DANNY FOX TRIO - WIDE EYED

Hot Cup Records announces the April 8, 2014 release of Wide Eyed, the sophomore album by the NYC-based Danny Fox Trio. Since their critically acclaimed 2011 debut, The One Constant (Songlines), the group has continued to push the boundaries of the classic piano trio format.  Wide Eyed ups the ante in the band's quest to create uniquely personal, genre-defying original music.  Falling somewhere between jazz and chamber music, the album's eleven pieces are replete with sonic surprises: quirky rhythms, jaunty yet catchy melodies, haunting harmonies, and out-of-the-box arrangements that showcase the capabilities of each member of the group, all while maintaining tuneful melodies.

Formed in 2008, the Danny Fox Trio, featuring pianist Danny Fox, bassist Chris van Voorst van Beest, and drummer Max Goldman, is a true working band.  Whether holed up in a Queens basement rehearsing or touring around the country crammed into a sedan, the trio has spent countless hours developing a rapport that's immediately palpable in their music. This chemistry not only contributes to the precision of their performances, but allows each member to feel confident enough to take musical risks. This contrast between cohesive, cogent ensemble execution and the excitement of spontaneous improvisation adds an energy that is sorely lacking in much of today's music, regardless of genre.

Though rooted in jazz, the three versatile musicians are also active in chamber music, bluegrass, afrobeat, electro, and New Orleans funk, thereby giving the band a sound that is all-encompassing yet strikingly individual.  Drawing on influences as varied as Ellington, Bartok, The Meters, and Bernard Herrmann, the music can switch gears at any moment yet remains cohesive thanks to strong motivic development and rigorous arrangements that challenge the traditional roles of the piano trio instruments. Having committed these intricate and challenging compositions to memory and performed them scores of times, the influence and esthetic of rock bands is readily appreciated.

The trio explores a wide range of novel techniques to eschew standard forms and roles. The piano, typically both the lead melodic and harmonic voice, rarely performs these two roles simultaneously.  Instead, Fox opts for textures that feature the abilities of his band mates and explore the more extreme ranges of the piano.  In addition to fulfilling the traditional role as rhythmic anchor, bassist Chris van Voorst van Beest provides melodies, counterpoint, and coloristic arco effects adeptly. Drummer Max Goldman employs traditional drumbeats effectively, but often opts for a more orchestral approach, mimicking symphonic playing.  The compositions themselves feature extensive melodic and motivic development, sometimes hovering around a theme that is only a few notes long, and sometimes building phrases over time to great emotional heights.

The eleven pieces on Wide Eyed navigate through a vast array of grooves, harmonies, time signatures, tempo shifts, free improvisations, and dynamics while always remaining grounded in the thematic material, giving the music a seamlessness and cohesion such that it is both challenging and highly listenable.

The album opens with the insistent bass groove of Sterling, which the trio unfolds in unexpected ways: from the slippery, danceable odd meter rhythm of the opening melody to the introspective rubato bass melody and jagged drum punctuations that follow.  The song exemplifies the motivic style of composition as the opening six-note theme is modified through new harmonies, tempi, and instrumentation to spin out sections of varied moods.  This theme is sometimes front and center and other times lurking, as when the left hand of the piano plays a fast version of it under dense minor chords.  Bonkers, written by Fox while going mad from practicing music for a circus, is a meeting of Prokofiev-like melody, African rhythm, and free improvisation.  

All Tolled, an epic piece spun out of a pencil accidentally tapping a rhythm on a desk, shows the trio's range from ferocious bombast to tender lullaby and spotlights the group's creative use of their instruments, as in the introduction where the piano plays on the extreme high and low registers as a background for the bass melody. Throughout, Goldman displays his well-rounded approach to the drum kit, sometimes laying down specific beats and other times mimicking orchestral percussion.  The bluegrass-inspired Drone shows the trio's playful side and the influence of Fox's second instrument: banjo. 

The subdued title track Wide Eyed opens with a moody cinematic simmer before piano/bass counterpoint explores rich harmonic dissonances. Confederates is a sinister march with ecstatic jolts, followed by Short Al in Brooklyn, a deceivingly tricky rhythmic proposition disguised as a light-hearted swinger, written for a famous NYC sports talk radio caller.  Patriot Daze and Punches show Fox's heavy classical influence, using both hands to equal effect, and the trio's adept use of dynamics.  Funhouse Memory filters funk through a funhouse mirror with off-kilter rhythms and spooky chords.  The wildly-phrased canon seems to come out of nowhere but derives simply from the first theme stated in the piece.  The album closes with the chamber-like Tumble Quiet, written against the backdrop of a faint clothes dryer in a quiet house, which floats from ethereal chords toward thumping tribal grooves before reaching a plaintive calm.  The bass moves seamlessly between contrapuntal melodies and earthy bassline ostinatos.

Wide Eyed is about inhabiting a state of wonder and surprise about the world around us.  It's about searching for possibility and embracing new ideas all while taking inspiration from what you've already taken in.

Pianist Danny Fox was born in New York City where he became immersed in the jazz scene from an early age.  In high school, Danny was selected as a Presidential Scholar in the Arts and went on to attend Harvard University during which time he became active in the Boston music scene.  Upon moving back to New York, Danny began intensive classical studies with concert pianist John Kamitsuka.  He formed the Danny Fox Trio in 2008 as a vehicle for his original compositions and since then the working group has performed steadily around NYC and the US, releasing the critically acclaimed debut The One Constant (Songlines) in 2011.  Called a "pianist of diverse accomplishment" (NY Times), Danny has established himself as a versatile musician active in a wide variety of settings from chamber groups and pit orchestras to big bands, dance troupes, and choirs.  He performs with bassist Kermit Driscoll and multireedist Sam Sadigursky, and recently co-founded a New Orleans repertory band with drummer Dan Rieser.  Fox is also in the vanguard of the burgeoning Queens creative music scene, performing frequently in concerts and festivals organized by the Queens Jazz Overground. 

Born in Pownal, Maine, bassist Chris van Voorst van Beest has been an in-demand presence on the New York music scene since moving to Brooklyn in 2005.  He has performed with such noted jazz artists as Kurt Rosenwinkel, Joe Lovano, Chris Potter, and Rudy Linka, with whom he recently toured the Czech Republic.  Versatile in a variety of musical settings, he performs and records with numerous rock, afrobeat, and folk/bluegrass projects, as well as Off-Broadway productions, including the acclaimed interactive theatre show "Sleep No More." Chris is also involved in the burgeoning NYC contemporary classical scene, through which he has worked with artists such as Gabriel Kahane and Rob Moose.  In addition to his busy schedule as a bassist, Chris is active as a composer: He recently completed his Master's degree in Composition from City College, where he studied with Pulitzer-Prize winning composer David Del Tredici, and is developing a diverse repertoire of compositions for chamber ensembles of various sizes and instrumentation. In 2009 Chris was awarded a grant to compose the original score for the children's book "The Lamplighter," featuring narration by noted folk artist Sam Amidon.

Born in Rochester, NY, drummer Max Goldman was fortunate to study under local greats Jeff Lewis, Steve Curry and Rich Thompson.  He moved to New York City in 2001, attending NYU and the New School, where he studied with Tony Moreno, Gerald Cleaver and Kenny Washington.  Since graduating in 2006, Max has been an active musician based in Brooklyn's fertile creative scene. He spends much of his time touring Europe, South America, the US, and Canada with a diverse lineup of artists.  In addition to the Danny Fox Trio, Max has performed and recorded with Becca Stevens, Tim Berne, The Elan Mehler Group, Old Time Musketry, Midnight Magic, Nomi Ruiz, and Eleanor Friedberger.   He has been called "a seriously propulsive force" by the Chicago Reader, and his drumming has been described as "beautifully melodic, even pianistic" by the New York Jazz Review.

John Schaefer of WNYC's New Sounds says the Danny Fox Trio is "changing the sound and expectation of a jazz piano trio."  And Peter Margasak writes in the Chicago Reader: "The group certainly doesn't operate like a typical jazz piano trioŠFox's original compositions are episodic, rigorously arranged, and generally eschew the usual song forms employed in mainstream jazz."

Funhouse Memory: https://soundcloud.com/bk-music-pr/funhouse-memory-danny-fox-trio

Watch their video here: http://www.youtube.com/watch?v=Ya5q8O5bhrk&feature=youtu.be

CD Release Tour:

o Wed. April 30 - Cliff Bell's, Detroit, MI

o Thurs. May 1 - Merriman's Playhouse, South Bend, IN

o Fri. May 2 - Constellation, Chicago, IL

o Sat. May 3 - Jazz Estate, Milwaukee, WI

o Sun. May 4, House Concert - Music on a Mission, Lorain, OH

o Wed. May 7th -Boxer's, Huntingdon, PA

o Fri. May 9- Subculture, NYC

o Sun. May 18th- Bop Shop, Rochester, NY

 http://www.dannyfoxmusic.com/

MATT SLOCUM - BLACK ELK'S DREAM - FEATURING WALTER SMITH III, DAYNA STEPENS, GERALD CLAYTON, MASSIMO BIOLCATI

Black Elk's Dream, drummer/composer Matt Slocum's most adventurous and visceral recording to date, features eleven new original works as well as Pat Metheny's "Is This America?". Inspired by the visionary Native American leader Black Elk and the book Black Elk Speaks, Slocum composed and arranged the project for an innovative cast of longtime friends and creative associates including saxophonists Walter Smith III & Dayna Stephens, pianist Gerald Clayton and bassist Massimo Biolcati. On this outing, his third as a leader, Slocum and the ensemble expand significantly upon the artistic promise and chemistry displayed on their acclaimed recordings After the Storm (2011) and Portraits (2010).

Black Elk's Dream highlights a distinctive passion for flowing mixed meters, lyrical melodies and unconventional harmonic and improvisational structures. A somewhat unique aspect of Slocum's approach to composition is the way he tailors each piece specifically to the unique voices and strengths of the artists for whom he is writing. He is the recipient of composition grants and commissions from the American Music Center, the Puffin Foundation, New Music USA and Meet the Composer, and his ensembles have recently been featured at many of the premier festivals and venues throughout North America and Europe. JazzTimes describes Slocum as "a thoughtful composer who sets up his team like a savvy point guard running an offense." His writing draws inspiration from a wide range of sources, both within and outside of the jazz idiom. On this project one can hear the influence of Wayne Shorter, Dave Holland, Paul Motian, Billy Strayhorn and Maurice Ravel, yet Slocum's musical language remains largely non-derivative.

A major component of the recording is reflecting the duality of the intense spiritual beauty of Black Elk's great vision and the darkly challenging struggles the Oglala Lakota faced in their efforts to bring the vision to physical reality. After opening in the relative future with "Pine Ridge" and "Ghost Dance", Black Elk's Dream traces the evolution of that vision from its inception. Slocum creates a thematically connected body of work throughout the album, enhancing the arc and flow by revisiting and developing variations on the title track through the piano interludes "A Dream Revisited" and "End of A Dream". 

Slocum noted, "It's become increasingly important to me to have a storyline, whether real or imagined, on which to base compositions. I think the directness and imaginative beauty of John Neihardt's Black Elk Speaks opened some new possibilities to explore in terms of mood and color as well as harmonic and rhythmic frameworks. It took about two years to get the music to a point where it was ready to be recorded, but the struggle was beneficial in the sense that it encouraged me to keep building. While writing I started to hear elements of both Walter and Dayna's playing in the music. Even though I generally prefer consistent personnel throughout a recording, in this situation I feel that having both of them enhances the mood and flow of the music."

The record begins with a haunting view from above through a lyrical reflection on "Pine Ridge". The quartet's compelling chemistry and organic approach are immediately evident as they navigate through rubato passages mixed with hazily implied time. Slocum notes, "This was the first tune and first take of the sessions. I like the sense of elasticity and the spontaneity that Walter, Gerald and Massimo bring to this track."

"Ghost Dance" juxtaposes a floating saxophone melody with a trance-like groove filled with flowing mixed meters and anticipations. The track builds throughout Smith's evocative improvisation to the driving, explosive piano trio interaction during Clayton's and Slocum's inventive solos. The drummer/composer explains, "normally I write melodies first, but in this case I started by experimenting with grooves for a bass line. I don't really think of songs in terms of bar lines or beats per measure until I need to write them out. Then I'll record myself playing the song and listen back to transcribe what the meters and rhythms are."

"Yerazel", an Armenian word that means "to dream", highlights Dayna Stephens's warm, dark sound in the lower register of the saxophone as well as the trio's musical depth and sensitivity. "In this piece the element of dreaming is meant in a more passive sense, whereas the title track uses the word dream synonymously with vision. I tried to create a floating, somewhat mysterious, mood of innocence and beauty to reflect the period of Black Elk's youth after he had received his great vision, but before he fully understood its meaning and significance," explained Slocum.

"Prelude" and "Black Elk's Dream", both part of the same composition, form the main theme of the recording. Slocum ventures into more extended and through-composed territory with this work, balancing and reintroducing multiple themes throughout the richly textured musical landscape.

Smith and Slocum's masterful duo dialogue at the beginning of "A Blues" is a highlight of the album. "Given B.B. King's description of the blues as "an expression of anger against shame and humiliation", and given all of the broken promises and inhumane treatment that the Oglala Lakota endured courtesy of our government, I felt that the inclusion of a blues in this project was merited. Plus it would be borderline criminal to be in the studio with Walter and not record a blues," said Slocum.

"Is This America?"- "This is one of my all-time favorite Pat Metheny compositions. It's my understanding that he wrote it in response to Hurricane Katrina, but the mood, intentions and sentiment also seem very appropriate for this project. The song is genius in its simplicity and lyrical beauty. I kept all of the original harmony and made just a few minor changes to the arrangement," explained Slocum.

The interlude "A Dream Revisited" showcases Gerald Clayton's refined touch on a variation based on the closing section of the title track.

"Black Hills", the only quintet track on the recording, features Stephens and Smith improvising beautifully together as they build gradually from a meditative dialogue to a powerfully evocative peak. Slocum describes "Black Hills" as "the emotional climax and turning point of the recording", noting that, "this piece could be considered a musical response to the massacre at Wounded Knee."

He characterizes the tune "Days of Peace" (and its placement in the track order) as "intended to create the illusion of a daydream- a mood of playfulness and warmth through a flashback to a brighter time before everything became seemingly lost and broken. "A Disappearing Path" and "End of a Dream" are meant to reflect some of the sadness and resignation in the closing lines of Black Elk Speaks while also paying tribute to the beauty of the lost dream."

Hailed as "one of America's pre-eminent young jazz drummers" (OC Weekly), Matt Slocum has also earned a reputation as a distinctive, inventive and lyrical composer. Slocum is the recent recipient of composition grants and commissions from the American Music Center, New Music USA, the Puffin Foundation and Meet the Composer. His ensembles have been featured throughout North America and Europe at venues such as Jazz at Lincoln Center, Yoshi's, the Blue Note, Earshot Jazz Festival, Saratoga Jazz Festival, Twin Cities Jazz Festival and the Soka International Jazz Festival among others. Frequently referred to as a "musical" drummer, Slocum possesses a uniquely personal voice on the instrument and is a propulsive, melodic and dynamic accompanist and soloist. He has performed and/or recorded with artists such as Seamus Blake, Alan Broadbent, Steve Cardenas, Gerald Clayton, Taylor Eigsti, Aaron Goldberg, Jon Irabagon, Larry Koonse, Wynton Marsalis, Lage Lund, Linda Oh, Alan Pasqua, Jerome Sabbagh, Jaleel Shaw, Walter Smith III, Anthony Wilson, Sam Yahel and the Dallas Symphony Orchestra.

Born in St. Paul, Minnesota and raised in western Wisconsin, Slocum began musical studies on piano before switching to percussion at age 11. While in high school he was introduced to jazz through recordings featuring Max Roach and Philly Joe Jones. He received a full scholarship to attend the University of Southern California where he studied with Peter Erskine. After graduating in 2004, Slocum spent three years in California before making the move to New York in fall 2007. His debut recording Portraits was released in January 2010. The New York City Jazz Record raved, "With this excellent premiere, Slocum steps out of the box as the full package," while All Music Guide wrote, "This auspicious debut should put Matt Slocum's name firmly on the jazz map." After the Storm, a more introspective trio recording, was released in October 2011 and received high marks from DownBeat Magazine, JazzTimes, The Los Angeles Times and Jazzwise among others. After the Storm was one of 15 recordings by American composers to receive a New Music USA recording grant in 2011.

Upcoming Tour Dates

April 3- Dazzle Jazz, Denver, CO

April 4- Dizzy's, San Diego, CA

April 5- The Jazzschool, Berkeley, CA

April 6- JB's Jazz, Sacramento, CA

April 7- Soho, Santa Barbara, CA

April 8- CAP Theater, Los Angeles, CA

April 9 & 10- Landmark Center, St. Paul, MN

April 24- The Kitano, New York, NY

NEW RELEASES: ED ROBINSON - ON COVERS; JEREMY PELT - FACE FORWARD, JEREMY; GREG WITT - JAZZ BLUES

ED ROBINSON - ON COVERS

In his sixth album titled “On Covers,” Ed Robinson shows his talent and creative abilities in covering some of the most  legendary hits from the past two decades. This musical endeavor has taken Ed Robinson on a nostalgic journey through time that brings the listener with him. In this album, Ed Robinson has taken hits from the genres of Rock and Roll, R&B, Country as well as many others, and put his own Reggae vibe into all of the rhythms and lyrics. As an added feature, this album included a remixed and remastered version of his 1992 award winning cover tune, ‘Knockin on Heaven’s Door.’ “On Covers,” has been released on the Push Broom Gang Productions label and distributed by Zojak World Wide, this album brings together a superstar team of new and classic talent, along with Chris Fischer of Critical1 Studios whose mixing and mastering expertise created the incredible reggae we crave. Together with E2recordings, musicians Adam Tese`, Lou Lomangino, and David Nesdall collaborate with Ed Robinson to create an authentic blend of Rock and Roll, R & B, and Country with Reggae Music. Critics are saying this is one of the best.

JEREMY PELT - FACE FORWARD, JEREMY

Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins. Also featured are vocalists Fabiana Masili and Milton Suggs, along with Rhodes keyboardist Frank LoCrasto and a handful of string players. This is a languid, atmospheric album that touches upon impressionistic, modal post-bop, soulful contemporary R&B, and groove-oriented '70s-style fusion. Tracks like "Princess Charlie" hang on a wordless vocal melody from Masili (mirrored by Pelt and Coss) that leads into adventurous improvisations from Pelt, Coss, and Bryant. "Rastros," once again showcasing Masili, is an Asian and Brazilian-inflected ballad punctuated by delicate harp lines, with Pelt on a beautiful, muted solo. Elsewhere, cuts like "Stars Are Free" sound like something along the lines of '70s Miles Davis, and "The Secret Code" features a frenetic jungle/drum'n'bass-influenced intro from Hawkins. Ultimately, Pelt's Face Forward, Jeremy is a high-minded, well-crafted mix of cutting-edge acoustic and electric jazz that gently turns your ears toward the future of jazz, while never asking you to let go of the music's past. ~ Matt Collar Liner Note Author / cduniverse

GREG WITT - JAZZ BLUES

Greg Witt's first album, "Smooth Jazz Rock" was released in 2008 debuting his sound of clean jazz 'riffs' with a rock influence. A native of Midland, Texas, guitarist Greg Witt first surfaced as a member of the Odessa College Big Band in Odessa, Texas in the mid-1990's. "When I performed with the Big Band, I learned to land on my feet and perform jazz charts on the spot." Greg has also performed on stage with Smooth Jazz Saxophone artist Tom Braxton. "Tom and I traded 'riffs'. It was fun!" His style on his album "Jazz Blues" reflects the 'old' and the 'new', the 'Jazz' and the 'Blues'. "Although my style echoes the jazz standards from the past, it always melds styles of modern 'rock' & 'blues'. On tracks like "A Street" and "Just Groovin", you can hear his 'rock' influence. Tunes like "Jazz Blues" , "Diamond Lil", and "Cookin!" really capture the swing sound of the big band era. "You can also hear my Texas swingin' blues style on those tracts. Stevie Ray Vaughan was a huge influence of mine". The tract "Blue Valentine" is an up-tempo ballad with Beatles like changes and a style not unlike George Benson. Jazz, Blues, old or new, Greg Witt's CD "Jazz Blues" is a hit! ~ cduniverse

SONY MUSIC/OKEH RECORDS SIGNS SERGIO MENDES; NEW ALBUM COMING MAY 2014

The internationally successful producer, composer, keyboardist and vocalist, Sergio Mendes, has signed with the Sony Music Masterworks imprint OKeh Records.

The new recording featuring eclectic and upbeat Brazilian rhythms will feature guest vocalists John Legend, Janelle Monae among others. The album will be available in May in advance of the 2014 World Cup.

One of the most successful Brazilian artists of all time, Mendes has recorded more than 35 albums and has won 3 Grammy® Awards.

In 2012, Mendes received his first Oscar nomination in the music category for "Real In Rio" from the animated, 3-D feature film Rio.  In addition to being the executive music producer for the blockbuster film, he also contributed five songs to the movie. Sergio Mendes will again provide the music for the upcoming animated feature sequel Rio 2 coming in April. Sony Classical will release the score for the film composed by John Powell on April 7th.

"Sergio is a music legend and we are proud at OKeh that he chose the label for the next chapter in his astonishing career," said Wulf Muller, who oversees A&R for OKeh Records.

Bogdan Roscic, President of Sony Music Masterworks, said: "2014 will be an exciting year for Brazil and Brazilian music - and Sergio Mendes' new album will be one of the records of the year. Everybody at Sony Music Masterworks looks forward to working with this true icon to deliver another outstanding contribution to one of the greatest catalogs in the business."

Sony Music Masterworks comprises the Masterworks, Sony Classical, OKeh, Portrait, Masterworks Broadway and Flying Buddha imprints. 

www.sergiomendesmusic.com 

@sergiomendes 

facebook.com/Sergio-mendes  

GUITARIST BLAKE AARON DELIVERS COOL ELECTRIC JAZZ WITH A RETRO '70s DISCO GROOVE ON "GROOVE-O-MATIC"

Guitarist Blake Aaron is still tucked away in the recording studio tinkering on his forthcoming fifth album, “Soul Stories,” yet he’s already topped the charts with a single from the session. Aaron’s cool electric jazz guitar dances to a retro ‘70s disco groove aided by big vibrant horn blasts on “Groove-O-Matic,” which has spent the last nine weeks at No. 1 on the Groove Jazz Music chart and entered the Billboard Smooth Jazz Songs Top 5. 

“Groove-O-Matic” is the second single to hit the charts from the album slated for release this summer on Innervision Records. Jazz crooner Spencer Day was featured on “You’re The One For Me,” which reigned in the Top 10 for 20 weeks. The first album Aaron has produced on his own, “Soul Stories” is a collection of soulful jazz, funk and Latin grooves and includes an appearance by urban jazz saxophone star Najee.

  

"’Soul Stories’ is literally the musical story of my soul. It's been a long-time coming and spans the journey of my marriage and the birth of my two children. It's my first CD that is entirely self-produced, my biggest radio and commercial success to date and has been nicknamed our ‘Third Child.’ I'm very proud of the record and look forward to performing it live,” said Aaron, who will perform tracks from the disc with his band and special guests this Saturday night at Spaghettini in Seal Beach, Calif.

Aaron headlines the San Antonio Summer Arts Jazz Festival on June 1 and is presently lining up summer dates in support of “Soul Sessions.”

Hailed by the Los Angeles Times as “a genius on the guitar,” Aaron pours passion and precision into his fretwork. Emerging from the studio where he was an in-demand session player and stepping out of the shadows after being a long-time sideman, Aaron launched his solo career with 2001’s “With Every Touch” containing appearances by contemporary jazz stalwarts Eric Marienthal and David Benoit. Singles from the debut album as well as from subsequent releases – “Bringin’ It Back,” “Desire” and “A Romantic Christmas” – have always been favorably received at radio and charted well nationally. Since 2008, Aaron has hosted the internationally syndicated “The Blake Aaron Radio Show” that he describes as an “artist to artist show” on which he jams live on the weekly program with guests that have included Anita Baker, Kenny Loggins, Brian Culbertson, Boney James, Peter White, Rick Braun, Mindi Abair, Earl Klugh, Lee Ritenour, Nathan East, Paul Jackson Jr., Jackiem Joyner and Jessy J. His resume includes playing on and composing music and theme songs for films and popular television series such as “MAD TV,” “The Ben Stiller Show,” “Super Dave Osborne” and “The Jamie Kennedy Experiment.” Additional information is available at 

www.BlakeAaron.com.     

“Soul Stories” contains the following songs:

“Groove-O-Matic”

“Encantadora”

“You’re The One For Me”

“Wes Side Story”

“You’re My Miracle”

“Sara Smile”

“Europa”

“Soul Stories”

BLUE NOTE JAZZ CLUB ANNOUNCES MARCH 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 March 2014.

Highlights include: the U.S. premiere of Volcán, a Latin jazz supergroup featuring Gonzalo Rubalcaba, Jose Armando Gola, Horacio 'El Negro' Hernandez and Giovanni Hidalgo; Donald Harrison, Ron Carter and Billy Cobham Trio; Lou Donaldson; Spyro Gyra; Larry Carlton Group and Kyle Eastwood Group double feature; Omar Hakim; and the 4th Annual James Moody Scholarship for Newark Youth Benefit Concert, among others.

  

MARCH 2014 ARTIST SCHEDULE

Saturday, March 1

Bill Evans Soulgrass with Special Guests

Saxophonist Bill Evans kicks off Blue Note Jazz Club's March schedule, closing out a three-night run with his group, Soulgrass (that began on February 27). Described by NPR as "a supergroup of virtuoso musicians," Soulgrass' engagement at Blue Note showcased a number of special guests; this final night will feature Blues Traveler's John Popper as well as Marco Benevento. 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.

  

Sunday, March 2

Boogaloo Sunday with Lou Donaldson

NEA Jazz Master Lou Donaldson will perform at Blue Note for a special one-night, Sunday engagement featuring his working Quartet - with whom he has toured the world, playing festivals and clubs for over two decades. The saxophonist played an absolutely invaluable role in the creation and building of the classic Blue Note Record Label, as well as the assembly and musical development of Art Blakey's Jazz Messengers bands that originally featured legends such as Clifford Brown, Horace Silver, Gene Ramey, and Hank Mobley, among others. As The Wall Street Journal wrote, "Few musicians today can claim to have changed the direction of jazz. Lou Donaldson did so twice."

Monday, March 3

Kenny Werner & Janis Mann - CD Release

Pianist Kenny Werner returns to Blue Note for a special performance with vocalist Janis Mann, in support of their recent album, Celestial Anomaly (2013). Hailed by Andy Gilbert of the San Jose Mercury News as "a stellar 2013 album," the project features innovative and challenging interpretations of jazz and pop standards. A Guggenheim Fellowship Award winner, Werner is a world-class pianist, composer and educator. His prolific output of compositions, recordings, and publications continue to impact audiences around the world. As Quincy Jones said of Werner, "Perfection, 360 degrees of soul and science in one human being. My kind of musician." Mann was described by the San Jose Mercury News as "a brilliant but underexposed Los Angeles jazz singer." Her approach is in the manner of Carmen McRae, Betty Carter, and Shirley Horn, yet with a sound all her own.

Tuesday - Sunday, March 4 - 9

Donald Harrison, Ron Carter & Billy Cobham Trio

The hard-swinging trio of saxophonist Donald Harrison, bassist Ron Carter, and drummer Billy Cobham first demonstrated its strong chemistry and affinity for standards on its 2004 recording, Heroes. In April 2005, Blue Note Jazz Club's own Half Note Records captured the trio live during a week-long series of shows at Blue Note, producing the album, New York Cool (2005). Half Note recorded the trio in action at the club again several years later, releasing the album, This is Jazz (2011). AllMusic.com's Thom Jurek called the outing "the finest offering by this trio to date." This week, the band looks build on its recent musical achievements with another hotly-anticipated residency. This also marks Carter's third appearance at Blue Note over the past two months, performing with his Quartet (February 4-9) and with Roy Haynes (February 25 & 26). 

Monday, March 10

Ozmosis Records Presents: The Omar Hakim Experience - CD Release

Widely acclaimed for his versatility, technological prowess and groove, Omar Hakim is one of the most successful drummers and session men of the past 40 years. Hakim has collaborated with dozens of prominent artists including Daft Punk, George Benson, Lionel Richie, Chaka Khan, Anita Baker, Bobby McFerrin, John Scofield, Urban Knights, Bruce Springsteen, Michael Jackson, Celine Dion, Jewel, J-Lo, D'Angelo, Mariah Carey, and Madonna to name a few, and has left his imprint on hundreds of recordings, including several under his own name. He appears in support of his new album, titled We Are One. The performance will feature guitarist Chieli Minucci, harmonist Grégoire Maret, saxophonist/flautist Bob Franceschini, keyboardist Scott Tibbs, keyboardist Rachel Z, and bassist Jerry Brooks.

Tuesday - Sunday, March 11 - 16

Spyro Gyra

As Spyro Gyra contemplates upcoming milestones in its storied career, it's tempting to fall back on the Grateful Dead lyric, "What a long strange trip it's been," to describe the band's journey. During its career, the band has performed over five thousand shows, released 29 albums (not counting "Best Of" compilations), and sold over 10 million albums, while also achieving one Platinum and two Gold releases. As the band celebrates 35 years since its first release and looks forward to celebrating its 40th anniversary in 2014, it slows little sign of slowing down, gaining GRAMMY® nominations for each of its last four albums.

  

Monday, March 17

Gordon Chambers

Award-winning singer-songwriter and record producer Gordon Chambers has written for over 60 recording artists, including household names Aretha Franklin, Queen Latifah, Usher, Brandy, Gladys Knight, Chaka Khan, and Marc Anthony. He is best known for his 1994 GRAMMY®-winning hit, "I Apologize," for Anita Baker and his 1995 No. 1 GRAMMY®-nominated smash "If You Love Me" for the trio Brownstone (which was later featured as the theme song of the film Living Out Loud). More recently, he's penned tunes for superstars like The Isley Brothers, Yolanda Adams, Patti LaBelle & Ron Isley, Whitney Houston & Bobby Brown, Angie Stone, and Beyoncé.

Tuesday - Sunday, March 18 - 23

Volcán: Gonzalo Rubalcaba, Jose Armando Gola, Horacio 'El Negro' Hernandez and Giovanni Hidalgo

Volcán, a modern Latin jazz all-star group featuring the prodigious talents of pianist Gonzalo Rubalcaba, bassist Jose Armando Gola, drummer Horacio 'El Negro' Hernandez and percussionist Giovanni Hidalgo, is proud to make its official U.S. debut at Blue Note Jazz Club. The group is the product of years of friendship, respect and a diverse and rich musical heritage. With over 150 albums among them as leaders and sidemen, these highly revered musicians have joined forces to our delight.

Monday, March 24

Anna Saeki

Named as one of the "100 Most Respected Japanese People in the World" in Japanese News Week, vocalist Anna Saeki is proud to make her Blue Note Jazz Club debut. Born in Hokkaido, Japan, Saeki made her debut in 1987 as a tango singer after being crowned Miss Sapporo. Soon afterward, she traveled to Argentina to record her first album. Since then, she has received critical acclaim on TV, radio and in various magazines. She was responsible for the boom of Latin music in Japan in the 1990s/2000s and was also the vocalist for the band "Orquesta del Sol." She is an active performer in Japan, the U.S. & Europe as well as many other major cities and countries around the world. She is now considered a top artist in the Tango world.

Tuesday - Sunday, March 25 - 30

Larry Carlton Group + Kyle Eastwood Group

Blue Note Jazz Club is proud to present a double feature comprised of the Larry Carlton Group and Kyle Eastwood Group. Carlton is one of the world's most revered guitarists, having released many solo albums as well as having played on a multitude of the best selling albums of the modern music era.  He is nicknamed "Kid Charlemagne" for his solo on the Steely Dan Royal Scam album (ranked by Rolling Stone magazine as one of the top three guitar solos of all time). A 19-time GRAMMY® nominee, four-time GRAMMY® winner, and all-time guitar great, Carlton has performed on more than 100 Gold or Platinum albums. Kyle Eastwood's bass playing and composing encompasses his life shared between Los Angeles and France. His latest record, Songs From The Chateau, is his fifth record as a leader and is focused on his true love; France. The band performs true and honest music that is both reflective and beautiful. 

Monday, March 31

4th Annual James Moody Scholarship for Newark Youth Benefit Concert

When legendary saxophonist, flutist and vocalist James Moody passed away on December 10, 2010 at 85 years old, the world lost an incredible musician and human being. On March 31, a legion of musicians will assemble at Blue Note Jazz Club, marking the fourth benefit and tribute concert in Moody's honor. The lineup includes: NEA Jazz Master Paquito D'Rivera (clarinet), music director Renee Rosnes (piano), James Carter (tenor sax), Antonio Hart (alto sax), Gary Smulyan (bari sax), Frank Greene (trumpet), Greg Gisbert (trumpet), Bill Charlap (piano), Todd Coolman (bass), Adam Nussbaum (drums), and Alexis Cole (vocals). All ticket proceeds will got to Moody's foundation, the CFNJ James Moody Jazz Scholarship Fund for Newark Youth. A limited number of VIP tickets are available. Don't miss the chance to be part of a tribute to master musician James Moody, whose music will continue to live on through the countless fans and musicians he inspired.

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:

March 1 - Darren Lyons Group

March 7 - Sérgio Galvão Group

March 8 - (718) - CD RELEASE SHOW

March 14 - Al MacDowell's "Just Ornette" Quartet

March 15 - Outer Bridge Ensemble

March 21 - Akashic Record

March 22 - Jesse Fischer

March 28 - Manner Effect

March 29 - Colin Cannon Quartet

SUNDAY BRUNCH SERIES

Sunday Brunch at Blue Note Jazz Club is $29.50 per person and includes a live performance, brunch and cocktail. Each performer is scheduled for two shows, at 11:30AM and 1:30PM. The upcoming schedule features:

March 2 - Rich Perry's NYU Jazz Ensemble

"East Meets West Brunch Series"

Sunday Brunches Spotlighting Japanese Jazz Artists & Culture

March 9 - Masami Ishikawa

March 16 - Erika Matsuo

March 23 - Yoko Miwa Trio

March 30 - Nobuki Takamen Trio

Blue Note Jazz Club, based in the heart of Greenwich Village, is a New York City cultural institution and one of the premier jazz clubs in the world. Jazz is undoubtedly America's music, and while Blue Note strives to celebrate the music's great history, the club is a place where progression and innovation - the foundation of jazz - are encouraged and practiced on a nightly basis. Blue Note is open for concerts 365 days a year. Location: 131 W. 3rd Street, between 6th Ave and MacDougal St., New York City.

www.bluenote.net

CHIC FEAT. NILE RODGERS & GIORGIO MORODER AT THE HOLLYWOOD BOWL!

Chic feat. Nile Rogers, Giorgio Moroder, Tensnake, Oliver, and Destructo. Woah. The biggest names in Disco from the past two decades all in one sentence, all on one bill, this coming May, as presented by HARD. With their Dischoteque stage in recent years, HARD has given the nod to the timeless genre on multiple occasions, but this time they give it the spotlight for what is sure to be a transcendent timeline of Disco’s existence in the modern dance music industry. 

On one hand you have the men who have virtually given birth to the movement, men who have worked with the legends your parents used to get down to. Then on the other, the producers who have/are keeping the genre alive in it’s current state. You have the chance to hear history unfold, a chance to understand an idea that has managed to keep it’s footing all this time.

The Hollywood Bowl lays host to this historic evening as it’s open air nature gives the perfect stage presence for a sound that cannot be contained. 

Opening sets by Tensnake, Oliver, and Destructo will warm you up to the modern interpretation of the movement as the evening builds into the main event. Giorgio and Nile Rogers’ catalogues alone could consume the evening in itself as they set out to encapsulate the historic genre with live music and recanting of their historic catalogues. With tickets on sale this Friday, 2/21, best believe you’ll find us front and center gettin’ our sexy on under the LA sky. For now, take a peep at some of the performers prior work that is sure to tide you over in the meantime.

www.gottadancedirty.com

PLAYBOY JAZZ FESTIVAL AT THE HOLLYWOOD BOWL TO FEATURE DIANNE REEVES, GEORGE BENSON, JAMIE CULLUM, AL JARREAU, STANLEY CLARKE, EARL KLUGH

Dianne Reeves

The Los Angeles Philharmonic  has announced the line-up for the 36th annual Playboy Jazz Festival to be held Saturday, June 14, and Sunday, June 15, at the Hollywood Bowl. An internationally-acclaimed event, the Playboy Jazz Festival is one of the premiere jazz festivals in the United States and attracts audiences from around the globe.

Featuring an unparalleled mix of illustrious jazz greats, next generation leaders and Festival favorites, this year’s headliners include Dianne Reeves, George Benson with special guest Earl Klugh, Jamie Cullum, Fantasia, and Dave Holland, Kevin Eubanks, Craig Taborn and Eric Harland: Prism. They will be joined by The Kenny Barron Trio with special guest Ravi Coltrane, Dr. Lonnie Smith “In The Beginnings” Octet, José James, The Arturo Sandoval Big Band, Juan De Marcos & The Afro-Cuban All Stars, Allen Stone, New Orleans favorites Jon Batiste and Stay Human, Butler, Bernstein & The Hot 9 featuring Henry Butler and Steven Bernstein, Tia Fuller, The James Cotton Blues Band with special guest Big Jay McNeely, The New Jump Blues featuring Antonio “Huggy Bear” Fargas, Los Amigos Invisibles, The LAUSD/Beyond The Bell All City Jazz Big Band under the direction of Tony White and J.B. Dyas, and The Esperanza High School Jazz Band under the direction of Brad Davis. A very special celebratory tribute to the late, legendary George Duke will feature Al Jarreau, Stanley Clarke, Ndugu Chancler, Paul Jackson, Jr. and Byron Miller, with musical direction by John Beasley. Duke was a headliner at last year’s Festival and a frequent Festival participant over the years.

An impressive number of artists and special guest collaborations will be making their debuts at Playboy this year including Prism, Fantasia, The Kenny Barron Trio with special guest Ravi Coltrane, the Dr. Lonnie Smith Octet, Butler, Bernstein & The Hot 9 featuring Henry Butler and Steven Bernstein, The James Cotton Blues Band with special guest Big Jam McNeely, The New Jump Blues featuring Antonio “Huggy Bear” Fargas, The Esperanza High School Jazz Band under the direction of Brad Davis and emerging artists José James, Allen Stone, Jon Batiste and Stay Human, and Los Amigos Invisibles.

A legend in the pantheon of music festivals, the Playboy Jazz Festival has featured the talents of artists ranging from legends such as Miles Davis, Dizzy Gillespie and Count Basie to today’s hottest stars and contemporary artists including Herbie Hancock, Wynton Marsalis, The Roots, Esperanza Spalding and Trombone Shorty. Now in its 36th year, the Playboy Jazz Festival will once again feature two days of extraordinary musical performances with multi-talented entertainer George Lopez hosting for the second year in a row, having taken over the reins from Bill Cosby in 2013.

http://HollywoodBowl.com/PlayboyJazz

SONNY ROLLINS SIGNS DISTRIBUTION PACT WITH SONY/OKEH FOR "ROAD SHOWS VOLUME 3" ALBUM

Tenor saxophonist Sonny Rollins has signed a distribution agreement with Sony Music Masterworks and its jazz imprint OKeh Records for the release of his new Doxy Records album, Road Shows, vol. 3. A street date of May 6 is planned.

Over the span of his storied and still-unfolding 65-year career, Rollins has established himself as one of the giants of jazz -- a towering influence, a trailblazer, a powerfully creative force in the music. From his earliest masterpieces, such as Saxophone Colossus and Freedom Suite, to his Road Shows archival series of live performances for his Doxy label in the 2000s, Rollins has presented his peerless music without compromise -- and to consistent international acclaim.

The new CD contains six tracks recorded between 2001 and 2012 in Saitama, Japan; Toulouse, Marseille, and Marciac, France; and St. Louis. "Patanjali," a striking new Rollins composition, is given its debut recording.

A Grammy winner for his CD This Is What I Do in 2000, Rollins received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004. In 2006 he was inducted into the Academy of Achievement at the International Achievement Summit in Los Angeles, and in May 2007 was a recipient of the Polar Music Prize, presented in Stockholm. In 2009 he became the third American (after Frank Sinatra and Jessye Norman) to be awarded the Austrian Cross for Science and Art, First Class; and in 2010 he was named the Edward MacDowell Medalist, the first jazz composer to be so honored.

More recently, Rollins was presented with the National Medal of Arts at a White House ceremony in March 2011, and later that year he received the Kennedy Center Honors. In the Jazz Journalists Association's 2013 Awards, Rollins was named Emeritus Jazz Artist/Beyond Voting.

"Having worked with Sonny on his previous Doxy albums, I am honored and pleased that he chose the newly launched OKeh label as the partner for his future musical adventures. He is an inspiration to all of us at the label," says Wulf Müller, who oversees A&R for OKeh Records.

www.sonnyrollins.com

JACKIEM JOYNER'S NEW RELEASE "EVOLVE" FEATURES DUETS WITH GERALD ALBRIGHT & KEIKO MATSUI; DUE APRIL 29, 2014

As a young turk on the contemporary jazz scene, saxophonist Jackiem Joyner is far from complacent and staid in his sound and style. Not afraid to challenge the fan base that took him to No. 1 twice and Top 3 two more times on the Billboard chart, Joyner gets adventurous on his fifth album, “Evolve,” which will be released April 29th by Artistry Music/Mack Avenue Records. It’s his first on which he wrote and produced the entire set, including the first single going to radio in mid-March, “Generation Next,” an up-tempo urban-pop track with vibrant flashes of strings that provide a contrast to Joyner’s gentle melodic sax.   

  

Juxtaposing invigorating otherworldly sonicscapes under tender sax melodies, “Evolve” is a dynamic, highly-rhythmic session that is unpredictable laced with traces of the familiar. Listening will take you to a different place while defining Joyner as a musician and a writer beyond what we have already heard from the chart-topping rhythm and groove guy. The imaginative new set has a greater purpose with the introductory single, “Generation Next,” serving as “a declaration that the next generation of jazz musicians is here to stay. Music evolves, including jazz. All types of sound evolve. So do people and our imaginations. That is what I tried to put on tape. ‘Evolve’ captures the changes in my musical mind and how I have evolved as an artist. Rather than fitting in with the traditional, I’m bringing the audience along with songs that unfold over different and interesting soundscapes even as I move towards a live organic sound,” explains Joyner.

In addition to playing alto and soprano sax on the record, Joyner is a multi-instrumentalist who played many of the instruments heard on the collection along with a couple of high-profile assists from Grammy-nominated sax player Gerald Albright and internationally-renowned keyboardist Keiko Matsui. The collaborations are noteworthy for different reasons. When Joyner was in high school, Albright was his idol thus dueting with him on “Big Step” was a thrill. Joyner tours in Matsui’s band when not performing his own dates and wrote “Europa” with her mind. On a few tracks, he was joined by his touring band – guitarist Kayta Matsuno, bassist Tim Bailey, keyboardist Bill Steinway and drummer Raymond Johnson – to record live in the studio.

“Evolve” marks a return for Joyner to the contemporary jazz-urban instrumentals for which he achieved notoriety on his first three albums after 2012’s “Church Boy,” an offering that landed on Billboard’s Jazz Albums and Top Gospel Albums charts. Joyner was named Debut Artist of the Year for his 2007 debut, “Babysoul,” by Smooth Jazz News. His sophomore set, “Lil’ Man Soul,” registered a pair of No. 1 Billboard hits with “I’m Waiting For You” reigning for 12 weeks and winning Song of the Year honors at the 2009 American Smooth Jazz Awards. Two singles from Joyner’s self-titled third record climbed into Billboard’s Contemporary Jazz Songs Top 3. He’s toured the world extensively in support of each release and anticipates a busy year of touring in 2014 – both with his own band and with Matsui. For more information, please visit www.JackiemJoyner.com and www.facebook.com/jackiemjoyner .

“Evolve” contains the following song titles:

“Generation Next”

“Europa”

“Double Bass”

“Breathe”

“Evolve”

“Born To Fly”

Interlude

“Later Tonight”

“See Through Me”

“Big Step”

“A Gentle Walk On Water”

NEW RELEASES: LENNY WILLIAMS – CHOOSING YOU; RUDY ROYSTON – 303; RICHARD BONNET / TONY MALABY / ANTONIN RAYON / TOM RAINEY - WARRIOR

LENNY WILLIAMS – CHOOSING YOU

A killer set from Lenny Williams – done in a smoothly jazzy mode that echoes with a real Fantasy Records groove! Lenny's clearly drawing some great inspiration here from the East Bay scene – working with older Motown producer Frank Wilson on a set of warmly modern numbers that really help him state a strong voice as a solo act. The grooves are all just perfect for Lenny's vocals – funky, but never too much so – and smooth without being slick – a rare balance, but one that comes off perfectly here, and makes the set a great one! Essential mellow soul throughout – with tracks that include "Look Up With Your Mind", "Riding The High Wire", "Choosing You", "Shoo Doo Fu Fu Ooh", "Please Don't Tempt Me", "Trust In Me", and "I've Been Away From Love For Too Long". CD features lots of bonus tracks – "Choosing You (12" single)", "Choosing You (7" single)", "Shoo Doo Fu Fu Ooh (7" single)", and "Look Up Your Mind (7" single)". ~ Dusty Groove

RUDY ROYSTON – 303

The first album as a leader from drummer Rudy Royston – a player we've enjoyed for years in the company of others, and one who emerges here with a really fresh voice of his own! Rudy's drums are bold, but also have this way of opening up and allowing magical interplay between all the other members of the group – a warm combo that features Jon Irabagon on saxes, Nadja Noordhuis on trumpet, Nir Felder on guitar, Sam Harris on piano, and either Mimi Jones or Yasushi Nakamura on bass. The guitar and piano combo is wonderful – ringing with these compelling chromes, especially on the tracks that feature Jones' wonderfully soulful work on bass. Most tracks are originals by Rudy – furthering the personal voice of the record – and titles include "Mimi Sunrise", "Play On Words", "Miles To Go", "Gangs Of New York", "High & Dry", and "Bownze". ~ Dusty Groove

RICHARD BONNET / TONY MALABY / ANTONIN RAYON / TOM RAINEY - WARRIOR

Post-musical tones from a very powerful lineup – a quartet who make some really amazing sounds from very familiar instruments – all used at levels that are quite different than you'd hear in standard jazz, or even most avant work as well! The group features Richard Bonnet on guitar, Tony Malaby on tenor and soprano sax, Antonin Rayon on Hammond, and Tom Rainey on drums – but the overall sound is way different than any tenor/organ/guitar combo we've ever heard! The Hammond is especially amazing – used to generate these offbeat sounds, which are then echoed by Bonnet's guitar – and laced with reed lines that are sometimes melodic, sometimes more textural – on titles that include "Warrior", "Bonne Resolution", "World Of Signs", "Kala", and "Coney Island Line". ~ Dusty Groove

BETH HART & JOE BONAMASSA - LIVE BLU-RAY/2DVD/ 2CD "BETH HART & JOE BONAMASSA - LIVE IN AMSTERDAM" - OUT MARCH 25

On March 25, hot on the heels of their GRAMMY nomination, force-of-nature blues-rock vocalist Beth Hart and guitar hero Joe Bonamassa will deliver Beth Hart & Joe Bonamassa – Live In Amsterdam (2DVD/Blu-ray/2CD) – the very first live experience from one of music's most powerful female voices and one of the world's greatest guitar players. Against the backdrop of the beautiful, historic Koninklijk Theater Carre in Amsterdam, the performance wows with scorching soul covers from the duo's 2011 debut album Don't Explain and 2013 follow-up Seesaw, originally made famous by artists such as Aretha Franklin, Etta James, Billie Holiday, Tom Waits, Ray Charles, Donnie Hathaway, Lucinda Williams, Bill Withers, Delaney & Bonnie, Buddy Miles, Tina Turner, Slackwax, Melody Gardot, Nina Simone, and more.

This project was born from what Hart, Bonamassa, and Bonamassa's long-time producer Kevin Shirley call a "crazy idea" to record a catalog of songs in a way that recalls the days when a band recorded live in the studio with little or no overdubs; the days when the vocalist was happy when a take was done regardless of personal performance.

"What we're trying to capture is an era of reaction and spontaneity – something that was a great inspiration for me as a budding musician," explained Bonamassa. "It's a bygone era in lieu of modern times and digital studio manipulation. We wanted to do the exact opposite of that for this live concert. There were no nets and what you hear is what was sung and played that night."

Both Hart and Bonamassa were heavily influenced by these songs and the artists who originally performed them. "We're doing these amazing cover songs and in doing them, and what's so great about doing them, is that it shows part of what excited us and made us want to become artists when we were young and just starting out," said Hart. "You can see that a lot of this was an influence with me, and Joe, and the other musicians, you can hear it in the way everyone plays and performs. This was music that they loved, that touched them. And when you do covers, you get to make them personal. That was part of the goal – to make it like it's your story too. Otherwise how does it come across sincere? I think that's one of the challenges and it's very fulfilling if we feel like we're doing that."

The one-two punch of Hart's powerhouse vocals and Bonamassa's blistering solos both honors and reinvents the original recordings. Featuring 22 songs and over two hours of bonus and behind-the-scenes footage, the sonic pairing that critics everywhere are calling a "match made in heaven" are backed by the same world class band that kept the grooves going on both albums:  Anton Fig (drums, percussion), Carmine Rojas (bass), Blondie Chaplin (rhythm guitar and backing vocals), Arlan Schierbaum (keyboards). This time out, their mighty sound is augmented by a horn section, with Lee Thornburg (trumpet and percussion), Ron Dziubla (saxophone and percussion), and Carlos Perez Alfonso (trombone and percussion).

TRACKLISTING

1. Amsterdam, Amsterdam!

2. Them There Eyes

3. Sinner's Prayer

4. Can't Let Go

5. For My Friends

6. Close To My Fire

7. Rhymes

8. Something's Got A Hold On Me

9. Your Heart Is As Black As Night

10. Chocolate Jesus

11. Baddest Blues

12. Someday After Awhile (You'll Be Sorry)

13. Beth introduces the band

14. Well, well

15. If I Tell You I Love You

16. See Saw

17. Strange Fruit

18. Miss Lady

19. I Love You More Than You'll Ever Know

20. Nutbush City Limits

21. I'd Rather Go Blind

22. Antwerp Jam (Credits)

http://hartandbonamassa.com/    

http://jbonamassa.com/  

www.bethhart.com  

https://www.facebook.com/JoeBonamassa  

https://www.facebook.com/officialbethhart  

Twitter: @JBONAMASSA, @BethHart

MULTI-GRAMMY® NOMINATED DRUMMER HARVEY MASON RELEASES "CHAMELEON" CONCORD RECORDS DEBUT APRIL 29, 2014

Chameleon, the scintillating Concord Records debut from multi-GRAMMY® nominated Harvey Mason, finds him drawing upon the rich jazz-funk legacy of the 1970s and recasting seven of that era’s most enduring classics with an early 21st-century sheen. A legendary session drummer, producer, composer and recording artist, Mason is among the most recorded and in-demand musicians of all-time.

Co-produced by Chris Dunn, Sr. Director of A&R for Concord Music Group, Chameleon features some of the brightest young jazz talents on the scene today. NEXT Collective alumni such as trumpeter Christian Scott, bassist Ben Williams, pianist/keyboardist Kris Bowers, guitarist Matthew Stevens enliven Chameleon. Bringing more young firepower to the fore are trombonist/vocalist Corey “CK” King, saxophonist Kamasi Washington, vocalist Chris Turner, and keyboardist/electronica producer, Mark de Clive-Lowe.

Helping Mason steer this cooperative are some of his contemporaries – bassist and co-founder of the legendary Yellowjackets, Jimmy Haslip; percussionist and founder of Los Hombres El Caliente, Bill Summers; and bassist Paul Jackson. Summers and Jackson worked with Mason on Herbie Hancock’s 1973 landmark LP, Head Hunters. 

The lead composition, “Chameleon,” from Head Hunters serves, in part, as the signifying reference for Mason’s disc. Not only did Mason provide the rhythmic spank for the jazz-funk staple, he co-wrote it with Hancock along with several other bandmates – Jackson and reedist Bennie Maupin.

The other part of the equalization for the disc’s title comes from “chameleon” being a nickname, given to Mason, because of his incredible versatility. As a first-rate session musician and live performer, his brilliance resides not only in jazz. He’s demonstrated musicianship in R&B, pop, country, Latin and European classical music; Mason also has played on an astounding number of recordings, movie and TV scores and commercial jingles.

After two decades of playing with the GRAMMY®-nominated ensemble Fourplay – with which he’s still a member – Mason decided to reignite his solo career by forming a band based on the first edition of Hancock’s Head Hunters ensemble. Mason took the combo to Japan and received rave reviews. That reception, along with serious encouragement from his manager, inspired him to record Chameleon. “I came back [from Japan] and my manager spoke with Chris Dunn, who was real excited about it. He championed the idea with Concord,” Mason recalls.

During the sessions, Mason was surprised about how strongly ’70s jazz-funk resonated with today’s more cutting-edge jazz artists. “It’s funny because a lot of those records, I may have listened to them maybe one time since I recorded them,” Mason explains. “As a musician, you’re always trying to evolve. When I listen to my drumming back then, it sounds dated. Now my sound is more opened.  Back then, I had only one head on the toms, so they didn’t ring as much. They had a darker sound. I’ve modernized my drumming to accommodate the music that’s happening now. So when I listen to the old stuff, I just say, ‘Wow! That’s really something. That’s what they want to hear now.’”

After witnessing Dunn’s passion for the project, Mason took his lead in terms of repertoire and sound quality.  “I said to myself that there might be something to this that I might not be seeing. So I trusted his instincts,” Mason says. “As we put it together, I saw where he was coming from.”

A tour-de-force destined become a new hallmark in Mason’s illustrious career, Chameleon begins with a smoldering rendition of Grover Washington, Jr.’s “Black Frost,” arranged by King. It features Kamasi Washington blasting a searing tenor sax solo across an evocative sonic terrain crafted by Bowers and Corey King keyboard and synth chords as Steven’s bluesy guitar accompaniment helps the rhythm section give it more funky momentum.

Like most of the songs on the disc, Mason participated in the recording sessions of the original version of “Black Forest.” That 1974 date was of his first opportunity working with CTI Records and Creed Taylor. He recalls that except for Bob James (who co-wrote and arranged the song), many of the other musicians initially gave him the cold shoulder. “I remember no one would speak to me except for Bob because I was this hotshot making all these hits in L.A.,” Mason says, “Bob was very welcoming to me. We instantly became friends. When we started playing, everything sort of opened up and things were cool after that. Those guys became some of my greatest friends.”

The disc continues with an imaginative take on Bobby Hutcherson’s “Montara,” which has become a hip-hop gem thanks to people like the Roots and Madlib sampling it. On Chameleon, Mason handles the vibraphone part but allows Stevens, who arranged the makeover, to emerge as the lead voice on the melody, before passing the baton to de Clive-Lowe on Fender Rhodes.

Mason wasn’t on the original version of “If I Ever Lose This Heaven,” a soul-jazz ballad classic on Quincy Jones’ 1974 LP, Body Heat. But Dunn insisted on including it on the disc; he suggested Turner, who croons a simmering rendition of the lyrics, originally sang by Minnie Riperton and the song’s co-writer, Leon Ware. Arranged by King with vocals produced by Mason’s son, the new version retains the sensual vibe of the original, yet it shimmers with a modern, after-hours appeal.

Chameleon then breaks into one of its three sensational interludes. The first one, “Going Back” provides an ideal vehicle for showcasing de Clive-Lowe’s arranging and instrumental prowess on the keyboard as he tickles a hypnotic groove alongside Mason and Jackson.

The disc then slides into Bowers’ stunning arrangement of Rushen’s jazz-funk gem, “Before the Dawn,” which is graced by impressionistic horn chords from Scott, Washington and King.

Donald Byrd’s classic “Places and Spaces” arrives next, first with a haunting prelude, before it launches into a swaggering groove, enlivened by Scott’s electrifying trumpet solo. King, who arranged the strutting down-tempo makeover, also lends his suave vocals on lead.

Afterward, Mason’s wistful ballad, “Either Way” arrives. Originally appearing on Dave Grusin’s 1979 LP, Mountain Dance, the song became famous in hip-hop circles after being sampled on Biggie Small’s 1994 rap tune, “Everyday Struggle.” Bowers deftly taps into that hip-hop/jazz connection with a melancholy arrangement.

The title track comes as a grand finale with an imaginative arrangement from reedist (and Concord labelmate) Ben Wendel of Kneebody. For the new arrangement, Mason invited Summers to reprise his famous hinedewho intro to “Watermelon Man” from Hancock’s Head Hunters LP as a suspenseful teaser. It works like a charm as “Chameleon” moves into its trademarked stuttering melody and humpback groove.

The disc is a true testament to the enduring vitality of ’70s jazz-funk, and to Mason’s incredible musical flexibility. He’s a musician intent on constantly pressing forward. So Chameleon is hardly caught up in shallow nostalgia; it’s undeniably contemporary. “The music sounds different than it did back then,” Mason says. “But you get the same feeling and vibe. “