Noir jazz meets midnight blues in the music of Twin Danger

Noir jazz meets midnight blues in the music of Twin Danger – an intriguing new group formed by Vanessa Bley and Stuart Matthewman, whose self–titled, co-produced and co-written debut album appears on the Decca Universal Music Classics label.

Twin Danger updates a classic sound in a contemporary style with such captivating Bley/Matthewman originals as "Pointless Satisfaction," "Just Because," "Sailor," and "Coldest Kind of Heart." The album sessions also yielded one surprising cover song, a distinctively different interpretation of the hard–rock track "No One Knows" by Queens of the Stone Age.  The core of Twin Danger is Bley and Matthewman, however on-stage for their sultry live performances the band expands with a tight-knit outfit of five musicians.

Vanessa Bley grew up in a close-knit artistic community in upstate New York. Her mother is the painter and video artist Carol Goss; her father is the renowned jazz pianist Paul Bley, who worked with Charlie Parker, Charles Mingus, and Ornette Coleman in addition to several dozen albums – many issued on the Improvising Artists label, which Goss and Bley co–founded in 1974. Surrounded by the creative arts growing up, Vanessa studied piano for several years but found she preferred improvisation and songwriting to practicing classical repertoire.  "I love Chopin and Bach but lacked the patience to play technically correct. Meanwhile, my father would tell me ‘you can either sit down at the piano and improvise or you can do the dishes.' So I'd try to play something like...oh, the sounds of a thunderstorm."

Vanessa also began playing guitar and bass, teaching herself both instruments. After high school, she moved to New York to attend the Fashion Institute of Technology for Cosmetics & Fragrance Development and Marketing. Within a short time, Vanessa was showcasing her original material at various downtown venues and occasionally co–writing songs with different collaborators, including Estonian pop singer Kerli. Vanessa and Kerli co–wrote "Creepshow" for the latter's 2008 album Love Is Dead. Meanwhile, Kerli was writing separately with Matthewman – and it was she who suggested that Vanessa would vibe with this talented Englishman...

Stuart Matthewman, born in Hull, England, co–founded the group Sade with Sade Adu, Paul S. Denman, and Andrew Hale. Stuart and Sade co–wrote many of the best–loved songs on the band's multi–platinum albums including "No Ordinary Love," "By Your Side," and "Your Love is King." In 1996, Matthewman, Denman, and Hale formed Sweetback, a predominantly instrumental band whose albums Sweetback (1996) and Stage 2 (2004) featured guest vocals by Maxwell and Amel Larrieux among others.  Subsequent projects for Matthewman included working with Maxwell on three of the superstar's albums, remixes under the name Cottonbelly, and compositions for film and television.  The latter included "The Astronaut Farmer" starring Billy Bob Thornton and the Emmy–nominated "Life Support" starring Queen Latifah.

Stuart plays guitar and keyboards, but his unmistakable tenor saxophone tone predominates in Twin Danger. "Vanessa and I share an odd, eclectic taste in music, from Black Sabbath to Chet Baker to film soundtracks," says Stuart. "We weren't thinking it all out or going for a particular sound – Twin Danger just happened the way it did. If we'd really thought about it, we'd have never made a jazz record!"

At first, Stuart started playing guitar on Vanessa's gigs in the Lower East Side, but soon they began to develop a deeper creative collaboration. Stuart recalls: "I was messing around on guitar with these strange chords that I didn't really think could add up to anything. I mentioned it to Vanessa and she said, oh, send it over. "About an hour later she came back with this beautiful song, ‘Just Because.' The demo is pretty much what you hear now on the album...and we went on from there."

In 2013, following a packed Twin Danger set at Otto's Shrunken Head in the East Village, an enthusiastic Japanese promoter approached Stuart and Vanessa. The next thing they knew, Twin Danger was en route to Tokyo where the band performed a run of ecstatically received shows at the prestigious venue Billboard Live. In September 2014, Twin Danger joined forces with Josh Fox, director of the Oscar–nominated documentary Gasland, for "The Solutions Grassroots Tour." Coinciding with the massive People's Climate March, this multi–media production was designed both to motivate communities to adopt renewable energy solutions and to raise the campaign banner for pro–renewable energy legislation. The show, which included guest host appearances by actors Mark Ruffalo and Debra Winger, ran for five sold–out nights at Brooklyn's Irondale Theater.

As for the origin of the name Twin Danger, Vanessa Bley explains: "It refers to the alter ego, the part of you that can be wild or irrational or even destructive – but it's still a part of you and not accepting that is what makes it dangerous." "We're making music to get lost in. It's warm and beautiful but there are dark undercurrents revealing fundamental issues of the self. That's what makes it Twin Danger."

The band performs live with a crew of friends: Robert Granata (guitar), Anthony Marchesi (keys/vocal harmony), Omar Little (trumpet), Julian Smith (bass), and Nick Anderson (drums). 

BOB McCHESNEY - CHEZ SEZ features originals and reimagined standards

This exciting 72 minute roller coaster ride features the technical and musical wizardry of Bob McChesney on the slide trombone. Joined by the amazing pianist/organist Larry Goldings, world-renowned bassist Darek Oles, award-winning drummer Bill Stewart, and Yellow Jackets' saxophonist Bob Mintzer, the group tears up originals from Bob and Larry along with some re-imagined standards.

Bob McChesney was born in Baltimore, Maryland, and began playing the trombone in the fourth grade as part of his public school music program. Primarily self-taught, he has evolved into a world-renowned trombone soloist and an authority on trombone pedagogy.

Bob McChesney's trademark as a trombonist is the beauty of his sound, a lightening-fast technique, and his emotional connection to the music. With complete mastery of the instrument and extensive knowledge of jazz harmony, McChesney has distinguished himself as one of the pre-eminent soloists in the world, not only in the realm of jazz and improvisation, but as an interpreter of the most difficult and highly technical Classical repertoire, as well.

At a young age, Bob discovered a unique way of articulating on the slide trombone called "doodle tonguing". He has since authored what is considered to be the definitive treatise on the subject, called, "Doodle Studies and Etudes". The method book has been critically acclaimed and endorsed by trombonists and music educators all over the world. A pre-eminent jazz educator and clinician, Bob has been a welcomed guest artist all over the US and Canada. Bob has been featured twice with his Quartet at the International Association of Jazz Educators convention, and The International Trombone Festival, where he has spoken and performed for audiences as large as 5000 in attendance of his demonstrations, workshops and performances.

A resident of Los Angeles, Bob is a fixture in the recording studios, where he has enjoyed a long career with studio orchestras scoring hundreds of films and television shows. He can also be heard on CDs for Barbra Streisand, Shakira, Michael Buble', Natalie Cole, Rod Stewart, Chicago, Michael Bolton, and the following Grammy-winning CDs: "Ray Charles: Genius Loves Company", Diana Krall's "When I Look in Your Eyes", and most recently, Arturo Sandoval's "Dear Diz", where he was a featured soloist. Legendary composer and conductor Lalo Schifrin exclaimed, "Bob McChesney is a virtuoso and has the gift to bring us the joy of music at the highest level."

In addition to his careers as performer and educator, Bob has arranged and produced several highly acclaimed CDs, including the 2014 Grammy Nominated single, "Let's Fall in Love", featuring TV's Seth MacFarlane and singer Calabria Foti. This year, Bob will release two CDs, one with his Trio called "Chez Sez", and a compilation CD "The Best of Bob McChesney – Volume 1". 

NEW RELEASES: SOLITARE MILES - SUSIE BLUE AND THE LONESOME FELLAS; TIMO LASSEY - LOVE BULLET; BEATS & PIECES BIG BAND - ALL IN

SOLITARE MILES - SUSIE BLUE AND THE LONESOME FELLAS

Vocalist Solitaire Miles has always loved singing swing tunes. Her grandmother, a singer with a big band in the late 1930s, exposed her to the music as a child. Susie Blue and the Lonesome Fellas may be regarded as a surprise by some of Solitaire Miles’ swing fans, but it is a logical step in her evolution.      For her first Western Swing recording, Solitaire used most of the musicians from her regular swing band. “They all did a great job of adapting to this music. Neal Alger, who wrote most of the arrangements, is one of my favorite guitarists in Chicago.  He is a dynamic musician who can play many different styles, working with Patricia Barber during the past 20 years, as has our fine bassist Larry Kohut.  And drummer Phil Gratteau is also a great accompanist for singers.” Three other musicians are new members to Solitaire’s recording group,  pianist Tom Hope adds a perfect 1950s Country feel to the music, sometimes recalling Floyd Cramer.  Slide guitarist TC Furlong, who in 1983 had a major Nashville hit in “The Curly Shuffle” with his Western Swing group “Jump ‘N The Saddle Band,”  blended in  well with the Jazz musicians.  Also, the versatile fiddler Stuart Rosenberg who is known for performing Folk, Argentinian music, Klezmer and Swing, adds an authentic flavor to the group. As for Solitaire Miles, her voice perfectly fits the light-hearted and fun Western Swing songs. “20 years ago Von Freeman suggested that I try singing Country music, now it makes perfect sense.  I have always been a huge fan of Kay Starr who sang not only Jazz during her career but also Western Swing, Country and Pop.”   Throughout this project Solitaire and her musicians are not content to merely recreate the past but are creative within the style, adding to the music's legacy.  While Solitaire can name a long list of influences like Kay Starr or Mary Ford, she does not sound exactly like any of the singers who preceded her, nor do her sidemen sacrifice their own individuality while doing justice to the material.  Instead, they all fully understand the music and are able to add their own voices to the songs while being themselves. ~ Scott Yanow

TIMO LASSEY - LOVE BULLET

Up north in Finland, in the land of the hottest Saunas, longest winters and saddest tangos, you can also find one of the coolest and most distinguished saxophonist and composers on the jazz-scene today. Timo Lassy, acclaimed as a "rising star" in US jazz bible Downbeat, hits us with 'Love Bullet', his fifth album and his most accomplished studio work to date. "The entire album is definitely more personal than all my previous work", he says of this sophisticated collection of ten instrumental originals. "It tells a story of the past few colourful years in my life." Having worked with an international all-star cast ranging from the Italian style-master Nicola Conte to US jazz vocalist José James and extending his talents into the art of film-music by composing for the soundtrack of the movie 'Moomins on the Riviera', Lassy created this mysteriously soulful music with his working band in mind, an ensemble that was dubbed "one of Europe's sharpest bands" by the Sunday Times. Their sonic base is in the 1950s/60s hard bop, Soul Jazz and Latin Jazz tradition, but the masterful execution and the progressive vision of all of the players puts the music firmly in the 21st century. Like the films of fellow Finn Aki Kaurismäki, it exudes an energy and a feeling at once markedly timeless, traditional and tirelessly forward-looking. "Quality swinging jazz with a difference!", as Gilles Peterson calls it. ~ Amazon

BEATS & PIECES BIG BAND - ALL IN

Led by composer and conductor Ben Cottrell, Beats & Pieces Big Band follow up their critically acclaimed 2012 debut album 'Big Ideas' with the eagerly awaited 'All In'. The music is an expression of the band's members and their varied musical backgrounds and activities, all brought together in Cottrell's inspired writing. They see themselves as a band that happens to be big, rather than your average 'big band'. His compositions reflect the diversity of music that people of their generation have grown up surrounded by, and as such are influenced as much by Michael Jackson, Björk or Radiohead as they are Duke Ellington, Gil Evans or Loose Tubes. Beats & Pieces have performed in Ireland, Germany, France and Norway; received airplay on BBC Radio 2, Radio 3 and 6 Music; and received awards for Best UK Newcomer at the 2013 Jazz FM Awards and Ensemble of the Year at the 2014 Parliamentary Jazz Awards. Now 'All In' is set to take their music to an even wider audience. 'All In' was recorded over four days in January 2014 at Peter Gabriel's Real World Studios in Wiltshire. It was tracked almost entirely live with few overdubs and with the whole band in the same large room, ensuring everyone was in visual contact with everybody else at all times to create as much of an on-stage feel as possible within the studio environment. The resulting visceral energy brings the recording vividly to life. All but one of 'All In's seven tracks were composed and arranged by Ben Cottrell, the exception being a version of David Bowie's Let's Dance, reapproached and rearranged by Ben in his unique voice. He finds hidden subtleties and possibilities in Bowie's classic pop hit. 'All In' is set to be one of the year's standout albums. ~ Amazon

NEW RELEASES: THE REMPIS PERCUSSION QUARTET – CASH AND CARRY; ELLERY ESKELIN – SOLO LIVE AT SNUGS; FRANK VIGNOLA / VINNY RANIOLO - SWING ZING

THE REMPIS PERCUSSION QUARTET – CASH AND CARRY

Double drums give this set a heck of a lot of energy – work on the kit from Frank Rosaly and Tim Daisey – in a quartet that also features Ingebrigt Haker Flaten on bass and Dave Rempis on alto, tenor, and baritone sax! The drums get things cascading right from the start – and Flaten, as always, amazes us with his deftness on the bass – an ability to follow just about any line, while still holding his own – and keep things musical at moments when most other players might miss. Rempis sears mightily on the 40 minute track "Water Foul Run Amok" – and all players take a slightly more introspective approach on "Better Than Butter". ~ Dusty Groove

ELLERY ESKELIN – SOLO LIVE AT SNUGS

Beautifully mature solo tenor from Ellery Eskelin – performed live, and with a depth that has us reevaluating Eskelin's work all over again! The tracks are long, and never overblown – often full of these long tonal phrases that shift gently, and always retain a certain amount of tunefulness – even though the overall approach is far less melodic than such a description might make you expect. Ellery works lots of careful moments through both his phrasing on the reed, and his handling of the pads on the tenor – and titles include "Unwritten Rule", "Turning A Phrase", "State Of Mind", and "Weave/Warp & Woof". ~ Dusty Groove

FRANK VIGNOLA / VINNY RANIOLO - SWING ZING

With nearly 1,000 engagements in the five years they’ve been performing as a duo, Frank Vignola and Vinny Raniolo have become one of the most popular and sought after duos in the music scene. On this new release they play through 13 classic Swing Era songs.  Both have an extensive resume with regards to playing guitar for many of the worlds top acts including, Wynton Marsalis, Bucky Pizzarelli, Madonna, Donald Fagen, and Wynton Marsalis.  The tracks listing includes Cheek to Cheek, September Song, Cry Me A River, Joseph Joseph, I’m Getting Sentimental Over You, All The Things You Are, Do You Know What It Means To Miss New Orleans, Whispering, Sleepy Time Gal, Stardust, Tico Tico/Djangomania, Peg O My Heart/I’m Confessin’ Medley, and 201 Poplar/The Best Things In Life Are Free. Special guests include Julian Lange, Bucky Pizzarelli, Olli Soikkeli and Audra Mariel.

NEW RELEASES: MARC MOULIN – PLACEBO YEARS 1971–1974; GREGORY ISAACS – NIGHT NURSE: THE BEST OF GREGORY ISAACS; OPOLOPO - SUPERCONDUCTOR

MARC MOULIN – PLACEBO YEARS 1971–1974

Some of the heaviest keyboard funk recorded in Europe during the early 70s – all the work of the jazz/rock combo Placebo, headed up by the legendary Marc Moulin! The tracks here are awash in Fender Rhodes and other keys – all supported by tight basslines, funky drums, and a fair bit of jazzy riffing on sax, trumpet, and flute. But the main groove always focuses around the keyboards – recorded with a spare, almost earthy quality that's a fair bit greater than some of the slicker keys that crept into the European scene a few years later. Moulin's really at the top of his game here – working in a groove that could easily rival Herbie Hancock or Bob James in the US – and unlike his Sam Suffy set, of similar vintage, this collection's all straight ahead jazz funk, with hardly a bit of experimentation! Tracks are from the albums Ball Of Eyes, 1973, and Placebo – and the set list here differs from the earlier Counterpoint collection with a similar name. 9 tracks in all – including "NW", "Balek", "SUS", "Aria", "Stomp", "Red Net", "Showbizz Suite", "Polk", and "Humpty Dumpty". (Limited numbered edition.)  ~ Dusty Groove

GREGORY ISAACS – NIGHT NURSE: THE BEST OF GREGORY ISAACS

Seminal sounds from the cool ruler – one of the best collections of material we've ever seen from the legendary Gregory Issacs – easily one of the most soulful voices in Jamaican music during the 70s and 80s! The package features loads of excellent early cuts, plus a few key later hits – and even a number of rare 12" single versions too – all wrapped up with a nice batch of notes on the music, and a very large track selection too. Titles include "Too Late", "Lonely Soldiers", "Black A Kill Black", "Extra Classic", "Let's Dance", "Slave Master", "Motherless Child (12" mix)", "Ba Da", "Mr Cop", "Never Be Ungrateful (12" mix)", "Mr Know It All", "Soon Forward (12" mix)", "Tune In", "Poor & Clean", "Tenement Yard (12" mix)", "Private Secretary", "Front Door", "Next To You (12" mix)", "Wailing Rudie", and "Sunday Morning". ~ Dusty Groove

OPOLOPO - SUPER CONDUCTOR

Seminal sounds from the cool ruler – one of the best collections of material we've ever seen from the legendary Gregory Issacs – easily one of the most soulful voices in Jamaican music during the 70s and 80s! The package features loads of excellent early cuts, plus a few key later hits – and even a number of rare 12" single versions too – all wrapped up with a nice batch of notes on the music, and a very large track selection too. Titles include "Too Late", "Lonely Soldiers", "Black A Kill Black", "Extra Classic", "Let's Dance", "Slave Master", "Motherless Child (12" mix)", "Ba Da", "Mr Cop", "Never Be Ungrateful (12" mix)", "Mr Know It All", "Soon Forward (12" mix)", "Tune In", "Poor & Clean", "Tenement Yard (12" mix)", "Private Secretary", "Front Door", "Next To You (12" mix)", "Wailing Rudie", and "Sunday Morning".  ~ Dusty Groove

NEW RELEASES: CHICAGO REED QUARTET – WESTERN AUTOMATIC; BRIAN CHARETTE – ALPHABET CITY; MIGUEL ATWOOD-FERGUSON – LIBRARY SELECTION

CHICAGO REED QUARTET – WESTERN AUTOMATIC

A very different group than the sort of saxophone quartet you might remember from the 80s – one that's filled with fire, and really shows the evolution of the reed ensemble over the past few decades! All players here are very skilled improvisers on their own – Dave Rempis, Ken Vandermark, Mars Williams, and Nick Mazzarella – and they come together at a level that still holds onto some of the restructured approach of the sax quartet, but which also feels free to open up, too – so that some passages have this very improvised vibe, yet never in a way that has the players getting in each others' way or getting too far off course – always with this amazing sense of cohesion that shows how great all the musicians can work together. Instrumentation includes alto, tenor, soprano, sopranino, and baritone saxes – plus clarinet and bass clarinet as well. Titles include "Detroit Fields", "The Rush", "Broken Record Fugue", "Burn Unit", and "Remnant".  ~ Dusty Groove

BRIAN CHARETTE – ALPHABET CITY

Sweet sweet Hammond from the great Brian Charette – a player who's easily becoming one of our favorite organists in contemporary jazz! Brian's got this way of spinning out a long line with effortless ease – a soaring approach to his instrument that takes us back to a space between Larry Young and Don Patterson in the 60s – set up in a very lean trio setting that just features Will Bernard on guitar and Rudy Royston on drums! Bernard's a great player in the setting too – really able to leap, soar, and carve out the right sort of sounds alongside the organ – this balance of groove and melody that's really illuminates the record, while Royston drives the whole thing along with his deft drums. Titles include "Sharpie Moustache", "East Village", "Detours", "Avenue A", "White Lies", "The Vague Reply", and "Hungarian Major".  ~ Dusty Groove

MIGUEL ATWOOD-FERGUSON – LIBRARY SELECTION

A beautiful record from Miguel Atwood Ferguson – an artist we first came to love for his work with the Carlos Nino spiritual jazz scene on the west coast – really stretching out on his own as a leader! Miguel plays viola, violin, and cello on the record – plus some piano as well – and he works here in this warm, spacious style that's almost like 70s ECM, but a lot warmer and spiritual too – that kind of energy that we know from his projects with Nino, but delivered here in a more personal mode. Ferguson's strings and piano are mixed with bits of Fender Rhodes, percussion, bass, guitar, and even some "nature and space sounds" contributed by Nino – and overall, the record has this laidback, organic quality that's very cosmic and powerful. Titles include "Magnolia", "Great Galactic", "Always", "Kazaru", "Did You Know", and "Computer Face/Pure Being".  ~ Dusty Groove

NEW RELEASES: REWIND 6 - ORIGINAL CLASSICS RE-WORKED, REMIXED, RE-EDITED & REWOUND; THE BLUEBEATERS - EVERYBODY KNOWS THIS IS NOWHERE; WERKHA - COLORS OF A RED BRICK RAFT

REWIND 6 - ORIGINAL CLASSICS RE-WORKED, REMIXED, RE-EDITED & REWOUND (VARIOUS ARTISTS) 

It's been almost a decade since the previous volume in the legendary Rewind series – but given the quality of the music, it's definitely been worth the wait! This edition may well be the coolest so far – as it really offers up some fresh versions of old school classics from the 60s and 70s – funky remakes of songs by Lyn Collins, Black Sabbath, Fleetwood Mac, The Beatles, James Brown, Turtles, and others – and even some more modern songs from Outkast and Skrillex too. Almost all numbers approach the music in a heavy funk style – sometimes with vocals, sometimes just instrumental – and titles include "Give It Up Or Turn It Loose" by Black Randy, "Party People" by The Echocentrics, "Bang Bang" by The Monophonics, "Rock Your Body" by Shawn Lee, "Date With The Rain" by Frankie Gee, "Planet Caravan" by Brown Sabbath, "Happy Together" by James Combs, "Scary Monsters & Nice Sprites" by Jed & Lucia, "Spill The Wine" by Johnny Frigo, "Apache" by Shawn Lee's Incredible Tabla Band, and "Dreams" by Electric Peanut Butter Company. (Includes download!) ~ Dusty Groove.

THE BLUEBEATERS - EVERYBODY KNOWS THIS IS NOWHERE

"Everybody Knows ... This Is Nowhere" is the second single from the The Bluebeaters new self-titled album on Record Kicks. The track is a Rock Steady scorcher coverup version of Neil Young's classic tune from 1969. Fresh and explosive as only The Bluebeaters can do. Active since 1994 with 4 studio albums for V2 and Universal Music and 2 gold records under the belt, The Bluebeaters landed on Record Kicks with the new heavily acclaimed album "Everybody Knows" in April. The BB are top musicians in love with vintage Jamaican sounds: Ska, Rock Steady, Rhythm & Blues and Soul. Blessed by Ken Booth, during the last 20 years of their career they've headline festivals like Rototom Sun Splash and International Ska Fest in London. Amongst their fans, David Rodigan, Gaz Mayall and the legendary late lamented Lloyd Knibb (The Skatalites).

WERKHA - COLORS OF A RED BRICK RAFT

The first full length set we've heard from Werkha – a talent who's been showing up on some of the Tru Thoughts remixes and compilations of late – definitely strong enough to serve up this full batch of tracks! The credits list the music as "written amongst the quiet pennine places and vibrant city bricks" – and that evocative summation seems to fit pretty well – as there's a poetic recasting of grittier elements in the music – beats that have these crispy, organic qualities, mixed with acoustic lines on guitar that can evoke a dreamy sort of poetry, even when the tracks don't have vocals – often produced with a slight sense of abstraction that can have the music bubbling out of the speakers in really beautiful ways. A few tracks feature lyrics from Alex Rita or Bryony Jarman-Pinto, but most are instrumental – and titles include "City Shuffle", "Houses Of Saffron", "Highwaves", "Border Kite", "A Revolution Blue", "Sidesteppin", and "Flich/Quiver". ~ Dusty Groove

 

COMPOSER MARIA SCHNEIDER TO RELEASE FIRST RECORDING WITH HER ACCLAIMED JAZZ ORCHESTRA IN EIGHT YEARS - THE THOMPSON FIELDS

With The Thompson Fields, composer, arranger and bandleader Maria Schneider celebrates a long-awaited reunion with her vaunted jazz orchestra, a homecoming nearly a decade in the making.  Featuring eight new original works by the leader, The Thompson Fields makes brilliant use of Schneider's 18-piece jazz orchestra, a long-standing ensemble that spotlights such first rank players as Donny McCaslin, Rich Perry, Frank Kimbrough and Lage Lund.  The performances reveal an ever-deepening relationship between Schneider and her musicians, many of whom she has worked with over a quarter of a century.  The album follows a momentous year that found Schneider's recent album Winter Morning Walks garnering three wins in the classical category of the 2014 GRAMMY Awards, making her one of the rare musicians to win GRAMMYs in both the jazz and classical categories. The CD is powered by ArtistShare and available exclusively at MariaSchneider.com.

Schneider has long been known for her autobiographical music, and with The Thompson Fields, she goes further, sharing a deep relationship to southwest Minnesota, her childhood home.  Although the music reflects her love of native landscape, birds, and prairie, Schneider delves not just into her own roots, but also into what "home" means in broader terms.

The album opens with "Walking by Flashlight," a poignant expression of an early morning walk as depicted by poet, Ted Kooser in Winter Morning Walks.  "I think this may be the only time that alto clarinet was ever featured on a big band album," Schneider claims.  "Alto clarinet has long been relegated to use almost exclusively in wind ensembles, but Scott Robinson elevates this instrument to a place of very tender expression.  I can actually hear Kooser's poetry in Scott's expression of the melody."  Now reorchestrated as an instrumental work, this song was also featured in Scheider's GRAMMY-winning song cycle, Winter Morning Walks.

Schneider's most recent work,"The Monarch and the Milkweed," features Marshall Gilkes on trombone and Greg Gisbert on fluegelhorn.  Inspired by the beauty and abounding life found in Minnesota native prairie, this piece is specifically dedicated to the monarch.  "This butterfly is one example of a creature we love and are inspired by, but that depends upon certain dwindling aspects in the environment - in this case, the milkweed - without which the monarch will go extinct.  Four generations of monarchs and over 3,000 miles of flight from Mexico complete its life cycle, with milkweed as the only plant it can eat.  The piece is inspired by these incomprehensible, complex cycles and interrelationships in nature, reflecting on how they largely depend upon attraction and beauty, and ultimately now how they depend on our appreciation and valuation of beauty," Schneider explains.

The title, "Arbiters of Evolution," refers to the remarkable mating rituals  and performances of the birds-of-paradise species native to New Guinea.  Schneider sets up each solo section for McCaslin and Robinson to conjure up their own highly evolved and spectacular performances.  This work was inspired by Maria's love of birds and the environment and her involvement with the Cornell Lab of Ornithology.

The title piece, "The Thompson Fields," was inspired by a beautiful multi-generation farm near Schneider's home in Windom, Minnesota.  Pianist Frank Kimbrough improvises bitonally in a unique harmonic environment that creates an evocative depiction of the view from the Thompson silo overlooking bean fields billowing in the wind.  "From the vantage point of the silo, I felt the wind carrying all the intersecting stories of my youth, along with the stories of a whole community," Schneider says.  "I felt a convergence of past and present generations and tried to put that magic into this music."

"Home" also speaks vividly of the open landscape that is home for Schneider.  She dedicated the piece - first premiered at The Newport Jazz Festival - to George Wein, one of the most influential forces in the discovery and development of jazz musicians.  "Even though this music is highly personal to me, the concept of home is universal.  Wherever we are first rooted, or whatever place gives us our sense of 'home,' not only nourishes our life, but nourishes those with whom we share it.  George's home, the Newport Jazz Festival, has been a home for jazz for musicians and audiences for decades.  Jazz has been well nurtured within George's loving home, and he most certainly helped to nourish my development, and the development of countless others."  This work features the universally admired voice of Rich Perry on tenor sax.

"Nimbus" evokes the drama of the Midwestern sky and weather.  Schneider elaborates, "One can see the Midwest prairie landscape as unspectacular, but we certainly dole out high drama when it comes to weather.  For instance, seeing a ominous roll cloud looming on the horizon simultaneously instills one with awe and an instinctual fear.  Given this imagery, it is fitting that saxophonist Steve Wilson be featured on this piece because he can play with such intensity, bringing a captivating power and presence to his solos through his rock solid sense of groove, his surging sound, and his unexpected but thoroughly satisfying lines."

"A Potter's Song" is dedicated to Laurie Frink, who has played with Schneider's band on every recording. Frink's death in 2013 was a great loss to the music community.  A fellow Midwesterner, Frink was not only highly regarded as a trumpet player, having played with Gerry Mulligan, Benny Goodman, Mel Lewis and many others, she was also among the world's most in demand trumpet and brass teachers.  But the title of this work came from Maria's additional admiration for Laurie's skillful ceramic work.  Gary Versace's accordion, which has been a mainstay in Maria's orchestra since she first wrote for him on Concert In the Garden, creates beautiful and lyrical lines over Schneider's winding, ever-evolving harmonies, and highlights the influence of Brazilian music on Schneider's compositions.

"Lembrança" is a dedication to the universally loved Brazilian musician, Paulo Moura, who gave Schneider the once-in-a-lifetime experience of hearing his old samba school rehearse in the Rio de Janeiro neighborhood of his youth.  The work includes layers of powerful Brazilian percussion played by Rogerio Boccato alongside drummer Clarence Penn. Featuring an exuberant trombone solo by Ryan Keberle, as well as a lyrical and tender bass solo by Jay Anderson, the piece conjures up the experience of standing in a dark street in the crevasses of Rio, hearing the power of a samba school rehearsing in the night.

"Watching Paulo proudly standing there, looking thoroughly at home and grounded in that powerful experience on a very ordinary street in Rio, was something I fully understood," Schneider says.  "I feel the same way when I climb atop a silo in Windom and view the landscape that is home to me.  I can't help but feel tremendous emotion and gratitude, looking back in time, remembering all the forces that shaped my life and so many lives that I know."

Schneider's deeply personal statement carries into the visual realm with this beautiful package.   The stunning photographs by Briene Lermitte were all taken on and near the Thompson farm this past August.   Uniting with Cheri Dorr's elegant design, the album's graphic elements allow Schneider to share another level of personal connection with those who listen to her music.

Schneider continues to involve her fans in her music on an even broader level.  Four of these eight works were commissioned directly by individuals through ArtistShare.  Schneider has used the new means of production since her first ArtistShare album release in 2003.  "The relationship I have with these people is deeply meaningful to me," Schneider states. " They make it possible for me to create and record music, and I've come to know many of them quite well.  I cannot overstate how deeply important they are to my life.  I could no longer do this without them."

  

Over a decade ago, the ground-breaking company ArtistShare broke the mold when it demonstrated, through Schneider's successful example, how music could be funded and released.  ArtistShare crowd-funded before "crowd-funding" was a word, and Schneider's first ArtistShare album, Concert In the Garden, not only won the first GRAMMY with Internet-only sales, but heralded the crowd-funding era..  Over the following thirteen years, Schneider has developed a growing concern for intellectually property rights.  This brought her to engage with lawmakers, the Library of Congress, and others to protect the rights of music creators.  These efforts have included testifying before the Congressional subcommittee on intellectual property in April of 2014, and speaking out against Spotify and streaming on CNN.  Schneider is often quoted in national articles on music creators' rights and the perils of current streaming services.

www.mariaschneider.com

Pianist LASZLO GARDONY releases LIFE IN REAL TIME / Expands His Celebrated Trio With A Powerhouse Saxophone Triumvirate of Stan Strickland, Billy Pierce and Don Braden

Over the past quarter century pianist and composer Laszlo Gardony has gained widespread acclaim for a series of inspired albums documenting his trio and his riveting solo recitals. In a welcome addition to his treasure-laden discography, he delivers his first sextet session, Life In Real Time, a thrilling live album recorded at the Berklee Performance Center at Boston's Berklee College of Music (where most of the ensemble is on faculty). The album is slated for release on July 7, 2015 on Sunnyside Records.

Rather than an all-star blowing session, Life In Real Time introduces an ensemble that breathes, phrases and reacts as one, reveling in the knifepoint balance between structure and freedom afforded by Gardony's arrangements and bandleading sensibility. Indeed, part of what makes the album so much more than the sum of its considerable parts is the rhythm section's extraordinary rapport. Gardony's long-running trio with bass master John Lockwood and drum maestro Yoron Israel has forged a soul-deep bandstand communion over the past 13 years, an almost telepathic bond captured on three critically acclaimed Sunnyside albums. The trio is directly responsible for the loose and limber feel of Life In Real Time, where three immediately recognizable saxophone stars "can feel free to be themselves in the music," Gardony says.

And what horn players! Most conspicuously, the album marks the reemergence of the great Billy Pierce, a player who established himself as a commanding improviser during his years with drum legends Tony Williams and Art Blakey (who called Pierce "my best tenor player since Wayne Shorter.") He sounds more formidable than ever with his thick, muscular sound and driving rhythmic attack.

While Stan Strickland is best known as a startlingly inventive post-bop tenor saxophonist, he's a polymathic creative force who also works as a singer, actor and art therapist. Gardony's longtime friend and Berklee colleague, Strickland contributed memorably to the pianist's 2011 Sunnyside album Signature Time with Lockwood and Israel. It was Israel who suggested adding Don Braden to the mix. The album's only Berklee ringer (he's the director of the Harvard Monday Night Jazz Band), Braden was in Wynton Marsalis' band, has performed with Freddie Hubbard and Tony Williams, and is featured on some 20 albums as a leader.

 "I hand-picked the musicians for this band," Gardony explains. "Don was a great addition to the band, and it clicked so beautifully from the first. All of the bandmembers have had long careers and we're committed to playing together as a beautiful and meaningful experience."

Focusing on Gardony's emotionally charged original compositions, the album opens with his rollicking "Bourbon Street Boogie," which evokes the raucous, celebratory energy of New Orleans. Pierce takes the first solo, a rhythmic tour de force that makes a compelling case for him as one of jazz's most under-documented masters. Israel introduces the relentlessly driving "Breakout" with a beautifully calibrated solo passage. The piece builds momentum through a series of tag-team solos until its ecstatically cathartic climax.

Gardony puts on his arranger's hat for a joyously funky version George Shearing's standard "Lullaby of Birdland." Braden takes a stutter-stepping solo that turns the melody inside out, and then Gardony gives a masterclass in groove, maintaining a rumbling ostinato throughout his solo with an undulating left-hand line doubled by Lockwood's bass. Another highlight is the haunting version of the spiritual "Motherless Child," a song he's explored often as a member of violinist Matt Glaser's celebrated jazz-meets-bluegrass band The Wayfaring Strangers. "After playing it with Matt many times I started to hear something, a reharmonization that's partially inspired by the way that Richie Havens sang it at Woodstock," Gardony says. "I thought it would be perfect for Stan's bass clarinet. You can tell what song it is, but I wrote this long form and the melody crystallizes at the end."

Strickland's bass clarinet is featured again on Gardony's West African-derived ballad "New Song," a tune introduced as a trio piece on the album Dig Deep. With its meditative, cyclical feel, the ravishing melody calls out for lyrics. The album closes with "Out On Top," another piece from Dig Deep that gains momentum as it hurtles toward a deliriously celebratory all-horns-on-deck conclusion. This was one set that clearly left the audience wanting more (in fact, there's a bonus track from the concert available on iTunes).

Born in Hungary, Laszlo Gardony displayed an early aptitude for the piano. By five he had started improvising, devising little tunes inspired by the blues, pop and classical music he heard around the house. Immersed in the European classical tradition while growing up, he was drawn to progressive rock as a teenager, and spent countless hours improvising blues-based music at the piano. He investigated gospel and studied jazz, a passion that soon overshadowed his classical pursuits. "We had jazz and African music classes at the Conservatory," Gardony recalls. "There were some very knowledgeable people and a lot of records. When it came to jazz it was a tiny community, but very inspiring."  

After graduating from the Bela Bartok Conservatory and the Science University of Budapest, he became one of Europe's most sought after accompanists and released his first albums as a leader. Possessing a powerful sense of swing, a strong feel for the blues and a firm command of post-bop vocabulary, he gained invaluable insight by sharing festival stages with Art Blakey's Jazz Messengers and Abdullah Ibrahim, among others.

A full scholarship to Berklee brought him to America in 1983, and a faculty position at the school upon graduation kept him stateside. He made his US recording debut with the acclaimed 1988 album The Secret (Antilles) featuring Czech bass great Miroslav Vitous and drummer Ian Froman, but it was his 1st place win the following year at the Great American Jazz Piano Competition that catapulted him into the national spotlight. He seized the moment with 1989's brilliant release The Legend of Tsumi (Antilles), a trio session with bassist Dave Holland and drummer Bob Moses. "Being with Dave and Miroslav was such an education," Gardony says. "If you really immerse yourself in those moments, it can change you, whether it's one concert or a week-long gig." 

In many circles Gardony is best known as a master of the trio format. He introduced his present band with Israel and Lockwood on the 2003 Sunnyside album Ever Before Ever After, and it's gained recognition as one of the finest working bands in jazz. But he's equally impressive alone at the piano, the format he first explored on 1993's acclaimed Changed Standards and returned to again on his last album, 2013's Clarity (both on Sunnyside). After the probing introspection of a solo recital it seems fitting that Gardony returns with a bandstand bash that captures some of jazz's most eloquent raconteurs inspiring each other to ever more vivid tales. In short, Life In Real Time is jazz that's the real deal.

Jeff Denson Trio + Lee Konitz / Also Features Pianist Dan Zemelman, Drummer Jon Arki

Jeff Denson Trio + Lee Konitz Bassist/composer Jeff Denson has enjoyed a richly rewarding musical and personal relationship with alto saxophone legend Lee Konitz since 2007, when Denson joined Konitz's well-traveled New Quartet. The latest chapter in their association involves the recording, at Berkeley's Fantasy Studios in February of this year, of Jeff Denson Trio + Lee Konitz, with pianist Dan Zemelman and drummer Jon Arkin. Scheduled for release by Denson's Ridgeway Records on July 7, the CD explores new music, offers fresh takes on seldom-played compositions of the Lennie Tristano School, and features scat singing by Konitz and Denson.

Jeff Denson Trio + Lee Konitz is the first in a planned series of Ridgeway recordings to team Denson's trio plus a notable guest artist. Marking nearly the 60th anniversary of Konitz's first appearance on record with his mentor, Lennie Tristano, the album goes places where no other Tristano (or Konitz) tribute has ever gone via some rarely recorded songs, including Warne Marsh's "Background Music" and Tristano's "Baby" and "East Thirty-Second." It also reveals Konitz's delightful scat singing, something that has never been documented on record to this extent.

Jeff first met Lee in 2003, but they didn't team up musically until a few years later, in Germany, when the saxophonist invited Denson's trio Minsarah (with Florian Weber and Ziv Ravitz) to his apartment in Cologne to rehearse. To their surprise, he did not ask them to play their instruments.

  

"Instead he said, let's sing, let's improvise some stuff," Denson recalls. "I guess he had heard us play enough. That was the start of a great adventure. The stuff we do is very different than any music in his canon. Lee is a true improviser. He doesn't play licks. He really responds."

The Lee Konitz New Quartet with Denson, Weber, and Ravitz went on to tour internationally and produce three albums: Deep Lee (2008), Live at the Village Vanguard (2009), and Standards Live at the Village Vanguard (2014). Of the 87-year-old Konitz, Denson remarks that "he's old enough to be my grandfather, but he is still improvising on a master level. He's not stuck in any way musically." 

Jeff Denson, 38, was born and raised in the Washington, DC area. He attended Berklee (where Minsarah was formed), earned his Master's in jazz studies at Florida State University, and relocated to Southern California to pursue his doctorate (at UC San Diego) in contemporary music performance with an emphasis in composition. Based since 2011 in the East Bay, he is a full professor at the California Jazz Conservatory (formerly the Jazzschool Institute) and has forged ties with some of the Bay Area's top players, including bassoonist Paul Hanson, guitarist Mimi Fox, and drummer Alan Hall.

A prolific composer and arranger, Denson has written music for an array of jazz settings, from big band to trio, as well as for string ensembles, solo bass, and a chamber opera. He's begun work on a chamber opera, plans to try his hand at film scoring, and is preparing a series of educational books for his Ridgeway Publishing imprint (part of his recently established nonprofit, Ridgeway Arts).

  

In addition to Denson's ongoing Trio +1 projects, the bassist is in the midst of organizing several other recordings. One will feature his Secret World group, which he's expanding to a quintet with Paul Hanson. He's in the process of completing an album with Electreo, with Hanson, drummer Alan Hall, and Denson on electric bass. And he's collaborating with Mimi Fox and violinist Mads Tolling in a trio whose arrangements of the music from Sgt. Pepper's Lonely Hearts Club Band will be released in time for that seminal album's 50th anniversary in 2017. 

To say that Jeff Denson is currently in a spectacularly expansive period is an understatement; he is positively thriving on all possible fronts. "I'm in an extremely stimulating and productive time right now and I'm working as hard as I can to express all of my ideas," he says. "I find that with my teaching and all of the various projects I have, I'm able to get a complete picture of what I'm doing -- each one inspires the other." 

The Jeff Denson Trio + Lee Konitz will be performing extensively in Europe this summer and fall. Next month they appear 7/4 at Comblain La Tour Jazz Festival, Hamoir, Belgium; and 7/17 UniversaiJazz, Valladolid, Spain (Trio with Kari Ikonen, p; Ronen Itzik, d). 

Fall dates include 10/2 Angra Jazz Festival, Azores, Portugal; 10/23 Domicil, Dortmund; 10/24 Lantaren Venster, Rotterdam; 10/26 Porgy & Bess, Vienna; 10/27 Unterfahrt, Munich; 10/29 Workshop, Helsinki; 10/30 Jazz & The City Festival, Bremen (Trio with Dan Zemelman, p; Alan Hall, d). Additional dates are in the works. Closer to home, Denson will appear with Zemelman and Hall at the Sound Room in Oakland 8/14.

Henry Stone's Miami Sound - The Record Man's Finest 45s

When Terry Kane - a sound engineer who was barely twenty years old at the time - built an 8-track recording studio above Henry Stone's office space in the Hialeah area of Miami, he probably never envisaged that he was laying the bedrock for a creative hub that would spawn over 25 gold records and over 100 million record sales worldwide. In the process, it would help to make Henry Stone a legend of American music.

At one end of the spectrum, warehouse boy turned global superstar Harry Wayne Casey - better known as leader of K.C. & The Sunshine Band - was pumping out disco classics on a massive scale with ubiquitous airplay and sell-out shows. At the other, Rodney Matthew and his group Formula 1, were relying on the might of the T.K. distribution machine to propel them into the spotlight. As remarkable as their 1977 masterpiece on Du-Vern records was, it inevitably failed to have the seismic impact of The Sunshine Band's commercial dance pop.

For every success story like T-Connection, with their firebrand funk-disco fusion and major label achievements, there were equally talented acts such as Stevens And Foster who also called on Stone's services to showcase their vision: judging by the scarcity of original copies of their self-written and produced modern soul jewel on Jerri Records, they also failed to reach beyond the Sunshine state, save for the rarified ears of collectors and connoisseurs.

The sheer amount of records that came out of those modest premises at 495 SE 10th Court - about 8km from Downtown Miami (as the pink flamingo flies) - is mind boggling. With a huge roster of in-house labels as well as production and distribution deals, label boss Henry Stone was a passionate, busy, and exceptionally well connected man.

Stone would nurture the early careers of the likes of million seller Betty Wright, as well as provide a platform for Milton Wright and Leno Phillips (her older brothers) to express their creativity. Clarence Reid (AKA Blowfly) and Willie Clark penned a raft of amazing tracks for acts such as Jimmy 'Bo' Horne and Little Beaver (AKA Willie Hale, who would also write a wealth of material for others), while T.K. in-house band Miami's own Robert Moore also released records on yet another T.K. imprint; Blue Candle.

The music scene in Miami and indeed, Florida, at the time was fertile and moved quickly with the times; there were hit-makers and risk-takers, shining stars and those who never went far.

As a living document of Henry Stone's remarkable legacy, the diverse styles and ideas coming out of Miami-Dade County and beyond, as well as a glimpse at the successes and near-misses achieved by a dazzling array of artists at the time, this collection serves as an invaluable insight. This collection includes tracks by Little Beaver, Milton Wright, Lynn Williams, Raphael Munnings, Wildflower, Jimmy 'Bo' Horne, Leno Phillips, Phillip Wright, Willie Johnson, Johnny K, Funky Nassau, Formula 1, Stevens & Foster, Oceanliners, Brand New, T-Connection, Beginning of the End, Robert Moore, and Friday Saturday & Sunday.

JOE LOCKE Celebrates LOVE IS A PENDULUM With Appearances on WKCR, WBGO, THE BURLINGTON DISCOVER JAZZ FEST, THE JAZZ STANDARD & THE XEROX ROCHESTER INT'L JAZZ FEST

Joe Locke is a musician's musician, an artist for the ages, a man who has been gracing stages and studios with his immense talent, and uplifting spirit, since he was fifteen. Locke is a man who has gathered no moss as he evolved into a communicator, a conceptualist, a composer, and a modern virtuoso who defies categorization, creating music with small groups to symphony orchestras, and with artists as diverse as Cecil Taylor and The Beastie Boys. Derk Richardson said of Locke in The San Francisco Bay Guardian that, "not only has he mastered an instrument that has catapulted only a handful of players to the forefront of modern jazz - but he has done so in a way that transcends mere technique and establishes him as a unique and adventurous musical voice." With more than thirty acclaimed recordings to his credit, it is no wonder The Times (London, U.K.) proclaimed that, "there seems little doubt that Locke, with his ability to play cool and funky, heady and relaxed, is set to become the pre-eminent vibraphonist in jazz." Joe Locke's new recording, Love Is A Pendulum (available on the Motema Music imprint on May 26, 2015), is just over an hour in length, but has taken a lifetime to make, as it encompasses all of Locke's joys and sorrows, and utilizes all of his slings and arrows. 

Love Is A Pendulum is an arresting collection of all original music, the centerpiece of which is a five movement suite, based on a poem by the writer and musician Barbara Sfraga (from her Subway Series work), a multi-dimensional artist who Locke has long admired. Locke explains further, "each verse begins with a metaphor describing love - its properties and tendencies - and how (possibly) to navigate them. As is so often the case in my composing process, the genesis of a musical idea comes from words, whether it be a novel, a poem, or even a simple phrase uttered in a certain way. I feel that Love Is A Pendulum is my best work thus far and I am eternally grateful to Barbara for the inspiration her poem has provided."

This recording is the most personal, most compositional and most emotive work of Locke's career, and it features a hand-picked cast of outstanding musicians that bring Locke's vision to life in spectacular fashion: special guests Rosario Giuliani, Donny McCaslin (saxes), Paul Bollenback (guitar), Victor Provost (steel pan) and Theo Bleckmann (voice), with Locke's core working quartet, featuring Robert Rodriguez (piano), Terreon Gully (drums and co-producer) & Ricardo Rodriguez (basses). Locke commented in the liner notes about the musicians featured on Love Is A Pendulum, "as tightly composed as much of this music is, it would not have risen off the page without the creative contributions of the musicians here. Robert, Terreon and Ricky, the core of this group, have been hugely important to the realization of this project. Working together with a great natural chemistry, they sculpted the shape of each piece into something beyond what I had imagined. Their ability to deal with the written material while at the same time injecting it with soul and spontaneity was (and continues to be) remarkable. I'm also grateful that all of my first choices were available (with a bit of juggling!) to be guests on Love Is A Pendulum." 

From L to R is Ricardo Rodriguez, Terreon Gully, Joe Locke, Robert Rodriguez 

Variation On Wisdom is a through-composed chamber piece and a re-working of the material from "Last Ditch Wisdom" (track #7). On Love Is The Tide, "I wanted to convey the surging power described in this particular verse of the poem. There are a lot of shifting rhythms occurring, but its essence is the Blues," said Locke. Love Is A Planchette (featuring Theo Bleckmann) depicts the movement of a planchette as it moves across a ouija board. This melody is beautiful and gentle rather than spooky, as it, "describes the light touch we must keep on love in order for it to move us from one place to another," explained Locke. Love Is A Pendulum was the first movement Locke composed for the suite. As with the movement of a pendulum, the band goes back and forth between the sections of this composition. Played as a rubato ballad, Love Is Letting Go is a meditation on love's eternal nature. "For the beginning of Love Is Perpetual Motion I wanted a wide open canvas for the two saxophones to have a conversation, interspersed with written material. The main melody of the piece does not occur until after the 4:20 mark, where it emerges from 3/4 time into a 9/4 clave, followed by vibes/pan trading and a piano solo before a restatement of the melody," explained Locke. For Jesse Mountain is dedicated to Locke's nephew Jesse. "Big man, big heart," said Locke. Last Ditch Wisdom speaks for itself - "NYC hardball, start to finish." The album concludes with the lovely ballad, Embrace, a composition based on George Gershwin's "Embraceable You", and conceived by Locke as a vehicle for Victor Provost. Pianist Robert Rodriguez's lyrical ride, on top of Gully's creative groove, concludes the recording on a consonant note.

  

Joe Locke is widely considered to be one of the major voices of his instrument. Long known to be a soloist capable of stunning physical power and broad emotional range, it was not until the last decade that he emerged as the composer, bandleader and conceptualist that he is considered today.

This is in no small part due to his recent solo projects, notably the three distinct albums he has released since joining Motema Music in 2011, which display his immense stylistic versatility and ability to create artistic depth in a variety of contexts: Signing (2012, the long awaited follow-up studio album of Live In Seattle), Wish Upon A Star (2012, Locke's first ever symphonic project, featuring Locke's Quartet with the Symphony Orchestra of Lincoln, Nebraska), and Lay Down My Heart (2013, jazz radio chart's #1 Blues & Ballads album). Locke's latest Motéma release, Love Is A Pendulum is already being hailed the most important work of his career. Other notable recordings in Locke's extensive discography (more than thirty albums as a leader) include, Four Walls of Freedom (Sirocco), a six movement suite featuring the late tenor saxophonist Bob Berg; Live in Seattle (Origin) by The Joe Locke/Geoffrey Keezer Group, which won the 2006 Ear Shot award for Concert of the Year, and his eloquent and vibrant quartet, Force Of Four (Origin).

Locke has won numerous awards and polls, including the 2006, 2008 and 2009 "Mallet Player of the Year" award from the Jazz Journalists Association, and the 2013 Hot House NYC Jazz Awards for best Vibes Player. He is active as a clinician and educator in the United States and Europe and has been the International Vibraphone Consultant at the Royal Academy of Music, London, on a visiting basis since 2008, holding the title of Honorary Associate of The Royal Academy of Music since 2013. Locke endorses Malletech instruments, www.mostlymarimba.com, and Love Is A Pendulum is the first recording to feature the innovative OmegaVibe (also endorsed by Stefon Harris, Tony Miceli and Warren Wolf). Joe Locke also proudly endorses his own Signature Series of Mallets, "The Joe Locke Series", by Mike Balter, www.mikebalter.com    

Joe Locke - Love Is A Pendulum / All compositions by Joe Locke

1. Variation On Wisdom 

2. Love Is The Tide 

3. Love Is A Planchette 

4. Love Is A Pendulum 

5. Love Is Letting Go 

6. Love Is Perpetual Motion 

7. For Jesse Mountain 

8. Last Ditch Wisdom 9. Embrace 

UPCOMING TOUR DATES:

June 3 - Ocean Grove, NJ, Leigh Howard Stevens 36th Summer Marimba Sem.

CD RELEASE CELEBRATION:

June 8 - Burlington, VT, Discover Jazz Festival

CD RELEASE CELEBRATION:

June 9 & 10 - NYC, The Jazz Standard

June 13 & 14 - Hollywood, CA, The Hollywood Bowl  

(Joe Locke with Eddie Palmieri Group)

CD RELEASE CELEBRATION:

June 22 - Rochester, NY,  Xerox Rochester Int'l Jazz Festival

July 10-12 - NYC, Smoke Jazz Club - special guest with the Jim Rotondi Group

July 30 - NYC, 92nd Street Y - Swing Into Summer Series

(Joe Locke performing with Bill Charlap)