. 1." The tune was discovered by archivist Frank Fuchs and from this information came a tape of the song from Evans' son. "Chick transcribed the song, and confirmed with Eddie that this was something that Bill had been working on for years," writes associate producer Bob Belden in the liner notes. "On the first few nights, the song was so new that it was to be played as close to the written page as possible. Over the course of two weeks, it transformed into the fully-developed performance you hear on this set, which will make this version the definitive interpretation."

Disc two opens with "Hot House," a Tadd Dameron composition from 1940s, followed by Paul Motian's "Mode VI." There's something for nearly everyone here, from Evans chestnuts like "Turn Out The Stars" and the jazz waltz "Very Early" to Corea's own "Another Tango" and Jimmy Van Heusen and Johnny Burke's "But Beautiful." The session wraps up with an Eddie Gomez original, "Puccini's Walk"

Chick Corea has been at the forefront of modern improvised music for nearly five decades. His connection to Bill Evans is that of a student: he adapted many of Evans' harmonic concepts and pianistic techniques, and learned from a mutual understanding of classical music and the development of the piano trio as a singular jazz ensemble. Corea's definitive trio recordings, Now He Sings, Now He Sobs and The Song of Singing, reflect this progression. "In my own musical journey," he says, "Bill Evans' tremendous contributions to the piano arts have continued to be an important touchstone for me."

In the case of Eddie Gomez and Paul Motian, the connection is personal and emotionally deep, involving performing and recording with Evans during his most fertile and creative periods. "My eleven years with Bill Evans (1966-77) were profoundly important to me; valuable to me in so many ways," Gomez says. "This experience contributed immeasurably to my musical values. When Chick called with the idea of celebrating Bill's music I was intrigued with the concept, and thrilled that Paul (Motian) would be playing the drums."

Sadly, Motian died on November 22, 2011. He was a member of the first Bill Evans Trio, with Scott LaFaro on bass. This was the most influential progressive piano trio in jazz at the time. "I loved playing with Chick and Eddie during our two-week stay at the Blue Note," said Motian. "It was two weeks of great music, friendship and tribute. This CD is a true reflection of that."

"Choosing this set of renditions from 24 ninety-minute sets wasn't easy, as the whole of the two-week stint seemed like one growing and ever-changing thought," Corea says. "But I'm very happy to share with you this glimpse."

Further Explorations is a journey into the imagination of three musicians: Chick Corea, Eddie Gomez and Paul Motian. Although a shared love for the music of Bill Evans unites them, this album is less about reminiscence and more about Further Explorations of the piano trio sound. Join them in this adventure.

JIMMY OWENS – THE MONK PROJECT

NEA Jazz Master Jimmy Owens' debut as a leader on IPO features the legendary trumpeter/flugelhornist leading a stellar septet on a program of his own uniquely original arrangements of Thelonious Monk compositions that are deeply steeped in the feeling of the blues. Owens, who has been heard on countless big band and small group recordings as a virtuoso sideman - including exemplary work on IPO's One More: Music of Thad Jones, Summary - Music of Thad Jones Vol 2 and With Malice Toward None: The Music Of Tom McIntosh -- has recorded only sporadically as leader, making this date a special one. Longtime colleague, fellow NEA Jazz Master, Kenny Barron, well known for playing Monk's music with the group Sphere, heads the rhythm section and Robin D. G. Kelley, who wrote the prize-winning biography: Thelonious Monk: The Life and Times of an American Original contributes learned liner notes, helping to make this a very special tribute to one of America's greatest composers.

Owens says of his inspiration for this landmark recording, "Thelonious Monk is one of the world's premier jazz artists and composers. Many of his compositions provide (even the best) jazz artists with musical challenges, such as the opportunity to maneuver through difficult chord changes and execute unusual melodies. I chose compositions that people may have heard before; however, when I arranged the pieces I wanted to give them a different feeling than how they have been performed in the past. I also kept in mind the musicians whom I'd chosen for the CD because they each could emote what I wanted projected when I arranged the music. When I first started to think about the The Monk Project, it was important for me to work with musicians who also really understand the blues tradition. Each of the Jazz artists really delivers on this project.

Joining Owens in his all star septet is an intergenerational roster of some of the finest, most highly respected players in jazz today. Seated in the all-important piano chair, Owens' longtime colleague, fellow NEA Jazz Master, Kenny Barron, is supported in the rhythm section by two young veterans, stalwart bassist Kenny Davis and drummer extraordinaire Winard Harper. Filling out the leader's lyrical trumpet and flugelhorn in the front line are former Wynton Marsalis/Jazz at Lincoln Center Orchestra trombonist Wycliffe Gordon, Roy Haynes Fountain of Youth Band alumnus, tenor saxophonist Marcus Strickland and the amazing multi-instrumentalist Howard Johnson on tuba and baritone saxophone. Molding these remarkable musicians' various individual sounds into an orchestral whole, greater than the sum of its component parts, Owens' arrangements pays homage not just to Monk's music, but also to the large group jazz tradition epitomized by the bands of Duke Ellington, Count Basie, and many others.

As highly respected as a educator as he is an instrumentalist, Owens demonstrates the importance of his role as a pedagogue preserving and advancing the jazz tradition by showcasing the impressive talents of his former student, Eyal Vilner on the opening track. The young saxophonist-clarinetist/arranger-composer proves himself more than worthy of his mentor's generosity, providing the group with a swinging orchestration of Monk's Bright Mississippi. Opening with an interactive conversation between the brass section and Strickland's sax, the orchestration underscores the rhythmic drive of the composer's clever reworking of Sweet Georgia Brown, setting up Owens' driving virtuosic solo featuring some amazing acrobatic twists. Strickland follows with carefully constructed multichorus improvisation that leads to a rousing climax that smoothly segues into a reprise of the opening melody and its clever tag.

Owens arrangement of Well You Needn't (with some well-constructed ideas from student, Corey Sterling) which features just flugelhorn and rhythm section, slows the usually uptempo boppish melody to a relaxed loping crawl set over an unhurried piano vamp around which Harper's drum dance. Interspersing dramatic pauses that invest the song with a deep bluesy feel not often associated with the piece, the trumpeter varies tempo in his opening solo, hurrying up to slow down, adding to the orchestration's narrative nature. Barron follows suit in much the same manner, then accompanying the leader's extended winding improvisation with sympathetic comping that attests to their lengthy association.

The whole band returns to dig deep down into the blues on Blue Monk, again taken at a measured deliberate tempo redolent of a New Orleans funeral march. The feel gets a little dirtier here, with Owens smearing notes on his opening solo, the band riffing a Frankie and Johnny-like line adding to the tunes down home ambiance. Wycliffe Gordon follows, in the tradition of Ellington Jungle Band trombonist Tricky Sam Nanton, soulfully growling on his plunger muted trombone, succeeded by Strickland, his wide gritty tone recalling swing era masters Chu Berry and Herschel Evans. Barron tinkles his notes with air of a late night-early morning barrel house pianist, Davis and Harper nailing down the slow beat, then pushing to a rousing finale led by Owens blaring horn.

Monk's Stuffy Turkey is one of the iconoclastic composer's more conventional constructions. Owens' treatment of the almost poppish melody gives the piece a more esoteric bent with strident harmonics and interspersion of some kaleidoscopic rhythmic four-bar extensions for the improvisations. Strickland solos first, charging out of ensemble, building intelligently on the various facets of the melody and its orchestration. Kenny Davis then steps into the spotlight, displaying the lyrical virtuosity that makes him one of the most respected bassists of his generation. Owens, batting cleanup, has the final say, short and sweet, before calling back the ensemble to close out with a concluding reading of the melody.

Owens says of Pannonica, "I wanted it to be slower than the original." In bringing the tempo down from its already leisurely cadence, the trumpeter manages to muster an even dreamier ambience from one of Monk's most contemplative compositions. The ensemble sound shines here, supplying suppleness through which the leader's trumpet alternately brooding and celebratory comes to the fore with sublime clarity. Gordon's trombone follows in similar fashion with Barron's piano statement offering respite from the melancholic mood,

Monk originally recorded Let's Cool One in straight ahead 4/4 time. Here Owens changes the songs time signature to medium fast 3/4 thereby completely transforming the piece's feel. Strickland steps out front again, followed by Owens, who creatively improvises his own memorable melodic inventions.

Duke Ellington's It Don't Mean (If It Ain't Got That Swing) features the work of another Owens' student, Jack Ramsey, who transcribed the arrangement from Monk's original orchestration of the classic composition. The brass gets to work out on this one, starting off with Howard Johnson's articulate tuba solo, followed by Owens clarion trumpet statement and Gordon's brash trombone.

One of Monk's more knotty compositions, Brilliant Corners, is creatively arranged by Owens, slowing it down from its faster original rendition, into a lazy shuffle driven by Harper's soulful drumming. Barron is featured here, digging deep into his blues bag for an extended outing, as is Owens, who too gets down in the idiom. Gordon and Strickland then converse leading to a collective horn improvisation that climaxes into a faster reading of the melody to close.

Owens opens Reflections unaccompanied, his bell-like tone clearly ringing out Monk's thoughtful line, before being joined by first, Barron and then Gordon. Gordon begins the improvised sections, preceding the leader, who joins him in a measured call-and-response dialogue, followed by a brief piano interlude before a choral ensemble closing of the piece.

Epistrophy, one of the jazz cannon's classic closer's appropriately ends the set. Owens' arrangement completely transforms the piece, maintaining its rhythmic drive but setting it over a rolling piano part that gives it a more flowing feel. Johnson is featured on baritone sax on this one, followed by Owens, Strickland and Gordon, and then Barron, with the septet concluding in a grand finale worthy of Thelonious himself.

While there have been many, many memorials to the majesty of Monk's music, few have displayed the originality of Owens' outing. Jimmy Owens - The Monk Project pays tribute not only to one of jazz history's greatest figures, but to the talents of the date's creator, one of the music's finest trumpeters, creative arranger/composers, dedicated educators and stalwart activists, Jimmy Owens, on what is perhaps his most significant recording to date.

Album Personnel:
Jimmy Owens - Trumpet, Flugelhorn
Wycliffe Gordon – Trombone
Marcus Strickland - Tenor Saxophone
Howard Johnson – Tuba
Baritone, Saxophone
Kenny Barron - Piano,
Kenny Davis – Bass
Winard Harper - Drums

http://www.jimmyowensjazz/...
http://www.iporecordings/....
http://www.allegro-music....

MAURICIO ZOTTARELLI / GILSON SCHACHNIK - MOZIK

Drummer/Composer Mauricio Zottarelli has been on the forefront of the Jazz, Latin and Brazilian music scenes for quite some time. He is a critically acclaimed and award-winning drummer and artist and has participated in more than 60 albums as a drummer/percussionist who has worked with the likes of Elaine Elias, Esperanza Spalding, Marc Johnson, Dig Trio, and many others. He along with fellow Sao Paolo native pianist Gilson Schachnik are about to release their CD Mozik. Their band includes jazz music guitarist Gustavo Assis-Brasil, Russian flutist Yulia Musayelyan, and Argentine bassist Fernando Huergo - playing a distinctive brand of Brazilian jazz, encompassing the early fusion Chick Corea and Herbie Hancock.

While jazz pianist Gilson Schachnik and jazz music drummer Mauricio Zottarelli were both born in the state of Sao Paulo, it wasn’t until they landed in Boston that Brazilian music seized their imagination. But Brazilian music didn’t capture their interest while they were in Brazil. Each grew up idolizing and playing American jazz. When they met at Berklee, however, their love of Brazilian music was rekindled. Says Zottarelli, “it’s our honest expression of the music we love. We’re not trying to recreate something or recover the past. We don’t have any kind of agenda. It just so happened that we fell in love with Brazilian music. Brazilian jazz, while living in Boston.

“A lot of non-Brazilian musicians who play Brazilian jazz music are obsessed with being authentic, ” says Schachnik, who wrote most of the album’s arrangements. “That’s not our goal at all. We’re not trying to recreate bossa nova. We want to play with all the information that we’ve gathered over the years. I grew up listening to Return to Forever and Headhunters"

“What I love about this music is that it’s our honest expression of the music we love, ” Zottarelli says. “We’re not trying to recreate something or recover the past. We don’t have any kind of agenda. It just so happened that we fell in love with Brazilian jazz music while living in Boston.”

HAITI - CULTURE: 6th EDITION OF THE INTERNATIONAL JAZZ FESTIVAL OF PORT-AU-PRINCE

The 6th Edition of the International Jazz Festival of Port-au-Prince, will be held from January 20 to 28, 2012 in Port-au-Prince and Les Cayes. This year the festival innovates itself by visiting a provincial town, and every year the Festival, its musicians, logistics and technique will settle for one day, one evening in a different city. This year it's Claude Carré and Thurgot Théodat that will launch the festival. Claude Carré will also give a workshop at the French Alliance of Les Cayes.

This year the artists lineup include Claude Carré (Haiti), Thurgot Théodat (Haiti), Angelina Niescier (Germany), Kelly Lee Evans (Canada), Kephny (Haiti), Rubem Dantas Group (Spain), Batuke Samba Funk (Brazil), X-Key (Haiti), Rafael Mirabal (Dominican Republic), Lord's Power (Haiti), Hans Kennel (Switzerland), La Marraqueta (Chile), Felina Backer (Haiti), Aguamala (Mexico), Jed Levy Quartet (USA), Miu (Haiti), Jonathan Jurion (Guadeloupe), Chardavoine (Haiti), Jean Pierre Welmyr (Haiti), Jacques Shwartz-Bart ans the Jazz Racine Haiti.

The festival will take place over five venues:
- Prestige - Historical Park of Sugar Cane, Route de Tabarre

- Air Caraïbes - Karibe Hotel. 7, Juvéna, Pétion-Ville

- Barbancourt - Fokal : 143, ave. Christophe, Port-au-Prince

- Institut Français d'Haïti : 99 rue Lamartinière

- Quartier Latin : Place Boyer, Pétion-Ville.

The concerts of the Historical Park of Sugar Cane are 500 gourds. The concerts of Karibe Hotel are 800 gourds (sorry folks, you'll have to do the math if you don't live there). All other concerts are FREE. For the concert at the French Institute of Haiti, free tickets are to be removed in advance at the French Institute. The "Papjazz Pass", sold 2.300 gourds, provides access to all concerts. Tickets can be purchased at Radio Metropole, to the two libraries La Pléiade, and to the Karibe Hotel.

For more informations: info [@] papjazzhaiti.org / 509/3101-0003

JEFF RICHMAN AND CHATTERBOX: THE LINE UP

Contemporary jazz guitarist Jeff Richman has released  his new CD, Jeff Richman and Chatterbox: The Line Up. The Nefer Records release features Mitchel Forman on keyboards, Joel Taylor on drums and Dean Taba on bass guitar. The Line Up consists of 12 new tracks exploring and expanding the boundaries of contemporary jazz. Together, the odd metered time signatures, key changes, rhythm variations, polyphony, improvisation and tempos are overcome by the band as they weave in and out of these original compositions by Richman. On three of the tracks Richman, Forman, Taylor and Taba take artistic liberties into their own hands with their shared composition of jam tracks "It's All One", "Square Root" and "Right Here, Right Now". While recording, Richman imposes challenges on himself and the band to grow and capture a bigger audience; to include them in on the musical journey. There is an inherent sense throughout the CD that gives the listener the impression that Richman and the band want the listener to experience the same fun, challenges, joy, conflict and sorrow as they do when performing. It's not forced and it happens organically, as if each song is a conversation. The melody masquerades as the topic, ideas get passed around between the artists and the audience is allowed to eavesdrop; the invisible barrier between talent and audience being removed.

Guitarist Jeff Richman has enjoyed success on the jazz scene for nearly 35 years. His guitar playing is cited as tasteful and articulate, with room to breathe. He is recognized by and associated with the other luminaries of the fusion and contemporary jazz. His guitar is heard the world over. On this new release, his tone rises above with something unique that can't quite be described. It is the impression of a bare bones approach that has simplified his tone but made it gigantic. He uses his go to Fender Strats and Teles, a Jim Hall Sadowsky, a silver faced Marshall Jubilee but this time there is something else in the water. Throughout his career, Richman has recorded and performed with the crème de la crème of talent. He has discovered and forged a solid rapport with each member of the band. Now he successfully brings them together to form one cohesive unit that seems untouchable on this recording. As Richman sums it up, "This is the band. This is what I've wanted to achieve. I know I can go anywhere in the world with these guys and it will be an amazing time for us and the fans. It feels good, it sounds good, and I can't wait to take this show out on the road."

Throughout his career, Jeff Richman has produced 16 solo albums and toured worldwide. A graduate of the Berklee College of Music in Boston, he also studied privately with Pat Metheny, Mick Goodrick and William Levitt. After graduating, he lived and performed in New York City and by 1979, moved to Los Angeles. The L.A. scene provided him the opportunity to play and record alongside the industry's most talented artists, write and produce hundreds of library music cuts for television and participate on a multitude of film score projects. As producer, arranger and performing artist, Jeff recorded and released six CD projects paying tribute to Carlos Santana, Mahavishnu Orchestra, Steely Dan, Miles Davis, Jeff Beck and John Coltrane for the Tone Center record label. In addition to his musical career, Jeff conducts the Fusion Ensemble at Musicians Institute.

Jeff Richman and Chatterbox The Line Up track listing:

1. The Line Up (4:46)

2. Window to the Heart (3:30)

3. Rule of Thumb (4:24)

4. It's All One (Jam #1) (5:45)

5. Hat Trick (5:16)

6. Cross My Heart (5:57)

7. Once More Twice (6:14)

8. Square Root (Jam #2) (4:23)

9. Smoke Ring (5:03)

10. Point of You (4:47)

11.Right Here, Right Now (Jam #3) (5:22)

12. Window to the Heart (reprise) (2:33)

http://www.jeffrichman.net/

ETTA JAMES: 1938-2012

Etta James had a singing style that spanned a variety of music genres including blues, rhythm and blues, rock and roll, soul, gospel and jazz. Starting her career in the mid 1950s, she gained fame with hits such as "Dance With Me, Henry", "At Last", "Tell Mama", and "I'd Rather Go Blind" for which she claimed she wrote the lyrics. She faced a number of personal problems including drug addiction before making a musical resurgence in the late 1980s with the album, The Seven Year Itch. She is regarded as having bridged the gap between rhythm and blues and rock and roll, and is the winner of six Grammys and seventeen Blues Music Awards. She was inducted into the Rock & Roll Hall of Fame in 1993, the Blues Hall of Fame in 2001, and the Grammy Hall of Fame in both 1999 and 2008. Rolling Stone ranked James number twenty-two on their list of the 100 Greatest Singers of All Time and number sixty-two on the list of the 100 Greatest Artists.

James has received six Grammy Awards. Her first was in 1994, when she was awarded Best Jazz Vocal Performance for the album Mystery Lady, which consisted of covers of Billie Holiday songs. Two other albums have also won awards, Let's Roll (Best Contemporary Blues Album) in 2003, and Blues To The Bone (Best Traditional Blues Album) in 2004. Two of her early songs have been given Grammy Hall of Fame Awards for "qualitative or historical significance": "At Last", in 1999, and "The Wallflower (Dance with Me, Henry)" in 2008. In 2003, she was given the Grammy Lifetime Achievement Award.[49]

 
James was hospitalized in January 2010 to treat an infection caused by MRSA. During her hospitalization, her son Donto revealed that James had been diagnosed with Alzheimer's disease in 2008, and attributed her previous comments about Beyoncé Knowles to "drug induced dementia. In 2011, it was announced that James had been diagnosed with leukemia and was undergoing treatment. She was hospitalized in May 2011 with a urinary tract infection and the blood infection known as sepsis. In December 2011, it was announced that she was under 24-hour care and is terminally ill from the cancer she has been battling throughout 2011. Her manager, Lupe De Leon, stated to the media that she is "in the final stages of leukemia", has been diagnosed with both dementia and Hepatitis C, has been placed on oxygen, is receiving constant care from her husband, and is being visited regularly by her sons. De Leon went on to say, "We're all very sad. We're just waiting..."

She died on January 20 after a lengthy struggle with leukemia. She was 73. Her longtime friend and manager, Lupe De Leon, first confirmed the news to CNN. "This is a tremendous loss for the family, her friends and fans around the world," De Leon said. "She was a true original who could sing it all – her music defied category. I worked with Etta for over 30 years. She was my friend and I will miss her always

HART RAMSEY - MY NEXT HEARTBEAT

Hart Ramsey has returned with his second contemporary jazz album entitled My Next Heartbeat, which is the follow up to his debut album Charge It To My Heart, and joining him once again are musical greats Eric Essix, Kelley O'Neal, and Rick Watford. My Next Heartbeat is co-produced by bassist Sean Michael Ray who has toured extensively with soul-extraordinaire Maxwell, John Waite, Alex Bugnon, Dionne Farris, and other notable artists in both the R&B and Jazz arenas. Hart Ramsey is a sought after producer, keyboard player, engineer, songwriter, and is also the Sr. Founder and Pastor of Northview Christian Church with weekly services accommodating 6,000+. Hart explains, "from my early years of playing keyboards in R&B bands through my years of producing gospel artists, I've always loved the sound and feel of Contemporary Jazz." Hart pulls from his experiences, and continues on his musical journey by contributing to the art form he holds so dearly to his heart. My Next Heartbeat demonstrates his remarkable ability to create phenomenal music compositions that are rich with melodies, and represent his offering to contemporary jazz.

Hart Ramsey - My Next Heartbeat Track Listing
1. Two Roads
2. Written In Red

3. The Commitment

4. See Into Me

5. Look You In The Face

6. My Next Heartbeat

7. In Spite Of Myself

8. Until The End Of Time

9. Merry Heart (Like Medicine)

10. Cover Me

11. Start Now!

12. The Better Part

13. Don't Be Afraid To Try Again

http://twitter.com/hartramsey

THE CONCERT SINATRA - REMIXED AND EXPANDED

On January 17, Concord Records and Frank Sinatra Enterprises will reissue a remastered edition of The Concert Sinatra for the 21st century, promising use of the original master recordings which have “not been used in any re-release of The Concert Sinatra since the original sound mix was prepared nearly 50 years ago.” In preparation for this expanded reissue, producers located the original film canisters where the masters had been stored since the 1963 sessions. Frank Sinatra Jr. led the production team to create a new mix utilizing “contemporary digital recording technology” for this 2012 edition. Other reissues in Concord’s ongoing Sinatra series have also employed remixes, some more pronounced than others. Sinatra Jr. promises a new experience for this release. In his liner notes, he writes, “If you have had this magnificent album in the past and compare the orchestral content of previous releases to this new rendering, you will undoubtedly notice the amount of music, originally recorded on the master film that was never present before. Listening to other parts of Nelson Riddle’s classic orchestrations, never before heard on record, was indeed an experience for me.”

The 2012 Concert Sinatra is expanded by two bonus tracks, “America, the Beautiful” and the Sammy Cahn/Jimmy Van Heusen “California.” Both songs were arranged and conducted by Nelson Riddle, and recorded at the same February 18-20 sessions that yielded the original album. Though their non-Broadway pedigrees would have made them an uncomfortable fit on the LP, they are welcome bonus tracks. Release is set for January 17, 2012.

Frank Sinatra, The Concert Sinatra

1. I Have Dreamed

2. My Heart Stood Still

3. Lost in the Stars

4. Ol’ Man River

5. You’ll Never Walk Alone

6. Bewitched

7. This Nearly Was Mine

8. Soliloquy

9. California

10. America, The Beautiful

LLOYD GREGORY - GENTLE WARRIOR

The New Year finds award winning jazz guitarist, composer Lloyd Gregory’s CD, Gentle Warrior, surging up the jazz indie and radio airplay charts with its first single “Haiti.” January 9, 2012, Gentle Warrior jumped from 79 to 46 on the “SmoothJazz.com Current Top 50 Indie Chart.” It moved from 23 to 18 on the “SmoothJazz.com Radar Chart.” The album is on jazz icon Stanley Clarke’s new label, Roxboro Entertainment Group, which is distributed by Bungalo Records division of Universal Music Group. Clarke wisely selected Gregory as one of only four artists to launch his record label.

A Cleveland native, now long time San Francisco resident and popular entertainer on the Bay Area music scene, Gregory is a well-established classic jazz guitarist whose style is smooth, soulful, melodic, flowing and immediately charismatic. He is a master of both acoustic and electric guitar. His extensive R&B roots add a distinct texture to his styling. Minor 7th: Acoustic Music Review says, “Lloyd expertly fuses soul, pop and jazz, forging a hybrid that is both enjoyable and intellectually stimulating.”  Recording the Gentle Warrior was a labor of love for Gregory. “As we grow in time, age, experience, knowledge and wisdom, there comes a time to put it all to music and share it with the world,” he states. “For this album, it’s time to make music for my friends.”

Gregory effortlessly incorporates genres of African, reggae, Brazilian, R&B and smooth jazz in Gentle Warrior’s making. AllMusic.com reviewer William Ruhlmann states, “Lloyd Gregory takes listeners on a musical travelogue… The album boasts more variety than the usual smooth jazz guitar collection, reflecting the musician's lengthy experience and mastery of different styles.” Gentle Warrior starts out with "Brazilian Sea," a retro fusion vibe written by Sunnie Paxton and accompanied by the soothing, subtle vocals of Jeanie Tracy. Next is “Germ,” a satisfying pop-jazz piece centered over techno beat foundation. The third cut and first single to be offered to radio, "Haiti," has an appropriately warm, tropical, Caribbean rhythm track, which supports Gregory’s melodic soloing. In “Slither” the artist gets his funk on and comments, “I kind of felt like a snake (guitar) swimming and slithering through the bayous playing inside the groove.” The CD title song “Gentle Warrior” is a contemplative piece with thoughts of Africa in its inception. The sixth cut, “Dream of Love,” displays Gregory’s delightful artistry when he’s into his tender, relaxed mood.

In the second half of the album “Desert Wind” features a hypnotizing duet with bassist Stanley Clarke. A SmoothJazzTherapy.com review describes this song as “tranquility personified.” The song “Philly” successfully takes a daring leap at combining the feel of a 1970’s Philly International soul sound with unexpected Indian percussion and sitar-like sounds. It works. The guitar artistry in “El Espiritu de Diana” evokes the feel of a laid-back version of Carlos Santana. Not by coincidence Gregory in his early days performed with some members of Santana. “Remembering Carmel” is a tender song with a jazzy twist. In the eleventh cut, “A Moment In Time,” Gregory channels his best Wes Montgomery tones and styling influence. And finally “Zulu, Son of Cobra,” rounds out the album will a mellow intro building into a joyous, uplifting anthem.

Bass legend Stanley Clarke, whose 40 albums and 60 film scores have made him one of the most recognized names in the annals of contemporary music, was a hands-on architect of the CD. He wrote, performed and produced various tracks on Gregory’s album as well as served as Executive Producer. Other contributors are Felton Pilate, Derek McKenney and Jeanie Tracy.

Although Gregory has released five critically acclaimed albums of his own, he has also recorded with Martha Reeves, MC Smooth and Freddie Stewart (Sly & The Family Stone); and has performed onstage with Rodney Franklin, Stanley Clarke, George Duke, Gerald Albright, Lenny Williams (Tower of Power), Freda Payne, The Dells, and Lowell Fulsom. He spent years touring extensively while serving as the musical director for The Ballads, Natural Four and Jesse James, and performed on their albums. As a studio musician in Los Angeles, Gregory worked with producer Richard Perry and played sessions with top musicians such as Klaus Voorman (The Beatles), Arthur Adams (B.B. King, Quincy Jones), Harvey Mason (Herbie Hancock, George Benson) and Joe Sample (The Crusaders).

“I love Lloyd’s style as a musician,” Clarke says. “He is a sweet, warm guy, which comes out in his music. His music reminds me of a modern-day Wes Montgomery.”

Lloyd Gregory – http://lloyd-gregory.com/

DAN BLAKE - THE AQUARIAN SUITE

Saxophonist/composer Dan Blake has appeared on recordings and in performances with a staggering array of high profile artists, such as Esperanza Spalding, Anthony Braxton, Kenny Werner, Julian Lage, Herbie Hancock, Danilo Perez, and many others. He is currently in demand as a saxophonist, and is a regular member of Lukas Ligeti's Kaleidoscope Point, Peter Evans' Sparks Orchestra, and composes and performs with the Grammy-nominated Julian Lage Group. As a recording artist, Blake is a featured soloist on Grammy Award winner Esperanza Spalding's forthcoming Radio Music Society, Anthony Braxton's opera Trillium E, and a featured artist on Danilo Perez's Grammy-nominated, Panama Suite. Blake is currently a Ph.D. candidate in composition at the Graduate Center, City University of New York, and serves as adjunct lecturer in music history at The Conservatory of Music at Brooklyn College. He was recently awarded the 2010 Baisley Powell Elebash Fund for an ongoing research project examining New York City's improvised music scene.

With Blake's The Aquarian Suite, recently released on Brooklyn Jazz Underground Records, you have a recipe for a wildly successful jazz recording; eight new jazz compositions for "chordless quartet" that stretch the boundaries of modern jazz while staying true to the forms set by the masters; a "Mingus meets Monk" quality of blues-inflection, compositional unity, and ever-present melodicism; and an incredible band comprised of Blake on tenor saxophone, Jason Palmer (Greg Osby, Kurt Rosenwinkel, Roy Haynes, Ravi Coltrane, etc) on trumpet, Jorge Roeder (Gary Burton, Julian Lage, Alex Acuna, Maria Schneider) on bass, and the ubiquitous Richie Barshay (Herbie Hancock, Esperanza Spaulding, Lee Konitz, Chick Corea, etc) on drums and percussion.

While Blake's previous recording, The Party Suite, represents his own personal revelation that the history of early jazz is in fact a raucous celebration of life and the endless possibilities to experience joy in its many facets, The Aquarian Suite, "connects to the tumultuous and fertile energy of the bebop revolution, in an effort to further expand my understanding of tradition and how it relates to my life as a musician. By connecting to a rich musical heritage and claiming it as my own, The Aquarian Suite is for me a 'water bearer'; a sonic body through which a hopeful transition between tradition and the potential for a greater future can flow easefully and with great joy", states Blake.

Most of the pieces on The Aquarian Suite paint a musical portrait of a different master of the bebop era. "The Whistler" is dedicated to Horace Silver, with a sparse and focused melody that is punchy, vibrant and full of mysterious simplicity. "Mister Who", takes a cue from Thelonious Monk's "Skippy". "This piece is a celebration of freedom in precision; that marriage of qualities, being together and independent at the same time. Always swinging yet persistently off beat," explains Blake. "The Best of Intentions" is a plaintive piece that begins with a lullaby, hinting at the more forlorn aspects of the suite. "How It's Done" builds from the poignancy of the previous piece into a blistering chromatic melody evoking the formidable Clifford Brown/Max Roach Quintet, "who in their brief tenure showed us all, 'how it's done'", says Blake.

Other highlights on the recording include, "You Cry So Pretty", a ballad dedicated to Miles Davis; the title track, "Aquarian", which is "dedicated to Anthony Braxton, an icon of creative music. This piece imagines an expanded terrain for jazz improvisation", explains Blake; and the closing piece, "Epilogue: Cavemen Do It Too". Blake describes the meaning behind this composition, "I have long been a proponent of a rugged approach to performing, as I feel people can connect with those performances that abandon the overly self-conscious mindset in favor of the immediacy of now. This piece, and my music in general, is a celebration of that human ability to not take oneself too seriously, to enjoy life as it is. I imagine that quality has been around since the cavemen (and women), and whatever it is we do, we can be sure that the cavemen did it too!"

JOSH GINSBURG – ZEMBLA VARIATIONS

Brooklyn-based bassist and composer Josh Ginsburg is one of the most sought-after players on the New York jazz scene. He has performed and recorded across Europe, Asia, and the Americas with some of the greatest musicians of our time. Throughout Josh's bass playing with many different artists, certain qualities emerge as constants: a beautiful tone, a powerful rhythmic sensibility, a mastery of the musical language, and the open-hearted spirit of a true improvisor. In addition to his international career as a sideman, Josh is also an emerging force as a bandleader and composer. Along those lines, Josh is proud to announce the release of his debut recording of all original compositions, Zembla Variations, featuring the amazing band of Eli Degibri on saxophone, George Colligan on piano, and Rudy Royston on drums. The album will be released by Brooklyn Jazz Underground Records on February 7, 2012. On this stunning recording Josh seeks new areas of unexplored musicality, yet he also brings to his music a deep love for our shared musical traditions of melody and song, rhythm, and drama. In celebration of this release, Ginsberg will be previewing the new album with a CD release party on Thursday, January 12 at The Jazz Gallery in New York City. In addition to Josh Ginsburg (bass/compositions), also appearing will be Eli Degibri- saxophones, and Danny Grissett- piano & Rudy Royston-drums. The band will also premiere the album on January 14 at An Die Musik in Baltimore, MD.

http://www.joshginsburg.com/ + http://www.bjurecords.com/

RUMER – SEASONS OF MY SOUL NORTH AMERICAN TOUR DATES ANNOUNCED

Atlantic recording artist Rumer has announced plans for a North American tour. The acclaimed British singer/songwriter will kick off the headline trek with a very special record release celebration at Los Angeles' Hotel Café on January 24th, marking the day her award-winning debut album, Seasons Of My Soul, sees its US release. The tour will then travel North America through early February, with further stops slated for San Francisco, Salt Lake City, Minneapolis, Chicago, Toronto, Boston, New York, and Philadelphia (see below itinerary). Fueled by the much-admired hit singles "Slow" and "Aretha," Seaons Of My Soul was a platinum certified popular success upon its release in the UK. 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 sensation, earning extraordinary 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."

You can hear Seasons Of My Soul at: http://soundcloud.com/atlanticrecords/sets/rumer

Rumer North American Tour Dates:

January 24 @ Hotel Café, Los Angeles, CA

January 25 @ Bimbos, San Francisco, CA

January 27 @ State Room, Salt Lake City, UT

January 31 @ Varsity, Minneapolis, MN

February 2 @ Lincoln Hall, Chicago, IL

February 6 @ Mod Club, Toronto, ON

February 7 @ World Café Live, Philadelphia, PA

February 9 @ Brighton Music Hall, Boston, MA

PHILADELPHIA INTERNATIONAL CLASSICS: THE TOM MOULTON REMIXES

This will be 31 true full-length Philadelphia International Classics in total delivered in a deluxe box with 4 separate CD's plus a 16 page booklet with sleeve notes by Lloyd Bradley and containing some rare photos of Tom Moulton and Sigma Sound studios. Following on from the massively popular Philadelphia International: The Re-Edits package, here is the 2nd release of the special "Philly 40" campaign which is celebrating the 40th Anniversary of Philadelphia International Records. Welcome to the hugely anticipated Philadelphia International Classics: The Tom Moulton Remixes. Release is set for February 2012.


Here is the track listing:
Brand New Remixes:
1. Back Stabbers
2. She's A Winner
3. Slow Motion
4. The Whole Town's Talking
5. The Love I Lost
6. The Devil Made Me Do It
7. Year Of Decision
8. When Will I See You Again
9. Trammps Disco Theme/Zing Went The Strings
10. Let's Groove
11. You'll Never Find Another Love Like Mine
12. Where Will You Go When The Party's Over
13. I Don't Love You Anymore
14. See You When I Get There
15. This Time Baby
16. Party Time Man
17. My Love Don't Come Easy
18. Nights Over Egypt

Extended ReEdits:
19. Love Epidemic
20. Where Do We Go From Here
21. Trusting Heart
22. Jam Jam Jam

Remastered from the 1st Generation Tapes***:
23. Love Train
24. Always Love My Mama
25. Dirty Old Man
26. TSOP
27. Love Is The Message
28. Bad Luck
29. Do It Anyway You Wanna
30. I Love Music
31. Don't Leave Me This Way

***When the Philly Classics LP was re-issued on CD in 2002, they did not go to the original master tapes...they just used the same mastering that was used for the 1977 vinyl....so this will be the first time that we will hear these jams straight from the source....

REINHOLD SCHWARZWALD - SUNSET

A collaboration with a pair of Grammy nominated artists ushered the amorous title track to soul-jazz saxophonist Reinhold Schwarzwald's Sunset album onto the radio waves of influential Los Angeles radio station 94.7 KTWV The Wave. The kissing on the beach - or by the fireplace - ballad written by the international saxman was produced by keyboardist Patrice Rushen and includes fretwork from guitarist Doc Powell. "I was inspired to write this song by watching a sunset surrounded by the breathtaking and romantic beauty of the California coastline at Point Dume in Malibu," said Schwarzwald, whose sound and style incorporates soulful contemporary jazz and funky R&B along with swatches of Brazilian influences. "It was a thrill to work with Patrice (Rushen) as we have a long association together. Doc (Powell) is such a wonderful person and a gifted musician. I'm grateful for the artistry that they both contributed to Sunset. It's exciting that The Wave, one of the most important radio stations in the country in this genre, is the first radio station in the country to embrace this cut."

Possessing a sultry groove and an intimate, inviting hook emoted with heartfelt passion, Sunset began receiving airplay in regular rotation on The Wave last week. The single is from the album of the same title that was reissued last month on the artist's VIP International record label. Schwarzwald produced and wrote or co-wrote nine of the eleven songs on the Sunset album, which features contributions from musicians hailing from Los Angeles, Paris and Brazil. Rushen produced three songs for the record. Both the single and album are available as a physical CD and digitally on iTunes, Amazon, CD Baby, Schwarzwald's website will soon be available at all major digital retail outlets.

Born in Austria to an Austrian father and a Hungarian mother, Schwarzwald was raised in a musical family and studied in music conservatories where he was trained in classical and jazz. After school, he landed in Paris, where he was invigorated by the vibrant Paris music scene. Schwarzwald performed extensively throughout Europe including at prestigious halls, clubs and festivals such as the Montreux Jazz Festival, and recorded as a studio musician in an eclectic array of genres. Shortly after moving to Los Angeles, he won an International Song Expo award for his cinematically beautiful ballad "All Your Love," which also appears on the Sunset album. His music has garnered airplay on radio stations and television shows around the globe. Schwarzwald has collaborated with Grammy winners and platinum selling artists including Kirk Whalum, Hugh Masekela and Luis Conte, and has opened shows for Ray Charles and Chris Botti. He anticipates performing with his band in the Los Angeles area this spring.

http://www.reinholdschwarzwald.com/.

HULON - FIRST IMPRESSIONS

Hulon (Dr. Hulon Crayton) is a smooth jazz saxophonist hailing from Panama City, FL who made his started his jazz career as a member of noted jazz group the On Call Band®. Hulon released his debut release, First Impressions, via Premier Musique Group where the album peaked at #25 on the Billboard Smooth Jazz Chart back in April 2010. First Impressions was produced by noted smooth jazz artist Jeff Kashiwa and included eight original songs co-written by Kashiwa and Hulon, and also features a cover of the song "The Cisco Kid" by the band, War. The song "Sax on the Beach," served as the album's first single and reached #16 on the SmoothJazz.com Top 50 Indie Chart and was featured on the noted jazz website AllAboutJazz.com, in addition to receiving national and international airplay at terrestrial and online radio.

The song "Dr. Goodfoot" served as the album's second single. First Impressions was recorded at SGR Studios in Panama City, FL with additional drum tracks recorded at Two Sticks Audio in Seattle, WA and Ahhsum Studios in West Covina, CA. The album was mixed by Dave Darlington at Bass Hit Recording in New York City, NY. When asked about this new CD and artist, Jeff Kashiwa said, “It's every producer's dream to come across an artist who has 3 qualities: drive to develop their unique voice, enthusiasm for creating music and passion to perform. Hulon possesses all of these qualities. The music on his debut CD reflects many moods to showcase this emerging artist.

In addition to his jazz career, Hulon is also a noted entrepreneur and philanthropist. Hulon runs The Arthritis and Infusion Center, a successful medical practice that specializes in the treatment of Rheumatological diseases and disorders as well as sports-related injuries. Hulon has been practicing Rheumatology since 1986, after graduating from the University of Wisconsin. He is a diplomat of the American Board of Internal Medicine and of the American Board of Rheumatology. Hulon has a Masters Degree in Hospital Administration and has served in the U.S. Army and the Army Reserve obtaining the rank of Captain. Hulon, and his wife, Dinah, created the Crayton Foundation which assists minorities with funding their college education.

Hulon - First Impressions tracklisting:

1. Cisco Kid

2. Sax On The Beach
3. Cool Blue
4. Sweet Spot
5. So Naturally
6. Follow Me
7. Dr. Goodfoot
8. Sax Machine
9. No More Goodbyes
10. Interview (92.5 Wrap-Fm Clear Channel Radio)

http://www.hulonsax.com/ 

www.facebook.com/pages/hulon/191366030967.

CANDY DULFER - CRAZY

When saxophonist Candy Dulfer steps onto the stage or into the studio, everything is immediately up for grabs and anything can happen. This sexy, high-energy vibe seemingly out-of-control, yet always carefully calculated is a direct result of her consistently hot and sweet confection of jazz, funk, R&B, soul, pop, techno and more. It's a no-holds-barred recipe that has served her and her worldwide fan base well since her earliest recordings at the start of the 1990s. Now Dulfer pushes the whole musical experience to the edge once again on her new recording, Crazy. The 13-song set includes numerous tracks co-written and produced by multi-instrumentalist Printz Board whose mile-long list of credits includes musical director for the Black Eyed Peas for more than a decade, as well as work with a broad range of artists: Macy Gray, Mariah Carey, Sergio Mendes Gomez, Katy Perry,Burt Bacharach and dozens more. Seven of the twelve tracks on the album were produced by Printz Board. For the other tracks Candy once again collaborated with Dutch producer and longtime guitarist Ulco Bed, who was responsible for Candy's first major hits in her career with the albums Saxuality and Sax-a-go-go. Crazy was released worldwide starting in Holland on October 1st.

“I wanted to return to working with Ulco Bed, a great guitarist and my songwriter partner since we were both very young,” says Candy, a native of the Netherlands and the daughter of jazz saxophonist Hans Dulfer. “We hadn’t recorded together for a long time, so I was looking forward to connecting with him again. But I also wanted to work with someone who could show me something new, something I‘d never done before. When I met Printz, I knew right away that we could do something great together. I was surprised at how easy it was. I would put a beat down and just play a few licks, and it would be enough to inspire him to put together a whole chord sequence and write a song.”

It’s the kind of versatility and adaptability that comes from working with such a diverse spectrum of talent over the years. “I just go with the energy that’s in the room,” says Printz. “I try not to work with anybody whom I haven’t at least hung out with for a little while. I need a chance to get to know their energy and their personality. When Candy and I got started on this project, we knew the goal. We knew what we were going for. It just grew organically. I don’t think either of us knew what the end result would be, but we’re very excited with what it turned into.”

Like just about every other recording in Candy’s body of work, Crazy kicks off like a party. Literally! The opening track is a churning saxophone riff, supported by a swell of voices in full party mode. It all comes to a halt when a neighbor puts a damper on things by demanding some quiet.

Fat chance. The title track picks up where the noisy room leaves off, and keeps the intensity level well beyond the acceptable range of peace and quiet. Built on a call-and-response between Printz’s lyrics and Candy’s punchy alto riffs, the song is inspired by Printz’s recent heady experiences with a new romance. “You don’t know what to do with yourself,” he says. “You just want to see this person, and talk to this person, and hang out with them. The title is no mystery. I was just crazy about this woman.”

“Hey Now” starts in a midtempo groove, with generous doses of low-end electronic dance beats holding it together. “But there’s a moment when it really kicks into high gear and gets wild,” says Candy. “It’s that moment when I want people to say, ‘Wow, this is really something I didn’t expect. This is something amazing.’”

“Complic8ted Lives” is less about specific solos and parts, says Candy, and more about generating an overall mood. “It was just a really spontaneous track,” she says. “We made it in five minutes, but it was a beautiful song. It’s really about a specific feeling. You can take the vocals off and you can still hear what the song is about in the chord progression and in my saxophone work.”

Midway through the party, the neighbors are apparently getting increasingly frustrated. One tries to make a call, but there’s no hearing the phone amid the revelry.

The inspiration for “Electric Blue” originally came from the neon blue lights of Tokyo, says Printz. Candy adds quirky sax lines on top, while Printz inserts some slide instructions that culminate with the simply stated “Get your ass on the floor.” The throbbing backbeat dares the listener to defy the command.

Printz indulges his fascination with the vocorder on “Rocket, Rocket,” a track that morphs his voice into an electronic layer that merges seamlessly with his keys and Candy’s fresh alto licks. “We just recently started playing this live,” says Candy. “We didn’t know how it would go live, but we had people of every age dancing to this one.”

The riffs are still coming when the police arrive at the door, accompanied by the same irritated neighbor. Their efforts are apparently ineffective, because the music keeps coming for just a bit longer.

In the home stretch, it’s the sultry and suggestive “Please Don’t Stop,” followed by the “Too Close,” a quiet instrumental ballad that shifts the festivities into a more laid back vibe. Powered by a distinctly Euro groove,

“I’m very happy with this record,” says Candy. “It’s been a super-positive experience. In the last ten years, I was always in a safe environment with my own friends, and it was beautiful. This was a big leap for me, so it’s nice to see that the rewards for that risk were so great. It’s nice to be rewarded for taking risks. And on the other hand, reconnecting with Ulco has been great. It brought back a lot of beautiful memories. We realized that we can still make great music together.”

Candy Dulfer - Crazy - track listing
1. Stop All That Noise

2. Crazy

3. Hey Now

4. Flame

5. Good Music

6. Complic8ted Lives

7. Calling Next Door

8. Electric Blue

9. In Or Out

10. I Do

11. Rocket, Rocket

12. No End

13. Open Up

14. Please Don't Stop

15. Too Close

Upcoming Tour Dates:

January 15-22 @ Smooth Jazz Cruise

January 22-29 @ Smooth Jazz Cruise

February 12 @ The Blue Note: Nagoya, Japan

February 13 @ The Blue Note Tokyo, Japan

February 14 @ The Blue Note, Tokyo, Japan

February 15 @ The Blue Note, Tokyo, Japan

February 17 @ Club Quattro, Hiroshima, Japan

March 10 @ Goois Jazz Festival, Bussum, Netherlands

March 11 @ Luxor Live, Arnhem, Netherlands

March 30 @ Groene Engel, Oss, Netherlands

April 1 @ Mezz, Breda, Netherlands

April 5 @ Hedon, Zwolle, Netherlands

April 6 @ Paradiso, Amsterdam, Netherlands

April 7 @ P3, Purmerend, Netherlands

April 8 @ Tivoli, Utrecht, Netherlands

April 13 @ Bolwerk, Sneek, Netherlands

April 14 @ Metrpool, Hengelo, Netherlands

April 15 @ Patronaat, Haarlem, Netherlan

April 17 @ Kaufleuten, Zurich, Switzerland

April 18 @ KKL, Luzern, Switzerland

April 19 @ Volkshaus, Basel, Switzerland

April 21 @ Boerderij, Zoetermeer, Netherlands

April 22 @ Underground, Lelystad, Netherlands