THE FRED HERSCH TRIO WITH JOHN HEBERT & ERIC MCPHERSON RELEASES "FLOATING" FIRST NEW STUDIO ALBUM ON FOUR YEARS

Floating, the remarkable new album by the Fred Hersch Trio, brings the pianist back into forbidding territory. After a run of lightning-in-a-bottle live albums, he returned to the studio to document the ongoing evolution of his primary ensemble featuring bassist John Hébert and drummer Eric McPherson. 

Slated for release by Palmetto on July 8, 2014, the album captures the trio in exceptional form, playing with nonpareil rhythmic resourcefulness, ravishing lyricism, and telepathic interplay.

"My last three albums have been live, and I was a little apprehensive about going in and putting on headphones," Hersch says. "But we played a week at the Vanguard just before recording so we went into the studio and let it fly. The album really captures the trio's energy, and I'm very pleased with the recording quality. You can really hear all the detail in what Eric and John are doing."

The trio's last release, 2012's Fred Hersch Trio - Alive at the Vanguard (Palmetto) was a critically hailed double album that earned the Grand Prix du Disque, France's top jazz award. With five years and numerous national and international tours under their belts, the group has continued to hone its rarified communion, a creative frission evident on Floating. Unfolding with much the same rhapsodic coherence of a trio concert, the new album ranks amongst Hersch's very best work, which is to say that it's one of the era's definitive trio recordings.

While the album focuses on Hersch's original compositions, two American Songbook standards serve as lyrical touchstones. Propelled by McPherson's clattering sticks, the trio opens the session with an intricately patterned sojourn through "You and the Night and the Music" that builds to a two-handed montuno. The trio closes with a sensuous caress of "If Ever I Would Leave You" and a measured but exacting investigation of "Let's Cool One," continuing Hersch's longstanding tradition of closing most performances with a Monk masterpiece. 

"I'm always searching for ballads that don't get played often, or tunes that don't get played as ballads," Hersch says. "I think most people know 'If Ever I Would Leave You' from Sonny Rollins' much more uptempo version. We decided to lay down this body of material like we would in performance, a nice tight set."

The zero-gravity feel of the title track flows from an impromptu exploration of a tune built out of gossamer melodic threads, a performance that beautifully illustrates the way the trio can dive into the unknown and let the space between the notes ring eloquently. In a sense the piece is a statement about the trust they've engendered as an ensemble, and the maturity and focus of their concept. Hersch's other originals speak to his abiding ties to family, friends and colleagues, as every piece besides the title track is an emotionally evocative dedication.

The delicately filigreed "West Virginia Rose" is a through composed "song" inspired by Hersch's mother and grandmother (already with words by Hersch's longtime lyricist, vocalist Norma Winstone), a brief beatific reflection that sets up the rolling Crescent City groove of "Home Fries," a piece dedicated to the trio's redoubtable bassist. A weeklong run with luminous bassist/vocalist Esperanza Spalding and drummer Richie Barshay at the Jazz Standard, Hersch's other home base in New York, inspired "Arcata," an insistently kinetic piece with a buoyantly ascending bass line that evokes Spalding's tireless energy. The impressionistic "Autumn Haze," a tune for the stellar pianist Kevin Hayes, hints at unplumbed depths with its moody feel and mysterious Shorterian harmonies.

"I don't know exactly how many dedications I've done, but it's well over 30 at this point," Hersch says. "As a composer it's a way into something. I'll start to work on a piece and something really reminds me of someone. 'Floating' is the only piece that's not a dedication, and after all the activity and seat-of-the-pants it settles the record down and opens the door to all these worlds inspired by these different people."

The album's sequential and emotional centerpiece is the strikingly constructed "Far Away," a tune Hersch wrote in memory of the rising Israeli pianist Shimrit Shoshan, who's shocking death in 2012 from cardiac arrest at the age of 29 hit far too close to home for the trio. Hébert and McPherson, her husband, played on her impressive 2011 debut album Keep It Movin', and she had taken several lessons from Hersch. Rather than riffing on her love of knotty compositions by Monk and Herbie Nichols, he offers an ethereal benediction.

"The tune sounds fairly simple, but it took a long time to write," Hersch says. "It's an example of the way we improvise, of feeling how the chords move together. It really shows what a great bassist John is, to be able to play changes and feel them in an emotional way without any pulse. I told Eric do whatever you want, this is your piece, and he came up with the percussion and the mallets."

Born in Cincinnati on Oct. 21, 1955, Hersch studied music theory and composition and sang in high school theater productions. It wasn't until he was attending Grinnell College in Iowa that he turned on to jazz when he started listening to John Coltrane, Pharoah Sanders, Miles Davis and Chick Corea. But the jazz bug really bit him when he went home for the holidays and happened into a Cincinnati jazz spot. He ended up dropping out of school and earned his stripes on the bandstand, with veteran musicians serving as his professors. After honing his chops for 18 months he enrolled at New England Conservatory earning a Bachelor of Music degree before moving to New York City in 1977.

Hersch quickly gained recognition as a superlative band-mate, performing and recording with masters such as Stan Getz, Joe Henderson, Billy Harper, Lee Konitz, Art Farmer, Gary Burton, Toots Thielemans, and Jane Ira Bloom. Since releasing his first album under his own name, he's recorded in an array of settings, including a series of captivating solo recitals, duos with vocalists Janis Siegel and Norma Winstone, and ambitious projects like his chamber jazz setting for Walt Whitman's Leaves of Grass, documented on his 2005 Sunnyside album of the same name.

As an educator, Hersch has shepherded some of the finest young pianists in jazz through his teaching at Rutgers and New England Conservatory, where he is currently on faculty, as well as Juilliard and the New School. A leading force in galvanizing the jazz community in the fights against HIV/AIDS, he produced 1994's Last Night When We Were Young for Classical Action: Performing Arts Against AIDS, an album featuring the likes of Bobby Watson, Phil Woods, George Shearing, Mark Murphy and Gary Burton.

If there's one thread running through Hersch's recording career it's the trio. From his first session with Marc Johnson and Joey Baron, he's pushed at the limits of lyricism and temporal fluidity with similarly searching improvisers. It's telling that his triomates include musicians from jazz's left wing, such as his group with

Michael Formanek and Jeff Hirschfield, and his long-running ensemble with Drew Gress and Tom Rainey. Inspired by disparate trio maestros such as Ahmad Jamal, Bill Evans and Oscar Peterson, he's drawn deeply from the music's most refined players while forging his own approach.

"I have great admiration for Tommy Flanagan and Cedar Walton, and the early Ahmad Jamal trio with Crosby and Fournier is the pinnacle of trio playing," Hersch says. "I like looking at the tradition through my own lens. I like writing and discovering interesting things to play. Every record I make I want the next one to be better. I think this one is a step forward for me."

Hersch spent much of the last decade performing with Gress and drummer Nasheet Waits, a prodigious trio that gently transitioned into his current combo. As best friends, Waits started recommending McPherson for gigs he couldn't make, and eventually turned over the drum chair to him. And when Gress's schedule became too thick with other engagements, Hébert was a natural replacement, as he and McPherson had anchored Andrew Hill's last rhythm section.

"It evolved really organically. It wasn't like I fired anybody," Hersch says. "John sort of stepped in, and I've always loved his playing. Like Drew, I was attracted to him by his sound. He's from Baton Rouge, and his playing has a looseness that's great for me. He's also done his homework in the tradition. And Eric is incredible at what we call the transition game, going from brushes to sticks and other implements. He knows the tradition in and out. He came up as a sideman with some great musicians, but he's definitely got some things that are hidden."

Hersch introduced the trio with Hébert and McPherson on the acclaimed 2010 album Whirl (Palmetto), a session that arrived with the freighted back story of his miraculous recovery from a two-month coma so deep that his doctors feared he'd never regain consciousness (he turned the near-death experience into the wildly imaginative jazz/theater production My Coma Dreams, a collaboration with librettist Herschel Garfein). He continues to perform and record with an array of fascinating musicians, like on last year's Free Flying, a breathtaking duo encounter with 25-year-old guitarist Julian Lage recorded live at the Kitano - as well as a duo project with trumpeter Ralph Alessi and a rare "double trio" with French pianist Benoit Delbecq.  But he's always drawn back to the precariously high-wire trio.

"When the trio is right it's transcendent, and if anything is off the whole thing crumbles," Hersch says. "There just aren't that many trios among the players my age or younger that have a really distinct sound. John and Eric are both incredibly alert. I don't feel like there's any ego. We're all trying to serve whatever is going on."

Upcoming concerts:

June 28-29 - Montreal Int'l Jazz Festival - Upstairs Jazz Bar, Montreal (w/FH Trio)

July 15-20 - Village Vanguard, NYC (w/FH Trio)

Aug 2 - Maverick Concerts, Woodstock, NY (duo w/Julian Lage)

Aug 3-9 - Stanford Jazz Workshop - Performance Sunday, August 3, (w/FH Trio)

Aug 23-28 - Red Sea Jazz Festival, Israel (w/FH Trio)

Aug 30 - Solo Concert:  Windham Chamber Music Festival: Windham, NY

Sept 18 - Panel Discussion: Outbeat Jazz Festival (LGBT)

Sept 19 - Outbeat Jazz Festival (LGBT), Philadelphia (w/FH Trio)

Sept 23-28 - The Jazz Standard (w/Esperanza Spalding & Richie Barshay)

Oct 2 - Concert:  Grinnell College, Grinnell IA (w/FH Trio)

Oct 4 - Folly Theater, Kansas City, MO (w/FH Trio)

Oct 13 - University of New Hampshire, Durham, NH (w/FH Trio)

Oct 17 - Solo Concert: Arts Garage, Delray Beach, FL

Oct 18 - South Miami Dade Cultural Arts Center, Cutler, FL (w/FH Trio)

Nov 2 - William Paterson University, NJ (w/FH Trio)

Nov 16 - Greenwich Library (w/FH Trio)

Nov 23 - Chester, CT (w/FH Trio)

Nov 29 - McCarter Theater, Princeton, NJ (duo with Julian Lage)

2015:

Feb. 20-21 - The Side Door, Old Lyme, CT (w/FH Trio)

Feb 25 - Scullers, Boston, MA (w/FH Trio)

Feb 26 - U Mass Amherst, MA (w/FH Trio)

Feb 27 - Flynn Space, Burlington, VT (w/FH Trio)

Feb 28 - College of St. Rose, Albany, NY (w/FH Trio)

Mar 3 - Private Concert: Richmond, VA (w/FH Trio)

Mar 6 - Flushing Town Hall, NYC (w/FH Trio)

April 2 - Bimhuis, Amsterdam (w/FH Trio)

April 3 or 4 - Rotterdam, Holland (w/FH Trio)

April 5 - Middelburg, Holland (w/FH Trio)

April 11 - Cité de la Musique, Paris (w/FH Trio)

April 14- Solo Concert: Konzerthaus, Vienna

April 22- Solo Concert:  Bozar, Brussels

April - Solo Concert: SOKA Performing Arts Center, Alisa Viejo CA

www.fredhersch.com

THE DEASE & REESE PROJECT INJECT JAZZ, FUNK & R&B ON NEW ALBUM - LIFE IN 20

This new album ‘Life In 20’ by The Dease & Reese Project teams singer Elisa Fiorillo Dease, a member of Prince's NPG (New Power Generation), with guitar virtuoso Tyler Reese. A the Dease & Reese Project they have created a Jazz/Funk/R&B album, comprised of 12 songs about love, loss, motherhood and faith. The album is Dease's most personal project to date, and one of Reese's most innovative. "Life can be sometimes comical, sometimes harsh and sometimes very beautiful. I try to always speak in truth." - Elisa Fiorillo Dease Las Vegas, NV. 

Elisa Fiorillo Dease, one of the pop star’s backup singers, teamed up with rising guitar virtuoso Tyler Reese to create “Life In 20,” an album that is easy on the ears but defies simple categorization. Indeed, the 12-song LP contains elements of pop, jazz, rock, funk and R&B, as exemplified by the song “All Over the World,” a musical fantasy that evokes images of guardian angels spreading love.

“I hate flying,” Dease said. “I was on my way to a concert in Europe with Prince when we ran into some pretty bad turbulence. I looked out the window and imagined angels holding the plane up and keeping us safe. That’s when I started thinking of the melody and lyrics.”

As if flying into a storm, “All Over the World” begins smoothly with a soft acoustic guitar motif and Dease’s sultry vocals, then builds to Reese’s piercing electric-guitar crescendo. The growing intensity of the music is offset by the gentleness of Dease’s lyrics:

"Look around, tell me everything you cannot see     

Far beyond space and time.     

Something’s there and it’s watching out for you and me.     

Don’t be blinded by the simple minds.     

Angels within, lifting us up, making us fly     

All over the world.

Keeping us young, waking up free, spreading our love

All over the world.")

Dease, who has worked with Prince since 1990, has also recorded many of her own projects dating back to 1987, including the worldwide hit “Who Found Who” with producer John “Jellybean” Benitez and her successful album “I Am,” a collaboration between Dease (Fiorillo) and Prince.   

Record producer Jeff Silverman, rock icon Rick Springfield’s former lead guitarist, co-producer and co-writer, introduced Dease to Tyler Reese, a former Berklee College of Music guitar major now based in Nashville.

“Jeff suggested I write something with Elisa,” Reese said. “I sent her an idea that I had for a guitar riff. She replied back and wrote lyrics over my idea, and it turned out to be really cool, so we decided to do a whole album together.”

Reese, who soon will turn 21, won the National Guitar Workshop competition in 2011. He has studied with acclaimed Jazz guitarist Pat Metheny and has opened for Scotty McCreery, Martin Sexton, Ron Holloway and Linwood Taylor. He describes The Dease & Reese Project as having a different range of styles and influences, from smooth jazz to pop, R&B, funk and rock. It is an example of how he is evolving musically.

"I have always been interested in all kinds of music,” Reese said. "What this project has done is help bring out the writer in me. Writing music with Elisa has not only been an amazing experience, but has also helped me develop and gain inspiration more and more in that aspect."

The title of the album, “Life in 20,” refers to life experiences that span 20 years. The songs touch on such diverse themes as romance (“Share It With You”), lost love (“How Did it Happen?”), procrastination (“Let it In”), food addiction (“Lollypop Ice Cream”), courage (“Little Flower”), self-discovery (“Storybook”), abusive relationships (“What Good is Love?”), staying true to yourself (“East Coast Kind of Girl”), encouragement (“It’s All Okay”), and the joys and challenges of motherhood (“A Momma Who Knows How to Funk”). The only instrumental track, “Going Home,” is an ambient guitar solo by Reese. Each selection is thematically different, yet shares a similar stylistic mix.

“Even though you'll hear many different influences in these songs, the common glue is an R&B/soul feel that the three of us have in common,” producer Silverman said. “Having been a Motown writer for several years with roots ranging from R&B, rock, pop, country and fusion, Elisa's diverse musical background, and Tyler's Jazz, funk, rock, metal, country and fusion styles, I feel this is Elisa's best release to date.”

“It’s a gift to be able to channel thoughts into songs,” Dease added. “Writing about the experiences I’ve had in my life, I feel I can connect with my audience in a positive way. Life can be sometimes comical, sometimes harsh and sometimes very beautiful. I try to always speak in truth. Lyrically you will be able to see that I wear my heart on my sleeve.”

www.DeaseAndReese.com 

NEW RELEASES: THE 5TH DIMENSION - EARTHBOUND; MINNIE RIPERTON ANTHOLOGY- LES FLEURS; ARTHUR PRYSOCK - TOO LATE BABY

THE 5TH DIMENSION - EARTHBOUND 

The Soul City and Bell recordings of the original line-up of the 5th Dimension—Billy Davis, Jr., Marilyn McCoo, Florence LaRue (Gordon), Lamonte McLemore and Ron Townson—have been amply reissued in the digital age, with reissues of all their albums and collections too numerous to name. But Earthbound, the final album they recorded together after moving to the ABC label in 1975, has, due to some contractual confusion, been lost in limbo for almost four decades. Now, after years of persistent efforts, the legal logjam has come unstuck and Earthbound has been “unearthed” for this CD debut! This album’s use of synthesizers marked a real departure for the band and moved them in a new, funky direction; it also marked a highly anticipated reunion and final collaboration with legendary songwriter Jimmy Webb (“Up, Up and Away”), as Webb produced and arranged the record and wrote half of its songs. Remastered by Mike Milchner at SonicVision, with liner notes by Joe Marchese featuring extensive, exclusive quotes from Marilyn McCoo and Billy Davis, Jr., and added photos and memorabilia—this Real Gone reissue fills a major gap in the discography of one of the greatest pop-soul groups of all time! Songs: Earthbound/Prologue—Be Here Now; Don’t Stop for Nothing; I’ve Got a Feeling; Magic in My Life;Walk Your Feet in the Sunshine; When Did I Lose Your Love; Lean on Me Always; Speaking with My Heart; Moonlight Mile; and Earthbound/Epilogue. ~ Real Gone Music

MINNIE RIPERTON - LES FLEURS: THE MINNIE RIPERTON ANTHOLOGY

All the best Minnie Riperton tracks on one set – a beautiful double-length package of tunes, hand-picked because of their lasting importance to Minnie's fans in recent generations! The tracks on the set span the gamut of Minnie's recording career, and have a focus on the kinds of righteous and cosmically-grooving tracks that Minnie could do better than anyone else. We couldn't have picked a better track list ourselves – and titles include "Reasons", "I Am The Black Gold Of The Sun", "You Take My Breath Away", "Strange Affair", "Take A Little Trip", "I'm A Woman", "Lovin You", "Les Fleur (remake from 1979)", "Light My Fire (with Jose Feliciano)", "Love Hurts", "Memory Lane", "Inside My Love", "Every Time He Comes Around", "Young Willing & Able", and "Here We Go (w/ Peabo Bryson)". ~ Dusty Groove

ARTHUR PRYSOCK - TOO LATE BABY: THE OLD TOWN SINGLES 1958-66

A great run of music from the mighty Arthur Prysock – an incredibly soulful singer who was at the top of the heap in the early 60s, but who's largely forgotten all these many years later! Prysock had a really unique approach – and one that really paved the way for some of the bigger male ballad soul singers in the late 60s and 70s – a bit of jazz, with a definite influence from Billy Eckstine – mixed with a deep range that's a lot bluesier than his classy look might make you think – often set to backings that open up a new sort of sophisticated territory. Without Prysock, it's hard to imagine Walter Jackson, Lou Rawls, Jerry Butler, and many others – and this sweet batch of singles really sums up the power of the man at his height. The CD features 24 tracks in all – many on CD for the first time – and titles include "Come & See This Old Fool", "Worry Bout You", "Again", "House By The Side Of The Road", "It's Too Late Baby Too Late", "Our Love Will Last", "One More Time", "If Ever I Should Fall In Love", and "Keep A Light In The Window For Me". ~ Dusty Groove

SAM RUCKER'S "TELL YOU SOMETHING" EARNS PRAISE AS THE SINGLE "BE TRUE 2 WHO U R" GAINS RADIO PLAY

Hip hop producer turned contemporary jazz sax evangelist Sam Rucker stands out from the bunch by preaching melodic messages of hope and inspiration on “Tell You Something,” his sophomore set that was released today by Favor Productions featuring contributions from R&B and contemporary jazz veterans Norman Connors, Bobby Lyle, Tom Browne and Alyson Williams on the disc mixed and mastered by Euge Groove.

Rucker’s street cred on the gritty urban set chock full of meaty hip hop beats is never in question. Author of the album’s eight originals, he produced nine tunes and shared the helm with Connors on three classic R&B covers: “Before I Let Go,” “Footsteps in the Dark” and a version of Connors’ signature romancer “You Are My Starship” that is ignited by star turns from Browne’s gregarious trumpet and Lyle’s nuanced keyboards. The tracks throughout the session strike a deft balance between soul grooves and improvisational jazz. Rucker’s horn work is organic played passionately through soprano, tenor and alto sax. Lilting harmonies as well as a few cuts that include a vocal chorus uplift like powerful affirmations revealing the artist’s innate ability to connect and communicate with or without words. The first single, “Be True 2 Who U R” eases into the service before shaking the walls with a thundering soprano sax sermon presently finding favor with radio programmers.

A fistful of promotional events in Virginia this week will help launch “Tell You Something.” Tonight Rucker will be in Norfolk for an album listening event held by the Hampton Roads Jazz Lovers Group followed by a live interview at 10pm ET/7pm PT on internet radio program CoffeeTalk Jazz Radio. On Thursday, Rucker will make a live appearance in Hampton at The World Famous Lessons In Jazz Series and Friday finds him performing at the Portsmouth Seawall Music Festival.

Below is a sampling of some of the early album reviews heralding Rucker’s refreshing sound and approach:

“Sam Rucker has mad skills and unlimited potential!...After listening to ‘Tell You Something,’ the emotional quality of his music leaves little doubt that Sam Rucker is as sincere as he is talented.” – Critical Jazz

“Artists like Sam Rucker are more than a breath of fresh air – they represent such incredible promise to this genre because they bring understanding, energy, a  genuine love for the music, and, of course, an abundance of soul.” – The Smooth Jazz Ride

“For lovers of soul-jazz.“ – Sonic Soul

"This is smooth jazz as it was in its heyday.” – Soul and Jazz and Funk

“Tell You Something offers good beginnings, a professional musicianship and exquisite arrangements.” – Smooth Jazz Daily

“Excellent return of Mr Rucker.” – No Solo Smooth Jazz

www.SamRucker.com

NEW RELEASES: ENNIO MORRICONE - LE PROFESSIONEL & LE MARGINAL; LALO SHIFRIN - GOLDEN NEEDLES

ENNIO MORRICONE - LE PROFESSIONEL

A great little Morricone soundtrack – later than most of the classic work, but done for a French thriller that starred Jean-Paul Belmondo, with some great spare compositions that have slight romantic French soundtrack touches! There's some great numbers that feature Morricone's style of drifting solo instruments over strings – including some cool piano with a very offbeat feel – and others that have a wonderfully sweeping full and majestic feel! But given the action in the narrative, there's also a nice undercurrent of darkness too – which keeps things interesting and powerful throughout – in the best manner of a Morricone cop/crime film of the 70s. Titles include "D'Afrique", "Chi Mai", "Le Retour", "Le Vent Le Cri", and "Decision Finale". CD features 25 tracks in all – way more than the original album! (Limited edition of 500.)  ~ Dusty Groove

LALO SHIFRIN - GOLDEN NEEDLES

One of the most obscure Lalo Schifrin soundtracks of the 70s – a really weird, spooky little record that's filled with moody touches! Schifrin's not in all-out action mode here – and instead experiments with a range of styles – including some warm, jazzy elements that are especially nice – mixed with larger passages that are more powerful, and blend together tense orchestrations with some of the exotic touches you might guess from the story! Some of the best selections feature scene shifting passages that really illuminate Lalo's ability to tell a story with sound – and titles include "Heavies Approach/Harbor Sequence", "Chinese Street Source", "Finzie's Piano #1", "Felicity", "Mongolian Stripper", "Harbor Chase/Crowds/Conclusion", "Taxi", "Winters Mansion/Winters/It's Time", and "Airports/Street Fight". (Limited edition of 1000.) ~ Dusty Groove

ENNIO MORRICONE - LE MARGINAL

Ennio Morricone's score for the second Jean-Paul Belmondo "Professionel" police film – written 2 years after the first soundtrack, and with a feel that's a bit more electric and cop show-oriented! There's still plenty of great Morricone touches on the set – including his strong penchant for using space to really heighten the tension of a theme – but the instrumentation also features some electric bass undercurrents that are a bit stronger than usual, making for more of a cop funk groove than you'd expect from Morricone! This expanded CD edition features a total of 25 tracks – far more than the original album – and titles include "Le Marginal", "HSM", "Hypertension", "Theme Classique", "Don't Think Twice", and "Dreamer". (Limited edition of 500.)  ~ Dusty Groove

NEW RELEASES: JOSHUA REDMAN - TRIOS LIVE; YUSEF LATEEF / ROSCOE MITCELL / DOUGLAS EWART / ADAM RUDOLPH - VOICE PRINTS; INGE BRANDENBURG - DON'T BLAME ME

JOSHUA REDMAN  - TRIOS LIVE

Nonesuch Records presents saxophonist Joshua Redman's Trios Live. The album was recorded at New York City s Jazz Standard and Washington, DC s Blues Alley during stands with two different trios Redman and drummer Gregory Hutchinson with bassist Matt Penman (Jazz Standard) and Redman and Hutchinson with bassist Reuben Rogers (Blues Alley). Trios Live features four original tunes by Redman and interpretations of three additional songs. "This album is dedicated to all those folks, all around the world, of all ages, identities, allegiances, and persuasions, who come out, day to day, night after night, to see and hear live jazz," Redman says in the album's liner notes. "You bear witness to this music; you testify to that moment. You are here. You were there. You made it possible. You make it real. You are the reason. You were the point." ~ Amazon.com

YUSEF LATEEF  / ROSCOE MITCELL / DOUGLAS EWART / ADAM RUDOLPH - VOICE PRINTS

Some of the most spiritual work we've heard from Yusef Lateef in years – a set cut with AACM legends Roscoe Mitchell and Douglas Ewart, and done with a sound that takes us back to the legendary sounds of both players in the 70s! Adam Rudolph also joins the quartet, bringing in some great percussion – and the album's a really collaborative affair, with all the musicians shifting through a wide range of instrumentation in their own spheres of expertise – at a level that recalls the work of the Art Ensemble of Chicago at their best. Lateef plays tenor, flutes, oboe, and even vocalizes a bit – as does Ewart, who along with Roscoe Mitchell plays a range of reeds and percussion instruments. Titles include "Voice Prints", "Sound Search", "Harpers Ferry", and "Morning Moves".  ~ Dusty Groove 

INGE BRANDENBURG - DON'T BLAME ME: EUROPE'S BEST JAZZ SINGER IN CONCERT 1958-1962

Rare work from the lovely Inge Brandenburg – one of Germany's hippest jazz singers of the postwar years – and an artist who set the tone for later work from a range of European vocalists! Inge sings in English throughout, and has a groove that's almost in the Verve Records mode – often with small combo backing that allow Inge lots of room for inflection on the lyrics and a definite jazz-based sensibility – and a style that might be somewhere between that of Anita O'Day and Ella Fitzgerald. The package brings together a host of well-recorded live tracks from the late 50s and early 60s – only two of which have ever been issued before – and titles include "Secret Love", "Lover Man", "That Old Black Magic", "S'Wonderful", "Lover Come Back To Me", "There'll Never Be Another You", and "Dancing On The Ceiling".  ~ Dusty Groove

 

NEW RELEASES: THE DOORS - WEIRD SCENES INSIDE THE GOLF MINE; LEE FIELDS - EMMA JEAN; FRANK ROSOLINO - I PLAY TROMBONE

THE DOORS - WEIRD SCENES INSIDE THE GOLF MINE

The Doors now make their legendary, long out-of-print compilation Weird Scenes Inside The Gold Mine available for the first time as a 2-CD set. Originally released in 1972, this gold-certified double album was the first compilation to be released after Jim Morrison's death in 1971. The 22 songs that appear on the collection provide a wide-ranging introduction to the music recorded between 1967-71 by the original quartet, John Densmore, Robby Krieger, Ray Manzarek and Jim Morrison. The band's longtime engineer Bruce Botnick remastered the music heard on this reissue, which takes its title from a lyric in "The End. " Mixing familiar cuts and deep tracks from six studio albums, Weird Scenes Inside The Gold Mine touches on everything from hits like "Break On Through" and "Love Her Madly" to unexpected delights like "The Spy" from Morrison Hotel and "Running Blue" from The Soft Parade.  Adding yet another dimension to the album's track list is the inclusion of two stellar b-sides: "Who Scared You" which appeared in March 1969 as the flipside to "Wishful Sinful, " and a cover of Willie Dixon's " (You Need Meat) Don t Go No Further" which was paired with the smash "Love Her Madly" in 1971. ~ Amazon.com

LEE FIELDS - EMMA JEAN

An amazing chapter in the career of Lee Fields – an artist who's been moving our souls for decades, but who just keeps on growing in these really great ways! Unlike the fragile style of My World, or the heady southern soul of Faithful Man, Emma Jean's got this very different vibe – laidback, and definitely with a southern twinge – but with this mellow style that almost takes us back to country soul experiments of artists like Bobby Womack or Joe Tex in the 60s! Not that the style is straight country soul, though – because the backing is by El Michels, who have a strong funk pedigree – but who work with Fields here in this slow-stepping mode that really builds up energy – delivering Lee's vocals with all the power of before, but in an even more personal way. The result is another amazing set from an artist who never falters for a minute – and one of the few contemporary singers who can ever match the depth and strengths of 60s deep soul greats. Titles include "Standing By Your Side", "Just Can't Win", "In The Woods", "Stone Angel", "It Still Gets Me Down", "Don't Leave Me This Way", "Eye To Eye", and "Paralyzed".  ~ Dusty Groove

FRANK ROSOLINO - I PLAY TROMBONE

One of the best albums ever cut by trombonist Frank Rosolino – an open-ended quartet session that really lets him do his thing! The tracks are long, with plenty of room for solo space, and Frank's working with a really great quartet that includes the legendary Sonny Clark on piano – a key force on the west coast scene during his stay in the late 50s – plus Wilfred Middlebrooks on bass, and Stan Levey on drums. Rosolino's tone is tremendous – a perfect tone, but never too polished – and although Clark doesn't play with the same sense of fire as on his Blue Note sessions, his presence is still strongly felt on the date. 3 of the album's tracks are over 7 minutes long – quite rare for a Bethlehem session – and titles include "Doxy", "My Delux", "Flamingo", "I May Be Wrong", and "Frieda".  ~ Dusty Groove

NEW RELEASES: BOBBY HUTCHERSON / DAVID SANBORN / JOEY DEFRANCESCO / BILLY HART - ENJOY THE VIEW; MESCHELL NDEGEOCELLO - COMET COME TO ME; TAYLOR MCFERRIN - EARLY RISER

BOBBY HUTCHERSON / DAVID SANBORN / JOEY DEFRANCESCO / BILLY HART - ENJOY THE VIEW

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. 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. 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.' ~ Amazon.com

MESCHELL NDEGEOCELLO - COMET COME TO ME

Meshell Ndegeocello comes on with the force of a comet – and delivers one of her boldest records in years – a crackling set of cosmic soul tunes that have all the power of the singer in her early years! Meshell's definitely absorbed some of the headier elements of her varied projects over the past decade or so – including some stronger jazz elements, a respect for older roots, and even a complicated sense of rhythms – but she also moves forward with a focus and presence that we haven't heard this strongly in years – proud, righteous, mature, and very much her own self throughout the course of this wonderful album! Titles include "Friends", "Shopping For Jazz", "Conviction", "Folie A Deux", "Choices", "Modern Time", "American Rhapsody", "Tom", "Good Day Bad", and "Comet Come To Me".  ~ Dusty Groove

TAYLOR MCFERRIN - EARLY RISER

A great debut from Taylor McFerrin – family member to another famous jazz singer, but very much possessed of his own self and style! The album's got this crackling, glistening quality – subtle electrics and Fender Rhodes mixing with Taylor's well-crafted vocals – never overwhelming them, but taking them into a space that's beyond conventional soul or jazz – and completely hypnotic throughout! Robert Glasper guests on one track on the set – and McFerrin's approach is a bit like some of the most creative elements in Glasper's Black Radio experiment – and other guests on the record include Emily King, Nai Palm, and Thundercat. Titles include "Decisions", "Postpartum", "Degrees Of Light", "The Antidote", "Florasia", "4am", "Stepps", and "Already There".  ~ Dusty Groove

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

A vivid self-portrait in mosaic form, Kavita Shah's Visions 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.

  

"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 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."

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 byDownBeat 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 Joe's Pub, Cornelia Street Café, Bar Next Door, 55 Bar, Shapeshifter Lab, Kitano, and Minton's Playhouse.

"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."

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, kora master Yacouba Sissoko, tabla prodigy Stephen Cellucci, 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 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."

KavitaShahMusic.com

NEW RELEASES: JASON AJEMIAN / TONY MALABY / ROB MAZUREK / CHAD TAYLOR - A WAY A LAND OF LIFE; SEBASTIEN TELLIER - L'AVENTURA; JASON AJEMIAN - FOLKLORDS

JASON AJEMIAN / TONY MALABY / ROB MAZUREK / CHAD TAYLOR - A WAY A LAND OF LIFE

Jason Ajemian can always be counted on to offer up way more than just the usual set of avant and improvised music – and as with some of his other recent albums, this set shows a range of imagination that just seems to be growing bolder in the past few years! The music is very carefully conceived, but also has the freshness of spontaneous improvisation as well – with a shifting sense of scope and time that makes the record way more than just the usual set of this nature – and instead this rich palette of sounds and ideas that keeps things compelling throughout! Some moments are spare and thoughtful, others snapping with a bit of a swing, and still others have a more aggressive improvised feel – music played by a very well-matched quartet that includes Rob Mazurek on cornet and electronics (Ajemian plays some electronics too), Tony Malaby on tenor, and Chad Taylor on drums. Titles include "Yes We Know", "With A Mythador", "All Nights", "All Ups", and "Living The Sky". (Limited edition of 400 copies.) ~ Dusty Groove

SEBASTIEN TELLIER - L'AVENTURA

Sebastien Tellier goes Brazilian, but not just in an offhand way! Instead, he enlists the help of maestro Arthur Verocai – who helps with the arrangements, and creates the same sort of complicated sound palette you'd find in his own classic recordings – but in a style that's nicely fresh here too, and more fitted to the French language lyrics of Tellier's music! The album's a really wonderful blend of different sounds and different cultures, different ideas and different eras – and it all hangs together with its own organic sense of unity that goes way past any easy tricks or gimmicks, or some simplistic level of cultural pilfering. Sebastien's really won us over with this sweet set – and titles include "L'Amour Carnaval", "Aller Vers Le Soleil", "Love", "Ma Calypso", "Sous Le Rayons Du Soleil", "Ambiance Rio", and the extended "Comment Revoir Oursinet".  ~ Dusty Groove

JASON AJEMIAN - FOLKLORDS

One of the trippiest albums we've heard from Delmark in recent years – a really creative session from bassist Jason Ajemian, and one that links the label's avant jazz work to some of the deeper sides of Chicago's indie scene! Ajemian is free to work without any sense of genre or convention – in a mode that still hits plenty of jazz, with key use of work by Monk, Mingus, and Sun Ra – but which really abstracts things and takes them to a whole new level – opening up cosmic territory that lives up to the album's stated request to "Please Feel Yourselves". Ajemian plays bass and some electronics, in a quartet that also features Owen Stewart Robertson on guitar and electronics, Kid Bliss on alto sax and vibrolux, and Jason Nazary on drums – the last of which are played in a very slow, spacious style. All tracks are long – and titles include "Ask Mr Blunt Now" – which features extrapolations of "Satellites Are Spinning" and "Ask Me Now" – and "Orange Is The Color Of The Sun Then Blue Sky" – which is built upon some key Charles Mingus tunes. Other titles are originals, and include "Punk The Blues", "Material Girls", and "Freedom Is A Trail Of Tears". ~ Dusty Groove

BRIAN CULBERTSON'S NAPA VALLEY JAZZ GETAWAY FEATURING LEE RITENOUR, DAVE GRUSIN, EARL KLUGH & OTHERS

Final arrangements are underway for the upcoming onslaught of wine and jazz fans flocking to Napa Valley from all over the world June 11-15 for the third annual Napa Valley Jazz Getaway , an immersive music and lifestyle experience celebrating the good life. The festival’s founder and creative director Brian Culbertson booked an all-star lineup of contemporary jazz, R&B and funk performers and partnered with the best wineries and restaurants in Napa Valley. Concerts, wine tastings, fine dining, post-concert hangs and a golf tournament are planned to keep attendees busy at events that enable them to get behind the velvet rope to interact freely with the artists.

Beyond his role as a lifestyle curator, Culbertson is a charismatic contemporary jazz star who recently marked the 20th anniversary of his debut recording by releasing “Another Long Night Out,” his sixth album to debut at No. 1 on the Billboard chart spawning his 27th No. 1 single as an artist, producer and songwriter. Culbertson chats and performs tonight (May 30) on the Tavis Smiley Show televised nationally on PBS.

VIP tickets to the Napa Valley Jazz Getaway sold out instantly and sales have been robust for the 4-day Gold and 2-day Silver Packages as well as single-day seats. Take a peek at the lineup:

June 12 at the Lincoln Theater

Jazz Legends Night starring Dave Grusin, Lee Ritenour, Earl Klugh plus special guests Eric Marienthal, David Benoit and more.

June 13 at the Lincoln Theater

Friday Night Funk Night struts out The Ohio Players, comedian Keenen Ivory Wayans, and Brian Culbertson & The Funk Experience with Eric Darius, Marqueal Jordan and Marienthal. Before the show, the annual silent auction and wine reception will take place in the lobby to benefit The GRAMMY Foundation.

June 14 at Jamieson Ranch Vineyards

The weekend concerts move outdoors to the stunning Jamieson Ranch Vineyards grounds with the Saturday marquee lit by Brian Culbertson’s 20th Anniversary Show, Morris Day & The Time, Average White Band and Dirty Dozen Brass Band.

June 15 at Jamieson Ranch Vineyards

Sunday spotlights Eric Benét, Mavis Staples, Darius and Jazz in Pink featuring Gail Jhonson, Althea Rene and Karen Briggs.

Daytime events scheduled for June 11 are VIP wine tastings and a luncheon while the evening offers welcome dinners at two locations: one at Round Pond for VIPs serving a performance by Benoit and Culbertson, and the sold-out dinner at Black Stallion Winery featuring live music by Cecil Ramirez and Michael Lington. Another sold-out show is “piano2piano” by Culbertson & Benoit in the round at Rutherford Hill Winery on June 13 from 12-2pm, which includes lunch and a wine tasting. After, Lington hosts a cigar & port event at Prager Winery & Port Works free for all to attend from 2-4pm. The full schedule of events, including details about the Wine Downs at The Westin Verasa Napa and the “Another Long Night Out” Late Night Hangs, is available on the Getaway’s website: 

www.napavalleyjazzgetaway.me

SEAN JONES - IM.PRO.VISE = NEVER BEFORE SEEN

Celebrating his 10th anniversary with Mack Avenue Records, internationally acclaimed composer and eter Sean Jones views his seventh album, im.pro.vise = never before seen, as "a reintroduction of who I am." Although he has clearly established himself as a formidable leader through recordings and live performances, this album reflects his "conscious decision to approach this latest step in my artistic evolution as a trumpet player, a composer and a leader."

A major event in that evolution occurred when he chose to step down from his longtime position as Lead Trumpeter of the Jazz At Lincoln Center Orchestra in 2010. But touring with Wayne Shorter and Herbie Hancock's Tribute To Miles the following year made a truly profound impact on his personal journey.

"I have so much respect for those men, so I asked them how I could best contribute to this music. Without hesitation and in one voice they said: 'Lead. That's what we hired you to do.' That brought it all together for me."

Through that epiphany, Jones set out with a new motivation firmly in place, and im.pro.vise = never before seen began to take form. Paring his artistic viewpoint down to the basics, he decided to make his first quartet recording with his longtime bandmates, the dynamic pianist Orrin Evans, and the seamless bass/drum tandem of Luques Curtis and Obed Calvaire. Furthermore, he chose to do it old school.

"All of my previous albums were 'productions' with overdubs, etc," says Jones. "This time it was just the four of us in one room, no barriers between us, playing live." The sense of immediacy and urgency that has always been a key element of the jazz art at its highest level is front and center throughout this entire album. Another essential tradition of looking back to look forward is also omnipresent here, and that includes the full scope of that legacy from its blues roots to its freer explorations.

That perspective is clearly expressed from the very beginning with the opening track "60th & Broadway," as the influences of iconoclasts like Don Cherry and Lester Bowie are included in the vernacular over which Jones displays his flawless command. "This piece was a nod to all the great years I spent at Lincoln Center," says the trumpeter. "I'm so grateful, but it was time to move on." Clearly this movement is both focused and bold, as this piece demonstrates a group synergy locked into a unity of purpose and joy of discovery.

There are five more Jones originals on the album, each of them exquisitely crafted as an ideal launching point for the improvisational exploration. These are not head-solo-head constructs. Instead, the approach on these pieces-and on the entire repertoire-is one of evolution and organic development. Appropriate to that vision, there is a floating sense of time, with a rubato feel often at play alongside distinct rhythmic sections, creating a context that is almost cinematic. These are tales sometimes told gently, sometimes with vehemence; sometimes cryptically and others in matter-of-fact terms. "All of my compositions have a specific meaning," explains Jones, "something that has happened to me, or affected me in some way."

"Dark Times" was written over 10 years ago while Jones was pursuing his Masters Degree at Rutgers. "It's a reflection of a time of struggle and uncertainty...and my decision to put it aside and just move ahead." As the atmospheric, darkly lustrous rubato opening moves into the fluidly lyrical theme, that depiction is vividly stated. With a freely floating tone reminiscent of Miles' Filles de Kilimanjaro period, Jones demonstrates his command of the Miles philosophy of time and space where what's not played is as important as what is.

The opening and closing movements from the five-part "Date Night Suite" are included here. "New Journey" is a joyful romp-open, freewheeling, but anticipatory and speculative. The closing movement, "The Morning After," begins as a lovely anthem-like ballad "reflecting on the night before," explains Jones, "then hopeful, speculative," as an exuberant foray erupts with joyful possibilities.

A ballad of filigreed beauty, "We'll Meet Under the Stars," is a serenely evocative piece, with the melodic line caressed lovingly between Evans and Jones, cushioned by marvelously subtle bass and drums interplay.

"There are times when you just have to say 'I don't give a damn' and go with what your feelings are," expresses Jones, and thus, the "I Don't Give A Damn Blues," written on the bandstand in the middle of a wee-hours set. The blues is the core of jazz expression and this piece has that late night intimacy where the musicians are just playing for themselves-and whoever happens to be lucky enough to be there to hear it.

While one can easily envision that blues being played by Roy Eldridge and Teddy Wilson, another staple of the jazz repertoire receives a most unusual treatment. "How High the Moon" - a longstanding vehicle for jam sessions, vocalists, swing bands and bop ensembles-is constructed, deconstructed and reconstructed, offering a surprising new chapter to an often told story in an unexpected time and place. The trumpeter also provides a fiery new interpretation of Jackie McLean's "Dr. Jekyll" (best known from Miles' Milestones album). "I wanted to let everybody stretch out in the tradition," says Jones, and stretch out they do, in breathtaking and virile terms.

Jones includes a piece by another outstanding altoist with "Interior Motive" by Joe Ford. "Joe has always been very inspirational to me, encouraging me since we worked together with the Fort Apache Band and with Charles Fambrough," reflects the trumpeter. Built upon a richly wooded bass vamp and splendid drumming, the piece weaves in and out of various rhythmic contexts and shifts moods audaciously, but with perfect continuity.

Pianist Evans contributes "Don't Fall Off the L.E.J." for the album. "You can't play with a band unless you take chances while playing together," says Jones of this spirited excursion, delivered in straightforward fashion, delightfully syncopated and swinging fervently.

This extraordinary album concludes on a most poignant note with Stephen Sondheim's "Not While I'm Around," dedicated to Jones' mother. "My mother has been so crucial in my life. I love Sondheim, and this piece just encapsulates her essence to me."

Powerfully committed to his art and clearly focused upon where he wants to take it, Jones has developed one of the most impressive and compelling ensembles on today's scene, all of whom are committed to performing together and taking their place alongside the most affecting and important ensembles in jazz.

Tgether this quartet generates the consummate energy to which all truly dedicated jazz artists should aspire. The musicians bring everything they have to the table, making the music their own, yet always understanding that the purpose is to fulfill the vision of the leader. "I want to reflect the tradition of what jazz is," says Jones, "and my voice is a voice that needs to be part of it."

Upcoming Sean Jones Performances:

* June 7 / Capital Jazz Festival / Columbia, MD

June 9 / Sunflower Jazz Festival / Topeka, KS

June 13 / Orchestra Hall (special guest of

Chicago Symphony Orchestra) / Chicago, I L

* June 14 / Playboy Jazz Festival / Los Angeles, CA

June 26 / Tri-C Jazz Festival / Cleveland, OH

June 29 / Saratoga Jazz Festival / Saratoga Springs, NY

July 11 / Buzzards Bay Jazz Festival / Marion, MA

July 17 - 20 / Jazz Standard / New York, NY

July 30 / Scullers / Boston, MA

August 12 - 13 / Dizzy's Club Coca-Cola (featured guest artist) / New York, NY

August 21 / SFJAZZ Center / San Francisco, CA

September 1 / Detroit Jazz Festival / Detroit, MI

September 5 / The Frick / Pittsburgh, PA

September 25 - 28 / Jazz Showcase / Chicago, IL

November 3 - 8 / SF Performances Residency / San Francisco, CA

November 10 - 15 / Jazz Bistro / St. Louis, MO

* performing with Dianne Reeves

Sean Jones · im.pro.vise = never before seen / Mack Avenue Records  ·  Release Date: July 22, 2014 

SeanJonesMusic.com