AL TURNER – SUNNY DAYS

Bass Guitar Impresario, Al Turner, affectionately called “The Burner”‚ has recorded his third record Sunny Days. This gifted producer, expands his iconic signature style with a smooth inspirational message outlining that “no matter how dark or difficult your situation seems you can always look forward to sunny days” says Turner. Being one that is destined to create music that inspires, uplifts and edifies the soul, Turner has decided to take his bass and give back to a community that needs soulful encouragement. He wants to bring his expertise to sponsored fundraisers and community events that support the research and development seeking a cure for breast cancer.

Sunny Days is the latest addition to his diverse catalog, strikingly balanced, making an eclectic melodic statement by skillfully blending Jazz, Funk and R&B. Opening with “Zo” a collaborative groove that sets the stage for collaborations with the likes of Bob James, Nelson Rangell, Marlon McClain, Dave McMurray, Maurissa Rose and Herschel Boone are found on this fine piece of work.

“Often times as one takes on the marketing and promotion of their career they go through the normal paces that are set before them. For Al, this disease has struck close to home, his wife Theresa has struggled with breast cancer throughout their relationship. Collectively they are formulating a way to create a community of breast cancer survivors having a place to voice their concerns, trials, triumphs and recovery. Together they are making a way to bridging the goals of healing, not only through the miracles of medicine but by way of Al’s soulful music inspiring not only Sunny Days but ones that bring breakthroughs with a common bond” says Jaijai Jackson, creator of The Jazz Network Worldwide social network.

Turner is no stranger to the industry and has played with some of the brightest luminaries on the scene ie. Earl Klugh, Bob James, Aretha Franklin, Oleta Adams, Anita Baker, Nancy Wilson, Randy Crawford, Gladys Knight and is currently the music director for R&B vocalist Kem.

Not only is he known for his musicianship but a composer and producer as well on songs for recording artists Earl Klugh, Bob James, Tim Bowman, Edgar Wallace, Jr., Guy Ensley & Ron Otis. Al’s artistry exceeds category and has been featured on many television and radio commercials. His touring schedule is packed with various dates that have encompassed Cheryl Lynn, Oleta Adams, David Benoit and Everette Harp.

Driven by his artistic mastery, Al Turner, "The Burner" is an A-List side man and has performed hundreds of live shows nationally and internationally and continues to amaze and thrill audiences who will undoubtedly find themselves groovin’ to Sunny Days.

http://www.thejazznetworkworldwide.com/

http://www.alturner.com/.

27TH ANNUAL WINTER MUSIC CONFERENCE (WMC)

Winter Music Conference (WMC) is about to launch it’s 27th annual program for what is largely regarded as the pre-eminent platform on the global music industry calendar for launching new music, technology and trends. Winter Music Conference Week 2012 happens March 16 – 25, 2012 in Miami Beach, Florida.

For 2012, WMC plans to further enhance the WMC experience by delivering ten non-stop days of music programming in Miami Beach and Miami. This expansion will wrap the program week with two full weekends of parties and events. WMC Co-founder, Bill Kelly, explains, "Expanding the WMC dates was an easy decision given the high demand of artists, businesses and industry delegates. Miami Beach and the greater Miami area boast some of the most celebrated event and club venues as well as the hotels and resorts that comprise South Beach's famed Art Deco District. Hotels, restaurants, cafes, shops and every sort of possible entertainment venue are filled to capacity during WMC Week to the point where five days just wasn't enough."

New for 2012, WMC will be unveiling correlated segments of its industry program dedicated to music and fashion on its opening weekend and indie rock meets electronica programming under the WMC Rocks header on the closing weekend, in addition to its standard programming and events. More details will be announced over the coming weeks.

Winter Music Conference 2012

• Music Meets Fashion: March 16 – 17, 2012

• DJ Sets, Live performances & Parties: March 16 – 25, 2012
• WMC Music Industry Program: March 19 – 24, 2012

• WMC Trade Show & Exhibits: March 19 – 20, 2012

• Art & Record Collectors Show: March 24, 2012

• WMC Rocks: March 23 – 25, 2012

• Club & Poolside Events: March 16 – 25, 2012

CHICK COREA 2012 TOUR DATES

Chick Corea will be appearing in concerts throughout the year featuring both Gary Burton and Bobby McFerrin. Here is the list.

March 12 @ Victoria Hall, Geneva, Switzerland (w/Gary Burton)
March 13 @ KKL Lucerne, Lucerne, Switzerland (w/Gary Burton)
March 14 @ Rome Auditorium, Rome, Italy (w/Gary Burton)
March 15 @ Athens Concert Hall, Athens, Greece (w/Gary Burton)
March 16 @ Palace Hall, Bucharest, Romania (w/Gary Burton)
March 18 @ Palace of the Arts, Budapest, Hungary (w/Gary Burton)
March 21 @ Wiener Konzerthaus, Vienna, Austria (w/Gary Burton)
March 22 @ Wiener Konzerthaus, Vienna, Austria (w/Gary Burton)
March 23 @ Stokholm Concert Hall, Stockholm, Sweden (w/Gary Burton)
March 25 @ Goteborgs Konserthus, Goteborg, Sweden (w/Gary Burton)
March 30 @ University of North Carolina, Wilmington, NC
April 1 @ Miller Center for the Arts, Reading, PA
April 2 @ Palais Montcalm, Quebec, Quebec, Canada
April 3 @ Markham Theater for the Performing Arts, Markham, Ontario, Canada
April 4 @ Massry Center for the Arts, Albany, NY
April 6 @ Manchester Craftsman’s Guild, Pittsburgh, PA
April 11 @ Barbican, London, UK (w/Gary Burton)
April 12 @ Le Rocher de Palmer, Cenon, Aquitaine, France (w/Gary Burton)
April 13 @ Theatre Simone Signoret, Confians St. Honrine, France (w/Gary Burton)
April 14 @ Espace des Arts, Chalon-sur-SaA’ne, Bourgogne, France (w/Gary Burton)
April 16 @ Maison de la Culture, Amiens, Picardie, France (w/Gary Burton)
April 17 @ Salle Pleyel, Mullhouse, Paris, France (w/Gary Burton)
April 18 @ La Filature, Mullhouse, France (w/Gary Burton)
April 19 @ Flagey, Brussels, Belgium (w/Gary Burton)
April 21 @ Arsenal, Metz, Lorraine, France (w/Gary Burton)
April 22 @ Philharmonie, Luxembourg 9w/Gary Burton)
June 14 @ Ortiabrsky Grand Concert Hall, St. Petersburg, Russia (w/Bobby McFerrin)
June 15 @ Tchaikowsky Concert Hall, Moscow, Russia 9w/Bobby McFerrin)
June 17 @ Philharmonie, Luxembourg, Luxembourg (w/Bobby McFerrin)
June 18 @ Meistersingerhalle, Nuremberg, Germany (w/Bobby McFerrin)
June 19 @ Alte Oper, Frankfurt, Germany (w/Bobby McFerrin)
June 22 @ Festspiehaus, Baden-Baden, Germany (w/Bobby McFerrin)
June 23 @ Gasteig Philharmonie, Munchen, Germany (w/Bobby Mcferrin)
June 24 @ Liederhalle Hegelsaal, Stuttgart, Germany (w/Bobby McFerrin)
June 25 @ Philharmonie Essem, Essen, Germany (w/Bobby McFerrin)
June 26 @ Berlin Philharmonie, Berlin, Germany (w/Bobby McFerrin)
June 30 @ Hamburg Laeszhalle, Hamburg, Germany (w/Bobby McFerrin)

THIRD WORLD, MARCUS MILLER, PATTI AUSTIN & HUGH MASEKELA ADDED TO CAPE TOWN JAZZ FESTIVAL LINE-UP

This year’s Cape Town International Jazz Festival will take on March 30th and 31st. In its 13th year, the festival continues to titillate South African audiences with the finest in local and international performers at the Cape Town International Convention Centre (CTICC). The headliners reflect the festival's philosophy of broadening audience's perspectives of what is understood as 'jazz'.

"If it's music, sweet music, lets it play," is the philosophy of Jamaican-hailing reggae band Third World - one of the headliner acts aimed at bridging these divides. Originally formed in 1973 in Kingston, Third World has over its three-decade spanning career interwoven subtleties of funk, soul, R&B and rock into reggae music, releasing 23 albums in total. They are one of Jamaica's longest running acts which means that they easily bumped heads with the likes of Bob Marley and the Wailers early in their career. Third World will make their South African debut at this year’s festival, firing up their message of peace, love and unity.

Brooklyn based multi-instrumentalist and producer, Marcus Miller is another major artist who headlines the festival. While Millers' main instrument is bass, his prolific work started in the late 70s. He has worked as an arranger, songwriter, film score composer, keyboardist, clarinetist and saxophonist. A live set from Miller can include an odd mix of anything from The Talking Heads to John Coltrane and The Stylistics. Miller was born at a time when jazz was peaking in New York. He was part of a musical family which made becoming a multi-instrumentalist in his teenage years natural. Some of his best known work is with Miles Davis during the early 80's, working on the albums Tutu and Music from Siesta. He has an epic background of musical accolades and as a session musician has worked with the likes of Michael Jackson, Wayne Shorter, Chaka Khan and Aretha Franklin.

Harlem born songwriter and vocalist Patti Austin and her trio will tour her Grammy award-winning jazz program which includes hits ranging from Ella Fitzgerald to Avant Gershwin. Austin has a legacy of 16 solo albums which cross musical boundaries. Her road to success was paved early as she made her debut at the Apollo Theatre in 1954 at the age of four and had a contract with RCA Records when she was five. Keeping the musical fires burning, The Patti Austin Trio's festival performance will form part of a massive 2012 European tour with their new album Sound Advice.

Completing the headliners of international performers is Kansas City-born vocalist Kevin Mahogany. New Yorker Magazine has labeled him "The Standout jazz vocalist of his generation". Starting off his career as an instrumentalist, Mahogany has focused his career on being a jazz vocalist in the style of Joe Williams. Currently he runs his own label called Mahogany Jazz.

The legendary Quincy Jones is responsible for discovering and introducing Cuban pianist Alfredo Rodriguez to the festival organizers. The impromptu performance of Rodriguez in Jones’ lounge for organizers Rashid Lombard and Billy Domingo convinced the pair that Rodriguez was a natural fit for the festival. Jones says "I'm thrilled that Alfredo has been given a platform to perform at the Cape Town International Jazz Festival. I think he will find surprising musical similarities between his roots in Cuba and his South African experience."

Other international performers at the festival include Chinese minimalist solo pianist Xia Jia and French bossa nova meets nu-wave act Nouvelle Vague. Joining them is Allen Stone, a storytelling guitarist and singer from Washington who could be described as a funky white boy with soul. Angolan afro-funk singer and composer Gabriel Tchiema completes the line-up of international acts.

Audiences will be thrilled to see legendary South African trumpeter and bandleader Hugh Masekela return to the festival and present a special project for the first time on local shores. Masekela will rally up an army of musical giants for 'MAMA AFRICA' -a tribute to the great songbird Miriam Makeba. Masekela as musical director joins forces with a powerhouse trio of vocalists in the form of Vusi Mahlasela, Thandiswa Mazwai and Zolani Mahola. The show made its debut at the Rio Loco Festival in Toulouse, France in June 2010 and has since travelled to Barcelona, London and Berlin. Masekela won't be the only South African legend on stage this year. Dorothy Masuka will also perform at the festival. Masuka rose to fame in the 50's as a struggle artist as a singer alongside the likes of Masekela and Makeba.

If the edgiest music that is coming out of South Africa at the moment is hip-hop, then the festival has been spot on with the talent this year. HHP aka Hip Hop Pantsula and Cape Town's own swag-boasting Ill Skillz aka Ill Literate Skill join the line-up. HHP is a multi-SAMA award-winning rapper and alongside Ill Skillz represent fresh and youthful South African voices.

There is a huge focus on African roots and rhythms on the festival line-up this year. Pietermaritzburg born saxophonist Steve Dyer has been on the South African music scene for some time but he has constantly evolved musically. His latest project Ubuntu Music will be released as an album this year and performed at the festival for the first time. His band features pianist Bokani Dyer, bassist Shaun Johannes, trumpeter Lwanda Gogwana and drummer Andre Swartz. In a similar vein, South

African bassist Herbie Tsoaeli, who has performed with some of S.A's greatest jazz musicians, will be presenting his long-awaited debut album African Time. Harmonica player Adam Glasser has spent significant time between South Africa and the United Kingdom, collaborating with major artists from both countries such as Dudu Pukwana and Toots Thielemens. Glasser will present his latest album Mzansi at the festival. Cape Town based saxophonist Victor Kula grew up in Rylands and now resides in Gugulethu. He has kept his musical associations proudly local and is greatly influenced by the late Winston 'Mankunku' Ngozi. Hassan'adas led by percussionist John Hassan experiments with Marrabenta and African jive rhythms

Old school glitz and glamour diva Sophia Foster, one of S.A's sisters of song also joins the line-up. Another kind of diva, ex-fashion stylist Lindiwe Suttle initiated her career as a vocalist with Rus Nerwich and The Collective Imagination in 2008. Now Suttle has returned from Berlin with a more electronic focus on her debut album Kamikaze Art courtesy of engineer Dave Kutch whose previous work includes Al Green and Alicia Keys.

Zakes Bantwini has himself confessed that his live performance launches a wilder alter-ego, “Zakhele Madida (his real name) is actually a shy guy and a bit reserved. When I 'm on stage I am in a trance and the Zakes Bantwini character takes over. He just comes out.” Bantwini is one of the few South African artists who has managed to cross the boundary of afro-house and live jazz. Radio personality, Idols judge, singer and songwriter Unathi will also perform at the festival. Fans can expect new material from Unathi since she recently released her third album entitled With Love.

The rest of the line-up for 2012 is completed by the following artists: James Ingram (USA), Dave Koz with special guest Patti Austin (USA), Mike Stern with special guest Dave Weckl (USA), Virtual Jazz Reality (SA), Brubecks play Brubeck (USA/SA), Ron Carter, Donald Harrison and Lenny White (USA), Andre Petersen Quintet (SA), Atmosphere (USA), Jean Grae (USA), Goodluck (SA), Zamajobe (SA), Zahara (SA), The Jason Reolon Trio (SA), David Sanchez with special guest Lionel Loueke (Puerto Rico/Benin), The Moreira Project (Mozambique) and Alexander Sinton High School Jazz Band (SA).

http://www.capetownjazzfest.com/

ROB GARCIA - THE DROP AND THE OCEAN

For over a decade, drummer/composer Rob Garcia has been a major force on the jazz and creative music scene in Brooklyn, NYC and beyond, collaborating with some the most noteworthy musicians of our time, such as Joe Lovano, Dave Liebman, Wynton Marsalis, Joseph Jarman, Diana Krall, Anat Cohen, Woody Allen, Howard Alden, Lynne Arriale, Dave Binney, Ben Monder, Scott Colley, Marty Erhlich, Chris Cheek, Myra Melford, and Vince Giordano, to name but a few. Garcia has also collaborated with other A-list musicians much too numerous to mention here. Suffice it to say, his pedigree is well established.

The Drop and The Ocean, the follow up to Rob Garcia's previous, critically-acclaimed recording on BJURecords, Perennial. The Drop and the Ocean features Garcia's working band, including two young sensations and regulars in the group for the past three years, Noah Preminger (saxophones) and Dan Tepfer (piano), as well as the future bass legend and long time friend, John Hebert.

The album is titled after the Sufi concept, which deals with the human experience as an individual (the drop), and the path to surrendering to something bigger (the ocean). Garcia explains further, "I was very inspired by this concept when a friend first brought it to me. She explained how we can try to hold so tightly to our individuality when we can let go and become the ocean." The twelve Garcia compositions on this recording are musical contemplations and ruminations on this concept. The CD opens with the rhythmic whirlwind, "Will", referring to the will of the individual, followed by "Boundaries", which is about listening to what your higher-self is telling you in those challenging moments and acting upon it", explains Garcia.

Throughout The Drop and the Ocean, Garcia includes three drum improvisations as interludes, "Flash #1, #2, and 3#" which reflect on how short and precious our time here is. Other highlights on the recording include the gorgeous ballad, "Lost By Morning" (which is about getting caught up with shoulds and shouldn'ts); "The Drop Part 2", dedicated to the fun of being human; "River", the path a drop travels to the ocean; "Humility", which Garcia says is "about being a parent and those times when I have no idea what to do"; and "The Return", "returning to our true selves, a process and an event that can happen countless times in our lives," explains Garcia.

Clearly the release of The Drop and the Ocean is one such event for Rob Garcia, as he utilizes his compositional, drumming and band-leading skills to their full extent to share with us a set of beautiful and compelling music based on a concept that is personally inspirational.

http://www.robgarcia.com/

JANIS JOPLIN – THE PEARL SESSIONS

On the occasion of Janis Joplin's birthday (January 19), Legacy Recordings announced the upcoming release of The Pearl Sessions, a newly-curated definitive two-disc edition of Joplin's final studio album premiering, for the first time, newly discovered studio outtakes, live performances and other sonic rarities recorded during her dynamic last chapter of accelerated tumult and creativity. Originally released on January 11, 1971 (three months after her passing on October 4, 1970), Pearl debuted Joplin's final finished studio recordings as well as intimations of what the influential American country-soul-blues-rock singer was capable of delivering.

The only album Joplin ever recorded with the Full Tilt Boogie Band, the touring ensemble that had backed her on the Festival Express (a mythic 1970 concert tour by railroad across Canada with the Grateful Dead, the Band and others), Pearl included canonical studio recordings of songs that had been introduced to audiences on tour. Peaking at #1 on the Billboard 200, a position it held for nine weeks, Pearl included some of Janis's most familiar and best-loved performances including her cover of Kris Kristofferson's "Me and Bobby McGee" and her off-the-cuff a cappella "Mercedes Benz."

When putting together material for a 40th anniversary edition of Pearl, researchers discovered a treasure-trove of previously uncatalogued audio tapes from the album's sessions, produced by Paul Rothschild. An industry legend, perhaps best-known for producing the first five Doors albums, Rothchild further solidified his position in music history with his work on Pearl.

The Pearl Sessions brings together, for the first time in one package, the original mono versions of the album's 45s alongside the original LP tracks as well as the revelatory newly-discovered alternate versions, outtakes and vocal takes of Pearl's classic tracks.

The Pearl Sessions includes newly discovered recordings of Janis in the studio, joking with producer Paul Rothchild and her Full Tilt Boogie bandmates as they work through what would become an essential part of Janis Joplin's core catalog.

Disc One of The Pearl Sessions includes the original album as well as the original mono singles from the album ("Cry Baby," "Get It While You Can," "Me and Bobby McGee"). Disc Two is a collection of behind-the-scenes recordings illuminating the Pearl sessions with highlights and insights revealed in candid studio dialogue, song demos and alternate takes including nine previously unissued tracks.

Janis Joplin - The Pearl Sessions

Disc One:

The Pearl Album - produced by Paul Rothchild

1. Move Over

2. Cry Baby

3. A Woman Left Lonely

4. Half Moon

5. Buried Alive In The Blues

6. My Baby

7. Me and Bobby McGee

8. Mercedes Benz

9. Trust Me

10. Get It While You Can

Bonus Tracks - the Mono Single Masters - produced by Paul Rothchild

11. Me and Bobby McGee

12. Half Moon

13. Cry Baby

14. Get It While You Can

15. Move Over

16. A Woman Left Lonely

Disc Two:

The Pearl Sessions & more...

Overheard in the Studio...

1. Get It While You Can (take 3) - previously unissued

2. Overheard in the Studio...

3. Get It While You Can (take 5) - previously unissued

4. Overheard in the Studio...

5. Move Over (take 6) - previously unissued

6. Move Over (take 13) - previously unissued

7. Move Over (take 17) - previously unissued

8. Me and Bobby McGee (demo version)

9. Me and Bobby McGee (take 5 - alternate) - previously unissued

10. Cry Baby (alternate version)

11. A Woman Left Lonely (alternate vocal)

12. Overheard in the Studio...

13. My Baby (alternate take) - previously unissued

14. Overheard in the Studio...

15. Get It While You Can (take 3) - previously unissued

16. My Baby (alternate take)

17. Pearl (instrumental) - Full Tilt Boogie Band

Bonus Track

18. Tell Mama (Live) - June 28, 1970 - Toronto

The release of The Pearl Sessions marks a renewed focus on Janis Joplin and the continuing influence of her music. Columbia/Legacy Recordings recently announced the release of Live at the Carousel Ballroom 1968, a previously unavailable live concert recording of Big Brother and the Holding Company featuring Janis Joplin, recorded June 23, 1968 by legendary soundman Owsley Stanley, a/k/a "Bear," who supervised the mastering of this release before his fatal car accident on March 12, 2011, in his adopted homeland of Australia. Dedicated to Bear, the album will be released on March 13, 2012, marking the one-year anniversary of his passing.

Janis Joplin - The Pearl Sessions will be available Tuesday, April 17.

NEW RELEASES: RICHARD ALEXANDER DAVIS, ALICIA MYERS & DAVID “PIC” CONLEY

RICHARD ALEXANDER DAVIS –

LOVIN’ YOU DIRECT

Lovin' You Direct is the second album by UK Soul singer Richard Alexander Davis released by Lovetown Music back in 2009, and has a strong 80's Boogie / Funk / Soul influence featuring mostly mid tempo grooves. This album contains 10 original songs showcasing some great musical contributions from some of the hottest UK session players. Reviews of the album compared Davis' voice to the more uptempo moments of Luther Vandross, Alexander O'Neal and Will Downing among others, so this can only be a good thing!

ALICIA MYERS – PEACE OF MIND

Peace Of Mind is the brand new album from Soul legend Alicia Myers, her first full album release since 1984. It’s an incredible new release from this old school singer. There's an amazing groove to the set right from the start – a warm, midtempo soul vibe that's totally right on the money – never too contemporary or too commercial, and served up with a real British appreciation for the classic style that always made Myers sound the best – yet given a bit of a youthful twist, too – almost like the best soul-oriented sessions that grabbed us from the London scene back at the start of the 90s. This new album of all original material was recorded in the UK in 2011 with UK producer and multi instrumentalist Tim Jones. Together they have created an album that is reminiscent of the glory days of Soul and Funk, there is definitely a strong late 70’s / early 80’s influence with a slight Gospel flavour. Look out for worldwide live shows from Alicia Myers in support of this great new album. Titles include "Journey", "United We Stand", "Fallin Apart", "Weekend", "Higher", "Fancy Dancer", and "Peace Of Mind."

DAVID “PIC” CONLEY – BOSSA QUINTET

Best known as a founding member of multi platinum 80's/90's US Soul group Surface, David "Pic" Conley hits us with a brand new project, his Bossa Quintet, featuring a rhythm section comprised of some of the hottest musicians in the UK. This album features 10 Bossa Nova classics, and Conleys' take on them is refreshingly different. Instrumentally the album features Rhodes piano, blazing percussion, Funky double bass, traditional nylon string Brazilian guitar and of course David Conleys' Soulful, Funky, soaring flute. Titles include "The Dolphin", "Blue Bossa", "Art The Pimp", "Brigas Nunca Mais", "Slick", "Agua De Beber", and "Wave."

JAY STEWART - ENJOY THE RIDE

Jay Stewart started playing guitar at age six, listened to his dad’s George Jones and Merle Haggard records, played in church and along the way amassed a wide array of rock, blues and jazz influences, including B.B. King, Duane Allman, Eric Clapton, George Benson and Larry Carlton. Yet he credits a lesser known guitarist, local fingerstyle legend Buddy Owens, for opening up a world of even deeper possibilities. Stewart’s subsequent study of fingerstyle greats Pete Huttlinger, Doyle Dykes and Chet Atkins led to this becoming as much a part of his stylistic repertoire as electric rock/blues.

Perhaps it’s no surprise now that Superior Court Judge Jay Stewart is finally stepping out, breaking all sorts of molds and taking center stage with his array of electric and acoustic guitars. Growing up in rural Southern Georgia, the Savannah area native was always the hippest kid in town, “the only white kid in Claxton copping licks from the Ohio Players.” After years of dreaming about it, he’s inviting fans of the pop, rock, blues and jazz he grew up with to enter the courtroom after hours, sit back and Enjoy The Ride—the name of his highly anticipated full length debut

Stewart, who was elected Judge of Superior Court of the Atlantic Judicial Circuit in 2006, has no trouble drawing parallels between his two worlds: “In both arenas, I go about my work in a professional manner and avoid bad notes—and bad decisions!” Upon receiving his Juris Doctor from the Walter F. George School of Law at Mercer University, he launched a private general practice in Claxton; his areas of concentration included criminal defense, personal injury and divorce/family law. From January 2000 through May of 2001, Judge Stewart was an assistant district attorney in the Atlantic Judicial Circuit where he prosecuted felony crimes. For the next five years, he was a partner in the law firm of Brown, Rountree & Stewart, P.C. in Statesboro.

“Other lawyers and judges I know play golf and hunt when they’re off the clock, but for me, the guitar was my escape, and I have played over the years any chance I got,” says Stewart. “People who know both sides of me ask why I didn’t pursue a career as a musician. Actually, I did! My dream in high school was to jump on a tour bus. I even thought about attending the Guitar Institute in Los Angeles before accepting a baseball scholarship. After my freshman year at South Georgia College, I joined a band that was based in Raleigh, North Carolina. I returned to college after a few months on the road, but later when I was at Mercer University attending law school, I made more playing guitar on weekends than I would have clerking at a law firm.

“Being in the studio making Enjoy The Ride brought back a lot of those fond memories,” he adds. “I appreciate how personable all these great musicians were to me and the way they treated me like one of the guys. The songs are geared towards bringing all of my influences together and letting my bluesy, jazzy voice be heard through my guitar. I’m also told I play with a little bit of a drawl, just the way I talk. So the Southern rock influence definitely shines through.”

For most of the ride, though, Stewart jams with a batch of the coolest session cats around, led by Grammy winning producer and Emmy nominated composer Jason Miles—whose deep history includes recordings with Luther Vandross, Miles Davis, Sting and his own world jazz fusion band Global Noize. Miles is also responsible for bringing to life musical retrospectives to musical icons Marvin Gaye (What’s Going On: Songs of Marvin Gaye); Grover Washington, Jr. ( To Grover With Love); and Miles Davis (Miles To Miles).

The basic tracks of Enjoy The Ride were recorded live in a single day—with one or two takes for each tune at Bennett Studios in Englewood, New Jersey with Stewart being joined by Miles, bassist Neil Jason (Cyndi Lauper, Paul McCartney, John Lennon) and drummer Brian Dunne (Hall & Oates, Chuck Loeb). Lead and acoustic guitar tracks were recorded at Frank Farr Productions in Statesboro, Georgia.

Also in the mix are famed saxophonist and recording artist David Mann; popular contemporary jazz trumpeter Cindy Bradley, who adds harmony lines behind Stewart’s lead electric melody on the old school funk rocker “Living The Life” and infuses a soaring solo on the revved up jazz blues jam “Blowing Smoke”; conguero Jimmy Bralower; and Barry Danielan, who played trumpet and did horn arrangements on “Blues For The Road,” a high energy spin on Mother Earth’s 1971 hit featuring Josh Dion’s soulful lead vocals and one of Stewart’s trademark blistering solos. Mike Mattison, frontman for the Grammy winning Derek Trucks Band, sings lead on the easy grooving blues rocker “Can’t Fight Love”—which features Miles on the Hammond B-3.

Stewart’s strengths as a multi-faceted composer are showcased on the five tracks that he wrote or co-wrote. In addition to “Just For You,” he co-penned “Living The Life” with Miles and wrote the easy rolling, R&B and rock influenced title track with his longtime friend Shane Baldwin. The diversity of his artistry comes across on two songs he wrote himself--the hypnotic and whimsical acoustic ballad “Soothe My Soul” (which may remind listeners of jazz duo Acoustic Alchemy) and the explosive “Blowing Smoke.” Other highlights include the Miles compositions “The Light At The End of the Tunnel” (an easy swaying, horn spiced track that recalls the cool of Steely Dan) and “4 Tee and Dupree,” a jazz/funk tribute to the chemistry of the late masterful musicians Richard Tee and Cornell Dupree, with Stewart weaving his crisp lines between Miles’ piano and B-3 magic. Enjoy The Ride also includes an intense rock/soul free for all cover of “I’m A Man,” an early track by the band Chicago which was co-written by Steve Winwood.

Jay Stewart – Enjoy The Ride Tracks:

1. Living The Life [4:10]

2. The Light At The End Of The Tunnel [3:57]

3. Can't Fight Love [4:04]

4. I'm A Man [4:03]

5. Enjoy The Ride [4:06]

6. 4 Tee And Dupree [4:21]

7. Soothe My Soul [3:11]

8. Blowing Smoke [3:44]

9. Blues For The Road [4:33]

10. Just For You [3:12]


Musicians:
Jay Stewart, Electric & Acoustic Guitars
Jason Miles, Electric Piano & Hammond B3, Percussion Programming
Neil Jason, Bass
Brian Dunne, Drums
Barry Danielain, Trumpet & Horn Arrangement (Track 9)
David Mann, Saxophone
Cindy Bradley, Trumpet (Track 1, 8)
Jimmy Bralower, Congas (Track 5)
Josh Dion, Vocals (Track 9)
Mike Mattison, Vocals (Track 3)

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/...
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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/