Wednesday, October 09, 2013

PERRY SMITH QUARTET - STREET SENSE

Brooklyn Jazz Underground Records have announced the release of the Perry Smith Quartet - Street Sense, the new recording from guitarist/composer Perry Smith. Street Sense, from the California-born, Brooklyn-based artist, was inspired and influenced by simplicity, repetition, melody, spontaneous interaction, and space. Smith explains, "to highlight these concepts I brought on board Dayna Stephens (saxophone), Sam Minaie (bass) and Ross Pederson (drums). I'm very grateful to these incredible musicians who helped me bring this music and these concepts to life. The end result represents a foundation rooted in jazz tradition combined with an artistic drive to create a fresh identity within the art of jazz."

Street Sense opens with "Mr. R.A. The Warrior", inspired by the great artist and teacher, Mr. Ralph Alessi, whom Smith studied composition with when he first moved to New York in 2009. "He often talked about the importance of 'repetition', and I used that as a compositional tool to write this song. I found a melody and harmony that I could effectively repeat and develop at the same time," said Smith.

Next up is the title track, "Street Sense" which epitomizes and embodies the concept of this recording. Smith explains, "the title of this song was inspired by my initial reaction to the climate of 'sessioning' with other jazz musicians in New York. When I arrived, I was consistently blown away by the collective ability of musicians to improvise at such a high level. However, I often felt that some of the original music was technically difficult but conceptually easy to improvise on. This created a dynamic where fellow musicians focused more on their technique than on their concept. Therefore, I was inspired to write something that was the reverse: 'technically easy but conceptually challenging,' which led me to write a simple and repetitive melody at an easy tempo with odd phrases, modern harmony, dynamics, long solo form, rhythmic hits and multiple sections. I received great feedback from players about this song, and it has inspired the concept for my entire album."

"The Searcher" is next, one of the prettiest tunes on the album, liberally peppered with lush chords that truly display Smith's stunning sound, Dayna Stephen's demonstrative voice on tenor saxophone and Minaie's and Pederson's impeccable taste and discernment. For Smith, this composition aims to be reminiscent of, and create the same emotional effect of soulful music that conjures up feelings of nostalgia.

The concepts of simplicity, repetition and melody continue in fine fashion on "Please Repeat After Me", a tune that finds the band really digging in on the thematic melody and the rock inspired groove, spurred on by Stephen's inspired solo, and Smith's own exploratory, stirring solo.

"Talking Points", develops on the theme of Street Sense. "I wanted to write a song in 5/4 time that had a more unpredictable, but still simply, melody. When seeing the notes written on the page, I equated them to points on a map. Understanding that music is a language I came up with the title, explained Smith.

"Open Spaces" is about Smith's love of wide open spaces, and while on a hike one day this simple title came to him. "I wanted the music to reflect that relaxed and grand feeling of being outdoors in open spaces so naturally I wanted the song to be a ballad. In an attempt to mirror the grand beauty and variety that nature possesses, I made sure the melody had a big range and allowed for large dynamic shifts."

Closing the album is the rollicking "Happy Jungle", Smith's homage to New York City, and a nod to Street Sense, which is his first recording as a full-fledged New Yorker.  He explains, "the urban "jungle" in which I live is certainly a crazy place, but with the right attitude and wherewithal it can be a wonderful and happy place to live. To show this musically, I focused on writing a happy and catchy melody in a major mode, at a brisk 7/4 tempo. The free intro represents the uncertain and timid nature that us fresh New Yorkers experience when we first arrive."

With Street Sense guitarist/composer Perry Smith has created an album of sublime beauty, soaring melodies, engrossing improvisation and rhythmic thrills. Certainly one not to be missed from this burgeoning new talent on the scene.

Brooklyn Jazz Underground Records recording artist, guitarist/composer Perry Smith, an integral member of the critically-acclaimed New West Guitar Group, and a busy sideman in New York, combines his love for jazz with broad influences from rock and folk to create a signature style. Smith's extensive performance resume includes notable venues such as the Blue Note Jazz Club (NYC/Tokyo), The Village Vanguard Dizzy's Club Coca-Cola, Healdsburg Guitar Festival, Montreal Jazz Festival, Hoffest (Berlin), The World Expo (Japan), and Yoshi's Jazz Club (SF). As a composer, Smith was a finalist in the 2007 International Songwriting Competition and won the 2006 ASCAP Young Jazz Composers Award.

In 2005 he received his Bachelor of Music degree from the Flora L. Thornton School of Music at the University of Southern California, where he studied guitar with jazz legend Joe Diorio. In 2011 he completed his Masters in Music at New York University and was named the "Outstanding Graduate" in the Jazz Department.



Tuesday, October 08, 2013

'MODERN SOUL SAUCE RADIO SHOW' OFFERS UNIQUE PROGRAMMING SHOWCASING WORLD-CLASS & INDEPENDENT JAZZ AND SOUL

The entire concept of Modern Soul Sauce, like many good things in life, started small and innocently. Program manager Jerome Dumortier of Paris-based Internet eclectic mix station, Radio Kaos Caribou (RKC - http://rkc.noip.me), reached out to Denver (Colorado)-based producer and host Kathryn Ballard Shut (prn. /shoot/) and asked if she could record a podcast of all of the new jazz and soul that she was discovering in her musical life as owner of her jazz and soul agency, TIMKAT Entertainment.

However, since the show's launch on RKC on October 20, 2012, this tiny podcast has expanded to become a fan-favorite monthly show and has since picked up the syndicated support of 8 additional Internet radio stations, making it one of the Internet's best-kept secrets for listeners to discover world-class soul, R&B, acid jazz, funk, and all genres "jazzy". Together with RKC, the 8 partner stations that reserve a regular show slot around the world include Jazzy Soul Radio, 40 Foot Hole Studio, Soul City Radio, Stomp Radio, WDGP Radio, Urban Soul Radio, Shartnet Radio, and HOT FM Smooth Grooves, with plans to premiere soon on a tenth station, Smooth Soul Radio.

Ballard Shut, daughter of late soul music artist Tim Ballard, is herself a music industry producer, songwriter, jazz pianist, and former host of 80's station "RetroXana's Time Warp" (Live365), envisions Modern Soul Sauce to continue as a trusted source to highlight excellence in independent artistry. The show has already featured sounds from over 100 worldwide independent artists since its inception, commercial and fee-free.
In the course of the program, new and emerging jazz and soul artists such as Gregory Porter, Camera Soul, Tess Henley, American Idol's SuCh (Su Charles), Kenya (McGuire Johnson), Sharon Jones and the Dap Kings, J.C. Brooks and the Uptown Sound, DeRobert and the Half-Truths, and many more stellar talents have been discovered and enjoyed, as well as shared for rotation among the show's radio partners for even greater airplay for the artists outside of show broadcasts. Some of these same artists have since been discovered on major broadcast networks such as Sirius-XM and BBC Radio.

Regarding the success formula for Modern Soul Sauce (#ModSoul on Twitter), Ballard Shut says, "This show is different than many conventional programs in that I don't play music from a listing based on whatever's hit an album sales chart. Instead of 'chasing after what's cool', I scout the Internet and industry contacts to trend-set what 'should be cool' - what's emerging from the independent underground -- and with that, I hope to help further careers of independent artists whose sounds are often lost in the shuffle."


The One Year Anniversary celebration of Modern Soul Sauce can be heard on the station that started it all, RKC, world-premiering on Sunday, October 13, 2013 and will encore on October 14 with live Twitter chat with Ballard Shut directly @modernsoulsauce. All artists, station listings, and times can be found at http://www.modernsoulsauce.com.

STRAIGHT NO CHASER - UNDER THE INFLUENCE: HOLIDAY EDITION FEATURES OTIS REDDING, PAUL MCCARTNEY

Atlantic Records recording group Straight No Chaser has announced the release of their new EP, "Under The Influence: Holiday Edition" The Yuletide-themed collection -- which follows the world renowned a cappella group's acclaimed new album, "Under The Influence" -- arrives everywhere October 29th. 

"Under The Influence: Holiday Edition" sees Straight No Chaser bringing their indelible style -- and a number of legendary artists -- to an all-new cache of Christmas classics (see below tracklisting). Among the highlights are renditions of "Wonderful Christmastime (Feat. Paul McCartney)," "White Christmas (Feat. CeeLo Green)" and "Merry Christmas Baby (Feat. Otis Redding)," alongside new versions of favorites like "Amazing Grace."

As is tradition, Straight No Chaser will celebrate the holiday season with an extensive national touring schedule (see below itinerary). The dates -- which culminate with a New Year's Eve celebration at Mesa, Arizona's Mesa Arts Center -- can be found, alongside regularly updated ticket information, at www.sncmusic.com/tour. Caroline Glaser, a favorite from the past season of NBC's "The Voice," will open all dates.

Released earlier this year, "Under The Influence" sees Straight No Chaser reimagining a selection of their all time favorite songs alongside many of the superstar artists and undisputed music icons that made them famous. Produced by Mark Kibble -- a founding member of the legendary a cappella group Take 6 and one of Straight No Chaser's primary influences -- the album includes unprecedented collaborations with some of popular music's best and brightest -- including Phil Collins, Stevie Wonder, Elton John, Dolly Parton, Rob Thomas, Seal, Sara Bareilles, and Jason Mraz -- as Straight No Chaser put their distinctive and inimitable spin on songs known and loved the world over.

"Under The Influence" has quickly won Straight No Chaser critical applause from all corners. Perez Hilton declared "I Won't Give Up (Feat. Jason Mraz)" to be an "intoxicating concoction," while Broadway World noted that "the tremendously talented ten men that make up Straight No Chaser are ideally matched by (Elton John)... especially memorable." "One a cappella group, Straight No Chaser, was way ahead of the trend," declared Entertainment Weekly, "and given their devoted fanbase and a caholics, it's likely that they'll be around long after (a cappella) fades out of the pop culture forefront -- if, in fact, it ever does."
  
STRAIGHT NO CHASER "UNDER THE INFLUENCE: HOLIDAY EDITION"
Complete Tracklisting
1. Every Day Is Christmas (Feat. Colbie Caillat)
2. White Christmas (Feat. CeeLo Green)
3. Merry Christmas Baby (Feat. Otis Redding)
4. Wonderful Christmastime (Feat. Paul McCartney)
5. Home By Christmas Day
6. Nutcracker
7. A Song For Santa
8. Amazing Grace

STRAIGHT NO CHASER ON TOUR 2013
 Caroline Glaser to open all dates
* Denotes Matinee & Evening Performances On Listed Date
 
OCTOBER      
16 Columbia, MO   Missouri Theatre
17 Ames, IA   Stephens Auditorium
18 Davenport, IA   RiverCentre Adler Theatre
19 Omaha, NE   Omaha Music Hall
20 Sioux City, IA   Sioux City Orpheum
22 Billings, MT   Alberta Bair Theater
23 Casper, WY   Casper Events Center
24 Loveland, CO   Budweiser Events Center
25 Colorado Springs, CO   Pikes Peak Center
26 Denver, CO   Ellie Caulkins Opera House
27 El Paso, TX   Plaza Theatre
29 Midland, TX   Wagner Noel Performing Arts Center
30 San Antonio, TX   Majestic Theatre
       
NOVEMBER      
1 Houston, TX   Bayou Theatre
2 Dallas, TX   McFarlin Auditorium
3 Kansas City, MO   AMC at Midland Theatre*
5 Conway, AR   Reynolds Performance Hall- University of Central Arkansas
7 Nashville, TN   Ryman Auditorium
8 Dayton, OH   Schuster Performing Arts Center
9 Normal, IL   Braden Auditorium
10 Louisville, KY   Kentucky Center
11 Bowling Green, KY   Southern Kentucky Performing Arts Center
13 Memphis, TN   Cannon Center
14 Knoxville, TN   Civic Auditorium
15 Roanoke, VA   Roanoke Performing Arts Center
16 Chattanooga, TN   Memorial Auditorium
17 Richmond, VA   Carpenter Theatre
19 Pensacola, FL   Saenger Theater
20 Jacksonville, FL   Florida Theater
21 Melbourne, FL   King Center
22 Gainesville, FL   University of Florida
23 Clearwater, FL   Ruth Eckerd Hall
24 Durham, NC   Durham Performing Arts Center
29 Grand Rapids, MI   Devos Performance Hall
30 Chicago, IL   The Chicago Theatre *
       
DECEMBER      
1 Detroit, MI   Fox Theatre
3 Buffalo, NY   Shea's Performing Arts Center
4 Providence, RI   Veteran's Memorial Auditorium
5 Montreal, QC   Place des Arts - Salle Wilfrid-Pelletier
6 Reading, PA   Reading Eagle Theatre at the Sovereign Center
7 Hershey, PA   Hershey Theatre *
8 Uncasville, CT   Mohegan Sun
10 Boston, MA   Wang Theatre
11 Pittsburgh, PA   Benedum Theatre
12 Baltimore, MD   Meyerhoff Symphony Hall
13 Cincinnati, OH   Aronoff Center for the Arts
14 Cleveland, OH   Palace Theatre *
15 St. Louis, MO   Fox Theatre
17 Milwaukee, WI   Milwaukee Riverside Theater
18 Ft. Wayne, IN   Embassy Theatre
19 South Bend, IN   Morris Performing Arts Center
20 Evansville, IN   The Centre
21 Indianapolis, IN   Murat Theatre at Old National Centre *
22 Indianapolis, IN   Murat Theatre at Old National Centre *
26 Seattle, WA   Paramount Theater
27 Portland, OR   Arlene Schnitzer Concert Hall
28 Sacramento, CA   Crest Theatre*
29 Fresno, CA   Saroyan Theatre
30 Anaheim, CA   The Grove

31 Mesa, AZ   Mesa Arts Center


PATRICE RUSHEN FUELS PLAYTHEGROOVE'S PARADIGN SHIFT IN MUSIC EDUCATION

Patrice Rushen, internationally renowned musician, composer, music director and chair of the University of Southern California’s Popular Music Program, joins the PlayTheGroove educational advisory team and endorses their new digital delivery system. She declares it "an effective & necessary tool for today’s aspiring musicians and teachers." Her endorsement recognizes the importance of PlayTheGroove’s mission to create a critical and necessary paradigm shift in music education.

The PTG advisory team also includes Chris Stevens, jazz educator at Long Beach Polytechnic High School and president of the California Alliance for Jazz; Aaron Kohen, jazz educator at Las Virgenes Unified School District; and Tony White, Coordinator for the Los Angeles Unified School District’s Beyond the Bell program.

This advisory team works diligently to make sure all PTG songs, music styles, charts and teacher methodologies are educationally sound while being exciting, engaging and challenging for middle, high school and college students to play. The advisory team also creates effective and detailed guidelines that introduce these modern, global styles while giving beneficial tips for teachers and students on the new material.

"This is not your average, common musical program," Rushen said. "PlayTheGroove allows all musicians to dive right in regardless of skill level, number of people in the band or orchestra & no matter how diverse instrumentation... it gets you to the music you love right away."

PlayTheGroove President and founder Richard Frank recognized the lack of modern world music in today’s schools and developed the site to address that void. "We’ve named our first signature product ‘PlayTheGroove Platinum Unison Chart’," he said, "because ‘standard’ is what everyone else does! Our charts are immensely flexible & work for any instrumentation or group size and they come with an expanded rhythm section at varying skill levels."

Frank also emphasizes the importance of unison charts when learning new music. "I’ve talked to high school seniors who have never played a melody on their instrument. These charts allow everyone to play the melody while learning about rhythm, phrasing, improvisation, theory and tone - all at the same time."

PlayTheGroove’s goals include music education integration such as in-school/on-site clinics and performance exposure. The company currently works with the nationally recognized USC Popular Music Program, utilizing students who are proficient in instrumental and vocal chart preparation. PTG has designed professional development presentations and is a part of Tony White's award-winning Beyond the Bell program. Together, they are introducing exciting contemporary world music styles & fresh handcrafted charts and learning modules directly to music programs of the Los Angeles Unified School District. A new force in music education, PlayTheGroove is forging similar partnerships & programs in other school districts.
  
Multi-Grammy nominated artist, Patrice Rushen, is fashioning her career after the legacy of her long-time friend and mentor, Quincy Jones. Composer... Producer... International Recording Artist... Rushen has definitely earned the respect she has been awarded by her peers in the music industry.

Rushen has amassed an impressive list of "firsts". She was the first woman to serve as Musical Director for the 46th, 47th & 48th Annual Grammy Awards, the first woman in 43 years to serve as Head Composer/Musical Director for television’s highest honor, the Emmy Awards, and the first woman Musical Director of the NAACP Image Awards, an honor she held for 12 consecutive years. Rushen has also been the only woman Musical Director/Composer for the Peoples Choice Awards and HBO’s Comic Relief. She was the only woman Musical Director/Conductor/Arranger for a late-night television talk show. The show was The Midnight Hour, which aired on CBS. In addition, Rushen was named the Musical Director/Composer for Newsweek’s first American Achievement Awards, broadcast from the Kennedy Center and she served as the Musical Director for Janet Jackson’s World Tour, "janet." As the Musical Director for the award shows, she composed and performed special musical tributes to such celebrities as Michael Landon, Ted Turner, Lucille Ball and Desi Arnaz, The Temptations, James Garner and Leonard Bernstein. Rushen was named Composer in Residence during the August 2004 sessions at the Henry Mancini Institute.

PlayTheGroove’s mission is to create a necessary paradigm shift in music education by fine-tuning & expanding the tools required to teach & learn new music. It is a one-stop destination for the distribution of printable/digital PDF charts and mp3s in modern world music styles. In addition to professional, detailed lead sheets for all rhythm section-based instruments, the company includes group packs that have comprehensive parts, scores and guidelines a teacher needs for a school group of any size to perform the song. Ushering in a 21st century approach that allows new music from a broader, more diverse spectrum, PlayTheGroove is aiming to stimulate a cultural evolution in schools that mirrors the changing landscape of musical preferences, cultural heritage, demographics & unprecedented global access through digital tools. All songs, charts and teacher guidelines are edited and educationally approved through an elite team of professional music educators.


 

NEW RELEASES - RON CARTER, RED HOT + FELA, SHIRLEY SCOTT

RON CARTER – THE BASS AND I

A beautiful illustration of the strength of Ron Carter as a leader – that way he has of firmly directing a combo from the place of the bass, yet always in a subtle way that never overpowers the rest of the group! The balance here is wonderful – as Ron's tones really come through clearly in the mix, and soulfully set the tune from the start – yet the lead lines are often taken by the piano of Stephen Scott, who dances delightfully alongside the creative drum work of Lewis Nash – already a heck of a great player at this point in his career. Steve Kroon comes in with a bit of added percussion – but never too much – and titles include "Double Bass", "Mr Bow Tie", "Someday My Prince Will Come", "I Remember Clifford", and "Blues For DP". (SHMCD pressing.) ~ Dusty Groove

RED HOT + FELA (VARIOUS ARTISTS)

One of the hippest entries in the Red Hot series so far – a set of tracks dedicated to the legendary Fela Kuti – felled by AIDS after years of influential grooves – still being felt strongly by the rich array of artists collected in the set! Most tracks are contemporary, but feature a strong influence of the 70s modes of Fela's generation – those sharp percussive lines at the bottom of the tracks, soaring Afro-styled horn passages, and a righteous energy that really drives the whole thing all the way through! The package was put together in support of AIDS/HIV awareness, but is hardly an act of charity – as it's overflowing with great cuts that more than make the set stand as an Afro Funk collection on its own. Most tracks are remakes of older Fela numbers – and titles include "Buy Africa" by Baloiji & L'Orchestre De A Katuba, "Yellow Fever" by Spoek Mathambo & Zaki Ibrahim, ""Gentleman" by Just A Band & Baja, "Go Slow" by King, "Sorro Tears & blood" by Kronos Quartet & Kyp Malone, "Trouble Sleep Yanga Wake Am" by My Morning Jacket, "Afrodisco Beat 2013" by Tony Allen & M1, and Lady" by Tune Yards, ?uestlove, and Angelique Kidjo. ~ Dusty Groove

SHIRLEY SCOTT - SUPERSTITION

One of the coolest, grooviest albums ever from Hammond giant Shirley Scott – a set that's got a fair bit of funk in the mix, and a really rich array of inventive lines on the keyboards too! The tracks are longer than usual, and really step past the more familiar Shirley Scott modes of the 60s – opening up into more righteous 70s territory in the company of Chess/Cadet Records – with arrangements from Richard Evans that are as sophisticated as they are funky! Evans plays bass on the record – in a combo that also features both Jimmy Ponder and David Spinozza on guitar, Jimmy Owens and Art Hoyle on trumpets, and Grady Tate on drums. The album features some great drum breaks on Shirley's versions of "Superstition" and "Lady Madonna", and includes a totally great cover of "People Make The World Go Round", the killer originals "Hanky's Panky" and "Liberation Song", and a sweet take on "Last Tango In Paris". ~ Dusty Groove

 

NEW RELEASES - EARL KLUGH, TOOTS & THE MAYTALS, LUIS BACALOV

EARL KLUGH - LATE NIGHT GUITAR / TWO OF A KIND (WITH BOB JAMES) / NIGHTSONGS

A trio of albums from guitarist Earl Klugh – presented here in a single set! First up is Late Night Guitar – a beautiful set that really lives up to its title – a record that matches Earl's wonderful work on guitar with some sublime orchestral charts from Dave Matthews! The approach is definitely different than some of Klugh's previous work, and makes the album a very unique one – a set that's got a really personal, expressive vibe – but in ways that are never too cheesy or sentimental – a balance that, we think, really comes from Dave's handling of the backings. Titles include "Nice To Be Around", "Like A Lover", "Tenderly", "Mona Lisa", "Triste", and "A Time For Love". Two Of A Kind is a classic pairing of the guitar of Earl Klugh and the keyboards of Bob James – and a set that really makes some great steps forward out of a blend of the acoustic and electric sounds from each player! Earl's strings sound especially nice over James' Fender Rhodes – but even cuts with acoustic piano or other keyboards come off sounding great – with a warm Tappan Zee vibe that's mighty nice throughout! Titles include "The Falcon", "Whiplash", "Ingenue", "Wes", and "Sandstorm". On Nightsongs, Earl Klugh's guitar gets plenty of rich colors to work with – some deeper backdrops from arrangers Don Sebesky and Dave Matthews – each of whom bring a different mood to the set! Sebesky's got those lush, full charts that we love so much from his classic orchestral charts of the 60s and 70s – while Matthews is a bit tighter and more swinging, but still farther from his funky work of the 70s than you might expect. Klugh's guitar hits loads of those classic colorful tones throughout – and titles include "Theme From The Pawnbroker", "The Look Of Love", "Nature Boy", "A Certain Smile", "The Shadow Of Your Smile", and "Stay Gold".~ Dusty Groove

TOOTS & THE MAYTALS - FUNKY KINGSTON

Masterful early 70s reggae from Toots & The Maytals – released first in 1971, and first reissued with this killer tracklist a few years later into the 70s – and flat out classic! The reggae rhythms are steeped in raw soul and R&B for truly distinctive vibe. Breezy Caribbean sounds that meld with heavy soul for an overall vibe that paved the way for most massively popular reggae music of all time. It does get much more wonderful than this, folks! The Island version essentially pairs up material from the original Funky Kingston release with alternate numbers from the In The Dark LP – and titles include the incredible "Time Tough", "Pomp And Pride", "Funky Kingston" and "Pressure Drop", cool covers of "Louie Louie" and Country Roads", ""Sailin' On" and more.  ~ Dusty Groove

LUIS BACALOV - IN LOUNGE: ROMA BENE LA PERCORA NERA / ROSAMOR / SOFT & SMOOTH 

Four very cool groovers from Italian maestro Armando Trovajoli – pressed up here on a limited edition 7" EP, with two tracks that have never been issued before! "Roma Bene" is represented by a rare "shake" version that has some fuzzy guitar that trips out nicely over upbeat grooves – and "La Pecora Nera" gets a cool vocal take from Rocky Roberts, who sings soulfully over the mod rhythms! Side two features a new edit of "Rosamor", sung by Juca Chavez – and the sublime "Soft & Smooth" too.~ Dusty Groove


Monday, October 07, 2013

JAZZ CONNECT CONFERENCE AT APAP/NYC, JANUARY 9-10, 2014

The Jazz Connect Conference at APAP|NYC 2014, organized by JazzTimes in conjunction with the Jazz Forward Coalition, announced the tentative schedule of events for one of the largest gatherings of the professional jazz community. The conference will be held January 9-10, 2014 at the Hilton New York Hotel in New York City and will feed into the annual APAP (Association of Performing Arts Presenters) Conference as well as Winter Jazzfest. Continuing the momentum from the January 2013 event which tripled to over 1,000 registrants, the Jazz Connect Conference in 2014-based on feedback from attendees-will feature a series of essential workshops, panels and events held over the course of two days. Early Bird Registration is only $75 until October 31, with additional discounts offered to members of various organizations. Registration is free for APAP members, although they must pre-register.

With a theme of "The Road Ahead" the conference will again bring together a wide cross-section of the jazz community for 12 workshops and 5 plenary sessions, on topics such as: "Navigating Social Media"; "The Role of Education in Presenting Jazz"; "The New Paradigm for Record Labels"; "Cutting Through the Clutter"; "Jazz Grantmaking"; "Expanding the Language of Jazz"; "Getting to the Gatekeepers in the Jazz Media"; "Give to Get: Growing Your Fan Base with Online Content" and other timely and engaging subjects. Moderators and panelists include an impressive cross-section of artists and professionals. The keynote speaker will be announced soon. New this year will be a networking session enabling emerging artists and professionals to connect and get informed input on their own careers and operations. "We noticed that attendees appreciated the opportunity that Jazz Connect offered to network with each other and meet colleagues face-to-face and so we decided to program a session that facilitates that interaction," says Lee Mergner, publisher of JazzTimes and one of the conference's organizers. "It seems that social media can only take you so far in establishing relationships in the community."

The schedule reflects the input from and collaboration with numerous organizations such as JazzWeek (radio programmers), Jazz Education Network, All About Jazz and the Jazz Journalists Association, each of whom will host workshops or panels during the conference. In addition to incorporating the involvement of various organizations, the sessions also include a wide range of voices in and out of the jazz community.

Peter Gordon, co-founder of Jazz Forward Coalition says that the new theme for the Jazz Connect Conference is all about the jazz community looking forward. "There has been a vibrant re-emergence in the sense of community for jazz," says Gordon. "By providing a forum for this shared passion coupled with top professionals guiding us with their deep knowledge base, we hope to arm everyone with tools and strategies to thrive in the coming year. Working together we have a collective intelligence that is unstoppable for the road ahead."

By popular demand, Jazz Connect will again include a session topic suggested by the jazz community at large. Interested parties can submit their ideas for a panel or workshop via e-mail to jazzconnectnyc@gmail.com.

The Jazz Connect conference is organized by Peter Gordon of the Jazz Forward Coalition and Lee Mergner of JazzTimes, with assistance and input from over a dozen industry professionals. The conference has received the support of the Association of Performing Arts Presenters organization, which hosts the world's leading forum for the performing arts every year in New York City. JazzTimes is the official publication for the event.

For more information about the Jazz Connect conference, you can e-mail jazzconnectnyc@gmail.com or visit www.jazz-connect.com. To pre-register for the conference, go to the website. To reserve a table-top display or to advertise in the Conference edition of JazzTimes, contact Miene Smith at 617-706-9092 or msmith@madavor.com.

Attendees can get a special discount at the host hotels for the APAP|NYC conference, but must go through the APAP|NYC website.

About the Association of Performing Arts Presenters
The Association of Performing Arts Presenters, based in Washington, DC, is the national service and advocacy organization dedicated to developing and supporting a robust performing arts presenting field and the professionals who work within it. As a leader in the field, APAP works to effect change through advocacy, professional development, resource sharing and civic engagement. APAP is a nonprofit 501(c)3 organization governed by a volunteer board of directors and led by President & CEO Mario Garcia Durham. In addition to presenting the annual APAP|NYC conference-the world's leading forum and marketplace for the performing arts (Jan. 11-15, 2013)-APAP continues to be the industry's leading resource, knowledge and networking destination for the advancement of performing arts presenting.

About the Jazz Forward Coalition
The Jazz Forward Coalition (JFC) is a consortium of industry leaders focused on enhancing jazz's vitality and cultural relevance for audience development. JFC is focused on developing programs and platforms to support its two central themes of advocacy and infrastructure. By providing a global voice, JFC will cultivate opportunities to motivate growth for current and future generations to expand jazz's cultural footprint. On the web at www.jazzforwardcoalition.com.

About JazzTimes
JazzTimes is America's preeminent jazz magazine providing irreverent, uncompromising and often provocative coverage of the American jazz scene. Relying on an award-winning editorial staff, JazzTimes encompasses special themes, directories, comprehensive news reports and an extensive music review section. JazzTimes is a must-read for the jazz enthusiast. On the web at www.jazztimes.com.


NEW RELEASES - RAY BRYANT TRIO, BOBBY CALDWELL, MOREIRA DA SILVA

RAY BRYANT TRIO - CON ALMA

Pure genius from Ray Bryant – the kind of a record that few other players could ever hope to cut, and a fantastic demonstration of Ray's extremely soulful approach to the trio format! Bryant's working here with Bill Lee on bass and Mickey Roker on drums – in a triple-burning setting that has all players contributing equally to the groove – and often working strongly to create a great sense of counterpoint in the rhythms. Roker's drums are magically playful throughout – snapping and skipping along the top of the snare in a way that only furthers the rhythmic agenda of Bryant's piano. And Lee's bass has a laidback and mellow delight – one that rings out alongside the keys of the piano, and fleshes them out with some additional depth and color. The title track is a brilliant reading of "Con Alma", and the set also features Bryant's famous tune "Cubano Chant" – as well as the titles "Autumn Leaves", "Milestones", "Ill Wind", and "C Jam Blues". (Blue Spec CD.) ~ Dusty Groove

BOBBY CALDWELL - LIGHT MELLOW

The title certainly gets it right – and the set's way more than a "greatest hits" collection of work by Bobby Caldwell – and a massive batch of some of his best numbers of the 70s and 80s, all flowing together beautifully with a sweet little Free Soul vibe! The 20 track package features a few familiar Caldwell numbers, but also includes some really wonderful gems pulled from the deeper catalog of his albums over the years – tracks that are often eclipsed next to the hits, and which show the depth of his talents in a blue-eyed soul mode, and how strongly his work kept on going well into the 80s! There's a warmly compressed sound to most numbers that perfectly fuses jazz and soul – and titles include "Come To Me", "All Or Nothing At All", "Mazatlan", "In The Name Of Love", "Don't Ask My Neighbor", "Never Loved Before", "Open Your Eyes", "Coming Down From Love", "Sherry", "Love Won't Wait", "Words", and "Jamaica". ~ Dusty Groove

MOREIRA DA SILVA - ANOS 50

A great collection of vintage work from Brazilian singer Moreira Da Silva – including a fair bit of tracks originally only issued as 78rpm singles! The collection features two CDs' worth of material from 78s, plus the full album O Tal from later in the decade – but even that is presented with a whole heck of a lot of bonus tracks too! The package is an excellent counterpart to the 60s box of Moreira's music – and shows an even more charming, more compelling version of the singer – working in lively samba arrangements that are heavy on percussion, and really illustrate the raw energy of Brazilian music in the pre-bossa years. The set features 48 tracks in – remastered with a sound that's as colorful as the image on the cover! ~ Dusty Groove 


NEW RELEASES - ROSS MCHENRY, DJALMA FERREIRA, THE MARGOTS

ROSS MCHENRY - FIRST OCEANS

Ross McHenry's debut solo album - Distant Oceans - features twelve mighty tracks that dance and weave along the styles of jazz, hip-hop and many more experimental sounds. Ross is an ARIA (Australian Record Industry Association award) nominated composer, producer and bass player whose diverse body of work carefully walks the line somewhere between instrumental jazz and the current wave of post-Dilla producers. His previous projects (including The Shaolin Afronauts) have seen him tour worldwide and led to him taking part in 2010's Red Bull Music Academy (where he met label-mate kidkanevil amongst others). Ross McHenry's debut album Distant Oceans brings together six of the world's foremost musical innovators for the first time on record. The ensemble features one of the most exciting and in demand producers and keyboardists in the world today, Mark de Clive Lowe, the rhythmic foundation of renowned NZ ensemble Electric Wire Hustle, Myele Manzanza, multi-instrumentalist and composer Adam Page and leading Australian instrumentalists Dylan Marshall, Jon Hunt and Luca Spiler.

DJALMA FERREIRA - DRINK EM SAO PAULO ERTC ANOS 60

Totally cool, totally wonderful – and a massive set of hardly-heard work from Brazilian keyboardist Djalma Ferreira! Djalma's a name that's not nearly as well-known in the states as Walter Wanderley – but he got his start well before Walter, working in some 50s modes that were mighty darn cool – before exploding even more strongly here on a sublime set of albums from the 60s! Djalma's got a sense of playfulness about his keyboard work – always changing up not just his phrasing of the notes, but also the settings of the organ as well – creating these cool sounds and groovy notes that explode out differently on each new tune – in ways that go far past the usual bossa organ modes, and bring in a host of other Brazilian styles too. The range of sounds in the set is breathtaking – and the package begins the decade with albums cut with the Milionarios Do Ritmo – including the albums Convite Ao Drink (1960) and Drink Em Sao Paolo (1961) – then moves onto some with larger arrangements – the records Combinacao Insuperavel (1962) and Baile De Formatura (1962). Things then swing into the groovy Week End In Rio (1964), the sublime Brazilliance Of Djalma (1965), and the rare US album Help Yourself To The Brazilliance Of Djalma (1969). All albums come with original artwork and great sound – all on CD for the first time ever! ~ Dusty Groove

THE MARGOTS - PESCADA

A really unique blend of jazz and vocals – and a great start for this really unique group! The Margots is a collaboration between vocalist Adrienne Pierluissi and jazz musicians Ken Vandermark – who co-wrote the music on the set, and handles all the arrangements too! Pierluissi hails from Milwaukee, but has this amazing style that reminds us of some of our favorite Brazilian or European singers in recent years – an approach that's as artful as it is swinging, and graced with this sense of phrasing that really makes her lyrics stand out – quite a statement, given that the group also features reeds from Ken Vandermark, guitars from John Dereszynski, and drums from Tim Daisy! There's definitely an echo of the best recent Brazilian modes on some of the best tracks – and the record also features some cool string backing on a few numbers too. Titles include "Mr Altruistic", "Grey", "No La Sabia", "Husbands", "Echoes Of Memory", "Anda", and "Pescado". ~ Dusty Groove


Friday, October 04, 2013

NEW RELEASES - SOUL TOGETHERNESS 2013, THE JAZZ INVADERS FT. DR. LONNIE SMITH, TARUN BALANI COLLECTIVE

SOUL TOGETHERNESS 2013: 15 MODERN SOUL GEMS

Soaring contemporary grooves – and a great installment in this excellent series of modern soul! This time around, the tracks are even more modern than before – almost all numbers from recent recordings, but pulled together in a way that really highlights some gems that we would have missed otherwise – including a few key cuts that haven't been in strong circulation otherwise! Think of the groove as Neo Soul for the dancefloor – with great vocals and lots of warm rhythms – and dig the track selection that includes "Gimme Dat" by Kenya Henry, "Can We Talk About It" by Vesta, "Into My Life" by Raffia, "Bein In Love With You" by Sheree Brown, "The Party After (Reel People rmx)" by Muzart, "Got To Let My Feelings Show" by Bluey, "Classic Lady" by Personal Life, "Runnin Around" by The Chi-Lites, "Sweet Heaven (12 Shades summer shuffle)" by Tom Glide with Timmy Thomas, "I Still Have You (Soulpersona rmx)" by Charlie Wilson, and "Something" by 76 Degrees West Band with Raheem DeVaughn.~ Dusty Groove


THE JAZZ INVADERS FEATURING DR. LONNIE SMITH - THAT'S WHAT YOU SAY!

The Jazz Invaders here are tighter than ever – and not just because they've got some heavy Hammond help from the legendary Lonnie Smith! Smith's definitely a key part of what makes this album so great – and his organ lines have a sharpness and depth that really stands out from the rest of the group – kind of an extra level of sound that really makes the whole thing sparkle! Yet the group themselves are pretty wonderful too – much more righteous than ever before, going past just a combo who can copy the best jazz modes, into the realm of one that's more than capable of making some mighty fresh sounds of their own. Linda Bloemhard sings on a few cuts, with this raspy edge that's pretty cool – but the instrumental push is what really makes the record shine. Titles include "Square Blues", "Little Sunflower", "Buzzin", "Song For Lonnie", "Tastich", "Nelson", "Mellow Mood", and "Tie Am". ~ Dusty Groove

TARUN BALANI COLLECTIVE - SACRED WORLD 

Sacred World, the debut recording from Tarun Balani, showcases the New Delhi-based drummer's far-reaching vision as a composer and bandleader. Featuring a quintet that unites Balani and fellow Indian musicians Aditya Balani (guitars), Sharik Hasan (piano) and Suhail Yusuf Khan (vocals and sarangi), with bassist Bruno Raberg, a Swedish expatriate who now lives near Boston, Balani creates a sound palette that peers across musical borders to unite Indian idioms and inventive American jazz. Recorded in August 2012, in Mumbai, India, Sacred World is set for American release on October 22nd. Balani makes a bold statement through his compositional maturity and ingenious use of diverse instrumentation, confidently mixing Eastern and Western traditions, the old and the new. While such performances as "Belief" and "The Other Side" feature Hasan's prodigious piano improvisations, and "Sacred World" showcases Raberg's serenely intoned bass, tunes including "Azaan" and "Arjuna" make arresting use of Aditya Balani's fretless guitar and Suhail Yusuf Khan's vocals and sarangi. Balani's expansive musical conception allows for different traditions to converse with one another on their own terms, and to allow the in-between space that they share to emerge organically. This inclusiveness reflects Balani's restless desire to envision himself a holistic artist, inspired by his Indian roots as synthesized into his jazz work.In India, Balani was a member of such bands as Incognito, Advaita and Artistes Unlimited. When he was 18 years old he attended Drummers Collective in New York City, an experience that drew him more closely to jazz and inspired him to continue studies at the renowned Berklee College of Music in Boston. There he focused on performance and composition; his important percussion instructors included Ralph Peterson Jr. and Jamey Haddad. Balani was also the school's first Indian student to be selected for the Berklee Global Jazz Institute where he was mentored by Danilo Perez, John Patitucci, Joe Lovano and George Garzone.Balani is also a leading music educator and teacher in India where he is the co-founder and Artistic Director at the Global Music Institute in New Delhi. The first of its kind in India, the Institute aims to promote musical diversity, with an emphasis on national and international collaboration.


MARTY ERLICH LARGE ENSEMBLE - A TRUMPET IN THE MORNING

New World Records proudly announces the release of A Trumpet in the Morning, the new recording from saxophonist/composer Marty Ehrlich, and the first documentation devoted to the stalwart NYC artist's large ensemble compositions. A Trumpet in the Morning (named for a poem by Arthur Brown, 1948-1982) is a tour-de-force, showcasing the best of Ehrlich's many metieres that have marked his success as an instrumentalist, composer and bandleader for more than three decades. Strong melodic invention prevails alongside a keen ear for instrumental color, a multi-genre, multi-disciplinary approach, and, "an unblinking yet ultimately affirmative insistence on connecting his music with realities both historic and contemporary", said noted writer Bob Blumenthal (from the album's liner notes).

Marty Ehrlich, born in St. Paul, Minnesota on May 31, 1955, raised in Louisville, Kentucky and St. Louis, Missouri, and residing in New York City since 1978, is in the midst of celebrating thirty-five years of distinguished work at the epicenter of creative and improvised music. In many ways, these years of cultivating his creativity and individuality has led Mr. Ehrlich to the creation of A Trumpet in the Morning. Bob Blumenthal explains, "His family moved to University City, Missouri, a suburb in the process of becoming St. Louis' first multi-racial community, rich with artists and progressive political thought. The environment was ideal for nurturing Ehrlich's creative talents, and as a teenager he began writing poetry and continued clarinet studies with members of the St. Louis Symphony. A weekend arts program brought him into contact with the musicians, painters and poets who formed the Black Artists Group (BAG), an interdisciplinary collective similar in intent to Chicago's Association for the Advancement of Creative Music (AACM). The influence of BAG members Julius Hemphill, Oliver Lake and J.D. Parran led Ehrlich to begin focusing on studying the saxophone and to immerse himself in both the traditions and the innovations of improvised music."

"One of the great things about meeting the BAG guys was being urged to learn the history of the music," Ehrlich emphasizes. "It made me much more of a polyglot." The encounter also instilled a philosophy that has informed all of his work. "I call myself a pan-stylist who doesn't believe in musical styles," he explains. "My inspirations are often conceptual rather than `styles' I'm trying to write in. I reject the notion, especially in jazz, that there is only one language to use, and my music is not a comment on style. I like the resonance of contrasting sections, and will use musical style for contrast, but from the inside."

Ehrlich graduated from the New England Conservatory of Music and hit the NYC scene running in the late seventies, with many bandleaders seaking him out for the uncommon range and consistency of his work on various clarinets, saxophones and flutes. He quickly became a valued member of ensembles led by AACM luminaries Muhal Richard Abrams, Anthony Braxton, Leroy Jenkins, Roscoe Mitchell and Wadada Leo Smith as well as his former teachers from The NEC, Jaki Byard and George Russell. Ehrlich found himself shoulder to shoulder with some of the period's most innovative figures, gaining valuable experience that provided insights into leading a large ensemble, which later influenced his approach to the music on A Trumpet in the Morning. Ehrlich has also composed extensively for his many small ensembles, such as Traveler's Tales, the Dark Woods Ensemble, Relativity (with Michael Formanek & Peter Erskine), C/D/E (with Mark Dresser & drummer Andrew Cyrille), Rites Quartet and The Marty Erhlich Sextet.

"A real difference between this recording and my previous albums is that I'm conducting and producing rather than playing," Ehrlich said. "This was partly practical, since there was a lot to get through in the studio, but it also seemed right for this music. On my first European tour, with Anthony Braxton in 1978, he just conducted, because he said the music needed someone outside of it to give it shape. George Russell and Muhal Richard Abrams are other great composers who also took this approach. Another thing that impressed me about Anthony on that first tour was how hard he listened to everybody else. I saw a similar role here: to listen and bring out certain things, to maximize the creativity in the room."

"Ehrlich has written pieces for larger ensembles including the New York Composers Orchestra, his most ambitious documented opus prior to the present collection was The Long View, created in 2000 in collaboration with painter Oliver Jackson. The various movements of that work were scored for between two and 14 musicians. Here, in contrast, the canvas remains large, though again it is mutable. Most of the twenty-four musicians involved have extensive histories with Ehrlich, who emphasizes that such personnel choices as the use of two rhythm sections were made, 'to enlist their individual approaches in giving the recording an even wider palette.' He also says that the recording realizes 'an inner compulsion to reveal the relationships among the pieces, the majority of which were written in the past decade and are long-form and multi-sectional. They share an intention, and are really my own music.' (from the album's liner notes by Bob Blumenthal)

About the music on A Trumpet in the Morning:
"Agbekor Translations" (2012) was written for collaboration between the Hampshire College Jazz Improvisers Orchestra, which Ehrlich directs, and the Mt. Holyoke College West African Drumming Ensemble. Ehrlich based the piece upon six interlocking rhythms from the agbekor dance performed by the Ewe people of Ghana. Each rhythm provided a basis for a melody, which Ehrlich then spread throughout the orchestra.

"A Trumpet in the Morning", commissioned by the Sound Vision Orchestra in 2004, is a setting of a poem by Arthur Brown (1947-1982) whose work was a seminal voice in the creative renaissance centered around the Black Artist Group of St. Louis, MO, where Ehrlich began his musical journey.  "This musical work is written as a concerto for my long-time colleague J.D. Parran, who takes on the role of narrator and primary improviser (featured on soprano and bass saxophones). The music aims to refract the celebratory imagery of the poem, and to create a range of sound worlds for the poem to be read in," said Ehrlich. "Writing poetry made me want to be an artist even before I decided to pursue music," the artist emphasizes, "and I've been aware of this poem since I was quite young. I didn't know Arthur Brown-he wasn't a joiner, and never became part of the BAG-but I heard him read the poem once, and he was a good friend of J.D.'s. Some of my earliest musical experiences were playing to accompany poetry, roots I share with J.D. "

"Blues for Peace" is a Jazz Orchestra work that asks just that. It moves from a riff driven funk-rock, to an extended blues form in 9/8 rhythm, before returning to its opening feel, and a reflective conclusion. "Like several of my pieces, this is in the long tradition of taking the basic blues sensibility and stretching out the form in one way or another," Ehrlich says. "It didn't really work as part of the original `Rundowns,' but orchestrating it made all of the difference. The nine beats are counted 'Taki-Taki-Taki-Gamela' to use the helpful phrases Karl Berger teaches. "

"Rundowns and Turnbacks" takes a phrase used to describe Robert Johnson's guitar artistry, as a metaphor to look at possibilities in American life through a multi-stylistic musical prism. Each movement has a different orchestration, and each evokes themes both political and personal for Ehrlich.

"M Variations (Melody for Madeleine)" was originally composed for The New York Composer's Orchestra, and is the only piece on the recording not written in the last decade. It is in many ways a piano concerto, with composed sections for piano in the beginning, middle, and end of the piece. It reimagines a theme I wrote for my Traveler's Tales group, for my then young daughter. In this version, the melody is passed between the voices of the orchestra. Before the solo piano conclusion, the piece collages the melodic material over a circular bass line.  Uri Caine is the dynamic interpreter and piano soloist here", said Ehrlich.



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