Birdman Score Composer ANTONIO SÁNCHEZ Releases Two New Albums: THREE TIMES THREE & THE MERIDIEN SUITE

2014 proved to be a landmark year for drummer, composer and bandleader  Antonio Sánchez. Long one of the most acclaimed and in-demand drummers of his generation, Sánchez's ever-expanding musical vision was discovered by new audiences through his Golden Globe & BAFTA-nominated score for Alejandro González Iñárritu's Academy Award-winning film Birdman or (The Unexpected Virtue of Ignorance), and a globe-spanning 150-city tour with the Pat Metheny Unity Group, the latest iteration of a fifteen-year collaboration between the guitarist and drummer - in addition to appearing as a featured musician in Miles Ahead, Don Cheadle's forthcoming biopic on Miles Davis as well as composing and recording his next album as a leader. 

Now, Sánchez follows that well-deserved success with two remarkably diverse new releases that spotlight the continued evolution of his compositional and bandleading talents. Three Times Three (available April 28 on CamJazz - distributed by Sunnyside Records in the U.S.) showcases Sánchez at his improvisatory best with three different but equally iconic all-star trios; while the breathtaking, sweeping The Meridian Suite (available June 9) features the composer's most ambitious work to date, an hour-long electro-acoustic suite penned for Migration, his working ensemble.

That range only adds to the multi-faceted dimensions that Sánchez has shown to audiences over the years, culminating in his exhilarating score for Birdman. Despite being disqualified from Oscar contention - for arcane reasons having to do with the use of pre-existing classical music on the soundtrack - Sánchez's innovative drums-only score won top honors at other important award shows and contributed immensely to the film's success at this year's Academy Awards ceremony, where it won four awards including Best Picture. While Sánchez was understandably disappointed by the Oscar snub, the outcry against the decision has been reassuring and the composer is well aware of his achievement, saying, "The work speaks for itself."

On Three Times Three, Sánchez assembled three different trios, a format which allows for incredible intimacy and interplay and in which he's enjoyed considerable success as drummer for three-man groups led by the likes of Metheny and pianist Danilo Pérez. The trio configurations on Three Times Three are undoubtedly impressive: pianist Brad Mehldau and bassist Matt Brewer; guitarist John Scofield and bassist Christian McBride; and saxophonist Joe Lovano and bassist John Patitucci. But even more impressive is the way these three groups work together, creating electrifying dynamics and deeply empathetic communication despite their one-time-only existences.

While Sánchez has played with many of jazz's most acclaimed and influential bandleaders since his arrival in the States in 1993 - a staggering list that includes Metheny, Chick Corea, Michael Brecker, Charlie Haden, Gary Burton, Joshua Redman, Toots Thielmans and countless others -Sánchez was wary of pursuing an "all-star project," knowing that such recordings are often more impressive for the names on the cover than the music contained within. "The chemistry can be completely off," Sánchez explains. "The players can come from all different walks of life and not really relate to each other, and the ego factor can also play a big part. So I wanted to achieve an all star project that would still feel intimate and allow the musicians to stretch as much as possible."

Part one of Three Times Three is entirely made up of three tracks by the Mehldau/Brewer trio. The pianist is the sole artist on the album with whom Sánchez had never worked, despite a longtime mutual admiration between the two. Considering the busy schedules of everyone involved, Sánchez promised Mehldau an easy session. "I wanted to write something that would exploit his strengths," Sánchez says, "and it started sounding so good to me that suddenly I had 16 pages of music." Despite its complexity, "Constellations" came together beautifully, with some of Mehldau's most striking playing; the disc also features haunting Sánchez ballad, "Big Dream," and an arrangement of Miles Davis' "Nardis."

Sánchez managed to stick closer to his goal of relatively simple, improvisation-fueling pieces for the other two trios. He shows off his funky, groove-oriented side with Scofield and McBride (his sparring partner in the Pat Metheny Trio). Wayne Shorter's "Fall," a longtime favorite, leads off part two, followed by the hard-driving funk of "Nooks and Crannies" and the slinky groove of "Rooney and Vinski" (named for McBride and Sánchez's nicknames for one another, though the drummer refuses to elaborate further).

Finally, the sax trio with Lovano and Patitucci features the album's loosest compositions: the intense "Leviathan," which opens with a deceptive ballad feel; the romantic "Firenze," dedicated to Lovano's and Patitucci's Italian heritage and spotlighting the sax player's burly tenor sound; and a raw, freeform deconstruction of Monk's "I Mean You."

"I can't tell you how honored and happy I am that all these guys agreed to play with me," Sánchez says of Three Times Three. "To have them play my music and my arrangements is a dream come true for any jazz musician."

Sánchez's experience composing the Birdman score was heavily influential on the cinematic scope of The Meridian Suite, his second release this year with Migration. "The movie is basically one long continuous shot," he explains, referring to the film's illusion of being shot in a single take as it follows Michael Keaton through his Broadway breakdown. "That's also what I wanted to do with this suite; to the listener it should be seamless."

The suite takes full advantage of the versatility and wide-ranging palette of Migration, the quartet that Sánchez has led since 2011. Tenor saxophonist Seamus Blake doubles on Electric Wind Instrument (EWI), John Escreet on piano and Fender Rhodes, and Matt Brewer on both acoustic and electric bass. Sánchez also layered keyboard atmospherics onto the album in post-production along with a wide array of guitars from Adam Rogers, while singer Thana Alexa contributes soaring lyrics to the second movement, "Imaginary Lines," and coloristic wordless vocals elsewhere.

The seed of the suite was planted while Sánchez was on tour with Metheny in Meridian, Mississippi in 2012. The title was originally a makeshift file name, but took on greater meaning as Sánchez began to research the idea of meridians, imaginary lines that circle the globe, the celestial sphere, or, in some new age conceptions, the body's energy field. "You have meridians that cross the earth, that cross the sky, that cross our bodies and our minds, and I started getting fascinated by the way meridians interact in all those different shapes and forms," Sánchez says. "So I thought it was a very good analogy for the way the rhythmic, melodic and harmonic aspects of this composition intertwine, interact and meet over the course of the whole piece." 

The scale of the suite derived from Sánchez's determination not to place limits on his compositional imagination. "One of the things that turns me off the most as a composer is that as soon as you start developing, you have to start thinking of ways of how to wrap it up because you don't want a tune to be longer than six or seven minutes. I hate to feel that I'm limited by time instead of just following my instincts." 

With motifs, phrases and concepts that recur and transform throughout the piece's five movements, The Meridian Suite is a thrillingly adventurous achievement that absorbs influences from modern rock, free form improvisation and electronic music into a forward-looking jazz masterwork. "I took a lot of liberties and let a lot of my musical influences come through in a very unapologetic way,"the composer says. 

The simultaneous release of Three Times Three and The Meridian Suite mark the high point thus far for a career that continues to climb. With unprecedented attention focused on him following his lauded Birdman score, these expansive new albums serve to reinforce Antonio Sánchez's place at the forefront of modern jazz-breaking boundaries as a virtuoso drummer, a visionary composer, and a truly inspired musical thinker.

Upcoming ANTONIO SÁNCHEZ Performances:

All performances to feature Antonio Sánchez & Migration unless otherwise noted.

**Notates Birdman Film Screening w/ Live Drum Score Performance

**April 4 / New York Society for Ethical Culture / New York, NY

April 10 / Esplanada del Centro de Coyoacán / Mexico City, Mexico

April 13 / Blue Note Tokyo / Tokyo, Japan

April 14-17 / Cotton Club / Tokyo, Japan

April 20-21 / A-Trane / Berlin, Germany

April 22 / Jazz Club Hannover / Hannover, Germany

April 23 / Bix / Stuttgart, Germany

April 24 / Jazz Festival / Espoo, Finland

April 25 / Unterfahrt / Munich, Germany

April 26 / Blue Note / Milan, Italy

April 27 / MA / Catania, Italy

April 28 / Centro Culturale Officina / Messina, Italy

April 29 / Auditorium Comunale / San Vito al Taglimento, Italy

April 30 / Teatro Della Fortuna / Fano, Italy

May 1 / Odeon Leicester Square / London, United Kingdom

June 11 / Falcon Arts / Marlboro, NY

**June 13 / Bonaroo / Manchester, TN

June 19 / Subculture - Official Album Release Party / New York, NY

**August 22 / SFJAZZ Center - Miner Auditorium / San Francisco, CA

August 23 / SFJAZZ Center - Joe Henderson Lab / San Francisco, CA

Antonio Sánchez · Three Times Three

Release Date: April 28, 2015

Antonio Sánchez & Migration · The Meridian Suite

Release Date: June 9, 2015

www.antoniosanchez.net 

LARRY GRAHAM, LISA STANSFIELD, JASON MORAN & NENEH CHERRY ANNOUNCED FOR LOVE SUPREME

Love Supreme Jazz Festival is returning to the glorious setting of Glynde Place near Brighton from 3rd to 5th July 2015 for another weekend of world-class jazz. Love Supreme has quickly became one of the summer’s must-go festivals thanks to its spectacular setting, friendly atmosphere and 3 days of jazz, blues, soul, funk and hip hop.

Joining the recently announced Rebecca Ferguson, Saturday has been bolstered by the addition of legendary Sly & The Family Stone’s Larry Graham, who will be bringing his Graham Central Station to the main stage for the now customary Love Supreme Saturday funk workout. Expect classic Sly & The Family Stone hits, expect ‘Everyday People’, expect ‘Family Affair’, expect groove and funk!

They will be joined by the effortlessly cool Neneh Cherry, who is enjoying a renaissance off the back of her critically acclaimed, Four Tet produced ‘Blank Project’ album. Fresh from working on the Oscar-winning soundtrack for ‘Selma’, Jason Moran will be bringing his incredible ‘All Rise: A Joyful Elegy for Fats Waller’ album to life in the idyllic setting of the South Downs. Rounding out the additions to Saturday’s bill are blues’n’roll firebrands Vintage Trouble.

Joining the bill on Sunday will be the seductive and soulful Lisa Stansfield playing a set of her classic hits. Also joining Sunday’s bill are the vibrant afrobeat collective Ibibio Sound Machine, acclaimed Brainfeeder producer Taylor Mcferrin and eclectic bandleader David Lyttle.

Finally, it wouldn’t be Friday night at Love Supreme without Jazz FM’s Funky Sensation opening proceedings in the arena with their famed club night spinning classic tunes until the small hours.

All of these join the previously released line up including Van Morrison, Chaka Khan, Hugh Masekela, The Bad Plus Joshua Redman, Dianne Reeves & Candi Staton.

KIRK WHALUM - THE GOSPEL ACCORDING TO JAZZ CHAPTER 4

Many believe the gospel has always been played in jazz notes, whether in the agonizing lament of a Psalm, the improvisational expression of shape-note singing, the haunting strains of a Negro spiritual or the joyous celebration of a Dixieland band. Kirk Whalum and his company of translators is here to make sure that the intrinsic creativity, inspiration and skilled presentation that is part of both the gospel and the language of jazz is sounded clearly in the culture at large and the church in seasons of both triumph and tragedy. The award-winning series that launched with the initial The Gospel According to Jazz, Chapter I in 1998 has transformed the concept of sharing the “gospel truth” through instrumental music. Each of the subsequent releases has garnered critical acclaim and award nominations, with “It’s What I Do” from GATJ III taking home the Grammy for Best Gospel Song in 2011.

After a six-year wait, the much anticipated The Gospel According to Jazz, Chapter IV (GATJVIV) is here with a two-disc, 19-song CD (and a feature-length DVD) that sets a benchmark for live recording, nuanced performance and deep improvisation at the most profoundly felt, thoughtfully conceived and personal level. Kirk Whalum’s insightful and revelational narrative both in concert and post-production in the DVD version enriches the whole experience, with an up-close and personal look at the heart of the artist and his art. Once again, Whalum, shares the stage with members of his exceptionally gifted family, including brother Kevin (vocals) and nephews Kenneth III (saxophones) and Kortland (vocals). His cohorts in jazz super group BWB (both solo artists in their own right), Rick Braun (trumpet, flugelhorn, valve trombone) and Norman Brown (guitars, vocals) join an eminent ensemble comprised of legendary percussionist “Doc” Gibbs, renowned bassist Gerald Veasley, rising vocal star (and Stevie Wonder protégé) Sheléa, as well as returning co-producer John Stoddart who lends his eloquent and soulful keys and vocals to the mix.

GATJ IV is an invitation to pause, hear, and “see” in a fresh, prescient way; it is also a tribute album that is uniquely gospel-centric. Honored are heads of state (Mandela and Obama), departed and greatly respected and loved artists (George Duke, Wayman Tisdale, and John Coltrane), alongside mothers (Kirk’s… and yours if you like) and a homeless woman Whalum came to call friend (“Nannette”). In myriad ways, the gospel’s welcome is declared and displayed with eloquence and power.

GATJ always spotlights the God-given gifts of leading artists outside the “church” world. Says, Kirk, “We always try to reach out to the cadre beyond gospel artists, to a Norman Brown, a Rick Braun, or Doc Gibbs; that is a very crucial part of our approach. By their willingness to be part of it and by honoring them and their spiritual quest, what we are able to do is create a safe space, a sort of spiritual and musical “Switzerland.”

Additionally, Whalum wanted to amplify the direction taken on GATJ III: “One of the things on my mind was carving a deeper niche in the improvisation, longer, more in-depth solos, a little bit more avant garde.” This is front and center on songs like “Madiba,” Kirk’s elegant, polyrhythmic South African seasoned tribute to Nelson Mandela and “Triage,” an instrumental editorial-on-and-embodiment-of the mash-up of life and death in the world—dissonant, chaotic and composed, it’s an improvisational tour de force. His signature melodic and soulful fusion drawing from jazz idiom across generations and genres—contemporary jazz to Dixieland, Bebop, Big Band and beyond—as well as a strong identification with R&B, blues, world music, rock, Latin and pop hasn’t changed, but the balance has indisputably shifted.

Kirk’s intent on this record was to deliver for the listener a more pensive, meditative, contemplative, take your time with what you’re really feeling exploration. Along with the previously mentioned “Madiba” and “Triage,” Kirk’s tribute to Coltrane, “Un Amor Supremo” an original with a Cubano/Santana/Afro-Caribbean vibe and Doc Gibbs strongly featured—reflects that trend. Trane’s artistry is alluded to not only in the title but the extended solos and Whalum’s abandoned yet precision performance—Transcendent. Street. Smart. “Cain’t Stay Blue” is an infectious mood elevator, with a vocal and musical hook that won’t let go. The persistent hope, patience and resolve not to give up that captured the essence of the Civil Rights Movement and a nation in 1964 on Curtis Mayfield’s “Keep On Pushing” is a GATJIV highlight.

On the downside, it is the first GATJ without the inimitable keys of jazz giant George Duke. Kirk Whalum composed and takes the vocal lead on an evocative tribute and heartfelt requiem to his dear friend and fellow artist titled “There,” derived from Duke’s favorite saying “We were there!” Abounding with hopeful transparency and contemporary jazz opulence, underscored by Stoddart’s keys, it’s a fitting tribute to the Duke who is now “there” with his King. The late Wayman Tisdale’s song “Sunday’s Best” is both a tribute and a contemporary jazz triumph showcasing the prodigious talents of BWB and bassist Gerald Veasley. And on the vocal side of things, Kirk’s brother Kevin’s understated cool retools Paul and Linda McCartney’s “Let ’Em In’” (complete with an intricate scat). While Sheléa brings warmth, subtlety and soul to the Foo Fighters mega-hit “My Hero”; the Negro spiritual, “Sometimes I Feel Like A Motherless Child”; and “I See You.” The latter was written by Kirk in response to and reflecting the customary greeting, “I see you” of the Na’vi tribe in the movie Avatar—another unexpected context for and allusion to gospel truth, so a perfect fit for a GATJ chapter.

The heart of The Gospel According to Jazz, Chapter IV is an invitation to see…and to hear in fresh and expansive ways. To see God and to see people, to experience the Creator’s radical welcome, and then to throw the doors of your heart wide open with welcome to those he loves and created. The message of the final track, originally penned by Todd Rundgren and popularized by England Dan and John Ford Coley not only completes the album, but sums it up and describes the raison d’etre for The Gospel According to Jazz, Chapter IV (and all the previous and subsequent chapters to come)—simply, and profoundly: “Love Is The Answer.”

Philadelphia's MINAS Combines Big Band Jazz and Brazilian Bossa Nova on SYMPHONY IN BOSSA

Philadelphia-based husband and wife duo Minas, comprised of guitarist, vocalist, and composer Orlando Haddad and pianist, vocalist, and composer Patricia King, have performed together over the past three decades in a variety of formats ranging from duo to ensemble to orchestra and big band. Haddad and King have combined their Brazilian and American roots to create a sound that merges north and south with big band jazz and Brazilian bossa nova - the result is an album 10 years in the making: Symphony in Bossa (available April 14 via Blueazul). This ambitious album serves as a monumental achievement for the Brazilian culture that they have dedicated their lives to preserving and spreading. The music includes fresh takes on old classics such as "The Girl from Ipanema," "Quiet Nights," "Triste," "Waters of March," and introduces three Minas originals, "Sinal Verde," "Amazonia," and "Only the Moon and the Stars."

Symphony in Bossa features more than 50 musicians, including The Jazz Orchestra of Philadelphia, conducted by trumpeter Terell Stafford. The album is augmented by a string section and many guest artists, including Brazilians Leonardo Lucini (bass), Adriano Santos (drums), Zé Maurício (percussion), and Philadelphia's own Larry McKenna (saxophone), John Swana (trumpet) and Tony Salicandro (flute). Orchestral arrangements were written by the late Philadelphia arranger and University of the Arts professor Bill Zaccagni (Bobby Ridell, Patti LaBelle), specifically for Minas.

In 2004, Haddad & King began a collaboration with Zaccagni to create a large-scale work written specially for Minas, incorporating original compositions with traditional Brazilian repertoire and enhanced by big band and strings. "It is our hope that Symphony in Bossa expands the unique marriage of American big band jazz and Brazilian bossa nova into new musical realms," states Haddad and King. The album is dedicated in memory of Zaccagni, who passed away in 2007, leaving Minas with the extraordinary gift of this music. "It represents some of his best writing," comments Haddad and King. "It is a reflection of his passion for Brazilian music and big band jazz, resulting in sophisticated, imaginative and lush musical pieces."

One of the tracks included on Symphony in Bossa is the timeless composition "The Girl From Ipanema." The Minas reissue commemorates the 50th anniversary of the song, as well as the album from which it stems - the quintessential Getz/Gilberto. The album and single won several Grammy® Awards including "Record of the Year" in 1965. Minas' version of "The Girl From Ipanema," while opening and closing with dreamy and ethereal instrumentals, maintains the essential elements of authentic bossa novas: Portuguese/English, male/female vocals, jazz/samba mix, nylon-string guitar/tenor saxophone vibe, cross stick/wood block beat. Nonetheless it is presented in a new arrangement in which exciting big band and lush strings interact with vocal melody lines and dialogue with the tenor saxophone solo, played by McKenna.

Based in Philadelphia for the last 30 years, Minas has had a consistent impact on the area's cultural life, not only performing and exposing audiences to the music and culture of Brazil, but making a difference in the area of education. Haddad and King formed Minas in 1978 at the

University of North Carolina School of the Arts. They proceeded to play all over the eastern United States before moving to Brazil, where they lived, entertained and traveled, absorbing the essence of Brazilian culture. In 1984 Orlando and Patricia returned to the United States and raised a family while performing and recording extensively.

Haddad has taught Brazilian Percussion and Jazz at the University of the Arts for over 10 years and has organized and taught Samba Percussion to Ph.D. students (Ethnomusicology) for several semesters at University of Pennsylvania. Minas' program Brazilian Adventure, on the roster of Musicopia, has been presented to over half a million students in public and independent schools. Minas has also presented master classes at many colleges in the U.S. including Brown University, University of Pennsylvania and Ohio State University to name a few.

Minas · Symphony In Bossa
Blueazul Records · Release Date: April 14, 2015
www.MinasMusic.com

Bassist & Vocalist & Mimi Jones Sets US & European Tours for 2015 / Plans to Record Follow-Up to Her 2014 Hot Tone Music CD "Balance"

For bassist/composer Mimi Jones, the release one year ago of her second CD Balance accomplished several goals. It tested her mettle as a businesswoman, as the CD was released on the Hot Tone Music label she'd founded in 2009. It highlighted her propensity for collaboration and support of other indie jazz musicians, particularly women, as Hot Tone Music simultaneously released Jones's album with new discs by saxophonist Camille Thurman and drummer Shirazette Tinnin. And it established Jones as a leader to watch, a protean instrumentalist, vocalist, and composer/arranger. 

"Satisfying on every level," Marc Myers wrote of Balance on JazzWax.com. "The bassist plays with enormous strength and enthusiasm but she also has a cohesive vision for how the music should sound. Each track is an important statement expressed with sensuality and chops. . . . She is Grammy-worthy." 

Since that time, native New Yorker Jones, who celebrates her 43rd birthday today, has been expanding her professional horizons -- all of them -- with her customary dynamism. She's been appearing in a series of sidewoman dates with the Tia Fuller Quartet, Toshi Reagon, and Luis Perdomo & Controlling Ear Unit (whose new CD, Twenty Two, will be released by Hot Tone Music 5/19).

Jones's work as a composer is being featured as part of the D.O.M.E. Experience, co-led by Jones and ArcoIris Sandoval and performed by artists including Steve Wilson, Jamie Baum, Bob Stewart, Tia Fuller, and many others.

She shared her DIY label experience with attendees at the JazzConnect conference earlier this year and will deliver a lecture on "The Business of Music" at the International Society of Bassists convention in Fort Collins, CO on 6/4. 

As a leader, she's been running a weekly residency and jam session, the Lab Session, at Bar Thalia/Symphony Space (Broadway and 95th Street) most Friday nights which includes Mimi's band as well as a rotating cast of first-rate vocalists, horn players, drummers, pianists, guitarists, tap dancers, rappers, and comics. Some regulars seen at the Jazz Party are Mark Shim, Miki Hayama, Marion Cowings, Rodney Green, Jonathan Barber, and Victor Gould, among others. And now she plans to take her Mimi Jones Band on the road to points east (New England, Europe) and west (Chicago, Michigan).

L. to. r.: Mimi Jones, Jonathan Barber, Miki Hayama, Mark Shim. 

"It's been a terribly long winter," says Jones, "but spring is here and I'm looking forward to all the wonderful things manifesting. It will be my first time performing as a leader around the country, whether it be at the annual iRock Jazz Festival in Michigan or the London Jazz Festival later this year. I am thrilled to be physically bringing this music to the people."

  

Jones is currently in the process of choosing music for her next Hot Tone Music CD, due for early 2016 release. 

Born in New York City and raised in the Bronx, Mimi Jones attended Fiorello LaGuardia High School and earned a B.A. in music at the Manhattan School of Music Conservatory. She missed her graduation, however, because she'd been hired to tour Japan with saxophonist Masa Wada and drummer Denis Charles. It was the first of numerous overseas tours that would take her to Africa, Europe, Asia, and the Americas, some under the auspices of the U.S. State Department. In addition to leading her own groups, Jones has worked with jazz artists including Kenny Barron, Joanne Brackeen, Terri Lyne Carrington (who chose Jones to play on her Grammy-winning The Mosaic Project), Ravi Coltrane, Lizz Wright, Lionel Hampton, Roy Hargrove, and many more. She has recorded two albums as leader: A New Day (2009) and Balance (2014). 

The Mimi Jones Band (trio/quartet):

Fridays at Bar Thalia/Symphony Space (2537 Broadway), NYC, The Lab Session, 8-11pm

5/7 Smoke, NYC / (Mark Shim, sax, wci; Miki Hayama, p; Clarence Penn, d)

5/29 Loews Hotel Jazz Series, Chicago /(Ryan Cohen, p; Marcus Evans, d)

5/30 iRock Jazz Festival, New Buffalo, MI / (Pharez Whitted, tpt; Ryan Cohen, p; Marcus Evans, d)

6/4 International Society of Bassists, Fort Collins, CO (solo lecture: The Business of Music)

6/11 Burlington (VT) Discover Jazz Festival

6/12 Riverwalk Cafe and Music Bar, Nashua, NH

6/13 The Side Door, Old Lyme, CT

6/16 Jazz Journalists Awards, Blue Note, NYC / (Mark Shim, sax, wci; Miki Hayama, p; Jonathan Barber, d; + Marvin Sewell, g, 6/16 only)

8/10 Bushnell Park, Hartford (CT) Monday Night Jazz / (Band TBD)

11/11-22 European Tour

The Brian Auger Freestyle Records Sampler EP - 4 track sampler pulls together rare and new material from his illustrious career

Brian Auger has always displayed a fiercely independent and single minded approach to his music - and after over 50 years of doing just that, has firmly secured his reputation as an award winning and much loved musical innovator, a jazz piano prodigy, a Swinging 60's London scenester, early jazz fusion protagonist, a 2014 Hammond Organ Hall of Fame Inductee, and recipient of a US Congressional Award For Services to Jazz!

This 4 track sampler pulls together rare and new material from Brian Auger's illustrious career included in the two forthcoming albums; Back To The Beginning - The Brian Auger Anthology and Live In Los Angeles - Brian Auger's Oblivion Express.

Git Up was originally on the 1977 Encore album which reunited Brian and his cohort Julie Driscoll from The Trinity days of the 1960's. A very funky Fender Rhodes piano riff backs Julie's amazing vocal, and then Brian brings in his trademark Hammond sound to stunning effect. This probably should have been released as a single back then, but wasnt - something Freestyle Records is happy to correct in 2015.

Freddie's Flight is an unusual track as Brian is joined by a full horn section - this is dance floor material, as the uptempo groove is infectious - taken from the 2005 self released album 'Looking In The Eye Of The World'.

The final 2 tracks are brand new, live versions of Oblivion Express classics - but taken from the forthcoming Live In Los Angeles' album which features the original Oblivion Express vocalist Alex Ligertwood. Happiness Is Just Around The Bend is a joyful, uplifting soulful funk track - and Inner City Blues, one of Brian's most loved cover versions - the Marvin Gaye composition simply sparkles here. Brian & Alex are a dream team - many years have passed since their first collaborations - but both their respective talents remain utterly undiminished.

The Debut Recording From Pianists & Composers FRANK CARLBERG & LEO GENOVESE: SHADOWS and REFLECTIONS

Brooklyn-based Red Piano Records has announced the release of Shadows and Reflections from pianists/composers Frank Carlberg and Leo Genovese. The recording sessions for this album came about in an atmosphere of friendship, common musical interests, and in anticipation of great fun. Carlberg (also a partner in Red Piano Records) commented, "I've known Leo for many years and have always admired his playing and attitude. Playing with him is very easy and always fun!" Genovese added, "Frank Carlberg is one of my favorite players and composers. I learned so much music when I had the chance many years ago to study with him at Berklee, and every time I hear him play I learn lots of music." 

Genovese and Carlberg are two artists who possess very open personalities that embrace everything around them. "The session was so fun and deep as we got a chance to play music from our hearts and to be able to reach higher spiritual ground through the act of listening and playing together," said Genovese. Carlberg added that, "Leo radiates positivity and helps make others reach further. This for me was very inspiring; and when the inspiration threatened to run out we had some claret libations from Mendoza and Patagonia to help steer us right back in to the playing. It is simply so much fun to play with Leo!" 

The duo entered into the studio with the notion to accept whatever was happening in the moment, and not impose an agenda or specific direction for the music. "We had not really even decided what instruments we were going to play but made impulsive decisions about that as the session unfolded," said Carlberg. The repertoire was dominated by their mutual interest and love of Monk. "Playing Monk together was like speaking about an old friend while still learning new things about him. A truly exhilarating experience! Both Leo and I seem to have maybe a somewhat cinematic bent to our music so I had also sketched out a few things for us to elaborate on that I suspected would take us on little journeys. Finally, there was the music of the Argentine songwriter Cuchi Leguizamón. Leo knows many of Cuchi's songs while I know only a couple so we decided to play Zamba Para La Viuda, a song that I learned through my association with the great Argentine singer Roxana Amed. Leo helped me see facets of this song that I could only have dreamed of before," said Carlberg. 

"Recording Shadows and Reflections was a truly delightful experience and I am grateful to Leo for sharing this music with me." - Frank Carlberg 

"I feel so happy and honored to be able to explore sound and textures with Frank in this setting of piano, electric piano and organs. The recording was a very magical night. With a little malbec friend, we became music and sound." - Leo Genovese 

Originally a native of Helsinki, Finland, Frank Carlberg has carved himself quite a niche in the New York City jazz community. As a leader, he has released almost twenty albums, and his groups include the Frank Carlberg Quintet (performing settings of a wide variety of texts including poetry), the Tivoli Trio (a classic jazz piano trio playing an eclectic mix of Carlberg's compositions drawn from cinematic and circus inspirations), and the Frank Carlberg Big Band (performing original compositions as well as arrangements and re-compositions of standards and folk materials), Monk Dreams, Hallucinations and Nightmares (a large ensemble project with the music of Monk as its central source both in terms of reinterpretations of Monk's music and inspiration for new original compositions), as well as recent collaborations with Argentine vocalist Roxana Amed, and the Dutch Clazz Ensemble. 

In addition to his own bands, the Brooklyn-based pianist has been involved in many crossover projects throughout the years, and some of his most notable collaborations have included performances and recordings with the likes of saxophonist Steve Lacy, trombonist Bob Brookmeyer and trumpeter Kenny Wheeler.  Carlberg has been commissioned to compose music for big bands, small ensembles, symphony orchestras as well as modern dance companies. In addition to his playing and composing activities the pianist also serves on the faculty at the New England Conservatory. He is also a member of the Douglass Street Music Collective and a partner in Red Piano Records, an artist run cooperative label in Brooklyn, NY.

Early on Carlberg came under the influence of jazz masters such as Paul Bley, Ran Blake, Geri Allen and Jimmy Giuffre.  The music and thinking of these musicians had a profound impact on Carlberg and set him on a path in search of a personal expression.

Leo Genovese was born in Argentina in the farmlands of Venado Tuerto, Argentina. His first encounters with music and freedom where in the Genovese family band, where the spectrum of sonic possibilities is as wide you want to imagine and without limits, if you wish. Leo was, and is, a student of music in history, ecology, politics and economics around the clock and around the world. Genovese went on to study at the Berklee College of Music where he learned from masters such as Hal Crook, Frank Carlberg and Danilo Perez. He has also had the opportunity to make some noise and go crazy with some amazing people on the scene today, such as Esperanza Spalding, Wayne Shorter, Jack DeJohnette, Milton Nascimento, Herbie Hancock and many others.

www.frankcarlberg.com

Pianist RAN BLAKE & Vocalist CHRISTINE CORREA release The Road Keeps Winding, the second volume in their ongoing tribute to Abbey Lincoln

Brooklyn-based Red Piano Records has announced the release of The Road Keeps Winding from pianist/composer Ran Blake and vocalist Christine Correa. This album represents the second volume in the duo's ongoing, respectful and creative tribute to the late, great Abbey Lincoln. In addition to paying tribute to Lincoln, The Road Keeps Winding is the latest yield from Blake and Correa's remarkable friendship and superlative musical collaboration that has thrived for more than three decades. 

Blake and Correa are a united force in paying tribute to Abbey Lincoln. Correa is able to capture the unique timbre of Abbey's voice, yet still retain her own uniqueness. Together, they capture the raw emotion ("Love Lament") and abundant confidence of Abbey's delivery, and the drama of her demonstrative vocalizations (most notable on "The River" and "In The Red"). Blake's pianism on "Throw It Away" (perhaps made even more poignant as Blake plays it solo, sans vocals), which has possibly become Abbey's best-known composition, is sublime, passionate and fierce, much like Abbey Lincoln herself. 

Abbey Lincoln holds a special place in the hearts and souls of these artists; a place where her music, her sound and her aesthetic, resonates resoundingly. Blake said, "The fact is that Abbey always spoke the truth, nothing but the truth, openly, unabashedly, honestly, unreservedly, and most importantly, with dignity and conviction. Abbey had raw anger ("Driva Man"/"Triptych"), immortal vision ("Down Here Below" - title track from Blake and Correa's first tribute to Lincoln, Down Here Below, also on Red Piano Records), passionate displays of the great American tragedy ("Retribution" and "In The Red"), and also addressed issues of memories lost and gained ("Throw It Away"). I listened to a lot of Abbey's music when I was a student at Bard College. I particularly liked the album Abbey is Blue, but was astounded when she and Max Roach brought out the Freedom Now Suite. Around late October 1960, Roach and his group were hired at The Jazz Gallery.  The group which included Julian Priester, Booker Little, and a man who eventually became my teacher, Mal Waldron, performed at the club for five or six weeks. The entire Freedom Suite was performed, as was the entire material from the Straight Ahead album.  Although Abbey didn't scat or improvise dramatically, there were nights when her lyrics were more pungent, others when they were more tragic.  Often I would leave the club at 3:30 or 4:00 AM to catch the IRT Broadway line back home, trying to recreate in my head much of the material I had heard earlier that evening. The last time Abbey and I met was in February 2006 at Scullers.  She came over to the table for a cognac, mentioning she had adopted a dog called Sako and had moved to Riverside Drive and then she publicly thanked me . . ."

Correa elaborated, "my first exposure to Abbey Lincoln was in 1979 through Ran Blake, almost as soon as I arrived in the U.S.  I had never before listened to anything as intense as the Freedom Now Suite and Straight Ahead recordings.  Abbey's delivery was passionate and expressive and she had a power all her own! Beginning with her association with Max Roach, her style and repertoire changed from a nightclub act ("The Heel"), featuring selections from the Great American Songbook to performing songs with a social context ("Freedom Now Suite", "Mendacity", "Straight Ahead"). Her later meditations on life and humanity showed yet another facet to this remarkable artist. Abbey's powerful voice had a lasting effect on me, and her music has continued to be a source of inspiration. It seems only fitting to record a second tribute album, as she was a presence, a great singer, musician, actress, poet and human being.  For me this project with Ran is a dream come true."

In a career that now spans five decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions and themes from classic Film Noir, Blake's singular sound has earned him a dedicated following across the world. In the tradition of two of his idols, Ellington and Monk, Blake has incorporated and synthesized several otherwise divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. Ran Blake is a recipient of the MacArthur "Genius" grant. He was the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at New England Conservatory in Boston, MA. 

Christine Correa has been involved in a variety of improvisational contexts and is currently teaching in The Louis Armstrong Jazz Performance Program at Columbia University. She has been widely recognized as a leading interpreter of the works of a range of modern American and European poets as set to music by some of today's most innovative jazz composers, such as Frank Carlberg, Nicholas Urie, Sam Sadigursky, and Steve Grover among others. Correa has also recorded and/or performed with artists such as Steve Lacy and John LaPorta and appeared at numerous festivals, concert halls and clubs in the US, Europe, the Middle East, Africa, South America and India. She is currently at the faculty in the jazz department at Columbia University in New York City.

www.christinecorrea.com

www.ranblake.com

10TH ANNUAL JAZZ IN THE GARDENS MUSIC FESTIVAL - SATURDAY, MARCH 21, 2015 CONCERT REVIEW

Jazz Chill attended the 10th Annual Jazz In The Gardens Music Festival on Saturday, March 21, in Miami Gardens, Florida.  A sold out crowd attended the festival on this beautiful sunny day at Sun Life Stadium. Day one of this two day event was headlined by Sheila E., Men of Soul featuring Jeffrey Osborne, Freddie Jackson, and Peabo Bryson, Toni Braxton, and R. Kelly. Two local acts, Karina Iglesias and John Erinosho opened the show. The master of ceremonies throughout the evening was comedian, D. L. Hughley.

Jazz Chill had the pleasure of interviewing Voice-alumni, Karina Iglesias. Miami-born of Honduran parents, Karina was selected to be a contestant on NBCs The Voice in 2013. Her epic performance of "It's a Man's World" turned into a YouTube sensation overnight and she eventually made it to the Top 16 on the Live Shows. Karina is currently appearing at local venues with her jazz quartet playing a mix of neo-soul and jazz music. Karina is no stranger to the music scene as her first album was released back in 2006. Her set included a jazzy version of Michael Jackson's "Off The Wall" as well as her latest single, "Only Love Can Save Us."

Next up was another local musician, Nigerian-born saxophonist, John Erinosho who is currently in the studio working on new music for release in late 2015.  John is a featured artist at the American Express Jazz lounge and is well respected in South Florida for his soulful style. John displayed his talent on three seductive tracks and left the stage leaving the audience begging for more of his musicianship. The last track that her performed is a current radio favorite by another artist (I wish I es song because it was really good). On it, he added a Nigerian beat which had the crowd up on their feet and grooving to his sax playing. 

Sheila E. is a world-class percussionist whose credits read like a who's who in a music history book: Marvin Gaye, Prince, Herbie Hancock, Diana Ross, Lionel Richie, George Duke, and many others. She is a Grammy-Award nominated singer and songwriter responsible for the seminal hits "The Glamorous Life" and "A Love Bizarre." Aside from constantly touring, Sheila E. this past year released her first new album in 13 years, the aptly titled "Icon."  She also added  the title of author to her list of accomplishments with the publication of her autobiography, "The Beat of My Own Drum" this past September. Her performance consisted of a couple of songs of the "Krush Groove" album, her hits, and many songs from "Icon," including one of my favorites off this album, "The Leader of the Band."

Jeffrey Osborne, Freddie Jackson, and Peabo Bryson have been touring the country as the Men of Soul. Balladeer Jeffrey Osborne's career has spanned several decades as he swayed the audience with such favorites as "On the Wings of Love," "Don't You Get So Mad," "Only Human," and the crowd favorite "The Woo Woo Song." Jeffrey told the crowd that the late George Duke had produced every one of his solo albums since leaving the group LTD, and that he vowed to pay tribute to George at every single show where he performs. Jeffrey also performed a George Duke song, entitled "Jam," which got the crowd standing and dancing.  He also performed some LTD classics such as "Holding On," "Back in Love Again", and of course the timeless "Love Ballad."

Freddy Jackson is considered to be one of the most popular R&B artists of the '80s and early '90s, effortlessly dominating the R&B charts with hit after hit.  Freddie has a total 11 number one hits to his credit, many of which he performed, including "Rock With Me," "Jam Tonight," "You are My Lady," and "I Don't Want to Lose Your Love."  Freddie was looking svelte after announcing that he had just recently lost 107 lbs.  

Oscar and Grammy award winner Peabo Bryson swooned the crowd with such favorites as the Quiet Storm stalwarts "Feel the Fire," "Reaching for the Sky," 'I'm So into You," and "Can't Stop the Rain,"  Peabo paid homage to his duet partner Roberta Flack with whom he performed the massive hit "Tonight I Celebrate My Love," which he performed with one of his back up singers.  

Although he is an official member of the Men of Soul, Howard Hewett was not on the bill this evening, however he was backstage and contributed to background vocals throughout the night. As a matter of fact, during D.L. Hughley's portion of the show, Hughley called on Howard to come join him on stage, and when he in fact did join him, Howard joked that this was the longest time he spent on a stage without getting paid. 

One of the most popular and highly recognized stand-up comedians,D.L. Hughley,kept the action moving along in between the performances. D.L. was most recently heard on the New York radio airwaves as host of the morning show on WRKS-FM.  Nowadays her serves as a weekly contributor to the nationally syndicated show, "The Tom Joyner Morning Show." D.L.'s 10-minute bit in after the Peabo Bryson performance was extended to about 40 before Toni Braxton took the stage.  At one point, Jay Anthony Brown (The Tom Joyner Morning Show) came onstage to entertain the crowd with is non-stop comedy bit.

The beautiful and talented Toni Braxton hit the stage with her distinctive sultry vocal blend of R&B, Pop, Jazz and Gospel.  With more than 40 million albums sold worldwide and six Grammy Awards to her credit, Braxton delighted the audience with an endless selection of classics. The audience totally enjoyed her performance as evidenced by how many people were actually singing along to the songs with her.Toni shared the story of when she was diagnosed with lupus which led her to lose her desire to continue her singing, and that it was the encouragement of her peers (Madonna, Lady Gaga, etc), who gave the drive to get back into the business. She also acknowledged Babyface who discovered her and produced many of her greatest hits.

Unfortunately Jazz Chill did not get a chance to see the R.Kelly performance.  In any event, it was a great show.  Kudos to all the performers and to the Jazz in the Gardens organizers. 

 

NEW RELEASES: MARLENA SHAW - MARLENA; BRAZILIKA: BRAZIL & BEYOND; MARCOS VALLE - '1985 / PREFIXO' (THEO PARRISH AND DAZ I KUE REMIXES)

MARLENA SHAW - MARLENA

A great lost treasure, and one of Marlena Shaw's most obscure albums – a really compelling batch of sophisticated vocal tracks with arrangements by Wade Marcus! The instrumentation is wonderful – with lots of soulful guitar and organ licks amidst the larger orchestrations, giving the set a down-home feeling in the right places, usually underneath some of Marlena's more intimate vocals – and the style is a great bridge from her Cadet sound of the 60s into the more sophisticated years of the 70s. Marlena sings a lot of soundtrack and easy material – including "Somewhere", "What Are You Doing For The Rest Of Your Life", "You Must Believe In Spring", and "So Far Away" – but she mixes these cuts with good doses of soul material – like "Save the Children", "Wipe Away the Evil", and "Runnin Out of Fools" – into a killer batch of tracks that stands with the best of some of Marlena's Cadet work! ~ Dusty Groove

BRAZILIKA: BRAZIL & BEYOND - 20TH YEAR ANNIVERSARY DOUBLE CD CELEBRATING THE BEST OF FAR OUT

Celebrating 20 years of Far Out Recordings, the Brazilika double CD featuring both Theo and Daz’s remixes amongst a host of other Far Out classics, exclusive remixes and unreleased rarities, will be available from May 2015. Far Out’s iconic Brazilika series encapsulates the absolute paramount of Brazilian music. Celebrating landmark years of Far Out Recordings, previous editions in the series have seen exceptional, globally celebrated compilations from Kenny Dope, Giles Peterson, 4hero and Andy Votel. To mark the label’s twentieth year, label boss Joe Davis has lovingly brought together his own retrospective of Far Out’s most stunningly immersive music, illuminating the virtuosity of this host of Brazilian brilliance. CD2 is a forward thinking, twenty-seven-track mix, featuring new, exclusive and unreleased material among timeless Far Out dance floor destroyers. The mix was compiled by Joe Davis and expertly mixed by DJ, producer and Brazilian music aficionado Spiritual South, a long-time Far Out friend.

MARCOS VALLE - '1985 / PREFIXO' (THEO PARRISH AND DAZ I KUE REMIXES)

A 12” single featuring two tracks by Marcos Valle - one of Brazil's most accomplished artists and composers - remixed by underground dance music pioneers and long-time label friends, Theo Parrish and Bloodfire (aka Daz I Kue). Both tracks are taken from the forthcoming Brazilka compilation: a 20th Year anniversary CD on Far Out Recordings.

NEW RELEASES: ANTONIO SANCHEZ & OTHERS - BIRDMAN (THE UNEXPECTED VIRTUE OF IGNORANCE); JOE LOVANO & DAVE DOUGLAS - SOUNDPRINTS: LIVE AT THE MONTEREY JAZZ FESTIVAL: ; DAVID TORN - ONLY SKY

ANTONIO SANCHEZ & OTHERS - BIRDMAN (THE UNEXPECTED VIRTUE OF IGNORANCE)

"Birdman" is the 2014 film by visionary Mexican filmmaker Alejandro Gonzalez Inarritu (Amores Perros, Babel, Biutiful....), and winner of the Academy Awards for Best Picture, Best Director, Best Original Screenplay and Best Cinematography. Part comedy, part tragedy, "Birdman" tells the story of a washed-up actor (Michael Keaton) who once played an iconic superhero. He must now overcome his ego and family trouble as he mounts a Broadway play in a bid to reclaim his past glory. This unique film features a drum score composed by acclaimed drummer Antonio Sanchez (player on the Pat Methany Unity Group). The soundtrack features a selection of classical music. Tracks include: Get Ready;  Dirty Walk;  Just Chatting; Waiting For What; Semi Comfortable In 3; Strut, Pt. 1; Doors and Distance; Night Chatter;  Almost Humanl; and Schizo (all by Antonio Sanchez); plus additional  tracks. ~ Amazon

JOE LOVANO & DAVE DOUGLAS - SOUNDPRINTS: LIVE AT THE MONTEREY JAZZ FESTIVAL

Saxophonist Joe Lovano and trumpeter Dave Douglas will release Live at Monterey Jazz Festival on April 7, the debut recording from their co-led quintet Sound Prints featuring pianist Lawrence Fields, bassist Linda Oh and drummer Joey Baron. The album was recorded live at the Monterey Jazz Festival on September 21, 2013. Sound Prints takes their primary inspiration from the music of their primary inspiration Wayne Shorter the band's name is a nod to his classic "Footprints" however the quintet s focus is on new original compositions by Lovano and Douglas, as well as two new Shorter compositions in direct collaboration with the composer himself. ~ Amazon

DAVID TORN - ONLY SKY

David Torn ever-intrepid guitarist, producer, improviser, film composer and soundscape artist returns with only sky, an album that explores the far sonic edges of what one man and a guitar can create, a solo recording of almost orchestral atmosphere. It is Torns first ECM release since 2007s acclaimed prezens, a full-band project, with Tim Berne, Craig Taborn and Tom Rainey, that Jazzwise described as a vibrating collage full of shimmering sonic shapes, a dark, urban electronic soundscape a potent mix of jazz, free-form rock and technology that is both demanding and rewarding. Many of those same descriptors apply to only sky, with its hovering ambient shadows and vaulting flashes of light, its channeling of deep country/blues memories and Burroughsian dreams of North Africa. Recorded in the acoustically apt hall of the Experimental Media and Performing Arts Center in upstate New York (and then added to and manipulated in Torns own mad-scientist lair), only sky is an album to get lost in, over and again. ~ Amazon

DONNA LEWIS DELIVERS AN INTOXICATING SET OF JAZZ-INFLECTED COVERS & ORIGINALS ON "BRAND NEW DAY"

The Welsh-born singer Donna Lewis is one of those rare artists whose immense success on the pop radio charts disguises an exceptional and serious musicianship and breadth of repertoire. Lewis' new album,Brand New Day, reveals the range of her artistry, and may surprise listeners who know her only for her pop hits 'I Love You Always Forever,' 'At The Beginning,' 'I Could Be The One' and 'Love Him.' Produced and arranged by Lewis longtime friend David Torn, the genre-busting composer and producer, Brand New Day is an intoxicating set of jazz-inflected covers and Lewis originals in which she is joined by the eminent progressive jazz musicians Ethan Iverson (piano), Reid Anderson (bass) and Dave King(drums). Palmetto releases the album March 10, 2015.

With her distinctive, breathy voice and unique phrasing, Lewis brings a fresh immediacy to the covers on Brand New Day, including David Bowie's infrequently heard 'Bring Me the Disco King,' Neil Young's 'Helpless,' Damien Rice's 'Amie,' and Chocolate Genius' 'My Mom,' among others.The album also features two new Lewis originals, 'Sleep'and 'Brand New Day,'as well as a powerful remake of 'I Love You Always Forever.'

For an artist used to the do-and-do-again perfectionism of pop music recording sessions, returning to the improvisational nature of jazz was an exciting prospect. It took nerve for Lewis to take on songs so deeply etched in the pop consciousness in such a stripped-down setting, but she recorded most of them in a single take. As a result, the record has live,organic, nearly ambient feel.

'I Love You Always Forever' was such a hit for Lewis that, for many listeners, it will always be the thing for which she is remembered. Atlantic Records Chairman Doug Morris had been so enamored withthe demo for that song that he flew Lewis to New York to meet him and perform her material, and offered her a deal on the spot. It became the first song ever to get a million spins on American radio and the third best-selling song in the history of Atlantic Records. The record also was an international sensation, topping charts all over the world. Lewis' second album for the label, Blue Planet (1998), spawned two hits: 'Love Him,' which topped the Billboard Dance charts, and 'I Could Be the One.'

She soon began to reveal other dimensions of her creativity. While on hiatus to start a family, she left her mark on such projects as The Art of Noise's The Seduction of Claude Debussy.She began her longtime collaboration with David Torn, a guitarist and studio wizard known for his film scores including Friday Night Lights, The Order and Lars and the Real Girl, as well as for his work with rock legends such as David Bowie and Jeff Beck. In 2001, five electronically textured songs Torn and Lewis wrote and recorded for the Chute project were among the most requested on Los Angeles' KCRW for three weeks running. She released the acoustic Be Still in 2002 and the high-energy In the Pink in 2008.

Still, the aptly titled Brand New Day is both a striking departure from anything she has done before, and the fullest realization of qualities that have always set her apart. As Time Out NY said before a recent NYC performance, 'If you really listened past the ear worm chorus and bubbly beat of Lewis's debut hits, you quickly sensed that she was no flash in the pan. The classically trained...Lewis had a breathy coo that could recall Kate Bush, and used it with a flexibility that few pop princesses could muster.'

~ Amazon

NEW RELEASES: BUENA VISTA SOCIAL CLUB - LOST AND FOUND; JEFF GOLUB - THE VAULT; JAMES LLOYD - HERE WE GO

BUENA VISTA SOCIAL CLUB - LOST AND FOUND

World Circuit Records is set to release Buena Vista Social Club’s Lost and Found on March 24, distributed in North America by Nonesuch Records. Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks––some of which were recorded during the original album’s sessions in Havana and others from the years that followed.  The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista’s legendary veterans. “Over the years we were often asked what unreleased material was left in the vaults,” says World Circuit’s Nick Gold. “We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was.” ~ Amazon

JEFF GOLUB - THE VAULT

On New Year s Day 2015, the music world mourned the death of Jeff Golub. After suffering the loss of his eyesight 3 years earlier, Jeff was diagnosed with PSP, a rare brain disease which rapidly debilitated his entire body and ultimately robbed him of the ability to play guitar. Knowing that Jeff s playing days were over, three of his closest friends and musical collaborators, Steven Miller, Rick Braun and Bud Harner dug deep into the Golub vault and uncovered some rare gems - radically different versions of some of Jeff s early tunes along with 2 songs that were never released. From there, Jeff handpicked a number of musical friends to add to the recordings and give each song a modern twist and unique flavor. The Vault was completed just days before Jeff s death and provides a passionate and soulful overview of one of the music community s most beloved figures. The Vault has become an All Star Tribute to the genius that was Jeff Golub.  The guests represent the very top echelon of the Smooth Jazz music community. Included in the collection of unreleased music are such stars as: Dave Koz, Mindi Abair, Kirk Whalum, Rick Braun, Philippe Saisse, Boney James, Brian Culbertson, Jeff Lorber, Bill Evans, Gerald Albright, Peter White, Richard Elliot and Steve Ferrone. ~Amazon

JAMES LLOYD - HERE WE GO

Hitmaker James Lloyd of Pieces of a Dream has written, produced and played on more than 30 top 10 smooth jazz radio hits. As a founding member of the legendary Pieces of a Dream, James has been the heart and soul of that smooth urban jazz super group for more than 20 years. Renowned for his brilliant keyboard stylings and soulful compositions, James has produced #1 hits for the likes of Walter Beasley, Najee, Eric Darius, Gerald Albright, and of course, Pieces of a Dream. And now he is about to perform the same magic under his own name. The first single, the spirited Play It Forward, is already climbing up the smooth jazz charts, soon to be followed by a funky No Holds Barred, featuring the Grammy nominated saxophonist Gerald Albright. Other highlights include smooth jazz superstar and Grammy winner Najee on the soulful Movin Right Along, the sensuous ballad Granted Wish and much more. ~ Amazon

NEW ALBUM FROM EXTRAORDINARY PIANIST JOEY ALEXANDER

An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of MY FAVORITE THINGS (April 14, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.

A native of Bali, Joey Alexander taught himself to play piano by listening to classic jazz albums his father shared with him. An amateur musician, Alexander’s father soon recognized his son’s gift for jazz, as his technique and ability to grasp complicated musical concepts was beyond someone of his years. Due to the lack of jazz education where he lived, Alexander began attending jam sessions with senior musicians. From there, his musical intuition flourished, as did his love of playing jazz. In recognition of his talent, UNESCO invited Alexander to play solo piano in honor of his jazz idol Herbie Hancock, who provided early enthusiastic support to Alexander’s budding career. Other significant influences are Thelonious Monk, Bill Evans and John Coltrane. Alexander has a special affinity for trumpet players including Clifford Brown, Lee Morgan, Miles Davis and Wynton Marsalis.

The world has taken notice of this phenomenal and exciting pianist with the astonishing technique and soulful sound. Alexander has been featured at festivals worldwide including Jakarta’s International Java Jazz Festival and the Copenhagen Jazz Festival. His brilliance as an improviser won him the Grand Prix in the 1st International Festival Contest of Jazz Improvisation in Odessa, Ukraine, in 2013, which included over 43 talented jazz professionals from 17 countries. He has performed for President Clinton and other luminaries at galas including the Arthur Ashe Gala, Jazz at Lincoln Center’s annual gala and A Great Night in Harlem at The Apollo, where he played in honor of Hancock and received a standing ovation. A performance at the University of the District of Columbia immediately blew up Facebook, attracting half a million views.

Global media have shared his story, most recently NBC News New York, which featured his concert with Juilliard students to raise money to allow him to stay in New York City. Fortunately the concert was successful and Alexander was granted the O-1 visa, the visa granted to people with “extraordinary ability.” He plans to stay in New York City to continue honing his jazz chops in the jazz capital of the world.

Alexander’s exclusive worldwide recording deal with the maverick, multi-Grammy-nominated Motéma Music label in New York City includes him in a notable stable of jazz piano stars such as Geri Allen, Monty Alexander and Marc Cary. Alexander’s label debut My Favorite Things features his working band of Sammy Miller, Russell Hall and Alphonso Horne and special guests Larry Grenadier and Ulysses Owens, Jr.  The recording is slated for release in spring of 2015 and is produced by Jason Olaine, a multi-Grammy Award winner.

~ Motema

MELODY GARDOT Returns With A Brand New Album, CURRENCY OF MAN

International best-selling singer, songwriter and musician, Melody Gardot, is back with her 4th studio album, Currency of Man.

The highly-anticipated Currency of Man is an intensely creative milestone, transcending musical distinctions of jazz, blues and R&B, to offer a stirring social and musical statement. On the new album, Melody joins forces again with Grammy Award-winning producer Larry Klein. This striking musical partnership saw their last collaboration, 2009's My One and Only Thrill, sell over 1.5 million copies, and produce songs that have become modern classics.

Currency of Man marks a substantial leap forward indeed, as we see Gardot take her gift for songwriting in a completely different direction to her last record, the critically acclaimed release The Absence.

As Melody explains: "Every album is a journey and this disc in some ways is a leap into the unknown. After spending time in LA, the songs all became about the people I'd meet: people who were experiencing life on the fringe…"

But her extraordinary voice, and underlying attitude, which exudes both strength and grace, is unmistakably Melody Gardot. The music world will be reminded instantly of the rare combination of natural talent and musical sophistication with which Melody effortlessly captures and holds her audience in the palm of her hand.

The singer adds, "We have a slamming horn section and these cinematic and somewhat existential arrangements. It's a body of work where Larry and I discover an electric side of the songs, something I've never done before.. It's all an exploration, but it feels good to have something new, and even a bit strange."