NEW MASTERED FOR iTUNES VERSION OF EPICENTER FROM BASSIST CHRIS LIGHTCAP'S BIGMOUTH

Clean Feed Records presents a Mastered for iTunes release of Epicenter, the new album from bassist Chris Lightcap's Bigmouth.The Mastered for iTunes version is encoded from 24-bit / 96 khz high resolution masters and now re-mastered with iTunes in mind, delivering the music to listeners exactly the way the artist and recording engineer intended.

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

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

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

The album has already garnered rave reviews.

Four stars. "...A taste of Ornette-flavored drive... A characteristic of Bigmouth's decades-old sound (their first album outing together since 2010's Deluxe), the bassist's legwork helps shape and rework the contours of this band. It's heads-up ball with enough flexibility to allow for some fun free-roaming in and outside the unconventional heads." - John Ephland, DownBeat

"By and large his best [album], which is saying something... You could listen to this album and fixate on the contrasting tenor styles: drier and more linear for Mr. Cheek, harder and blurrier for Mr. Malaby. But these musicians all have endless history together, and their total cohesion, with its earthy elasticity, feels like the larger point." - Nate Chinen, New York Times

"Bassist Chris Lightcap has arrived at something distinctive as a composer, leading a band with two tenor saxophones to summon big legato melodies full of tension and yearning... Lightcap's deft, imaginative use of the musical canvas hints at still more intriguing things to come." - David R. Adler, New York City Jazz Record

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

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

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

http://chrislightcap.com/

MILFORD GRAVES and BILL LASWELL release SPACE / TIME ・REDEMPTION; their first duo recording

On the five extended improvisations that comprise Space / Time ・ Redemption, Graves and Laswell, who have in recent years occasionally performed live as a duo at The Stone and other New York venues, jointly create a sound world all of their own. The album was produced by Bill Laswell and the recording took place at his studios in West Orange, New Jersey.

"Understanding the unique rhythmic thrust and fractured sonic patterns of Milford Graves´s tribal matrix is like trying to synchronize raindrops. Time is lapsed, accelerated and finally erased. Time is that which ends," says Bill Laswell about Milford Graves. "For my part, I was probably subconsciously channeling recent experiences in Africa or childhood memories of sound and silence, long open spaces and endless distance. An unknown point of departure with no designated destination."

Milford Graves (b.1941) was born and raised in the Borough of Queens in New York City, where he continues to live. He became deeply involved with New York´s avant-garde or free jazz scene of the early 1960s and has since worked almost exclusively within this idiom. Early in his career, Graves performed with the likes of saxophonists Giuseppi Logan and Albert Ayler, pianists Paul Bley and Don Pullen, guitarist Sonny Sharrock, drummer Andrew Cyrille and percussionist Sunny Morgan, among many others. He also joined one of the key groups of the 1960s, the New York Art Quartet, with saxophonist John Tchicai, trombonist Roswell Rudd, poet Amiri Baraka et.al. In more recent years, Graves has performed with saxophonists David Murray, John Zorn and Anthony Braxton, among others. He has also performed and recorded with his own groups and as a solo artist.

Bill Laswell (b.1955) moved from the Detroit area to New York City in the late 1970s and soon became an important part of the so-called Downtown scene centered around the East Village. His early groups included The Zu Band andMaterial, which combined rock influences with electronic experimentation and improvisation and often featured prominent guest artists. As a producer, Laswell may be best known for his collaborations with pianist Herbie Hancock that began with "Rockit" on the album Future Shock. Laswell has also produced countless other albums ranging from Laurie Anderson to Mick Jagger, from Yoko Ono to Pharoah Sanders and from the Last Poets to the Gnawa musicians of Morocco. Laswell´s best known remix credit may be for Panthalassa, an album that features Miles Davis´s music from his electric period. As a musician, Laswell has continued to lead and participate in a number of groundbreaking groups, including Massacre, the Golden Palominos, Curlew, Last Exit, Praxis, Painkiller, Arcana and Method of Defiance. He has also released two solo bass recordings.

MIKKO INNANEN / WILLIAM PARKER / ANDREW CYRILLE – SONG FOR A NEW DECADE

The first CD comprises a studio recording of Mikko Innanen´s compositions and a spontaneous improvisation by the Innanen, Parker & Cyrille trio whereas the second CD comprises a six-part live improvisation by Innanen and Cyrille at IBEAM Brooklyn. Both sessions were recorded in New York City.

"I was excited but also a bit nervous before having my first musical meeting with William Parker and Andrew Cyrille, two leading improvisers of their respective generations and creators of truly unique sounds on their instruments. Quite soon I realized, however, that with these kind and supportive men all I needed to do was to relax, be myself and enjoy the ride," says Innanen. "As a duo, Andrew and I improvise freely - no compositions, rules or other preconceived plans are involved. It feels so easy and effortless to do so with him - we can visit any musical place and move to any direction we fancy. To me, that´s true freedom."

In the past decade, Mikko Innanen (b. 1978) has become an undisputed leader on the Nordic and European jazz scene. His studies at the Jazz Department of the Sibelius Academy in Helsinki and at the Rhythmic Music Conservatory in Copenhagen led to many of the musical collaborations that still continue today in groups like Delirium, Kalle Kalima & K-18, Gourmet, PLOP and Triot. In addition to his own groups, Innkvisitio and the 12-piece Mikko Innanen 10+, Innanen also leads two New York-based trios and has frequently performed with players of his own generation active in New York City. He has participated in close to 50 recordings as a leader, co-leader or featured member of an ensemble.

William Parker (b. 1952) entered the music scene during New York´s loft jazz era in the early 1970s. He quickly became a much sought-after bassist playing primarily with fellow avant-gardists, such as Don Cherry, Frank Lowe, Jemeel Moondoc, Cecil Taylor, Charles Tyler and Frank Wright, among others. Parker´s key collaborators have also included his spouse, dancer Patricia Nicholson, as well as Roy Brown, Rob Campbell, Hamid Drake, Charles Gayle, Joe Morris, Matthew Shipp and David S. Ware. Since the early 1990s, Parker has increasingly led his own ensembles, including In Order To Survive, The Little Huey Creative Music Orchestra and the William Parker Quartet. To date, he has released over 40 albums under his own leadership.

Andrew Cyrille (b. 1939) began recording and performing with the likes of Walt Dickerson, Coleman Hawkins, Roland Kirk, Mary Lou Williams and others when barely 20 years of age. However, Cyrille truly made his mark with his more than a decade-long tenure with the Cecil Taylor Unit in the 1960s and early 1970s. He has become one of the most respected drummers in modern jazz through both of his own recordings as a leader and through his collaborations with virtually every important name on the contemporary scene. Since the 1970s, Cyrille has led or co-led a number of ensembles, including Maono, The Group, the percussion quartet Pieces Of Time, Haitian Fascination and Trio 3. He has released more than 30 recordings as a leader or co-leader and countless others as a sideman.

...

Detroit Jazz Festival Announces Pat Metheny as 2015 Artist-in-Residence // Metheny to Perform in Various Settings with Antonio Sanchez, Scott Colley, Kenny Garrett, Ron Carter, Gary Burton, and more

The Detroit Jazz Festival, the world's largest free jazz festival, announced today that guitarist/composer Pat Metheny will be its 2015 Artist-in-Residence. Metheny is the latest in a long line of jazz greats to take the mantle of the prestigious Detroit Jazz Festival Artist-In-Residence Program, which will include different musical incarnations at this year's festival, as well as education and mentorship activities throughout the year. The 2015 Artist-In-Residence Program is sponsored by Absopure Water Company. Metheny has 20 Grammy® Awards to his name and has sold more than 20 million records, including three gold albums. 

"It's very humbling to not only be asked to perform at the Detroit Jazz Festival, but to also serve as its Artist-in-Residence," said Metheny. "I'm honored and look forward to my visits to Detroit, a place with such rich music history. Getting involved with the Festival's educational programs and performing in the heart of downtown will be a memorable experience." 

Each year the festival's Artist-in-Residence assists the Detroit Jazz Festival in its efforts to foster an appreciation of jazz and nurture young talent, specifically in relation to Detroit. This year, Absopure is enhancing its festival support by sponsoring the program and helping bring such a well-known jazz musician to the city. As the festival's ambassador, Metheny's duties include headlining the second performance of opening night, playing collaborative sets with special guests throughout the weekend - including homecoming jam sessions with native Detroiters - and participating in Festival education initiatives leading up to Labor Day Weekend performances including:

The Pat Metheny Trio with Antonio Sanchez and Scott Colley and special guest Detroit native, Kenny Garrett

An intimate acoustic duo with Detroit native, Ron Carter

A much-anticipated reunion with Gary Burton in a special quartet put together just for this festival with Scott Colley and Antonio Sanchez

An ambitious large ensemble, consisting of the Detroit Jazz Festival Orchestra and the North American premier of Metheny's latest 30 minute suite - a tribute to German bassist Eberhard Weber

"Metheny is an incredible artist. He has been a heavyweight in the jazz world for decades and revolutionized what it means to play 'jazz guitar,'" said Chris Collins, artistic director of the Detroit Jazz Festival. "His experimentation with sound and style--and jazz itself--truly taps into why this medium can be so moving and inspiring. Our goal with the Artist-in-Residence program is to connect people, to draw them in to our city and take them on unique musical journeys, and Pat will definitely help us do that. We have some special performances on tap that highlight his incredible musicianship and composing ability." 

"We are thrilled to assist the festival in bringing an iconic musician to the forefront of the Detroit Jazz Festival scene. Metheny's body of work speaks for itself," said William Patrick, Absopure. "With his nearly universal acclaim and unwavering commitment to artistry, he'll make a great ambassador for the festival. To bring him to Detroit, a place very much engrained in the roots of jazz, is special."

Metheny was born in Kansas City and by the age of 15 was working regularly with the best jazz musicians in the city, quickly climbing the ranks. In 1974, he burst onto the international jazz scene in part due to his three-year stint with Gary Burton. Since then, he's put out numerous albums and performed with greats like Steve Reich, Ornette Coleman, Herbie Hancock and David Bowie. Metheny, who has created compositions for solo guitar, small ensembles, electric and acoustic instruments, ballet pieces and more, is known for continuously redefining his sound by embracing instrument innovations and the many different sounds a guitar can offer. 

The 36th annual Detroit Jazz Festival will take place September 4 - 7, 2015. The festival spans several city blocks in downtown Detroit - from Hart Plaza to Campus Martius - with four stages and more than 100 performances.

www.detroitjazzfest.com

BLUE NOTE JAZZ FESTIVAL CELEBRATES FIFTH ANNIVERSARY with Natalie Cole, Robert Glasper Trio, Buddy Guy, The Bad Plus, Joshua Redman, Meshell Ndegeocello, Manhattan Transfer Meets Take 6, Al Di Meola, Roy Hargrove, Abdullah Ibrahim, Bebel Gilberto, Darlene Love, Kathleen Battle, Ginger Baker, Avishai Cohen, Roy Haynes & More

The Blue Note Jazz Festival will celebrate its Fifth Anniversary, June 1-30 and headliners include vocal icon Natalie Cole; Blues titan Buddy Guy; special collaborations such as The Bad Plus Joshua Redman (performing music from their forthcoming project on Nonesuch Records) and The Manhattan Transfer Meets Take 6; album release performances by the Robert Glasper Trio (Blue Note Records) and bassist Avishai Cohen's Trio (Razdaz Recordz); a double bill featuring Meshell Ndegeocello & Roy Hargrove; acclaimed vocalists Darlene Love and Kathleen Battle (the latter produced by Jill Newman Productions); global-centric artists Buika, Bebel Gilberto, Abdullah Ibrahim, and Pedrito Martínez; and jazz/rock artists Al Di Meola and Ginger Baker, among others. 

Established in 2011, the Blue Note Jazz Festival was initially formed to celebrate the 30th anniversary of Greenwich Village's iconic Blue Note Jazz Club. Presented by Blue Note Entertainment Group - which owns and operates the diverse venue lineup of Blue Note, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa (its latest venue), and Lucille's Grill - the festival has quickly grown into an annual 30-day event, emerging as the city's largest jazz festival, with each venue offering its own unique cultural contribution to the New York City music landscape. 

"While the festival's scope has expanded since its inception, the origin can be traced back to our core family of venues," says Steven Bensusan, President of Blue Note Entertainment Group. "With the launch of our new venue Subrosa and B.B. King Blues Club's 15th anniversary, it's fitting that this year's fifth anniversary puts the spotlight on the wide range of creative and commercial programming at our core New York City venues," adds Bensusan, "In addition to special theater shows such as Natalie Cole, Manhattan Transfer Meets Take 6, and Buika at The Town Hall." 

Most notably, the festival adds Subrosa to its venue lineup. Latin for "under the rose," Subrosa is an intimate 120-capacity Latin & World Music listening room located in New York City's Meatpacking District (63 Gansevoort St.), dedicated to showcasing music, art, and culture. Following a several month-long soft-launch beginning in November 2014, the venue's grand opening week is scheduled for April 14-20. 

"We opened Subrosa to provide a new creative hub for eclectic music, with an emphasis on Latin music," says Bensusan. "The space is quickly becoming a destination for listeners to discover new globally-influenced music in an accessible setting. We're proud to showcase this new space as part of our festival." 

Subrosa's festival lineup will feature the Pedrito Martínez Group for five days throughout the month (who has an on-going monthly residency at the venue). Other notable headliners include Cuban pianist Alfredo Rodríguez and his trio, Fulaso, an 11-piece Latin soul group, and the Williamsburg Salsa Orchestra, among others to be announced. 

This year's festival also coincides with the 15th Anniversary of B.B. King Blues Club. Located in Times Square, the venue has featured some of the biggest names in blues, rock, hip-hop and pop music since opening its doors in June 2000 (ranging from Aretha Franklin and James Brown to Alicia Keys and Jay-Z). To celebrate this landmark anniversary, Blue Note Jazz Festival will present Buddy Guy on Thursday, June 11 with various special guests to be announced (the third and final night of his festival engagement). 

B.B. King Blues Club and Highline Ballroom will present a wide range of performances, including rock artists/groups such as singer Gary U.S. Bonds, Johnny & The Asbury Jukes Group, keyboardist Al Kooper's annual birthday show, roots/rock group The Subdudes, and psychedelic rock band Ozric Tentacles; guitarist/singer Robert Cray Band rounding out Blues programming, in addition to Buddy Guy; eclectic global-centric acts such as the South African Afro-fusion collective Freshlyground, Indian vocalist Falu, and Spanish-influenced guitarist/songwriter Ottmar Liebert  & Luna Negra; as well as vocalist Alicia Hall Moran with Jason Moran (Produced by Jill Newman Productions). 

Other jazz headliners at Blue Note Jazz Club include celebrated dancer Savion Glover; saxophonist David Murray, who will make his festival debut with a trio featuring Terri Lyne Carrington and Geri Allen; drum legend Roy Haynes, who returns to Blue Note following his recent three-night 90th birthday engagement in mid-March 2015; and saxophonist Gato Barbieri, who continues his on-going monthly residency at the venue. Additional shows include harmonicist Grégoire Maret with special guest vocalist Lizz Wright and a surprise guest at Highline Ballroom (Produced by Jill Newman Productions) as well as drummer Stanton Moore's Trio at Blue Note with special guests. 

Additional partner events include the 2015 Jazz Journalists Association Jazz Awards on June 16 at Blue Note Jazz Club, among others. In addition to Blue Note Entertainment Group properties, other festival venues include The Town Hall and Central Park SummerStage, among others. Festival co-presenters include Jill Newman Productions, Jazz Journalists Association, and JazzReach, among others. 

www.BlueNoteJazzFestival.com

NEW RELEASES: JON REGEN – STOP TIME; OLIVER LAKE / WILLIAM PARKER – TO ROY; ALEXANDER VON SCHLIPPENBACH TRIO - FEATURES

JON REGEN – STOP TIME

Remarkable. Infectious. Soulful. Just some of the words critics have used to describe Stop Time, the new album by singer, songwriter and pianist Jon Regen. Produced by Mitchell Froom (Crowded House, Paul McCartney), and featuring Davey Faragher and Pete Thomas from Elvis Costello and the Imposters, Stop Time finds Regen at the peak of his songwriting and pianistic powers, with ten original tunes that brim with humor and heart. In the words of storied Rolling Stones keyboardist Chuck Leavell, "Stop Time never stops pleasing the ears."

OLIVER LAKE / WILLIAM PARKER – TO ROY

Beautiful duets between Oliver Lake and William Parker – dedicated to the late Roy Campbell, and a wonderful tribute to his genius! This may well be one of the best performances we've heard from Lake in years – a clear, clean, unfettered way to really return to his strengths on alto sax – next to these warm, round basslines from Parker that are always a treat – but which again, seem to have even more power here than on other recent albums. Most tunes are originals, written by either of the pair – and the match of souls and spirits is tremendous throughout. Titles include "Check", "Victor Jara", "Variation On A Theme Of Marvin Gaye", "To Roy", "Light Over Still Water Paints A Portrait Of God", and "Bonu".  ~ Dusty Groove

ALEXANDER VON SCHLIPPENBACH TRIO - FEATURES

Fifteen short "features" from this legendary trio – a lineup that includes Alexander Von Schlippenbach on piano, Evan Parker on tenor, and Paul Lovens on drums! The group performs with the angular sensibility that makes Schlippenbach's name well placed as their leader – and Parker's deft lines are especially great, sometimes richly sonorous in his more color-based performances – sometimes bolder, and with a starkness that really matches Alexander's work on piano. Lovens' has always been a great partner for performances like these – and chooses to use space as much as sound, which gives his well-chosen percussion parts even more power than if he came on with a more full-on approach. 15 short titles, all improvised, and all beautiful – with a really classic FMP sort of vibe.  ~ Dusty Groove

Ska Giants THE BLUEBEATERS return with "EVERYBODY KNOWS"

Six years after their last gold-selling album 'Combo', released on Universal Music, The Bluebeaters are finally back with a brand new album. 'Everybody Knows' is the fifth studio album from the Italian rock steady & ska giants and the magic formula remains unchanged. The Bluebeaters take a bunch of hits from the past and present and re-arrange the songs as if they were recorded in Kingston, Jamaica in the 60s and early 70s. The classy musicianship of the combo, lead by original members and top musicians Mr T-bone (Derrick Morgan of New York Ska Jazz Ensemble and The Slackers) on trombone, Paolo "The Angelo" Parpaglione on sax, Count Ferdi on drums, Cato on guitar and Pat "Alton Ellis" Cosmo on vocals, enables them to give the songs a totally brand new life. All songs are cooked with The Bluebeater's unique and super spicy Jamaican sauce. From the first single - Oasis' 'Roll With It' - to The Undertones seminal punk hit 'Teenage Kicks', Kraftwerk's 'The Model', The Smith's "Girlfriend in a Coma", Neil Young's titletrack, Ridley Scott's Blade Runner "End Titles" or Jamaican Ska forgotten pearls like "Somebody Has Stolen My Girl" by Delroy Wilson and "True Confession" by The Silvertones, we're in safe hands. The Bluebeaters deliver 14 scorching old school ska and reggae tracks with the power to set every dancefloor on fire.

Active since 1994 with four studio albums for V2 and Universal Music, plus two gold records under their belt, The Bluebeaters are top musicians in love with vintage Jamaican ska and reggae. Blessed by Ken Booth, during the last 20 years of their career they've headlined festivals like Rototom Sunsplash and International Ska Fest in London. Amongst their fans, there are folks like Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites). Everybody Knows is pure gold from start to finish, so let the party start as we welcome back The Bluebeaters!

New release from Jeff Golub - The Vault; single from the late guitarist debuts in the Billboard Top 20

A few days prior to New Year’s Day, the day guitarist Jeff Golub passed away at age 59, his frequent collaborators Steven Miller, Rick Braun and Bud Harner put the finishing touches on Golub’s 13th solo album, “The Vault,” a collection of previously unreleased songs and reimagined early career gems that were redecorated with the assistance of some of the artist’s high-profile musician friends. Everyone involved with creating the album that was released today by eOne Music - musicians, producers, songwriters, engineers, mixers, mastering, graphic artists, etc. - donated their time to the project so that all of the money generated by record sales can go to Golub’s family. 

One of the new cuts, “Open Up,” featuring the soulful Golub boisterously shredding over a trademark jazzy blues-rock groove produced by Jeff Lorber, debuted last week in the Top 20 of Billboard’s smooth jazz singles chart boding to become the next addition to the artist’s catalogue of No. 1 singles.   

“The Vault” is just the latest rallying of the music community to aid Golub, who succumbed to complications from Progressive Supranuclear Palsy (PSP), a rare, incurable and aggressive brain disease. Although he wasn’t officially diagnosed until last November, PSP stole his vision in the spring and summer of 2011. An all-star contingent played a sold-out benefit concert that autumn in Southern California to raise money to cover medical expenses. Golub’s motor skills rapidly began to deteriorate while touring in 2013 in support of his final set of all new material, “Train Keeps A Rolling,” and eventually left him unable to play his beloved instrument. After his passing, nearly two dozen prominent recording artists gathered January 21 near the guitarist’s New York City home to play a sold-out tribute benefit concert at B.B. King Blues Club & Grill. Many of the musicians who appeared on that high-wattage bill perform on “The Vault,” including Dave Koz, Kirk Whalum, Mindi Abair, Richard Elliot, Bill Evans, Philippe Saisse, Steve Ferrone and Braun. Additional album contributors were hitmen Gerald Albright, Brian Culbertson, Euge Groove, Boney James and Peter White.  

The ten-track “The Vault” consists of vastly different versions of seven Golub songs harvested from seminal album releases that were given a fresh twist by the guest artists personally selected by Golub; a soul-stirring live version of the Golub classic “Naked City”; and two previously unreleased selections, “Open Up” and the Saisse-produced “Swagster,” a sweltering swing sparked by Golub’s scalding guitar and Whalum’s impassioned sax wails.  

To help set the stage for “The Vault,” SmoothJazz.com hosted the world premiere of the record on March 28 along with interviews with the guest artists and producers. Last Sunday’s (March 29) episode of Koz’s radio show that airs nationally on SiriusXM’s Watercolors was devoted to the album spotlighted by interview segments with Abair and Braun, and played multiple tunes from the disc. On April 15, SiriusXM’s Watercolors will broadcast the entire Golub all-star tribute concert.

Golub began his career as an ace guitar slinger alongside superstars Rod Stewart, Billy Squier, Peter Wolf and Tina Turner before launching his own chart-topping band, Avenue Blue, leading to his star-making solo career. The Akron, Ohio native is survived by his wife Audrey Stafford Golub, and sons Matthew (14) and Chris (12).

  

“The Vault” contains the following songs:

“Funky Is As Funky Does”

“One More Excuse To Play The Blues”

“Open Up”

“Gimmie Some”

“Swagster”

“Keep The Ball Rolling”

“Jeff’s Blues (Mama Didn’t)”

“Groanin”

“Atlanta Nights”

“Naked City” (Live)

http://jeffgolub.com

NEW RELEASES: ANGELIQUE KIDJO - SINGS WITH THE ORCHESTRE PHILHARMONIQUE DU LUXUEMBOURG; SOUL EMISSARIES - SUPERFUNK; BAMALOVESOUL PRESENTS ON DECK 3

ANGELIQUE KIDJO - SINGS WITH THE PHILHARMONIQUE DU LUXEMBOURG

In February 2015 Angelique Kidjo, the Benin born singer/songwriter celebrated the win of her 2nd "Best World Music Album" Grammy Award for her #1 charting 2014 album Eve, as well as the announcement of her new album 'Sings' . Produced by Kidjo and long-time production partner Jean Hebrail, Sings showcases Kidjo's collaboration with the 110 piece Orchestre Philharmonique Du Luxembourg, led by renowned conductor and composer Gast Waltzing. Kidjo reimagines nine classic songs from her 24 year repertoire and two new songs ("Otishe" and "Mamae" from the Eve sessions), blending European classical traditions with the powerful rhythmic sounds of her native West Africa. Along with the orchestra, Kidjo's additional players include Christian McBride and Massimo Biolcati on upright bassesamong many more. ~ Amazon

SOUL EMISSARIES - SUPERUNK 

The team behind SuperFunk return with their latest compilation. In the last couple of years the soul and funk collecting scenes have moved closer together. Superfunk's Soul Emissaries reflects the increasing demand for funky soul. 20 tracks composed of rarities, classics, unknown obscurities and previously unreleased masterpieces. From the first category they have used their contacts in the American south to serve up Les Getrex's bluesy funk masterpiece I Can Feel It In My Bones which has been selling for upwards of $500 after exposure by deejay Ian Wright. Nothing is known of Samson and Delilah, who recorded You Bring The Tears at Malaco Studios, except that their single has been in demand for some time now. Two classic slices of sister funk from Viola Wills and Marcene Harris sit alongside obscurities by Earl Foster, Billy Cee and Tribe whose 1975 funk take on Toots and The Maytals Funky Kingston has flown under the radar for years. The time is right for proper exposure on dancefloors up and down the country. Also featured is a soulful boogie funk by William Bostic and from the unreleased pile we have astounding tracks by Raymond Parker, the Funky Kids and Obrey Wilson to complete our soulful excursion. ~ Amazon

BAMALOVESOUL PRESENTS ON DECK 3: MORE FUTURE SOUL CLASSICS FOR THE NEW B-BOY GENERATION

On its way to becoming another much-loved series in the tradition of Stop and Listen, the Spectrum compilations, or perhaps more aptly Kon & Amir’s Off Track sets all from BBE, On Deck has been a music-format manifestation of the Birmingham, Alabama-based website BamaLoveSoul for the past couple of years. Originally conceived as a two-hour haven from R&B/AOR mediocrity for soul folk on radio, DJ Rahdu’s Diamond Soul Xxxperience reflected the neo-soul /conscious hip-hop underground, attracting a devoted audience of more alternative, sophisticated listeners who had been waiting for just such a show to represent their tastes. Rahdu –real name Roderick Moody – responded to the massive success of his baby with, first, a string of open-mic street shows, and then with the launch of BamaLoveSoul in 2008. Despite its local roots, the website has had well over a million hits annually and has become an important mustview for the global neo-soul massive. For the third in the On Deck series, Rahdu introduces another scintillating taster for the more mature musical palette, featuring contemporary up-upand- coming artists generally not too well-known on the international scene yet, with a bias towards artists sharing his own southern roots. Features 15 previously unreleased tracks. ~ Amazon

NEW RELEASES: DAVID CLAYTON-THOMAS - SOUL BALLADS; LOOSE THE FUNK: RARITIES FROM THE JEWEL / PAUL VAULTS; THE COOKERS QUINTET: VOL. TWO

DAVID CLAYTON-THOMAS - SOUL BALLADS

Former Blood Sweat & Tears frontman, David Clayton-Thomas, has released his latest album Soul Ballads.  The album brings you 12 tracks from the legendary Grammy-Award winning singer covering all-time soul-classics by Ray Charles, Sam & Dave, Otis Redding, Sam Cooke and many others. The album was recorded live in Thomas’ hometown of Toronto, Canada. Tracks include: Midnight Train To Georgia, A Change Is Gonna Come, People Get Ready, If You Don’t Know Me By Now, Sunny, I’ve Been Loving You Too Long, (Sittin’ On) The Dock Of The Bay, Ruby,When Something Is Wrong With My Baby,You Don’t Know Me,You Really Got A Hold On Me, and When A Man Loves A Woman.

LOOSE THE FUNK: RARITIES FROM THE JEWEL / PAUL VAULTS

Heavy funk from the vaults of Jewel and Paula Records – that Louisiana family of labels that cut some mighty mean music in the 60s and 70s! Jewel and Paula were more than able to come up with the goods again and again over the years – with roots in the south, and artists in styles that included blues, gospel, and jazz – which makes for a really fresh, really unique criss-crossing of modes here – in a set of singles that dig way deeper than the usual hits from the label! There's no stock, standard groove here – as you might find on labels that had a more unified approach to the music – which makes this collection of singles even more filled with surprises than you might expect. The styles run from funky blues to deep soul, instrumental funk, group soul, and more – and titles include "Loose Booty (part 1)" by The Eldorados, "Shootin The Grease" by Jesse Gresham Plus 3, "Looking For A Woman" by Joe Perkins, "Get It On With Me" by Bobby Rush, "Prove It" by The Genies, "Loose Eel" by Dumas King, "The Thrill Ain't Gone" by Alex Williams, "The Hen (part 1)" by Louis Chachere, "Woman Hang Your Head In Shame" by The Wallace Brothers, "Good Thing (part 2)" by Casey Jones, "Black Reflections" by Essence, "Junkie For Your Love" by Cash McCall, "Impeace Me Baby" by Arlene Brown, and "My World" by The Four Shades. ~ Dusty Groove

THE COOKERS QUINTET: VOL. TWO

The Cookers Quintet definitely earn their name this time around – serving up an old school hardbop groove that would have been right at home on 60s Blue Note or Prestige – but which is maybe even more compelling here in a contemporary setting! As before, these guys have a very strong sense of rhythm – similar to some of our favorite artists on the Ricky Tick label – which means an acoustic, live approach to jazz, but one that's also really focused on a soulful groove as well – the sort that's sure to make some of these numbers perfect for the jazz dance underground. There's great vocals on a few cuts too – a number each sung by Johnny O'Neal, Leron Thomas, and Dawn Pemberton – and titles include "Hot For Preacher", "Sheriff", "The New Deal", "The Crumpler", "This Is The Thing", and "Blindside".  ~ Dusty Groove

THE DANIEL BENNETT GROUP RELEASES THE MYSTERY OF CLOWN CASTLE

The Daniel Bennett Group just released  (Manhattan Daylight Media), and are currently touring the United States and Europe to promote the album. Their NYC album release will be at the Metropolitan Room on June 28th. The Daniel Bennett Group was recently nominated "Best Jazz Group" in the NYC Hot House Awards. The Boston Globe describes thier music as a groovy "mix of Jazz, Folk and Minimalism."

New York saxophonist Daniel Bennett has been hailed as one of the most original and unpredictable musical voices of his generation. Insite Magazine calls Bennett's music, "refreshingly capricious and trippy." The Village Voice raves, "saxophonist Daniel Bennett makes hay with an airy approach that's buoyant enough to conjure notions of East African guitar riffs and Steve Reich's pastoral repetition." The Boston Herald describes Bennett's music as "exploratory Folk-Jazz hybrid." Timeout New York raves, "Daniel Bennett airs his lilting, potentially hypnotic compositions!"

Daniel Bennett has been featured on NPR's "Here and Now" radio program. The Daniel Bennett Group was recently nominated "Best Jazz Group" in the New York City Hot House Jazz Awards. The band has released five critically-acclaimed albums in the last ten years: A Nation of Bears, The Legend of Bear Thompson, Peace and Stability Among Bears, Live at the Theatre, and Clockhead Goes to Camp.  In 2013, the Daniel Bennett Group celebrated the release of Clockhead Goes to Camp with concert at the Metropolitan Room in New York City.  The International Review of Music raves, “Clockhead Goes to Camp is beautiful enough to delight a child!

Daniel Bennett recently composed and performed the original musical score for the stage adaptation of Frankenstein at the Hudson Guild Theatre in Manhattan. Recent off-Broadway theater performances include the North American premier of Legacy Falls and a revival of Swingtime Canteen at Cherry Lane Theatre. Daniel Bennett recently played woodwinds in Blank! The Musical, the first fully improvised Off-Broadway musical to launch on a national stage. Entertainment Hour raved, "Mike Descoteaux (piano), Daniel Bennett (reeds) and Al Vetere (drums) accompanied the cast expertly and twisted from our randomly chosen notes an impressive score WITHOUT an active conductor or sheet music!"  The New York Times called the show, "Witty, Likable and Ludicrous!"

Upcoming appearances:

April 11 - Tomi Jazz, New York, NY 

May 8 - Hudson Guild Theatre, New York, NY 

May 9 - Hudson Guild Theatre, New York, NY

May 10 - Hudson Guild Theatre, New York, NY

May 15 - Hudson Guild Theatre, New York, NY 

May 16 - Hudson Guild Theatre, New York, NY

May 30 - Tomi Jazz, New York, NY

June 6 - Lawrence Public Library, Lawrence, KS

June 7 - Marvin Auditorium, Topeka, KS

June 9 - St. Louis Library Auditorium, St. Louis, MO

June 20 - Funky Monkey Cafe, Cheshire, CT

June 28 - Metropolitan Room, New York, NY

July 18 - Tomi Jazz,  New York, NY

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