NEW RELEASES: JASON PALMER - PLACES; OLEGARIO DIAZ - BASQUIAT BY NIGHT/DAY; PAOLO SAPIA - MOSTLY MUSIC

JASON PALMER - PLACES

Really beautiful work from trumpeter Jason Palmer – a fresh young talent, and a hell of a writer too! The tracks here are each based on special places for Palmer – and are each written with a very different feel – not in a way that's gimmicky at all, but which really show the expansive experience and levels of expression that Jason has in his music! The other group members are as sharp as the leader – and include Mark Turner on alto, Godwin Louis on alto, Mike Moreno on guitar, Edward Perez on bass, and Kendrick Scott on drums – all musicians who help make the record one of the most solid, well-conceived records on Steeplechase in a while. Titles include "Falling In", "Urban Renewal", "Rising Sign", "Silver", "American Deceptionalism", "Berlin", and "Bern". ~ Dusty Groove

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OLEGARIO DIAZ - BASQUIAT BY NIGHT/DAY

A really proud, bold session from pianist Olegario Diaz – almost all original tunes, written with a very vibrant feel! The group here has some massively strong work in the lead from Alex Sipiagin on trumpet and Seamus Blake, both of whom really sound great in the company of Diaz'z fluid, soulful piano – especially Blake, who's at his best forward-moving, without any of those more arch tones that sometimes hold him back. The rhythms bristle with excitement, too – thanks to work from Scott Colley on bass and Jeff Tain Watts on drums, both pulled along with strong inspiration from Diaz. Titles include "JM Baquiat", "Dance Steps", "Wayne & Joe", "Astoria Years", "By Night/Day", and "Trane Station". ~ Dusty Groove

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PAOLO SAPIA - MOSTLY MUSIC

The first album we've ever heard from alto saxophonist Paolo Sapia – a very fresh-voiced talent with a great sense of soul! Most numbers here are quartet titles that really let Sapia shape his notes with a soulful swing on the instrument that we haven't heard from a new altoist like this in years – a voice that rings out proudly alongisde piano and Fender Rhodes from Peter Zak, bass from John Webber, and drums from Jimmy Cobb – a really mighty rhythm section who give the record a rock solid feel right from the start. Trumpeter Philip Dizack joins in on four of the album's tunes, complicating the vibe nicely – and the set features original tunes "Desire", "621 Willoughby Ave", "Planet P", and "Stapled Mates" – plus a version of David Bowie's "Where Are We Now". ~ Dusty Groove

SAM RUCKER - TELL YOU SOMETHING

Hip-hop producer turned contemporary jazz saxophonist Sam Rucker has something to say. Blending jazz, hip-hop, soul and gospel, he communicates through inspirational instrumentals that meaningfully resonate with listeners. Nearly three years in the making, his sophomore album, “Tell You Something,” is slated for release from Favor Productions on June 3 and includes contributions from Norman Connors, Bobby Lyle, Tom Browne and Alyson Williams on the set mixed and mastered by Euge Groove.

Rucker produced “Tell You Something” featuring eight originals that he wrote or co-penned. The tracks harness the rhythms and intensity of hip-hop, melodic phrasing typical of R&B, rousing gospel affirmations and improvisational jazz nuances. A fan of vintage R&B, Rucker was honored to share production chores with Connors on instrumental renditions of three classics: “Before I Let Go,” “Footsteps in the Dark” and Connors’ signature hit, “You Are My Starship.” Lyle’s keyboard wizardry is on full display on each cover tune with gregarious solos while Browne’s regal trumpet adds a touch of class along with a fervent solo to “Starship.” Williams’ glorifies “Before I Let Go” and “Footsteps” with her lustrous voice. But it’s one of Rucker’s own empowering compositions, “Be True 2 Who U R,” that will be the first to receive airplay from the radio-friendly disc when it is serviced to stations in May. Rucker, who plays keyboards as well as tenor, alto and soprano sax on the record, elects to use his soprano horn over the chunky hip hop beats on the single.

“My desire as an artist is not only to entertain, but to be a communicator – to connect with the listener in such a way that they are encouraged and inspired by my music. Even as an instrumentalist, I believe my music speaks lyrically and I use it to convey uplifting messages. I wrote ‘Be True 2 Who U R,’ ‘No Other Way’ and ‘Ain’t Nothin’ Like It’ to inspire confidence in one’s individuality. My music has a unique fingerprint and the songs on the album celebrate what the Creator put in me to share with the world. ‘Tell You Something’ and ‘A Million Ways’ convey my gratitude for the gifts He’s given me. ‘Brighter Day,’ ‘Love’s Melody’ and ‘A Long Way to Go’ were written to offer compassion for the sacrifices and struggles that we face in life and touch that place in our soul where adversity rests. ‘Brighter Day’ advocates that a brighter day will come if you keep the faith. The covers I selected pay tribute to some of the great R&B artists that shaped my listening while growing up. One of whom, Norman Connors, I had the pleasure of working with on this album,” said Rucker, a Virginia Beach, Virginia native who studied music while attending nearby James Madison University.

Shortly after releasing his 2011 debut album, “Heat from the Heavens,” that introduced his formula of “hip-hop grooves + jazz melodies + a splash of inspirational lyrics,” Rucker met Connors and planning commenced straightaway for “Tell You Something.” The saxman toured as a member of Connors’ Starship Orchestra through 2012. Over the years, Rucker has performed with Peter White, Ronnie Laws, Phil Perry, Cindy Bradley, Ivan Neville, Howard Hewett and Gerald Veasley as well as Groove, Browne and Williams. His work as producer spans hip-hop, gospel and spoken word. Rucker gigs throughout Virginia and looks to expand his routing nationally with the successful release of “Tell You Something.” 

The cuts contained on “Tell You Something” are:

“Tell You Something”

“Before I Let Go”

“A Million Ways”

“You Are My Starship”

“Be True 2 Who U R”

“Ain’t Nothin’ Like It”

“Footsteps in the Dark”

“Brighter Day”

“No Other Way”

“Love’s Melody”

“A Long Way to Go”

“Tell You Something” (album version)

http://www.SamRucker.com

NEW RELEASES: PAUL MURPHY PRESENTS THE RETURN OF JAZZ CLUB; BUGGE WESSELTOFT - OK WORLD; WOIMA COLLECTIVE - FROU FROU ROKKO

PAUL MURPHY PRESENTS THE RETURN OF JAZZ CLUB: DANCEFLOOR CLASSICS FROM THE ORIGINAL JAZZ DANCE DJ

Really classic jazz grooves from the vaults of Prestige Records – the kind of cuts that first broke big on the London scene of the 80s, at a time when diggers were setting fire to the rare groove scene too! The cuts here are proof that some of the best work doesn't need to come from completely obscure groups or super-tiny labels – as the music here is exactly the kind of work that made huge waves in the US jazz scene when first released, then went underground for many years – until later collectors and diggers brought it back to the limelight! The great thing is how many of these cuts are all acoustic – no need for electricity to make things funky – as you'll hear on tracks that include "Hiyo Silver" by Bennie Green, "Grease Monkey" by Kenny Burrell with Jack McDuff, "Mau Mau" by Art Farmer, "Mambo Inn" by Billy Taylor with Candido, "Manteca" by Red Garland, "Blue Stompin" by Hal Singer, "Spider Man" by Freddie McCoy, "Filthy McNasty" by Eddie Jefferson, "Flatjacks" by Willie Rodriguez, "Blue Gator" by Willis Jackson, and "Pedro Stroller" by Johnny Lytle.~ Dusty Groove

BUGGE WESSELTOFT - OK WORLD

One of the most unusual albums we've heard in years from Bugge Wesseltoft – an artist who's been moving increasingly towards solo keyboard modes, but who works here with a whole host of globally-based musicians! The record was done in conjunction with the world music festival in Oslo, and really lives up to its name – as Bugge's beautiful work on piano is combined with flute, Spanish guitar, bits of vocals, and a range of other instrumentation from India and the mid-East – including djembe, mridangam, cangira, darabouka, and cahoun! There's some real magic in the record's mix of Wessltoft's spacious sounds and these richer global elements – with qualities that sometimes evoke the best culture-crossing projects of the older ECM generation, but which also share some of Bugge's fresher contemporary vision too. Titles include "Ntwananu", "130 Steps", "Josemi", "Moving Mountains", "Mawwal", "Sharangati", and "Always Hopeful".  ~ Dusty Groove

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WOIMA COLLECTIVE - FROU FROU ROKKO

African rhythms with a distinctively Ethiopian inspired sound from Woima Collective – with even more dexterous percussive textures than on their earlier work – nicely layered underneath some snakey, hypnotic horns and psych funk guitar grooves! The players include veterans of contemporary German funk pioneers Poets Of Rhythm, who blended genres and blazed trails for a world of modern funk players. The mix of African inspired sounds and timeless funky grit is really invigorating. Strong stuff! Includes "Anchihoy Fanfare", "Brain Clear Heart", "Malaria (LP Edit)", "Sabada Hui", "Le Petit", "Ssyk Sini (LP Edit)", "Escape Cultural", "The Castle", "Oufro Kuo" and "Lassa". ~ Dusty Groove

NEW RELEASES: MATT BAUDER & A DAY IN PICTURES - NIGHTSHADES; MATS GUSTAFSSON - TORTURING THE SAXOPHONE'; ROB MAZUREK - MOTHER ODE

MATT BAUDER & A DAY IN PICTURES - NIGHTSHADES

Maybe the best work we've ever heard from tenorist Matt Bauder – a tremendously well-conceived set, and one that's got the solid punch of some of the real giants on his instrument! The group is all young and open-minded, but they work together here with a soulful swing that's really unexpected – a wonderful sense of energy that really grabs us right away, but also lets all the individual members find plenty of space for their own voices too! Things are never too mainstream, but have a groove at surprising spots – and in addition to Bauder on tenor, the record also features Nate Wooley on trumpet, Kris Davis on piano, Jason Ajemian on bass, and Tomas Fujiwara on drums. Titles include "Octavia Minor", "Weekly Resolution", "Nightshades", "August & Counting", and "Rule Of Thirds". ~ Dusty Groove.

Mats Gustafsson tortures the saxophone – but tortures it beautifully, too – in this wonderful set of solo tracks that mix tenor and live electronics, baritone and music box, and some solo baritone moments too! The title's a reference to a hilarious letter sent to Mats by Robert Crumb – who also did the lettering on the front – reproduced inside, in which Crumb says that he just really doesn't get this kind of music, or understand why anyone would want to listen to it too! Yet there's a beauty and fragility to the record that honestly make it one of Gustafsson's most compelling albums ever – especially the leadoff mix of tenor and electronics, laid out over five famous Duke Ellington numbers – all completely transformed by the process. Ellington titles include "Come Sunday", "In A Sentimental Mood", "I Never Felt This Way Before", and "Blue Goose" – and the set also features versions of the Ayler classics "Angels/Spirits" and "Ghosts" – and a 22 minute take on Lars Gullin's "Danny's Dream". ~ Dusty Groove

ROB MAZUREK - MOTHER ODE

Rob Mazurek has always been more of a multi-instrumentalist instead of just a cornet player – but on this amazing solo set, he really pushes the boundaries even further – by taking up a huge host of different elements and different sounds! That soaring, spacious horn is still in the lead – a legacy that Rob seems to have inherited from 70s Miles Davis, but taken to even trippier territory – but the record also features flute, electronics, maracas, and bells – as well as weird objects like books, boxes, and apples! Mazurek uses a bit of distortion at times, which really helps unlike things resonate together – and the set's easily some of his most personal, evocative music to date. Titles include "Toward New Light", "Quiet The Thunder Bells", "The Breath Of Life You Gave To Me", "You Were Born With Sun In Your Eyes", and "Toward Enlightenment".  ~ Dusty Groove

THE ROBERT CRAY BAND - IN MY SOUL

Robert Cray, 5x Grammy winner (15x nominee) releases In My Soul - a rich emotion of classic soul storytelling that never strays from his incomparable guitar mastery.  A new behind the scenes EPK takes fans inside the music. Produced by Steve Jordan (Keith Richards, John Mayer) the 10 song album blends funky originals with surprising covers.  A bonus track "Pillow" is included on the limited edition CD.

The First single "You Move Me," is classic Cray with his signature slicing guitar leads woven throughout. The bulk of In My Soul is made up of original material with a few covers including Otis Redding's "Nobody's Fault But Mine," "Your Good Thing (Is About to End)" and "Deep in My Soul" by the late Bobby "Blue" Bland. "I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes," says Cray. 

"When I think of Robert Cray, I think of a great singer," says Jordan. "Most people gravitate to his guitar playing because he's such a gunslinger, but I don't. He's got so much soul it's ridiculous." 

The Wall Street Journal says In My Soul is "a tasteful, laid-back album, and while there's plenty of Cray's distinctive guitar playing, there's more to the new LP than fiery licks."  UK Daily Mirror calls the album "Impressive" and gives it 4 stars.

Widely recognized as one of the greatest guitarists of our time, The New Yorker calls him "one of the most reliable pleasures of soul and blues for over three decades now " and Rolling Stone Magazine credits him with having "reinvented the blues with his distinct razor sharp guitar playing."

The youngest living member to be inducted into the Blues Hall of Fame, Robert Cray has sold over 12 million records, has his own line of Fender guitars and has established himself as a genre defining artist- a signature blend of r&b, pop, rock, soul and traditional blues. 

This year marks the 40th year since the formation of the Robert Cray Band. The band includes Cray (vocals/guitar), longtime bassist Richard Cousins, Dover Weinberg (back with the band on piano/keyboard) and Les Falconer (drums).

~ http://robertcray.com/tour/

~ Provogue Records

NEW RELEASES: ISAAC HAYES - AND ONCE AGAIN; GROVER WASHINGTON JR. - ALL MY TOMORROWS / SOULFUL STRUT / BREATH OF HEAVEN; CHICAGO UNDERGROUND DUO - LOCUS

ISAAC HAYES - AND ONCE AGAIN

And once again, Isaac Hayes wows us with the brilliance of his later work at Polydor – really subtle soul that's a wonderful extension of modes first begun at Stax! The sound is a bit smoother here, but it really fits Ike's maturing vocals wonderfully – and sets him up in these beautiful mellow grooves that stretch out and step out with a quality that few other singers can touch. A few cuts are upbeat, but the more laidback ones are actually the best this time around – showing that once again, Ike Hayes is the king of the mellow soul moment! Titles include "Ike's Rap VII", "This Time I'll Be Sweeter", "I Ain't Never", "Wherever You Are", "Love Has Been Good To Us", and "It's All In The Game". CD features bonus tracks – "I Ain't Never (12" disco)", "It's All In The Game (single)", "Love Has Been Good To Us (single)", and "I Ain't Never (single)". ~ Dusty Groove.

GROVER WASHINGTON JR. - ALL MY TOMORROWS / SOULFUL STRUT / BREATH OF HEAVEN

A trio of 90s albums from Grover Washington! All My Tomorrows is an overlooked gem from reedman Grover – recorded in his later years, but a set that's actually got more of an acoustic style overall – one that goes back to the roots farther than any of Grover's fusion records! Washington's a great straight player in this setting – filled with soul on tenor and soprano sax – and working with top-shelf small group players like Eddie Henderson on trumpet, Hank Jones on piano, Bobby Watson on alto, and Robin Eubanks on trombone. Guitarist Romero Lumbambo arranged one great Brazilian-tinged number – and other arrangements are by Grover, Larry Willis, Slide Hampton, and Freddy Cole – who sings on two tracks too. Titles include "E Preciso Perdoar", "Happenstance", "All My Tomorrows", "Nature Boy", "Flamingo", and "Estate". Soulful Strut is bouncy soul from Grover Washington – a set that returns to his earlier roots in a space between soulful fusion and R&B! The slinky Washington soprano sax gets plenty of space in this set – blown with those seductive notes that always made Grover one of the most distinctive players on the instrument – and the backings often have this gentle R&B groove that's even stronger on the few cuts here with vocals. Titles include "Soulful Strut", "Bordertown", "Village Groove", "I Can Count The Times", "Headman's Hunt", and "Can You Stop The Rain". Breath Of Heaven is a holiday record from Grover Washington – but one that's got a fair bit more to offer than just the usual Christmas tunes! The set mixes older favorites and lesser-known numbers – all done in that soulful fusion style that Washington brought to his records from other seasons of the years – set up here with the leader on alto, tenor, and soprano sax – amidst arrangements from vibist Joe Lock, and keyboardist Donald Robinson, and guitarist Hiram Bullock – all of whom play on the record. Lisa Fischer sings on one number, but most of the record is instrumental – and titles include "Breath Of Heaven", "The Magi's Song/A Child Is Born", "I Wonder As I Wonder", "Christmas Time Is Here", "The Love In His Infant Eyes", and "Christmas Day Chant". ~ Dusty Groove

CHICAGO UNDERGROUND DUO - LOCUS

Pretty electric sounds from the Chicago Underground Duo – a set that has Rob Mazurek adding in lots of electronics (even a Game Boy!) to his usual cornet lines, plus some other acoustic elements that work really well with the drums, mbira, and balaphone of Chad Taylor! The record shows an earlier spirit of the Chicago scene alive and well – that genre-crossing, generation-spanning love of so many different sounds and styles at once – a mode that first burst forth on the scene two decades back, often in the hands of John McEntire, who produced this album – and which still stands strong in the hands of its best purveyors like this. Titles include "Yaa Yaa Kole", "Blink Out", "Kabuki", "Dante", "House Of The Axe", "Borrow & Bury", and "Locus". ~ Dusty Groove

THE CLAYTON-HAMILTON JAZZ ORCHESTRA - THE L.A. TREASURES PROJECT

The unimpeachable authority, glorious sonic sheen and sheer passion of a first-class jazz big band can offer a listening experience unmatched on the American music scene. The Clayton-Hamilton Jazz Orchestra has upheld the tradition of the expansive, ever swinging jazz ensemble for some three decades now; with The L.A. Treasures Project (Capri Records, released on April 15, 2014) the band not only reaffirms its reputation, but also honors two icons of West Coast jazz: guest vocalists Ernie Andrews and Barbara Morrison. With co-leaders John Clayton (arco bass, arranger, conductor), brother Jeff Clayton (woodwinds), and Jeff Hamilton (drums) at the helm, the CHJO takes on a meaty program of timeless standards, sturdy blues and appealing originals with featured turns by Andrews and Morrison on eight of the thirteen tracks. 

Romping through such classics as "Exactly Like You," "River's Invitation," "Fever" and "I'm Getting Sentimental Over You," the CHJO displays the airtight precision and remarkable vitality that has exemplified the band since its debut in 1985. The inclusion of Andrews and Morrison - two West coast stalwarts still in vocal prime - ratchets up the excitement and intensity that much more. In its forthright demonstration of the pleasures of timeless swing, The L.A. Treasures Project is as representative an album as Capri Records - a bastion of contemporary mainstream jazz - could have hoped to release as it celebrates its thirtieth anniversary.

Recorded live at Alvas Showroom in San Pedro, California, on September 15, 2013, the album turns the spotlight on a world class ensemble and an array of its star soloists, including the saxophonists Rickey Woodard and Charles Owens, who do battle on the album's explosive finale, "Jazz Party"; the guitarist Graham Dechter who pours sweet licks over "I Ain't Got Nothin' But the Blues"; the trombonists George Bohanon, Ryan Porter, Maurice Spears and Ira Nepus who add virtuosic sass to "I Love Being Here with You"; and co-leader John Clayton who takes a stirring arco bass turn on "Goodbye Porkpie Hat." Jeff Hamilton, a percussion master and L.A. studio legend, can make a big band purr or roar with just a flick of his wrists; the fact that he takes no extended solos on the album is yet more proof of this celebrated player's commitment to genuine music making rather than flash.

The vocal features stand just as tall as the mighty big band excursions. Andrews takes it nice and easy on "I'm Getting Sentimental Over You," "The Jug and I" "Beautiful Friendship" and "Time After Time" establishing once again how underrated this mellow toned stylist remains. Morrison, whose two and a half octave vocal range is put to good here, buffs "Exactly Like You," "River's Invitation," "Fever" and her own swinging "Got to Get Back to L.A." to a lovely shine. "At a few CHJO rehearsals earlier last year, Barbara and Ernie were asked to sing with the band," John Clayton remembers. "They threw their heads back and, without microphones, sang as if there were thousands listening. No one could have anticipated the stunning effect it would have on the musicians in the room. Jeff Hamilton, my brother Jeff and I agreed we need to document these artists - these treasures!"

The L.A. Treasures Project indeed allows a thriving musical outfit to present two vocal gems in a jewel box setting: a live performance brimming with all the electricity that makes jazz great. As John Clayton sums it all up, "It was an evening that will live with us forever."

http://www.latreasuresproject.com/ 

http://www.hamiltonjazz.com/orchestra.html

http://caprirecords.com/

MICHAEL FEINBERG'S HUMBLEBRAG LIVE AT 800 EAST

According to that essential guide to contemporary American life UrbanDictionary.com, humblebrag means "subtly letting others now about how fantastic your life is while undercutting it with a bit of self-effacing humor." While Michael Feinberg's new Humblebrag album Live at 800 East is rife with subtle interplay and half-hidden sources of inspiration, there's nothing self-effacing about the bassist/composer's music. Slated for May 6, 2014 release on BeHip, the album features a stellar cast of young musicians powered by veteran drum master Terreon Gulley.

A rapidly rising force on the New York scene who also leads The Elvin Jones Project, Feinberg rechristened his band Humblebrag for the new album because the eponymous track that closes the album marked a new phase of his musical development. He's deadly serious about the music, but isn't particularly interested in making any grand statement about the state of the art form. Recorded live in-studio in Atlanta, Georgia, Feinberg's follow up to 2011's critically hailed debut With Many Hands captures the searing energy and unbridled imagination of smart young musicians deep in conversation with each other. "Naming tunes and bands, people want to sound so cool and edgy and mysterious," Feinberg says. "But it's just one little voice in the world."

Humblebrag's voice is wide-ranging, perpetually curious and not averse to funk and fusion. Writing the title track, Feinberg was thinking about his experiences playing with Re-Animation, trumpeter Tim Hagans' riff on the early electric music of Miles Davis. Built on a hypnotic five-note motif, the piece features dramatic orchestration, and the roiling but dynamically sensitive trap work by Gully, best known for his work with Christian McBride's funk-inflected electro-acoustic band. "Rock has always been a big part of my life," Feinberg says, "and this is my contemporary version of that."

If there's any chest-pounding going on in Humblebrag it's over the superlative quality of Feinberg's collaborators. Aside from Gully, a well-traveled player who came up two jazz-generations earlier, the band features some of the brightest young players on the New York scene, including pianist Julian Shore, Haitian-American alto saxophonist Godwin Louis, and trumpeter Billy Buss (who recently released a very impressive debut album Scenes From A Dream featuring Feinberg and Godwin Louis). Jacob Deaton, an excellent Atlanta guitarist, contributes on one track.

"These guys are my friends and they make it a comfortable environment," Feinberg says. "Each one is a talented composer, and knows how to interpret my music. Billy and Godwin spent two years playing together every day at the Monk Institute, and on top of their virtuosic musicianship they're an amazing team. Along with Julian they're the next generation of guys coming up."

The album opens with the rousing, hip hop-tinged "Tutuola," a name that should sound familiar to anyone who's watched Law & Order: Special Victims. Noting that young players with a lot of down time often end up binging on Law & Order marathons, Feinberg wrote an episodic theme that slyly alludes to Ice T's earlier career. "I came up with the rhythmic part of it, and the melody was definitely influenced by listening to Busta Rhymes and getting into his flow," he says.

Feinberg evokes the hustle and flow of life on New York's streets with "Puncher's Chance," a piece that lightly wears its infatuation with Robert Glasper's experiments. And he gets down in the gutter with "Dukeface," a joyful post-bop blues set to a celebratory New Orleans groove that coaxes some evangelical fervor from Buss and Louis. The album's centerpiece is the waxing/waning three-part suite "But the Sound," which opens slow and woozy and grows increasingly intense as it modulates between keys before a spare, beatific solo by Shore signals calm acceptance. Before exiting with the title track, Feinberg offers the ravishing ballad "Untitled 2," a piece that touches on the radical simplicity of bassist/composer Ben Allison's music from the turn of the century. "It's a pretty piece, not a side of myself that usually comes out," Feinberg says. "Ben Allison was definitely a formative influence. I'm trying to take stuff I hear and present it in ways I haven't heard."

Born and raised in Atlanta, Feinberg earned his BM in Jazz Performance at the University of Miami's Frost School of Music, and graduated from New York University with a master's degree in 2011. While he's enmeshed with his contemporaries, he credits several authoritative veterans with playing a formative role in his development, including pianist Jean-Michel Pilc, guitarist John Scofield, drummer Billy Drummond, and particularly tenor saxophonist George Garzone. A generous mentor to several generations of improvisers, Garzone inculcated a sense of commitment in every note that Feinberg plays. "He really taught me a lot about confidence and having an attitude," Feinberg says. "He's a no-holds barred player, and he's so deep when it comes to rhythm and sound. We played duo in his apartment and it forced me to become a better player."

In many ways, Feinberg's musical concept hinges on his immersion in the music of Elvin Jones, the universally hailed rhythmic innovator whose post-Coltrane work as a bandleader is still too little known. When a friend in college hipped him to Earth Jones, a classic but long out-of-print quintet 1982 session on Palo Alto, it started him on a journey that led to The Elvin Jones Project, Feinberg's powerhouse 2012 album on Sunnyside with Garzone, drum legend Billy Hart, trumpeter Tim Hagans, and pianist Leo Genovese. "I knew Elvin's work with Coltrane and Larry Young's Unity, and Wayne Shorter's Blue Note albums, but not much beyond that," Feinberg recalls. "I started digging and digging, and became pretty obsessed with him. He was such an amazing musician and as celebrated as he is I don't think a lot of people recognize how progressive he was. And Elvin connects all of my favorite bassists: Gene Perla, Dave Holland, George Mraz, Jimmy Garrison. George Garzone really helped me put it all together."

When it comes to a group concept, he's also drawn inspiration from Pilc, the French-born pianist who has developed a volatile trio that plays his episodic originals and radically reconstructed standards. "I studied with Hal Crook, and he said that being in a band should be like a team full of captains. Jean-Michel's trio works that way, and that's how I want my group to work. We all have defined roles but it's in flux and they can change at any time."

Feinberg made a memorable debut as a leader with 2011's With Many Hands, a project that gathered some of his generation's most formidable players, including Humblebrag's Shore and Louis, tenor saxophonist Noah Preminger, and versatile drummer Daniel Platzman (who recently won a Grammy Award with the Las Vegas rock band Imagine Dragons). As a composer and bandleader, he continues to cast a wide net, drawing on his disparate array of experiences and deep pool of exceptional talent. Primarily identified as a jazz musician, Feinberg is often sought out by singer/songwriters and rock combos. His music, passionate, emotionally engaged and unafraid to sound raw or polished, effectively reflects the confluence of sounds and ideas running through New York these days, and that's no humblebrag.

http://www.michaelfeinbergmusic.com/live/

www.humblebrag-band.com

BARRY MANILOW STRIPPED DOWN ON NEW ALBUM - NIGHT SONGS

Pour yourself a glass of wine.  Dim the lights.  Barry Manilow's Night Songs is the perfect sound track for your evening.  This new collection of songs is the most intimate album Manilow has ever made. "Just me singing and playing piano (and synthesized bass).  So pretend it's just me sitting in your living room, playing and singing for you," said the music icon. 

Night Songs features Barry singing some of the greatest standards of all time.  All the songs selected are Manilow's personal favorites and hail from the greatest composers of the 20th century and are not necessarily their best-known works. 

"I loved making this album. It reminded me of the days I used to play in piano bars. I loved those days. No Top 40 to worry about, no planes to catch, no hotel rooms to check into and out of, and none of those little bars of soap!" said Manilow.  "I hope everyone enjoys Night Songs and that it introduces you to some songs you may never have heard," he added.

Night Songs is produced by Manilow and is being released by STILETTO Entertainment and distributed by INgrooves in association with Universal Music Group as part of a multi-product partnership.  Night Songs is available at www.NIGHTSONGS.com

Track Listing:

1. I Fall In Love Too Easily

2. Alone Together

3. Blame It On My Youth

4. I Get Along Without You Very Well

5. You're Getting To Be A Habit With Me

6. It Amazes Me

7. But Not For Me

8. It's A New World

9. While We're Young

10. You Don t Know What Love Is

11. Ac-Cent-Tchu-Ate The Positive

12. My One And Only Love

13. I've Never Been In Love Before

14. I Walk A Little Faster

15. Here's That Rainy Day

16. Some Other Time

www.manilow.com

www.facebook.com/barrymanilow

www.NightSongs.com

NEW RELEASES: MADE TO BREAK WITH KEN VANDERMARK - CHERCHEZ LA FEMME; THE SPANDETTES - SPANDEX EFFECT; DOPEGEMS - NECK SNAPPIN'

MADE TO BREAK WITH KEN VANDERMARK - CHERCHEZ LA FEMME

Sharp improvisations with a decidedly sonic sensibility – music that bridges between free jazz and much more textural moments! The group features Ken Vandermark on reeds – sometimes blowing with forward-moving lines that are plenty bold – sometimes stepping back to merge with the more electronic passages of the group, handled by Christof Kurzmann. Drummer Tim Daisy is on hand to propel things forward at all the right moments – and the songs here are dedicated to a diverse array of inspirations – from Betty Davis to Helen Frankenthaler to Sleater Kinney! Titles include "Sans Serif" and "Capital Black". (Includes bonus download!) ~ Dusty Groove

THE SPANDETTES - SPANDEX EFFECT

The Spandettes are a fiercely energetic disco band hailing from Toronto, Canada. Drawing inspiration from jazz-funk, soul and rock-steady, their original music combines a classic 70's disco approach with a fresh and contemporary edge. The band's leading ladies, Alex Tait (co-producer of the album), Maggie Hopkins and Lizzy Clarke lead this dynamic 10-piece outfit through musical terrain that balances sugary sweet vocal stylings, air-tight horn passages and hard hitting grooves from their stellar rhythm section. Their debut album Spandex Effect is a celebration of empowerment and liberation. The songwriting team within the band always seeks to push the envelope of whatever subject they are exploring, combining tongue-in-cheek playfulness with deeply raw emotion. "A lot of what we write dances that line between romantic and totally sarcastic and dry." The first single from the album, "Sweet & Saccharine", was released in summer 2013 and generated a buzz in the global dance music community. It was played by Gilles Peterson of BBC Radio 6, KCRW in L.A, and spent 8 weeks on J-Wave Radio Tokyo's influential Tokio Top 100 chart. In a musical landscape where trends come and go like the wind, the timeless sound of The Spandettes truly stands out among the rest. "Our greatest influence as a band is undoubtedly the Pointer Sisters. We adore how they jump from genre to genre so effortlessly, which is something we love to do. We call ourselves a disco band for simplicity, but we also play jazz, soul, RnB, and funk. Basically, if you can dance to it, we play it." The spirit of their music celebrates individuality, and everyone is invited to join their party - "sequins for all people equal"

DOPEGEMS - NECK SNAPPIN'

Dope gems, indeed – as the album's filled with fierce funky tracks that take us back to the 70s heyday of CTI Records and blacksploitation soundtracks! Yet the sound here isn't just fake retro funk, either – it's really well-crafted, jazz-heavy work that's filled with sweet vibes, keyboards, and massively heavy drums – all at a level that feels like some lost Johnny Lytle soundtrack for a black action film, or maybe an undiscovered Bobby Hutcherson gem from mid 70s Blue Note, or even an unreleased second album from Stark Reality! These guys are totally great on every single track – no too-modern production or any programs to ruin the spontaneous energy of the groove – and titles include a great remake of "Theme From 3 Days Of The Condor", plus "It's Your Love", "Quasar", "Like A Thief In The Night", "Solstice", "I Work The Whole City", and "Footsteps In The Dark". ~ Dusty Groove

SAXOPHONIST JACKIEM JOYNER RELEASES "EVOLVE" / COLLABORATES WITH GERALD ALBRIGHT & KEIKO MATSUI

The evolution of an imaginative young artist is fascinating to behold, especially those refusing to play it safe after achieving success and notoriety. Jackiem Joyner, an award-winning chart-topping saxophonist, is stretching the limits of what urban contemporary jazz grooves can be while moving towards a more organic live sound on his fifth album, “Evolve,” which will be released April 29. He wrote and produced the highly-rhythmic 11-song CD we sent you featuring collaborations with multiple Grammy-nominated saxophonist Gerald Albright and internationally renowned keyboardist Keiko Matsui. 

Joyner has always had knack for crafting catchy R&B-pop melodies and his deft touch with honeyed harmonies remains. What changed are the inventive rhythms and textured sonic-scapes he’s constructed under his gentle yet impassioned horn play. The futuristic aural backdrop stands in stark contrast to the visceral sound of his sax. 

First cut from “Evolve” going to radio is “Generation Next,” a musical declaration from Joyner that the next generation of jazz artists is here to stay. You can view a live performance clip of the single to get a taste of how Joyner mixes and matches jazz, R&B and instrumental pop with searing rock guitar. http://youtu.be/KXJbzKS7HEs

Joyner debuted in 2007 when he was named Debut Artist of the Year for his first offering, “Babysoul.” His sophomore set, “Lil’ Man Soul,” spawned a pair of No. 1 Billboard singles, including “I’m Waiting For You,” which won Song of the Year honors at the 2009 Smooth Jazz Awards. The momentum continued even before he reached the age of 30 when two singles from his self-titled third album shot up to No. 2 and No. 3 on Billboard. Switching gears, Joyner embraced his church roots in 2012 with the gospel jazz record, “Church Boy.” 

JAZZ & MILK PRESENTS TRACKS FROM SAM IRL, KARL HECTOR & THE MALCOUNS, MR. CHOP, RAY LUOGO & OTHERS

Jazz & Milk is back with a brand new compilation series featuring previously unreleased tracks by international label artists, friends & family!

Everyone familiar with Jazz & Milk probably knows about the importance of musical diversity to the label's spirit. However, once you listen closer you will definitely hear the connecting force, a rhythmic and soulful foundation of these 15 tracks. The sum of the album's musical influences lead back to Africa and its long lasting impact on numerous modern music genres throughout the world. A good many times such musical footprints are shining through on this record ranging from Jazz, Funk, Afrobeat, Cumbia, Ethio-Jazz to Hip Hop, deep House and Bass music. While each style is unique, they have a strong rhythmic element in common.

Footprints starts off with the energetic raw sound of Todd Simon & The Angel City All Star Brass Band. Amusingly, the song has been inspired by a culinary experiment, a 50/50 blend of Ethiopian coffee beans from the Sidama region and Colombian beans not too far from Cali. Aiming at translating the experiment's success into a completely different sphere, that of music, Simon combined the traditional sounds of both regions. The track not only features musical prodigy Quantic on the guacharaca (colombian version of the guiro) but also a 'who is who' of LA's music scene. Jazz & Milk label-founder and "Footprints" compiler Dusty delivers a heavy Afro-Funk vibe by remixing the Bad Jazz Troupe, a live project he formed together with his musical soulmate Jerker Kluge. Label artist Sam Irl from Vienna takes us on a journey of raw emotions. On "Time" he fed his MPC with filthy vinyl samples, jazzy rhodes chords, deep basslines and smooth synth-arpeggios - all glued together on top of a driving House beat. The legendary Munich-based formation Karl Hector & The Malcouns (Now-Again) is also contributing to the album's special flavor. "Who's Foolin' Who?" was written by JJ Whitefield (producer and guitarist for the Poets of Rhythm and the Whitefield Brothers) and obviously reflects his affinity for sounds from across the African diaspora. Jerker Kluge and his Deep Jazz Project, more local talent from Munich, is performing a fantastic cover version of Andy Bey's classic "Celestial Blues" with Julia Fehenberger on vocals.

Footprints has to offer much more and includes further contributions by Jazz & Milk artists & friends such as Romanowski featuring P.E.A.C.E. (Freestyle Fellowship), Mr Chop (UK), Ray Lugo (NYC), Lay-Far (Russia), GTA Hoffmann, Lipanti-Rodrigez or the 45prince.

The Munich-based label, and its associated clubnight, have been a city fixture for the past eight years and represent an integral component of German club culture. Just like on "Footprints" Jazz & Milk keeps pushing musical boundaries, seeking new territories and a distinctive sound that blends sophisticated old- and contemporary electronic music.

- The Footprints EP has already won support from the likes of Gilles Peterson, Mr. Scruff, Lefto, Jeremy Sole, Opolopo, Jay Scarlett, Mad Mats, Rob Luis, Makossa, Simbad, Soulist, Monk One, Dom Servini, Simon Harrison.

TRUMPETEER THEO CROKER COLLABORATES WITH DEE DEE BRIDGEWATER BLENDING SOUL, JAZZ AND FUNK ON NEW ALBUM AFROPHYSICIST

Enter the AfroPhysicist - trumpeter/composer Theo Croker. Coming straight out of Leesburg, Florida by way of Shanghai, China, this bold young soul-jazz newcomer, grandson of New Orleans trumpet legend Doc Cheatham is fortified by tradition with no lack of contemporary electricity to propel him into the future.

Croker's new album - AfroPhysicist - comes out on May 20, 2014 on Dee Dee Bridgewater's DDB Records via Sony Masterworks' imprint OKeh Records. This is Croker's third album and the inaugural release on Bridgewater's label. His music literally shape-shifts without pause through 12 captivating selections.

AfroPhysicist includes three vocals sung by Bridgewater, each from different eras and genres, and all re-imagined in bold strokes: "Moody's Mood For Love"  (the classic James Moody instrumental vocalized by Eddie Jefferson in the `50s, then by George Benson with Patti Austin in the `80s); "Save Your Love For Me," (made famous by Nancy Wilson with the Cannonball Adderley Quintet in 1962); and "I Can't Help It," originally introduced by Michael Jackson on 1979's Off the Wall, and flipped here into a sizzling, chattering Afro-Cuban whirlwind.  

Though Croker recorded two previous albums as a leader - The Fundamentals in 2007 and In the Tradition in 2009 - the time he spent in Shanghai prepared him to become the daring artist that Bridgewater was excited to unleash on her DDB label. "What was hot in New York didn't matter," says Croker. "We were far enough removed that nobody was judging us."

When Croker met Bridgewater, it was October of 2009 during the Shanghai Jazz Festival, where he was playing in the big band that backed her. The two hit it off at an after-party jam and met for lunch during her next visit. When Bridgewater inquired about the music the trumpeter was working on, Croker handed over his iPod and told her to listen for herself. By Summer 2010, they were in discussions about recording an album. "The first thing Dee Dee said was, 'We are not doing a jazz record,'" Croker says laughing. "It was perfect. I already knew who I was and I had no inhibitions."

AfroPhysicist  features Croker's core group: keyboardist Sullivan Fortner, wind and reed man Irwin Hall, drummer Karriem Riggins, acoustic/electric bassist Michael Bowie and guitarist David Gilmore, with other horns and specialists. One standout guest is vibraphonist Stefon Harris who brings his unfiltered spell casting to a cover of Stevie Wonder's "Visions." "In another life, maybe I was a singer," Croker muses. "I gave up on that dream a long time ago but felt I could really convey the meaning of Stevie's deeply relevant lyric through my horn. His Innervisions album (1973) was a huge influence for me, flow wise."

Croker also persuaded friend and trumpet veteran Roy Hargrove to guest on a song of his own composition, "Roy Allan" (which Hargrove dedicated to his father). Hargrove originally recorded the tune instrumentally for his 1995 classic album Family, but sang his accompanying lyric only occasionally in concert...until now. Croker also pays tribute to South African trumpeter Hugh Masekela by recording the meditative Serengeti slink of "Bo Masekela," composed by the great Caiphus Semenya in 1965 in honor of Masekela and his then-wife, Miriam Makeba. A souring relationship inspired Croker's own "It's Not You, It's Me (But You Didn't Help)," featuring synchronistic interplay between Croker and Hall on alto flute.

The genre-fusing "Light Skinned Beauty" has elements of rock, hip hop/R&B and a fast swing. "Think about the lines of race being blurred... When you first meet someone, it's hard to tell them who you are in 4-5 minutes. This song is a statement like that," explains Croker. "So if you see a cutie at the bar and you throw out these three genres - with the same harmony and vibe all the way through but with stuff changing over the surface - hopefully one line will stick!"c.

Before moving to Shanghai, the then 16-year-old Croker lived in Jacksonville, Florida, attending the Douglas Anderson School of Arts and becoming an artist in residence at the Ritz Theatre with its big band. Upon graduation, he attended the Oberlin Conservatory of Music in Ohio, drawn by Dr. Donald Byrd and a faculty of jazz legends including Gary Bartz. Croker won the Presser Music Foundation Award in 2006 and used the money to fund a debut album of original compositions.

"I've always tried to find my own way," Croker states. "I went to Oberlin College instead of Juilliard. Then I went to China. Once there, I opened up - not only to survive but to investigate what was going on. I joined a way-out fusion group led by Alec Haavik, but I also joined a salsa band. Musicians in China don't have stereotypes. To live well, you played everything." Now, following several years of hustling as a freelance musician and live music promoter in Shanghai, Croker is back in New York preparing to take it to the next level. "Dee Dee said it was time for me to come home."

"My older brother is the one who imparted the nickname AfroPhysicist upon me," Croker concludes. "Last spring, I dropped it on Dee Dee and she dug it. She introduced me to an audience that way. They liked it, so it stuck. Maybe it will create a buzz. Look at what artists like Kanye West and Erykah Badu do, changing their genre titles and names to fit different artistic directions. Truthfully, I am a lil' wild! So the title fits - a crazy person in the basement snatching all these things together."

Upcoming Theo Croker Performances:

April 4-5, 11-12 / JZ Club / Shanghai, China

* May 27 & 28 / Jazz Standard (Release Show) / New York, NY

* Theo Croker AfroPhysicist Featuring: Dee Dee Bridgewater and DVRK FUNK

Theo Croker, trumpet / Irwin Hall, alto saxophone and alto flute / Sullivan Fortner, piano and keyboards / Seth Johnson, electric and acoustic guitars / Eric Wheeler, electric and acoustic bass / Kassa Overall, drums / Jerome Jennings, percussion / and Special Guest: Dee Dee Bridgewater

Performances with Dee Dee Bridgewater:

April 30 / International Jazz Day @ The Monk Institute / Osaka, Japan

May 2-4 / Blue Note Tokyo / Tokyo, Japan

May 8 / St. Lucia Jazz Festival / St. Lucia, British Virgin Islands

May 30 / Exit 0 Jazz Festival  / Cape May, NJ

June 7 / Longwood Gardens Wine and Jazz / Kennet Square, PA

June 9 / Kaye Playhouse  / New York, NY

June 12 / Alfa Jazz Festivals / Lviv, Ukraine

June 14 / Zagreb Youth Center / Zagreb, Croatia

August 1 / Newport Jazz Festival / Newport, RI

August 4 / Jazz in Laurino Festival / Laurino, Italy

August 6 / Marciac Jazz Festival / Marciac, France

August 8 / Grand Casino / Basel, Switzerland

August 10 / Casino Seven / Amneville, France

August 11 / Teatro All'Aperto Le Ferriere / Follonica, Italy

August 13 / Piazza Angioina / L'Aquila, Italy

August 14 / Tabarka Jazz Festival / Tabarka, Tunisia

August 16 / Jazz En Baie / Mont St. Michel, France

August 18 / Jazz Au Phare / St. Clement-Des-Baleines, France

November 9 / Dolby Theater, The Monk Institute / Los Angeles, CA

Theo Croker · AfroPhysicist / DDB Records via Sony Music Masterworks/OKeh ·  Release Date: May 20, 2014 

TheoCroker.com

VOCALIST/COMPOSER KAVITA SHAH COLLABORATES WITH GUITARIST LIONEL LOUKE ON DEBUT ALBUM - VISIONS

A vivid self-portrait in mosaic form, Kavita Shah's Visions (available May 27 on Greg Osby's Inner Circle Music) heralds the arrival of a strikingly original, globally minded new voice. The gifted vocalist/composer brings together a rich variety of musical, cultural, and personal influences into a formidable debut album that combines a jazz quintet with Indian tablas and the West African kora.

Visions interweaves Shah's multicultural background (she's a native New Yorker of Indian descent fluent in Spanish, Portuguese, and French) with her wide-ranging musical tastes (reared on 90s hip-hop, Afro-Cuban music, and bossa nova, she studied jazz voice and classical piano) and her fascination with ethnomusicology (which she studied at Harvard). The album was co-produced by the renowned Benin-born guitarist Lionel Loueke, a kindred spirit who shares the singer's cohesive view of a multi-hued musical experience.

"My experience of diaspora has not exactly been linear, but more like a kaleidoscope. So musically, I wanted to bring together different elements that I love, and combine them in a way that may be surprising to others but makes sense to me," Shah says. "We have one sound," adds Loueke. "You listen to the album from the beginning to the end, and even if the textures are different, it has a unity."

Shah's own cultural heritage pointed to some unexpected directions. Her paternal grandfather moved from Mumbai to New York in the 1940s, a full generation before immigration from South Asia became common. After witnessing the birth of the United Nations, he returned to India as the first publisher to bring American books to the country, and Shah's father later retraced his path to New York to attend college. Shah's mother was one of 13 children, born to a father who insisted on educating his daughters rather than simply marrying them off; music, seen as a distraction, was forbidden.

"I didn't grow up in a traditional household," Shah recalls. "My parents wanted to expose me to music, an opportunity they didn't have growing up, but not just to Hindi film songs or Indian classical music. They immigrated to New York in the 1970s, so there was a lot of pop in the house: The Beatles, Michael Jackson, Frank Sinatra." Both sides of that early musical diversity are represented on Visions: Shah sings Joni Mitchell's "Little Green" and Stevie Wonder's "Visions," while one of her first collaborators on the project was tabla player Stephen Cellucci. The two met while working on tabla virtuoso Samir Chatterjee's project "Rabi Thakur."

Fourteen musicians from around the world ultimately contributed to breathing life into Shah's Visions, including keyboardist Stephen Newcomb, guitarist Michael Valeanu, bassist Linda Oh, drummer Guilhem Flouzat, percussionist Rogério Boccato, and a string quartet conducted by Miho Hazama. The album follows an engaging narrative sweep, tracing the cycle of a day or, from a more melancholy angle, stages of grief (Shah's father died when she was 18). But through Shah's restless searching, it possesses a geographic as well as emotional sweep, made cohesive by her singular, prodigiously confident vision.

"I haven't been so excited about a project like this in a long time," states Loueke. "Kavita is a real, true musician. She's a great singer, but the way she writes music, she's not really thinking just about the voice. It sounds like she could be a horn player, a saxophone player."

Shah spent her childhood with the radio dial parked on HOT 97, New York's leading hip-hop station, which is echoed in her tabla-driven cover of British rapper M.I.A's hit "Paper Planes." Perhaps her most formative musical experience came at the age of 10 when she joined the Young People's Chorus of New York City, an award-winning youth chorus with whom she regularly performed in more than 15 languages in venues like Carnegie Hall and Lincoln Center.

It was in the YPC where Shah was first exposed to jazz, and it stuck. "We sang everything from standards to opera to pop to folk music to contemporary pieces by major composers like Meredith Monk," Shah recalls. "For me, that all these types of music could co-exist was quite normal, and in a way, I've been trying to replicate that experience ever since."

Shah majored in Latin American Studies at Harvard, living abroad in Peru and then Brazil, where she conducted research on Afro-Brazilian music in a Bahian favela. That period is reflected in her rhythmically intoxicating duo with Lionel Loueke on Edil Pacheco/P. C. Pinheiro's "Oju Oba" as well as in her own composition "Moray" (winner of ASCAP's Young Jazz Composers Award), named for an Incan archeological site and inspired by Pablo Neruda's epic poem "Las Alturas de Macchu Picchu."

After college, Shah found herself working day jobs at nonprofits like Human Rights Watch until she received advice from an unexpected, brassy guardian angel: legendary vocalist Sheila Jordan. "I was on my way to work when the subway doors opened," Shah recalls, "and there was Sheila Jordan in front of me. At that time, I didn't have a mentor in jazz and I was a little lost. In 15 minutes on the train, Sheila basically gave me all of her mantras for life - she took me in and really encouraged me."

With Jordan's support, Shah went on to receive her Masters in Jazz Voice from Manhattan School of Music while studying privately with Theo Bleckmann, Peter Eldridge, Steve Wilson, and Jim McNeely. Wilson's supple reed playing is featured on three tracks on Visions, while McNeely proved instrumental in nurturing Shah's innovative arrangements. While at MSM, Shah was named by DownBeat as Best Graduate Jazz Vocalist, and she has since become an active member of New York's thriving jazz community, performing regularly at such venues as Cornelia Street Café, Bar Next Door, 55 Bar, Shapeshifter Lab, Kitano, and Minton's Playhouse.

The final piece of the Visions puzzle fell into place from passion rather than experience. Shah's love for the music of master Malian musicians like Ali Farka Touré and Toumani Diabaté inspired her to call kora player Yacouba Sissoko, who eagerly responded to the challenge of her musical mélange.

"It is so against who I am to pick just one style of music," Shah says. "Being a global citizen in the 21st century means having a somewhat disjointed life - scattered memories, connections, and experiences that can be enriching but also isolating. Visions is my small universe of all the parts that make me whole."

Shah had never met Lionel Loueke when she called on him to co-produce the album, but she recognized a fellow traveler in his own globetrotting sonic collage."Lionel went above and beyond as a co-producer. He and I share the same vision for how we approach music, so I think there was an automatic trust, respect, and appreciation there. He has a really beautiful spirit and we formed a special relationship; he's been incredibly generous and supportive of my music." 

"I see myself as a cultural interlocutor. A singer can play an almost mystical role, connecting these different elements on stage with an audience through the human voice, through words. With the Visions project, it's amazing to see the Joni Mitchell fan who has never before seen a kora standing next to the hardcore jazz fan who would not expect to hear tablas on a Wayne Shorter tune. I hope that people find something familiar in the music that draws them in, but then discover something new that might change, even for a second, how they see the world."

  

Upcoming Kavita Shah Performances:

* April 8 / Jazz Museum of Harlem / New York, NY

April 18 / Philadelphia Museum of Art / Philadelphia, PA

** May 27 / Joe's Pub / New York, NY

June 13 / Sunside / Paris, France

July 6 / JazzSchool / Berkeley, CA

July 26 / Children's Museum of Manhattan / New York, NY

* International Jazz Conversation Series

** with special guest Lionel Loueke

Kavita Shah · Visions ·  Release Date: May 27, 2014 

KavitaShahMusic.com