TONY BENNETT - AS TIME GOES BY: GREAT AMERICAN SONGBOOK CLASSICS

In the post-WWII era of American popular music, Tony Bennett rapidly emerged as one of the most distinct and popular voices on the landscape, due in large part to a versatile and dynamic style that has enabled him to sing pop standards, jazz, show tunes and just about any other genre that has emerged in the span of his six-decade career. Indeed, any discussion of the Great American Songbook — however it may be defined — will inevitably lead to Tony Bennett.

Concord Records has captured that very significant segment of the discussion in a compilation called As Time Goes By: Great American Songbook Classics. Set for release on February 5, 2013 [international release dates may vary], the set showcases Bennett’s unique interpretations of timeless songs by some of the most legendary of American composers: Cole Porter, Duke Ellington, Rodgers and Hart, Henry Mancini, and many others. Culled from recordings made during the mid-1970s, the 12-track collection is enhanced with digital remastering by Joe Tarantino and insightful new liner notes written by author and music critic Will Friedwald.

“When you say ‘Great America Songbook’ to almost anyone,” says Friedwald, “they know exactly what you mean: the specific canon of songs, mostly written for Broadway shows between the two world wars, largely composed by Jewish immigrants and African-Americans with names like Gershwin and Ellington. And as the career of Tony Bennett, more than almost any other artist, proves again and again, only the Great American Songbook truly deserves to be called the Great American Songbook . . . Only in the Broadway-based songbook is there anything like a true ‘songbook,’ a common lexicon of classic songs that all the artists in the field will pick from.”

Put this artistically and historically resonant material in the hands of a sensitive and versatile artist like Bennett, Friedwald adds, and the results will be inevitably satisfying.

“It’s to Mr. Bennett’s credit that he can be whisperingly intimate, that he can deliver a message that seemingly comes directly out of his own soul, on a song written by a composer he probably never met, with a full symphony-sized orchestra, and within the confines of a tightly arranged medley,” says Friedwald. “It’s true that the orchestration was written for Mr. Bennett by his longtime musical director Torrie Zito, but even so, it takes a remarkable talent to make it seem like such a direct and personal expression of one’s soul . . . to take a song that may be decades old, something that’s been sung by thousands of other singers, and turn it into a unique and highly personal communication.”

Whatever page in that vast canon you may open to, Tony Bennett’s As Time Goes By has a rich musical story to tell — one that stretches back nearly a century and reintroduces us to the legacy of the Great American Songbook through the voice and the heart of a modern-day legend.

JONATHAN KREISBERG - ONE

"Jonathan Kreisberg is a great musician whose playing and writing always tell a story. His formidable technique and intellect never get in the way, but only serve the agenda of the heart." - Joe Locke

"Jonathan Kreisberg is a creative guitarist who has been an integral member of my trio for many years. He is a passionate musician with great vision, and he is constantly in fiery pursuit of innovation." - Dr. Lonnie Smith

A solo performance represents the most intimate communion between an artist and their instrument. The title of guitarist Jonathan Kreisberg's first solo album, ONE, succinctly expresses that idea. "I've played in many group situations and with some legends of jazz and other idioms... but it wasn't until now that I really felt ready to document what I've been doing in a solo setting. For that, I had to feel at one with the guitar."

While most of his time is spent on tour with his dynamic Jonathan Kreisberg Quartet and alongside Hammond B3 organ legend Dr. Lonnie Smith, in a far more intimate setting he began noticing an entirely different alchemy. The idea for this recording came to Kreisberg upon the realization that his playing reached a uniquely expressive level when playing solo in more intimate concert environments, or even casually at home for friends.

"There's something about connecting with just one or two people who are really listening to you in a solo setting that's totally different than playing for an audience," Kreisberg says. "It's a more intense connection, and it brings a different energy. I wanted to try to capture that feeling. I didn't want it to sound like you were in a huge hall in front of hundreds of people. I wanted it to sound like you were sitting in front of me, like you could hear the strings and the pick and my breathing - all of the life of the guitar."

To achieve that effect, Kreisberg recorded ONE without using overdubs, loops, or extra tracks. "The music making establishment uses so much technology these days that the idea of the instrumentalist is becoming marginalized," he says. "On the purest level, I wanted this to be an instrumentalist's record."
The end result is a collection that offers a wide-ranging overview of Kreisberg's approach to the solo guitar, diverse in style and feel but emotionally cohesive. From the overcast passion of Baden Powell's "Canto de Ossanha" to the silky acoustic elegance of "Skylark," the fragile spirituality of "Hallelujah" to the sci-fi abstractions of "Escape From Lower Formant Shift" - each piece offers a new perspective while maintaining a profound intimacy.

Kreisberg traces his relationship with the solo guitar back to his earliest days with the instrument. As a young guitar student, he found his connection not through mastering the basics or exploring other composer's work, but through his own private inventions. "Very early on, I was drawn to just playing the guitar for hours," he recalls. "I was supposed to be practicing scales and reading melodies from books, but I was drawn more towards creating things. I wasn't thinking about whether I was improvising or composing at that point; I was just making things up."

That penchant for spontaneity naturally guided Kreisberg to focus on jazz, though his music continues to fold in elements from a variety of other genres - ONE ­­delves into folk, rock, classical, and even film scores for its material and sound; but in his earliest days, improvisation took a decided prominence. "Whenever I would play classical concerts I was terrified because the idea of just locking myself into playing something exact didn't feel right. It gave me too much time to think; I would just be sitting there watching my hands move, but the second I was improvising I would forget completely where I was, who I was, and just be in that moment."

After becoming a first-call guitarist in his hometown of Miami, where he also formed the first version of his trio and performed contemporary classical works with Michael Tilson Thomas' New World Symphony, Kreisberg moved back to the place where he was born, New York City, in his early twenties. An unknown on that demanding scene, he returned to the solo guitar, taking gigs in bars and restaurants until he could establish his bona fides.

But solo performance faded into the background as he became more established, playing with the likes of drummer Ari Hoenig and vibraphonist Joe Locke and establishing his ongoing relationship with Dr. Lonnie Smith. He also made several critically acclaimed recordings with his own bands, typically sharing the frontline with saxophonist Will Vinson and featuring a host of the city's most creative musicians, including pianists Aaron Goldberg, Gary Versace and Henry Hey; bassists Larry Grenadier and Matt Penman; and drummers Bill Stewart and Mark Ferber.

ONE is therefore a means to reestablish his one-on-one connection with the instrument. "This album is about falling back in love with the guitar," Kreisberg says. "It's really rewarding when you can find new ways to do things within what a supposedly limiting instrument can do. So I wanted to address different aspects of the guitar and apply that to different styles of music."

That spirit flows throughout the recording. There are unique takes on familiar themes like "Summertime" and "Caravan", respectful new readings of living poets Leonard Cohen's "Hallelujah" and Wayne Shorter's "E.S.P.", and a pair of completely improvised pieces: the aforementioned "Escape From Lower Formant Shift," (which he envisioned as the soundtrack to a science fiction thriller a la Blade Runner); and "Without Shadow" (a nod to the title track of his group's most recent album, Shadowless), where his guitar takes on the sound of an organ, a nod to Dr. Lonnie Smith.

"Lonnie inspires me a lot. He's someone who really reinforces the beliefs I already had. I feel like Lonnie is my musical godfather - both of us have an instinct for searching out new sounds, which can be a little A.D.D., but if you use it the right way it can create really dynamic recordings and performances," says Kreisberg. "I think before I played with Lonnie I might not have made some of the choices that I made on this record. I think that the end result is a complete experience for the listener."

Perhaps the most relevant lesson in terms of ONE is that it only takes a singular voice to unite a wildly diverse sonic palette. "There's a way to have very varied material, but if it all goes through one particular creative person's prism it's refracted in a way that it all becomes part of the same vision."

ONE Personnel & Track Listing:
Jonathan Kreisberg / guitar
1. Canto de Ossanha (Baden Powell & Vinicius de Moraes) - 5:11
2. Summertime (George Gershwin and DuBose Heyward) - 6:02
3. Without Shadow (Jonathan Kreisberg) - 1:22
4. Skylark (Hoagy Carmichael and Johnny Mercer) - 5:23
5. Caravan (Juan Tizol) - 5:05
6. Tenderly (Walter Lloyd) - 2:02
7. My Favorite Things (Richard Rodgers and Oscar Hammerstein) - 4:05
8. Hallelujah (Leonard Cohen) - 5:27
9. E.S.P. (Wayne Shorter) - 4:17
10. I Thought About You (Jimmy Van Heusen and Johnny Mercer) - 4:42
11. Escape From Lower Formant Shift (Jonathan Kreisberg) - 2:34

Upcoming Jonathan Kreisberg Appearances:
All appearances are with Jonathan Kreisberg Quartet unless otherwise noted.
** January 9 / La Lanterna / New York, NY
* January 10 & 11 / Jazz Standard / New York, NY
** January 16 / La Lanterna / New York, NY
** January 23 / La Lanterna / New York, NY
** January 30 / La Lanterna / New York, NY
*** February 11 / Stars / Vordingborg, Denmark
*** February 12 / Paradise Jazz / Copenhagen, Denmark
*** February 14 / Dexter / Odense, Denmark
March 5 / Widder Bar / Zurich, Switzerland
March 6 / Duc Des Lombards / Paris, France
March 7 / Institut Musical Formation Professionnelle / Salon de Provence, France
March 9 / AMR / Geneva, Switzerland
March 10 / Jazzclub Q4 / Basel, Switzerland
March 12 & 13 / Pizza Express / London, United Kingdom
March 14 / The Spin / Oxford, United Kingdom
March 15 / Hadeland Jazz Forum / Hadeland, Norway
March 16 / Herr Nilsen Jazzklubb / Oslo, Norway
April 5 & 6 / Smalls Jazz Club / New York, NY

* With Dr. Lonnie Smith Trio
** With Jonathan Kreisberg Trio
*** With Morten Christian Quartet

JonathanKreisberg.com

NEXT COLLECTIVE - COVER ART

Features rising stars: saxophonists Logan Richardson and Walter Smith III, guitarist Matthew Stevens, keyboardists Gerald Clayton and Kris Bowers, bassist Ben Williams, drummer Jamire Williams, and special guest trumpeter Christian Scott (aka Christian aTunde Adjuah)

Set For Release February 26th, 2013 (US) / International release dates vary

Concord Jazz eleases an exciting new project by Next Collective titled Cover Art — an ensemble recording by the next generation of jazz greats exploring their own interpretations of songs by such contemporary artists as Bon Iver, Drake, N.E.R.D, Little Dragon and more. The album contains 10 tracks and the digital version will include special bonus tracks.

Not often—maybe every quarter century—a new generation of musicians gets to the scene and rapidly develops a collective musical identity of its own. So it was in the jazz of the late ’60s and into the ’70s when a group of newcomers helped bring the funk and R&B grooves. We saw it again in the early ’90s, when a loose-limbed hybrid of jazz and hip-hop became the hippest flavor of the day, a crew of jazzmen working closely with deejays and rappers. As one looks further back in the tradition, other generational examples pop up, almost like clockwork.

Yet it’s never some carefully worked-out plan that ushers in the new breed. It simply happens—and it’s happening again now. The right people together at the right time, with a marked sound of their own: a sound best described as flowing with the improvisatory rush of modern jazz, all the while reflecting many of today’s most expressive popular styles— electronica and hip-hop; ambient and alternative rock as well as embracing uptempo or slow and moody, there’s a distinct undercurrent of funk. A Dutch music festival coined the term “New Urban Jazz” just this past summer. The leading lights making up this new wave include saxophonists Logan Richardson and Walter Smith III, guitarist Matthew Stevens, keyboardists Gerald Clayton and Kris Bowers, bassist Ben Williams, drummer Jamire Williams and special guest trumpeter Christian Scott (aka Christian aTunde Adjuah).

Together these names stand as the best of this next generation. They are improvisers, melodists, and arrangers. Some are bandleaders, some soon to be, and they’re a tight bunch: long-time friends, including a few who have studied together, and all of them have played together, on stages and in sessions.

Now, they are all featured on an exciting project—Next  Collective—an ensemble recording that documents this new jazz age. “There was a point in the sessions for this album,” says producer Chris Dunn, “when I looked around the room and suddenly realized the level of talent packed in there together, the cream of the new crop, so to speak—and how much they are invested in jazz and also soaked in the music going on around them.”

Sr. Director of A&R for Concord Music Group, Dunn conceived, coordinated and produced this debut recording along with the members of Next Collective. Titled Cover Art, the album is scheduled for release February 26, 2013 (international release dates may vary) on Concord Jazz. Speaking to the album’s development, Dunn states, “It began as a way of introducing three new artists on Concord—Richardson, Smith, and Stevens. They are all great writers, but doing a recording of their originals, when not using their own band members, and all three having very different styles as leaders… that’s a tall order musically. It could make for a very disjointed experience no matter how great the playing. Instead, I thought it would be cool to do a project of covers from their generation and make a super group of the same. Each player chose and arranged tunes that came from any contemporary style they really liked: strong melodies but no jazz. The tunes we ended up with really bring something fresh to the table.”
The range in the feel of the tunes on Cover Art speaks both to the arranging talents of the members of Next Collective, and also to the diversity of their collective taste (what jazz veterans like to call “big ears”). The styles represented by these originals are a hyphenated hodge-podge—hip-hop and punk-funk, singer-songwriter and guitar-pop, electro-R&B and alt-rock. From Jay Z and Kanye West’s “No Church In The Wild” to Pearl Jam’s “Oceans” to Meshell Ndegeocello’s “Come Smoke My Herb,” to Drake’s “Marvins Room,” to Bon Iver’s “Perth,” the album delivers a cohesive flow. Other themes by Missy Elliott, Grizzly Bear, Rufus Wainwright and more not only serve as bonus tracks but also give a wide-lensed view of today’s musical outlook.

The versions that comprise Cover Art are often striking in how the songs have been reimagined, and compelling in the way they bounce off each tune’s original mood. Check how a tune like “Fly or Die”— a rock-fueled slice of R&B by N.E.R.D.—is recast by Ben Williams with the bounce and gear-shifts of a late ’70s fusion workout. Or how efficiently close to the atmospheric, neo-soul buoyancy of D’Angelo’s “Africa” Clayton steers his own reworking. Or how the metronomic beats and laconic lyricism of Little Dragon’s “Twice” are faithfully recreated in an acoustic jazz setting, courtesy of Richardson; the reversed horn lines that kick off the tune (and the album) are a clear signal that this project is both as mindful of the studio-craft of its many musical sources as it is of the live interaction of the jazz tradition. Cover Art has its feet firmly planted in the overlap of as many styles as possible.

Yet there remains an intuitive consistency throughout the album that owes much to an almost wordless connection felt by the musicians as they recorded together in Manhattan’s Sear Sound. “I was glad to hear that all the music fits together as an album even though it comes from a wide variety of places,” says Walter Smith III, who chose and re-arranged the Bon Iver, Becca Stevens and Dido tunes. “The main thing that still sticks out for me is how everyone was on the same page during the sessions. There was little to no discussion about much other than the basic road maps of the arrangements. When music can happen that way, something special usually comes out of it.”

For Matthew Stevens—who brought in the Pearl Jam, Wainwright and Portishead compositions—Cover Art benefited from familiarity with the songs and with each other. “The sessions were a blast, equally focused and relaxed. It felt like a family reunion—a lot of mutual respect present and a lot of laughs. It’s a great concept for an album since everyone had a connection with all the material.”
“When I listen to this album, and remove myself from having been a part of it, it sounds like a classic from beginning to end,” says Logan Richardson, who contributed arrangements of songs by Little Dragon and Ndegeocello. The remaining tunes were interpreted by Gerald Clayton (D’Angelo, Missy Elliott), Kris Bowers (Stepkids, Grizzly Bear), Christian Scott (Jay Z & Kanye West, Drake), Ben Williams (N.E.R.D.), and Jamire Williams (Stereolab). The temptation to dig these versions, and compare them to the originals is difficult to deny; in fact, it’s an exercise that should not be resisted, as it reveals the degree of inspiration and thought that went into Cover Art.

Time—as it always does—will tell how prescient this collection is of what is coming, what is truly around the corner for this music we tend to limit to the term “jazz” (and yet often includes much more). Cover Art is one of those albums that captures a rare moment in time—the coming together of a new generation and a new sound—while the Next Collective stands as one of those ensembles too laden with talent and future bandleaders to remain together for too long. “They’re young—but they’re not young players,” says Dunn. “All of these cats are real players despite their ages, with real experience under their belts.” And the majority of that experience has found them in each other’s company. That’s as good a reason as any to explain why Cover Art feels so much like the document of the next generation in jazz.

Complete Album Track Listing (bonus tracks on digital album to be announced):
1. Twice (Little Dragon)
2. No Church In The Wild (Jay Z and Kanye West)
3. Africa (D’Angelo)
4. Fly Or Die (N.E.R.D)
5. Oceans (Pearl Jam)
6. Refractions In The Plastic Pulse (Stereolab)
7. Marvins Room (Drake)
8. Come Smoke My Herb (Meshell Ndegeocello)
9. Perth (Bon Iver)
10. Thank You (Dido)

RON DAVIS - BLUE MODULES

Ron Davis is on a mission, realized on his 8th release, entitled Blue Modules.

It's all about his drive to move jazz somewhere where it hasn't been for years - back to its rightful, appreciative audience. In recognition of the birth of jazz, when it proved to be the 'pop' of its day, Ron Davis has made it his charge to wade well past the tired, 'playlist' standards that pass for the jazz of +today and, surrounded by a top-flight crew of innovative players and instrumental leaders, Davis has pushed to evolve a fresh definition of jazz which embraces classical, funk, rap, blues, world and even country music - removing the borders which can often get in the way of honest appreciation.

Blue Modules is his seismic shift in this new direction. His band is comprised of Ross Macintyre on bass, Roger Travassos on drums and percussion but also adds guests like the electrifying Donna Grantis on guitar and actor Diego Matamoros on vocals. Boasting a truly eclectic mix of songs you'd never expect to find on a jazz release, all tied together in the spirit of improvisation amongst like-minded adventurers, is exactly the point.

On this new release, Davis stretches himself - with the help of his fellow players - underlining his skills as a phenomenal instrumentalist, as a composer and arranger. He jumps from grand piano to Fender Rhodes, celeste and back again - honouring the true progression of his take on what jazz should - and can - be. At the same time, he doesn't abandon his fan base - those who know him for his swing-based, post-bop approach to the genre of jazz piano. He merely adds to our collective knowledge with his tirelessly progressive approach to the instrument, to the category and to one's ability to appreciate a fresh approach to musical enjoyment.

With a deeply-rooted desire to break down all borders, if not expectations, Davis has assaulted some surprising covers, interspersing them with smart, lively originals. "Roger's Rumble" is a piano-based blast from outer space and a showcase for both sampled keyboards and Roger Travassos on drums/ The funky "Pawpwalk" features recalls the '80s in general and Lonnie Liston Smith in particular, with some decisive guitar incisions by Grantis, at her most controlled. Sesame Street's "Mahna Mahna" keeps its sassy New Orleans line. It's a spirited reinvention showcasing Davis's piano talents together with some big-bottomed, nimble bass-playing from Ross Macintyre. Davis & Co. make something special out of XTC's original punk-based classic "Making Plans For Nigel", while Davis' cover of Elvis' "Viva Las Vegas" owes something to Sin City but, minus its typical bombast- with an outstanding percussive contribution from Travassos. Davis' cover of Hendrix' "Voodoo Chile - Slight Return" marks the appearance of Diego Matamoros' talking vocal (in the sole non-instrumental) - reinventing the piece full-circle like something birthed in a dub poetry club.

Blue Modules is not so much something for everybody as it is a fresh way to approach music new and old. Best summed up by the title track, Davis and his simpatico crew create a heartfelt stew of sounds that steer clear of labeling while appealing to the ability of a groove to strike a nerve. The smooth, funky and highly elastic "Blue Modules" track best defines Davis' spirited sense of adventure and legitimate decision to steer clear of genres for their own sake. Taking something so sacrosanct as a Beatles' song - most notably, "You Can't Do That", speaks volumes to his newfound direction - the reinvention of pop on his terms. Chances are good you'll dig it as hard as Davis can dish it out.

A giant step forward.

~ CD Universe

NEW RELEASES - THE ROBERT BOSSCHER QUARTET, EDDIE GOMEZ, MELISSA ALDANA

THE ROBERT BOSSCHER QUARTET - PLAYS SINTER JAZZ

Listening to the old Dutch Sinterklaas songs, you might wonder why they have not been recorded by major platinum selling artists. Many great American recording artists have acknowledged the great quality of their Christmas songs. Because of the wonderful melodies of the Dutch songs, New York based Jazz pianist Robert Bosscher decided it was high time to change the situation. In the wonderful Tedesco Studio in New Jersey he recorded a Sinterklaas Jazz Album with his all-star New York Quartet. Hopefully this will not cause too much tension this Holiday season, since the album turned out beyond expectations. I'm afraid the release of this album will only worsen the already very competitive relationship between Santa Claus and Sinterklaas. ~ CD Universe

EDDIE GOMEZ - PER SEMPRE

Eddie Gomez collaborated with five Italian musicians to produce this 2009 session, which primarily focuses on original ballads. The veteran bassist, recognized as a major player since his 11-plus years working with pianist Bill Evans, is in top form, providing an inventive foundation in the rhythm section. The sole standard is an unusual "Stella by Starlight" with tenor saxophonist Marco Pignataro (who also doubles on soprano sax) and flautist Matt Marvuglio alternately playing the lead and harmony, with the pulsating rhythm section that includes Gomez, pianist Teo Clavarella, and drummer Massimo Manzi. The bassist's warm ballad "Arianna" glistens with its early morning, spring-like air, showcasing its composer playing both arco and pizzicato, with him chanting softly along with his solo. Gomez's new version of his "Forever" (premiered on his 1987 CD Power Play) is an elegant affair with potent solos by Pignatano, Clavarella, and Marvuglio. The pianist's "Pops and Alma" has the flavor of progressive chamber music, while Marvuglio's extended "Why Cry?" is an emotional affair, with powerful playing by Pignatano (who switches to soprano for his solo) and the composer in a lush setting. Pignatano's somber ballad "Homesick" is beautifully voiced, with Gomez's haunting arco bass setting the mood, followed by the miniature bass solo in his "Epilogue." ~ Ken Dryden

MELISSA ALDANA - SECOND CYCLE   Second Cycle"Second Cycle" is Melissa Aldana's new album. Following the success of "Free Fall" and the positive reviews of this talented sax player by New York as well as international critics, Melissa went on to write new compositions. New York is where Melissa currently lives and where she has entered this "Second Cycle" showing her passionate, rushing life. Melissa has developed a new way of dealing with her inner music; she has created a new environment where she feels comfortable, a new unpredictable journey that immerses us in a new world of emotions, intricate harmonies that are transformed into evocative melodies through Melissa's delicate hands. In this new record we can find a new Melissa full of vitality. Her improvisations show once again her great technical mastery of the sax, and her ideas are developed fluently, showcasing her great personality. Her voice on the tenor saxophone arouses the curiosity to continue listening to the rest of the jazz pieces she has composed. Gordon Au - trumpet, Joseph Lepore - bass, Ross Pederson - drums support each and every single note blown by Melissa. Recorded under Greg Osby's label Inner Circle Music (like Free Fall, her 2010 debut album), Melissa is "actually one of my favorite saxophones on the planet because of her single voice, her special quality and characteristics", Greg affirms."Second Cycle" inspires math, conception, truth, and authenticity to this new cycle in Melissa's musical and personal life. ~ CD Universe

NEW RELEASES - DAVE TOFANI, CHESTER THOMPSON, AUBREY DAYLE

Dave Tofani's, Manhattan Carnival, was released nationally and received wide critical acclaim & made the Radio and Record Charts at #7 for 8 weeks, which led to a Grammy nomination. A blend of jazz/fusion and traditional jazz Dave performs here on tenor and soprano saxophones backed by New York City's most stellar rhythm section players, all stars in their own right: Warren Bernhardt (Piano,) Cliff Carter (Piano,) Dave Charles (Percussion,) Mark Egan (Bass,) Anthony Jackson (Bass,) Jimmy Madison (Drums) and Ross Traut (Guitar). The album was recorded in the top studios in NY, the Power Station and A & R Recording.


   

CHESTER THOMPSON - MIXOLOGY

 

Earthy, energetic & exciting - The musical style of organist / keyboardist Chester Thompson will take you for a ride! "Medallion" & "Sista Strut" display infectious dance rhythms and patented bottom end prowess. "Miracle", featuring Tower Of Power bandmate Ron E. Beck, pulls the heartstrings & his interpretation of the classic "You Leave Me Breathless" shows that emotion reigns supreme in the contemporary world of Chester Thompson. With Howard Wiley on saxophone, Barry Finnerty & Chris Cain on guitar, Mike Clark & Brian Collier on drums, Joel Behrman on brass and Kenneth Nash on percussion.

   

AUBREY DAYLE - MY ID/JEWEL   This CD is Aubrey Dayle's third recording. It is truly a pivotal effort in that it represents a second chance at life for Mr. Dayle. Aubrey will receive a healthy kidney with a transplant from his wife Julie. The CD is called "Jewel". it represents the magnificent gift that the new organ will be for him and the person that it will come from. The current lineup of his band called "My id" includes bassist Rich Brown ( Steve Coman, Andy Milns), saxophonists Michael Stuart (Elvin Jones) and Richard Underhill (The shuffle Demons, Taj Mahal, Blue Rodeo) the 2004 first prize and public prize winner at the international Montreux Jazz Festival Jazz solo piano competition, Robi Botos (Pat LaBarbra, Brandford Marsalis), and drummer/composer and band leader Aubrey Dayle. Vernon Reid The famous guitarist from the band "Living Colour" also makes a guest appearance on the first track called "The Right Move". His signature sound and explosive soloing technique is articulated beautifully on the track. This CD represents perseverance at a high level. despite kidney failure Aubrey and his band managed to produce an exciting contemporary jazz recording that has the feel and excitement of instrumental music from the 1970s and 80s.   ~ CD Universe

FESTIVAIS DA CANCAO VOL. 2: 1969 - 1972

Legendary work from a crucial component of Brazilian culture in the late 60s and early 70s – the International Song Festivals of the time – a very important way of presenting both new talent and new compositions as well! The events were really unique, and often quite striking – from both a cultural and political perspective – as artists used the festivals as a key platform for taking steps forward in their words and music – sometimes steps that were even bolder than their studio work on record! Performances are unique to the records, and usually represent some key non-album tracks from the artists involved. This second volume brings together work from the 1969 to 1972 versions of the Festivals – a really crucial time in Brazilian music, represented here by performances from Clara Nunes, Marcos Valle, Quarteto Forma, Beth Carvalho, Golden Boys, Tiaguara, Evinha, Antonio Adolfo & Brazuca, Maria Odette, Oz Brazoes, Hermes Aquinho, Alceu Valenca, O Grupo, Vox Populi, Martinho Da Vila, Luiza, Som Okey 5, Jards Macale, Os Tres Morais, Tribo, Toni Tornado, Agostinho Dos Santos, Trio Esperanca, Wilson Simonal, O Terco, Som Imaginario, Wanderlea, Silvo Cesar, Osmar Milito, Ze Rodrix, Claudia, Alaide Costa, and many others! Box features the full albums IV Festival Internacional Da Cancao Popular Vols 1, 2, & 3 (1969), V Festival Internacional Da Cancao Popular Vols 1 & 2 (1970), VI Festival Internacional Da Cancao Popular (1971), and VII Festival Internacional Da Cancao Popular (1972) – and most albums have bonus tracks too! ~ Dusty Groove

THE DAN HAERLE QUARTET - LIVE AT THE LUMINOUS SOUND

As of the summer of 2002, Dan Haerle retired from full-time teaching. He was a faculty member in the Jazz Studies Division of the College of Music at the University of North Texas for 25 years (Regents Professor for the last 10 years). He taught Jazz Piano, Jazz Fundamentals, Advanced Jazz Improvisation, Jazz MIDI, Graduate Jazz Improvisation, Rhythm Section Master Class and he supervised the jazz chamber music program. He directed the Jazz Strings and a keyboard ensemble called The Zebras. He taught the courses in basic MIDI theory, sequencing and jazz notation.

Dan was inducted into the International Association of Jazz Education "Hall of Fame" at the annual conference in Toronto on January 9, 2003. The IAJE Hall of Fame Award honors individuals whose musical contributions and dedication to jazz education over the past 25 years have created new directions and curricular innovations for jazz education worldwide.
In 2007, Dan completed his modified service at UNT and became a member of the adjunct teaching faculty. In the fall of 2007, he was named Professor Emeritus.

On January 6, 2012, the Jazz Education Network (JEN) awarded Dan (along with Jamey Aebersold, David Baker and Jerry Coker) the distinction of "LeJENd of Jazz Education" at its 3rd annual conference in Louisville, Kentucky.Some highlights of performing experience:• Toured the U. S. and Canada with the Stan Kenton Band during Stan's illness, the summer of 1971• Toured the U. S. and Europe with the Clark Terry Quintet, the spring and summer of 1975• Did extensive recording and show work in Dallas, Miami Beach and New York, from 1963 to 1975• Has performed with Chris Connor, Mel Torme, Al Jarreau, Pat Metheny, Dave Liebman, Woody Shaw, Kai Winding, Atilla Zoller and Freddie Hubbard• Has been active as clinician and guest artist at many colleges and universities from 1968 to the present.

~ CD Universe

NEW RELASES - THE SURE CO., DEXTER STORY, OTTO

THE SURE CO. - 5IVE

Snapping rhythms with plenty of jazz – a great collaboration between musicians who've worked together with Gregory Porter, Jose James, and Ty – stepping out here on a unique project of their own! The core energy of the set comes from the live drums of Richard Spaven and keyboards of Grant Windsor – who uses a fair bit of Fender Rhodes on the record, often with the best cosmic touches of the London scene, but a bit more classic focus overall – which really gives the set a sparkling, soulful energy that you'll love right from the start. Most tracks also features these wonderfully round acoustic basslines from Neville Malcolm – and although one track features some vocals from Nailah Porter, the main vibe overall is instrumental – with a quality that's quite similar to Kaidi Tatham's entry in the 5ive series. Titles include "Perseophone", "Koln", "The Sure Chimes", "Sort Of Things", and "Loose Shots". ~Dusty Groove

DEXTER STORY - SEASONS

A beautiful project from the contemporary underground scene in LA – a record that shares lots of energy and musicians with recordings by Build An Ark and Life Force Trio! Dexter Story's the main force behind the record, but the set's a strongly collaborative effort – and features keyboards from Mark De Clive-Lowe, flute from Derf Reklaw, strings from Mighel Atwood-Ferguson, vocals from Dwight Trible, and key studio work from Carlos Nino! Story's vocals and overall conception are wonderful – soaring and soulful, with some slight cosmic touches that give the record a bit more crackle than related projects – a sound that's still steeped in spiritual jazz elements, yet which also really opens up as the set rolls on. There's a wonderful sense of variety to the tracks – due to the shifting lineup – but the overall feel is still very cohesive, and an amazing demonstration of Story's bold musical vision. Titles include "Seasons", "Into The Hour", "Love Force Trio (part 1)", "Underway", "Water Bearer", "Paddle Boat", "Bloop Drip", "Gyre Song", "As Is", "God Sun", and "Suijin". ~ Dusty Groove

OTTO - MOON 1111

A really rich new chapter in the music of Otto – an artist we've loved right from the start, but one who's blowing us away all over again with this sweet set! There's a fullness here we've never heard from Otto – not a sound that's slick, just an approach that's more thought out and fully-composed – with some classic elements on the backings that take us back to 60s sounds from Beatles to Motown at times – yet served up in ways that all still retain the freshness of Otto's earlier work. Other sounds are a bit more contemporary, yet still have this feeling of timelessness that really stands out – something we might never have said about Ottos' music before. The electronics are kept to a minimum, and tunes are straightforward and less abstract – in a way we never expected, and which shows Otto to really be a great songwriter after all these years. The set was done with heavy collaborations from producer Pupillo, who co-wrote most tracks – and also features assistance from Kassin and Catatau too. Titles include "The Moon 1111", "Dia Claro", "Ela Flava", "O Que Dira O Mundo", "DP", "Hideus", "Miss Apple E Ze Pilantra", and "Selvagens Olhos Nego". ~ Dusty Groove

NEW RELEASES - CLINT EASTWOOD & GENERAL SAINT, COUNT BUFFALO, LEE HAZLEWOOD

CLINT EASTWOOD & GENERAL SAINT - TWO DAD D.J.

Just like the title says, two bad, bad Dee Jays plying their trade over niced up rhythms from Junjo Lawe – with all star backing that includes Flabba Holt, Sly & Robbie, Style Scott, Santa Davis, Sowell, Chinna Smith, Bo Pee, Bingy Bunny, Gladstone Anderson, Ansel Collins, Steelie, Winston Wright, Sky Juice, Skully Sims and others! 10 tracks in all, including "Can't Take Another World War", "Another One Bites The Dust", "Talk About Run", "Sweet Sweet Matilda", "Special Request To All Prisoner", "Dance It Have Fe Nice", "Gal Pon The Front Line", "Jack Spratt", "Tribute To General Echo" and "Hey Mr DJ".  ~ Dusty Groove

COUNT BUFFALO - EXCITING DRUMS AFRICAN ROCK PARTY

The drums are definitely exciting here – really tight rhythms that drive most of these cuts into a funky frenzy – even if the groove is more based on American soul of the late 60s than the African rock promised in the title! Most of the tunes are covers, but remade here as really hip instrumentals – often with bold work from the Count on his drum kit – which then sets fire to the larger group's blend of tight horns and electric rhythmic instrumentation – all coming across with that perfect cusp of the 70s Japanese jazz sound we love so much! Most tracks are shortish, and very groovy – and titles include "The Cat", "Touch Me", "Amen", "Soul Limbo", "Hold Tight", "Otis Sleep On", "Sidewinder", "Going Up The Country", and "Windy". ~ Dusty Groove

LEE HAZLEWOOD - YOU TURNED MY HEAD AROUND

A totally amazing look at Lee Hazlewood's late 60s record label – served up in a host of rare singles by other artists who were working with Lee at the time! The range of styles is wide, but there's a really focused feel to the whole thing – given Hazlewood's key touches in the studio behind the singers, and his undeniable sense of wit and warmth, which makes just about all these artists sound way better with Lee than they would on their own! This limited-edition box is totally beautifully – with eleven individual 7" singles, each with original label and sleeve art – plus the rare "Woodchucks" pic sleeve, a special Hazlewood puzzle, an LHI 45 adapter, and even a download card for all the music – packaged in a heavy-duty magnetic flip-top box! Titles include "Lady Barber" by Lynn Castle, "Invisible People" by Hamilton Streetcar, "Come Down" by Honey LTD, "The Street Song" by The Kitchen Cinq, "Trouble Maker" by Lee Hazlewood, "Valentine Grey" by Danny Michaels, "It's A Nice World To Visit" by Ann Margret, "Bo-Dacious" by The Woodchucks, "Anyone Who Had A Heart" by Eve, and "Nobody Like You" by Lee Hazlewood & Suzi Jane Hokum. ~ Dusty Groove

NEW RELEASES - B.B. KING, THE MOMENTS, EDDIE HOLMAN

B.B. KING - LIVE IN JAPAN

B.B. King live in Japan – really cooking here on a concert performance that's quite different from his other live records of the time! The set's a double-length one – originally a 2LP set – and most tracks are nice and long, with lots more room for solos from B.B. – stretching out wonderfully in front of a crowd that's clearly going out of their minds – almost as enthusiastic, at least in the way they're recorded, as the Apollo crowd at a James Brown performance! Although not issued in the US at the time, the material is essential BB King – really great tracks that are some of the best he recorded in the 70s. Titles include "Jamming At Sankei Hall", "Hikari", "Chains & Things", "You Are Still My Woman", "Niji Baby", "How Blue Can You Get", and "Eyesight To The Blind". (SHMCD pressing.) ~ Dusty Groove

THE MOMENTS - MOMENT WITH THE MOMENTS

Sweet sweet sweet soul from The Moments, and one of their rare early albums for the Stang label! The tracks are all beautiful New Jersey harmony soul, of the sort that The Moments and others put on the charts in a large way during the early 70s – and the band's smoothing their act up a bit, but still has some of the roughness that makes the best New Jersey soul albums so compelling! Of course, Sylvia Robinson probably had something to do with that – as she was still just hitting her stride in the studio – finding a great way to present the group with all the fragility of their earliest years, but also a bit more punch than usual. Titles include their hit "Love On A Two Way Street", a surprisingly great cover of "Rocky Raccoon", and other nice ones like "So This Is Our Goodbye", "I Do", "Key To My Happiness", and "Lovely Way She Loves". ~ Dusty Groove

EDDIE HOLMAN - A NIGHT TO REMEMBER   A wonderful late 70s comeback for Eddie Holman – best known to folks for his earlier sweet soul work, but sounding equally great here on a set of club-heavy tracks! Although Eddie's falsetto soul might have seemed like a strange choice for the disco-oriented Salsoul label, this album actually works well – and stands as a good representation of the shifts in styles along the East Coast soul scene during the 70s. Eddie's voice is still in great shape, and he's great on the ballads like "You Make My Life Complete", "Immune To Love", and "It's Over" – but he also fits in great with the more up-tempo tracks, which were arranged and produced by Ron Baker and Norman Harris! Titles include "Time Will Tell", "All My Life", and the title cut, "This Will Be A Night To Remember". CD's got some killer bonus tracks – including "This Will Be A Night To Remember (orig Tom Moulton 12" mix)", "Time Will Tell (orig Tom Moulton 12" mix)", "You Make My Life Complete (orig single)", "Somehow You Make Me Feel (orig single)", and "I've Been Singing Love Songs (background vocals)". ~ Dusty Groove

NEW RELEASES - TOM STEWART, ANTHONY, TIM CHOKAN

TOM STEWART - FLYER

Flyer features the compelling, virtuosic performances of Jeremy Powell on tenor sax, Ian Goodman on drums, and Mark Neuenschwander on bass. Tom composed the tunes and the quartet brings them to life in an exciting way. The hard work of recording engineer, Steve Connelly, of Zen Studios in St. Petersburg, and the legendary mastering engineer Bob Katz, located in Orlando, contribute to a high quality audio experience. Flyer also includes two of Tom's solo acoustic tunes, including the title track and "Changes in the Instant."

ANTHONY - FROM THE HIP

Anthony's voice has been described as both tough and vulnerable. His songs move from swagger and swing to sweet and luscious. Marc Myers (journalist, author, historian, founder JazzWax, and contributor to the Wall Street Journal) writes crisply, "Dig the voice!" Anthony says, "My goal is to write and record music with melodies and lyrics with deference to those that comprise the American songbook." The music has been called sophisticated by some. Others in the music industry have described the songs as, "filled with passion and wonderful surprises". Of course, the eye is of the beholder (or of the ear in this case). What is not subjective is that the musicians in the recordings are consummate professionals with impressive backgrounds. Their resumes include playing with such diverse notables as Frank Sinatra, Les Paul, Elvis Presley, Olivia Newton-John, Stan Getz, Buddy Rich, Blood, Sweat & Tears, Chicago, Lionel Hampton Big Band, and other prominent names and bands in the music industry, as well as performing in Broadway stage productions. Anthony concludes, "I hope that jazz enthusiasts, and those with an ear for pop music, will take the opportunity to listen and judge for themselves".

TIM CHOKAN - THE FUN ONE

In this most recent endeavor by Tim Chokan, he continues to do his part to keep the Trumpet alive and make it cool again. Tim presents his Collection No. 5, "The Fun One" - A Smooth Jazz Quartet with Trumpet, bass, keyboards/synthesizers, and drums ! smooth Old School Soul inspired jazz that is fresh, funky, and FUN!! With a shout out to the acoustic guitar, "The Fun One" features two special guest guitarists: Kevin Chokan on track two, the slick "Highway Man", and track thirteen, the old school "Bootsey". Also, Perry Heinitz on the beautiful track six, "5 Jazz", with the Harmon Mute on the Trumpet. Also, the melody of track three, "Jazz Dance", was inspired by Solomon Burke, Jr.
, the son of the King of Rock and Soul, Solomon Burke. "The Fun One", instrumental, original, contemporary smooth jazz music that appeals to everyone young and old, fifteen songs that will pick you up and get you going, all with the intention of having Fun!

~ CD Universe

HAMMER GLAVIER TRIO - ROCKET IN THE POCKET

The Hammer Klavier Trio is jazz as it lives and breathes today. Three bright musicians use acoustic and electric instruments in a fun and unfussy concoction of classical jazz and contemporary rhythms that feels right for this moment. Their quirky and earnest melodies, sharp rhythms and hipster attitudes acknowledge with appreciation jazz's recent and older past, but are inspired not fettered by it. In fact, it frees them. So HKT keyboardist Boris Netsvetaev adds an edgy touch of electronics on "Hysterioso," his variant of Thelonius Monk's "Mysterioso," for no other reason than because it brings a smile, and the groove cut by bassist Philipp Steen and drummer Kai Bussenius is in step with how people move.

And the rest of Rocket in the Pocket demonstrates equal confidence, though after the lyrical, impressionism a la Bill E vans feel of "A Sketch in Dark Colours" you don't expect the dirty Fender Rhodes distortion effect Boris employs in his solo on "Suicide Train." Or Philipp's lead bass part on "Tekla," with Boris' haunting backdrop of a voicing. Or the free-time episode at the center of "Plan B," followed by chordal figurations reminiscent of a Herbie Nichols composition. But you accept it all, since these three clearly know what they're doing, and it's exciting.

Those are two reasons why the Hammer Klavier Trio has made many a strong impression and won an ever broadening fan base since forming at the Hamburg University of Music and Theater in 2002, where its members first met at a concert of the Joe Lovano-Bill Frisell-Paul Motian trio. The genuine originality of St. Petersburg-born Netsvetaev's compositions and arrangements, and the sensitive flexibility by which Steen and Bussenius make the music their own are two more. The intriguing drama and engaging playfulness heard throughout this album, though, are the main things. No other explanation is necessary to enjoy this music than hearing "Rocket in the Pocket," the album's title track. It shows off what HKT weaves together and how. A backbeat as funky as any in-crowd needs, a motor goosing Boris' elegantly precise and unerringly decisive piano line, Steen and Bussenius synchronizing their parts into an irresistible rhythm. Happy surprise! You can dance to it!

Good music wins out: the path from the release of HKT's 2008 recording debut Now I Know Who Shot J. F. K. to the issue of Rocket in the Pocket has been marked by positive steps. These include the trio's iœberjazz festival set, a clip of which can be seen on Youtube. The Jazz Journalists Association nominated the video for a 2011 Jazz Award, and digging the music too, featured HKT at its annual Jazz Awards gala at City Winery that June. The trio developed the opportunity to perform before the jazz media elite into an NYC mini-tour that reached NYC's hard-core aficionados, with gigs at Small's, Miles Cafe, the Garage, Puppet's in Brooklyn and the German General Consulate.

HKT was welcomed everywhere. "When's your next recording?" people asked. Here it is, Rocket in the Pocket. Launch and soar.

~ Howard Mandel, president, Jazz Journalists Association

GROOVE55 - VOYAGE

Voyage features Smooth Jazz Chart-topping trumpeter Rick Braun and internationally renowned multi-instrumentalist Mino Cinelu on percussion (Miles Davis, Weather Report, Herbie Hancock, Sting). We think this album is a landmark on the smooth jazz scene. It is energetic with full sounding arrangements and captivating percussion grooves. No band other than Groove55 can swing the funk as well as this.

The first track from their new album Voyage is called "Feeling Good". It features Rick Braun on trumpet, and Mino Cinelu on percussion.

"Black Market" is Groove55's interpretation of a composition by the late Joe Zawinul. "Black Market" was on the album of the same name which came out in 1976. Joe Zawinul is best known for his crossover radio hits "Mercy, Mercy, Mercy" and "Birdland".

Track three from Voyage is called "Pick Me Up". It's just a fun groove intended to be somewhat reminiscent of the traditional funk tune with horns, but treated with a modern touch. The solid and steady rhythm section makes you tap your feet while listening, truly a ''picker upper'' of a song. "Pick Me Up" is a composition by our bass player, Yves Nadeau.

The melody in "Hornets" seemed a perfect match for Rick Braun's mute trumpet. Yves Adam plays the Alto sax on this one, and the two instruments blend perfectly.

The recipe for "Secret Weapon" is some cool trumpet, a good helping of groove, a pinch of swing and a dash of espionage for spices.

"Cotton Candy" speaks of Duke (Edward Kennedy) Ellington, the cotton club and the swing era. Born in 1899, The Duke wrote over 1000 compositions and in the century since his birth, there probably has been no greater composer. He was know for his eloquence, his charisma and his innovative use of the big band format.

"White Sneakers" was composed by bassist Yves Nadeau, after listening to a number of bass players originated from Africa. Although the song is better described as world music, Yves idea was to capture the energy and the rhythm of African music. Daniel Lemay's drum on this song is scintillating.

"Maiden Voyage" is a composition by Herbie Hancock and features a fantastic percussion solo by Mino Cinelu, as well as a bass solo by Yves Nadeau, and also puts into light the exceptional playing of the clarinet by Yves Adam. "Maiden Voyage" is considered a standard with its uplifting melody.

"Colors" is a cool groove with a catchy melody that will stay with you throughout the day.

"Fly By" is a short portrait of a jazz improvisation with a hint of funk in the background.

~ CD Universe

DAMAMI PHILLIPS - THE RECKONING

"The Reckoning" is a uniquely varied body of work, consisting of a mixture of original compositions and arrangements of infrequently recorded tunes in the jazz repertoire. As has become the standard for my prior recordings, stylistic variety is ever-present within this collection of songs. While seeking to create music that is inviting to a wide variety of listeners, my hard bop roots are front and center in the flavor and spirit of the album. The original compositions on the album strongly reflect the influence of this period of jazz history on my musicianship, consisting of tunes that are substantive yet relatable to many.

The arrangements of per-existing tunes represent personal favorites from the catalogs of jazz giants Kenny Dorham and Hank Mobley. In keeping with the edgy, hard-bop spirit of my work, I sought the assistance of the best musicians in New York to help in bringing my music to life. I enlisted the help of NYC jazz standouts Greg Gisbert on trumpet, Hammond B3 Organist Pat Bianchi, and the incomparable Lewis Nash on drums. The caliber of musicians joining me on the album give my music an infectiously organic spirit; all while exuding the highest standards of quality and musical substance. "The Reckoning" marks the first time that these three individuals have ever come together to record, yet they play like they've been performing together for years! The combined personnel on this album work together to create a recording that is a exceptional listening experience. The album is highly effective in striking a harmonious balance between the old and new while allowing me to stay true to my individual voice as a musician and composer.

The Tracks:
1. No Room for Squares - One of my favorite tunes by Hank Mobly, and a song that I've been waiting a long time to record. The chemistry between Pat and Lewis is phenomenal on this track!

2. One for C.P. - One of my original tunes written specifically for the album as a tribute to my late father Clarence Phillips. Though this funk tune was written to purposefully be accessible to less experienced listeners, substance and integrity was not compromised in doing so. If the funk doesn't get you, the hip chord progression and fantastic solo work will! Check out Greg Gisbert's killin' solo on this one!

3. Shalom - Another of my original tunes written a while back and revisited for this recording. Inspired by my fascination with Cannonball Adderley's version of "Fiddler on the Roof", this hard bop monster is constructed around the Jewish scale commonly employed in Klesmer music.

4. You Are Who You Are - Another original written specifically for the album. A pretty jazz waltz with a interesting chord progression that is a nice counterbalance to the other tracks on the album.

5. Sinister Intent - My personal favorite on the album. Another original tune that uses a "jungle" or "breakbeat" feel. Intricate counterpoint and unorthodox harmonization between the two horn parts make for a unique and distinctly gritty melody. Lewis Nash is a killer on this track, and the solo work of everyone in the group is second to none! You'll never see the ending coming!!

6. Lotus Blossom - My arrangement of the Kenny Dorham classic. Some interesting experimentations with tempo manipulation and metrical superimposition that's reminiscent of Wynton's "Autumn Leaves" from the 80's. Rumor has it that you might hear me lay down my horn and rip a few scat choruses on this track! An interesting twist on a great tune.

7. Isfahan - My favorite Billy Strayhorn tune. This one pays homage to the lineage of jazz. No fancy arrangements or slick harmonic experiments - just the hard swingin', straight-forward jazz that I grew up loving! Pretty tune that has been overlooked for far too long! It is with great pride and enthusiasm that I present to you "The Reckoning". ... Full Description God bless, and more importantly, enjoy!

~ CD Universe

VERVE JAZZ ENSEMBLE - IT'S ABOUT TIME

Featuring acclaimed NY Trumpeter Tatum Greenblatt, cited by Wynton Marsalis as "one of his favorite young trumpet players," the Verve Jazz Ensemble projects a wide array of richly developed voices on this compelling compilation of music. From reinterpreted Bebop standards (Lady Bird, Boplicity, and Jordu), to a dynamic big band reduction (Big Swing Face, originally made famous by Buddy Rich), to two distinct treatments of well-loved jazz classics (Henry Mancini's The Days of Wine and Roses, and Oscar Hammerstein's Softly as in a Morning Sunrise), listeners will immediately hear a deeply integrated group that delivers its musical art with great style and passion.

Tatum Greenblatt's beautiful, crystal-clear trumpet voice lends a bluesy edge throughout, showcasing his rich jazz roots set on a contemporary platform and vision. Tatum takes full advantage of his voicing on the band's hypnotic rendition of Boplicity, creating a smooth, rich mood any New York jazz lounge would be proud of at 3 AM. Tenor sax man and arranger Jon Blanck brings his soulful, driving, yet ever-sensitive approach on every tune, linking with Tatum's trumpet to generate a warm blend of dynamic jazz.

Jon turns it up on the VJE's intriguing and funky jazz samba rendering of Softly as in a Morning Sunrise, featuring a broad and beautiful solo.

The group's rhythm section is also aptly featured, playing with a synchronization that gives the Verve Jazz Ensemble a solid yet highly flexible foundation. Note bassist Chris DeAngelis' solid undercurrent and footprint everywhere on the album. Pianist Matt Oestreicher's array of well-crafted, spicy and eclectic fills, accompaniments, and solos bring to mind pianists from McCoy Tyner to Red Garland, and many in between. And driving the band is VJE drummer and leader Josh Feldstein. Josh's swinging, thoughtful, and elegant percussive pulse sets the stage for a distinctly different, truly enjoyable rhythmic experience from tune to tune. Josh especially digs in on the uptempo and novel quintet interpretation of Big Swing Face, seamlessly blending the small jazz ensemble sound with a big band drumming approach, resulting in a wide-open, kickin' tune.

As the listener will very likely agree, it's indeed about time the Verve Jazz Ensemble has released their debut album, It's About Time.

~ CD Universe

DEAN & EWBANK - BLUES SAY GOODBYE

Put this CD in the jazz bin! It includes tunes written by Duke Ellington, Hoagy Carmichael, Sammy Cahn, and Louis Jordan, as well as songs by Steve Winwood of Blind Faith, Jack White of the White Stripes, and Jimmy Page and Robert Plant of Led Zepplin. All are given inspired jazz interpretations by pianist Mike Ewbank, bassist/vocalist Tommy Dean and percussionist Colin Agnew. From the traditional to the contemporary, this album creates a musical mosaic that is easy to listen to and full of surprises.


"Blues Say Goodbye" is the creation of pianist Mike Ewbank and bassist/vocalist Tommy Dean with Colin Agnew on drums and is a faithful reflection of their live performances. The piano work is agile and inspired. The vocal performances range from subtle to over the top. The drums and bass consistently propel things as they should. You will be blind-sided by the song selection:

The first track starts with a jazzy unison bass and vocal scat ala "Slam" Stewart, which introduces a low down and dirty version of The White Stripes' rock anthem, "Seven Nation Army." After two verses Ewbank's fiery piano solo abruptly starts with a lick akin to a fire alarm bell ringing out a warning before settling into a swinging stroll. Dean takes the song out with a multi-toned falsetto scat that toys with the gritty vocal overtones of his voice over an extended instrumental vamp.

Before you've even had a chance to contemplate what you just heard, you encounter a light and airy piano introduction to Hoagy Carmicael's classic, "Georgia On My Mind." This trio takes it back to its Great American Songbook origins with a feel that invites a bit of Vaudeville "soft shoe" dancing. Everything about this performance is light and easy, disguising the tremendous technique required to convincingly play stride piano. Whoa! Is that a Ray Charles piano quote introducing the piano solo? You can tell these artists could do this one in their sleep, though there is nothing sleepy about their performance.

The drummer's ending brush flourish on "Georgia" becomes the intro to an energetic Latin feeling "It Was A Very Good Year." Mike Ewbank shines on this piece. His solo is an excellent display of the effective use of space and repetition as he states his musical premise, takes a breath, and says it again with a variation that soon launches into melodious musical excursion that goes into a jagged rhythmic transition as the verse form repeats. He makes it all work with style and grace.

Just as soon as you think you might have this little album pegged, the trio reveals rolling cascades of piano over a tatoo of brushes pushing a descending bass line. If you're a fan of early Eric Clapton and Steve Winwood it sounds familiar, but you won't know why until Dean's soulful voice proclaims, "Come down off your throne and leave your body alone... " and you find yourself in a beautiful swirl of sound and lyric as these musical chameleons make this poignant rock classic their own.

So you reach the title track and it starts with a jaunty unison bass and piano left-hand over a slightly swinging brush figure and an understated back beat. Ewbank sprinkles bouncy chord accents between the bass ostinato then opens some room for a plaintive vocal that tells an old story of estranged lovers. In the lyric the blues are personified as an insistent old drunk badgering the singer with tales of sadness and woe. The only cure is the return of the lost lover because the blues knows that three is a crowd.

Karen Greene provides musical magic on Led Zepplin's "Going To California" with tasty soprano saxophone responses to Mike Ewbank's beautiful piano excursions.

~ CD Universe

JEAN LAUGHLIN - MIRACLE OF LIFE

Jean Laughlin is an originator, poised to slide into any musical setting. Complimented by the best Chicago jazz musicians in a full orchestra setting, Jean collaborates with tasteful, inventive nuances complimenting many of the songs enriched improvisational solos. Bringing her dynamic relationship with Jim Martin to its full expression once again creating an album of warmth and love with her latest CD project Miracle of Life. Jim’s superb charts brings Jean’s music to life with the masterfully assembled string section and big band horns completing the orchestra.

Laughlin presents a full range of ballads from jazz, to Broadway, to cabaret. The story-lines of each tune exudes the challenges of our daily lives, bringing humor and whimsy to life’s absurdities throughout her big band arrangements. “I’ve always thought that music is a form of communicating with others, a way of connecting with each other. Through music we can share our thoughts and feelings and even heal broken hearts” says Laughlin.

Jean’s solid vocal and musical command underlie each composition’s appeal. She began singing at age five and studying classical piano at seven. At the age of eleven, she performed on the nationally televised ‘Bob Crosby’ Show.

After settling in Chicago, Jean became a fixture in recording studios, recording television commercials, voice-overs and radio spots for large advertising agencies like Leo Burnett, J. Walter Thompson and Foote, Cone & Belding. She worked with Chicago legend Shelley Long by performing in many corporate industrial shows.

Currently many of Jean’s big band charts are being performed around the globe. She offers her arrangements and lead sheets to other singers with the hope that her songs will reach a larger audience.

“Jean is a seasoned professional, bringing her uplifting life’s perception not only through her lyrics but through the melodic flow and rhythmic musical backdrop. There is not a person that couldn’t relate to the message of her inspired offerings of song” says Jaijai Jackson, creator of The Jazz Network Worldwide.

Jean released her first album I'm Glad There Is You in 1992. She wrote and produced Confessions of a Woman released in 1996, Who Am I? in 1998, What Am I Looking For? in 2001, No Easy Way in 2007. Her latest CD Miracle of Life was released in 2012 receiving international radio airplay.

“I want to thank Jaijai Jackson for giving me the opportunity to be featured on The Jazz Network Worldwide, I am truly honored!

I've always thought that music is a form of communicating with others, a way of connecting with each other. Through music we can share our thoughts and feelings and even heal broken hearts.

For a long time it has been very difficult for Independent artists to get their music out there, but now Jaijai Jackson has created The Jazz Network Worldwide, an incredible vehicle that allows jazz musicians to share their music and drink in the wonderful work of the many talented artists on this site. Thanks again, Jaijai! May I wish all of you a very Happy Holiday Season!” ~ Jean Laughlin

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

NEW RELEASES - LEON'S CREATION, SIDNEY JOE QUALLS, MAX ROACH / ANTHONY BRAXTON

LEON'S CREATION - THIS IS THE BEGINNING

Early grooves from Leon Pattillo – later a club maestro, but working here in a much rootsier style at the head of Leon's Creation – an ultra-cool funk combo from San Francisco! The album's got a groove that really lives up to the promise of its title – a heady brew of funky tracks played by a tight young group – often with vocals in the lead from Leon and a female singer, but sometimes featuring other group members – adding a nice sense of variety while the players riff away with boundless energy! Pattillo plays some great organ at times – and other instrumentation includes guitar, bass, trumpet, tenor, and even some cool violin – and titles include "Confusion", "If I Had The Power", "Sightless", "Back Roads", "This Is The Beginning", and "Mirage". ~ Dusty Groove

SIDNEY JOE QUALLS -WINDY CITY WAILER

A brilliant collection of work from this overlooked Chicago soul singer – a set that brings together his whole 1974 album for Dakar, plus bonus singles from his late 70s years at Chi-Sound Records! First up is the sublime I Enjoy Loving You – one of a rare few albums cut by Sidney Joe Qualls – a fantastic 70s soul talent who's probably better known for his work behind the scenes, and as a songwriter, than he is as a voice on his own. The session is produced with a style that kind of mixes Brunswick Chicago soul with rootsier southern elements – stepping proud in the 70s territory of Johnnie Taylor or Tyrone Davis, but sounding way way better here, and with a much more independent vibe. Plus, the album boasts some incredible material – original tunes written by the likes of Sam Dees, Clifford Davis, George Davis, and others. Titles include "Shut Your Mouth", "Run To Me", "I Enjoy Loving You", "Please Help Me", "Can't Get Enough of Your Love", and "The Next Time I Fall in Love". CD then features 5 more bonus tracks from his 1979 studio work with Carl Davis' Chi-Sound label – tracks that include "I'll Run To Your Side", "Let The Woman Know", "So Sexy", "Good Ol Funky Music", and the classic "I Don't Do This To Every Girl I Meet". ~ Dusty Groove

MAX ROACH / ANTHONY BRAXTON - BIRTH AND REBIRTH

A wonderful step forward for drummer Max Roach – working here in very creative company with saxophonist Anthony Braxton! Although Roach could have easily rested on his laurels as a famous bop drummer – and have spent endless years touring on highly-paid revival/reunion tours – he was a true creative giant who never stopped expanding his talents, especially during the late 70s, when he was matching up with some of the greats of the avant garde. This album is a perfect example of that commitment to modernism, as Roach duets with Anthony Braxton on a set of 7 fantastic tracks that stand apart from individual work by either artist – more loose and open than earlier Roach work, but a bit more inside than some of Braxton's – with fresh results from both players that never fail to delight! Titles include "Dance Griot", "Birth", "Tropical Forest", and "Spirit Possession". (Very heavy vinyl – with a bonus CD of the album!) ~ Dusty Groove

THE BRYAN FERRY ORCHESTRA - THE JAZZ AGE

Over the last 40 years, singer Bryan Ferry has established himself not only as the frontman of one of rock's most iconic bands, but also as a unique interpreter covering the songs of others. The songwriters he's covered have been transformed into something wholly other by him. Ferry's ability to find and reveal what is hidden in a lyric, a musical phrase, or even a key signature is uncanny. The Jazz Age finds Ferry covering himself in radical fashion: he doesn't sing. He is credited as co-producer (with Rhett Davies) and "director." The Jazz Age celebrates Ferry's 40th anniversary in music by re-recording some of his classic tunes -- from the 1972 Roxy Music album to 2010's Olympia -- inspired by the sounds of '20s jazz. Ferry's looked deeply into the past before -- 1999's As Time Goes By paid tribute to the music of the '30s, an album of sung standards from the era -- but not his own.

This set was performed by many of the same British jazz musicians who performed on that record under the musical direction of Colin Good. Musically, Ferry and these musicians drew on the influences of Louis Armstrong's Hot Sevens, Duke Ellington's Orchestra, Bix Beiderbecke's Wolverines, and the Original Dixieland Jazz Band. But they also found inspiration in the heady historical era before 1929 detailed so intensely in the novels of F. Scott Fitzgerald, Michael Arlen, and Ernest Hemingway. All 13 of these tunes have been wildly revamped and offer interesting textures: a bass clarinet and baritone saxophone are used instead of a double bass to carry the bottom end, but the music here is played so well, it doesn't feel gimmicky. All of the original melodies have been left intact, though tempos are often completely reset.

The sprightly "Do the Strand" features piano, brass, reeds, banjo, and drums all competing for dominance (they were recorded live in the studio), and swings hard. "Love Is the Drug" is played as a moaning, bluesy dirge, while "Avalon" retains its sense of melancholy even as clarinets, trumpets, and piano commingle in a midtempo dialogue on different aspects of the melody. "Virginia Plain" is a fingerpopping dancefloor jaunt that recalls flappers doing the Lindy Hop. Given that Ferry doesn't sing on The Jazz Age, the appeal for casual fans is debatable. But for the faithful, trad-jazz heads, and open-minded listeners, the musical quality -- from expert arrangements, virtuosic playing, and the brilliant concept -- offer something wholly different and rewarding. ~ Thom Jurek

2012 album from legendary Rock/Pop vocalist Bryan Ferry. The Jazz Age is a step back to the classic Jazz era of the 1920s. By re-recording hits with top Jazz musicians, Bryan Ferry has given a new sound to his back catalog and the album includes hits such as "Don't Stop the Dance" and "Slave to Love". ~ CD Universe