Trombonist JOE FIEDLER Releases New Trio Recording, I'M IN, Featuring Joe Fiedler (trombone), Rob Jost (bass) & Michael Sarin (drums)

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

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

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

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

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

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

www.JoeFiedler.com

NOACCORDION - Wake Up and Mentals, Explores the Intersection of Hip-hop, Electronica and Classical Songwriting Forms

Onah Indigo is a woman warrior, producer, songwriter and performer who isn’t afraid to face an audience armed with only her accordion, Bella, and a heart full of song. The music she makes as noaccordion blends hints of classical, folk, downtempo, trap, crunk, glitch hop, drum ‘n’ bass, electro swing and house, but Indigo puts her own singular spin on the dizzying, electronic storm she creates with her jazzy vocals and lively accordion vamps.

“Since I’ve been playing accordion, everybody loves me,” Indigo says. “The instrument reminds them of their cultural heritage, especially if they’re from Europe. Something about the accordion makes people smile. They call me The Accordion Lady, even though a lot of the songs I create don’t have any accordion on them.”

On stage, Indigo is a colorful whirlwind of music and motion, incorporating elements of cabaret, circus-like antics and uplifting, transformational lyrics. “I call it Sacred Irreverence, a conscious choice to embrace the dark and the light, the positive and negative, the yin and the yang. Our current situation demands a shift in consciousness that will rebalance our relationship with other people, our planet, our universe and ourselves.”

Since starting the noaccordion project, Indigo has released three EPs. 2010’s Noaccordion, produced by Sean Ingoldsby, with a sound that suggests the B52s playing with Portishead; 2013’s Almostallaccordion, a collection that featured Latin percussion, gypsy music, hip-hop, punk, tango, electronic beats and guest artists and 2014’s Community, a mash up of vocal effects, peculiar harmonies, local MCs and elements of EDM. On her new EPs, Wake Up and Mentals, she continues to explore new directions as a producer, songwriter and singer.

“I’ve been an artist, painter, sculptor, musician and songwriter since I was a girl. I’ve trained as a classical pianist and jazz vocalist and play Latin percussion, but the music really took off after I discovered the accordion. I sat next to Sean when he was producing my first EP and really paid attention. After Noaccordion, I got some good mikes and pre-amps and started doing it all myself. I like collaborating, so on Almostallaccordion, I worked with percussionist Evan Fraser, beatboxer Mastahlock, trumpet player Danny Cao, electronic producer Abai and MCs Taj Angelo and Chatter, who also joined me on Community.

“For the new EPs, I used Ableton Live as my main DAW (digital audio workstation) and got better at looping, sampling, engineering and editing. I made all of the sounds and played most of the instruments on Wake Up and Mentals – percussion, keys, accordion – live in my studio. Cello Joe (Dirtwire, Beats Antique) helped out on cello and Taj Angelo added harmonies to one song.”

The centerpiece of Wake Up is “MFLS (Mutha Fuckin Love Song),” a vibrant blend of pop, hip-hop and electro that rides a simple bass line, punctuated with playful keyboard effects. The lyrics are sexually positive and uplifting, while Indigo’s singing is strong and confident, without any hint of coyness. “MFLS” is the second noaccordion video. It was written, produced and directed by Indigo and the Belgian video artist Oliver de Lantsheere.

“Never Grow Up” is a conscious hip-hop track that praises the child-like joys of creativity. A mellow piano track supports the vocals of Indigo and Taj Angelo, an Oakland singer and producer who adds his soulful harmonies to the proceedings. “We use our a cappella-like moments to frame my white girl rapping,” Indigo says with a smile. Sci-fi keyboards and spacey background textures create a huge sonic space for “Give it All Away,” an impressive mash up of electro, dub step, synth pop and 90s dance music that urges listeners to pare their lives down to the essentials. It’s a prayer for sustainability in a time of massive overconsumption. “If we give all of our unnecessary belongings away, we’d have room for the things that would help us regain our balance in the world.” The EP also includes the dark, subliminal funk of “You Caught Me,” the jittery call to arms “Wake Up” and “Mama Nature,” a buoyant house track that actually features the accordion.

The Mentals EP is more contemplative, with a classical flair in the melodies and improvisations. “These songs were inspired by Eric Satie’s Gymnopédies and Gnossiennes,” Indigo says. “Some are abstract and only use Satie as a guideline, some are easily recognizable. This is as close as I’ve gotten to playing a cover.” Stand out tracks are “Gnoss,” based on “Gnossiene #1,” with the familiar melody played on glockenspiel-like keys against a background of warm, synthesizer effects and “Canter,” which uses accordion and loops of hands clapping for a contemplative take on the changes of “Gymnopedie #2.”

“Music is my form of meditation, my religious practice. It’s how I process my emotions. The Bay Area has a large musical community and I want to continue to collaborate with visual artists, video makers and other writers and performers to create my own self-governing, non-violent economy.”

Celebrating A Century Of Lady Day // UMe honors Billie Holiday's 100th birthday with the digital release of 17 vintage albums

Just in time for the 100th anniversary of the birth of Billie Holiday on April 7, 2015, Universal Music Enterprises honors the iconic artist with the simultaneous digital release of 17 classic Holiday albums.

These vintage titles--originally released on the Commodore, Decca, Clef, Verve and MGM labels--were recorded between 1939 and 1959, and represent a substantial portion of the seminal vocalist's storied two-and-a-half-decade body of recorded work, which ended with her death at the age of 44 on July 17, 1959.

The anniversary release encompasses 17 Holiday albums, with six being issued digitally for the first time including: Billie Holiday, The "Lady" Sings, The Blues Are Brewin', Lover Man, Velvet Mood, and Billie Holiday With Ray Ellis and His Orchestra (her final recording session). Other albums have been Mastered for iTunes (MFiT): Billie Holiday At Jazz At The Philharmonic, Stay With Me, Music For Torching, Lady Sings The Blues, Body And Soul, Songs For Distingué Lovers, All Or Nothing At All, Recital, Solitude, Ella Fitzgerald And Billie Holiday At Newport, and the posthumously released The Essential Billie Holiday: Carnegie Hall Concert Recorded Live. 

Included on these albums are timeless Holiday classics, including "Strange Fruit," "God Bless the Child," "My Man" and "Lover Man," along with her distinctive readings of such jazz, blues and pop standards as "I'll Be Seeing You," "What Is This Thing Called Love," "He's Funny That Way," "It Had To Be You," "Stormy Weather" and "Prelude To A Kiss," as well as a pair of duets with Louis Armstrong.  In addition to Armstrong, these recordings find Holiday collaborating with jazz greats Kenny Burrell, Benny Carter, Cozy Cole, Harry "Sweets" Edison, Wynton Kelly, Barney Kessel, Red Mitchell, Jimmy Rowles, Charlie Shavers and Ben Webster.

In a career that was marked by equal amounts of personal tragedy and musical triumph, Billie Holiday became a massively popular star, bridging racial and genre barriers at a time when such crossovers were rare.  In the decades since, she has remained an immensely influential artist whose innovative, emotionally expressive vocal approach influenced multiple generations of singers.

After making her recording debut at age 18 with Benny Goodman's big band, Holiday made her first recordings under her own name in 1936.  She began scoring mainstream hits, many of them self-written, almost immediately, recording on her own as well as working with such prominent bandleaders as Teddy Wilson, Count Basie, Artie Shaw and Paul Whiteman.  Holiday remained popular with audiences for the rest of her life, despite her ongoing problems with drugs and alcohol, which contributed to her declining health and early death.

More than half a century after her passing, Billie Holiday's recordings continue to inspire listeners around the world.  The classic albums gathered for this 100th-birthday celebration include much of Holiday's greatest and most enduring work, demonstrating why her music continues to speak so powerfully to new generations of fans.

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NEW RELEASES: JOHNNY MATHIS – THE BEST DAYS OF MY LIFE (EXPANDED EDITION); JAMES BROWN – I’M REAL (EXPANDED EDITION); FREE SOUL: 21ST CENTURY STANDARD (VARIOUS ARTISTS)

JOHNNY MATHIS – THE BEST DAYS OF MY LIFE (EXPANDED EDITION)

The Best Days of My Life is the album by American legendary singer Johnny Mathis that was released in January 1979, by Columbia Records. The release made its first appearance on Billboard magazine's Top LP's & Tapes Chart, and remained there for seven weeks, while also reaching Number 38 during a five-week run on the UK Album Chart. The first song from the album to reach any of the charts in Billboard was a duet with Jane Olivor entitled "The Last Time I Felt Like This" that was written for the 1978 film Same Time, Next Year. The Best Days Of My Life was nominated for the Academy Award but lost out to "Last Dance" from "Thank God It's Friday", but still managed to enter the magazine's list of the 50 most popular Easy Listening Records in the US, and peaked at Number 15 over the course of the twelve weeks. Another track from the album, "Begin the Beguine," entered that same chart five months later, and got as high as Number 37 during its five weeks there. The only song from the album to reach the UK Singles Chart was "Gone, Gone, Gone", which made its debut there the following month, reaching Number 15 during a 10-week run. Includes 5 Bonus Tracks plus 1 unreleased Gem. Re-Mastered from the Original Master Tapes by Sean Brennan, at Battery Studio’s, New York. ~ Funky Town Grooves

JAMES BROWN – I’M REAL (EXPANDED EDITION)

James Brown gets a new injection of life at the end of the 80s – thanks to a collaboration here with Full Force, who wrote, arranged, and produced the album! The groove here is often more in a Full Force mode than you might expect from James – a full-on 80s urban sound, filled with plenty of beats at the bottom, yet still allowing The Godfather plenty of space to do his thing vocally! In a way, the format's almost a bit like some of the James Brown remix work that was showing up around the same time – except that the tunes are all new, and somewhat different territory for James. Titles include "I'm Real", "Static (parts 1 & 2)", "You & Me", "Time To Get Busy", "She Looks All Types A Good", "Keep Keepin", and "Can't Git Enuf". 2CD version is overflowing with bonus tracks – 10 more cuts from singles, including "Tribute (special version)", "Static (Full Force rmx)", "I'm Real (special version)", "Real (Full Force hyped up rmx)", "Time To Get Busy (Full Force rmx)", and "Busy JB (time to get get mix)".  ~ Dusty Groove

FREE SOUL: 21ST CENTURY STANDARD (VARIOUS ARTISTS)

A great entry into the 21st Century side of the Free Soul series – a cool collection that moves up from the underground territory of other volumes that focus on recent work – to select some key cuts that have become real standards for soul music in the millenium! These aren't big hits – although the artists are well-known – but key cuts by each singer that have gone onto really have some weight in recent years, and which really help define the growth in soul music in the past decade or so! Titles include "Rocksteady" by Remy Shand, "J Dillalude" by Robert Glasper, "Feel Like Makin Love" by D'Angelo, "Open" by Rhye, "Open Your Eyes" by Platinum Pied Pipers with Dwele, "Poetry" by RH Factor with Q-Tip & Erykah Badu, "Soul Sista" by Bilal with Raphael Saadiq, "The Light" by Common, "Private Party" by India.Arie, "Beautiful Love" by Myron, and "Limit To Your Love" by James Blake. ~ Dusty Groove

International Jazz Day All-Star Global Concert From The United Nations To Air As PBS Television Special

Historic concert features extraordinary performances by dozens of celebrated artists including Tony Bennett, Herbie Hancock, Wynton Marsalis, Stevie Wonder, Hugh Masekela, Lang Lang, Wayne Shorter, Angelique Kidjo, Chaka Khan, Christian McBride, Esperanza Spalding and many others...

The Public Broadcasting Service (PBS) will broadcast a one-hour television special of the first annual International Jazz Day All-Star Global Concert on Friday, April 10 at 10:00 p.m. EST. The concert features extraordinary performances by more than 40 world- renowned artists who gathered at the United Nations General Assembly Hall in New York City.

The concert’s many historic moments include a first-time collaboration with Stevie Wonder and Esperanza Spalding, plus Michael Douglas introducing legendary South African trumpeter Hugh Masekela. Douglas’ father, Kirk Douglas, had starred in the film “Young Man with a Horn,” which inspired a young Masekela to begin playing the trumpet.

Other highlights include a stellar performance by Tony Bennett, a magical duet with Herbie Hancock and China’s piano virtuoso Lang Lang, and a captivating performance featuring Wynton Marsalis with Panamanian pianist Danilo Pérez. Herbie Hancock, Wayne Shorter, Ron Carter and Jack DeJohnette perform Miles Davis’ classic “Milestones” and Dee Dee Bridgewater joins Shankar Mahadevan, Jimmy Heath, George Duke, Christian McBride and Zakir Hussain in a unique rendition of Duke Ellington’s “Cottontail.”

The incomparable Chaka Khan joins Blue Note saxophone great Joe Lovano onstage for a special rendition of “Them There Eyes” and Angelique Kidjo brings the crowd to its feet with “Afrika.” Longtime blues aficionado Morgan Freeman introduces a dynamic blues & jazz segment featuring Robert Cray, Susan Tedeschi and Derek Trucks. The evening culminates with the entire all-star cast performing Stevie Wonder’s quintessential tune “As.”

In its review of the concert, JazzTimes said, “New York City has always been home to the world’s most storied jazz venues, from Minton’s Playhouse and the Cotton Club of decades past to the Blue Note and Village Vanguard of today. Until now, no one would ever have thought to place the General Assembly of the United Nations—that august room where policies affecting the world are made—on that list. But on the night of April 30, there was no better place in New York—or the rest of the planet—to hear jazz. The ‘Sunset Concert’ closing out the first annual International Jazz Day…was a star-studded affair—the hosts were Morgan Freeman, Robert De Niro, Michael Douglas and Quincy Jones—but it was also a phenomenal jazz concert.”

The concert concluded the first annual International Jazz Day celebration that brought together people of all ages, backgrounds and nationalities around the world. The United Nations Educational, Scientific and Cultural Organization (UNESCO) designated April 30 as International Jazz Day in order to highlight jazz and its diplomatic role of uniting people in all corners of the globe. Through this united effort, International Jazz Day is the one day each year that jazz is celebrated worldwide. It is recognized on the official calendars of both the United Nations and UNESCO.

International Jazz Day is chaired and led by Irina Bokova, UNESCO Director General, and legendary jazz pianist and composer Herbie Hancock, who serves as a UNESCO Ambassador for Intercultural Dialogue and Chairman of the Thelonious Monk Institute of Jazz. The Institute is the lead nonprofit organization charged with planning, promoting and producing this annual worldwide celebration.

According to Herbie Hancock, “On International Jazz Day, jazz is celebrated, studied, and performed around the world for 24 hours straight. Collaborations abound among jazz icons, scholars, composers, musicians, dancers, writers, and thinkers who embrace the beauty, spirit, and principles of jazz, freely sharing experiences and performances in our big cities and in our small towns, all across our seven continents. I can’t think of a better way to build peace and cultural understanding.”

The PBS special will air in April as part of Jazz Appreciation Month and will raise awareness of the fourth annual International Jazz Day celebration, taking place on all continents on April 30, 2015. This year, Paris, France will serve as International Jazz Day Global Host City, presenting dozens of education programs and performances, along with an All-Star Global Concert featuring a wide range of internationally acclaimed artists. The concert will be streamed to audiences around the world.

Composer-Arranger Oded Lev-Ari - Producer of Anat Cohen, Marty Ehrlich, Duchess and More - Makes Leader Debut with Inspired Chamber Jazz of Threading

Composer-arranger-producer Oded Lev-Ari has crafted acclaimed albums by the likes of hit band 3 Cohens, clarinet icon Anat Cohen and woodwind sage Marty Ehrlich, as well as rising-star singers Amy Cervini, Melissa Stylianou and vocal trio Duchess. Now the Tel Aviv-born, New York-based Lev-Ari steps out with the first recording under his own name: Threading, to be released by Anzic Records on April 28, 2015. 

The album presents six inspired Lev-Ari compositions - instrumental and vocal - performed by an all-star 11-piece New York band that includes Anat Cohen and the ace Matt Wilson on drums, as well as guest vocalists Alan Hampton and Jo Lawry. Along with Lev-Ari's own pieces, the disc includes his artful instrumental and vocal arrangements of songwriter Gordon Jenkins' classic "Goodbye." The chamber-jazz sound of Threading - which features not only winds, trumpet and a textured rhythm section but also three cellos - hints at varied sonic worlds, from jazz sound painters Gil Evans and Maria Schneider to tango nuevo king Astor Piazzolla and contemporary classical composers. Ultimately, though, Lev-Ari has his own, individual soundprint, one of cinematic richness and open-hearted lyricism. 

Lev-Ari, a student of the great composer-arranger Bob Brookmeyer, says what he appreciated most about his teacher was his intrepid musical sensibility. "I love Bob's music, even if mine doesn't really sound anything like his," Lev-Ari says. "He was such an inspiring figure, particularly how courageous he was in the kind of music he let himself make. He was a keen admirer of contemporary classical, and he let that into his work, unafraid to incorporate new sounds into the big-band palette. That sort of open mind and ear is something to aspire to." 

With Threading, "space and personality" were bywords in the studio for Lev-Ari and his engineering partner, James Farber. "James and I had worked before on several albums together, and he really knows the studio we used, Sear Sound in Manhattan," Lev-Ari explains. "We're on the same page in terms of quality of sound, with space around the instruments being key. We also share a production credo, in that it's not about perfection - it's about expression, telling a story in music. The goal is capturing the essence of the music, especially in those moments where it builds organically to an emotional impact. We had a band of amazing musicians, who naturally invest personality into everything they play - and that's what makes music come alive, off the page and into the air." 

The title track of Threading opens the album with irresistible shades of Piazzolla in the writing for strings and piano; then there's Anat Cohen's dynamic clarinet, her solo building to a peak as it traces lines with Nadje Noorduis's trumpet. There are indigo echoes of Oliver Nelson's "Stolen Moments" in "Lost and Found," with cool-toned solos from Will Vinson's alto sax and Brian Landrus's baritone. "Voices," incorporating a titular and textural homage to contemporary Latvian composer Peteris Vasks, resonates with a dark lyricism, the collective soloing in its middle section a priceless instance of session spontaneity; the bridge of the piece, with the composer voicing a minimalist melody on piano as winds trace arabesques above, is one of the album's most ravishing passages. There's more Vasks-esque writing for the three cellos in "Black Crow," as well as an evocation of Oded's Israeli roots. Lev-Ari's kindred-spirit connection with Anat Cohen - they have been friends and collaborators since high school in Tel Aviv - is mirrored in her Eastern European-tinged lines. "Black Crow" also features a characteristically musical drum solo by Matt Wilson. 

"E and A," the title referencing the first initials of Lev-Ari's two children (with singer Amy Cervini), brims with pastoral loveliness, as well as a mix of Old World and New World influences. A melody-rich highlight of Threading comes with "The Dance," a vocal piece for which Lev-Ari wrote both music and lyrics; the gorgeous vocal combination of Alan Hampton (a collaborator with Gretchen Parlato, among others) and Jo Lawry (Sting's go-to backing singer) sees their voices twining around each other to tell an emotional story. Then there are the two versions of "Goodbye," the Gordon Jenkins song made famous by Frank Sinatra on his LP Only the Lonely. Cohen's clarinet takes a vocal role in the instrumental, after a limpid introduction by guitarist Gilad Hekselman. And if Lev-Ari's subtle arrangement is both earthier and airier than the vintage treatment Nelson Riddle made for Sinatra, Hampton's singing is less theatrical, more conversational. Lev-Ari says: "It's an intimate piece of music that I love, and Alan has this quality to his voice that makes it seem as if he were singing just to you, revealing something very personal." 

Even with such moments of magic, Lev-Ari called the album Threading to evoke the sense of craftsmanship that goes into making music. "A work of art really is a magical thing, and people don't always want to know how the trick is done," he explains. "But writing, arranging and recording can be exacting, almost physical work, like sewing or weaving. That's something that always comes to mind when I'm writing, particularly for a larger ensemble. I wanted to hint at the tradesman-like craft of the work, those aspects of loving, hard-won detail that you hope add up to something beautiful."

Oded Lev-Ari: Threading

1. "Threading" 

2. "Lost and Found" 

3. "Goodbye" (vocal version) 

4. "Voices" 

5. "Black Crow" 

6. "E and A" 

7. "The Dance" 8. "Goodbye" (instrumental version)

All compositions by Oded Lev-Ari, except for "Goodbye" (by Gordon Jenkins)

  

Anat Cohen: clarinet; Will Vinson: alto & soprano saxophone; Brian Landrus: baritone saxophone & bass clarinet; Nadje Noordhuis: trumpet & flugelhorn; Alex Waterman, Yoed Nir & Noah Hoffeld: cello; Oded Lev-Ari: piano; Gilad Hekselman: guitar; Joe Martin: double-bass; Matt Wilson: drums; Alan Hampton: voice (3, 7); Jo Lawry: voice (7)

www.odedlevari.com

NEW RELEASES: THE SAX PACK - POWER OF 3; THE BRECKER BROTHERS - THE BOTTOM LINE ARCHIVE; THE VIJAY IYER TRIO - BREAK STUFF

THE SAX PACK - POWER OF 3

Smooth Jazz supergroup, The Sax Pack, has been playing to packed houses from coast to coast. Lead by 3 of the hottest saxophonists on the planet Kim Waters, Jeff Kashiwa and Steve Cole who have individually sold over 1 million CDs and had over 20 Top 10 Smooth Jazz singles.

Inspired by the infamous Rat Pack, The Sax Pack creates an atmosphere that is high energy and highly entertaining, packing powerful grooves that thrill their growing fan base! Their smash single, Fallin For You, was #1 at Smooth Jazz radio for an unprecedented 16 weeks in a row, and their debut CD was perched high on the Billboard Contemporary Jazz Chart for almost a full year. Highlights include the first single, Back in Style, which is already climbing up the charts, the sensual ballad Shine On, the joyous and funky Power of 3 plus more brilliant Sax Pack originals.

THE BRECKER BROTHERS - THE BOTTOM LINE ARCHIVE

Why is this the first and only official live release by The Brecker Brothers Band, you ask? Perhaps surprisingly, it documents a group that rarely played live, much less toured extensively. This is due in part to a 1970 s music world with the constraints of a vital studio scene, wherein virtuoso musicians were kept busy tracking for television, movies, commercials, and all styles of solo spots and horn sections - regardless of musical style. We were making a living in the recording studios, recalls Brecker. The clubs paid next to nothing, as did 'opening act' gigs. Clive Davis was always begging us to go out on the road, but we weren't going to blow the studio work. Without a doubt, loud & proud describes this first Brecker Brothers Band in action. The group is put into 4-wheel drive by the sleekly-grooving, well-oiled machine that is the nimble rhythm team of Will Lee, Chris Parker and Sammy Figueroa. They constantly supply the connective tissue and hold down an undeniable and indelible groove. Keyboardist Grolnick s electric piano solos are oh-so-elegant, and he delivers the necessary clavinet funk. Guitarist Steve Khan steps up as yet another of the band s dynamic soloists, and he makes sure to bring the rock when the rock is required. The resultant blend of mayhem and form, abandon and razor-sharp execution, makes for an unparalleled meeting of clan-collective minds. ~ Amazon

VIJAY IYER TRIO – BREAK STUFF

Beautiful trio work from pianist Vijay Iyer – a record that's filled with the sorts of chunky rhythmic lines we love so much in his playing! The album's got Iyer working much more at a familiar level than his more electronic album for ECM – with that sort of warmth and joy that's really brought new life to the piano trio format through his recordings – the best of which we might put up there with our early favorites from Robert Glasper. The group features Stephan Crump on bass and Marcus Gilmore on drums – and titles include "Blood Count", "Break Stuff", "Taking Flight", "Work", "Wrens", and "Mystery Woman".  ~ Dusty Groove

YOUNG-HOLT UNLIMITED - 3 ALBUMS REISSUED WITH BONUS TRACKS

YOUNG-HOLT UNLIMITED - THE BEAT GOES ON

Great stuff by the Young Holt combo – and one of their rarest albums too! The original trio is augmented by some larger arrangements on the set – Sonny Sanders at the baton, giving the combo a nice Brunswick Records bounce, but still keeping the warm and soulful grooves firmly intact. The LP includes a number of strong original instrumentals like "Yon Gimme Thum", "Dig Her Walk", "Baby Your Light Is Out", "Yum Yum", and "Doin' The Thing" – plus covers like "Listen Here", "Good Vibrations", and "The Beat Goes On". ~ Dusty Groove

YOUNG-HOLT UNLIMITED - FUNKY BUT! (BONUS TRACKS)

Funky but also loosely jazzy and soulful grooves from Young Holt Unlimited! This is easily the most obscure album by the Young Holt combo for Brunswick – and a really wicked set that has them stretching out a lot from their early years! The album's got some nice electric touches that point the way towards the group's looser, freer 70s work – yet still moves very nicely in the pocket, through a mix of soul jazz originals and very groovy covers – all done in the group's trademark tight, syncopated groove! Titles include "Lady Madonna", "Valley Of The Dolls", "Orient", "Country Slicker Joe", "The Funky Duck", "Sombrero Sam", "Eleanor Rigby", "Secret Love" and "Honey".  ~ Dusty Groove

YOUNG-HOLT UNLIMITED - ON STAGE (BONUS TRACKS)

A great live set from this fab combo – one that captures the band with a nice tight groove, and a good dose of the humor they brought to their in-person recordings! Tracks are much longer than the ones on the studio albums – with great interplay with the audience, and a free swinging groove that really holds up throughout! The album includes the great originals "Yon Gimme Thum" and "Ain't There Something Money Can't Buy" – plus smoking versions of some of the tracks they used to do with Ramsey Lewis. Great stuff – and other tracks include "Far Away Places", "Be My Love", "Lady Godiva", "Corcovado", and "Mellow Yellow".  ~ Dusty Groove 

2015 Seabreeze Jazz Festival® To Feature Grammy-Award Artists in Top Smooth Jazz Lineup

George Benson

Northwest Florida's stunning beaches and natural setting is paired with Grammy winners George Benson, David Sanborn, and Al Jarreau as the 17th Annual Seabreeze Jazz Festival® returns to Panama City Beach, Florida April 22-26th. The event has become an annual celebration for jazz-minded adults where the allure of great beaches, exciting shopping, and world-class restaurants all combine for a true vacation getaway.

Panama City Beach provides the perfect backdrop for the “ultimate” jazz beach weekend with the festival attracting attendees from 42 U.S. states and over seven countries, plus also being named “Top 10 Jazz Festival in the USA” by JazzIZ Magazine. Smooth jazz blowing gently in the coastal breezes is just one unique feature at one of the nation’s fastest growing “destination music festivals” on the Gulf Coast.

Artists to perform include Grammy winners George Benson, David Sanborn, and Al Jarreau – along with renowned musicians Brian Culbertson, The Rippingtons featuring Russ Freeman, Euge Groove, BwB featuring Norman Brown, Kirk Whalum, and Rick Braun, Down To The Bone, The Sax Pack featuring Jeff Kashiwa, Steve Cole, and Kim Waters, Mindi Abair and the Boneshakers, Ken Ford, Acoustic Alchemy, Jazz Funk Soul featuring Chuck Loeb, Jeff Lorber, and Everette Harp, Chris Standring, Eric Darius, Four 80 East, Matt Marshak, Marcus Anderson, Josh Vietti, The Urban Jazz Coalition featuring Althea Rene, Rob Tardik, and Seabreeze Rising Star performer Ryan Montano.

Brian Culbertson

Main performances will take place at the Aaron Beasant Park Amphitheater adjacent to Pier Park, with nightly After-Party All-Star Jam Shows at two venues at adjacent Pier Park. To further showcase the beauty of Panama City Beach, a Dinner and Lunch Smooth Jazz Cruise aboard “The Solaris” Dinner Yacht is set departing the Lighthouse Marina cruising picturesque St.Andrews Bay—each with a live jazz performance on board.

Smooth Jazz fans have a unique and intimate connection to the festival’s music and core artists base. The “smooth jazz lifestyle” is the secret to the success of The Seabreeze Jazz Festival® where the R & B based smooth contemporary jazz literally creates a synergy for the whole weekend. The licks of the funky bass lines and pop-friendly musical hooks keep the crowds moving to the beat, almost like the tempo of the swaying palm trees around beautiful Aaron Beasant Park Amphitheater at Pier Park.

Smooth jazz is the epitome of “The Good Life”; laid back yet upscale at the same time, relaxing and familiar as a pair of your most comfortable beach sandals. The audience consists of upscale college-educated professional adults, primarily 35-55 years old with high amounts of discretionary income. Some economists call this very desirable demographic group “The Alpha Baby Boomers” –attributing to the $14.2 million impact that the Seabreeze Jazz Festival® generates in the Northwest Florida economy.

David Sanborn

The event hosts close to 28,000 for the weekend, with a large percentage of fans traveling hundreds if not thousands of miles away to attend. 60% of the festival’s tickets are sold outside the State of Florida, making it a true destination festival for the region.    The alluring appeal of Pier Park and the new resort-style architecture along with west end of Panama City Beach beckons even the most cosmopolitan city-dweller to join in on the fun, and get their toes in the sands.

“We are thrilled to partner, once again, with festival founders, Mark and Renee’ Carter and to sponsor this exciting event,” said Lino Maldonado, vice president of operations, Wyndham Vacation Rentals, Gulf Region—Presenting Sponsor of the event. “The Seabreeze Jazz Festival® continues to attract an international audience attended by guests from 42 states and 7 countries to Northwest Florida’s white sand beaches for the ultimate weekend of music. Our multi-year sponsorship agreement for the Seabreeze Jazz Festival® demonstrates our commitment to strengthening tourism in Panama City Beach and across Northwest Florida’s Gulf Coast.”

The venue's location is adjacent to Pier Park (a Simon Mall property) sporting over 160 retail stores, a 16-screen stadium-seating cinema, numerous eateries, nightclubs, even a small amusement park to pacify all of the family’s pastimes. The newly completed City Pier across the street from the festival stage and miles of white-sand beaches also provides a nearby escape from the live entertainment. That is, if you muster up enough to pull away from the star-studded contemporary jazz lineup.

Al Jarreau

The Seabreeze Jazz Festival® will make history in 2015 as the first event on the Gulf Coast to implement a new innovative RFID armband system from Intellitix for both entry and all festival purchases, essentially making the entire event both “ticketless” and “cashless”. In 2014, over 40 events in 10 countries have used this exciting new system. Fast Company Magazine recently named Intellitix as one of the “Top 10 Most Innovative Companies” for live events in 2014.

For the Seabreeze Jazz Festival, this new technology will take on a jazz theme as festival organizers will be calling the special wristbands “JazzBands”. The embedded RFID chip inside will not only act as the patron’s ticket for entry, but also their wallet for all purchases inside the venue. Attendees can either “load” funds via their credit card in advance of the event online, or on site with credit or cash at several jazz festival “Top Up” stations throughout the event. All it takes is a quick swipe for any purchase in front of a tablet-size screen, and fans are back to the music and smooth jazz fun, with easy access to their “JazzBand” account via their smartphone. Intellitix’s exciting new RFID armband system dramatically reduces time spent at entry gates as well as in queue lines for merchandise, food, and beverages. Any unspent funds on the wristbands are refunded back to the user’s credit card immediately following the event.

3 TENORS OF SOUL CELEBRATES PHILADELPHIA'S RICH R&B LEGACY & FEATURES SPECIAL GUESTS HALL & OATES, THE AVERAGE WHITE BAND & BILAL

If the Sixties belonged to Motown, the Seventies R&B scene was dominated by the Sound of Philadelphia. The much loved and totally identifiable Sound of Philadelphia combined propulsive grooves with sophisticated and lush orchestral arrangements, classic songwriting, smooth choreography, and airtight harmonies that were delivered by superb vocalists. This music was epitomized by the perfection of romantic soul ballads, which through the years were sung by many of the finest tenor voices in the history of R&B. Drawing on the fertile and unique Philadelphia vocal tradition sung by the likes of The Dreamers, The Castelles, Lee Andrews & The Hearts, Barbara Mason and the Intruders, and such celebrated groups as The Stylistics, The Delfonics and Blue Magic, the storied Sound of Philadelphia made an unforgettable string of classic recordings that were heard and loved around the world.

Although first released in 2007, this is the first we've heard of this recording. The Philadelphia Sound is reborn on this historic recording featuring the lead vocalists from three iconic groups of Philly's golden era: The Stylistics' Russell Thompkins Jr., The Delfonics' William 'Poogie' Hart and Blue Magic's Ted Mills. The Three Tenors- All the Way From Philadelphia will mark the first time that these dynamic vocalists have ever been captured on record with one another. Having influenced legions of singers, these legendary tenors brought the world such timeless R&B anthems as "Betcha' By Golly Wow," "La La Means I Love You," "Sideshow," "People Make The World Go Round" and so many other platinum selling classics. The Three Tenors of Soul are joined on All The Way From Philadelphia by an all-star line-up that includes fellow Philly stars Hall & Oates and Bilal. This remarkable session also features the famed Scottish funk and R&B group The Average White Band. This long-awaited recording is produced by Bobby Eli of Philadelphia International fame who penned the timeless hit "Sideshow" and who either played on, wrote, arranged or produced scores of hits that helped to define the Philadelphia Sound. All of the music featured on All The Way From Philadelphia is close to the hearts of all those involved with the session. Ted Mills shares, "The golden years of Philadelphia music came from fabulously talented songwriters and musical arrangers who moved the body and artists who stole hearts and touched souls when they sang. Those who have loved our music for so many years will find a crucial link between songs that were heartfelt long ago, and a new surge of pulsating romance music that is hypnotic and magnetic. We are ready to move a new generation of lovers!"

3 Tenors Of SoulThree Tenors of Soul - All The Way From Philadelphia is the completion of a dream for producer Bobby Eli. "For a long time I have wanted to put together a sort of super group featuring three falsetto voices that were well known during the 70s," says Eli. "The top three groups that epitomize the sweet soul sound of Philadelphia are the Delfonics, Stylistics and Blue Magic. Each of the guys - William, Russell and Ted - have their own distinct sound. Although all are natural tenors, they each bring to the plate their own identity. The trick was getting songs that would work with all three and I think I have nailed it!"

All The Way From Philadelphia showcases a refreshing mix of newly energized R&B classics as well as one Hall & Oates original, the title track, which has never been recorded. The tracks on the CD feature all three tenors either as a group or one as the lead while the others harmonize background vocals. Russell Thompkins Jr.'s smooth and refined tenor takes the lead on such stellar versions of Barry Gibb's "Too Much Heaven," The Average White Band's "A Love of Your Own" and Yvette Davis' "How Could I Let You Get Away," a song that Russell Thompkins Jr. has long wanted to record and that was originally recorded by the Spinners. Ted Mills' sensual and soulful vocals are showcased on Maurice White's classic "Fantasy," from Earth, Wind & Fire's triple platinum selling All 'N All LP, as well as on "Grateful" an original by producer Bobby Eli co-written with Vinnie Barrett. All three tenors shine on such classics as Hall & Oates' #1 1981 hit "I Can't Go for That" which also features Hall & Oates as does the title track. The three tenors also coalesce on the Gamble & Huff gem "Where Are All My Friends" which was a hit for Harold Melvin & the Blue Notes and the Burt Bacharach and Carole Bayer Sager's "That's What Friends Are For," originally sung by Rod Stewart for the soundtrack of Ron Howard's film Night Shift but which is far better known by Dionne Warwick's cover with Gladys Knight, Elton John and Stevie Wonder.

All The Way From Philadelphia is a sort of mutual admiration society, as all of the musicians have listened to and enjoyed one another's music over the years. Russell Thompkins. Jr. states, "When I was coming up there were a number of tenors that influenced me like Eddie Kendricks, Smokey Robinson and Ron Tyson. One of my earliest influences however was William "Poogie" Hart. In fact one of the first TV shows I did back in 1967 or '68 I sang one of his songs, 'La La Means I Love You.' Working on this project has been great. Ted brings an extremely nice high tenor to the music and his ideas about harmony are really wonderful. William brings experience and he is just William! I can sing all the parts from baritone and second tenor and I try to do all of them on this project. From the very first time I head about the idea of recording this album and the opportunity of working alongside Bobby Eli, Ted Mills and William 'Poogie Hart,' I knew that this CD would be something great and that history would be made."

3 Tenors Of SoulHeralded as the Philadelphia group with the 'sweet love songs,' The Stylistics was formed in 1966 after the two groups, "The Percussions" and "The Monarchs," merged under the guidance of their English teacher, Beverly Hamilton. The original Stylistics featured vocalists Russell Thompkins Jr., James Dunn, Herbert Murrell, Airrion Love and James Smith. The legendary quintet recorded their first song, "You're a Big Girl Now," at the local Philly recording studio, Virtue Recording. It was first released locally and before long it had became a number 1 hit in Philadelphia and soon elsewhere. Beginning in 1971 with their hit single "You're a Big Girl Now," The Stylistics continued to exist at the top of the charts with 12 consecutive top- ten soul hits, including "You Make Me Feel Brand New" and "Break Up To Make Up." The group's self-titled debut was produced by Thom Bell and included such hits as "Stop, Look, Listen to your Heart," "You Are Everything" and "Betcha By Golly Wow." With a vast catalog of hits, multiple gold and platinum albums, The Stylistics earned a plaque on the Walk of Fame in Philadelphia in 1994. A decade later, they were inducted into the Vocal Group Hall of Fame.

One of the quintessential soul groups of the late 60s and 70s and one of the early groups to team up with producer Thom Bell, The Delfonics ruled the charts with such R&B hits as "La La Means I Love You," "Ready or Not" and the Grammy-winning "Didn't I (Blow Your Mind This Time)". Formed in the early 1960s by brothers William "Poogie" and Wilbert Hart, along with schoolmate Randy Cain (who was later replaced by Major Harris). Many of the Delfonics' hits were written by William "Poogie" Hart whose natural upper register is a trademark of the group.

Born in the nation's capital and raised in the City of Brotherly Love, Hart was inspired early on by the recordings of Frankie Lyman & The Teenagers and Little Anthony & The Imperials.

Blue Magic was originally formed in Philadelphia in 1973 and featured Ted 'Wizard' Mills (who wrote such classics for Blue Magic as "What's Come Over Me" and "Spell on My Mind"), Vernon Sawyer, Wendell Sawyer, Keith 'Duke' Beaton and Richard Pratt. They signed to Atlantic Records in 1973 and a year later enjoyed crossover success with the Bobby Eli hit "Sideshow," which topped the soul charts and made it to ten on the pop charts. Some of Blue Magic's memorable hits that followed include "Stop to Start," "Chasing Rainbows," "What's Come Over Me" and the dance tune "Magic of the Blue."

All The Way From Philadelphia come the three tenors and what a long way they have traveled. Once the Three Tenors called to mind Placido Domingo, Jose Carreras and Luciano Pavarotti but now with the with the release of All The Way From Philadelphia three more legendary tenors are ready to take center stage and claim the throne. Russell Thompkins Jr., Ted 'Wizard' Mills and William 'Poogie' Hart, will forever change the way you hear tenors. From Philly to the world, let soul live on! 

http://www.saveoursoul.nl/artists/features/three-tenors-of-soul.html

10th Annual Jazz In The Gardens Music Festival Breaks Records With 73,000 In Attendance

More than 73,000 attended the recent Jazz in the Gardens (JITG) music festival as the City of Miami Gardens celebrated the festival's 10th anniversary March 21 and 22. Approximately 42,000 festival-goers attended Saturday's show, the first sold-out day in the history of the event. A-list musical talent continues to attract more and more attendees every year. Once a festival of roughly 1,800 patrons in a corner of Sun Life Stadium's parking lot, JITG is now the fastest growing jazz and R&B music festival in the nation.

This year's lineup featured Maxwell, Erykah Badu, R. Kelly, Toni Braxton, Run D.M.C., Brian Culbertson, Sheila E., Men of Soul's Jeffrey Osborne, Peabo Bryson, and Freddie Jackson, and Jazz in the Gardens All Stars Ronnie Laws, Roy Ayers, Lonnie Liston Smith, and Tom Browne. Comedians and nationally-syndicated radio personalities D.L. Hughley and Rickey Smiley co-hosted the festival.

"This year's attendance was unprecedented, and our lineup of musical talent was second to none, a fitting tribute to our 10th year of producing an incredible festival experience," said City of Miami Gardens Mayor Oliver Gilbert. "This is our signature event and we are so proud that people from all over the world look forward to attending every year."

The event also drew celebrities including actors Bryshere Y. Gray and Jussie Smollett, who star as Hakeem and Jamal, respectively, on the new, red-hot, Fox television series "Empire." They were among several notables who made on-stage cameo appearances, including reality TV star Angela Simmons, J. Anthony Brown, co-host of "The Tom Joyner Morning Show," and Sybrina Fulton, founder of the Trayvon Martin Foundation and mother of Trayvon Martin.

JITG also featured local artists, soul singer Valerie Tyson, saxophonist John Erinosho and Karina Iglesias of NBC's "The Voice," along with more than 40 exotic food vendors, a Vendor Marketplace, and the most anticipated lineup for the City's milestone 10th year celebration.

The City of Miami Gardens was born in 2003 and the then City Council sought to create a signature event for the largest predominantly African-American municipality in Florida, which is also the third largest in the United States. In 2006, the City of Miami Gardens presented the inaugural Jazz in the Gardens, an intimate jazz-only festival featuring food and music, setting the foundation for the decade-long, signature experience that followed, adding R&B to the lineup.

In response to the popularity of the festival, the City of Miami Gardens has added two events to the JITG Weekend:  The Women's Impact Conference & Luncheon (WICL) which kicked off the Weekend Friday morning and included an Author's Lounge and keynote address by Omarosa Manigault; On Friday night, the Opening Night Party gave a preview of the city's two-day fest and featured the D.M.C. Band and a comedy show hosted by "The Rickey Smiley Morning Show" crew. 

JITG is unlike any other festival in the nation. From the lineup, to the food, to the weather, the JITG weekend is an unparalleled experience. By its explosive growth in just 10 years, it is certain that JITG is an experience that has earned its stripes, while its guests have earned their tan lines and enjoyed the camaraderie and first class performances year after glorious year.

[Photos top to bottom: Toni Braxton, Jeffrey Osborne, Sheila E & Howard Hewett, Peabo Bryson, Maxwell, Erykah Badu, Brian Culberton, Freddie Jackson, D.L. Hughley)

NEW RELEASES: DUDUKA DA FONSECA TRIO – JIVE SAMBA; RICHARD WALTON GROUP - UNDER THE CURRENT; AIDAN CARROLL - ORIGINAL VISION

DUDUKA DA FONSECA TRIO – JIVE SAMBA

Lively trio work from drummer Duduka Da Fonseca – a set that has all the Brazilian touches you might expect from the title, but which also sparkles with lots of straighter jazz moments too! Duduka's as strong as ever on the kit, and the album really draws a lot of warmth from the piano lines of David Feldman – who blocks out the ballads with this gentle groove that's especially nice, then really catches fire on some of the more upbeat numbers – which also have Fonseca reminding us of his deftness on the drums. Guto Wirtti plays bass in the trio, and one track includes tenor from Paulo Levi – on titles that include "Jive Samba", "Lucky Southern", "Pensativa", "Clouds", "Peresina", "Recorda Me", and "Sco's Bossa".  ~ Dusty Groove

RICHARD WALTON GROUP - UNDER THE CURRENT

"Under The Current" is the 2015 release of Mid-Atlantic's award-winning and Pandora Radio airplay contemporary jazz artist Richard Walton Group. This is their first studio release in eight years, following the successes of their CD's "Junction", "LIve At Blues Alley", "Hear And Now" and "Where Time Stood Still". For the past eight years, current group members Michael Gottleib (keyboards), Michael Bronson (guitars), David Krug (saxophone), Mitchell Shaivitz (percussion), Eric Robertson (drums), Eric Robertson (drums), David Meer (guitars) and Richard Walton (bass guitar) have solidified it's compositional strengths to co-write a collection of exciting brand new compositions. Most of these well crafted songs have been played in concert over the past few years. Their composition "Exitude"(included here on this CD) just received an honorary mention in the latest Mid-Atlantic Songwriting Contest in the instrumental category. "Exitude" also appeared as a selected track on the latest Best Of Baltimore Songwriters Association CD. Richard Walton Group's CD's are often compared to 'an instrumental Steely Dan'. Their music is also heard along side of contemporary greats such as Spyro Gyra, Acoustic Alchemy, Lee Ritenour, Pat Metheny Group, Sergio Mendes and Fourplay. ~ CD Universe

AIDAN CARROLL - ORIGINAL VISION

Original Vision showcases Aidan Carroll's diverse musicality as a bassist and composer. With an impressive roster of New York City artists, this Contemporary Jazz meets Soul recording uplifts and inspires the listener with each track. Showcasing two powerful rhythm sections,Original Vision brings fresh new energy to the world of jazz. Original Vision  draws it's title from an experience Carroll had as a child: "When I was 8 years old, I had a vision and a feeling wash over me in which I knew that I'd be playing music for the rest of my life - it wasn't so much a choice but a reality of my life to come." In dedication to this prophecy,Carroll took a leap of faith and moved from the plains of Oklahoma to New York City. The son of two musicians, his path has been vivid, diverse and full of adventure. With a deep appreciation for the arts and literature, Carroll's broad experiences have enabled him to fully express his musicianship in its truest and most authentic form. Supporting Carroll on this recording are two distinct rhythm sections. The first features New Orleans born pianist Sullivan Fortner and drummer Joe Dyson. The second rhythm section adds David Bryant on piano and Justin Brown on drums. Rounding out the band is saxophonist John Ellis who plays throughout the album. Saxophonist Ben van Gelder and vocalist Chris Turner bring their unique talents as special guests.~ CD Universe