RUFUS REID - QUIET PRIDE: THE ELIZABETH CATLETT PROJECT

The inspiration for the epic, large ensemble work, Quiet Pride was Reid’s fascination with the sculptural work of Elizabeth Catlett, the great African American artist and civil rights activist, whose works can be found in the collections of the White House, the Museum of Modern Art, and of private collectors such as Bill Cosby, Oprah Winfrey, and jazz impresario George Wein. “You know how you can spend hours in a gallery, just letting the images sink in? I found myself responding to the shapes and lines in Elizabeth’s work. While there is no ‘absolute’ correspondence, I do feel that she inspired me to mix my own shapes and lines,” explained Reid, whose suite movements are inspired by Catlett’s sculptures Glory, Mother & Child, Recognition, Singing Head, and Stargazer, each of which are pictured in the detailed CD booklet.

Among the 20 stellar players in Reid’s handpicked ensemble are Herlin Riley (drums), Steve Allee (piano), and Vic Juris (guitar), Tim Hagans, Ingrid Jenson, Freddie Hendrix, and Tanya Darby, (trumpets); Steve Wilson, Erica von Kleist, Tom Christensen, Carl Maraghi, and Scott Robinson, (reeds), Dave Taylor, Ryan Keberle, Michael Dease, and Jason Jackson, (trombones), and John Clark and Vincent Chancey (French horns). Reid chose acclaimed vocalist Charenee Wade to bring the challenging vocal lines of his suite to life. Speaking of their collaboration, Wade noted, “Rufus Reid is like the musical uncle that I always wanted.”

Interestingly, the February 11, 2014 release date of Quiet Pride coincides with Reid’s 70th birthday (on February 10), and marks his 50th year in the music industry.

As a bassist, Rufus Reid’s signature sound has graced the music of countless jazz giants including Eddie Harris, Thad Jones & Mel Lewis, Stan Getz, Dexter Gordon, Benny Golson, J.J. Johnson, Jack DeJohnette, and Nancy Wilson. As an educator he is sought after internationally and is the author of the acclaimed instructional book and DVD, “The Evolving Bassist”– the definitive bible for every jazz bassist and the industry standard since 1974. He also served for twenty years as the Director of Jazz Studies and Performance Program at William Patterson University.

Upon retiring from William Patterson, Reid set about fulfilling his desire to compose. In short order, he began winning awards and commissions: the BMI Composers Workshop, Charlie Parker Jazz Composition Prize, two Chamber Music America’s New Works grants, The John Simon Guggenheim Memorial Foundation Fellowship for Composition, and the Mellon Jazz Living Legacy Award, to name but a few. His dream to compose for the large ensemble was made possible by his winning the prestigious Raymond and Beverly Sackler Composition Competition Prize in 2006 for his original four-movement suite, Quiet Pride. A fifth movement was completed and added in 2012, leading to this recording.

Of the recording process (which is nicely documented on the enhanced CD), Rufus explains, “It’s pretty amazing to have something in my subconscious of how I want a piece to sound. Then for really creative individuals to come in and render it and take it completely to another place that I couldn’t have even imagined — it’s thrilling. There were times I actually had goose bumps and said ‘Damn, I really wrote this!’”

Drummer/composer, Dennis Mackrel (Vanguard Jazz Orchestra, Count Basie Orchestra), conducts the orchestra. Akira Tana, Reid’s co-producer and longtime colleague, comments, “I think we’re hearing the fruits of his life in music because you hear all the influences of all the different groups he’s played with and it’s coming out in his writing. It’s something very special.”

Noted jazz percussionist Francisco Mora-Catlett (Sun Ra, Max Roach’s M’Boom) initially connected his mother with Reid. Elizabeth was genuinely surprised to hear such an ambitious musical project inspired by her sculptures. She was delighted to learn of and endorse the multi-disciplinary program for universities exploring “how art inspires art.” (Reid coordinates special programs in which multiple university departments (art, women’s studies, black studies, and music,) collaborate to bring in gallery showings of Elizabeth Catlett’s sculptures and university orchestra performances of Reid’s Quiet Pride, as conducted by Rufus Reid. Such programs have happened so far at The University of Connecticut at Storrs, CT, in Baton Rouge at the Shaw Center for the Arts with the Louisiana State University Jazz Ensemble and at Bucknell University.

“My purpose in recording Quiet Pride – The Elizabeth Catlett Project was to create a definitive, professional recording, for people who love art and who love music, explains Rufus. It will also be an excellent educational tool as I continue my residencies and performances at colleges and universities internationally. Quiet Pride has enriched my life about what I do and why I do it.”

Grammy-winning journalist Bob Blumenthal, who provides the insightful liner notes, comments that this music comes from “a life lived at the highest level of creativity and an undimmed willingness to face and meet new challenges.”

www.rufusreid.com 

www.motema.com

NEW RELEASES: DAVE REMPIS / DARREN JOHNSON / LARRY OCHS - SPECTRAL; DAVE REMPIS / LASSE MARHAUG - NAANCORE; EVOLUTIONARY MINDED: FURTHERING THE LEGACY OF GIL SCOTT-HERON

DAVE REMPIS / DARREN JOHNSON / LARRY OCHS - SPECTRAL 

Wonderfully complicated reed lines from the team of Dave Rempis on alto and Larry Ochs on tenor and sopranino sax – augmented here by trumpeter Darren Johnson, whose instrumental tones are a perfect fit for the record! The style of the set's a bit like some of Ochs' early material with Rova Sax Quartet – especially the way all three players are very interested in finding a sonic space in which they can resonate together, then burst out with very individual inspiration. The tracks all feel very improvised, but with a strongly conscious quality that makes each new sound a delight! Titles include "Traction", "Wrinkle Wrankle", "Iterated Integrals", "The Drop", and "Cheek & Bones".~ Dusty Groove

DAVE REMPIS / LASSE MARHAUG - NAANCORE

Dave Rempis really goes over the top here – and Lasse Marhaug provides some bold electronics to match! Rempis turns in some of the most frenetic work we've ever heard him do on alto sax – and Marhaug races to keep up and collaborate with him on a range of electronic flourishes – bits of noise, static, and other transmissions – which often blow out from the speakers at a level that feels like a meaner, nastier version of what Dave is doing with his reeds! Each side of the album features a long improvisation from the pair – and titles include "Skinning The Poke" and "Strategikon". (Limited to 300 copies. Includes download.) ~ Dusty Groove 

M1, BRIAN JACKSON & THE NEW MIDNIGHT BAND - EVOLUTIONARY MINDED: FURTHERING THE LEGACY OF GIL SCOTT-HERON

Soul satisfying grooves, vocals, rap and spoken word swirl together with socio-political visions on Evolutionary Minded, a star-studded collaboration of hip-hop, jazz and soul A-Listers including Dead Prez, Chuck D, Gregory Porter, and Azar Lawrence. Talented new producer Kentyah collaborates here with original Midnight Band keyboardist/composer Brian Jackson to brilliantly build upon and expand the legacy of Gil Scott Heron, forefather of socially-conscious rap. Tracks include: Offering; All We Got feat M1, Martin Luther; Voice of the People Juma Sultan; Liberation Psychology feat Bobby Seale, M1; Opponent feat Dead Prez, Martin Luther; Winter In America feat Martin Luther, M1;. It's a Time Warp;. Go Ahead On feat Bobby Seale;.  Recurring Cycles feat M1;. Losin' Our Minds feat Gregory Porter;  Headhunters;. Occupy Planet Earth feat Chuck D, M1, Gregory Porter; Tradition feat Abiodun Oyewole; and Song of the Wind feat Gregory Porter.

RENE MARIE RELEASES ALBUM TRIBUTE TO EARTHA KITT - I WANNA BE

René Marie – singer, actress, writer. Earth Kitt – singer, actress, writer. Never before has there been a vocal recording tipping the hat to the divine Ms. Kitt and her fiery, sensual and clever interpretations of songs. With her incredible range of vocal ability, her powerful emotional resonance and strong independent streak, René is the right artist to conceive of this historic project, out November 12 on the adventurous, multi-Grammy®-nominated label Motéma Music. I Wanna Be Evil (With Love to Eartha Kitt) is René’s third recording for the label and her 10th career album.

Eartha Kitt’s daughter Kitt Shapiro, who maintains her mother’s legacy via EarthaKitt.com and the company Simply Eartha, expressed her appreciation.

It's wonderful that such a talented artist like René Marie has recorded the first tribute album to my mother, helping to keep her memory and spirit alive. These classic songs deserve to be heard and loved by all generations.

This brilliantly entertaining album burnishes René’s reputation as the most provocative risk-taker among today’s jazz divas. Featuring star turns by trombonist Wycliffe Gordon, trumpeter Etienne Charles and Australia’s Adrian Cunningham on saxophone, clarinet and flute, I Wanna Be Evil opens with a cackle of mischief. Then René tears into “I’d Rather Be Burned As A Witch,” a powerhouse song that immediately signals the melding of the spirits of two audacious women. She changes gears dramatically with a sly arrangement of “C’est Si Bon,” one of the songs most associated with Eartha. Lesser-known gems “Oh, John” and “Let’s Do It” follow, both of which René imbues with sultry affection. She puts her scintillating touch on “Peel Me A Grape” – featured on her 1998 recording debut – before giving a classic rendition of “My Heart Belongs to Daddy.” The title track is another barnburner that showcases René’s playfulness. The little-known Caribbean-tinged “Come on-a My House” – featuring a percussion turn by Charles – leads into probably Eartha’s best-known song, “Santa Baby.” René’s slow burn version is sure to become a new holiday favorite. She closes with her haunting original, “Weekend,” a favorite with fans, who adore René for her ability to enthrall. Produced by René and veteran producer/writer/programmer Mark Ruffin, I Wanna Be Evil features René’s longtime band: Quentin Baxter (drums, percussion, washboard); Kevin Bales (piano); and Elias Bailey (bass).

Eartha Kitt is one of America’s strongest iconic figures. She was an inspiring artist, a strong woman and an essential activist in different ways. She was homeless when she first moved to New York City yet became a star. She was a sensual and powerful woman in a man’s world at a time when most women were background not front and center. She was a black actress in Hollywood at a time when most black actors were given subservient roles yet here she was – Catwoman. She challenged President Johnson on the Vietnam War and paid a price for her outspokenness. She unabashedly shared her sensual self and her fierce self and was just herself – simply Eartha. That alone, I have learned, can be the most radical act, especially if you are a woman. As Eartha states in one of her famous ‘Kittisms’: The price you pay for being yourself is worth it.

René too is unabashedly herself, winning many fans for her audaciousness but also receiving strong criticism. Her well-known medley of “Strange Fruit” and “Dixie” wowed many but also stirred the pot on America’s history of slavery and Southern race relations. Her choice to sing the black national anthem, “Lift Ev’ry Voice and Sing” (set to the melody of the “Star Spangled Banner”) when the Mayor of Denver John Hickenlooper asked René – one of Denver’s high profile resident artists at the time – to open the State of the City address in 2008 spurred a significant backlash, right wing criticism and even death threats.

Yet René stood strong. Her daring makes her one of America’s most interesting and compelling artists. So do her influences. Her style incorporates a distinctly American mélange of jazz, soul, blues, folk and gospel and an innate theatrical ability to interpret a song deeply and live its truth. An actress as well as a vocalist, René will be seen Off-Broadway October 12-13 and 18 and 20 as part of the One For All Festival at the Cherry Lane Theatre in a touring one-woman play she wrote, directed and stars in. In typical fashion, she raises eyebrows just from the title itself – “Slut Energy Theory – U’Dean.” The meaning becomes clear and intensely significant as the audience – and critics alike – find themselves transformed by her play about U’Dean, a woman on a painful yet sometimes funny journey from sexual abuse to self-esteem.

René also is a woman of great strength and humor who walked a similar journey. Married at 18, a mother of two by 23 and a Jehovah’s Witness, she only occasionally sang. When her husband of 23 years issued an ultimatum to stop singing or leave, she chose music over the turbulent marriage and self-released her debut Renaissance in 1998 and toured as Ella Fitzgerald in a regional play. She began experiencing a whirlwind of success rarely seen in the jazz world, winning over critics; receiving awards such as the Best International Jazz Vocal CD (besting Cassandra Wilson and Joni Mitchell) by France’s Academie Du Jazz; gracing the Billboard charts multiple times; and becoming a headliner at major international festivals. A gifted songwriter, her previous Motéma release, Black Lace Freudian Slip, features blues-heavy originals. Her label debut, Voice of My Beautiful Country, is an ambitious celebration of Americana and a striking display of her incredible ability to forge connections between songs most would never think to merge.

For René Marie, success means shining attention on important issues in America and on bold artists like Eartha Kitt who helped change America’s landscape for the better. René has become one of those bold artists. It’s hard to believe it all started after she turned 40.

TRACK LISTING

1. I'd Rather Be Burned As A Witch

2. C'est Si Bon

3. Oh, John

4. Let's Do It

5. Peel Me A Grape

6. My Heart Belongs To Daddy

7. I Wanna Be Evil

8. Come On-A My House

9. Santa Baby

10. Weekend

DAVID WEISS - WHEN WORDS FAIL

For trumpeter, composer, arranger, bandleader David Weiss music is everything, his raison d'etre. So, after a year of profound loss, he came to the conclusion that writing music was perhaps the best, perhaps the only, solution for him to express his feelings for his suffering friends, and for his own losses; a way to reflect on what transpired during this difficult time. It is Weiss' hope that with When Words Fail (out on Motema Music, May 20, 2014) he and his bandmates could tap into the possibility of their music to express empathy, and harness the opportunity to take the listener on a journey; providing some solace along the way. Perhaps, When Words Fail can be embraced as an elegy of sorts. A lament that is about the pain, desolation and hopelessness of loss, felt throughout the jazz community last year, albeit with a robust strain of hope intertwined in the compositions.  

Weiss elaborates, "the last year or so has been a time of profound loss for me and a lot of my close friends and acquaintances. Some of these losses have been very public and horrific. These were the themes that were swimming through my head as I put the final touches on the music for this CD and began to rehearse it. But, ideally, it's also about lifting one out of that world, so it should also be about rebirth, hope and finding your way back. The music on When Words Fail is about acknowledging your pain but also about finding a way out, or at the very least, providing a temporary escape. I don't want to say that this is what I strive for or set out to do when composing, but I do hope that this is what the end result of my endeavors will encompass."

David Weiss, born in New York City, has been a major catalyst and creator of some of the most critically acclaimed and respected jazz to have been released over the years. In his various roles of trumpeter, composer, arranger, producer, talent-scout, historian and bandleader - he currently leads The Cookers, The New Jazz Composers Octet, Endangered Species, Point of Departure, and the David Weiss Sextet - it is certainly not an exaggeration to call Weiss a jazz renaissance man. Weiss, featured on over eighty recordings, was also the creative force behind the revitalized careers of Freddie Hubbard, Charles Tolliver, and others. Not to mention his affiliation with many esteemed members of the avant-garde community, including Muhal Richard Abrams, Kenny Wheeler, Butch Morris and John Zorn.

When Words Fail is the latest project from the prolific bandleader who has really hit his stride lately, releasing more than nine critically acclaimed albums by five singular ensembles in the past six years: The New Jazz Composers Octet -The Turning Gate (Weiss' 2008 Motema debut); three tour-de-force albums by the jazz supergroup, The Cookers -Warriors (JLP 2010), Cast The First Stone (Plus Loin 2011) and Believe (their Motema debut in 2012); David Weiss & Point of Departure's two live albums on Sunnyside, Snuck In (2010) and Snuck Out (2011), and the band's studio album, Venture Inward (Posi-Tone 2013); and most recently, Weiss' stunning tribute to Wayne Shorter ("One of the best records, jazz or otherwise, of 2013"-eMusic), Endangered Species: The Music of Wayne Shorter (Motema 2013).  In addition to the release of When Words Fail, 2014 will see the continued ascent of The Cookers, with a highly anticipated Motema release coming this September to be supported by a major international tour.

For the recording of When Words Fail the award-winning, artist reassembled his "original band", The David Weiss Sextet, featuring his original band-mates (once fledgling artists, and now proven jazz stalwarts), Marcus Strickland, Myron Walden, Xavier Davis, Dwayne Burno, and E.J. Strickland (plus guitarist Ben Eunsen making his recording debut on two tracks). When Words Fail is the David Weiss Sextet's first album in almost ten years, and the long-awaited follow up to The Mirror (which John Kelman of AllAboutJazz called, "A masterpiece by any definition . . . an album that is heady in both senses of the word - intelligent and exhilarating - Weiss emerges as one of the finest artists to mine the post bop arena . . . "). This recording also marks the first time in almost a decade that Weiss has released a CD consisting mainly of new, original compositions.

Tragically, When Words Fail will stand as the last recording of the late, highly influential bassist Dwayne Burno, who passed away at age forty-three, just a week after delivering yet another stellar performance on record. "Dwayne's passing came as a shock to all of us. He was one of my co-conspirators from the beginning and was an important part of my first two bands, this one and my first, which was more of a collective, The New Jazz Composers Octet. Dwayne was one of the great talents of our time and raised the level of every bandstand he was on. He was a very supportive player who always found ways to make your music sound better. He constantly challenged you to be on top of your game and to always strive to improve yourself and as a result, he made all around him better musicians," said Weiss (in his moving liner notes which describe the details of this project in poetic fashion.)

About The Music on When Words Fail: Weiss has never dedicated a tune to anyone before but at a certain point, he explains, "it became clear to me that I had to acknowledge my time with Freddie Hubbard. The Intrepid Hub, a play on words on the classic Hub composition The Intrepid Fox, "describes Freddie to a tee as fearless and adventurous were certainly two of his many qualities," said Weiss. When Words Fail is for Dwayne Burno. In Weiss' words, "when we finished rehearsing this tune for the first time, Dwayne made a gesture towards his music and sort of nodded. This was high praise indeed from Dwayne and the only such gesture from him that day so I dedicate this one to him. MJ is about a different kind of loss entirely. It's about being too young to know what's important and when to fight for something. Wayward is a part of a much larger Weiss composition that was commissioned by the American Composers Forum's Jerome Composers Commissioning Program for Weiss' The New Jazz Composers Octet. At it's core however, was this tune, the main theme of the entire suite. "White Magic is a tune written by the British pianist John Taylor, based on the Herbie Hancock composition, Riot.

Other highlights on When Words Fail include Loss, written for Motema Music founder Jana Herzen who lost her father, Professor Leonard A. Herzenberg, this past year; Lullaby for a Lonely Child is a composition by Karl Jenkins; and the closing tune, Passage Into Eternity, dedicated to Jimmy, Nelba and Isaiah Greene, who's beautiful daughter was lost in the Sandy Hook tragedy. Weiss explains, "They have suffered one of the most horrible loses imaginable and there is no way possible for me to have even the slightest clue as to what they must be going through. The Greene's are incredibly strong and brave people of faith who are now making a difference in this world (please visit anagraceproject.org). Passage into Eternity is a phrase I borrowed from something they wrote soon after their daughter's death."

www.DavidWeissMusic.com

COMPOSER TERENCE BLANCHARD IS SEEKING SUPPORT (VIA INDIEGOGO) FOR THE RECORDING OF HIS FIRST OPERA, CHAMPION: AN OPERA IN JAZZ

Champion debuted at Opera Theatre St. Louis in June 2013 to sold-out audiences and great national critical acclaim.  As a modern opera, Champion explored the human condition, its triumphs and tragedies through the life of famed boxer Emile Griffith, who died in a New York nursing two weeks after the opera closed. Champion has been given life and a promising future with interest from the Washington National Opera, Opera Paralléle in San Francisco, and Opera Philadelphia. Additionally, the opera is now represented worldwide by Boosey & Hawkes (www.boosey.com). Most recently, Champion has been nominated by the 2014 International Opera Awards for best 'World Premiere,' and is the only modern American opera nominated.

With your support, Champion will be captured and distributed to audiences worldwide. All befitting the first-time performance of Terence Blanchard’s first opera-- a unique and momentous occasion in the history of opera and jazz. A great first landmark.

The Story of Champion:

“I kill a man and most people understand and forgive me. I love a man, and to so many people this is an unforgivable sin" - Emile Griffith

Based on actual events, Champion recounts the story of world welterweight champion Emile Griffith and his 1962 bout with Benny "The Kid" Paret, which ended in Paret’s death. After Paret hurls a gay slur at Griffith (who is closeted), they find each other months later in the ring—face to face. The result of the fight plagues Griffith’s thoughts for decades as his misery and guilt build up into his later years. The irony of Griffith’s absolution after delivering fatal blows to Paret and ostracism after being outed as a gay man presents the psychological complexities that fueled Griffith’s emotional torture.

Recording Details

• The date of the recording session will depend on the success of our fundraising efforts, but we are shooting for June 2014.

• The live recording will include the original cast of Champion as well as members of the St. Louis Symphony.

• We have made the project more scalable by securing reductions in fees from St. Louis Symphony, along with gratis usage of Powell Hall for the recording.  

http://igg.me/at/ChampionRecording

 

GEOFF MCBRIDE - JOURNEY TO THE SOUL

You’ve heard him on “The Voice.” Now get ready to hear the true voice of Geoff McBride as he takes a deeper, more expansive Journey To The Soul on his new independent full length recording.

Two years after the powerhouse singer blew away millions of viewers – and judges Christina Aguilera and Cee Lo Green, who quickly swiveled around - with his explosive twist on Stevie Wonder’s “Higher Ground” during the blind auditions phase of NBC’s mega-hit talent competition, McBride delivers on the promise and praise while taking listeners on an adventure that goes beyond strict genre boundaries and showcases the depth of his artistry.

“With this album, I want to convey the essence of who I am as a vocalist and an artist,” the singer says, “and my love for a variety of different kinds of music, from pop and R&B to gospel and rock. I connect deeply with each of these songs because they convey true life facts about love, happiness and human relationships. Though my foundation is in soul music, I am not just a soul singer. I believe that all music transcends together.”

McBride, whose rough video demo of Marvin Gaye’s “What’s Goin’ On” got him in the door and who sealed the deal singing “Drift Away” for the show’s executive producers, never viewed his time on the show as a competition - but rather an opportunity to share his gift. Having only returned to singing live professionally a few years ago after some years away from the industry, McBride’s rekindled passion inspired his exciting decision to become a recording artist once again. A key part of this was the on-screen encouragement of Aguilera, who snagged McBride for her team in the Battle Rounds after a mini-battle for him with Green, and guest mentor Lionel Richie, who helped him master “Chain of Fools.”

Immediately after the singer wrapped “Higher Ground,” Aguilera enthused, “The very first note you hit blew me away!” She also emphasized her amazement at his “amazing level of energy” that brought the audience to its feet. Richie was also dazzled by McBride’s incredible vocal abilities. “When Geoff walked in…BOOM!” Richie exclaimed excitedly. “His delivery was unbelievable. It was not coming out of a microphone. There was no speaker. I love it.” Judges Blake Shelton and Adam Levine echoed their colleagues with admiration for McBride after each of his appearances.

With a rich vocal palette that taps as deeply into the church music traditions of his youth as it does the romantic power of legends like Seal, Luther Vandross, Marvin Gaye and Al Green, the North Carolina raised, Florida based singer brings his uncanny storytelling ability – in the tradition of another of his heroes, James Taylor – to a collection of ten hand-chosen songs that convey where his musical heart thrives in 2014.  

Showcasing a multi-layered sense of artistry that McBride only hinted at on “The Voice,” these songs speak to the heart as celebrations of life, love, the human spirit while exploring the inner complexities of our relationships. In addition to creative re-imaginings of the Todd Rundgren penned “Love Is The Answer” (currently a rising sensation on urban jazz radio), “At Last” (which sneaks in a cool segue to Sam Cooke’s “You Send Me”) and “Feelin’ Alright” (originally by Traffic, later popularized by Joe Cocker), Journey To The Soul features a sparkling batch of originals penned by Grammy winning songwriter Jerry Peters (the inspirational ballad “Wipe Away Your Tears”) and two time Dove Award winner Sam Mizell, who wrote “My Angel”, “You Got Lips”, “When You Got Love”, “Walk Away”, and “Need”.

McBride, who lives with his wife Lisa and four children in Santa Rosa Beach on Florida’s Panhandle, has been working with the Emerald Coast Children’s Advocacy Center for a number of years, performing at various benefits, including two with Oscar winning actor Morgan Freeman. Founded in 1998, the Center – whose mission is to prevent child abuse and neglect, protect children and restore the lives of child abuse and neglect victims – is using “Wipe Away Your Tears” as a call to action song, posting McBride’s video on its website; proceeds from the track will benefit the organization. McBride will also be giving away copies of Journey To the Soul and T-shirts to those who donate $35 or more – with a goal towards getting a million people to donate in 2014.

Journey To The Soul was produced by renowned music industry studio veteran, keyboardist and recording artist Trammell Starks, owner of Studiomagic Recording Studios in Alpharetta, Georgia. Nearly two decades after they had last worked together, Starks reached out to McBride to sing on his cover version of “Summer Breeze.” Their work on the track, which was released as a single in 2013, led to a deeper collaboration that accelerated with the singer’s appearances on “The Voice.” When the two decided to start a new album for McBride, the singer originally wanted to record some material he had written. Ultimately, in the service of choosing the best potential hit songs, he opted to “step out of the way” of his own ego to choose a group of songs that would best highlight the depth of his talents.

If McBride seems very confident, self-assured and seasoned for an emerging talent, it’s because he brings a unique history as a onetime Arista recording artist to the mix. After spending his teens in his small town near Lexington, North Carolina as front man for the popular Top 40 band Whisper Wind, he was inspired by a performance by the legendary Al Jarreau at a local venue called The Mosque to forgo college (and his initial dreams of being a pediatric surgeon) and head to Atlanta to pursue a musical career.

A demo he worked on found its way to the brass at numerous labels, and McBride soon had offers for recording deals from Motown, Atlantic and Arista. Signing with Clive Davis’ label, he soon found himself mingling with a roster that included Whitney Houston, Aretha Franklin, Ray Charles, Teddy Pendergrass and Lisa Stansfield. He also appeared on the competition juggernaut of its time, “Star Search.” The lone album he recorded for the label, Do You Still Remember Love? was produced by the late Gerald Levert and spawned the Billboard R&B chart hit “No Sweeter Love.” The singer later began recording a second project in the studio at Eddie Murphy’s Bubble Hill mansion. Ultimately, however, McBride chose to leave Arista when he realized his vision for where he wanted to go as an artist wasn’t matching up to the label’s commitment.

During a handful of years outside the industry, McBride worked at an Ace Hardware store, then started his own construction business. As if a talent like his could ever be on the sidelines for long, he eventually found his way back to music and started doing jingle work while performing regularly at Café 290 in Atlanta – a venue that was frequented often by member of Earth, Wind & Fire and jazz/gospel singer Jonathan Butler.

The most important change in his life was meeting and marrying Lisa (in 2001) and starting a family. An opportunity for McBride to sing with the youth group BigStuf led him to move his family to the Panhandle in 2006. Since then, he’s performed for locals and tourists alike at popular elite restaurants and clubs, including regular gigs at the The Vue, La Playa, The Ocean Club, 723 Whiskey Bravo, and many others.

“Looking back on those early career experimentations,” McBride says, “I was probably more interested in finding myself than the type of music I would eventually claim as my own. Although I didn’t understand it at the time, those years of personal and professional discovery were a necessary part of my growth as an artist that, only now, I find paying off in this season of my career.

My dad passed away when I was very young, and he was a gentle soul who used to sing to my mom in the kitchen. I learned from them about the power of music to heal and inspire as the universal language. With Journey To The Soul, I want to get back out there and tell the world that there is still real music sung by real singers. We’re still around and still have the chops – so brace yourselves!”

DRUM LEGEND TERRY BOZZIO PRESENTS A SOLO MUSICAL PERFORMANCE ON WORLD'S LARGEST TUNED DRUM AND PERCUSSION SET ON 2014 TOUR

Photo: Andre Ozga

Drum legend Terry Bozzio, known for his work with Frank Zappa, Jeff Beck, UK and his critically acclaimed solo ventures, celebrates the 50th anniversary of his first drum lesson with “An Evening With Terry Bozzio” coast-to-coast North American tour! During the course of this tour, Terry Bozzio will hit over 40 cities from San Diego to Jacksonville to Montreal to Vancouver to Los Angeles and everywhere in between. This will be a night of solo drumming and include compositions from throughout his career, as well as improvisation. It is by no means a clinic or a workshop. Enjoy an intimate evening of Terry Bozzio and his monster sculpture of a drum kit together for the first time in seated venues across North America.

“TERRY BOZZIO - An Evening of Solo Drum Music” is a unique, intense, dynamic, spiritualistic, melodic, orchestral, atmospheric, and musical performance on the largest tuned drum & percussion set in the world. Unless you have seen Terry, you have no idea what you are in for. Bozzio is an enigmatic, evocative, and engaging musician whose instrument just happens to be the drums. Terry Bozzio is able to accompany himself with bass note patterns and, at the same time, melodically solo on top with highly developed coordination skills to express a complete musical statement on the drum set alone. Drawing from jazz, classical, & ethnic percussion styles from around the world, Terry Bozzio is “a storyteller,” able to weave a hypnotic spell over audiences and enthrall them with an eclectic experience filled with contrast, variety, intimacy, excitement, & passion.

Terry has had tremendous success with his last two Terry Bozzio solo drum performance tours in Europe (2012 included his headline show at the Jazz Festival Frankfurt – the oldest jazz festival in the world – and 2013 which included sold out performances in Sweden, Germany, Eastern Europe, and France). Please note that this is not a bombastic 2 hour drum solo. This is MUSIC on drums, “an evening with Terry Bozzio.” In most of Bozzio’s works, he accompanies himself with bass lines while soloing over it melodically on the tuned toms. There is space, classical forms & structures, ambient electronic loops, and atmospheric percussion effects, as well as some exciting & fiery drumming that brings audiences to their feet!

An Evening with TERRY BOZZIO North American Tour Dates:

Aug 15, 2014 - Mexicali, BC, Mexico - Lob Bar (Bol Bol)

Aug 17, 2014 - Phoenix, AZ - MIM Music Theater

Aug 23, 2014 - Denver, CO - Soiled Dove

Aug 26, 2014 - Tulsa, OK - The Vanguard

Aug 28, 2014 - Conroe, TX - Dosey Doe

Aug 29, 2014 - Fort Worth, TX - McDavid Studio

Aug 31, 2014 - Austin, TX - One World Theater

Sept 04, 2014 - Orlando, FL - Plaza Live

Sept 05, 2014 - Largo, FL - Largo Cultural Center

Sept 10, 2014 - Washington, DC - The Hamilton

Sept 11, 2014 - Wilmington, DE - World Café

Sept 13, 2014 - Asbury Park, NJ - The Saint

Sept 14, 2014 - New York City, NY - Iridium (2 shows – 8pm & 10pm)

Sept 15, 2014 - New York City, NY - Iridium (2 shows - 8pm & 10pm)

Sept 16, 2014 - Stafford Springs, CT - Stafford Palace Theater

Sept 19, 2014 - Richmond Hill, ON, Canada - Cosmopolitan Music Hall

Sept 21, 2014 - Buffalo, NY - Nietzches

Sept 24, 2014 - Nashville, TN - 3rd and Lindsley

Sept 26, 2014 - Newport, KY - The Southgate House Revival

Sept 30, 2014 - Little Rock, AR - Juanitas

Oct 05, 2014 - Chicago, IL - Martyrs

Oct 06, 2014 - Chicago, IL - Martyrs

Oct 14, 2014 - Calgary, AB, Canada - Orpheus Theatre

Oct 16, 2014 - Vancouver, BC, Canada - Imperial

Oct 17, 2014 - Vancouver Island, BC, Canada - Tidemark Theatre

Oct 19, 2014 - Seattle, WA - The Triple Door

Oct 20, 2014 - Portland, OR - Aladdin Theater

Oct 23, 2014 - Oakland, CA - Yoshi´s

Oct 25, 2014 - Los Angeles, CA - Catalina´s

Oct 26, 2014 - Los Angeles, CA - Catalina´s

In other news, Over the last four decades, drummer Terry Bozzio has built an extraordinary legacy based on his unique approach to rhythm and the diverse and acclaimed recordings to which he's contributed. On April 18, 2014 he'll go beyond genres into new mediums with the release of an art collection titled [RHYTHM] + [SKETCH]. Available exclusive at www.terrybozzioart.com, the collection is a fusion of artwork crafted over the last three decades mixed with new abstract visuals made from capturing rhythm.

A project that began a year ago, [RHYTHM] + [SKETCH] is a highly limited release of artwork on canvas. The collection's visuals are a unique fusion of ink sketches Bozzio has made throughout his career, as well as his take on the new medium of rhythm-on-canvas, a process of creating abstract artwork through the documentation of rhythmic performance and light movement. To build the collection, Bozzio joined Los Angeles art team SceneFour in the creation process. SceneFour is the team responsible for the rhythm-on-canvas movement, working exclusively with the world's finest drummers to craft abstract artwork from performance. “Terry's collection is a remarkable step forward. His style is so unique that once captured the arcs and techniques he's mastered become crystal clear to a discerning viewer,” SceneFour's Co-Founder Cory Danziger states. “The fusion of Terry's sketches into the rhythmic creations is a natural. His work behind the kit has similarities to the artwork done by hand. It's very telling of how his creativity is consistent even as it crosses platforms.” In total, twelve different works are featured in Bozzio's collection, with a limited number of each piece available to the public on April 18, 2014. Each piece is numbered and signed individually by Bozzio. To join the interest list to learn more and see it before the release, sign up at www.terrybozzioart.com. Terry's stage setting for his upcoming solo drum tour will include large pieces of his [RHYTHM] + [SKETCH] work as a backdrop on the stage.

"I just want to make music on the drums." - Terry Bozzio

www.terrybozzio.com

https://www.youtube.com/watch?v=CroX237dzfY#t=36

INCOGNITO - AMPLIFIED SOUL

“Amplified Soul”, the 16th studio album from Incognito, consists of 16 new recordings soaked in soul, coated in jazz with more than a twist of funk and dance. Or as Bluey puts it: “This is a labour of love, a gift to those who have supported us over the years”.

Recorded and mixed at the legendary Livingston Studio in North London where The Buena Vista Social Club‘s eponymous multimillion selling first album was mixed and also Björk‘s 1993 debut album recorded and mixed, this album features singers Tony Momrelle, Vanessa Haynes and new addition Katie Leone who provide some of the best vocal performances ever recorded by the band. They are joined by legendary singer songwriter Carleen Anderson and Connecticut born funkstress Deborah Bond and the return one of the Incognito fans favourite Imaani, with the addition of a totally fresh voice on the scene in the form of the soulful 22 year old Australian debutant Chiara Hunter.

Guitarist, main producer and band leader Bluey once again leads his tight rhythm section of Francis Hylton on bass, Matt Cooper on keyboards, Francesco Mendolia on drums and the young percussion sensation Joao Caetano to create a bed of soulful funky irresistible grooves that are punctuated by the trademark Incognito horns. At times on this album the band navigates towards a darker sound than on their previous works offering the listener a new adventure with wonderfully crafted songs wrapped in warm tones. At other times they just get joyously funky!

There are guest performances by original Jamiroquai drummer Nick Van Gelder on two cuts, the awesome alto saxophonist Nigel Hitchcock, synthesizer wizard Ski Oakenfull, Elements Of Life percussionist Roberto Quintero, and Incognito regular contributor Richard Bull and many more. From the plaintive opening number “Amplify My Soul” you get echoes of a classic era that could be easily associated with Marvin Gaye or Stevie’s offerings from the 70’s, to the bubbly, bouncy, catchy number that is immediate and infectious “Hats (Make Me Wanna Holler)”, the album unites all of Incognito’s best character traits. If ever Incognito had a festival crowd anthem, then “Hands Up If You Wanna Be Loved” is it!

Tracklist:

1. Amplify My Soul (Part 1)

2. I Couldn't Love You More

3. Rapture

4. Hands Up If You Wanna Be Loved

5. Hats (Make Me Wanna Holler)

6. Silver Shadow

7. Deeper Still

8. Amplify My Soul (Part 2)

9. Something bout July

10. Day Or Night

11. Wind Sorceress

12. Another Way

13. I See The Sun

14. Never Known A Love Like This

15. The Hands Of Time

16. Stop Running Away

~ Amazon UK

 

SONNY ROLLINS - ROAD SHOWS, VOLUME 3

Since launching his Doxy label in 2006 with the Grammy-nominated studio album Sonny, Please, the great tenor saxophonist Sonny Rollins has been turning to his vast archive of his own concert recordings to compile superior performances for release in Doxy's acclaimed Road Shows series. The selections in Volume 1 (2008) spanned nearly 30 years and included a trio track from the saxophonist's 50th-anniversary Carnegie Hall concert, while Volume 2 (2011) focused primarily on his epic 80th-birthday concert at New York's Beacon Theatre.

Road Shows, vol. 3, to be released May 6 as part of a distribution agreement with Sony Music Masterworks and its jazz imprint OKeh, draws its six tracks from concerts recorded between 2001 and 2012 in Saitama, Japan; Toulouse, Marseille, and Marciac, France; and St. Louis, Missouri. "Patanjali," a recent-vintage Rollins composition, is given its debut recording on the new disc. The performances, says Rollins, "present parts of me I want to have presented."

On May 5 at 12:00 noon EDT, Rollins will expand his forays into social-media territory (and CD promotion) by participating in an unprecedented video conference, "Sonny Rollins Meets His Fans," broadcast live on YouTube and Google+. Ten members of Sonny's global community of listeners and fellow musicians, chosen from the winners of a video contest on his Facebook page, will interact with Sonny, one by one, in real-time video, utilizing Google's popular Hangout platform. Immediately after the live broadcast, the program will be available for viewing on demand on Sonny's web site and Facebook page. In addition to the ten guests (each of whom will receive a copy of Road Shows, vol. 3), moderator Bret Primack will be choosing questions from Google+ viewers. https://www.youtube.com/watch?v=WOmclIi0CnU

"As one of the few jazz musicians able to fashion a career exclusively as a concert artist," writes Bob Blumenthal in his CD notes, "[Rollins] has made his appearances events that blend the soul-baring seriousness of a 'classical' recital with the participatory release of a music that has always drawn on various kinds of call and response. At his best, which Rollins presents to us here and in the previous Road Shows, he rides the spontaneity of the moment into unique collections of moods, grooves, and feelings."

Road Shows' material reflects an artist who has become as enthralled by narrative lines as melodic. Noel Coward's "Someday I'll Find You" - which he first recorded on 1958's Freedom Suite and then on Sonny, Please - takes him back to his boyhood days, when it was the theme for the long-running radio show, Mr. Keen, Tracer of Lost Persons.

The infectious "Biji," introduced on the 1995 album, Sonny +3, was written "back in the days when guys had nicknames like Rahsaan and Famoudou. I adopted Brung Biji as mine. It was sort of African style."

"Patanjali" is named after the sage whose Yoga Sutras, he says, "lay down everything you need to know" about a discipline and philosophy that "has helped me get through life and kept me trying to be a better human being."

The nearly 24-minute rendering of Jerome Kern and Oscar Hammerstein II's masterwork, "Why Was I Born," is as moving as it is breathtaking - a monument to Rollins's emotional powers. He won a 2006 Grammy for his version of it on Without a Song: The 9/11 Concert, performing it in Boston five days after the terrorist attack on New York, which forced him to evacuate his apartment.

"I've played it a lot," he says. "So I was wondering whether I should put it out again. I decided to because it captured me going in certain directions I felt needed to be put on record. I actually had two versions to choose from. On one of them, everything was quite clean. On this one, I played something I might be the only one who likes. But I liked the groove and a lot of other things. It represents Sonny Rollins at a certain point of creation." 

Rounding out the program, there's an eight-minute, stand-alone cadenza taken from a 2009 St. Louis show and a brief, album-closing dose of his perennial crowd-pleaser, "Don't Stop the Carnival."

Road Shows, vol. 3 was produced by Rollins and his longtime engineer, Richard Corsello. Trombonist Clifton Anderson and bassist Bob Cranshaw are heard throughout, joined on selected tracks by pianist Stephen Scott; guitarists Bobby Broom and Peter Bernstein; drummers Kobie Watkins, Perry Wilson, Steve Jordan, and Victor Lewis; and percussionists Kimati Dinizulu and Sammy Figueroa. "All of these people in my bands are top of the line in their own right," says Rollins. "It's a privilege and pleasure to play with them." 

EPK: https://www.youtube.com/watch?v=j51LNTYZcWI 

www.sonnyrollins.com

Twitter: @sonnyrollins

SLY & ROBBIE - UNDERWATER DUB

Following the successful “Blackwood Dub” from 2012 is the next chapter in the relationship of Sly & Robbie, the producer Alberto Blackwood and Groove Attack! Again studio time was booked at the legendary Harry J studio and recordings started with Mikey Chung, Radcliffe “Dougie” Bryan, Daryl Thompson, Robbie Lyn, Uziah “Sticky” Thompson – but be warned – the album features a set of 10 tracks of analogue recording sessions and is a special listening experience for real – “Underwater Dub”.

Quotes:“Robbie & myself Sly – we always like to create & play music when we did the first dub album “Blackwood Dub” at Harry J recording studio, at the great hallmark studio known for so many Jamaican hit recordings, some of them we were a part of doing – now the second dub album “Underwater Dub”, we just turn back the clock & came forward and started dropping the drum & bass, it felt so real so good – didn’t want to stop, just like in the old days we had great fun doing this record and will have greater fun making the next one for Slam Records – nuff respect” – Sly Dunbar for Sly & Robbie

- Available as CD (first 3000 copies include additional 16-page booklet of Harry J studio yard images) and as deluxe vinyl set LP+CD (180 gram, booklet & CD insert)

- Track 10 features as hidden track (starting at 4:50) the Underwater Dub Version of ‘Bed’s Too Big’ – for all of those who missed the same titled single (GAP117)

- Follow-up album to “Blackwood Dub”

- Recorded at Harry J studio in analogue recording sessions like back in the days

Tracklisting:

01. Dictionary

02. Forward March

03. French Woman

04. Spray Belly

05. Great Wall

06. Stormy

07. War Zone

08. Daphne

09. Melissa

10. Thumb Drive (plus check at 4:50)

www.grooveattack.com

A PAIR OF GILLES PETERSON PROJECTS: SONZEIRA BRAZIL BAM BAM BAM & BRUNSWICK BUBBLERS

GILLES PETERSON - SONZEIRA BRAZIL BAM BAM BAM (VARIOUS ARTISTS)

Says Gilles Peterson  ‘Brazil’s music culture is massive....Such a huge amount of stuff to fit in. I wanted to try and cover it all – to make a kind of Buena Vista meets club culture, but to keep it sonically very modern.’ This record is the product of Gilles Peterson being a fan and a champion of Brasilian music in the clubs and on the radio for the last 25 years, culminating in him bringing together the country’s finest artists all on one album for the very first time. Recorded in Rio de Janeiro, they collaborated to create a collective called Sonzeira and an album that is Brasil Bam Bam Bam – a true expression of the real soul and authentic sound of Brasil, from its majestic heritage to its super-dynamic present. He has recorded all-new material with a stellar line-up of Brasilian talent, under the name Sonzeira. The result, is an inspirational portrait of a nation in sound. At its heart are mesmerising vocal performances from superstars young and old, including City of God actor and singer Seu Jorge, and the grande dame of samba, 76-year-old powerhouse Elza Soares.

GILLES PETERSON - BRUNSWICK BUBBLERS (VARIOUS ARTISTS)

The legendary Gilles Peterson turns his magical ears to the catalog of Brunswick Records – and comes up with some of the label's hippest tunes of the 60s and 70s! Brunswick is best known for its famous soul hits of the late 60s and early 70s, but Peterson goes much deeper to come up with overlooked gems that are then laid out in a way that really makes them resonate strongly together – at a level that really illustrates the unified groove of the label! Brunswick often worked with a tight array of producers, arrangers, and session players – and Peterson finds key links between these tunes, often in surprising places – which makes the collection a real delight once you start stepping through it. Titles include "Keep On Dancing" by Bohannon, "Inner City Blues" by The Chi-Lites, "Harlem" by Willie Henderson, "This Is The Lost Generation" by The Lost Generation, "Ain't No Sunshine" by Gregory James Edition, "Light My Fire" by Jackie Wilson, "Disco Boogie" by Total Eclipse, "Will I Find Love" by Gene Chandler, "This Love Is Real" by Dana Valery, and "Go With Love" by Barbara Acklin. ~ Dusty Groove

NEW RELEASES: MONTY ALEXANDER - HARLEM-KINGSTON EXPRESS VOL. 2; CECILE VERNY QUARTET - FEAR & FAITH; ALYSA HAAS - SPASM

MONTY ALEXANDER - HARLEM-KINGSTON EXPRESS VOL. 2: THE RIVER ROLLS ON

A really great second chapter in the Harlem/Kingston series from Monty Alexander – and material that may well be some of his most exciting in years! Monty's always been very upfront about his Jamaican roots – and has expressed them in a number of ways on a number of different sessions – but there's a quality to this record that gets that blend better than most – and which almost returns things to some of the more soul-based styles of Alexander's records from the late 60s on Verve, or early 70s on MPS! Most numbers mix his piano with keyboards, bass, guitar, and drums – in a style that's rhythmic, but never overdone – soulful, but never too smooth – just a perfect fit for Monty's well-shaped lines on his solos. A few cuts have vocals – and one number features guest work from George Benson, Ramsey Lewis, and Joe Sample – but the bulk of the record centers on Alexander's wonderfully grooving piano lines. Titles include "Skamento", "The River Rolls On", "People Make The World Go Round", "Slealky", "Trust", "The Harder They Come", and "Linstead Market".~ Dusty Groove

CECILE VERNY QUARTET - FEAR & FAITH

A wonderfully strong set from singer Cecile Verny – thanks to a backing combo who's as proud and bold as her vocals! Often, a singer like this never gets the sort of groove she deserves – sometimes lost amidst some fuller R&B arrangements, or under-whelmed by trippier abstract sounds. But Cecile's in a great groove right from the start – one that comes from a trio with some mighty tight bass and drums – never funky, but forceful – at a level that kicks the whole thing up from the bottom, and resonates strongly with the mix of acoustic piano and keyboards. Cecile sings mostly in English, but does a bit of French as well – and the record's a contemporary gem that could sit proudly next to your best work from Gregory Porter or Gretchen Parlatto. Titles include "The Wild Heart Of The Earth", "Lord Have Mercy", "Humming", "Seule Toute Seule", "Time To Let You Go", and "They Ask How I'm Feeling". ~ Dusty Groove

ALYSA HAAS - SPASM

Past and present collide on jazz vocalist Alysa Haas’ new album Spasm, but the overall result is beautifully timeless. Combining Broadway standards and classics from the Great American Songbook with contemporary pop music, Haas courageously steps beyond the predictable and safe; her eclectic taste in covers reveals her stylistic and emotional range, baring no weaknesses as she gracefully transitions from one genre to another. Ironically, for all of its vintage flavors, Haas’ shiniest jewel is a modern one. Simply put, her rendition of Rob Thomas’ “Ever the Same” is hauntingly pretty. The CHR studio gloss of the original is melted off, allowing the fragile beauty of Haas’ voice to capture the emotional ache of the lyrics. Haas’ yearning, soaring vocals unveil the real feelings in the lyrics as the acoustic arrangement complements and not overwhelms her. Haas’ cover of the Beatles’ “In My Life” is similarly moving. The dulcet tones of the piano playing are the perfect backdrop for Haas’ sweetly tuneful performance. Haas interprets the jazz classics on the album with the same kind of respect and independent vision. These are not paint-by-numbers remakes. Haas fuels each of the tracks with her own vibrant personality. “Slap That Bass/Hit Me With a Hot Note” is brimming with giddy sensuality, and Haas is obviously having a ball with the double entendres in the words. With the arrival of spring, Spasm has come to provide a sparkling soundtrack to the seasonal sunshine. ~ alysahaas.com

 

BOBBY HUTCHERSON TO RELEASE "ENJOY THE VIEW" FEATURING DAVID SANBORN, JOEY DEFRANCESCO, BILLY HART

NEA Jazz Master Bobby Hutcherson makes his triumphant return to Blue Note Records, where the virtuoso vibraphonist started his career in the early ‘60s, with the superb album, Enjoy the View. The vibrant session is produced by Blue Note president Don Was and will be released on June 24 as a significant event in the label’s 75th anniversary yearlong celebration. Recorded by an all-star collective of saxophonist David Sanborn and organist Joey DeFrancesco, and featuring drummer Billy Hart, the Hutcherson-sparked group plays seven original compositions that range from cool, gentle grooves to fiery outbursts of exuberance. At heart, the album soars thanks to the divine musical alchemy among the performers—an assemblage of veteran artists who play at the top of their game.

“I’m happy to have a recording come out on Blue Note,” says the 73-year-old Hutcherson. “I’ve had a long-term association with the label. I’m thrilled to be back here.”

Was concurs: “Bobby not only has an incredible history with Blue Note as the preeminent voice of the vibes, but he still remains the giant of the instrument.”

Coming on the heels of last year’s signing of saxophone legend and one-time Blue Note artist Wayne Shorter, which resulted in his stellar live quartet album Without a Net—one of 2013’s top jazz albums—Enjoy the View stands as a valuable addition to the classic catalog of the most-respected and longest-running jazz label in the world. “Our goal has been to maintain the underlying aesthetic that has governed Blue Note throughout its 75 years,” says Was. “It’s very poetic to be doing it with the original guys who helped to define the label. For Bobby, it’s more than coming full circle. It’s also about guiding the course for the future.”

In the tradition of the Blue Note label, founded by Alfred Lion in 1938, a day of rehearsal was scheduled preceding the recording of Enjoy the View at Ocean Way Studios in Hollywood. Even though it was the first time Sanborn had played with Hutcherson and Hart, the chemistry was immediate. “Don decided to have the rehearsal session recorded,” says DeFrancesco. “It’s a good thing because we decided that three of the tunes—Dave’s ‘Delia’ and two of my new songs written for the date, ‘Don Is’ and ‘You’—were the best takes for the album.”

DeFrancesco proved to be the common denominator of the session, having played with Hutcherson for some ten years, with Sanborn and Hart, with whom he has enjoyed a long history, including his second album as a leader (1990’s Where Were You?). In New York when Was first came on board at Blue Note Records, after dinner he serendipitously dropped into the Blue Note club where DeFrancesco and Sanborn were performing. “I’d known Dave for some 25 years and I knew Joey as one of the best Hammond B3 organ players in the world,” Was says. “I just sat there and the set was so relaxed and grooving. I loved what I heard. So after the two sets, I met Joey upstairs and asked him what he thought about doing an album with Bobby and Dave. That’s how it started.”

DeFrancesco says that after that initial meeting,Was continued the conversation a year later when he was playing at Birdland in New York. A year after that the recording date took place in 2013, with DeFrancesco writing new songs that reminded him of Hutcherson.

“No matter how brilliant he is, Joey has that great enthusiasm which fueled the recording,” says Hart who has appeared on over 700 albums as a sideman and who recently released a new album on ECM. “As for Hutch, he’s a magician and a musician. When he hits the mallets on the vibes, something special happens. Recording with him is so inspiring that it’s like taking a master class. When I walked into the session, I had no idea what to do, but everything meshed so well. I had never played with Dave before even though I knew his work. He’s really a star and his tune ‘Delia’ is to me the song of the album that unites the concept of the band.”

“It was so great to discover the collective spirit of the session,” says Sanborn, whose alto saxophone has graced the recordings by a range of artists, from pop to r&b to jazz, and has recorded several albums as a leader in his 50+-year career. “I had never played with Bobby before, so it was a thrill to play with him. It was like going to graduate school. And even though I’ve known Billy for 30 years, I had never played with him either. It was so much fun recording with these guys. It was loose and flexible and it was like we were having a four-way conversation. When that happens with no egos, everyone talks. We were all just learning the tunes, yet the sessions went so fast. It was, blink your eyes and we’re done. That experience was worth everything to me.” Sanborn’s two-song contribution (the buoyant “Delia” and the tender “Little Flower”) comes from his 2003 Timeagain CD. “I brought those to the session because I could hear Bobby playing them,” he says. “They end up feeling looser and freer than the first time I recorded them.”

While Hutcherson is the marquee player on this album who swings hard and romps on the uptempo tunes and soothes on the slower pieces, he modestly says, “I’ve always tried to be the person who is able to fit in with the music and add what I think it needs to top it off. What I play on the vibes always seems to be the cherry on top of the sundae. You can’t play over the organ or the saxophone, which have more power, so I play softer and add to what Joey and Dave deliver. And Billy, he understands that you don’t continually play one tempo. There will be the driving force and the automatic cruise where the ideas fall into place and the funky feel to playing behind the tune and the whip like the back of a hurricane and then the sprint to the finish line. Billy knows that.”

~ Blue Note Records