GREGOIRE MARET RELEASES DEBUT ALBUM

Over the course of the past decade, Grégoire Maret has emerged as a unique and compelling new voice across a wide spectrum of the modern jazz world. That his chosen instrument – the harmonica – is a relative rarity in the genre is one element in his singular sound, but far from the whole explanation. After all, the extensive list of heavy-hitters who have enlisted him for their own projects is unparalleled: Herbie Hancock, Pat Metheny, Cassandra Wilson, and Marcus Miller are some of his most prominent employers, none of whom have the patience to employ novelty for novelty’s sake.

His guest appearances on recording sessions and concert stages expand that list to even more jaw-dropping proportions: Raul Midón, George Benson, Jimmy Scott, John Ellis, Jacky Terrasson, Richard Bona, Sean Jones, Terri Lyne Carrington, Johnathan Blake, Kurt Elling, Bilal, Robert Glasper, Lionel Loueke, Jeff “Tain” Watts, Mike Stern, and Charlie Hunter have all made use of Maret’s unmatched palette of color. More recently, he’s worked alongside some of the biggest names in music, including Elton John, Sting, and Prince.

Along the way, Maret has redefined the role of the harmonica, finding fresh pathways through a remarkable variety of styles. Herbie Hancock has called Maret “one of the most creative musicians around,” while Marcus Miller has declared that he is “carrying the instrument into the 21st century with prowess, passion, and creativity.”

Now, after years as one of the most in-demand sidemen and guests in jazz (and beyond), Maret finally makes his highly anticipated first statement as a leader with his long-awaited, self-titled debut. The gorgeous, lyrical album opens up a wealth of possibilities for the underutilized jazz harmonica, encompassing the diversity of Maret’s influences and experiences to date but retaining a unified sound evidencing accents from jazz, soul, and Brazilian music among others.

“There’s a lot about this record that is about my past to where I am now,” Maret says. “I wanted to acknowledge not just who I am but how I came to be what I am now.”

That acknowledgement encompasses not only Maret’s own compositions but pieces and contributions by many of the artists who have impacted his work, both directly and indirectly. Cassandra Wilson and Marcus Miller both repay Maret’s years under their leadership with guest appearances, while pieces by Metheny, Stevie Wonder and Brazilian composers Ivan Lins and Milton Nascimento spotlight their compositional influence.

Perhaps most profoundly, harmonica legend Toots Thielemans duets with Maret in a torch-passing moment on Lins’ “O Amor E O Meu Pais.”

“That was absolutely a dream come true,” Maret says of working with Thielemans. “But the tricky part was to take it to its full potential. I didn’t want it to just be a duet of solos, the championship of the harmonica. I wanted something really musical and complementary, where you really see how much he influenced me but also how different we are. I’m so honored that he accepted my invitation and I wanted to make it as special as it could ever be. I even hired a whole orchestra.”

One of the other leading lights of the harmonica, Stevie Wonder, is represented by the relatively obscure title track to his 1979 album, “Journey Through the Secret Life of Plants.” The tune was chosen, Maret explains, “because it made sense for me to pay tribute to Stevie Wonder, but in a way that would be really genuine to me. I didn’t want to take the best-known song, but one I could make my own in a way. It’s just to show how much love and admiration I have for him and his genius.”

Along with his soulful harmonica sound, both vocals and percussion emerge as essential elements in Maret’s own compositions and his arrangements of the work of others. “Voice and percussion are the two main instruments that really reach peoples’ core,” he explains. “Since the beginning of humanity, those are the first things we played. When we are still in the womb, the first thing we hear is our mother’s voice and heartbeat. So those are the things that will always touch people the most, not because they’re unsophisticated but because they’re what we first heard.”

Maret arranged “The Man I Love” with Wilson in mind long before he ever worked with her, but never showed the arrangement to her during their near-decade collaboration until it came time to record her contribution to his album. It has since become a regular part of her own repertoire. Similarly, he penned “Prayer” with the voices of Take 6 in mind, never having met or worked with the famed a cappella ensemble. After sending a recording of the music to the group’s main arranger, Mark Kibble, Maret was stunned a few days later when Kibble replied with a moving vocal arrangement, performed by Kibble and bandmate Alvin Chea.

The first of two three-part suites on the album, “Crepuscule Suite” was inspired by Maret’s two years of touring with Marcus Miller. “I think everybody knows how funky Marcus is and how he can play the bass like nobody else,” Maret says. “But I don’t think everybody knows how lyrical and beautiful he can play on the fretless. I wanted to showcase that side of him that may be a little less known but that I got to hear every night.” The bassist’s elegant lyricism is amply displayed on the piece, representing the magical twilight hours of dawn and dusk.

The “Children’s Suite” returns to the notion of the sounds heard within the womb at its outset, then represents the entire cycle of life with the enchanting sounds of children at play enlivening the background. In a sense, those curious kids could be seen to represent Maret’s beginnings as a musician, inspired by a schoolmate’s keychain harmonica and his musician father’s extensive record collection.

Both suites were written with Maret’s longtime collaborator Federico Gonzalez Peña, who co-produced much of the album with Maret and plays piano and keyboards throughout. The two met shortly after Maret’s arrival in New York and rapidly formed a personal and musical bond. “I thought it would be really special to have his take on making music since we have such a close collaboration,” Maret says. The remainder of the tracks were overseen by the renowned producer Matt Pierson, whose credits include some of the most acclaimed and successful jazz recordings in recent memory, comprising sessions with Brad Mehldau, Kirk Whalum, Joshua Redman, Jane Monheit and countless others.

Maret grew up in Geneva, Switzerland, the son of a Harlem-born, African-American mother and a Swiss father. After studying at the prestigious Conservatoire Supérieur de Musique de Genève he decided to undertake jazz studies at New York’s New School University. Intending to return to Switzerland and a career as a teacher, Maret soon found himself working regularly with NYC’s finest jazz musicians, and his decision to stick around for a year after graduation was extended indefinitely.

Calls came quickly from bandleaders as diverse as Jacky Terrasson, Steve Coleman, and Meshell Ndegeocello, each of whose music required Maret to expand his vision of his own instrument, an ideal that continues to this day.

“It’s always completely different,” he says. “For every new project, I come to a place where I almost feel like a beginner again. So I start everything from zero to be in tune with whatever the music is calling for.”

DANILO PEREZ - PROVIDENCIA

“The future will be a reflection of what we say, think and do today. Let’s use wisdom and our art of Providence as a flashlight to guide us to the restoration of humanity.“- Danilo Pérez

Fatherhood changes everyone; for pianist/composer Danilo Pérez, the birth of his two young daughters threw down a gauntlet of sorts, a challenge to provide a better world for the girls to grow up in. “What are you doing so we can have a healthy life in the future?” he imagined them asking. “What are you adults leaving us?”

On a practical level, Pérez has been working busily to answer that question both in his native Panama and his adopted home of Boston. His annual Panama Jazz Festival has brought world-renowned musicians to the country for the last seven years, not only to perform but also to work closely with local youth. That mission is carried on yearlong by the Fundación Danilo Pérez, which offers musical and cultural education to disadvantaged young people in Panama City. In Boston, he now heads the Berklee Global Jazz Institute, which offers music students an opportunity to explore creativity, advance the social power of music, and connect music with the restoration of ecology and humanity.

Providencia, his latest CD and debut on Mack Avenue Records, is an attempt to provide a complementary musical answer to the same question. “This record is based on the idea that whatever we do has an impact in the universe,” Pérez says. “The word ‘providence,’ for me, means standing up for the future of the next generation of children.”

That may sound like a tall order for any art form to fulfill, but Pérez has an expansive view of music’s power and reach, expressed not only in his goals for the album but in its diverse palette and broad scope. Providencia crosses streams of jazz, classical and Latin American folk music-which Pérez refers to as “hearing music in three dimensions.”

The narrative sweep of the album’s opening track, “Daniela’s Chronicles,” is certainly vast enough to suggest a 3D spectacle. Beginning like a Bach invention, the piece progresses through a series of five evocative movements, each written in honor of one year in his eldest daughter’s life. “I made a commitment to write a piece every year,” Pérez explains. “Hopefully it will be a symphony when she’s 17. It’s been a challenge to keep a thread going because her personality goes through a lot of changes on an annual basis.”

While his daughters are still too young to actually ask the type of big questions that drive Providencia, Daniela did provide the title of the tune “Cobilla”-a nonsense word that her father translated as a call to arms. “I thought she meant stand up, do something, that’s my interpretation. So it’s a protest tune; you can hear dogs barking and sirens in the music.”

The ensemble Pérez has assembled for this album is itself an expression of his concept of “global jazz,” an idea he carries on from his stint with the legendary Dizzy Gillespie’s United Nations Orchestra. Alongside the Panamanian leader, the group includes Indian-American saxophonist Rudresh Mahanthappa, Lebanese-American percussionist Jamey Haddad, Colombian conga player Ernesto Diaz, Portuguese vocalist Sara Serpa and a Boston-based woodwind quintet.

At the group’s core are Pérez’ longtime trio-mates, bassist Ben Street and drummer Adam Cruz. “It was crucial to me that we highlight the trio because there’s a vocabulary that we’ve developed over the years,” Pérez says. “I wanted to have an environment where we were affected by other instruments and colors, but also completely unaffected.”

Nowhere is Pérez’ conceptual farsightedness more vividly expressed than on the urgent, dynamic “Galactic Panama,” which Pérez explains as a universe’s-eye-view of his homeland. Pérez’ insistent percussiveness and Mahanthappa’s tense lines suggest the teeming population in constant motion. Street and Cruz suggest the rhythm of the tamborito, Panama’s national dance, without the aid of traditional instruments, which Pérez credits to their time spent with him in Panama playing with local musicians.

The pianist’s self-appointed role of musical ambassador for his native country is a theme that runs throughout the album. The title of his two-part chamber piece for woodwind quintet and the trio, “Bridge of Life,” is a reference to Panama’s role as a land bridge between North and South America whose emergence 3 million years ago divided the Atlantic and Pacific Oceans, changing ocean currents and altering the world’s climate, providing the environment for a new species (homo sapiens) to develop on earth.

“A place like Panama has had such an impact on the world,” Pérez says. “That’s the globalization we’re talking about in the record. In musical terms, what I see in the bridge of life, I see in these three types of music melting together: jazz, classical and Latin. I want to keep developing those threads and make the combination really organic.”

In addition to depicting the country in his own music, Pérez has included two pieces by Panamanian composers in his repertoire, both tragic love stories. “We have this desire to explore the world,” he says, “but it’s also a reality that we must deal with basic issues of love and struggle, and these pieces really outlined that. I’ve been trying for years to expose people to the lyrical side of Latin American music, not only the percussion, the excitement. There’s a whole songbook of Latin American standards to explore.”

Carlos Eleta Almaran’s “Historia de un Amor” has been recorded countless times, by everyone from Oscar Peterson to Julio Iglesias-Pérez once heard it performed in a Japanese karaoke bar. And the lovely ballad “Irremediablemente Solo,” rendered heartbreakingly by the trio, was penned by pianist/organist Avelino Muñoz, who Pérez refers to as “one of our best musicians; you can compare him to the influence Jobim had in Brazil.”

Another influence to whom Pérez pays tribute is Charlie Banacos, the pianist and educator who served as a mentor to Pérez along with many others-including Michael Brecker and Mike Stern-and passed away last December. “He was a visionary, an educator ahead of his time,” Pérez says. “That’s why I called that piece ‘The Oracle.’”

The album concludes with two brief duets between Pérez and Mahanthappa, collectively titled “The Maze.” The two improvisations-one muscular and jagged, the other tender and reflective-sum up Pérez’ feelings about his music’s intent.

“I was checking out different meanings of ‘maze’ and read: ‘A network of paths and edges designed as a puzzle through which one has to find a way.’ Going through life, when you get up in the morning you don’t know what foot you’ll be on, left or right; you just have to be able to jump in and make decisions on the spur of the moment.”

Pérez ultimately reflects on an answer to the questions he imagines his daughters posing: “The future will be a reflection of what we say, think and do today. Let’s use wisdom and our art of providence as a flashlight to guide us to the restoration of humanity.”

“Danilo is open to whatever comes, in that zero-gravity kind of way. When we become weightless, he doesn’t start looking for things to hold on to.” – Wayne Shorter, 2008

“This Panamanian musician is literate in Latin American rhythms, and so part of the wave of the recent, more culturally specific and vastly improved Latin jazz scene. But he is also, in a larger sense, defining post-Hancock, post-Jarrett mainstream jazz piano, with his harmonic knowledge and his will to make a piano trio exciting and fluid.“- Ben Ratliff, The New York Times, 2006

NAOMI LA VIOLETTE RELEASES DEBUT ALBUM

On the heels of a standing room only album-release show held at Portland’s premier jazz club Jimmy Mak’s, Naomi LaViolette officially launched her self-titled debut album on iTunes on March 13, 2012. The album finds an acoustic niche between the worlds of folk singer-songwriter and jazz soulstress with ten original songs and fresh arrangements of George Gershwin’s “Our Love Is Here to Stay” and Joni Mitchell’s “Both Sides Now”.

Oregon Music News wrote, “LaViolette takes a classical jazz core and braids it together with lightly poppy overtones and smooth, mystical undertones… She really shines in her original tracks that have room to breathe, such as Fragile, Somewhere New to Stand, and Ocean.”

Compared to Sarah McLachlan, LaViolette skillfully weaves her training in classical piano performance and jazz standards with a variety of folk, soul, pop and gospel creating a musical vibe that is both vintage and current. She tells stories of falling in love, and staying in love, while striking a distinctive balance between heartbreak, soul-searching and hope.

Produced and engineered by Dean Baskerville (Sheryl Crow, Everclear, Pink Martini), LaViolette fronts the album at the piano with lead and background vocals, synth creations and harmonica. Featured musicians include esteemed guitarist Tim Ellis (Craig Carothers, Aaron Meyer, Michael Allen Harrison), bassist Bill Athens (Nancy King, Mary Kadderly, Trio SubTonic) and drummer Jeramy Burchett (Dirt Poor Robins, 5 O’Clock People). Recording sessions were held at Kung Fu Bakery and Dead Aunt Thelma’s recording studios.

Pianist, singer-songwriter LaViolette is a Portland, Oregon native and earned a master’s degree in classical piano performance from Portland State University. She studied with Portland jazz greats including Randy Porter and Darrel Grant. LaViolette also performs in the classical music scene, as the accompanist for the Oregon Repertory Singers since 2004 and as a chamber musician in Classical Revolution PDX and the Fleur-De-Lis Piano Trio.

In addition to releasing her debut album, LaViolette recently performed her inaugural gig (Feb 24) at Portland's 9th annual Jazz Festival. PDX Jazz Fest Managing Director Don Lucoff discovered LaViolette as she performed at Portland’s Heathman Hotel and an invitation immediately followed.

JEFF BRADSHAW - BONE APPETIT

Hidden Beach artist “Mr. Trombone” Jeff Bradshaw will release his sophomore CD, Bone Appétit on April 24, 2012. A blend of jazz, R&B, soul, gospel and hip hop, Bradshaw embarks on a journey creating a fusion of timeless music that colors outside the lines of any one genre. Along with artists like Esperanza Spalding and Robert Glasper, Jeff Bradshaw is among the pack leading the “New Jazz” movement along with his band and the sound of the trombone. Hidden Beach CEO, Steve McKeever excitedly announces, “This new undefinable sound is what the industry needs; the blending of genres create good music many can relate to. Jeff, a trombonist talent like no other, has put together a sound that not only is Jazz but transcends it, opening up possibilities and opportunities for other musicians and artists. This is a must have CD.”

Bone Appétit is a two volume collection of 20 songs which can be purchased in stores or online. The entire collection is available via a 2CD set called “Double Issue.” While “Vol.1-Main Course” can be purchased on CD and digitally; “Vol.2-Deuxième Cours,” (a 7-song EP) is available only as a digital offering. Each Volume is specially priced at iTunes and Amazon and includes companion booklets. The collection features appearances from some of Bradshaw’s diverse group of musical friends such as 2X Grammy® nominees Marsha Ambrosius and Raheem DeVaughn. Grammy® winner Coko (SWV), Kindred the Family Soul, Incognito’s Maysa Leak, Grammy® nominee and Floetry alumnae Natalie “The Floacist,” musician/producer PJ Morton, rounded out by rappers TWyze and Ms. Jade.

Philadelphia born, Jeff Bradshaw is a veteran in the world of music. Jeff has played a vital role on the global R&B and neo- soul culture scene having recorded and performed with a list of world class artists including the late Michael Jackson, Jay-Z, Mary J. Blige, Kirk Franklin, John Legend, The Roots and Earth Wind and Fire to name a few. In January of 2012 while performing at the John F. Kennedy Center for the Performing Arts in Washington, D.C., the Recording Academy presented Bradshaw with eight Grammy® certificates for his work on nominated works solidifying his place as a vital force in contemporary music.

Ahead of its time, Jeff Bradshaw’s debut disc Bone Deep was released in 2003 fueled by the single “Slide” with Grammy® winner Jill Scott. Now, Bradshaw returns with a highly anticipated sophomore album Bone Appétit (April 24, 2012). Producer Vidal Davis (Justin Timberlake, Ne-Yo, Jill Scott) who contributed to nearly half the tracks on the new collection shares “Jeff is not just coming out with any album. He’s really taking the trombone to another level making it interesting, singing and playing. It has dope features and the music that he’s writing is fresh. This album…is the truth.” Others echo Davis’ sentiments. Program Director, James Lewis of WTCC-FM exclaimed “Wow!!! This CD is fire!!!!!” while Sam Fuston, Midnight Records in Los Angeles shares "This sound of music is something that the music game is in need of, Thank you for good music."

The buzz video from Bone Appétit launched last December was “Till Tomorrow” a sexy danceable track featuring R&B “love-man” Raheem DeVaughn and Philly raptress Ms. Jade. Bradshaw had a great time working with DeVaughn and Ms. Jade and believes his listeners will connect with the song saying “Bringing the three of us together for this song was like putting butter and jelly on hot biscuits.”

The second taste served from Bone Appétit is a cover of the Janet Jackson hit “Got Til It’s Gone” featuring special guests Marsha Ambrosius and Christian rapper TWyse who help Bradshaw transform the song into a tribute to the spirit of the people of New Orleans. “I was always a fan of the Janet song, and I wanted to record it because it spoke to what was happening down there” says Jeff. “I wanted to remind everyone that there is still work to be done in New Orleans. People think some years have gone by and everything is cool. But, ‘no, things are not cool!’ They are a long way from being back to normal.” VH1 Soul held the video World Premier for “Got Til It’s Gone” on Monday March 26th.

Despite the attention received by the vocal tracks and guest stars, at the core of Bone Appétit are the virtuoso performances by Bradshaw on his chosen instrument – the trombone. Covers of Tony Toni Toné’s “(Lay Your Head On My) Pillow” and Maze’s “Happy Feelin’s” are joined by the bold brass of original cuts like “N.O. Groove,” and the Go-Go fueled “Steppin’ Out featuring Brass Heaven.” As Bradshaw prepares to release these tasty treats which have been slow cooking for nearly eight years he shares “Every day I get to play my horn and share my gift with the world is always a blessed day. Putting that together with all I do, it’s time for the trombone to be out front and sexy.” Bone Appétit!

Twitter: @IamJeffBradshaw
http://www.jeffbradshaw.com/
VH1 "Got Til It's Gone Video" : http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web...
The Jeff Bradshaw Experience: http://www.youtube.com/watch?v=A6agdvYEKGw

BOB BALDWIN - BETCHA BY GOLLY WOW

A passionate homage to one of the architects of the classic “Sound of Philadelphia” that revolutionized the soul of R&B music, the 10-track collection on Peak Records (distributed by eOne Entertainment) also reflects the grooving, multi-cultural vibe the keyboardist, composer and musical innovator has trademarked as “New Urban Jazz.” Baldwin co-produced many of the tracks with famed songwriter and producer Preston Glass, whose extensive resume includes Whitney Houston, Kenny G, Stanley Jordan, George Benson and Aretha Franklin.

Over 35 years since the heyday of Philly soul, its sweet vibes, colorful textures and infectious grooves continue to enchant fans of many generations and artists and musicians from a multitude of genres. Bell left an indelible legacy of his own on the era via classic hits by The Spinners, The Stylistics, The Delfonics and others—many co-written with the late lyricist Linda Creed. Throughout his 15 previous recordings—which range from his 1990 major label debut Rejoice and a celebration of The American Spirit (2002) to Brazil Chill (2004) and two recent collections redefining urban instrumental music as “New Urban Jazz”—Baldwin has touched on a few gems from Bell’s rich catalog.

On Betcha By Golly Wow, he re-imagines “People Make The World Go Round” (originally recorded on Cool Breeze (1997) to reflect the unique production approach Baldwin takes to these nine Bell classics and two originals inspired by his vibe, the old school easy funk flavored “Gonna Be Sweeter” and the lush, elegant tribute “Bell and Creed.” Baldwin’s most notable previous Bell reworking was “Break Up To Make Up,” a track from singer Will Downing’s 1993 collection Love’s The Place To Be featuring Baldwin and saxophonist Gerald Albright. The keyboardist felt that the original track was so in the spirit of Betcha By Golly Wow that he includes the 1993 recording untouched on the new collection.

As the “Quincy Jones” of the project, Baldwin features two artists from the Peak Records roster: guitarist Russ Freeman (who adds punch to a sensual, easy shuffling version of The Delfonics’ “Didn’t I (Blow Your Mind This Time)”; and Paul Taylor, whose whimsical soprano blends beautifully with Baldwin’s piano and Ragan Whiteside’s backing vocals on The Stylistics’ “You’re As Right As Rain”. Guitarist Paul Brown adds a crackling cool to the ambient soul-jazz spin on The Spinners’ “The Rubberband Man” (a track that Baldwin calls “the most challenging on the album”), while saxman Marion Meadows takes the spotlight on an expansive rendition of “People Make The World Go Round” and a slightly bluesy romp through The Spinners’ “I’ll Be Around.” Renowned R&B singer Vivian Green brings her seductive magic to an eloquent take on The Delfonics’ “La-La Means I Love You.” Baldwin also introduces the world to the powerhouse voice of Atlanta based singer Toni Redd, whose intensely emotional delivery of “Betcha By Golly Wow” is patterned after the recording the late Phyllis Hyman did of the song with drummer Norman Connors in the mid-70s.

“I take on the Quincy Jones role on this project, more as the leader and facilitator than the main focal point,” says Baldwin. “I called it ‘Bob Baldwin Presents...’ to reflect my desire to be the producer and create arrangements that focus on other instruments besides my piano. The original recordings of these songs never featured one person playing all the instruments. The tracks were created by a crew of guys in one room, under Thom Bell’s guidance, trading parts and sounds until the vibe was just right.

“This project could not have been achieved on a musically intimate level without the blessing of Thom himself,” Baldwin adds. “Preston and I met at a concert in LA in September 2011 and it was there where we chatted up Thom. Preston told me he had worked with Thom over the years and that’s where the quest began to pursue this tribute. In the liner notes that accompany Betcha By Golly Wow, Preston Glass writes, in an open letter to Thom Bell: “A song you and Linda Creed wrote contains the line “mere words cannot explain”…and that accurately paraphrases how I feel, when it comes to describing your impact on my career and my life.”

Adding his personal thoughts along those lines, Baldwin says, “The music of that era defined by The Stylistics, Delfonics, Spinners, along with Stevie Wonder and Aretha Franklin, was all a precious part of my childhood. They all sang great tunes with great deliveries that endure to this day. The songs of that time make anyone who grew up during those years reflect back on younger, lighter days. As an artist, I always thought it would be fun to tap into that era and create a feeling of youthfulness in people. Just like with Michael Jackson’s music, people listen to these versions and tell me where they were when they first heard them. Thom Bell was never considered a jazz guy, so it was fun to add a little of my New Urban Jazz flair to his great work.”

SMOOTH JAZZ NEW YORK SMOOTH CRUISES RETURNS

Smooth Jazz New York has announces a star-studded contemporary jazz line up for the 2012 Smooth Cruise Series, now in its 15th year aboard The Spirit of New York cruise ship.

This summer’s roster includes nine shows featuring 16 of the world’s greatest jazz artists in an intimate setting, Wednesday evenings from June 27th through August 29 with 2 Shows/sailings at 6:30pm and 9:30pm. (Note: No shows are scheduled on July 4th). The Smooth Cruises set sail from Pier 61, Chelsea Piers (23rd St & West Side Hwy) and cruise down the Hudson River, offering exceptional music as well as breathtaking views of the Statue of Liberty and the New York City skyline.

“This year, we’re thrilled to offer long time smooth jazz lovers and enthusiastic new fans a truly dynamic line up featuring some of music’s top artists. The season includes many innovative musicians responsible for crafting what has evolved into contemporary jazz over the past thirty years, as well as a few standout newcomers who’ve embraced the sound with their own unique flair,” notes Bill Zafiros, co-founder of Smooth Jazz New York.

THE 2012 SMOOTH CRUISE SCHEDULE
June 27: David Sanborn & Brian Culbertson / “The Dream Tour”
July 11: Phil Perry & Kim Waters
July 18: Peter White & Euge Groove / “White Hot Summer Groove”
July 25: Najee
August 1: Jonathan Butler, Warren Hill & Maysa
August 8: Rick Braun & Richard Elliot
August 15: Rachelle Ferrell
August 22: Norman Brown & Gerald Albright
August 29: Regina Belle

For more information, visit http://www.smoothjazznewyork.com/. Tickets are on sale now online on the Spirit Cruises web site and are available by phone at (866) 211-3812. Standard ticket price is $55 ($65 for the 6/27 show.) Check the Smooth Jazz New York web site for Early Bird ticket deals. Because the Smooth Cruises sell out quickly, it is highly recommended that tickets be purchased early.

Smooth Jazz New York, a subsidiary of Marquee Concerts, has produced the Smooth Cruises for the last 15 seasons. The organization produces and promotes New York’s biggest and best Smooth Jazz shows and serves as the portal for live jazz shows in the New York Metropolitan area.

Learn more at http://www.smoothjazznewyork.com./

TOWNER GALAHER – UPTOWN!

As a follow up to 2009's Courageous Hearts, his ingenious melding of Afro-Cuban, Brazilian, New Orleans second line and straight ahead swing rhythms, drummer-composer-bandleader Towner Galaher follows a different muse on the aptly-named Uptown!, his paean to Hammond B-3 organ groups that played at places like Small's Paradise in Harlem during the '50s and '60s. "It runs between all the usual suspects like Jimmy Smith, Jack McDuff and Lonnie Smith, but there's also an element of Larry Young in there too," says Galaher. "With an organ record people right off the bat think guitar, but this album has a different twist because it's organ plus three horns."

Joining Galaher on his third outing as a leader is the impressive frontline of GRAMMY® winning trumpeter Brian Lynch, alto saxophonist Donald Harrison (Lynch's former band mate in both Art Blakey's Jazz Messengers and Eddie Palmieri's band) and tenor saxophonist extraordinaire Craig Handy. Handling the organ is Pat Bianchi, a B-3 burner who has played with such guitar greats as Pat Martino, Ed Cherry and Corey Christiansen and is a key member of drummer Ralph Peterson's Unity Project, his Larry Young tribute band.

Galaher drives them through a varied program that opens with Frank Foster's swinging waltz-time vehicle "Simone" and closes with the leader's modernist burner "Say What?," which includes torrid solos by each of the horn players and has Bianchi pushing the harmonic envelope into Larry Young territory. Galaher reveals some graceful brushwork and a mean shuffle groove on Wayne Shorter's "Tell It Like It Is" (from the Jazz Messengers' 1961 album The Freedom Rider), which has Harrison quoting from "It Ain't Necessarily So" during his solo, Lynch playing with a mute on his solo and Handy nearly walking the bar on his robust tenor solo. They turn in faithful interpretations of Shorter's pensive ballad "House of Jade" and McCoy Tyner's "Blues on the Corner" (from 1965's The Real McCoy) on which Galaher cleverly interpolates a segment of the melodic theme to "Resolution" from John Coltrane's iconic A Love Supreme.

Galaher and his all-star crew show some old school swagger on his post-boppish title track and on Mike Clark's earthy Texas shuffle, "Shuffleocity," which has Bianchi digging deep into his Jimmy Smith-Jack McDuff bag. The leader also showcases his compositional chops on his 6/4 Latin-tinged "Café Con Samba," his urgently swinging "East 104th Street Waltz," the dark groover "Phantom City" and the extremely syncopated funk of "Jimmy and Johnny," named for his youthful band mates from Portland, Oregon, the Sanders brothers. "Jimmy was really an A-1 organist and kind of a local legend," recalls Galaher. "My first taste of playing with a B-3 was with him."

One listen to Uptown! and it's easy to see why drum master Lenny White calls Galaher "a triple threat - great drummer, great composer, great bandleader," or why modern jazz-funk innovator Mike Clark praises Towner for his "unquenchable desire to know all there is about music...and to play the kind of jazz that is informed by the masters of the past while pointing to the future." Surrounded by such seasoned vets and stellar soloists as Lynch, Harrison, Handy and Bianchi, Galaher makes his most striking statement to date on this potent outing.

Born in Portland, Oregon in 1955, Galaher picked up drums at age nine and was dedicated at an early age. "I went to an alternative high school so I got to practice drums like five or six hours a day all through high school, which was a good thing for me," he recalls. "And I went straight from high school into the club scene and I continued playing there for the next 11 years, playing the whole gamut of gigs. I was in a nine-piece rhythm and blues band with horns that did original music along with all the old Motown stuff and more modern Earth Wind & Fire, Tower of Power stuff."

His Portland drumming mentor was Mel Brown, who played jazz in between tours with his two main gigs, The Temptations and The Supremes. Galaher's long career in education began in 1980 at Brown's Drum Shop, and has since developed into over 30 years of teaching at community centers, giving private lessons from music stores and his home studio, and more than 14 years in New York City Public Schools. Now a New York resident, Galaher has garnered much respect as an educator who is committed to mentoring and passing the baton to younger generations. It was in a local school that jazz drumming great Art Blakey helped encourage Galaher to move to New York City. "Art was at a high school in town giving a concert and lecture. And he was saying something about, 'You should get all the experience you can and then come to New York, where all the action is.' And that was kind of an affirmation of where I was headed anyhow."

Towner finally made the move to the Big Apple in the Fall of 1986 and signed up for a 10-week certified program at the Drummer's Collective, where he met and began studying with Headhunters drummer Mike Clark. "I made a really great connection with him right off the bat and that really fortified the trajectory of my musical direction in jazz." He subsequently studied Afro-Cuban drumming with Frankie Malabe, Brazilian drumming with Duduka da Foncesa and New Orleans drumming with Ricky Sebastian. Galaher organically blended all of those diverse rhythmic elements on his 2007 debut as a leader, Panorama, and followed up with an equally impressive display on 2009's Courageous Hearts. Now he makes an incremental leap to a new level with Uptown!.

"Being a composer is a big part of what I am, although it was very unintentional," says Galaher. "I worked relentlessly at honing my drumming skills but I never really made any conscious effort or decision toward developing into a composer. When I got into Queens College and started taking arranging and composition courses with Roland Hanna and Michael Mossman, that's what set everything in motion. It completely changed my life and opened up another dimension of creativity. I was writing material and doing all the arrangements myself as well. So I came up with the songs for the first album, and then I just kept going."

"I have continued to grow and develop each decade," he continues. "I'm proud that even within the last 20 years or so I've improved dramatically over where I was. Now I'm building up a catalog with this third release and I've already written material for the next one."

Meanwhile, check what Galaher and his kindred crew are putting down on Uptown!

Towner Galaher • Uptown!
Rhythm Royale Records • Release Date: June 19, 2012

Chris Rizik: You're favorite old album is coming back...really

Until earlier this year I had never heard of the band Phyrework. And I wasn’t alone. Phyrework issued a single, self-titled album in 1978 before being dropped by Mercury Records. The album did not chart. It also had no hits. So why am I even writing about Phyrework? Because the group’s long lost album has now been released on compact disc for the first time. And while that may not seem like a big deal, it symbolizes something that IS a big deal.

From the time that the compact disc was popularized in the mid 80s, record companies realized the new media form created a new sales opportunity: the chance to get music fans to buy their entire vinyl collections again in CD format. Even outtakes, demos and alternate takes could be repackaged and sold profitably. It was like money falling from heaven, and it kept the labels flush for the next 20 years. But while rock music fans could buy digital versions of every sneeze or blurry basement take of a song by their heroes, it was a different situation for R&B music fans. Sure, you could find the Earth, Wind & Fire or Isley Brothers catalog, but beyond the biggest stars the cupboard was bare. Tavares was my favorite soul group of the 70s and had a bunch of top 10 hits, but not one of their studio albums was available on CD in the US. And forget finding music by less successful but talented artists like Al Johnson or Enchantment. The major labels, which controlled the thousands of popular R&B releases from 1970-85, apparently didn’t believe there was a sizeable audience for CD reissues of these artists.

But a funny thing began to happen during the past decade. An underground movement of R&B music warriors took matters into their own hands, determined to bring back the funk…and the soul. I’m not talking about musicians, but about an intrepid group of entrepreneurs, largely in Europe, who decided that there was indeed a generation of fans, now in their 40s and 50, who wanted to have the opportunity to hear the music from their youth in crisp and convenient digital format. So they formed their own record companies, some based in physical CD stores and some based in kitchens, but all dedicated to the mission of reissuing worthy 70s and 80s R&B, funk and soul music on compact disc.

While there were some obvious picks for reissues like gold albums by Natalie Cole and Peabo Bryson, these entrepreneurs were digging much, much deeper, often seeking out obscure but usually interesting soul, funk and disco. We’re talking about stuff like LaToya Jackson’s lowest selling album, post-peak Stylistics and Chi-Lites, and even forgotten acts like the L.A. Boppers, Tease and JM Silk. It should be noted what they were doing was no easy feat. Due to the consolidation of the record industry, the process of obtaining the rights to music, finding the original master recordings and negotiating the licensing of the music could be a combination of scavenger hunt and bureaucratic nightmare. Fortunately, these folks were in it for the love even more than for the money, and through creativity and relentlessness labels like FunkyTownGrooves, SoulMusic.com, BBR, Cherry Red, Wounded Bird and Vinyl Masterpiece, as well as the up and coming Purpose Music Vaults, cracked the code and opened up a treasure trove of great classic music that went more than a quarter of a century in the dark.

It was a tremendous gamble. I mean, can you really be sure that there is enough of a market for a double disc by the group Chocolate Milk to justify all the costs of reissuing? But, thankfully, these labels found a surprising number of European, American and Asian fans willing to shell out $15 for the CD version of an album that they had when they were 16, even if the album was a small seller back then.

Due to this new generation of record company mini-moguls, over the past year I’ve had the chance to hear all over again some amazing lost gems from artists such as Carl Anderson, Enchantment, Loose Ends and even my beloved Tavares – gems that otherwise would simply be gathering dust in the major labels’ vaults.

It all came to a head for me last week, when I received a package from Vinyl Masterpiece that included the 1978 album Phyrework, an obscure release by almost any standard and for me a bellwether as to just how deep into the mines these labels are digging. But you know what? It’s pretty good. Featuring lead singer and guitarist Clarence Pitts guitarist Willie Smith, percussionist John Bryant, saxman Bill Eden, bassist Gerald Calhoun, trumpeter Jim Foster and keyboardist Frank Hames, Phyrework enlisted the production help of Con-Funk-Shun’s Michael Cooper and issued a solid album of the horn-filled funk sound that was emerging at that time from groups like the Bar-Kays and even Maze. And Phyrework the band was tight, mixing up funk-dance numbers like “Comin’ For Your Love” with Cameo-like ballad like “Dance With Me” and even jazz fusion flourishes on “Mystic Mariner.”

The most important thing about Phyrework is not that it wasn’t a hit in 1978 and probably has a limited market now. It is that the work of the band Phyrework, like T.S. Monk, Michael Wycoff, Ca$hflow and the dozens of other acts who’ve been rescued from the dustbins by the upstart labels, really deserved to be available again. These were talented acts who created music that may have had limited commercial appeal but had critical merit and a small but interested group of fans. And it is a tribute to these R&B rescuers that they are giving this worthy music the opportunity to be heard again by longtime fans -- and perhaps to be discovered by new ones. And that’s great news for SoulTrackers that goes far, far beyond Phyrework.

Chris Rizik
Soultracks.com

ROOM732 – JUST FOLLOW THE WHITE SIGNS

Just Follow The White Signs is the debut album by ROOM732, and it features instrumental music that is filled with sound textures from the world  of ambient and new age music. The difference here is that ROOM732 takes it to the next level.

ROOM732’s music not only has depth, but also pulse and edge. The music in Just Follow The White Signs is put together by small journeys of moods and sound stories. Each individual track appears with its own sound pattern and safely melts together with the rest of the tracks in a thread of sound and rhythm.

What you’ll find here are classic chill out vibes with Brian Eno-esque production traits that carries you on a pleaseant wave, and along the way you will hear touches of Trentemoller, Jonsi, Peter Gabriel, Pink Floyd, as well as Cold Play. The title of the debut album Just Follow the White Signs, is an invitation to relax, and to let the sounds be the white signs that guide your experience in your intimate space.
ROOM732 is the creation of Frank Gustafson, and through the creative maniplulation of sound, combined with regular conventional instrumentation (such as guitars, keyboards, and percussion), he has created ROOM732’s 'studio music' as he likes to call it.

Gustafson’s road to ROOM732 has been a long path through various forms of expression, including theatre, dance, film, photography, painting, and writing. Over the years music has become a more and more profound factor. Today music is the art-form in which he feels that he can express his soul in the most direct way.

LOUIS ARMSTRONG - SATCHMO AT THE NATIONAL PRESS CLUB: RED BEANS AND RICE-LY YOURS

What if your favorite musician could return from the great beyond and play one last set that would, for a moment, make his music live again? And what if the music were new – something you have never heard before? It would be a moment to savor.

Well for those of you who are waiting for Elvis or John Lennon to return, you might have to keep waiting. But for those of you who long to hear the music of the greatest trumpeter of all time, Louis Armstrong, just one more time your dreams may be answered. And you should come to the National Press Club on April 27 for what is sure to be a memorable and historic occasion. On that day there will be a news conference followed by a panel discussion followed by a reception. Details will be released as the date gets closer.

Officials from the National Press Club, Smithsonian Folkways Recordings and the Louis Armstrong Foundation will announce their agreement to release a recording made on January 29, 1971 in the Ballroom of the National Press Club. The live recording is one of the last times Armstrong played his trumpet in public and is believed to be his last recorded trumpet performance. The recording was made into a limited edition record with only 300 copies most of which have vanished into attics. For several years a determined group of Press Club members have been working with their partners at Smithsonian Folkways Recordings to bring the music to the public. Now, with the help of the Louis Armstrong Foundation, the moment has arrived.

On April 24, Smithsonian Folkways Recordings, the nonprofit record label of the national museum, will release Satchmo at the National Press Club: Red Beans and Rice-ly Yours on CD and digital download via www.folkways.si.edu and retailers including iTunes and Amazon as well as the streaming services. The album release is part of the Smithsonian Institution's celebration of the 11th annual Jazz Appreciation Month.

Armstrong agreed to perform at the 1971 inaugural party of incoming National Press Club President Vernon Louviere who was a Washington correspondent but a native of Louisiana. At the time he was booked, Mr. Armstrong's health was poor. He had not played trumpet for much of 1970 and his shows were mostly 10 minutes of singing. So the Press Club crowd expected to hear Louis sing a couple of songs. But Armstrong packed his horn when he traveled to Washington. He was feeling better and ready to play.

January 29, 1971 was a gala evening at the Press Club. The master of ceremonies for the event was the British Journalist David Frost. The crowd of journalists, dressed in black tie, had a real sense that they were about to witness history. Louis responded to the crowd's enthusiasm with more than 30 minutes of spirited singing, scat and to everyone's great surprise, trumpet. His trumpet was only to be recorded two other times: during a taped television show with David Frost; and on the Tonight Show with Johnny Carson before a studio audience. It is believed that neither was turned into a recording offered to the public.

Source: National Press Club

WHEEDLE'S GROOVE: SEATTLE'S FINEST IN FUNK & SOUL 1965 - 1979

Amazing stuff – and way more than a rehash of the legendary Wheedle's Groove compilation! Instead, the set is kind of a "back to the roots" collection – one that presents 10 vintage 45 singles, reproduced with label artwork and everything – all packaged in a beautiful box with a magnetic flip-top lid – and containing a 96 page booklet with new liner notes, interviews, rare photos, a trading card, and lots more archival goodies! Plus, there's also a CD of a lost Robbie Hill's Family session from 1975 – and a bonus download card for all the songs in the set. And so far, we haven't even told you about the music – a killer collection of rare funk and soul from the Seattle scene – rare singles that originally appeared on the Camelot, Sepia, Jerden, Topaz, and Decimal labels. Titles include "Deep Soul (parts 1 & 2)" by Ron Buford & Ural Thomas, "I Let A Good Man Go" b/w "Little Love Affair" by Patrinell Staten, "Brighter Tomorrow" b/w "Ca Ba Dab" by Soul Swingers, "Peace Dance" b/w "Undecided Woman" by Woody Carr, "This Is Me" b/w "The Song I Sing" by Cookin Bag, "Grooving Is Easy" b/w "Poor Fool" by Stringfello, "You & Me" b/w "My Funky Feeling" by Acapulco Gold, "I Wonder Love" b/w "I Wanna Love You" by Seattle Pure Dynamite, "Holding On" b/w "Oh Girl" by Unfinished Business, and "Love In Your Life" b/w "Look At Me" by Priceless. (Limited edition release for Black Friday, 2011. 2000 hand-numbered copies.) ~ Dusty Groove

GWEN McCRAE @ THE HAPPY DAYS FESTIVAL

For over three decades, Gwen McCrae has been a soul and blues powerhouse singer entertaining audiences worldwide. She started out singing as a child with her mother who played piano in church. With a heartfelt phrasing for the blues and the spirit-filled sounds from her soul, Gwen has entertained audiences in countless sold-out venues and set her music in a Blues and Soul category of its own. Since the early '60s, Gwen has paid her dues, on tour with the likes of Smokey Robinson, Luther Vandross, James Brown, The Temptations, The O Jays, Spinners, James Cleveland, and many more. Gwen's entertaining has included concerts at The Apollo Theatre, Madison Square Garden, Cow Palace in LA, Disneyland, television shows such as "American Band Stand', "Soul Train', "Midnight Special', "In Concert', as well as various venues throughout the world in London, Paris, Germany, Scotland, and Venice, just to mention a few.
 
Gwen's hit song "Rockin' Chair" earned her a Grammy nomination, sold over 3 million records, and went to No.1 on Billboard's R&B charts. Gwen McCrae has recorded over 20 albums, with nine of her songs breaking into Billboard's "Top 100 list'. Her latest album, Gwen McCrae Sings TK, earned her "Best Blues & Soul Woman Song Of The Year Award " in 2007 for "Let's Straighten It Out," presented by Jus' Blues Music Awards Show. She was also nominated for the 2008 "Blues & Soul Woman Of The Year Award." Gwen looks forward to touring in Europe every year. Recently Gwen performed before a sold out audience in one of London's premier venues, "The London Indigo 2'.

Gwen McCrae's music career has touched the hearts of music lovers all over the world, with award winning hits in every music genre, from Blues, Soul, R&B, Funk, Disco, to Jazz. Her deep soul style singing created a music genre all her own. Gwen's music is known for its soulful sound and dance oriented beats. Loyal European music fans have in fact renamed her "The Queen of Rare Groove'. Among her European and USA hits include songs such as "All This Love That I'm Giving', Keep The Fire Burning', "Funky Sensation', "90% Of Me Is You', "Let's Straighten It Out' , "Girlfriend's Boyfriend', "Rock Your Baby', "Clean Up Women', and the list goes on.

Gwen McCrae does not just perform on stage but makes the audience feel they are part of the musical experience. In an interview Gwen stated that "The only time I'm really happy is when I'm on that stage, in front of my audience. Then, I'm the happiest woman in the world! And there is nothing that anybody can say or do to make me unhappy, because I'm doing just what the Lord wants me to do; satisfy the people. Not the people that you recorded for and all of that; Satisfy that audience, they're the ones that love you; they're the ones that buy your records.'

Gewn McCrae is scheduled to appear at the upcoming Happy Days Music Festival on June 2, in Surrey, UK, along with artists Jocelyn Brown, James D-Train Williams, and Colonel Abrams.

http://www.happydaysfestival.co.uk

LORENZO FELICIATI – FREQUENT FLYER

Italy’s Lorenzo Feliciati has been one of the best kept secrets on the European modern jazz scene for the past decade. On Frequent Flyer (RareNoiseRecords), his third solo outing, the Jaco Pastorius-inspired electric bassist fronts an all-star lineup that includes his Naked Truth bandmates — Seattle trumpeter Cuong Vu (who has worked with artists such as Laurie Anderson, Dave Douglas, Bill Frisell and Pat Metheny), British jazz keyboardist Roy Powell and longtime King Crimson drummer Pat Mastelotto – along with Yellowjackets saxophonist-composer Bob Mintzer and a host of players on the Italian prog-rock-jazz scene including fellow electric bassist Patrick Djivas (of the group Premiata Forneria Marconi), keyboardist Aidan Zammit, Hammond organist José Fiorilli, violinist Andrea Di Cesare, guitarist Daniele Gottardo, drummers Lucrezio De Seta, Roberto Gualdi, Maxx Furian, Pier Paolo Ferroni, Stefano Bagnoli and Daniele Pomo, Peruvian percussionist Paolo La Rosa, and turntablist DJ Skizo.

An ambitious blend of jazz, prog-rock and nu-funk, Frequent Flyer is Feliciati’s follow-up to Shizaru, Naked Truth’s 2011 outing on RareNoise. From the ominous-sounding opener “The Fastwing Park Rules,” featuring some urgent tenor sax blowing from Mintzer, to the kinetic “Riding the Orient Express” to the slow-grooving “The White Shadow Story,” Feliciati distinguishes himself as an accomplished, forward-thinking composer and improviser of the highest caliber. His chops showcase, “Groove First,” in which his burning basslines are accompanied by Powell’s Fender Rhodes and La Rosa’s percolating conga work, recalls Jaco Pastorius’ fleet-fingered bass manifesto “Teen Town” (with a brief quote from Jimi Hendrix’s “Power of Soul” along the way). “‘Groove First’ is the song I am most known for,” says Feliciati. “So from this point of view, ‘Groove First’ is my ‘Teen Town,’ but mine is harmonically way simpler, though still pretty complicated to play sometimes, to tell the truth.”

Elsewhere on Frequent Flyer, Feliciati turns in a rousing Afro-Cuban-infused rendition of Wayne Shorter’s “Footprints” with the leader carrying the familiar melody on fretless bass against a propulsive backdrop of drums and percussion. The mournful “Never Forget,” which is underscored by Feliciati’s warm, woody tones on electric upright bass, features the reverb-soaked trumpet work of Vu while the hard-grooving “Gabus and Ganabes” is a showcase for the wonderful violinist Di Cesare. He says the intricate, prog-rock showcase “Law and Order” was jointly inspired by King Crimson and Jeff Berlin. “King Crimson is one of my favorite bands and I always loved the classically influenced stuff that Jeff Berlin did back in the day with Bruford, so I was trying to incorporate some complicated bass stuff with a touch of prog-rock and a bit of classical flavor. There is also a quote from King Crimson’s ‘Red’ in the middle of the song that you might be able to hear.”

The King Crimson influence is more obvious on Feliciati’s cover of their “Thela Hun Ginjeet” (from 1981′s Discipline). “Playing with Pat Mastelotto helped me to discover the magic in some of the most complicated and strange-sounding King Crimson tunes,” he explains. “‘Thela Hun Ginjeet’ was a song I always play at soundcheck, and during a music fair in Italy I did it with my good friends Roberto Gualdi on drums and Guido Block on vocals, and we were all enthusiastic about the way it turned out. So we decided to do it for my album because they are wonderful musicians, very good friends and we play together often. They fit perfectly in the Frequent Flyer format.

This hard-hitting project is a product of Feliciati’s musical journeys over the years. As he explains, “I wanted to do an album with all the wonderful musicians I met during my traveling around for gigs, festivals and sessions. And actually the musicians that are in the Naked Truth band — Pat Mastelotto, Cuong Vu and Roy Powell — had already played on songs for Frequent Flyer before I asked them to form a band. It is strange but during Naked Truth’s Shizaru sessions I never stopped to work on mixing Frequent Flyer, but as soon as the songs were finished I went from one project to the other. It has been a really busy moment of my life but it seems, seeing all the wonderful reviews that Shizaru had and hearing the final result of Frequent Flyer, I think I did a good job.”

Essentially self-taught, Feliciati was drawn to the music of Led Zeppelin early on. By age 14, he gravitated to fretless electric bass after seeing Jaco Pastorius in concert with Weather Report during their Night Passage tour in 1982. “It was the last tour Jaco did with the band and one of my first live concerts. I had heard his first solo album in 1980 but seeing him that night changed my life. I discovered that you could be a bass player and still be the coolest cat on stage. All the eyes of the people in the audience were on Jaco that night. His playing was so powerful and full of joy. As a kid playing a bass, seeing Jaco — in his top form and with the best band ever — was a shock! But in years later, I came to appreciate Jaco for more than just his chops. I still see him first and foremost as a musician and composer. He was a genius in music, not only on the bass.”

By age 20, he was playing blues-rock in clubs around Rome, but off stage he was discovering and analyzing the work of other influential fretless bass players like Mick Karn of Japan, Pino Palladino and Percy Jones along with the great fretted electric bassists Jeff Berlin and Victor Bailey. King Crimson also became a powerful influence on him in those formative years. Feliciati debuted as a leader in 2003 with Upon My Head on Schoots Records and followed up with 2006′s Live at European Bass Day, recorded in Viersen, Germany. He has since appeared at Bass Day conventions in Verona, Italy and Manchester, England, sharing the stage with fellow bass monster Richard Bona, Linley Marthe and Dominique Di Piazza, among others. He has been spotlighted as “Bass Face of the Month” (February 2005) by the International Institute of Bassists and has conducted clinics at the Conservatory of Amsterdam, Rotterdam, Tilburg and the Academy of Contemporary Music of London. Now, with the release of his brilliant Frequent Flyer, Feliciati’s profile should make an incremental leap. As a player, composer and bandleader, he ranks among the heavyweights on the international bass scene.

CARMEN INTORRE - FOR THE SOUL

Drummer/Percussionist Carmen Intorre is pairing up with producer Bob Belden on his debut album For The Soul (Random Act Records); the organ-based session covers a wide range of musical stylings from Stevie Wonder and Steely Dan to Chick Corea and Weather Report. Intorre is joined by John Hart on guitar, Jon Irabagon on alto and tenor sax, and Pat Bianchi and Joey DeFrancesco - two of the world's most formidable jazz organists. The album swings within the tradition while expanding upon the vocabulary and boundaries of the idiom.

Currently Intorre performs with legendary jazz guitarist Pat Martino, touring extensively throughout the world with the guitarist's organ trio. He is always eager to uncover the latest information about music and drumming and to share that information with others. He states, "This is my job. I have to give back what I was given a chance to do." He goes on to explain, "Music is an opportunity for me to give up my soul, while in the process connecting with the audiences' souls as well. I want the musicians on the bandstand and the members in the audience to feel uplifted after a performance, to feel great about themselves through the experience that they encountered. That is what For The Soul is all about."

The opening track, Stevie Wonder's "Too High," sizzles with intensity. Along with the leader's backbeat, Bianchi's funky bass line and Hart's strumming sets up a compelling groove. Everyone solos with aplomb, with Hart rocking out, Bianchi displaying harmonic depth and Irabagon illustrating how and why he won the prestigious Thelonious Monk Competition in 2008. Of course, Intorre makes his own joyous statement while driving the arrangement to its conclusion.

Gene Perla's "Tergiversation" is a seldom-performed gem. Intorre's version features the organ tandem of DeFrancesco and Bianchi. Friendly fireworks ensue as the two masters solo and trade statements; the fire escalates as they trade fours with the leader's thoughtful drums. This is an organ-lover's dream.

The Chick Corea opus, "Steps" is rendered by Intorre, Bianchi and DeFrancesco. Few organ groups could handle this tricky composition, let alone perform it at a breakneck tempo. These three navigate the time and changes in a romp, with Intorre taking his longest solo on the album. Producer Belden contributed "Carmen's Caddie," his homage to Intorre's ride of choice. A boogaloo out of the McDuff tradition, the quirky melody leads to solos from Hart's clean lines, Irabagon's throaty tenor and a master class in the blues from the irrepressible DeFrancesco.

The album progresses with an homage of a different sort: Joe Zawinul's tribute to Mr. Adderley, "Cannonball." Intorre leads the group with soothing percussion, DeFrancesco delves into his Weather Report vibe, and Bianchi contributes keyboard textures. The ballad tempo still cooks, with Intorre piloting the ensemble to soaring flights. Everyone pays their own heartfelt testimony to Cannonball - However, perhaps the most heart is displayed on the drummer/leader's own tune, the gorgeous "Only One." Inspired by the wisdom, courage and beauty of the drummer's deceased mother, Joan, the beautiful melody is underpinned by sophisticated harmony. Everyone does Mrs. Intorre proud:She surely smiled down upon the entire session.

More soulful sounds emanate from Big Chief Donald Harrison's "Good For The Soul," as Irabagon features his alto for the only time. Swinging from the jump, the happy melody is as sunny as Intorre's big beat. His joyful countenance is also felt on Freddie Hubbard's "Gibraltar," as DeFrancesco takes over the organ again and is provoked by the soul/funk influences to quote from Parliament Funkadelic.

Another unique tune choice, "Josie," is far different from the original Steely Dan version. This Josie is on the corner, maybe a bit too high, but still ready for anything. With Hart's rollicking opening guitar riffs to the free conversation that ensues, the tune is a highlight of modernity. Towards the end, Intorre absolutely raises the roof - the musicians evoke memories of Tony Williams' Lifetime. The album's closer is a flag-waver for the soul. Weather Report's "Black Market" struts with pure ingenuity, prompting a howl from an exuberant DeFrancesco, who wails with impunity as Irabagon does Shorter. Intorre drives it home, ending abruptly on the stately melody.

Born in Buffalo, NY, Carmen Intorre developed an early interest in music and began playing drums at age five. A graduate of The Institute for Jazz Studies at the Juilliard School, he has performed and recorded with numerous musicians such as George Benson, Larry Coryell, Wynton Marsalis, Monty Alexander, George Coleman, Eric Alexander, George Cables, Benny Golson, Richie Cole, Joe Locke, Lew Tabackin, Bobby Watson, Ira Sullivan, Bobby Watson, and many others.

A 2011 GRAMMY® nominee for his performance on the critically acclaimed album by Joey DeFrancesco entitled Never Can Say Goodbye: The Music of Michael Jackson, Intorre also had the pleasure of performing alongside DeFrancesco and Dr. Lonnie Smith on the PBS show Legends of Jazz, hosted by Ramsey Lewis. "Carmen is one of my favorite drummers; he has a very wide groove and strong beat, and most of all he swings his ass off! I love him!" says DeFrancesco.

Perhaps one word best describes Carmen Intorre and his music: Joy. Reminiscent of Billy Higgins, Intorre brings a palpable swing and drive to virtually all the tracks, making this a palatable musical feast "for the soul."

Random Act Records' motto "Great Music for the Greater Good" adheres to Carmen's philosophy of "giving back." The label donates 10% of all proceeds to charities.

Upcoming Carmen Intorre Tour Dates:
Carmen Intorre - drums/percussion
Jon Irabagon - saxophone
Pat Bianchi - organ
John Hart - guitar

June 14 - Birdland (album release celebration), New York, NY
June 18 - Iris, Buffalo, NY
June 19 - Abbott's Downtown, Rochester, NY
June 20 - Night Town, Cleveland, OH

Carmen Intorre · For The Soul
Random Act Records · Release Date: May 22, 2012

ALIFIC - DUB IN THE DISTRICT

Alific is the product of musician and producer Brendan Dane who started out playing bass guitar in a number of different styles of bands growing up. Ranging from rock, reggae, funk, jam and hip hop to infectious beach style dub rhythms, Alific has no boundaries when it comes to music. Gaining knowledge of the recording arts while in college, Alific crafted the skills of recording, engineering and producing by learning from his musical influences and always leaving room to grow as a professional.

Alfic enjoys acquiring new recording tricks and production techniques and continues to strengthen his own skills as a musician by continuously practicing and learning from close friends and fellow jammers. Living life to its fullest, Alific continues to create and produce music wherever his living situation may be. Currently living in DC, Alific writes, records, and produces all his music out of his home recording studio and his main goal is to make grooves that will get you tapping your feet.

“There is no right or wrong way of creating music. If its your own, it can be anything you want it to be”, says Alfic.

Alific released his debut album Dub In The District back in August of 2011, and if you enjoy reggae, then you will truly enjoy this album. On Dub In The District, Alific produces nifty baselines and has some underrated vocals. It has something for everyone, and his aptitude mixing in the studio combines for an awesome album and live experience. Whether he continues to collaborate with others or do it on his own Alific will be filling people’s playlists for years to come.

Alfic says that “the foundation of every song is the bassline" of which there is plenty of in Dub In The District.

Favorite tracks on here include "Sun Roots", "Campfire", "Looking Back", and the title song "Dub In The District". Enjoyable and recommended.

Musicians:
Brendan Dane - all instruments, vocals, lyrics
Andy Schmitt - vocals, lyrics
Todd Smith - drums
Dr. Peter Dane - keyboard

Tracklisting:
1. Full Moon Raid [3:35]
2. the Dubbal Vision [2:51]
3. No Workin [2:38]
4. Campfire [3:47]
5. Sun Roots [2:35]
6. Looking Back [4:21]
7. Poons [4:30]
8. Stolen [3:05]
9. Tribal Root Seed Dub Drop [3:23]
10. Dub In The District [3:15]

JEF STOTT - ARCANA

Jef Stott has been deftly navigating the realms of world fusion music for over a decade, where he has consistently been at the forefront of the International Global Bass movement. His sound is a conscious inspired blend of the highly articulated electronica compositions fused with the mystery and depth of an inner ethnography. He works and performs with master musicians and dancers from the Middle East, Northern Africa, the Balkans and India. Jef is also a highly accomplished multi instrumentalist adding a live performance element to his live shows with Arabic string and percussion instruments, guitars, bass and live dub effects. As a trained anthropologist, he has made an in depth academic study of the instruments of the Middle East with master teachers including Hamza el Din, Omar Faruk Tekbilek among others. Jeff released a digital-only EP, Souksonik, with Six Degrees Records in 2007, followed by the Arabic-drenched album Saracen the following year.

Arcana, (the title refers to the major arcana of the Tarot), his stunning new full length recording comes to us after Stott suffered a series of recent setbacks: the end of a long-term relationship, losing a career job and having his apartment broken into. The stolen objects included all of his computer equipment, including the hard drive in which the two-month old Arcana lived.

“I just went back into the studio and made this album,” he says “It’s about reclaiming my place in the world, and bringing really powerful female energy back into my life.” Stott knew that life is circular. His upswing awaited.

Jef sums up the scope and power of his new project best when describing his motivations behind the music. “The album is meant to be an imaginary soundtrack to an epic adventure film set far in the distant future. Behind it all is a really strong athletic female goddess with a huge sword in her hand. She’s a warrior of light. She’s always strong and compassionate, but she knows how to use her sword.” ~ Six Degrees Records

TEDESCHI TRUCKS BAND - EVERYBODY'S TALKIN'

Everybody's Talkin'—to be released on May 22, 2012 —is the title of the uplifting, energy-packed sophomore recording by Tedeschi Trucks Band, the 11-piece ensemble led by husband-wife team Derek Trucks and Susan Tedeschi that recently marked their first anniversary with a Grammy win for their debut album Revelator. TTB (as their fans know them) shows off a stunning rate of musical progress on Everybody's Talkin', eleven tracks selected from a year's worth of concerts from around the globe plus one new track ("Nobody's Free"). The performances—a hearty blend of originals and spirited covers of rock, R&B and even gospel classics—capture the group's roots-rich musical mix, laced with Truck's signature slide-guitar sound and fronted by Tedeschi's pliant, honey-to-husky voice (as well as her own gritty guitar-work). The collection also includes all of the joyful, spontaneous energy that has helped TTB build a growing circle of fans and earned them an unprecedented string of triumphs in just the past few months.

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

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

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

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

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

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

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

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

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

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

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

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

~ Sony Masterworks

MARC STAGGERS – KEY TO MY HEART

Marc Staggers—a talented Washington, D.C. native—has released his new album Key to My Heart on Expansion Records, much to the excitement of many of his supportive fans. This album continues the soulful musical journey that started with the release of his debut R&B album Then and Now in 2009. His vocal style, often compared to famous soul singers of the past and present, will certainly captivate and continue to generate fan interest across the world.

The development of his unique style is the result of a lifetime of musical influence, including the late Luther Vandross.

Staggers has one of those great deep soulful voices, similar to Will Downing in style, in fact this album could easily have been recorded by Will. 'Lets Just Take Our Time' is a really nice upper mid tempo floater, 'Steppin Out Tonight' and the more uptempo 'Stop Playing With My heart' will keep the dancefloors moving, the ballads 'Promise Me', 'Lifetime Lover' and 'Soul Summer Love' are also strong. The mid tempo 'Key To My Heart' is another highlight on this strong solid traditional soul album.

Marc started singing in the church choir and studied voice as he was growing up. Marc's Television appearances have been featured on the Maryland Public Television (MPT) program "Artworks This Week," with Nate Howard; ABC Channel 2 News, with Terry Owens; ABC Channel 2 "Grace & Glory," with Lee Michaels; PAX Cable Television show "Life Styles," with Deborah Britt; and the cable program "Glorify His Name," hosted by James McCollum.
Marc’s soulful voice has carried him into many venues, including singing background for Mom and Pop Winans at "From the Heart Ministries" and for Kathy Myers at Lincoln Theater in Washington DC. He has also performed and recorded with the Late Clifton Dyson and Stu Gardner, musical director for Bill Cosby.

After many years of pursuing gospel music, Marc felt that his true heart’s desire was in producing music that was reminiscent of the type of soul music he listened to while growing up. This led to his debut CD Then and Now, which had topped the UK’s “Sweet Rhythms Chart,” for three weeks at the number one position. The album has received critical acclaim from music critics from around the world. The album has also made inroads into the U.S. radio market, thanks in part to independent Smooth Jazz/R&B promoters “Gorov Music Marketing”.

In 2011, Marc released a summertime single entitled “Soul Summer Love” that reached #13 on the U.S. jazz charts, and still continues to be played in regular rotation on a number of stations. “Soul Summer Love” is included in Marc’s new album Key to My Heart, which features such talented artists as musical composer and arranger John Stoddard; world-renown Saxophonist Kirk Whalum; and versatile Soprano Adoree Johnson, who appeared on the U.S.-version of American Idol.

Other behind the scenes opportunities have included producing a radio talent show that showcased new gospel acts called "If You Can Dream," which lived a short season on Radio One's WYCB 1340AM in Washington, D.C. Marc Staggers has also been featured on numerous live performances, including The Million Moms’ March in Washington, D.C. and at the British Embassy for former Washington Redskin Darrell Green’s Charity foundation.

On passed visits to the United Kingdom, Marc has been interviewed by Solar Radio's Deejays Dave Brown, DJ Bigger (now on Starpoint Radio), and Gary Spence. Marc also performed at Solar Radio's 20th Anniversary celebration and at Smooth FM's (now known as Smooth Jazz) TSOP event in Prestwich, which was hosted by DeeJay Richard Serling. ~ Amazon.com

WES MONTGOMERY CELEBRATION FOR ECHOES OF INDIANA AVENUE

Resonance Records has announced a Wes Montgomery celebration on Saturday, May 12 at Joe's Record Paradise in Silver Spring, MD. Beginning at 2pm and open to the general public, the event will feature a 60-minute panel discussion on Montgomery and Echoes of Indiana Avenue, the newly unearthed, critically acclaimed album, as well as live performances.

Panelists include Larry Appelbaum (Library of Congress, JazzTimes, WPFW), Zev Feldman (Echoes of Indiana Avenue producer and Executive Vice President & General Manager of Resonance Records), Willard Jenkins (WPFW, Open Sky, Tri-C JazzFest Cleveland, author), guitar legend Pat Martino, and Robert Montgomery (Wes' son). Tom Cole (NPR, WPFW) will serve as panel moderator. Additionally, greater Washington D.C. area guitarist Jerry Gordon and his trio will perform two sets at the event.

"It gives me great pleasure to return to my hometown and share this music and story with the community," states Feldman. "We're also really grateful to Joe and Johnson Lee [founder & owners of Joe's Record Paradise] for allowing us to host this event at the store. Since its founding in 1974, the store has provided a foundation of music learning for countless music fans in the area, including myself. The barbershop-like shopping environment truly makes it an D.C. area institution."

With a lot of sleuthing and a team of experts on the case, long lost tapes of Wes Montgomery have been discovered and restored. Resonance Records released Echoes of Indiana Avenue - the first full album of previously unheard Montgomery music in over 25 years - on March 6, which would have been Montgomery's 89th birthday. Over a year and a half in the making, the release provides a rare, revealing glimpse of a bona fide guitar legend. The tapes are the earliest known recordings of Montgomery as a leader, pre-dating his auspicious 1959 debut on Riverside Records. The album showcases Montgomery in performance from 1957-1958 at nightclubs in his hometown of Indianapolis, Indiana, as well as rare studio recordings. The release is also beautifully packaged, containing previously unseen photographs and insightful essays by noted music writers and musicians alike, including guitarist Pat Martino and Montgomery's brothers Buddy and Monk.

Wes Montgomery Celebration -
Panel & Performances @ Joe's Record Paradise
Sunday, May 12 · 2pm

*Free general admission. Seating is available on a first-come, first-served basis.*
8216 Georgia Ave., Silver Spring, MD 20910
Phone - 301-585-3269
joesrecordparadise.com