AMBROSE AKINMUSIRE - THE IMAGINED SAVIOR US FAR EASIER TO PAINT DUE MARCH 11, 2014

Trumpeter and composer Ambrose Akinmusire is set to release of The Imagined Savior Is Far Easier To Paint on March 11, 2014. It's described as an impressive and expansive new album that broadens the palette of his quintet with the addition of guitarist Charles Altura, the OSSO String Quartet, and vocalists Becca Stevens, Theo Bleckmann, and Cold Specks. Akinmusire’s quintet features saxophonist Walter Smith III, pianist Sam Harris, bassist Harish Raghavan, and drummer Justin Brown—a close-knit group of longtime friends and frequent collaborators that breathes a remarkable collective identity.

NPR Music recently featured the imagined savior is far easier to paint in their “Under-The-Radar Albums Preview For 2014” including a track premiere of “Our Basement (ed)” featuring Becca Stevens on vocals. Critic Ann Powers wrote that Ambrose “wowed jazz fans with the focused intelligence of his 2011 Blue Note Records debut. For this new effort, he goes wide, expanding his ensemble to include vocalists, a string quartet, and the adventurous guitarist Charles Altura. This music is not for chickens — it's heady, intense, and demanding. But it's also accessible in the most important ways, making room the listener to get lost in its byways.”

Ambrose has also announced extensive tour dates throughout the U.S. and Europe behind the album’s release, including a 4-night engagement at The Jazz Standard in New York City from March 13-16, as well as shows in Chicago (March 7) and Boston (March 12). Ambrose will return to the U.S. for further touring in June. See below for a full list of dates.

Upcoming Ambrose Akinmusire tour dates:

March 07: Reva and David Logan Center for the Arts, Chicago, IL

March 12: Regatta Bar, Cambridge, MA

March 13: The Jazz Standard, New York, NY

March 14: The Jazz Standard, New York, NY

March 15: The Jazz Standard, New York, NY

March 16: The Jazz Standard, New York, NY

March 23: Albright Knox Museum, Buffalo, NY

April 10: Jazz Nad Ordra, Wroclaw, POLAND

April 11: Festival Jazz de Mars, Vernouillet, FRANCE

April 12: Blue Note Poznan, Poznan, POLAND

April 13: A-Trane, Berlin, GERMANY

April 14: Duc des Lombards, Paris, FRANCE

April 15: Duc des Lombards, Paris, FRANCE

April 16: Duc des Lombards, Paris, FRANCE

April 17: Le Grand T, Nantes, FRANCE

April 18: Bimhuis, Amsterdam, THE NETHERLANDS

April 19: Jazz Club Minden, Minden, GERMANY

April 20: Bird, Rotterdam, THE NETHERLANDS

April 21: Alte Feuerwache, Mannheim, GERMANY

April 22: Moods, Zurich, SWITZERLAND

April 24: Singen Jazz Club, Singen, GERMANY

April 25: Nasjonal Jazz Scene Victoria, Oslo, NORWAY

April 26: Espoo Jazz Festival, Espoo, FINLAND

May 04: Cheltenham Jazz Festival, Cheltenham, UK

May 08: LIke a Jazz Machine Festival, Dudelange, LUXEMBOURG

May 10: Avantgarde Jazz Festival, Rovinj, CROATIA

May 14: The Auditorium Parco della Musica, Rome, ITALY

May 15: VII Ciclo 1906  de Jazz Jimmy Glas, Valencia, SPAIN

May 16: VII Ciclo 1906 Club Jamboree,   Barcelona, SPAIN

May 17: VII Ciclo 1906 Clavicembalo, Lugo, SPAIN

June 21: Dazzle, Denver, CO

June 22: Dazzle, Denver, CO

June 23: Kuumbwa, Santa Cruz, CA

June 24: Yoshis, Oakland, CA

June 25: Jimmy Mak's, Portland, OR

June 26: Seattle Museum of Art, Seattle, WA

June 27: Vancouver Jazz Festival, Vancouver, CANADA

June 30: Montreal Jazz Festival, Montreal, CANADA

DUKE ELLINGTON HONORED AS ARTIST OF THE MONTH FOR BLACK HISTORY MONTH, FEBRUARY 2014

Legacy Recordings, the catalog division of Sony Music Entertainment, celebrates the life and music of Edward Kennedy "Duke" Ellington, honoring the American composer as Artist of the Month for Black History Month, February 2014.

A century ago, in 1914, a teenage Duke Ellington, working in Washington DC as a soda jerk by day and aspirant jazz musician by night, penned his first composition, "Soda Fountain Rag," laying the cornerstone for one of the most expansive and important canons of American music to emerge in the 20th century.

The abiding romantic power of Duke Ellington's music can be seen, heard and felt in the acclaimed "American Hustle," one of this year's Best Picture Oscar nominees, which uses "Jeep's Blues," as a key element in the film's soundtrack.  Cowritten by Ellington and saxophonist Johnny Hodges, "Jeep's Blues" was first recorded in 1938 with the "American Hustle" version coming from Ellington At Newport 1956, an electrifying live album that continues to bring new audiences to Ellington's music.

As further demonstration of Ellington's enduring genius, a contemporary hit Broadway musical, "After Midnight," features Duke's music played by a 17-piece band, handpicked by Wynton Marsalis and is currently starring Fantasia.  "After Midnight" opened in November to rave reviews testifying to the electrifying qualities of Duke's music: "The #1 Broadway Musical of the Year!" (New York Magazine); "Smoldering! A sleek, elegant tribute to Duke Ellington and the glory days of the Cotton Club that brings class back to Broadway. You can't help but THRILL!" (New York Post); "Dazzling!" (Associated Press).

Moving from Washington, DC to New York City, Duke Ellington formed his own orchestra in 1923, becoming a leading musical figure in the Harlem Renaissance, a cultural movement embracing and showcasing the works of African-American writers, poets, visual artists, popular entertainers, dancers, composers and musicians.

Duke Ellington led his own orchestra from 1923 until his death in 1974, often performing 50 weeks a year, writing new compositions in a hotel room one night, rehearsing them with his group and performing them for a live audience the next.

During the half century he made music, Duke Ellington wrote more than 1,000 songs as well as film soundtracks (his score for Otto Preminger's "Anatomy of a Murder" broke new cultural and aesthetic ground) and full-length concert suites.  While many of his own compositions--"It Don't Mean A Thing If It Ain't Got That Swing," "Sophisticated Lady," "Mood Indigo," "Solitude," "In A Mellow Tone," "Satin Doll"--have become standards and evergreens, Ellington and his Orchestra were also responsible for introducing songs like "Caravan" and "Take the 'A' Train" to the world.

While an undeniable force in shaping the history of jazz, Duke Ellington's music is, according to the composer/recording artist, "beyond category."

legacyrecordings.com

BLUE NOTE JAZZ CLUB NEW YORK ANNOUNCES FEBRUARY 2014 ARTIST SCHEDULE

Blue Note Jazz Club, one of the world's most iconic jazz and blues venues based in Greenwich Village, is proud to announce an impressive schedule of acts for February 2014. Highlights include: Ron Carter in two settings - with his Quartet and with Roy Haynes Fountain of Youth Band; Bill Evans Soulgrass with guests John Popper, John Medeski, Eric Krasno & Neal Evans, Tim Carbone, and Marco Benevento; Valentine's Week programs with vocalists Nicole Henry and Rachelle Ferrell; Les McCann with Javon Jackson; Patricia Barber; and a special all-star benefit concert for Earthquake/Tsunami Relief in Japan, among others.

Maceo Parker

Saturday - Sunday, February 1 - 2  

Saxophonist Maceo Parker kicks off Blue Note's February schedule, closing out a six-night run with his working band. Parker is best known for his collaborations with artists such as James Brown, George Clinton and Ray Charles. As The New York Post declared, "Maceo Parker wrote the book on funk."

Roy Nathanson's Jazz Passengers & Sotto Voce Present:

"Subway Moon, A Poetic Reverie" Featuring The Students of I.C.E.

Monday, February 3 

Saxophonist/Poet Roy Nathanson's Jazz Passengers and Sotto Voce band will join his students from New York City's Institute for Collaborative Education's (I.C.E) in a poetic, musical reverie about the subway. Over the last year, students in this 6-12th grade New York City public school have taken parts of poems and prose pieces and transformed them into songs about romance, loss and angst with the backdrop of the NYC subway - providing a generational contrast to songs from his Nathanson's 2009 Enja release, Subway Moon. Performed together around a backdrop of Andrew Gurian's video, they give a broad sense of the diverse magic of our underground imagination. We are proud to present this 10th incarnation of Nathanson's Subway Moon project featuring songs, musical improvisation as well as tight arrangement, choral singing and video image at Blue Note. 

Ron Carter Quartet

Tuesday - Sunday, February 4 - 9

Among the most original, prolific, and influential musicians in jazz, bassist Ron Carter is scheduled to appear at Blue Note in multiple settings over the coming weeks - with Roy Haynes (2/25-26) and Donald Harrison & Billy Cobham (3/4-9). However he'll kick off this unofficial Blue Note residency with a six-day run featuring his working Quartet (comprised of pianist Renee Rosnes, drummer Payton Crossley, and percussionist Rolando Morales-Matos).

International Guitar Night

Monday, February 10

The International Guitar Night (IGN), founded in 1995, is the world's premier touring guitar festival, each show bringing together the world's most interesting and innovative acoustic guitarists to exchange musical ideas in a public concert setting. For each tour, IGN founder Brian Gore invites a new cast of guitar luminaries to join him for special evenings of solos, duets, and quartets that highlight the dexterity and diversity within the world of acoustic guitar. This year IGN's North American tour features Pino Forastiere, Mike Dawes, Quique Sinesi and Gore.

Nicole Henry

Tuesday - Wednesday, February 11 - 12

Vocalist Nicole Henry will kick off Blue Note's Valentine's Week. Henry's passionate, soulful voice and heart-felt charisma has earned her a 2013 Soul Train Award for "Best Traditional Jazz Performance" (for her recent album, SO GOOD, SO RIGHT: NICOLE HENRY LIVE) three Top-10 U.S. Billboard and HMV Japan jazz albums, and rave reviews both domestically and internationally by The New York Times, Wall Street Journal, The Japan Times, JazzTimes, Essence and more.

Rachelle Ferrell

Thursday - Sunday, February 13 - 16

Equally gifted as a vocalist, pianist, and songwriter, Rachelle Ferrell returns to Blue Note to close out Valentine's Week. While Ferrell has an established fan base in the contemporary jazz community, she has also made her mark as a crossover artist on the pop/urban contemporary scene, singing backup for Lou Rawls, Patti LaBelle, Vanessa Williams and George Duke to name a few. Having released albums as a leader on both Blue Note and Capitol record labels respectively, Ferrell's talents transcend generic classification.

Mino Cinelu World Jazz Ensemble

Monday, February 17

Composer, multi-instrumentalist, programmer, and producer, Mino Cinelu has performed with world renowned artists such as Miles Davis, Sting, Weather Report, Herbie Hancock, Lou Reed, Vicente Amigo, and Stevie Wonder, among others. At Blue Note, he leads his new quartet, the World Jazz Ensemble, featuring keyboardist/vocalist/percussionist, Jamshied Sharifi, bassist Mamadou Ba, tubist/percussionist Jose Davila, and trumpeter Bria Skonberg. The ensemble offers a unique repertoire of instrumental, percussion and vocal works, a mélange that bridges world and jazz orchestrations.

Les McCann With Javon Jackson Band

Tuesday - Thursday, February 18 - 20

Iconic jazz/funk keyboardist-vocalist Les McCann returns to Blue Note with saxophonist Javon Jackson, following their successful collaboration on Jackson's recent release, Lucky 13. McCann is best known for his work in the late 1960s/early 1970s with partner/saxman Eddie Harris, whom he first encountered at the Montreux Jazz Festival. The resulting album, Swiss Movement (1960), was a top selling jazz record, and the single "Compared to What" sold platinum. Known for his work with Art Blakey and the Jazz Messengers, Jackson has worked with Elvin Jones, Freddie Hubbard, Betty Carter, Donald Byrd, Ron Carter, Dr. Lonnie Smith, Bobby Hutcherson, and Ben E. King. He released five albums as a leader on Blue Note Records in the 1990s.

Patricia Barber

Friday - Sunday, February 21 - 23

"Few performers in or out of jazz are as consistently brilliant as Patricia Barber." - JazzTimes. A savvy bandleader who has honed a tight, telegraphic style with her quartet, vocalist/pianist Barber is known for transforming unlikely pop tunes into sleek jazz numbers, reinventing Cole Porter, and constantly reworking her impressive book of originals. Her latest critically acclaimed album is titled Smash (released on Concord Jazz in 2013).

"Music For Tomorrow: A Benefit For Japan" Hosted by Bob James

Monday, February 24

Featuring: Makoto Ozone + Kenny Barron (piano), John Scofield + Mike Stern (guitar),

James Genus (bass), and Clarence Penn (drums), Among Others

March 2014 will mark the three-year anniversary of The Great East Japan Earthquake and Tsunami of March 11, 2011. To remember the tragedy and show how music has the ability to raise up spirits in the most difficult of times, Blue Note Jazz Club, Bob James, and NHK Enterprises (Japan's national public broadcasting organization) present "Music For Tomorrow: A Benefit For Japan," a benefit concert to support Tohoku (the severely damaged area in northern Japan), with

special guests (listed above). The concert will be recorded by NHK, broadcast throughout Japan (including the Tohoku area) and internationally through NHK channels. All admission proceeds will be delivered as a charity to The Great East Japan Earthquake and Tsunami victims.

Roy Haynes Fountain of Youth with Ron Carter

Tuesday - Wednesday, February 25 - 26

Blue Note Jazz Club proudly presents eminent drummer Roy Haynes and his Fountain of Youth Band with bassist Ron Carter: two jazz legends, two nights only. Haynes and Carter performed together at George Wein's 2009 CareFusion Jazz Festival 55 in Newport, RI. Pianist Ethan Iverson (The Bad Plus) witnessed the Newport performance and described it on his blog, Do The Math, as "...a rare chance to hear jazz today like they used to make it." Haynes, 88, is a GRAMMY® Lifetime Achievement Award-winner and a NEA Jazz Master. This marks Carter's second appearance at Blue Note in February, appearing with his Quartet earlier in the month.

Bill Evans Soulgrass with Special Guests

Thursday - Saturday, February 27 - March 1

Described by NPR as "a supergroup of virtuoso musicians," saxophonist Bill Evans' Soulgrass returns to Blue Note for a three night residency, joined by a number of special guests: Railroad Earth's Tim Carbone, Soulive/Lettuce's Neal Evans and Eric Krasno (February 27), John Medeski (February 28), Blues Traveler's John Popper (February 28 - March 1), and Marco Benevento (March 1). With more than 20-years under his belt as a solo artist, Evans and his Soulgrass project are known for exploring a variety of musical settings that go well beyond the confines of traditional jazz, including rock, hip-hop, jam, fusion, reggae, Brazilian and funk. This run marks the one-year anniversary since their last summit at Blue Note.

LATE NIGHT GROOVE SERIES

Blue Note Jazz Club proudly presents its Late Night Groove Series, which showcases New York's up-and-coming jazz, soul, hip-hop, R&B and funk artists. Shows are on Friday and Saturday nights.  Doors open at midnight and shows begin at 12:30AM. Tickets are $10 in advance and $15 day-of-show, unless otherwise noted. The upcoming schedule features:

February 1 - Chris Rob

February 7 - Sean Schulich, Peter Levin, Aaron Maxwell, David Diamond, w/ Maritri

February 8 - Thiefs

February 14 - Kelli Sae (All tickets $15)

February 15 - iLLspokinn

February 21 - Akim Funk Buddha

February 22 - Ty Stephens (All tickets $20)

February 28 - Farah Siraj

www.bluenote.net

RAY LUGO & THE BOOGALOO DESTROYERS - EL RITMO DE NUEVA YORK

Ray Lugo's mind is very fertile, and he's been rather prolific over the last decade, putting out a variety of groovy sounds ranging from organic to electronic, afrobeat to soul, Latin to Brazilian and many different sorts of mashup/fusions in between. But just because he is creatively fecund doesn't mean the quality suffers - each album is hand-crafted and Ray takes his time to shape and mold it to just the right proportions.

So when Ray told me he had some new music he was working on, I didn't know what to expect, but I knew it was going to be sabroso, whatever the ingredients. Turned out it was his second Latin soul record with The Boogaloo Destroyers, and destroy the dance floor is just what they will do when you put this record on the Hi-Fi.

The Boogaloo Destroyers' sound is inspired by the warmth, diversity, and youthful spirit of classic New York Latin Boogaloo of the 1960s, yet at the same time, as composer and lead vocalist, Ray feels he is bringing some of his afrobeat sensibilities and vocal personality to the proceedings. When I asked him to talk about the songs, he offered some entertaining insights:

El Ritmo De Nueva York: "I wanted to feature some real descarga tunes as we lacked those on the first album. Also wanted to show NYC pride!" Let Me Tell Ya 'Bout The Boogaloo: I was thinking of a couple going uptown for a night of dancing"

I want to leave you, the listener, with this thought Ray shared with me recently: In a hyper difficult music environment Ray has had the great fortune to bring so many of his concepts to life, and he feels this new boogaloo album has come at the perfect time in his career. Now is a time in his life when he's never been more comfortable making music, and he feels blessed to be finding himself constantly amazed by people's kind consideration of his work. After they hear this one, I can assure you Ray, the deal will be sealed!

LISA HILTON - KALEIDOSCOPE

Like a kaleidoscope shifting its colorful pieces to create a new vision of a well-known view, pianist/composer Lisa Hilton blends the ever-changing elements of modern and traditional jazz on her 16th release to date. Kaleidoscope (available March 11 on Ruby Slippers Productions) is Hilton's answer to viewing our world and lives with a new perspective.

Although Hilton has been a bandleader for more than a decade, she is acknowledged mainly for her compositions and impressionistic touch at the keyboards. Having over 200 compositions and arrangements credited to her name, she pushes away the idea of being known primarily as a player and shifts her focus to that of a composer.  "My greatest passion is to compose, as well as to play the piano in new ways," reflects Hilton. "America has been home to so many great jazz composers in the past, and I am fascinated by our strong heritage and seek to further that."

  

The album features performances by bassist Larry Grenadier, drummer Marcus Gilmore, and acclaimed tenor saxophonist J.D. Allen on three tracks. "Larry's always inspiring narrative coupled with Marcus's fresh enthusiastic energy augmented J.D.'s deep, powerful tone superbly," recalls Hilton. Kaleidoscope encompasses elements of retro bop and avant-garde as well as impressionistic and minimalistic ideas throughout its 11 tracks. Hilton's imaginative compositions draw equally from jazz greats like Thelonious Monk, Duke Ellington and Count Basie as well as the classical tradition.

Kaleidoscope opens with the retro groove of "Simmer," a nod to Horace Silver and the early works of Herbie Hancock, featuring Allen in an entrancing light. The quartet flourishes in this setting. Allen is granted free rein during "Midnight Mania," where the band journeys to a manic state of explosion. Shifting back to the trio setting, the aptly named "Bach/Basie/Bird Boogie Blues Bop" was written as a response to where her inspiration comes from and paints a vivid landscape of the history between classical and jazz compositions. "Composers today must create a body of work that represents the sound and energy of our lives in this century while embracing our inheritance," notes Hilton.

Continuing in the same vein, Hilton channels Bill Evans and Jelly Roll Morton in the dreamy interpretation of Heyman and Young's "When I Fall in Love" followed by a cover of Adele's "One and Only," which acts as a bookend to its predecessor. Hilton considers the song a new romantic standard of today's generation. The pianist's intimate improvisations come to the forefront with the title track "Kaleidoscope" and the solo take of "Stepping Into Paradise."

Ultimately, Kaleidoscope offers a kind of jazz that simultaneously recalls the history of an art form while also challenging us to consider an alternative point of view. "The last few years have been challenging to so many, and I feel we need to somehow shift our perspective - like a kaleidoscope shifts its pretty pieces," reflects Hilton.

Hilton spent her childhood in a small coastal town of central California in a very academic and musical environment, with family chamber music sessions the norm at holidays. Having studied classical and twentieth century piano formally from the age of eight, Hilton left music behind in college to pursue a degree in art. "In retrospect, the years studying art from impressionism to the conceptualists has added to my musical 'palette' - my music is now my art. I use musical elements to paint and later sculpt the sound after I have a compositional form."

Over the course of her career, Hilton has played with numerous jazz luminaries including Nasheet Waits, Christian McBride, Steve Wilson, Jeremy Pelt, and Lewis Nash, among others. Hilton's post bop style influences extend beyond jazz legends to include Muddy Waters, Steve Reich, and even punk rock's Green Day.

Committed to helping students who are often overlooked, Hilton has made time in the last 12 plus years to be involved with students who are blind or visually impaired. Whether performing for, with, or teaching, Hilton has worked with the Perkins School for the Blind (Helen Keller's alma mater), The Chicago Lighthouse for People Who are Blind or Visually Impaired, The Junior Blind for America, Camp Bloomfield for the Blind and Berklee College of Music's new lab for the visually impaired. "I believe that helping those with physical disabilities is an important civil rights issue today," says Hilton.  "We really need to extend to those that are dealing with extra challenges, and technology today can go a long ways to leveling the playing field."

Upcoming Lisa Hilton Performances:

February 26 / Junior Blind of America / Los Angles, CA

April 15 / Saveille Theater / San Diego, CA

October 20 / The Green Mill / Chicago, IL

LisaHiltonMusic.com

NEW RELEASES: ARETHA FRANKLIN - THE QUEEN OF SOUL; KATJA CRUZ FEATURING OLIVER LAKE - HEXAPHONE...; BAHAMA SOUL CLUB - THE CUBAN TAPES

ARETHA FRANKLIN - THE QUEEN OF SOUL

The Queen Of Soul creates a rich musical portrait of Franklin s incomparable run at Atlantic Records between 1967 and 1976. Packed with 87 songs arranged chronologically, the set opens with generous selections from the first five studio albums she recorded for the label I Never Loved a Man the Way I Love You, Aretha Arrives, Lady Soul, Aretha Now, and Soul 69. Recorded between 1967 and 1968, all five of the albums topped the R&B charts and gave the world classics like "(You Make Me Feel Like) A Natural Woman," "Chain of Fools," "Think," and the #1 smash "Respect." The set also mixes in several rare outtakes of songs like "It Was You" from Aretha Arrives and "Talk to Me, Talk to Me" from Soul 69. The collection also spotlights the great music Franklin recorded in the 1970s, including the two albums she released to open the decade This Girl s in Love with You and Spirit in the Dark. The former boasted an electrifying version of the Band s "The Weight" with Duane Allman on slide guitar, while the latter featured the hit "Don t Play That Song." Along with several singles from this era ("Spanish Harlem" and "Bridge Over Troubled Water"), The Queen Of Soul also gathers up several live performances with "Spirit in the Dark" (Reprise with Ray Charles) from Aretha Live at the Fillmore West (1971), plus several songs from her live album Amazing Grace (1972). The latter recording won the Grammy Award for Best Soul Gospel Performance in 1973 and remains Franklin s best-selling album to date. ~amazon

KATJA CRUZ FEATURING OLIVER LAKE - HEXAPHONE THE COSMOLOGY OF IMPROVISED MUSIC

Hexaphone is a cosmology of improvisation. These are the coordinates provided by the title of the new multi-form work published by Rudi Records. A multimedia project led by Austrian singer Katja Cruz. The "Hexaphone" music is the real-time interpretation of graphic scores based on the geometry  of the platonic bodies. Furthermore  the complex geometry of the " flower of life" and the "hexagram" appear as a source of inspiration for the music comprised in "Hexaphone." Special guest of the project: the great saxophonist Oliver Lake, major founder of the historic "Black Artists Group" from St. Louis and of legendary World Saxophone Quartet. Completing the quintet, Andrea Massaria (guitar ) Howard Curtis (drums) Patrick Dunst (bass clarinet , flute , sax ) and Patrik Lechner (electronics and visuals.) Dense and imaginative music produced by the magical interplay between the musicians, sound and image. An effect perfectly captured through audio (CD) and video (DVD). ~ rudirecords.com

BAHAMA SOUL CLUB - THE CUBAN TAPES

Not really the Bahama sounds you'd guess from the group's name, nor the Cuban ones in the title – but a really cool combination of a range of older musical elements, re-forged into a new sort of 21st Century groove! The record's got the feel of some of the best playful projects on Irma Records from years back – a blend of live instrumentation and programmed bits, plus some occasional samples that help flesh out the sound with a nice degree of depth. Keyboards – piano, organ, and electric piano – really make the live bits sparkle – and titles include "Broken Piano", "Cuervo Gold", "Tiki Suite", "Moaners", "I Warned You Baby", "Grinning In Your Face", and "That's What We Need". ~ Dusty Groove

ANGELIQUE KIDJO'S "EVE" DEBUTS AT #1 ON WORLD MUSIC CHARTS

Angelique Kidjo, the Benin born, Grammy Award-winning singer/songwriter is celebrating her #1 chart position worldwide for the release of her extraordinary new album Eve, a vibrant collection of songs dedicated to the power of African womanhood, particularly those women she grew up with in her native Benin, which was released this week on 429 Records. Eve hit #1 on the World Music charts around the world in markets including the U.S., UK, Canada and Germany. The album has garnered a staggering amount of press, including an interview on NPR's "All Things Considered" which aired this past weekend (link below), an NPR "First Listen" album stream, interviews in the Wall Street Journal, The Guardian, The Daily Mail, Sunday Times (UK), New York Times and many more. In addition, Angelique will embark on a tour of the United States beginning in February. Angelique Kidjo's Eve was made available worldwide on 429 Records January 28th.

  

Says Kidjo: "The response to Eve has been so wonderful. It reinforces my belief that it is time now for Africa and especially for African women to shine!" Angelique Kidjo is currently promoting the release of her autobiography, Spirit Rising: My Life, My Music, available now through Harper Collins.

Eve track listing:

M'Baamba (Kenyan Song) / Shango Wa / Eva (featuring ASA) / Interlude: Agbade / Bomba (featuring Rostam Batmanglij of Vampire Weekend) / Hello (featuring Trio Teriba) / Blewu / Kamoushou / Kulumbu (featuring Dr. John) / Interlude: Kletedjan / Ebile (featuring Kronos Quartet) / Awalole (featuring the Orchestre Philharmonique du Luxembourg) / Bana (featuring Yvonne Kidjo) / Orisha / Interlude: Wayi / Coari

Upcoming U.S. Tour Dates:

Feb 5 / Durham, NC /  Hayti Heritage Center

Feb7 / Atlanta, GA / Variety Playhouse

Feb 8 / Charlotte, NC / McGlohon Theatre at Spirit Square

Feb 9 / Charleston, WV / Mountain Stage, Creative Arts Center

Feb 11 / Chicago, IL / City Winery

Feb 13 / Oberlin, OH / Oberlin College-Finney Chapel

Feb 14 / Buffalo, NY / Buffalo State College PAC

Feb 15 / New York, NY / Town Hall

Feb 16 / Washington, DC / GWU Lisner Auditorium

Feb 18 / Philadelphia, PA / Prince Music Theatre

Feb 19 / Bethlehem, PA / Musikfest Cafe, Arts Center @ Steel Stacks

Feb 20 / Ridgefield, CT / The Ridgefield Playhouse

Feb 22 / Sherbrooke, Quebec / Theatre Granada

Feb 23 / Somerville, MA / Somerville Theater

NEW RELEASES: BENMONT TENCH - YOU SHOULD BE SO LUCKY; MALIA & BORIS BLANK - CONVERGENCE; TAKUYA KURODA - RISING SON

BENMONT TENCH - YOU SHOULD BE SO LUCKY 

Blue Note Records will release the debut solo album from Benmont Tench, You Should Be So Lucky, on February 18, 2014. Produced by legendary producer Glyn Johns, the album was recorded to tape at Sunset Sound in Los Angeles and features Tench handling lead vocals, piano and organs, joined by a team of collaborators including a core band of Don Was, Ethan Johns, Blake Mills and Jeremy Stacey and contributions by Ryan Adams, Gillian Welch & David Rawlings, Joel Jerome, Tom Petty and Ringo Starr. The vinyl edition was mastered from the original analog tapes and includes two extra tracks not available on the CD and digital versions of the album. ~ bluenote

MALIA / BORIS BLANK - CONVERGENCE

Convergence is the new album from Malia & Boris Blank, Convergence, is available now digitally. While Malia considers herself a spiritual Jazz and Blues singer she's decided to venture out by working with Boris Blank to create a sound she calls: Electronic Gospel ... it's spiritual and emotional... Tracks include: Embraceable Moon; Feel It Like You; Touching Ghosts; Claire Cadillac; Raising Venus; Fever; Shouldering Ashes; Mageticlies; Tears Run Dry; and Turner’s Ship.

TAKUYA KURODA - RISING SON

Ascendant trumpeter Takuya Kuroda makes his Blue Note debut with the February 18 release of Rising Son, produced by José James.  Kuroda, who is best known for his inspired presence in James' band, steps forth here to helm that remarkable band (keyboardist Kris Bowers, bassist Solomon Dorsey, drummer Nate Smith, trombonist Corey King) plus vocal contributions from James ("Everybody Loves The Sunshine") & a guest appearance from imaginative guitarist Lionel Loueke ("Afro Blues"). Listen to the track premiere of "Afro Blues" via The Revivalist. Rising Son is available for pre-order on Amazon.com. ~ bluenote

REVOLUTIONARY SNAKES ENSEMBLE - LIVE SNAKES

Boston-based saxophonist/composer Ken Field has drawn deeply from the wellspring of the New Orleans brass band tradition since forming his Revolutionary Snake Ensemble in 1990. Using the boisterous rhythms of that tradition as a launching pad for unbridled improvisations on both original and traditional material, the band has emerged as a singular force in the music. Their third CD, Live Snakes, set for March 11 release by Accurate Records, captures their distinctive sound in all its expressive glory.

Recorded in 2011 and 2013 in Boston, Brooklyn, and Manhattan, Live Snakes documents four editions of the highly mutable ensemble, with two sonically inventive remixes by Field thrown in for good measure. Adding to the deep pool of Boston talent that has sustained the RSE for more than two decades, Live Snakes features an extended family of players, including New York masters Matt Darriau (tenor sax and flute), Josh Roseman (trombone), and Kenny Wollesen (drums and percussion), and New Orleans tenor saxophone great Charles Neville.

  

A good deal of Live Snakes' emotional punch stems from the fact that Field's wife, the renowned filmmaker and animator Karen Aqua who often collaborated with the RSE, lost her battle against cancer just one week after the album's earliest session in 2011.

"The whole New Orleans concept of a jazz funeral, where it's very somber and moving at the beginning and then you break into celebratory uptempo grooves afterwards, really helped shape this album," Field says. "After playing in churches and at Karen's memorial it really brought home again that that's the script for how music should be. You're mourning and you're celebrating. The music encompasses these really conflicting emotions, joy and sadness at the same time."

The heart of Live Snakes is the aching dirge "For Karen," a stunning group improvisation from the 2011 session at Brooklyn's 58 Northsix Media Labs. The lamentation segues into a lugubrious rendition of the spiritual "I'll Fly Away" recorded by a full eight-piece band two years later at Cambridge's Regattabar, a performance that ends uptempo as a high-stepping celebration. The entire album's sequencing follows this kind of emotional logic, imbuing Live Snakes with the feel of a cathartic odyssey.

Marked by bawdy humor, seat-of-the-pants arrangements, and a love of unabashedly beautiful melodies, the band is equally effective interpreting hymns, like "Rock of Ages," and jazz standards, such as "Caravan." Field closes the album with an atmospheric remix of "Cassandra 4," a tune originally commissioned by Bridgeman/Packer Dance, and a newly constructed piece "Breakdown Part One" that can best be described as Miles Runs the Voodoo Down to Basin Street. In a typically Fieldian move, he turns a live album into an opportunity for further investigation into form and texture.

"I'm a firm believer in experimentation: I don't like doing the same thing twice or repeating what other people have done," Field says. "But at the same time I like the idea of maintaining some continuity with what listeners expect, so when we're rhythmically complex sometimes we'll be harmonically simpler. I play a melodic instrument, so we're always going to be focusing on melodically based music."

The band's acclaimed debut album, 2003's Year of the Snake (Innova Recordings), brought national attention. The following year the RSE began playing at Mardi Gras and has regularly marched with the all-women Krewe of Muses, an experience that "legitimized the band to me," Field says.

With its second album, 2008's Forked Tongue (Cuneiform), the RSE continued to expand its already far-flung repertoire, ranging from hymns and spirituals to traditional New Orleans parade anthems and tunes by everyone from Billy Idol to Ornette Coleman.

 Ken Field In addition to his work with RSE, Ken Field (left) continues to perform and record with Birdsongs of Mesozoic, a new music/chamber rock ensemble that spun off from the storied band Mission of Burma. He also maintains a busy solo career as a player and composer with five solo releases, including Subterranea (O.O. Discs), Pictures of Motion (sFz), Tokyo in F (Sublingual), Under the Skin (Innova), and Sensorium: Music for Dance & Film (Innova). Field has written scores for animation, film, modern dance, and television, including music for Sesame Street.

Founded in 1990 as an improvisational horn and percussion group for a pagan women's ritual celebration and evolving for more than 20 years to its present-day incarnation as costumed funk/street beat improvisational brass band, the Revolutionary Snake Ensemble has continued to captivate audiences. The RSE was nominated as Jazz Act of the Year in the New England Music Awards (winners to be announced 2/22) and will be marking the release of Live Snakes with a 3/4 performance at the Regattabar in Cambridge, MA. Also scheduled is a 3/22 appearance at Barbes in Brooklyn, as well as a return engagement at the Kennedy Center in Washington, DC on 3/23.

revolutionarysnakeensemble.org

kenfield.org

accuraterecords.com

allegro-music.com

OFFIONG BASSEY SETS OFFICIAL RELEASE FOR DEBUT ALBUM

On her own - without the muscle of a promotional or publicity campaign - Nigerian-American singer-songwriter-poet Offiong Bassey let her captivating self-titled debut album trickle out earlier this year.

Last month, the Boston Globe ran a full-page color feature that helped Bassey sellout her first concert at her hometown’s famed Scullers Jazz Club. The Boston Strong Nigerian’s Moonlit Media Group label will give the cross-cultural cornucopia of Afro-Peruvian, Nigerian Ekombi, R&B, jazz, gospel, funk, soul and hip hop songs that she wrote and co-produced an official release date – February 4th – that will be boosted by a marketing campaign.      

Bassey, whose name means “God’s moon,” shines by writing lyrical poetry of inspiration, social commentary and empowerment set to rousing rhythms, lilting harmonies and soulful grooves. Alternately singing or rapping in English, her native Efik or Nigerian Pidgin English, the topical storyteller sometimes utilizes the pageantry of festive global beats to transcend language barriers. Bassey was joined in the studio by producer Blethy Emmanuel Tiegnon of the Ivory Coast along with an international cast of musicians and percussionists.

As seen in the first video from the disc, “Edidem,” a song inspired by a traditional Efik prayer as passed down by her grandmother, Bassey not only incorporates authentic cultural elements from her Nigerian-born parents and grandparents into her colorfully textured aural mosaics, she also invites family into the experience. Her brother, percussionist Eniang Bassey, performs on one track on the album.

The radio campaign to support “Offiong Bassey” will be spearheaded by a two-prong attack. “Legitimate Child” is a spiritually-inspired affirmation surfing an invigorating Calypso workout aided by Calabar-style Nigerian drumming while bombastic Afrobeats, blaring horns and funk guitar riffs spark the celebratory “Conclusion.”            

“The album was inspired by my varied experiences with people and the ways in which we respond to triumph, challenge and nuance as we move through the human experience. As such, whether utilizing African, soul or gospel undertones, I write music that speaks to the spirit. I decided to self-title the album because it is such a pure and holistic representation of who I am as an individual and who I am as an artist,” said Bassey, who elaborates in detail on the origins and meanings of each song in her EPK (http://tinyurl.com/lslmcgs).

Presently booking a slate of first quarter 2014 concert dates to perform with her nine-piece band, Bassey, a Yale graduate, plans to record an unplugged session in the spring comprised of new material and cuts from “Offiong Bassey.” For more information, please visit www.OffiongBassey.com.

The songs contained on “Offiong Bassey” are:

“Legitimate Child”

“Edidem”

“Weatherman”

“Full Moon”

“Mistaking Chivalry for Chauvinism”

“Conclusion”

“Chasing After the Wind”

“Owo Iba Me Ita”

“Wild Oats”

“It Might Be Hard”

“Efik Praise Medley”

“Edidem (Traditional Mix)”

NEW RELEASES: PHILLIP HAMILTON - HEALING WATERS; PLUNKY & ONENESS - NEVER TOO LATE; JOHN ZORN - THE HERMETIC ORGAN

PHILLIP HAMILTON - HEALING WATERS

Philip Hamilton is one of the most captivating voices in music today. The New York Times calls this inventive vocalist and composer “contemporary and cutting-edge” for his explosive recordings and performances. Hamilton has a voice that displays a combination of majesty, power and intimacy like Nina Simone and Bob Marley. His music is a funky layered blend of rock, jazz and blues with global grooves and sensibilities that is reminiscent of Massive Attack, Sting and Stevie Wonder. Hamilton has brought his distinctive sound to many of the world’s leading concert halls and music festivals, including New York’s Lincoln Center, Indonesia’s Java Jazz festival, the Edinburgh Festival Fringe, Joy of Jazz Festival in Johannesburg, the Montreal International Jazz Festival, Kaunas Jazz in Lithuania and the Telluride Bluegrass Festival.  He has performed and recorded with many notable artists from various genres including Jazz (Mike Stern, the Pat Metheny Group, Ronny Jordan), World Music (Gilberto Gil, Ivan Lins, Sara Tavares), Rock (Donald Fagan/Steely Dan, Vernon Reid), Dance (Alvin Ailey American Dance Theater, Ballet Hispanico) Classical (John Cage, Boston Symphony Orchestra, Tobias String Quartet) and the Jam Band scene (John Medeski, Billy Martin, Medeski, Martin & Wood). He has also been the featured vocalist for several prominent jazz fusion groups throughout his career including Spyro Gyra, Steps Ahead, Special EFX, Sixun and Full Circle.

PLUNKY & ONENESS - NEVER TOO LATE

One of the deeper albums we've heard from Plunky in awhile – a set that's still got some of the smoother jazzy styles of his past decade or two, but one that also seems to offer a lot of input from a younger, fresher generation too! The "Oneness" on the cover is well-put – as the whole thing almost seems to be a Neo Soul reworking of his older Oneness Of Juju material from the late 70s/early 80s – that point when Plunky took his spiritual jazz modes, and forged them with a bit more of a dancefloor groove – a style that echoes all the older Oneness elements, but with a more contemporary vibe overall. Titles include the original numbers "Be About The Future", "Never Too Late", "A New Fantasy", "Space Jungle Love", "Sax Afrique", "Tableau Noir", and "Tribal Vibe". ~ Dusty Groove

JOHN ZORN - THE HERMETIC ORGAN: ST. PAUL'S CHAPEL

John Zorn really takes off here with some amazing sounds on the organ of St Paul's Chapel – an exploration of the large pipe organ variant of the instrument, really pushed to the limits in a way that recalls Zorn's early experiments on alto sax! Despite the "hermetic" in the title, which might make you think of some private proceedings, or stowaway sounds – the album's got this very spacious, room-widening sort of feel – as Zorn really reaches forth with new sonic possibilities and very dark tones – of the sort that hardly befit the usual uses of a chapel of that nature. There's lots of very deep, bass-heavy notes in the mix – and titles include "Ascent Into the Maelstrom", "Prayer", "In Gloria Dei", "Battle Of The Angels", and "Holy Spirit" – all improvised by Zorn. ~ Dusty Groove

NEW RELEASES - DUSTY SPRINGFIELD - DUSTY HEARD THEM HERE FIRST; SHARON RIDLEY - FULL MOON; KENT'S CELLAR OF SOUL VOL 3

DUSTY SPRINGFIELD - DUSTY HEARD THEM HERE FIRST

The roots of Dusty Springfield – all the great American soul songs that inspired her own UK grooves over the years – served up here in the original recordings that often pack a lot more punch than Dusty's later versions! Most of the set stands strongly as a collection of great 60s soul singles from the US – with just a few later numbers mixed in towards the end – and together, the cuts really illuminate the roots that Dusty Springfield drew from the American scene, and show the singer as one with a much deeper commitment to soul music than some of her contemporaries. And while we'll be the first to admit that we're huge Dusty Springfield fans, and really love her own records – we're also pleased as punch to have a set like this to enjoy! Titles include "Nothing In the World" by Marie Knight, "Packin Up" by Margie Hendrix, "Needle In A Haystack" by The Velvelettes, "Girls It Ain't Easy" by The Honey Cone, "No Stranger Am I" by Norma Tanega, "That Old Sweet Roll" by The City, "Every Ounce Of Strength" by Carla Thomas, "You Can Do It" by Evie Sands, "Crumbs Off The Table" by The Glass House, "Am I The Same Girl" by Barbara Acklin, and "Doodlin" by Baby Washington. ~ Dusty Groove

SHARON RIDLEY - FULL MOON

One of the few full albums ever cut by the great Sharon Ridley – a hell of a great singer from the east coast scene, and one with the fullness of the best club divas of the time – but an approach that goes way way deeper overall! There's a sexy slink to the album that echoes Ridley's previous gem for Sussex – but the style's a bit more modern soul, with some sweet arrangements co-penned by Jerry Peters – who works with Sharon here to really push the envelope of her sound! Sharon sings with a bit of jazz at times – in ways that almost echo the best work of Marlena Shaw – and the set really shows a presence that goes way beyond most of Ridley's contemporaries. Titles include "Changin", "Just You and Me", "Full Moon", "Guess I'm Gonna Have to Say Goodbye", and "Nothing Else Means More To Me Than Our Love" – and a remake of "You Beat Me To The Punch". Great package – with heavy book-like cover, new liner notes, and bonus tracks that include "Changin (edit)" and "Changin (hot tracks rmx)".  ~ Dusty Groove

KENT'S CELLAR OF SOUL VOLUME 3 (VARIOUS ARTISTS)

Hardly the kind of music you'd want to keep in the basement – as the set's overflowing with classic soul from the 60s – especially the kind of underground nuggets we love so much! If we had to pick a style, we might say that the collection's heavy on Northern Soul rompers from the American indie scene way beyond Detroit – but there's also lots of other tasty flavors on here too, including some special west coast numbers and early funk tracks that really give the whole thing a great sense of variety – while still keeping to the upbeat, lively rhythms that make the set so great! Every track's a winner – and although most of these tracks never charted at the time, most have gone onto win big fame through constant circulation between DJs and collectors over the past few decades. Titles include "Sock It To Em Soul Brother" by Bill Moss, "The Horse" by Cliff Nobles, "Sign On The Dotted Line" by Gene Latter, "Peaches N Cream" by The Ikettes, "Tramp" by Lowell Fulsom, "I'll Never Forget You" by Marke & Chris Jackson, "Take It Baby" by The Showmen, "Ooh Wee Baby I Love You" by Fred Jackson, "Giving Up" by The Ad Libs, "With This Ring" by The Platters, "One Eye Open" by Maskman & The Agents, "Baby Please Come Back Home" by JJ Barnes, "Gotta Give Her Love" by The Volumes, and "Believe In Me Baby (part 1)" by Jesse James & The Dynamic Four. ~ Dusty Groove

METRONOMY - LOVE LETTERS

On January 28th, Metronomy will release their superb new single, "Love Letters", from their upcoming album of the same name. Generating genuine excitement already, the new single was BBC Radio 1 DJ Zane Lowe's 'Hottest record in the world' last night and will be played on Fearne Cotton's Radio 1 show this morning. Metronomy's previous single indicating their return, "I'm Aquarius", received critical acclaim and was BBC 6Music's most played track in December. The band were one of the first to be announced to play Reading & Leeds festival this year and are due to headline Field Day festival this June. Last night, Mount confirmed that the Oscar winning Director, Michel Gondry, will be directing the video for "Love Letters".

Over the past 18 months, singer and producer Joe Mount has been listening to a lot of classic 60s records -- seminal funk and soul artists like Sly and The Family Stone, Love, The Byrds, The Zombies were being discovered and loved, and this is evident on this huge, larger-than-life single 'Love Letters' which gives more than a nod to sounds of the 70s era -- a gigantic chorus using classic 70s four-to-the-floor rhythm, it's their biggest single to date.

Two years have passed since the public heard any new music, and now Joseph Mount is back. His 2011 album The English Riviera (a love note to England's south coast where Joe grew up) was lauded by the critics, evolving into a sleeper hit that elevated Metronomy to the upper echelons of the UK's musical elite. Joe Mount quietly became a creative force to be reckoned with around the world and one of the must-see live acts with a legion of devoted fans. Subsequently, The English Riviera was Mercury prize nominated, selling a quarter of a million records worldwide and Metronomy found themselves on front covers, playing huge sell out shows globally and a one off show at London's prestigious Royal Albert Hall.

Fast forward to the present day, Love Letters, which is out on March 11th (Because Music / Elektra Records) is Metronomy's masterpiece. Not losing any of the glowing warmth and ear worm melodies that makes Metronomy's sound so distinct, Love Letters is more developed, further evolved -- Joe Mount excels in his lyrics and song writing delivering what sounds like a truly classic record. Pre-order the album now via iTunes.

Metronomy will play a special SOLD OUT show at Music Hall of Williamsburg in New York City on February 5th presented by Brooklyn Vegan.

Metronomy is the sole creation of singer, writer and producer and expert musician Joseph Mount. His band are: Oscar Cash (keys, sax, vox), Anna Prior (drums, vox), Gbenga Adelekan (vox, guitar).

For more, please visit:

www.metronomy.co.uk

www.facebook.com/metronomy

https://twitter.com/metronomy

www.youtube.com/metronomyofficial

http://press.because.tv/metronomy/en

ARIZONA JAZZ FESTIVAL ADDS GRAMMY WINNERS AND R&B LEGENDS TO HEADLINERS LIST

Patti LaBelle

With thousands of old school and new school R&B and contemporary jazz fans from across the U.S. flocking to Phoenix twice a year for the Arizona Jazz Festival, promoter BTWconcerts.com will present a captivating crop of Grammy winners, hall of fame legends and current chart-toppers at the spring edition taking place March 7-9, 2014 at the luxurious Arizona Grand Resort & Spa. Tickets are available now as three-day or single-day concerts through the Arizona Jazz Festival website (http://ArizonaJazzFestival.com) or by calling 602.244.8444 with prices ranging from $50-$750.

Maysa

Grammy winner Ne-Yo serves as opening night headliner in what promises to be an elaborately choreographed production showcasing R&B-pop hits from the singer-songwriter-producer accompanied by a splashy army of dancers and backing musicians. Opening the evening, eight-time Grammy nominated singer-songwriter Ledisi offers a smooth blend of sophisticated soul brushed with elements of jazz.

The Saturday schedule gets underway with a pair of soul-jazz saxophonists, Marion Meadows and Paul Taylor, performing as a dynamic duo. Hitmen Euge Groove, Peter White and Rick Braun unite as Jazz Attack for an energetic set from the instrumental fan favorites. In advance of a national concert trek, a unified collective of R&B vocalists and contemporary jazz musicians will debut as the

Norman Brown

Hypnotic Groove Tour. Crooner Jeffrey Osborne, Grammy winner Faith Evans, Grammy nominee Maysa, singer-songwriter Rahsaan Patterson, neo soul trombonist Jeff Bradshaw and saxmen Eric Darius, Michael Lington and Dominic Amato will mix and match in a variety of intriguing combos. Next, Motown legend and Rock and Roll Hall of Fame inductee Smokey Robinson will cruise through a collection of his sparkling-eyed classics. Considered the Godmother of Soul, Grammy winner Patti LaBelle will unleash her force of nature voice into the desert night to close the bill.

Ron & Ernie Isley

Opening the final day is Michelle Williams, a Grammy winner as a member of Destiny’s Child who has also achieved award-winning solo success as a gospel and R&B vocalist and on Broadway as an actress. Leela James, a gritty-voiced new school singer heavily influenced by iconic old school vocalists, will belt out a soul-stirring set of R&B, hip hop and blues joints. An international trio composed of Grammy-winning guitarist Norman Brown, South African singer-songwriter-guitarist Jonathan Butler and Swiss-born pianist Alex Bugnon infuse global sounds into a multicultural mosaic of jazz, R&B and pop. The Empress of Soul, seven-time Grammy winner Gladys Knight brings an air of class to the festival along with decades of crossover hits. Grammy-nominated chart-topper Dave Koz & Friends Summer Horns with Mindi Abair, Richard Elliot and Gerald Albright conjure fun memories as the all-star sax quartet rips through horn-powered hits from the ‘70s and ‘80s packed with funk, R&B and jazz. In the festival’s closing spot, Rock and Roll Hall of Famers and 2014 Grammy Lifetime Achievement Award winners Ronald Isley and Ernie Isley aka The Isley Brothers bring a wide-ranging songbook of soul, R&B, funk, rock and street corner doo-wop hits that dates back to 1959.                   

A host of the festival’s artists will participate in the All-Star Jam after the Saturday program concludes and some will perform at The Sunday Brunch with seating beginning for the buffet and inspirational concert at 9 AM. Separate tickets are required for these events and are available for $25 and $39.50 respectively.

Taking place in March and October, the Arizona Jazz Festival is a music and lifestyle experience held at a plush first-class resort attracting a diverse adult audience from all over the nation. Attendees often make a vacation out of it by immersing themselves in the music while taking advantage of the Arizona Grand Resort & Spa’s extensive offerings such as the all-suite hotel’s 18-hole golf course, water park, athletic club, full-service spa and salon, and six on-site restaurants. Ticket and hotel packages are available at www.ArizonaJazzFestival.com.