ACT - Featuring Ben Wendel, Harish Raghavan & Nate Wood - Announce the Release of Their Second Recording, ACT II

The sophomore recording from ACT, ACT II, aligns the orbits of three of the most creative forces in our vast galaxy of music, Ben Wendel (tenor saxophone, melodica, bassoon), Harish Raghavan (bass), and Nate Wood (drums). These musicians are supremely talented, that is a given. What is fascinating and gripping is the level of their creativity, and their ability to fully express their individuality while complimenting each other. Their new recording ACT II, fulfills one's need to hear imaginative, adventurous music, and also stands as a shining example of what it means to play selflessly in a trio setting (albeit one with a distinct instrumentation); they are that in tune and sympathetic to one another, and together they conjure up another winner with this recording.

Ben, Harish and Nate, long-time friends and collaborators, have known each other for quite some time, and have found themselves side by side in many other groups (most notably - Kneebody, with trumpeter/composer Shane Endsley). Collectively they have appeared with Ignacio Berroa, Chaka Khan, Greg Osby, Vijay Iyer, Wayne Krantz, Daedelus, Billy Childs, Ambrose Akinmusire, Eric Harland, Mark Turner, and numerous others. Despite this plethora of outside opportunities, Ben, Harish and Nate feel an enticing lure to perform and record as this compelling trio. Wendel explains, "we've always had a great time as a trio and this group has always felt like the no pressure/just-for-the-fun-of-it project. After we recorded our first album years ago, we always assumed we would document the group again in the future. For me, it's great to keep coming back to this group and see how things have changed over the years." With the release of ACT II, the trio moves to the head of the queue as one of the most exciting bands on the scene.

ACT II was recorded at The Pocantico Center/Rockefeller Brothers Fund, in Tarrytown, NY (a connection made possible by Rio from The Jazz Gallery in NYC). "In the dead of winter, we stayed in a beautiful home upstate and recorded/composed for three days to make this album-it was a total blast," said Wendel. "This record, along with our first, was recorded in one room with no headphones. It's a very liberating way to record music as it gives the band a natural blend, and the recording space becomes a phantom band member. It adds to the familiarity of our musical relationship, and makes it very easy to make full sounding music with just 3 people and no chordal component", said Wood. Raghavan added that, "recording this CD was a unique experience; going to a random house, not knowing what the space would sound like, writing, and arranging and recording the record in three days. It was crazy, but also inspiring, and we did every tune in one or two takes. Something about the atmosphere was comforting, or maybe it was the band. Playing with Ben and Nate is and has always been very natural. We've played together for almost a decade, and months, even years, can pass between gigs, but there's always a familiarity that's inspiring." Highlights on the recording include "Unforeseeable", originally a duet for saxophone and trumpet that was to be included in Wendel's acclaimed "Seasons Project". It sounds tailor-made for the trio, and Nate and Harish relish in the driving, up-tempo groove in five. "Yes You" "is a new tune that I've been trying a bit in Kneebody and thought would fit well in this group," explained Wendel. With "Day and Night" we find a loose adaptation of the standard "Night and Day"; a riveting departure that has just enough of the original's elements to tease the ear and move the soul.

Grammy nominated saxophonist Ben Wendel (born in Vancouver, raised in Los Angeles, and currently living in Brooklyn) has enjoyed a varied career as a performer, composer, producer and conductor. Highlights include multiple domestic and international tours with artists such as Ignacio Berroa, Tigran Hamasyan, Gerald Clayton, Eric Harland, Taylor Eigsti, Snoop Dogg and the artist formerly known as Prince. Ben is a founding member of the Grammy nominated group Kneebody, currently signed with Concord Records. As a composer, he has received an ASCAP Jazz Composer Award, the 2008 and 2011 Chamber Music America "New Works Grant" and most recently was awarded the Victor Lynch-Staunton award by the Canada Council For The Arts. He also co-wrote the score for John Krasinski's 2009 adaptation of David Foster Wallace's "Brief Interviews With Hideous Men." Ben was honored to work with conductor Kent Nagano in producing a series of concerts for the Festspiel Plus in Munich, Germany. Since 2008, he has produced a multi-genre performance series at the Broad Stage in Santa Monica, California. Recently he was appointed the head of their Jazz and Blues initiative, which will include producing and expanding performance opportunities for these genres in Los Angeles. As part of this appointment, Ben helped to create an artistic council with includes such luminaries as Quincy Jones, Herb Alpert and Luciana Souza. Ben's recent producer work includes the Grammy nominated album "Life Forum" for pianist Gerald Clayton on Concord Records. Ben is a recording artist with Sunnyside Records and Concord Records, with two solo albums under his belt, Simple Song (2009) and Frame (2012), a duo project with French-American pianist Dan Tepfer entitled Small Constructions (2013) and multiple Kneebody albums. A third solo album is planned for release in 2015. Ben is a former Adjunct Professor of Jazz Studies at USC and a current Adjunct at the New School in NYC. Educational outreach has been a constant in his career with over 250 masterclasses at various colleges, universities, high schools and also previous work with the LA Philharmonic Artist Program. Ben had the honor of conducting a re-creation of "Bird With Strings" at Jazz At The Lincoln Center with guests Charles McPherson and Wes "Warm Daddy" Anderson.

Harish Raghavan grew up in Northbrook, Illinois. At age 8 he began studying Western and Indian percussion, and switched over to the double bass at 17. He was accepted to study double bass at the University of Southern California. Since moving to New York City he has quickly become a rising star on his instrument.

Grammy nominated Nate Wood is a drummer/multi-instrumentalist and mastering engineer based in New York City. He is a founding member of the Grammy nominated quintet Kneebody, which released their self-titled debut album in 2005 on trumpeter Dave Douglas's label, Greenleaf Music. In 2007, Kneebody released Low Electrical Worker on Colortone Media. They also completed an album of arrangements of Charles Ives compositions with singer Theo Bleckmann and released the recording 12 Songs of Charles Ives which was nominated for a Grammy for "Best Classical Crossover Album". Kneebody's latest record The Line was released on Concord Records in 2013.

In addition to Kneebody, Nate has also performed or recorded with many notable artists including Taylor Hawkins and the Coattail Riders, Dave Grohl, Brian May and Roger Taylor (Queen), Chris Squire (Yes), Elliot Easton (The Cars), Chaka Khan, Wayne Krantz, Billy Childs, Tigran Hamasyan, Donny McCaslin, Sting and many others. Nate was featured in Modern Drummer in March of 2014, and placed in the 2015 Modern Drummer Magazine reader's poll among the top 5 drummers in his category.

Along with his work as a sideman, Nate has released 3 albums of his own material, where he performed, recorded and mixed everything himself. His newest album "Another Time" was released in July 2014. Nate also masters records for artists from around the world (for an abbreviated list of credits.Nate is endorsed by Gretsch Drums, Istanbul Agop Cymbals, Promark Sticks, Remo Drumheads, Gibraltar Hardware, D'addario Strings, Aguilar Amplification and Moollon instruments.

NEW RELEASES: THORBJORN RISAGER & THE BLACK TORNADO - TOO MANY ROADS; ERIC ALEXANDER – THE REAL THING; JOHN TAYLOR - 2081

THORBJORN RISAGER & THE BLACK TORNADO - TOO MANY ROADS

This is one of Denmark's hardest working and most sought after bands. They have played as many as a hundred live gigs a year for the past ten years, become one of the country's hottest music exports, and have released seven albums. Now Thorbjørn Risager & The Black Tornado (formerly the Thorbjørn Risager Band) are coming out with their eighth album, Too Many Roads. Until recently the band released its records on a variety of Danish labels, but has now signed a contract with Ruf Records. This new collaboration reflects Thorbjørn Risager & The Black Tornado's great international potential, placing the band in the fine company of artists such as Walter Trout, Candye Kane, and Omar and the Howlers. For this latest recording, the band assembled a strong team for its recording session at the Medley Studio in Copenhagen, with Søren Andersen as engineer and Jesper Yebo Reginal in charge of mixing. This time the band has chosen to produce the album themselves. ~ Amazon

ERIC ALEXANDER – THE REAL THING

More than one jazz critic has claimed that listening to tenor saxman Eric Alexander unfettered and at length, is one of the greatest treats in jazz. This imposing improviser is reunited here with his mentor, the veteran pianist Harold Mabern and joined by another hot favorite, the legendary and amazing guitarist Pat Martino on three of the eight tracks. Add in the still stunning engineering of Rudy Van Gelder and the swing engendered by bassist John Webber and drummer Joe Farnsworth and you have a formula for excellence, if ever there was one. Martino and Alexander perform together often in a variety of venues and their collaborations have produced some of the most inspired playing on disc. ~ Amazon

JOHN TAYLOR - 2081

'A family project' is how Alex Taylor, singer-songwriter as well as John s son, labels the English pianist s latest album. A project made all the more poignant by the shocking news of John Taylor's death, in July, aged 72. And that is exactly what it is, considering that John, who wrote the music, and Alex, who wrote and sang the lyrics, are joined by Leo Taylor on drums. Oren Marshall on tuba, whose surname is not Taylor but who is most assuredly very close to the Taylor family, completes the quartet. '2081' draws inspiration from Kurt Vonnegut s short story 'Harrison Bergeron', published in 1961. John Taylor was commissioned to write the music by BBC Radio 3 for the Cheltenham Jazz Festival. Originally written for octet, it was then readapted for quartet. Alex Taylor explains: 'Vonnegut s story depicts a dystopian future in which everyone is equal. Nobody is allowed to be smarter, better looking or more physically able than anyone else. Those individuals who are gifted with intellect, talent and so on are made to bear handicaps '. At times, John Taylor s musical realm is reassuring and consistent with his own standards, while, at other times, it conveys the mysterious, unsettling future depicted by Vonnegut, by pursuing a hybrid sound, mingling jazz, pop and a moody soundtrack vibe. This pursuit definitely benefits from the sonic scenarios opened by Marshall s tuba, as well as the drumming style of Leo Taylor (already launched on a brilliant career on the indie-rock scene with his band The Invisible), who very often introduces modern, offbeat hypnotic rhythms here. ~ Amazon

NEW RELEASES: NARADA MICHAEL WALDEN - BILLIONAIRE ON SOUL STREET; DARIUS JONAS QUARTET - LE BEBE DE BRIGITTE; KIRK KNUFFKE - LITTLE CROSS

NARADA MICHAEL WALDEN - BILLIONAIRE ON SOUL STREET

Three-time Grammy and Emmy Award winning multi-platinum artist / producer Narada Michael Walden is releasing Billionaire On Soul Street, the first single from his upcoming full-length album Evolution! Producing and co-writing hits over the years for iconic artists such as Whitney Houston, Aretha Franklin, Diana Ross, Ray Charles, Gladys Knight, Wynonna Judd, George Michael, Mariah Carey, Barbara Streisand, Lionel Ritchie, Lisa Fischer, Stevie Wonder, Tom Jones, Jeff Beck, The Temptations, and countless others, Narada has been at the helm of hit music that spans decades. Marking his now 40th Anniversary in the music industry, Narada was recently honored by Billboard Magazine as one of the Top Ten Producers of All-Time, and now Billionaire On Soul Street has already garnered rave reviews worldwide. Narada reveals, "This song Billionaire on Soul Street means the world to me because it reflects my personal feeling of spirituality and that feeling renewed for life by having my children Kelly and Kaylah in my life and my wife Katie. Having children now at this time in my life really has touched my heart to feel like 'WOW! Look how lucky and how blessed I am by God.' So I used this slogan, cause' I feel so good, like a Billionaire on Soul Street!"

DARIUS JONAS QUARTET - LE BEBE DE BRIGITTE

Le Bébé de Brigitte (Lost in Translation) is alto saxophonist-composer Darius Jones new album work, and the 5th installment in his expansive Man ish Boy epic. The highly acclaimed series began in 2009 with Man ish Boy (A Raw & Beautiful Thing), and shall eventually comprise nine albums. This release arrives soundly at the mid-way point with aplomb, and is performed by the Darius Jones Quartet featuring vocalist Emilie Lesbros. As ever with Jones work, the compositional palette ranges widely here. From the new blues swagger of 'Universal Translator' to the equally universal sense of great loss evoked in 'I Can t Keep From Weeping' (as aching a ballad as Jones has yet written/recorded); from the infectiously swinging & (finally) unhinged cabaret dialogue that is 'Chanteuse in Blue' to perhaps the deepest essence of the album (and platforms of intent) which are 'Two Worlds, One Soul' & 'Beneath The Skin', a pair of extended works which evolve with the utmost in careful consideration to timing and gesture by all involved. French singer-lyricist Emilie Lesbros own composition, 'Quand Vient la Nuit' (arr. by Darius Jones) closes and lyrically encapsulates the album: espousing no fear, in life, in art. ~Amazon

KIRK KNUFFKE - LITTLE CROSS

Kirk Knuffke chose for this his sixth leader/co-leader album somewhat special material (music that relates to spirituality and death) and executed beautifully with superb support from B-3 organ player Jamie Saft and legendary drummer Hamid Drake. The leader of this album Kirk Knuffke has been voted "Rising Star (trumpet)" of 2015 by the prestigious DownBeat Magazine's Critics Poll. Kirk moved to NYC just 10 years ago and he has firmly established as one of the most sought after cornetist/composer on the scene. Personnel: Kirk Knuffke (cornet), Jamie Saft (Hammond B3, syntheziser), Hamid Drake (drums). ~ Amazon

MINDI ABAIR & THE BONESHAKERS ROCK HER FIRST LIVE CD, LIVE IN SEATTLE

Mindi joins forces with blues rock veterans The Boneshakers for a September 25, 2015 release, recorded LIVE at Jazz Alley

Raw, Edgy and Inspired- 11 Originals, 2 Raucous Covers and 3 Brand New Songs Ignite a Different View of the Saxophone Fueled by Rock, Blues and Soul

In a career that spans seven solo albums and countless collaborations in the studio and live on stage, Mindi Abair has made her mark as one of the most recognizable saxophonists in the US. You may know her as the saxophonist on American Idol, or the only saxophonist to tour with rock legends Aerosmith since 1973. You may have seen her on stage with Bruce Springsteen for a historic night at the Beacon Theater, or tuned in as she joined Paul Shaffer and the CBS Orchestra on the Late Show with David Letterman, or caught her recent appearance at The Grand Ole Opry or as Al Pacino’s sax player in Danny Collins.

Her seven solo CDs have garnered ten #1 radio hits, six top 5 spots and two #1 spots on the Billboard Contemporary Jazz album chart. Abair received a 2014 GRAMMY® nomination in the Best Pop Instrumental Album category for Summer Horns, a #1 recording with her friends Dave Koz, Gerald Albright and Richard Elliot, and more recently received a 2015 GRAMMY® nomination for Best Contemporary Instrumental Album for her solo cd Wild Heart.

After Wild Heart, Abair wanted to translate its edgier rock/soul sound to the stage. She called longtime friend Randy Jacobs (Bonnie Raitt, Was (Not Was), Willie Nelson) to join her live band. Randy brought his Detroit blues/rock edge to her music.  In June, Randy’s band, The Boneshakers, was playing The Newport Beach Jazz Festival on the same bill as Mindi’s band, and she hopped on stage to “sit in” with The Boneshakers. “There was so much electricity on stage. We all felt it. The blues and rock just pulsed through me. Everyone played with complete abandon,” Abair said. “It felt like home. And most of my band was also playing with Randy’s band. It was really only about hiring longtime Boneshakers vocalist Sweet Pea Atkinson (Bonnie Raitt, Was (Not Was), Lyle Lovett). So we made it official and hit the road as Mindi Abair and The Boneshakers.” Which brings us to Mindi Abair & the Boneshakers Live in Seattle, set for release September 25, 2015 on Heads Up, a division of Concord Music Group.

Tracked at Jazz Alley over Valentine’s Day weekend (Abair’s standing gig for a dozen years), this album captures the intent of a rock band, the grit of a blues band and enough energy to light a stadium. Fourteen sizzling tracks include eleven originals and two dramatic covers, which feature the exceptional combined skills of Mindi Abair (alto saxophone, vocals, producer), Randy Jacobs (guitar, vocals), Sweet Pea Atkinson (vocals), Rodney Lee (keyboards), Derek Frank (bass, vocals), and Third Richardson (drums, vocals).

The album opens with a bang on the throbbing “Wild Heart” featuring Mindi’s melodic saxophone. The band flows right into “Haute Sauce,” which features a driving beat and a joyous Eddie Harris vibe. On “I Can’t Lose,” Mindi adds some swagger singing “It’s my time, it’s gonna go my way,” then breaks into a screaming saxophone solo. “Ball and Chain” is a gutsy, bluesy Boneshakers classic with Sweet Pea Atkinson growling and grinding his appeal, “I never want to be your ball and chain.” And the house lights up with Sweet Pea, Mindi and the rest of the band on the uplifting heart-grabber, “Be Beautiful.” Abair also adds three new songs to the set, including her haunting original “Gone,” “Make it Happen,” a powerhouse rocker penned by Abair and icon Booker T. Jones, and an indelibly original take on George Gershwin’s “Summertime,” which roars with Jacob’s fiery Hendrix-inspired rock riffs and Abair’s soaring alto work.

Mindi’s ode to stadium jazz, the anthemic “Bloom” takes off like a jet engine with Jacobs and Abair front and center. And there’s nothing but old Memphis soul when Abair and Jacobs trade vocal lines on “I’ll Be Your Home” (which featured another longtime friend, Keb’ Mo’, on her Wild Heart version.) On her funk guitar-driven song “Flirt,” Mindi struts her stuff. And Randy’s muscular funk-rock arrangement of “Cold Sweat” — which pays as much homage to BB King as it does James Brown — closes the album with raucous exuberance.

“I’ve always felt that my band is a live band first and foremost,” says Abair. “I’m happiest on stage. And The Boneshakers just brought it to a whole new level. I’ve always been a fan of Randy’s band.  We’ve been friends and have played with each other on and off for over 20 years. The marriage of me with The Boneshakers has been an infusion of blues and rock into my sound that is beyond inspiring. I’ve never made a live record, and this is why you make one — because your live show has magic, and you want to capture and share that magic.”

Abair regards Live in Seattle, which she produced, as an extension of the energy she poured into Wild Heart following the experiences that led to it, all of which reawakened her beloved rock ‘n’ roll side. (Even the Los Angeles Times noticed, labeling Abair “the Joan Jett of saxophonists” in its coverage of the January NAMM’s She Rocks Awards.) Wild Heart tapped talents including Aerosmith guitarist Joe Perry, rocker Gregg Allman, guitar hero Waddy Wachtel, Trombone Shorty, Keb’ Mo’, Booker T. Jones and E Street Band drummer Max Weinberg.

Abair’s first inspirations came from her musician father, who towed his family on tour until she was five, and her opera-singing grandmother. Once the family settled back home in St. Petersburg, Fla., her birthplace, she began her own musical explorations, first with piano, then sax. Though even today, female sax players are treated as anomalies, she reflects, “I was never told that it was odd for a girl to play saxophone until it was way too late. What a great gift to be taught, ‘You can be anything you want. Go play any instrument you want and it’s going to be cool.’”

And if writing, recording and touring aren’t enough, Abair authored the book “How To Play Madison Square Garden – A Guide To Stage Performance” and she launched her own fine jewelry line www.mindiabairjewelry.com in December of 2014. She also serves as a National Trustee for The Recording Academy, the company that puts on the GRAMMYs. “It’s been a very eye-opening and inspiring role,” she says. “What an honor to serve as a leader in the most preeminent organization of the music business. This is a group of people who give back constantly to inspire and strengthen the next generation of music makers, and they remind me daily what beautiful power we hold as creators of music.”

It helps that she’s still so inspired to push her own boundaries as a musician and writer. Abair says, “A record is supposed to be a snapshot of where you are in your life. Well, that’s what this is. It’s a band that I absolutely love playing with, and the audience is as excited as I am every night. That’s what it’s all about. As long as I can make great music and have so much fun with these guys, I’m going to do it. Life is short. Play music that makes you happy. Play with people that inspire you. I’m doing that every night. It’s just amazing.

NEW RELEASES: MARVIN GAYE - HELLO BROADWAY; WILSON PICKETT - MR. MAGIC MAN: THE COMPLETE RCA STUDIO RECORDINGS; JAY DEE - COME ON IN LOVE

MARVIN GAYE - HELLO BROADWAY

Nothing too Broadway here – as the album's a warmly soulful set that shows a mellower side of Marvin Gaye for the 60s – the deeper, more jazz-inclined side of his vocals, which makes for a nice contrast to his bigger hits of the time! Gene Page handled most of the arrangements, so you can bet that the sound is mighty solid – a groove that gets past standard Motown modes of the time, and opens up with a hint of the more sophisticated Marvin to come in the 70s! It's great to hear Gaye take his own turn with familiar tunes like these – and titles include "Walk On The Wild Side", "Hello Broadway", "My Way", "What Kind Of Fool Am I", "People", "The Party's Over", "Days Of Wine & Roses", and "This Is The Life". ~ Dusty Groove

WILSON PICKETT - MR. MAGIC MAN: THE COMPLETE RCA STUDIO RECORDINGS

Between 1964 and 1972, Wilson Pickett established himself as one of the greatest soul men of all time with a string of incendiary pop and R&B smashes like “In the Midnight Hour,” “Land of 1,000 Dances,” “Mustang Sally” and “Funky Broadway.” But the Wicked Pickett’s scorching career didn’t stop when he left Atlantic Records.  Beginning with 1973’s Mr. Magic Man, Pickett recorded four soulful studio albums for RCA Records, where, in an extremely productive two years, he notched his final Hot 100 hits as well as a string of R&B chart successes.  Yet, Pickett’s RCA discography has been all but ignored in the compact disc era. Now, Real Gone Music and Second Disc Records are proud to present the first-ever appearance on CD of all four of Wilson Pickett’s sizzling, funky RCA studio platters on Mr. Magic Man: The Complete RCA Studio Recordings. This 2-CD package includes Mr. Magic Man (1973), Miz Lena’s Boy (1973), Pickett in the Pocket (1974) and Join Me and Let’s Be Free (1975) plus four rare, never-on-CD bonus singles to paint a full portrait of this exciting era. For these sessions, Pickett teamed with producers including Brad Shapiro, Dave Crawford and Yusuf Rahman, and recorded at legendary venues including Muscle Shoals Sound and Philadelphia’s Sigma Sound Studios, where Pickett had recorded some of his most indelible Atlantic sides. The collection takes its title from the hit single written by the team of Bobby Eli and Vinnie Barrett (“Sideshow,” “Love Won’t Let Me Wait”) which captured Pickett in a smooth Philly groove. Vic Anesini at Sony’s Battery Studios has remastered this first-of-its-kind collection, while Joe Marchese has penned the liner notes. Mr. Magic Man: The Complete RCA Studio Albums adds up to 42 tracks and 148 minutes of wicked good—and wickedly rare—soul from the iconic voice of Wilson Pickett! 

JAY DEE - COME ON IN LOVE (EXPANDED EDITION)

With production by Barry White, and seven of its nine songs written or co-written by the Walrus of Love, you d think that this one-off release from Jay Dee was in reality all but a solo album from White. And you know what? You d be right...almost. For while Come On In Love sports the trademark lush orchestration (with arrangements by Gene Page) and funky rhythms that made Barry White a superstar during the 70s, the artist Jay Dee was, if not an equal partner, a worthy front man. Born Earl Nelson, he first surfaced in 1963 as half of Bob & Earl on the hit Harlem Shuffle (which was arranged by you guessed it a young Barry White)! Then, as Jackie Lee he scored a huge novelty hit two years later with The Duck, which again had Barry in the background (the two co-composed the single s flip, Ooh Honey Baby ). So, this 1977 album was actually a collaboration between two seasoned pros, and it showed it with a number of slow-burning jams spearheaded by excellent soulful vocals from Jay/Earl/Jackie. Our Expanded Edition includes two bonus tracks, both sides of the Strange Funky Games and Things single featuring the single edit and a long instrumental version under the name Games and Funky Things, with liner notes by Gene Sculatti that explore the background behind this lost classic of 70s soul. If you missed this one the first time around, don t miss it again!

Keyboardist Michael Gallant's "Live Plus One" To Be Released October 9

Michael Gallant Trio Live Plus One With his well-received 2013 debut Completely, keyboardist/composer Michael Gallant emerged as a stylistically omnivorous musical force, "an artist unafraid and bending the tradition," in the words of one critic. Gallant continues to explore his disruptive musical proclivities on his sophomore release, Live Plus One, due out October 9 from his Gallant Music label.

Recorded live and almost exclusively at Levine Music in Washington, DC, where Gallant studied piano as a teenager, Live Plus One first came together when the school invited him to perform as part of an alumni concert series in 2014. With his Nord Electro 3HP keyboard tucked underneath the keybed of a Steinway Model D, Gallant delivered a sumptuously inventive set with his working trio: electric bassist Dmitry Ishenko and drummer Rob Mitzner, a longtime friend and once-again bandmate from Gallant's days growing up in the DC area. The ensemble performed a kinetic program of Gallant originals, joined on five tracks by veteran DC acoustic bassist Pepe Gonzalez (the "plus one"), whom Gallant has considered a mentor since his teenage years.

"When I work with this trio," says Gallant, "I want to combine the sophistication and rigor of the pianists I love -- people like McCoy, Herbie, Duke, and Bill Evans -- with the raw energy of the grunge rock acts that I grew up with. Melding those influences is a big reason why I play the Nord and piano at the same time. I love how those sounds can melt and fuse with each other, like two sides of the same voice."

  

Co-produced by Gallant and his wife and frequent musical collaborator Rachel Rossos, the album opens with "Returned," a quietly captivating piece that combines the lush chords of a rock anthem with the soaring harmonies of a Romantic concerto. "Completely," the album's centerpiece, is fueled by a powerful rock riff that embodies the "edge, rawness, and rage" of Gallant's grunge roots "with more delicate, soaring harmonies and melodies." "Greens" is an altered blues that develops fierce momentum; the passionate "Sandra and Michel" was inspired by the legendary Dominican pianist Michel Camilo and his wife; "The Real Maria" is a piece of buoyantly grooving piano funk that pays tribute to his influential piano teacher Maria Rodriguez. "Love You Better," a solo stride-piano and dissonance-infused excursion recorded live at Musideum in Toronto, is the album's closer.

Recently, Gallant was commissioned to compose, perform (leading a quartet), produce, and record original jazz for use in the Hollywood film About Ray, a transgender-themed drama starring Elle Fanning, Susan Sarandon, and Naomi Watts. Fanning plays a New York City teen transitioning from female to male; Watts is her single mother and Sarandon, a lesbian jazz manager/grandmother. The film is due for a 9/18 release by the Weinstein Company.

A noted music journalist, Gallant spent almost a decade as a writer, and eventually Senior Editor at Keyboard magazine, interviewing artists ranging from Dave Brubeck and Billy Joel to will.i.am, Herbie Hancock, and many more. Often, his interviews would evolve into four-hand jams at the piano.

 Michael Gallant Born in Silver Spring, Maryland in 1980, Michael Gallant attended Sidwell Friends School in Washington, DC. The son of a musical family, he began piano lessons at age five, but it wasn't until he began studying with Maria Rodriguez at Levine Music that jazz became a true focus. "I had always appreciated jazz and knew who Duke Ellington was, but she was the one who got me into improvised music and taught me the blues," Gallant says.

He attended Columbia University, where a spontaneously chosen class on Japanese doomsday cults inspired him to earn an undergraduate degree in anthropology. "Being interested in pretty much everything, music and beyond, is a big part of my personality," Gallant says.

Gallant's work at Keyboard began shortly after he earned his degree in 2003 and continues to date. He resigned his full-time editorship in 2009 to run Gallant Music LLC, a company through which he has composed theme music for the world's first iPad interactive graphic novel, scored the award-winning indie feature drama Remedy, and released albums by both the Michael Gallant Trio and Aurical, Gallant's singer/songwriter project with Rossos; the latter group made its Lincoln Center debut in 2013.

Still an avid journalist, Gallant's writing clients include the National Endowment for the Arts, the U.S. Department of State, and DownBeat. As a studio musician, Gallant contributed to the album Winds of Samsara by Ricky Kej and Wouter Kellerman, a project that won the 2015 Grammy Award for Best New Age Album.

"Jazz is the best label for what we do, but it's only part of the picture," Gallant says of his trio. "There was such a great vibe in that room when we recorded live at Levine, playing for my friends and family in my hometown. It was wonderful to be able to capture that in a project that I'm really proud of."

Fall 2015 Performances by Michael Gallant (more to be announced):

Thurs 9/24 (6pm), Hopewell Valley Vineyards, Pennington, NJ

(duo performance with James Popik, g)

Tues 9/29 (8pm), Monthly Residency at Tomi Jazz, 239 E. 53rd Street, NYC

(with Dmitry Ishenko, eb; Rob Mitzner, d)

Sat 10/10 (8pm), The Record Collector, Bordentown, NJ

(with Dmitry Ishenko, eb; Rob Mitzner, d)

Fri 10/16 (9:30pm), Kuumbwa Jazz, Santa Cruz, CA

Fri 10/23 (8pm), The Sound Room, Oakland, CA

Fri 11/6 (8pm), Buttonwood Tree Performing Arts Center, Middletown, CT

(with Dmitry Ishenko, eb; Rob Mitzner, d)

 

NEW RELEASES: IAN LEVINE'S SOLID STAX SENSATIONS; ROSCOE MITCHELL QUARTET – CELEBRATING FRED ANDERSON; DANIEL SMITH - JAZZ SUITE FOR BASSOON

IAN LEVINE'S SOLID STAX SENSATIONS (VAROUS ARTISTS)

A deep deep dig into the legendary Stax Records – a set that goes way past the hits, way past some of the bigger reissued tracks, and pulls out some true treasures from the label's ultra-rich second chapter! The work here is all from that post-1968 period when Stax split with Atlantic Records – a time when the company was recording so much wonderful music, and trying to do so much at once, that lots of gems like these hardly got noticed at the time – even though they're every bit as wonderful as the bigger Memphis hits from the time. And although Ian Levine is a name you might normally know from disco productions, or older Northern Soul work – he's got a surprisingly great ear for Stax, too – and pulls out these fresh, different moments from the label's catalog – most of them tracks from some of the lesser-known artists who recorded at the time. We're really surprised at how much we love this set – truly one of the freshest Stax collections in years – and titles include "Since I Lost My Baby's Love" by Major Lance, "Can You Win" by Charlene & The Soul Serenaders, "Loser's Seat" by Joni Wilson, "You're My Only Temptation" by Roz Ryan, "City Of Fools" by Colette Kelly, "Hang On" by Annette Thomas, "If You Look Into My Eyes" by Proud As Punch, "I Still Love You" by TSU Tornadoes, "Habit Forming Love" by Reggie Miller, "One More Chance" by Margie Joseph, "Cool My Desire" by The Cheques, "Put Me In The Mood" by Sylvia & The Blue Jays, "Where Would You Be Today" by Ilana, and "Special Kind Of Woman" by Paul Thompson. ~ Dusty Groove

ROSCOE MITCHELL QUARTET – CELEBRATING FRED ANDERSON

One of the boldest performances we've heard from Roscoe Mitchell in years – a beautiful live set performed in dedication to the late Fred Anderson – at Chicago's Constellation performance space, a music club that's picked up the torch from Anderson's legendary Velvet Lounge! The sound of the set is wonderful – beautifully recorded, with so much tone and texture, you'd hardly think the setting was a concert – and Mitchell builds his reed passages wonderfully in a quartet that also includes Tomeka Reid on cello, Junius Paul on bass, and Vincent Davis on drums – all players who seem to hit Mitchell's very AACM-centric style of performance for the evening. Tracks are mostly long, and echo some of Anderson's freewheeling spirit on tenor – and Roscoe plays alto, soprano, and sopranino – on tracks that include "Hey Fred", "Velvet Lounge", "Song For Fred Anderson", "Bernice", and "Cermak Road".  ~ Dusty Groove

DANIEL SMITH - JAZZ SUITE FOR BASSOON

Daniel Smith has had an illustrious career over the years showcasing the potential of the bassoon in classical, jazz and crossover.  With his many recordings and liver performances, he has taken the bassoon into unchartered territory with ground breaking and award winning albums.  Along with recording 50 concertos with orchestra, his albums featuring crossover, ragtime, bebop, swing, Latin, and now this unique Jazz Suite, have demonstrated just how versatile a bassoon can be, and performed at the highest level of artistry and virtuosity.  With this release of ‘Jass Suite For Bassoon’ on the Summit Label, Michael J. West, in his liner notes, points out how this recording represents a ‘manifesto’ for Saniel Smith, a ‘vision of what’s possible on his too-often pigeonholed instrument’, and ‘a display of what Smith and the bassoon can do’. With future recordings in the pipeline showcasing the music of the great swing bands, as well as the music of Charlie Parker and his contemporaries, Daniel Smith has proven, and will continue to do so, what a bassoon is capable of doing in the hands of a master of this instrument. 

BROOKLYN-BASED REGGAE BAND NEW KINGSTON ANNOUNCES “THE PROTECT ME TOUR”

New Kingston, the NYC-based, chart-topping reggae band, will embark on an extensive fall tour in support of their new single and music video “Protect Me,” off their #1 Billboard album Kingston City (released earlier this year on Easy Star Records).  “Protect Me,” which features guest vocals from the legendary reggae group The Wailing Souls.The debut of the accompanying music video will be unleashed in September shortly before the band launches a 30+ city national tour.  Fans can keep up with all the tour happenings via social media with the hashtags #TPMT and #NEWKINGSTON.  Tickets go on sale for most shows at 10am EST on Friday, August 7, 2015 at http://newkingstonmusic.com

New Kingston is a true family affair, featuring three brothers (Stephen, Courtney Jr., and Tahir), who all sing and play instruments, joined by their father, Courtney Sr., who plays bass. With their Jamaican roots, reggae is in the band’s blood, but having grown up in the musical melting pot of New York City, the three brothers bring in plenty of other influences as well.  The latest record includes 12 songs and guest appearances by members of Tribal Seeds, Hawaiian singer-songwriter Kimie Miner, Sister Carol, The Wailing Souls, and the late, great reggae legend Sugar Minott.

The song “Protect Me” revolves around the positive message of staying true to your core values especially in the face of the many distractions the universe throws your way.  Stephen elaborates, “The song is about protecting yourself from the different entities that take you away from your path and staying strong.  It’s asking for protection from a higher force.  Tahir’s verse states ‘They try and clip our branches, but can’t kill our roots,’ and this is exactly the statement we want our single and tour to promote.”  Don’t miss the opportunity to catch what FDRMX calls, “a refreshing brand of reggae that is as authentically Jamaican as it is refreshingly unique among other U.S. reggae outfits.”

--- TOUR DATES ---

SEP 24 Providence, RI - Fete

SEP 25 Virginia Beach, VA - Shaka's Live

SEP 26 Asbury Park, NJ - TBA

OCT 2 Vienna, VA - Jammin' Java

OCT 3 Myrtle Beach, SC - Carolina Roots Sessions

OCT 4 Atlanta, GA - Smith's Old Bar

OCT 7 Sanford, FL - West End Trading Co.

OCT 9 St. Petersburg, FL - Jannus Live

OCT 10 Boca Raton, FL - Funky Biscuit

OCT 11 Jupiter, FL - Guanabanas

OCT 12 New Orleans, LA - Blue Nile

OCT 13 San Antonio, TX - Jack's Patio Bar

OCT 15 Houston, TX - Scout Bar

OCT 16 Albuquerque, NM - Launchpad

OCT 17 Mesa, AZ - Club Red

OCT 18 Las Vegas, NV - Hard Rock

OCT 22 San Diego, CA - Tin Roof

OCT 23 Los Angelos, CA - The Mint

OCT 24 Santa Cruz, CA - The Catalyst

OCT 26 Sacramento, CA - Harlows

OCT 28 Eugene, OR - WOW Hall

OCT 29 Portland, OR - Goodfoot Lounge

OCT 30 Seattle, WA - Sunset Tavern

NOV 2 Aspen, CO - Belly Up

NOV 4 Denver, CO - Cervantes' Other Side

NOV 5 Fort Collins, CO - Hodi's Half Note

NOV 6 Kansas City, MO - Riot Room

NOV 7 Minneapolis, MN - Cabooze

NOV 8 Chicago, IL - Schubas

NOV 13 Burlington, VT - Nectars

NOV 14 Boston, MA - Brighton Music Hall

Pianist Catherine Marie Charlton fuses contemporary jazz on new release Maiden's Voyage

The tenth album release in Catherine Marie Charlton's twenty-plus year recording career, Maiden's Voyage arcs gracefully through orchestrations and styles ranging from contemporary jazz to Charlton's spacious meditations.  The common motif is the pianist/composer's identifiable sound-passion, strength, and power, flowing interchangeably with tender expressiveness.

Mastered by Grammy® winning engineer/producer Phil Nicolo (Spanish Harlem Orchestra, Bob Dylan, Lauryn Hill), Maiden's Voyage represents a decade-long collaboration between producer Charlton and recording/mixing engineer Eric Troyer (ELO Part II/The Orchestra), who brings his sensibilities and significant musicianship to the project. Guest musicians on the album include: Elliott Levin (Cecil Taylor, Marshall Allen) on flute and tenor saxophone on "Birds Flower" & "The Lonely Cobbler", Jeff Oster (three-time winner "Album of the Year" Zone Music Reporter/ZMR) on three tracks including the piano/flugelhorn duet "Sepia Moon", Steve Meashey on bass, and drummer and percussionist J. Jody Janetta.  Barry Green, Cincinnati Symphony principal bassist for 28 years, also contributes on "Which You Which World." 

Of her partnership with Janetta, Charlton recalls - "Fifteen years ago I was a solo classical pianist beginning to explore improvisation. Jody heard something in my playing akin to the classically-influenced improvised music which had been a big inspiration to him, and he asked if we could perform together. Our musical connection was magic from the start. Jody introduced me to his jazz record collection and we went on to perform as a piano-percussion duo for many years.  We parted ways for a bit during the time of my solo releases - Red Leaf Grey Sky and River Flow, and have now reunited for Maiden's Voyage. The one-take improvisation "Beneath the Dream" was the first track captured on the first day of recording, after four years apart." 

In addition to seven originals, Maiden's Voyage features Charlton's lyrical improvisation on Eden Ahbez' "Nature Boy" infused with Sun Ra-inspired chromatic complexity, "Adios Nonino" by Astor Piazzolla, Erik Satie's ethereal "Gnossienne No. 4", and two deeply emotional versions of the standard tune - "Autumn Leaves."  The album's only non-improvisatory piece is Alberto Ginastera's "Dance of the Graceful Maiden (Danza de la moza donosa)".

Charlton credits much of her approach to the teachings of long-time mentor David Darling (ECM Records, Hearts of Space, Wind Over the Earth Records, etc) and his organization Music for People.  As a young pianist, Darling was very influential when he told Charlton that her passion and commitment to the moment was impressive. Humbled by his words Charlton has tried to live up to them ever since.

Catherine Marie Charlton's recording Red Leaf, Grey Sky won the Independent Music Awards for Instrumental EP and was also awarded "Best Instrumental Album-Piano" in the 8th Annual ZMR Awards, as voted on by broadcasters worldwide.  Most recently, she performed on several tracks for Jeff Oster's (Bernard Purdie, Chuck Rainey, Nile Rodgers, etc) Next recording.  A recipient of numerous grants and residencies from organizations including the Delaware Division of the Arts, Pennsylvania Council on the Arts, and the Brush Creek Foundation for the Arts, the Steinway Artist is currently composing a body of works inspired by the Wyeth family of artists in collaboration with the Brandywine River Museum of Art.

New Elvis Presley Album If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra To Be Released October 30

Legacy Recordings, the catalog division of Sony Music Entertainment, has announced the release of If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra, worldwide on October 30, 2015.  The remarkable new album features classic Elvis vocal performances with brand-new orchestral accompaniment, along with a duet with Michael Buble, and appearances by Il Volo and Duane Eddy.

An exciting revisit of Elvis' work, If I Can Dream focuses on the iconic artist's unmistakable voice, emphasizing the pure power of The King of Rock and Roll. Recorded at Abbey Road Studios in London with acclaimed producers Don Reedman and Nick Patrick, the 14-track album features Elvis' most dramatic original performances augmented with lush new arrangements by The Royal Philharmonic Orchestra.  "This would be a dream come true for Elvis," Priscilla Presley says of the project. "He would have loved to play with such a prestigious symphony orchestra. The music…the force that you feel with his voice and the orchestra is exactly what he would have done."  Don Reedman also commented, "Abbey Road Studios and the Royal Philharmonic Orchestra are as good as it gets and Elvis deserves as good as it gets."

The album features a scintillating duet with best-selling jazz-pop singer Michael Buble on "Fever." The album also includes additional contributions by Rock and Roll Hall of Fame guitarist Duane Eddy adding his signature sound to "An American Trilogy" and "Bridge Over Troubled Water," and Italian operatic pop trio Il Volo lending their outstanding vocals to "It's Now or Never."  As arranger Nick Patrick said, "This is the record he would have loved to make."  If I Can Dream also highlights Elvis Presley's diverse musical tastes and appreciation for great vocalists spanning a variety of genres from standards to opera.

If I Can Dream is part of the ongoing ELVIS 80th Birthday Celebration in 2015, which has been commemorated with a newly-redesigned website, www.ElvisTheMusic.com, the release of The Complete '60s Albums Collection Vol. 1 and Vol. 2 on iTunes (August 7), and the launch of "Direct From Graceland: Elvis at the O2," the largest Elvis retrospective ever mounted in Europe.

If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra

Track listing

Burning Love

It's Now Or Never

Love Me Tender

Fever (feat. Michael Buble)

Bridge Over Troubled Water

And The Grass Won't Pay No Mind

You've Lost That Loving Feeling

There's Always Me

Can't Help Falling In Love

In The Ghetto

 How Great Thou Art

Steamroller Blues

An American Trilogy

If I Can Dream

THREE CLASSIC LEE RITENOUR ALBUMS DIGITALLY RE-MASTERED IN ONE COLLECTION

Sweet fusion from the great Lee Ritenour – three classic albums on two CDs! First up is Captain's Journey – a masterful fusion set from guitarist Lee Ritenour – one that expands his sound a bit more than usual by adding in vocals on a number of tracks – but in a way that really gets at the mainstream soul influences that bubble through his jazz work! The set features key vocal appearances from Patti Austin, Tom Baylor, and Bill Champlin – all singers who really know how to respect the instrumental side of a tune, too – which is great, given that the record also features keyboards from Dave Grusin and Patrice Rushen too. Titles include "That's Enough For Me", "Sugarloaf Express", "What Do You Want", "Matchmakers", "Morning Glory", and "The Storm". 

Feel The Night is a key album from a time when Lee was still very much at the top of his game! Although tight overall, the album's never too commercial to be cloying – and Lee's approach here is a great example of the way that mainstream 70s fusion managed to balance all its best elements nicely – from soulful rhythms on the bottom, to sharp-edged solos on the top, to some of the smoother studio glue that holds the whole thing together in the middle! Ritenour plays a range of different guitars – and other players include Don and Dave Grusin on keyboards, plus keys from David Foster as well – plus saxes from Ernie Watts, piano from Joe Sample, and drums from Steve Gadd. Patti Austin sings a bit on the set, but the album's a mostly-instrumental affair overall – and titles include "Feel The Night", "Market Place", "Wicked Wine", "French Roast", and "Midnight Lady". 

Rio is smooth jazzy fusion from Lee Ritenour – a classic set that was originally only released in Japan, part of the underground Japanese Fusion movement of the late 70s, famous for groove hounds for that added level of soul that often wasn't showing up in American releases at the time! The album was recorded in both Rio and LA – with work by a mixture of Brazilian and American fusion players, including Chico Batera, Oscar Castro Neves, Alex Acuna, Don Grusin, Dave Grusin, Steve Forman, and Marcus Miller. Includes the smooth funk classic "A Little Bit Of This & A Little Bit Of That", plus the cuts "Simplicidad", "Rainbow", "Rio Funk", "San Juan Sunset", and "Ipanema Sol".  ~ Dusty Groove

NEW RELEASES: SYL JOHNSON – COMPLETE TWINIGHT SINGLES; BILLY WOOTEN - WOO HOO BIBI; FEELIN’ JAZZY (VARIOUS ARTISTS)

SYL JOHNSON – COMPLETE TWINIGHT SINGLES

All the incredible Syl Johnson cuts released as Twinight 45s back in the day – nicely assembled as an excellent 2LP compilation by the gentlemen of The Numero Group! If you have yet to take a dip into the Syl Johnson oeuvre, let us just say this is gritty, powerful vintage Chicago soul of the finest caliber, and would be a terrific first step into his kingdom. All cut over a 4 year period, written and produced by the man himself. Simply a stellar batch of one time overlooked, now justifiably revered Twinight gems – including the the sample classic "Different Strokes," strident soul gems "Is It Because I'm Black" and "Concrete Reservation" and many more – including "Going To The Shack", "Ode To Soul Man", "Sorry 'Bout That!", "Come On Sock It To Me", "Take Me Back", "Let Them Hang High", "Thank You Baby", "We Do It Together", "Kiss By Kiss", "Everybody Needs Love", "Same Kind Of Thing", "I'll Take Those Skinny Legs" and more. 29 tracks in all! ~ Dusty Groove

BILLY WOOTEN - WOO HOO BIBI

Heavy vibes from the great Billy Wooten – an album that's definitely right up there with the best work from this Indianapolis legend! Billy's vibes are out front in the mix, but they're also woven together with some sweet keyboards, tight guitar, and occasional reed parts too – most played by local contemporaries of Wooten on the Indy scene, and served up here with a nicely lean production style that keeps the whole thing sharp! All titles are originals, penned with that classic Wooten ear for a groove that's mellow, yet funky – and titles include "Oye Gina Este Son", "Jackson Melodia", "What A Day", "Squeeze Me Baby", "El Cayuco", "Light Of Mine", "Birth Of Pendanna Akina", and "Ooowee Baby Thinkin About You" – in both vocal and instrumental versions. ~ Dusty Groove

FEELIN’ JAZZY (VARIOUS ARTISTS)

Feelin' jazzy, and feelin' pretty darn soulful too – as the set's a collection of excellent contemporary soul tracks from the global underground – including a fair bit of work by artists who've never issued a full CD! The set's very much ahead of the curve – and really does a wonderful job of bringing together work that definitely deserves bigger exposure – the next names in the Neo Soul underground, all linked together in a warmly flowing batch of grooves! The whole thing's great, and most of these names are new to our ears – titles include "Moonriver" by The Oldians, "I Recall" by Andre Solomo, "As Long As You're In Love" by Jasmine Nelson, "Breathless" by Gold Of My Own, "Colours" by Nia Andrews, "As One" by Low Leaf, "Trouble" by Daniel Crawford with Amp Fiddler & Monet, Guards Down" by Fridjolijn, "More Than A Million" by Paul Van Kessel, "Man In The Mirror" by Kasia Lins, and "Scary" by Alex Tait. ~ Dusty Groove

Boston-based funk and retro-soul musician Big Ben Hillman releases his debut full-length solo album, The Friday Night Consortium

After more than five years since his last release, Boston-based funk and retro-soul musician Big Ben Hillman is finally releasing his debut full-length solo album. The Friday Night Consortium, a collection of a dozen all new original Hillman compositions, runs the gamut of soulful grooves; from the up-tempo kick off number “Let’s Get Crazy” and the smooth dance-floor grinder “Friday Night,” to melodious ballads like “Beautiful Stranger” (a duet with Boston-based songstress Lydia Harrell) or feel-good disco romps like “It’s Too Easy,” The Friday Night Consortium has something for everyone.

“I’d been recording an album in New York before I got called to go on tour with the Greg Luttrell Band,” says Hillman, who was born and raised in the Boston area. “We spent four months in Shanghai, China. When I got back to the states I was going to pick up where I left off, but instead I ended up writing a whole new album with all new songs.” Big Ben Hillman, best known for hits like “It Must Have Been The Music” featuring Nephtaliem McCrary of The Nephrok! All-Stars and the blues-flavored hip-hop number “I’m Sorry” featuring Boston emcee Fee (One-Love, Ex-Cal) and Meyer Statham (Chucklehead, John Scofield) has spent most of his career as a hired freelance keyboardist, percussionist and background vocalist. He’s performed with local acts such as D-Tension, The Boston Horns and Michigan Blacksnake as well as major artists as diverse as hip-hoppers De La Soul and The Wu Tang Clan and rockers like Les Claypool and Jimmy Buffet, yet Hillman says that writing and producing music has long been his primary aim.

“I’ve always considered myself a songwriter first,” says the man known by many as The Professor of Funk. His first big break as a producer came in the form of “Lay ‘Em Down,” a heavy gangster rap cut featuring Krumb Snatcha that he co-wrote and co-produced with D-Tension on his Contacts and Contracts II album. “I was raised on hip-hop; it’s a part of my heritage,” Big Ben says of his past work with the Brick Records artist “but I always knew I had something else inside of me to share with the world.”

In 2010, the performer who had started his career as a session drummer in Lowell, MA would take his act on the road, performing in clubs in Philadelphia, Washington DC and New York City. “I got a whole lot of experience spending those days on the club circuit out there; I was really starting to find my voice as an artist,” Hillman says as he reflects on his days on the road. “Now that I am back in Boston I really feel like I have found my center and I am able make my visions come to life.” The Friday Night EP is a four song promotional release containing the singles released from the album, leading up to the release of the full-length album on Friday September 18th. A release event will be held that night at Toad in Porter Square, Cambridge, MA. The album will be available at CD Baby, Bandcamp and at Big Ben’s website (www.bigbenhillman.com) as well as all live events.

Delivering A Definitive Recital With Fred Hersch Solo, The State-Of-The-Art Pianist Sets the Scene For A Prolific And Celebratory 60th Birthday Year

Fred Hersch swoops and soars in his high-flying interactive trio. He sets a daunting standard as an exploratory duo partner and creates brilliantly detailed compositions and arrangements for variously configured chamber ensembles. But as an improviser of unsurpassed lyricism and technique he's at his most intimate and revealing in a solo setting. With Fred Hersch Solo, slated for worldwide release by Palmetto on September 4, 2015, the pianist kicks off a creatively fecund yearlong celebration of his 60th birthday with a definitive statement of his solo artistry.

In many ways, Solo distills the essence of Hersch's pianistic expression. Recorded in a jewel-like Catskills church at the 2014 Windham Chamber Music Festival, the set evolves with a compelling internal emotional logic all its own, flowing through Hersch's familiar solo touchstones (Jobim, Ellingtonia, Monk, originals) that turn into vessels for his supremely graceful invention. His 10th solo recording, Fred Hersch Solo joins an illustrious collection of albums that started with his riveting 1994 addition to Concord Jazz's Live at Maybeck series.

He opens the set with a medley of Jobim's "Olha Maria" and "O Grande Amor," a seductive blast of shimmering saudade. His beautifully constructed homage to Robert Schumann, "Pastorale," evokes a country dance on a warm summer evening, while "Caravan" lopes "like camels very slowly crossing the desert," Hersch says. "I was really playing with the acoustic space on that one, hearing notes ricochet around the church." For his juicy standard ballad, he treats Jerome Kern's "The Song Is You" as a slow-blooming epiphany rather than a sprint, which leads to the broken-ground scramble of Monk's "In Walked Bud." He closes the album with a caressing rendition of "Both Sides Now," turning Joni Mitchell's lament for lost innocence into a kind of benediction.

"I firmly believe this may be the all-around best solo album I've ever done," Hersch says. "I liked the piano and the environment of playing in a small wooden church just big enough to get some reverberance. When I consider where I was in terms of the precarious state of my health in 2008 this feels like such a strong and focused statement. Everything has come together going into my 60th year."

Hersch celebrates his 60th birthday (Oct. 21) and the release of Fred Hersch Solo with a weeklong Village Vanguard engagement October 20 - 25 with his superlative trio featuring bassist John Hébert and drummer Eric McPherson (documented most recently on 2014's lavishly praised double Grammy®-nominated Palmetto release Floating). The week before he presents the world premiere of Rooms of Light, a new song cycle for the stage featuring words by acclaimed poet Mary Jo Salter. The show explores the many ways that photography has enriched, compromised, and complicated our lives since its invention. Commissioned by Peak Performances, the show takes place at Montclair State University's Kasser Theatre October 15-18, featuring five actor/vocalists, an instrumental octet, a set and lighting design.

Hersch is negotiating a new commission from the Grammy-winning vocal ensemble Roomful of Teeth, and returns to the Jazz Standard in May for his ninth annual Duo Invitation Series with Brad Mehldau, Miguel Zenón, Kate McGarry, Ravi Coltrane, Kenny Barron, and Regina Carter. He makes his Newport Jazz Festival debut this summer and his Jazz at Lincoln Center debut in January in the Appel Room with the program Fred Hersch & Friends: Intimate Moments featuring encounters with Anat Cohen, Julian Lage, Sullivan Fortner, and Stefon Harris.

For so many things to come together, some commitments have to be set aside. Hersch ends his current teaching stint at New England Conservatory with an Oct. 29 solo concert at Jordan Hall. The recital concert celebrates both his birthday and the 40th anniversary of his arrival at NEC as a student (and the 35th anniversary of first joining the NEC faculty). He's also busy at work on a memoir (working title: Good Things Happen Slowly) for Crown/Random House due in stores Spring 2017.

Born and raised in Cincinnati, Hersch studied music theory and composition as an elementary schooler and sang in high school theater productions. It wasn't until he started attending Grinnell College in Iowa that he turned on to real jazz when he was introduced to the music of John Coltrane, Pharoah Sanders, Miles Davis and Chick Corea. But the jazz bug really bit him when he went home for the holidays and happened into a Cincinnati jazz spot. He ended up dropping out of school and earned his stripes on local bandstands, with veteran musicians serving as his professors. After honing his chops for 18 months he enrolled at New England Conservatory to work with jazz piano legend Jaki Byard and made the move to New York City in 1977 after earning a BM with Honors.

Hersch quickly gained recognition as a superlative band-mate, performing and recording with masters such as Stan Getz, Joe Henderson, Billy Harper, Lee Konitz, Art Farmer, Gary Burton, Toots Thielemans, and many others. Since releasing his first album under his own name he's recorded in an array of settings, including a series of captivating solo recitals, duos with vocalists Janis Siegel and Norma Winstone, and ambitious projects. As an educator, Hersch has shepherded some of the finest young pianists in jazz through his teaching at NEC, Juilliard, Rutgers and the New School. A leading force in galvanizing the jazz community in the fights against HIV/AIDS, he produced 1994's Last Night When We Were Young for Classical Action: Performing Arts Against AIDS, an album featuring the likes of Bobby Watson, Phil Woods, George Shearing, Mark Murphy and Gary Burton.

He's gained the most widespread visibility as the leader of a series of remarkable trios. From his first session with Marc Johnson and Joey Baron, he's pushed at the limits of lyricism and temporal fluidity with similarly searching improvisers. He has consistently drawn deeply from the music's most refined players while forging his own approach. He considers his current trio, with John Hébert and Eric McPherson, as his best to date.

"I always say that as a player there are three main threads that come to prominence at different times," Hersch says. "There's the trio, which is a constant, and I love the band I've had for the last six years. I've been doing duo encounters steadily going way back to Jane Ira Bloom in the early 1980s. But I think solo feels equal to the trio in terms of being the hub of my musical wheel. My solo playing feeds my trio and vice versa. In many way it's my most personal form of expression, and I feel like this record is both a summation and a looking forward."

www.fredhersch.com