KSBR BIRTHDAY BASH JAZZ FESTIVAL

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

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

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

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

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

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

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

MILTON SUGGS - LYRICAL VOLUME 1

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

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

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

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

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

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

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

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

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

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

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

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

HOT CLUB OF DETROIT - JUNCTION

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

http://www.hotclubofdetroit.com/

SCOTT GRIMALDI - THE COLOR OF MIDNIGHT

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

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

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

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

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

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

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

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

~ grimaldimusic.com

JASON SMITH - BLUE MOON

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


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

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

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

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

~ thesmoothjazzartist.com

NEW RELEASES - LATIN CONCRETE, BODDI SATVA, ALAIN MION

CHRIS READE PRESENTS LATIN CONCRETE - A MODERN LATIN BEAT SUITE

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

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

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

BODDI SATVA - INVOCATION

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

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

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

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

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

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

TESSA SOUTER - BEYOND THE BLUE

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

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

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

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

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

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

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

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

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

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

THE COOKERS - BELIEVE

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~ http://www.motema.com/

CURUMIN - ARROCHA

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

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

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

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

~ sixdegreesrecords.com

TEDESCHI TRUCKS BAND - EVERYBODY'S TALKIN'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

http://www.tedeschitrucksband.com/.

DAVID BOSWELL - WINDOWS

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

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

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

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

URBAN BLU - OUT OF THE BLU

Multi-instrumentalist, Fernandez "Urban Blu" Billingslea, fondly known as ‘Dez’ to his associates in the music industry, has lead a very exciting musical career. After numerous musical compositions and many stage performances a shocking experience occurred. Back in September 2009, “Dez” found himself at the brink of death, holding on to his strong faith through a very rough “out of the blue’ bout of pancreatitis. “I guess God had to get my attention”, explains Dez. “He has allowed me through all my trials, tribulations to continue to use the gift that he gave me”. This experience left him with a renewed spirit after going through a life-changing health scare of pancreatitis and given a second chance to be fully-expressed musically with a new perspective on his upcoming CD Awakening.


Garnering over 27 years of musical experience, Dez has launched his lifelong passion of playing jazz and owning his own recording company. To date Dez’ has shared the stage with national artist like Najee, Herbie Hancock, TS Monk, Eric Benet, Cassandra Wilson, Tuck & Pattie, Steve Turre & Sanctified Shells, Regina Carter, Claudia Villella, Cyrus Chestnut, Papo Vazquez, David S. Ware, Amel, Dr. Billy Taylor, and Gonzalo Rubalcaba. Currently Dez is the President/CEO of Urban Blue Entertainment Inc. and under this umbrella he utilizes his expertise as an accomplished producer, composer and multi-instrumentalist.

Being a musician and composer of music Billingslea noticed how quickly the music industry was changing with the explosion of the internet making the world a smaller place and technology allowing the world to be more accessible. “Social media is becoming an indispensable part of the marketing mix, not only for the music business, but also for many other types of businesses. It’s one of the best ways to reach fans, customers, or clients. It was important to me to launch my own social network, not only to share my musical expertise, but to use this platform for blogging, open forums to discuss the variables of life through my experiences, to the authentic leanings to health and wellness making sure that I use my personal experience as a conduit for someone elses life no matter what side of life they walk on” says Dez.

Out Of The Blu is Dez’s current CD in the marketplace as he is evolving and assembling his new self-produced and engineered musical endeavor entitled Awakening offering his new perspective on life, and its meaning. “Dez is a magical soul, he shares his story in such a way that gives you a sense of value upon your own life, his story is quite compelling and his music is the perfect backdrop for this understanding. We are excited to be the first to hear a sneak peek of his new project Awakening before its release in early 2013, shares Jaijai Jackson, the creator of The Jazz Network Worldwide social network.

To join ‘Dez’s’ bandwagon, be sure to swing by his new social network at
http://www.urbanblumusic.com/

"I’m so honored and blessed to have the opportunity to be featured on the Jazz Network Worldwiide. Jaijai Jackson is a seasoned jazz pioneer and artist, she is revolutionizing all genres of music from jazz to R&B. In addition to being featured on her Jazz Network, artists get a chance to be featured along aside some of the greatest musicians in the world . . . this is an honor within itself and it gives artists, musicians, and producers exposure that they would not normally get.


No matter what the labels and corporations are doing, musicians are taking it upon themselves to use social channels to connect with fans, offer value, and create relationship. This has ultimately led to new business models and revenue streams from sponsorships, touring and live appearances, custom products, and social monetization through advertising.


One of the best decisions I ever made in my life was to attend college and obtain a degree in Computer Science. This decision is directly related to my past and present success. Not only am I a seasoned IT Professional that excelled in the corporate arena, but this skill allowed me to fund my passion of music by allowing me to obtain all the tools of the musician trade".

http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

ALLAN HARRIS / TAKANA MIYAMOTO- CONVERGENCE

Eloquence. Empathy. Interplay.

These are just some of the words that can be used to describe the mellifluous meeting of Tony Bennett and Bill Evans on their storied duo recordings from the 1970's. Few modern musicians have dared to tackle the venerable songbook that these Jazz giants made their own. That is until now.

With the release of Convergence, vocalist Allan Harris and pianist Takana Miyamoto forge a symbiotic sonic bond, saluting the spirit of Bennett and Evans, while coining their own musical vocabulary as well. It's an aural affair not to be missed.

"I remember hearing The Tony Bennett/Bill Evans Album back around 1979," Harris says. "It still knocks me out. I think that album should be required listening for anyone who wants to step into the arena as a vocalist. It truly is a textbook study on how to deliver a lyric."

"The combination of the two of them together is incredible," Miyamoto adds. "Everything about that album is beautiful - from Tony's voice, to the intros Bill played, to how the songs modulate into different keys. That album definitely gave me a great foundation for the work I do now with all kinds of vocalists."

On Convergence, Harris and Miyamoto channel the same sense of aural adventure found on Bennett and Evans' renegade recordings. Striking a delicate stance between deference and discovery, the duo tackles classic cuts like "Waltz For Debby," "Young and Foolish," and "The Touch of Your Lips." And much like the chance meeting that united Harris and Miyamoto in the first place, the album is a celebration of musical possibility.

"I was performing with a Bill Evans tribute trio," Miyamoto recalls. "My agent knew Allan and thought there might be musical chemistry between us. So we played a last-minute gig together at Churchill Grounds in Atlanta, and we ended up recording it. When we heard the tapes, we knew immediately that we had something special. But both of us being busy with other projects, we left the tapes for another time."

"I knew of Takana from her work with singers like Nnenna Freelon and Rene Marie," Harris says. "But from the very first time we played together, she did more than just play. She guided me, taking me to places I never expected to go musically. On this project, she doesn't just play like Bill Evans. She has her own style, and just like Bill did with Tony, she strikes a balance between supporting me as singer, and pushing me into places she wants me to go. She's much more than just an accompanist - she's a pathfinder."

Harris and Miyamoto would revisit the recordings from their Atlanta concert years later, eventually opting to re-record the songs properly in a New York studio for release. "I happened to come across the tapes one day, so I listened to them again," Miyamoto says. "Not only did they sound great, but the crowd really responded to the material. So I called Allan and he said 'Let's release the tapes!' But as we started getting deeper into the project, we both thought we could better serve the material by recording it again."

"I thought the tapes sounded great, " Harris says, "but I thought we should go into the studio and record the songs again. To be honest, we were both scared that we'd lose the magic we found on those live recordings. But I told Takana to trust me. We recorded the whole album in six hours, without any editing or overdubs whatsoever."

New York native Allan Harris has been a longtime fixture on the international music scene, with a seemingly non-stop string of acclaimed concert appearances and recordings. A singer, songwriter and guitarist of great musical gifts and stylistic flexibility, Harris effortlessly blends Jazz, Blues, and Broadway standards with elegance and ease.

Takana Miyamoto was born in Yuki, Japan, leaving at the age of nineteen to study at Boston's famed Berklee College of Music. "Funny enough, I had no idea Berklee was such a big Jazz school," Miyamoto says. "I went there to study film scoring and really knew no Jazz tunes before I got there. But soon after I arrived, I started liking it, and within a short time, I was gigging." Miyamoto would also garner acclaim for her musical compositions for film, theater and dance.

On Convergence, Harris and Miyamoto do far more than simply pay tribute to Bennett and Evans. They chart their own captivating course through some of the duo's most signature songs, with Miyamoto's crystalline piano touch playing the perfect foil to Harris' buoyant baritone. Rarely has a piano/vocal duo sounded this confident and complete. From Miyamoto's tender piano work on classics like "My Foolish Heart" and "Waltz For Debby," to Harris' glowing, unaccompanied intro on the "The Touch of Your Lips," the pair brim from album start to finish with guts, gumption and grace.

"We found a beautiful balance on Convergence," Harris says. "I brought the whole Americana component to the plate - of African American Blues, Jazz, Soul and the American Songbook. And Takana brought an Eastern sense of patience and perspective to the music. She showed me how to take my time."

Allan Harris / vocals
Takana Miyamoto / piano

TRACK LISTING:
1. My Foolish Heart (Victor Young, Ned Washington) - 5:13
2. Days of Wine and Roses (Johnny Mandel) - 3:26
3. But Beautiful (Johnny Burke, James Van Heusen) - 4:00
4. Waltz for Debby (Gene Lees, Bill Evans) - 4:00
5. You Don't Know What Love Is (Don Raye, Gene De Paul) - 4:53
6. Young and Foolish (Arnold Horwitt, Alberg Hague) - 4:22
7. The Touch of Your Lips (Ray Noble) - 3:57
8. You Must Believe in Spring (M.Bergman, A. Bergman) - 4:41
9. Some Other Time (Sammy Cahn, Jule Styne) - 5:27
10. We'll Be Together Again (Frankie Laine, Carl Fischer) - 4:37

http://www.allanharris.com/
http://www.takana.net/

FRANK GAMBALE - SOULMINE

When something emerges from the soul of an artist, it’s honest, personal and meaningful. It is more than a passion project. For Grammy winning guitar innovator Frank Gambale, Soulmine is a soul-realized endeavor that has ruminated in his consciousness for 30 years. The musician jazz giant Chick Corea called “one of the most incredible guitarists on the planet” found the missing piece when he met and married his soulmate, Boca. She provides the sultry vocals and together the pair wrote and produced the ten-song collection of jazzy adult pop tunes that was released today on his Wombat Records label.

Soulmine is garnering critical acclaim for the masterfully performed, well-crafted songs served in a fresh blend of contemporary jazz, sophisticated pop, soulful R&B and progressive rock. The sensual first single, “Forbidden Kiss,” a scorching Latin-tinged pop-rocker for which award winning director Nigel Dick (Sheryl Crow, Guns ‘n Roses, Britney Spears, Oasis, Cher) shot an enticing video (www.youtube.com/watch?v=aKd9npyctWM&feature=youtu.be), is one of the most added tracks at radio stations across the globe. The album boasts a gifted supporting cast that includes 5-time Grammy winning bassist Victor Wooten and organist Brian Auger.

In addition to promoting Soulmine, Gambale will be quite busy this summer. On June 19th, he along with his Return To Forever band mates - Corea, Stanley Clarke, Lenny White and Jean-Luc Ponty – will release a new triple disc album entitled The Mothership Returns, a live recording and DVD from Eagle Rock Entertainment. His new Play Along Tracks website (http://www.frankgambaleplayalongtracks.com/) is certain to be a popular destination for guitarists yearning to learn from the artist that pioneered and popularized a revolutionary guitar playing technique, Sweep Picking Technique (Sweeping), and an inventive new tuning called Gambale Tuning.

This fall, Gambale will unveil a new interactive website devoted to Sweep Picking and other informative tutorials and webinars for guitarists seeking to study with the imaginative guitar master. A respected author, educator and clinician, Gambale is also putting the finishing touches on another instructional book that will premiere on his forthcoming website.

Recently named by the Herald Sun as one of the top 50 greatest Australian guitarists of all-time, features on Gambale in Vintage Guitar, Guitar Player and Recording magazines are hitting or will soon arrive on newsstands. Below are excerpts from some of the early reviews:

Critical Jazz: “Frank Gambale has found that musical happy place that so many musicians strive for but never seem to find. Gambale's six string pyrotechnics run from the cool vibe and funk fortification to the foot to the floor ability to touch your soul and set your hair on fire all at the same time Soulmine has more hooks than a fisherman's hat. A cool groove, shifting meter and a deceptively subtle harmonic development all designed to enhance the vocal/guitar musical exchanges that are predominant on this eloquent release. A recording of note and absolutely a 5 Star gem!”
The Entertainment Bank: “Grammy winning guitarist Frank Gambale delivers an outstanding new recording in Soulmine that reflects a career of innovative playing. The arrangements on Soulmine feature Gambale's beautiful wife Boca, an amazingly talented vocalist whose voice is soothing, seductive, and made for jazz. While her presence and artistry of expression clearly set the tone on the first tune, ‘Love Set Me Free,’ there's something on the album for all listeners. Boca's vocal style is engaging and there is a passion that clearly comes through in her performances.

Jazz fans who miss the days of the fresh, creative, and authentic music of Jazz-Rock and Fusion will appreciate uncompromising harmonies and influences ranging from Latin to Pop, and I'm smiling because I've missed Return to Forever, and Brand X. A big thank you to Frank Gambale for not forgetting to how to bring it! This album is sure to garner another Grammy nomination, and is a must have for any serious jazz collector and music lovers who enjoy good music in general.”

Smooth Jazz Therapy: “…they tastefully deliver ten jazzy, pop-orientated tunes that should play well to the adult contemporary market. One eye catcher is the zesty ‘Live Your Dream’ that includes a typically ‘off the chain’ organ solo from Brian Auger but the first song to be serviced to radio is ‘Forbidden Kiss’. With an easy grooving Latin vibe, which, in equal measure, shows off Gambale’s virtuosity and Boca’s ability to handle a tender tune, it’s a number that I predict will do well.”

Indie Rock Reviews: “…you won’t be able to deny that the soulful blend of guitar and vocals will put you in the mood, or perhaps at least broaden your musical appreciation.”

http://www.frankgambale.com/
http://www.frankgambalesoulmine.com/.

OTTMAR LIEBERT RELEASES "DUNE" AND ANNOUNCES TOUR DATES

Much like the changing weather, flamenco guitarist Ottmar Liebert embodies a shift in seasons with the new sounds heard on his recently released album titled Dune. Liebert and his band Luna Negra are bringing their famous contemporary southwest flamenco sounds on the road during their North American Summer 2012 tour.

Dune, Liebert's latest airy, rhythmic and funky contemporary flamenco album, takes listeners on a voyage through a global dreamscape. Experience the journey during Liebert's North American Summer 2012 tour. "The music projects the listener into a different space," said Gaynell Rogers of Press & Release Entertainment, promoters of the tour. "It creates room for each listener's personal Dune encounter."

The album's 15-tracks, bookended by brief mood locators that weave in and out of the mysterious world of night and shadow, are packed with texture, combining traditional acoustic guitar with modern electric instruments. Throughout the album, Liebert switches between scales, beats and melodies from across the globe, blending heart-pumping percussion with accordions, Memphis bass lines and trumpets.

"I wanted to play guitar melodies that sounded sung," said Liebert. "For some reason I kept thinking about old jazz and pop crooners, so I sang almost every melody first and then figured out how to play it on guitar."

The album, sometimes described as Flamenco noir, is a mysterious nocturnal narrative about a horse, the desert, the moon, swirling sand and spiraling smoke that leads to a place of power, the Dune. Rogers believes Dune is a testament to Liebert's brilliant and mysterious artistic nature, and is destined to join the five-time Grammy nominee's collection of Gold and Platinum Records.

Dune features Liebert on acoustic and electric guitars, Jon Gagan on acoustic upright bass, electric bass guitars and keyboards—including clavinet, Char Rothschild on accordion, and Robby Rothschild and Chris Steele on percussion instruments.

Upcoming tour dates:
Jul 24 - Spokane, WA @ Bing Crosby Theater
Jul 25 - Yakima, WA Season's @ Performance Hall
Jul 26 - Bend, OR @ Tower Theater
Jul 27 - Portland, OR @ Alberta Rose Theater
Jul 28 - Seattle, WA @ The Triple Door
Jul 29 - Seattle, WA @ The Triple Door
Jul 30 - Grants Pass, OR @ Rogue Theater
Aug 1 - Napa, CA @ Napa Valley Opera House
Aug 2 - San Francisco, CA @ Yoshi's
Aug 3 - San Francisco, CA @ Yoshi's
Aug 4 - San Francisco, CA @ Yoshi's
Aug 5 - Costa Mesa, CA @ Orange County Fair
Aug 6 - Santa Barbara, CA @ Soho
Aug 8 - Sacramento, CA @ Harlow's
Aug 9 - Livermore, CA @ Livermore PAC
Aug 11 - San Diego, CA @ Anthology
Aug 12 - San Diego, CA @ Anthology
Aug 18 - Denver, CO @ Soiled Dove
Aug 19 - Aspen, CO @ Belly Up
Aug 22 - Dallas, TX @ Granada Theater
Aug 24 - Austin, TX @ One World Theater
Aug 25 - Houston, TX @ Dosey Doe
Aug 26 - Houston, TX @ Dosey Doe

http://www.ottmarliebert.com/

NEW RELEASES - RICK GERMANSON QUARTET, CHRIS GREENE QUARTET, BILLY MARTIN & WIL BLADES

RICK GERMANSON QUARTET WITH EDDIE HENDERSON - LIVE AT SMALLS

The rhythms are wonderful here – really old school hardbop sounds, set to rock-solid piano from Rick Germanson – and driven onwards by the bass of Paul Gill and drums of Lewis Nash! And if that's not enough, the album also features excellent work on trumpet from Eddie Henderson – stepping out here in a mix of sweet and hard styles that's mighty nice – almost more openly expressive on this record than we've heard him in years! The Smalls Live series is a perfect setting for Germanson's talents – and really helps the player come to the forefront not just as a soloist, but as a leader who can really shape the sound of his group. Titles include "Edge", "Lester Left Town", "Shorter Waltz", "Say It", "Interloper", and "The Single Petal Of A Rose". ~ Dusty Groove

CHRIS GREENE QUARTET - A GROUP EFFORT 

A cooking group effort from the Chris Greene Quartet – a great Chicago combo we've watched grow tremendously with each previous release – stepping out here in their first-ever live recording! Greene's got a soulfully sophisticated approach to his saxes that really belies his Windy City roots – with this great way of stretching out on the solos, yet still keeping things real – a bit like Eddie Harris at his best, with the depth of Eric Alexander on tenor,but with some deeper sounds too – which come through especially strong on the album's extended tracks. The rest of the group features electric piano, bass, and drums – and titles include the originals "Shore Up", "Future Emperor Of Evanston", "State", and "Three & Six" – plus a nice cover of "Blue Bossa". ~ Dusty Groove

BILLY MARTIN & WIL BLADES - SHIMMY 

A funky funky shimmy from Billy Martin and Wil Blades – a very spare, stripped-down set that's heavy on drums from Martin, and lots of great Hammond and clavinet from Blades! The groove is a lot more focuses, and decidedly more gritty than we've heard from either player of late – almost a return back to 60s soul jazz roots than inspired them both – but touched with some tight 70s funk on the rhythms as well! Tracks include "Deep In A Fried Pickle", "Les & Eddie", "Pick Pocket", "Mean Greens", "Brother Bru", "Toe Thumb", and "Little Shimmy". ~ Dusty Groove