Wednesday, March 19, 2014

BEN & ELLEN HARPER REFLECT ON CHILDHOOD HOME - COLLABORATIVE ALBUM DUE MAY 6 VIA PRESTIGE FOLKLORE

Ben Harper and his mother Ellen have collaborated to create Childhood Home (Prestige Folklore), an absorbing, deeply personal collection of original songs set for release on May 6, 2014.  Landing the week before Mother’s Day, the ten songs on Childhood Home, six written by Ben and four written by Ellen, explore the intricacies of family life with honesty and generous intimacy.

The album’s source can be directly traced to the pair’s highly unusual, musical heritage.  In 1958, Ben Harper’s maternal grandparents established The Folk Music Center and Museum in Claremont, California.  It was there, amid guitars, banjos, tablas, ukuleles and all manner of instruments from around the world, that a distinctively musical family took shape.  Ellen Harper, a talented multi-instrumentalist in her own right, encouraged her family to use the store (which she still operates) as a musical laboratory. The center was a magnet for up-and-comers such as Ry Cooder, David Lindley and Taj Mahal, who became extended family members, providing master classes in creativity and philosophy, all of which the young Ben Harper soaked up like a sponge.

“I was a single mom, so he would come to the music store pretty much everyday after school, and help out while I was working. I think he just absorbed a lot of it,” Ellen told a local paper. “It was in his environment, everywhere, because I used to play in bands, and he used to hang out with us all the time.”  “Without that upbringing, I don’t think I’d be doing what I do,” Ben told the LA Times upon his grandfather’s passing in 2004. 

The tender, artfully crafted story sketches on Childhood Home are laced with an undercurrent of love, wistfulness and, sometimes, pain. “A house is a home even when there’s ghosts / Even when you gotta run from the ones who love you most,” Ben sings on the album opener “A House Is A Home.”   On “Memories of Gold,” truthfulness cuts through sweet nostalgia: “In the winter she wants to be dancer / In springtime she wants to be a scribe /In summer she wants to be a painter / Come autumn the mother of a child.” Likewise, the sacrifice and despair of domestic life is devotedly delivered on Ellen Harper’s “Altar of Love”: “He always works late, determines his own fate / He’s found his true match; he’s found his soul mate / Sorry he says, sorry he feels / Can’t help himself, he fell head over heels / And now she’s another wife and a mother / Sacrificed on the alter of love.”

Ben Harper produced Childhood Home "like early Elvis," he told Rolling Stone, after he and Charlie Musselwhite won the "Best Blues Album" GRAMMY Award for last year’s critically acclaimed Get Up! (Stax/Concord). "Not one thing is plugged in. It's all acoustic. I think they’re going to call it ‘Americana,’ but it’s soul, California, folk rock, American."

Addressing a hometown audience, Ben recently affirmed: “I’ve always figured home is where you run from, and then run to.” Ben and Ellen Harper find the circle unbroken on Childhood Home.

Childhood Home Tracklist:
1. A House Is a Home
2. City of Dreams
3. Born to Love You
4. Heavyhearted World
5. Farmer's Daughter
6. Memories of Gold
7. Altar of Love
8. Break Your Heat
9. Learn It All Again Tomorrow
10. How Could We Not Believe

WAR SET TO RELEASE FIRST NEW ALBUM IN 20 YEARS - EVOLUTIONARY FT. TOWER OF POWER AND OTHERS

On May 13, the legendary and groundbreaking group, WAR, will release their first new studio album in 20 years, titled Evolutionary, on Far Out Records/UMe. Available on 2CD and digitally, the package includes the new Evolutionary album and WAR’s digitally remastered, multi-Platinum Greatest Hits collection, originally released in 1976 and never before released digitally or on CD. Featuring special guest collaborations with Cheech & Chong, Tower of Power, Joe Walsh, Malik Yusef, and the USC Marching Band, Evolutionary showcases WAR’s multi-ethnic lineup and genre-defying style, combining jazz, rock, funk, soul, R&B and Latin. The band also announced U.S. tour dates starting March 20, including co-headlining performances with Cheech & Chong at The Joint at Las Vegas’ Hard Rock Hotel & Casino on May 16 and at Los Angeles’ Greek Theatre on May 24 (see confirmed dates below).

Produced by Jerry Goldstein and Lonnie Jordan, the new set touches on WAR’s L.A. roots, while also updating the band’s classic sound for a new generation of fans. Evolutionary was recorded at Total Access Studios in Redondo Beach, California by WAR founding member/vocalist Lonnie Jordan, percussionist Marcos Reyes, guitarist Stuart Ziff, bassist Francisco “Pancho” Tomaselli, drummer Sal Rodriguez, saxophonist/flautist David Urquidi, and harmonica player Stanley Behrens.

Evolutionary includes the autobiographical first single, “That L.A. Sunshine,” featuring Cheech & Chong, who memorably used WAR’s “Low Rider” in their movie debut, Up in Smoke. Cheech & Chong and WAR are co-headlining the ongoing “Up In Smoke Tour.”

The album also includes “Mamacita,” which revisits the band’s Latin heritage and the Hollywood streets that inspired them -- accompanied by special guest Joe Walsh on guitar and the Tower of Power horns. “Inspiration,” a song set to a Lonnie Jordan-penned poem, celebrates the band’s unique relationship with its fervent fan base. Additionally, five-time GRAMMY® winner and member of Kanye West’s G.O.O.D. posse, Malik Yusef brings his hip-hop pedigree to the smooth R&B ballad, “Outer Space,” the “Low Rider” sample of “Bounce,” and the gospel choir on “Everything.” Yusef also contributes the rap to Motown writers Norman Whitfield and Barrett Strong’s “War” (a hit for Edwin Starr), which also features the famed USC Trojan Marching Band.

WAR is the quintessential Los Angeles street band, first discovered by producer/writer Jerry Goldstein in a North Hollywood club. Eric Burdon and WAR burst onto the charts with the classic worldwide hit “Spill The Wine.” Burdon and WAR toured extensively across the United States and Europe, until Burdon departed the band during the tour. The tour continued and the band returned to Los Angeles to record their first album as WAR. The rest is history.

WAR has achieved 31 Gold, Platinum and Multi-Platinum RIAA sales honors, 11 Top 10 pop hits, and 15 Top 10 R&B hits, including “Low Rider,” “Spill The Wine,” “Why Can’t We Be Friends,” “The Cisco Kid,” “The World is a Ghetto,” “Gypsy Man,” and “Summer.”

Over the years, WAR’s songs have been sampled by a broad range of artists, including the Beastie Boys, George Clinton, The Geto Boys, Ice Cube, Ice-T, Janet Jackson, Method Man, Redman, Smash Mouth, Tupac Shakur, Barry White, ZZ Top, Portishead, Korn, and many more.

Songs from the group’s legendary catalog have been featured on the soundtracks for several hit movies, including Lethal Weapon, Boogie Nights, and Gone in 60 Seconds, popular TV shows “Beverly Hills 90210,” “My Name Is Earl,” and “The Simpsons,” and best-selling video games “Grand Theft Auto IV” and “Skate 2.”

WAR: Evolutionary / Greatest Hits [2CD; digital]
CD 1: Evolutionary
1.     That L.A. Sunshine 
2.   Mamacita 
3.   It's Our Right / Funky Tonk 
4.   Just Like Us 
5.   Inspiration 
6.   Scream Stream 
7.   This Funky Music 
8.   Outer Space 
9.   War / War After War (A Soldier's Story) 
10.   Bounce 
11.   Everything 
12.   It’s My Life 
  
CD 2: Greatest Hits (remastered)
1.   All Day Music 
2.   Slippin' Into Darkness 
3.   The World Is A Ghetto 
4.   The Cisco Kid 
5.   Gypsy Man 
6.   Me And Baby Brother 
7.   Southern Part Of Texas 
8.   Why Can't We Be Friends? 
9.   Low Rider 
10.   Summer 
    
WAR: U.S. Tour Dates
March 20 / Riverside Theater, Milwaukee, WI
March 21 / Mystic Lake Casino, Prior Lake, MN
March 22 / 1stBank Center, Broomfield, CO
March 29 / Peoria Civic Center Arena. Peoria, IL 
April 5 / American Bank Center, Corpus Christi, TX
April 6 / Majestic Theatre, San Antonio, TX
April 17 /  Enmore Theater, Sydney, AUS 
April 18 / Hamer Hall, Melbourne, AUS 
April 19-21 / Byron Bay Blues Festival, Byron Bay, AUS 
April 27 / Stockton Asparagus Festival, Stockton, CA 
May 2 / Chandler Pass, Phoenix, AZ 
May 16 / Hard Rock Hotel & Casino - The Joint, Las Vegas, NV
May 17 / Tachi Palace Hotel & Casino, Lemoore, CA 
May 24 / Greek Theatre, Los Angeles, CA
May 29 / San Bernardino County Fair, Victorville, CA 
June 12 / San Mateo County Fair, San Mateo, CA 
June 13 / Merced County Fair Outdoor Theatre, Merced, CA 
June 21 / Genessee Theatre, Waukegan, IL 
June 28 / Wonderland of the Americas Outdoor, San Antonio, TX 
July 5 / Nugget Rose Ballroom, Reno NV
July 18 / TBA, Boise, ID
July 19 / Marrymore, Seattle, WA
July 26 / Lock 3 Live, Akron, OH 
August 2 / Tags, Big Falls, NY
August 7 / Northwest Ohio Rib-Off, Maumee, OH 
August 17 / Bohemian Nights at NewWestFest, Ft. Collins, CO 
August 28 / Jackson Rancheria Casino Resort , Jackson, CA
August 29 / Monterey County Fair, Monterey, CA 
September 5 / LA County Fair, Los Angeles, CA 
October 19-20 / Capitol Jazz Cruise, Ft. Lauderdale, FL 
October 24 / Casino Baltimore, Baltimore, MD 
October 31 / Twin River Casino, Lincoln, RI
November 21 / Magic City Casino, Miami, FL 


NATHAN EAST TO APPEAR ON THE TONIGHT SHOW; SINGLE "DAFT FUNK" REACHES #3 ON BILLBOARD SMOOTH JAZZ CHART

Nathan East, America's preeminent bassist, is readying his eponymous solo debut and will be sharing music from the album on The Tonight Show Starring Jimmy Fallon and Tavis Smiley. The album features appearances by many of Nathan's friends and past collaborators including Sara Bareilles, Eric Clapton, Michael McDonald, and Stevie Wonder.  The album epitomizes Nathan's time as a go-to player in the funk, soul and jazz world. 'Nathan East' is available March 25 on Yamaha Entertainment Group.

"Daft Funk," Nathan's ode to the Grammy-winning album he helped record with Daft Punk, is the album's first single and has reached #3 on the Billboard smooth jazz charts. The song features legendary session guitarist Ray Parker Jr., and uses a talk box to channel the French funk auteurs. Bass Musician Magazine called the song a "groove-heavy Daft Punk-meets-Michael Jackson 'Off the Wall' original."

The album already has more than 4,500 pre-orders and release week will see Nathan performing several times on the late night circuit. Nathan sits in with The Roots on The Tonight Show Starring Jimmy Fallon (March 26), in addition to an interview and performance on Tavis Smiley (airing the week of March 24).

President of Yamaha Entertainment Group Chris Gero, who co-produced the album with Nathan and co-wrote the song "Madiba" said: "It's been a privilege to work with Nathan on this album. We at Yamaha Entertainment Group are all honored to be able to work with Nathan on this labor of love, the release of his debut solo album."

Advance reviews of the album have praised "an absolutely unparalleled performance of Van Morrison's 'Moondance'" (Music Connection), and Bass Player's Chris Jisi concluded, "This album is packed with blinding brilliance!"

Following the release, Nathan East will kick off a national Guitar Center tour, offering bass clinics and meet and greet opportunities in select cities.

Nathan East Guitar Center Tour
Tues., April 1: Rockville, MD
Wed., April 2: Towson, MD
Thurs., April 17: Seattle, WA
Tues., May 6: San Diego, CA
Thurs., May 8: San Marcos, CA
Tues., May 13: Charlotte, NC
Thurs., May 15: Dallas, TX

~ Yamaha Entertainment Group


NEW RELEASES: CITRUS SUN - PEOPLE OF TOMORROW; KENNY GRAHAM - THE WORLD OF SAMMY LEE; NIELS VINCENTZ / CAMERON BROWN / BILLY HART / TOM HARRELL - IS THAT SO?

CITRUS SUN - PEOPLE OF TOMORROW

A really sweet set from this Incognito side project – a group who are even jazzier than usual work from Bluey and crew! The album's mostly instrumental – save for some great guest vocals from Valerie Etienne – and the focus is on longer solos on keyboards, guitar, and trumpet – all spun out over the kind of classic grooves you'd expect from Incognito! Think of the record as a jazz fusion project from the late 70s, with some R&B undercurrents – just the kind of set that only a rare few like Bluey could do so well. Valerie sings on a great cover of Terry Callier's "What Color Is Love", and the album also features an instrumental take on "What's Going On", plus the tracks "Yesterday Detroit", "Cooking With Walter", "Tonight We Dance", "Mais Uma Vez", and "People Of Tomorrow". ~ Dusty Groove

KENNY GRAHAM - THE WORLD OF SAMMY LEE

A wonderful jazz soundtrack from the legendary Kenny Graham – the important postwar Brit bandleader who was known for his seminal Afro-Cubists group – heard here in a much different context! Kenny's still got all that great sense of tone and color he brought to some of his more powerful music – but he uses it here with a sensitivity that's really breathtaking – careful use of woodwind passages, percussion, and other light instrumentation – all used to illustrate the seamier underbelly of London in the early 60s! The tapes were thought lost for years, but have been marvelously reclaimed by the folks at Trunk Records – and although there's no historical record of the musicians on the date, we're guessing that they're the same top-shelf jazzmen who graced Kenny's other groups. Titles include "Patsy Asleep In The Flat", "Salt Beef", "Dash To Bellman's", "Four O'Clock Hop", "Thoughts At Home", "Peepshow Bins", and "Soho At Dawn". ~ Dusty Groove

NIELS VINCENTZ / CAMERON BROWN / BILLY HART / TOM HARRELL - IS THAT SO?

A wonderful follow-up to the previous trio album that tenorist Niels Vincentz cut with bassist Cameron Brown and drummer Billy Hart – and a record that also adds in the wonderful voice of Tom Harrell on trumpet! The quartet have this cool, compressed vibe that's right up there with Harrell's best work under his own name – that impeccable trumpet style really shaping the top end of the tunes, and balanced by some of the deeper, more soulful lines coming from Vincentz's trumpet – as Brown does some amazing work on the bottom end, with these round, warm tones that leave us breathless throughout. Hart's drum work is more than able to shift and match all the right patterns needed throughout – and titles include "Baby Suite", "Modal Dancer", "Haiku", "Cecile", and "Raison D'Etre". ~ Dusty Groove


Tuesday, March 18, 2014

DAVID WHITE JAZZ ORCHESTRA - THE CHASE

Trombonist and composer David White formed his powerhouse 17-piece ensemble, the David White Jazz Orchestra, in 2007 and introduced them to the jazz world four years later with his well-received debut, Flashpoint. "White clearly knows his jazz history," wrote one reviewer, "and strikes a perfect balance by incorporating his musical influences while defining his own progressive style."

White now returns with a follow-up disc, The Chase, containing six new originals performed by his New York City-based orchestra, many of whose members have been associated with him musically since their high school days in Buffalo, New York two decades ago. The ensemble, while steeped in big-band traditions, takes the music in exciting new directions rife with vibrant voicings and rhythmic variety. White's Mister Shepherd imprint will release the disc on April 8.
  
"There's a whole palette of orchestral colors within the big band that are not always tapped into," explains the 35-year-old leader. "When you take all the various colors and color combinations that are possible, it's like having a giant box of Crayolas where you can color and draw anything that you can imagine. Contrary to popular opinion, the big band has a rich palette for orchestration. A symphony orchestra has a standard instrumentation, but you wouldn't expect a symphony orchestra to sound a particular way. It's really up to the composer and the orchestrator use those colors in a unique way, and I don't want people to know what to expect when they hear my music."

David White On the new disc, White's robust trombone gets the solo spotlight on "Persistence," a song he says was inspired by minimalist composer Steve Reich's Music for 18 Musicians. Other highlights include the fast-burning "Mister Shepherd's Misadventures," with solos by tenor saxophonist Sam Dillon and trumpeter Miki Hirose; "The Shakedown," a funky 24-bar composition featuring alto saxophonist Andrew Gould (who's also worked with the Jon Faddis and Wallace Roney big bands); and "Blues for Sally Draper," a medium-tempo 12-bar blues named for the precocious character on Mad Men, White's favorite television show.

Growing up in Buffalo, David White played recorder and trumpet before settling on trombone. He played in both the jazz band and concert band in junior high school and was playing professionally by the time he was 14 with a big band at Buffalo's historic Colored Musicians Club led by baritone saxophonist Macy Favor.

"Macy was an important father figure since I had a single mother and my grandfather had passed," White says. "Music was always something that added discipline in my life. There's the discipline of practicing. There's the discipline of being in bands, which is more responsibility than a lot of 14-year-olds would have had. It let me get a lot of my trial and error out of the way at an early age. It was tuning my ear to blending with other musicians to playing in a trombone section to balancing the trombone section with the rest of the band."

After high school, White spent a year at the University of Buffalo, where he studied with noted classical trombonist Richard Myers, before transferring to the Purchase College Conservatory of Music, from which he would earn Bachelor's and Master's degrees in music. At Purchase he studied with onetime Woody Herman trombonist Jim Pugh and played in the school's big band, small jazz groups, Latin jazz band, trombone choir, symphony orchestra, brass band, and wind ensemble.

White moved to the New York City area in 2003 and currently resides in Queens. He led his own quintet for seven years and has also played with Charli Persip's big band and currently with Valery Ponomarev's big band. Since its inception in 2007, the David White Jazz Orchestra has performed at such New York venues as Symphony Space, Garage Restaurant and Café, Tea Lounge, Somethin' Jazz Club, Saint Peter's Church, and the Full Gospel Assembly of Queens. The orchestra's membership has been, the leader says, "way more stable than I ever anticipated" over the past seven years.

The trombonist cites J.J. Johnson ("the father of us all"), Ray Anderson ("the anti-J.J."), Slide Hampton, Curtis Fuller, and Grachan Moncur III as influences on his playing and Maria Schneider, Steve Reich, Gerald Wilson, and Thad Jones as being among the composer-arrangers who have most inspired him.

As evidenced by 2011's Flashpoint and now The Chase, David White has become a jazz force to be reckoned with. He's a wonderfully innovative composer, the leader of a dynamic orchestra filled with brilliant soloists and section players, and a darn good trombone blower to boot. 

The David White Jazz Orchestra will celebrate the release of The Chase with performances at Saint Peter's Church, 619 Lexington Ave. at 54th Street, NYC, Wed. 7/9 at 1:00 pm; and at Harlem School of the Arts, 645 St. Nicholas Ave., NYC, Fri. 7/18, 6:30 pm. 


ESTHER PHILLIPS - BABY, I'M FOR REAL!: 4 CLASSIC ALBUMS 1971-1974

A huge chapter in the career of Esther Phillips – four albums for the legendary Kudu label, plus bonus tracks too! First up is From A Whisper To A Scream – one of our favorite-ever albums from Esther Phillips – an album that really helped her transform her sound for the 70s! The approach is a lot more jazzy than before – served up with a good dose of funk, thanks to arrangements from Pee Wee Ellis – fresh from his work with James Brown, but even more electrically-oriented here! Titles include an incredible cover of Gil Scott Heron's "Home Is Where The Hatred Is", plus "From A Whisper To A Scream", "Till My Back Ain't Got No Bone", "Your Love Is So Doggone Good", Scarred Knees", and "Baby, I'm For Real". 

Alone Again is one of the deepest soul sets from Esther Phillips' 70s years on Kudu Records – a set with some nicely gritty grooves and a surprisingly earthy feel at times – especially when compared to some of her other albums of the time! Backings are by James Brown's old reedman, Pee Wee Ellis – and although there's some of the usual Kudu electric funk in the mix, there's also some deeper soul elements too – a vibe that's often a bit laidback and open, almost more Atlantic Records at points – which is a mighty good fit for Esther's wonderful voice! The album's got a great version of Bill Withers' "Use Me" that features a tasty break in the intro – and other titles include a great version of "Alone Again (Naturally)", plus the cuts "Let's Move & Groove", "Cherry Red", "Let Me In Your Life", and "You & Me Together". 

Black Eyed Blues is next, and Pee Wee Ellis arranged the album, and gave Esther a nice little dose of funk that really helped her groove – getting out of the sad bag of her Atlantic recordings, and sounding hipper than anyone would have expected! The record features the great slow funk groover "Black Eyed Blues" – and other tracks include "I've Only Known A Stranger", "You Could Have Had Me, Baby", and "Too Many Roads". 

Performance has a nicely dark undercurrent at times – a sound that's not as smooth as some of Esther's other Kudu albums from the 70s, with bits of R&B bubbling underneath the more contemporary arrangements. Backings are penned by Pee Wee Ellis and Gary King – and titles include the classic funky number "Disposable Society" – one of those great little groovers that never did anything for Esther at the time of its release, but which has really gotten rediscovered in recent years! Other tracks include "Doing Our Thing", "Living Alone", "Can't Trust Your Neighbor With Your Baby", and "I Feel The Same". CD features bonus tracks – "Brother Brother", "I Can Stand The Rain", and "What A Difference A Day Makes (single edit)".  ~ Dusty Groove 


NEW RELEASES: OHIO PLAYERS - BACK; THE EMINENT STARS - SITTIN' IN WITH THE EMINENT STARS; EURO CINEMA - FUNKSTAMATIC

OHIO PLAYERS - BACK

Ohio Players bounce back for this late 80s album – coming across with a leaner groove than before, and a style that's right up there with the best mainstream funk of the time! Most instrumentation is electric – plenty of beats and keyboards here – but the group still seem to hang onto the looser, freakier style they brought to their Mercury work of the 70s – a mode that's definitely updated here with more 80s aesthetics that run through the vocals and production, but still in a way that doesn't have the Players straying far from their roots! Titles include "Get 2 The Good Part", "Show Off", "I'm Madd", "Vibe Alive", "Just A Minute", and "Try". ~ Dusty Groove


THE EMINENT STARS - SITTIN' IN WITH THE EMINENT STARS

Stardom seems eminent with this fierce funky combo – a quintet of players with a deep love of southern sounds from the 60s – particularly the best grooves coming out of Memphis or New Orleans! The mix of instrumentation features tight trumpet, tenor, and guitar – and although the group's core jamming is the main appeal of the record, the set also features guest vocals on a number of tracks – different soul-styled vocalists who collaborate with the group, and create a nice sense of spontaneity and variety throughout. Titles include "The Club", "Hearts Are Jumping", "Ben's Dungeon", "Dead Cat", "Tune In", and "Smokey One".  Dusty Groove

EURO CINEMA - FUNKSTAMATIC

One of the coolest funk combos we've heard in years – a group who are partly in the tight funky 45 mode of so many other groups, but who also have the chops to hit a bigger blacksploitation groove when they want! The core instrumentation is very heavy on drums that kick each tune off with a pretty powerful start – paving the way for riffing guitars, tight tenor and flute, and just the right kind of grooves to balance things out in a range of funky modes! These guys crackle with the best energy of all the young talents on labels like Record Kicks and Freestyle – and although most of the set's instrumental, there's also a few tracks with vocals too. Titles include "Enter The Mack", "The French Confusion", "Funkstamatic", "Going Up", "One Kind Of Coffee", and "Ducktape". ~ Dusty Groove


LOUIS ARMSTRONG - ICON 2

The man they call “Satchmo” is a beloved American musician who the term icon fits like one of his silky smooth melodies. The New Orleans trumpet player was a foundational influence on jazz, shifting the focus from improvisation to solo performance. With his instantly recognizable, gravelly voice, he demonstrated remarkable dexterity and an unparalleled ability to scat like his contemporary Ella Fitzgerald. He was one of the first African-American performers to achieve success with white audiences, and this 2-CD ICON compilation spotlights some of his most well-known performances, including his signature, GRAMMY® Hall of Fame songs, “What a Wonderful World,” “Mack the Knife,” “West End Blues,” and “Hello Dolly,” as well as collaborations with Ella Fitzgerald (“Our Love Is Here to Stay,” “Summertime,” and “Dream a Little Dream of Me”) and Louis Jordan ”You Rascal You (I’ll Be Glad When You’re Dead”).

Disc 1
1. What a Wonderful World
2. Hello, Dolly!
3. Nobody Knows the Trouble I’ve Seen
4. Our Love Is Here to Stay (with Ella Fitzgerald)
5. Summertime (with Ella Fitzgerald)
6. On the Sunny Side of the Street
7. When You're Smiling (The Whole World Smiles With You)
8. Mack the Knife (Live From Jazz at the Hollywood Bowl)
9. (When We Are Dancing) I Get Ideas
10. A Kiss to Build a Dream On
11. La Vie En Rose

Disc 2
1. Dream a Little Dream of Me (with Ella Fitzgerald)
2. You Rascal You (I'll Be Glad When You're Dead) (with Louis Jordan)
3. That Lucky Old Sun (Just Rolls Around Heaven All Day)
4. Blueberry Hill
5. I Wonder
6. When It's Sleepy Time Down South (Instrumental)
7. West End Blues
8. Jeepers Creepers
9. When the Saints Go Marching In
10. Struttin’ With Some Barbecue
11. Swing That Music 


NEW RELEASES: THE FLOACIST - RISE OF THE PHOENIX MERMAID; OTIS TRIO - 74 CLUB; PIERRE DORGE & THE NEW JUNGLE ORCHESTRA - TJAK TJAKA TCHICAI

THE FLOACIST - RISE OF THE PHOENIX MERMAID

The title's really evocative here, and so is the music – maybe the strongest solo moment we've heard from Floacist so far! The tunes have a sensual quality that grabs us right away – not cloying, commercial romantic modes – but a laidback, personal, positive vibe that's produced with just the right sort of subtle touches by Chris Davis – who keeps things in just the right mellow space for the easygoing vocals! Keyboards round out the sound with just the right sort of tripped-out lines – working perfectly, whether the lyrics are spoken or sung – and titles include "Womyn", "Mami Loves You", "Try Something New", "Doing This", "Good Love", "Wisest Thing", "Feel Good", and "Grandma". ~ Dusty Groove

OTIS TRIO - 74 CLUB

A very cool combo from contemporary Brazil – a trio who work with guitar, bass, and drums at the core – but open up plenty of space for extra work on vibes, tenor, soprano, trumpet, and trombone! The vibes are especially great – and feature on almost all the tracks here – ringing out with these sharp tones that really match the energy of the trio, especially the raspy tone of the guitar, which seems echoed in its own metallic tones. The music has a hard edge – not bossa jazz or Brazilian fusion at all – but instead this really creative style that really puts the rhythm at the forefront, but in ways that are very complex and seem to direct all the other instrumentation as well. At times, the drummer's got a way of echoing the feel of a larger batucada with his snapping snare – and titles include "No Oceano", 'Dnn", "Quarta Feira Santa", "Funky Groove", and "Sophisticated Junkie". ~ Dusty Groove

PIERRE DORGE & THE NEW JUNGLE ORCHESTRA - TJAK TJAKA TCHICAI

Pierre Dorge pays tribute to the late reedman John Tchicai – a frequent musical partner over the years, and a player who's shaped the sound of countless others on both sides of the Atlantic! Tchicai got his start with Archie Shepp on the New York scene of the 60s, but moved over to Denmark by the end of that decade – and ended up having a good deal of interaction with guitarist Pierre Dorge in years to come, including performances on some of the best sessions by the New Jungle Orchestra! This album really recalls those great ones – as Dorge chooses tunes that seem to have an especially spiritual flavor, and evoke Tchicai in ways that most of the group's recent work might not have – using especially strong passages from reed players who include Jakob Mygind on tenor and soprano, Anders Banke on tenor and bass clarinet, and Morten Carlson on tenor and taragot. Titles include "Mozombo", "A Rufous Mot Mot", "Jungle Sketches", "Autobahn Tchicai Zwei", "Lucianus In Congo", and "Tjak Tjaka Tchicai". ~ Dusty Groove


Thursday, March 13, 2014

SHANACHIE ENTERTAINMENT ENTERS INTO EXCLUSIVE AGREEMENT WITH INDYMUSIC, YOUTUBE'S LARGEST MUSIC NETWORK

C elebrated and world-renowned independent record label Shanachie Entertainment is pleased to announce their exclusive partnership with leading YouTube multi-channel network INDMUSIC. INDMUSIC will be focused on enhancing Shanachie’s existing YouTube channel and content while capitalizing on Shanachie’s eclectic and diverse catalog of music. “We’ve been searching for the right YouTube partner for some time” says Rick Rosenberg, Shanachie’s SR. VP, Sales & Marketing/Digital. “After meeting with INDMUSIC executives Brandon Martinez and Arshan Shadri, I knew that INDMUSIC had the independent spirit to match Shanachie, while also possessing the skills and knowledge to make sure we are maximized in the growing and changing space that is YouTube. We are excited to be working with INDMUSIC.”

“YouTube is a difficult platform to navigate for so many labels especially as they work with such robust catalogs of artists.  As experts in monetization and the proper asset management, labels we've been working with find tremendous value in our approach to YouTube strategy," states INDMUSIC CEO Brandon Martinez. "Shanachie has a tremendous history and an excellent roster of talent and we're looking forward to teaming with them on engaging those best practices to collectively take both of our businesses to the next level."

From an upstart purveyor of traditional Irish music, Shanachie Entertainment has evolved to become one the of the most respected and diverse record labels in the music industry. Shanachie’s recordings have covered virtually every corner of the globe, unearthing gifts from many of the world’s greatest artists who may never have been heard by the masses were it not for their recordings. On the verge of celebrating its 40th Anniversary, Shanachie continues to flourish bringing a unique combination of musical quality, marketing and promotion expertise and  personal attention to an ever-growing roster of special artists. Their eclectic roster and rich catalog spans every genre from R&B, Jazz, Reggae, Rock and Blues to Folk, World Music, Country, Gospel and beyond. Their artists have been featured on esteemed programs as “The Today Show,” “Good Morning America,” “The Tonight Show,” “The View” and NPR among numerous other national outlets. With a string of commercial Radio hits, numerous Grammy wins and other prestigious industry recognition, Shanachie also has a video division, with over 150 titles including acclaimed documentaries and concert performances.

INDMUSIC is YouTube’s largest independent music network with over 3.5B video views to date across its 1300 artists and labels including Mad Decent Records, Stones Throw Records, Robbins Entertainment, Okayplayer, Brendan Benson, Major Lazer and Soul Khan. Music on YouTube currently has poor monetization due to fractured rights’ issues - INDMUSIC solves this problem by specializing in optimization, monetization and analysis of YouTube distribution strategies for independent music content creators. INDMUSIC helps its partners monetize YouTube views without sacrificing creative control or rights to their content. The company was instrumental in claiming thousands of User Generated videos using Harlem Shake, which translated directly into increased digital download sales and generated valuable demographic, geographic and viewer watch habit insights for the artist, label (Mad Decent) and INDMUSIC. Founded in 2011 by Brandon Martinez and Jon Baltz, INDMUSIC is headquartered in Brooklyn, NY.


NEW RELEASES: ELLA FITZGERALD - ICON 2; DEBRA DEBS - LIFE CYCLE; LOCKSMITH - UNLOCK THE FUNK

ELLA FITZGERALD - ICON 2

Dubbed “The First Lady of Song,” Ella Fitzgerald was the most popular female jazz singer in America for more than half a century, earning 13 GRAMMY® Awards and selling more than 40 million albums. Known for her flexible, broad range and scatting ability, Fitzgerald could sing a sultry ballad or sweet jazz with an uncanny skill of being able to imitate every instrument in an orchestra. This 2-CD ICON collection includes some of her greatest hits, including “A-Tisket A-Tasket,” the playful version of the nursery rhyme she recorded in 1938 when she was just 21. That album sold a million copies and went to No. 1 on the charts, making Fitzgerald a household name. Also included are collaborations with Louis Armstrong (“You Won’t Be Satisfied [Until You Break My Heart]” and “Summertime”) and Louis Jordan (“Baby It’s Cold Outside”), as well as two tracks recorded live in Berlin. Tracklisting: A-Tisket A-Tasket; Undecided; Into Each Life Some Rain Must Fall (with the Ink Spots); It's Only a Paper Moon; You Won’t Be Satisfied (Until You Break My Heart) (with Louis Armstrong); That’s My Desire; My Happiness; Baby It’s Cold Outside (with Louis Jordan);. Dream a Little Dream of Me; Smooth Sailing; Airmail Special; You'll Have to Swing It (Mr. Paganini), Parts 1 & 2; Lullaby of Birdland; Take the "A" Train; Summertime (with Louis Armstrong); Someone to Watch Over Me; Love Is Here to Stay; Mack the Knife (Live in Berlin); How High the Moon (Live in Berlin); Blues in the Night; Bill Bailey, Won’t You Please Come Home; and A Fine Romance.

DEBRA DEBS - LIFE CYCLES

A brilliant batch of new millenium soul from Debra Debs! Debra is a London-based, Cameroon-born singer, and Life Cycles is the first full length effort we've heard from her, but it leaves us with little doubt that she'll be around for years to come. This is some of the nicest indie soul we've heard in a while! Her voice is warm and inviting, and she's get a deft hand for memorable songwriting, too – bearing the influence of some of the finer voices of the neo soul generation, as well as the jazzy soul voices of the classic era. The production is flavored by timeless keys and beats, and lots of lightly jazzy instrumental touches. Excellent stuff! Includes "Caught Up", "Clear My Name", "Love Galore", "Fizzy Lemonade" (plus a Felo Le Tee remix) "Daddy", "Blew Your Mind", "Sometimes", "Chasing Dreams", "Blending Colours", "Awake With You", "Africa 'Higher Higher'" feat P. Jericho and "Speeches". ~  Dusty Groove

LOCKSMITH - UNLOCK THE FUNK

The only album ever from Locksmith – a group you might also know for their classic backing work on a few Grover Washington albums of the 70s! This set's got the lineup grooving strongly on their own – in an upbeat blend of jazz, funk, and soul that often has the group's deft instrumentation taking center stage instead of their vocals! Things are mighty sharp throughout – with loads of great bass at the bottom, plus live percussion, tight guitars, sweet keyboards, and some especially great electric violin and snyth from John Blake. Harvey Mason produced the record, with the same tight sound as his own gems for Arista at the time – and Stephanie Spruill sings guest vocals on the sweet stepper "It's You", alongside more upbeat tracks that include "Groove Town", "TMI", "Don't Hurt Yourself", and the especially nice "Blackjack" and "Cinnamon", both of which have a totally sweet jazzy groove. ~ Dusty Groove

 

INTRODUCING AL HAMMERMAN, COMPOSER & LYRICIST

From Steve Tyrell and Patti Austin to Michael Buble and Rod Stewart, contemporary vocal greats love to mine the enduring magic of the Great American Songbook. As brilliant as their choices often are, it’s very possible that if they ever chose to explore other horizons, they just might see that …well, in the words of famed lyricist Carolyn Leigh, “The Best Is Yet To Come.”

If those singers are looking for new songs that embody the exquisite combination of smart, sophisticated, contemporary and classic, they’ve got a fascinating “one stop shop” waiting for them with the fast growing catalog of Al Hammerman. No longer one of St. Louis’ best kept musical secrets, he is one of today’s most versatile and prolific composers. Bringing the lyrical cleverness and melodic infectiousness of songs from those previous times to the contemporary musical landscape, he is renowned as a “songwriter for the ages.”

With innovative, pop/jazz/swing styled songs that evoke both story and emotion, Hammerman’s music captures the style and imagination of legendary composers such as Gershwin, Porter, Berlin and Jobim. Over the past few years, numerous film and TV music supervisors have taken note, placing Hammerman songs in the films “Becoming Santa,” “Demoted” and “The Entitled,” in addition to the shows “The Good Guys” (FOX) and “The Defenders” (CBS). Most recently, the composer’s whimsical “Rather Be Lucky” appeared in “The Incredible Burt Wonderstone,” starring Steve Carell and Jim Carrey.

Adele’s massive success with her breakup oriented 21 and Taylor Swift’s pantheon of ex boyfriend hits notwithstanding, Hammerman says, “I’ve been inspired to write songs by both happy and sad times in my life – but life sure is a lot more fun when you’re happy. I essentially write songs that I would want to listen to and truly love it when people say that my music makes them smile. At the core for me is always a catchy melody and lyrics that are relatable, but perhaps say something that’s been said a million times before, in a fresh new way.”

Creatively speaking, one of the biggest boons to the more cheerful, playful and optimistic side of Hammerman’ songwriting has been his very supportive wife Julia, whom he immortalizes with his charming gentle bossa-flavored song, “Only Julia.”  Other titles reflecting the generally positive spirit where Hammerman’s musical heart dreams these days include “Something About Her,” “Road To Happy,” “Sweet Dreams,” “A Kiss Could Happen,” “Mr. Moon,” “Kiss My Jazz,” “Nothing But Time,” “Falling All Over” and “New Kind of Cool.”

Hammerman has been a powerful musical force and impresario in his native St. Louis since 2006, when as a virtual unknown he gathered some of the city’s best local singers and produced “All New Songs.” This showcase performance of his all-original songs was held at the 700 seat Sheldon Concert Hall, to raise money for the Make-A-Wish Foundation, a charitable organization near and dear to the songwriter’s heart. Make-A-Wish, founded in 1980, grants the wishes of children diagnosed with a life-threatening medical condition in the United States and its territories. Their mission is to enrich the human experience with hope, strength and joy.

 “I have seen firsthand what the power of a granted wish has on these kids’s emotional well being, says Hammerman. “I really wanted to find a way to contribute, besides just giving money, and remembered that I had previously and coincidentally written a song called ‘Make A Wish.’ I had not been in the habit of presenting my songs publically, but decided why not send this one to the Make A Wish Foundation for any potential use. Unknowingly at that same time they were seeking music for a new promotional video, loved my song and thought it would fit perfectly. I was thrilled and with that positive feedback and encouragement, I decided to record a CD of original songs to benefit Make A Wish. Somehow though, as one thing always leads to another, I not only ended up producing a CD but also a full blown live benefit concert of my original songs”.

Hammerman’s first show was so successful that he was invited by the organization in 2006 to co-chair Make-A-Wish’s next gala at the Ritz Carlton, which again featured performances of his original songs. This was followed by a second major benefit concert called “Just Lucky”  in 2008 and a third  called “I Got A Song” in 2011.” In conjunction with each of these three shows, Hammerman released (both digitally and on CD) recordings featuring studio versions of the songs featured in the show.  The CD  I Got A Song includes a live version of “Guys Like Us,” performed as a duet on stage by Hammerman and the very talented Alan Ox.

Recently, Hammerman was asked to participate on the advisory board of a wonderful new St. Louis based children’s charitable organization called “Kids Rock Cancer” – which uses his “I Got A Song” as their promotional theme. Sponsored by Maryville University, Kids Rock Cancer is an innovative music therapy program that helps children successfully cope with the challenges that accompany a cancer diagnosis. Using a portable recording studio, a songwriter assists the hospitalized children as they write and record their very own special song based on their real time emotions, hopes and dreams. Hammerman is currently working on a new live show titled, “My Kind of Music,” to help raise money for the organization. The concert will include many brand new songs from his upcoming fourth CD, which is expected to be released early next year.

Much of Hammerman’s love of “The Standards” stems from the passion of his parents, who played great artist like Frank Sinatra, Tony Bennett and Nat King Cole, as well as musical theater soundtracks, throughout the house during his childhood. He wrote his first piano piece at age eight and took lessons at a conservatory known as the St. Louis Institute of Music through his early adolescence. During his teens, he recalls his Sunday school teacher wanting the class to put on a musical to celebrate the end of confirmation classes; she wanted Hammerman to sing “Luck Be A Lady,” which he did – with lyrics he had completely rewritten!

As he continues to emerge as a songwriter, Hammerman also teaches at the university level and expresses his love and appreciation for musical history in a unique way: collecting antique musical instruments dating back to the 16th Century. Among his historical treasures—which inspire musings about who originally played them—are a harpsichord from the 1500s, a piano from the 1800s and harps from the 1700s.

Hammerman ,who is currently also contemplating writing a stage musical, sums up his passion with the following; “To me, the most exciting aspect of being a songwriter is truly that moment when I finish a song and realized I’ve created something special. At that point no one has heard it and whether it is ultimately successful or not, there’s a great feeling of creativity, originality and accomplishment.”

Al Hammerman is a Composer & Lyricist based in St. Louis, MO.

PAUL TAYLOR - TENACITY

In the 19 years since Paul Taylor first got On The Horn with his hit debut album, he’s enjoyed an extraordinary journey in the contemporary urban jazz world. The key to the charismatic saxophonist’s  success?  Beyond those instantly identifiable sax tones, infectious melodies, cutting edge production, and dynamic live performances, it’s one thing: Tenacity–the perfect title for his latest recording on Peak Records (and 10th overall).

From the start of his recording career, Taylor has created his ever cool deeply soulful and rhythmic trip-hop influenced sound by working with some of urban jazz and R&B’s top producers, including Rex Rideout, Barry J. Eastmond and The Heavyweights. But one of the most important architects of the saxman’s core flow has been Dino Esposito, who helped Taylor establish his vibe with On The Horn and Pleasure Seeker (1997), and has played a powerful role in the saxophonist’s evolution by helming tracks on his subsequent recordings Undercover (2000), his Peak Records debut Hypnotic (2001), Nightlife (2005) and Prime Time (2011).

Tenacity marks the first time ever that Taylor has recorded an entire project with a single producer – and his longtime friendship and incredible chemistry with Esposito made him the perfect choice for the varied rhythms and progressive sonics that the saxophonist wanted.  “I’ve always had this special bond with Dino and it was really exciting to focus on doing an entire project with my great friend, rather than just a few tracks here and there like in the past,” says Taylor.  “I’m always trying to grow as an artist, so there were ideas going all the time as we developed these tracks,” he adds. “I definitely have an established sound, so the key was having an open mind and being honest when we hit on a certain vibe, groove or lick I had done before – and taking the tune in another direction. “

Taylor has a long history of bringing his favorite urban jazz artists to the mix, and he continues that inspiring tradition by inviting keyboardist Jonathan Fritzen to add his lush piano harmonies to the whimsical, easy flowing soprano-driven opening track “Supernova” – which pairs Taylor’s horn with some snazzy “vocalese.” He textures four alto sax tracks behind a colorful lead melody to create the spirited optimism that rolls through the mid-tempo funk of the title track, then shifts from a balmy, tropical feeling to a more urban, trip-hop pocket on the rhythmically diverse “Awakening.” Taylor says, “This one is magical in that it has three distinct melodic parts.”“Spur of the Moment” isn’t just a clever title – it actually conveys the emotion of Taylor’s spontaneous alto lines and they burst forth and dance over a thick, edgy funk-rock groove and dynamic horn texturing. He named “Luxe,” featuring special guest Jeff Lorber on electric piano and guitar, for the luxurious ambiences surrounding his easy swaying soprano, while the tenor-led “Peace of Mind” taps into a coolly rhythmic Paul Hardcastle style as it moves towards a playful, clapping crunch-funk groove behind a swirl of sax and wordless vocals. Esposito turned Taylor onto the recent alternative R&B hit “Wicked Games” by Canadian artist The Weeknd, and he immediately loved it. The saxophonist’s version features a thoughtful alto melody over a hypnotic piano riff and gentle percussion, then a trippy distant “banging” sound; it also features whispery computer generated vocals.

Taylor envisions “Open Road” as the album’s perfect “road trip with a friend, with no traffic and the horizon straight ahead tune:” his alto romps easily over Esposito’s moody old school keyboard sounds, hypnotic grooves and bright brass flourishes. Promising “More To Come,” Taylor’s gentle soprano winds through a serpentine melody and a double time groove that creates a true club flavor a la the popular Swedish DJ/producer Avicii. Tenacity wraps with Taylor looking out over the “Empire” he’s created, forging a unique tension between his alto lead and backing spirited horn textures with Esposito’s dark and moody piano textures. “It’s a tune that makes you think about things,” says Taylor, “looking out at everything you’ve done and savoring the moment.”

Long a mainstay among the most popular and elite artists, Taylor has been on one of the most exhilarating upswings of his career over the past seven years, starting with Ladies’ Choice (2007), which marked his first ever #1 on the Billboard Contemporary Jazz. “Burnin’,” the title track from his 2009 album, hit #1 on the airplay charts, and “Push To Start” from Prime Time (2011), hit the pole position on the Smooth Jazz Songs chart. Prime Time further lived up to its colorful name by reaching the Top Ten on the Billboard Jazz Albums chart.

Over the past few years, Taylor has also been part of two of the genre’s biggest summer tours, Gentlemen of the Night (with Marion Meadows and Warren Hill) and Sax and the City (with Meadows and Vincent Ingala). In December 2012, the longtime basketball enthusiast achieved another longtime dream, performing the National Anthem in Madison Square Garden at a New York Knicks game; their coach Mike Woodson is a longtime fan.

Though the Denver native has lived and worked primarily in Las Vegas since graduating as a music performance major from UNLV, the proximity of his adopted hometown to Los Angeles gave him many opportunities to vibe with R&B and contemporary jazz producers and artists, including Esposito, whom he first met in the late 80s. Taylor played one of Esposito’s sessions at Jeff Lorber’s home studio; a few years later, in 1994, the keyboardist remembered Taylor and asked him to play with him at the Catalina Island Jazz Trax Festival.

Another popular keyboard player, Keiko Matsui, and her producer/husband Kazu liked Taylor’s charismatic performance and soon offered him an audition with their band. He recorded and toured with the Matsuis for two years (appearing on Sapphire and Dream Walk), and Kazu Matsui eventually co-produced On The Horn, which spawned the #1 radio hit “Till We Meet Again.” Taylor’s mix of funk and sensuality were a natural fit for the emerging urban jazz genre, and he soon became one of its core artists. Although Taylor has since been one of the genre’s most popular live attractions as a solo artist, he eagerly accepted Russ Freeman’s invitation to tour with The Rippingtons as a special guest artist in 2000—the year he released his third album Undercover–after Jeff Kashiwa left the group. He later toured as a featured performer with the all-star “Groovin’ For Grover” lineup (including Lorber, Richard Elliot and Gerald Albright) and performed and made his acting debut on the legendary ABC soap opera “One Life To Live.”


With the 20th anniversary of his recording debut coming up next year, Taylor remains a fresh and vital, forward thinking force in contemporary urban jazz. Talent and vision are a given, but sometimes those things fade. It’s his Tenacity that’s made the difference.


THE PETE MCGUINNESS JAZZ ORCHESTRA - STRENGTH IN NUMBERS

A superficial artist clings to the whims of fashion; a genuine artist follows his heart. By staying true to and growing from his original inspirations, the bandleader, composer, arranger, trombonist and vocalist Pete McGuinness has produced a present day masterwork of large ensemble jazz. On Strength In Numbers, the second release from the Pete McGuinness Jazz Orchestra (fourth as a leader for Pete), the leader channels the swinging big bands and iconic modern arrangers that loom large in both the jazz tradition and in his personal pantheon, molding his influences into vibrant, highly personal musical statements. Reconvening a large ensemble that he has led since 2006, McGuinness (a 2008 Grammy finalist for his arrangement of Charlie Chapin's immortal "Smile") enlists a full contingent of top tier NYC players including saxophonist Dave Pietro, trumpeter Bill Mobley and pianist Mike Holober to bring to life original charts whose echoes of Basie, Ellington, Bob Brookmeyer and Gil Evans reinforce McGuinness' inventive spins on what continues to be a vital musical idiom.

"I think of Strength In Numbers as both a next step as well as a return to my roots, " McGuinness says. "I'm a melodist who grew up loving the great post-swing era big bands onward. With a great band of highly experienced and seasoned NYC jazz players, I can now straddle the old and the new, keeping one foot in what I've always loved of genre and one foot striding forward. As long as a composer can write from their own experience, draw confidence from their past while looking forward, and never get so caught up in new effects as to have an agenda, then work that is truly honest-sounding, engaging, and personal can come through. That's at least what I strive for."

In contrast to McGuinness's third album as a leader, the 2013 release, Voice Like a Horn  (which featured a compact small group and focused on his award-winning skills as a jazz vocalist), Strength In Numbers highlights a full force big band, while also finding room for two spotlighted McGuinness vocal features on the tender standards "What Are You Doing The Rest of Your Life?" and "You Don't Know What Love Is," the latter also featuring his expert scatting and demonstrating Pete's admiration for the vocal style of the late Chet Baker, whom he has often been compared with. Swinging charts ("The Send-Off," a sparkling tribute to the acclaimed arranger Bob Brookmeyer, with whom McGuinness studied; "The Swagger," and "Nasty Blues," a tasty nod to Count Basie and Thad Jones) sidle up to more introspective works ("Spellbound," a more latin style number inspired by the rich harmonies of Debussy and Billy Strayhorn; "Trixie's Little Girl," a loving tribute to McGuinness' late mother, and "Bittersweet," the latter two featuring the leader's exquisite trombone statements.)  Of special interest is "Beautiful Dreamer" - Stephen Foster's archetypal gem of 19th century Americana. This McGuinness arrangement originally commissioned by the Westchester Jazz Orchestra recasts the timeless song as a high-energy samba with gleaming solos by Dave Pietro on soprano sax and Mike Holober on piano, ending in a charming duet by the two featured soloists based on Foster's original 1865 piano arrangement.  Bolstered by Pete's two vocal and trombone features, as well as all of his original arrangements presented, the album's variety provides a first rate display of McGuinness as a polymath talent, as well as showcasing the skill of his outstanding band, an ensemble that shares the leader's wholehearted embrace of the joys of big band music.

"With only some minor changes, the members of the PMJO have been with me since the beginning," McGuinness says. "The band is made up of musical associates who have paid dues with me in many of the same bands together, several of who have been friends for decades. For example, I've known and played with our drummer Scott Neumann, whose playing I always think about whenever I compose or arrange for the band, for some 26 years now. You can hear that familiarity in the entire ensemble sound too. We've also been playing the charts that ended up on this album for several years now as well. When the time was right to record, we were ready."

Pete McGuinness has appeared on over forty recordings, including three previous releases as a leader: First Flight (Summit) with the Pete McGuinness Jazz Orchestra which earned 4-stars in DownBeat, Voice Like a Horn (Summit) and Sliding In (Kokopelli). He earned a 2008 Grammy nomination for his arrangement of "Smile" (which appeared on First Flight) and was the first prizewinner of the 2010 Jazzmobile Vocal Competition (judged by the late Dr. Billy Taylor and Barry Harris). A New York resident since 1987, McGuinness studied with Bob Brookmeyer and Manny Albam at the prestigious BMI Jazz Composers Workshop and has performed in the big bands of such acclaimed leaders as Lionel Hampton, Jimmy Heath (featured as a vocalist as well) and Maria Schneider, appearing on her Grammy-winning album, Concert In the Garden. Actively involved in music education both throughout the United States and Europe, McGuinness is currently the Assistant Professor of Jazz Arranging at William Paterson University.


LinkWithin

Related Posts Plugin for WordPress, Blogger...