JENNY MAYBEE & NICK PHILLIPS PRESENT HAIKU AS THEY RETURN WITH ANOTHER CHAPTER OF INSPIRATIONAL JAZZ RECORDINGS

Haiku - the premiere recording collaboration between multifaceted pianist, vocalist/songwriter, and arranger, Jenny Maybee, and veteran jazz record producer, trumpet player, songwriter, and arranger, Nick Phillips - is a mesmerizing mix of vocal and instrumental jazz recordings in which refreshingly original compositions and imaginative arrangements of standards are brought to life with inspired, risk-taking, live-in-the-studio performances.

The Maybee/Phillips musical partnership began with a chance meeting at the 2014 West Coast Songwriter's conference. They discovered a shared love for music arising from a place of stillness conveying frequencies of appreciation and awe. Focusing their shared musical exploration on creating anenvironment for relaxed improvisation, the duo organically developed original compositions and reimagined favorite standards, for the pure joy of making music together. 

Opportunity knocked when Cookie Marenco - an esteemed, audiophile engineer/producer with several GRAMMY® nominated recordings to her credit-approached Phillips about recording his next project at her legendary OTR Studios.  Marenco's proprietary Extended Sound Environment (E.S.E.) recording technique and state-of-the-art, ultra-high-resolution audio technology-Quad-rate DSD, aka DSD256, which records at a sampling frequency that's 256 times that of a CD-captures Maybee and Phillips' stirring and nuanced performances in a breath-taking sonic landscape that is at once warm and intimate, yet detailed and spacious.

While the recording technology is leading edge, the approach was decidedly "old school": Three musicians-Jenny Maybee (piano, vocals), Nick Phillips (trumpet), and Paul Eastburn (acoustic bass)- together in the studio for an afternoon. No headphones, no isolation between musicians, no overdubs, no Auto-Tune. Just real, responsive, in-the-moment jazz in complete, unedited takes.

Although record producer Phillips is no stranger to working with jazz vocalists - having been at the helm of acclaimed jazz vocal projects, including GRAMMY®-nominated albums by Karrin Allyson and Nnenna Freelon - Haiku marks his first album collaboration with a vocalist as a co-leader and recording artist. And while pianist Maybee has long been a fixture in envelope-pushing improvisation ensembles in the San Francisco Bay Area, Haiku marks the multi-talented artist's long-overdue recording debut as a jazz vocalist.

Dropping on January 29, 2016, the Haiku album release is being launched with a celebration concert at Yoshi's Oakland on February 1, 2016.  http://maybeephillips.com

 

TRACKS 

1. HAIKU (Nick Phillips-Clifford Goldmacher) 6:58

2. YOU (Nick Phillips-Clifford Goldmacher) 6:35

3. INTERSTELLAR (Jenny Maybee) 5:18

4. THE MEANING OF THE BLUES (Bobby Troup-Leah Worth) 5:33

5. BLUE MONK (Thelonious Monk) 4:55

6. THE SETTING SUN (Jenny Maybee) 4:03

7. AUTUMN MOON (Paul Eastburn-Jenny Maybee-Nick Phillips) 2:16

8. WINTER BUTTERFLIES (Jenny Maybee) 5:55

9. HEAVEN (Jenny Maybee) 5:13

10. IDYLL SURREAL (Nick Phillips) 6:14

11. NOW AND THEN (Nick Phillips-Jenny Maybee) 7:01

Jenny Maybee is a classically-trained jazz pianist and vocalist whoapproaches music as the art of expressing the human body through song-structures and improvisation. Her compositions are inspired by her studies of the martial and healing arts and the vast sonic landscape of jazz and world music. Her playing reflects her range of exploration, dancing from stunning open space and intricate use of silence to powerful rhythmic intensity. Drawn to the San Francisco Bay Area to complete her law degree at U.C. Berkeley, she has recorded and played in jazz groups including her own trio, the Empty Chamber Ensemble, the Heftpistole Chamber Ensemble, and Noertker's Moxie. www.jennymaybeemusic.com

Perhaps best-known as a jazz record producer-with credits on countless internationally-distributed releases including more than a dozen GRAMMY-nominated projects-Nick Phillips' warm-toned, lyrical jazz trumpet playing was put in the spotlight in 2014 with release of his own debut album, Moment to Moment, co-led with jazz pianist Cava Menzies. Cracking the top 20 of the Billboard Jazz chart, reaching the top 30 and spending nine consecutive weeks on the JazzWeek chart, and garnering both a 4-star review and a coveted spot on DownBeat magazine's "Best Jazz Albums of 2014" list, the album drew laudatory comparisons to the work of jazz trumpet legends Miles Davis ("The Ballads Album Miles Davis Never Recorded" -East Bay Express) and Chet Baker ("... pristine, and moving, trumpet sound...Phillips nods to his predecessor's [Baker's] fragility but also imparts a feeling of strength that comes through a sense of restraint." -DownBeat). www.NickPhillipsMusic.com

NEW RELEASES: DAVID BOWIE – BLACKSTAR; GLORIA ANN TAYLOR – LOVE IS A HURTIN’ THING; KARL HECTOR & THE MALCOUNS - KA RICA-TAR

DAVID BOWIE – BLACKSTAR

David Bowie's late career comeback reaches another lofty peak! If you're like us, and appreciated the preceding effort The Next Day for its reminder of Bowie at his fuzz guitar-graced 70s best while still standing firm in the here-and-now, yet still sort of wished for more creatively daring work, Blackstar might be the comeback you were hoping for. Once again, Bowie co-produces with Tony Visconti, but it's clear from the start that they're going for something deeper and more complex. Chilling bits of strings, keyboards and sputtering beats begin the epic title track, before Bowie's voice comes in like a spirtual guide – augmented by sax and other cool touches. It's an amazing start to an unpredictable set of songs, each as hypnotic as the one before. The stranger vibe of the opener comes in and out as the album plays on, but there's some fuzzier and heavier bits, too – on songs that are enigmatic and anthemic, arty and accessible. Nearly 50 years since his first album, Bowie's back in incredible form! '"Tis A Pity", "She Was A Whore", "Lazarus", "Sue (Or In A Season Of Crime)", "Girl Loves Me", "Dollar Days" and "I Can't Give Everything Away". ~ Dusty Groove

GLORIA ANN TAYLOR – LOVE IS A HURTIN’ THING

A stunning set of soul – and an album that will win you over right from the very first offbeat note! Some mad guitars introduce Gloria Ann Taylor's title cover version of "Love Is A Hurtin Thing" – and the whole album follows suit with these really unusual funky elements – echoey piano that feels like it was lifted from Charles Stepney, a righteous fuzzy funk part that has a Tribe Records vibe, and even certain elements that remind us of old Italian soundtracks – but mixed with much deeper soul! And the best thing of all is that all these cuts are classics, not some retro remakes – instead these overlooked nuggets that remind us that just when we think we've heard all the great soul there is to hear, a record like this comes around to open our minds all over again. Gloria never had a full length album back in the day, but this set brings together most of her rare singles – a massive batch of tracks that includes "What I Want", "How Can You Say It", "Love Is A Hurtin Thing", "Deep Inside Of You", "World That's Not Real", "Music", "Brother Is Less Than A Man", "Had It All The Time", "Burning Eyes", and "What's Your World".  ~ Dusty Groove

KARL HECTOR & THE MALCOUNS - KA RICA-TAR

Mad sounds from this wonderful group – a combo you might know under the names of Whitefield Brothers or Poets Of Rhythm, working here in a much more global-styled mode! The music isn't exactly African funk, but it isn't far off either – as the Malcouns mix funky drums with a range of retro elements that seem to include balafon, oddly-tuned keyboards, rootsy percussion, spacey flutes, and lots of other sounds that feel like they're lifted off volumes of the Ethiopiques series, or vintage recordings from Lagos! Titles include "Transition G", "The Funk", "Kingdom Of D'Mt", "Leealeah", "Shangold", "Ka Rica Tar", "Transition F", and "Orange". (Limited to 1000 copies – in a silk screened cover!) ~ Dusty Groove

Tenor Saxophonist Matt Parker Debuts His Trio With Bassist Alan Hampton & Drummer Reggie Quinerly On "Present Time"

Matt Parker Trio Present Time Tenor and soprano saxophone virtuoso and visionary composer Matt Parker  made a vivid impression with his 2013 debut recording, Worlds Put Together. "Restlessly inventive" (Down Beat), Parker is "a fully formed artist with his own unique voice [who] sounds comfortable promenading down multiple paths" (All About Jazz).

For his new recording Present Time, Parker pared down the sextet of Worlds to a powerhouse trio comprised of bassist Alan Hampton and drummer Reggie Quinerly, colleagues of his since all three were classmates at the New School nearly 20 years ago. Scheduled for release on February 12 by Parker's BYNK label ("Because You Never Know"), the CD consists of seven Parker originals, one old standard, and a previously unrecorded tune by the late, great Charles Mingus. Vocalist Emily Braden is added on three tracks, and Jerome Jennings plays tambourine on another.

Few saxophonists have internalized so much of the instrument's history in jazz as has Parker. In his playing, one hears echoes of Ben Webster's gentle and brutish sides, Lester Young's lyricism, Sonny Rollins's unfettered imagination, Rahsaan Roland Kirk's adventurousness, and the types of extended techniques associated with John Coltrane and Albert Ayler.

The CD opens with "Noah's Arc," a swinging groove blues featuring Parker on tenor that he has reworked from an earlier composition to partially exemplify his philosophy of "present time."

"There are many meanings behind 'present time,'" he explains. "I've often thought about what it would be like to visit the past knowing what I know now. One change I made was to manipulate the blues form. You have an elongated blues that modulates to a traditional 12-bar blues."

The trio, with Parker on tenor, is joined by Braden for the lovely "Winter's Gone." "I love working with vocalists," the leader says. "Once Emily starts, she never stops. It lends itself to time and the fact that the seasons wait for no one."

The oft-recorded "I'm Confessin' (That I Love You)" was first popularized by Louis Armstrong in 1930. The present lightly swinging version features Braden's warm alto pipes and Parker's big-toned tenor. "I love Louis Armstrong and Lester Young, and this gave me an opportunity to play one of my favorite songs by them," he says.

Prior to being recorded by Parker on tenor, Charles Mingus's lullaby-like "Song to Keki" had no title and had been heard only in 46- and 20-second versions played by the composer on piano for his then-5-year-old daughter Carolyn (nicknamed "Keki") in the documentary film Mingus: Charlie Mingus 1968. Parker, who has been playing with the Mingus Big Band periodically for the past year, was given permission by Sue Mingus to record it and she named it after her late husband's child.

At times during Parker's arrangement of the song, he, Hampton, and Quinerly all seem to be flying off in different directions while the underlying pulse remains steady. "One of the things that I am very fond of that appears in Charles Mingus's music is elasticity -- the idea of stretching the time," the saxophonist explains.

Matt Parker Born (in 1979) and raised in Fort Lauderdale, Florida, Matt Parker started out on alto saxophone and switched to tenor, which he played on a life-changing summer gig in New Orleans as a teenager. That experience inspired his first composition, "Sixteen," which is revisited on Present Time.

Parker moved to New York City in 1999 and enrolled at the New School, where his classmates included Hampton and Quinerly, with whom he has played frequently ever since. Among his New York mentors were Junior Mance, Jane Ira Bloom, Reggie Workman, and Charli Persip. Parker was a member of Maynard Ferguson's Big Bop Nouveau Band from 2004 to 2006 and made his debut recording as a soloist on the album M.F. Horn VI: Live at Ronnie Scott's.

Besides performing with his trio at Cornelia Street Cafe and Nublu, both in New York City, and subbing in the saxophone section of the Mingus Big Band at the Jazz Standard, Parker has toured internationally for the past five years with HessIsMore, a band led by Danish drummer and composer Mikkel Hess that plays, in Parker's words, "disco punk jazz." The saxophonist has also appeared around the Big Apple with Beastie Boys rapper and guitarist Ad-Rock and drag-king comedian Murray Hill and was seen playing saxophone in the television series The Real Housewives of New York and the motion picture John Wick.

Parker will bring his Present Time trio to a CD release concert 2/11 at National Sawdust, 80 N. 6th Street in Brooklyn, 7:00 pm; tickets are $25.

mattparkermusic.com

NEW RELEASES: THE DRAMATICS – SHAKE IT WELL; DON COVAY - SUPER DUDE I; MOTHER'S FINEST COLLECTION

THE DRAMATICS – SHAKE IT WELL

Caroline International (in association with SoulMusic Records) is proud to present the 2015 reissue of Shake It Well, the 1977 ABC Records album by legendary soul music group, The Dramatics, an expanded edition including the single edit of the title track, a U.S. R&B top 10 hit and the slow jam classics "My Ship Won't Sail Without You" and "Ocean Of Thoughts And Dreams" (also a U.S. R&B top 20 charted single). Shake It Well was the fourth album The Dramatics recorded for ABC Records, following five years at Volt Records. Formed in Detroit in 1966, The Dramatics enjoyed some local success with recordings for Wingate and Sport labels before producer/songwriter brought the group to Stax Records in 1969 where he had been working with Carla Thomas and Johnnie Taylor. While their initial single for the Stax imprint, Volt Records made little impact, a return to the label in 1971 yielded success with the now-classics "Whatcha See Is Whatcha Get" and "In The Rain," both written and produced by one of Davis' associates, Tony Hester. In 1975, The Dramatics - original members Ron Banks and Willie Ford along with L.J. Reynolds, Larry "Squirrel" Demps and Lenny Mayes - signed with ABC Records: their first three albums for the label spawned R&B hits such as "Be My Girl" and a cover of Billy Paul's "Me & Mrs. Jones"; for Shake It Well, the group continued working with producer Don Davis, reuniting with Tony Hester for two tracks, "Spaced Out Over You" and "Music Is Forever." For the Shake It Well sessions, producer Davis hired top session musicians including, Dennis Coffey, Ray Parker Jr., James Jamerson Sr. and Reginald Burke and the LP reached #10 on the R&B charts and #60 on the Top 200 Albums chart. This reissue of Shake It Well marks its CD debut worldwide and was produced by David Nathan of SoulMusic.com, mastered by James Bragg of Chase The Ace, with artwork by Roger Williams and informative liner notes by renowned writer Matt Bauer featuring 2015 interviews with group members L.J. Reynolds and Willie Ford. ~ Amazon

DON COVAY - SUPER DUDE I

Super Dude I...Plus 7 Bonus Tracks. Essential Southern Soul from one of the genre's greatest-ever singer/song writers. Don Covay's 1973's Super Dude was recorded at Muscle Shoals with THE classic soul rhythm section: Eddie Hinton and Jimmy Johnson on guitars, Barry Beckett on keys, David Hood on bass and Roger Hawkins on drums and the album spawned one of AM radio's all-time cheatin' classics I Was Checkin' Out, She Was Checkin' In . This CD edition provides a definitive overview of this fantastic, funky period in Covay's career. Tracks: Overtime Man, I Stayed Away Too Long, I Was Checkin' Out, She Was Checkin' In, Hold You To Your Promise, Memphis, The Pinch Hitters, Somebody's Been Enjoying My Home, Bad Mouthing, Leave Him Pt. 1, Leave Him Pt. 2, Money (That s What I Want), Don t Step On A Man When He s Down. BONUS TRACKS: It's Better To Have (And Don t Need), Hot Blood, We Can't Make It No More, Rumble In The Jungle, A Mind Is A Terrible Thing To Waste, Dungeon #3, There Was Something On Your Mind. ~ Amazon

MOTHER'S FINEST - MOTHER'S FINEST / ANOTHER MOTHER FURTHER / MOTHER FACTOR / LIVE

Four full albums by the legendary Mother's Finest – collected here in one 2CD set! First up is the self-titled Mother's Finest – the Epic debut from one of the hardest, heaviest soul groups of the 70s – so much so that their music often has a fair bit of rockish touches too – especially in the guitars, which are nice and fuzzy! Lead singer Joyce Kennedy is a killer throughout – almost rivaling Nona Hendryx for unbridled energy and raw power – and the rest of the group provide lots of vocal support too – as well as some plenty heavy drums, bass, and guitar! Things really cook on titles that include "Rain", "Fire", "Fly With Me", "Dontcha Wanna Love Me", and ironically-titled "Niggizz Can't Sang Rock & Roll". Mother's Finest Live is a stunner of a live record from Mother's Finest – one that almost comes across with all the majesty and power of the more famous arena rock albums of the time, but which also has plenty of the group's funky touches intact as well! As before, the music here is a wicked take on fuzzy guitar-based rock – one that's often more funk and soul overall, but easily able to cross into both camps and leave plenty of fans behind! If the audience enthusiasm is to be believed, these guys are tremendous on stage – and titles include "Mickey's Monkey", "Fire", "Somebody To Love", "Magic Carpet Ride", "Watch My Stylin", and "Love Changes". Another Mother Further is filled with heavy guitars, funky bottoms, and lots of super-tight musicianship – a killer set from Mother's Finest, and one that has the group effortlessly blending rock impulses with lots of funk and soul! The group make their soul inclinations known with a heavy cover of the Miracles "Mickey's Monkey" right at the start – and blend together lots of similar currents with a solid sound that's unapologetically into searing guitar solos as much as it is some funkier bottoms. Titles include "Mickey's Monkey", "Baby Love", "Truth'll Set You Free", "Hard Rock Lover", and "Dis Go Dis Way Dis Go Dat Way". Mother Factor is one of the funkiest sets ever from Mother's Finest, and maybe our favorite album from the group's late 70s run on Epic Records! Production is by Skip Scarborough, who brings up some of the group's more soulful currents, but without losing their rocking impulses from before – and singer Joyce Kennedy's never sounded better in the setting! Basslines seem to take more prominence than before – and there's less of the rockish guitar solos – and a few tracks even have those cool, compressed midtempo grooves that Skip could do so well. Titles include "Mr Goodbar", "Tell Me", "Love Changes", "Watch My Stylin", "Can't Fight The Feeling", and "Give It Up".  ~ Dusty Groove

NEW RELEASES: JAZZ FUNK SOUL - MORE SERIOUS BUSINESS; ALLEN TOUSSAINT - EVERTHING I DO GONH BE FUNKY; JAIMEO BROWN TRANSCENDENCE - WORK SONGS

JAZZ FUNK SOUL (CHUCK LOEB / EVERETTE HARP / JEFF LORBER) - MORE SERIOUS BUSINESS

More Serious Business is the highly anticipated followup to this Smooth Jazz supergroup's chart topping debut. Featuring 3 of the most important hit makers on the scene today: Jeff Lorber, Everett Harp and Chuck Loeb - artists and producers responsible for selling millions of albums and scoring close to 50 #1 Smooth Jazz radio hits! Jeff Lorber is famous for launching the career of Kenny G and his productions and collaborations with such greats as Dave Koz, Janet Jackson, Lalah Hathaway and Miles Davis. He is one of the most sought after producers and performers in Jazz! Chuck Loeb is widely regarded as one to the finest guitarists ever. Both as a solo artist and producer and lead guitarist of the iconic group Fourplay, Loeb has amassed an astonishing record of Smooth Jazz hits! Everette Harp has recorded and shared the stage with such musical giants as Aretha Franklin, Luther Vandross, Billy Joel and Patti LaBelle. A hit maker in his own right, Jazziz magazine hails his "amazing virtuosity" and Jazz Time calls him "a rare talent." This brilliant new album was created to satisfy the demand from their growing audience. More Serious Business is overflowing with soaring saxophone solos, brilliant guitar riffs, super funky piano riffs and incredibly compelling melodies. Highlights include the soon to be hit single, "Triple Play," the sensuous Loeb original "Feeling You," the high spirited romp "And One!" and much more!! ~ Amazon

ALLEN TOUSSAINT - EVERTHING I DO GONH BE FUNKY

50 tracks in a 2CD jewel case set featuring the New Orleans legend's solo recordings plus his greatest production hits for Lee Dorsey, The Meters, Ernie K. Doe and more Many of today's music fans might only know the name of Allen Toussaint from his work with Elvis Costello in 2006 on the album "River In Reverse" but of course his career stretches back over 50 years and includes a multitude of hit records as a composer, arranger, producer and performer. This collection covers 20 years of his remarkable career, beginning with his first appearances on record as a session pianist, his first solo recordings in 1958 under the name Al Tousan and ends in the '70s with his timeless songs and productions for artists like Lee Dorsey and The Meters. In between we'll hear his original versions of tunes recorded by Al Hirt and Herb Alpert and the original versions of songs that he wrote and/or produced that later became famous in versions by The Rolling Stones, The Yardbirds, Herman's Hermits, The Dave Clark Five, Otis Redding and Wilson Pickett. ~ Amazon

JAIMEO BROWN TRANSCENDENCE - WORK SONGS

Echoes of the past meet visions of the future on Work Songs, the follow up to Jaimeo Brown Transcendence’s arresting 2013 self-titled debut. From recordings of prisoners in Mississippi to stonemasons in Japan, the album brings renewed life to historical work songs through a mixture of powerfully evocative samples and new recordings. Comprised of drummer/producer Jaimeo Brown and guitarist/producer Chris Sholar, Jaimeo Brown Transcendence deftly weaves together the acoustic and the digital, compellingly connecting jazz and blues with contemporary rock, hip-hop and electronic music. ~ Motema

NEW RELEASES: DARREN RAHN - SONIC BOOM; LYMAN WOODARD ORGANIZATION – DON’T STOP THE GROOVE; KEN FOWSER STANDING TALL

DARREN RAHN - SONIC BOOM

Saxophonist Darren Rahn has announced the release of his album, "Sonic Boom," available March 1, 2016 on Woodward Avenue Records!! My new radio single, "D-Luxe," will hit the airwaves in just a few weeks on February 1st. Says Rahn, “This album is the most heartfelt representIon of my musical personality to date and I can't wait to share it with you! It was painstakingly crafted with the greatest care to be a complete musical experience. "Sonic Boom" features world class musicians playing real instruments on songs that come straight from my heart. These are full length songs with actual endings - no fades! The album is designed to play down much like a live set. You will hear a wide variety of my musical influences from jazz to funk, R&B to pop and fusion to gospel. I spent an incredible amount of time creating what I hope will be the most musical and sonically pleasing album to come from my studio thus far. "Sonic Boom" was created from the depths of my heart and forged with the best tools I could get my hands on. The audio was crafted using the finest analog equipment combined with the best digital technology available. Great effort was made to create a collection of music that takes the listener on a journey that is musically, emotionally and sonically compelling. It is my hope that you hear it that way.”

LYMAN WOODARD ORGANIZATION – DON’T STOP THE GROOVE

A killer little set from funky organist Lyman Woodard – an old bandmate of Dennis Coffey, and one of the standout stalwarts of the 70s Detroit jazz funk scene! The set features Lyman working in a live setting – grooving out over some mighty long tracks that blend jazz and soul together, in a style that's a bit like some of the best work on the Groove Merchant label from the mid 70s. Lyman himself plays organ on the set, and the group's a largeish one with some ensemble vocals on a few cuts, but a mostly instrumental sound overall. And if you're worried about the later date of the set, don't be – as Lyman cuts a nice lean groove into the whole set – coming up with a soulful sound that's expanded more than a smaller combo record, yet which also isn't too slick or overproduced! Marcus Belgrave plays trumpet on one track, and titles include "Don't Stop The Groove", "Theme In Search Of A Sports Spectacular", "Down Lowe", and "Djarum". CD features the previously unissued bonus tracks "Ron's Song" and "Kimba".  ~ Dusty Groove

KEN FOWSER STANDING TALL

We last heard tenorist Ken Fowser in the company of vibist Behn Gillece – on a pair of excellent recent albums for the Posi-Tone label – but here he works as the sole leader, and maybe knocks it out of the park even more! All the tunes here are originals by Ken – who continues to be a hell of a writer, and comes up with songs that are bright and bold, yet also filled with deeper lines of feeling too – almost like some of Wayne Shorter's excellent early compositions in the first half of the 60s. Like Shorter in those days, Fowser has a way of working in a deeply soulful mode, but with strong lyrical currents too – echoed nicely here by the trumpet lines of Josh Bruneau, in a quintet that also include Rick Germanson on piano, Paul Gill on bass, and Jason Tiemann on drums. The album's the kind of subtle gem that we've really come to love from Posi-Tone – and titles include "Off The Path", "Mode For Red", "Brick's Tune", "Hanging On", "Head Start", "Filling In The Blanks", and "Timeless".  ~ Dusty Groove

Vocalist and Guitarist CAMILA MEZA Releases New Album, TRACES

Featuring Camila Meza (guitar & vocals), Sachal Vasandani (vocals on "Away"),

Shai Maestro (piano, Rhodes, wurlitzer, mellotron, pump organ, ampli-celeste),

Matt Penman (bass), Kendrick Scott (drums), Bashiri Johnson (percussion),

Jody Redhage (cello), Matt Pierson (producer).

Vocalist, guitarist and composer CAMILA MEZA is a rarity, a glorious triptych of an artist. She possesses a gift for composing brilliant musical landscapes, a captivating, soulfully pure vocal instrument, and a consummate prowess on guitar, ablaze with irresistible melodies and improvisations. Camila Meza, originally from Santiago, Chile, has garnered rapt attention from her colleagues, the press, and audiences in South America, New York City, and internationally, for her distinctive ability in blending jazz with her broad musical world (that includes Latin American, Brazilian, folk and pop), and for the emotional depth of her music. This rising star on the global jazz scene has been described by The New York Times as, "a bright young singer and guitarist with an ear for music of both folkloric and pop intention," and called, "a natural multi-talent, an improvising singer-guitarist who is one of the finest in the world in both creative realms," by pianist Aaron Goldberg.  He added that, "she unites North and South America in a multilingual mega-continent, a pangaea of swing and harmony." Being called to join your peers on stage and in the studio remains one of the true tests that any NYC jazz musician will face, and Camila has passed, summa cum laude, staying very busy as an in-demand side musician, working with the likes of Ryan Keberle, Fabian Almazan, Aaron Goldberg, Sachal Vasandani, and many others. On February 26, 2016 Sunnyside Records proudly releases Camila Meza's debut recording for the label (and her fourth overall), Traces, produced by Matt Pierson and featuring Shai Maestro, Matt Penman and Kendrick Scott, with special guests Bashiri Johnson, Sachal Vasandani and Jody Redhage. 

At the inception of creating and crafting the music on Traces, Meza had a vivid dream of a seashore full of colorful, precious stones, each of them with their own size and particular design. She wandered through this beauty, wanting to carry every stone back home with her. But then she looked closer, and decided to take only the ones that she really loved, those that made her feel something special. "This dream was the beginning of my journey to the core of myself, getting closer to what moves me, accepting my own truth and embracing my intuition. This album represents the path traced, the moments, hopes and melodies that have marked my journey," said Meza. Traces is comprised of eight new original compositions, plus "Green Finch and Linnet Bird" (Sondheim), "Amazon Farewell" (Djavan), "Luchin" (Victor Jara) and "Little Person" (Jon Brion).

A songbird takes flight . . .  Traces opens with the Meza composition, "Para Volar," on which she sings these words in Spanish (she also sings beautifully in English): "let the wind take you, fly free until you find truths with no fear or time, freedom in its essence, let the wind take you, fly and dream again." Camila writes about a failed attempt to rescue an injured bird, but these sentiments also speak of new beginnings, and of embracing your dreams. Traces was born from her joyous journey from a young, accomplished musician in Chile (inspired by Wes Montgomery, George Benson, Pat Metheny, Led Zeppelin, Ella Fitzgerald, Jimi Hendrix, Bjork, Elis Regina and Chet Baker), to becoming part of a new generation of adventurous jazz musicians in New York who are fearlessly imposing their disparate influences and experiences on jazz, with glorious results.  

Up next is Camila's wonderful duet with vocalist Sachal Vasandani, "Away," also featuring Jody Redhage on cello. Camila and Sachal sound as if they were born to sing together, and the sparks fly on this song about how romantic love can come and go, but true love doesn't fade away, but transforms into something else in our lives.

The title track, "Traces," expresses themes of finding space and beauty, especially as a respite from city life. Also, how small, conscious acts can change your life and make the world a better place. Or, as Camila sings, "It's a blessing to do little things and feel that they can change the world around." This song, and "Away," also features some of Camila's most compelling guitar solos on the album.

Camila was moved to sing Djavan's "Amazon Farewell" from Betty Carter's powerful version of the song performed at The Nice Jazz Festival. Camila and her band offer up their own robust version on which you can feel how much the lyrics resonate with Camila. She elaborates, "I remember I couldn't stop watching this video of Betty after I discovered it, she absolutely inspired me to no end, and it was exactly what I needed at that moment. I think it's important to address in my music the things I care about. In this case the injustices, the destruction of nature, and the unconsciousness towards native people."

"Mar Elastico" is dedicated to Camila's loved ones. "This song conjures up imagery and memories of afternoon games with my sisters, an orange light following their steps. There's this idea of brief meetings, telling each other where we're going, but then their steps become larger and we're apart again. But after all, a realization of the elasticity of our relationships; that distance just makes us come back stronger when we meet again," said Camila.

Other highlights on Traces include the lullaby-like "Luchin," a beautiful, powerful Chilean song written by singer/songwriter Victor Jara, an emblematic figure in the history of Chile. This song represents the higher hopes of justice through the story of a little boy named Luchin living in harsh conditions; Sondheim's "Greenfinch and Linnet Bird" (from "Sweeney Todd"). "It felt very interesting to use a more contemporary Broadway song and do my own 'jazzier' treatment on it, with no reference of another version. The lyrics totally grabbed me, and it fit into the recurring theme of flying on this album, with the lyric, 'if I cannot fly, let me sing'", explained Camila; and "Little Person," the closing theme from the movie "Synecdoche New York" (starring the late Philip Seymour Hoffman), which Camila fell in love with for its beautiful heaviness.  

On the breathtaking "Emerald," Meza sings, "I've decided to stay, stay in this open place, here's where my heart sings, here's where there's no mistake." Camila explains, "this was one of the last songs written for the album, and it became like a hymn about actually having found the place I was looking for; the openness, the reassurance, the freedom, the passion and love for what I am and what I do."

Throughout Traces Camila offers the listener a remarkable gift; her true self and her abundant talents, as expressed through these songs, with no less than luminosity, passion, honesty and love.   

The Monterey Jazz Festival, the longest continuously-running jazz festival in the world, returns to the road in 2016, featuring critically-acclaimed, GRAMMY®-winning jazz artists

The latest edition of the all-star tour band features Raul Midón on guitar and vocals; Ravi Coltrane on tenor and soprano saxophones; Nicholas Payton on trumpet; musical directorGerald Clayton on piano; Joe Sanders on bass; and Gregory Hutchinson (January and February dates) and Kendrick Scott (March dates) on drums.

The tour appeared at the 58th Monterey Jazz Festival and will hit the road from January 14 - March 13, 2016, performing 28 shows in 17 cities in 10 states, including a five-night run at Birdland in New York City. World-renowned for its artistic excellence, sophisticated informality, and longstanding mission to create and support year-round jazz education and performance programs in local, regional, national, and international venues, Monterey Jazz Festival has stayed true to expanding live performances of jazz around the country since 2008 by presenting national tours that have reached over 100,000 fans in 135 shows across the United States and Canada.

Raul Midón has appeared at Monterey three times, in 2009, 2011 and 2015. Ravi Coltranefirst appeared at Monterey in 2001, nearly 41 years to the day after his own father, John Coltrane, made his debut at Monterey in 1960. Ravi also appeared at the Festival in 2013 and 2015. Nicholas Payton was the Festival’s Artist-In-Residence in 2000, and appeared again in 2015. Gerald Clayton, Joe Sanders, Gregory Hutchinson and Kendrick Scott, some of the rising stars in the jazz world, have been recent performers on Monterey stages, both at the Monterey Jazz Festival itself, and as high school students at the Festival’s 45-year old student competition, the Next Generation Jazz Festival.

Gerald Clayton, a scholarship and soloist award winner at Monterey’s 2000 and 2001 springtime Next Generation Jazz Festival with the Los Angeles County High School for the Arts, made trio appearances at MJF in 2010 and 2012 with Joe Sanders, and recently performed in 2014 in duo with Charles Lloyd.

Gregory Hutchinson and Kendrick Scott split the drum position on the tour: Hutchinson plays the January and February dates, and Scott plays the March dates. Both drummers have a long history with the Festival: Hutchinson’s first of three appearances at MJF was in 1992, and Kendrick Scott, a three-time Berklee/Monterey group drummer from 1999-2003, has played at MJF nine times. Scott also was the drummer with MJF’s 50^th Anniversary All-Stars on the 54-date tour in 2008, and performed on Terence Blanchard’s GRAMMY-winning recording with the band.

The Monterey Jazz Festival has presented nearly every major jazz star—from Billie Holiday and Louis Armstrong to Esperanza Spalding and Trombone Shorty—since it was founded in 1958. Held every third full weekend in September on the Monterey County Fairgrounds, the Monterey Jazz Festival is a three-day celebration of music, commissioned jazz compositions, in-depth conversations with artists, panel discussions, workshops, exhibitions, clinics, and an international array of food, shopping, and festivities spread throughout 20 acres.

A nonprofit organization, Monterey Jazz Festival now budgets more than $500,000 annually for jazz education. Cutting-edge educational components include the Traveling Clinician and Latin Jazz Programs; the Festival’s Summer Jazz Camp; the Instrument and Sheet Music Library; the Digital Education Music Project; the Monterey County High School All-Star Bands; and the Next Generation Jazz Festival—which draws thousands of the most talented young musicians from across the country and around the world to Monterey each spring.

The Artist-In-Residence Program, a key component of Monterey Jazz Festival’s philosophy of bringing leading jazz performers to work with students throughout the year, includes their appearance at the Next Generation Jazz Festival, Summer Jazz Camp and the Monterey Jazz Festival, both in performance and instruction.

A leader in jazz education, the Festival has also presented the winning bands from its high school competition since 1971, and has showcased talented young musicians in its all-star student big band, the Next Generation Jazz Orchestra. Throughout the years, many legendary and influential artists—including Ray Brown, Ron Carter, Max Roach, Dizzy Gillespie, and Benny Golson­—have mentored and performed with the all-star students, often premiering original works written for the band. Some of the alumni of the group include Ambrose Akinmusire, Joshua Redman, Patrice Rushen, Dave Koz, Eric Marienthal, Gordon Goodwin, Larry Grenadier, and Benny Green, to name a few.

Previous Monterey Jazz Festival tours have crisscrossed the United States. In 2008, the 50th Anniversary All-Star Band made 54-date tour across 22 states, to over 43,000 fans, and featured four-time GRAMMY winner Terence Blanchard on trumpet; the late GRAMMY winner James Moody on saxophone; musical director Benny Green on piano; Derrick Hodge on bass; Kendrick Scott on drums, and five-time GRAMMY nominee, vocalist Nnenna Freelon.

In 2010, Monterey Jazz Festival on Tour played 34 dates through 17 states to 26,000 fans, and featured the nine-time GRAMMY-nominated and NEA Jazz Master Kenny Barron on piano; GRAMMY-nominated violinist Regina Carter; GRAMMY-winning guitarist Russell Malone; GRAMMY-winning vocalist Kurt Elling; bassist Kiyoshi Kitagawa; and GRAMMY-nominated drummer Johnathan Blake.

In 2013, 35,000 fans saw the Monterey Jazz Festival on Tour 55th Anniversary Celebrationacross the country in 40 cities in 23 states across the United States, Canada, and Washington D.C., and featured three-time GRAMMY winners vocalist Dee Dee Bridgewater and bassist and musical director Christian McBride; pianist Benny Green, GRAMMY-winners drummer Lewis Nash and saxophonist Chris Potter; and trumpeter Ambrose Akinmusire.

See tour dates here:

http://www.montereyjazzfestival.org/on-tour

The 11th Annual Jazz In The Gardens Music Festival Lineup Announced!

MARCH 18 - 20, 2016 | SUNLIFE STADIUM | MIAMI GARDENS, FL

The City of Miami Gardens has announced the lineup to the ELEVENTH ANNUAL JAZZ IN THE GARDENS music festival. After ten years of unforgettable concert experiences and entertainment, Jazz in the Gardens has grown to become one of the most highly regarded and anticipated music festival events in the country.

Last year, a record setting of 78,000 guests, attracting both locals and thousands of out-of-towners to the beautiful City of Miami Gardens. Patrons enjoyed live performances over the years by Grammy award-winning artists such as Maxwell, Brian Culbertson, Sheila E, Run DMC, R. Kelly, Toni Braxton, Charlie Wilson, New Edition, Neyo, Earth Wind & Fire, Gladys Knight, Kenny "Babyface" Edmonds, LL Cool J, Fantasia, Mary J. Blige, Kenny G, Mary Mary, Boney James, Najee, Tina Marie, and Nicole Henry, all while reveling in a wide variety of ethnically diverse foods and merchandise from all around the world. 2016 will surpass all previous expectations with a star-studded

The annual WOMEN'S IMPACT LUNCHEON and the official OPENING

NIGHT PARTY on March 18th will kick-off a weekend filled with music, food, fun and excitement. March 19th & 20th, Jazz in the Gardens will continue the magic at Sun Life Stadium that will surely surpass last years' experience.

Every year this event gets bigger and better, and 2016 will be no different. Performers this year will include Usher, Kool & the Gang, the Average White Band, Brian Culbertson, Michael McDonald, Fred Hammond and the Jazz in the Gardens AllStars, a collective led by Najee, Regina Belle and Alex Bugnon will top an impressive lineup of artists at the 11th annual Jazz in the Gardens Music Festival at Sun Life Stadium March 18-20.

Advance tickets for Jazz in the Gardens are on sale now, beginning at $65 for general-admission seating, $80 for reserved seats. Advance two-day passes are $90 for general admission, $125 reserved. VIP packages also are available.

More information can be found at JazzInTheGardens.com.

NEW RELEASES: WES MONTGOMERY - ONE NIGHT IN INDY FEATURING THE EDDIE HIGGINS TRIO; SERGE GAINSBOURG - LIVE; JIM WELLMAN – DAWN TO DUSK

WES MONTGOMERY - ONE NIGHT IN INDY FEATURING THE EDDIE HIGGINS TRIO

A previously-unreleased live set from legendary guitarist Wes Montgomery – recorded live in his hometown of Indianapolis, but with backing from a trio who are better known from their work on the Chicago scene – a group headed by pianist Eddie Higgins, with the wonderful Walter Perkins on drums! The tracks are long and open here – some great solos from Wes that are a nice change from some of the more controlled studio work of the period – and titles include "Ruby My Dear", "Lil Darlin", "Give Me The Simple Life", "Prelude To A Kiss", "You'd Be So Nice To Come Home To", and "Stompin At The Savoy".  ~ Dusty Groove 

SERGE GAINSBOURG - LIVE

A previously-unreleased live performance from Serge Gainsbourg – recorded in the mid 80s, and presented here in a nicely expanded package! Serge is right at his Love On The Beat period here – working with some groovy arrangements that could cross over a bit to the dancefloor, and which are performed here by a tight stage combo with a mix of electric elements and jazzy touches – all of which leave plenty of room for the mighty Gainsbourg to stand firmly out front. The amazing thing is that, even in such a live setting, Serge manages to sing with that often-whispered style that's so great – that up-close approach that can really underscore the sex and sleaze in his music. The set includes versions of some Gainsbourg classics, mixed with later numbers – and titles include "Marilou Sous La Niege", "Harley David Son Of A Bitch", "La Javanaise", "Initials BB", "Sorry Angel", "Nazi Rock", "Bonnie & Clyde", "Lola Rastaquoere", "I'm The Boy", "Lemon Incest", "No Comment", and "Micky Maousse".  ~ Dusty Groove

JIM WELLMAN – DAWN TO DUSK

In Autumn 2014, ex Brand New Heavies Jim had no intention to work in music again. However with world events and in particular the western support of fascism in Ukraine, together with ensuing propaganda from the mainstream media, he felt he had to do something to express his dissent. Over a year in production, the result is a new Jazz, Funk, and Disco concept album from Jim entitled Dawn To Dusk. He considers it to be his best ever work. The album is social commentary, but viewed through perspectives of human psychological evolution, and analysis of mass communication and propaganda. The core of the work is the understanding that Man lives in a world of amazing technological development, but is still encumbered with medieval forms of government by representatives who serve mainly the interests of the elite. With the net, and a completely new concept of two way mass communication for all, the ability of the oligarchy to manufacture consent  for its interests has suffered and cracks are beginning to show. The signalled intention is clear that the response is to destroy net neutrality and subvert the internet to allowable information only. Jim uses the mechanisms of human evolution to show how this is wrong for humanity, and instead advocates new forms of direct democracy and openness through an uncensored internet. Jim was a founder member of the Brand New Heavies in 1987, and subsequently worked on his own albums featuring Roy Ayers in 1994(Time and Space) and Love Not Truth 2005.

JAVON JACKSON, RON CARTER, BILLY DRUMMOND - THREE'S COMPANY: WE'LL BE TOGETHER AGAIN

The shadows of the Sonny Rollins trio and Joe Henderson trio (both having recorded classic albums at the Village Vanguard) hover over this sparse, revealing trio outing with Jackson, Carter and Drummond. And like his sax playing elders, Jackson put his own stamp on a set of well chosen jazz standards while also showcasing a few originals. “Sonny being a big influence on me, obviously there would be some things in there that would be reminiscent, or have that spirit anyway,” says Jackson, who just hit the half century mark this June.

And while playing without a chordal instrument was a challenge in some respects for the saxophonist, he explains that Carter’s presence more than made up for the absence of piano on this Chesky release. “Ron is kind of like a symphony behind you. He’s the bass player, but he’s the piano at times, he’s the drums and he’s out front with the melody. So he can be several things at once. With him there, there are so many colors that are available to me. So it’s not out of disrespect to the piano, it’s just that with Ron, we have a lot of opportunities. This trio setting just allows him to kind of roam a little bit and be more of a free safety, to use a football analogy.”

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure cool Jazz music ever recorded.

Available January 22nd, 2016.

NEW RELEASES: MISSION: IMPOSSIBLE - THE TELEVISION SCORES FEATURING LALO SHIFRIN & OTHERS; PAOLO RECCHIA – PEACE HOTEL; ROSSANO BALDINI – LIGHT

MISSION: IMPOSSIBLE - THE TELEVISION SCORES FEATURING LALO SHIFRIN & OTHERS

An amazing package of music – not just the original two albums of Lalo Schifrin music that were issued from the Mission Impossible TV show – but a massive 6CD collection that brings together work from all seven seasons of the program – a huge amount of material that's never been issued to the public at all, by a range of composers we never even knew worked for the show! Over the years, the spirit of Schifrin's original style was greatly expanded – still with groovy cop and crime modes that mature nicely into the 70s, but also with some richer soundtrack elements that really flesh things out – and which take on special character from show to show, depending on the composers! In addition to material by Schifrin, the set also features passages from jazzy talents who include Jerry Fielding, Don Ellis, Benny Golson, and Duane Tatro – as well as contributions from other soundtrack legends like Gerald Fried, Walter Scharf, Jack Urbont, Robert Drasnin, and Richard Hazard – and the whole thing fetaures six very overstuffed CDs – each almost to the brim with music – in a box with an additional booklet of notes! (Limited edition!)  ~ Dusty Groove

PAOLO RECCHIA – PEACE HOTEL

We loved Paolo Recchia's last album – which was dedicated to Stan Getz – and there's a very Getz-like feel here at times, but also modes that open up into other modern alto styles too – a range that maybe starts in postwar modern modes, then moves well into the future! Paolo's sublime alto sax makes these perfect lines alongside guitar from Enrico Bracco – who sometimes evokes work of Jimmy Raney on older Getz albums, sometimes hits a more modern quality that seems to pull Paolo in fresh new directions too – and the group also features Nicola Borrelli on bass, whose warmth really helps flavor the record – especially in the absence of any piano or drums. Titles include "Emmanina", "317 E 32nd Street", "Peace Hotel", "Gone With The Wind", "Central Park West", and "Sman".  ~ Dusty Groove

ROSSANO BALDINI – LIGHT

A very different set than the last album from Rossano Baldini – as the record not only bills him as playing piano, but also working on "sound design" too – which is a great way to describe the spacious, textural feel of the set! The album's still a piano jazz record, but with washes of other elements too – some effects from Pierpaolo Ranieri, who also plays bass, and unusual lines on trombone from Gianluca Petrella, and just a bit of live electronics from Michele Rabbia, who also plays percussion and drums. Many of the tunes are jazz remakes of more electronic numbers – work by Bjork, Kraftwerk, Autechre, Aphex Twin, and others – and the approach almost makes the whole record kind of feel like a This Mortal Coil approach to jazz. Titles include "Fahrenheit Fair Enough", "Noon", "Yulquen", "Das Model", "Pleasure Is All Mine", and "Psyche Rock".  ~ Dusty Groove

PIANIST HIROMI TRACES THE SPARK OF INSPIRATION ON STUNNING NEW RELEASE

Hiromi’s 10th album features the return of The Trio Project with contrabass guitarist Anthony Jackson and drummer Simon Phillips

All great human passions – whether romantic, creative, inventive, or transformative – begin with a single spark. On her tenth album as a leader, Japanese pianist/composer Hiromi traces the path of the flame ignited by that spark as it consumes and inspires. Over the course of nine expressively charged songs, the listener is carried away on an impassioned spiritual journey that might tell the story of a personal discovery, a love affair, or the creation of the music itself.

Set for release April 1st, 2016 on Telarc, a division of Concord Music Group, Spark showcases the always thrilling sound of Hiromi’s Trio Project with her most narratively sweeping and emotionally overflowing set of music to date. The pianist finds her own spark in her interaction with her triomates of the last five years, contrabass guitarist Anthony Jackson (Paul Simon, Steely Dan, Chick Corea, The O’Jays) and drummer Simon Phillips (The Who, David Gilmour, Judas Priest, Toto, Jack Bruce).

Since forming in 2010, The Trio Project has explored the richness of the inner voice on their 2011 debut, Voice; the dynamic, unceasing motion of time on their 2013 follow-up, Move; and captured the feeling of their electrifying live performances on 2014’s brilliant Alive. With Spark, the trio again exemplifies why DownBeat magazine has called them “one of the most exciting groups working in any genre today,” with the leader’s effusive, heartfelt virtuosity supported by Jackson’s vigorously fluid basslines and Phillips’ ability to be simultaneously propulsive and witty behind the kit.

“Playing with this trio is like a never-ending adventure,” Hiromi says. “They never play safe and they always look for new things; we always play as if this is our first and last show. With how much passion and love we feel for the music, every show I feel a spark.”

The recording begins with faint, delicate solo piano, lending a sense of magical anticipation that Hiromi likens to opening the first page of a book, “the moment that you bring yourself into the story.” A slowly dawning wash of keyboards ushers in the title track’s buoyant groove, illustrating the very moment of spark or inspiration that sets the whole album in motion.

“In a Trance” is anything but hypnotic. The fleet and fiery tune, accented by Latin rhythms, depicts the next stage of the album’s nascent passion as the spark catches hold and becomes all-consuming. The frantic pace spurs stunning and heart-racing solos from both Hiromi and Phillips. At its most powerful, the trance can carry you to another place, as on the next piece, the wondrous “Take Me Away.”

“When I perform, I always want to go to somewhere that I haven’t discovered,” Hiromi explains. “A new place, a new zone in the heart that I’ve never been. New things require more risk and can be scary, but because you’ve never seen it before it can also be extremely beautiful and that’s always what I’m looking for.”

The destination in this case is “Wonderland,” that place on the border of imagination only visited by those brave and adventurous enough to discover it. The piece is based around the distinctive sound of Phillips’ octobans, a set of high-pitched, melodically-tuned tom-toms. The drummer thus establishes the tune’s celebratory melody with its hint of Afro-Caribbean rhythm before it’s picked up by the piano and gradually driven into a harder, rock-influenced churn before Hiromi responds with soulful flourishes.

“When you’re in Wonderland, you indulge yourself and can really forget time,” says Hiromi about the next piece, “Indulgence.” She continues, “It can go really fast or really slow, and for that moment you’re the master of time. That’s the feeling that I really wanted to capture.” Here the pace slows to a free-floating stroll interrupted by sudden, darting digressions. Jackson is at his most elastic throughout, adding immensely to a feeling of distorted time that even Dalí would appreciate.

Urgency returns with a vengeance on “Dilemma,” which Hiromi jokingly describes as the price paid for indulgence. “You stop and think, ‘Should I go farther or step back?’ This song is very dramatic to express the sense of going back and forth in your mind.” With its constantly shifting sections and bristling 11/8 tempo, the tune vividly embodies that sense of tension and struggle, with the pianist’s most dark-hued solo of the set responding to its roiling, tempestuous beat.

The mood is eased by the playful, funky groove of “What Will Be, Will Be,” which echoes Doris Day’s familiar advice about maintaining a laissez-faire attitude and letting fate take over. That brisk jaunt gives way to the hushed, introspective elegant of “Wake Up and Dream,” a solo piano piece that finds Hiromi finally emerging from her trance, only to stay inside the dream state while wide awake. Finally, the trio’s handclaps state the valedictory beat of “All’s Well,” an optimistic conclusion that Hiromi sees as the album’s end credit sequence.

Having traveled through the varied and wide-ranging stages of Hiromi’s inspiration, it’s as if she’s pulled the curtain back on her own creative process to reveal the spark that’s been evident since she first emerged on the scene with her 2003 Telarc debut, Another Mind. Since then, Hiromi has been mentored and praised by such greats as Ahmad Jamal and Chick Corea while garnering a host of awards in North America and Japan and forging her own effervescent, instantly recognizable voice.

“Life is full of continuous sparks,” concludes Hiromi, whose ten albums certainly bear out that contention. “It can be anything that you can feel passionate about, but when that huge spark happens, the story begins.”