FORRO IN THE DARK ANNOUNCES NEW ALBUM FORRO ZINHO - Forró in the Dark plays John Zorn

One of the most exciting bands to come out of the wild late night Nublu scene in the East Village, Forró in the Dark combines the driving dance rhythms of forró from Northeastern Brazil with rock, jazz, psychedelia, folk and more.  Together since 2002, the collective of New York based Brazilian ex-pats Mauro Refosco (zabumba, percussion), Guilherme Monteiro (guitar) and Jorge Continentino (pífanos, flutes, saxophones) have collaborated and performed with a wide variety of artists including David Byrne, Red Hot Chili Peppers, Thom Yorke’s Atoms for Peace, Bebel Gilberto, Gal Costa and many others.

After releasing two albums of original material, Bonfires of Sao Joao (2006) and Light A Candle (2009), the time was ripe for Forró in the Dark to reconvene and try something out of the box; a cover record of the famous American avant-garde composer, arranger, producer, saxophonist and multi-instrumentalist John Zorn.  Zorn worked with the band to hand pick the material, composed two new pieces for inclusion on the album, and will release it on his cutting edge record label TZADIK in July 2015.  Producer Jesse Harris utilized Refosco’s Bushwick, Brooklyn studio for the majority of the recording, and special guests include Brazilian piano legend Marcos Valle (a dream come true for longtime fan Zorn), bassist Rea Mochiach, accordionist Vitor Gonçalvez, and vocalist Sofia Rei.

On this exciting new project Forró in the Dark takes on some of John Zorn’s most lyrical and grooving compositions to create a charming album of Brazilian-tinged dance music.  Endlessly listenable, this is a record filled with catchy hooks, burning solos, driving rhythms and infectious Zorn melodies, new and old.  The band has also finalized an album of original material, recorded in Rio de Janeiro, slated for release in 2016. 

US Tour Dates:

July 29th NYC @ Joes Pub 

July 30th NYC @ Lincoln Center Out of Doors

July 31 Boston @ Regatta Bar 

Aug 1 Portsmouth, NH @ 3S Artspace

Jazz Guitar Icon Larry Coryell Shows His Multifaceted Talents On A New 3CD Box Of Live Recordings

One of the most respected and celebrated jazz fusion guitarists of his generation, Larry Coryell presents a brand new triple disc box set of unreleased live performances. Titled Aurora Coryellis, this captivating collection highlights Coryell’s prodigious talents in a multitude of settings, from a full band performance in 1972 at the Jazz Wokshop in Boston to a solo acoustic show in 1976 at Clark University (Worchester, MA) plus a more recent appearance in 2002 at the San Jose Jazz Fest with his talented trio featuring award winning drummer Paul Wertico and bassist Jeff Chambers! Each of these performances come on separate CDs in their own sleeves housed in a deluxe box with a lavish, full color booklet featuring extensive liner notes based on a new interview with Mr. Coryell himself. The box will be released July 24 from Purple Pyramid Records.

Reflecting on this collection, Coryell states, “I have fond memories of the high integrity of the students in Worcester, MA; it was always a special place. Of course, The Jazz Workshop Boston was kind of a ‘home base’ from where we developed our music in the ‘70s, when we were trying to create something that respected the basics of jazz but was still a new form of music. Club manager, Freddie Taylor, was our number one booster as we ventured into uncharted territory. And what can I say about beautiful San Jose! A great city with great people and an absolutely beautiful outdoor park in the center of town. Playing with Jeff Chambers and Paul Wertico was an exhilarating journey into the essence of jazz!”

Born in Texas, Larry Coryell began his ascent to the upper echelons of jazz virtuosos in the mid ‘60s when he joined the quintet of famed drummer Chico Hamilton in New York. That gig led to several other stints as a sideman for Gary Burton, Herbie Mann, and Randy Brecker among others. In 1968, he released his debut album Lady Coryell at the young age of 25, which then lead to subsequent solo album and the formation of his own group The Eleventh House. Through these releases, Coryell earned international acclaim for his daring compositions and interpretations as well as his inspired improvisations. He continues to perform shows and release new albums regularly. For those unfamiliar with this living legend, Aurora Coryellis is the perfect place to start!

DISC 1: Jazz Workshop, Boston, MA - September 13, 1972
1. Offering
2. Ruminations
3. Hen-Hopper
4. Scotland Part One
5. Offering (Reprise)

DISC 2: Clark University (Little Center) Worcester, MA - June 23, 1976
1. Julie La Belle
2. Juju
3. Rodrigo Reflections
4. Eyes of Love
5. Improvisations on Sarabande
6. The Restful Mind
7. Gratitude
8. Bouquet
9. Rene’s Theme
10. Ain’t It Is
11. St. Gallen
12. Spain

DISC 3: San Jose Jazz Festival, San Jose, CA - August 11, 2002
1. Trinkle Tinkle
2. In A Sentimental Mood
3. Bumpin’ On Sunset
4. Manha de Carnaval (Theme to Black Orpheus)
5. Spaces Revisited Part One
6. Spaces Revisited Part Two
7. The Dragon Gate (Excerpt)

"Quarter Street", the debut album of Australian salsa group Quarter Street

From the first few notes, it sounds like the real thing. Piano and bass riff hard. Percussion enters. ¡Oiga Papa! Listen up! The trombones come in thick and strong. Fantasia, the first song on Quarter Street’s self-titled LP is authentic ‘salsa dura’ from the old school. Hard salsa. It’s not shiny, it’s not clean and poppy or unduly jazzy. It’s tough, it’s gritty and ballsy, and in terms of musicianship, writing and production, it straight up cooks.

Sergio Botero’s voice is pure street Salsero, a worthy inheritor of the tradition defined by Hector Lavoe and Rubén Blades. Conguero Luis Poblete, and brothers Cesar and Cristian Saavedra on baby bass and timbales round out the core group of Quarter Street. Like many Latinoamerican migrants to Australia, their parents fled the various coups and revolutions of the 70s and 80s, raising their children to the sounds of the Spanish language superstars of the era. Cuban brass virtuoso Lazaro Numa, recently arrived in Melbourne, adds a taste of Havana to the underlying mix of classic Puerto Rico / New York styles. The boys grew up salsa and now they’ve brought together an impressive unit of Melbourne’s finest Latin and Jazz musicians together to light up turntables and dancefloors worldwide.

There’s been a lot of rough and real analog funk, soul and Afro vinyl material released in the last couple of decades, from the Dap-Kings and Antibalas in New York to the Poets of Rhythm in Germany. So far, few have flown the flag for the revival of hard-out analog era Latin music. Quarter Street are doing it. Salsa dura was born on the mean streets of New York in the 1970s, now it’s back. Quarter street take their cues from the giants: Eddie Palmieri, Ray Barreto and Willie Colon and the seminal record labels Fania and Tico records and charge straight ahead at the 21st century. The time is right.

Quarter Street’s self-titled LP will be available worldwide on HopeStreet Recordings distributed through FatBeats, Kudos, and Rocket on Friday 14th August 2015.

New Book On Elusive Jazz Composer, Pianist and Co-Songwriter for Cream, Mike Taylor - Now Available!

Jazz buffs worldwide are excited about the new book documenting the life of elusive British jazz composer, pianist and co-songwriter for classic rock legends Cream, Mike Taylor. Titled “Out Of Nowhere”, the biography was written by Italian underground author Luca Ferrari and published by UK's Gonzo Multimedia.

Having rehearsed and written extensively throughout the early 1960s, Mike Taylor recorded two albums for the Lansdowne series produced by Denis Preston: “Pendulum” (1966) with drummer Jon Hiseman, bassist Tony Reeves and saxophonist Dave Tomlin) and “Trio” (1967) with Hiseman and bassists Jack Bruce and Ron Rubin. They were released on Columbia Records UK.

During his brief recording career, several of Taylor's pieces were played and recorded by his contemporaries. Three Taylor compositions were recorded by Cream, with lyrics by drummer Ginger Baker (“Passing the Time”, “Pressed Rat and Warthog” and “Those Were the Days”), all of which appeared on the band's August 1968 album “Wheels Of Fire”. Neil Ardley's New Jazz Orchestra's September 1968 recording “Le Déjeuner Sur L'Herbe” features one original Taylor composition “Ballad” and an arrangement by him of a Segovia piece “Study”.

Mike Taylor drowned in the River Thames near Leigh-on-Sea, Essex in January 1969, following years of reported heavy drug use. He had been homeless for two years, and his death was almost entirely unremarked.

In 2007, the independent record label, Dusk Fire Records, released for the first time “Mike Taylor Remembered”, a 1973 tribute to the musician recorded by Neil Ardley, Jon Hiseman, Ian Carr, Barbara Thompson, and other major modern British jazz players.

And now in 2015, Gonzo Multimedia has published “Out of Nowhere”, the first biography on Mike Taylor written by Italian author Luca Ferrari.

Says Luca, “My book was a real challenge because apart two good articles nothing was known about Mike Taylor, just some dates from his past, often fakes, never verified. Listening his few records (thanks my friend Dave Tomlin) I discovered this wonderful obscure world of sounds, a very rare dimension of intimacy, made of experimentations and great sensibility... In his short artistic life there's a surprising rapid progression (evolution) from standard hard-bop (Horace Silver) style to a temperate free-jazz (with "Trio"), very exclusive and original (personal) also in that greatly original English scene gravitating around the Old Place and the Little Theatre, after that it seems as all the things was told and nothing is left to tell: his personal life, with the painful collapse of his marriage, through the experience of acid (LSD) explodes his middle-class culture and defined a new freaked personality, without roots, personal relations, homes... Last two years was a tragic painful wandering around London, often near Kew and Richmond Park, until his sudden death in the water of Thames... Anyway, thanks to some very good journalists (Richard Morton Jack and Duncan Heining) and a sensitive label owner (Peter Muir) the memory of him is not lost. This book is a sort of reparative way to celebrate his musical genius and to recollect his life.”

Luca Ferrari is an Italian underground writer. He has written several books about folk and rock musicians including Third Ear Band, Pink Floyd, Robyn Hitchcock, Captain Beefheart, Tim Buckley, and Syd Barrett for the main Italian publishers. He has written several articles and reviews for Italian magazines such as Ciao 2001, Vinile, Buscadero, and Rockerilla. He met Syd Barrett in 1986 and contributed to the reunion of the Third Ear Band during the 1980s.

Having run Italian fanzines about Pink Floyd and Syd Barrett since 1979, he worked together with Ivor Trueman (who was running the fanzines The Amazing Pudding and Opel) about a petition in order to allow the release of the album “Opel”. His book “Tatuato sul Muro: L'enigma di Syd Barrett”, published in January 1986, sold well in Italy and was worldwide the first biographical book about the controversial, and at the time even more enigmatic, figure of Syd Barrett.

In 1993 he contributed an essay to the Captain Beefheart (Don Van Vliet) book titled “Stand Up To Be Discontinued. The art of Don Van Vliet” (Cantz edition) and in 2011 he provided expert advice to the book titled “Barrett” (Essential Works Limited, London 2012), edited by Russell Beecher and Will Shutes.

His book about Italian folk music titled “Folk Geneticamente Modificato” (2003) is one of the few contributions ever published in Italy.

And now, Luca Ferrari's new book on Mike Taylor “Out Of Nowhere” is available!

NEW RELEASES: DAVE DOUGLAS – HIGH RISK; FOUR TET – MORNING EVENING; SONNY KNIGHT AND THE LAKERS - DO IT LIVE

DAVE DOUGLAS – HIGH RISK

Dave Douglas is a man of many colors – all of them great, and painted with the rich hues we've come to expect from his work on trumpet! This time around, Dave's got a group with a fair bit of electric elements – so much so, that the few acoustic elements come from Douglas' work on trumpet, and some bass and drums. All other elements are improvised and electronic – which makes for a very unusual setting for Dave's trumpet – one that's still quite jazz-based, but which often draws a lot from the strong interplay between the horn and the backdrops – a bit like older work by musicians like Jon Hassell or Tomasz Stanko, but far more focused and expressive than either of them. Where others might use the setting to slide into too-mellow, too-sloppy styles, Dave seems to get even sharper than usual – and really wows us with his interaction with the group! Titles include "Cardinals", "Tied Together", "High Risk", "First Things First", and "Molten Sunset".  Dusty Groove

FOUR TET – MORNING EVENING

Four Tet for the rising and setting sun – two evolving, hypnotic pieces that each roll to around or just past the 20 minute mark – and it's among the best we've heard from Kieran Hebden in years! "Morning Side" starts off with just stuttering, surprisingly clubby sounding beats and slowly builds into a gorgeous tapestry of of diverse sounds – with lovely vocals by Indian singer Lata Mangeshkar, warm use of synths, and slow-building mood. The beats drop off as it comes near the end, with some great, kinda proggy keys taking over. "Evening Side" has a lot subtler vibe, with similar elements done with a more minimalist approach for the first half, before bringing in some after hours beatcraft nearer the end. ~ Dusty Groove

SONNY KNIGHT AND THE LAKERS - DO IT LIVE

Powerhouse live funky soul from the great Sonny Knight & The Lakers – tearing it up for their hometown of Minneapolis, MN! Do It Live was recorded at the fairly intimate Dakota Jazz Club, and the choice to capture their incendiary live act in a relatively small venue was a good one – the energy is fantastic on the more raucous numbers, but the intimacy is captured just as well on the couple of moodier gems. This live album is another worthy chapter in the continuingly rewarding later career high point for Mr. Knight! Includes "Juicy Lucy", "Get Up And Dance", "Through With You", "Sonny's Boogaloo", "Where Did You Sleep Last Night", "Day Tripper", "Baby, Baby, Baby", "It's You For Me", "Sock A Poo Poo", "When You're Gone", "Cave Man", "I'm Still Here" (Parts 1 & 2), "Sugar Man" and "He Girl". Dusty Groove

Bernard Purdie's "A Purdie Good Life," the documentary

What do Miles Davis, Aretha Franklin, Nina Simone, King Curtis, Louis Armstrong, James Brown, B.B. King, Steely Dan (amongst hundreds of others) all have in common? Every single one of them knew that it took “The Hit-Maker” on the drums to make a genuine and indisputable hit! From the studios of Motown, to Atlantic Records, RCA Records and more…. one name always stood out from the rest when the best was needed: Bernard “Pretty” Purdie! Through his words, his teachings, and his rhythms, together let's explore....

From session recordings to copyright reform, “A Purdie Good Life” explores the active career and past musical achievements of Bernard “Pretty” Purdie, the world’s most recorded and sampled drummer. Through visits with longtime friends and musical collaborators, behind-the-scenes footage, live performances, and within the walls of a recording studio environment with today’s most prominent “up-and-coming” session performers, this Feature documentary will take us on an inter-generational musical journey with the 73 years old “Hit-Maker” himself!

The documentary is not your typical “A to Z” biography of a great musician’s story, or of any specific musical movement or genre. It is an exploration of the essence, the drive, and the determination of a session musician, which in turn has defined a lifetime’s career, and influenced generations of musicians! This film will explore the ideals of one person’s dedication to his art, his timeless contributions to the music industry, and his everyday dealings … each being part of what made his career “A Purdie Good Life” to remember. 

Although this film follows the story of one man, it is meant to serve as a tribute to all session musicians that have performed in the shadows of a studio. Most of us never knew their names, but these session musicians have accompanied many of us since birth through their music.

They were with us when we first danced, and fell in love. They have enlightened our moods when we laughed, and shared their warmth with us when we cried. They are a part of our own personal journeys, and they have influenced who we have become as individuals. Although strangers at best, they are closer to us than anyone can imagine.

This documentary film needs your help for completion. See the link below for more information:

https://www.indiegogo.com/projects/a-purdie-good-life-the-documentary--2#/story

Composer/Saxophonist Rob Reddy Honors Sidney Bechet's Place In History on Bechet: Our Contemporary

In recent years, a well-done tribute album has almost become its own form of release. But to truly pay proper homage to its subject, it must only be a point of departure. The ultimate purpose must be to create an entirely new musical journey that only looks back to move forward. Composer and saxophonist Rob Reddy's stunning new album Bechet: Our Contemporary does exactly that - and a good deal more. Intertwining Sidney Bechet's music with original works inspired by him, Reddy has not simply updated the legendary icon's image, but presents him as the truly avant-garde and innovative giant that he still is today. 

"I see this project as an honest and respectful attempt at honoring Bechet's place in history as a seriously forward-thinking, avant-garde artist of his time, while also putting his work into conversation with our own present-day sociopolitical landscape," comments Reddy. 

The fact that Rob Reddy is also a soprano saxophonist must only be viewed as coincidental here.  Every player of that instrument owes an inspirational debt to its father; and Reddy's full-bodied, vibrant and sinuously impassioned sound certainly amplifies the context of this music. Since his emergence on the scene in the late 1980s, he has virtually always been a leader and conceptualist, and for the past 20 years has been a visionary, heavily acclaimed and an often commissioned composer for a wide variety of ensembles ranging from five to nineteen musicians. 

On Bechet: Our Contemporary, Reddy has assembled some of New York's most outstanding contemporary musicians to join him in this brilliant ensemble.  In the classic traditions of Ellington, Mingus, George Russell and Gil Evans, Reddy's composing is dialed directly into the distinctive sounds of his musicians; most of whom have been frequent participants in his music, some for over 20 years. John Carlson on trumpet and Curtis Fowlkes on trombone join Reddy on the horn line, violinist Charlie Burnham, cellist Marika Hughes, guitarist Marvin Sewell, and Rob's longtime bass/drums collaborators Dom Richards and Pheeroan akLaff round out this sterling group.  Despite Reddy sharing Bechet's primary focus upon the same instrument, this is not a showcase for his soprano playing, but rather his profound vision. 

The depth and scope of the compositions and arrangements require an intense focus, an urgency and unfettered creativity, and a release of the inner spirit in both virtuosity and abandon to spawn the synergy required to bring this music to its highest level. The challenging discipline of freedom is fully realized, keeping the music spontaneous and visceral, but totally within the intent of the Reddy's vision.  The result is music that meets the seemingly contradictory goals of being powerfully earthy, yet utterly transcendent. The exhilaration, joy, wit, beauty and sheer fun of Sidney Bechet are in radiant presence, translated and re-imagined by Reddy. 

"The idea was to approach Bechet as a composer and intertwine his original compositions with those of my own, making a narrative between the two that made sense; and have my musicians play and improvise on his compositions just as I ask them to do with my own, seeking the same openness, energy, commitment and wisdom," explains Reddy. 

The delightful repertoire includes four Bechet pieces and four Reddy originals. Vividly reflecting that purest sense of tribute to produce inspirations, it is challenging to differentiate Bechet's from Reddy's compositions as Reddy has made Bechet's so much his own; and Bechet's inspiration such a fundamental component of his own writing. It would be highly inappropriate to overlook the compelling lyricism and exquisite beauty of Bechet's music for the sake of modernism, but it would be equally invalid to underplay the groundbreaking adventurousness and depth of sophistication that Bechet brought to the music. With that in mind, some of the most "down home" moments are in Reddy's originals and some of the most unabashedly contemporary are on Bechet works. 

"Song of the Medina" epitomizes Reddy's brilliant compositional approach and his choice of the jazz idiom as his primary means of expression. While his vernacular is rooted in the full scope of American folk forms- including blues, gospel, country, marches, and the full scope of the jazz legacy - the jazz form provides the ideal canvas for his painting. Trusting his musicians to contribute freely to the context without losing track of the story he's telling incorporates the improvisations into the composition, giving it new life with each time you listen. This extended work anchors the album with its expansive sonic landscape reminiscent of the Art Ensemble of Chicago's finest creations. 

Bechet's signature piece, "Petite Fleur" is evocatively atmospheric, with the beautiful melody stated by violin colored by the soprano and buoyed on a swirling undertow of colors and shapes. Reddy's "Erasing Statues" features drawling horns in a slow drag procession - almost funereal, but joyously hymnal. Gospel of another sort is the mode for Bechet's "Chant in the Night,"with guest artist Lisa Parrott's baritone sax clearing the church entrance for an exuberant, rapturous prayer meeting excursion of Mingus-like jubilation. In mesmerizing fashion, Reddy's "Yank"weaves between abstract rubato ruminations and alluring, richly lyrical orchestration. 

Reddy's "Speedy Joe"is a brief, nicely textured aperitif that leads into the album's concluding piece, Bechet's "Broken Windmill" - a perfect complement to Reddy's "Up-South,"which opens this stunning album. A boisterous, celebratory piece with so much going on underneath, it aptly demonstrates the powerful influence that early New Orleans music had upon the collective approach of the avant-garde and foretells how the album will do proper justice to the spirit of Bechet. "Broken Windmill"(with Oscar Noriega's clarinet adding the extra spice)mirrors that piece in bouncing, effervescent early jazz vigor, bringing everything full circle to its source. 

This is Reddy's seventh album-his third for his own Reddy Music label that he founded in 2006-and the first time that he has ever incorporated another composer's work into his music, but it's eminently clear that this extraordinary music is his own as well as another major step in the legacy of one of today's most important composers. 

Rob Reddy · Bechet: Our Contemporary

Reddy Music  ·  Release Date: September 11, 2015

VERVE RECORDS & WALT DISNEY RECORDS TEAM UP TO RELEASE COMPILATION ALBUM WE LOVE DISNEY, PRODUCED BY DAVID FOSTER

In a unique collaboration between Verve Records and Walt Disney Records, the two esteemed labels have teamed up to present the compilation album We Love Disney, which will be released in October 2015. The compilation features the hottest artists from across the pop, rock, R&B, and country worlds delivering their own unique interpretations of classic Disney songs. The album was produced by multi-platinum, Grammy® Award-winning producer and Verve Music Group Chairman David Foster.

"When the opportunity arose to partner with Walt Disney Records, I jumped on it," says Foster. "The Disney franchise is something that brings out the kid in all of us. No matter how old you are, 3 or 103, when you hear the word 'Disney' you light up from within. And there isn't a person on the planet who doesn't have a favorite Disney song. We tapped into that passion with all of the artists on the album. I tried to make the songs timeless so you couldn't tell whether they were recorded 30 years ago or 30 years from now. The Disney catalog is so amazing. You have so many songs to pick from, going back almost 80 years now. So it's an endless treasure and one of the most rewarding projects that I've ever done - and I've done a lot of stuff."

The artists and songs that will be featured on We Love Disney will be announced in the coming weeks.

We Love Disney Box Set Includes:

Limited Edition Double Vinyl

Standard Edition Double Vinyl

Limited Edition CD

Standard Edition CD

Limited Edition Double Picture Disc

We Love Disney Limited Edition Numbered Lithographs (4)

"The Magic Behind We Love Disney" (DVD)

We Love Disney Digital Deluxe Album

We Love Disney Limited Edition One Time Only Design T-Shirt (Size Large)

We Love Disney exclusive Tote Bag

Certificate of Authenticity

Orrin Evans Trio feat. Christian McBride and Karriem Riggins -- "The Evolution of Oneself"

Pianist Orrin Evans takes stock of the pivotal moments that shape the trajectory of a life on The Evolution of Oneself, his scintillating new release on Smoke Sessions Records. The album is itself a landmark in Evans' musical evolution, introducing a remarkable new piano trio with two longtime associates but first-time collaborators: bassist Christian McBride and drummer Karriem Riggins. The result is a raw and thrilling excursion incorporating a startlingly wide range of influences, from jazz and neo-soul to country and hip-hop.

As suggested by the title, The Evolution of Oneself explores deeply personal terrain, with Evans reflecting on the road he's traveled to become the man and musician he is today. "This album is about personal evolution," he explains. "For me, there have been different moments or people in my life that have made me evolve. You can call it change, but ultimately you're still the same person from the day you came out of your mother's womb. But you evolve, and that process is what this record is about."

Through 25 albums as a leader and co-leader, including his neo-soul/acid jazz ensemble Luv Park and the bracing collective trio Tarbaby, Evans has always followed a vigorously individual path. The Evolution of Oneself is no exception, with Evans setting a pace that brings out fiery, gut-churning playing from both McBride and Riggins - two of modern jazz's most renowned and distinctive voices in their own rights.

McBride, of course, shares Evans' Philadelphia origins, roots that both have taken great pride in over the course of their careers. But despite only a three-year difference in age, they've only worked together a handful of times, never on record. Evans met Riggins more than two decades ago, prior to his move to New York; Riggins later stayed with Evans and fellow Philly expat Duane Eubanks in their New York City apartment upon his own move to the city. Still, it wasn't until a recent tour under Riggins' leadership that the two shared any significant stage time together. The Evolution of Oneself finally provided the long-overdue opportunity for Evans to collaborate with both of them, forming a powerhouse new trio in the process. 

The album is framed by three very different takes on the Jerome Kern/Oscar Hammerstein standard "All the Things You Are," a song which Evans says represents the most important factor in his own personal evolution: his family. The lyrics, he explains, captures the support and devotion that his wife, Dawn Warren Evans, has provided through the ups and downs of a career in jazz. "My evolution is based on the past twenty years with this woman who's had my back and accepted all the things I am," he says.

The couple recites those lyrics together over an electronica track produced by their youngest son, Matthew Evans, on the penultimate version. (Older son Miles doesn't appear, but provided the inspiration for two tracks, "For Miles" and "Tsagli's Lean.") The album opens with an up-tempo run through the tune that sets the spirited tone for what is to come, while it closes with a languorous reimagining featuring McBride's dirge-like bowed bass and the haunting, soulful moan of vocalist JD Walter. 17-year-old Matthew also produced the hip hop-tinged "Genisis" interludes that pepper the album, culled from his home recordings of his father and mixed by bassist/producer Anthony Tidd, famed for his work with both The Roots and Steve Coleman's Five Elements.

While The Evolution of Oneself takes the concept more literally than usual, an Orrin Evans recording session is always a family affair, with a party atmosphere and guests stopping by whether they end up contributing or not. "Being in the studio and doing what I do is no different than a cookout on a Saturday night," Evans says, and that openness is reflected in the raucous verve of this album.

The date's other special guest is guitarist Marvin Sewell, responsible for its most surprising moment: the country-blues slide guitar that introduces the traditional Americana folk song "Wildwood Flower," made famous by the Carter Family. His introduction to the song came via drummer Matt Wilson, and Evans' rendition is dedicated to Wilson's late wife Felicia. While one might not expect to hear a country music influence coming from Evans, the beauty of the song is undeniable -- and he naturally turns the down-home feel inside out and makes it wholly his own.

Beyond McBride's involvement, Philly is well represented on the album. The sultry R&B groove of Grover Washington Jr.'s "A Secret Place" offers the chance for both to pay homage to the late saxophonist, who resided in Mt. Airy, the same Philadelphia neighborhood that Evans has long called home. "One of my only musical regrets is not recording with Grover Washington Jr.," Evans admits. "He was really cool and he lived right around the corner, but at that time in my life I didn't understand how accessible he was. I don't think people know how bad he was as a saxophonist, as a musician, and as an artist."

Evans credits Philadelphia trumpeter Jafar Barron as one of the key players in the development of the neo-soul movement, and tips with hat with Barron's composition "Jewels and Baby Yaz." Bassist Jon Michel's swinging "Sweet Sid" was written in memory of pianist Sid Simmons, a mentor to Evans and countless young Philly jazz musicians.

The album is rounded out by a loose-limbed, sharp-angled take on "Autumn Leaves," the airy ballad "February 13th" by bassist and fellow Tarbaby member Eric Revis, and a half-dozen Evans originals representing the impressive reach of his stylistic imagination. With this album Evans marks a profound breakthrough in his personal evolution, one that has progressed beyond categories and into the realm of unfettered expression.

"The Evolution of Oneself" was recorded live in New York at Sear Sound's Studio C

on a Sear-Avalon custom console at 96KHz/24bit and mixed to ½" analog tape

using a Studer mastering deck. Available in audiophile HD format.

  

Upcoming Release Performances for The Evolution of Oneself:

September 10 - 13 / Smoke Jazz & Supper Club / New York, NY

feat. Luques Curtis and Clarence Penn w/ special guests Steve Wilson (9/10),

JD Walter (9/11), Paul Bollenback (9/12), and Antonio Hart (9/13)

September 17 / New Brunswick Jazz Society / New Brunswick, NJ

feat. Luques Curtis and Mark Whitfield Jr.

September 18 - 19 / Chris' Jazz Cafe / Philadelphia, PA

feat. Luques Curtis and Mark Whitfield Jr. w/ special guest Sean Jones

  

Orrin Evans · The Evolution of Oneself

Smoke Sessions Records  ·  Release Date: September 11, 2015

NEW RELEASES: GLORIA REUBEN - PERCHANCE TO DREAM; BILLY PRICE / OTIS CLAY - THIS TIME FOR REAL; DAVID TORN - ONLY SKY

GLORIA REUBEN - PERCHANCE TO DREAM

Actress and singer, Gloria Reuben, releases, Perchance to Dream, her first ever Jazz album with the specialty, non-profit record label MCG Jazz. Perchance to Dream includes eight standards, done in a completely unique way and two new tunes. Songs list: Change Partners, Poor Girl, Close Enough For Love, Pure Imagination, When I Close My Eyes, How Am I To Know, Save Your Love For Me, You Better Love Me, Sharing The Night With The Blues, and Here's To Life.

BILLY PRICE / OTIS CLAY - THIS TIME FOR REAL

Billy Price and Otis Clay: Two singers separated by a generation come together in a performance that moves the Southern soul tradition a little bit further up the road.

Pittsburgh rhythm and blues singer Billy Price and deep Southern soul/gospel icon Otis Clay worked with masterful guitarist/producer Duke Robillard to create their first full-album collaboration, This Time for Real. On This Time for Real, the singers have selected an array of soul and R&B songs from the catalogues of artists including Joe Tex, Sam & Dave, the Spinners, Los Lobos, Syl Johnson, and Bobby Womack as well as new versions of two songs originally recorded by Clay. The two friends have performed and worked together occasionally since 1982, but this is by far their most extensive collaboration to date. ~ Amazon

DAVID TORN - ONLY SKY

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

 

NEW RELEASES: DAVE KOZ - COLLABORATIONS: 25TH ANNIVERSARY COLLECTION; NINA SIMONE - AT THE VILLAGE GATE; GIACOMO GATES - EVERYTHING IS COOL

DAVE KOZ - COLLABORATIONS: 25TH ANNIVERSARY COLLECTION

9x Grammy® nominee Dave Koz has been honored with a star on the Hollywood Walk of Fame and established himself as a platinum-selling artist, humanitarian, entrepreneur, radio host and instrumental music advocate. He is marking the 25th Anniversary of his recording career with this collection of musical collaborations throughout his career (Concord and Capitol), along with three new songs: "Good Foot" featuring Jeff Lorber; "Game of Thrones Theme" (Scott Bradlee) and the hit theme song from Disney's movie: Frozen, "Let It Go." Also includes (Your Love Keeps Lifting Me) Higher and Higher featuring Kenny Lattimore and Rick Braun; When Will I Know For Sure featuring Boney James; So Very Hard to Go featuring Michael McDonald and Summer Horns; (I Love You) For Sentimental Reasons Rod Stewart featuring Dave Koz; Let Me Count the Ways featuring Stevie Nicks, This Guy's In Love With You featuring Herb Alpert, Linus and Lucy David Benoit and Dave Koz, Can't Let You Go (The Sha La Song) featuring Luther Vandross. All You Need Is Love featuring Eric Benét, Johnny Mathis, Heather Headley, Richard Marx, Jonathan Butler, Maysa, BeBe Winans, Gloria Estefan and Stevie Wonder, Cryin' for Me (Wayman's Song) Toby Keith featuring Dave Koz and Marcus Miller, Think Big featuring Brian Culbertson and Keb' Mo', and Apartment 2G: I Hear Her Playing Music Barry Manilow featuring Dave Koz. ~ Amazon

NINA SIMONE - AT THE VILLAGE GATE

It was said that to fully appreciate the splendour of Nina Simone, you had to see her perform live. Since her touring schedules didnt always allow for worldwide tours, her record company at the time (Colpix) very thoughtfully ensured there was plenty of live material out on the market her first seven album releases featured no fewer than three live albums! What each and every one proved was the Colpix had a point (and it should be pointed out that Nina had full creative control, meaning she decided what she released). Nina Simone performing live was almost like being hit with an electric shock when Nina started singing or playing, everyone stopped and took notice. At The Village Gate features an interesting mix of folk material with traditional African American songs, including House of the Rising Sun, which of course became something of a signature song for The Animals. ~ Amazon

GIACOMO GATES - EVERYTHING IS COOL

Giacomo Gates approaches jazz singing with a showman's poise and an aficionado's zeal. With his deep, cognac baritone and his vintage-hipster lexicon, his phrasing and his bearing, he upholds a distinctly masculine ideal of deceptively easy nonchalance. Gates is known as the modern day heir to Eddie Jefferson, the godfather of vocalese. Here he uses the style sparingly, but to great advantage. never showboating by using the challenging technique. Gates’ considerable chops are always at the service of the song. Backed by his go-to pianist, John di Martino and guitarist Tony Lombardozzi leading the rhythm section and Grant Stewart out in front on saxophone, Giacomo sings and swings his way through a dozen tunes – some familiar favorites, some rarely heard gems. He may be soft and subtle or he may be hip and humorous but one thing Giacomo Gates is not, is predictable. ~ Amazon

NEW RELEASES: MARC CAREY - RHODES AHEAD VOL. 2 REMIXES; TOMOKO OZAWA - GENTIAN; DENNIS ROLLINS' VELOCITY TRIO - SYMBIOSIS

MARC CAREY - RHODES AHEAD VOL. 2 REMIXES

Marc Cary's genre-bending mix of jazz and electronica gets some added spice on his new 4-track EP, Rhodes Ahead Vol. 2 Remixes, a satellite project to the new album, Rhodes Ahead Vol. 2. Fans can expect more of Cary's signature style, dubbed a "self-assured trek to the heart of jazz-funk futurism" in The New York Times and "a new way of seeing music, art and the world-through groove" in DownBeat. On Rhodes Ahead Vol. 2 Remixes, the DJs of La Fine Equipe bring their signature trip-hop vibe to Cary's Indian-influenced "Spices and Mystics", while Dav***K , of TSF Radio in France brings on a chilled out electronica vibe in his remix of "Essaouira Walks". The package is completed by the debut of two new jazz-meets-electronica tracks from Cary's Mini Moogs Ago collection, a work in progress which extends his celebration and exploration of analog technology through various vintage and modern synthesizers such as the Minimoog Voyager, The ARP and The Access Virus. Cary's original compositions draw inspiration from his lifelong fascination with the intersection of Indian and African rhythms with modern jazz and electronica. ~ Motema

TOMOKO OZAWA - GENTIAN

Tomoko Ozawa's premier album, 'Gentian', exhibits far-reaching compositional influences that blend impressionist melodic gestures with hypnotic rhythmic nuance and the playful improvisation. Ozawa's pervasive and inviting musical influences are translated by the group's organic execution. Several pieces, including the title track, 'God made a little gentian', utilize the poetic mastery of Emily Dickinson to guide the listener through the narrative compositions. The time-tested art of Dickinson combines with the sensitive performance of Ozawa to create a conceptual attitude that takes the focus from the exquisite technicalities of the music, and offers it to the subtle and introverted depth of the poems. Alongside the 'poem-songs', Ozawa's trio is highlighted on a number of instrumental tracks. Her supportive rhythm section maintains loyalty to the greater arc of the album as a whole, and creates an enveloping bed on which Ozawa's deliberate and tranquilizing piano playing is laid. ~ CD Universe

DENNIS ROLLINS' VELOCITY TRIO - SYMBIOSIS

Dennis Rollins' Velocity Trio release "Symbiosis" - a progressive follow-up to their debut album 'The 11th Gate'. This album draws together the Trio's collective influences incorporating straight-ahead and avant-garde jazz, fused with tinges of rock and generous helpings of hard-funk. The infectious compositions aim to take listeners on a roller-coaster musical journey. Includes: Utopia, Reverence, Symbiosis, Hark!, Senhora Do Almortao, (Walk) In Their Shoes, Money, Boneyard, Bakkra, and The Rose. ~ CD Universe  

    

New York City-based vocalist DHEEPA CHARI releases PATCHWORK

With Patchwork, the new CD by Dheepa Chari, the outstanding New York City-based vocalist has taken a giant step into the forefront of contemporary jazz singers.  The influences of her personal inspirations are all fully displayed in her singing – the dulcet sultriness of Sarah Vaughan, the impeccable phrasing and effortless control of Ella Fitzgerald, and the emotional depth and sinuous lyricism of Billie Holiday. But the musical depth and creativity on this remarkable album also call to mind another icon of jazz vocalizing – the unparalleled Betty Carter. Like Betty, Dheepa is a band leader, not simply a vocalist with ensemble support. The musicians create a vivid synergy, weaving a rich tapestry of inspired creative interplay that takes the listener on a fascinating journey with each song. These are not theme-in/development/theme-out excursions, but rather full throttle adventures that conclude in a place far different from the departure point.

Each of the ten pieces on the album is developed entirely on its own terms, embracing various elements of the jazz vocal tradition without ever falling into categorization or succumbing to the expected.  Much of this can be credited to the extraordinary arrangements of Dheepa’s brilliant collaborator and pianist/keyboardist Lars Potteiger, who also co-composed three of the songs with Dheepa. Each arrangement is lovingly crafted to not only provide the perfect setting for the jewel that is Dheepa’s beautiful voice, but also to allow her to paint each song’s story on its own emotional canvas. The exemplary skills of producer Aaron Nevezie capture every nuance of this marvelous recording.

To deliver music of this substance, the musicianship must be at the highest level, and the musicians on Patchwork are flawless in execution and consummate in artistry. Joining Lars in the rhythm section are Dan Asher on both electric and upright bass, and Vin Scialla on drums and percussion. Together they provide the pulsing fire, sensitive rapport and dynamic flow as demanded by the expressive context of each piece. Violinist Daniil Davydoff and Mike DiRubbo on alto and soprano saxophones are added on a number of pieces. Daniil provides a shimmering, hypnotic radiance sometimes in obbligato and others in harmony, woven delightfully into the arrangements; while Mike’s vigorous, inventive solos and background textures vitally enhance each piece on which he’s featured. Most of the solo space goes to Lars – always imaginative, adventurous and fully integrated into the music without a wasted note or a flash of virtuosity for its own sake.

Of course, the core of the music is Dheepa’s luminous artistry and superb voice – warm, emotionally expressive, full-bodied throughout her extensive range, deeply soulful and richly compelling. The essence of all vocal artistry is to tell a story beyond the lyrics, not just through one’s personal sound and style, but by conveying the essence of the soul within the structure of the musical environment. Dheepa has mastered that thoroughly.

The repertoire is delightful – an excellent balance of originals, Great American Songbook classics and rock pieces.  The Chari/Potteiger originals include the album’s opener Semblance of Truth, a dramatic, moving, anthem-like piece built on emphatic piano chords and colored by violin; the adventurous Questions with a powerfully driving piano solo and buoyant vocal; and the title track Patchwork atmospherically blossoming from its rubato opening, incubated by violin and featuring alto and soprano solos in a context that has an early electric Miles feel.

The standards are fully re-imagined and completely refreshing in their approaches. Cole Porter’s Love for Sale is vibrantly up-tempo, spurred by horns and with Dheepaalternating long languorous tones and rapid fire phrases. Kern& Mercer’s beautiful I’m Old Fashioned is an unexpectedly bouncy jaunt that closes in a delicious soprano sax/vocal pas de deux. Woody Herman’s 1949 hit Early Autumn features Dheepa dancing briskly over the effervescently percussive rhythm section; and Fats Waller’s iconic Ain’t Misbehavin’ is a highly original and modernized version, embellished by violin and with Dheepa’s rhythmic thrust fluctuating boldly.

Dheepa also transforms a trio of popular rock songs and makes them her own. Again and Again – by British rockers Keane – uses very subtle and tasteful vocal overdubs to enhance the lovely melodic delivery over dramatically rhythmic chords. The French rock band Phoenix’s Lasso features Dheepa coiling sinuously around the rhythm section with exceptional percussive flavorings and mesmerizing synthesizer textures. A highly atmospheric, rubato, deeply moving take on Counting Crows’ Black and Blue closes out this captivating album on a most poignant note.

Following up on her excellent previous releases, 4th Street (EP) and Some New Fashion, Patchwork is a triumph.

Composer and Pianist ANTONIO ADOLFO explores Brazilian jazz with TEMA

For half a century, the eminent composer and pianist Antonio Adolfo has dedicated himself to the profound exploration of jazz in the context of the great Brazilian music tradition. While all of Antonio’s albums bear the unique stamp of his personal creativity and singular artistry, and feature many of his own compositions, he has often recently focused upon Brazil’s classic composers as well as the rich musical history and culture that have provided the landscape for one of the world’s most beguiling musical legacies. With his new AAM album Tema, Antonio looks back upon a very important part of that legacy – his own marvelous contributions, dating back to the 1960s.

More than 200 Antonio Adolfo songs have been recorded by his own groups and other major artists – including Sergio Mendes, Stevie Wonder, Earl Klugh, Herb Alpert and many others – and he has also written extensively for films and television in the past 50 years; but it’s been a while since he has chosen to focus an album entirely on his own music. He decided that it was time to do so – this time with an exclusively instrumental Brazilian Jazz approach. Tema is all Antonio Adolfo, brilliantly conceived in the reflection upon his own accomplishments through the prism of his mature focus and wisdom.

“My impression is that when composers are very young they express great spontaneity, but sometimes do not have enough musical maturity to be able to organize ideas as they can when they are more experienced. I have redeveloped my earlier ideas with new arrangements, made new bridges or even new changes and chords for the original melodies. To present all this in a contemporary way required not only a certain amount of creative work but also a wonderful team of musicians that came to join me on Tema."

This outstanding team is comprised of a group of remarkable musicians who have performed with Antonio for a good number of years, and who have helped make the great pianist/composer’s earlier AAM albums, such as Finas Misturas and Rio, Choro, Jazz … so heavily acclaimed.

Marcelo Martins provides the full bodied sounds of his flute and soprano sax, while Leo Amuedo and Claudio Spiewak contribute stunningly seamless interplay on electric and acoustic guitars respectively. Jorge Helder anchors the core of the music with his deeply resonant and flawlessly musical double bass, while the exhilarating intensity and impeccable rhythms of Rafael Barata on drums and percussion are further enhanced by the equally inspired percussion of Armando Marçal - and percussionist Hugo Sandim on one track.

Despite the highly personal focus of this project, Antonio’s generosity, crystal-clear vision and captivating arrangements provide the ideal context for the ensemble synergy to play its essential role in making this music everything intended by the leader. There is such a powerful group dynamic that the solos emerge from the ensemble interplay in a spontaneous and organic fashion as though nothing else could possibly be more appropriate at that particular moment of time. The solos are concise, splendidly structured and always in the moment, contributing imaginatively to the story being told, never allowing the virtuosity to detract from the thematic content – and always perfectly framed by the supporting ensemble.

The ten compositions were composed as early as 1967 with the earlier ones re-imagined so thoroughly with different melodies and new sections that many of them must be considered new compositions and in some cases have been re-titled. A number of the originals were composed with Brazilian lyricist collaborators Xico Chaves and Tiberio Gaspar, but are transformed as instrumental versions here. The collaborations with Chaves resulted in Natureza (Nature) and Todo Dia (Everyday). Natureza depicts its subject matter so viscerally that you can almost smell the fragrance of greenery in the air of mystery surrounding Martins’ flute buoyed by Barata’s various drums. Todo Dia’s deliciously suspended theme is sinuously played by Martins on soprano saxophone and is further enhanced by his coiling, serpentine solo.

Martins’ soprano is also the voice on Sao Paulo Express, a smoldering piece in locomotive/Baião drive with solos of blazing Amuedo melding into blistering Spiewak, riveting piano and soaring soprano. High energy is also the mode for SamboJazz, co-written with Claudio Spiewak, eliminating the drum set and acoustic bass and featuring Antonio on both acoustic and electric piano. Opening and closing with Carnival-like samba heat, Marҫal sets the mood for the three drummers and both guitarists to lay down the raw primitive rhythmic fire over which Antonio and Leo burn. The opening track, Alegria For All (Joy For All) is a surging excursion evoking the all night dance parties that traditionally take place in Northeast Brazil during the winter months of June and July.

The music moves to the other end of the emotional spectrum with the ethereal calm and hypnotic loveliness of Alem Mares (Beyond Seas). The original version was written in1969 to celebrate the conquest of space, but here Antonio shifts the emphasis to the sea, creating a sumptuous aura somewhat reminiscent of Herbie Hancock’s classic Maiden Voyage. Marked by a sparkling piano solo, it culminates in a luminous drum solo amidst shimmering flute and mesmerizing guitar touches. Gentility is also the texture for Trem de Serra (Hillside Train) like a desert flower whose petals possess a beauteous delicacy, but also a protective edginess, all supported by a rhythm section that is controlled and steady, but with an inner fire that seems always on the verge of eruption.

The Moorish influence upon Portugal that their people brought to Brazil is reflected on the medium tempo Phrygia Brasileira, structured upon the unusual Phrygian scale. It opens with Martins’ solo flute touching exotically upon the Navajo flute/Japanese shakuhachi styles and features lush piano, vibrant bass and gliding flute solos. Moody rubato flute winsomely introduces Melos interwoven with piano and guitars before melding into a gentle Bossa-ish groove that doesn’t in any way undermine the poignant beauty of the ballad.

Tema Triste was a Samba-canção (sort of a Brazilian bolero) when Antonio wrote it with lyricist Gaspar in 1967. It is reincarnated here as Variations on a Tema Triste, a breathtaking solo piano interpretation that fittingly closes this extraordinary album on a most exquisite note.

“The Portuguese word ‘tema’ is usually translated as theme, tune, melody or song; but in this title I want to evoke a sense of a musician inviting others to play. That’s the way jazz players mean it in Brazil."

The musicians here all accepted that term in exactly the way Antonio meant it… and they delivered in enthusiastic fashion, helping to create another wonderful album in the brilliant legacy of Antonio Adolfo.

Guitarist Brad Allen Williams releases debut album "Lamar"

On the heels of a busy year of sideman work with kris Bowers, Cory Henry, and principally José James, with whom he recorded the critically acclaimed While You Were Sleeping (Blue Note), emerging guitarist Brad Allen Williams announces the release of his debut LP Lamar.

In a deceptively bold departure from current vogue, Williams and bandmates Pat Bianchi (Hammond organ) and Tyshawn Sorey (drums) largely eschew overt high concept or purposeful displays of technical or harmonic virtuosity in this set. "This album is exclusively about creating and capturing a feeling, and this is reflected not just in the choice of material and musicians, but also in the way I produced the album, and the recording techniques we chose."

Indeed, the all-analog nature of Lamar stands out as unique. "The vinyl release of this will have never touched a computer at all. It was recorded with the three of us in one great-sounding room together using the best analog tape machines and a great analog engineer. The decision to opt for this process was a musical one. From my work as a producer, I've become convinced that most often the humanity lies in the little hiccups; the little mistakes. Too often contemporary recording techniques allow us to go in and sanitize things to satisfy our ego-- our desire to airbrush the blemishes out to present the best possible version of ourselves. It's human nature to want to do that, but the problem ism the listeners respond to, and relate to, the tiny flaws that reveal our humanity. Tiny things that seem egregious to the musicians themselves are only audible to the audience as a subconscious sort of warmth and honesty. That's the stuff I wanted to protect.

The analog recording and mix process is just a way to enforce that. It makes you ask yourself 'is this really getting in the way of the music?' 99% of the time it's not-- in fact, it's better than that; it's human, it's real, and it's evocative. It makes you less likely to sacrifice the moment for the sake of presenting... not a performance exactly, but sort of a highly-retouched showcase of instrumental skill. I'm bored of that. I wanted to trust the moment and create recordings of performances."

The album's palette may seem a bit of a departure to those who follow Williams's sideman work (Ann Powers of NPR compared his playing on While You Were Sleeping to both Jimi Hendrix and The Edge), but the direction on Lamar is supremely honest. "This group was born out of years of this trio playing together in various configurations. Those familiar with Tyshawn's more visible work, or with my more visible work, might be a little surprised to hear us this way, but I think these are our roots, all of us. I feel proud to have captured that on a gorgeous-sounding, high-fidelity analog record, and with such high-level musicianship from my collaborators."

Lamar is slated for a September 4, 2015 release.