LINES OF COLOR: Live at Jazz Standard, the sophomore album from composer/producer Ryan Truesdell's award-winning Gil Evans Project

LINES OF COLOR: Live at Jazz Standard, the sophomore album from composer/producer Ryan Truesdell's award-winning Gil Evans Project, will be released on March 17, 2015 on the newly-formed Blue Note/ArtistShare label (www.GilEvansProject.com). This highly anticipated release follows Truesdell's debut CD CENTENNIAL: Newly Discovered Works of Gil Evans, which won a posthumous Grammy Award for Gil Evans and the New York Times called "an extraordinary album."  LINES OF COLOR - the next step in Truesdell's endeavor to reveal hidden layers of Gil Evans' musical legacy - features some of New York's finest musicians including Lewis Nash, Donny McCaslin, Steve Wilson, Ryan Keberle, Marshall Gilkes, and Scott Robinson. The CD was recorded by Grammy award-winning engineer James Farber with the live engineering team of Tyler McDiarmid and Geoff Countryman.

LINES OF COLOR was recorded during the Gil Evans Project's annual week-long engagement at Jazz Standard in New York City from May 13-18, 2014. It consists of six newly discovered, never before recorded works (including "Avalon Town," "Can't We Talk It Over," and "Just One Of Those Things"), two arrangements with previously unheard sections ("Davenport Blues" and "Sunday Drivin'"), and three of Evans' well-known charts from his classic albums ("Time of the Barracudas," "Concorde," and "Greensleeves"). Throughout the engagement, the Gil Evans Project presented nearly fifty of Evans' works, most of which were performed live for the first time. Truesdell decided to record live for the Gil Evans Project's second album to honor the essence of Evans' music that craves live performance. "It allows Gil's colors and the overtones of the music to sound and blend in the room in a way that you can't get from a close-mic studio recording," says Truesdell. "Live recording captures this intangible energy that's created when music is performed for an audience. It gives listeners a sense of the magic that happens when the notes are lifted off the page by these amazing musicians."

The eleven selections that make up LINES OF COLOR represent everything you hope for in a live recording: a beautiful sound, a lively, involved audience, and precise and inspired performances of remarkable music. Of this collection, six of the charts were originally written during Evans' tenure with the Claude Thornhill orchestra, including never-before-heard arrangements of "How High the Moon," "Avalon Town," and a rare Evans original composition, "Gypsy Jump," written in 1942. A fun tune with an unusual 36-bar form, "Gypsy Jump" seems to show a slight influence from the "Arabian Dance" from Tchaikovsky's Nutcracker, also arranged by Evans for Thornhill during this time. "Can't We Talk It Over," a gorgeous ballad from the Thornhill Orchestra's late 1940s repertoire, illustrates Evans' strong bebop influences as evidenced by a direct musical quote from a Charlie

Parker solo. It is a wonderful feature for the Gil Evans Project's resident vocalist, Wendy Gilles. Bruce Lundvall, Chairman Emeritus of Blue Note Records said, "Wendy has an amazing voice which is a perfect fit for this music."

Two charts on the record represent the middle of Evans' career; one of which he and his band never recorded, and only performed once. In the spring of 1959, Evans and his orchestra played the famous Apollo Theater in Harlem, sharing the billing with Dinah Washington and Thelonious Monk. For this concert, Evans chose to revisit a few charts from his past, including Cole Porter's "Just One of Those Things," which was based on the arrangement Evans did for his first album as a leader in 1957, Gil Evans + 10. Ever the reviser, Evans took the opportunity to do a bit of rearranging as well as re-orchestrating the chart to fit the instrumentation for the concert. The Gil Evans Project's first-time recording of this great Evans arrangement features incredible solos from Steve Wilson on soprano, trombonist Ryan Keberle, and pianist Frank Kimbrough. The other tune from this era is Evans' great adaptation of Bix Beiderbecke's "Davenport Blues," originally recorded on the 1959 album, Great Jazz Standards. "I was ecstatic when I discovered Gil's score to "Davenport," says Truesdell. "There were four pages in the middle of the score that were omitted from the original version. I'm thrilled we were able to record the entire chart as Gil first conceived it." Rather than imitating trumpet soloist Johnny Coles' definitive performance on Evans' Great Jazz Standards album, Truesdell decided to take a slightly different approach. The slower tempo and Lewis Nash's heavy, slightly dirty swing feel emphasizes the bluesy elements and perfectly articulates Gil's hard-swinging rhythms. "I was blown away by Mat Jodrell's performance; he poured every bit of his soul and personality into the solo and really made it his own," says Truesdell.

Rounding out LINES OF COLOR is a collection of tunes from Evans' output in the mid-1960s, including the Gil Evans Project's dynamic renderings of "Time of the Barracudas," and "Concorde," which both first appeared on the Individualism of Gil Evans recording. "Greensleeves," originally arranged for guitarist Kenny Burrell, receives a fresh take from trombonist Marshall Gilkes, whose unparalleled tone and inventive melodicism uplift this familiar tune and Gil's singular writing.

With LINES OF COLOR, Truesdell has solidified his reputation as one of the foremost Gil Evans scholars, while leading a band of industry giants in an historic and invaluable undertaking. Picking up where the Gil Evans Project's 2013 Grammy award-nominated album CENTENNIAL: Newly Discovered Works of Gil Evans left off, LINES OF COLOR is an exciting glimpse into how Truesdell and his critically acclaimed band are fulfilling the most crucial aspect of his vision: to bring Evans' music to new ears, and to extend his legacy into the 21st century.

  

UPCOMING GIL EVANS PROJECT PERFORMANCES:

Saturday, March 28, 2015

ROYAL CONSERVATORY-KOERNER HALL, Toronto, Ontario, Canada

Sunday, March 29, 2015

DRAKE UNIVERSITY-HARMON FINE ARTS CENTER, Des Moines, Iowa

Ryan Truesdell and the Gil Evans Project perform selections from LINES OF COLOR and CENTENNIAL, as well as other classic Gil Evans' arrangements.

Thursday, May 14 through Sunday, May 17, 2015

LINES OF COLOR CD RELEASE, Jazz Standard, New York City

Fourth-annual residency at Jazz Standard, debuting selections from the new CD, as well as other rarely performed works from Gil's catalog - including music from the albums New Bottle Old Wine, Great Jazz Standards, Individualism of Gil Evans, and more.

www.GilEvansProject.com

www.RyanTruesdell.com

NEW RELEASES: FREDDIE REDD – MUSIC FOR YOU; CHARLES MCPHERSON – THE JOURNEY; JACK WALRATH – UNSAFE AT ANY SPEED

FREDDIE REDD – MUSIC FOR YOU

A great set from this under-recorded piano legend – a relaxed, easygoing session that has Freddie Redd set up in trio formation with Jay Anderson on bass and Billy Drummond on drums! All tracks are nice and long, and played with this open, flowing touch by Freddie – really stretching out on familiar tunes, at a level that's more lyrical and warm than some of his earliest bop material – and which really has a personal, expressive quality – even in some of the more subtle moments. Anderson and Drummond are a good team for the set – tight and swinging, but respectful too – and titles include "I'll Remember April", "Perdido", "Lover Man", "There Will Never Be Another You", "All The Things You Are", and the original "Blues For You".  ~ Dusty Groove

CHARLES MCPHERSON – THE JOURNEY

More of a collaborative effort than a solo journey by altoist Charles McPherson – as the saxophone legend works here with Denver pianist Chip Stephens, on a recording that may well be one of Charles' freshest in years! McPherson's always been a player to keep our ears on – great at the start, then evolving over the decades into a constantly changing, constantly growing artist – especially in the right setting. And the group here is definitely that setting – a quintet that also includes Keith Oxman on tenor, whose instrument seems to unlock some of McPherson's most tenor-like phrasing – that deeper than usual style that Charles brings to his instrument at the best moments, with a wonderfully expressive, soulful feel. Tunes include a lot of originals by members of the group – and titles include "The Decathexis From Youth", "Elena", "Manhattan Nocturne", "The Journey", "Tami's Tune", and "Bud Like".  ~ Dusty Groove

JACK WALRATH – UNSAFE AT ANY SPEED

Jack Walrath just keeps on growing and growing as a musician – a hell of a trumpeter for the past few decades, but also a great writer too – with a fresh approach to a tune that really keeps things interesting! This set may well be one of Walrath's best in years – a soulful quintet outing that has some especially nice tenor from Abraham Burton, who brings some darker tones to the record – and has this way of sharpening Walrath's horn too – as the pair step out in the lead over some of Jack's inventive compositions, then stretch out individually in well-phrased solos. The rhythm trio keeps just the right for each individual track – sometimes sprightly, but never too playful – sometimes more laidback, and nicely mellow. George Burton plays piano, Boris Kozlov plays bass, and Donald Edwards is on drums – and titles include "End The Beguine", "Why Not", "Bobby Timmons", "Unsafe At Any Speed", and "Happiness Really Is A Warm Puppy". ~ Dusty Groove

NEW RELEASES: ARCHIE SHEPP & THE NEW YORK CONTEMPORARY FIVE; LENNIE DALE WITH BOSSA TRES – UM SHOW DE BOSSA; WANDA SA – WANDA SA AO VIVO

ARCHIE SHEPP & THE NEW YORK CONTEMPORARY FIVE

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions". ~ Dusty Groove

LENNIE DALE WITH BOSSA TRES – UM SHOW DE BOSSA

A live bit of bossa vocals from Lennie Dale – recording here with some cooking accompaniment from the Bossa Tres trio! The format is very spontaneous and relaxed – similar to an American live jazz vocal date of the time, but with a bossa groove instead – one that's a perfectly showcase for Dale's lively vocals and strong sense of showmanship – singing here in both English and Portuguese! Luis Carlos Vinhas' piano playing sparkles throughout, and although recorded in a club, the set has all the crystal clarity you'd expect from the Elenco studio sides of the time. Many tunes are done in pot-pourri fashion – shifting easily between themes of a few different tunes – and titles include "No Dollar Bills", "Day In Day Out", "Old Devil Moon", "O Samba Da Minha Terra", "Improvisacao Bossa Tres", "Bim Bom", and "Samba Do Aviao".  ~ Dusty Groove

WANDA SA – WANDA SA AO VIVO

Some of the coolest, most compelling work we've heard in years from Wanda Sa – a very spare, stripped-down session that really gets back to the roots of her music from the 60s! Wanda Sa has been reviving her bossa sound for the past decade or more, but most of those recordings often have a decidedly modern feel in some of the instrumental and production choices – while this album really goes for a classic vibe all the way through, as Wanda sings beautifully without any extra trappings, and plays guitar with this sublime sense of tone and color to really illuminate the lyrics! The music has some extra backings, too – but really in a light, small combo bossa mode – save for some points when Sa is joined by Marcos Valle, Joao Donato, and Carlos Lyra – all of whom approach the project in a similar way. Titles include "O Que E Amar", "Novo Acorde", "Vagamente", "Ciume", "Pra Sempre", "Minha Saudade/Bim Bom", and "E Nada Mais". Also features bonus tracks with appearances from Jane Monheit and Dori Caymmi!  ~ Dusty Groove

Trombonist JOE FIEDLER Announces The Release of His New Trio Recording, I'M IN Featuring Rob Jost (bass) & Michael Sarin (drums)

From the opening notes of I'm In, trombonist, composer, bandleader Joe Fiedler, bassist Rob Jost and drummer Michael Sarin make it clear that this is going to be an adventurous, imaginative, funky and fun listen. Fiedler's new recording, the fourth from his trio, and the second album on his label, Multiphonics Music, presents a departure from his previous trio sessions, as Fiedler set out to play tunes with more traditional jazz forms, and that possessed more blues elements. With I'm In Fiedler has once again used his curious mind and explorer's heart to great advantage, finding brilliant new approaches on his horn, and new heights of mastery with his composer's pen.    

I'm In follows Fiedler's highly acclaimed trio recordings, Plays The Music of Albert Mangelsdorff, The Crab and Sacred Chrome Orb, so it is an album that has a lot to live up to; and it delivers brilliantly on many levels. The repertoire is as perfectly balanced as a culinary masterpiece, with just the right amount of Latin tunes ("Erstwhile", "In Walked Cleo" - written for his daughter), funky explorations ("Completely 'Peccable"), swing ("I'm In"), and more than a dash of free improvisation for good measure ("Moving In Silence"). 

I'm In also provided an opportunity for Fiedler to utilize, to great effect, several extended trombone techniques that he has mastered. He elaborated, "I wanted to return to my use of the plunger mute, which I really love, and to explore all of its textural properties with this trio, which is showcased on the first tune, 'Grip'. Another example is the melody to 'Erstwhile'; as I got deeper into it I thought it would be great to have the entire melody ride over a long drone. But instead of having the bass play the drone I chose to play it myself using circular breathing and having the bass play arco, doubling the sung/multiphonic melody, down an octave." Although an expert at using multiphonics, Fiedler still found ways to challenge himself on this recording. He commented, "for this album I wanted to return to some free improvisation that had been missing on some previous recordings of mine. On 'Moving In Silence' I incorporate some multiphonics to build the drama of the composition, and as it turned out what I wrote was the most challenging use of multiphonics that I have ever attempted." 

Other highlights on I'm In include "The New Denizens", a Fiedler composition that incorporates two of his loves in music, free playing and Latin. Fiedler said, " I wanted to try and capture the tongue-in-cheek, yet still serious vibe that predominated many groups in the early 90's downtown scene, like the Jazz Passengers. I've always dug that. But the structure was influenced by my love of the music of Carla Bley"; "The Box", which challenged Fiedler, and sent him to the shed for a spell. He commented, "The box is the name that I gave to my little writing/practicing studio at my house. I was thinking very pianistically when writing this tune. The trouble was that once it was done I had to figure out where to breathe when playing it on the trombone. In the studio Rob and Michael commented that the melody was like overlapping horn sections from a Latin band, but with all of the parts played by me! Needless to say, this one took some time in the shed to bring to life"; and "Tensegrity", a blues with a bridge, set up amazingly with a drum intro by drummer Michael Sarin, that wraps up I'm In in a thrilling way. 

More on Joe Fiedler: Few musicians possess the incredibly diverse and vast resume that trombonist/composer Joe Fiedler boasts. The perennially in-demand artist has worked with "everyone", from Wycleff Jean, Jennifer Lopez, to Celia Cruz, Ralph Irizarry, Eddie Palmieri, and from Andrew Hill, Lee Konitz, Maria Schneider, to Borah Bergman, Anthony Braxton and Cecil Taylor. He is also an active member of some of the most revered ensembles working today, including Fast 'n Bulbous - The Captain Beefheart Project, the Satoko Fujii Big Band, David Weiss and Endangered Species, the Jason Lindner Ensemble, The Mingus Band, the Ed Palermo Big Band, the Charles Tolliver Big Band and many others. Suffice it to say, it would be a challenge to meet a musician today that hasn't crossed paths on stage or in studio with Mr. Fiedler.

In addition to this bustle of activity that comes with being one of the first call trombonists in the world (his eclectic discography easily exceeds 100 recordings), Fiedler has been making his mark with a string of compelling recordings under his own name, including, Sackbut Stomp (on his own Multiphonics Music), Big Sackbut & Sacred Chrome Orb (both on the Yellow Sound Label), and Joe Fiedler Plays the Music of Albert Mangelsdorff and The Crab (both on Clean-Feed). Fiedler is also in the planning stages for a solo trombone project, and is a regular contributor to The Mingus Big Band. Fiedler's "day job" is Music Director: Arrangements (serving as arranger, orchestrator and trombonist) for Sesame Street. Over four seasons he has written more than 400 arrangements and crafted more than 4000 underscoring cues. 

www.JoeFiedler.com

NEW RELEASES: SAMMY DAVIS, JR. SWINGS & SAMMY AWARDS; LULU - MAKING LIFE RHYME; SANDRA WRIGHT - WOUNDED WOMAN

SAMMY DAVIS, JR. - SAMMY DAVIS, JR. SWINGS & SAMMY AWARDS

The world really discovered the exciting personality and talent of Sammy Davis, Jr. in the 1950s when his albums made the Top Ten and when the two albums on this CD twofer - 'Sammy Swings' and 'Sammy Awards' were released to critical acclaim. Born to show business parents, Sammy Davis, Jr. had been performing ever since he was a child but it was not till the 1950s when the world discovered his exciting personality and talent, when he achieved stardom on Broadway in 'Mr. Wonderful', and his albums made the Top Ten, and when the albums 'Sammy Swings' and 'Sammy Awards' were released. Both albums have been re-mastered and released in their entirety. Includes: Temptation, The Lady's in Love With You, Comes Love, Don't Get Around Much Anymore, That Old Black Magic, Oo-Shoo-Be-Doo-Be, Begin The Beguine, By Myself, The Gypsy in My Soul, Will You Still Be Mine, Don'cha Go 'Way Mad, Perdido, Blues in the Night, It's Magic, I've Heard That Song Before, Love Letters, Change Partners, For Every Man There's a Woman, The Man That Got Away, Lovely To Look At, Too Late Now, I Fall in Love Too Easily, Pennies From Heaven, and You'd Be So Nice to Come Home To. ~ Amazon

  

LULU - MAKING LIFE RHYME

“Making Life Rhyme” is Lulu’s first ever complete collection of self-penned songs and her first new album in over a decade. Recorded in London, the album is highly personal and confessional, featuring the tracks Faith in You, The Answer is Love, Hypnotised, Cry, Every Single Day, Poison Kiss, Angel, Messed Up World, Make Life Rhyme, Heaven Help, and Wayfaring Stranger. Luli is internationally identified, especially by North American audiences, with the song "To Sir With Love" from the film of the same name. 

SANDRA WRIGHT - WOUNDED WOMAN

Sandra Wright was an incredibly powerful Soul singer who was born in Memphis and later based in Nashville. She had joined a white R&B band Canned Souls in 1967 and recorded a few 45s before being signed. Wounded Woman is one of the greatest Deep Southern Soul albums of all time. It was recorded at Broadway Studios Muscle Shoals in 1974 produced by David Johnson. The album was licensed to Stax records Truth subsidiary label but only a couple of 45 were issued before Staxs demise. It was eventually released by Demon records in the UK in 1989 to critical acclaim. That issue is now extremely sought after by Soul fans and collectors, copies change hands for up to 200. The album contains 9 classic Soul cuts, including the bouncy title track, deep soul ballads of great intensity and three tracks that have been filling Modern Soul dancefloors for years Midnight Affair, I Come Running Back and A Man Cant Be A Man. Every track on this album is superb hence its popularity and demand. This album should have been as big as Shirley Browns Woman to Woman which was released on the Truth label in the same year, its that good. We are delighted to release this fantastic album on a limited edition vinyl LP for Record Store day 2015 ahead of its more general CD release, and enable a wider audience to own and enjoy it.

ada", "Monument", "Summer Nights", "My Favorite Band", "Serpent's Tooth", "Vales Ex Cathedra", and "Program". (One thing – note that the title track "Semiramida" has some technical issues – the recording quality ebbs and flows a bit, although the music is great.)  ~ Dusty Groove

 

NEW RELEASES: BLUEY - LIFE BETWEEN THE NOTES; THE NOTATIONS – STILL HERE 1967-1973; JERZY MILIAN – SEMIRAMIDA: TRIO IN CONCERT FROM 1966 TO 1969

BLUEY - LIFE BETWEEN THE NOTES

Having waited more than 30 years to record his debut solo album – 2013’s “Leap of Faith” – INCOGNITO’s driving force Jean-Paul ‘BLUEY’ Maunick enjoyed the experience so much that he returns with an impressive second solo set “Life Between The Notes” Bluey displays an assured vocal performance on a wide range of songs from the disco flavour of “Hold On” and the dancefloor-friendly title track (Says Bluey: “I quote my record collection…the songs that have fanned the flame of this long musical journey”) to the funky falsetto of “I’ve Got A Weakness For Your Love” and the jazzy “Saints and Sinners” and “Columbus Avenue”. The album shows a real development for Bluey, especially as he ventures into more jazz-leaning vocal material. He feels the album has “a jazz undertow that sweeps the whole thing along”. Of the album’s closing track “Sunships On The Shores Of Mars”, he calls it “the deepest adventure I’ve allowed myself to take into the world of jazz. It allows me to croon like I’ve never crooned before.” ~ Amazon

THE NOTATIONS – STILL HERE 1967-1973

From the dawn of doo-wop to the death of disco, the Notations saw-and sang-it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s Southside for decades. The first overview of their indie label golden age, Still Here 1967-1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time. Includes: A New Day; I’m Still Here; Trying My Best To Find Her; Just You And Me; This Time I’m For Real; What More Can I Say; I Can’t Stop; That Girl; At The Crossroads; Leading Lady; Now I Know How It Feels; Gonna Get Ready; I’ve Been Trying; and I Don’t Want To Be Late.

JERZY MILIAN – SEMIRAMIDA: TRIO IN CONCERT FROM 1966 TO 1969

Seminal sounds from one of the hippest vibists of the 60s – the great Jerzy Milian, who was easily Europe's answer to Bobby Hutcherson at the time! The material here comes from a few key performances by the Milian trio at the Jazz Jamboree festival in Poland – sort of the Eastern European version of Newport or Montreux – and the sound is very open and freewheeling, with this equal balance between the vibes, bass, and drums that show a lot of "new thing" tendencies in Jerzy's music at the time! Milian made plenty of great studio records over the years, but these live sides may well be some of his most revolutionary – a rare glimpse at a musician who should have had a much bigger impact globally at the time, had it not been for the politics of the Cold War. Titles include "Semiramida", "Ballada", "Monument", "Summer Nights", "My Favorite Band", "Serpent's Tooth", "Vales Ex Cathedra", and "Program". (One thing – note that the title track "Semiramida" has some technical issues – the recording quality ebbs and flows a bit, although the music is great.) ~ Dusty Groove

NEW RELEASES: TIM WARFIELD – SPHERICAL; LA BATTERIA; RAN BLAKE – COCKTAILS AT DUSK: A NOIR TRIBUTE TO CHRIS CONNOR

TIM WARFIELD – SPHERICAL

A tribute to the music of Thelonious Monk, but one that's got plenty of Tim Warfield's own spirit as well! Orrin Evans handles the piano here, and while he's certainly equipped to bring out the angularity of Monk's music, he's got his own way of approaching the tunes that are nicely fresh – that blocky, chunky style we love in Evans' playing – which seems to grab melody and rhythm together in a single handful, and cast out these bold sounds that really inspire the rest of the group. Warfield's right at home in the setting – stretching out especially well on tenor, but also playing soprano sax as well too – and the rest of the group includes excellent trumpet from Eddie Henderson, plus bass from Ben Wolfe and drums from Clarence Penn. Titles include "Blue Hawk", "Off Minor", "Ugly Beauty", "Oska T", "Coming On The Hudson", "Gallop's Gallop", and "That Old Man". ~ Dusty Groove

LA BATTERIA – LA BATTERIA

A contemporary combo, but one who hit the style of classic sound library funk right on the money – with a killer approach that makes the album bristle like a vintage set all the way through! And trust us on this – these guys aren't "retro" or going for some sort of easy 60s modes – and instead, they really find the best way to turn out the sort of small combo funk that you'd hear from one of the small Italian sound library labels of the 70s – from the sharp instrumentation, right down to the production – and especially the best sense of economy and focus when turning out a groove. The music is heavy on keyboards – Hammond, Fender Rhodes, clavinet, and more – but also isn't just one of these copycat keyboard affairs, like the flurry of 80s styled work on the market. We're darn hard to please, and naturally suspicious of material like this – to take our word that when we say it's great, it's plenty darn great! Titles include "Espresso", "Dilemma", "Manifesto", "Vice Versa", "Chimera", "Scenario", "Formula", and "Vigilante". ~ Dusty Groove

RAN BLAKE – COCKTAILS AT DUSK: A NOIR TRIBUTE TO CHRIS CONNOR

A really unique little album from pianist Ran Blake – and that's saying a lot, given that all of his music is pretty darn unique! The album features Blake at his warmest – serving up a tribute to the vocalist Chris Connor, but at a level that's mostly instrumental – as a good number of the tracks just feature Ran on solo piano – creating dark, moody shapes from the bare bones of songs that were a big part of Connor's famous 50s recordings for Bethlehem Records – really blue, melancholy numbers that sound completely different in Blake's hands, but which have the same sort of haunting feel as Chris' vocal versions. Laika Fatien sings on 3 of the album's 13 tracks – with a very mellow, almost icy style that we've never heard from her before – and 2 more tracks feature Ricky Ford on tenor, playing with an approach that's surprisingly well-suited to Ran's piano. Titles include "All About Ronnie", "Why Can't I", "Where Are You", "Moon Ride", "Driftwood", "Speak Low", and "Go Way From My Window". ~ Dusty Groove

NEW RELEASES: LES FRERES SMITH – FREE TO GO; JACK DEJOHNETTE – MADE IN CHICAGO; BAAST – DIMENSIONS

LES FRERES SMITH – FREE TO GO

This killer combo starts a fire right from the very first note on the set – then continues to burn strongly all the way through – with a vibe that's even sharper and tighter than their first set of Afro Funk a few years back! Les Freres Smith travel in familiar territory, but have a way of making their sound come out at a very personal, unique sort of level – one that's often rawer on the percussion tip than most other contemporary groups, and which layers the keyboards in with the horns, so that there's a sense of counterpoint that pushes both instruments away from their usual comfort zone! There's some slight psych touches on the production – but never in a way that gets away from the core funk of the combo – and the balance of the music is really hard to peg in words, but comes through right away with the very first listen. One of the freshest Afro Funk sets we've heard in years – with tracks that include "Supermandingue", "Liar", "Better Thing", "Djilan", "Koni", "Nia Mangolo", "AK 54", and "Crisis". ~ Dusty Groove

JACK DEJOHNETTE – MADE IN CHICAGO

A brilliant reunion of some key members of the AACM in Chicago – recorded at the Chicago Jazz Festival in a stunning performance that features drummer Jack DeJohnette in the lead, plus Muhal Richard Abrams on piano, Henry Threadgill on alto and flute, and Roscoe Mitchell on a variety of reeds! Bassist Larry Gray completes the group, and also plays a bit of cello – and the music has this wonderfully freewheeling, organic quality that really takes us back to the early years of the avant scene in Chicago – that very special sense of improvisation that the players forged back in the day – with an especially sonic-sensitive ear tuned towards the musicianship. The album is neither the usual ECM mode, nor even what we'd expect from DeJohnette – and instead takes us back to the earliest utterings from Chicago on labels like Delmark or Nessa. Titles include "Chant", "Jack 5", "Leave Don't Go Away", "Ten Minutes", and "Museum Of Time".  ~ Dusty Groove

BAAST – DIMENSIONS

A surprising new project from the same Cali underground assemblage that gave us some of the Heru Avenger records from years back – done in a style that's even more jazz-based and spiritual than before! All tracks are long and spiraling – with heavy bass at the bottom from Heru Avenger, plus trumpet, saxes, keyboards, and lots of percussion – and a bit of voice on two tracks. Titles include the side-long "Dimension Beyond" – plus "Ascend Rising", "Terra Earthen", and "Suspension Aloft".  ~ Dusty Groove

Guitarist MICHAEL VALENAU Blends Timeless Organ Trios with Compelling Blend of Love Songs, Groove Anthems and Short Acoustic Poems on HARD TO COOK

From Paul Bocuse to Julia Child, France has been known to spawn many of the world's culinary greats over the years. However, Parisian guitarist Michael Valeanu gives new meaning to the word gourmet with Hard To Cook, his sophomore effort as composer and bandleader. A wordplay on French expression Dur á Cuire, meaning tough cookie, Hard To Cook is meant to please the most demanding musical tastemakers. The ingredients of the feast come from everywhere: a pinch of folk, a sprinkle of impressionism, a generous spoonful of groove, and a minute knowledge of jazz guitar tradition. 

Following in the footsteps of Wes Montgomery and Jimmy Smith, John Scofield and Larry Goldings, and fed by the eclecticism of the New York scene, Valeanu chose the Hammond organ, guitar and drums trio to present the music on this record. Purists will admire the matchless mastery of this trio featuring Jake Sherman on organ and Jake Goldbas on drums, while curious music lovers will savor a compelling blend of love songs, groove anthems and short acoustic poems. 

Hard To Cook is a dream come true for Valeanu who learned jazz listening to Wes Montgomery records. "I fell in love with the Hammond, it has the sonic breath of a whole orchestra, and complements the guitar most beautifully." To realize his idea, Valeanu led a triumphant Kickstarter campaign that allowed him to have complete artistic independence.

Much like Valeanu himself, both members of his trio are also jacks-of-all-trades, masters of many, with groove as the common denominator. On the organ, Sherman's playing can resemble Ellington's sax section on the gripping "Blood Count,"  or the fiercest of bass players on "Norwegian Omelette." Goldbas is another force to be heard: with hard driving swing on "Firm Roots," irresistible groove on "Hard to Cook," and subtle percussion work on "Floating Island." 

The icing on the proverbial the cake is none other than France's freshest diva, vocalist Cyrille Aimée, for whom Valeanu plays guitar and collaborates. She is a featured vocalist and lyricist on the savory "20 Years," which manages to appear as a simple bucolic folk song despite its rhythmic complexity, and continues to dazzle with a virtuosic scat lesson on the odd metered "How Deep Is the Ocean." We also owe Aimée the blossoming of Valeanu as a producer, which gives Hard To Cook its unique flavor in contemporary jazz. 

The originals that Valeanu brings to the table are true to his eclecticism: a thoughtful introduction calling classical composer Leo Brouwer to mind, an exuberant groove of the title track, and the country scene conjured by Aimée's lyrics on the purely melodic "20 Years." Like the best of chefs, Valeanu aims to please, and with Hard To Cook, leaves listeners craving for more. 

Born in Paris, France in 1985, Valeanu began playing guitar when he was 14-years-old. While in Paris, he studied at the Nadia & Lili Boulanger Conservatory as well as at the Edim/National School of Music of Bourg-La-Reine.  During this time, Valeanu was affirming his spot in the local Parisian music scene as both a sideman and a studio musician. 

He moved to New York City in 2008 to attend the New School for Jazz and Contemporary Music in order to branch out into the jazz scene even further. Since moving to New York, Valeanu has played a myriad of clubs such as Smalls, Birdland, Jazz Standard, and Smoke, as well as various festivals throughout the United States. Since becoming a mainstay in the New York jazz scene, he released his debut album Tea Time in 2012. 

Michael Valeanu · Hard To Cook

Release Date: April 28, 2015

www.MichaelValeanu.com

SANTANA 2015 CONCERT TOUR - NEW HOUSE OF BLUES LAS VEGAS AND EUROPEAN DATES ANNOUNCED

Santana is gearing up for a very busy year with new tour dates announced.  See below and check back here often for updates.

Santana Tour Dates for 2015:

• March 10 - Charleston, SC @ N. Charleston Performing Arts
• March 11 - Nashville, TN @ Ryman Auditorium
•  March 13 - Biloxi, MS @ Beau Rivage Theatre
• March 14 - Memphis, TN @ Orpheum Theatre
• March 15 - Birmingham, AL @ BJCC Concert Hall
• March 17 - Oklahoma City, OK @ Civic Center Music Hall
• March 18 - Grand Prairie, TX @ Verizon Theatre
• March 19 - Corpus Christi, TX @ Selena Auditorium 
• March 21 – Monterrey, MX @ Arena Monterrey
• March 23 – Vera Cruz, MX @ Cumbre Tajin Festival
• March 26 – Guadalajara, MX @ Arena VFG
• March 27 – Mexico City, MX @ Sports Palace
• May 20 – Las Vegas, NV @ House of Blues
• May 23 – Las Vegas, NV @ House of Blues
• May 23 – Las Vegas, NV @ House of Blues
• May 24 – Las Vegas, NV @ House of Blues
• May 27 – Las Vegas, NV @ House of Blues
• May 29 – Las Vegas, NV @ House of Blues
• May 30 – Las Vegas, NV @ House of Blues
• May 31 – Las Vegas, NV @ House of Blues 
• June 30 - Amsterdam,  NL @ Ziggo   
• July 1 - Brussels, BE @ Palais 12 - Brussels Expo
• July 2 - Hamburg, DE @ Stadtpark     
• July 4 - Slupsk, PL @ Dolina Charlotty Resort Spa
• July 5 - Berlin, DE @ O2 World         
• July 7 -  Luxembourg, LU @ Rockhal
• July 8 - Oberhausen, DE @ Konig Pilsener Arena
• July 10 - Juan Les Pins, FR @ Juan Les Pins Festival 
• July 11 - Monte-Carlo, MC @ Monte-Carlo Sporting Summer Festival
• July 12 - Locarno, Switzerland @ Moon and Stars Festival
• July 16 - Nimes, FR @ Nimes Festival
• July 17 - Argeles-sur-Mer, FR @ Parc De Valmy, Les Deferlantes
• July 19 - Klam, AT @ Castle Clam     
• July 20 - Verona, IT @ Arena di Verona
• July 21 - Pistoia, IT @ Piazza del duomo
• July 23 - Vienne, FR @ Theatre Antique De Vienne
• July 25 - London, UK @ The O2       
• August 14 - Forest Hills, NY @ Forest Hills Stadium
• August 15 - Canandaigua, NY @ CMAC        
• August 16 - Scranton, PA @ Peach Festival
• August 18 - Boston, MA @ Blue Hills Bank Pavilion
• August 19 - Uncaseville, CT @ Mohegan Sun Arena
• August 21 - Atlantic City, NJ @ Borgata        
• August 22 - Atlantic City, NJ @ Borgata        
• August 23 - Holmdel, NJ @ PNC Bank Arena
• August 25 - Vienna, VA @ Wolf Trap
• August 26 - Baltimore, MD @ Pier Six Concert Pavilion        
• August 28 - Clarkston, MI @ DTE Energy Music Theatre      
• August 29 - Chicago, IL @ Ravinia TBA
• August 30 - Chicago, IL @ Ravinia TBA
• September 16 – Las Vegas, NV @ House of Blues
• September 18 – Las Vegas, NV @ House of Blues
• September 19 – Las Vegas, NV @ House of Blues
• September 20 – Las Vegas, NV @ House of Blues
• September 23 – Las Vegas, NV @ House of Blues
• September 25 – Las Vegas, NV @ House of Blues
• September 26 – Las Vegas, NV @ House of Blues
• September 27 – Las Vegas, NV @ House of Blues
• November 4 – Las Vegas, NV @ House of Blues
• November 6 – Las Vegas, NV @ House of Blues
• November 7 – Las Vegas, NV @ House of Blues
• November 8 – Las Vegas, NV @ House of Blues
• November 11 – Las Vegas, NV @ House of Blues
• November 13 – Las Vegas, NV @ House of Blues
• November 14 – Las Vegas, NV @ House of Blues
• November 15 – Las Vegas, NV @ House of Blues

NEW RELEASES: GREGORY PORTER, MELODY GARDOT & OTHERS – ROUND NINA: A TRIBUTE TO NINA SIMONE; BLUE MODE – SPACE RACE; FRAMEWORK - TIDES

GREGORY PORTER, MELODY GARDOT & OTHERS – ROUND NINA: A TRIBUTE TO NINA SIMONE

A compelling tribute to the great Nina Simone – featuring a host of contemporary singers performing their own versions of classics from Nina's recordings of the 60s and 70s! The project was put together in France, with orchestrations by Clement Ducol – but it features a fair bit of singers from a wider scene, including the great Gregory Porter, who makes a key appearance here! Instrumentation is often a mix of contemporary and classic modes – almost a remix of the original ideals of Simone's recordings, although the vocal delivery is very straight, and never played with – which is a good thing. Performances include "Black Is The Color" by Gregory Porter, "Baltimore" by Lianne Le Havas, "Sinnerman" by Keziah Jones, "Just Say I Love Him" by Hindi Zara, "Lilac Wine" by Camille, "Four Women" by Melody Gardot, "Feeling Good" by Ben L'Oncle Soul, "My Baby Just Cares For Me" by Oliva Ruiz, and "Plain Gold Ring" by Youn Sun Nah.  ~ Dusty Groove

BLUE MODE – SPACE RACE

A really great groover, and a set that's way more than just another retro funk outing – given that these guys have plenty of tight jazz skills too! The group works here with a few key differences than other organ combos of late – the first of which is the strong use of flute by lead reedman Chip Wickham, who also plays a mean tenor – but uses the flute to create these wonderfully cool, snakey solos that take us right back to 60s giants like Jerome Richardson or Frank Wess! Another standout is the keyboard work of Gabriel Casanova, which also includes Wurlitzer Piano and clavinet in addition to Hammond – a blend of keys that make for a richer sense of spectrum throughout the album, even though all three instruments are handled with the deep soul of a classic organ jazz player from years back. The group also features drums, guitar, and a bit of congas – and titles include a surprisingly groovy remake of "Smells Like Teen Spirit", plus great originals that include "Tortilla Chip", "Rice Beans & Bugaloo", "Dr Shrip", "Space Race", "When The Rope Failed", and "Colt's Run".  ~ Dusty Groove

FRAMEWORK – TIDES

'Tides' is the debut album from Manchester-based producer Matt Brewer aka Frameworks. Since the release of his first EP 'Vanish' back in 2012, Frameworks has been building a loyal following for his atmospheric and haunting compositions. 'Tides' sees him joining the dots between instrumental hip hop heroes Aim and RJD2, the epic soundscapes of Cinematic Orchestra and the deft songwriting of Bonobo. Previous collaborators Rioghnach  Connolly and JP Cooperreturn for the album with two tracks apiece. Rioghnach gives a captivating vocal performance on lead single 'Calm The Still Night' and the brooding 'Dawn', whilst JP (recently signed to Island Records) brings raw soul to 'Old Friend' and 'No Place To Hide Away'. The bedrock of the album is instrumental with Frameworks' trademark string-laden productions taking in cinematic jazz ('Patience'), folk ('End') and more uptempo fare in the shape of 'Breathing Light' and 'A New Sun'. Tides' shows just how accomplished Frameworks is as a producer and composer, showing a lightness of touch and genuine song-writing talent that few can emulate. 

Pianist / Trombonist KEVIN CLINE'S new album MAKE UP YOUR MIND features an Chicago all-star lineup‏

Pianist/trombonist Kevin Cline usually keeps a low profile, so much so that even his neighbors on Chicago’s northwest side probably don’t realize the depth of his talent. He’s been a strong, if understated, presence in a myriad of bands for more than 30 years, but is just now releasing his debut. This disc, Make Up Your Mind, promises that Cline won’t be a secret for much longer.

Being such a humble guy has its advantages. Rather than spending time hyping himself, Cline focuses on his writing, and the results are his 14 original compositions on this disc. While the buoyant tone throughout Make Up Your Mind is anything but workmanlike, Cline’s patience and determination are what made this disc happen.

Cline’s life in music reflects that perseverance. He started playing organ as a child, picked up the trombone a few years later added piano to the mix. Playing in high school ensembles made him focus on trombone, primarily when Cline joined Rich Daniel’s Big Band Machine. Along with Daniels, Cline attended DePaul University in the early ’80s and graduated with a degree in music theory. More work followed— ranging from the Glenn Miller Orchestra to the backing band for popular Chicago radio d.j. Jonathan Brandmeier, Johnny and the Leisure Suits. But he wanted to express his own self, which meant the piano playing a more vital role.

As Cline started to dig deeper, he studied with Chicago jazz pianist Peter Polzak during the late ’90s. Bill Evans and Keith Jarrett records became a bigger part of his musical diet. He built up his sense of harmony and theory and turned those ideas into his compositions, including this disc’s title piece. The end results pack Make Up Your Mind.

“I tend to hear bass lines and/or chord changes first and melody comes after that,” Cline said. “I then play the changes over and over as I sing melodies in my head until I find the melody that works best. I’m meticulous about chord changes in my writing. Often when the melody repeats, I like to throw in an alternate chord change or two, just to keep it interesting.”

This strategy is heard in “Make Up Your Mind,” with its shifts from minor to major keys. Cline’s technique is also a part of the opener, “After The Rain,” where Cline doubles on piano and Fender Rhodes.

“None of my tunes are named until I’ve written them,” Cline said. “I named it ‘After The Rain’ because as the ending approaches, the tonality changes quickly. It’s basically in the key of C major at that point and takes a turn to end in B-major. That sound reminded me of the sun or a rainbow appearing after a storm.”

But Cline turned to a different early inspiration for “Umbrella, Sunglasses & Gloves”: the horn bands of jazz-inspired 1970s rock, primarily Earth, Wind and Fire and Chicago. The sunny tone and Paul Zimmerman’s vocals here (and on “You Tend To”) echo the time when, as a teenager, Cline played his trombone along with Chicago records.

Other key sources include the musicians who Cline brings on to the recording, such as guitarist Dale Prasco who joins in on the Latin-tinged “Beware The Snake” and in a duo with Gailloreto on “April In June.”

Trumpeter Victor Garcia also mixes it up with Gailloreto (on tenor) on “A Shot Of J&V” and the quasi-bossa nova, “Shirley Not Forgotten.” Cline also built “Neighborhood Trolley” from its origins as a piano ostinato while he observed how the horns interacted. Another guest trumpeter, Bobby Shew, shines on the brass- heavy-but-breezy “Happy-Go-Lucky” and while he’s name checked on the title of “Song For Bobby,” that song also echoes another of Cline’s heroes, Bill Evans.

“That song combines Bill Evans-like chord changes played in a George Shearing style,” Cline said. “It’s in the key of E-flat, going to minor ii-V to relative minor C. Bill Evans did that often and was very unique in his use of minor ii-V chord progressions."

Most of the disc conveys an optimistic vibe, with “Santorini By Motorbike” a reflection of Cline’s visit to Greece and “Mistletoe, Me & You” a romantic Christmas-time song that he wrote for his girlfriend. But even within this upbeat sentiment, Make Up Your Mind offers an array of textures. The disc’s sole cover—an interpretation of “My Funny Valentine” that serves as a showcase for vocalist Isha Marie Lewis—Cline layers on the horns for a funk vibe with extra harmony. The disc closes with “Till Next Time,” a not-too-somber sparse ballad with just Gailloreto and Cline giving each other just the right amount of space.

No question that Make Up Your Mind is an opening statement, not a point of departure. Cline is already planning his next project, a pop/R&B disc that will show that will show an entirely different side of his musical personality. This man is in it for the long haul.

~ Aaron Cohen (Senior contributor to DownBeat)

Saxophonist Russ Nolan to Release "Call It What You Want," His 5th Rhinoceruss Music Album in 10 Years

Russ Nolan Call It What You Want A dexterous improviser with an abiding passion for Latin American rhythms, Russ Nolan delivers a deeply satisfying program of original tunes on his new CD Call It What You Want. The prolific tenor saxophonist, composer, and arranger will release the disc, his 5th as a leader in 10 years, on his Rhinoceruss Music label March 31. 

Reflecting his fluency in the post-bop vocabulary and Latin rhythmic idioms, it's an approach quite distinct from what used to be called Latin jazz, like a good deal of the most stimulating jazz coming out of New York in recent years. Not surprisingly, Nolan has collaborated with some of the Latin musicians in the vanguard of this movement, like the brilliant Cuban pianist Manuel Valera (who played on Nolan's previous release, 2013's critically hailed Relentless). 

"I hope I'm part of this larger conversation," Nolan says. "I didn't grow up in Cuba or with this music, but I've really connected with these rhythms through a lot of study. You can't throw out all the rules, but you take the tradition and honor it by being rebels in your own time. You take what you've absorbed and make it your own." 

Nolan's striking arrangement of "My Ship," for instance, is set to an Afro-Peruvian Lando rhythm and finished in a Coltrane-style modal vamp. His varied originals include "Mi Remedio," a cha-cha written for his wife Luz; "Canción Sabrosa," a mambo in rhumba clave; and "Las Teclas Negras," an E-flat minor blues played as a medium-tempo mambo in 7/4. "This recording is another chapter in my study of Latin rhythms and their application to the modern jazz harmony I enjoy writing," says the leader. 

 Russ Nolan One reason that Nolan has continued to evolve is that he takes pains to surround himself with superior players. Pianist Mike Eckroth attracted widespread attention while touring with John Scofield (2010- 2012), though he's also obviously delved deeply into Afro-Caribbean and Afro-Brazilian waters. 

Brian Fishler, who's played on Nolan's last three albums, is "one of the most versatile drummers in town," says the saxophonist. Bassist Daniel Foose, a more recent member of the fold, is a highly assured player who lives across the street from Nolan in Sunnyside, Queens, and shares his University of North Texas affiliation. Far more than a master percussionist, Victor Rendon is also an essential mentor for Nolan who has helped inculcate his deep knowledge of Cuban rhythms. "He and Yasuyo [Kimura] are an amazing team," Nolan says. "I met them on a salsa gig, and she played on three tracks on Relentless." 

Nolan's concern with rhythm began coming into clear focus in the late 1990s, when he was living in Chicago. Saxophonist Chris Potter came through town with Dave Holland's band and gave Nolan the first of what would become many lessons. "He could have talked to me about scales and harmony and all this other stuff," Nolan recalls, "but he really impressed upon me that the horn player has to have the same mastery of time as the rhythm section and can't rely on them to carry him along." 

Nolan had moved to Chicago after graduating from North Texas State and studied with local saxophonist Rich Corpolongo as well as with visiting New Yorkers Dave Liebman and Kenny Werner. In 2000, pianist Werner convinced Nolan to move to New York City -- and would play on the saxophonist's 2008 CD With You in Mind (Nolan's debut recording was 2004's Two Colors). 

Introduced to clave by his interest in dance (he's an accomplished salsa dancer), Nolan has connected with the burgeoning pan-American scene in New York. For the past two years he's led a salsa band that performs for dancers. 

"There are all the different nationalities in New York -- Peruvian, Panamanian, Cuban -- and the deeper I got the more I liked it," Nolan says. "There's so much information here. For the past year I've been studying percussion with Victor Rendon, so I can take these Cuban rhythms and apply them to jazz harmonies I studied with Kenny Werner. It's just another chapter in my rhythmic exploration."

CD release shows for Call It What You Want: 

4/2 Jazz Estate, Milwaukee

4/3-4 Green Mill, Chicago

4/16 Terraza 7, Elmhurst, Queens, NY

4/17 Jazz at the Kitano, NYC

4/29-30 Rex Hotel, Toronto

5/1 Musideum, Toronto

5/8 Firehouse 12, New Haven, CT

www.russnolan.com

Featured this week on The Jazz Network Worldwide: Vocalist, Victor Fields with a sneak peek of his current single “Let Me Be Good To You” from his upcoming CD “The Lou Rawls Project”

Featured this week on The Jazz Network Worldwide: Vocalist, Victor Fields with a sneak peek of his current single “Let Me Be Good To You” from his upcoming CD “The Lou Rawls Project”.

Victor Fields is a silky soul jazz singer with a rich gauzy tenor known for seamlessly integrating the blues, jazz, R&B and Pop and his new single is no exception.

The Jazz Network Worldwide has been an avid supporter of Fields' projects throughout the years and is excited about sharing with its community and beyond his new single “Let Me Be Good To You”.  Giving homage to a music legend has shown to be a very successful quest for Victor, for it is one that is close to his heart.

"My intent is to capture the essence of Lou Rawls not copy him. There’s only one Lou Rawls.  I wanted it to feel like each song was being recorded for the very first time for today’s audience".  One night in Oakland, CA he called Victor “the man with the golden voice". As Fields recounts, "Our encounter was brief, but his presence that night and those words he uttered inspired me to change my life, to fulfill a dream”.

On February 14, 2015 Fields gave a concert at the Bijou Theatre in Bridgeport, CT to preview and celebrate the expected release in late March of his fifth studio CD “The Lou Rawls Project".  Joining him on stage was his Special Guest and Musical Director Gail Jhonson backed by Connecticut’s own Steve Clarke (bass), Asher Delerme (percussion), Dave Davis (sax), Pat Williams (guitar). Victor has also shared the stage with Isaac Hayes, Cameo, Dee Dee Bridgewater, James Ingram, Patti Austin, Regina Belle, Atlantic Starr, Maysa and Marion Meadows.

On the heels of a successful CD launch on the east coast, it was only apropos for Fields to seek to tour the eastern seaboard targeting such cities as New Haven and Hartford, CT, Springfield and Worcester, MA, as well as Fayetteville, NC, Columbia and Charleston, SC and New York.

Mr. Fields’ has recorded and released four studio CDs on his label, Regina Records, that feature smooth jazz luminaries Chris Botti, Gerald Albright, Kashif, Chris Camozzi, Richard Elliot, Rick Braun, Nelson Braxton, and Jeff Lorber. His CD "52nd Street" reached #12 on the Billboard Contemporary Jazz Chart and he continues to receive international radio airplay within the following three formats: Urban Adult Contemporary, Smooth Jazz and Straight Ahead Jazz. In addition, Victor is the owner and founder of Regina Records Radio which has been on the airwaves for four years now.

"Victor's melodic vocal interpretations of Lou's songs are original, unique and soul stirring. He is a special artist with a voice so pure and real.  His depth is an undiscovered greatness, you owe it to yourself to listen to what I consider one of the great smooth soul singers of all time. ~ Chris Camozzi, Producer and Featured Artist, "The Lou Rawls Project".

International and domestic stages and concerts are the goal with this new project and worldwide radio airplay has already begun with stations contacting Regina Records for the new single “Let Me Be Good To You”.  The beat goes on with interviews from stations like Magic 107.3, Charleston, SC, WPKN, WHUH, and WYBC, in Bridgeport, Hartford and New Haven, CT respectively.

"His charismatic musical spirit offers such a smooth, soulful delivery in his interpretation of Lou Rawl’s tune “Let Me Be Good To You”. He shows how one can be influenced by a musical icon yet embellishes its thread with his own signature, offering a masterful fresh contemporary arrangement.  Victor expresses his gift with invested love and conviction in every note sharing the enduring magic of a timeless song with soulful precision and care” says Jaijai Jackson, creator of The Jazz Network Worldwide.

www.thejazznetworkworldwide.com

CONCORD MUSIC GROUP CELEBRATES 40th ANNIVERSARY OF LEGENDARY TONY BENNETT/BILL EVANS SESSIONS WITH FOUR-LP BOX SET: THE COMPLETE TONY BENNETT/BILL EVANS RECORDINGS

Forty years ago, renowned entertainer Tony Bennett joined together with legendary jazz pianist Bill Evans for their first of two duet albums. The result was 1975’s The Tony Bennett / Bill Evans Album, followed by Together Again the following year. To celebrate this incredible coupling of talents, Fantasy Records, a unit of Concord Music Group, will release a deluxe, 180-gram vinyl box set. Venerated as a special moment in the history of jazz, the two albums, plus two discs’ worth of alternate takes and bonus tracks, are combined in this four-LP, 180-gram vinyl collection, The Complete Tony Bennett/Bill Evans Recordings. Included is a collectible 12x12 photograph of the two musicians, as well as a deluxe 12-page booklet featuring rare images and extensive liner notes by Will Friedwald (co-author of Tony Bennett’s autobiography, The Good Life).

This unique pairing began with 1975’s The Tony Bennett/Bill Evans Album, recorded during an intimate session at Fantasy Studios (producer Helen Keane and an engineer were the only other people present). At work in equal partnership, Bennett and Evans selected the tunes, worked out the arrangements semi-spontaneously, and, later, picked the final takes to be used. Bennett recalls that the pair didn't even discuss song choices before the session: “I would name a tune, and Bill would say, ‘That's good, let’s do that.’ We'd find a key and then the two of us would work it out.”

The Tony Bennett/Bill Evans Album features a selection of classics from the Great American Songbook (“The Days of Wine and Roses,” “Young and Foolish,” “The Touch of Your Lips”), as well as a moving rendition of the Evans’ classic tune "Waltz for Debby" (with lyrics written by Gene Lees). A consistently enthusiastic and balanced musical team, Bennett and Evans shine both individually and in tandem.

Following the recording, the pair performed live on a number of occasions and made several television appearances, including a stop on Johnny Carson’s Tonight Show.

In 1976, Bennett and Evans returned to the studio for Together Again. Another low-lights, high-improv date of standards that opens with an Evans solo rendition of “The Bad and the Beautiful” and continues with such moving renditions of “Lucky to Be Me,” “You’re Nearer,” and “You Don't Know What Love Is.” Another Evans original, “The Two Lonely People” (with lyrics by Carol Hall), also graces the playlist.

Both sessions — in which Bennett and Evans recorded together in the same room, not in isolation booths (a recording preference that Bennett has practiced throughout his recording career)— yielded several fine alternate takes that are included, as well as bonus tracks from the second date.

With such palpable energy and nearly telepathic interplay, these recordings have garnered critical awe over the years since their release. London’s The Guardian noted in 2009, “The outcome of this intimate duet highlighted the sublime creative accompanist in Evans, and the deep jazz sensitivities of the vocal legend … the two sound as if they’re having the time of their lives.” The BBC mused, “It seems impossible that these two giants of understated musical sophistication went into the studio with no idea of what they would record … They plucked one definitive performance after another out of thin air to produce a nine-track album — called, with straightforward simplicity, The Tony Bennett/Bill Evans Album — that was bettered only by its solitary follow-up, the following year’s Together Again.” AllMusic simply called the collaboration an “excellent jazz-pop hybrid in which both musicians were shown off to advantage.”

The Complete Tony Bennett/Bill Evans Recordings joins several recent and forthcoming releases, celebrating the career of Bill Evans. Aside from a handful of reissued albums on vinyl, fans can also look forward to CD box set reissues The Complete Riverside Recordings and The Complete Fantasy Recordings this spring and fall, respectively. Also available is the highly acclaimed deluxe LP box set The Complete Village Vanguard Recordings, 1961, which hit store shelves in the fall of 2014.

The album is scheduled for release on April 28, 2015.