NEW RELEASES: HERBIE HANCOCK & THE HEADHUNTERS - OMAHA CIVIC AUDITORIUM 17TH NOVEMBER 1975; MILES DAVIS – BITCHES BREW 40TH ANNIVERSARY COLLECTORS EDITION; SONNY ROLLINS / COLEMAN HAWKINS - TOGETHER AT NEWPORT 1963

HERBIE HANCOCK & THE HEADHUNTERS - OMAHA CIVIC AUDITORIUM 17TH NOVEMBER 1975

This superlative set was taped for FM broadcast soon after the release of Herbie Hancock s groundbreaking Man-Child album, and finds the great keyboardist backed by the awesomely tight combo of DeWayne Blackbyrd McKnight (guitar), Bennie Maupin (reeds), Paul Jackson (bass), Bill Summers (percussion) and Michael Clarke (drums) on a selection of his finest tracks, from Hancock s early classic Watermelon Man right up to the present, and is offered here complete with background notes and rare images. Track listing: Watermelon Man, Hang Up Your Hang Ups, Steppin In It, Bubbles, Shekere, and Heartbeat. ~ Amazon

MILES DAVIS – BITCHES BREW 40^TH ANNIVERSARY COLLECTORS EDITION

This bookset is a repack of the 40th Anniversary Super Deluxe Box package and comprises two CDs with original 94-plus minutes of music plus six bonus tracks; a third CD of a previously unissued performance at Tanglewood, August 1970, with Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette, Airto Moreira and Gary Bartz; DVD of a previously unissued performance in Copenhagen, November 1969, with Wayne Shorter, Corea, Holland and DeJohnette. The book includes a 5,000-word essay by journalist-author-producer-musician Greg Tate; Producers’ notes by Michael Cuscuna and Richard Seidel plus dozens of rare, unpublished photographs and record label memos. ~ Amazon

SONNY ROLLINS / COLEMAN HAWKINS - TOGETHER AT NEWPORT 1963

This edition presents, for the first time ever, Sonny Rollins' complete set with guest star Coleman Hawkins at the 1963 Newport Jazz Festival. Producer George Wein's idea to unite the two tenor sax giants proved to be so successful that they would record a studio album together later that month. As a bonus, an unissued quartet set by Rollins taped live at New York's Half Note five months early. It contains the only collaborative recordings of the saxophonist with pianist McCoy Tyner with the sole exception of a 1978 album. This set allows us the rare opportunity to listen to McCoy interact with another tenor sax giant (the pianist was still a member of the John Coltrane Quartet at the time). ~ Amazon

PASSION WORLD IS GRAMMY®-WINNING VOCALIST KURT ELLING’S MOST AMBITIOUS PROJECT YET

June 9 release features Arturo Sandoval, Sara Gazarek, Till Brönner, Richard Galliano, the Scottish National Jazz Orchestra and the WDR Big Band and Orchestra

Passion World, the fifth Concord album (eleventh overall) from vocalist Kurt Elling, lives up to its title on both counts. Scheduled for release on June 9, 2015 on Concord Jazz (international release dates may vary) it is indeed his most “worldly” album to date, as Elling casts his net far and wide, from Brazil to Ireland, Germany to Spain, Scotland to Cuba to Iceland. And it is indeed all about passions – the forces that shake our souls. As one of the busiest touring jazz artists, Elling has encountered these passions around the world; he has observed how the same depth of feeling is shaped in myriad ways by each unique culture through which it filters. The result is an album vibrant with diversity and variety, and at the same time a single-minded celebration of what makes us all human. In terms of its conceptual scope and its breadth of influences, Passion World is the most ambitious project yet from the preeminent male vocalist in jazz.

It is also Elling’s most “star-studded” album, featuring a small battalion of guest collaborators working in tandem with the singer’s much-traveled quintet (keyboardist Gary Versace, guitarist John McLean, bassist Clark Sommers, drummer Kendrick Scott). The guests include the brilliant veteran trumpeter Cuban émigré Arturo Sandoval; the widely lauded young vocalist Sara Gazarek; German trumpet star Till Brönner; French accordion virtuoso Richard Galliano; the Scottish National Jazz Orchestra and its founder-leader, saxophone savant Tommy Smith; and the world-renowned WDR Big Band and Orchestra from Germany, featuring pianist Frank Chastenier.

For most of us, “passion” conjures love, at its most dramatic and exotic. “These are by and large compositions about romance,” says Elling, a GRAMMY® winner in 2009 (and ten-time GRAMMY® nominee during his career). “Romance is one of the things that most countries share, and I’ve noticed how songs from those countries play into or draw from national identities. Yes, we all have heartbreak, but it differs wherever you go. So the nature of songs I have performed in France, for instance, have reflected the French thing of being cool when romance is done; remember, the French came up with the word ‘nonchalance.’ That’s versus the overwrought, almost threatening response to a broken heart that you find in lyrics from Cuba or Latin America, and versus the kind of statuesque and heroic, almost operatic, nature of the broken heart in Italy or Germany.”

But sometimes, the heartbreak stems from circumstances beyond the bubble that surrounds two lovers, and Elling nods to that as well: witness the poignant “Where The Streets Have No Name,” U2’s ode to lives lost in war and politics, newly arranged by guitarist John McLean. Witness also “Bonita Cuba,” born of a fortuitous ocean-liner booking. On the last evening of a recent Caribbean jazz cruise, Elling heard Arturo Sandoval playing this melody from his adjacent cabin. “I said, ‘Arturo, that’s so sad; is that a tradition of yours, to play down the sun?’ But he said, ‘No, I was thinking about Cuba, and about friends back home I haven’t seen in decades. I was thinking about my mother and father; I got them out, and they always thought they were going to go home – but they’re buried in America.’” Elling asked if he might put lyrics to this melody, and “Bonita Cuba” took shape. Recorded at Sandoval’s house, with the trumpeter’s rhythm section, “The song redeems some small portion of the vast, lost expanse of 90 miles that continues to separate Sandoval from his homeland, and gives the sadness room to sing,” in the words of liner-note writer Andrew Gilbert.

Many of the other songs on Passion World also have noteworthy origins. Elling learned “Loch Tay Boat Song” back in college, when he spent a year abroad studying at Edinburgh University, and it has percolated in his mind ever since. On perhaps the loveliest track on the album, the devastating “Where Love Is,” he sings a James Joyce poem that blends abject misery and pure joy, in a melody newly composed by ex-Dubliner Brian Byrne. Elling discovered “After The Door,” a Pat Metheny song originally titled “Another Life,” when he heard it as “Me jedyne niebo,” sung by Polish vocalist Anna-Marie Jopek (whose husband wrote the Polish lyrics). As a prelude, Elling worked with the noted bassist and arranger John Clayton to craft “Verse,” the brief plaint that also serves to introduce the entire album. The durable “La Vie En Rose” carries another Elling lyric, written to a Wynton Marsalis solo on that tune, from a recording that featured Marsalis in concert with Richard Galliano. And Galliano’s own composition “Billie,” dedicated to Billie Holiday, inspired the vocalist to write lyrics as well, for the tune now titled “The Tangled Road.”

It was in fact Elling’s desire to work with Galliano that prompted the initial public performance of the “Passion World” concept, for a Jazz at Lincoln Center concert in 2010. “I needed a vehicle that suited the two of us,” Elling explains; “I already had a couple things in French, and a couple things in Portuguese, from Brazil; that was the start of it. Then I wanted to learn some of Galliano’s tunes, to potentially write new lyrics for them – to honor his contributions as a composer – and then I realized how many countries I hadn’t reached out to yet. So as we continued to tour, I continued to look for new material.

“These are all pieces that I gathered to perform as either encores or as what I think of as ‘charmers’ – songs from each local situation that would allow me to extend a hand,” says Elling, whose international performances are indeed famous for his inclusion of regional color and the infusion of native languages. “Part of my joy as a singer is to try to give gifts to people; and one way I try to connect to them is to add something in French, or German, or whatever. It’s the one time during a performance where people see me being very vulnerable in their context, instead of them feeling vulnerable in ours. And if I mess it up, they seem to appreciate that I tried.”

On Passion World, Elling stretches further afield than on any of his previous efforts, placing his enormous talent in a context that includes but does not restrict itself to jazz, per se. Most of the songs on Passion World do not come from the jazz canon, and because of this, the album may be especially welcoming to new listeners. “I’m just following my curiosity,” he allows. “It’s a beautiful thing to have time in the world, as a singer and as a musician, to make friends with people of the musical caliber of a Tommy Smith, an Arturo Sandoval, a Richard Galliano, a Till Brönner. These guys are fully jazz musicians, and they are pulling themselves closer to jazz from various regional contexts – and pulling jazz into those contexts, because jazz has the flexibility to move across borders.”

Elling fans will note that on Passion World, the singer eschews the high-flying scat improvisation that stands among his great contributions to jazz in this century, and that remains a vital component of his artistic arsenal. But as he reminds us, “One doesn’t have to scat to be a jazz singer. And in this case, I think the spirit of improvisation – more than the spirit, actually – is present in what I’m doing. The actual display of virtuosity is for people like Smith and Sandoval to display. On this record, I’m just trying to sing real good.”

DAVID BENOIT’S 2 IN LOVE, FEATURING JANE MONHEIT, IS THE GRAMMY®-NOMINATED PIANIST/COMPOSER/ ARRANGER’S FIRST RELEASE WITH A VOCALIST

For three decades, the GRAMMY®-nominated pianist/composer/ arranger David Benoit has reigned supreme as one the founding fathers of contemporary jazz. But, like an actor who has been known primarily for one role, he wanted to show other dimensions of his artistry, influenced by Stephen Sondheim, Burt Bacharach, Dave Grusin and Leonard Bernstein.

“I’ve done records where I had a token vocal tune, all the way back to my first album,” Benoit says. “But I never did an entire record [with vocals]. So the thought here was to do something really different.”

The result is Benoit’s thirty-fifth recording as a leader and his first with a vocalist. 2 In Love, set for release on June 16, 2015 via Concord Records, features Jane Monheit, the GRAMMY®-nominated, cool-toned chanteuse from New York, who burst on the scene in 1998 as the first runner-up in the Thelonious Monk International Vocalist Competition. (International release dates may vary)

“Concord suggested Jane Monheit,” Benoit says. “She was the perfect vocalist. I like to make records a certain way: I prefer to go in live and record it all at once. And a lot of vocalists can’t do that: they need to edit, fix and use auto-tune.  But Jane doesn’t need to do any of those things. Many of the keys were difficult, but she sang everything live. Jane also has a background in Broadway, which is another part of my lexicon that I’ve not explored. She was up to the task and easy to work with. She made it a complete, perfect package.”

Along with Monheit, Benoit also enlisted the help of three lyricists: Mark Winkler, Lorraine Feather and Spencer Day. “Mark is my long-time collaborator,” says Benoit. “And I’ve known Lorraine (daughter of jazz critic Leonard Feather) for thirty-five years. Then, there’s Spencer Day: I was really impressed with him. What a nice, young man and fantastic singer. He brought some new blood to the table.”

This terrific triad breathed lyrical life into Benoit’s songs and helped showcase Monheit’s considerable skills as an interpreter. “I met them all,” she says. “They did great work and made it very, very easy for me to do my job.”

Supported by an alternating rhythm section featuring drummers Jamey Tate and Clayton Cameron, percussionist Lauren Kosty, guitarist Pat Kelley and bassists David Hughes and John Clayton (of the Clayton Brothers), Benoit and Monheit swing and sing on ten tracks imbued with, to use Duke Ellington’s elegant phrase, “the feeling of jazz” in ballad, mid-tempo, neo-classical-, Latin-, pop- and Broadway-styled genres that range from the bossa nova-buoyed title track to the optimistic, piano-driven “Love Will Light the Way.” Violinist Michelle Suh and cellist Cathy Biagini add their impressionistic airs to the waltz “Dragonfly,” the evocative, 5/4 time-signatured “Something’s Gotta Give” – originally from a play co-written by Benoit and Winkler about Marilyn Monroe – and “The Songs We Sang,” a beautiful melancholy ballad, originally titled “Out of Tune,” about a couple that wrote hit songs and are trying to reignite their magic.

On the ebullient “Fly Away,” Monheit flexes her considerable vocal muscles. “I had a really great time wailing on that one,” she says, “because it’s a style of music that I don’t often get to sing.”

“Barcelona Nights,” is pulsed by an infectious Latin groove, which was inspired by a visit to Spain by Benoit and his wife. “I talked to Lorraine about it,” Benoit says, “and she came up with a beautiful lyric.” On the Pat Metheny-esque “Love in Hyde,” which was previously published under the title “A Moment in Hyde Park,” Benoit showcases his spirited piano prowess. “I recorded it on my second album, Life Is Like a Samba, with a big orchestra. And I always wanted to redo it,” he says. The album concludes a heartfelt solo piano performance of “Love Theme from Candide”/”Send in the Clowns,” by Leonard Bernstein and Stephen Sondheim, dedicated to the memory of Benoit’s mother, Betty June Benoit (1929–1997).

“Those were my mom’s two favorite songs,” Benoit says. “My friend David Pack (who started the group Ambrosia) introduced me to Lenny, and we worked on a benefit concert at Carnegie Hall. I got to know him a bit. So it was always my destiny to do something with “Candide.” And I felt it would make a nice segue into “Send in the Clowns.”

In addition to his obvious skills as a soloist, 2 In Love also highlights Benoit’s overlooked gifts as an accompanist. “He’s a wonderful piano player,” says Monheit. “He has a great understanding of singers, and that makes him a very good accompanist.” When he was coming up, Benoit worked with singers Patti Austin, Connie Stevens, and Ann-Margaret. But he credits Lainie Kazan as his biggest influence in the fine art of vocal accompaniment. “I was twenty-one when I started with her,” he says. “She literally taught me how to accompany singers.”

Benoit’s work with singers is but one more intriguing aspect of his multi-talented musicianship. He was born in Bakersfield, California, and grew up in Los Angeles. Benoit was bitten by the jazz bug after watching a Charlie Brown special on television and listening to the music of Vince Guaraldi in 1965. “I was already a fan of the comic strip,” he says, “but when I heard that jazz piano trio, that was the defining moment when I decided that I wanted to play like Vince Guaraldi.”

At the age of thirteen, Benoit studied privately with pianist Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for famed conductor Arturo Toscanini. He also studied music theory and composition, and later studied orchestration with Donald Nelligan at El Camino Junior College and film scoring from Donald Ray at UCLA. He studied conducting from Heiichiro Ohyama, assistant conductor of the L.A. Philharmonic, and furthered his musical education with Jan Robertson, head of the conducting department at UCLA, and UC Santa Barbara symphony orchestra music director Jeffrey Schindler.

After working with Lainie Kazan as her musical director/conductor in 1976, Benoit released albums on the AVI label from 1977 to 1984. He later released several chart-topping recordings for GRP, including Freedom at Midnight (1987), Waiting for Spring (1989) and Shadows (1991), which both topped Billboard’s Contemporary Jazz Charts at #5, #1, and #2, respectively. His other noteworthy recordings include Letter to Evan (1992), his tribute to another piano influence, Bill Evans, and Here’s to You, Charlie Brown: Fifty Great Years (2000). Benoit also recorded with Russ Freeman on their album The Benoit/Freeman Project (1994), and on their follow-up collaboration, 2 (2004), which was released on Peak Records. His other recordings for the label include American Landscape (1997) and Orchestral Stories (2005), which featured his first piano concerto, “The Centaur and the Sphinx,” and a symphonic work, “Kobe.”. In 2012, he released Conversation on Concord’s Heads Up International imprint.

Benoit received three GRAMMY® nominations in the categories of Best Contemporary Jazz Performance for “Every Step of the Way” (1989), Best Large Ensemble Performance for GRP All-Star Big Band (1996), and Best Instrumental Composition for “Dad’s Room,” the latter from the album Professional Dreamer (2000). In 2010, Benoit received a Lifetime Achievement Award from the American Smooth Jazz Awards, and he’s worked with an impressive potpourri of musicians including the Rippingtons, Emily Remler, Alphonse Mouzon, Dave Koz, Faith Hill, David Sanborn, CeCe Winans and Brian McKnight.

Benoit’s film scores include The Stars Fell on Henrietta (1995), produced by Clint Eastwood, and The Christmas Tree, produced by Sally Field, which was voted Best Score of 1996 by Film Score Monthly. He has served as conductor with a wide range of symphonies including the Los Angeles Philharmonic, Asia America Symphony Orchestra and the London Symphony Orchestra. A long-time guest educator with the Mr. Holland’s Opus Foundation, he received that organization’s Excellence in Music Award in 2001. His musical selections have been featured on The Weather Channel and his version of Vince Guaraldi’s “Cast Your Fate to the Wind” is included on compilation The Weather Channel Presents: Smooth Jazz 11 (2008). Benoit also currently hosts a morning radio show on KKJZ 88.1 FM in Long Beach, CA.

Born in Long Island, NY, Jane Monheit heard a wide range of singers, from Ella Fitzgerald to Bonnie Raitt, and also listened to Broadway pop and classical vocalists. Monheit started her professional career while she was a student at Connetquot High School in Bohemia, NY, where she graduated in 1995. She studied at the Usdan Center for the Creative and Performing Arts and was awarded their distinguished Alumna Award. She was also a student at the Manhattan School of Music and studied under voice instructor Peter Eldridge. She graduated with honors in 1995 with a BA in Music and received the William H. Bolden Award for Outstanding Accomplishments in Jazz.

Monheit burst on to the national scene as the first runner-up in the 1998 Thelonious Monk Institute’s Vocal Competition behind veteran singer Teri Thornton. In 2000, she released her first recordings as a leader on the N-Coded label including Never Never Land, Come Dream with Me (2001), In the Sun (2002) and Live at the Rainbow Room (2003). She also recorded for Sony, Epic and EmArcy, and released two recordings on Concord, Surrender (2007) and The Lovers, the Dreamers, and Me (2009), which featured the ballad “The Rainbow Connection.” Monheit has worked with Ramsey Lewis, Steve Tyrell, Tom Harrell, Terence Blanchard, Ivan Lins, Mark O’Connor, and Freddy Cole, and appears on Memphis pianist Harold Mabern’s new album, Afro Blue, and with Brazilian bossa nova icon Wanda Sá on her latest release, Live in 2014. Monheit also garnered two GRAMMY® nominations for Best Instrumental Arrangement Accompanying Vocalist(s) for her rendition of the Judy Collins ballad "Since You've Asked", from the album Live at the Rainbow Room (2003), and “Dancing in the Dark,” from Taking a Chance on Love (2005).

JAMISON ROSS, 2012 THELONIUS MONK INTERNATIONAL JAZZ COMPETITION WINNER, DELIVERS DEBUT ALBUM JAMISON, DUE FOR RELEASE JUNE 23, 2015

Winner of the 2012 Thelonious Monk International Jazz Drums competition, Jamison Ross is set to release his self-titled debut album, Jamison, via Concord Jazz, June 23, 2015 (international release dates may vary). The recording is a brilliant presentation of Ross' artistry, not only showcasing his prowess as a jazz musician who commands the drums, but also as a gifted composer, arranger and more pointedly, a singer.  Ross sings on ten of the disc’s 12 tracks.  “When I won the Monk competition, no one there knew that I could sing,” says 27-year-old Ross.  “When I took on the quest to record my first record, I was torn between my heart as a drummer and my heart as a singer.  Ultimately, I was compelled to take a journey that incorporated my voice as part of my sound.”

Infused with jazz, blues and genuine soul, the album filters music from multiple eras through a contemporary approach, refreshing material such as Muddy Waters’ 1977 classic, “Deep Down in Florida,” an homage to Grady Tate with Gary McFarland, Louis Savary’s soul-jazz classic, “Sack Full of Dreams,” and Eddie Harris and Les McCann’s 1971 hit, “Set Us Free.” He also honors the great Carmen Lundy with an earnest version of her 1994 composition, “These Things You Are to Me.”  Mixed in with these classics are some of Ross’ own compositions including “Emotions,” a lyrical narration of Ross’ personal perspective on the journey of life, supported by a danceable rhythm and convicting melody.

Complementing him on the album is a group of ingenious jazz musicians – guitarist Rick Lollar, bassist Corcoran Holt, saxophonist Dayve Stewart, pianist Chris Pattishall, organist Cory Irvin, and trumpeter Alphonso Horne III – all of whom Ross has cultivated a soulful chemistry with dating back to his college years.  Also on deck is special guest pianist Jonathan Batiste, who plays on four songs.

Jamison embodies a joyous sound grounded in Ross’ distinct approach to music, which is rooted in the church, but interpreted through his profound knowledge of jazz.  “I am often asked whether I am a drummer who sings, or a singer that plays drums,” said Ross.  “This record is an answer to that question; it is an organic and honest expression of who I am as an artist.  It’s Jamison.”

JAMES TAYLOR TO RELEASE BEFORE THIS WORLD, HIS FIRST ALBUM OF NEW SONGS IN 13 YEARS

Five-time GRAMMY® Award winner James Taylor will release Before This World, the legendary singer/songwriter’s first album of new songs since 2002’s platinum-selling October Road. Produced by Grammy Award®-winner Dave O’Donnell, Before This World features ten songs, nine of which are brand new James Taylor compositions, and is due out June 16th, 2015 from Concord Records. In addition, the special 2-Disc CD/DVD Before This World Deluxe Edition includes the full-length album on CD plus “There We Were: The Recording of James Taylor’s Before This World,” a behind-the-scenes documentary about the making of the album on DVD. Through studio footage and interviews (including Taylor and album guests Sting and Yo-Yo Ma) this beautifully rendered 30-minute film provides an intimate look into Taylor’s creative process and the recording of this landmark album.

Recorded at his home studio TheBarn, in Washington, MA, Taylor enlisted the longtime members of his band for the sessions including bassist Jimmy Johnson, drummer Steve Gadd, guitarist Michael Landau, keyboardist Larry Goldings, percussionist Luis Conte, fiddler and vocalist Andrea Zonn and vocalists Arnold McCuller, David Lasley and Kate Markowitz. Taylor also called on close friends Yo-Yo Ma and Sting to add their remarkable talent to the new album, (Ma’s cello is heard on “You And I Again” and “Before This World”; Sting added vocals to “Before This World.”)  Additionally, Taylor’s wife Kim and son Henry sing harmony on “Angels Of Fenway” and the classic folk tune “Wild Mountain Thyme.”

On Before This World, Taylor continues to explore many of the themes that have absorbed him throughout his career. “My sort of self-expression and the autobiographical aspect of my work is a thru-line that links all my albums together,” he explains. “I think I have grown musically, and I think people can hear it in what I played in ‘68, and you can hear it in what I’m singing about now. It is ongoing, it’s still me, but it’s still evolving.”  Offering heartfelt reflection and insight from a life well lived, Taylor traces the road’s healing allure (“Stretch of the Highway”), revisits themes of recovery, (“Watchin’ Over Me”), offers a song for agnostics (“Before This World”), looks at love’s mystical properties (“You And I Again”) as well as the redemptive spirit of baseball (“Angels Of Fenway”), and the beginning of his remarkable journey, (“Today Today Today”), the album’s first track. 

“When I set out to record a new song, I have an idea, in my mind’s ear, of how it should sound,” he explains in the album’s liner notes. “It is rare that the finished product entirely measures up, indeed, sometimes I’m utterly surprised by where the session takes it. This time I’m completely satisfied that each of these ten songs is where it’s meant to be.”

The past ten years have been full of an extensive tour schedule and notable achievements for Taylor -- including his acclaimed One Man Band tour and concert performance film, which aired on PBS and was nominated for an Emmy Award, his wildly successful Troubadour Reunion tour and Live at the Troubadour album with Carole King, two collections of cover songs Covers and Other Covers, a heartwarming Christmas album, James Taylor at Christmas and 2014’s sold out tour across the US, Europe and the UK.  It will also be a particularly special summer for Taylor, as he will be performing a full-length concert with his All-Star Band for the first time ever at Fenway Park on August 6th, with guest Bonnie Raitt, which sold out 32,000 seats in one day.

One of the defining musical figures of our time, Taylor continues to express himself and touch our lives with the enduring songs he creates. “I really just feel as if I want to make music now,” he said as he completed work on the new album.  “I’ve done a lot of thinking about why I continue to be compelled to do this kind of work, but I still feel a huge connection with it.”

James Taylor – Before This World – Album Trailer: 

https://www.youtube.com/watch?v=Tfwf14gIsNk

Listen to “Today Today Today” on YouTube: 

https://www.youtube.com/watch?v=9zrqM85B5ik

Listen to “Today Today Today” on Spotify: http://smarturl.it/TodaySptfy

James Taylor – Before This World track list:

1.Today Today Today (3:09)

2.You And I Again (3:53)

3.Angels Of Fenway (3:18)

4.Stretch Of The Highway (5:32)

5.Montana (3:26)

6.Watchin’ Over Me (4:07)

7.SnowTime (5:48)

8.Before This World / Jolly Springtime (5:34)

9.Far Afghanistan (4:04)

10.Wild Mountain Thyme (2:57)

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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