NARADA MICHAEL WALDEN RETURNS TO THE FOREFRONT WITH HIS LATEST RELEASE - THUNDER 2013

Tarpan Records has announced the national release of Thunder 2013, a new full length album by Narada Michael Walden on September 17th 2013. This release features new songs that span Rock, Fusion, Funk and even a ballad or two. This is the first worldwide official release by Narada Michael Walden on his new imprint Tarpan Records.

Narada Michael Walden has produced many household names including: Aretha Franklin, Gladys Knight, Regina Belle, Steve Winwood, Ray Charles, Wynonna Judd, Whitney Houston, George Michael, Mariah Carey, Barbara Streisand, Lionel Ritchie, Elton John, Sting, Carlos Santana, Shanice Wilson, Tevin Campbell, Lisa Fischer, Stevie Wonder, Tom Jones, Jeff Beck and The Temptations. He was awarded Grammys for Producer of the Year in 1988, Album of the Year for the movie soundtrack The Bodyguard in 1993 and the R&B Song of the Year in 1985 for Aretha Franklin's Freeway of Love. Billboard Magazine also named him one of the “Top Ten Producers with the Most Number One Hits”.

As impressive a production and songwriting resume as Narada Michael Walden has assembled over the past thirty years, he has earned equal acclaim as a recording and performing artist in his own right. Beginning as a drummer with the pioneering Mahavishnu Orchestra (replacing Billy Cobham at 19 years old), Narada also toured with Jeff Beck, Tommy Bolin, and Weather Report. With eleven acclaimed solo albums of his own which produced Dance Hits such as, I Shoulda Loved Ya, Divine Emotions, I Don’t Want Nobody Else to Dance With You, along the way, he has achieved greatness in a wide range of sonic arenas. Walden’s music includes groundbreaking soundtrack work on such blockbuster films as The Bodyguard, Free Willy, Beverly Hills Cops II, 9 ½ Weeks and Stuart Little to the EMMY-winning “One Moment In Time,” the theme to the 1988 Olympic Games.

Thunder 2013 is a strong new direction from Narada Michael Walden, inspired by his recent successful two-year tour with the Jeff Beck Band. Narada returned home to finish this album and put together his band to tour on his own. In early February 2012, Narada Michael Walden returned from a well received 10 day stint of shows at the Blue Note in Tokyo and Nagoya, Japan to perform at the White House in an all-star band for President Obama’s “Red, White and Blues” Concert with legends B.B. King, Buddy Guy, Mick Jagger, Trombone Shorty, Booker T Jones and more. Narada enlisted some amazing musicians and performers for his band on Thunder 2013 including: Nikita Germaine (Stevie Wonder, Chaka Khan, James Taylor, and Patty Austin) on Vocals, Frank Martin (Lady Gaga, Mary J. Blige, Madonna, Jennifer Hudson, John McLaughlin, Elton John and Bruce Springsteen) on Keyboards, Angeline Saris (Gretchen Menn, Zepperella) on Bass and Vocals, Matthew Charles Heulitt (Zigaboo Modaliste, Salvador Santana, Megan Slankard, Eion Harrington) on Guitars.

His new label, Tarpan Records is a home for many great established artists and some amazing up-and-coming artists as well. Tarpan Records specializes in artist development, full service project management, promotion, and distribution. Initially focused on Narada Michael Walden’s releases, the plan is to apply this business model to up and coming and established recording artists in the years to come.

Tarpan Records will release Narada Michael Walden’s new album Thunder 2013 nationally in late September of 2013 with help from distribution and marketing powerhouse Independent Distribution Collective. This new album is a Rock masterpiece, with many flavors of Narada’s vast history mixed in. On September 24th 2013 the label will also release Narada Michael Walden’s Rising Sun, an instrumental EP that features Narada and his fantastic new band performing remakes of his greatest Fusion Hits.

Narada Michael Walden and his band will perform a series of shows across the USA in the new few months in support of the release of Thunder 2013. The first in this series, deemed a “pre-release” concert, will be held at Yoshi’s Oakland - 510 Embarcadero West, Oakland, CA 94607 on September 5th, 2013 doors at 7pm show at 8pm. This show will feature songs from Thunder 2013, Rising Sun, and of course some of the hits from Narada’s legendary catalog. 

IVO PERLMAN / JOE MORRIS / BALAZS PANDI - ONE

One brings together the potent forces of Brazilian tenor saxophonist and prolific free jazz icon Ivo Perelman, veteran bassist-guitarist Joe Morris (a ubiquitous figure on the avant garde jazz scene, making his recorded debut on electric bass guitar here) and Hungarian hardcore drummer Balazs Pandi (Slobber Pup, Obake, Metallic Taste of Blood, Merzbow). With no rehearsals, no charts, no sketches or musical road maps whatsoever, the three risk-taking musicians entered the studio and made a joyful noise in daring, unadulterated fashion, pulling no punches while following their instincts from start to finish. Fueled by the hard and fast beats of Pandi, who also demonstrates his remarkably versatile skills and keen listening instincts throughout the session, One is a highly interactive studio encounter that borders on the telepathic at times. And with Perelman's cathartic, Albert Ayler-inspired tenor sax blowing on top and Morris' electric bass lines bubbling underneath, sparks ensue on this turbulent project.

From the opening strains of the kinetic and aptly-titled "Freedom," which kicks off the potent improv outing, to the dynamic 17-minute closer "Stigma," it is clear that these three kindred spirits are going for it with reckless abandon. Along with the blowtorch intensity of Perelman's sax playing and Pandi's thunderous drumming, there are moments of tender reflection on One.

"What Love Can Lead To" has Pandi playing in more understated fashion on mallets while Perelman pursues a poignant, searching melody. "To Remember What Never Existed" builds from a lightly swinging intro to a tumultuous crescendo capped by Ivo's mighty overblowing and Balazs' bashing. The title track is an intimate, conversational duet that has Morris playing contrapuntal bass guitar lines to Perelman's angular and skittish sax lines. "Universal Truth," a frantic barrage fueled by Pandi's dynamic polyrhythmic pulse and Morris' bubbling bass lines, comes across like Ivo's white-hot homage to Albert Ayler. And the visceral, suite-like closer, "Stigma," travels across a myriad of moods while serving as a perfect microcosm of what these three such potent forces can do together.

While Perelman, Morris and Pandi had all previously recorded before (Perelman most recently on two trio projects with drummer Gerald Cleaver for Leo Records - 2012's Family Ties and Living Jelly) and Morris had previously played with Pandi in Slobber Pup (on their 2013 debut Black Aces for RareNoise Records), One marks the first time that Ivo and Balazs had ever played together. "Balazs clearly comes from a rock or hardcore background," says Perelman, "but you can still hear some Elvin Jones in his playing, which I really love. So the idea of playing with Pandi was very exciting to me."

At Pandi's invitation, Perelman came down to The Stone, John Zorn's experimental music club on Manhattan's Lower East Side, to hear the drummer play with Slobber Pup, a thunderously intense band featuring Morris on distortion-laced guitar, Trevor Dunn on electric bass and Jamie Saft on keyboards. "I totally enjoyed Balazs' playing, although I had to cover my ears at times because I wasn't used to hearing such intense music. And as I watched them I thought that if we played together it would sound great with Joe on electric bass, just to give it that punch to match Balazs' intense backbeats."

As Pandi recalls of that first encounter with Perelmen, "After the show at The Stone, Ivo ran up screaming and told me pretty much that I can't leave the States without us recording. Within three days, we were in the studio."

And so, a power trio was born. They went into the studio carte blanche and pressed the record button. And the result is One. What you hear is what they played that day in the studio. "This has pretty much been the way on mostly all the recordings I have done," says Ivo. "I really like not playing with a particular person before I go into the studio because I want the first reaction to be documented right there, right then."

While Perelman was well aware of Pandi's thunderous nature, he was not surprised by the sheer versatility the drummer exhibited from track to track on One. "I wasn't surprised by the quality of his other kind of playing because I could tell he was a sensitive listener and would adapt to the environment and bring something tasteful to the plate." Adds the Hungarian drummer. "Playing lightly is nothing new to me. I used to play timpani in an orchestra when I was nine years old, so I grew up dealing with all kinds of tempos and dynamics and playing, from playing solo to playing with up to 60 musicians. People know me more from playing intense and loud music, but in the end my goal is not to kill anyone at the session or to be the most intense performer ever. Also, it is possible to play heavy music with light dynamics. Sun Ra is the best example of this. So it is possible to play at a lower dynamic but still destroy."

Balazs is definitely a unique drummer," adds Perelman. "I don't even know how to name what he does because it's so unique, but I definitely never played with anybody with that intensity, really. When I played with Rashied Ali, to me that was beautiful and very intense. But Balazs has something unique. So he forces me to play in a different way as well." Morris concurs. "Balazs does a lot of different things. He's somebody who has a rock and metal sort of feel, this sort of head-banging kind of thing, but he has incredible ears and really good technique and he's very pliable and flexible. So he's really easy to play with. And I think Ivo was blown away at how different it was and yet how good it was."

Though Perelman has amassed an extensive catalog of free jazz recordings over the years, he says it is never easy to remain in that place of pure improvisation. "Easy is never a good word, I think, because every day it's a different set of parameters. You're dealing with the situation, whether it's studio or live, the psychological, the social, the spiritual. So many factors play into this so every day is a challenge to say something meaningful, fresh, honest and good. So it wasn't easy improvising with Joe but it was familiar in the sense that I relate to him in a beautiful way. He's a keen listener and he gives me back ideas, so it's a back-and-forth type mutual collaboration. And now I feel like I'm developing that same kind of communication with Balazs. So I'm looking forward to collaborating with him again to see if we can take it to the next level.

Ivo adds that he was pleasantly surprised by the results of Morris' first-time use of electric bass guitar on One: "I've played and recorded with Joe both on acoustic bass and electric guitar. And for me, the electric bass is like a great mixture of both. So on this recording I got a bit of his 'bass thinking hat' and I got a bit of his 'guitar playing hat.' I really dug that and I have a feeling that Joe will expand and be asked to play electric bass guitar more and more when people hear what I'm hearing. This is the beginning of a new language for him, a new axe. Between the chording, the things he does with his pick, the nuances and speed he can generate on the instrument...I don't hear electric bass players doing that. So I think Joe bumped into something great. I'm happy that I brought it up to him."

Says Morris, "I had never done a gig on electric bass before. I do play bass and I've done a lot of gigs and records on upright bass. And I've played electric bass at home but I've never done any kind of performance on electric bass. So this was the first one that I did. In fact, I had to borrow my son's Fender Jazz bass for this session. And for a while I was thinking about being a bass player on it but then I started thinking, 'Well, it's really a bass guitar.' So at that point in the session I sort of shifted to being a guitar player and just thinking of it as being a bass guitarist. And that's when it sort of went to a different place because that realization gave me an opportunity to shape the form a little bit differently."

With the release of the powerhouse triumvirate's One, Perelman, Morris and Pandi are poised to destroy. And each night that they play together on tour to promote their RareNoise debut, it's bound to be a new and different and undeniably intense experience. As Morris put it, "Every time I pick up my instrument, whether it's the guitar, upright bass or electric bass, it's my obligation to do something different than what I did last night. And it's great when you play with people like Ivo and Balazs, who both have the same attitude. They're both seem to be innate musicians who have tons of energy, who are great listeners and who don't get stuck because they can change and go with the flow. They're great improvisers. And together, we have something real special."

NEW RELEASES - SAINT ETIENNE PRESENTS SONGS FOR A CENTRAL PARK PICNIC, FROOTFUL, MICHAEL PEDECIN

SAINT ETIENNE PRESENTS - SONGS FOR A CENTRAL PARK PICNIC (VARIOUS ARTISTS)

Imagine a beautifil day sitting under a shady tree in Central Park, and you bring along some music to create a truely relaxing atmosphere. This really cool summer set includes a total of 25 songs and it feature: Softly As In A Morning Sunrise (Vince Guaraldi); Bee Born (Sammy Davis Jr.); Stranger On The Shore (The Drifters); Gopher Mambo (Ymo Sumac);Boato (Bistro) (Lalo Shifrin);  Yes I Love you (Paris Sisters); Moon River (Jerry Butler); Some For Cat (Henry Mancini); Lost For Sure (Dion); Private World (Artie Farr); Bad Boy (The Jive Bombers); A Kiss From Your Lips (Billy Storm); Raincoat In The River (Sammy Turner); Moon Guitar (The Rangoons); Untie Me (The Tams); Marie (The Four Tunes); Quiet Firl (Don Rondo); You Don't Have To Be A Tower of Strength (Gloria Lynne); Where Have You Been (Arthur Alexander); plus many others!

FROOTFUL - THE ROAD / BENEDICT'S BOOGALOO 

Frootful return with a new two track 45 taken from Heavyweight - their follow-up to their eclectic 2011 debut long player - Colours. The Road feature UK soul vocalist Mazen Bedwei, who was first featured on a Freestyle release when he sang on Nick Van Gelder's Somethings Gotta Give compilation Sounds From The Soul Underground. The Road is a light, breezy, and uplifting soul groove that has something of a late 60's feel, where shimmering horns underpin Mazen's Curtis Springfield inspired vocals, while Frootful's Nick Radford's tasteful guitar picking locks down the sweet summer sound.  One the flip side the mood is altogether greasy as Benedicts Boogaloo is a gritty soul-jazz work out that been double dipped in the funk.  Nick gets the chance to display his guitar cjops wonderfully, while the guitar bass line in unrelenting while a dirty and distorted organ grooves out to a stunning climax.   This is just an example of what is come from the new album - Heavyweight.

MICHAEL PEDECIN - WHY STOP NOW...UBUNTU

Tenor saxophonist Michael Pedicin is in the midst of an impressive creative surge clearly reflected in his prolific work as a recording artist and composer. His new CD, Why Stop Now ... Ubuntu, is his 12th as a leader -- and 5th in the last six years. Scheduled for release on September 24 by his GroundBlue label, the disc reconfirms his status as a masterful post-bopper. Much of the music on Why Stop Now was inspired by the 2012 Newtown tragedy, including the haunting ballad ("Newtown") by guitarist Johnnie Valentino and Pedicin's glowing impromptu solo passage ("Ubuntu"), which closes the album. "'Ubuntu' means 'human kindness,' an African philosophy focusing on our connections with one another," says Pedicin. "It echoes my constant hope for peace and connectedness in our world." Along with Valentino, who's been an essential collaborator on all of Pedicin's recent recordings, the saxophonist is joined by regular bassist Andy Lalasis and two newcomers to his working quintet, tasteful drummer Vic Stevens and rising young pianist Rick Germanson. Pedicin continues his relationship with producer Joseph Donofrio, best known in the jazz world for his work on Pat Martino's Grammy-nominated Blue Note recordings and also at the helm for last year's Pedicin CD Live at the Loft. W hy Stop Now contains four originals by the leader, including "Trane Stop," a tribute to his musical hero, as well as two by Coltrane himself, "Tunji" and "Song of the Underground Railroad." "I lived my life admiring and idolizing Trane, every day, all day," Pedicin says unabashedly. "I identify with everything about him."

NEW RELEASES - DONNA SUMMER, YUNA, LOU DOILLON

DONNA SUMMER - LOVE TO LOVE YOU DONNA

Verve Records has announced the release of Love To Love You Donna, a remix record celebrating the life and voice of five-time Grammy Award winning singer and songwriter Donna Summer. A dozen highly sought after DJs and remixers have contributed a diverse and creative spin to some of the most beloved tracks in dance and pop music history. The first single is "Love Is In Control (Finger On The Trigger)," remixed by Chromeo & Oliver.  It will be followed by legendary producer Giorgio Moroder's entirely re-imagined version of "Love to Love You Baby," the classic song he recorded with Donna, released in November of 1975. Love to Love You Donna was produced by Dahlia-Ambach Caplin, the architect of the five-volume Verve Remixed series, and Randall Poster, the legendary producer and music supervisor. Posthumously, Donna Summer will be awarded The Legends of Dance award at the Promo Only Summer Sessions, Tuesday, August 13th, in Atlantic City, NJ. ~ ververecords.com

YUNA - NOCTURNAL

Breakthrough singer/songwriter Yuna is set to release her forthcoming new album “Nocturnal” on Verve Records on October 29.  The new album marks Yuna’s first full-length follow-up to her critically acclaimed self-titled debut from last year. “Nocturnal” features Yuna’s distinctive blend of organic pop, R&B soul and acoustic folk while also “digging deeper into her huge bag of pop star potential” (okayplayer.com).  “Nocturnal” is a collection of eleven infectious new songs featuring the intoxicating single “Falling” produced by Robin Hannibal of the soul-pop group Rhye as well as the effervescent and uplifting track “Rescue” produced by Chris Braide.  Other album highlights include “I Wanna Go” produced by Michael Einziger of Incubus as well as the breezy “Come Back.” The album marks a new chapter for the Malaysian-born artist who is earning plenty of comparisons to female vocalists such as Feist, Adele and Norah Jones. ~ ververecords.com

LOU DOILLON - PLACES

Places was recorded at Studio De LA Seine in Paris and originally released via Universal France on September 3^rd, 2012 and quickly achieved critical praise across Europe, referred to as “a real wonder” by Mad and “splendid and miraculous” by Le soir. The chantueuse has followed in the footsteps of the French singers before her such as Carla Bruni, Keren Ann and Charlotte Gainsbourg to craft an array of beautiful, sweeping songs with producer Zdar (Phoenix, The Rapture, Beastie Boys).  As the daughter of international icon Jane Birkinand Jacques Doillon, and with Serge Gainsbourg as her step-father, it goes without saying that Lou was born into a creative environment. Although she originally pursued acting and modeling careers, Lou always kept music as a hobby, and even wrote many songs in English, which she refers to as her “private language.” Lou finally revealed her musical talents in the spring of 2012 with the European release of the first track on the album, “ICU.” Its haunting vocals, compelling melody and twilight ambience held the immediate promise of a bright future.The first single off the album “Devil or Angel,” an immediate classic, is an emotionally revealing song showcasing Lou’s effortless storytelling ability. The album continues to showcase Lou’s unique voice and timbre. Describing days of melancholy passing at the pace of a drum roll, “One Day After Another” is reminiscent of Patti Smith’s narrative art, while “Make A Sound’s” pop immediacy holds a reference to its writer’s “leaded wings”. Much like Cat Power, Lou Doillon is equally at home with an acoustic range (the iridescent clearing in the middle of the album: Same Old Game) and brass-backed soul (Jealousy and Questions And Answers - two visas for Memphis). These livelier tunes also heighten the depth of her startlingly flexible voice. ~ ververecords.cp,

JAMES BOOKER - CLASSIFIED: REMIXED AND EXPANDED

James Carroll Booker III was also an unheralded genius of American music, a New Orleans pianist whose dizzying technique and mastery of the keyboard was matched only by his imagination and his soulfulness. His short and often flamboyant life was also marked by struggle and lost opportunity.

Classified, recorded in October, 1982, was one of only two studio albums released during his lifetime, and this remixed and expanded edition offers a poignant and often surprising look at his music, for if James Booker is often cited in the piano lineage that passes from Jelly Roll Morton to Professor Longhair to his own student, Harry Connick Jr., New Orleans tradition was only his jumping-off point.

On October 15, 2013, Rounder Records will release James Booker’s Classified: Remixed and Expanded. The expanded volume’s 22 tracks, which include nine never-before-released performances, range from the pure rhythm and blues of “All Around the World,” to the light classical “Madame X,” to his astonishing version of the jazz standard “Angel Eyes.” Among the unreleased songs is the slow blues instrumental, “I’m Not Sayin’,” and his syncopated reading of Nino Rota’s  “Theme From the Godfather.” Whether playing solo or accompanied by saxophonist Alvin “Red” Tyler, bassist James Singleton and drummer Johnny Vidacovich, Booker ties together a giddy array of musical influences with virtuosity and an often quirky sense of humor. If New Orleans was the only place that could have produced such a talent and such a character as James Booker, the scope of his musical vision was boundless, and he stands alone in the New Orleans piano pantheon.

All Music Guide cites the original edition of Classified as arguably Booker’s best album (even if that mythical collection may still reside in the live recordings his passionate fans have traded over the years). Three decades later, with the new material and dramatically improved sonics, it stands as a lynchpin in his discography.

Included are new notes by co-producer Scott Billington and several new photographs. Classified will be released both on CD and as a limited edition double-LP vinyl set. Lily Keber’s film, Bayou Maharajah: The Tragic Genius of James Booker, has been playing to rave reviews, and that interest in James Booker is expanding beyond his devoted cult following.

According to Grammy Award-winning pianist George Winston, “James Booker and Professor Longhair and Dr. John are the three biggest influences and inspirations for the New Orleans piano renaissance that is happening more and more, and James’s music is even more influential now than when he was alive. He is my biggest overall piano influence and has been since I first heard his recordings in 1982. It’s so great to have everything here from his final studio sessions.”

Track Listing:
1.  Classified
2.  If You're Lonely
3.  Warsaw Concerto*  2:47
4.  Lawdy Miss Clawdy (solo piano alternate take)*
5.  Medley: Tico Tico /  Papa Was a Rascal / So Swell When You're Well*
6.  All Around the World
7.  Angel Eyes
8.  Lonely Avenue*
9.  Professor Longhair Medley: Tipitina / Bald Head
10. King of the Road
11. Theme from The Godfather*
12. Lawdy Miss Clawdy
13. I'm Not Sayin'*
14. Hound Dog
15. All These Things*
16. Yes Sir, That's My Baby*
17. Baby Face
18. If You're Lonely (solo piano alternate take)*
19. Madame X
20. One For the Highway
21. Three Keys
22. Amen

*previously unreleased 

NEW RELEASES - JAHEIM, MILLIE JACKSON, PINK MARTINI

JAHEIM - APPRECIATION DAY

After a long hiatus, the super crooner is back by popular demand. When asked about his return, Jaheim mentioned that he's anxious to get back to his fans, "It's been so long since I've had a chance to create music from my heart for the fans that have loved and supported me from the start. I decided to call the project 'Appreciation Day' because that's exactly what this album is. My show of appreciation to them." The lead single off the albun is "Age Ain't A Factor" and the album featuress smash hits like: "Chase Forever," "Sticks and Stones" and "Morning," a call back to the Shirley Murdock classic. A vocalist in the tradition of such greats as Teddy Pendergrass and Luther Vandross, Jaheim has released three albums over five years: his 2001 debut, "Ghetto Love"; 2002's sophomore set, "Still Ghetto" -- both of which reached RIAA platinum status; and 2006's "Ghetto Classics." During that time, he also scored nominations for the BET and Soul Train Music Awards. In 2007, the chart-topping artist returned with his Atlantic Records debut, "The Makings of a Man." No stranger to personal loss and struggle, Jaheim promises to make "Appreciation Day" more than just the name of an album, but an invitation for him and his fans to show those that mean the most to them, how much they care. "It's a feel good album with very special messages hidden in every song. I'm looking forward to this journey with my fans."  

MILLIE JACKSON - AN IMITATION OF LOVE (INCLUDES BONUS TRACKS)

Sweet 80s groove from Millie Jackson – a set that's got a very different vibe than her famous southern soul work of the 70s – but one that still has the singer very much at the top of her game! The backgrounds are a bit more electric than before – especially the rhythms – but Jackson's raspy, raw approach to the lyrics really holds fast – and, if anything, helps make the set a new vision in rootsy soul for a more contemporary generation. Some of the "nasty gal" tones of previous years are put on the backburner – and Millie returns to those mellower ballads that were always some of her strongest work – really shining nicely on tracks that include "It's A Thang", "An Imitation Of Love", "Hot Wild Unrestricted Crazy Love", "Wanna Be Your Lover", "Love Is A Dangerous Game", and "I Fell In Love". CD features lots of bonus tracks – including "Hot Wild Unrestricted Crazy Love (7" edit)", "Love Is A Dangerous Game (ext mix)", "Wanna Be Your Lover (7" version)", "It's A Thang (ext mix)", "Hot Wild Unrestricted Crazy Love (inst)", and "Love Is A Dangerous Game (inst)".  ~ Dusty Groove

PINK MARTINI - GET HAPPY

Get Happy is the long-awaited studio follow-up to 2009's Splendor in the Grass. The project began back in early 2012 when Thomas Lauderdale and audio engineer Dave Friedlander flew to Los Angeles to visit Thomas's new friend, Phyllis Diller. While there, they recorded Charlie Chaplin's 'Smile', which turned out to be Phyllis Diller's final recording, and became the soundtrack for the many tributes to her when she passed away six months later. Get Happy features a batch of guest artists  including exotic cabaret sensation Meow Meow, sunny French eccentric Philippe Katerine, the handsome and brilliant radio superstar Ari Shapiro, warm-hearted wunder-siblings The von Trapps, and a riveting appearance by the exquisite Rufus Wainwright! The album features 16 songs selected and arranged by Lauderdale.

NEW RELEASES - CHUCK LOEB, QUINCY DAVIS, SYLVIA WOODARD THOMPSON

CHUCK LOEB - SILHOUETTE

Chuck Loeb’s latest release is Silhouette which features guest appearances by stellar jazz musicians such  as Fouplay band mate Nathan East, Will Lee (of David Letterman fame), legendary drummer Steve Gadd (Steely Dan), Eric Marienthal, Andy Snitzer (Rolling Stones), and others. Silhouette lso features vocals from Loeb’s wife, Carmen Cuesta, whose sensuous delivery has resulted in her own growing fan base. With over 25 Top 10 Smooth Jazz radio hits to his credit, including an incredible 15 #1 smashes, Chuck Loeb is truly an icon and pioneer of the Smooth Jazz genre. The first single off the album is the title track, Silhouette, which is currently climbing up the smooth jazz radio charts.  Other tracks include Silver Lining, Present Sense. Appreciation, JT, Lockdown, Stompin’, Esta Tarde Vi Llover, My One And Only Love, and Las Eras. Loeb is also a member and lead guitarist of the super group Fourplay. 

QUINCY DAVIS - SONGS IN THE KEY OF Q

This is the debut album by Quincy Davis, who has long been highly regarded as one of the great jazz drummers of his generation. On Songs In The Key Of Q,  listeners will enjoy a compelling glimpse into the mind and soul of Davis as a composer. He is joined by a stellar band: Dayna Stephens (tenor sax), Warren Wolf (vibraphone), Xavier Davis (piano), Vicente Archer (bass) and Richie Goods (electric bass, 1 track). Davis' music can be described as very "melodic, sophisticated, introspective, soulful and catchy". His playing can be described as simply "refreshing". While the roots of jazz are deeply embedded throughout this album, you will hear no cliches what-so-ever.

SYLVIA WOODARD THOMPSON - FOR THE LOVE OF JAZZ

Sylvia Woodard Thompson's contributions to the jazz music scene have been recognized and praised by listeners and fellow musicians. This second jazz CD, "For the Love of Jazz," is part of her continuing effort to keep traditional vocal jazz front and center for the enjoyment of a new generation of jazz enthusiasts. Her music is rooted in traditions that stem from a jazz-musician father and a music-loving family. Her performances feature smooth vocal jazz, delivering classic love songs from the era when jazz was in its heyday. Together with seasoned jazz instrumentalists, her music brings easy-listening memories to the older set and provides something new for younger audiences.

TETINE - IN LOVELAND WITH YOU

Tetine are Brazilian artist/musicians Bruno Verner and Eliete Mejorado from Sao Paulo, Brazil. Based in Hackney (East London) since 2000, the duo have created a multitude of music, performance art and films - including art projects, community and street actions around the area.

In Loveland With You is Tetine's fourth album to be released in the UK and Europe - a follow up to their Tropical Punk album trilogy which included debut album Let Your X's Be Y's on Soul Jazz Records (2008) and both of their self-released records; From A Forest Near You (2010) and Voodoo Dance & Other Stories (2011) out on Slum Dunk Music. But this is in fact their 14th album since the band formed in Sao Paulo, back in 1995.

Recorded and produced by Bruno Verner and Eliete Mejorado between 2010 and 2012, In Loveland With You is one of Tetine's most personal records to date. It features 14 tracks heavy on electronic and organic sounds with funky basslines, drum machines, glacial soundscapes and a very distinctive melodic and harmonic sense. It also brings a darker approach to Tetine's music in terms of lyrics, vocal delivery, structure and atmospherics with less of their luminous tropical punk/ baile funk sound of past records & more of their melancholic electronic pop - without ever loosing its directness and simplicity.


The album features collaborations with Brazilian psychedelic legend Arnaldo Baptista - formerly of legendary Tropicalia band Os Mutantes - guesting on the opening track 'To Burn', and it is heavily influenced by Brazilian marginal filmmaker Rogerio Sganzerla - to whom this record is entirely dedicated.

MARC CAREY FOCUS TRIO - FOUR DIRECTIONS

Marc Cary has spent close to a decade honing a distinctive sound and improvisational approach with his enduring and much acclaimed Focus Trio. Four Directions, the band's first studio recording in eight years, follows on the heels of two powerful interim releases (Focus Trio Live 2008 and Focus Trio Live 2009). Despite a few shifts in the bass chair, and an ever-transforming array of acoustic and electronic instrumentation, the band's original mission, as Cary stated in his liner notes for Focus, the band's 2006 debut, remains the same: "to bring indigenous rhythms together with American jazz to create new palettes of sound."

On Four Directions, Cary once again leads the boundlessly creative Sameer Gupta on drums and percussion with two new recruits: Burniss Travis and Rashaan Carter sharing the bass chair, on some tracks alone and on some together. "Rashaan and I are both from DC," Cary says, "and his father [tenor saxophonist Russell Carter] gave me my first gig. I wanted both him and Burniss to be represented on the record because they've both been playing with the group at different times."

From the precise melodic hits and surging swing of "Ready or Not" to the pervasively unsettled "Outside My Window," Cary devotes Four Directions in part to an acoustic aesthetic - while also exploring a full range between organic and electronic sounds. This multi-dimensional approach has always been a foundational hallmark of Cary's musical identity.

Cary and Gupta are committed students of traditional Indian music but they always bring their own sensibilities to bear. Namaskar, Gupta's 2010 Motéma release (also featuring Carter on bass), was co-produced by Cary and featured a diverse cadre of highly celebrated musicians, combining jazz with North and South Indian ragas and well-known Bollywood themes.

Cary's originals include the ethereal, drone-based "Open Please" (which Cary calls "a prayer to the ancestors - open our minds, our hearts"), and "Waltz Betty Waltz," dedicated to the legendary Betty Carter, one of Cary's pivotal mentors. "She used to swing," Cary marvels. "She used to love waltzes and she used to kill it. I wanted to do something that was tasty and fitting for her."

Of the synth and keyboard-driven numbers, "Todi Blues" stands out for its unique blend of Indian classical concepts and go-go rhythms. Based on the traditional Todi raga, the piece is divided between an alap, or solo introduction, and a rhythmic template for improvisation, or tala. Cary solos on synth and Rhodes, trading between the two in a way that evokes "East meets West," he explains: "The Rhodes is kind of the Western assimilation into raga, and the synth is taking the place of the voice, or voice-like instrument, in Indian classical music."

"Tanktified," a Terreon Gully composition that Cary recorded with Stefon Harris's Blackout group on the GRAMMY® Award-nominated Urbanus, moves between 7/8 and 17/16 and comes under further expansion with Gupta's turbulent drum solo. "Spectrum," by Tony Williams' Lifetime, is straightforward trio with Cary on Rhodes: "Having played it with Cindy Blackman, Will Calhoun and others, I had the opportunity to approach that song in different ways, with added rhythm changes."

In addition to piano, Cary plays the Access Virus TI2 and Novation UltraNova synthesizers, Fender Rhodes, Wurlitzer and organ, creating a sonic environment that reflects his limitless musical interests - from jazz to go-go, hip-hop, electronic music, Indian classical music and more. "There's nothing blocking any music coming out of us," Cary insists. "It's like, melanin is a superconductor, you know? That's how it's coming out of our fingers and our minds."

Cary was born in New York in January 1967, grew up in DC and went on to become an important figure in the city's burgeoning go-go scene. He attended the Duke Ellington School of the Arts, and upon relocating to New York in 1988, began his rise as a jazz piano modernist. In 1994 he began a life-changing 12-year tenure with vocalist, songwriter and jazz icon Abbey Lincoln. (For the Love of Abbey, Cary's spellbinding solo piano tribute to Lincoln, came out in May of 2013 on Motéma.)

In addition to Lincoln, Cary has worked with such masters as Arthur Taylor, Dizzy Gillespie, Max Roach and Shirley Horn. His talent has elevated the music of everyone from Russell Gunn and Marcus Printup to Q-Tip, Meshell Ndegeocello and Ani DiFranco and as a recording artist his ensemble work has helped earn GRAMMY® Award-nominations for albums by Abbey Lincoln, Betty Carter, Roy Hargrove and Stefon Harris.

Cary debuted on the Arabesque label as a leader in 1995 with Cary On. Then at the turn of the century, his electronica odyssey, Rhodes Ahead (Vol. 1) won him the first annual Billboard/BET "Best New Jazz Artist" award in 2000. Cary debuted his fledgling Focus Trio project on the Motéma label in 2006, with an eponymous release which received major critical and public acclaim that led to increased international touring and a multi-record commitment from Motéma.

  In addition to his long-standing Focus Trio, Cary also has toured and recorded regularly with his band Indigenous People since 1999. Cary's 'Indigenous' project specifically mines the rich musical history of indigenous cultures around the world with a special focus on music of the African diaspora - from African folk melodies, Brazilian and Caribbean grooves to jazz, funk and go-go rhythms. Indigenous People has documented its sound on the albums Captured Live in Brazil (1999), Unite (2001) and N.G.G.R. Please (2003). Cary has now rebilled the group as "Cosmic Indigenous" and has a forthcoming Motéma release in the works. Meanwhile, he continues to work steadily as a producer and collaborator on recorded and live projects in the jazz, hip-hop, R&B and dance arenas.

"The things that have kept the Focus Trio concentrated are basic principles of openness and intent to play like it is our last chance, every time," notes Cary. "And we keep having these incredible discoveries, which happen mostly on the bandstand. There's a great understanding of our love for the music and what we're seeking."

Marcy Carey will soon be appearing: August 25 / Westminster Church / Washington, DC // August 29 / Scullers Jazz Club (For the Love of Abbey, solo) / Boston, MA // September 21 / Monterey Jazz Festival (Focus Trio) / Monterey, CA // October 16 - 17 / Monk at 96 / Los Angeles, CA

Four Directions (release date Oct. 8, 2013) - Track Listing

1. Todi Blues

2. Waltz Betty Waltz

3. He Who Hops Around

4. Open Baby

5. Tanktified

6. Boom

7. Ready or Not

8. Spectrum

9. Indigenous

10. Outside my Window

INDIA.ARIE, JEFFREY OSBORNE, ANTHONY HAMILTON, EUGE GROOVE, CHARLIE WILSON HEADLINE LAS VEGAS JAZZ FESTIVAL, SEPT 27-29, 2013

The opening night of the Las Vegas Jazz Festival boasts a funky Friday lineup headlined by 2013 BET Lifetime Achievement Award winner Charlie Wilson, a 6-time Grammy-nominated vocalist who won a Soul Train Icon Award in 2009. A soulful pairing comprised of saxophonist Eric Darius and platinum-selling R&B singer-songwriter-multi-instrumentalist Lyfe Jennings will take the stage first. Also appearing are Grammy-winning singer-songwriter India.Arie, veteran R&B crooner Jeffrey Osborne and saxman Euge Groove top the marquee on Saturday. Grammy-winning guitarist Norman Brown and sax powerhouse Richard Elliot join forces for a session filled with R&B grooves. Emerging sax player Dominic Amato will perform a mid-afternoon show following a trio segment featuring saxophonists Michael Lington and Jessy J with keyboardist Jonathan Fritzen. The day will begin with a hit-filled performance by saxophonist Paul Taylor, a Las Vegas native.The closing program of the Las Vegas Jazz Festival presents two-time Grammy-nominated soul vocalist Kem followed by Grammy-winning soul singer Anthony Hamilton. Soul-jazz guitarist Jeff Golub unites with saxmen Warren Hill and Tom Braxton for what bodes to be a blues-singed set. Guitarist Nick Colionne brings Chicago-style fire and flamboyant fashion to his shows. Sax Pack – Steve Cole, Jeff Kashiwa and Jackiem Joyner – always delivers a high-octane performance. The final day gets underway with Jazz in Pink, a trio of talented women consisting of keyboardist Gail Jhonson, violinist Karen Briggs and saxophonist Paula Atherton.

“Part of the magic of our jazz festivals is when guests come and totally immerse themselves in the music and lifestyle experience for the entire weekend. One of the reasons we produce our events at first-class resorts like the JW Marriott Las Vegas Resort & Spa is to foster that feeling of community that takes place when concert goers spend the weekend enjoying the live music along with the plush accommodations and top-notch facilities. In addition to the extraordinary shows we go to great length to produce, our festivals are an opportunity for people to getaway, relax, socialize, network and form relationships. These aren’t just concerts; they are fun mini-vacations and our guests fly in from all over the country to join the party,” said  BTWconcerts.com's Brad Laughlin, whose company also produces the Arizona Jazz Festival and the San Diego Jazz Festival.

www.lvjazzfestival.com

NEW RELEASES - JOSE JAMES, CYRUS CHESTNUT, STEVE KUHN

JOSE JAMES - COME TO MY DOOR EP

Jose James has released a 5-song EP entitled Come To My Door, this after releasing his Blue Note debut, No Beginning No End, to wide acclaim. The 5-song Come To My Door EP, features the album's second single "Come To My Door," which was written by Emily King. The EP also includes remixes of the album's tracks by José's frequent collaborator Taylor McFerrin, as well as FaltyDL,Oddisee, and Flako. No Beginning No End is a seamless musical experience that moves between different styles with remarkable fluidity, bound together by James' transcendent voice. Conceived, recorded and produced independently, the album is James' most personal statement yet. José James is scheduled to perform at Giant Step's Central Park SummerStage event in NYC with Shuggie Otis and Hiatus Kaiyote this Sunday, August 11th, as part of his greater US tour. ~ giantstep.net

CYRUS CHESTNUT - SOUL BROTHER COOL

This one is a really hard-hitting set from pianist Cyrus Chestnut – wrapped up here in a cover that's an homage to Max Roach in the 60s, and served up with a groove that definitely evokes the best jazz of that decade too! The group's a very sharp quartet – with Chestnut handling piano, plus Freddie Hendrix on trumpet, Dezron Douglas on bass, and Willie Jones II on drums – and also acting here as producer, given that the set's issued on his own label! The team of Douglas and Jones is mighty deft – and really adds a bristle to the rhythms right from the start – providing a perfect place for Hendrix to show off his tight skills on trumpet, while Chestnut mixes things up with lyrical moments and some harder punch on his piano. All tunes are originals by Cyrus, which furthers the fresh feeling of the record – and titles include "The Rav~ Dusty Groove

STEVE KUHN - STEVE KUHN

Here are 2 early 70s gems from pianist Steve Kuhn – back to back on one CD! First up is his amazing self-titled set for Buddah from 1971 – an incredibly inventive album that takes his earlier modern style, and fuses it with a warmer sort mode for the 70s! The approach is quite unique – in that Kuhn's core trio style is augmented both by additional percussion from Airto, plus occasional string quartet backing – for a sound that's fresh and different on each new tune! Some tracks feature Fender Rhodes, but most are acoustic – and Steve even sings a bit at one point, showing his newly discovered talent for penning a creative lyric. Favorites are the groovers "The Baby (aka Saharan)" and "Time To Go (aka Tomorrow's Son)" – and the album also features a great version of "Pearlie's Swine (aka The Zoo)". Other tracks include "The Drinking Song", "The Meaning Of Love", and "Silver". Added to that set is another equally brilliant set – one that features all Fender Rhodes throughout, with a combo that includes Steve Swallow on electric bass, Bruce Ditmas on drums, and Sue Evans on percussion – a lineup that's almost similar to Kuhn's Trance album for ECM, as is the sound of this set! The groove's a bit more open and flowing than Trance, though – with more of those wonderfully rolling numbers that were fast earning Kuhn a name at the time – tracks that are a bit modal, but also have their own unique sense of flow, and a sound that's never nearly as outside as Steve's work from a few years before. Titles include "Day Dreaming", "A Change Of Face", "Remembering Tomorrow (aka Ulla)", "Last Tango In Paris", "Life's Backward Glance", and "Trance".  ~ Dusty Groove

NEW RELEASES - JACK FULKS, SHOKAZULU, MARK MASTERS ENSEMBLE

JACK FULKS - FOLLOW YOUR DREAMS

An excellent set from reedman Jack Fulks – a player who's hardly ever recorded as a leader, but who we remember well from his spiritual jazz work in LA's Creative Arts Ensemble! This gem of a set has Jack playing in territory that's right back with his older roots – often stretching out on tenor next to the alto sax of Rene Pineda – in a warmly soaring style that reminds us of the 70s Muse sessions by the great Earl & Carl Grubbs! Rhythms on the set are mostly modal – given a nice sense of balance in the piano of David Edelstein – but it's definitely Fulks' talents that make the whole thing come together – his beautiful songs, soulful work on flute and tenor, and the warmth and energy that drives the whole session. Titles include "Liberation", "Panama", "Nautical Times", "Congo Rio", "Bandoleros", "Reflections", and "Pastels".  ~ Dusty Groove

SHOKAZULU - SHOKAZULU

Here's a brilliant bit of business from the 4 Hero side of the musical universe – some very cosmic grooves from Kaidi Tatham – filled with complex rhythms and soaring keyboards that mix together equal parts jazz, funk, and London broken beat! The tunes are stripped-down, but never spare at all – given the fierceness of the instrumentation, which often has live percussion interacting with programmed rhythms – in a way that's very layered and dense, yet still forward-moving and very progressive – in the best 4 Hero style! The keyboards are spare and often follow the rhythms strongly – but in a way that seems to set two sorts of fires at the same time – really burning strongly to lift the music to the heavens. Titles include "Sammy Sebastian", "Sour Grapes", "Pie", "Lightning Strike", "Hips Don't Fail Me Now", and "Ditzy Blue Jacket". ~ Dusty Groove

MARK MASTERS ENSEMBLE - EVERYTHING YOU DID: THE MUSIC OF WALTER BECKER & DONALD FAGEN

A tremendous take on the music of Steely Dan – one that doesn't just serve up instrumental versions of these classics, but instead creates whole new themes and sounds based on the originals! All tracks here are penned by the legendary team of Donald Fagan and Walter Becker – but Mark Masters' arrangements really take them to rich new places – almost working like mini-soundtracks for each number – using these complex horn passages and bold tones to transform the songs, almost with a narrative-like power! Of course, it also helps that the group features some excellent players – including Billy Harper on tenor, Tim Hagans on trumpet, Oliver Lake on alto, and Sonny Simmons on English horn – all of whom help shape things strongly. Anna Mjoll sings a bit on the record, but the overall feel is really instrumental – and titles include "Boshisattva", "Show Biz Kids", "Charlie Freak", "Black Cow", "Aja", "Fire In The Hole", "Josie", and "Chain Lightning".  ~ Dusty Groove

FRED HIRSCH & JULIAN LAGE TO RELEASE FREE FLYING 9/3/13

If age and experience set pianist Fred Hersch and guitarist Julian Lage apart, superior musicianship and mutual respect bind them together. On their live duet recording, Free Flying, Hersch, a seasoned player and composer recognized as one of the most creative jazz personalities of his generation, finds common ground with Lage, a prenaturally gifted player whose astonishing command of his instrument belies his age. With a mood as spirited as it is lyrical, Free Flying -- recorded at the New York club Kitano in February of 2013 - highlights the intuitive give-and-take that announces itself as an inspired musical meeting of two exceptional players who trust each other completely.  The CD will be released on September 3, 2013 on the Palmetto label.

Hersch and Lage concentrate on six of the pianist's previously recorded originals including "Songs Without Words #3 & #4"; the tribute compositions, "Gravity's Pull (for Mary Joe Salter)," "Free Flying (for Egberto Gismonti)," "Heartland (for Art Lande)" and "Down Home (for Bill Frisell)"; the jazz standards, "Monk's Dream" and "Beatrice" (by Sam Rivers), as well as the previously unrecorded Hersch original, "Stealthiness (for Jim Hall)." Each provides the two with sufficient room to exhibit the conversational flow of melodic ideas and rhythmic play that distinguishes their unique partnership.

Although duets may be second nature to Hersch - he's recorded numerous one-on-one albums with many vocalists and instrumentalists, and has featured duo performances on his own recordings, including the acclaimed Fred Hersch & Friends: The Duo Album (which included an alliance with Jim Hall) - Hersch had only once before recorded a full album partnered with a guitarist: Songs We Know, his 1998 encounter with Bill Frisell. As it turns out, Lage had been assiduously absorbing

that album since he was an eight-year-old guitar wunderkind.  Conversant with Hersch's playing, Lage - who, by the time he met the pianist in 2010, had already achieved considerable attention for his work with Gary Burton and others - began playing occasional duo gigs with him at Hersch's invitation.

"Julian is a very deep and sensitive player for his age," says Hersch. "He's done his homework and knows the jazz language in a very deep way. He's got a special sound that's both solid and transparent, and our sounds are very compatible; he's very open to the way I play. He's a wonderful young man and it is a pleasure working with him."

Lage, for his part, also had experience working in musical duo settings, including recording with mandolin virtuoso David Grisman and pianist Taylor Eigsti. "The duo is my favorite setting," says Lage. "And Fred has always knocked me out. His playing always has such a strong sense of narrative; it's sophisticated, so well developed and beautifully conveyed. When I play with him it's like having the best seat in the house!"

"Fred is open to whatever I do," continues Lage. "It can feel like jumping into a sandbox and going crazy. I try to avoid the tendency to match what he is doing. I often find that some of the most creative playing comes when I oppose what Fred has just played. I try to think of what would be expected and then not do that."

Such attentiveness to remaining in the moment and reacting accordingly is one of the prime delights of Free Flying. As Hersch puts it, "We play the tune before us. We try to stay in the world that the tune puts us in."

Although Hersch has his hands in a multitude of musical projects, and Lage is similarly busy, the duo will continue. "We fully intend to keep this going as a working project, " says Hersch.

November of 2013 will find the duo playing Northeast club engagements including:

 o Thursday, November 21st - Scullers, Boston, MA

 o Friday-Sunday, November 22nd-24th - Blues Alley, Washington, DC

 o Monday-Wednesday, November 25th-27th - The Blue Note, NYC

  

www.fredhersch.com

www.julianlage.com

www.palmetto-records.com

RISE EP - NEW REGGAE RELEASE FROM RIGHTEOUS

JahLight Records have worked their magic once again. Their new reggae release by Righteous has hit the market with a bang. The ‘Rise EP’ was released on July 30th, 2013, through BFM Digital. It is available on major digital e-tailers like Amazon, ITunes and more.  The first single that was released much before the release of reggae EP was the track ‘Don’t wanna be with you.’ The other tracks which are released as part of the EP are Rise Up, His Grace, Let’s Go Dancing and Reflections.  As reviewed by the brilliant Achis of Achis Blog, the definitive highlight of the EP is the aforementioned ‘Rise Up’.  It is described as a ‘beautiful praising tune from the vocalist and a sterling display of his curious talents’. 

In this EP, Righteous uses the singjay style of singing to a great effect of blending styles and emotions, making for a powerful display. Righteous, who had been recording music professionally with JahLight Records since 2012, was given his singing name by the executive manager, Akeunde Pemberton. Akeunde thought that this name suited his music and the message that he wanted to impart through his music. The message of Righteous on ‘Rise EP’ is that of love. Love in its true form. Genuine agape love – the love that is between brothers, between husband and wife. Pure love that has no deceit. The love that God has for his children. For all you reggae music fans, this new reggae EP album is truly going to touch your hearts and bring a whole new meaning to the word 'love'.

Trinidad based Akeunde Pemberton and his JahLight Records team has truly come up with a unique brand of reggae music. It is a kind of music that will be enjoyed by one and all. Music that not only entertains but also spreads a message, bringing positivity and enlightening the lives of one and all who listen to their music.

So, what are you waiting for? Don’t miss the opportunity! Get your copy and enjoy the new reggae EP ‘Rise’ from the very talented Righteous and the label, JahLight Records.

NEW RELEASES - KEN PEPLOWSKI, ALI RYERSON JAZZ FLUTE BIG BAND, COLORADO CONSERVATORY FOR THE JAZZ ARTS

KEN PEPLOWSKI - MAYBE SEPTEMBER

Master clarinetist and saxophonist Ken Peplowski's Maybe September featuring an A-list band with pianist Ted Rosenthal, bassist Martin Wind and drummer Matt Wilson, Ken Peplowski's new CD is a mainstream treasure.   Maybe September brings together bedrock composers including Irving Berlin, Harry Warren, and Percy Faith; the jazz titans, Duke Ellington and Artie Shaw; and pop giants Brian Wilson, Nilsson, and the unparalleled team of John Lennon and Paul McCartney, while also finding space for the celebrated French composer, Francis Poulenc ("Romanza" from his Sonata for clarinet and piano) and the less celebrated Bill Trader ("Now and Then). There's a Fool Such As I" - a hit for both the C&W stalwart Hank Snow, and later, the legendary Elvis Presley. 

ALI RYERSON JAZZ FLUTE BIG BAND - GAME CHANGER

Working in tandem with sympathetic arrangers including Michael Abene, Mike Wofford and Bill Cunliffe, Ryerson directs a 16-flute section bolstered by such prominent stylists as Jaime Baum and Ryerson herself, as well as such celebrated guest soloists as Hubert Laws, Nestor Torres and Holly Hofmann. By taking on such cherished jazz compositions as "Stolen Moments," "Impressions," "Con Alma," "Lil' Darlin'" and "Daahoud," the JFBB proves that, in the right hands, a cadre of flutes can have the power, force and drive of a conventional horn-driven ensemble. In that respect, the album is indeed a game changer.

COLORADO CONSERVATORY FOR THE JAZZ ARTS - HANG TIME

If Greg Gisbert and Eric Gunnison are the most recognizable names associated with Hang Time - the new recording by the ensembles of the Colorado Conservatory for the Jazz Arts - that's perfectly understandable. While Gisbert is a widely admired trumpeter with numerous albums that carry his credit, and Gunnison is an accomplished pianist who has worked with the likes of Carmen McCrae and The Dizzy Gillespie All-Star Big Band and a respected Denver-based educator, the other members of the two CCJA bands featured on Hang Time are comprised of student musicians who have yet to make established names for themselves. Hang Time is yet more hard evidence that jazz is still issuing a siren's call to young players, and that the music remains brimming with promise.

DAVE BENNETT'S DON'T BE THAT WAY, AVAILABLE OCT. 15, 2013

In the early days of jazz, the clarinet joined with trumpet and trombone to create the music's signature sound, and it ruled the roost in the Swing Era, when jazz was America's popular music and dance-party soundtrack. If anyone can return the clarinet to its heyday, it's Dave Bennett, who fuses serious jazz improvisation with a host of modern pop influences.

On his Mack Avenue Records debut Don't Be That Way, he shows that his skills and interests make him perfectly suited for the job. 

He stays within the mainstream repertoire, and even covers several of the most famous hit records of the 1930s (by Goodman and such contemporaneous clarinetists as Woody Herman and Artie Shaw). But Bennett updates these songs with up-to-date twists and surprising new arrangements. The result is an album that blazes his own path while still acknowledging his predecessors, and spotlights the jazz clarinet for a new generation.

"St. James Infirmary," the ancient New Orleans blues tune, offers one example of Bennett's tasteful revisionism. "I took some ideas from listening to pianist Bob James, and to some smooth jazz and funk, to come up with those voicings," says the 29-year-old prodigy, referring to the contemporary harmonies that underlie both the clarinet's theme statement and his own laconic, sweet-tobacco vocal. On the title track, Bennett and company apply a lightly bossa-inspired beat, stretching the melody here and there to create a contemporary rendition that's more relaxed than the original 1938 recording but equally memorable.

The most striking evidence of Bennett's approach comes on the classic "Sing, Sing, Sing." Goodman's 1937 recording was an extended-length barnburner, in which Gene Krupa essentially "invented" the drum solo with his simmering and then explosive trap-set improvisation. Bennett's version stays close to the original in tempo and mood. But when it comes time for the solo with which Krupa galvanized the jazz world of the 1930s, it's Bennett who steps to the fore, with an improvisation just as exotic, mysterious, and ultimately exuberant as the that long-ago drum break - and with an even greater degree of nuance, variety, and virtuosity.

By turning the song into a modernist showcase for his clarinet, Bennett turns the song on its ear, yet retains its design as an exhilarating showstopper. This is no longer your grandfather's "Sing Sing Sing;" now it's Bennett's.

"Since my early teens," says the Michigan-based clarinetist, "I've been influenced by many other genres besides jazz. My clarinet solo on that tune keeps the same outline, but it's different every time we play it; it's based on chord progressions I hear in movie soundtracks, and I even stole some licks from some Alice Cooper tunes and from some solos by Stevie Ray Vaughan and other blues guitarists, just to get that kind of intensity. I think I'm finally finding my own voice, and I wanted to make that solo as dramatic as possible, so people wouldn't say I was just copying Benny."

Bennett hastens to share credit for the reconceptualization of this music with the album's arranger, Shelly Berger, whom he met through Tad Weed, the pianist in Bennett's group. "I had told Tad that I was really frustrated with where I was musically, and he said, 'I know this arranger in Toronto who seems to think the same way you do, in terms of blending pop with classic jazz.' So I listened to some of his music and then sent an e-mail, out of the blue, to introduce myself; I just told him 'I really like your stuff, and would you like to do this project with me?'

"When he said yes, I drove up to Toronto and we spent a few days brainstorming - and I was on Cloud 9. I thought, 'This cat gets it.' I would tell him the ideas I had for each song, and write out the chords, and ask him to come up with a creative way of pulling that together. My musical knowledge is limited; I can't write out arrangements, and I couldn't have put together the charts for this album. I think this project would not be what it is without Shelly. And I can learn so much from studying his arrangements that I hope it will increase my own knowledge as well."

Bennett is not being modest when he calls his training "limited": almost entirely self-taught, he received his only formal instruction in the school band. And in terms of playing jazz, he had no formal lessons whatsoever while he was developing into one of the most lionized and accomplished young artists on today's scene. Born in 1984 in Pontiac, Michigan, the pre-teen Bennett didn't see himself as a musician. As he recalls, "In fifth grade, when the option to join the school band came along, I didn't think I would be any good at an instrument. But the idea of playing intrigued me. And then my grandfather said, in a sort of 'Holy Spirit' moment, 'I think you'd enjoy playing the clarinet.' He just came out with it, and then he and Grandma went down to the local pawn shop and bought me a plastic Conn clarinet to try out."

Even though he was growing up in a time far removed from the Swing Era and the technology (AM radio, 78 RPM records) that produced it, Bennett already had an appreciation for the era's music from the soundtracks of the old Abbott & Costello movies he watched at home. "And then about a month later, Grandpa bought me a cassette tape of Benny Goodman - and that's what did it. I completely flipped out: it hit me square between the eyes, and I knew at that moment that this is what I wanted to do with my life." He set out to model his clarinet playing after that of Goodman, as well as that of Pete Fountain, the New Orleans clarinetist who kept the trad-jazz sound vital throughout the 1960s and '70s.

"Prior to music, my main interest was drawing and artwork, and I wasn't listening to a lot of the music the other kids were into. When everyone heard I liked this music from my grandparents, they looked at me like I had three heads. But once I played it for them, they really liked it."

By the time he turned 14, Bennett's prowess had come to the attention of various Michigan-based trad-jazz bands, and he began to taste the life of a touring musician. At 17 he was chosen as one of two guest soloists (from a national field of 600) to perform with the Count Basie Orchestra; a couple years later he spent a brief time as part of the renowned Hot Club of Detroit. In 2005, at the ripe old age of 21, he created his own combo to perform his Tribute To Benny Goodman, which has performed throughout the U.S. and Canada. He has also appeared as guest soloist with more than 30 classical "pops" orchestras (including eight such concerts with the Detroit Symphony), and will make his debut with the famed New York Pops Orchestra in the fall of 2013, in a tribute celebrating Goodman's original Carnegie Hall concert.

Address this juncture of his life and career, Bennett says now, "I was trying to 'break free' [from the restraints of past styles] and couldn't quite get there. But Shelly [Berger] was able to make it very coherent, and in the studio he kept everything moving along." So in one sense, Don't Be That Way is more than the title for a collection of freshly imagined Swing Era classics. It could just as well be Bennett's admonition to himself on his Mack Avenue debut - to step out as a fully independent artist, steeped in but not beholden to the way things were done in the past.

Upcoming Dave Bennett Performances:

August 14 / Nardin Park Methodist Church / Farmington Hills, MI

August 30 - September 1 / Jockey Club, Labor Day Jazz Festival / Mackinac Island, MI

November 1 / Carnegie Hall (w/ New York Pops) / New York, NY

November 2 / Suffolk Theatre / Riverhead, NY

November 27 - 30 / San Diego Jazz Festival / San Diego, CA