NHOJJ - MADE TO LOVE HIM: CELEBRATING LOVE

Award winning Caribbean singer Nhojj pushes the envelope with his upcoming February 14 CD release “Made to Love Him - Celebrating Love.” For his 5th studio album Nhojj, performs same-sex renditions of classic love songs spanning 10 decades.

3x OUTMusic Award winner Nhojj releases “Made to Love Him: Celebrating Love” – a compilation of 12 classic love songs spanning 10 decades.  Set for a Valentines Day release, with pre-orders available now on iTunes, the album features standards written by such greats as George and Ira Gershwin, Luther Vandross, Stevie Wonder, Beyonce, Harold Arlen and E.Y Harburg, Holland-Dozier-Holland, Billy Joel, India.Arie and Nhojj himself.

 

“I’ve always loved Stevie Wonder’s classic,” says Nhojj about the inspiration for the title.  “It speaks of childhood stirrings, recognizing true love, and standing up to family objections.  This is my story, and the story of so many LGBTQ people around the world.  I began to hear the lyrics with male pronouns and I could feel old wounds healing - what a fresh way to demonstrate the normality of my sexuality.”  

Nhojj has been expressing his sexuality through his music for almost a decade. His music video “Love” depicts the romance of two black men, and “Amazing Grace” depicts an interracial male couple exchanging marriage vows.  Singles like “Bromance” and the #1 OutVoice songs “He & Him”  and “Adam & Steve” all honor the love "that dare not speak its name".   His work has been featured on LOGO, Advocate.com and Centric TV’s Soul Sessions. But Nhojj proclaims, “I feel this is my best album yet, I took chances I haven’t taken before and I’m proud of the result.” This new album is definitely a bold move from an artist who has made a musical career of following his internal compass into unchartered waters.   

Preliminary work for “Made to Love Him” started in the spring of 2012, after Nhojj performed at the first Out & Proud First Saturday at the Brooklyn Museum.  Nhojj and executive producer Ron San Marchi compiled a long list of songs and started the almost impossible process of elimination that would result in the 12 recorded tracks. Recording took place in New York City and Arlington, Virginia over 3 weeks during the summer of 2013. 

“We’re bombarded with messages of tell us we are not normal,” the soft spoken singer explains.  “I need ways to combat these sometimes subtle, but no less damaging attacks on my identity.  Music protects my soul.  My music is my own personal revolution.  Songs have always been a powerful champion for change:  Enslaved Africans had negro spirituals, the civil rights movement had freedom songs, and the anti-war movement had protest songs.”

“Made To Love Him” smoothly blends Jazz, Rhythm, Blues, and Reggae and boasts a diverse array of talent:  Swiss Chris on drums (John Legend), Lonnie Plaxico on bass (Cassandra Wilson), NAACP award nominated Onaje Allen Gumbs on piano, Tona Brown (first trans woman to perform for a sitting President) and Aida String Quartet on strings, out lesbian Yael Acher on flute, and longtime musician Marcelo Cardozo on guitar.  The album is co-produced with John F. Adams, on keyboards (Amy Winehouse, Keith Sweat), and mastered by Robert Honablue (Roberta Flack, Miles Davis, Barbara Streisand).  Recording and rehearsals were filmed by Emmy nominated Michael Burlingame for an upcoming documentary.

“I am very grateful to be living in a time when “Made To Love Him” could be released and even celebrated”  Nhojj explains, “In addition to expressing my truth, I wanted this album to pay tribute to the artists who lived in a society that was less accepting - artists like Johnny Mathis.  I sing out for him and all others who came before me.”

Tracklist:

1. Over The Rainbow

2. Nature Boy

3. He Heals Me

4. He’s Got a Way

5. How Sweet It Is

6. Someone to Watch Over Me

7. Waiting for You

8. So Amazing

9. Twelfth of Never

10. Love on Top

11. I Was Made to Love Him

12. Our Love Is Here to Stay

NEW RELEASES: RUBEN STUDDARD - UNCONDITIONAL LOVE; JOHN BUTLER TRIO - FLESH & BLOOD; CHARISSE - THE GOOD LIFE

RUBEN STUDDARD - UNCONDITIONAL LOVE

Unconditional Love is filled with some of the most romantic songs Studdard has ever recorded including "My Love" by Paul McCartney and Wings, The Carpenters classic, "They Long To Be (Close To You)" which includes Stevie Wonder on harmonica and Bonnie Raitt's poignant, "I Can't Make You Love Me". Additional tracks include a steamy version of Teddy Pendegrass' "Close The Door" which was produced by singer Eric Benet who also produced Studdard's breathtaking version of the Boz Scaggs hit "Love, Look What You've Done To Me." The album also contains a soaring duet with Lalah Hathaway of "If This World Were Mine." You can catch Ruben's TV Appearances as he will appear on Kelly and Michael on Monday, February 10, and on The Today Show on Friday, February 14 (10am hour)."Silky, classy, sexy, romantic -bring you to your knees - this is how I describe the incredible voice of Ruben Studdard. He feels every note and every word he sings. He is a man with an extraordinary voice..." - David Foster

JOHN BUTLER TRIO - FLESH & BLOOD

The sixth long player from the rootsy Australian trio (and first outing in four years) finds bandleader John Butler occupying a more introspective and nostalgic headspace than he has on previous outings. Butler has always been a cerebral gent, although one prone to crafting stadium sized activist anthems like "Earthbound Child" and "Fire in the Sky," but there's a more settled vibe to Flesh & Blood that suggests a possible sea change. Opener "Spring to Come," which begins with the lyric "Lost my love, lost my light" and concludes with the line "After a lonely long night comes the sun," sets the mood, offering up a solid foundation of fluid fingerpicking and circular, warm weather rhythms and melodies for Butler to opine over. It's a tone and sentiment that occurs frequently throughout the album's surprisingly concise (for a jam band) fifty-two minute runtime, and it serves the trio well, especially on more contemplative cuts like "Bullet Girl," "Only One," and the lovely and languid Ainslie Wills-assisted "Young and Wild." To be fair, JBT fans looking for bolder, more familiar strokes have more than a few traditional roots-rock offerings to sift through, some of them solid (the dark and immersive "Cold Wind" and the fun, if not a tad derivative "Livin' in the City") and some of them not (the turgid, reggae/blues-rock epic "Blame it on Me" and its throwaway, whitebread counterpart "Devil Woman"), but it's in the more refined, self reflective moments where Butler, bassist Byron Luiters, and drummer Nicky Bomba really come alive. ~ James Christopher Monger / cduniverse

CHARISSE - THE GOOD LIFE

Charisse is best known for writing her deeply romantic filled ballads.This CD is slightly different where as her romantic ballads now have a more upbeat flavor to them. Continuing with her smooth writing style the songs are fun, mid tempo with hints of Contemporary Jazz,R&B and Pop.Charisse has definitely expanded her songwriting skills by not only writing, and performing all of the songs, but by playing every instrument that you hear. This Cd is a feel good compilation of timeless music for everybody. If you love good music, you will love this CD. Track include: Rhythm of Life; Love How You Love Me; When I'm With You; Rain' The Good Life; Taking My Time; Ooh Ooh; This Silence; Maybe This Time; Reflection; Dance With Me; and  This Silence (Instrumental Bonus Track). ~ cduniverse                 

                                 

NEW RELEASES: MASS PRODUCTION - WELCOME TO OUR WORLD / BELIEVE; CANVAS DO BRASIL; LOOSE JOINTS - POP YOUR FUNK

MASS PRODUCTION - WELCOME TO OUR WORLD / BELIEVE

A pair of gems from this great 70s funk ensemble! The group may be named Mass Production, but on Welcome To Our World, their sound is anything but – a really special fusion of key instrumental talents and vocal elements – all brought together in one of the tightest ensemble funk grooves of the time! Mass Production draw a bit from an Earth Wind & Fire tradition – especially some spiritual undercurrents to hold themselves together – but they've also got some of the fuller funk elements of the best dancefloor combos of the time – like Fatback, Cameo, or Con Funk Shun – all of whom would be a great comparison with this smoking debut. The instrumentation is razor-sharp, and never dips into any disco cliches at all – and at times, the guitars alone leave us breathless – as they chug forcefully over the rhythms, and really propel the tunes into the skies. Two of the best groovers include "I Like To Dance" and "Fun In The Sun" – and other titles include "Magic", "Wine-flow Disco", "Our Thought (To The World)", and "Just A Song". Believe is a massive stormer from Mass Production – a set that has the group's full, funky sound hitting right on the money for most of the cuts – then stepping back to let in a few mellower moments too! These guys were definitely at the top of their game at this point – moving in territory that rivals the tightness of other big funk groups, like Brass Construction or T-Connection – but with some occasional deeper soul sides that show up nicely on the slower cuts. Titles include the sweet moogy number "Cosmic Lust", which we really love – plus "Free & Happy", "I Believe In Music", "We Love You", "Superlative" and "People Get Up". ~ Dusty Groove

CANVAS DO BRASIL (VARIOUS ARTISTS)

An insanely big collection of tracks from Brazil – a 4CD collection that features a wonderful run of tracks from the key bossa years of the 60s to the explosion of MPB, samba soul, and other styles in the 70s! The format's is very wide-ranging – no real structure or order to the tracks – but we can say that the 81-track collection is filled with grooves we've loved for years, including a fair bit of the kinds of Brazilian music that first got us started digging many years ago! If you're new to Brazilian music, the set's a great place to start – especially if you want to get past the hits – and if you already have some bossa or samba at home, there's probably other cuts here you haven't heard at all. Titles include "Glorioso Santo Antonio" by Antonio Carlos E Jocafi, "Vento Bravo" by Edu Lobo, "Comanche" by Jorge Ben, "Vatapa" by Gal Costa, "Melo Da Cuica" by Azymuth, "Garra" by Marcos Valle, "Me Libertei" by Toni Tornado, "Nem Vem Que Nao Tem" by Wilson Simonal, "Escadas Da Penha" by Joao Bosco, "Fibra" by Paulo Moura, "Mas Que Nada" by Elza Soares, "Primitivo" by Milton Banana Trio, "Feminina" by Joyce, "Preta Pretinha" by Novos Baianos, "Black Soul Brothers" by Miguel De Deus, "Reza Brava" by Piri, "Roda" by Elis Regina, "Na Baixa Do Sapateiro" by Band Black Rio, and "Samblues" by Sambalanco Trio. ~ Dusty Groove.

LOOSE JOINTS - POP YOUR FUNK

The complete West End singles of Loose Joints – one of the funkiest projects to ever come from the legendary Arthur Russell – and a set of tracks that also features a fair bit of work from the funky Ingram Family too! The grooves are definitely some of the most offbeat to ever come from the mostly-disco West End label – and do a great job of crossing the space between the NYC downtown art world and club worlds of the early 80s – thanks to Russell's inventive leadership, and his wicked sounds on electric cello and keyboards too! There was never a full album issued under the Loose Joints name, but this set nicely corrects that fact by bringing together a host of different singles and lots of great remixes too – most of which get really weird and play with the original tracks a lot. Titles include "Is It All Over My Face (orig 12" mix)", "Is It All Over My Face (orig 12" Larry Levan female)", "Is It All Over My Face (Masters At Work rmx)", "Is It All Over My Face (unreleased orig full length)", "Pop Your Funk (orig 12")", "Pop Your Funk (orig single voc)", "Tell You (orig 12")", "Tell You (orig 12" new shoes edit)", and "Tell You (orig 12" inst)". ~ Dusty Groove

NEW RELEASES: ERIC ROBERSON - B-SIDES, FEATURES & HEARTACHES; JAMES BRANDON LEWIS - DIVINE TRAVELS; STEVE FIDYK - HEADS UP!

ERIC ROBERSON - B-SIDES, FEATURES & HEARTACHES

A range of special projects, guest appearances, and b-sides from Eric Roberson – and music that's mostly still better than the top-shelf recordings from most other artists! Eric's a singer we've loved for years, no matter what the setting – and he's got a richly collaborative spirit that's had him working with lots of the best of the underground for the past decade or so – lending his sublime vocals, songwriting skills, and even production talents to a range of really wonderful projects. This overdue collection pulls together all the best of those moments, and throws in a few special Roberson recordings too – all to make for one hell of a great record that's bursting with some of the best ideas going in contemporary soul. Titles include "Touch" with Collette, "Butterfly Girl" with DJ Spinna, "Let Me Know" with Angela Johnson, "Games" with M-Swift, "This Could Be The Night" with Zo, "She Was Fly" by Full Crate & Mar, "Far Away Girl" by Aaron Camper, "Fortune Teller" by DJ Kemit, "Deja Vous" with Les Nubians, and "Postcards From The Edge" with Wes Felton – plus the tracks "Fantasy" and "Anymore". ~ Dusty Groove.

JAMES BRANDON LEWIS - DIVINE TRAVELS

A wonderful showcase for the tenor talents of James Brandon Lewis – a player who's just starting out on what will most likely be a rich career – but who's already able here to match his energy with the great William Parker on bass and Gerald Cleaver on drums! The album's got this loose trio format that really hearkens back not just to older avant eras – especially the New York scene of the 60s and 70s – but also the Sonny Rollins trio mode of the late 50s, heard most famously on his Blue Note recordings with Wilbur Ware. Like Rollins, Lewis has a great way of respecting the bassist in this format – often working with Parker's energy to find this deep soul which serves as a platform to then step out and soar – relatively free at times, but never too far outside to lose the sense of spirituality that drives the record. At some level, the set's almost got a vibe that's like the best David S Ware/William Parker collaborations – and titles include "Tradition", "Desensitized", "Divine", "A Gathering Of Souls", "Enclosed", and "No Wooden Nickels". ~ Dusty Groove

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STEVE FIDYK - HEADS UP!

Drummer Steve Fidyk is a hell of a sharp talent on the kit – and he's working here with a mighty tight group that features Terell Stafford on trumpet and Tim Warfield on tenor! Fidyk's got a way of propelling things forcefully one minute, then stepping back and providing this carefully compelling rhythm the next – a quality that really makes him a well-balanced player, but also one with an inherently rhythmic focus even in the mellower moments. All players really seem to catch the fire of his leadership – including guitarist Shawn Purcell, who rings out with some beautiful tones at times, in a group that also features Regan Brough on bass. Titles include the originals "Untimely", "Might This Be Bop", "TTJ", and "The Bender" – plus versions of "Make Someone Happy" and "Love For Sale". ~ Dusty Groove

NOAH BAERMAN - RIPPLES

For some of the most committed artists, music is a pursuit of transcendence, and thus an end to itself. But for composer/pianist Noah Baerman, that pursuit is not only transcendence, but a means to societal and humanistic advancement. Ripples, his upcoming Lemel Music release, is a stirring reflection upon some of the important issues that he confronts as an artist, educator, father and humanitarian.

Ripples is the first release produced in conjunction with Resonant Motion, Inc. (RMI), a not-for-profit organization founded in 2012 by Baerman and some equally committed individuals. Viewing music as a healing force and artistic expression as a means to both expand awareness and promote action, RMI seeks to inspire, not preach; to uplift, not depress. Ripples is a perfect example of that outlook. Soulfulness and musicality are front and center on this remarkable album, Noah's ninth as a leader.

"To me, 'soul' can have multiple definitions - a trait of music rooted in the African-American continuum, a quality of genuine, uninhibited emotion, or basic human depth and goodness," says Baerman. "I strive to make every note I play or compose soulful by all of these definitions."

The music is presented by two distinct ensembles. The Jazz Samaritan Alliance, comprised of Baerman, vibraphonist Chris Dingman, saxophonists Jimmy Greene and Kris Allen, and drummer Johnathan Blake, was formed with similar goals as those of RMI. They perform on three pieces here joined by special guests Linda Oh on bass for two tracks, and Kenny Barron on piano for one tune.

Four other pieces feature Baerman's trio of 10 years - with bassist Henry Lugo and drummer Vinnie Sperrazza - augmented by a chamber ensemble of cellist Dave Eggar, violinists Meg Okura and Zach Brock, Erica Von Kleist on flutes and Benjamin Fingland on clarinet. They are also joined by a vocal choir of Claire Randall, Garth Taylor, Jessica Best and Erica Bryan on the opening track, "Time is Now" - a celebratory call-to-action. Fittingly the four vocalists who center this energetic and inspirational piece are all under 25, exhorting their peers to stand up and speak out for their future.

The chamber pieces all celebrate courageous ongoing battles against adversity and the power of the human spirit to overcome the challenges that are a fundamental part of life. "The Outer Circle" (dedicated to cancer survivor Karen Walson) is a beautiful ballad with a delightfully suspended structure, featuring a haunting cello solo by Eggar and a tender, melodic piano solo floating on a warm mist of swirling strings. This piece is part of a multi-media tribute called "Survivor Stories," the brainchild of photographer Carla Ten Eyck, and an RMI project in development.

Baerman previously recorded "The Healer" in a trio with Ron Carter and Ben Riley, expressing his ongoing struggles with the connective tissue disorder Ehlers-Danlos Syndrome (EDS). In the octet setting, the lovely melody, Baerman's lyrical but rhythmically insistent solo, and the trio's near-telepathic interplay are illuminated by the chamber ensemble like vivid stage lighting on a company of dancers.

The final chamber piece concludes the album - "Ripples" (for Margie) is a stunning paean to Baerman's aunt, Margie Pozefsky, who passed in 2012. Opening with a brief statement of filigree beauty, it becomes a rollicking, jubilant celebration of a life marked by continuous acts of kindness, creating a ripple effect of positive human experience. Noah's explosive McCoy Tyner-esque solo, brilliant ensemble composing, and highly emotional playing by the entire ensemble bring the piece - and the album - to a dramatic finale.

Three short preludes to the final piece are placed effectively among the earlier tracks. Immediately preceding is "Ripple: L'Amour Gagne (Love Wins)," a gorgeous hymnal chant by the choir a cappella, featuring Claire Randall's haunting solo voice. "Ripple: Persistence" is a duet for Baerman and alto saxophonist Allen. A sparkling pas de deux, they play off each other in powerful empathy and rapport, feeding and prodding each other on this smoldering item. "Ripple: Brotherhood" features Baerman on organ, with Greene on soprano and Blake's drums. Highly evocative, a bit reminiscent of early Weather Report, richly textured organ and shimmering cymbals surround the crying soprano.

Dingman's crystalline unaccompanied solo opens "Motherless," the first of three Jazz Samaritan performances. Adapting the melodic line of the spiritual, "Sometimes I Feel Like a Motherless Child," and buoyed by Baerman's gospel-ish organ, this extended piece moves between plaintive yearning, soulful grooving and boisterous swinging. Allen's passionate, unaccompanied alto plea introduces Greene's urgent, blistering tenor solo. And Baerman explores the hard bop and beyond organ vernacular forged by Don Patterson and Larry Young, culminating in his heartfelt and dulcet singing of the original spiritual. Reflecting Baerman's deep devotion to the cause of foster care and adoption (Baerman and his wife Kate Ten Eyck - the creator of the album's cover painting - are the adoptive parents of three grown children), "Motherless" depicts the issue with disarming emotional directness.

Another perspective on the same issue is at the core of "Lester," a story with an unfortunately tragic conclusion. But Baerman has created a highly emotional, stimulating and hope-filled tribute. "Lester" is a warmly textured, funkily-syncopated piece built on nasty suspended rhythms. Greene takes a fierce, gutty tenor solo, while guest and NEA Jazz Master Kenny Barron delivers the kind of vividly elegant solo that has made him a legend while stoking the piece throughout with driving block chords. Noah's organ provides an exciting, dervish-like pastiche and solos to a scintillating climax.

"Peeling the Onion," a multi-layered, ever-evolving composition in the soul jazz style is driven by Linda Oh's deeply grooved bass and features a Bobby Hutcherson-tinged vibes solo by Dingman and an edgy turn on slide guitar by Baerman. This piece is dedicated to Kate's aunt Dottie Ten Eyck, who is overcoming the adversity of incurable lung cancer by continuing her never-ending journey of love and self-reflection - one layer at a time.

Regardless of the inspiration and intent behind all of these original compositions, the results are precisely what an artist of Baerman's focus and intent seeks - profundity and transcendence. The music is dynamic, telling enthralling stories and in a most aesthetic and compelling manner.

"I feel a responsibility to use my music in service of the issues that matter to me, while those issues add an important layer of substance to the music itself. At this point I scarcely know how to separate my art from my commitment to love, understanding and healing," concludes Baerman. 

Upcoming Noah Baerman Tour Dates:

* March 13 / Jazz Gallery / New York, NY

** March 28 / Benefit Concert, First Congregational Church / Bristol, RI

** March 29 / The Side Door Jazz Club / Old Lyme, CT

*** March 30 / The Lily Pad (duo) / Cambridge, MA

April 10 / Rutgers University (guest lecture) / New Brunswick, NJ

** April 10 / Settlement Music School (performance/clinic) / Philadelphia, PA

** April 11 / Columbia Heights Concert Series (Private House Concert) / Washington, DC

** April 12 / Germano's Cabaret / Baltimore, MA

*** April 26 / Flushing Town Hall (feat. Victor Lewis) / Flushing, Queens, NY

* May 9 / Firehouse 12 / New Haven, CT

* - Jazz Samaritan Alliance w/ Jimmy Greene,

Kris Allen, Chris Dingman, Johnathan Blake

** - Noah Baerman Trio w/ Henry Lugo, Vinnie Sperrazza

*** - Noah Baerman with Amanda Monaco

NoahJazz.com 

ResonantMotion.org

FREE NELSON MANDOOMJAZZ - THE SHAPE OF DOOMJAZZ TO COME / SAXOPHONE GIGANTICUS

With a crunching sound that is as teeth-chatteringly heavy as metal icons like Slayer and Megadeth or ferocious grindcore groups like Napalm Death and Brutal Truth, yet is imbued with the freedom principle of such avant garde jazz icons as saxophonists Marshall Allen, Albert Ayler and Peter Brötzman, the formidable instrumental power trio from Scotland known as Free Nelson Mandoom Jazz debuts on the London-based RareNoise label with a provocative double EP that will confound jazz critics as it challenges the thrashmetal-grindcore community. Jointly named for the late South African freedom fighter Nelson Mandela and the genre of fuzz-bass-inflected heavy-duty improvisation dubbed 'doomjazz', this renegade trio of bassist Colin Stewart, drummer Archibald and alto saxophonist Rebecca Sneddon rattles the very grey matter of your brain on their imposing Shape of Doomjazz to Come/Saxophone Giganticus.

  

With a throbbing, slow-grooving undercurrent created by bassist Stewart and drummer Archibald, freewheeling saxophonist Sneddon wails with impunity in the altissimo register of her horn on doomjazz anthems like "Where My Soul Can Be Free," "The Mask of the Red Death" and "Black Sabbath." Their atmospheric "Nobody Fucking Posts to the UAE" takes a more deliberately melodic approach with Stewart's unaffected basslines doubling with Sneddon's alto sax on the head before she embarks on a searching solo. Midway through this more introspective piece, Stewart kicks on his fuzzbox and Archibald slams more emphatically as Sneddon builds to some cathartic blowing on her horn. "K54", inspired by Domenico Scarlatti's K54 sonata, introduces a swing element into the proceedings with Stewart's up-tempo walking basslines and Archibald's insistent ride cymbal work. 

The trio navigates through some intricate stop-time passages before Stewart once again stomps on his distortion pedal, a cue for Sneddon to head for the stratosphere with her emphatic overblowing on the alto sax. "Saxophone Giganticus" (the title a playful mutation of Sonny Rollin's "Saxophone Colossus") finds the trio in a more relaxed mode with Stewart's clean bass lines and didgeridoo combining to create a darkly insinuating undercurrent for Sneddon's sinewy sax lines. A little less than midway through, this kinder, gentler approach evaporates in the face of another formidable doomjazz excursion. And the closing track, "Black Sabbath," carries all the heavyweight underpinnings that name would imply while including some of Sneddon's most ferocious, take-no-prisoners approach to overblowing on the recording. These brand new recordings were mixed by renowned Italian sound sculptor Eraldo Bernocchi. A brand new album is currently being worked on and will be released later this year. 

 

COLIN EDWIN / LORENZO FELICIATI - TWINSCAPES

Two bassists from two different continents -- Italian Lorenzo Feliciati of the adventurous jazz-rock band Naked Truth and the intensely searching nu jazz group Berserk! and Australian Colin Edwin of the longstanding prog-rock band Porcupine Tree and the heavy-duty, experimental Metallic Taste of Blood as well as Ex-Wise Heads and Burnt Belief -- come together to make one potent statement on Twinscapes. 

With special guest appearances by acclaimed trumpeter Nils Petter Molvaer, saxophonist David Jackson (of Van der Graaf Generator), Swiss percussionist Andi Pupato (of Andreas Vollenweider and Nik Bartschʼs Ronin) and drummer Roberto Gualdi (of the Italian prog-rock band PFM), this bass-dominant project, which was mixed by renowned bassist-producer Bill Laswell, travels from ambient soundscapes to slamming funk workouts and kinetic grooves to cinematic-sounding pieces that defy easy categorization. And there are plenty of virtuosic fireworks along the way by all the principal soloists on this outstanding RareNoise release which is released on March 3rd on CD /vinyl and Hi- Res digital download.

Feliciati and Edwin first got together for an impromptu one-off gig in London early in 2013, and they discovered an instant chemistry on the bandstand. As Colin recalls, "I was familiar with Lorenzoʼs band Naked Truth and also his solo album Frequent Flyer, and coincidentally had been toying with the idea of a dual-bass project with a bass player friend of mine. So I immediately thought it was something worth doing as an experiment, at least. And I knew that this project would lead us to explore other things you tend to do a lot less of in a regular band set-up, like using different effects, E-bows, have the bass playing melodies and so forth." 

In preparing for their session together, Feliciati and Edwin spent a few productive days in a studio in the English countryside, fleshing out compositions from the bones of each otherʼs sketches. 

Playing both fretted and fretless basses, the two kindred low-end spirits create a formidable undercurrent on the 11 powerful tracks from Twinscape while embellishing the open-ended pieces with freewheeling improvisation. "We had a very short time to plan what to do and only a small amount of rehearsal," says Edwin, "but even from our brief rehearsal, it certainly felt like we had a natural way of playing together. Without any real discussion we managed to find a way of fitting around each other, despite occupying the same frequency area. It requires a certain amount of intuition and sensitivity just to be able to do that, without stepping on each others toes and filling up the same space." 

That kind of complementary attitude permeates Twinscapes, though each of the bassists do step out with stunning solos from track to track. They kick off the proceedings with "Shaken," which begins with a calming, ambient drone before developing a thickly textured undercurrent from multiple overdubs laid down by the two bassists. As drummer Gualdi fuels the track with powerhouse backbeats, Edwin plays the fretless solo, the harmonic delays and the picked bass parts while they combine on the tight unison riffs. Feliciati adds false harmonics and octave bass lines on this dynamic opener. On the more lyrical "Alice," a piece written by Feliciati for his daughter and which appeared on his first-ever solo release in 2003, he plays the main bass part and the chordal part while Edwin covers the melody, the harmonic slides and the beautiful fretless bass work. Lorenzo provides the ambient wash with his bass pedals on "In Dreamland" and Colin contributes to that ethereal vibe by using the E-bow in conjunction with his bass.

With Andi Pupato, Nils Petter Molvaer, David Jackson and Roberto Gualdi, Feliciati and Edwin have gathered a group of world-class musicians who bring this release to new creative heights.

GRAMMY WINNER AND R&B ICON CHARLIE WILSON TO RECEIVE SPIRIT OF LOS ANGELES AWARD

R&B Icon and P Music/RCA Recording artist Charlie Wilson will receive the 2014 Spirit of Los Angeles Award from Mayor Eric Garcetti at the city's African American Heritage Month Celebration on February 11, 2014.

Wilson, a seven-time Grammy nominee, and a three-time NAACP Image Award nominee, has been honored throughout his four decade career including the 2013 BET Lifetime Achievement Award, a 2013 Trumpet Foundation Award, a 2009 Soul Train Icon Award and a 2005 BMI Icon Award.

"Charlie Wilson is a role model because he is an example of the success you can have through faith and determination. He is one of the hardest working vocalists in America, working 75 to 100 shows a year, and he is certainly one of the most talented," revealed Los Angeles Mayor Eric Garcett1

Wilson is currently on tour with a SOLD OUT date at the Madison Square Garden Theatre in New York City during Super Bowl weekend on Saturday, February 1, 2014. He will also be in concert on Valentine's Day weekend at the Nokia Theatre at LA Live in Los Angeles and the Paramount Theatre In Oakland, California on Sunday, February 16, 2014.

The Spirit of Los Angeles Award not only acknowledges Wilson's phenomenal music career, it honors his spirit and his ability to overcome his addictions and being homeless for a few years on the streets of Los Angeles.

"I fell to my lowest point during my addiction to drugs and alcohol that left me homeless," stated Wilson. "By the grace of God, and an incredible family, I was able to pick myself up and begin a second career as a solo artist. People told me I couldn't do it, but my faith has led me to heights I could not have imagined."

That faith was shared in Wilson's 2014 Grammy-nominated song, "If I Believe.""My wife had a dream about this song. She woke up grabbed a pen and paper and began to write the lyrics," Wilson continues. "She is the biggest blessing in my life and continues to support me as I celebrate 20 years of sobriety."

Wilson has also been nominated for two 2014 NAACP Image Awards for Outstanding Male Artist and Outstanding Album.

A survivor of prostate cancer, Wilson remains committed to promoting awareness and educating men and their families about this disease. "When I learned that one in six American men -- and one in three African American men -- would be diagnosed with this disease, I knew I had to share my story."

His commitment led to him becoming a spokesman for the Prostate Cancer Foundation in 2008 and then joining Janssen Biotech in 2012 to launch their Making Awareness A Priority (M.A.P.) campaign.

He sums up the title of his current CD, Love, Charlie, in one sentence, "The whole world needs inspiration and I will continue to make music that helps me share that message."

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