Jeff Coffin & The Mu'tet Releases Side Up

Mutation is defined as the changing of a structure, resulting in a variant form. That is a clear reflection of saxophonist and 3-time Grammy® Award-winner Jeff Coffin's philosophy that music must continue to change and mutate in order to grow. Side Up (available November 4 on Ear Up Records), the 6th release with his critically acclaimed band Jeff Coffin & The Mu'tet, showcases the astounding range of influences Coffin has absorbed as an in-demand sideman to a "who's who" of musicians.

Having performed with Béla Fleck & the Flecktones from 1997-2010 and Dave Matthews Band since 2008, Coffin has been traveling the globe as a saxophonist, bandleader, composer and educator since the late 20th Century. He has shared the stage with musicians such as Branford Marsalis, Bob Mintzer, John Scofield, McCoy Tyner, Galactic, and Kirk Whalum, as well as a wide variety of esteemed groups such as Phish, My Morning Jacket, Van Morrison, The Dixie Chicks, Umphrey's McGee, Widespread Panic, and Lynyrd Skynyrd, among others.

Featuring 5-time Grammy® Award-winning drummer Roy 'Futureman' Wooten, electric bassist Felix Pastorius, trumpeter Bill Fanning and pianist/keyboardist Chris Walters, Jeff Coffin & The Mu'tet strive to expand their horizons, as well as their fans, with music flavored by their eclectic interests on Side Up. The compositions blend sounds from the deep wells of New Orleans Second Line, African music, Indian Ragas, Brazilian music, folk, Gypsy, and straight ahead jazz.

Coffin has assembled a world-class lineup of guests for this outing - Zakir Hussain on tabla, Herlin Riley on tambourine, Radha Botofasina on harp, Rod McGaha and Mike Haynes on trumpet, Roy Agee and Barry Green on trombone, Denis Solee and Evan Cobb on tenor saxophone, Pat Bergeson on harmonica, James DaSilva on guitar, R. Scott Bryan on congas, and Ryoko Suzuki on harmonium.

The Mu'tet's mission is to deliver music that sends shockwaves down people's spines with their fierce soloing and memorable compositions. Coffin and Fanning aim for that goal sometimes by using guitar effects on their horns, which they call 'electro-sax' and 'space trumpet.'

Side Up marks the second consecutive recording which Coffin has extensively collaborated compositionally with The Mu'tet. Notes Coffin. "A great lesson I learned from Béla Fleck is to give the musicians freedom in finding their 'voices' in the music." Following that philosophy, Coffin only gave the sidemen a skeleton of sorts, which was then worked out in rehearsals to form an entire fleshed out body of work. Coffin continues, "These are some of the finest musicians I have ever had the opportunity to play with. What they bring to the musical table is astonishing."

The members of the band have the same admiration for Coffin as well. "I've been playing alongside Jeff Coffin now for well over a decade and I can easily say, without a doubt, that I would not be the person or musician I am today if it wasn't for that invitation to join The Mu'tet," reflects Pastorius who is also currently a member of the acclaimed Yellowjackets. "For years now, Jeff has been a constant reminder of dedication and hard work, and I believe it is no more apparent than in his sound and his music."

Upcoming Jeff Coffin & The Mu'tet Performances:

November 19 - 22 / Jazz at the Bistro / St. Louis, MO

January 16, 2015 / Jazz Arts Group - Lincoln Theatre / Columbus, OH

www.JeffCoffin.com

NEW RELEASES: PETE RUGOLO AND HIS ORCHESTRA – BEHIND BRIGITTE BARDOT; JUKEBOX MAMBO VOLUME 2: THE ESSENTIAL DEAN MARTIN

PETE RUGOLO AND HIS ORCHESTRA – BEHIND BRIGITTE BARDOT

A very cool record! The album's sort of an American tribute to the emerging French sex goddess Brigitte Bardot – one that features a gatefold cover with a wraparound photo of Brigitte, and some nice images on the inside. Music on the set is by Pete Rugolo – the master arranger who'd worked with June Christy, Stan Kenton, and others – and although Bardot doesn't sing or even make an appearance on the set, Pete does more than enough of a good job of conjuring up her presence with a good selection of jazzy tunes. Players include Pete Candoli and Jack Sheldon on trumpets, Frank Rosolino on trombone, Paul Horn and Bud Shank on reeds, and Laurindo Almeida on guitar. Gloria Wood sings on one track – and titles include "Arsenic Blues", "Paris BB", "Jeff's Blues", "Mambo Bardot", "A T'Aimer", and "The Night Heaven Fell". ~ Dusty Groove

JUKEBOX MAMBO VOLUME 2: AFRO-LATIN ACCENTS IN RHYTHM & BLUES (VARIOUS ARTISTS)

ong awaited follow up to the original game-changing Jukebox Mambo set of sweltering rumba accented Rhythm & Blues. Two years in the making, this sequel ploughs deeper still into the revolutionary '40s and '50s Afro-American musical canon, pulling together another combustible collection of lascivious Latin-edged blues exotica. Issued with extensive biographical notes and exclusive photographs on CD and deluxe old style 2LP paste-on gatefold (with A3 size show poster inside), Jukebox Mambo Vol. 2 is likely to be as influential in setting tastes as its predecessor. As with the first volume, this edition will also be released on an ultra limited, lavishly produced 1940s style 6 x 10" album set which boasts four exclusive extra tracks and expanded notes.

DEAN MARTIN – THE ESSENTIAL DEAN MARTIN

Some artists transcend the boundaries of critical examination and must be judged solely on their own terms. Dean Martin was in that rare category of artists whose uniqueness wholly set him apart from his contemporaries. Timeless, it's called. The 40 classic tracks on The Essential Dean Martin showcase the singular artistry that made him the essence of effortless cool. Inclides: That’s Amore, Sway, Memories Are Made Of This, Innamorata, Volare (Nel Blu Dipinto Di Blu), From The Bottom Of My Heart (Dammi, Dammi, Dammi), Senza Fine, Tik-A-Tee, Tik-A-Tay, Who’s Got The Action?, Baby-O, C’est Si Bon, Corrine, Corrina, Face In The Crowd, La Giostra (The Merry-Go-Round), Everybody Loves Somebody, The Door Is Still Open To My Heart, Every Minute, Every Hour, You’re Nobody ‘Til Somebody Loves You, You’ll Always Be The One I Love, Send Me The Pillow You Dream On, (Remember Me) I’m The One Who Loves You, Houston, Bumming Around, I Will, Somewhere There’s A Someone, Come Running Back, A Million And One, Nobody’s Baby Again, It Just Happened That Way, (Open Up The Door) Let The Good Times In, Lay Some Happiness On Me, Little Ole Wine Drinker, Me, In The Chapel In The Moonlight, I Can’t Help Remembering You, In The Misty Moonlight, You’ve Still Got A Place In My Heart, A Place In The Shade, I Take A Lot Of Pride In What I Am, Drinkin’ Champagne, and The Things We Did Last Summer.

NEW RELEASES: DON CHERRY / DOLLAR BRAND / CARLOS WARD – THIRD WORLD-UNDERGROUND; CLINT HOUSTON – WATERSHIP DOWN; EDDIE GOMEZ - DOWN STRETCH

DON CHERRY / DOLLAR BRAND / CARLOS WARD – THIRD WORLD-UNDERGROUND

A stunning little session – and every bit as wonderful as you'd expect from a lineup that includes Dollar Brand, Don Cherry, and Carlos Ward! The three players work together here in open, spiritual styles – with really long-flowing lines from Brand on piano, in a more modal style that's different from some of his other records – balanced out with bold trumpet lines from Cherry, and soaring alto sax from Ward – a player who doesn't always get the chance to step out this much! All three players vocalize a bit, but more in some sort of rootsy way that echoes the music – and the album's a really unique outing from all three players – and a set we'd rank with their best from the time. Titles include "Don's Song", "Cherry", "Bra Joe From Kilimanjaro", "Swazi", and "Jabulani Easter Joy". (SHM-CD pressing! Part of the Deep Jazz Reality series.)  ~, Dusty Groove

CLINT HOUSTON – WATERSHIP DOWN

One of the rare few albums cut as a leader by bassist Clint Houston – a player who always worked with very hip collections of musicians, including the lineup for this unusual date! The album's got a wonderfully warm, soulful vibe – a mode that's never polished or commercial, but which has Houston expressing himself in this very personal sort of way – in the company of players who include Onaje Allen Gumbs on piano and moog, Joanne Brackeen on piano, John Abercrombie on guitar, and Al Foster on drums – playing with even more sensitivity than usual. Abercrombie's especially great – and his chromatic notes have a way of ringing out with a slightly sprightly feel that illuminates some of Clint's deeper tones on bass – a balance that's also offset well by the acoustic piano. Titles include "Escape Velocity", "Watership Down", "Lifetrip", "Con Alma", and "Afternoon Moods". (SHM-CD pressing! Part of the Deep Jazz Reality series.) ~ Dusty Groove

EDDIE GOMEZ – DOWN STRETCH

Bassist Eddie Gomez hardly ever has a down stretch – especially given all the creative combinations he's worked in over the years – and this rare 70s album from Japan is more of a high point than anything "down" at all! The record's a trio date, with killer work on Fender Rhodes and piano from Takehiro Honda – who's easily one of our favorite Japanese pianists of the time, and a musician who really brings a different sort of energy to the record than some of Gomez's other sessions with piano players, especially Bill Evans. Drummer Elliot Zigmund is also nicely creative, too – really working the kit in unusual ways, and often staying back a bit so that Eddie can get some wonderful space in the lead, especially at the start of some of the songs. The whole thing's great – an overlooked moment of genius from Gomez – and titles include "Caprice", "Half Life", "Blues E", "Dream Passage", and "Down Stretch". (SHM-CD pressing! Part of the Deep Jazz Reality series.)  ~ Dusty Groove

Complete Pop Instrumental Hits of 1959 - Every U.S. Charted Single

Complete 60s Records has  collected every U.S. pop instrumental hit of the 1960s produced three spectacular box sets, but when they found it impossible to go forward past 1962, collectors demanded they turn back the clock to 1959, another great year for instrumentals. So now, on two jam-packed CDs, they have collected every charting U.S. pop hit from 1959 in sparkling fidelity, all 66 of them! Nearly a third of these (21) are CD debuts, tracks that appear on CD for the first time ever.

Even more exciting, Complete Pop Instrumental Hits of 1959 sports EIGHT iconic 1959 songs in real STEREO for the first time. These aren't just minor hits, but the biggest hits of the year in spectacular new STEREO that will knock your socks off. Check out the sound samples available elsewhere (search for CD Title + Listen). You won't believe your ears!

Starting with two #1 hits, "Sleep Walk" by Santo & Johnny and "The Happy Organ" by Dave "Baby" Cortez, they have alsoincluded the original single versions (in STEREO) of "Red River Rock" by Johnny & The Hurricanes, "Guitar Boogie Shuffle" by The Virtues, "Petite Fleur" by Chris Barber and "Wild Weekend" by The Rockin' Rebels (recorded in 1959)...plus even more. There haven't been this many new Stereo debuts of major hits from this long ago on a single collection EVER!

But beyond the new stereo, there's real depth here: these 66 songs offer a snapshot of 1950s instrumental music: rock & roll, orchestral pop, exotica, big bands, jazz, novelties, and more. Some of these singles spotlight specific instruments: guitar, clarinet, organ, trumpet, drums, or steel guitar. Others combine styles in surprising ways, like the rockin' strings of Franck Pourcel and Enoch Light, or the R&B/swing fusion of Ernie Fields' "In The Mood."

Many of the biggest names of '50s music are included: Duane Eddy, Billy Vaughn, Chet Atkins, and Ray Anthony, as well as many one-hit wonders like the (original) Intruders and the Megatrons.

The research team at Complete 60s combed the vaults for the best possible sources for these wordless wonders, making sure to always locate the original hit versions and compare them to the original 45rpm singles for authenticity. Then, two top sound engineers carefully remastered the original recordings until the twangy guitars, pounding drums, and soaring strings practically leap out of your speakers. You'll be speechless! Thank goodness, however, writer Greg Adams wasn't at a loss for words. His detailed 28-page liner notes include biographies of all 48 artists, plus release notes and chart information for every track.

The same creative folks who lovingly compile those great Eric CDs in the States produced this set for Complete 60s, so you know there's the same commitment to high-quality sound and attention to detail missing from so many oldies collections. Why settle for less? Why take chances with risky, off-brand, mediocre MP3 downloads of dubious origin?

This is a historic, must-have collection that no true instrumental enthusiast can be without. Simply put, if you love instrumentals of any kind, Complete Pop Instrumental Hits of 1959 is the ginchiest!

NEW RELEASES: DONNY OSMOND - THE SOUNDTRACK OF MY LIFE; HENRY MANCINI - THE CLASSIC SOUNDTRACK COLLECTION; LOURDES DUQUE BARON - TABLE FOR TWO

DONNY OSMOND - THE SOUNDTRACK OF MY LIFE

Donny Osmond is about to make music history: this year he celebrates 50 years in show business. To mark the occasion, Verve is delighted to announce the release of Donny s 60th album. Soundtrack Of My Life, is just that: a summary of Donny s extraordinary life so far. Each track tells a story, tracing the high and low points of both his professional and personal life from becoming a child star to achieving multiple No.1s, selling over 100 million records, and becoming a worldwide heartthrob. The album opens with the first record Donny ever bought, at the age of 11: My Cherie Amour, the 1969 soul classic by Stevie Wonder, with that famous harmonica line once more played by Stevie himself! This is followed by the No.1 hit single, Ben, originally written for Donny by Don Black and Walter Scharf. in the early 1970s. As Donny was away on tour at the time and unavailable for recording, the song was offered instead to his peer and good friend, Michael Jackson. The track went on to win a Golden Globe for Best Song. Here, for the first time, Donny finally records what was meant to be his song. Other significant tracks to Donny include Peter Gabriel s Don t Give Up poignant in that it was the song Donny s wife would play him as encouragement and Elton John s Your Song, which Elton was singing at a concert the moment Donny realized he would marry his wife (even though she was his brother s girlfriend at the time!). Here, as with all the tracks on this brand new album, Donny has been respectful of the original versions, yet brings his own magic touch to some of the best pop songs of all time. Together with three original numbers, we have nothing less than Donny s autobiography in music. ~ Amazon

HENRY MANCINI - THE CLASSIC SOUNDTRACK COLLECTION

In a career that spanned nearly half a century, Henry Mancini (1924-1994) became synonymous with catchy, jazzy, romantic music for film and television soundtracks. The Classic Soundtrack Collection, showcases all of Mancini s soundtrack albums for the RCA, Epic and Columbia labels, including several of his most iconic and beloved scores.  The collection features 18 original Mancini soundtrack albums on nine discs plus rare bonus tracks, including a never-before-heard version of Nothing To Lose from writer-director Blake Edwards 1968 comedy The Party performed by Julie Andrews. Taken together, the albums in this collection underline the enduring popularity of Henry Mancini and his unique ability to create movie music that pop audiences could also embrace. Albums listing: The Pink Panther (1964); The Return Of The Pink Panther (1975); Breakfast At Tiffany’s (1961); Charade (1963); Hatari! (1962); Oklahoma Crude  (1973); What Did You Do In The War, Daddy? (1966)l High Time (1960); Experiment In Terror (1962); Darling Lili (1970); Gunn (1967); Who Is Killing The Great Chefs Of Europe? (1978);  Two For The Road (1967); Arabesque (1966); The Great Race (1965); Me, Natalie (1969); The Party (1968); Visions Of Eight (1973). ~ Amazon

LOURDES DUQUE BARON - TABLE FOR TWO

Lourdes Duque Baron’s exquisite vocals, coupled with the composing eloquence of multi-platinum music producer, Andrew Lane create a playful sophistication akin to those revered by 50s and 60s jazz standards. Teaming up again with Lane, who also produced Baron’s last album and who also frequently collaborates with jazz music royalty Ron Ellington Shy, Baron winds up with a whimsical yet chic single that recalls the passionate late-night European sophistication of traditional jazz mixed with a contemporary sound. “Table For Two” is an original song Lane wrote specifically for Baron. He chose this song for Baron because of “her worldliness and her deep vocal sound.” Lane also composed the arrangement. The song is playful and paints a picture of warm intimacy and romance. Seldom has music seen a more versatile, talented, and dynamic performer than Lourdes Duque Baron as she proves with her vocal range here. Baron’s look and sound has been referred to as ‘timeless.’ Her music transports the audience back to those days of smoky, dim lounges where men in debonair suits would hover around women in glistening evening attire, and the clinging of martini glasses was endless. Without a doubt, the Rat Pack era is responsible for some very fine jazz standards.

Mole's Mark Aanderud & Hernan Hecht Present a New Take On the Piano Trio with their Highly Evocative 'RGB'

Freedom, experimentation and telepathy are the watch words for RGB, the latest transcendent collaboration of pianist-composer Mark Aanderud and drummer Hernan Hecht under their collective name of Molé. Joining the two longstanding partners on their second RareNoise outing is the inventive Japanese bassist and longtime New York resident Stomu Takeishi, whose highly expressive and adventurous low-end presence has graced albums by such forward-thinking, cutting-edge artists as saxophonist Henry Threadgill, cellist Erik Friedlander, trumpeter Cuong Vu, saxophonist Patrick Zimmerli, pianists Myra Melford and Satoko Fuji. Together these three refined, deep-listening musicians strike a rare accord on pieces that range from meditative motifs to rhapsodic crescendos, from spacious, ECM-ish soundscapes to turbulent, collective jams. 

It was nearly ten years ago that Mexican-born pianist-composer Mark Aanderud (now living in Prague) began playing with Argentinian drummer Hernan Hecht. Their chemistry was immediate and natural, eventually leading to the formation of Molé, a vehicle to explore their common interests. As Aanderud explained, "Hernan and I do have certain unspoken philosophies. We love sound, groove, freedom and songs. The first things we did were all related to free music, with electronic elements or not, but always with the idea of creating songs or forms in the moment. We do have some incredible magic going on, as much as we can play concerts or record without ever speaking of music, and never repeating ideas or stop developing. This actually hasn't changed over the years." 

After exploring their tight duet chemistry together on gigs, Aanderud and Hecht began inviting other musicians into their inner circle to see how it affected their music. "In the process of creation, we always considered the possibility of working with more people to achieve different characters, sounds and experience new artistic possibilities," explained Hecht. To date, those musicians who have stepped into Molé's inner circle have included American saxophonist Tim Berne, Israeli saxophonist Eli Degibri, Austrian saxophonist Edith Lettner, American guitarists Jonathan Kreisberg and Mike Moreno, Mexican bassists Aaron Cruz and Marco Renteria. Mole's hard-hitting 2012 RareNoiseRecords debut, What's the Meaning?, featured Mexican upright bassist (and Aanderud's boyhood friend) Jorge "Luri" Molina and New York guitarist David Gilmore, whose impressive list of credits includes tours and recordings with the likes of Wayne Shorter, Trilok Gurtu, Don Byron and Steve Coleman's Five Elements. 

On RGB, with bassist Takeishi affecting the overall vibe with his intuitive genius, things opened up and became more conversational and telepathic in the process. "After What's the Meaning?, it became very clear that the music we should continue doing had to go back to what we always did, and that was to experiment," says Molé's principal composer Aanderud. "And we always had Stomu in mind. We always loved his sound, his approach and concepts. He is unique artist. We couldn't think of anybody better for this, so we just decided to send him an email and invite him to do a tour and record. Once he said yes I started composing all the music thinking of the three of us. I wanted to do music that would be as open as possible but that would provide a rhythmic and structural base to start with. As you can imagine, Stomu absorbed and exceeded the music." 

From the meditative soundscape of "Sub-All" to the frantic funk of "Reasons," fueled by Hecht's slamming backbeats and Aanderud's hyper piano solo, to the suite-like "Trichromatic," which travels from an evocative rubato into to a free section in the middle which resolves to a lyrical theme, this edition of Molé is perhaps the most flexible and experimental of all. "Winip" opens with a hymn-like refrain before heading into a heavy-duty Bad Plus-like theme underscored by Hecht's big-as-a-house backbeats. "Freelance" has Takeishi pushing the envelope with effects before soloing over a drum 'n' bass groove by Hecht while "Rodriguez" is Molé's unique take on the classic Clyde Stubblefield-Jabo Starks funky drummer groove from classic James Brown bands of the '60s. The extremely spacious "T-Overlap" leads into some provocative collective improv while "Ine Sest" opens on a classical not with a piano etude by Aanderud before evolving into a whimsically tuneful number underscored by Hecht's supple brushwork. And the closing three-way conversation on "Wix," paced by an exacting and infectious 6/8 over 5/8 groove, is perhaps the best example of collective improvisation on the record. 

"I had written eight songs for this record," says Aanderud. "Some, like 'Winip,' 'Reasons,' 'Wix' and 'Rodriguez', had a lot of notes. So I thought I had to balance it and add some songs that would be easier and would provide an atmosphere for creating something. So I wrote other four songs -- 'Sub-All,' 'Ine Sest,' 'Freelance' and a fourth one that became the ending part of 'Winip.' But for the recording I thought we should start playing something free, and that was 'T-Overlap.' I liked it so much that I proposed to do another free improvisation which became 'Trichromatic.' After that we just went on to do what was planned. There is a lot of experimenting in the music, but there is very precise stuff. There are no chords on this music. There is no structure for improvisation either. Some ideas are very chromatic with hard rhythms and others are just the simplest I could think of. But there was always a direction towards improvisation." 

Aanderud is also quick to point out, "I had some clear influences for writing this music. Tim Berne was one, Paul Motian another. I was also inspired by other bands like Aphex Twin, Massive Attack, Lamb or Sigur Ros and, of course, Cuong Vu, Peabody and many other bands that may be of inspiration." While eight of the titles on RGB were composed by Aanderud, his kindred spirit Hecht is a key component in the band's overall sound. "In this Molé project, Mark is the composer and I create opportunities for the music to thrive," says the inventive and flexible drummer. "I'm involved in the creative process of interpreting the songs. In this environment, our aesthetics work together." Adds Hecht, "I think we are part of a worldwide movement, a generational shift that has fewer stylistic prejudices. I am interested in music that is broad, not determined by a style. I like breadth of concepts and the possibility of being in infinite change, refreshing me, trying to find freedom for the child in me and permit manifestations to occur in music; a deep love of life and nature, a freshness to grow and advance in years, sure to shape a better person and hopefully help make this world a better place for everyone." 

In the company of the extraordinarily sensitive and expressive bassist Stomu Takeishi, Aanderud and Hecht make some startling sonic discoveries together on RGB.

 

TRACKS

1. Sub-All

2. Reasons

3. Trichromatic

4. Winip

5. Freelance

6. Rodriguez

7. T. Overlap

8. Ine Sest

9. Wix

NEW RELEASES: MARIANNE FAITHFULL - GIVE MY LOVE TO LONDON; JIMMY CHAMBERS - YOU CAN'T FIGHT IT; LARRY CARLTON – FOUR HANDS & A HEART CHRISTMAS

MARIANNE FAITHFULL - GIVE MY LOVE TO LONDON

Legendary British singer Marianne Faithfull will celebrate her storied career's 50th anniversary later this fall with the release of Give My Love to London. Produced by Rob Ellis and Dimitri Tikovoi and mixed by Flood, it features an impressive roll call of studio collaborators including Adrian Utley (Portishead), Brian Eno, Ed Harcourt, Warren Ellis and Jim Sclavunos (The Bad Seeds). Songwriting contributors and co-conspirators - with Faithfull penning the majority of the lyrics - include Nick Cave, Roger Waters, Steve Earle, Tom McRae and Anna Calvi. While featuring a stellar supporting cast, it is Marianne Faithfulls voice which proves the main attraction. These are songs sung from the heart and soul and from the perspective of someone who has seen and done it all. Over a fifty year career, she has proved utterly fearless in her music and everything else besides. Five decades on, Marianne Faithfull remains a unique and compelling musical figure: adventurous in her life, adventurous in her art. ~ Amazon

JIMMY CHAMBERS - YOU CAN'T FIGHT IT

"You Can't Fight It" was written for John Carpenter's seminal "Assault On Precinct 13", but only made it onto the Italian release of the film, "Distretto 13", and was previously available only as a very limited 7" promo! 

Trinidadian Jimmy Chambers rose to fame in the early 90s in Londonbeat, achieving number 1 success in the U.S. Billboard 100 and Hot Dance Club back in 1991 with "I've Thinking About You". 15 years prior however he was commissioned to perform "You Can't Fight It", masterminded by British 60's legend Kenny Lynch. FBNM favourite Riccio has also provided us with a superbly authentic re-edit, only adding a little quantisation, fattening, stretch and sparkle to accompany the original faithfully and help translate this lost gem onto today's dance floors! This officially licensed premium 10" reissue features the original version carefully restored and remastered by Andreas "Lupo" Lubich (CALYX Berlin), in a vinyl only package featuring promotional art from the film, a digital download code and lyrics insert!

LARRY CARLTON – FOUR HANDS & A HEART CHRISTMAS

Guitarist Larry Carlton has a new album just in time for the holidays entitled Fou Hands & A Heart. Using the same technique and style from the Grammy nominated “Four Hands & A Heart Volume One” Larry Carlton creates a unique composition of classic Holiday songs that will put you in the Christmas spirit. Tracklisting includes: Have Yourself A Merry Little Christmas; Oh Come, Oh Come, Emmanuel (2014); The Christmas Song; Angels We Have Heard On High (2014); Silent Night (2014); Away In A Manger (2014); The First Noel (2014); Rudolph The Red-Nosed Reindeer; and We Three Kings (2014).

Saxophonist Rudresh Mahanthappa to release new CD "Bird Calls"

Through a series of critically acclaimed releases over the past decade, saxophonist and composer Rudresh Mahanthappa has explored the music of his South Indian heritage and translated it through the vocabulary of his own distinctive approach to modern jazz. On his latest release Bird Calls, available February 10, 2015 on ACT, Mahanthappa trains his anthropological imagination on an equally important cultural influence: the music of Charlie Parker. With a stellar quintet of forward-thinking musicians, which includes some long-time collaborators as well as 20-year-old trumpet prodigy Adam O'Farrill, Mahanthappa offers an inspired examination of Bird's foundational influence and how it manifests itself in a decidedly 21st-century context.

"It's easy to say that Bird influenced modern music without dissecting that notion," Mahanthappa says. "If I had any agenda for this album, it was to really demonstrate that. This music says, 'Yes, Bird's influence is absolutely indelible, and here's why.' This is music that is all directly inspired by Charlie Parker, but it sounds as modern as anything today." The album is also a passion project for Mahanthappa, who counts Parker as one of his earliest and most enduring inspirations, saying, "Bird has always been a huge influence on me."

Though it pays homage to one of jazz's Founding Fathers and arrives at the outset of Charlie Parker's 95th birthday year, Bird Calls is not a tribute album in the traditional sense. There isn't a single Parker composition to be found on the album, which consists entirely of new music penned by Mahanthappa for the occasion. But Bird's DNA is strongly present in every one of these pieces, each of which takes a particular Parker melody or solo as its source of inspiration. Each is then wholly reimagined and recontextualized by Mahanthappa and his quintet which, in addition to O'Farrill (son of pianist and Afro Latin Jazz Alliance founder Arturo O'Farrill), features pianist Matt Mitchell (Dave Douglas, Tim Berne), bassist François Moutin (Jean-Michel Pilc, Martial Solal), and drummer Rudy Royston (Bill Frisell, Dave Douglas).

Take the most obvious example, "Talin is Thinking," whose title is both a play on "Parker's Mood" and a loving dedication to Mahanthappa's two-year-old son. The familiar melody of "Parker's Mood" is essentially intact, but it is transformed into a more somber, serpentine piece by the removal of Bird's syncopated rhythmic approach. Less immediately recognizable but similar in approach is "Chillin'," which asks the instrumentalists to navigate melodies derived from Parker's "Relaxin' at Camarillo" both in the written material and in their solos.

"Bird's solos and heads were very advanced harmonically and rhythmically," Mahanthappa says. "They're as cutting edge as anything today, and I always feel like we take that for granted as jazz musicians. We know the melody to 'Donna Lee' and we know these classic solos like we know 'Mary Had a Little Lamb,' but what if we were to dig deeper? If you take an excerpt of one of his solos in isolation, it's like 21st-century classical music, with a really modern way of thinking about rhythm and melody and harmony."

"On the DL," for example, dissects the melody of Parker's classic "Donna Lee" and builds an entirely new melody on that foundation. The piece is marked by Mahanthappa's intricate melodicism and vigorous, shape-shifting rhythmic approach; he and O'Farrill weave their lines together in a spirit that wouldn't feel unfamiliar to Dizzy and Bird, even if the material itself would certainly sound startling to 1940s ears. Mahanthappa describes the even more breakneck "Both Hands" as "Bird's melody from 'Dexterity,' but with all the rests removed," and it's every bit as electrifying as that description implies.

Like countless other pieces before it, "Sure Why Not?" sets an original melody against the harmony of Parker's "Confirmation," then disguises its source further by slowing the usually brisk tempo to a tart ballad. "Maybe Later" focuses on Parker's rhythmic originality, changing the notes to the saxophonist's famed solo from "Now's the Time" while keeping the rhythm intact. "Gopuram," with its Indian raga feel, takes its name from the tower at the entrance of Hindu temples as a play on "Steeplechase" (after prayer, Hindus often circle the temple several times, akin to the circular route of the titular race). The album closes with "Man, Thanks for Coming," loosely based on "Anthropology." The CD is punctuated by a series of miniatures called "Bird Calls," solo, duo and group introductions that allow for more open explorations of the compositions' thematic material.

Charlie Parker was a key influence for Mahanthappa from the time a junior high music teacher handed him the Parker album Archetypes along with a copy of Jamey Aebersold's well-known collection of transcriptions, the Charlie Parker Omnibook. "I was blown away," he recalls. "I couldn't believe the way he was playing, gorgeous with so much charisma and flying all over the horn. I think hearing Charlie Parker was what planted the first seeds of wanting to do this for the rest of my life. It was very powerful."

Poring over the transcription book, which listed catalogue numbers for the compositions but not album titles, the young altoist noticed that nearly half of them were accompanied by the label Savoy 2201. Not long after, while searching the bins at a local chain record store, he spotted a copy of the collection Bird: Master Takes - and there, on the spine, was the magic number: Savoy 2201. He describes the moment as "like finding the Holy Grail."

Despite the stunning array of influences that have impacted his playing since that time, Parker has always remained an overweening inspiration. "If I ever feel uninspired or down I can always go back to Charlie Parker," he says. "That always makes me feel invigorated and joyful about playing jazz and playing the saxophone. I always say that what I play still sounds like Bird, just a little bit displaced. It's coming from the same language and the same foundations. I feel like I've always been playing Bird."

Hailed by the New York Times as possessing "a roving intellect and a bladelike articulation," Rudresh Mahanthappa has been awarded a Doris Duke Performing Artist Award, a Guggenheim Fellowship, a New York Foundation for the Arts Fellowship, and commissions from the Rockefeller Foundation MAP Fund, Chamber Music America and the American Composers Forum. He's also been named alto saxophonist of the year multiple times in DownBeat's International Critics Poll and by the Jazz Journalists Association. 

His projects include the multi-cultural hybrids Gamak and Samdhi; the cross-generational alto summit Apex featuring Bunky Green; trios MSG and Mauger; the quintet Dual Identity co-led with fellow altoist Steve Lehman; and Raw Materials, his long-running duo project with pianist Vijay Iyer. Mahanthappa also continues to partner with Pakistani-American guitarist Rez Abbasi and innovative percussionist Dan Weiss in the Indo-Pak Coalition, while giants in both jazz and South Indian music have recognized his success: he was enlisted by Jack DeJohnette for the legendary drummer's most recent working group, while a collaboration with the renowned Carnatic saxophonist Kadri Gopalnath resulted in Mahanthappa's critically-acclaimed 2008 CD Kinsmen (Pi).

www.rudreshm.com

REGGIE WATTS TO PERFORM AT THE BLUE NOTE JAZZ CLUB

Reggie Watts, internationally renowned vocalist, beatboxer, musician, comedian, and improvisor, amazes audiences with his unpredictable performances, which are created on-the-spot using only his formidable voice and looping pedals. Blending and blurring the lines between comedy and music with his unique lyrical style, LA Weekly calls Reggie "the most wildly inventive new talent of the past five years." 

As a solo performer, Reggie was handpicked by Conan O'Brien to open nightly on Conan's sold out North American "Prohibited From Being Funny on Television" tour. Reggie was crowned "Hot Comedian" by Rolling Stone, named SPIN Magazine's "Best New Comedian" and "Best of CMJ" 2010, and a featured profile in GQ's Man Of The Year issue 2010. Reggie released his debut comedy cd/dvd 'Why $#!+ So Crazy?' on Comedy Central Records in May 2010. He also released 'Reggie Watts Live at Third Man Records' in limited edition vinyl on Jack White's Third Man Records label. Reggie's most recent release 'A Live at Central Park' is currently available on CD/DVD through Comedy Central Records and on iTunes. 

As a musician, Reggie was invited to join LCD Soundsystem as guest onstage at the final NY shows Spring 2011. He also sang on Regina Spektor's "Dance Anthem of the 80s" and contributed two tracks to DFA Records' Spaghetti Circus. As the frontman for Seattle rock outfit Maktub, Reggie and his band released five albums. Reggie recorded original music featured on FX's Louie and performed the theme song for Kristin Schaal's Penelope Princess of Pets. In the Spring of 2011 he recorded an original session for the hugely popular Daytrotter series. 

On screen, Reggie has appeared on Conan, Late Night With Jimmy Fallon, HBO's The Yes Men Save The World, Comedy Central's Michael and Michael Have Issues, Iceland TV, UK's Funny Or Die, PBS' Electric Company, and currently stars as house band leader on the IFC original series Comedy Bang Bang with Scott Aukerman.

  

Reggie Watts appears at the Blue Note Jazz Club in New York City on Friday, November 7.

NEW RELEASES: MARTER & YONY - RHYTHM MATTER; TOM TALLITSCH - RIDE; MODERN FEELINGS

MARTER & YONY - RHYTHM MATTER

Marter & Yony is a sensational Japanese DUB duo featuring Masateru Yamauchi (Jazzy Sport, Japan) and Yoshio Kabayashi (Aokoya Afrobeat, New York). Intentionally recorded on cassette & ¼" tape to retain a unique, raw yet warm analog sound. Reminicient of Sly & Robbie, Basic Channel (German NEO DUB), yin-yang drum 'n' bass - perfect harmony of dubbed out reverb & echo...creates a blasting dub experience. Recorded in Brooklyn, NY & Nagano, Japan, mixed & mastered in NYC by Hideyuki Waki (Helio Parallax), also inludes a bonus track remix by Loop Diary (Marihito Ayabe - Helio Parallax).Produced by Marter & Yony. Level 16 (Loop Diary Remix) by Marihito Ayabe. Includes: Definition, Rhythm Surfer, Spy (2014 version), Level 13, Cosmic Dance, Electric Forest, Palm's Dream, Fung-Ku, Retrofit, Alpha Waves, High Wind, Reel To Real Dub, and Loop 16 (Loop Diary Remix). 

TOM TALLITSCH - RIDE

The album's a heck of a great ride with tenorist Tom Tallitsch – a player who's stepped in traditional tones and phrasing, but who can also push things forward with his own personal agenda as well! Tallitsch has a really old school depth to his instrument – a quality that reminds us a bit of Eric Alexander at his best, as does the flowing sense of rhythm the album gets from Art Hirahara on piano, Peter Brendler on bass, and Rudy Royston on drums – a rhythm trio that fits together very well and provides a rock-solid and soulful swing on the album's best numbers. Michael Dease blows some tight trombone throughout too, and most tunes are originals – with titles that include "Ride", "Rubbernecker", "Rain", "The Giving Tree", "El Luchador", and "Turtle" – but the album also features two surprising ballad remakes, of David Bowie's "Life On Mars" and Led Zepplin's "Ten Years Gone".  ~ Dusty Groove

MODERN FEELINGS - MODERN FEELINGS

A weird little project that supposedly has the group improvising alongside abstracted samples of Muzak and easy listening – which themselves are manipulated in really unusual ways too! In fact, those core elements seem to be so buried in the mix, that the main focus is really on the live instrumentation – which is heavy on electronics and very noisy guitar, and also features piano, bass, and drums! There's an icy, experimental feel that really lives up to the legacy of the Sahko label – although the improvisation also imbues the record with more of a human spirit too. Titles include "Searching For The Heart Of Blankness", "Regular Face Paint Tablet Associations", "Factography", and "Smooth Variations VI".  ~ Dusty Groove

New Releases: PETER BRENDLER-Outside The Line; ART HIRAHARA-Libations & Meditations; FLORIAN PELLISSIER QUINTET- Biches Bleues

PETER BRENDLER – OUTSIDE THE LINE

Bassist Peter Brendler is at the helm of the set, but we're especially enamored of the trumpet work here – played by Peter Evans on both standard and piccolo trumpet – the latter of which has this wonderfully personal sound! Almost all tunes are originals from Brendler, who turns out to be a pretty great writer – and sets up these strong showcases for Evans' trumpet lines, which seem to leap right out front even before his solos – when he's still sharing the lead with tenorist Rich Perry. Perry's pretty great, too – but there's a freshness to Evans' phrasing that's really great – bold at some minutes, with lots of offbeat twists and turns – and more fragile and honest on the piccolo trumpet tunes. Drummer Vinnie Sperrazza completes the group – and titles include "Blackout Reunion", "Drop The Mittens", "The Darkness", "Blanket Statement", "Lawn Darts", and a surprisingly nice cover of "Walk On The Wild Side".  ~ Dusty Groove

ART HIRAHARA - LIBATIONS & MEDITATIONS

The "libations" in the title here is very well-placed – as pianist Art Hirahara has a wonderfully warm, welcoming quality right from the very first note – not a sound that's cliched or commercial, but an oddly festive feel in the way he approaches the piano – a sound that draws us in right from the start, and gets us comfortable for a positive listening experience! The trio features wonderful bass from Linda Oh – sounding surprisingly great in a straighter trio date like this – plus drums from John Davis, who's also got a nicely sprightly touch. But it's Art's piano that warms us throughout – played in blocks of sound that are commanding, but never overbearing – sensitive, but never soppy – just balanced beautifully at a level that we really didn't expect. Titles are mostly original – and include "With Two Ice Cubes", "Father's Song", "Be Bim Bop", "Dead Man Posed", "The Looking Glass", "Day", and "Nerids & Naiads".  ~ Dusty Groove

FLORIAN PELLISSIER QUINTET - BICHES BLEUES

The title might sound like a Miles Davis homage, but the record is something else entirely – a really warm, wonderful set of spiritually-tinged jazz tracks – served up with a very classic vibe! The group's led by pianist Florian Pellissier, who also wrote most of the tracks on the set – and the music's got this sense of color and flow that's completely sublime – modes that are almost in the current Blue Note world of Robert Glasper or some of his contemporaries, especially in the way that Pellissier blocks out his chords – but with a vibe that's often more old school too, especially when the music takes off with the trumpet of Yann Loustalot and tenor of Christophe Panzani. Both players are great, and know how to soar at all the right moments – and titles include "J'Ai Du Rever", "Cinq Minutes Avant La Fin", "Dance Cadaverous", "Six Jours Apres La Guerre", and "Biches Bleues". ~ Dusty Groove

New Releases: NORTHERN SOUL SINGLES BOX SET; SATISFACTION GUARANTEED: MOTOWN GUYS 1961-69; BLACK AMERICA SINGS SAM COOKE

NORTHERN SOUL – THE FILM (14x7” SINGLE BOX SET)

A stunner of a soul set – put together to support the film on England's Northern Soul scene! The package is worth it for the music alone – a massive 28 tracks that stand together as one of the sweetest Northern Soul collections we've seen in years – a really great choice of material that mixes classics from the scene with the sort of newly-discovered gems that have really kept the scene going for far longer than anyone might have expected back in the 60s and 70s. All work here is of late 60s vintage, and the heavy box includes fourteen 7" singles – all in pic sleeves too – with a special 60 page book of shots from the movie too. Titles include "Back Street" by Edwin Starr, "Your Autumn Of Tomorrow" by The Crow, "I Really Love You" by The Tomangoes, "Stick By My Baby" by The Salvadors, "Come On Train" by Don Thomas, "Lonely For You Baby" by Sam Dees, "Suspicion" by The Originals, "Gone With The Wind Is My Love" by Rita & The Tiaras, "Time Will Pass You By" by Tobi Legend, "I Surrender" by Eddie Holman, "I'm Cumun Home In The Mornun" by Lou Pride, "You're Wanted & Needed" by Gwen Owens, "They'll Never Know Why" by Freddy Chavez, "Crying Over You" by Duke Browner, "Exus Trek" by Luther Ingram, "Tear Stained Face" by Don Varner, and "Seven Day Lover" by James Fountain.  ~ Dusty Groove

SATISFACTION GUARANTEED – MOTOWN GUYS 1961-69

Think you've heard everything on Motown? Think again – because this sweet little set is filled with unissued 60s recordings by some of the best male singers on the label! The collection is a soul fan's dream come true – as the music here represents some real lost corners of Motown, with sounds that span almost the full stretch of the 60s – and really show the label's greatness at work – because if most of these tracks were recorded by other labels, they would have been pushed as potential hits! There's great work from artists who were just starting out, surprising moments from big names at the time, and a few entries we wouldn't have guessed without looking at the notes – and titles include "Headin North" by Shorty Long, "Only On The Weekend" by The Headliners, "Satisfaction Is Guaranteed" by Bobby Taylor & The Vancouvers, "Safety Zone" by Marv Johnson, "Hold On To Me" by The Spinners, "Show Me You Can Dance" by The Hit Pack, "Tell Me How To Forget A True Love" by Johnny Bristol, "Mojo Hannah (studio)" by Marvin Gaye, "I Wanted To Cry" by Bruce Channel, "I'm Gonna Make It To The Top" by Freddie Gorman, "This Ole Heart" by The Quails, "The Night We Called It A Day" by The Four Tops, and "Just Your Love" by Ivy Jo.  ~ Dusty Groove

BRING IT ON HOME: BLACK AMERICA SINGS SAM COOKE

The influence of Sam Cooke runs deep in American soul music – not just because Sam was one of the first great soul singers of the 60s, but also because he had a really special way of putting over a message of hope and pride! This wonderful collection really shows that influence at its best – spun out over a host of great singles, most of which were issued in the years after Cooke's untimely early death – with music that doesn't just copycat Sam's style, but embraces his inner fire, and relights the torch for a generation to come! Some tracks are covers, some are real reworkings of Cooke tunes, and others almost stand as memorial tributes to the great one – on titles that include "Rome Wasn't Built In A Day" by Johnnie Taylor, "Shake" by Otis Redding, "Cupid" by RB Greaves, "I'm Gonna Forget About You" by Bobby Womack, "Pow You're In Love" by The Falcons, "A Change Is Gonna Come" by Brenton Wood, "The Smile" by The Simms Twins, "Ain't That Good News" by The Supremes, "Soothe Me" by Sam & Dave, "Wonderful World" by Johnny Nash, "The Sound Of My Man" by Theola Kilgore, "Bring It On Home To Me" by Eddie Floyd, and "Meet Me At The Twistin Place" by Johnnie Morisette.  ~  Dusty Groove

CHELSEA REED AND THE FAIR WEATHER FIVE RELEASE SELF-TITLED DEBUT OF SWING AND JAZZ MUSIC

In 2012, Chelsea Reed met five other musicians who shared her passion for early jazz and swing music. This meeting gave way to the formation of Chelsea Reed and the Fair Weather Five on Temple University’s campus. Shortly thereafter, they began a now-legendary series of gigs in south Philadelphia. The band immediately gained a dedicated following of swing dancers and fellow jazz enthusiasts. 

Success came quickly to Chelsea Reed and the Fair Weather Five on the heels of headlining performances at prestigious venues like the Kimmel Center and World Café Live. By the following year they found themselves playing the Iowa City Jazz Festival thanks to a grant from Temple University.

In late 2013 Bell Tower Music, Temple University’s student-run record label, signed Chelsea Reed and the Fair Weather Five and produced the sessions for what is now their debut album. Chelsea and her band celebrate the rich history of American blues and early jazz.

Chelsea Reed and the Fair Weather Five is:

Chelsea Reed: Vocals / Noah Hocker: Trumpet / Chris Oatts: Soprano/Alto Saxophone / Jake Kelberman: Guitar / Joe Plowman: Bass /Austin Wagner: Drums

TOUR DATES

11/07/14 / Chagrin Falls, OH @ Bainbridge Swing Dance

11/08/14 /  Pittsburgh, PA @ Swing City

11/14/14 / St. Davids, PA @ Eastern University 

11/15/14 / Philadelphia, PA @ Chris’ Jazz Café

11/22/14 / Newark, Delaware @ Univ Delaware, Kent Dining Hall 

12/06/14 / Philadelphia, PA @ Chris’ Jazz Café

12/13/14 / Philadelphia, PA @ Chris’ Jazz Café

12/20/14 / Philadelphia, PA @ Chris’ Jazz Café

12/31/14 / York, PA @ Valencia Ballroom

01/18/15 / Philadelphia, PA@ Rhythm Session

03/21/15 / Pottstown, PA @ SwingKat   

05/02/15 / Lancaster, PA @ Lancaster Swing Dance

TRACK LISTING

1. After You've Gone (03:56) /2. Everybody Loves My Baby (02:35) / 3. Darktown Strutters' Ball (03:05) / 4. Hold Tight, Two Tight (05:12) / 5. St. Louis Blues (03:31) / 6. Ain't Nobody's Business (05:07) / 7. Nobody Knows You When You're Down And Out (05:57) / 8. Limehouse Blues (03:38).

Mosaic Records Releases Blue Note 75th Anniversary Portfolio Featuring Seven Photo Series by Label Co-Founder Francis Wolff

Mosaic Records has made a profound impact upon the jazz marketplace with its unparalleled boxed sets, but there is another aspect of the Mosaic brand that is equally important. Mosaic Images maintains the complete collection of the art of the peerless photographer and co-founder of Blue Note Records, Francis Wolff. His brilliant imagery is as much a part of the Blue Note mystique as its wonderful music, and in conjunction with the iconic label's 75th anniversary, Mosaic has assembled the Blue Note 75th Anniversary Portfolio, a commemorative portfolio of seven of Wolff's most outstanding photographs of artists from the label's classic era. Nothing posed, everything in the purity of the moment, yet every image is so impeccably balanced that it looks like Wolff could have spent hours framing it.

Art Blakey, drum master and founder of the Jazz Messengers - one of the music's most important "universities" - is perfectly framed by cymbals, snare and toms, his face in concentrated intensity as he presses his elbow into his snare to get the ideal pitch for the drumstick poised to strike.

The ice-hot turbulence of the immortal Miles Davis is caught in a moment of relaxed focus, the model of the cool attitude that he embodied in that era as he blows smoothly into his trumpet. Horn bent forward in his familiar manner, framing J.J. Johnson in the background, and casually but elegantly dressed as always.

A young Herbie Hancock, one hand hovering over the piano keys, looks over his shoulder; his eyes, viscerally communicative behind his glasses, clearly sending a meaningful look of unspoken instruction to whoever was its recipient.

The utterly singular Thelonious Monk at his first session as a leader, sitting calmly in front of the piano, pointing to his musicians to drive home a concept; the shadow of his body and arm smears against the wall behind him and wraps itself around his chest in a gentle embrace.

Horace Silver, one of Blue Note's signature artists, bent forward over the piano, his ultra-long fingers poised to strike, wisps of hair dangling over his forehead and deep shadows making transforming his eyes into endlessly deep pools of smoldering heat.

Jimmy Smith, who redefined the B3 organ's modern jazz vernacular in a series of groundbreaking Blue Note albums, is captured at a Philadelphia club, huge hand spread like a lion's paw ready to viciously strike, his face contorted in a rage of agonized joy, screaming to match those of the audience that were undoubtedly accompanying him in the fury.

From the legendary Blue Train session, the magnificent John Coltrane preaching through his tenor in brooding profile, with Curtis Fuller in the background, his eyes framed between the neck of the tenor and his trombone's slide. The photo splendidly captures the intense depth of Trane's vision as he focuses on that miraculous place that only he could see.

Francis Wolff's genius was his innate ability to portray every aspect of the making of music - playing, discussing, looking over charts, sharing a joke, relaxing between takes - and simultaneously depicting the essence of the musicians with the clarity and depth of Yousuf Karsh. Even more remarkably, he was able to do this with an almost voyeuristic privacy that simply seemed to go unnoticed by the subjects of his artistry. The moments he froze in posterity are so sublimely real and immediate that they make the viewer feel exactly what it was to have been there at that very moment, sharing in an intimacy that is incredibly enriching and transcendent.

This limited edition portfolio (only available through December 31, 2014) comes in a fine, hand-made folio designed as a stylish brief, with a folded-over flap secured with a magnetic closure. They are constructed of archival binder board (.098), bound in smooth, black, linen-textured fabric. The lining is of acid-free paper in bright white. Each folio contains a vellum sheet commemorating Blue Note Records' 75th Anniversary with information about all 7 photographs. These 11" x 17" fine art prints with an image size of 10" x 10" are made with archival pigment inks on 100% acid-free Hahnemuhle watercolor paper with a matte finish.

  

This limited edition set is available exclusively from Mosaic Records.

DARRELL KATZ AND THE JAZZ COMPOSERS ALLIANCE ORCHESTRA - WHO DO YOU RIDE?

Arriving on the cusp of the JCAO's thirtieth anniversary year, Why Do You Ride? (October 14, Leo Records) shows off Katz's deft ability to juggle off-kilter modernism with electrifying dynamic shifts and a tumult of jazz-history reference points in his vivid, smash-cut big band arrangements, all combined for this excursion with his love for cycling and his less-than-thorough internet research standards. The results are executed by an expert ensemble that tempers virtuosity with a liberal dose of irreverence, precisely navigating hairpin turns while maintaining just enough danger to make you believe you just might go off the cliff into total chaos.

The Boston-based JCA Orchestra includes an impressive roster of veteran musicians from the Boston area including woodwind players Allan Chase (Rashied Ali, John Zorn), Jim Hobbs (Anthony Braxton, Fully Celebrated Orchestra), Hiroaki Honshuku (Mike Stern, Dave Liebman), and Phil Scarff (Natraj); trumpeters Mike Peipman (Artie Shaw and Woody Herman Orchestras), Gary Bohan (Klezmer Conservatory Band), and Forbes Graham (Para Quintet); trombonists Bob Pilkington and David Harris; tuba player Bill Lowe (Muhal Richard Abrams; Henry Threadgill; Frank Foster); bassist John Funkhouser; and pianist Mina Cho, just to name a few. Rebecca Shrimpton, whose supple and entrancing voice has graced the work of such luminaries as Joe Lovano, Steve Lacy, Oliver Lake, and George Lewis, makes the apocryphal sound beguiling with her elegant rendition of Katz's intricate, circuitous melodies.

The project was born when someone at Katz's local bike shop told the composer that Einstein had once declared the three greatest inventions of the modern world to be "the three-masted sailing ship, the refrigerator, and the bicycle" - music to the ears of the avid cycler. As it turns out, Einstein never said any such thing, but the idea still got Katz started expressing his love for bicycling in musical terms.

The title track recounts a Zen koan in which a master asks his students why the ride their bicycles, praising each one's practical responses but genuflecting before the one who answers, "I ride my bicycle to ride my bicycle." Katz could be praised for his equal commitment to writing music for its own sake, evidenced beautifully by this track as it progresses from moody abstraction to an Ellingtonian growl of a fanfare, a hip Zen groove, Impressionist balladry, and a soulful, fluid guitar solo from the leader himself.

The centerpiece of the CD is comprised of "Wheelworks," an eight-movement suite dedicated to the often inaccurate words of wisdom of one of the 20th-century's greatest thinkers. The wide-ranging piece veers from the urgent "Any Intelligent Fool" through the pensive, shape-shifting disclaimer "What Did Albert Einstein Say?"; the angular "Riding a Bicycle," with its tempestuous free section featuring baritone saxophonist Dan Zupan, tuba player Bill Lowe, and trumpeter Gary Bohan; Mina Cho and pedal steel guitarist Norm Zocher breaking the tension of "Under the Cloak of War"; the martial third-stream march of "Sticks and Stones"; the stealthy, aptly-named "The Mysterious"; the light-footed sway of "We Are the Dancers"; and finally the Copland-tinged hope of "A Better Teacher."

The JCAO exits on "SamiBadGal," a lush, heartfelt eulogy for a six-toed cat, before Katz ends the proceeding with a wistful arrangement of Thelonious Monk's "Monk's Mood" for the JCA Sax Quartet: altoists Jeff Hudgins and Daniel Ian Smith, tenor Phil Scarff, and bari Dan Bosshardt. The wordless piece offers one of the album's most eloquent statements, originally uttered by one of the jazz world's finest minds and here restated with grace and passion.

A composer of more than 70 pieces for jazz orchestra, Darrell Katz is a co-founder of the Jazz Composers Alliance Orchestra, which has been a fixture on Boston's creative music scene since its first performance in December 1985. Dedicated musicianship, innovative programming and fresh compositional concepts make JCA concerts and CDs colorful, adventurous, high-energy events. Katz's work has appeared on all eight of the big band's previous albums. (The JCA also released a sax quartet album). 

The recipient of numerous grants, including the Massachusetts Artist Fellowship in composition, a Jazz Fellowship Grant from the NEA, and grants from Meet The Composer, The Aaron Copland Fund, The New England Foundation For The Arts, Katz "has forged an identity as a progressive and creative orchestrator of new music in a way that few can claim," says Michael G. Nastos in All Music Guide. Katz was the organizer of the Julius Hemphill Composition Awards (1991-2001). He has a Master of Music Degree from New England Conservatory, and a Bachelor of Music from Berklee College of Music, where he been a faculty member since 1989. "One cannot help but admire Katz and the JCA for their dedication and commitment to creative music," says Jazz Review.com.

http:// www.darrellkatz.com/

http://www.jazzcomposersalliance.org/