CECILE MCLORIN SALVANT - WOMANCHILD

When Cécile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.
"She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."

Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz - starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music before exploring jazz.

There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had developed a set of formative experiences to express a uniquely personal style of jazz singing.

In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."

On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to-date arrangement, to McLorin Salvant's own 21st century waltz "Le Front Caché Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.

The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.

McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.

However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.

In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.

"I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching, I try to get close to it and share that with the audience."

On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.

Upcoming Cécile McLorin Salvant as a Leader Appearances:
featuring the Aaron Diehl Trio unless otherwise noted

March 18 / Theater National / Bern, Switzerland
May 25 / Atlanta Jazz Festival - Piedmont Park / Atlanta, GA
June 19 / SFJazz Center / San Francisco, CA
July 2 / Café de La Danse / Paris, France
July 5 / Monsegur Jazz Festival / Monsegur, France
July 6 / Le parc du Château Laurens / Agde, France
July 9 / Club de Minuit / Vienne, France
July 12 / Gent Jazz Festival / Gent, Belgium
August 2 & 3 / Bix Beiderbecke Jazz Festival (duo w/ Aaron Diehl) / Davenport, IA
August 24 / Charlie Parker Festival - Marcus Garvey Park / Harlem, NY
October 5 / Angra Festival / Angra, Portugal
October 19 / Jazz Series at Princeton's Berlind Theatre / Princeton, NJ
October 26 / Sixth & I Synagogue / Washington, DC
December 29 - January 1 / Umbria Jazz Festival / Orvieto, Italy

Additional Cécile McLorin Salvant Appearances:
* April 7 / Cully Jazz Festival / Cully, Switzerland
* April 8 / Le Trianon de Paris / Paris, France
April 23 / Tri-C Jazz Fest (with Dominick Farinacci) / Cleveland, OH
April 30 / Jazz Cat (with Dave Blenkhorn) / Ascona, Switzerland
* May 9 / Festival de Jazz - Saint Gaudens / Paris, France
** June 14 / CNCDC Chateâuvallon / Chateâuvallon, France
July 4 / Jazz a Vienne (with Fred Nardin) / Vienne, France
* July 4 / Jazz a Vienne / Vienne, France
* July 12 / Gent Jazz Festival / Gent, Belgium
* July 18 / Vittoria Jazz Festival / Vittoria, Spain
July 24 / Jazz a Vannes (with Keystone Big Band) / Vannes, France
August 5-10 / Arts Camp in Tannersville (master class - Catskill Jazz Factory Band ead by Aaron Diehl) / Tannersville, NY
August 10 / Arts Camp in Tannersville (w/ Catskill Jazz Factory Band ead by Aaron Diehl) / Tannersville, NY
October 31 - November 3 / Whitley Bay Jazz Festival (with Whitley Bay band) / Newcastle, UK
November 16 / Koerner Hall @ Royal Conservatory (with Ramsey Lewis) / Toronto, Canada

* with Jacky Terrasson
** with Archie Shepp

Other Special Projects:
Jazz at Lincoln Center Holiday Tour (December 2013)

WomanChild - Track Listing
1. St. Louis Gal (J. Russel Robinson)
2. I Didn't Know What Time It Was (Richard Rodgers, Lorenz Hart)
3. Nobody (Bert Williams, Alex Rogers)
4. WomanChild (Cécile McLorin Salvant)
5. LeFront Cache Sur Tes Genoux (Cécile McLorin Salvant, Ida Faubert)
6. There's A Lull In My Life (Mack Gordon, Harry Revel) - Prelude by Aaron Diehl
7. You Bring Out The Savage In Me (Sam Coslow)
8. Baby Have Pity On Me (Clarence Williams, Billy Mol)
9. John Henry (Traditional/Folk)
10. Jitterbug Waltz (Fats Waller, Richard Maltby Jr.)
11. What A Little Moonlight Can Do (Harry M. Woods)
12. Deep Dark Blue (Cécile McLorin Salvant)

Cécile McLorin Salvant· WomanChild  - Release Date May 28, 2013
www.cecilemclorinsalvant.com

SAXOPHONIST MARION MEADOWS ANNOUNCES 2013 TOUR DATES IN SUPPORT OF ACCLAIMED NEW ALBUM - WHISPER

Albert Einstein once said “We all dance to a mysterious tune, intoned in the distance by an invisible piper.” For multi-talented saxophonist and consummate creative spirit Marion Meadows, the allure of music was never too far. The charismatic, strikingly handsome, eloquent and debonair musician, who happens to moonlight as a brilliant digital designer/photographer, and semi-professional cyclist originally had aspirations to become a veterinarian. “Reaching people through music has always been rewarding for me. Expressing yourself through an instrument and having listeners run through so many emotions is an artistic impression like no other,” says Marion. With a clear trajectory in sight, the stars aligned for Meadows one evening at Grand Central Station, when his saxophone was mysteriously overheard reverberating through the Big Apple’s oldest railway. Emmy-winning TV composer Jay Chattaway (Star Trek fame) was so enchanted that he introduced Marion Meadows to Grammy-winning pianist, producer and label owner Bob James, who helped Meadows to launch his career as a solo artist.

Close to 25 years later, scores of sold out shows, twelve critically heralded albums, a string of radio hits and collaborations with luminaries like Stevie Wonder, Eartha Kitt, The Temptations, George Benson and Norman Connors, Meadows is not through yet. “I have immersed myself in so many styles, from old school funk, jazz, rock and pop that a great tune is a great tune and I draw inspirations from all styles of music, but it is also from the outdoors and the beauty the world has to offer that inspire me each day” states Marion.

On February 26, 2013, Shanachie Entertainment, in conjunction with Listen 2 Entertainment Group, released Whisper, Marion Meadows’ label debut. Featuring mostly originals, Meadows dances a delicate balance between soul and fire, intellect and emotion, and sensitivity and brawn, making Whisper, an exhilarating musical foray into one of contemporary jazz’s most brilliant minds and recognized soprano saxophonists.

A musician unafraid to boldly fuse diverse influences, Marion Meadows sculpts a borderless musical tapestry on Whisper. “I came up listening to Miles Davis, John Coltrane and Duke Ellington but at the same time musicians like Earth Wind & Fire, Chaka Khan, Chicago and Parliament Funkadelic,” confesses Meadows who early on cut his teeth playing in Avant-Garde jazz groups alongside heavyweights Rashied Ali and James Blood Ulmer. Whisper, Marion Meadows’ first new recording in four years, features the saxophonist’s agile and ethereal soprano styling’s and some robust tenor work. It opens with the majestic, intoxicating and rhythmic driven “The Visitor,” which segues into the melodious and scintillating title track, co-written by keyboardist and long-time collaborator Michael Broening.

Meadows produced Whisper along with Carlos Pennisi, Bob Baldwin, Rahni Song and Broening. The album’s first single is the enticing, funky and hypnotic “Black Pearl.” Just like its namesake and gemstone, Meadows’ Pearl is multi-layered, producing a beautiful interior within each shimmering chorus. Keyboardist Carlos Pennisi co-authored the song and helped Marion to compose five songs on the album. “Carlos helped me really try different musical ideas on Whisper. He is an amazing composer and multi-instrumentalist born in Italy with a great sense of using colors in his productions. As an artist I’m searching to try new ideas, and he definitely brought that to the table.” “Timeless,” is an evocative and tender impressionistic ballad, co-written with keyboardist Rahni Song, who joins Meadow on the track along with Pennisi and harmonica player Julian Davis. “Curves,” is an uplifting get-on-the-dance-floor anthem that serves up the right combination of grit and soul, while “Magic Life” and “Golden Curtin,” showcase Marion Meadows’ knack for crafting unforgettable melodies that magically have a way of transporting you. Meadows breathes new life into two jazz classics on Whisper, borrowing from the Freddie Hubbard and Dave Grusin songbooks. Freddie Hubbard’s 1970s landmark CTI classic “Sky Dive,” soars with Meadows’ own buttery soul rendition featuring his tenor and soprano alongside trumpeter Joey Sommerville. Dave Grusin’s 1980’s chestnut “Marcosinho,” gets revitalized with Meadows’ sparkling new take.

Recording Whisper for Meadows was truly a labor of love and part of that process was the joy of collaborating with friends. Longtime associate and keyboardist Bob Baldwin joins Marion on two of the album’s tracks, “Bottoms Up” and “Turn Up The Quiet.” Meadows says of his friend, “Bob always delivers!” Turn Up The Quiet” marks one of the high points on the project, as the duo score a home run.

Marion’s tender soprano gracefully teases and caresses the seductive melody as Baldwin finds all the accents to drive the song home. Flautist Ragan Whiteside joins Meadows on the show-stopping number, “Bottoms Up.” Marion calls Whiteside and Althea Rene (who is featured on “Golden Curtain,”) “two of the greatest flautists I know.” Not afraid to get loose and turn up the heat Marion Meadows serves up a scorcher on “Wild Thing,” a James Brown inspired romp that escalates things to a sweat inducing fevered pitch.

Hailing from West Virginia and raised in Stamford, CT, Marion Meadows began his musical endeavors at age eight, studying clarinet. At age 15, after hearing iconic saxophone masters like Sidney Bechet, Coleman Hawkins, Johnny Hodges and Stanley Turrentine, Marion Meadows’ switch to saxophone was imminent. During high school, he earned a coveted spot in the All-State Orchestra and Jazz Band and was afforded the opportunity to travel throughout Europe. His experiences during this time made him reconsider his ambitions for medical school and a career as a veterinarian. Upon graduation, Meadows attended the renowned Berklee School of Music in Boston, later transferring to SUNY Purchase School of the Arts. While still a student, the ambitious saxophonist worked steadily as a sideman. He jokes that he “got a graduate degree playing clubs.” He was also fortunate to study with the best including Joe Henderson, Dave Liebman and Eddie Daniels.

While at Berklee, Marion Meadows had another serendipitous encounter, this time with drummer producer extraordinaire Norman Connors, who was then playing with legendary saxophonist Pharaoh Sanders. Meadows says, “Norman Connors was really the guy who discovered me as an artist. The man who gave me my first shot.” Connors’ recorded Marion’s song “Invitation” and later extended an invitation to Marion to join his band. Connors, who collaborated with many of R&B and jazz’s greatest singers, afforded Marion the opportunity to work alongside such dynamic voices as Jean Carne, Phyllis Hyman, Glenn Jones, Angela Bofill, and many others. “That was a nice graduate school, sort of speak”, laughs Meadows. After graduating with honors from Connors’ University, the well-rounded saxophonist spent time honing his chops on the avant-garde circuit in the ensemble "Aboriginal Music Society," which featured guitarist James Blood Ulmur, percussionist Juma Sutan and pianist Kasa Allah.

In 1990 Marion Meadows made his recording debut, For Lover's Only featuring Eliot Lewis, Porter Carroll, Brian Keane and Average White Band alumnus Alan Gorrie. Two years later he joined forces with Will Downing, Bob Baldwin, Angela Bofill and Norman Connors for his sophomore recording Keep It Right There. Further solidifying his rightful place in the pantheon of great saxophonists, Meadows released Forbidden Fruit in 1994. He was joined by an eclectic all-star cast that included Eric Benet, SWV, Don Grusin and Dori Caymmi, among others. Body Rhythm came in 1996 and Pleasure, the following year. Around this time Marion Meadows relocated from Connecticut to the Valley of the Sun - Phoenix, AZ. He also settled at a new recording home, Heads Up International, where he released his sixth album, Another Side of Midnight in 1999, calling on a little help from some friends Bob Baldwin, Omar Hakim and Norman Brown followed by Next To You in 2000 and In Deep in 2002. Player’s Club in 2004 spawned two hit singles “Suede” and “Sweet Grapes,” and have gone on to be Marion’s signature songs. Dressed To Chill (2006) included memorable renditions of hits by R Kelly and Luther Vandross and joined Meadows with Chuck Loeb and his longtime touring keyboardist and vocalist Will Brock, among others. Secrets and its title track in 2009 advanced to the top of smooth jazz radio charts. During this time Meadows also relocated to Hawaii and has spent the past several years living in both locations. In addition to touring steadily on his own, Marion Meadows is also a member of the highly sought after Sax And the City Tour fronting the band with fellow reedman Paul Taylor, with additional guests Jessy J, young saxophone sensation Vincent Ingala and pianist vocalist extraordinaire Joe McBride.

The Maestro Duke Ellington once said “My attitude is never to be satisfied, never enough, never!” Like the maestro, Marion Meadows, is never content to rest on his laurels. With a four-year intermission between recordings, Marion Meadows is back with Whisper and ready to share his gift with the world. “Shhhhhhhhh, the show is about to begin.”

MARION MEADOWS TOUR DATES
APR 07 – Las Vegas, NV @ Thomas & Mack Center (Soul Festival)
APR 20 – Cleveland, OH @ State Theatre (Tri-C JazzFest)
APR 27 – New Haven, CT @ Jay Rowe Jazz for Scholars
MAY 11 – Cincinnati, OH @ Atrium Hotel
JUN 08 – Atlanta, GA @ Mable House Amphitheatre
JUN 14 – Gahanna, OH @ Creekside Blues & Jazz Fest
JUN 15 – Rosemont, IL @ InterContinental Hotel (Montrose Room)
JUN 21 – Charlotte, NC @ Uptown Charlotte Jazz Fest (*SATC)
JUL 12 – Upper Marlboro, MD @ Martin’s Camelot (Lake Arbor Jazz Fest)
SEP 07 – Austin, TX @ The Paramount Theatre
SEP 27 – New Haven, CT @ John Lyman Center at SCSU (*SATC)
OCT 11 – Catalina Island, CA @ Catalina JazzTrax Fest (*SATC)

*Sax And The City (SATC) Tour Features Saxophonists Marion Meadows, Vincent Ingala and Paul Taylor with Joe McBride and Will Brock on Vocals and Keyboards, “Chocolate” Chip Shearin on Bass and Jabari on Drums

http://soundcloud.com/1888media/sets/marion-meadows-whisper
http://soundcloud.com/1888media/marion-meadows-black-pearl-radio-edit (“Black Pearl” Radio Edit)

THE XAVER FISCHER TRIO - DUMDIDUM

The pianist and keyboarder Xaver Fischer founded a trio in 1997 together with Hannes Vesper (bass) and Eric Harings (drums). This trio took up the challenge to transform then up-to-date club music like lounge, house and drum’n'bass into their very own composition by playing the music with “real instruments” and adding a little jazz here and there.

Even though it seemed indispensable to work with Djs, Samples, drum loops and other electronic elements at the time, the band chose not to use any of these tools for their music, instead they played everything live, on stage as well as in the studio; classic jazz combo-style. The very distinctive sound of the Xaver Fischer Trio became popular pretty quickly in the club scene and it opened many doors to do some extensive touring around Europe.

Between 1999 and 2005 four albums have been released on Unique Records, some even hit the German jazz charts. At the same time countless compilations that featured the trio’s music have been released. After the preliminary last album, which was called “Visit from a Goddess”, Xaver Fischer went on parental leave and treated himself with a timeout. During that timeout he worked as a studio and session musician for other artists (Sarah Connor, Gunter Gabriel, Joy Denalane, Tom Gaebel, Rea Garvey, amongst others), and additionally he taught music at a University.

Now, 2012, the Xaver Fischer Trio returns with a new cast and a bang. Xaver Fischer, bass player Krischan Frehse who is part of the TV Total Studio band Heavytones and Roachford’s drummer Hendrik Smock, went to the Maarwegstudio in Cologne with basically no precise ideas for songs. The songs essentially developed from spontaneous jam sessions. After two (!) incredibly creative days the band wrapped up their sessions with eleven brand new tracks. While recording they followed their own set of rules:

No Sequencing
No Quantize
No Loops – No Overdubs
No More Than Three Takes
No Digital Editing
No Clicktrack
No Recording Of Things You Can’t Perform Live

The glorious result is an album that shows the typical Xaver Fischer Trio sound topped with an unmistakably fresh new breeze. The Trio worked with elements of Afro beat, jazz-rock and even the current dance music of a David Guetta found its way onto the album.

~ grooveattack.com
www.xaverfischertrio.de

B.B. KING LAUNCHES SIGNATURE WINES IN U.S.

Vines Importing has released a new line of signature wines bearing his name across the United States. The Rock and Roll and Blues Hall of Famer will debut the B.B. King Signature Collection in the strategic markets of Memphis and Nashville with roll-out planned to the B.B. King’s Blues Clubs and in retail stores, wine bars and music clubs throughout the country.

Exemplifying the grace and elegance of the blues, the B.B. King Signature Collection represents the tradition, quality and excellence of B.B. King and his music. At 87 years old, B.B. King has won over 15 Grammy awards, has performed in 88 countries and still frequently tours all over the world. With hundreds of performances throughout Europe under his belt, the emerging region of Spain was selected as the source for this signature collection. A fitting choice for the wines of one of the most-beloved musicians of all time, Spain was also the host of the original all-star “Guitar Legends” concert series, which in 1991 gathered and celebrated 27 of the world’s best guitarists, including B.B. King, over 5 days of completely sold out shows.

The B.B. King Signature Collection will be comprised of a red wine and a white wine for music fans and wine lovers alike. Both wines are sourced from the award winning Bodega Santa Cruz Winery, which has been producing wine for over 60 years and is located in the up-and-coming D.O. wine region of Almansa, Spain. B.B. King Signature Collection Red 2010 is a Crianza blend made from Garnacha, Syrah, and Cabernet Sauvignon, and B.B. King Signature Collection White 2011 is comprised of 100% Verdejo grapes. Both wines are food friendly and meant to be enjoyed as everyday drinking wines.

The wines will first launch in Memphis and Nashville, and soon thereafter the B.B. King Signature Collection will be available through select national, regional, local and online outlets. The suggested retail price of the wines is $13.99.

For more than half a century, Riley B. King has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over 50 albums, many of them classics. Over the years, B.B. King has become the most renowned blues musician of the past 50 years and has developed one of the world’s most identifiable guitar styles, which earned him a #3 spot on Rolling Stone’s Top Guitarists of All Time list. B.B. King was inducted into the Blues Foundation Hall of Fame in 1980 and into the Rock and Roll Hall of Fame in 1987. He has received more than 15 Grammy awards and was awarded with NARAS’ Lifetime Achievement Grammy Award in 1987. Today, at 87 years old, King continues to tour extensively and averages 250 concerts per year around the world. 

SYLVIA BENNETT - C'EST SI BON

April in Paris is an irresistible time of love and wonderment, but in 2013 a special celebration will heighten the city's magic... Marking the release of C'est Si Bon, Sylvia Bennett's new album, the American diva will enchant audiences with a concert at the Renaissance Le Parc Trocadero Hotel on April 15th, beginning at 9:00 p.m. A cash bar will be available. The concert, which is part of the hotel's RLife Live Event series, will include songs from her new all-French-language CD as well as selections from Sentimental Journey, the Grammy-nominated album she recorded with her mentor, the late Lionel Hampton. This tribute to the legendary artist commemorates what would have been his 105th birthday on April 20th.

With such songs as "C'est Magnifique," "Un Homme et Une Femme," and "La Vie En Rose," the CD C'est Si Bon is the stuff of which dreams are made, delivering promises of thrills and romance in Paris, the very mecca of seduction. Sylvia has never sounded better, crooning these timeless classics in a voice like velvet, textured with emotion, and flawlessly enunciated. The inspired musical arrangements can be credited to Producer Hal S. Batt, who has worked with some of the world's foremost artists, including Julio Iglesias and Chayenne. C'est Si Bon will be available on Amazon.com, Cdbaby.com, iTunes, and your favorite digital download store, as well as http://www.sylviabennett.com.

NEW RELEASES - ALLSPICE, THE SALSOUL RECORDS STORY, DARRYL REEVES

ALLSPICE: ALLSPICE
Sublime grooves from Allspice—a group who only gave the world this one and only 1977 album (released on the At-Home label), but who sparkle strongly throughout—thanks to help from ‘70s maestro Wayne Henderson! Henderson produces the group in a tight blend of soul, funk, and jazz—similar to his more famous productions for Side Effect and Pleasure—but with an even deeper sound overall. The vocals are sublime, a great mix of male and female leads laced with warm harmonies, backed by the impeccable instrumentation that is characteristic of a Henderson production. Liner notes by Bill Dahl examine the career and work of this one-off. Tracks include: Love Fire; Destiny; She's A Lady; Slipped Away; Give It Time; Hungry For Your Love; I Don't Know; and Get Up Off Your Lovin'. ~ Real Gone Music

THE SALSOUL RECORDS STORY (VARIOUS ARTISTS)

A sweet collection of grooves from the legendary Salsoul label – easily one of the hippest imprints on the New York scene of the 70s! Salsoul's grooves go way beyond the usual disco – crafted with roots that go back to soul and salsa of the earlier part of the decade – and often mixed to perfection with a sound that holds up strongly, even on a crowded dancefloor! This package features ten of the best-remembered gems from the label – most in long mixes that echo their strong popularity as 12" single – titles that include "Doctor Love" by First Choice, "Runaway" by The Salsoul Orchestra with Loleatta Holloway, "Jingo" by Candido, "Dreamin" by Loleatta Holloway, "By The Way You Dance" by Bunny Sigler, "Love Is You" by Carol Williams, "Dance A Little Bit Closer" by Charo, "I Love New York" by Metropolis, and "Rio De Janeiro" by Gary Criss. ~ Dusty Groove

DARRYL REEVES - MERCURY

A tremendous little album from reedman Darryl Reeves – jazz at the core, but served up with plenty of cosmic soulful touches too – thanks to help from a great lineup of guest singers! Darryl's work on alto sax is more than enough to make us fall in love with the album – especially when it's lined up here with 70s-styled spacey keyboards, and given some crisp 21st Century funky production – but the addition of voice to the mix really helps push the whole thing even further, and give the record a glowing sort of warmth that comes from all the collaborative efforts on the tunes! Guests include Carmen Rodgers, Valencia Robinson, Rasheeda Ali, Gwen Bunn, and Ingride Sibley – and titles include "Coldstone", "Southern Lights", "Everytime I See You", "Peach Lady", "Mercenaries", "The Messenger", and "Star Of Detroit". ~ Dusty Groove

NEW RELEASES - LARRY WILLIAMS, JOHNNY LYTLE, SEA LEVEL

LARRY WILLIAMS: THAT LARRY WILLIAMS

A lost treasure from R&B pioneer Larry Williams—the only album he ever issued in the 70s, recorded a few years before his untimely and mysterious death! The 1978 Fantasy set's got a heavy funk feel on most numbers—a great reworking of Williams' earlier groove, set to backings that feature Fred Wesley and Maceo Parker on horny horns, plus Rudy Copeland on keyboards! The approach is similar to the 70s grooves used by Larry's west coast contemporary Johnny Guitar Watson—although sadly, this album never brought Williams the same sort of comeback fame. Gene Sculatti contributes liner notes that delve into Williams’ curious career. ~ Real Gone Music

JOHNNY LYTLE: SOULFUL REBEL / PEOPLE & LOVE

Two lost smokers from the man Lionel Hampton called “The greatest vibes player in the world,” Johnny Lytle—both very different from anything else he ever recorded! 1971’s The Soulful Rebel has a great blend of Hammond and Fender Rhodes along with the vibes—soaring out in a massively funky sextet with bass from Ron Carter and congas from Ray Barretto—both of whom take Johnny's earlier groove into a 70s jazz funk mode. 1972’s People & Love is even more impressive—and has Lytle's vibes working with impressionistic larger arrangements—in a style that's like Bobby Hutcherson on mid-‘70s Blue Note, or Milt Jackson on CTI. Notes by Scott Yanow explore the recordings and career of this unsung jazz giant. ~ Real Gone Music

SEA LEVEL: CATS ON THE COAST / ON THE EDGE

Sea Level started as an Allman Brothers offshoot, boasting three members (keyboardist Chuck Leavell, percussionist Jai Johanny “Jaimoe” Johanson and bassist Lamar Williams) from the mid-‘70s edition of the band, but became a major act in its own right with its tasty blend of jazz, blues and Southern rock (in other words, they would have fit nicely into today’s jam band scene). These two albums both came out in 1978 but chart major changes in the group; Cats on the Coast saw the addition of guitarist David Causey, percussionist George Weaver and multi-instrumentalist Randall Bramblett to the line-up, while Jaimoe and Weaver left and drummer Joe English joined for On the Edge. Despite the changing line-ups, these two records are remarkably consistent affairs featuring such signature Sea Level songs as “That’s Your Secret” and “A Lotta Colada;” they have, however, both been out of print for about a decade and command big bucks online. This Real Gone reissue offers both records on a single, 70 minutes-plus CD, with notes by Scott Schinder…rediscover one of the most underrated outfits of the ‘70s! ~ Real Gone Music

SPIRITUAL JAZZ 4: AMERICANS IN EUROPE (VARIOUS ARTISTS)

It's well known that throughout the 20th century, fed up with poor working conditions and racism in their home country, many American jazz musicians chose to leave the US in order to live and work in Europe. What's less well known is how their music developed and evolved during their time on the continent, and how the experience of being a musician in Europe was to shape their respective lives.

Over the years countless jazz concerts, festivals and recordings featuring American jazz musicians have taken place all over Europe, yet it's remarkable how few of these musical artifacts have been evaluated by the jazz community.

Radical new jazz sounds created as renowned ex-pat American jazzmen mingled with the creme de la creme of their European counterparts. Early developments in world music inspired by trans-global cultural excursions to Asia, Africa and beyond. Exchanges of ideas and a cultural meeting of minds as revolutionary jazz festivals took place behind the Iron Curtain. Advances in rhythm and sound where modal jazz and the prophetic music of John Coltrane merged with European folk traditions. This is Spiritual Jazz - as played by Americans in Europe.

Includes tracks by Pierre Cavalli, Clarence Peters, Billy Gault, Sun Ra, Lee Konitz, Eric Dolphy and others.

HEIDI VOGEL - TURN UP THE QUIET

Heidi Vogel debuts her solo album ‘Turn up the Quiet’ following on from her many successes with the critically acclaimed Cinematic Orchestra (Ninja Tune). A deeply moving collection of classic 60s/70s Brazilian songs, interpreted and presented in a unique, intimate fashion and with a timeless sound.

Heidi has a voice that comes from the deepest places of the heart. Her honest interpretation of songs, and powerful stage presence make her an utterly beguiling performer and this is the blend that emerges from her debut solo album ‘Turn up the Quiet’ where she elegantly interprets songs of great composers such as Antonio Carlos Jobim, Vinicius de Moraes and Joe Henderson.

Recorded and mixed by Demus at Fish Factory & Mancrush Studios, this album showcases the singer’s undeniable connection and resounding passion for Brazilian music. Her capacity to unfurl long-lined melodies unveils her intimate yet direct presence that goes beyond genre or style. Heidi is accompanied throughout the album by the very talented guitarist Josue Ferreira as well as guests musicians including vocalist Cleveland Watkiss, pianist Austin Peralta and Ivo Neame. The album is enhanced further by remixes from The Cinematic Orchestra, IG Culture and Emanative.

Initially making her professional debut touring with Cirque du Soleil, she became a frequent face in the London and LA jazz & soul scene where she became involved with The Cinematic Orchestra as their lead singer. This platform established her extraordinarily rich and complex vocal timbre and built her reputation outside of her home city of London, UK. By 2007, Vogel had toured all over the USA, Australia, South Africa, Canada and Europe and ended the year with a sold out concert at The Royal Albert Hall and a stunning performance live on the Jimmy Kimmel TV show. She then went on to perform the main stage at The Big Chill Festival UK in 2010, and the following year graced the stage as support for Erykah Badu at Dubai’s Chill Out Festival amongst numerous other appearances at North Sea Jazz Festival, Coachella, Gilles Peterson Worldwide and Blue Note Jazz Festival. With every performance, Heidi has been steadily exceeding her rich vocal abilities whilst gaining influential critics’ approval as a soloist.

Her signature musicality and technique which entrances the listener is captured perfectly in this full-length offering “Turn up the quiet” which Far Out is delighted to present to a new audience.

~ Far Out Recordings

MATT HOLMAN - WHEN FLOODED

The title track of Matt Holman's debut recording, "When Flooded", is a nod to Holman's home state of Arizona, and a common road sign there that warns, "Do Not Enter When Flooded". He explains, "it refers to the summer flash floods so common in the area. The first three words had faded on this particular sign, leaving open a world of interpretive possibility. I thought of what a flood can mean in a desert landscape like Arizona, and how much this idea is reflective of the creative process. I also thought about how the effects of a flood can be felt for so long after the waters have receded, something which became painfully affirmed in the wake of Hurricane Sandy. For this piece, I had a great flowing of counterpoint ideas. It is highly organized with short bursts of intense improvisation that reflects the desire we all have at times to break out from systemization into a world of free expression."

 

The Brooklyn, New York based trumpeter/composer/educator Matt Holman is an artist that has found his world of free expression and creativity, and has been recognized by his peers by being a prized sideman for the likes of Fred Hersch, Kurt Elling, Darcy James Argue (featured on Argue's most recent recording, Brooklyn Babylon), Jon Gordon, Kate McGarry, Matt Ulery, Bob Newhart, Los Amigos Invisibles and The Gregory Brothers. He has also earned national and international performance awards from DownBeat Magazine, the International Trumpet Guild's Jazz Improvisation Competition, the Carmine Caruso International Jazz Trumpet Solo Competition and the National Trumpet Competition. As a member of The BMI Jazz Composers Workshop, Holman most recently won the 13th annual BMI Foundation's Charlie Parker Jazz Composition Prize, and will compose a new work for the Manny Albam Commission in June 2013. Taking inspiration from such diverse influences as Wayne Shorter, Dmitri Shostakovich, and Sigur Ros, Holman has composed works for Marvin Stamm, Ed Soph, David Baker, Marie Speziale, and The National Conservatory of Costa Rica, and was a 2009 ASCAP Young Jazz Composer's Competition winner.

 

In addition to Darcy James Argue's Secret Society, Holman is an integral part of many of NYC's finest large ensembles/big bands, a genre that is seeing a strong resurgence of late. He is featured on composer Asuka Kakitani's new recording, Bloom (19/8 Records), and also performs with Andrew Rathburn's Large Ensemble, JC Sanford Orchestra, Nathan Parker Smith Large Ensemble and the Noriko Ueda Jazz Orchestra (coincidentally, Darcy, Asuka, Nathan, and Noriko are all previous winners of the BMI Composer's Award). Holman is the artistic director of the New York Youth Symphony Jazz Band.

 

While Holman performs and records with plenty of small groups, his new album, When Flooded (available on Brooklyn Jazz Underground Records on March 19), showcases the trumpeter/composer utilizing the compositional influence and instrumental colors from his large ensemble experience, tailor-made and fine-tuned for his spry and nimble chamber-jazz group, featuring Mike McGinnis on clarinet & bass clarinet (The Four Bags, Anthony Braxton, Steve Coleman, Lonnie Plaxico), Christopher Hoffman on cello (Marc Ribot,Henry Threadgill, John Ellis, Harry Eisenstadt, Devotchka), Nate Radley on guitar (Loren Stillman, Alan Ferber, Ted Poor, Adam Nussbaum) and Ziv Ravitz on drums and percussion (Lee Konitz, Shai Maestro, Omer Avital, Avishai Cohen). One may take notice that each of the instrument families is represented on this recording: brass, strings, percussion, woodwinds and electronics.

 

Although Matt Holman is well versed in the standard jazz repertoire, most of his creative endeavors revolve around his original music and music composed by his peers. When Flooded features nine of Holman's gems that are overflowing with harmonic/melodic sophistication and beauty, abundant rhythmic variety, collective improvisation, and a high level of imaginative extemporization from all of the musicians. When Flooded is an auspicious debut, it is an album of such depth that it warrants numerous listens, and it brings to our attention an artist that has all of the attributes of a musician destined for an illustrious career.

NEW BOZ SCAGGS RELEASE - MEMPHIS - DEBUTS AT #17 ON BILLBOARD TOP 200 ALBUMS CHART

Grammy Award winning rock legend Boz Scaggs is enjoying one is his best chart debuts with his latest studio album titled MEMPHIS. The critically acclaimed return to form entered the Billboard Top 200 Albums Chart at #17, his best debut since the phenomenal success of "Silk Degrees." The multi-platinum selling musician just signed with 429 Records which releases the album on March 5th. The music is available everywhere including a continuing campaign at North American Starbucks stores and Barnes & Noble (which offers a 2CD exclusive set including a disc of 6 demo versions). Showcasing both original songs and choice covers, MEMPHIS was produced by Steve Jordan ( John Mayer ) and was recorded at Willie Mitchell's legendary Royal Studio in Memphis, where the late Mitchell recorded Al Green and other Hi Records artists. Joining Scaggs on MEMPHIS are Willie Weeks (bass), Ray Parker Jr. (guitars), Spooner Oldham (keyboards), the Memphis Horns, Lester Snell (string arrangements) and Steve Jordan (drums). Boz is continuing a national tour in support of "Memphis" with high profile shows including The Apollo Theater on May 14th.

William Royce "Boz" Scaggs began a long and storied career in 1965 with the release of his first solo recording Boz. Scaggs quickly developed into an iconic singer songwriter cutting his teeth playing with Steve Miller on several highly successful projects and honing his rock and R&B chops working with the likes of the Muscle Shoals Rhythm Section and Duane Allman . Scaggs hit it big in 1976 achieving multi-platinum success with "Silk Degrees" and its follow ups. Scaggs continued on a lauded and multi-genre musical journey to the present day. He and his band continue to tour worldwide and Scaggs also performs alongside Donald Fagan and Michael McDonald in their band billed as The Dukes of September.

BOZ SCAGGS 2013 CONFIRMED DATES INCLUDE:
March
22 - Napa, CA - The Uptown Theatre
24 - Airway Heights, WA - N. Quest Casino - Pend Oreille Pavilion
26 - Palm Desert, CA - McCallum Theatre For the Performing Arts

April
06 - Bridgeport, CT - The Klein Memorial Auditorium
08 - Worcester, MA - Hanover Theatre for the Performing Arts
09 - Buffalo, NY - Univ. of Buffalo Center For the Arts
11 - Minneapolis, MN - State Theatre
12 - Saint Charles, IL - The Arcada Theatre
13 - Windsor, ON - Caesars Windsor
15 - Newport News, VA - Ferguson Center for the Arts
17 - Greenville, SC - Peace Center For the Performing Arts
19 - Meridian, MS - Riley Center for the Performing Arts
21 - Lafayette, LA - Heymann Performing Arts Center
23 - Midland, TX - Wagner Noel Performing Arts Center
24 - Dallas, TX - AT&T Performing Arts Center - Annette Strauss Square
26 - Austin, TX - Austin City Limits Live at The Moody Theater
27 - Houston, TX - Arena Theatre

May
03 – Clearwater, FL – Ruth Eckerd Hall
04 – Melbourne, FL – Center For The Performing Arts
07 – Jacksonville, FL – The Florida Theatre
08 – Durham, NC – Carolina Theatre
14 – New York, NY – Apollo Theater

June
16- San Francisco, CA – Stern Grove Festival
22 – Las Vegas, NV – The Pearl Concert Theatre @ Palms Casino

NEW RELEASES - NIYAZ, AGNETHA FALSTKOG, LIVE PEOPLE MOVEMENT

NIYAZ - SUMUD

Niyaz’ six song acoustic EP features three acoustic performances of songs from the band’s 2012 electronic album SUMUD, as well as three brand new songs. Although Niyaz is dedicated to creating music which is a true hybrid of electronic and acoustic music, with roots in ancient cultures as well as the modern world, the acoustic performances and recordings play a crucial role in the process of reaching this goal. The emphasis on song structure and performance is the driving force behind the band’s music, which is why Niyaz have remained committed to presenting audiences with acoustic versions of songs from their albums. The three new songs featured on the acoustic release are original songs composed by Niyaz. The instrumental track “Sahar”, is a piece written for Santour(Persian Hammered Dulcimer) and the Turkish Djumbush. It features a fiery duet performance between Azam and Loga on these instruments. “Naseem” features a duet between Azam’s voice and Niyaz percussionist and Flute player Habib Meftah Boucheri on his self-made flute playing a haunting melody. “Nalona” is a ambient journey through sonic landscapes created by Loga on Guitar Viol and Azam singing in a language of her own design. ~ Six Degrees Records

AGNETHA FALTSKOG - A

The siren songstress from ABBA returns with a new album 'A', due for release on May 14th and preceded by a curtain-raising track, 'When You Really Loved Someone'. The brand new video for 'When You Really Loved Someone' is now live on Agnetha's Official Website and fans who pre-order the album 'A' on iTunes will receive the single as an instant download. Agnetha has been working with renowned, Grammy-nominated songwriter and producer Jorgen Elofsson - who has been responsible for hits by Britney Spears and Kelly Clarkson among others - and acclaimed producer/arranger Peter Nordahl. The album features 10 tracks, including 'I Should've Followed You Home' - a duet with Gary Barlow - and 'I Keep Them On The Floor Beside My Bed', one of Agnetha's first co-writes in many years; "I hadn't written any music for a long, long time, but I sat at the piano, and suddenly it was there."  Tracklisting includes: The One Who Loves You Now; When You Really Loved Someone; Perfume In The Breeze; I Was A Flower; I Should've Followed You Home; Past Forever; Dance Your Pain Away; Bubble; Back On Your Radio; and I Keep Them On The Floor Beside My Bed . ~ Verve Music

LIVE PEOPLE BAND - MOVEMENT

If you listen to contemporary jazz, then you already know that the "future happens now" - in jazz music it feels the best. Ensemble "Live People Band" is committed to the concept of contemporary jazz idiom in their debut album "Movement". However, as it should be in any serious case, their roots of jazz are from its golden era 60's - 70's: the influence of ethnic psychedelics of Alice Coltrane and innovations by Miles Davis.

TERENCE BLANCHARD - MAGNETIC

Magnetic, Terence Blanchard’s stunning new album is set for release May 28 on Blue Note Records. The album features ten original songs written by Blanchard or a member of his quintet: saxophonist Brice Winston, pianist Fabian Almazon, bassist Joshua Crumbly, and drummer Kendrick Scott. Magnetic also showcases special guest appearances from bass legend Ron Carter, as well as label-mates saxophonist Ravi Coltrane and guitarist Lionel Loueke. Magnetic is yet another genre-defying chapter in this innovative musician and film composer's life - only to be followed June 15 by the World Premiere of Champion, an “Opera in Jazz.” The release of Magnetic will be accompanied by tour dates worldwide including the Newport Jazz Festival in August.

Magnetic is Blanchard’s first album since the critically-acclaimed 2009 album, Choices, and marks Blanchard’s return to Blue Note, which last released A Tale of God’s Will, his Grammy-winning triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. Magnetic was produced by Blanchard, Robin Burgess and Frank Wolf and recorded at Avatar Studios in New York City. The vast array of approaches undertaken by the ensemble throughout the album is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder”; the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”

On June 15th, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the boxing champion Emile Griffith. Continuing their individual traditions of commissioning music that showcases the talents of the world’s best contemporary composers, Opera Theatre of Saint Louis and Jazz St. Louis have joined forces in the development of Champion, featuring a powerhouse team of writers and performers. With music by Blanchard and libretto by the Pulitzer Prize-Winning Playwright Michael Cristofer, Champion blends the uniquely American tradition of jazz with the dramatic power of opera. The opera will star Denyce Graves, Arthur Woodley, Robert Orth, Aubrey Allicock, and Meredith Arwady. Directed by Opera Theatre of Saint Louis Artistic Director James Robinson and conducted by George Manahan, Champion will receive its world premiere June 15-30 as part of Opera Theatre’s 2013 Festival Season. Champion follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.

The track listing for Magnetic is as follows:
1. Magnetic (Terence Blanchard)
2. Jacob’s Ladder (Joshua Crumbly)
3. Don’t Run (Blanchard)
4. Pet Step Sitter’s Theme Song (Fabian Almazan)
5. Hallucinations (Blanchard)
6. No Borders Just Horizons (Kendrick Scott)
7. Comet (Almazan)
8. Central Focus (Blanchard)
9. Another Step (Almazan)
10. Time To Spare (Brice Winston)

www.terenceblanchard.com

WILL CALHOUN - LIFE IN THIS WORLD

Before he became famous as a member of the groundbreaking hard rock group Living Colour, Will Calhoun was an aspiring jazz drummer raised on a steady diet of his father's bebop records. Calhoun goes back to his roots on his latest album, Life In This World - but to get there he takes a circuitous route through a wealth of musical experience around the globe. From studies with master musicians in Africa to experiments with electronic music in his home studio, Calhoun's adventurous sonic imagination couldn't help but expand the horizons of a stellar jazz recording which pairs the drummer with greats including Wallace Roney, Donald Harrison, Charnett Moffett, Marc Cary, Doug Wimbish, John Benitez and legendary bassist Ron Carter.

"Life In This World is a spiritual title," Calhoun says, "which to me just means the sonic world of my experiences. It's Will Calhoun in the sense of what influences me and what inspires me, but aimed more towards a jazz audience."

Jazz was the first music that Calhoun heard while growing up - "Before rock, before hip-hop, before funk," he recalls. "In my family, African-American history was very important, whether it was Muhammad Ali or Jim Brown, Coltrane, Miles, Duke Ellington - It wasn't just listening to the music in my house, the life styles of these men and other women were laid down as history lessons on the music and culture."

Living in the Bronx, however, it wasn't long before Calhoun was exposed to myriad styles and cultures, from rock and funk to the burgeoning style of hip-hop. It actually came as a shock to the young drummer when he discovered that for most people genres were defined by hard boundaries - a lesson he learned first at Berklee College of Music and later while on the road with Living Colour.

That band's success afforded Calhoun the opportunity to begin traveling to Africa in the mid-1990s for stays that could last as long as six or eight months at a time. He's continued those treks for nearly twenty years, studying mainly in Mali but also in Morocco and Senegal. "I felt like I didn't know the history of my instrument," Calhoun says. "I began to ask myself what's the narrative of the rhythms and patterns we play in the U.S. and Europe? I went over there and felt out of place. It was a culture shock in the best way. Little children would walk by and clap out the patterns to show me what I was doing wrong."

In 2005, Calhoun created Native Lands, a multi-media fusion of jazz and world music with ambient electronica and another passion, photography. Life In This World is Calhoun's most jazz-oriented recording since his GRAMMY® nominated 2000 release, Live at the Blue Note, but those diverse interests remain evident.

Jazz aficionados will recognize Calhoun's deft swing on his arrangement of Cole Porter's "Love for Sale," inspired by the Miles Davis/Gil Evans recording of the familiar standard, or the explosive take on "Spectrum," originally performed by one of Calhoun's idols, Tony Williams. Wayne Shorter's "Etcetera" is one of two tracks on the album featuring bass legend Ron Carter, renowned as a member of Miles Davis' landmark second quintet. "Ron is the King," Calhoun raves. "He was always a strong supporter of Living Colour. He graciously offered to work with me, and it was shocking and intimidating at first, however while listening to play backs during the session, Ron gave me an amazing compliment, and Spiritual approval."

But his deft ability to blend rhythmic traditions becomes clear on Thelonious Monk's "Evidence," which finds a stunning balance between the composer's angular bop eccentricities and the rhythmic traditions which Calhoun encountered during his extensive travels in Mali; or on John Coltrane's classic "Naima," where Calhoun steps away from his drum set to weave enticing Brazilian rhythms on cajon and water drum, inspired by an impromptu encounter with a Senegalese musician who sang him the melody.

"Afrique Kan'e" draws even more heavily on Calhoun's travels, featuring the drummer and trumpet great Wallace Roney performing with master Malian musicians Cheick Tidiane Seck (piano), Alioune Wade (bass), and Brehima Diakite (kamelan n'goni). The group assembled in a Paris studio during a day off from touring with Malian singer Oumou Sangaré. "Abu Bakr II," meanwhile, finds Calhoun and company venturing into the electronic realm, with help from Living Colour and Jungle Funk bassist Doug Wimbish as well as Roney, exploring terrain pioneered by his mentor, Miles Davis, on landmark recordings like Bitches Brew and On the Corner.

Calhoun found a kindred spirit in pianist Marc Cary, who plays on most of the record and penned the lively duet "He Who Hops." Both are fervent gear-heads, obsessively collecting the latest musical and recording technologies, as well as musical omnivores. The latter also applies to Charnett Moffett, who Calhoun first met when the bassist was 16 years old and playing with Wynton Marsalis. "He was frightening," Calhoun recalls. "To this day I've never seen anyone play the acoustic bass like Charnett. During our early tour encounters we had a running joke about switching careers because I always wanted to play jazz and the success of Living Colour pulled me more into the rock field, and he was trying to get more into the rock thing."

The rock and pop influences on Calhoun's composing emerge most clearly on the album's closing tracks. "Dorita" has a tender, memorable melody that saxophonist Donald Harrison plays with the supple charms of an R&B crooner. Calhoun actually takes the microphone to sing his own lyric for "Love's Parody," a mysterious ballad he originally recorded with Dr. John. This represents a rare vocal recording for Calhoun, and hopefully a sign of more to come as he has quite a singular voice.

The brilliant sound of Life In This World was engineered by master producer Ron St. Germain, whose credits include Living Colour, Soundgarden, Whitney Houston and the Red Hot Chili Peppers, but who has also recorded the likes of Betty Carter and Ornette Coleman. "Ron is a genius at capturing the sound of the instruments and getting the vibe to come across in an organic way," Calhoun says. "I've made a few recordings in my time and I'm frustrated that the same types of nuance and detail are excluded from the recording and mixing of many modern jazz records as typically goes into a pop or rock recordings. I feel the attention to production values in jazz would upgrade the music while simultaneously reaching younger audiences. However many earlier Blue Note, Columbia, and Prestige recordings still stand the test of time."

Calhoun, who like many artists have been urged by industry members to focus on one particular area, has found a happy home in the maverick Motéma imprint, (also home to Marc Cary and Charnett Moffett and now celebrating it's 10th year) because the label especially focuses on virtuosic creative music that crosses genres and international borders. Calhoun compares playing so many different styles of music to speaking several languages, stressing that "to keep a language sharp, you have to speak it with people." There's no doubt from Life In This World and his entire body of work that Calhoun is a fluent and soulful communicator in many diverse tongues.

Upcoming Will Calhoun Performances:
Will Calhoun Trio:
May 17 - 19 / The Blue Note / New York, NY
June 17 - 23 / Gnawa Festival / Essaouira, Morroco
Sept. 27 - 29 / International Percussion Festival / Opole, Poland

Will Calhoun with Living Colour:
March 13 / New Morning / Paris
March 15 / Z7 / Pratteln (Switz.)
March 18 / Lucerna Music Bar / Prague
March 19 / Atelier Babylon / Bratislava
March 20 / Huxleys Neue Welt / Berlin
March 27 / Filmore / San Francisco, CA
March 29 / Belly Up Tavern / Solana Beach, CA
March 30 / El Rey Theater / Los Angeles, CA
April 4 / Keswick Theater / Glenside, PA
April 5 / Paradise Rock Club / Boston, MA
April 6 / Irving Plaza / New York, NY
April 11 / Park West / Chicago, IL
April 12 / The Magic Bag / Ferndale, MI
April 13 / The Opera House / Toronto

Life In This World Track Listing:
1. Brother Will (Charnett Moffett) // 2. Spectrum (A. Hall) // 3. King Tut Strut (Hotep Galeta) // 4. Love For Sale (Cole Porter) // 5. Naima (John Coltrane) // 6. Evidence (Thelonious Monk) // 7. Afrique Kan'e (Cheick Tidiane Seck & Will Calhoun) // 8. He Who Hops (Marc Cary) // 9. Etcetera (Wayne Shorter) //
10. Dorita (Will Calhoun) // 11. Love's Parody (Will Calhoun)

Will Calhoun · Life In This World // Motéma Music · Release Date: May 14, 2013
www.willcalhoun.com

CHRISTIAN MCBRIDE & INSIDE STRAIGHT - PEOPLE MUSIC

It's not simply his abundant virtuosity that has made Christian McBride the most in-demand bassistof his generation. McBride consistently combines his deft musicianship with an innate ability to communicate his enthusiasm to an audience-a warm showmanship that transforms his own passion into infectious joy. It comes across whether he's leading his own bands; sharing the stage with jazz legends like Sonny Rollins, Chick Corea, Herbie Hancock or Pat Metheny; accompanying pop giants like James Brown, Sting or The Roots; or collaborating with classical masters like Kathleen Battle, Edgar Meyer or the Shanghai Quartet.

Any time that McBride steps into the studio or onto a stage he plays what could be called "people music," but it's a particularly apt title for the second release by his hard-swinging acoustic quintet Inside Straight. Four years after Kind of Brown, the band's acclaimed debut album, People Music delivers a more road-tested, "lived-in" Inside Straight, able to dig deep while projecting that ebullient vigor that has become McBride's trademark.

"People Music is my personal mantra as a musician," McBride says of the title. "Sometimes jazz musicians can get too caught up in their own heads; they get so serious and so caught up in their creativity that they're not bringing the people in. So I figure the best way to communicate is to let the people navigate where you should go."

For Inside Straight, that inclusiveness extends to the name of the band itself, famously the result of a contest that generated more than 3,000 submissions from fans. But more importantly, as is evident throughout the 8 original tunes on People Music, that means balancing intense interplay with an exuberant personal expression that speaks directly to the listener.

"When you pull the people in, you can go anywhere as long as they feel like they're a part of the ride," McBride continues. That's why Cannonball Adderley was always my hero-he always exemplified high artistry, but no matter how esoteric or abstract it could get, he still related to people. And I've always felt that this band plays 'people music'."

Make no mistake-there is a major difference between "people music" and "popular music" (though the two can overlap). McBride makes the distinction clear on the new album's opening track, "Listen to the Heroes Cry." The tune's melody, evoking a modern spiritual, was inspired by the parade of vapid performances on a music awards show McBride watched one night, all garish spectacle and absolutely no substance. "It bothered me that the show was more about the image and less about the music," he says. "It made me wonder what Duke Ellington or John Coltrane or Billie Holiday or Sarah Vaughan would think if they could see this. I think they would be crying."

Those icons would be cheered by People Music, however, which features two slightly different incarnations of Inside Straight. Six of the album's eight tracks feature the core lineup of McBride, saxophonist Steve Wilson, vibraphonist Warren Wolf, pianist Peter Martin and drummer Carl Allen. The other two tracks substitute pianist Christian Sands and drummer Ulysses Owens, Jr., who have performed extensively with the band when Martin's touring schedule with Dianne Reeves or Allen's duties as Artistic Director of Jazz Studies at Juilliard keep them away from the bandstand. Sands and Owens also comprise McBride's new trio, which will make its recording debut later this year.

McBride contributes half of the repertoire for the album, but felt it was important to also feature pieces written by the other band members, all of whom are accomplished composers in their own rights. Wolf provides "Gang Gang," the name that a dancer (like Wolf's wife) would use in place of a musician's "Afro-Cuban" or "12/8" to refer to the song's surging rhythm. Sands brings the bright-hued "Dream Train," while Martin offers the stealth funk of "Unusual Suspects" which recalls the groove of "Used 'Ta Could" from Kind of Brown.

Wilson's entrancing ballad "Ms. Angelou" draws inspiration from the words and rhythms of the great poet while also exemplifying the saxophonist's own unique approach. "I think Steve did a very good job of capturing the feeling and soul of Maya Angelou's words," McBride says. "And it's such a wonderfully unusual song. Just when you think you know where the chords or the melody are going, they don't go there. It's actually a microcosm of Steve's improvising concept, because he's always playing these incredibly different ideas. I think that's why people love Steve Wilson so much-he's very new school and very old school at the same time."

Something similar could be said for soul diva Whitney Houston, whose tragic passing last year inspired McBride to pen "New Hope's Angel." As he explains, "There have been some untimely deaths in the music world over the last few years, but Houston's death really shook me up. As far as I'm concerned, she was one of the last great titans, somebody whose voice transcends genre. She had one of those voices where opera singers loved her, jazz singers loved her, pop singers loved her, country singers loved her. They knew that unmistakable sound, and it's a shame that it had to be extinguished at such a young age."

The bassist's other compositions for People Music demonstrate the breadth of his activities. "Fair Hope Theme" is an expansion of McBride's main theme for the soundtrack of The Contradictions of Fair Hope, a documentary film directed by actress S. Epatha Merkerson. "The Movement Revisited" is drawn from his large-scale suite for choir and jazz ensemble dedicated to four icons of the Civil Rights movement-Rosa Parks, Malcolm X, Muhammad Ali and Martin Luther King, Jr.

Even more important than the ideas behind the compositions is the thrilling music that Inside Straight makes from them. McBride bemoans the "unwritten contention that somehow swinging and imagination are mutually exclusive. I find this band very imaginative and very swinging. I like coming off the stage having broken a sweat. Inside Straight is something of a release for all of the members, because we get to come together and really play some swinging music. It's become a classic car-a '69 Lincoln Continental."

Upcoming Christian McBride Appearances:
Christian McBride + Inside Straight:
May 3 & 4 / Scullers Jazz Center / Boston, MA
June 20 / The International Festival of Arts & Ideas - Elm Street Stage / New Haven, CT
October 1 - 6 / Dizzy's Club Coca-Cola / New York, NY

Christian McBride Big Band:
March 16 / 92nd Street Y / New York, NY
August 31 / Curacao North Sea Jazz Festival- Celia WTC /Netherlands Antilles
November 9 / 2nd Annual James Moody Democracy for Jazz Festival / Newark, NJ
January 22, 2014 / University of Texas - Austin Bass Concert Hall / Austin, TX

Christian McBride Trio:
May 23 & 24 / 92nd Street Y - Kauffmann Concert Hall / New York, NY
May 30 / Venue 505 / Sydney, Australia
June 1 - 3 / Melbourne International Jazz Festival / Melbourne, Australia
March 5 & 6, 2014 / Fort Lewis College - Community Concert Hall / Durango, CO
March 7 & 8, 2014 / Dazzle Restaurant & Lounge / Denver, CO

People Music - Track Listing
1. Listen to the Heroes Cry (McBride) // 2. Fair Hope Theme (McBride) // 3. Gang Gang (Warren Wolf) //
4. Ms. Angelou (Steve Wilson) // 5. The Movement, Revisited (McBride) // 6. Unusual Suspects (Peter Martin) // 7. Dream Train (Christian Sands) // 8. New Hope's Angel (McBride)
Christian McBride + Inside Straight · People Music // Mack Avenue Records · Release Date: May 14, 2013

NEW RELEASES - THE DELFONICS, PHIL PERRY, FAMILY ATLANTICA

ADRIAN YOUNG WITH THE DELFONICS - ADRAIN YOUNG PRESENTS THE DELFONICS

A really stunning little record – way more than we expected – and our expectations were already pretty darn high! The album's contemporary – and features legendary Delfonics lead singer William Hart working with younger studio whiz Adrian Younge – who gives the whole thing the feel of some lost Delfonics tapes from the early 70s! Younge really unlocks the darkness that was always present in the group's music, but didn't always show up this well – that great sound they were hitting after the initial three LPs, when the themes got even stranger, and the trio moved way past simple love songs and pop hits. Hart's vocals are tremendous – instantly recognizable, and often supported by harmonies that keep them in just the right sort of old school focus – a sound that leaves us breathless throughout, and which makes for a really incredible album. Titles include "True Love", "To Be Your One", "Stand Up", "Party's Over", "Lover's Melody", "Life Never Ends", "Just Love", "So In Love With You", "Silently", and "Enemies". ~ Dusty Groove

PHIL PERRY- SAY YES

Sublime vocals from the legendary Phil Perry – still sounding wonderful after all these many years, and getting some great contemporary help from producer Chris "Big Dog" Davis! The album's got a sweet-stepping vibe that really lets Perry shine – a warm sound that reminds us that his mellowest moments are still some of his finest – although Phil's also one to never let things slow down too much to get sleepy! The gentle groove holds strongly throughout – an equal Big Dog contribution that shows he's a great partner for Perry – and titles include "Peel The Veil", "Just A Little Bit", "Can't Hide Love", "Say Yes", "You Belong To Me", "Tonight Just Me & You", "Where Is The Love", and "You Send Me". ~ Dusty Groove

FAMILY ATLANTICA - FAMILY ATLANTICA

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea". ~ Dusty Groove

LORRAINE KLAASEN - A TRIBUTE TO MIRIAM MAKEBA

As a follow-up to the triumphant Africa Calling, her previous release on Justin Time Records, singer Lorraine Klaasen pays homage to a South African cultural icon and close family friend on A Tribute to Miriam Makeba. "I used to call her auntie Miriam because she and my mother were such close friends and she knew me since I was a little girl," says Klaasen. "I just wish I could have done this while she was still alive."

Released in her adopted country of Canada last year, A Tribute to Miriam Makeba was nominated for a prestigious Juno Award (the country's equivalent of a GRAMMY®) in the world music category. The album receives its Stateside release in March, just prior to the April 19 Juno Awards ceremony.

Klaasen's musical career started at an early age in the 1970's when she would accompany her mother, renowned jazz singer Thandi Klaasen, to live performances all over Southern Africa including the neighbouring states of Mozambique and Swaziland. It wasn't long after that she branched out on her own and got into musical theatre which took her across Europe and eventually ended up in Montréal, Canada where she has been living for over two decades.

The vocalist grew up with cherished childhood memories of Makeba, who passed away on November 9, 2008. And though Makeba, affectionately known by her fans as 'Mama Africa,' was exiled from South Africa in 1961 when Klaasen was just a little girl, they would have a reunion two decades later at a concert they performed together in Holland in 1987. "I remember she said to me at the time, 'Oh my goodness! You look exactly like your mum. You're a photocopy of your mum,' Klaasen recalls. "Then years later when I told Miriam that I wanted to record some of her songs one day, she gave me her blessing and said, 'You know, baby, just do it your way. Don't try to do it my way, do it your way.' So in this homage to her, I'm keeping my word and doing it my way."

The Soweto-born singer has been one of the foremost exponents of the classic sound of Township music, which continues to be the most distinctive sound to come out of South Africa. She mines the motherlode of that infectious upbeat music in her moving tribute to 'Mama Africa,' who remains a revered figure to the people of South Africa. In a stripped-down setting, accompanied only by Senagalese guitarist Assane Seck (in his very first recording session), Benin-born percussionist Moise Yawo Matey and her longtime bassist Sebastian Andrew Whiteman, Klaasen's voice rings out with joyous power on six classic Makeba numbers -- the popular "Click Song," which incorporates the Zulu technique of 'click singing,' the driving dance number "Jolinkomo" a buoyant medley of "Jikele Maweni" and "Intoyam," the lilting "Iphindlela" and the 1967 international hit "Pata Pata." A prolific songwriter herself, Klaasen also contributes three Mbaqanga flavored originals in the brisk romp "Kudala Ndikulindie," the infectious "Mina Nawe" and the dramatic "Imbizo." There's also covers of the tender ballad "Lakutshon Ilanga" and the grooving "Unomeva."

"My last album featured a larger ensemble backing me," says the longtime Montreal resident. "But this time we decided to go with just a trio, and the songs stand out that way because the arrangements are not so cluttered." She adds that she hit on an immediate chemistry with the musicians as soon as they gathered in the studio. "You have to have the right combination of musicians to make the music work in a small setting like that because it's so revealing. They're all great musicians and they came in with no preconceived ideas other than to serve the song. And that ultimately was the key to this album -- emphasizing the song rather than the arrangement."

One poignant offering, the autobiographical "Lorraine," is a song that Klaasen wrote incorporating some of the content from letters that her mother had written to her when she was in her early 20s. It is also the only song on the collection that she sings in English. "It's in English because those letters that she wrote to me were in English," says Lorraine. "My mother had a great passion for what she did and I always remember my mum telling me, 'You got to enjoy what you do. You got to have passion... respect your work, it's your art.'" Klaasen, who speaks 17 languages, sings in Zulu, Sotho, Xhosa and Lingala throughout the rest of the album.

While Miriam Makeba was well-known to U.S. audiences during the '60s and '70s for her concerts and recordings with Harry Belafonte and her TV appearances on The Ed Sullivan Show, it was her participation in Paul Simon's groundbreaking Graceland album in 1987 that introduced her to a new generation of Stateside audiences. To mark the 25th anniversary of that world music landmark, the Joe Berlinger film Under African Skies was released, which documented the making of Graceland and subsequent world tour with Makeba as a featured special guest. The tour culminated in a historic show in South Africa before a mixed race audience, which fueled further resistance to the apartheid regime of South Africa.

Now, 25 years later, Klaasen does 'auntie Miriam' proud on her spirited homage, A Tribute to Miriam Makeba.

A Tribute to Miriam Makeba - Personnel/Track Listing
Lorraine Klaasen, vocals
Assane Seck, acoustic guitar, back vocals
Sebastian Andre Whiteman, bass, back vocals
Moise Yawo Matey, percussion, conga, back vocals

1. Click Song (Miriam Makeba, Jerry Ragovoy) - 3:47
2. Jolinkomo (Gibson Mtutuzeli Kente, Letta Semenya Mbulu) - 4:25
3. Medley: Jikele Maweni & Intoyam (Miriam Makeba) - 3:34
4. Kudala Ndikulindie (Lorraine Klaasen) - 3:24
5. Lakutshon Ilanga (Mackay Davashe) - 4:07
6. Lorraine (Lorraine Klaasen, Thandi Klaasen, Stef Bos) - 3:33
7. Mina Nawe (Mongezi Ntaka, Lorraine Klaasen) - 3:57
8. Pata Pata (Miriam Makeba, Jerry Ragovoy) - 3:42
9. Imbizo (Mongezi Ntaka, Lorraine Klaasen) - 4:06
10. Unomeva (Welcome Lulama Duru) - 3:53
11. Iphindlela (Miriam Makeba) - 4:22

Lorraine Klaasen · A Tribute to Miriam Makeba // Justin Time Records · Release Date: March 12, 2013

PARIS COMBO - 5

Love is a universal language and Paris Combo confirms that music is as well. The five-piece French band that has garnered global acclaim and an immense following for its unique mélange of colorful cabaret, elegant jazz, multicultural world music and sassy alterna-pop will release their fifth studio album, the appropriately titled “5,” on March 12th on DRG Records. To support the diverse dozen songs in every shade of love written by the band and produced by Bénédicte Schmitt and Dominique Blanc-Francard, Paris Combo will embark on a 12-city U.S. concert trek launching April 19th in Cleveland, OH.

It has been since 2004 that Paris Combo released a new album, “Motifs,” which was supported with a concert tour that visited the iconic Hollywood Bowl where they were accompanied by the Hollywood Bowl Orchestra. The troupe consisting of chanteuse Belle du Berry, Potzi (guitar), François Jeannin (drums, percussion, vocals), and David Lewis (trumpet, flugelhorn, piano) reunited in 2010 after a four-year hiatus and spent a year writing, rehearsing and rediscovering their hallmark sound. After adding new bassist Emmanuel Chabbey to the lineup at the end of 2011, they returned to extensive touring where they performed new material that evolved into “5” and delivered another memorable show at Hollywood Bowl.

"In 2006, we gave ourselves the luxury of taking a break from touring and recording so each of us could return to his or her individual musical sources - a breathing space to allow inspiration to happen. Four years later, we reunited in a rehearsal studio - in Paris of course - and without even playing our previous repertoire, together we started composing new songs. The group's chemistry was magic straightaway. Right from the first notes, the chords, the melodies, and the grooves sounded spontaneous and naturally like ‘Paris Combo.’ It was like a reunion with an old friend. The tone was set and we knew we would have fun co-writing our new material and exploring all the different aspects of the group's identity - the ‘Paris Combo style,’” said du Berry, whose lyrical muse remains love.

On “5,” du Berry ruminates on the crazy extremes of amour sung in her native French: love at first sight, love lost, broken love, the dream of love, the brilliance of love, “volcanic anger” produced by love, love’s persistence and love’s enduring immortality. Behind her alternately aching, playful, graceful, tantalizing, and always alluring vocals, the band, with the assistance of a three-piece string section, sets captivating backdrops and intriguing sound collages constructed from artsy Europop, rambunctious riffs, smoky jazz, charismatic cabaret, swinging grooves, exotic Latin, African and rumba rhythms, and mystical Middle Eastern and gypsy nuances.

Lewis said, “We are thrilled to be releasing ‘5’ in the U.S. We have always felt very much appreciated by audiences there and we are thoroughly looking forward to touring there again. After 15 or so tours, the States are an important part of the group's story.”

Paris Combo’s story began in the early ‘90s when du Berry, Potzi and Jeannin first performed together in Paris as members of a quirky retro revue before going on to collaborate at the closing ceremony of the Albertville Winter Olympic Games in 1992. Lewis joined the fold in 1994 and the outfit honed their sound playing in cafes and on barges along the Seine. Their self-titled 1997 debut disc arrived as the swing revival was in full bloom and instantly appealed to fans internationally while generating critical praise yet the band’s wide-ranging mix set them apart. The movement multiplied with the release of their sophomore outing, “Living Room,” which went gold in France in 2000. Their third set, “Attraction,” attracted more followers the following year and was followed by a live album in conjunction with extensive concert tours in the U.S., Europe, Asia and Australia.

To get a taste of the fun, free-spirited musical dish served by Paris Combo, behind the scenes video clips were shot for two tracks from “5”:

“Je Te Vois Partout” http://youtu.be/TXUlmKI3mIU
“Lux” http://youtu.be/_Iqf0X8xVwI

The songs that comprise Paris Combo’s “5” are:
“Je Te Vois Partout”
“Lux”
“Goodbye Pinocchio”
“Tout Excusé"”
“Comptez Sur Moi”
“Les Cailloux Blancs”
“Chaque Fois”
“Le Magasin de Porcelaine”
“Morphée”
“Mediumisons”
“Ce Que J'aime C'est Le Début”
“Fantôme Adoré”

Catch Paris Combo live at the following U.S. concert dates (additional dates may be added):
April 19 Cleveland, OH Museum of Art
April 20 Bloomington, IN Buskirk-Chumley Theater
April 21 Chicago, IL City Winery
April 23 Indianapolis, IN The Cabaret at the Columbia Club
April 24 Livermore, CA Bankhead Theater
April 26 San Francisco, CA California Institute of Integral Studies
April 27 Santa Monica, CA The Broad Stage
April 28 Irvine, CA Soka Performing Arts Center
April 30 New York, NY Joe’s Pub
May 1 Reston, VA Center Stage at Reston Community Center
May 2 Brooklyn, NY Littlefield
May 3 Boston, MA Berklee Performance Center

www.pariscombo.com

PEGGY DUQUESNEL - SEEMS LIKE I KNOW YOU

Transitioning from straight-ahead jazz and inspirational music to showcase her skillset as a contemporary singer-songwriter, classically trained pianist Peggy Duquesnel got to know jazz fusion keyboard pioneer Jeff Lorber and bassist Jimmy Haslip (Yellowjackets) in order to co-produce Seems Like I Know You, a five-song EP that will be released April 16th by Joyspring Music. Duquesnel wrote or co-wrote four songs for the collection, including the first radio single, “When I Think of You,” a soulfully sophisticated R&B groove that gets tasty horn-powered highlights from Rick Braun’s trumpet and flugelhorn.

Gifted with a voice as cozy and as comfortable as Sunday morning, which perfectly matches her girl-next-door demeanor, Duquesnel’s piano pop songs fortified with jazz intonations provide snippets of real-life experiences embellished and enhanced by sterling instrumentation. A joyous love song of immediate familiarity, “Seems Like I Know You” opens the EP with a celestial call and response chorus. Duquesnel and Lorber co-wrote the music for “When I Think of You,” a song of patience, longing and hope with lyrics and melodies that the pianist hatched while on a nature hike. On “That’s How It Always Goes,” Haslip’s somber bass seems to symbolize fleeing love amidst an enchanting sea of sunny optimism in the search for lasting love with Michael Thompson providing a fiery final word on electric guitar. Clouds and heartache don’t stand a chance of lingering on a soothing rendition of the Carpenters’ “Rainy Days and Mondays.” Backing vocalist Dee Dee McNeil penned the lyrics to “Bird on a Leash” for which Duquesnel composed the music for the elegant track about the loneliness and isolation that results when a romantic partner is smothered and taken for granted.

“Songwriting has been a natural gift and form of expression for me that I have enjoyed doing since I was 12 years old. I had already recorded several albums of jazz and gospel standards as well as many of my straight-ahead originals, but I wanted this project to showcase my songwriting placed in a more contemporary setting. Many of my songs have been born out of life experiences and it is my hope that the music will touch and inspire others,” said Duquesnel, who went on to explain about her accomplished collaborators that will perform with her at a pair of hometown album release concerts on March 11th in Seal Beach (Spaghettini) and April 22nd in Irvine (Concordia University). “I met Jimmy (Haslip) a few years ago in the recording studio while we both worked on a project for another artist. When he and I first connected to discuss my new direction, he suggested that Jeff (Lorber) would be a good fit as a co-producer. I had been a fan of Jeff’s since high school so the thought of collaborating with both Jeff Lorber and Jimmy Haslip on this project was very exciting for me. Both of them have become mentors and friends.”

Born in Bethpage, NY and reared primarily in Orange County, CA, Duquesnel discovered the piano when she was three years old and grew up singing, playing and writing songs. After earning her degree in classical piano at California State University, Northridge and mentoring by esteemed jazz pianists Alan Broadbent and Terry Trotter, Duquesnel performed and recorded with Dionne Warwick, Henry Mancini, John Pattitucci, Jeff Hamilton, Grant Geissman and Grammy-winner Broadbent. Her first foray as a featured artist came in 1995 as a member of jazz crossover combo Pocket Change (“Higher Altitude”) while her debut disc as a solo artist, “Where is Love?,” was released in 1999 and spotlighted Duquesnel in a trio setting with orchestral accompaniment arranged by Broadbent and engineered by Grammy-winner Al Schmitt. Her five subsequent releases spanned the jazz spectrum along with a couple of inspirational recordings. A passionate proponent of music education, Duquesnel shares her vast knowledge while serving as the Director of Jazz Studies at Concordia University. Additional information is available at www.joyspringmusic.com.

The songs contained on Duquesnel’s “Seems Like I Know You” EP are:
“Seems Like I Know You”
"When I Think of You”
“That’s How It Always Goes”
“Rainy Days and Mondays”
“Bird on a Leash”