Karla Harris Sings The Dave & Iola Brubeck Songbook // First-Ever Studio Recording Featuring the Vocal Songbook of Dave and Iola Brubeck

In her Summit Records debut, Karla Harris Sings the Dave and Iola Brubeck Songbook,

vocalist Karla Harris brings something rarely heard in a Brubeck tribute: Lyrics. This new release is the first-ever studio recording featuring the vocal songbook of Dave Brubeck's music with lyrics written by the person who had an especially close insight into the iconic jazz pianist's music - his wife of 70 years, Iola Brubeck. 

Harris, a marvelous singer who gained a strong presence on the Pacific NW jazzscape after living for years in Portland, is poised to enter the national stage with this contemporary, respectful and musically innovative tribute. Not since a 1961 live recording of the Dave Brubeck Quartet with guest vocalist Carmen McRae has there been an album of vocal versions of this music, and no one has ever gone into the studio to record and release the Brubeck Songbook as a dedicated vocal project.

The project is the brainchild of Los Angeles-based producer, arranger and pianist Ted Howe, whose previous recordings include chart-topping tributes to Gershwin, Elton John and Ellington. Howe, a lifelong Brubeck fan who remembers the first time he heard the pianist in 1954 ("his playing floored me," he recalls) cites Brubeck as a major inspiration in his own career, and has long wanted to produce a vocal tribute of the composer's music.

Impressed with Harris after working with her at a 2013 concert he produced in Atlanta, Howe approached the singer with the idea.

"I loved the concept immediately. It was intriguing, to say the least," Harris says. "I had no idea words existed for so many of the songs Dave Brubeck composed or that Iola wrote so many of those lyrics. They've really gone largely undiscovered."

Work got off the ground when Howe, through the Brubeck estate, received a copy of a rare, out-of-print Dave Brubeck songbook published more than 30 years ago - a copy provided by Iola herself in early 2014 for this project, shortly before her passing.

"It felt like we were uncovering hidden treasure," Harris says of looking through the music for the first time. "There was as an opening verse to 'Strange Meadowlark,' for example, that we didn't know even existed. And there was Iola's name listed as lyricist on tune after tune, making it clear this songbook belonged to them both. Her words were sophisticated, filled with imagery and emotion; they changed my experience of some of these songs. I wanted to sing them very much."

Included among the 11 tracks on Karla Harris Sings the Dave and Iola Brubeck Songbook are several Brubeck classics along with a few less-known standouts, as well as some tunes from "The Real Ambassadors," a musical the couple wrote together in 1962.

Lyrics led the way as Howe created arrangements, opening some unexpected approaches in the process. For example, "In Your Own Sweet Way," traditionally played as a bright swing tune, here becomes something plaintive, taking its cue from Iola's surprisingly melancholy lyrics. "Take Five" melds a haunting new vamp with the classic Desmond progression to bring out what Harris calls "some frustrated longing" in those lyrics written by Iola and Dave.

The arrangements on Karla Harris Sings the Dave and Iola Brubeck Songbook are dynamic and a complement to Harris' singing, which is luminous and compelling throughout. She is joined by a group of masterful musicians who shine, collectively and individually - fitting for a tribute to a composer famous for instrumental hits. Howe, deft and fluid at the piano, is joined in the rhythm section by two players well known to contemporary jazz listeners - Modern Drummer Hall of Fame inductee Dave Weckl and internationally acclaimed bassist Tom Kennedy. The twin engine of Weckl and Kennedy, who have played together on various projects and tours for decades, powers beautifully and seamlessly the diverse feels among the tracks. Rounding out the group is L.A. session veteran Bob Sheppard adding alto sax to three of the 11 tracks with mesmerizing Desmond-esque flavor.

Throughout the recording, producer-arranger Howe honors Dave Brubeck's legacy. "This project was my way of saying thank you musically for his impact and for his influence on my own playing," Howe says. "I incorporated, in my own way, innovations Brubeck is associated with, such as polyrhythms, bi-tonalities and varied time signatures and styles, within a vehicle for Karla." 

The result is a modern tribute that completely showcases Dave Brubeck's music hand-in-hand with the incredible lyrics of Iola Brubeck through the voice of newcomer Karla Harris.

Upcoming Karla Harris Performances:

February 26 / Portland Jazz Festival / Portland, OR

February 28 / Portland Jazz Festival / Portland, OR

March 6 / Sarasota Jazz Festival / Sarasota, FL

March 8 / The Palladium / St. Petersburg, FL

April 10-11 / The Jazz Corner / Hilton Head, SC

June 12 / Callanwolde Fine Arts Center / Atlanta, GA

www.KarlaHarris.com

VAN MORRISON & CHAKA KHAN TO HEADLINE LOVE SUPREME 2015

Yes you read that right, we’re very proud to reveal that two icons will take to the stage at Glynde Place this summer as part of Love Supreme 2015.

Queen of Soul Chaka Khan will top the bill on Saturday night and the legendary Van Morrison will close proceedings on Sunday night.

The Big Top this year will play host to revered South African trumpeter, flugelhornist, cornetist and singer Hugh Masekela and a very special collaboration between international jazz giants Joshua Redman & The Bad Plus. Also headlining are Terence Blanchard, who will be bringing his new E-Collective project to Love Supreme.

Also appearing are  vocal royalty in the form of five time Grammy winner Dianne Reeves (including the 2015 Grammy for Best Jazz Vocal Album) and Candi Staton alongside performances from Ginger Baker Jazz Confusion, Submotion Orchestra, Blue Note star Ambrose Akimusire, Hiatus Kaiyote, Mercury Prize nominees Gogo Penguin, powerhouse vocalist Rag ‘n’ Bone Man, up and coming soul star Jarrod Lawson and Bill Laurance Project (led by one of the founding members of LS favourites Snarky Puppy).

There will also be a wealth of cutting edge new and established talent both from the UK and internationally with Get the Blessing, Theo Croker, Kneebody, Joe Stilgoe, Gabby Young & Other Animals, Hackney Colliery Big Band, Dylan Howe’s Subterraneans, Christine Tobin, Partisans, Blue Eyed Hawk, Elliot Galvin Trio, The Vampires and Shiver and with many more to come.

R&B vocal band DW3 goes retro on their sophomore album, “Vintage Truth,” due March 17, with guests Dave Koz, Brian Culbertson, Paul Brown, Greg Adams and Elan Trotman

At the untimely passing of the drummer Steely Dan’s Walter Becker described as having perfect timing, Ricky Lawson was only four songs into producing the sophomore album by R&B vocal group DW3. Lawson, who had an extraordinary GRAMMY®-winning career collaborating with Michael Jackson, Eric Clapton, Phil Collins, Whitney Houston and Steely Dan, had been a member of the band for more than two years and the tracks are his last recordings. Over a year later, DW3’s “Vintage Truth,” dedicated to Lawson, is finally finished and scheduled for release March 17 on the Woodward Avenue Records label. 

Despite being rocked by the unexpected loss that occurred two days before Christmas 2013, DW3 knew that Lawson would want the groove to continue. He not only was a member of the outfit fronted by brothers Billy & Eric Mondragon and Damon Reel, but he mentored them as well. He believed that the GRAMMY®-nominated vocalists who are a perennial draw on the jazz festival and cruise circuit is at their dynamic best in live settings thus the record’s core tracks were laid down in the studio live. DW3 maintained that template when finishing the album, which they produced themselves with one cut, the collection’s first single - a seductively soulful take on The Eagles’ “I Can’t Tell You Why” - produced by hit-maker Paul Brown.          

“We titled the album ‘Vintage Truth’ because of the way we approached the recording process, like a live jam session where the core musicians - the guitarist, bassist, keyboardist and drummer - were in the room playing at the same time. We rehearsed each song twice, then went in the studio and pressed record. Our previous recordings featured a lot of drum programming, but this project has all live drums,” said Eric Mondragon. “Another vintage element we added that we absolutely love is the live horns – so much so that we recently added a horn section to our lineup so that we could perform these songs properly onstage.”

  

The twelve-tracker “Vintage Truth” offers a blend of originals and fan favorites that the group has performed on stage for years such as Stevie Wonder’s “Overjoyed,” Luther Vandross’s “So Amazing” and The Mamas & The Papas’ “California Dreamin’,” the last of which won the California Lottery Powerball song contest for their trademark three-part harmonies spawning a popular video (http://bit.ly/1vDOe1D). Making instrumental contributions to the disc were contemporary jazz chart-toppers Dave Koz, Brian Culbertson, Greg Adams, Elan Trotman and Brown.   

Four years ago, the Los Angeles born and raised DW3 issued its debut set, “On The Floor,” which peaked at No. 16 on the Billboard contemporary jazz albums chart in the U.S. while it went all the way to No. 1 on the United Kingdom’s soul chart driven by the sophisticated neo soul single “I Got You” highlighted by a sultry sax solo from multiple GRAMMY® nominee Gerald Albright. DW3’s three vocalists were 2014 GRAMMY® nominees for singing background on the Summer Horns album, an ensemble comprised of saxophone superstars Koz, Albright, Mindi Abair and Richard Elliot. Ever since DW3 served as the resident party band on the inaugural sailing of The Smooth Jazz Cruise in 2004, they’ve been part of the sold-out cruise. In addition to performing at premier festivals across the nation, the funksters maintain a long-running weekly residency at SoCal hotspot Spaghettini and serve as the house band for L.A. radio station 94.7 The Wave’s Sunday Brunch held at the same venue.

"Vintage Truth" contains the following songs:

 "Let The Music" (featuring Brian Culbertson)

 "Tribute (Right On)”

 "I Can't Tell You Why"

 "Hold Me" (featuring Greg Adams)

 "Dance With Me"

 "Overjoyed"

 "California Dreamin’"

 "When You Cry" (featuring Dave Koz)

 "She Keeps Running"

 "Square One"

 "So Amazing"

 "At The Club" (featuring Elan Trotman)

www.DW3music.com    

Introducing Slow Eastbound Train from Norweigan Tuba player / composer Daniel Herskedal

A tuba playing jazz musician might have the right to describe his sound as unique – after all, tuba soloists in jazz are as rare as hen’s teeth. But when we describe Norwegian tuba player and composer Daniel Herskedal
as unique, we’re not referring to his choice of horn. In the last few years this young musician has proved he has the facility, vision and musicianship to push the boundaries of his instrument, technically and sonically, further than anyone has done so. The result , as demonstrated by his new album ‘Slow Eastbound Train’, is a spellbind- ing and mesmerising sound worthy of a vast international audience.

In Norwegian musicians Eyolf Dale (piano) and Helge Andreas Norbakken (percussion) as well as the Trond- heim Soloists, Norway’s most celebrated string orchestra, Daniel has the perfect vehicle to demonstrate his facility as both instrumentalist and composer. And ‘Slow Eastbound Train’ is a sublimely beautiful and melodic album full of diverse influences and unique soundscapes that entirely fulfils both Daniel’s promise and the full potential of this group.

Based in Copenhagen, Herskedal first came to our attention with the release of his superb album ‘Neck of the Woods’, a duo with saxophonist Marius Neset, in which his technical brilliance and combination of diverse influences firmly established his reputation on the European jazz scene as a world class musician and one to watch. Since then he has toured extensively throughout Europe with Django Bates, Trondheim Jazz Orchestra as well his own projects City Stories, Listen, Dagane and Magic Pocket.

Beneath the melodic, sublime, elegant themes that make up the pieces on ‘Slow Eastbound Train’ there’s a rhythmical energy in the string writing as well as the virtuosity of his tuba playing that gives the album its wonderfully varied and vibrant feel. This is the sound of a master arranger and musical thinker at work.

However we describe Daniel Herskedal, his work and his virtuosity, there’s no doubting that a major artist has arrived. It’s rare to find an artist with fresh ideas, the technical facility to push boundaries and the maturity
to understand how to express this in the all-important listening experience, but with Daniel we are seeing the emergence of just such a one, We can only sit back and admire the result: a beautifully executed album that will continue to inspire and move us long into the future.

~ Edition Records

Slowly Rolling Camera set to release Limited Edition EP INTO THE SHADOW

Formed in Cardiff in 2013 Slowly Rolling Camera brought together four wildly talented musicians from diverse backgrounds. The result was a captivating hybrid of these influences: trip hop, jazz, soul, electronic music fused into a new and unique soundscape. The product was their eponymous album, released on Edition Records in February 2014 and received ecstatically by press (including UK’s Guardian and Germany’s Stern Magazine) and audiences alike.

Live, they’ve proved a phenomenon, wowing audiences from Cardiff to Hamburg and at high profile festivals including Umea Jazz Festival (SE), Love Supreme (UK), London Jazz Festival (UK) and Reeperbahn Festival (DE).

SRC have spent 2014 honing their music on the road and have recently returned to the studio to record a bold and striking four track EP, Into The Shadow, for release on 26th January 2015. Into The Shadow is more cohesive and sees the band further develop their sound, integrating lush electronic soundscapes, emotive melodies, shifts in dynamic and pace. With Elliot Bennett’s virtuosic, robust groove and Robert’s exemplary production techniques, it provides the perfect setting for the captivating, soulful voice of Dionne Bennett to impressively mould he lyrics around the musical arrangement.

In order to capture the spirit and energy of the band the EP was written and recorded in only three months. Employing the creative spirit and boundless energies of Mancunian master guitarist Stuart McCallum (Cinematic Orchestra), Bristol based Ben Waghorn on sax and Aidan Thorne, Cardiff’s top double bassist, Slowly Rolling Camera’s new recording has a big sound and big ambitions to match.

The suite-like opener River’s End, a song about asking for forgiveness, introduces a powerful and emotive ambience from the off. The title track, with its gloriously empowering crescendo and sweet sound of Dave Stapleton’s string arrangements, remarks on how the power of love can transform loneliness. Anne leads us through hope to regret with a beautifully raw and emotive stripped down arrangement featuring Fender Rhodes and Bennett’s intimate vocal set against a wall of strings and choral voices. The final track, Riga, forms a satisfying conclusion, its odd time signatures, shifting patterns, beats, grooves and moods defining everything that’s great about this band: bold, brave, experimental but with deep soul.

These four tracks confirm that SRC’s promise is no transient thing and indicates progression on a steep curve. ‘Into The Shadow’ continues to push the musical boundaries and there can only be excitement at where this young, immensely talented outfit can go next. But they remain rooted, however vaunting the ambition. As the band say: “If it moves you, it’s just good music”.

~ Edition Records

British violinist Thomas Gould to release major new album "Live In Riga"

‘Live in Riga’ is the major new album from the celebrated 31 year old British violinist Thomas Gould.  Recorded live in concert with Sinfonietta Riga on April 11th 2014 at the Great Guild Hall in Riga, Latvia, it confirms Gould’s enormous potential as one of the most inventive and colourful instrumentalists of his generation.  Gould is no ordinary classical musician but one of a new generation who refuse to be defined by a single genre.  He has developed impressive jazz credentials, but it is in this environment as soloist/director of classical repertoire where he really excels.  The Times recently described Gould as “intent on becoming the Nigel Kennedy of his generation”.  Gould, however, is incomparably his own musician.  Bold and courageous enough to forge his own path and follow his singular vision, he steps outside the footsteps of the greats.

‘Live in Riga’ is a defining album for Gould, his first disc of a three-album deal with forward-thinking British jazz and classical record label Edition Classics.  Over the last decade he has been in demand as a soloist with major orchestras worldwide, including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra and LA Phil New Music Group.  He is also much in demand as a leader/director, working with Britten Sinfonia, Aurora Orchestra, Mahler Chamber Orchestra and the Australian Chamber Orchestra’s ACO2, but it’s when he brings these disciplines together that the magic happens.  As Gould explains, “It means that everyone plays in a more engaged way. There is a group commitment to making it work, so the process is much more collaborative than when working with conductor.”

Sinfonietta Riga is an orchestra with a story to tell.  Formed in 2006, their vision is as bold as Gould’s.  Equally happy to play in concert dress or T-shirts they are intent on building new audiences for the music while reaching for the highest artistic standards.  Their collaboration is a perfect match and a unique experience for both the orchestra and for Gould.  This live concert recording bears witness to this special musical symbiosis.

To release an album featuring Beethoven’s Violin Concerto and Vaughan Williams’s The Lark Ascending is a bold decision.  As two cornerstones of the violin repertoire, there are plenty of performances to compare, but Gould’s versions demonstrate a brilliance of tone and colour that demands attention.  His flexibility and breadth of musical interests is fully evident.  Gould’s playing has the clarity you would expect from any major performer but radiates a freedom in its expression as though improvised with an immediate elegance and poise.

For Gould it’s all about achieving the right balance.  Whether it’s jazz or classical, written or improvised, as soloist or director, Gould is right in the eye of the storm.  If the dark clouds gathering in the wider music world imply that the days of the single-minded virtuoso are coming to an end; if to succeed in that brave new world we need to attract more diversity and brighter colours, then in Thomas Gould we may have found the lightning conductor to spark a new generation.

~ Edition Records

Clarinetist-Saxophonist Anat Cohen Sings and Swings as She Explores a Glowing World of Music on "Luminosa"

Onstage or on record, the music of Anat Cohen positively glows - with virtuosity, with charisma, with the sheer joy of creation - and never more brightly than on her seventh album as a bandleader, Luminosa. To be released by Anzic Records on March 3, 2015, Luminosa sees the clarinetist-saxophonist play singing, dancing originals, interpret Brazilian classics by the likes of Milton Nascimento, and even re-imagine electronica as acoustica with an ingenious arrangement of a Flying Lotus tune. Members from Anat's touring quartet - keyboardist Jason Lindner, bassist Joe Martin and drummer Daniel Freedman - appear on the album, as do guest guitarists Romero Lubambo and Gilad Hekselman, percussionist Gilmar Gomes and the Brazilian players of her new band Choro Aventuroso. Anat - born and raised into a musical family in Tel Aviv, Israel, and a resident of New York City since 1999 - has been named the top clarinetist in both the readers and critics polls in DownBeat, the jazz bible, for multiple years running. And her fluency in the jazz tradition is utterly at one with her flair for Brazilian music. As the Brazilian Press has declared: "Anat is an Israeli who seems like a Brazilian when she plays samba." A true citizen of the world, Anat speaks a universal language through her horn. 

About the album, Anat says: "The sound of Luminosa reflects my musical life in New York City. I flow between modern and traditional jazz, between samba and choro - all maybe in a week's time." She recorded the album at Avatar Studios in Manhattan, producing the album with Lindner and Oded Lev-Ari (her longtime friend and label partner, who arranged and produced her acclaimed 2007 album Noir for the Anzic Orchestra). Oded says: "The goal in the studio was to create an atmosphere where it was like a session in Anat's living room, with people dropping by - her quartet is there, some choro guys show up, Romero comes by to play guitar, Jason brings in an electronica tune. It was like a party where everyone felt free to interact, have fun and create." 

Luminosa kicks off with "Lilia," the first of the album's three songs associated with Brazilian icon Milton Nascimento. In 2013, Anat led her quartet in a full evening of Nascimento at Columbia University's Miller Theatre, including his compositions "Lilia" and "Cais" and his interpretation of Edu Lobo's "Beatriz," all on Luminosa. "I first heard Nascimento's Clube da Esquina album in the '90s when I was at school in Boston - just the sound of his voice drew me in," she says. "I adore the expressiveness of his singing, and his songs are like short stories. He's from Minas Gerais, where they have a sound that's distinct from Rio or Bahia, less traditional - the harmonies go to different, unexpected places. I play 'Cais' and 'Beatriz' on bass clarinet, which mirrors his vocal range. " 

With her original "In the Spirit of Baden," Anat pays tribute to another Brazilian musical hero: guitarist-composer Baden Powell. "Every year, the Choro Club in Brasilia pays homage to a different composer, and last year when I played there, it was Baden Powell," she explains. "His music is very melodic and danceable, so I wrote something in that spirit." Guitarist Romero Lubambo, from Rio de Janeiro, is a key guest on this track and several others, including his own Bach-meets-baião piece "Bachiao."

Choro - the irrepressible urban popular music style born in Brazil - has long been a passion of Anat's, with the genre inspiring her return to the clarinet as a student after years of focusing on saxophone. She recorded the 2007 album Nosso Tempo for Anzic as a key member of the Choro Ensemble, and she has headlined shows in New York with the Choro Ensemble and her new band Choro Aventuroso, with Vitor Gonçalves (accordion), Cesar Garabini (seven-string guitar) and Sergio Krakowski (Pandeiro). Teamed with those players on Luminosa, she interprets K-Ximbinho's "Ternura" ("Tenderness") and Severino Araujo's "Espinha de Bacalhau" ("Spine of the Codfish"), pieces by two top clarinetists. 

"Choro is fabulous music," Anat enthuses. "Like early jazz, it often features the clarinet. It's very challenging for the player - choro players are masters of their instruments. Choro means 'cry,' and the interpretation and personalization of melodies is the point, as in jazz. Expressing the soul of a melody is the holy grail in choro. There's also a constant conversation in choro groups, an ensemble polyphony that's complex. But there should also be a lightness to it, a feel-good grooviness. That's a challenge and thrill to achieve. Whether it's choro or samba, Brazilian music makes me feel alive and full of emotions. In this day and age, jazz can sometimes feel like it belongs to the musicians. But when I first went to Brazil, I immediately felt that music there belonged to the people. I like that." 

The album's left-of-center inclusion is its reimagining of "Putty Boy Strut," the catchy number by electronica innovator Flying Lotus. "Jason brought that tune in - he's always introducing me to new sounds," Anat explains. "The original was just so non-acoustic that at first it was, like, 'What do we do with this?' But there's something not only grooving about it, but also kind of humorous. It was really fun to imitate electronic music with acoustic instruments instead of the other way around, as it usually is. Jason is so good at translating grooves and sounds that now it feels like it was written for us." 

Another of Anat's originals on Luminosa is the pensive ballad "Ima" ("mother" in Hebrew). "I've lived so much of my life now away from home," she says. "I was thinking of my mom when I wrote this piece, missing her." The emotional flipside is her infectious "Happy Song." Anat explains: "When I write, I tend toward minor-key themes, so I challenged myself to compose something upbeat, with major chords. And I'm happy with it!" The album's closing original and jazziest number is "The Wein Machine," featuring Anat on tenor sax (as well as up-and-coming Israeli guitarist Gilad Hekselman). It's a tribute to George Wein, indefatigable impresario of the Newport Jazz Festival. Anat was first invited by Wein to play the Newport Jazz Festival in 2007; last year, she was music director of the Newport Jazz Festival Now 60! all-star band that toured the U.S. for the festival's 60th anniversary. "The tune's title comes from the sign that's on the golf cart George drives around the festival grounds," she explains. "He's 89, but never stops - he loves jazz and keeps opening the door for young artists, searching for honesty in the music. He's inspirational." 

Oded Lev-Ari, who has known Anat since they were at school in Tel Aviv together, sees Luminosa as a key album in her evolution. "Anat has always been a versatile musician, able to bounce between multiple aesthetics. Her familiarity with the styles she plays goes deep, though - she doesn't only play Brazilian music, for instance, she also speaks Portuguese. So whether it's choro or traditional jazz, her relationship with the art is cultural, with reverence for the history of the music. These various styles have often been a bit segregated in terms of Anat's recorded output, but this album is different. This is not Anat's 'Brazilian Album.' To me, it is Anat's 'Anat Album.' Beyond being an extraordinary instrumentalist, she is able to communicate pure emotion to the listener. That's what is front and center on this album." 

For her part, Anat sums up the album this way: "The title Luminosa is Portuguese for luminous - something shining, especially in the dark. To me, music is a luminous experience. Whenever I'm immersed in it, life lights up for me, no matter what else is going on. Whether it's performing a concert with my quartet or sitting in with my peers, enjoying musical conversations at home with my brothers or hanging and playing choro with my friends - sharing moments in that bright space of music are the happiest times."

Whether playing clarinet or saxophone, Anat has delighted the most knowing of jazz sages: Nat Hentoff praised her "bursting sound and infectious beat," Dan Morgenstern her "gutsy, swinging" style, Ira Gitler her "liquid dexterity and authentic feeling," and Gary Giddins her musicality "that bristles with invention." 

As a leader, Anat launched her Anzic discography with 2005's Place & Time, a quartet/quintet session named one of the year's best debuts by All About Jazz. Her two ambitious releases of 2007 - Noir (presenting Anat with a jazz orchestra) and Poetica (a chamber-jazz feature for her clarinet) - led The New York Times to call her "one of the brightest, most original young instrumentalists in jazz." Notes from the Village, released in 2008, was a showcase for her multi-reed virtuosity mostly in a quartet setting. In 2009, she became the first Israeli to headline at The Village Vanguard, the setting for the most hallowed live recordings in jazz history; the occasion yielded the 2010 release Clarinetwork: Live at the Village Vanguard, which captured Anat leading a hard-swinging band with all-stars Benny Green, Peter Washington and Lewis Nash. In its review of Anat's 2012 album as a leader - the wide-ranging Claroscuro - All About Jazz declared: "She's one of a kind." 

Anat has also recorded four acclaimed albums as part of the 3 Cohens Sextet with her brothers, saxophonist Yuval and trumpeter Avishai: 2003's One, 2007's Braid, 2011's Family and 2013's Tightrope. The 3 Cohens band has twice headlined for a week at The Village Vanguard along with playing Carnegie Hall. The three siblings were featured on the cover of the January 2012 issue of DownBeat, and in its review of Tightrope, the Financial Times marveled over the album's "emotional sweep." 

ANAT COHEN: Luminosa

1. "Lilia" (Milton Nascimento)             

2. "Putty Boy Strut" (Steven Ellison a/k/a Flying Lotus)

3. "Ima" (Anat Cohen)              

4. "Bachiao" (Romero Lubambo)              

5. "Cais" (Milton Nascimento & Rolando Bastos)

6. "Happy Song" (Anat Cohen)

7. "In the Spirit of Baden" (Anat Cohen) 

8. "Ternura" (K-Ximbinho)          

9. "Espinha de Bacalhau" (Severino Araujo)

10. "Beatriz" (Edu Lobo & Chico Buarque) 

11. "The Wein Machine" (Anat Cohen)

Anat Cohen: clarinet, bass clarinet, tenor saxophone

Jason Lindner: piano, Wurlitzer electric piano, analog synthesizer

Joe Martin: bass

Daniel Freedman: drums

Gilmar Gomes: percussion (1, 2, 4, 5, 7)

Romero Lubambo: guitar (4, 5, 7, 10)

Gilad Hekselman: guitar (11)

Choro Aventuroso - Vitor Gonçalves: accordion; Cesar Garabini: seven-string guitar; Sergio Krakowski: Pandeiro (8, 9)

UPCOMING APPEARANCES:

FEB 21: Nordstrom Recital Hall, Seattle, WA

FEB 22: Kirkland Performance Center, Kirkland, WA

FEB 27: Troy Music Hall, Troy, NY

FEB 28: Longwood Square, Kennett Square, PA 

MARCH 1: Shea Center for the Performing Arts, Wayne, NJ 

MARCH 2: Johnson Theatre, Durham, NH 

MARCH 4-8: The Jazz Standard, New York, NY

MARCH 18: The Rex Hotel, Toronto, Canada 

MARCH 19-20: Dazzle, Denver, CO

MARCH 21: Musical Instrument Museum, Phoenix, AZ 

MARCH 22: Sculpture Garden at The Jewish Community Center, Tucson, AZ

MARCH 23: The Auditorium at TSRI 

 MARCH 25: Kuumbwa Jazz Center, Santa Cruz, CA 

MARCH 28: Sante Fe College Fine Arts Hall, Gainseville, FL

APRIL 9: Cliff Bell's, Detroit, MI

APRIL 10: City Winery, Chicago, IL

APRIL 11: Orpheum Theatre, Galesburg, IL 

APRIL 12: Dakota Jazz Club, Minneapolis, MN

 APRIL 16-17 & 19: Dizzy's Club Coca-Cola

APRIL 18: "We Always Swing" Jazz Series House Show, Columbia, MO

APRIL 25: Centrum, Port Townsend, WA

 MAY 15: Sanders Theatre, Cambridge, MA

MAY 22: Sendesaal, Frankfurt, Germany 

MAY 23: Funkhaus Halberg, Saarbrucken, Germany

www.anatcohen.com

CHRIS LIGHTCAP'S BIGMOUTH TO RELEASE MUCH ANTICIPATED NEW CD EPICENTER

When Chris Lightcap - a celebrated composer and bassist who has lent his huge sound, propulsive groove and creative vision to a wide-ranging array of artists including Marc Ribot, Regina Carter, Tomasz Stanko, Joe Morris and Matt Wilson - first assembled his own group over ten years ago, he had no idea it would develop into a viable entity. "I just put us all together to amuse myself and see what would happen," he recollects. Four acclaimed CDs and countless sold-out shows later, Bigmouth has evolved into one of today's most accomplished creative music ensembles.

Epicenter, the band's much anticipated follow-up to 2010's Deluxe, a critically lauded recording that was on twenty of the year's "best of" lists (including the New York Times, NPR, and JazzTimes), will be released March 4, 2015 on Clean Feed Records.

Bigmouth features two profoundly original tenor saxophonists, Tony Malaby and Chris Cheek, the multifaceted genius of keyboardist Craig Taborn, and the creative powerhouse drumming of Gerald Cleaver. The band is, in effect, a "supergroup" within the contemporary world of creative music. Despite each member's outsize musical personality, together they create a cohesive whole, resulting in grand collective statements of driving, ethereal beauty.

Lightcap was recently awarded a prestigious Chamber Music America New Jazz Works grant, which commissioned the original compositions featured on Epicenter. He wrote pieces inspired by various touchstones and cultural landmarks of his adopted home, New York City. Drawing on his love of West African music, classic pop hooks and great composers across the entire spectrum of jazz, Lightcap creates memorable melodies and harmonic landscapes for the group to delve into. Beginning with the driving declaratory statements of "Nine South," Lightcap sets a musical landscape that reflects the city's most sublime, strange, and sometimes frightening elements. From the hard-swinging freedom of the title track to the ambient interwoven layers of "White Horse" to the off-kilter groove and slow build of "Stillwell," Lightcap's music displays the breadth of his unique compositional vision.

Although the members of Bigmouth are very busy working with dozens of other artists, each manages to carve out time to perform with the band on a regular basis. Lightcap adds, "I'm so happy that everyone has remained enthusiastic about the group. Every time we get together, they show up ready to engage, support each other, throw down, and deliver the goods. We never know how it's going to turn out but it's always a great journey."

Capping off the CD is a raucous take on Lou Reed's "All Tomorrow's Parties," originally heard on the groundbreaking, New York rock classic, Velvet Underground & Nico of 1967. Bigmouth's rendition of this song was one of the most talked about highlights of the 2014 New York Winter Jazz Fest. As Evan Haga wrote in his JazzTimes review, the song "hit the spot for this festival. It was jazz, it was bohemian pop and it was New York City to the bone."

NEW RELEASES: MAHALIA BARNES & THE SOUL MATES - OOH YEA: THE BETTY DAVIS SONGBOOK; ADAM NITTI - NOT OF THIS WORLD; MICHAEL WALDROP BIG BAND - TIME WITHIN ITSELF

MAHALIA BARNES & THE SOUL MATES FT. JOE BONAMASSA - OOH YEA: THE BETTY DAVIS SONGBOOK

Powerhouse singer Mahalia Barnes, one of the most impressive female vocalists to come out of Australia, and her band The Soul Mates have teamed up with American blues-rock guitarist Joe Bonamassa to release an album of Betty Davis covers called Ooh Yea! The Betty Davis Songbook. Scheduled for release on 2/24/15, it explores tracks from Davis sexy, raw funk records of the early 70s. Betty Davis s unique story is still fairly unknown. She married Miles Davis in the late 60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix. Later, she released three genre-busting albums, 1973's self-titled debut, 1974's They Say I'm Different and 1975's Nasty Gal that have since influenced artists like Outkast, Prince, Erykah Badu, Rick James, The Roots, Ice Cube, Talib Kweli and Ludacris. Mahalia Barnes, eldest daughter of Australian rock legend Jimmy Barnes and recent contestant on The Voice Australia, has been around music her whole life but has always been most heavily influenced by soul, blues and rock n roll. ~ Amazon

ADAM NITTI - NOT OF THIS WORLD

Adam Nitti has been establishing his own voice amongst his contemporaries as both a bassist and recording artist for almost two decades. He has released five solo recordings to date on his own Renaissance Man label which have drawn international acclaim, but he has also been notably involved as a sideman and contributor on a variety of projects across multiple genres. As a recording bassist, he has also appeared on three Grammy-winning albums and another Grammy-nominated album to date. Adam has worked with the Dave Weckl Band, Steven Curtis Chapman, Jeff Coffin Mu'tet, Susan Tedeschi, Lincoln Brewster, the Justice League (featuring T Lavitz, Jimmy Herring, and Richie Hayward), Angie Aparo, Scott Henderson, Jon Anderson, Peter Erskine, Heather Headley, Al Green, Keith Carlock, Shane Theriot, Mike Stern, Chris Tomlin, Casting Crowns, Kirk Covington, Wayne Krantz, Marco Minnemann, the London Symphony Orchestra, Joe Beck, and many others. ~ CD Universe

THE MICHAEL WALDROP BIG BAND - TIME WITHIN ITSELF

Hearing this crackling big band recording -- so full of swagger and conviction and transcendent playing throughout - it's hard to believe that it's drummer and composer Michael Waldrop's debut as a big band leader. No newcomer to the game, he paid dues as a working musician in New York and Chicago before pursuing an academic career, earning a masters at the University of Memphis and his doctorate at North Texas, where he played in the famed One O'Clock Lab Band. He also put in ten years with Jack Cooper's Memphis-based Jazz Orchestra of the Delta, developing the relationship that would lead Cooper to lend his prodigious arranging skills to Waldrop's set of originals for this recording. ""..this auspicious debut bristles with a visceral post-Weather Report energy that brings big bands into new light."" - Bill Milkowski

NEW RELEASES: MARC CAREY – RHODES AHEAD VOL. 2; BEN WOLFE - THE WHISPERER; RANDY BRECKER WITH THE DEPAUL UNIVERSITY JAZZ ENSEMBLE - DEARBORN STATION

MARC CAREY – RHODES AHEAD VOL. 2

Electro-Acoustic keyboard wizard Marc Cary, (#1 Rising Keyboardist in DownBeat’s 2014 Critics Poll), celebrates his 20th anniversary as a recording artist with Rhodes Ahead Vol. 2, a powerhouse follow-up to his seminal 1999 release Rhodes Ahead Vol. 1. Keeping the original heavyweight trio of Cary, Terreon Gully and Tarus Mateen intact, Cary’s fierce new project puts the iconic Fender Rhodes sound front and center, fusing drum n’ bass, EDM and acoustic jazz, funk and rock influences, creating yet another visionary project to follow up his triumphant 2013 releases For The Love of Abbey and Four Directions. As the original Rhodes Ahead introduced Marc Cary as one of his generation's greatest innovators, heralding the electro-acoustic jazz sound that became prevalent in the 2000’s, Rhodes Ahead Vol. 2 is a testament to Cary’s prolific and forward-thinking vision, versatility and creativity. ~ Motema

BEN WOLFE - THE WHISPERER

Listeners everywhere are encouraged expand their horizons and open their ears to "The Whisperer, as bandleader bassist Ben Wolfe bravely embarks on an ambitious course with his first record for Posi-Tone. This quartet date features front line performances by saxophonist Stacy Dillard and pianist Orrin Evans moving freely over the solid harmonic foundation of bassist Wolfe and the explosive metrics of drummer Donald Edwards. Many jazz fans may already be familiar with much Wolfe's earlier work, but now the time has come to go travel beyond the past and listen to "The Whisperer." Ben Wolfe's music will surely bring delight to the ears of serious listeners everywhere, as they navigate steadily away from the known and familiar to uncover a new sound in time and space. ~ Amazon

RANDY BRECKER WITH THE DEPAUL UNIVERSITY JAZZ ENSEMBLE - DEARBORN STATION

A dynamic and brilliant performance by jazz trumpeter Randy Brecker with the acclaimed DePaul University Jazz Ensemble, beautifully captured in a 'live' recording at Chicago's

legendary Jazz Showcase. The unparalleled intensity and swagger of featured trumpet soloist Randy Brecker combines with the critically acclaimed DePaul University Jazz Ensemble in a dynamic 'live' concert performance at Chicago s legendary Jazz Showcase. The brilliant performance of trumpeter/composer Randy Brecker and the DePaul Jazz Ensemble is beautifully captured, with the audience at the venerable jazz club adding to the electricity and excitement of the moment. Randy Brecker is featured as trumpet soloist and composer with the exceptional DePaul University Jazz Ensemble. Brecker solos on six selections, demonstrating his brilliant technique and harmonic ingenuity. Particularly notable is the dynamic, up-tempo performance of It s You On No One, with Jazz Ensemble director/trumpeter Bob Lark and Randy Brecker exchanging heated solo trumpet phrases. Student soloists of note include tenor saxophonists Corbin Andrick and Andrew Janak; alto saxophonists Brent Griffin and J.T. Teichert; pianist Scott Williams; and trombonist Brian Scarborough. ~ Amazon

Alabama Shakes announce new album "Sound & Color" / Highly anticipated follow-up to 2012 debut

Alabama Shakes announced today that they will be releasing the highly anticipated follow-up to their 2012 Grammy-nominated debut. The new album is titled Sound & Color and will be released on April 21, 2015.

“We took our time to write this record, and I’m really glad we did,” says Brittany Howard, lead singer and guitarist of Alabama Shakes, about the band’s new album Sound & Color. “We were able to sit down and think about what’s exciting to us, explore all the things we wanted to on our first album. This record is full of genre-bending songs—it’s even harder now when people ask, ‘What kind of band are you?’ I have no clue.”

The album’s twelve songs reveal a band honed by years on the road, and drawing from a wide range of influences. The bluesy groove of “Shoegaze” or the garage-rock freak-out on “The Greatest” give way to the psychedelic space jam  “Gemini.” The gently swaying, chiming title song opens the album with what Howard calls “more of a visual thing, I think of this whole scene going on,” then explodes into the urgent, tightly-coiled funk of “Don’t Wanna Fight.” Long instrumental intros and passages create hazy atmosphere, and then the intensity of Howard’s vocals snaps everything back into riveting focus.

Tracklisting - Sound & Color:

01 Sound and Color

02 Don't Wanna Fight

03 Dunes

04 Future People

05 Gimme All Your Love

06 This Feeling

07 Guess Who

08 The Greatest

09 Shoegaze

10 Miss You

11 Gemini

12 Over My Head

Alabama Shakes 2015 Tour Dates:

02-19 London, England - Islington Assembly Hall

03-11 New York, NY - The Beacon Theatre  *

03-12 New York, NY - The Beacon Theatre  *

03-14 Chicago, IL - The Chicago Theatre  *

03-15 Milwaukee, WI - The Riverside Theater  *

03-17 Madison, WI - Overture Center for the Arts  ^

03-18 Champaign, IL - The Virginia Theatre  ^

03-20 Memphis, TN - Minglewood Hall  ^

03-21 Knoxville, TN - Historic Tennessee Theatre  ^

04-02 Newtown, Australia - Enmore Theater  $

04-03-04 Byron Bay, Australia - Byron Bay Bluesfest

04-08 Tempe, AZ - Marquee Theatre  ~

04-10 Indio, CA - Coachella

04-11 Berkeley, CA - Greek Theatre  #

04-17 Indio, CA - Coachella

04-18 Las Vegas, NV - Brooklyn Bowl Las Vegas  ~

05-15 Brighton, England - The Great Escape Festival

06-06 Toronto, Ontario - Fort York & Garrison Common

06-07 Hunter, NY - Mountain Jam

06-12 Manchester, TN - Bonnaroo

06-27 Beuningen, Netherlands - Down The Rabbit Hole

07-10 Rotterdam, Netherlands - North Sea Jazz Festival

8-16 Morrison, CO - Red Rocks Ampitheatre @

* with Songhoy Blues

^ with Promised Land Sound

$ with Charles Bradley

~ with Allah-Las

# with Neko Case

@ with Drive-By Truckers

Newport Festivals Foundation, Inc.™ Celebrates GRAMMY Awards for Festival Impresario George Wein and Several Newport Jazz Festival® Artists

 George Wein, Wayne Shorter, Neil Portnow // Photo by Michal Kovax/WireImage)

The Newport Festivals Foundation, Inc.™ continues the celebration of its Chairman, George Wein, who received the Trustees Award at the 57th Annual  GRAMMY® ceremonies in Los Angeles on February 7 and 8.  The Special Merit Award recognizes Wein's outstanding contributions in areas other than performance, including the founding and production of the Newport Jazz Festival®, Newport Folk Festival® and New Orleans Jazz & Heritage Festival®.

The tribute was especially exciting when the ceremony host, hip-hop artist/actor LL Cool J gave a special shout out to the honoree:  "George Wein defined what musical festivals could be with the Newport Jazz Festival, Newport Folk Festival and New Orleans Jazz & Heritage Festival. He's a great guy. More than anyone, George set the stage for what great festivals today look like. Festivals like Coachella, Bonnaroo - he made this possible. George is 89 years young and strong and still playing piano beautifully ... everybody say hi George!" 

Three artists who will perform at this year's Newport Jazz Festival presented by Natixis Global Asset Management also celebrated GRAMMY wins at last night's ceremony:

BEST LATIN JAZZ ALBUM

"The Offense of the Drum," Arturo O'Farrill & the Afro Latin Jazz Orchestra

BEST ARRANGEMENT, INSTRUMENTS AND VOCALS 

"New York Tendaberry," Billy Childs, arranger (Billy Childs Featuring Renée Fleming & Yo-Yo Ma)

  

BEST MUSIC FILM

"20 Feet from Stardom," Lisa Fischer, Darlene Love, Merry Clayton & Judith Hill

In addition, Chick Corea's "Trilogy"  won Best Jazz Instrumental Album, on which Christian McBride is the bassist.

The Christian McBride Trio with Christian Sands and Ulysses Owens takes the Newport stage on Friday, July 31, while Ms. Lisa Fischer & Grand Baton perform on Saturday, August 1. Billy Childs' Jazz-Chamber Ensemble and Arturo O'Farrill's Afro-Latin Jazz Orchestra with special guest Rudresh Mahanthappa play on Sunday, August 2, all at Fort Adams State Park.

The 2015 edition of America's first annual jazz festival will feature Chris Botti, Cassandra Wilson, Jamie Cullum, Snarky Puppy, Maria Schneider, Arturo Sandoval, Kenny Garrett, Fred Hersch, Cecile McLorin Salvant, Jon Batiste, Kneebody, Hiromi, Michel Camilo, Jon Faddis, James Carter, Bill Frisell, Mike Stern/Bill Evans Band, Ambrose Akinmusire, Tom Harrell, Pat Martino, Matana Roberts, John Hollenbeck,  Dr. John and many others.

Seven-man crew NATURALLY 7 releases HIDDEN IN PLAIN SIGHT: VOX MAXIMUS VOLUME 1

In a music world rife with technological tricks of the trade, one vital commodity is getting lost in the shuffle: the beauty of the human voice. Enter Naturally 7.

This seven-man crew is more than just your average singing group. Its members have perfected an intriguing a cappella style they’ve branded as “Vocal Play”— singing as instruments. In its quest to celebrate the voice, Naturally 7 not only sings but also creates every backing instrument heard on its songs. We’re talking drums, bass, guitars, horns, flutes ... even down to turntables.

The R&B, soul and pop group has released its U.S. album debut, the aptly titled Hidden in Plain Sight. Subtitled Vox Maximus Vol. 1, the 14-track set snaps, crackles and pops with riveting vocal gymnastics and rich, sparkling harmonies infusing a palette-pleasing menu of songs as wide-ranging as the group’s growing audience.

The first single is “Fix You,” a cover of the Coldplay hit that’s become an audience favorite at Naturally 7’s live shows. The group gives a nod to its spiritual influences by sampling Mahalia Jackson’s gospel classic “Trouble of the World” on the beautiful and raw “Mahalia.” Scoring a musical coup, Naturally 7 samples Queen’s “Bohemian Rhapsody” on “Galileo.” Wham’s infectious “Everything She Wants’’ provides the impetus for “Life Goes On“ while Art of Noise’s “Moments In Love” finds the group imitating all of the song’s instruments and singing its own song to the mix on “Moments (I’ve Been Loved).” Among the set’s eight original tunes are “Keep the Customer Satisfied” and “Rhapsody of the Queen.”

Rock Steady & Ska giants The Bluebeaters will release their new album on April 13, 2015

Record Kicks will be releasing the new album of one the most exciting Blue Beat and Jamaican Ska bands ever existed, The Bluebeaters. After six years from their last full length “Combo” released on Universal Records, The Bluebeaters release their fifth studio album “Everybody Knows” on RK. The full-length will hit the streets next 13 of April on LP, Digipack CD, Digital plus on super LTD edition 45.  The BB landed on Record Kicks in September 2014 with the ltd edition 45 Toxic (One Drop Version) / Catch That Teardrop. 

Active since 1994 and with several gold records on V2 and Universal Records under the belt, during the last 20 years of their career the've headlined festivals like Rototom Sun Splash and International Ska Fest. Amongst their fans, there are folks like David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites). Digital and Physical Promos will be available nearer to the release date. The teaser of "Everybody Knows" is available down here.

Blessed by Ken Booth, during the last 20 years of their career the've headlined festivals like Rototom Sun Splash and International Ska Fest in 2012. Amongst their fans, there are folks like David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites). The Bluebeaters will be on tour from mid March, first Italian dates announced are:
 20.03 - Roma - Rising Love
27.03 - Firenze - Viper Club
03.04 - Trieste - Etnoblog
11.04 - Torino - Hiroshima
18.04 - Rimini - Velvet

09.05 - Livorno - The Cage

 

Trombonist MARSHALL GILKES Releases KÖLN FEATURING THE WDR BIG BAND

On February 10, 2015, trombonist and composer MARSHALL GILKES proudly releases his fourth album as a leader, simply titled for the home base of The WDR Big Band, KÖLN. This set of stunning compositions marks Gilkes first recording fronting a big band, but he is no stranger to this setting, being a regular member of Maria Schneider's Grammy Award-winning orchestra, (Schneider describes him as, "one of those musicians who continually just drops my jaw and leaves me shaking my head in disbelief"), and also due to his four years (2010 - 2013) as a full-time member of the Grammy Award-winning ensemble featured on Köln, The WDR Big Band. 

Köln (to be released on Gilkes' label, Alternate Side Records, marking the label's eighth release) features seven original compositions from Gilkes that exhibits the artist's astounding ability to blend his many influences and experiences into a singular, distinctive voice. The compositions, and Gilkes arrangement of the standard, "My Shining Hour", combines the spontaneous invention of jazz with the elegant architecture of classical composition; straight-ahead swing with adventurous modernism; and virtuosic technique with passionate emotion. It's a rare combination that has made Gilkes an in-demand performer, composer, sideman, and clinician since his arrival in New York City in the late 1990s. 

The origins of this album started with Gilkes joining The WDR Big Band (he has since resigned to engage in leading his own bands and high profile sideman work). After a long audition process that included several weeks of performances, Gilkes received an invitation to be a full-time member - a rare opportunity that he accepted immediately. In addition to first-class musicianship, Gilkes explains, "the WDR Big Band rehearses in a fully operational recording studio with full-time engineers and copyists - a truly unique operation. When the band plays in the Kölner Philharmonie, it is generally sold out, all 2,000 seats, with enthusiastic fans." As a WDR band member, he performed his final concert in December 2013, but, at the request of the band's producer, he returned the following month for a farewell concert of the material heard on Köln. Calling the experience "one of the highlights of my career," Gilkes eventually titled the album after the city where he lived during his four-year tenure with the WDR. "It is a vibrant city," he notes, "with an incredible music scene for such a small town. The jazz scene is booming, and young jazz musicians can be heard playing music at a very high level almost every night of the week." 

"My Shining Hour" is a tune that Gilkes would often practice, up-tempo, in all 12 keys as well. "I decided to write a big band arrangement of it that sort of ended up being a bit of a 'theme and variations on My Shining Hour'", said Gilkes. Solo: Marshall Gilkes (trombone) 

"Vesper" was written during a period of Gilkes having to make difficult decisions. He elaborates, "I would come home and write in the evening during this period and find it to be good therapy. I decided to call it 'Vesper' which is an evening prayer", said the artist. Solos: Frank Chastenier (piano), John Marshall (flugelhorn)

  

Gilkes composed "4711 Special" specifically with the WDR Big Band in mind. The piece was originally titled "Gill-kiz". Gilkes explains, "German is a language that is written like it sounds and sounds like it is written. I used to tell German people my name Gilkes (correct pronunciation is "jilx") and they would correct me on the pronunciation. It happened so often that people started calling me Gill-kiz as a joke. However, I thought the tune deserved a better title and finally changed it to "4711 Special", which is a number one sees all over Cologne, representing the number of the famous perfume that comes from Cologne. Solos: Ludwig Nuss (trombone), Johan Hörlen (alto saxophone) 

"Edenderry" is the title track from Gilkes debut release as a leader, which he decided to expand and turn it into a brass chorale, creating quite a breathtaking variation on the original. "I was inspired by the pandiatonic harmonies of Aaron Copland. The intro begins with flugelhorns and trombones. The woodwinds enter later, and the chorale enters again before the closing vamp. Solo: Marshall Gilkes (trombone)

Gilkes composed "Plant Bassed" for the great WDR bassist John Goldsby, who happens to be a vegan. Gilkes explains, "my mom is also a vegan and is always talking about plant based diets. I tried to take some ideas that John uses in his improvisations and use them as a basis for the melody." Solos: John Goldsby (bass), and special guest Michael Rodriguez (trumpet) 

"Mary Louise" was written for Gilkes' mom. "When I was a kid my mom was a piano and voice teacher and there was one particular exercise that she would work on with her students that has stuck with me all these years. I recall playing video games and hearing her practice this exercise with the syllables 'Zee-ee', singingbetween root and third, root and fourth, and root and fifth. I decided to try harmonizing that exercise and that serves as the intro to the composition, and reoccurs throughout the piece", said Gilkes. Solos: Special guest Michael Rodriguez (flugelhorn), Frank Chastenier (piano) 

"End in Sight" is a tune from Gilkes second album Lost Words. The first half is very much an expansion of the original, however, the second half (tenor solo) floats over the same groove, but with brand new harmonies. Solos: Karolina Strassmayer (alto saxophone), Paul Heller (tenor saxophone) 

"Downtime" is a composition from Gilkes' third album Sound Stories. This arrangement was written in 2012 for the WDR Big Band project featuring members of the band called "Very Personal". It is an expansion on the original that has an alternate introduction, and a new interlude as well. Solo: Marshall Gilkes (trombone)

  

Personnel on Köln: Marshall Gilkes: composer, arranger, conductor, trombone, special guest Michael Rodriguez: trumpet/flugelhorn, Johan Hörlen & Karolina Strassmayer-alto saxophone/flute/clarinet, Olivier Peters-tenor saxophone/clarinet, Paul Heller-tenor saxophone/clarinet/bass clarinet, Jens Neufang-baritone saxophone/bass clarinet, Ludwig Nuss, Shannon Barnett & Andy Hunter-trombones, Mattis Cederberg-bass trombone, Wim Both, Rob Bruynen, Andy Haderer & John Marshall-trumpet/flugelhorn, Frank Chastenier-piano, Paul Shigihara-guitar, John Goldsby-bass, Hans Dekker-drums

Upcoming Appearances:

February 15: With the Maria Schneider Orchestra, Istanbul, Turkey

February 17-24: Guest Artist, Madrid, Spain

February 26-March 1: With Rufus Reid's Quiet Pride Big Band, Jazz Standard, NYC

March 2-3: Artist In Residence, Berklee College of Music, Boston, MA

March 6-7: Guest Artist, Univ of Kansas Jazz Festival, Lawrence, KS

March 24-28: Guest Artist, Illinois State University, Normal, IL

April 6-8: Artist In Residence, Berklee College of Music, Boston, MA

April 9-10: Guest Artist, Univ of New Mexico Jazz Festival, Albuquerque, NM

Aril 16-17: Morningside College Tri-State Trombone Festival, Sioux City, Iowa

May 6: With Edmar Castaneda, Wiener Konzerthaus, Vienna, Austria

May 9: With Samuel Torres, Biblioteca Luis Angel Arango, Bogata, Colombia

June 2-6: With the Maria Schneider Orchestra, Birdland, NYC

www.MarshallGilkes.com