GRETCHEN PARLATO LIVE IN NYC

Since winning the 2004 Thelonious Monk Institute International Vocal Competition, Parlato has released three critically acclaimed albums. The successful self-produced 2005 debut, Gretchen Parlato, landed her on ObliqSound, which released In a Dream, and was named Billboard Magazine's "Most Alluring Jazz Vocal Album of 2009" and NPR's "The Year's Best New Jazz." Her latest, 2011's The Lost and Found, topped charts worldwide and was rated the #1 Vocal Album of the Year by iTunes Jazz, Radio TSF Jazz Paris, and London's The Guardian.

Parlato's new album and DVD set, Live in NYC, serves as both a gift of gratitude for those loyal fans and a window into her captivating concert performances. Style Weekly gives insight to her live performances, saying "in performance, jazz vocalist Gretchen Parlato is a revelation... her diaphanous voice expands into an instrument of impressive range, rhythmic sophistication and emotional power." The Jazz Breakfast even picks up on the differences between her records and live performance, commenting, "the New York-based Californian and her band are terrific on record, but in live performance they fill the music with even more energy, stretching it like some magic pliable plastic into new and exciting forms. The rhythmic and dynamic expertise of all four is extraordinary. They shift the accents around, they pause, and fall back in perfectly, they deepen the groove and then 'shallow' it gently again." This set truly exemplifies the evolution of these songs since their inception years ago.

For Parlato, the release of Live in NYC is an opportunity to take a pause and look back over what has been a remarkably active and creative decade, and also to pay tribute to the city that has made it possible. "This album represents the beloved live performances we've shared over many years of playing together all over the world," says Parlato. "Though, it's especially personal for me to have recorded in New York City, as 2013 marks 10 years of calling NYC my home after moving from Los Angeles."

While Parlato has performed on some of the world's most prestigious concert halls including Carnegie Hall, Hollywood Bowl, London Jazz Festival, North Sea & Montreal Jazz Festival, she chose the intimacy of Rockwood Music Hall for this special recording. Two different incarnations of Parlato's transfixing working bands came together for two nights in December 2012 to record Live in NYC. "Over these years of touring together, two specific bands have stood out to me: Taylor Eigsti, Alan Hampton, and Mark Guiliana, and Eigsti, Burniss Earl Travis II, and Kendrick Scott. Each band has their own unique dynamic and approach to the music. I knew I had to feature both. I've spent so many years touring with these wonderful musicians," she explains. "I've always wanted to capture and share the magical energy, connection, and interaction of a live performance. Singing with these musicians has uplifted and inspired me, each of them supporting and challenging me as a singer."

The album's nine live tracks (four of which appear on the accompanying DVD) are culled from Parlato's three albums but all of the material has been significantly transformed in the years since it was recorded. While her artistic growth has been evident on each successive album, it's particularly enlightening to have the opportunity to revisit this material and witness first-hand how it has changed over years of bandstand evolution. It also allows Parlato's dedicated fans to carry home the experience they've only been able to share in nightclubs or via festival stages.

"I thought of featuring the songs that been reworked into versions that are different from how we recorded them in the studio," reflects Parlato. "So much of what we do is about the interpretive and improvisatory element each time we approach the music. The live album is accompanied by a DVD, as I wanted to make sure there was a visual component to enhance the aural experience. I find it especially fascinating to watch performers live, and get a detailed look into how they approach and play their instruments, and the dynamic and often subtle interplay between musicians," says Parlato.

Herbie Hancock's "Butterfly," which opens the album, has changed from In a Dream's intimate trio performance with guitarist/vocalist Lionel Loueke and bassist Derrick Hodge, to a simmering, soulful full-band treatment here. "Alô Alô" from The Lost and Found, has intensified from its original multi-layered track of Parlato's voice and percussion, to a driving rhythmic showcase, each band member playing their instruments percussively. One of Parlato's most popular covers, a Robert Glasper re-arrangement of SWV's "Weak," played live moves with a spacious, shifting, and elusive groove that spotlights the band's elastic cohesion. Live in NYC closes with Parlato's original "Better Than," with the audience singing along, almost chanting together in this spellbinding arrangement.

Upcoming Gretchen Parlato Performances:

September 19 / Mississippi State University - Lyceum Series / Mississippi State, MS

September 21 / Jazz School / Berkeley, CA

September 22 / Jazz School (masterclass) / Berkeley, CA

September 24 / Beta Level (masterclass) / Los Angeles, CA

September 25 / Blue Whale / Los Angeles, CA

September 26 / The Outpost / Albuquerque, NM

September 28 / Tempe Center for the Arts / Tempe, AZ

October 5 / Folly Theater / Kansas City, MO

October 14 / Paperbox / Brooklyn, NY

October 23 / The Smith Center for the Performing Arts / Las Vegas, NV

October 25 / Buckley Recital Hall, Amherst College / Amherst, MA

November 16 / Rockwood Music Hall / New York, NY

Stay tuned for "Live in NYC" release show in NYC

Gretchen Parlato·  Live in NYC // ObliqSound ·  Release Date: October 8, 2013

GretchenParlato.com

RICARDO GRILLI - IF ON A WINTER'S NIGHT A TRAVELER

In the seven years since leaving his native São Paulo for Boston and then New York, guitarist Ricardo Grilli has found his voice as a distinctive jazz player and composer. His glowing debut album, If on a Winter's Night a Traveler, which his Dark House label will release on October 15, chronicles that journey in rich detail.

Grilli's restless creativity is manifested in his love of odd meters, offbeat structures, and themes that keep circling back on themselves like the narrative lines in the Italo Calvino novel from which Traveler takes its name. The guitarist, now 27, began writing songs out of necessity while studying at the Berklee College of Music in Boston. "I figured the best way to get people to play with me was to write interesting music they would want to play," he says. "And that worked."

Among the Berklee classmates with whom he forged an especially tight bond was the pianist Christian Li, who's featured on Traveler along with saxophonist Gustavo D'Amico, a friend of Grilli's from Brazil, and the bass-drum team of Jared Henderson and Lee Fish, whom Grilli met at a Boston club.

As a composer, Grilli uses a kind of free association method, starting out with a word or phrase and seeing where it will take him musically. The germ for the wistful "Revolver" was a magazine interview with R&B singer John Legend about his album, Evolver. That led Grilli to ruminate on the word "revolver" and the mechanism of "a thing that turns." In his song, he says, "I made the chords go round almost like Bill Evans did on 'Time Remembered.'" (Revolver also is the title of his favorite Beatles album.)

"Riga," a coolly propulsive tune featuring D'Amico on soprano saxophone, was named after the Baltic city, where Grilli once attended a conference as a student representative. "The Great Escape," boasting one of Grilli's most fluid, entrancing solos and sparkling electric piano by Li, is a nod to the Steve McQueen classic. The note-tripping, modal-style "Mark I" (a play on Mach 1) was written for tenor saxophonist Mark Turner, whose 2001 album, Dharma Days, is one of Grilli's all-time favorites. That album features Rosenwinkel, for whom Grilli wrote the alternately earthy and lighter-than-air "The Abstract." 

Grilli will be performing the music from his new CD at the following venues: 10/27 Rockwood Music Hall, NYC (with Gustavo D'Amico, reeds; Christian Li, piano; Edward Perez, bass; Lee Fish, drums); 12/10 The Rex, Toronto (with Kelly Jefferson, reeds; Chris Pruden, piano; Jon Maharaj, bass; Lorenzo Castelli, drums); and 2/4 Scullers, Boston (with Jason Palmer, trumpet; piano TBD; Edward Perez, bass; Lee Fish, drums).

www.ricardogrilli.com

NEW RELEASES - BOB JAMES, DUDUKA DA FONSECA TRIO , DANA

BOB JAMES - RHODES SCHOLAR: JAZZ-FUNK CLASSICS 1974-1982

Great work from a player who's maybe one of the best cats ever to handle a Fender Rhodes – and certainly one of the few who really helped push it strongly in jazz during the 70s! The package is a wonderful look at all that's great about Bob James – and brings together all the best tracks from James' years at CTI and Tappan Zee – including some of his most-sampled cuts, each of them a heavenly helping of Fender Rhodes! The set also features some great numbers from later albums that are less classic, but which still have these wonderful nuggets – and even a rare single from Italy too. Production is great, and notes are penned by Andrew Mason of Wax Poetics – who also helped produce the set too. 22 tracks in all – including "Valley Of The Shadows", "Nautilus", "Storm King", "Tappan Zee", "Heads", "Night Crawler", "You're As Right As Rain", "Take Me To The Mardi Gras", "Farandole", "Westchester Lady", "Look Alike", "The Steamin Feelin", "Angela (Taxi)", "I Wand To Thank You", "Caribbean Nights", and "Take Me To The Mardi Gras (7" edit)". ~ Dusty Groove

DUDUKA DA FONSECA TRIO - NEW SAMBA JAZZ DIRECTIONS

Drummer Duduka Da Fonseca is the leader here, but what impresses us most with the record is the album's great piano from David Feldman – a player with a fluid, soulful sound that really grabs us right away – a sense of scope and space that brings a subtle sort of majesty to the record, even if it's in different ways you might expect from the "samba jazz" title! Instead, Feldman holds sway on the keys with a commanding touch that's maybe post-McCoy Tyner, but which has some more intimate moments too – a quality that resonates wonderfully with the depth of Guti Wirtti's bass work – which is also quite a force in the record too. Duduka's drums round things out nicely, with a jagged feel that keeps the rhythms interesting – and titles include "Solito", "Zelao", "Isabella", "Alana", "Samblues", "Bad Relation", "Tete", and "Sonho De Maria". ~, Dusty Groove

DANA - LOVE, DANA

Jazz-Pop singer Dana has released her seven-track extended play record titled Love, Dana today. This sultry 50s-era throwback brings pieces of classic jazz and cinema to the forefront of the contemporary music scene. With a vibrato like Sarah Vaughan and chops reminiscent of legendary classics, Dana is introducing a new brand of soul back into the industry. Framed as a love letter, DANA sings about the ups and downs of her journey in romance. Drawing from inspirations like Edith Piaf, Frank Sinatra, and Jay-Z, Dana tells this story with the help of strong percussion, a delicate vibrato, and live horns. Drawing on this growing infatuation and true sense of belonging, Dana aims to revive that classic beauty through her music while also exercising her freedom as a woman of the millennium to be honest about heartache, pain, and loneliness in love.

SALAAM REMI - ONE IN THE CHAMBER

The multi-leveled musical world of Grammy nominated producer Salaam Remi takes on new dimensions with the release of Salaam Remi: On In The Chamber, and its first single, the title track "One In The Chamber." Available digitally now and released through Remi's label imprint Flying Buddha, the track is a collaboration with another Grammy nominated artist, platinum-selling R&B singer-songwriter Akon.  The full album debuts digitally September 30, and features additional guest appearances by Ne-Yo, Corinne Bailey Rae, Stephen Marley and others in a fully orchestrated, richly imagined contemporary collection, encompassing a wide range of styles and musical forms.

"Loving music of all genres and collaborators who feel the same is the core of this Lp. I'm pleased to make this the first of many journeys thru the world of music. Please join me for the ride," says Salaam Remi, Head of Flying Buddha Records and the Executive Vice President of A&R/Production at Sony Music Entertainment.

As the Executive VP of A&R and Production at Sony Music, Remi works with the entire Sony Music family in addition to running his new imprint Louder Than Life, which includes the sub-imprints RemiFa and Flying Buddha. Grammy nominated for Producer of the Year, Non-Classical in 2013, Remi has worked with Amy Winehouse, Alicia Keys, Miguel, NaS, The Fugees, Jazmine Sullivan, Nelly Furtado, Cee-Lo Green and Usher, among others. He has also worked on a variety of film projects including Blood Diamond, Gnomeo and Juliet and Tower Heist to name a few. He scored the film Sparkle starring Whitney Houston and Jordin Sparks, the Mike Tyson documentary, TYSON, and he was Executive Music Producer on the films Sex and the City 1 and 2 and Rush Hour 3.

"Salaam Remi is a total music man – as a writer, arranger, producer and now as an artist. 'In The Chamber' is a complete beautiful trip," says Chuck Mitchell, Senior Vice President of Sony Masterworks.

Flying Buddha is an imprint of the Sony Masterworks label group. Tawk Tomahawk, by the critically acclaimed Australian future-soul band Hiatus Kaiyote, was the first release from Flying Buddha/Sony Masterworks.

"Salaam has the unique ability to pull together diverse artists in a cohesive and intricate way. The outcome is extremely creative and musical. We are thrilled to be working with him," says Bogdan Roscic,

www.salaamremi.com

 

NEW RELEASES - ELVIS COSTELLO AND THE ROOTS, SANDRA ST. VICTOR, ADAM LANE TRIO

ELVIS COSTELLO AND THE ROOTS - WISE UP GHOST AND OTHER SONGS 2013

Elvis Costello and The Roots' highly anticipated collaborative album entitled Wise Up Ghost is out now on Blue Note Records. Most of the sessions for the full-length took place in secret at Feliz Habitat Studios in the dead of night, while others were in plain sight at Costello's Hookery Crookery Studios. In addition to the Roots crew and friends, the record features a guest vocal appearance on "Cinco Minutos Con Vos" from La Marisoul, lead singer of the Los Angeles group, La Santa Cecilia. Wise Up Ghost was produced by longtime Roots associate, Steven Mandel, together with Elvis Costello, and Ahmir "?uestlove" Thompson. You can catch Elvis Costello and The Roots performing live on Late Night With Jimmy Fallon Tuesday, 9/17 and Thursday, 9/19 this week.

SANDRA ST. VICTOR - OYA'S DAUGHTER

Trained opera singer, Dallas born, Holland based singer/songwriter, Sandra St. Victor makes her Shanachie debut with Oya's Daughter, produced by Mark de Clive-Lowe and mixed by producer and mixologist Ty Macklin. The album further solidifies Sandra St. Victor as a one of the most unique, exhilarating and free-spirited musical forces of her generation. Oya's Daughter is musical proof. "I've always sang my life in my songs. These most recent years, in relative silence, I've raised two beautiful daughters. This time was for me more creative observation at life and my place in it as an artist," shares St. Victor. On Oya's Daughter, these new stories and songs reflect this new sight. The singer and songwriter confesses, "Lyrically, I'm more blunt and still positive. I'm less concerned with opinions, more protective of my own preferences and realities." "Why Oya?" explains St. Victor, "Oya is the Orisha of change, storms. She is the owner of the winds. Wind is symbolic of the power of thought. My daily movement asks Oya to lift the words of my songs into the breeze, on the air." ~ giantstep.net

ADAM LANE TRIO - ABSOLUTE HORIZON

Adam Lane's bass is superb here – really shaping the sound in a sublime way right from the start – brooding and bold up from the bottom – never too heavy-handed, but a force that directs the recording beautifully, and really gives shape to the alto of Darius Jones and drums of Vijay Anderson! The approach is quite different from the usual free trio date – as there's these subtle song structures on most tracks – sometimes more sonic than tune-based, but always full of feeling at a level that's extremely evocative, and which makes the album a superb achievement for all players involved. Titles include "Run To Infinity", "Bioluminescence", "Absolute Horizon", and "The Great Glass Elevator". ~ Dusty Groove

DJANGO VORIS - CONSTANTOPOLIS

Following his debut album and his notable collaborations with electronic improvisation group Fates, composer Django Voris releases this, his second full-length, Constantopolis, on 100m Records.

Born and raised in the deserts of Arizona, Voris found himself adept at learning new instruments from a young age. After acquiring skills in a handful of wind and brass (trumpet, trombone, flute, saxophone), and adding the guitar to his repertoire, he finally settled on piano as his instrument of choice. 
On his debut album, The Strange Particle, released in 2010, Voris combined his multi-instrumental abilities with a longtime passion for computing (he learned CBASIC as a child on his grandfather’s old portable Osborne 1). By utilizing samples and field recordings through his own computed processes he achieved a very modern multiple-format approach to music, where any sound source was an instrument. Ink 19 described it like this: "As I’m listening to this saucer full of electronic secrets, one thought sticks in my head: “This sounds like some sort of avant-garde soundtrack” ...odd noises and children’s toys take us on an amazing journey." The album gained Voris critical acclaim for his composition and recording methods, and won him erudite radio support in the US and the UK.

On Constantopolis, Voris has changed tack, working almost exclusively with acoustic instruments and live arrangements. Pinned on the rhythm section of bassist Jason Connelly and drummer Kelly Burns (Band Of Susans), the songs bloomed into near orchestral arrangements in the vein of artists like Rufus Wainwright and Sebastian Tellier.

Voris takes credit for recruiting a line-up of exemplary collaborators. Foremost is Seth Garrison (The Fancy, Night Cadet) who contibuted his exquisite voice and synths to the project. Garrison assisted with arrangements and production duties along with Voris and 100m Records’ PJ Norman, who also added his distinctive lead guitar to the track ‘X’.

Strings were provided by composer Barret Anspach (viola) and violinist Erica Dicker (Till By Turning, I’m In You, Anthony Braxton Quartet). Brass was performed by trumpeter Veronica Gonzalez and trombonist Gordon Barlow, and the stunning bassoon parts were laid down by Katherine Young (The Fancy, Anthony Braxton Quartet).

Where the focus of The Strange Particle was more on experimental programming, the structured approach of his latest effort draws a greater attention to Voris’ considerable song-writing skils. The songs elaborate on the catchy, ironic humor only hinted at on his debut, and cement his position as an artist of note and a songwriter of significant depth.

Constantopolis was recorded by Don Piper at Between The Trains, mixed by PJ Norman at Saltmines, and mastered by Warren Russell-Smith at The Magic Shop.

Django Voris – Constantopolis

Tracklist:

1. Star Bird (3.47)

2. Crusade (2.57)

3. The Problem with Dead Bodies (3.42)

4. Wannabe (2.28)

5. Ghost Boat (3.54)

6. X (3.16)

7. Right at the Time (3.29)

8. The World of Tomorrow (3.42)

NEW RELEASES - FAR OUT JAZZ BOSSA & BLUES, JOSH LAWRENCE, JOHN TCHICAI / CECIL MCBEE / GARRISON FEWELL / CHARLIE K

FAR OUT JAZZ BOSSA BLUES (VARIOUS ARTISTS

Far Out Recordings has spent close to 20 years searching for the best Brazil has to offer from its rich musical history.  Now they have come up with an album of tracks comprised of our favourite Jazz, Bossa Nova & Blues selections, you know it’s going to be the cream of the crop.The album compiles some stunning original compositions by the likes of Joyce & Tutti Moreno, Azymuth and Leo Gandelman, sitting alongside some incredible re-workings of classic tracks by Barry Humphreys (Una Esta, by Alex Malheiros and Banda Utopia) and Carol King (It’s Too Late, performed by Sabrina Malheiros and orchestrated by Jose Roberto Bertrami). The Ipanemas are featured here from their recent undiscovered record with a jazz samba classic “A cara dele”. And as well as the finest Brazilian artists, the album also features tracks from the UK’s Sean Khan, Heidi Vogel, and J’s Bee from Japan. ~ Far Out 

JOSH LAWRENCE - ONE NIGHT IN ATLANTA

Josh Lawrence, a rising jazz trumpet star, composer, and performer who has recorded with the likes of Erykah Badu and Boyz II Men, is readying a new album, "One Night in Atlanta," for release Sept. 17, 2013.  The new album features the Philadelphia-based Lawrence in an unorthodox trumpet-bass-drums trio, where he is joined by bassist Chris Riggenbach and drummer Michael de Castro. Employing a warm, fat sound, Lawrence features the trumpet in a way rarely heard on jazz recordings. The result is seven lush, unhurried, and cool tracks, all of which are composed by Lawrence.“It’s a brave move to record a trio record with trumpet as the lead instrument and Josh Lawrence does it with confidence,” remarked noted jazz pianist Orrin Evans said. “Josh is truly a bright star on the new horizon.”

JOHN TCHICAI / CECIL MCBEE / GARRISON FEWELL / CHARLIE K – TRIBAL GHOST

The set's got a really beautiful sound – one that comes from the ringing guitar tones of Garrison Fewell, and the twin reeds of John Tchicai and Charlie Kohlhase – each of whom plays in a different channel of the recording! This approach gives the record a great sense of space from the start – as Tchicai plays tenor and bass clarinet, and Kohlhase plays alto, tenor, and baritone – with Fewell's guitar bridging the space and creating a resonance that really holds the whole thing together. And if that's not enough, the album's got some sublime bass work from Cecil McBee – often very subtle and soulful – plus just the right touch of drums from Billy Hart. The set's proof that they do still make 'em like they used to – at least in terms of spiritual avant sessions – and titles include "The Queen Of Ra", "Tribal Ghost", "Dark Matter", and "Llanto Del Indio". ~  Dusty Groove

DEANA MARTIN - DESTINATION MOON, INCLUDES DUET WITH DEAN MARTIN

Destination Moon is more than an album. It’s a musical rocket ride featuring 14 seminal performances by Deana Martin. On this, her fourth album, Deana has collected 10 classics and four new songs, each interpreted with her trademark elegance and charm.

Deana chose each of these songs for their personal meaning. As the daughter of entertainment legend Dean Martin, Deana enjoyed an unparalleled view of pop music’s landscape – experiences that shaped her skills as a performer. She learned from the best. Among them Frank Sinatra, Peggy Lee, Dinah Washington, Nat King Cole, Bobby Darin, and other legends.

Speaking of legends, Deana shares the spotlight with her father Dean Martin on Cole Porter’s "True Love." For Deana, recording "True Love" was both an emotionally charged and richly fulfilling experience. "When I was in the studio recording this beautiful duet, I had with me my dad’s original chart, hand-written by Nelson Riddle. When my dad’s voice came into my headphones, I could feel his presence in the studio. Words can not express what I felt.

Each track on Destination Moon is a glimpse into Deana Martin’s unique window to the Great American Songbook.

Deana’s 2006 debut CD release, Memories Are Made of This, stayed in the Top 10 for 40 consecutive weeks. In 2009, another hit CD, Volare, was released; it debuted on the Billboard charts at #7 and the Jazz chart at #22. White Christmas, released in 2011, was another chart buster. Destination Moon includes four new songs that were written for Deana: "Read Between The Lines," "Where Did You Learn To Love Like That," "Paradise" and "Stuck In A Dream With Me."

Tracks are as follows:

 1. I Love Being Here With You

2. Beyond the Sea

3. Gee Baby Ain’t I Good To You

4. Frim Fram Sauce

5. Break It To Me Gently

6. About A Quarter To Nine

7. Where Did You learn To Love Like That

8. Paradise

9. G.I. Jive

10. Stuck In A Dream With Me

11. Destination Moon

12. Read Between The Lines

13. Nothing But the Best

14. True Love (duet with Dean Martin)

WAYNE SHORTER RECEIVES LIFETIME ACHIEVEMENT AWARD ALONGSIDE SPECIAL TRIBUTE TO GEORGE DUKE AT 2013 THELONIOUS MONK INTERNATIONAL JAZZ COMPETITION

Wayne Shorter receives the Thelonious Monk Institute of Jazz Lifetime Achievement Award from Herbie Hancock surrounded by Wayne's band members Brian Blade, John Patitucci, Danilo Perez, trumpeter Roy Hargrove and members of the band Take 6. (PRNewsFoto/Thelonious Monk Institute of Jazz)

The 2013 Thelonious Monk International Jazz Saxophone Competition and All-Star Gala Concert came to a close with roaring applause as first place winner Melissa Aldana traded choruses with saxophone great Jimmy Heath and joined an all-star cast in a finale featuring Heath's classic composition "Gingerbread Boy."

Presented by the world-renowned Thelonious Monk Institute of Jazz in partnership with Cadillac, this year's Presenting Sponsor, the stellar event featured the finals of the Thelonious Monk International Jazz Saxophone Competition with performances by first place winner Melissa Aldana, 24 of Santiago, Chile; Tivon Pennicott, 27, of Marietta, Georgia; and Godwin Louis, 28, of Harlem, New York.  Tivon and Godwin were named second and third place winners, respectively. At stake was more than $100,000 in scholarships and prizes, including a $25,000 first place scholarship and guaranteed recording contract with Concord Music Group. This year's competition judges included a distinguished panel of saxophonists: Jane Ira Bloom, Jimmy Heath, Branford Marsalis, Wayne Shorter and Bobby Watson.

First place winner Melissa Aldana captured the audience's attention with her  performances of Jimmy Van Heusen's "I Thought About You" and her original composition "Free Fall." Tivon Pennicott performed Sonny Rollins' "Strode Rode" and Charlie Chaplin's "Smile" and Godwin Louis performed Hoagy Carmichael's "Skylark" along with his original composition, "Our Father" inspired by the Lord's Prayer.  Each finalist was accompanied by a dynamic band featuring pianist Reginald "Reggie" Thomas, bassist Rodney Whitaker and drummer Carl Allen.

The evening also featured a star-studded Gala Concert under the musical direction of John Beasley and with hosts Herbie Hancock, Thelonious Monk, Jr. and Billy Dee Williams. The Gala began with a rousing tribute to the blues featuring Charley Patton's "Saddle My Pony" and Elmore James' "Please Set a Date." The outstanding cast included Beasley with Vinnie Colaiuta, Robben Ford, James Genus, Marcus Miller and Cassandra Wilson.

The Institute presented the legendary Wayne Shorter with a Lifetime Achievement Award in recognition of his extraordinary, six-decade career as a saxophonist, educator and composer. In the Institute's nearly 30-year history, this is only the second time the award has been presented, the first being to Quincy Jones in 1996. Shorter was presented with the award following remarks by lifelong friend and musical compatriot Herbie Hancock. A musical tribute to Shorter included world-renowned artists Gerald Clayton, Kurt Elling, Herbie Hancock, Roy Hargrove, Jimmy Heath, Branford Marsalis, Marcus Miller and Take 6 performing some of Shorter's most beloved compositions, including "Black Nile" from his classic Blue Note solo recordings, "Fall" and "Footprints" from his time with the Miles Davis Quintet, and "Palladium" from Weather Report's best-selling Heavy Weather album. Shorter then took the stage with Brian Blade, John Patitucci and Danilo Perez – the extraordinary members of his current quartet – to perform his classic compositions "Over Shadow Hill Way" and "Joy Ryder." Also performing in the festivities were the Monk Institute's Jazz Performance Program College  Students along with the 2013 edition of the Thelonious Monk Institute National Performing Arts High School All-Star Jazz Sextet.

The evening concluded with a heartfelt tribute to the late George Duke, a longtime Institute collaborator who was to have served as the evening's Musical Director. Stunning vocalist Ledisi performed "You Never Know" from DreamWeaver, Duke's final album, released just two months ago. This was followed by the incomparable a cappella group Take 6 performing a shimmering rendition of Duke's "Fly Away."

SOURCE Thelonious Monk Institute of Jazz

TONY BENNETT LIVE AT THE SAHARA: LAS VEGAS, 1964

Tony Bennett's Live At The Sahara: Las Vegas, 1964, an era-defining concert recording, is finally having a stand-alone release for the first time on Tuesday, October 8, 2013. 

Tony Bennett's fabled Tony Bennett Live At The Sahara: Las Vegas, 1964 set was originally recorded on April 8, 1964, by Tony's longtime recording engineer Frank Laico, for a Columbia Records concert album.  Shelved for decades, Bennett's epochal '64 Vegas concert recording first materialized as part of the monumental Tony Bennett - The Complete Collection released in celebration of the artist's 85th birthday in 2011 and has never been available on its own.

Finally available as a stand-alone, Tony Bennett's Tony Bennett Live At The Sahara: Las Vegas, 1964 puts the listener ringside for an extraordinary concert at the Sahara's legendary Congo Room in Vegas during the swinging 1960s, where a master performer is laying down an epic set for both the room and the ages.  "Tony was in a dark suit and black bow tie, standing before a shimmering gold curtain with backing by his forever pianist and arranger, Ralph Sharon; Ralph's bassist Hal Gaylord; Ralph's drummer Billy Exiner; and the Louis Basil orchestra," wrote Bill Sullivan in new liner notes for Tony Bennett Live At The Sahara: Las Vegas, 1964. "If you were anywhere else in Las Vegas that night, you were missing it."

The Sahara marquee promised "The Moment of Truth" and Bennett bookended his concert with performances of a song by that name, but it's the show itself that delivers electrifying non-stop entertainment across the album's 24 tracks, which include the classics "Chicago (That Toddlin' Town)," "One For My Baby (And One More For The Road)," "Ain't Misbehavin'," "Lullaby Of Broadway," "From This Moment On," "This Could Be The Start Of Something Big" and, an emotional interpretation of Tony's signature "I Left My Heart In San Francisco."

Tony Bennett - Live at the Sahara - Las Vegas 1964

1. Overture: The Moment of Truth

2. This Could Be The Start of Something Big

3. It's a Sin to Tell a Lie

4. Ain't Misbehavin'

5. Parody: Rags to Riches

6. Keep Smiling At Trouble (Trouble's A Bubble)

7. Time After Time

8. Sing You Sinners

9. One For My Baby (And One More For The Road)

10. The Rules of the Road

11. One For My Baby (And One More For The Road) (reprise)

12. Mam'selle

13. From This Moment On

14. Interlude

15. I'm Way Ahead of the Game

16. Quiet Nights of Quiet Stars (Corcovado)

17. Firefly

18. Once Upon a Time

19. Lullaby of Broadway

20. Chicago (That Toddlin' Town)

21. I Left My Heart In San Francisco

22. I Wanna Be Around

23. I Left My Heart In San Francisco (reprise)

24. Finale: The Moment Of Truth (reprise)

JOE FIEDLER - SACKBUT STOMP

Joe Fiedler's newest recording, Sackbut Stomp, featuring Fiedler, Luis Bonilla & Ryan Keberle - trombones, Marcus Rojas - tuba, and very special guest, Steven Bernstein on slide trumpet (on Multiphonics Music, October 15, 2013), is the second recording from Fiedler's critically-acclaimed low-brass aggregate, Big Sackbut, and the follow up recording to their self-titled debut. Fiedler's desire to lead a trombone-driven project was sparked in the 1980s after seeing The World Saxophone Quartet Live. 

It was a revelation to him, and eventually led to the recording of 2012's Big Sackbut. DownBeat Magazine said of the album, "The group rips, dances and converses . . . the quartet is so tight that they sound like one big, polyphonic low-brass organ. Each trombonist kills it." And eMusic.com proclaimed that, "The titular trombonist-composer manages the too-rare feat of creating art while having a blast . . . Here's hoping that he and the three 'bones huff, puff and slide their way to another Fiedler-guided outing in the not-too-distant future." Fiedler has done exactly that, and more, with the upcoming release of Sackbut Stomp, a recording of great joy, musicality, depth and revelation.

On Sackbut Stomp the unique instrumentation is but one part of the experience. Fiedler is an artist who has been passionately obsessed with music since his childhood, and is fully committed to his craft as a trombonist-composer-arranger. He is intent on carrying on in the footsteps of his heroes (while blazing trails of his own), such as Albert Mangelsdorff, Don Pullen, Joey Sellers, Bennie Wallace, and his foremost influence on the trombone, Ray Anderson. This all-in devotion, coupled with an incredibly intimate knowledge of jazz and many of its branches (you would be hard pressed to meet someone so erudite about this music), is represented in the nine tunes on Sackbut Stomp.

The album opens with the appropriately named "Sackbut Stomp", a tune with an extended blues form, and a healthy dose of group improvisation (which features heavily on the band's first record and in their live performances), or a "collective blow", as Fiedler calls it. Next up is "King of the Road", which Fiedler explains, "When I asked Steven Bernstein to be a guest artist on this recording I was very excited that he was into it, and I wanted to be sure to have just the right vehicles for his unique voice. As a big fan of Steve's, I have many of his recordings as a bandleader. So in revisiting some of his older music some ideas started to come clear. One was that I have always loved how he was able to take popular music and beautifully deconstruct it, keep it swinging while still putting his personal stamp on it. Secondly, I love Steve's use of colors and textures through the use of mutes and extended techniques. With those two things in mind I set out to find a known tune that would be fun and pliable. Growing up, my Dad had Roger Miller's greatest hits and those tunes always stuck with me. Steve's interpretation of the melody, his great solo and his hip 'lead slide trumpet' playing on the shout chorus lead me to believe that it was the right call."

One of Fiedler's original concepts for Big Sackbut was to write mostly original music, but to also cover songs by his favorite jazz composers. To that end, he has always wanted to play something by the great Bennie Wallace. Fiedler explains, "It was really just a matter of which one, as I love many of them. I first discovered Bennie and this tune (from the record, 'Sweeping Through the City') maybe 25 years ago when I was trying to find any record that had my hero, Ray Anderson, on it. I thought that '8 Page Bible' would be perfect, and for me it is really fun to hear each of the trombonists blow unaccompanied prior to each of their solos." Another of Fiedler's favorite songs by another composer fave, is "Tin Tin Deo" by Gil Fuller, who the trombonist got deeply into during his years playing on the Latin scene. "When I was with Bobby Sanabria's Big Band, he commissioned me to write an arrangement of this tune for a recording. While much of the chart has its origins in Machito's 'Kenya' recording, I greatly expanded it to incorporate a brass chorale section, a trombone soli and a big metric modulation to let it get away from the 'Afro' groove and swing for a while. When selecting material for Steven Bernstein, this one was a no-brainer. So many different melodies and moods that are all right in his wheel-house!"

Other highlights on Sackbut Stomp include Fiedler's favorite track on the CD, "Pittsburgh Morning", a loving tribute to his many fond memories of growing up in "The Steel City", and the wonderful jazz radio broadcasts that inspired him in his formative years. "While there was no full time jazz radio in Pittsburgh in the 80's, there was a morning jazz show on one of the public stations, WYEP. The DJ and host of the show played the hippest stuff and was always going on about his morning cups of coffee. But perhaps the best part of the show was his theme music, which was 'No More Words' by Betty Carter (from an old record on Roulette). That cat opened my eyes up to so many new artists that I wasn't familiar with, and did it with so much love and spirit! I have always wanted to write a song for Pittsburgh, and somehow my thoughts of WYEP and Betty Carter led me to this melody." After the lush beauty of "Pittsburgh Morning", the band hits like a double espresso with "Feet and Breathe", which is Fiedler's mantra every time he picks up the trombone; "are my feet grounded without tension, and am I taking in the proper amount of air for the upcoming phrase." Fiedler has long been fascinated about incorporating certain languages used primarily in the avant-garde into more "traditional" jazz compositions. In this case he wrote "against the grain" melodies/harmonies played by the trombonists in the first theme. On another level, "Feet and Breathe" represent two parts of a mini two-part suite that may seem unrelated but are quite interconnected.

The last third of the album is comprised of "The Schlep", a tune inspired by Fiedler's experience playing with Eddie Palmieri (and a great vehicle for Ryan Keberle); "The Attic" (also featuring Bernstein), referring to "the attic in my Mom's house in Pittsburgh. My formative 'listening' days were spent there. My tastes ranged from J. J. Johnson and anything new wave, to Anthony Braxton and Prince, or to Count Basie and Rossini. That was the place where my tastes and views of jazz and creative music in general were formed. Upon finishing this tune I thought, 'where the hell did this one come from?' I think that my initial answer was, Mom's attic, but upon more reflection perhaps it's the Brecker Brothers by way of Tower of Power with a little Kenny Wheeler thrown in for good measure. Well to me, at least; and concluding the CD, "Solo for Quartet", in the tradition of another one of Fiedler's heroes, Albert Mangelsdorff, he often writes music just for solo trombone using multiphonics. "I always want to continue to develop different styles of music for Big Sackbut and I felt that this was a good tune to expand into a quasi-legit piece. Additionally I wanted to have a piece with a lot of counterpoint and independent lines that would take advantage of the unique personalities of each player," explained Fiedler.

Few musicians possess the incredibly diverse and vast resume that trombonist/composer Joe Fiedler boasts. The perennially in-demand artist has worked with "everyone", from Wycleff Jean, Jennifer Lopez, to Celia Cruz, Ralph Irizarry, Eddie Palmieri, and from Andrew Hill, Lee Konitz, Maria Schneider, to Borah Bergman, Anthony Braxton and Cecil Taylor. He is also an active member of some of the most revered ensembles working today, including the Miguel Zenon Large Ensemble, Fast 'n Bulbous - The Captain Beefheart Project, Chris Jonas' The Sun Spits Cherries, the Satoko Fujii Big Band, David Weiss and Endangered Species, the Jason Lindner Ensemble, The Mingus Band, the Ed Palermo Big Band, the Charles Tolliver Big Band and many others. Suffice it to say, it would be a challenge to meet a musician today that hasn't crossed paths on stage or in studio with Mr. Fiedler.

In addition to this bustle of activity that comes with being one of the first call trombonists in the world (his eclectic discography easily exceeds 100 recordings), Fiedler has been making his mark with a string of compelling recordings under his own name, including his latest, Sackbut Stomp (on his own Multiphonics Music), Big Sackbut & Sacred Chrome Orb (both on the Yellow Sound Label), and Joe Fiedler Plays the Music of Albert Mangelsdorff, and The Crab (both on Clean-Feed). Fiedler is also in the planning stages for a solo trombone project, and is a regular contributor to The Mingus Big Band. Fiedler's "day job" is Music Director: Arrangements (serving as arranger, orchestrator and trombonist) for Sesame Street. Over four seasons he has written more than 150 arrangements and crafted more than 5000 underscoring cues.   

www.JoeFiedler.com

SAXOPHONIST THERESA GRAYSON SERVES UP SOUL-JAZZ GEMS ON LIVE2LOVE

Theresa Grayson wears her passion for soulful pop music proudly. From Aretha Franklin, Hall & Oats, Sade and Tony! Toni! Toné! to Bruno Mars, Maroon 5 and John Legend, the saxophonist-flutist mines hits from decades past to present on her sophomore album, “Live2Love,” which will be released November 5th by L2L Records. The disc also showcases five soul-jazz originals, four of which were penned by Grayson including the first radio single, “Afterthoughts,” an urbane track featuring soprano sax, scat-like vocalization and live instrumentation typical of the set from producer Terence Fisher.

Grayson alternates between expressive tenor and soprano sax on “Live2Love” augmented by graceful flute flourishes. She wields soprano on the lush ‘70s retro themed “More Pressure.” The frenetic pace on “Locked Out of Heaven” gushes streams of flowing melody. Grayson presents “Sarah Smile” as a soulful tenor serenade and she surprises with soothing lead and backing vocals on “Smooth Operator.” “Tonight (Best You Ever Had)” soars upon a futuristic sonicscape giving flight to the saxtress’ impassioned calls. “Moves Like Jagger” prances feverishly with a sense of urgency established by a driving beat. The stately “Natural Woman” receives an anthem-like rendering. Lights dim for “Spend My Life” and “Close Your Eyes,” seductive urban adult contemporary grooves lit by Grayson’s sensual soprano and a vocal chorus. Desire permeates the ballad “Just A Little Time” while the longing continues on the classic slow jam “It Never Rains in Southern California,” which closes the collection.

“Leading my own band for several years, I have always had a set list that mixes feel good originals and cover songs with unique arrangements that get people up dancing and my goal with ‘Live2Love’ was to capture that spirit in the studio. I’m really happy with these arrangements of songs from multiple eras, and as a songwriter and arranger, I appreciate the chance to introduce my own material. The music is a reflection of my heart and the melodies I play are the steps of my own experiences. My desire is to touch a special place in the listener’s heart and create a warm feeling of peace and happiness. I want to leave the listener smiling, knowing that this was more than just a recording, that it was a life experience that I want to share with them,” said Grayson, who will preview the album at an October 26th concert date at Sugas Deep South Cuisine & Jazz Bar in Beaumont, Texas.

Having been reared in the church, the Tyler, Texas-born and Houston-raised Grayson debuted in 2010 with “It’s All About You,” an outing comprised of inspirational instrumentals. The fashionably coiffed and flashily wardrobed Grayson has strutted her high heels on concert stages with Peter White, Mindi Abair, Michael Bolton, Will Downing, Marion Meadows and Ronnie Laws as a sidewoman and an opener. She earned a pair of master’s degrees and is pursuing a doctorate in music education. 

Grayson’s “Live2Love” contains the following songs:

“More Pressure”

“Locked Out of Heaven”

“Sarah Smile”

“Smooth Operator”

“Tonight (Best You Ever Had)”

“Moves Like Jagger”

“Natural Woman”

“Spend My Life”

“Afterthoughts”

“Close Your Eyes”

“Just A Little Time”

“It Never Rains in Southern California”

www.TheresaGrayson.com 

NEW RELEASES - KIRK DEGIORGIO PRESENTS SAMBATEK, PHAROAHS, NINA SIMONE

KIRK DEGIORGIO PRESENTS SAMBATEK

Brazilian percussion mixed with 21st Century sounds – all served up sublimely in the hands of Kirk Degiorgio – one of the few artists we could ever expect to get a project like this just right! The album follows nicely off Kirk's previous collaboration with Azymuth – but has an even starker sound overall, as core acoustic percussion bits are worked into contemporary rhythm programs – then topped with some of the crackling electric touches that you'd expect – often with a warmer sound than other projects of this nature, but a groove that's plenty driving overall. Titles include "Babilonia", "Morro Da Formiga", "Dende", "Borel", "Vidigal", "Rocinha", "Prazeres", and "Complexo Do Alemao" – plus remixes "Babilonia (Rick Wilhite dub)", "Borel (Jonas Kopp my vision of samba rmx)", and "Borel (Nxi rmx)". ~ Dusty Groove

PHAROAHS - AWAKENING

A legendary album from Chicago – recorded by a group with ties to Sun Ra, Phil Cohran, and Earth Wind & Fire! The set's got a sound that more than lives up to all those references – a vibe that's jazzy and soulful, yet often quite righteous too – imbued with the sort of spirit you'd guess from the group's name and the album's cover image – but often served up with a tight enough groove to make the set a favorite for fans of funk as well! There's a really special mix going on here – and unlike other ensembles of the time, The Pharoahs never go too far out – and instead really have the great sort of focus you'd hear even more strongly with Earth Wind & Fire. The lineup features Louis Satterfield on bass, Willie Woods on trombone, Don Myrick on saxes, Black Herman on drums, and Derf Reklaw on percussion and flute – and titles include "Ibo", "Somebody's Been Sleeping", "Damballa", "Freedom Road", "Great House", and "Black Enuff". (Great new reissue pressing – heavy tip-on cover, and bonus download too!) ~ Dusty Groove

NINA SIMONE - HERE COMES THE SUN

Classic RCA work from the great Nina Simone – and an album that definitely shows Nina hitting more of the soul spectrum than some of her folk and jazz work of the 60s! The set's got these wonderful arrangements from Harold Wheeler – a bit electric, and done in a way that takes familiar tongs and completely recasts them for Nina's own vibe – a way of shifting the sense of spirit to unlock a special Simone-like quality you never would have expected in the tunes from anyone else! Titles include a great version of "Ooh Child", plus "Just Like A Woman", "Here Comes The Sun", "New World Coming", and "My Way". And the set also features Weldon Irvine's own composition, "How Long Must I Wander?" (Blue Spec CD.) ~ Dusty Groove

THE LEGACY OF BOBBY MARTIN AND THE SOUND OF PHILADELPHIA

Bobby Martin, legendary producer, arranger, and composer, best known for his contributions to R&B music and the Sound of Philadelphia as well as arranging the theme song to "Soul Train" has passed away, but his legacy continues through the efforts of his wife, Bessie Martin, and Martin's grandson and Personal Manager, Miguel Martin.

Mrs. Martin has been a part of Bobby Martin Productions, Red Ruby Records, and his original music releases since 1959. For the past 13 years, Mrs. Martin has worked closely by her husband's side engaged in the business of music productions with Bobby Martin.  Miguel Martin, Personal Manager, Producer, and Head of A&R, worked alongside with them, along with a solid team of seasoned music industry professionals who will continue to work diligently as they move forward.

Bessie Martin also worked diligently alongside Mr. Martin in the creation of the vision for his nonprofit for youth. Mrs. Martin is continuing her husband's legacy and dream through moving forward with the launch of the Bobby Martin Foundation for Youth as well as the releases of Mr. Martin's unheard new music tracks and productions.

With Bobby Martin's plans to launch a youth non-profit organization, both Bessie Martin and Miguel Martin are set to launch the nonprofit organization on a date to be announced.

Mrs. Bessie Martin says, "In regards to any announcements regarding plans for the nonprofit and the releases that were planned by my husband, I wish to clarify that there are other living family members of the Martin Family but they are not affiliated with Bobby Martin Productions, Bobby Martin Music, or his nonprofit".

Bessie Martin is now the official owner of Bobby Martin Productions, Red Ruby Records, and Bobby Martin Music. Mrs. Bessie Martin has officially appointed Bobby Martin's Personal Manager, Miguel Martin, as President of Bobby Martin Productions and head of all business affairs.

JEFF GOLUB'S "PUSHERMAN" FROM TRAIN KEEPS A ROLLING TOPPING BILLBOARD CHART

“Train Keeps A Rolling” is Golub’s first new album since losing his vision two years ago when his optic nerves mysteriously collapsed. The album title refers to an incident last September when the New York City-based musician made television newscasts after falling onto the subway tracks and getting clipped and dragged by a train. In the month since the soul-jazz album featuring jazz-rock keyboard pioneer Brian Auger was released, Golub and Auger completed a concert tour to launch the record in six major U.S. cities with the Washington, DC date recorded for multiple national airings on Sirius XM Radio over Labor Day weekend. The release appeals to multiple radio formats and tracks continue to receive airplay from smooth jazz, jazz, blues and triple A stations. Golub is being profiled in both Guitar Player and Vintage Guitar magazines.     

Golub produced the collection with Grammy-nominated producer Bud Harner, who suggested the collaboration with Auger. Marrying Golub’s rock, jazz and blues guitar licks to Auger’s Hammond B3 and vintage Fender Rhodes fostered a groovy, retro sound with a lot of soul. “Train Keeps A Rolling” is chugging right along with the first single, “Pusherman,” speeding up to #2 on Billboard, poised to pull into the #1 position.

The guitarist wrote a pair of songs for the album, including the title track, and Auger contributed two tunes along with classic numbers that were originally recorded by Brian Auger’s Oblivion Express in the 1970s. Two original musicians from Oblivion Express – drummer Steve Ferrone and vocalist Alex Ligertwood – appear on “Train Keeps A Rolling” with bass duties handled on the disc by Derek Frank who has a history of playing with the keyboardist. Christopher Cross and Ambrosia’s David Pack croon a couple of vocal numbers and the entire album is ignited by a powerful and precise horn section composed of Mindi Abair, Nick Lane, Dave Woodford and Steve Madaio.    

While Golub’s ripping retelling of the gritty Curtis Mayfield street chronicle, “Pusherman,” does brisk business on Billboard’s Smooth Jazz Songs chart, influential Philadelphia, Penna. triple A radio station WXPN selected the Golub/Auger soulful rocker “Happiness Is Just Around The Bend” as the “Gotta Hear Song of the Week.”