MOTOR CITY BASS PLAYER RODNEY WHITAKER RELEASES WHEN WE FIND OURSELVES ALONE - ON MACK AVE RECORDS

The Motor City's own bass-loving son Rodney Whitaker eloquently and exuberantly evinces the dynamic spirit that has driven him across eight records for the Detroit-based jazz label, a lengthy tenure with the Lincoln Center Jazz Orchestra and a career that knows no bound. When We Find Ourselves Alone is the signpost of an artist still traveling the highway of discovery. 

With When We Find Ourselves Alone, he gathered generational contemporaries and modern masters including saxophonist Antonio Hart, pianist Bruce Barth and drummer Gregory Hutchinson, each a friend and musical partner for close to a quarter century. Reinforcing the family feel of the proceedings, Whitaker's daughter, Rockelle Fortin, brings her expansive voice and keen interpretative skills to five selections. "Quartet with saxophone is really my voice," says Whitaker. "I grew up playing in that context and with vocalists. When you're from Detroit, you don't compartmentalize or segregate music. You play funk, you play bebop, and you play gospel." 

The ambiance on When We Find Ourselves Alone is similar to what Whitaker generated on such turn-of-the-century gems as Winter Moon, Ballads and Blues: The Brooklyn Session and Yesterday, Today and Tomorrow, all recorded for small independent labels, on which the leader drew repertoire from several stylistic tributaries. Now, as then, Whitaker and company address the leader's five originals and six arrangements with an old-school feel and a 21st century attitude. They follow the time-tested jazz aesthetic, embracing the tradition of navigating the long-standing forms with individualistic tonal personalities, ebullient soulfulness and an unending will to swing. 

"I think of what Carl [Allen] and I did on our records as 21st century soul jazz," Whitaker says. "This record is closer to modern hard bop. It's about swinging and having a good time. Even though I hadn't gigged with any of them for years, there's a certain freedom to playing with people you trust that you can't get otherwise. I worked with Bruce from 1989 to 1991 with Terence Blanchard, and he's like a big brother to me. I was on the road for four years with Greg and three with Antonio in Roy Hargrove's group. They're like my little brothers, and we're all grown men now. All these guys knew my daughter as a child, and they hadn't seen her since she was probably ten years old." 

Whitaker relates the back story of the jaunty opener, "The World Falls Away," a medium swinger propelled by Hutchinson's crisp beats and highlighted by Hart's impassioned, melodic declamation. "It was Valentine's Day, and I'd had a bad day," he says. "My wife gave me a card that talked about the rigors and challenges of life, and at the end said, 'But at night, when we're together and lying in each other's arms, the world falls away." 

A thread of joyous nostalgia infuses "When You Played With Roy," an AABA theme with a bossa feel that contains a catchy 10-bar bridge. Whitaker's brief opening solo displays his abundant technique and creativity, qualities that also animate Hutchinson's exchanges with the soloists.  "Everywhere I play, people approach me and say, 'I loved it when you played with Roy Hargrove,'" Whitaker says. "I started thinking about turning that title into a theme that would capture the joy of performing with Roy and the joy people got from hearing the group live." 

Whitaker bows a plush introduction to "Autumn Leaves," then switches to pizzicato for a dramatic rubato duo with his daughter, whose stately rendering of the lyric foreshadows a cogent scat solo once the tempo morphs to swing.

Hart's pure soprano saxophone tone illuminates the poignant long notes that open "Jamerson's Lullaby," which references not only the immortal Motown session bassist, but also the sadness that Whitaker's youngest son, Jamerson, age five, experiences when it is time to go to bed. Whitaker adds, "He looks at you and smiles, and it's so infectious it makes you happy," - in this case, a mood-switch denoted with a change to major key in the B-section.

  

Fortin channels her inner Carmen McRae on "You Go To My Head," enlivened by Hutchinson's neo-hip-hop pocket and ascendant solos by Hart, Barth and Whitaker. Then Whitaker creates a polyrhythmic bass line to maneuver "Invitation"-one of several homages to tenor saxophone immortal Joe Henderson that he has recorded-away from well-traveled routes.

There follows "Freedom Day," an Oscar Brown song depicting the end of slavery at the end of the Civil War that Max Roach and Abbey Lincoln memorably recorded in 1960 on We Insist! After Fortin's intense delivery of the lyric, and fierce statements by Hart and Barth, Hutchinson displays his rarefied position on the drum tree with a solo that dialogues with Roach's drum oratory from half-a-century ago.

"I follow W.E.B. DuBois in thinking about music as a way to talk about politics," says Whitaker. "We live in a time where we have an African-American President, yet people are angry at him solely because he's African-American. We're not free yet, though we think we are. But slavery didn't just change the black man. It changed us all. We're not ready to let go of oppression or the anger in our hearts." Whitaker's social activist concerns underpin "A Mother's Cry," a memorable refrain that he composed a few years ago for the documentary film Malaria & Malawi: Fighting to Save the Children, earning a Michigan Emmy nomination for the theme. Propelled by Whitaker's ferocious 12/8 vamp and Hutchinson's Afrodiasporic beats, Hart uncorks a magnificent soprano solo that evokes both the pain of malaria's impoverished victims and possibility of a remedy. 

In arranging "Mr. Magic," Whitaker hewed to Roberta Flack's early '70s hit that Grover Washington immortally interpreted as a soprano saxophone instrumental in 1975. Fortin elicits oceanic emotions from the lyric; Hart's ecstatic solo signifies on his very first jazz saxophone hero. "It's a song about joy, someone who found someone, treated them with love and took care of them physically," Whitaker says. 

Whitaker composed the title track two years ago for a commissioned work titled Jazz Up South on the topic of migration stories. "It's about forbidden love between two people who are in love when people do not want them to be together," Whitaker says. Turbulent solos by Barth and Hart evoke the inflamed emotions of love denied. "For me, the story is a metaphor for life, when people don't pursue their dreams. My compass has always been to do first what brings joy to my life." 

Along those lines, Whitaker concludes this well-wrought portrait of the artist in mid-career with "Lost In You Again," a modern gospel classic by Fred Hammond, illuminated by Barth's and Hart's jubilant solos. "The spiritual realm is part of my upbringing, and if I'm telling a story or putting together a set, I want to attend to the whole person," Whitaker says. "I want to talk about every aspect of life and love and tragedy. Sometimes you've got to talk about the unpleasant to get to joy, but ultimately it should all end with joy."

Whitaker, a father of seven children, has devoted much attention to building a world-class Jazz Studies Department at Michigan State University (which in 2013 conferred on him the honor of Distinguished Professor of Jazz Bass). In addition to a first-class faculty ensemble, the MSU Professors of Jazz, Whitaker formed a co-led project with drummer Carl Allen that generated the critically acclaimed, pocket-heavy Mack Avenue recordings Get Ready (2007) and Work To Do (2011). More recently, Whitaker has also served as bassist and music director for the Mack Avenue SuperBand, a group of label all-stars convened for the 2012 and 2013 editions of the Detroit Jazz Festival, and documented on Live! From The 33rd Annual Detroit Jazz Festival. 

Initially a dedicated violinist, Whitaker switched to bass in junior high school. His band director taught him harmony, and he evolved conceptually in a teenage group called Bird/Trane/Sco/Now!, led by Donald Washington, Whitaker's string instructor in sixth and seventh grade. During these years, Whitaker also participated in trumpeter Marcus Belgrave's jazz group, performed European classical music with the Detroit Civic Orchestra, studied privately with members of the Detroit Symphony, and worked with such Motor City luminaries as pianist Kenn Cox and drummers Leonard King and Francesco Mora Catlett. A devotee of Paul Chambers and Ron Carter from the jump, Whitaker also considers Ray Brown, Oscar Pettiford, James Jamerson and Dave Holland to be crucial influences on his style. 

After leaving Detroit in 1988 with the Donald Harrison-Terence Blanchard Quintet, Whitaker joined Hargrove in 1991 for a four-year run. During 1995 and 1996, when he freelanced with Elvin Jones, Kenny Garrett and Diana Krall, Whitaker recorded his first two CDs, Children Of the Light and Hidden Kingdom, both comprised primarily of original music. In 1996, Wynton Marsalis hired him to play with the Lincoln Center Jazz Orchestra. "Working with Wynton was probably the closest I ever got to going to graduate school," Whitaker says. "I got to play so many different styles, and was inspired to learn the history of the music in depth. It made me realize that music is not just about notes. It's about a story and it's about lives."

Upcoming Rodney Whitaker Performances:

August 30 / Detroit Jazz Festival (w/ Mack Avenue SuperBand) / Detroit, MI

August 31 / Detroit Jazz Festival / Detroit, MI

September 11 - 14 / Bar on Fifth / New York, NY

October 3 - 4 / Libby's / Jackson, MI

November 24 / Dizzy's Club Coca-Cola / New York, NY

Rodney Whitaker  · When We Find Ourselves Alone / Mack Avenue Records  ·  Release Date: August 19, 2014  / www.RodneyWhitaker.com

Drummer and Composer Patrick Charles Presents Cite Soleil

With accomplished musicianship and a great sense of deep groove, virtuoso drummer Patrick Charles music is both visual and cerebral. His debut CD , Cite Soleil, presents an artist of far-reaching vision and versatility. Released on his Soleil label, Cite Soleil brings Patrick Charles center stage as a composer, producer and band leader. Featuring a stellar cast of LA studio players and world class jazz artists, such as Everette Harp (of George Duke and Anita Baker), Wayne Linsey (of Miles Davis, Kevin Toney a two time Grammy nominated pianist and composer).

Cite Soleil showcases Patrick’s own original compositions and retells hits from legendary artist like Sting and Seal through the language of jazz . But it was upon hearing the news of his sister’s passing that Patrick began to focus on the core material for the album. ”My siter was always an encouraging and supporting force in my life;’ Charlene,’ the last composition on the CD, is dedicated to her. Born in Port-au-Prince Haiti and raised in East Orange New Jersey, Patrick Charles owes his musical awakening during middle school to the trumpet. But the drums quickly chose him, fueled by the love and respect for all genres and styles of music and the emerging culture of Hip-Hop, Music became Patrick’s calling card, Strangely enough, his first encounter with jazz happened by chance.”I found a pile of jazz records in an abandoned building in the neighborhood; in that pile was Miles Davis Tutu,’ I was so taken by the album cover, I picked up the record, I’ve been hooked ever since.” 

Patrick Charles started to gig professionally during high school, during which time he became the regular drummer at the famous Perpermint lounged in his hometown of East Orange NJ, nightly guess artist appearances includes the legendary Lou Rawls, Chaka kahn, Berry White, and now famed Hip Hop artist Naughty by Nature and Queen Latifah. After high school, Patrick set his eyes on the famed Berklee College of music in Boston, while attending Berklee, Patrick Charles performed with esteem professor Carolyn Wilkins and her group the spirit jazz Quartet regularly in the Boston and New York area, in Los Angeles his work as a freelance drummer has brought him acclaim from studio and live performances with such artist as blues legend Linda Hopkins, funk and soul songstress Maxayn Lewis and Teena Marie, and countless top 40 funk/R&B acts in National and international venues like the House of blues LA, Salt Lake City jazz festival, 

Currently a Los Angeles Arts commission Artist, Patrick has performed for Nakaoka Jazz festival and the1st annual universal City Walk jazz festival,The Namm Show, Viper Room LA, Blue Note Kyoto Japan, Cotton club Shanghai China, Commerce casino jazz&blues summer nights festival series, Pachanga Casino, The Roxy LA, Catalina Jazz club,and the MGM Hotel Las Vegas to name a few, Patrick Charles television and movie appearances have include hit television shows Boston legal, Melrose Place, comedy central band, BET Jazz and Screen Media films "Crazy" the life of famed Jazz guitarist Hank Garland. ~ Amazon.com

Origin Records to Release "My Shining Hour," New CD by Bobby Broom's Trio With Dennis Carroll & Makaya McCraven, August 19

While Bobby Broom's 2012 CD Upper West Side Story ("a spectacular album" -- DownBeat) focused exclusively on original material, the guitarist takes a very different tack with My Shining Hour, due for August 19 release from Origin Records. The luxuriantly melodic session features Broom's working trio -- with bassist Dennis Carroll and drummer Makaya McCraven -- placing their stamp on beloved American Songbook standards. 

"When I formed the trio in 1991 it was to avoid playing weather-worn standards with makeshift groups," Broom says. But when bassist Carroll suggested they adopt "Jitterbug Waltz," Fats Waller's classic tune ended up opening the door to "the great songs that have lasted, that became part of the American quilt. Only one of the pieces we recorded had been in the trio's repertoire. These were all newly approached by me and the group." 

Bobby Broom In addition to the title selection and "Jitterbug Waltz," the program includes "Just One of Those Things," "Oh, Lady Be Good," "My Ideal," and "Sweet Georgia Brown." Two other songs, Lerner and Loewe's "The Heather on the Hill" and the non-standard "Tennessee Waltz," were picked up by Broom during his lengthy tenure with Sonny Rollins.

It's a testament to the trio's cohesiveness and deeply shared intuition that the album ends up feeling like far more than a collection of familiar tunes. Broom's free-spirited approach provides plenty of room for Carroll's subtle interplay and McCraven's dancing figures.

"What I've had to come to terms with is the spaciousness that is inherent in the guitar trio," Broom says. "In the beginning there was all this room, and no one playing chords behind me when I'm soloing and playing melodies. Now I almost accompany myself with chords as I play melodies, and the melodies shape the harmonies during my solos."

Carroll, who came up on the Chicago scene playing with heavyweights like Jodie Christian, Bunky Green, and Clifford Jordan, has anchored Broom's trio for more than two decades. There's been more turnover in the drum chair, which has become something of a launching pad for stellar young players. From George Fludas and Dana Hall to Kobie Watkins, Broom's drummers have all joined the elite ranks. McCraven, who started playing with Broom about five years ago, is on the same trajectory.

"Makaya is all of 30, and he came along after Kobie was getting really busy," Broom says. "He's got a certain nonstop intensity and energy, a free-flowing array of ideas that touch on a variety of styles. And Dennis and I have played for such a long time we really work as a tandem. He's very harmonically astute, and wants to find the right colors for the moment."

Bobby Broom Broom's other threesome, the Deep Blue Organ Trio, disbanded last year after more than a decade together, which included working on several occasions as Steely Dan's opening act. For Steely Dan's summer 2014 Jamalot Ever After Tour, Rock and Roll Hall of Famers Walter Becker and Donald Fagen invited Broom to join them once again. The result is the brand-new Bobby Broom Organi-sation, with Makaya McCraven or Kobie Watkins, drums, and Ben Paterson, organ.

Their upcoming performances on the 46-city, 56-show tour will find its leader delving into material from Modern Man, Broom's seminal 2001 Delmark Records organ-group recording (which featured Dr. Lonnie Smith), as well as some of his trio's versions of '60s and '70s pop music classics.

"I'm looking forward with anticipation to taking these excellent, energetic young musicians around the country with me to play jazz for the masses," says Broom. "What an extraordinary forum it will be for us to do that. My hat's off to Steely Dan!"

Complete tour dates are listed at steelydan.com. (The trio will not be appearing in the following cities, as the venues do not support opening acts: Thackerville, OK, 7/18; Niagara Falls, NY, 8/8; Hammond, IN, 8/17; Windsor, Ont., 8/22.)

Broom will take time out from the tour to perform a CD release show with his guitar trio at the Chicago Jazz Festival on 8/31. "It's been nearly 15 years since the Bobby Broom Trio has played the Festival," says the guitarist. "Back then was a significant time for us. We were still forming our identity and had just recorded, but not released, Stand! It will be great, after the whirlwind Steely Dan tour, to return home in more ways than one and to play this glorious venue." 

www.bobbybroom.com

New Releases: The Far Out Disco Orchestra - Remixes & Re-Interpretations; Frankie Knuckles - Beyond The Mix; Afrobeat Makers - Tony Allen Rhythms Revisited Vol. 2

THE FAR OUT DISCO ORCHESTRA - REMIXES & RE-INTERPRETATIONS

Legendary remixes of tracks from the super disco project. Mark Pritchard, Theo Parrish , John Morales, Marcellus Pittman and many others help celebrate Far Out Recordings’ 20th year. The original album was recorded in Rio de Janeiro & finished in London and made with love by Far Out’s Favorite artists including the late legend ‘Maestro Jose Roberto Bertrami’, ‘Arthur Verocai’, ‘Alex Malheiros’ & many of Rio’s finest musicians & includes a full orchestra. This collection of remixes puts the acclaimed disco originals into some of the most capable hands in the world...With access to the original masters, internationally celebrated pioneers of dance music’s underground including Mark Pritchard, Theo Parrish, John Morales, Marcellus Pittman and 4hero worked with the foundations laid in the arrangements of Verocai, Betrami and others, turning disco masterpieces into Dj-friendly dance floor weapons, from deep house and techno to balearic, disco re-edits. Following the release of a handful of the remixes on the FOMDO 12” series, this digital release is made up exclusively of remixes, some of which have not been available until now.

FRANKIE KNUCKLES - BEYOND THE MIX

Any serious fan of house music knows the name Frankie Knuckles. Like Marshall Jefferson, he commands the type of respect in the genre that Grandmaster Flash enjoyed in hip-hop. When Knuckles signed with Virgin, the enthusiasm was high among house aficionados; but in fact, his Virgin debut, Beyond the Mix, isn't the all-out dancefloor extravaganza many were predicting it would be. The CD definitely has its strong points -- including Lisa Michaels' seductive vocals on "Sacrifice" and the haunting "Rain Falls" and Shelton Becton's gutsy performances on "It's Hard Sometime" and the gospel-influenced "Soon I Will Be Done." At its best, Beyond the Mix is far superior to most of the songs heard on urban contemporary radio in 1991. But "Godfather" and "Party in My House" are routine hip-house numbers that are virtually indistinguishable from countless other fusions of rap and house recorded in the early '90s. ~ Alex Henderson

AFROBEAT MAKERS - TONY ALLEN RHYTHMS REVISITED VOL. 2

Tracks from the great Tony Allen – but completely remade here with a complicated set of rhythms and very tripped-out style of production! Doctor L features very heavily on the record (which also has contributions from Thiago Franca and Mps Pilot) – and the whole thing reminds us a lot of some of his fractured Afro Beat experiments on Comet Records from a decade ago – music that still has lots of live drums and percussion at the core (plus other great organic acoustic elements too) – but which also feels plenty free to experiment with a wide range of sounds and styles in the production – on titles that include "Sunny Sky", "Bahia Beatz", "Afro Mystic Beat", "Triffidz", "Afrobeat Block", "Running", and "Hot Soup".  ~ Dusty Groove

New Releases: Christopher Von Mammen - In Focus; Vel Lewis - Colors Of Soul; Sasha Elliot - Stank

CHRISTOPHER VON MAMMEN - IN FOCUS

This album is neither a conventional jazz recording already heard a thousand times before, nor is it inspired by "old school" jazz standards and long-winded solos. Also no swing should be heard on this present recording. Instead, a vibrant mix of a pulsating rhythm section, intricate piano ostinatos, rich unisons of saxophone and guitar, smoothly played rhodes and distinctive organ sounds. The album's 48 minutes pass almost like on a flight, all the musicians have their storytelling and meaningful solos, boredom is definitely excluded. Loaded with energy, honesty and originality - this recording brings fresh music, catchy melodies and unobtrusive virtuosity to the listener's ears and heart. Enjoy! Christopher V.Mammen - tenor sax, Filip Wisniewski - guitar, Peter Adamietz - keys and organ, Hendrik Gosmann - double bass, Andreas Gandela - drums. ~ CD Universe

  

VEL LEWIS – COLORS OF SOUL

Keyboardist, composer and organist Vel Lewis, continues to create Classic, Cool, Jazz & Soul compositions. Following the release of his Smooth Jazz Adult Contemporary single "Maybe So", the first release from his current 2014 EP "Colors of Soul", the single continues to chart. "Colors of Soul" is a highly charged Jazz and Soul EP that is superbly produced by Vel Lewis, combined with the Midas touch of chart-topping producer, Greg Manning who added his brand of magic to the mixes. Kevin Chokan on guitars, keeping it in the pocket and soulful. Master percussionist Lenny Castro brings his signature sound to the project. "Colors of Soul" is a mixture of rhythmic songs for the Groove Jazz listener. Each song on the EP captures the keyboards and organ stylings of composer Vel Lewis. "Lovin' You So" is a tastefully classic R&B textured track. "Chuva" is a wonderful romantic, Smooth Jazz ballad. "Song For My Love" blends Swing and Hip-hop into a jazzy groove. The title track "Colors Of Soul" is an engaging Arp-styled synthesizer number that provides a melodic lead element reminiscent of the keyboard style of the late, great George Duke. Vel continues to deliver the kind of sultry, groove-laced music that catches the ears of his audience and soothes their hearts. From the moment the first note is heard and you feel the pulse of the rhythm, the ride begins - this is the perfect combination for the true music lover. For those around the world who have been requesting more Vel Lewis Music, this is for you! "Colors Of Soul"! ear candy for the heart! ~ CD Universe

SASHA ELLIOT - STANK

Inspired by post-bop of the late '50s and early '60s, Stank features original compositions in a sextet setting as well as a rare performance of Bobby Timmon's "Moanin'" with vocals. All tracks recorded live using analog and digital. Featured performers: Alex Norris-Trumpet; Kevin Collar-Alto Sax; Wade Beach-Piano; Zack Pride-Bass; Sasha Elliot-Drums; Speedy White-Guitar; Tye Lovell-Vocals. Recorded at Cue Recording Studios, Falls Church, VA. Tracklisting: Stank, Next Time You're With Me, Queen Of The Neighborhood,     Moanin', and Go- Go- Blues. ~ CD Universe

Brazilian Music Icon Sérgio Mendes Releases Eclectic OKeh Records Debut - Magic - Available September 9

In a career that spans more than half a century, Sérgio Mendes is an old hand at creating a unique sonic blend that electrifies a mass global audience. His knack for delivering hit after hit has made him the most successful Brazilian musician of his time. A grand conceptualizer, his well-polished talents as a pianist, composer, bandleader, vocalist and producer make him a truly singular artist. With Magic, his debut recording for the storied OKeh label, he triumphs once again, delivering a timely update on the infectious mix of Brazilian rhythms and contemporary styles from his homeland, the U.S. and elsewhere that make the Mendes sound instantly recognizable. 

Magic spotlights the distinct talents of a large cast of both emerging and established Brazilian and North American musicians, vocalists, composers and producers. The eclectic line-up of multi-faceted collaborators underscores how Mendes has been so successful at forging fruitful partnerships since he emerged as a young jazz pianist in Rio de Janeiro in the early 1960s. Present to help Magic radiate its special distinctive charm are such one-of-a-kind artists as will.i.am, putting his producer's genius to work on one track, and singer John Legend. Among Mendes' Brazilian guests are vocalists Milton Nascimento, Carlinhos Brown, Ana Carolina, Seu Jorge, Maria Gadú, and Gracinha Leporace, Mendes' lovely wife and a noted vocalist from the bossa nova days. Also on hand is guitarist Guinga, one of Brazil's most accomplished string masters and composers. Recording sessions in Los Angeles, Salvador, and Rio de Janeiro involved a host of top flight musicians from both countries.

"I like to do things that are kind of bold, fresh and unique. That gives me a lot of pleasure," Mendes says of the creative process that has been central to his success. "I'm very curious and intuitive, and I also love to learn new things - I have no formula. I believe in the magic of the encounter... and that is what my life has been about, and also this album. For me, the most important thing is the melody. Then the arrangement. It's all about how you present the song. That plays a big role in what I do."

On Magic, the three-time Grammy® Award-winner taps the entire range of music styles he has explored, from samba jazz to hip-hop. The session's focal point is the exuberant "One Nation." "When I began the album last year," Mendes notes, "I went to Salvador to work with Carlinhos Brown and write a song for the World Cup. It represents the joy, the rhythm and the excitement of fútbol as seen through a Brazilian eye." "Atlântica," by one of Mendes' favorite composers, is an example of what the musician looks for to perform. "When Guinga played that song for me two years ago, I couldn't get the melody out of my head," he comments. "The harmonies and chord changes are incredible. The beautiful thing about the album is that I have songs from composers like Guinga and Toninho Horta and my friend Milton Nascimento, who wrote his tune just for this album."

Maria Gadú, a young singer, guitarist and composer from São Paulo, is another Magic revelation. "I met her about three years ago and said 'let's do a song together!' What a wonderful experience it was working with her." And, although he included songs like "Só Eu," a melodic beauty by the late maestro Moacir Santos, his theory teacher in Rio 50 years ago, Mendes also contributed more original works than on any previous album. "The songwriting aspect of this album gives me tremendous pleasure," he adds.   

"Sometimes you have no idea of how younger people really appreciate your work and how knowledgeable they are of what you've done," Mendes comments on his collaborations with will.i.am and John Legend, "I like those experiences very much. I love reaching out and ending up with something that's bold and different. That's why I called the album Magic. Everything on it is magical."

Born and raised in Niterói, a city across Guanabara Bay from Rio de Janeiro, young Mendes studied piano at a local conservatory. An interest in North American jazz led him to Copacabana's fabled clubs of the late 1950s, where he performed with his first trio. In 1961, he formed the Bossa Rio Sextet, a groundbreaking group that was his first of many artistic coups. "Those were the days of the bossa nova when it was mostly performed by a guitarist and a singer," he recalls today. "I came up with the idea of using two trombones and a tenor sax, and it was a revolution. People loved the sound because it was totally different." In the two years that followed, he took the group to New York City to perform at the historic bossa nova concert at Carnegie Hall in 1962. He recorded albums with such jazz greats as Julian "Cannonball" Adderley, Phil Woods and Hubert Laws, and continued to work closely with his mentor, famed composer Antônio Carlos Jobim. 

By the mid 1960s, it was time for a totally new direction, and Mendes once again created a revolutionary sound that would prove to be pop culture phenomenon for the following three decades. His new creation, dubbed Brazil '66, used two female vocalists to shape ingenious bossa-spiced arrangements of a wide-ranging repertoire that included the latest fare from Brazil, rock and R&B hits, and carefully chosen gems from the Great American Songbook. Significantly, his debut album with the new group, Herb Alpert Presents Sérgio Mendes & Brazil '66, was recently inducted into the Grammy® Hall of Fame. 

Throughout his career, Mendes has continued to recharge his passion for creating fresh and innovative music by seeking out challenging partnerships and novel sources of inspiration. Occasionally, the process has been as simple as returning to the elemental Brazilian sound, as he did on such albums as Primal Roots and Oceano. At other times, it has meant embracing the spirit of a universal theme. His album Confetti and its title tune became the anthem for the 1984 Olympic Games while Pelé was the soundtrack for a motion picture about the world's greatest soccer player of all time. Within the past decade, Mendes has also successfully experimented with hip-hop and other of-the-moment styles.

 www.SergioMendesMusic.com

RICK BRAUN'S "GET UP AND DANCE" REACHES THE TOP OF THE BILLBOARD CHART

Back with his first contemporary jazz foray in five years, trumpeter Rick Braun appears to be wasting no time in his quest to add more No. 1 hits to his burgeoning catalogue of chart-toppers. “Get Up And Dance,” his fun-filled frolic with sax sensation Dave Koz that bodes to become the song of the summer, is already No. 3 on the Billboard singles chart this week, the first cut issued from Braun’s sixteenth set, “Can You Feel It,” which was released today by Artistry Music/Mack Avenue Records.      

Braun produced and wrote or co-wrote nine songs on the new session that revisits the spirit of his twenty-year-old breakthrough collection, “Beat Street,” reflects his past playing in War and conjures the mighty Tower of Power. After satisfying his creative itch to croon jazz standards on a pair of recent albums, Braun entered the studio focused on delivering a high-powered horn set filled with jazz-funk joints recorded with friends. The vibrant harmonies and funky grooves are performed in a live setting center staging Braun’s trumpet, flugelhorn and newest weapon, valve trombone, which bursts forth from a rhythmic panorama of rapid fire horn section revelry. The eleven-song record showcases Braun collaborating with some of the finest instrumental artisans including Koz, charismatic keyboardist Brian Culbertson (“Back To Back”), sax heavyweight Euge Groove (“Take Me To The River” and “Dr. Funkenstein”), fusion pioneer Jeff Lorber (“Delta” and “Radar”), old soul singer Elliott Yamin (“Take Me To The River”) and keyboardist-arranger Philippe Saisse, who played on five tunes, co-penned the title track and authored the disc’s lone ballad, the beauty “Another Kind of Blue.”   

The revered headliner will support “Can You Feel It” with concert dates through the end of the year with his own band, with Groove and guitar star Peter White as Jazz Attack, and with Grammy winners Kirk Whalum and Norman Brown as BWB with whom he will play an August 17 show at The Hollywood Bowl. Braun concludes the year with his annual New Year’s Eve fundraiser at the JW Marriott Star Pass Resort and Spa in Tucson, Arizona sharing the bill with White, sax powerhouse Richard Elliot and special guest vocalist Larry Braggs on an evening themed “A Night in New Orleans.” The event benefits the Autism Society, a nonprofit organization tasked with improving the lives of those affected by the autism spectrum disorder, which includes Braun’s teenage daughter.

New Releases: Total Reggae Summer Vibes; Andre Solomko - Le Polaroid; Leah Williams - Run On

TOTAL REGGAE SUMMER VIBES (VARIOUS ARTISTS)

This edition to the Total Reggae series delivers cool vibes for the hot summer nights. Forty tracks of pure Jamaican reggae and dancehall including classic hits and unsung gems. Total Reggae: Summer Vibes is packed with 40 proved and tested Summer Vibes, hits songs ‘The Tide Is High’, ‘Oh Carolina’, ‘Mr Lover Man’, hit artists Shaggy, Gregory Isaacs, John Holt, and many more. Includes Carl Malcolm ‘Fattie Bum Bum’ as featured in this year’s Paddy Power TV advertising campaign plus Sister Nancy ‘Bam Bam’ as featured in the brand new Reebok campaign with Miranda Kerr. Very attractive priced double CD set with 40 big summer hits. Real value for money. Includes also 8-page booklet with comprehensive liner notes by reggae expert Harry Wise.  Includes: Everything I Own – Ken Boothe;. Money In My Pocket – Dennis Brown; Uptown Top Ranking – Althea & Donna; Fattie Bum Bum – Carl Malcolm; Dat – Pluto; O.K. Fred – Errol Dunkley; Pass The Kouchie  - The Mighty Diamonds; Cottage In Negril – Tyrone Taylor; Stop That Train – Clint Eastwood & General Saint; Hello Darling – Tippa Irie and many others. ~ Groove Attack

ANDRE SOLOMKO - LE POLAROID

Andre Solomko is an artist who was born a few decades late – the kind of talent who would have been right at home in the CTI scene of the 70s – where he no doubt would have risen to great fame for his music! Yet we're also more than happy to have him working strong here in the 21st Century – where he's got a great ear for the kind of laidback electric jazz groove that few folks make this well anymore – a sort of spacious take on keyboard funk that features lots of Fender Rhodes, mellotron, clavichord, and other vintage instruments – mixed with some sweet sax solos from the leader, plus some occasional vocals from a few different female singers. There's a warm glow that pervades the whole record – like some of the best Japanese/American fusion projects of the 70s – and although the sound is tight, it's also laidback and never commercial at all. A real treasure through and through – with tracks that include "Teasing You", "Living In A Paper House", "Parafraser", "Last Day At Home/Melancolie", "Le Polaroid", and "Afternoon With Stiina". (Nice heavy vinyl and cover!)  ~ Dusty Groove

LEAH WILLIAMS - RUN ON

Run On is artist Leah Williams' second solo project. This 12-track sophomore release features her signature lush harmonies, jazz-influenced vocals, and captivating musical arrangements. The title track "Run On" features a gritty vocal with a message that encourages and uplifts. Other stellar tracks includes the smooth jazz homage to George Benson "Come Away," the sultry "Tall & Fine" featuring poet Brooke Campbell, and the haunting fantasy "Fairy Tales", plus “I Am Free,” “Spend My Life,” “To All My Sistas,” “All That I Want,” “Not In Service,” I Wonder,” “My Shining Hour,” and “What Is Love (Interlude).” ~ CD Universe

New Releases: Juliette Greco - Greco Chante Brel; Chuck Webb - No Smoke No Mirrors, Rod Tate - Love

JULIETTE GRECO - GRECO CHANTE BREL

One of the most striking albums we've ever heard from legendary French singer Juliette Greco – a beautiful tribute to the music of Jacques Brel, sung in a style that's quite different from her earlier work! Greco is quite advanced in years, and almost speaks more than sings – but with a commanding presence that brings a very different flavor to Brel's famous compositions – almost giving them the spirit of a small piece of dramatic work – which, in some way, was the original intention of the tunes! Backings are never overdone, and Greco's voice is stunningly upfront in the mix – really dominating the whole thing as she moves through songs that include "Amsterdam", "Ces Gens-La", "Ne Me Quitte Pas", "J'Arrive", "J'Amais", "Fils De", "Le Tango Funebre", and "Bruxelles". ~ Dusty Groove

CHUCK WEBB - NO SMOKE NO MIRRORS

"No Smoke No Mirrors" is Chuck Webb’s first release as a solo artist! The music is a mixture of acoustic jazz, electric funk and R&B which represents the influences that have shaped his highly sought after bass style. Chuck has played with Ramsey Lewis, Stanley Turrentine, Joe Sample, Freddie Hubbard, McCoy Tyner, Willie Pickens, Henry Johnson, Phil Upchurch, Danny Barber, Ken Chaney, The Gerald Wilson Big Band, Dee Alexander, Barbara Morrison, Bobby Shiff & many others...  Tracks include Song for Bilbao; Momo's Groove; Armando's Rhumba; Beatrice; Swank; Goodbye Pork Pie Hat; Epistrophy; Living For The City; and Get On the Good Foot (Pts 1, 2, & 3). ~ CD Universe

ROD TATE  - LOVE

Love is Rod Tate's latest musical offering. This CD is Rod's Smooth/Contemporary Jazz musical interpretation of the various joyous aspects of Love. From the moment of seeing the person for the first time and the journey to falling in love. Is the music all slow ? No. Because love has moments of romance, heart pounding, laughter, joy, excitement, happiness, etc. Love is a milestone CD release for Rod. It has been 20 years since his first CD release, "A Taste Of Eternity" in 1994. We invite you to get your copy of "Love" today. Hopefully this CD will bring up great memories in your love relationship and that the music will be the backdrop as you create more great love moments and memories. ~ CD Universe

New Releases: Loleatta Holloway - Dreamin': The Loleatta Holloway Anthology 1976-1982; Willie Jones - Fire In My Soul; Bobby Hutcherson - Total Eclipse

LOLEATTA HOLLOWAY - DREAMIN': THE LOLEATTA HOLLOWAY ANTHOLOGY 1976-1982

A great range of work from the legendary Loleatta Holloway – a singer who started out in southern soul, then brought a deep soul style to the disco dancefloor – where she was easily one of the most righteous vocalists of the time! The package does a great job of showing Loleatta at all her depth – and not only includes key club hits, but also some wicked mellower tracks that we almost love even more – plus projects with other artists like Salsoul Orchestra, Dan Hartman, Bunny Sigler, and Bobby Womack! The 2CD set features 23 tracks in all – including "I'm In Love", "Dreamin", "Worn Out Broken Heart", "Run Away", "Only You", "I May Not Be There When You Want Me (12" version)", "Vertigo/Relight My Fire", "That's What You Said (12" mix)", "Baby It's You", "Seconds (12" mix)", "Hit & Run (12" rmx)", "Short End Of The Stick", "Love Sensation (12" version", "I've Been Loving You Too Long", and "Two Became A Crowd". ~ Dusty Groove

WILLIE JONES - FIRE IN MY SOUL

New recordings from Willie Jones – a singer who's been working in soul music since the late 50s – first as a key member of The Royal Jokers, and more recently as a solo artist on his own! Willie got his start in Detroit, but the style here is more deep soul overall – done with a southern tinge that recalls some of the recent revival work by Bettye LaVette or Mavis Staples. Bettye actually makes a guest appearance here – singing with Willie on the track "Without Redemption" – and the set also features guest work from Steve Cropper and Black Francis – on titles that include "Fire In My Soul", "Don't Mean A Damn", "Rollin & Smokin", "Troubled World", "In The Wind", "Reasons", and "The Road From Rags To Riches". ~ Dusty Groove

BOBBY HUTCHERSON - TOTAL ECLIPSE (75TH ANNIVERSARY EDITION)

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian". ~ Dusty Groove

The Sweet Soul Music Series Featuring Top Tracks From 1972, 1973, 1974, and 1975

A massive batch of music – and almost as worth it for the overall package as it is for the great tunes inside! Like other volumes in this series, this set is beautifully put together – not only stuffed with an amazing array of classic soul from a key year in the 70s – but also done with a full color booklet that's over 60 pages long – filled with track-by-track notes on the tunes, and filled with great photos, images, and historical data – an overall package put together by liner note giant Bill Dahl! The whole thing's a perfect soul music time capsule – with the depth of production that we've always loved in Bear Family releases for other genres. 25 tracks that include "Starting All Over Again" by Mel & Tim, "I Gotcha" by Joe Tex, "Hearsay" by The Soul Children, "I'll Take You There" by The Staple Singers, "Rip Off" by Laura Lee, "Outa Space" by Billy Preston, "In The Rain" by The Dramatics, "Gimme Some More" by The JBs, "Think" by Lyn Collins, "Too Late To Turn Back Now" by Cornelius Brothers & Sister Rose, "Trying To Live My Life Without You" by Otis Clay, "Use Me" by Bill Withers, "Baby Sitter" by Betty Wright, "Power Of Lover" by Joe Simon, "Still In Love With You" by Al Green, and "Woman's Gotta Have It" by Bobby Womack. 

A massive batch of music – and almost as worth it for the overall package as it is for the great tunes inside! Like other volumes in this series, this set is beautifully put together – not only stuffed with an amazing array of classic soul from a key year in the 70s – but also done with a full color booklet that's over 60 pages long – filled with track-by-track notes on the tunes, and filled with great photos, images, and historical data – an overall package put together by liner note giant Bill Dahl! The whole thing's a perfect soul music time capsule – with the depth of production that we've always loved in Bear Family releases for other genres. 23 tracks that include "I Can't Stand The Rain" by Ann Peebles, "Could It Be I'm Falling In Love" by The Spinners, "Why Can't We Live Together" by Timmy Thomas, "The Message" by Cymande, "Pillow Talk" by Sylvia, "Ain't No Woman" by The Four Tops, "Love Train" by The O'Jays, "Cheaper To Keep Her" by Johnnie Taylor, "Hurts So Good" by Mille Jackson, "Let's Get It On" by Marvin Gaye, "I Was Checkin Out She Was Checkin In" by Don Covay, and "Back For A Taste Of Your Love" by Syl Johnson.  

A massive batch of music – and almost as worth it for the overall package as it is for the great tunes inside! Like other volumes in this series, this set is beautifully put together – not only stuffed with an amazing array of classic soul from a key year in the 70s – but also done with a full color booklet that's over 60 pages long – filled with track-by-track notes on the tunes, and filled with great photos, images, and historical data – an overall package put together by liner note giant Bill Dahl! The whole thing's a perfect soul music time capsule – with the depth of production that we've always loved in Bear Family releases for other genres. 23 tracks that include "Boogie Down" by Eddie Kendricks, "You Little Trustmaker" by The Tymes, "I Wouldn't Treat A Dog" by Bobby Bland, "Hang On In There Baby" by Johnny Bristol, "Mighty Mighty" by Earth Wind & Fire, "Sideshow" by Blue Magic, "The Payback (part 1)" by James Brown, "Dancing Machine" by Jackson 5, "Be Thankful For What You Got" by William De Vaughn, "Woman To Woman" by Shirley Brown, "Everlasting Love" by Carl Carlton, "As Long As He Takes Care Of Home" by Candi Staton, "Fire" by Ohio Players, and "Lookin For A Love" by Bobby Womack.  

A massive batch of music – and almost as worth it for the overall package as it is for the great tunes inside! Like other volumes in this series, this set is beautifully put together – not only stuffed with an amazing array of classic soul from a key year in the 70s – but also done with a full color booklet that's over 60 pages long – filled with track-by-track notes on the tunes, and filled with great photos, images, and historical data – an overall package put together by liner note giant Bill Dahl! The whole thing's a perfect soul music time capsule – with the depth of production that we've always loved in Bear Family releases for other genres. 24 tracks that include "Lady Marmalade" by Labelle, "Shackin Up" by Barbara Mason, "This Will Be" by Natalie Cole, "Rockin Chair" by Gwen McCrae, "Love Rollercoaster" by Ohio Players, "Fight The Power (part 1)" by Isley Brothers, "Boogie Fever" by The Sylvers, "Hold Back The Night" by The Trammps, "Sweet Thing" by Rufus, "Love Machine (part 1)" by The Miracles, and "It Only Takes A Minute" by Tavares.  

~ Dusty Groove

Jazz-Flamenco Vocalist and Composer Rebeca Vallejo Releases Azucar, Canela

Madrid born vocalist and composer Rebeca Vallejo is a most versatile and innovative performer. Known for combining her ancestral Flamenco roots, her deep love and understanding of Brazilian music, with the language of Jazz, Rebeca Vallejo deftly weaves all these elements into a sound that is truly unique. Equal parts nomad and musician, Rebeca Vallejo’s life has led her across several continents and infused her music with an awareness and understanding of a multitude of cultures. Born into a family of singers in Madrid, Spain, Rebeca was immediately immersed in the rich musical language of Flamenco, learning at the feet of her grandfather, himself a Flamenco singer.

Beginning her public performances at the age of four, the musical journey that started in an urban neighborhood of Madrid eventually took Ms. Vallejo to Great Britain, where she developed a deep passion for Jazz. Arriving in New York in 2000, Rebeca began collaborating and performing with the most sought after musicians of the Latin-Jazz scene. Through this exposure, she uncovered the emotional beauty and rhythmic complexity of Brazilian music. It was there that she discovered the third corner of a musical triangle that, together with Jazz and Flamenco, would shape her musical foundation. In addition to being an acclaimed performer, Rebeca Vallejo is the creator and bandleader of the musical projects EuroLatinJazz and EuroLatinFunk, an accomplished composer/Jazz arranger (among her composition projects are 300 children songs written for the national franchise “The Language Workshop”) and for two years she was the main vocalist of the Flamenco Dance Company “Día Flamenco”.

Since 2012 Rebeca Vallejo has been an active performing member of the Brooklyn Conservatory Chorale. In 2009 Rebeca Vallejo was granted a scholarship to the prestigious Flamenco institution Cristina Heeren in Seville, Spain, where she focused on the study of Flamenco repertoire and Flamenco singing techniques. During the year of 2012 Rebeca Vallejo served as the director of SMINYC, a collective of musicians from Spain residing in New York, sponsored by the Spanish Cultural institution Centro Español. The mission statement of SMINYC was to support and promote musicians from Spain in New York by producing monthly events where projects of all musical genres are showcased. Through the success of the events organized by SMINYC, Rebeca Vallejo nurtured a lasting relationship with the Spanish Embassy in Washington and Spanish Consulate in NY (which became official sponsors of all her musical presentations) as well as with the world-wide prestigious cultural institution of Instituto Cervantes Among Rebeca Vallejo’s musical accomplishments are numerous performances in renowned events (Jazz Aspen Gala accompanied by Chucho Valdes’s band, Havana, Cuba), festivals (Gentse Feesten, Gent, Belgium), and venues such as the Modern Art Museum in Salvador, BRAZIL, The Kennedy Center (Washington), Carnegie Hall (with the NY Youth Orchestra, NY), and the United States Capitol (accompanying Gospel Grammy award winners Yolanda Adams and Dorinda Clark at the “Unveiling of Sojourner Truth’s bust”).

Rebeca is currently promoting and touring her third studio album entitled “Azúcar Canela” The album is being brought to life under the direction of Grammy Award Winning producer John Seymour (Santana, U2, Dave Matthews Band). “Azúcar, Canela” develops an interestingly raw multi-cultural “concept trio” of piano–drums/percussion– voice. Accompanied by George Dulin (Kenny Werner, Chris Potter, John Scofield) at the piano, and David Silliman (Cassandra Wilson, Edmar Castañeda, Al DiMeola) playing drums/ percussion, this trio delivers a powerful and poignant live performance experience.

www.rebecavallejo.com

Origin Records to Release “The Forward (Towards Equality) Suite” by Composer & Bandleader Anthony Branker & His Octet Word Play, July 15

With a unique combination of depth and accessibility, composer and bandleader Anthony Branker is able to put forth a jazz perspective steeped in soulful optimism. "The Forward (Towards Equality) Suite," the Princeton University professor’s latest project for Origin Records, is a stylistically diverse twelve-movement work spotlighting Branker's exceptional prowess as a composer and guided by thought-provoking material meant to embody the essence of America and its people.

.I wanted this music to be reflective of our democratic spirit; our dedication to the principles of freedom and equality. (PRWEB) July 07, 2014

"The Forward (Towards Equality) Suite" is Anthony Branker’s seventh recording as a leader and sixth for Origin Records. Featuring his all-star group “Word Play,” we hear the latest from the pen of this forward-thinking composer whose work has steadily been gaining recognition worldwide. Recently, Branker was named in Down Beat magazine’s 62nd Annual Critics Poll as a "Rising Star Composer."

As a composer who takes delight in incorporating an eclectic array of styles and approaches in his recordings, Branker’s new CD features a broad range of influences – from jazz to spoken word and funk – to modal music and R&B – to African and Afro-Latin sensibilities – to freer methods of music-making.

As Branker shares, “I wanted the music for this project to be reflective of our democratic spirit; our dedication to the principles of freedom and equality; the multiplicity of cultures that have come together to comprise our country; the array of diverse influences that have shaped us; as well as our passionate, vibrant, and soulful nature.”

Anthony Branker is joined on this captivating recording by a powerhouse edition of his group "Word Play" featuring several long-time collaborators that include tenor & soprano saxophonist Ralph Bowen, pianist Jim Ridl, bassist Kenny Davis, drummer Donald Edwards, and conguero Renato Thoms as well as new additions to the collective – alto saxophonist David Binney, trombonist Conrad Herwig, and vocalist Alison Crockett. Also appearing as guests are 5th Grade students from the Martin Luther King Elementary School in Piscataway, New Jersey who provide spoken word offerings.

Branker recognizes how extraordinary it was to work with this collection of musicians: “Every member of the group is someone whose music I have greatly admired for a long time. I am absolutely blessed to have these brilliant artists involved in this project…they have infused the music with their unique sensibilities and, together, have provided an indescribable spirit!”

According to Branker, the concept for "The Forward (Towards Equality) Suite" was realized during the fall of 2012 when he was out of the country on sabbatical and watching the final weeks of the presidential election campaign unfold by way of international television news media. “During this time, I thought long and hard about what America meant to my family, who came to the United States from the West Indies in the 1950s, and what it might mean to future generations of my family…I thought about notions of democracy, freedom, justice, and equality…I thought about where we have been as a nation and what we can still aspire to be and accomplish in the name of all Americans, if we, as a people, could simply come together as one, on behalf of all…”

Branker’s new "Forward Suite" release is filled with an abundance of memorable moments, created, in no small part, by the emphasis he places on presenting lyrical melodies, infectious grooves, and passion-filled collective conversations within the ensemble. “The principle I value most as a composer is the importance of communicating and connecting with the listener in some way. In fact, I believe that melodic lyricism and rhythmic feel can be used in powerful ways to bring others into our musical world, because it is through these elements that most people come to interact with music as listeners.”

While there are far too many musical highlights on this CD to give adequate attention to in this space, several are worth noting. Composed in 2005, the Woody Shaw-John Coltrane influenced “Forgotten Peoples” is packed with imaginative solos and fiery ensemble play. This was Branker’s creative response to images he viewed of victims of Hurricane Katrina living in New Orleans stranded and huddled together waiting on rooftops above the flood waters; hoping to be rescued and wondering whether America had turned their backs on them during their time of despair.

Constructed around the rhythm of the syllables found in its title, the contagiously joyous “Equality” features vivid and dazzling improvisational performances by saxophonist Binney and pianist Ridl in a quartet setting with Davis and Edwards. “Its performance,” as Branker writes in his liner notes, “reveals the kind of communicative interaction that can take place when individuals are connected to each other by a necessary mutuality. Here, each member is viewed as an equal and what guides the creative process is an unspoken obligation to a spirit of we, which I believe is symbolic of our democratic disposition. It also illustrates what can emerge when diverse voices unite and work together.”

Special mention should also be given to “Our Dreams,” the Suite’s seventh movement on which Branker collaborated with sixteen 5th Grade students from the Martin Luther King Elementary School who shared their dreams for the future of this country and the citizens of the world. As Branker states, “It was incredible to return to the town in which I grew up to work with these remarkable young people who talked about, with hope and innocence in their voices, such pressing social issues as poverty, gun violence, hunger, racism, education, pollution, and joblessness. They also spoke of their desire to one day live in a world where the concept of peace could be experienced by all.”

Since 2004, Anthony Branker has led two jazz collectives ("Ascent" and "Word Play") and has added seven recordings to his musically rich discography as a composer. They include the Origin releases "The Forward (Towards Equality) Suite" (2014), "Uppity" (2013), "Together" (2012), "Dialogic" (2011), "Dance Music" (2010), "Blessings" (2009), and the 2006 "Spirit Songs" recording on Sons of Sound Records.

Besides the musicians found in his current Word Play ensemble, Branker’s recording projects have also featured Mark Gross, Tia Fuller, Steve Wilson, Antonio Hart, Andy Hunter, Clifford Adams, Eli Asher, Jonny King, Bryan Carrott, John Benitez, Belden Bullock, Adam Cruz, Ralph Peterson Jr., Wilby Fletcher, Kadri Voorand, and Freddie Bryant.

Branker holds an endowed chair in jazz studies and is the director of jazz studies at Princeton University, where he has taught for the past 25 years. Internationally, he has served as a visiting composer at conservatories in Denmark, Germany, and Estonia, and has had his music featured in performance in Italy, Australia, Denmark, Estonia, Finland, France, Germany, China, Russia, Lithuania, and Japan. In addition, his music has also been presented in such New York venues as the Iridium Jazz Club, Sweet Basil Jazz Club, The Five Spot, Symphony Space, and the Schomberg Center for Research in Black Culture.

Branker is very enthusiastic when he talks about "The Forward (Towards Equality) Suite" release and feels it represents some of his best work to date as a composer/bandleader. “I am so proud of this project as both a recording and as an extended composition! Yet, anyone who knows me is aware that I’ve never been fond of sitting still too long. I guess at the heart of it all is this desire to keep on exploring and discovering, to continue to use music as a means to provide commentary on life and our world, and to create interesting music with others that will hopefully resonate in some way with listeners.”

"The Forward (Towards Equality) Suite" will undoubtedly be a recording that will resonate with many because of its beauty, infectious energy, and positive messages. When composer Anthony Branker brings you into his musical world, you may never want to leave!

http://www.anthonybranker.com

https://twitter.com/AnthonyBranker

CHRIS STANDRING RELEASES NEW SINGLE "IMAGINE THAT" FROM "DON'T TALK, DANCE!" CD

Guitarist Chris Standring has released a new single and video off of his latest release Don’t Talk, Dance! entitled Imagine That.  The song  juxtaposes an infectious mid tempo groove and funky rhythm guitars with a darker lead guitar melody. Standring has always been a masterful ballad composer, and balances the high energy of most of the tunes on Don’t Talk, Dance! with a few slices of mid-tempo wistful elegance. 

The recent success of the Don't Talk, Dance! album has Chris Standring filling up his tour calendar, and we've got a partial list of what he's got booked for the next couple of months all the way into 2015.

2014 Tour Dates: 

July 10 - Atlanta, GA @ Atlanta Suite Lounge

July 17 - Laguna Beach, CA @ Festival Of Arts 
July 25 - Newport Beach, CA @  Hyatt Regency Summer Concert Series
August 8 – Philadelphia, PA @ The River Sage at Penn's Landing

September 11 – Germany @ Augsburg Jazz Festival

October 12 - Avalon, CA @ Catalina Island Jazz Festival           

December 11- Studio City, CA @ Vitello's Jazz & Supper Club

2015 Tour Dates:

January 8 - Southend, UK @ The Jazz Mix at Cliff's Pavillion           

January 9 - Soho, London, UK @ Pizza Express Jazz Club

January 10 - Soho, London, UK @ Pizza Express Jazz Club

January 10 - Soho, London, UK @ Pizza Express Jazz Club  

January 14 - Chichester, UK @ Chichester Inn

January 15 - Wavendon, UK @ Stables

January 16 - Manchester, UK @ Cinnamon Club

Chris Standring - Imagine That Video