NEW RELEASES - INTERSTATIC, DOJO CUTS, MUCCA PAZZA

INTERSTATIC

Interstatic is a group that consists of veteran keyboardist-composer Roy Powell, guitarist Jacob Young and drummer Jarle Vespestad. This is only the second release overall, following their ambitious 2011 outing, Anthem. The album is available through Rare Noise Records and is available on CD and 24bit-Flac digital download.  Seamlessly combining elements of jazz, experimental, ambient and rock, the scintillating power trio stretches in typically intense fashion, extending the organ trio tradition established by Jimmy Smith and taken to realms beyond on such groundbreaking recordings as Tony Williams Lifetime’s Emergency! (with Larry Young and John McLaughlin) and John Abercrombie’s Timeless (with Jan Hammer and Jack DeJohnette.) InterStatic is the trio formed by Roy Powell (of Naked Truth) on Hammond Organ, Jacob Young (Mathias Eick, Trygve Seim) on guitar and Jarle Vespestad (SuperSilent, Tord Gustavsen) on drums - Psychedelic Nordic Jazzrock for the 21st century. ~ rarenoiserecords.com

DOJO CUTS FEATURING ROXI RAY - TAKE FROM ME
A tremendous step forward for Dojo Cuts – a record that has the funky ensemble from down-under really finding their own groove – and coming across with a sound that's a lot tighter than before! We liked these guys from the start – but this time around, they really win us over even more – with a funky focus on the rhythms that really sets the record on fire from the very first note – and helps provide a wonderful platform for the all-soul vocals of Roxie Ray – who herself sounds a lot deeper and more mature than before! There's nothing we love more than watching a group grow up over the years – and this sweet second set definitely has Dojo Cuts doing just that – returning all our previous faith in them with even greater grooves. Titles include "El Entro", "Mamacita", "In This Moment", "Sonny's Strut", "I'd Rather Go Blind", "Take From Me", "What Do I Have To Do", and "Easy To Come Home". ~ Dusty Groove

MUCCA PAZZA - SAFETY FIFTH
Fantastic sounds from one of our city's greatest groups of the past decade – the mighty Mucca Pazza, a darn funky band who are heavy on horns, but move with an incredibly lean groove! The label describes the group as "the marching band that thinks it's a rock band" – but we've always found these guys to be even more playful than that – not rock, but kind of a multi-instrumental "happening" – especially when they crop up at street performances – which are always as visually stimulating as they are musically groovy! This full album represents the group even better than we might have imagined – with a great focus on the harder-romping sound of their music. Titles include "Sexy Bull", "Marcia Anormale", "Boss Taurus", "Monster Tango", "Rabbits & Trees", "Last Days", "Sunday Showing (part 1)", and "Coolashell". (Includes download card & bonus tracks.) ~ Dusty Groove 

DAVID FIUCZYNSKI - PLANET MICROJAM

Guitarist and Berklee School of Music educator. David “Fuze” Fiuczynski has arrived at the global crossroads on Planet MicroJam - which  combines jazz harmony, ethnic folk melodies and a delicious groove. While drawing on the influence of classical composers and microtonal pioneers like Julian Carrillo, Alois Haba and Ivan Wyschnagradsky, Fuze adds in his own unique flavors, inherent sense of groove and improvisational daring on fretless electric guitar on this audacious and mesmerizing release on RareNoise Records.

“I’m trying to be the Gaugin of fusion,” says Fiuczynski, director of the Microtonal Groove Institute at the Berklee College of Music. “I very much think in colors. That’s a big thing for me. I want to create music that sounds like a Gaugin painting…an extremely colorful mix of Eastern and Western elements. And for me, the music on this new record is that.” From American Delta blues to the Arabic call to prayer, Chinese and Moroccan melodies, jazzy improvisations and funkified grooves, Fuze has concocted a tasty non-tempered gumbo on Planet MicroJam. Accompanied by current and former students in his program at Berklee (bassists Evan Marien and David Ginyard, keyboardists Evgeny Lebedev and Takeru Yamazaki, drummers Jovol Bell and Eric Kerr, violinist David Radler), the maverick guitarist stakes out unprecedented territory on this provocative new release, his eighth overall as a leader. Drum masters Jack DeJohnette and Kenwood Dennard appear as special guests on four tracks.

The album will be released on June 25th on CD and 24 bit-Flac digital download.

http://www.rarenoiserecords.com/

KENNY G / RAHUL SHARMA - NAMASTE INDIA

Namaste is a collaborative album crafted by Rahul Sharma – a native of India’s Kashmir region and a third-generation master of the exotic, 100-string santoor – and saxophonist Kenny G, a multiple Grammy-winning titan on the contemporary jazz landscape for more than two decades. This unusual and daring project captures the best of these two musicians – with a chill ambiance set up by mixer/producer extraordinaire Kid Tricky, (along with Walter A. and Soul Seekerz) – is set for release on June 26th, 2012 by Concord Records.
The evolution of Namaste is a fascinating story of two artists transcending cultural boundaries, beginning when Sharma, who first learnt the santoor from his father the legendary santoor maestro Pandit Shiv Kumar Sharma, approached saxophonist Kenny G during the latter musician’s performance in Mumbai a few years ago. Sharma, who has developed a substantial domestic and international following since the late 1990s via more than 50 studio recordings and extensive touring, introduced himself to Kenny by presenting him with a few of his CDs during his visit. Some informal discussions ensued, and an idea quickly took shape to collaborate on a studio recording by emailing music files back and forth from opposite ends of the globe and two very diverse musical perspectives.

The result was Namaste India, released in India in 2011, a collection of seven tracks that were deeply rooted in the traditions of Indian folk and classical music, but were also finely embellished with saxophone solos and accompaniments of an unmistakably Western orientation. As musical and cultural marriages go, it was a thing of beauty.

“It was an experiment to see how the santoor and the saxophone would work together,” says Sharma. “I knew Kenny would add so much to the compositions. But when I listened to the final results, I thought, ‘Wow, this is even better than I expected.’ The way he ended many of the tracks with a few simple notes was such a beautiful complement to the entire composition. He would improvise in a way that was so unexpected, and then find a way to fit it back into a melody that wasn’t typical of the kind of music he has recorded in the past.”

Kenny G, for all of his artistic and commercial success over the past two decades as a composer and an improviser, admits that working his way into Sharma’s tracks was no routine task. “It wasn’t the usual formula of playing the melody, improvising, repeating the melody, and then doing an ending,” he says. “It was more a question of ‘Where do I fit in? What notes do I play that will best serve this piece of music?’ But it was fun. It was an opportunity to just experiment with the sounds and notes and phrases. Little by little, over the course of several months, we put together the first few songs, and we realized, ‘Hey, I think we have something going here…’”

John Burk, Executive Vice President of A&R at Concord, was immediately taken with the album’s seductive world beat, but wondered whether there might be a way to enhance the overall set with a chill mix to bring the subtle backbeat slightly more to the forefront without losing the music’s inherent mystical essence.

Enter mixer/producer Marc Burrows, also known as Marc JB of the UK dance music group Bimbo Jones, and operating on this project in the alternate guise of Kid Tricky. Burrows reconfigured the entire album with a shade more rhythmic presence, and isolated a couple songs – namely the title track and the otherworldly “Transcendental Consciousness” – for a full remix. “In some ways,” says Burk, “the album is actually a three-way collaboration – mostly between Kenny and Rahul, but with a little bit of additional production from Kid Tricky.”

The set opens with Kid Tricky’s remix of “Namaste,” a track that walks a fine line between a hypnotic Eastern groove and the melodic solo lines and accents crafted by Kenny’s tasteful sax work. The entire track is underscored by a rhythmic beat that carries the song without being overly obtrusive.
In “Brahma Vishnu Shiva,” Sharma sets up the kind of rich foundation that only 100 strings can provide, but the arrangement allows plenty of room for the saxophone to deliver a well-balanced counterpoint to the santoor.

Further in, “Lotus Lovers” opens with a gentle but persistent combination of drumbeat and shimmering keyboards – a configuration that serves as the backdrop to a pleasant and engaging conversation between Sharma and Kenny. Kid Tricky inserts a slightly offbeat rhythm underneath “Valley of Flowers” that forces the listener to engage with the song even before the saxophone and santoor come in.
“Om Shanti” borrows riffs, vocal chants and other elements from two earlier tracks – “Namaste” and “Brahma Vishnu Shiva” – and weaves them into a hybrid piece that is familiar and yet new at the same time.

The album closes with remixed tracks that don’t appear on the original Namaste India, including a stirring version of “Transcendental Consciousness,” as reimagined by Walter A, and a rendition of the tile track remixed by the Soul Seekerz.
Indian music and contemporary jazz saxophone piped through chill mixes may seem like a gamble, but Namaste comes with a significant payoff. “At first it seemed like an odd combination,” admits Burk. “But then we listened to it and we realized that it was two great masters of their respective instruments getting together and doing something very innovative and even very daring. And it’s going to force people to hear Kenny in a way they may not have heard him before. This record provides a fresh glimpse of his versatility that sometimes gets forgotten in the shadow of such major success.”

But regardless of his own range and versatility, Kenny knows that there’s always more to be learned by taking chances and reaching across cultures. “I think the most important thing to come out of this project is the idea that two musicians from very different backgrounds with two very different instruments can find common ground and really make something innovative and interesting in the process,” he says. “We each just spoke our own languages to each other, and in the process we developed a language of our own. In the end, we figured out how to make something very intriguing and beautiful.

Official websites: http://www.blogger.com/www.kennyg.com/%20http://rahulsantoor.com

Facebook: http://www.facebook.com/KennyG
Twitter: http://twitter.com/#!/officialkennyg

DEAD CAPO - SALE

Dead Capo are a quartet that fluctuate between the classic sounds of jazz, the attitude of rock and the trepidation of surf. All of this seasoned with the cinema sounds of Rota or Morricone.

It's been ten years since their debut LP, Dísculo, made waves with the national critics in Spain. Their new album is once again surprising and the band sounds as fresh as when they started their journey at the end of the 90s. Sale combines an extraordinary energy with passages of meticulous precision and goes from wild to calm in a way that is both unexpected yet natural. Thelonius Monk, cartoons, cinematic landscapes, rock's past, Africa, surf and the ballad come together in an album as great as it is as unpredictable.
On the subject of the big gap between Dead Capo's albums, Licenciado Alfredo Martinez sheds some light: “This album solves a mystery that has been the talk of the town. I'm referring to the mysterious absence of Dead Capo. A decade ago, the instrumental combo burst onto the Madrid scene with their debut Díscolo. However, they've needed ten years for this underground, syncretistic masterpiece to continue.”

In actual fact, the members of Dead Capo were in jail for five years. They challenged the rules adopted for the Madrid Olympic bid, which prohibited performing secular songs within 250 meters of a church. They did so repeatedly, even cutting up Delito Por Bailar Chachachá, the venerable hit by the Orquesta Aragón, in what they themselves labelled "the deconstruction that our mayor deserves."

Happily, the group has benefited from the rehabilitation programs. They have performed regularly at cultural events. As representatives of Spain, they have traveled to festivals in Poland, Algeria, England and Ethiopia. Typing their name into search engines will deliver more details about these extraordinary missions of peace and harmony.

It seems that the loss of freedom enhanced the instrumental muscle of Dead Capo. Enjoying their parole, with a new line-up, Dead Capo have made an album with a revealing title: Sale. The band comes out of this with extraordinary energy, alternating between fragments of wild abandon and passages of meticulous precision.

Dead Capo - Sale Tracklisting:
1. Carnaza
2. Cicatrizando El Aire
3. Blade Runner (End Title)
4. Polvoriento
5. Well You Needn’t
6. Fat Dog Mendoza
7. Monkatis Revisited
8. Sunny Garcia
9. Bluesmonka
10. Sirope

ARTURO O'FARRILL - THE NOGUCHI SESSIONS

For some, each discipline in the arts is a self-contained universe, with its own materials and tools and ruled by its own laws. But great art transcends -- sometimes in unexpected ways. Consider the reaction of GRAMMY® Award winning pianist, composer and educator Arturo O'Farrill to the work of Japanese-American artist Isamu Noguchi (1904-1988).

I performed at a gala at The Noguchi Museum, and I noticed how in many of Noguchi's stone sculptures there's a section, maybe a side or an angle, that is unfinished," recalls O'Farrill. "He had such a mastery over these huge stone and metal structures, and yet he left parts of his raw material untouched. It's almost as if he were inviting the viewer to complete the piece, to enter the conversation."

Paradoxically, for O'Farrill these solid pieces "also capture the transient nature of life."
"When you are in a room surrounded by objects that weigh several tons, you definitely feel your fragility, the transience of being a bag of skin and bones. We are not permanent. And Noguchi captures that fleetingness of our lives in his work."
If all this struck a chord with O'Farrill it was in part because, as he sees it, "there is an unfinished quality to jazz. It's not supposed to be finished. The best jazz has a certain roughness. It's not supposed to be all perfectly polished."

It's not by chance, then, that O'Farrill chose The Noguchi Museum (in Long Island City, NY) as a setting for perhaps his most personal and challenging project to date: a recording of solo piano. "I have waited to record solo piano. It is the scariest thing a pianist can do. But that's not why," O'Farrill writes in his notes to The Noguchi Sessions. "I think it's because I feel a bit like an outsider."

In Noguchi, an American of mixed descent, O'Farrill, born in Mexico to a Cuban father and a Mexican mother but raised in New York, saw himself in an unexpected mirror. And in Noguchi's multifaceted approach to his work -- painting, drawing, sculpting and designing furniture, lighting, and public spaces -- he found a kindred spirit. O'Farrill has not only performed as a soloist, and led and composed for small and large ensembles (including the Afro Latin Jazz Orchestra), but also created his own organization. The Afro Latin Jazz Alliance is a non-profit organization committed to advancing the performance and educational aspects of the music -- just as Noguchi created his own museum.

"While I would not have the hubris to imagine myself as profound as the master," writes O'Farrill in his notes, "I think I understand why he felt this way and created his own path. It's about the art."
This recording, he continues, is "a chance to deal with all of these ideas: the idea of being an outsider, the idea of free improvisation, the recasting of tradition, and, most of all, the desire to honestly transmit the fleeting, the illusory, that which is like a vapor that is here one minute and then vanishes away."

For The Noguchi Sessions, O'Farrill simply set up his piano in one of the galleries of the Museum after closing time and played, recording the whole album in one sitting. The recording took place in what is known as Area 3 here.

"I had been working on some of these pieces for the past two years at the Puppet's Jazz Bar, a little club here in Brooklyn where I played every Wednesday. Sometimes I'd have 20 people, sometimes there would be two people," recalls O'Farrill. "It was a very interesting experience. By the time of the recording I had things all worked out. But when I sat down to play, I kind of abandoned the game plan I had and entered a very exposed and vulnerable, truly improvisational space."

The results are not just technically impressive but deeply affecting. The sum of the 12 pieces in The Noguchi Sessions paints a very personal musical self-portrait of O'Farrill.

The program touches on family ("Alisonia," inspired by the relationship with his wife Alison, and "In Whom," dedicated to his son Zack) and country (Stephen Foster's "O' Susanna," and "The Delusion of the Greedy," his commentary on the machinations of Wall Street). It nods to his familial roots in Cuba and Ireland ("Siboney" and "Oh Danny Boy") and his American life (Mingus' "Jelly Roll"); and it also captures O'Farrill in a couple of fully improvised pieces ("Once I Had a Secret Meditation," which grows out of "Once I Had a Secret Love," and "The Sun at Midnight," inspired by a Noguchi sculpture of the same name.

There are several instances in this recording in which certain themes or ideas are revisited in different pieces creating intriguing pairings: "O' Susanna," and "Jelly Roll," suggest two views of America; one is "a song .. with grotesque stereotypes," the other, a celebration of an open, inclusive country. "The Delusion of the Greedy," and "Oh Danny Boy," look at a place of deceit but also, on that September 11, 2001, a place of heroism and ultimate generosity.

"Alisonia," and "Mi Vida," the latter written to commemorate the fiftieth wedding anniversary of his aunt and uncle, offer two views on couples and relationships. And in "In Whom," and Randy Weston's "Little Niles," two fathers address their sons.

The strategy suggests O'Farrill circling around a certain subject, not unlike one might circle around a sculpture, illuminating it from different sides. Perhaps significantly, this was unplanned. "It just happened," he says. "But serendipity is less of an accident than we think."

And if O'Farrill's playing in The Noguchi Sessions has a certain indefinable quality, intense yet lyrical, consider it part of the pianist's response to Noguchi's work. "There is a thickness, a kind of dense quality to his work," says O'Farrill. "But I find that's one of the magical things about Noguchi's work: some of his pieces weigh tons, they would crush you if they fell on you -- yet they seem to soar. So when I sat down to playing, I tried to capture that density, that weight -- but also the lightness."

The Noguchi Sessions Track Listing:
Arturo O'Farrill / piano

1. The Sun at Midnight (A. O'Farrill) - 3:53
2. O' Susanna (Stephen Foster, David Dusing) - 4:26
3. In Whom (A. O'Farrill) - 5:16
4. Little Niles (Randy Weston) - 4:46
5. The Delusion of the Greedy (A. O'Farrill) - 5:28
6. Siboney (Ernesto Lecuona) - 5:39
7. Alisonia (A. O'Farrill) - 7:44
8. Once I Had A Secret Meditation (A. O'Farrill) - 2:56
9. Mi Vida (A. O'Farrill) - 5:00
10. Obsesión (Pedro Flores) - 6:53
11. Oh Danny Boy (Frederic Weatherly) - 6:36
12. Jelly Roll (Charles Mingus) - 3:03

Upcoming Arturo O'Farrill Tour Dates:
June 14 / Brooklyn Academy of Music R&B Festival at MetroTech / Brooklyn, NY
June 19, 21, 22 / Ginny's Supper Club @ Red Rooster Harlem / New York, NY
World premiere of Arturo O'Farrill's newest commission, The Offense of the Drum
June 23 / Rockwood Music Hall / New York, NY
June 24 / Ottawa Jazz Festival / Ottawa, ON
July 1 / Freihofer's Saratoga Jazz Festival, Saratoga PAC / Saratoga Springs, NY
July 12 / gWatson Gallery / Stonington, ME
July 21 / Celebrate Brooklyn, Prospect Park Bandshell / Brooklyn, NY

arturoofarrill.com 
afrolatinjazz.org

NEW RELEASES - BEL, EMELI SANDE, LISA McCLOWRY

BEL - MADE IN HAITI
Fresh out of Haiti and Brooklyn are a threesome named BEL who are poised to be one of the breakthrough Haitian bands of the era. With innovative live sounds and rhythms, BEL brings an eclectic mélange of Caribbean Soul and a taste of Hip Hop flavor. BEL stands strong behind their mission and music while embracing both Caribbean and American culture. BEL represents the ideal Caribbean young women and the quintessential American talent…though born in Brooklyn. Just as many children of immigrating parents, English is BEL’s second language. The fact that the stunning Caribbean beauties, were raised in the epicenter of New York's Caribbean community in Brooklyn, left, an invaluable sentiment of belonging to their native country, Haiti. For that reason alone, the duality of mixing English and Creole in BEL’s speech and style is quite abundant. Melanie Charles, Mickael Music, and China Blak are BEL, and the truly represent the word “BEL” which means beautiful and the 3 letter spelling is not by chance: B = beautiful, bold, belle, the beat!; E = elegant, electric, exotic!; and L = simply stands for…..lovely! ~ belmusiconline.com

EMELI SANDE - OUR VERSION OF EVENTS

Emeli Sandé's debut album, Our Version Of Events, reveals Sandé to be an uncompromising creative musical force. Throughout the album, Sandé creates a heady and complex soundscape to showcase her towering talent. There's the strings-drenched epic track "Daddy," which is currently featured as free iTunes Single of the Week, and the hypnotic "Heaven" (early-'90s drum-and-bass topped off by her glorious, soul-stirring voice). But while the record bears a sharp and shining retro-futurist feel, it's also rife with raw emotion—a phenomenon that Sandé credits to a dogged commitment to acting on instinct. Alicia Keys was so impressed that she has been writing with Sandé for her next album and co-wrote and produced the track "Hope" on Our Version of Events. ~ giantstep.net

LISA McCLOWRY SINGS ACOUSTIC ALCHEMY


Lisa McClowry Sings Acoustic Alchemy gets off to an energetic start with the funky pop-gospel flavored drive time jam “Got To Share This Feeling,” adapted from “Aart Attack.” McClowry’s infectious enthusiasm continues on the bluesy gospel vocal rocker “Knocking At The Door,” which features lively horns, a playful keyboard solo and a choir backing the singer’s fiery lead vocals. McClowry’s soulful and jazzy vocals over the dancing guitar melody of “Beautiful Mess” (from “No Messin’”) convey a quirky reflection of life and the ability of us all to make it through complicated situations. Taking her cue from a Frank Sinatra song with a similar title, the singer infuses the snappy “Best Is Yet To Come” (from “Ariane”) with a lighthearted reminder about darkness preceding the dawn and the possibility of new beginnings. Continuing on that theme, the tropical, samba flavored “Celebration Day” (from “Playing For Time”) finds McClowry toasting the happy times ahead after putting the bad days behind her. ~ lisamcclowry.com

IN THE DARK - THE SOUL OF DETROIT (CD / DVD / BONUS TRACKS)

An excellent collection of soulful house from the Detroit underground of the mid 00s onward – one that's bubbling over with great work from lesser-known talents – all of whom come together to prove that these days, Detroit's one of the most happening music scenes on the planet! There's a really unified feel to the record, despite the presence of so many different artists – and much of the work here is kind of a homegrown version of the better-known cosmic grooves that have been emanating from the city in the work of Amp Fiddler, Ayro, and others in recent years. There's perhaps a bit more of a house-heavy vibe here than those references might imply – but the sound is cosmically soulful all the way through, with some great vocals on the best tracks!

Titles include "Everybody (Amp Fiddler rmx)" by Courtney Jackson, "Melodies From The Jazz Republic" by Mick Huckaby, "Cosmic Jungle" by Rick The Godson Wilhite, "Ecoutez" by Keith Worthy & Malik Alston, "The Feeling Of Love (Amp Fiddler rmx)" by Anetria Wright, "Hot N Funky" by Delano Smith, "Sugar (Amp Fiddler rmx)" by Patchworks, "In The Dark" by Raybone Jones, Marcellus Malik Pittman, & Rick The Godson Wilhite. 2012 version includes the bonus track "Bosmos" by Rick The Godson Wilhite & Kenny Dixon Jr (Moodyman) plus DVD bonus disc: In The Dark: Voices, shot in Detroit by Chris Bravo and featuring Ron Trent, Franki "DJ 3000" Juncaj, Mike Huckaby, Diviniti & Pirahnahead and many more. ~ Dusty Groove

THE COPENHAGEN JAZZ FESTIVAL LINEUP ANNOUNCED

At a recent press conference at Hofteatret The Copenhagen Jazz Festival announced the final lineup for the 2012 Festival, taking place July 6-15. With a record-breaking number of concerts, the well-respected Festival is bigger and more diverse than ever.
This year's headliners include jazz greats such as Brad Mehldau, Wayne Shorter, Jim Hall, Joe Lovano and John Scofield, as well as world music stars like Anoushka Shankar, Tony Allen and Concha Buika. True to tradition the festival also features artists one wouldn't normally label jazz - among them Neneh Cherry, Nosaj Thing, Mikael Simpson and Choir of Young Believers. The latter will perform a special expanded version of their critically acclaimed record "Rhine Gold" at The Royal Theater's Old Stage - this year's most used concert hall venue with a total of five concerts. Koncerthuset will host two concerts during the festival, inviting people in for musical treats by Anoushka Shankar and Caroline Henderson.

Like previous years the festival will feature a handful of themes, each representing entrance points to the expansive programme. One of these - titled 21st Century Jazz - will take the pulse of modern jazz in the newly reopened Jazzhouse and present new American names like trumpeter Ambrose Akinmusire and pianist Gerald Clayton, as well as Nordic forces like trumpeter Goran Kajfes and avant-garde trio The Thing (with Neneh Cherry). Jazzhouse will also house concerts with Britain's Portico Quartet and James Blackshaw, Australian trio, The Necks, and the Japanese vocal phenomenon, Koichi Makigami, besides the main attraction: A two night tribute to the legendary Wayne Shorter by a superb quintet lead by Joe Lovano and Dave Douglas.

As the name suggests, the theme Something Else presents something completely different. Teitur, Hymns from Nineveh and Mikael Simpson will no doubt have the jazz police combat-ready and fully armed - unless of course they chose to patrol Carlsberg to make sure the returning theme Classic Jazz Tributes goes down without any disturbances.

Another of the festival's most beloved themes has also gotten a reelection: Jazz by the Sea at Kulturhuset Islands Brygge will host names such as Sinne Eeg, Bassekou Kouyate, Concha Buika and Ibrahim Electric.

The world music theme in Pressen at Politikens Hus has moved one continent west from last year's The Sound Of Africa and taken a new name: The Sound of Brazil. Here you can move your feet to the sound of legendary Milton Nascimento, while Statens Museum for Kunst hosts State Sessions indoor and Jazz for Kids in Østre Anlæg just on the other side of the window. For the first time the festival's youngest audience will also find jazz directed at them in Lindevangsparken at Frederiksberg.

A great number of new venues have been added to this year's festival. A few mentionable are Hofteatret where leading Danish jazz profiles like Jakob Bro, Lotte Anker, Simon Toldam and Jacob Anderskov can be heard with special projects featuring international jazz legends, while Teatret ved Sorte Hest will open its doors for a single night of avant-garde madness by John Cage performedby a special ensemble lead by Søren Kjærgaard, and Betty Nansen will offer concerts by Lee Konitz and Brian Blade Fellowship Band. And of course the city will brim with free concerts at Kongens Have, Sankt Hans Torv, Gråbrødre Torv, Vandkunsten, Østerfælled Torv, and Ofelia Beach among others, just as you once again can climb The Red Roof at DGI-byen for another treat of Jazz Remixed.

The 34th rendition will, in other words, span local and hip establishments, the city squares, streets and parks, the jazz clubs and major concert halls. The venue list totals approximately 110 excited venues spread out over the whole of the city, Valby, Frederiksberg, and Amager.

Copenhagen Jazz Festival
July 6-15, 2012

Wayne Shorter Quartet (US), Brad Mehldau Trio (US), Anoushka Shankar (IN), "Miles Smiles" (US), Tony Allen (NI), Joe Lovano/Dave Douglas Quintet (US), Vijay Iver Trio (US), Jim Hall (US), Neneh Cherry & The Thing (SE/NO), Goran Kajfes (SE), The John Scofield Hollowbody Band (US), Brian Blade Fellowship Band (US), Christian Scott Quintet (US), Lee Konitz (US), Mulgrew Miller (US), Charlie Hunter (US), Koichi Makigami (JP), Yasuhiro Yoshigaki (JP),Concha Buika (ES), Milton Nascimento (BRA), Bassekou Kouyate (ML), Jakob Bro feat. Jon Christensen & Thomas Morgan (DK/NO/US), Han Bennink Trio (DK/NL), Choir Of Young Believers "Rhine Gold" (DK), Caroline Henderson (DK), Leszek Mozdzer (PL), Oumou Sangaré (ML), Mike Stern (US), "Suddenly, Silence: An Evening of John Cage" (DK/DE/FR) + many others

http://www.jazz.dk/

ROBERT CRAY BAND - NOTHIN BUT LOVE

Legendary guitar icon, 5x Grammy winner and 15-time Grammy nominee Robert Cray releases Nothin But Love- his much anticipated sixteenth studio album August 28, 2012 on the Provogue label. Produced by famed rocker Kevin Shirley (Aerosmith, Led Zeppelin) Nothin But Love captures Cray at his finest with material from all four Robert Cray Band members; Cray (vocals/guitar), Jim Pugh (keyboards), Richard Cousins (bass) and Tony Braunagel (drums) that blends blues, rock, soul and jazz.

Recorded at Revolver Studios in LA, the ten song CD features the soaring breakup blues of "Won't Be Coming Home," the jazz chops of "I'll Always Remember You," the soul-drenched ode to repossession "Great Big Old House" and the frantic '50s-flavoured rocker "Side Dish."

Recently inducted into the Blues Hall of Fame (at 57 years, the youngest living inductee) Cray is considered "one of the greatest guitarists of his generation." Rolling Stone Magazine (April 2011) credits Cray's Strong Persuader with reinventing the blues with his "distinct razor sharp guitar playing" that "introduced a new generation of mainstream rock fans to the language and form of the blues."

Cray has recorded fifteen Billboard charting studio albums, performed thousands of sold out shows, and has written or played with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker.

With over 12 million records sold and his own line of Fender guitars, Cray has established himself as a genre defining artist- breaking through the pop ceiling with his gate crashing/blues-edged trademark sound and distinct style that has become a signature blend of r&b, pop, rock, soul and traditional blues. The New York Times says, "his voice, alternately smooth and craggy, is often richer and more emotive than Mr. Clapton's, and he knows the best ways to use it," while Guitar Player Magazine noted, "Robert Cray is not only making great music he's making history..."
Never one to rest on his laurels, Robert Cray is once again laying down his cards, testing his talent, fusing that dazzling voice to some of his most powerful material in three-decades and offering his fans Nothin But Love.

http://www.robertcray.com/

BRECON JAZZ FESTIVAL ANNOUNCES LINEUP

The world-famous Brecon Jazz Festival, set in the Brecon Beacons in beautiful mid-Wales, returns between the 10th-12th August and we're delighted to offer three lucky winners pairs of tickets for a gig of their choice.


This year's fantastic line-up combines top UK talent such as Ginger Baker, Gwilym Simcock, The Neil Cowley Trio, Claire Martin, Stan Tracey, Andy Sheppard, YolanDa Brown, Kit Downes and Soweto Kinch with some major international names including Dionne Warwick and Roy Ayers.

Here are some of the festival highlights:

Huw Warren, Thomas Strønen, Peter Herbert: Friday 10th August: 18.00: Brecon Cathedral: WOMEX

A unique international collaboration devised by Brecon Jazz 2012 artist in residence Huw Warren, one of the most eclectic composers / musicians in the UK, with the Welsh pianist teaming up with some of the most creative and innovative players on the international jazz scene. Thomas Strønen is at the forefront of the vibrant Norwegian scene on drums, percussion and electronics, working solo and with Meadow, Humcrush and Food (duo with UK saxophonist Iain Ballamy on Saturday at Brecon), and eclectic Austrian bassist Peter Herbert

Ginger Baker’s Jazz Confusion: Friday 10th August: 18.30: Theatr Brycheiniog

Legendary rock drummer, Ginger Baker, renowned for his work with Cream and Blind Faith, teams up with tenor saxophonist Pee Wee Ellis, bassist Alec Dankworth, and African percussionist Abass Dodoo for some progressive jazz originals in a Thelonious Monk style with exciting African rhythms.

Neil Yates: Five Countries: Friday 10th August: 20.00: Brecon Guildhall

Trumpeter Neil’s music has been described by Jazz UK as "fresh, vibrant and original,” as “a rare sound innovator” and “a discreet virtuoso” by The Guardian. Five Countries was released in 2011 on Cardiff's Edition Records to great acclaim. Brecon Jazz 2012 will see Yates performs evocative music from the album in an intimate trio with Hungarian/Romanian acoustic guitarist Zsolt Bende and Jim Hart on vibraphone and percussion.

Kit Downes Quintet Friday 10th August: 21.00: Brecon Cathedral

Described by The Observer as 'Everyone's favourite young pianist… unpretentiously brilliant and full of subtle touches,' Kit’s debut album 'Golden' received a Mercury Prize nomination, he is a gifted composer and sparkling improviser, whose music has a cinematic, storytelling quality that draws the listener in.

Dionne Warwick: Friday 10th August 2012 : 20.30 : Brecon Market Hall

'Scintillating', 'soothing' and 'sensual' best describe the familiar and legendary voice of this cornerstone of American pop music and culture. Warwick's career this year celebrates 50 years, and has established her as an international music icon and concert act, with more than sixty charted hit songs and over 100 million records sold. She began singing professionally in 1961 after being discovered by Burt Bacharach and Hal David. She had her first hit in 1962 with 'Don't Make Me Over' and followed up with classics such as 'Walk On By', 'Anyone Who Had a Heart' and 'Say A Little Prayer'.

Indigo Kid: Saturday 11th August: 15.00: Brecon Guildhall

“An encounter between two generations of musicians that makes us think back to how much there is to discover in the British scene.” All About Jazz. Indigo Kid's leader is guitarist/composer Dan Messore, a player with a warm, full, tone and a talent for moderately paced but fluid single note runs. He shares the frontline with tenor saxophonist Trish Clowes, whilst rhythmic foundations are provided by bassist Aidan Thorne and drummer James Maddren. The quartet has an acute sense of dynamics and pace, giving Messore's compositions a vibrancy and emotional connection that heightens their impact.

Trio Libero: Sat 11th August: 18:00: Brecon Cathedral

'The coolly moody tunes seep through your speakers like a series of poetic mists. Performing the graceful trick of being both airy and weighty, it’s a wintry treat'. The Metro. Trio Libero is British saxophonist Andy Sheppard, French bassist Michel Benita and British drummer Seb Rochford. From Rochford's part in Polar Bear to Benita's collaborations with Archie Shepp and Lee Konitz, Trio Libero is shaped by three leading individuals from today's jazz scene.

Lighthouse: Saturday 11th August: 19:00: Theatr Brycheiniog Jazz4Jed

The FT said: 'Three remarkable musicians with an uncanny unity of thought and feeling. Virtuosity may be taken for granted nowadays, but this music demands it.' The hugely successful trio punch deep into exciting groove-based tunes, inspired Celtic rhythms and an eclectic mix of Chick Corea, Bill Bruford, Yellowjackets, John Coltrane, and DJ Carl Cox. Grammy winner Tim Garland and Mercury-nominated pianist Gwilym Simcock are two of the most outstanding composers of our time in both Jazz and classical genres and are regarded as among the very best in the world on their respective instruments. They are joined by Asaf Sirkis on drums and percussion. This concert is a tribute concert to Jed Williams, one of the founders and the long-time Artistic Director of the Brecon Jazz festival, and a fundraiser for Jazz4Jed, the bursary established in his name to help Jazz talent in Wales.

Paula Gardiner Trio: Saturday 11th August: 20.00: Brecon Guildhall

'… a remarkably wide sonic palette for a trio' The Jazzman.com One of Britain’s most lyrical and melodic bass players, Paula Gardiner is also an accomplished classical guitarist and flautist. Her presence on the Welsh Jazz scene and with Brecon in particular, has been an inspiring one, having played at Brecon Jazz since 1986, Paula also heads up the Jazz course at the Royal Welsh College of Music & Drama, and is the Honorary President of the Swansea-based organisation, Women in Jazz.

Roy Ayers: Saturday 11th August: 21.00: Market Hall

Vibraphonist/vocalist Roy Ayers is among the best-known, most-loved and respected jazz/R&B artists on the music-scene today. Now in his fourth decade in the music business, Ayers, known as the Godfather of Neo-soul, continues to bridge the gap between generations of music lovers. His music has been sampled by industry heavyweights including Mary J. Blige, Erykah Badu, 50 Cent, A Tribe Called Quest, Tupac and Ice Cube.

Claire Martin: Saturday 11th August: 21.30 : Brecon Cathedral

The New York Times said of Claire: 'In an era when young jazz singers tend to sound far too much like their idols, there is no mistaking the voice of Claire Martin who combines a cool, burnished tone with the ear of a born musician'. Claire’s trademark cocktail of standards, sass and swing has her marked down as one of the finest female British jazz singer of her generation, and she is the voice of BBC Radio 3’s weekly Jazz show ‘Jazz Line Up'.
YolanDa Brown: Sunday 12th August 2012 : 14.30 : Theatr Brycheiniog

'An animated saxophonist who sounds as if she listens to Sonny Rollins as much as to the soul-sax tradition, Brown has a big, lustrous sound and considerable subtlety.' The Guardian. Double MOBO Award-winning saxophonist Yolanda is one of the most exciting, in-demand live performers, widely regarded as the emerging voice of mainstream Jazz in the UK. She has toured with The Temptations, Errol Brown, Courtney Pine and Diana Krall and collaborated with artists such as Mica Paris, Soweto Kinch and as part of Jools Holland’s Rhythm & Blues Orchestra.

The Joe Webb Trio: Sunday 12th August: 15.00: Brecon Guildhall

Fronted by young Welsh jazz pianist, Joe Webb, the band was formed in 2009 when Joe met bassist Huw V Williams and drummer Lloyd Haines whilst studying at the Royal Welsh College of Music and Drama. The band have played around the country through various different projects and earlier this year they recorded for the first time featuring all Joe's compositions on an album called ‘Night Song’.

Alan Barnes Duo: Sunday 12th August 2012: 13.30: Brecon Cathedral

Jazz Review said of Alan: “Barnes underlines his position as a key figure on the UK scene. He is a fluent, inventive improviser on a number of horns who can swing with the best of them.” Alan came to our attention through the Pasadena Roof Orchestra, the Jazz Renegades, and for a decade ran the Pizza Express Modern Jazz Sextet with Gerard Prescencer and Dave O’Higgins. He has worked with the leading big bands, and is a member of Guy Barker’s Orchestra. In 2001 and 2006 he received the prestigious BBC Jazz Instrumentalist of the Year award. He appears at Brecon with long-time collaborator, the pianist and composer Dave Newton, who has been voted Best Jazz Pianist six times in the British Jazz Awards.

Stan Tracey and Bobby Wellins Play Monk: Sunday 12th August: 16.30: Brecon Cathedral

“Stan really is a national treasure. In his 80s, he's playing better than ever.” Jazzwise. The collaboration between Stan Tracey and Bobby Wellins, which began in the early Sixties, has produced some of the finest jazz this country has ever heard, including the classics ‘Under Milk Wood Suite’, ‘Alice In Jazz Land’, and a host of other recordings since then. Stan Tracey and Bobby Wellins, as part of a quartet featuring Andy Cleyndert and Clark Tracey, will perform the music of Thelonious Monk, a major influence on them, at the majestic Brecon Cathedral.

The Soweto Kinch Trio: Sunday 12th August: 18.30: Theatr Brycheiniog

The Guardian said of Soweto: “It’s a clever and entertaining juxtaposition of idioms that kicks pure Jazz and authentic rap into a brave new world.” Soweto Kinch is one of the most exciting and versatile young musicians to hit the British Jazz and Hip Hop scenes in recent years, whose appeal traverses the underground and mainstream audiences of both genres. Fortunate in counting Courtney Pine OBE and Gary Crosby as mentors, as a saxophone player, Soweto rapidly developed his own rich, energetic and dynamic sound. Soweto’s ‘Conversations With The Unseen’ was nominated for a Mercury Music Prize and he has earned a clutch of awards over the years, including the MOBO Award for Best Jazz Act 2003.

Black Mountain Jazz: Sunday August 12th: 20.00: Brecon Guildhall

Black Mountain Jazz presents The Sarah Gillespie Quartet featuring Kit Downes (piano), eclectic Jazz sounds with lyrics influenced by Dylan, Joni Mitchell, and Bessie Smith. The quartet features pianist Kit Downes, who appears elsewhere on the Brecon programme. The quartet also has the versatile and creative Enzo Zirilli on drums and the great rhythmic drive of Ben Bastin on double bass.

The Neil Cowley Trio: Sunday 12th August: 20.30: Brecon Cathedral

“A smart splicing of punchy themes and chord--‐belting, rock--‐piano climaxes… it's hard to resist its eager warmth, and invitation to dance.” The Guardian. A dazzling composer, pianist Cowley creates deeply engaging, and dynamic music that journeys between poetic and poignant, pomp and splendour to powerful rip-roaring riffs. It is instrumental music that references Debussy and Steve Reich as much as Spiritualized and Arcade Fire, and is powerful enough to break down standard perceptions of genre. Its sheer emotion and energy touch lovers of all music.

Tickets for all shows will be available from www.breconjazz.com from Saturday 9th June. The box office telephone number is 01874 611622 (Theatr Brycheiniog) and the 24-Hour telephone booking number is 0844 858 8521.

~ jazzfm.com

SHEILA E. 2012 SUMMER TOUR

Sheila Escovedo was born into a musical family. The eldest child of Pete and Juanita Escovedo (she has two brothers, Juan and Peter Michael, and one sister, Zina), she started playing with the family instruments at the age of 3.

Sheila was obviously influenced by her father Latin jazz legend and timbalero Pete Escovedo (then band leader of the influential band Azteca) while watching him rehearse. At 5 years old, she made her concert "debut" at the former Sands Ballroom in Oakland, as she was invited on stage by her father to play a solo in front of an audience of 3,000. At that moment, Sheila knew exactly what she wanted to do: she was going to be a percussionist.

From age 17, Sheila has recorded and toured extensively with renowned artists such as Babyface, Billy Cobham, Natalie Cole, George Duke, Pete Escovedo, Gloria Estefan, Marvin Gaye, Herbie Hancock, Stevie Nicks, Patti LaBelle, Cyndi Lauper, Prince, Lionel Richie, Diana Ross, Ringo Starr, Tito Puente, Don Was, Stevie Wonder and countless others, but to name a few.

In 1983, Sheila caught the attention of Prince and changed her name to "Sheila E.," and Prince helped her record her first solo album, The Glamorous Life. The first single from the album, "The Glamorous Life," written, performed, and directed by Sheila E., was released in the spring of 1984 and earned popular and critical acclaim. This single went on to receive multiple Grammy and American Music Award nominations, and won MTV's Best Video Award. "The Glamorous Life" yielded a hit single in the title track, and another hit for its follow-up single, "The Belle of St. Mark."

In 2004 Sheila joined Prince on the "Musicology" tour, which was seen by 1.5 million people. She also performed "The Glamorous Life" at the 7th Annual VH1 Divas, a benefit concert for the VH1 Save the Music Foundation that was televised worldwide, and appeared on the TBN network show "Praise The Lord" that received the highest ratings of the season. In 2005 Sheila was a Featured Artist and Musical Director for her first gospel tour "Sisters In The Spirit" featuring Yolanda Adams, Martha Munizzi, Kelly Price, Juanita Bynum and RiZen. In the summer of 2006 Sheila returned for the third time and toured in concert with the legendary Ringo Starr. In 2006 Sheila founded her all girl group C.O.E.D. (Chronicles Of Every Diva) featuring Sheila E., Rhonda Smith, Kat Dyson, and Cassandra O'Neal, who went on their highly acclaimed first European tour in March 2007 with special guest Dutch sax player Candy Dulfer. In 2007, Sheila was chosen as one of the celebrity judges for American Idol Spin-Off "The Next Great American Band."

Most recently, Sheila E. participated in the third season of CMT's hit show, "Gone Country." With the goal of creating a hit country music single, each "Gone Country" cast member is uprooted to Nashville for an intense two-week challenge. Justin Guarini, Taylor Dayne, George Clinton, Tara Conner, Richard Grieco, and Micky Dolenz competed on the third season along with Sheila E. Each celebrity was paired with two of Nashville's finest songwriters with whom they wrote a country single. In addition to meeting with songwriters, the cast competed in challenges that tested them musically and physically to adapt to a life in country music, both on and off the stage. Sheila E. was the Grand Prize Winner of the third season and has gone on to release her first country single & video for her song, "Glorious Train."

In 2009, Sheila E. won the CMT reality show, Gone Country. This gave her an opportunity to make country music aided by the country producer, writer, and singer John Rich. Sheila E.'s first song in the country market was "Glorious Train". A video for the song debuted on CMT on March 7, 2009, following the airing of the episode of Gone Country in which Sheila E. was announced the winner.

On October 13, 2009 Sheila E was band leader for the PBS special, "Performance at the White House: Fiesta Latina" hosted by President Barack Obama and First Lady Michelle Obama. In 2010 Sheila was nominated for an Emmy for Outstanding Music Direction for this special.

In 2011 Sheila launches her own record label, Stiletto Flats, releasing the debut album of the E Family (Pete Escovedo, Sheila Escovedo, Juan Escovedo, Peter Michael Escovedo) titled Now and Forever, with distribution handled through Universal Fontana Music Group and Waterfront Music Group.

2012 Sheila collaborates with Hans Zimmer on music for the upcoming film Madagascar and in the music production for the 2012 Academy Awards show.

2012 DETROIT JAZZ FESTIVAL ANNOUNCES STAR-STUDDED LINEUP

World's top jazz artists among the headliners for this year's festival

The 33rd annual Detroit Jazz Festival, the world's largest free jazz festival, will feature the most celebrated names in jazz including: Sonny Rollins; Wynton Marsalis Quintet; Pat Metheny Unity Band featuring Chris Potter, Antonio Sanchez, and Ben Williams; Chick Corea and Gary Burton with the Harlem String Quartet; and the Wayne Shorter Quartet featuring Danilo Pérez, John Patitucci and Brian Blade.

"This year, we wanted to focus on going back to traditional jazz roots. Bringing together these world-class jazz artists gives festival-goers the opportunity to experience jazz at its finest - a collaboration between artists with history, experience and a style all their own," said Chris Collins, artistic director of the Detroit Jazz Festival. "Many of the artists joining us at the festival have worked together before and we're reuniting them, as well as introducing unique first-time collaborations, to celebrate the culture of jazz and really show how jazz has made an impact in our region and across the nation."

Rollins and Marsalis return to the festival for the first time since 1987, and Metheny will make his festival debut with his new ensemble. Additionally, New Orleans-native and trumpeter Terence Blanchard will serve as the 2012 Artist-in-Residence, performing with his quartet as well as curating a special Art Blakey Tribute, featuring Peter Washington, Lewis Nash, Geoffrey Keezer and Curtis Fuller, among other appearances.

Other headliners include: Joe Lovano and Dave Douglas Quintet: Sound Prints featuring Lawrence Fields, Linda Oh and Joey Baron; Lew Tabackin Quartet featuring Randy Brecker; Jerry Bergonzi Quintet; Donny McCaslin Group featuring Jason Lindner, Tim Lefebvre and Mark Guiliana; David Binney Quartet; Brian Lynch and Unsung Heroes; Cécile McLorin Salvant; and Grégoire Maret Quartet, among others.

The festival will continue its longstanding tradition of presenting and recognizing Detroit's rich jazz legacy. Of note, trumpeter Marcus Belgrave will return home with a special all-star Homecoming Band, spotlighting fellow Michigan natives, Curtis Fuller, Kenny Garrett, Geri Allen, Marion Hayden and Louis Hayes. Garrett, Hayes, and tenor saxophonist Rick Margitza will also perform with their respective quartets. The Wayne State University Big Band will perform new works by distinguished pianist Michael Abene and feature guests Joe Lovano and vocalist Judi Silvano. Other homecoming performances include saxophonist Charles McPherson in a co-lead quintet with trumpeter Tom Harrell, multi-reedman Charlie Gabriel, who will celebrate his 80th birthday with special guests, and drummer Gerald Cleaver performing with his working band, Uncle June.

A wide array of special concept projects will also be showcased in the upcoming festival. Conductor David Berger will lead "The Sacred Music of Duke Ellington," a program focusing on music from Ellington's three landmark Sacred Concerts written during the last decade of his life. The program will feature a 100-voice Detroit choir and a big band, as well as vocal soloists. The Mack Avenue Records Super-Band will make its worldwide debut, featuring select artists from their roster: Kevin Eubanks, Sean Jones, Tia Fuller, and Alfredo Rodríguez, among others. Saxophonist Steve Wilson will be featured in a special "Bird with Strings Revisited" project, paying homage to the saxophonist Charlie "Bird" Parker's landmark album, Charlie Parker with Strings (Verve, 1955).

Festival-goers will be treated to an assortment of trios, ranging from organ-centric groups such as Larry Goldings, Peter Bernstein, Bill Stewart; Bernard Purdie, Reuben Wilson, Grant Green Jr. (formerly known as The God Fathers of Groove); plus one with special guest Donald Harrison Jr., and Ellery Eskelin's trio (each lending its own unique organ trio sound, spanning post bop, jazz blues/soul, and free jazz respectively); to the pure acoustic sounds of piano virtuoso Fred Hersch's trio and Detroit-based Gary Schunk's Electric Fusion Trio. The groups collectively demonstrate the wide musical possibilities for the sacred configuration.

In addition to Terence Blanchard's presence, New Orleans' influence will be felt with the special program, "A Night in Treme (The Musical Majesty of New Orleans)" - based on the acclaimed HBO dramatic series, Treme. The show will feature the Preservation Hall Jazz Band with Charlie Gabriel, Christian Scott, Donald Harrison, Jr., and James "12" Andrews. Harrison will also appear with his quintet during the festival.

As is tradition, the festival will highlight some of the most engaging artists in Latin jazz, including: Quincy Jones protégé and Cuban piano sensation Alfredo Rodríguez, celebrated percussionist Poncho Sanchez's Chano y Dizzy (with Terence Blanchard), pianist/composer/educator Arturo O'Farrill's Afro-Cuban influenced Septet with special guest Donald Harrison Jr., storied trumpeter Jerry Gonzalez y Los Comandos de la Clave, and trombonist Papo Vazquez' Pirates Troubadours.

"My focus has always been on continually improving the festival," said Gretchen Valade, chair of the Detroit Jazz Festival Foundation board of directors. "Chris Collins has done a fantastic job securing this all-star lineup for the 2012 festival. All of these incredible performers coming together at the Detroit Jazz Festival means a lot, not only to our city, but to all jazz enthusiasts. It is a chance to see so many favorites in one arena. I could not be more thrilled with how this year's festival continues to develop and, as always, it's free to the public."

The Detroit Jazz Festival is largest free jazz festival in North America. Attendees, in addition to artists, come from all over the world, with 23 percent of the festival audience coming from outside of Michigan. The festival has an economic impact of tens of millions of dollars, contributing greatly to the city of Detroit. The festival also was recently voted the number two jazz festival in North America in a reader's poll by JazzTimes, the world's leading jazz publication.

Major corporate sponsors include JP Morgan Chase, Carhartt, DTE Energy Foundation and Mack Avenue Records. In addition, there is a growing base of individual support. Fans are encouraged to become Rhythm Section members by making donations of any size online in support of the festival's "KEEP IT FREE" campaign.

The Detroit Jazz Festival, now in its 33rd year, takes place over Labor Day weekend in Hart Plaza, downtown Detroit. This year's official poster, a sought after collector's piece, was created by artist Douglas Tocco, who has been designing since 1991 and has also created posters for the Detroit International Auto Show and the Detroit Symphony Orchestra.

The Detroit Jazz Festival is an independent, non-profit organization that presents jazz and educational workshops throughout the year. Recently voted number two in North America in a JazzTimes reader's poll, the Detroit Jazz Festival is the largest free jazz festival in the world and a major tourist attraction for the City of Detroit, with 23 percent of its audience coming from out of state.

The festival receives support from the National Endowment for the Arts, the Erb Family Foundation, and the John S. and James L. Knight Foundation and the Kresge Foundation. Major corporate partners include Carhartt, JPMorgan Chase & Co. and Mack Avenue Records. Additional partners include Absopure Water Company, Amtech International, Budweiser, Charity Motors, Cliff Bells, Comcast, Compuware, Detroit Marriott, Dickinson Wright, Dirty Dog Jazz Cafe, Fathead, Meridian, MGM Grand Detroit, Motor City Casino, Pepsi, Plante Moran, PNC Foundation, Quicken Loans, St. John Providence Health System, DownBeat, JazzTimes, MetroTimes and Fox 2. The festival's Greening Program, now entering Phase IV, is supported by a generous grant from the DTE Energy Foundation. For more information visit http://www.detroitjazzfest.com/.

~ dlmediamusic.com

ERIN BOHEME - WHAT A LIFE

When you’re young, five or six years can make all the difference in the world. Sometimes the road is rocky, sometimes it’s full of good fortune. Most times it’s a little of both. But no matter what the terrain, the traveler who keeps her eyes and ears – and her heart – open to the world will inevitably learn something along the way.

Every girl dreams. But, in the case of relationships – dreams don’t always work out in the way one might have imagined. More often than not, they don’t. Erin Boheme is every girl. For the first five years of her “dating” life, the right things just didn’t seem to materialize – but it wasn’t for a lack of trying. Often times getting to the dance might be easy, but it never guarantees you a successful dance.

So – for five years her relationships never seemed to gel – the right paths never crossed. The waiting time was exasperating. “But, as I reflect and look forward,” Erin says. “I really appreciate it all – the loves, the losses, the heartaches, and the passion – most of all the dreams, whether they come true or not, they all have joined forces to help form the beginning of my adult life – and ‘What A Life’ this will be”.

What A Life is more than just “the next album.” It’s also the next chapter in the evolution of an artist who took her first steps in front of the entire world at a young age and continues to discover the richness and potential of her own voice and her own muse. What A Life is set for release on August 7, 2012, on Heads Up International, a division of Concord Music Group.

Erin Boheme was originally signed to Concord as a jazz singer at the young age of seventeen. When Michael Bublé heard her, he discovered something more – Erin’s incredible songwriting abilities and her individuality at expressing herself about relationships in music. He also uncovered her talent as a pop singer – portraying Erin in the same light as one of her all-time heroes: Carly Simon. Similarly, Erin can be and is a pop voice for her own generation.

“After hearing a few examples of the songs I wrote, Bublé and John Burk (Chief Creative Officer and label head for Concord) encouraged me to keep writing,” says Erin. “So the album developed into a more raw, very singer-songwriter type of project: a chronicle of my life so far.”

The album’s exploratory nature is propelled by Bublé’s touring band, which serves as her backup unit throughout the ten tracks. The roster includes pianist Alan Chang (who was also a co-producer on the project), guitarist Dino Meheghin, bassist Craig Polasko and drummer Robb Perkins. An added string section brings a stirring emotional layer to some of the more intimate songs in the set.

The chemistry between this talented young frontwoman and her supporting cast is compelling from start to finish, beginning with the swampy country backbeat of the opening track, Everyone But Me, which is very reminiscent of the great Chris Isaak’s sound. Perkins sets up a thumping pattern as Boheme’s sensual vocals ride alongside Meheghin’s crunchy fretwork.

"Everyone But Me was the story of my life. ‘nuf said!,” Erin writes in the liner notes. “I felt inspired to write I Missed You Today by love’s daunting partner: distance. Distance shines such a bright light on all of those things about the person you miss – their little quirks, habits, traits – all adding up to the one you loved. Coldplay’s great song In My Place, captures so brilliantly in five single words, what every lonely girl feels: ‘How long must you wait?’ I can’t tell you how much I’ve personally connected with this song.”

“Whenever romance gets stressful, doesn’t everyone think ‘well, why don’t you just try being me for a while?’ I wrote In My Shoes as an anthem for those moments, girls.”

“The Last Time is a David Foster song that makes me smile every time I sing it – because it is for the guy who I think is finally ‘the one.’”

“Sometimes the two most difficult words to say are ‘I Do’ – which is why I wrote these words over and over and over again…because when it finally happens, those two words are the easiest ones to say – and you just have sing them: I Do, I Do, I Do, I Do!”

“Who could ever measure up to that one guy who captured your heart, but let it go? The rebound guy never wins, cause He Isn’t You.”

“The very worst part about falling in love is falling out of love – and that is always a possibility. But I wanted to write this song for everyone, just to say that everything is not always lost – that we should try again, because perhaps, just perhaps – the second time will be even sweeter than the first. Never lose hope – give it One More Try.”

“One night I found myself sitting at the piano feeling melancholy. The magic of this piano is that it had belonged to the great Henry Mancini – and I imagined him sitting here, writing those brilliant melodies about Holly Golightly in Breakfast at Tiffany’s. Miraculously, within 20 minutes I had written a complete song- What A Life – which spoke of my love, my life, my hopes and my dreams – where I could clearly see that special someone ‘waitin’ round the bend’ for me.”

“I’d Love To Be Your Last is a song first sung by Miranda Lambert, that Michael felt would make a terrific duet – and a great ending to this CD. I think it was the perfect way to leave you – singing with the wonderful Spencer Day, and singing about the very moment that you look at someone, and you know in your heart that they’re the one you were always on your way to. To use an old phrase: ‘the past is only prologue’ – and I can’t wait to write the rest of the story.”

For Erin, What A Life has been five years in the making. But, like fine wine– special things can take a little extra time to reach their zenith. Michael Bublé found a rare gem in the talents of a girl named Boheme, and presents her here, for your consideration. This is her musical diary: a peek into the heart of a girl who is destined to live a most extraordinary life.

JOHN KLEMMER - FREE SOUL

John Klemmer - Free Soul
Listen to this "lost" discovery from 1969 off the Blowin' Gold LP from saxman John Klemmer.

NOAH STEWART - NOAH

Verve Music Group has just announced the debut album from Harlem-native Tenor, Noah Stewart, available via their Decca imprint on July 3.

It is hard to believe that only a few years ago Noah was a receptionist at New York's Carnegie Hall, working to pay for his singing lessons. He has of course, since then, performed on that stage and is now building a fine reputation as a fast-rising operatic tenor, equally accomplished in interpreting such core roles as Don Jose in Carmen or Rodolfo in La Boheme or pioneering new roles in contemporary opera. But Noah also knows that there was a time when being an operatic tenor didn't just mean performing at the opera house, but could encompass all kinds of popular and traditional songs too. From Enrico Caruso to Luciano Pavarotti, history's classic tenors all had the popular touch.

The upcoming album from Noah Stewart, Noah, includes fine renditions of the operatic arias Recondita Armonia, from Puccini's Tosca, and Pourquoi me reveiller, from Massenet's Werther, as well as the enduringly popular Bach/Gounod version of Ave Maria. But it casts its net much wider too. With inspirational input from producers and arrangers Steven Baker and Christian Seitz, the album also presents Noah's rich, resonant voice in the spiritual classic Deep River, and the traditional tunes Silent Night and Nearer My God To Thee.

Noah Stewart’s musical development started in Harlem where he studied classical music at The Harlem School of the Arts. At age 12, his choir teacher encouraged him to pursue a music career; he began doing voice-overs for Sesame Street and television school specials, and won first place in the New England Music Competition in Boston. Stewart attended Fiorello LaGuardia High School, where he performed his first opera (La Costanza in amor vince l’inganno). He also sang back-up vocals for pop artists such as Hootie and the Blowfish, Mariah Carey, and Coolio. During this time, Stewart developed a passion for opera, languages, art song, oratorio, and concert repertoire, and committed himself to pursuing an operatic career. He was recommended by his mentor, the great soprano Leontyne Price, to attend The Juilliard School, where he was awarded a full scholarship.

By the end of his senior year at Juilliard, Stewart was already receiving attention from the professional classical community and was Featured in the book Spirit of Harlem by Craig Marberry and Michael Cunningham . He was unable to attend his own graduation for the opportunity to perform the title role in Acis and Galatea on tour with The Bach Society of Columbia in Germany. Upon his return to the United States, Stewart was accepted into the San Francisco Opera’s prestigious Merola Program, where he was given his first taste of modern opera as The Wizard in Conrad Susa’s Transformations. He reprised the role at The Wexford Music Festival that same year. He was subsequently invited to become a San Francisco Opera Adler Fellow, and numerous important debuts soon followed including T. Morris Chester in the world premiere of Philip Glass’ Appomattox, Malcolm and Macduff in Macbeth, stepping into the main-stage role with only 15 minutes notice. After graduating from the Adler Fellowship, Stewart made his next modern opera debut as The Prince in the first fully staged production of John Adams’ A Flowering Tree with Chicago Opera Theater.

In 2008, Opera News gave Stewart rave reviews for his debuts in Philip Glass and John Adams’ productions. Stewart has also been awarded numerous prizes in The Palm Beach Opera, Leontyne Price, George London, Licia Albanese, Opera Index Competitions, and just recently first place in The Mario Lanza Competition for Tenors. He has been noted for the uniquely baritonal timbre of his ringing and sweet tenor instrument, as well as his innate musicality and commanding acting ability.

Recent Engagements include Rodolfo in Puccini’s La Boheme with Michigan Opera Theater and Wexford Festival Opera, along with Augustus Gloop in the european premiere of The Golden Ticket written by Peter Ash with librettist Donald Sturrock. Stewart also Reprised his role as The Prince in John Adams’ A Flowering Tree in Lisbon with The Gulbankian Symphony, as well as performed Luigi in Puccini’s Il Tabarro at the Castleton Music Festival under the baton of Maestro Lorin Maazel, his role dubut of Cavaradossi in Puccini’s Tosca with Michigan Opera Theater, The Prince in John Adams’ A Flowering Tree with The Gulbankian Symphony in Paris, Rodolfo in La boheme with Opera Carolina, Narraboth in Salome with Arizona Opera, Ismaele in Nabucco with Michigan Opera Theater, Aeneas in Dido and Aeneas with The Yard Arts Festival, Tonio in the World Premiere of Louis Gioia’s I Tre Compagni with Encompass Opera, Mozart’s Requiem at Carnegie Hall under the baton of John Rutter and Don Jose in La Tragédie de Carmen with Chicago Opera Theater.

Since joining The Metropolitan Opera roster in the fall of 2008 to cover Arturo in Lucia di Lammermoor, Stewart’s roles also included Azael in L’Enfant Prodigue with Metro Chamber Orchestra, Manrico in Il Trovatore with Festival Opera and Turiddu in Cavalleria Rusticana with The One World Symphony. Upcoming performances include his role debut of Don Jose in Carmen with Opera Africa, The Prince in John Adams’ A Flowering Tree with Cincinnati Opera and creating the role of Hassan in Judith Weir’s Achterbahn which will mark his forth world premiere by a modern composer at The Bregenzer Festspiel, A role he will further perform in his upcoming Covent Garden debut in 2012.
 
~ noahofficial.com

IVO PERLELMAN RELEASES TWO NEW ALBUMS: THE PASSION ACCORDING TO G.H. & THE FOREIGN LEGION

Deep into a period of startling creative output, tenor saxophonist Ivo Perelman now releases not one but two recordings - both of which underscore his mastery of free improvisation and his command of his instrument's hidden resources; and each of which embroiders a thread from his voluminous past catalog.

On The Passion According To G.H., Perelman has recorded with the Sirius Quartet; this remarkable string ensemble comprises top-drawer classical musicians who also have the rare ability to improvise at the level demanded by Perelman's concept. In so doing, Perelman recapitulates his previous foray into string-quartet music (The Alexander Suite from 1998), but brings the potential of this collaboration to new heights of development. Despite the fact that sizable passages sound pre-composed, with the string quartet seeming to frame or echo the saxophone solos, the album is entirely improvised by all five musicians. As veteran jazz writer Neil Tesser says in the liner notes, ". . . Perhaps the most remarkable aspect of this album is this: not one note of it was written in advance."

The uncannily cohesive nature of the music would seem to belie that claim, but, as Perelman explains, "Sometimes, I would start playing; or I would say to them, 'OK, you start'; or we would start together - or we would say, 'Well, the tape's rolling, we should play.' Not all musicians are born for this; some are born to interpret Mozart, and that's a wonderful gift, too. But these are highly skilled conservatory musicians who are also mad improvisers."

Meanwhile, the simultaneous release of Perelman's trio album The Foreign Legion spins a rich tapestry from another, more recent thread. On it, Perelman continues the invigorating and illuminating project in which he partners with various combinations drawn from his acclaimed working quartet (pianist Matthew Shipp, bassist Joe Morris, and drummer Gerald Cleaver). Like the previous Family Ties, this new album features two-thirds of that band's rhythm section - but not the same two-thirds. Cleaver remains on drums, but for The Foreign Legion, bassist Joe Morris takes a seat, with pianist Matthew Shipp taking his place in the trio.

The result is a wildly different sound and substance from the previous disc. As Perelman has explained, "I was so pleasantly surprised [with the quartet] ... I decided I want to explore my relationship with each member of the band. I realized that I was dealing with a quartet; but I was also dealing with a trio, and a duo, and another duo - it would become a different band each time one player would drop out for a while. Each occupies such a deep space that when he's missing, it opens everything up so much."

The greater surprise lies in how the inclusion of piano, contrary to conventional wisdom, seems to further propel the saxophonist's inspired quest for musical freedom. Explains Perelman: "Since the piano is a harmonic instrument, you would think that would limit the choices, but with Matthew it does not. He has this inherent rhythmic structure to his playing, but it's very free. It doesn't restrict my thinking; it expands and contracts." The result is a series of exquisitely detailed trio tracks, widely varied in content, but each similarly intense and satisfying.

As he has done on several previous discs, Perelman has consulted the bibliography of Brazilian novelist Clarice Lispector for the titles of these albums (and in the case of The Foreign Legion, the name of each individual track as well). Lispector, who died in 1977, is revered throughout Latin America, but especially in Brazil, for her use of the Portuguese language and for the philosophical implications of her fiction, which has left a major influence on Perelman's music.

Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who orbited a series of other instruments before finally gravitating to the tenor saxophone. His initial influences - cool jazz saxophonists Stan Getz and Paul Desmond - could hardly have presaged the galvanic, iconoclastic improvisations that have become Perelman's stock-in-trade. But those early influences helped shape the romantic warrior at the heart of his most heated musical adventures.

In 1981, Perelman entered Berklee College of Music in Boston, where he focused on the mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane - all of whom would later be cited as precedents for Perelman's own work. He left Berklee in 1983 and moved as far from Boston as possible - to Los Angeles, where he studied with mainstream vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation. "I would go berserk, just playing my own thing," he explains now.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s - shortly after recording the first of the nearly 40 albums now under his name - he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day.

Critics have lauded Perelman's no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax" (Ed Hazell in the Boston Globe); "tremendously lyrical" (Gary Giddins); and "a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken" (The Wire). The Passion According To G.H. and The Foreign Legion bring to 18 the total of albums Perelman has recorded for the Leo label.

Ivo Perelman w/ the Sirius Quartet
The Passion According to G.H. Track Listing:

Ivo Perelman / tenor saxophone
Gregor Huebner / violin
Fung Chern Hwei / violin
Ron Lawrence / viola
Jeremy Harman / cello

1. Part 1 (7:17)
2. Part 2 (7:53)
3. Part 3 (15:30)
4. Part 4 (6:14)
5. Part 5 (3:35)
6. Part 6 (8:45)

The Foreign Legion Track Listing:

Ivo Perelman / tenor saxophone
Matt Shipp / piano
Gerald Cleaver / drums

1. Mute Singing, Mute Dancing (5:35)
2. An Angel's Disquiet (13:53)
3. Paul Klee (7:57)
4. Sketch Of A Wardrobe (11:10)
5. An Abstract Door (7:35)

NEW DUB COMPILATIONS AVAILABLE STRAIGHT OUT OF JAMAICA...

TREASURE ISLE IN DUB – RARE DUBS 1970 TO 1978

A full chest of dubs from Treasure Isle – culled from the throughout the 70s – rare dubs of classic rhythms guided by the best players in the Jamaican scene! Classic backing tracks laced by top shelf dub vocals and Sound System DJ madness! Players include Sly & Robbie, Santa Davis, Ansel Collins, Vin Gordon, Tommy McCook and more. Includes "Everyday Is Dub Day", "This Old Dub Of Mine", "Carpenter Dub", "Why Dub In Spring", "Just A Dub", "Dub You Madly", "Let THE Dub Go", "Dubbing You", "I'm Your Dub" and more. 12 dubs on the vinyl version. ~ Dusty Groove

THE CONGOS –DUB FEAST

A dub companion to the Congos Feast album on Kingston Sounds – a later effort from the legendary Congos! While the architect of the dubs here goes unnamed, the vocals by Cedric Myton and one-time Melodians singer Brent Dowe are hazy, smoky and strong – plus rhythms by most of the greatest Jamaican players. Includes "A Fat Dub", "A Party", "Carry To The Well Dub", "Some A Dub", "Rasta Congo Dub", "Some A Dub", "Citizen Dub", "Take It To Dub", "Heaven Dub" and more. 12 on the LP. (Please note there is a small split on the top of the LP jacket spine, nothing major.) ~ Dusty Groove

BIRTH OF DANCEHALL – BLACK SOLIDARITY 1976 TO 1979

Early period dancehall from the mid-to-late 70s – slowed-down rhythms that paved the way for the dancehall stars to come – and earlier numbers from some of those very stars! Includes numbers by Tristan Palmer, Sugar Minott, Josey Wales, Tony Tuff, Robert French and others – great stuff from the years before drum machines and other more digital styles would fully take over. Includes "Spliff Tales" by Triston Palmer, "The Lord Is My Light" by Rod Taylor, "String Up The Sound System" by Michael Palmer, "Crime Act" by Ashanti Waugh, "Let Go The Rhythm" by Josey Wales, Crucial Corporal" by George Nooks, "Everybody Wants" by Sugar Minott and more. ~ Dusty Groove

SCIENTIST AT THE CONTROLS OF DUB – RARE DUBS FROM 1979 TO 1980

Dubs from the mighty Scientist – culled from the crucial period 1979-1980 period before the digital sound took over – dub workouts of reggae and soon-to-emerge dancehall heavies – great stuff recorded at Channel One, King Tubby's & Tuff Gong! Dub workouts of cuts Tony Tuff, Robert Trench, Tristan Palma, Robert French and many more. Includes "Mr Babylon Dub", "Never Trouble Dub", "Time And Place For Dub", "Stop Spreading Dub", "Bad Boy Dub", "Undying Dub", "Joker Dub", "Eveready Dub", "Heavenless Dub" and more. 14 on the vinyl version. ~ Dusty Groove

DJ JAMAICA INNA FINE DUB STYLE 1973 TO 1977

A sweet set of prime 70s dubs from the finest singers, players and DJs – this set with an extra layer of devotion to the latter! The set features classic and underrated dubs with the DJs bringing a bit more of their unique flavor to the dubs – toasting, sparring with and otherwise accompanying legendary vocals. I-Roy, Shorty The President, U Roy, Dillnger, Prince Jazzbo and others Inna Fine Dub Style! Includes "Rub-A-Dub Style" by Shorty The President, "Gorgon Style" by U-Roy, "Greedy Girl" by Jah Stich, "Stick By Dub" by Denis Alcapone, "3 Wisemen In Dub" by I Roy, Yu Nuh Here Dub" by U Brown, "Rebel Dub Skank" by Shorty The President, "Dub Challice" by Prince Jazzbo and more. 14 on the vinyl. ~ Dusty Groove