NEW RELEASES: REGINA BELLE - THE DAY LIFE BEGAN; ICEPICK – AMARANTH; TORTOISE - CATASTROPHIST

REGINA BELLE - THE DAY LIFE BEGAN

The Day Life Began is an inspirational R&B album which displays Regina Belle’s broad range of talents at their very best.  Produced by the Grammy nominated production team, The Heavyweights (whose equally broad range of talents stretch all the way from Tupac to Martina McBride), this album of 10 brilliant originals is a representation of the artist’s deepest feelings and strongest beliefs!  Highlights include the dramatic gospel/R&B single “He’s Alright,” the inspirational ballad “You Saw The Good In Me,” the moving parent to child message song “Be Careful Out There” and much more.

ICEPICK – AMARANTH

A pretty heady performance from the trio of trumpeter Nate Wooley, drummer Chris Corsano, and bassist Ingebrigt Haker Flaten – all of whom seem to set a special sort of fire between each other on the set! Wooley is especially strong – bolder than we remember, with these powerful lines that seem to illustrate his growing power in the global avant jazz scene – underscored by always-impressive work from Ingebrigt on bass, who can ruminate with deep sounds at some moments, but make elusively, almost electronic tones at others! Corsano has this elliptical way of guiding the performance – almost sometimes the most structured member of the trio, but still with a very unconventional approach – and titles include "Fuschia", "Rosso Corsa", and "Rare Rufescent". (Includes download!) ~ Dusty Groove

TORTOISE - CATASTROPHIST

The first album in years from Tortoise – again stretching out creatively in fascinating ways, some subtle and others obvious – and all of it compelling! The Catastrophist is partly inspired by work Tortoise was commissioned to produce by the City Of Chicago, material that could be used in collaboration with the city's great jazz and improvistional musical community. For The Castastrophist record, these musical building blocks were pulled back into Tortoise-ville, where the band could do their diverse and distinctive thing. Compelling drums and percussion, creative guitar and bass grooves, and divergent keyboard textures make up the connective tissue – but it's a pretty diverse sound overall! Two of the more fascinating stylistic departures have vocals – a bass-y, synth-steeped cover of the early 70s David Essex hit "Rock On", and the moody, melodic "Yonder Blue" with Georgia Hubley of Yo La Tengo. Other titles include"The Catastrophist', "Ox Duke","Gopher Island", "Shake Hands With Danger", "The Clearing Fills", "Gesceap", "Tesseract", "Hot Coffee" and "At Odds With Logic". ~Dusty Groove

SANTANA IV Reunites the Legendary Band With Carlos, Gregg Rolie, Neal Schon, Michael Carabello, and Michael Shrieve! and Features 16 All-New Tracks

April 15, 2016 marks the release date of Santana IV, the wildly anticipated studio album that reunites the revered early ‘70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years – since 1971’s multi-platinum classic Santana III – that the quintet has recorded together.

Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with guest appearance from the legendary vocalist Ronald Isley on two cuts.

Few bands can pick up a musical dialog after 45 years apart, but on Santana IV each band member reaches a new level of virtuosity and communal intuition on a collection of songs that easily stands side-by-side with the group’s treasured early work.

The origins for the reunion go back several years, when Schon suggested that he and Carlos Santana record together. Santana liked the idea but went one better, proposing that they recruit Rolie, Shrieve and Carabello for what would be called Santana IV. After initial writing sessions and rehearsals took place in 2013, the group recorded throughout 2014 and 2015, amassing 16 spellbinding tracks that combined all their signature elements – Afro-Latin rhythms, soaring vocals, electrifying blues-psychedelic guitar solos, and irrepressibly jubilant percussion work – with widescreen hooks and melodies that will lodge themselves in the thicket of listeners’ senses and stay there.

“It was magical,” Santana says. “We didn’t have to try to force the vibe – it was immense. From there, we then needed to come up with a balance of songs and jams that people would immediately identify as Santana.”

The band’s signature sound arrives forcefully on the album opener “Yambu,” a righteously gritty and soulful stomper teeming with swirling B3 organ hooks and walloping guitar crunch.

The first single, “Anywhere You Want to Go,” is destined to storm the pantheon of Santana classics. Written by Gregg Rolie, it’s a sexy, body-shaking winner and an unmistakable tip of the hat to the inescapable cha-cha/Latin jazz charms of “Oye Como Va.”

Special guest, Ronald Isley’s, vocals highlight the feverishly impassioned Latin-rock workout “Love Makes the World Go Round” and the hard-edged and funky “Freedom in Your Mind.”

Guitar fans expecting fireworks from Santana and Schon will cherish Santana IV from front to back. “All Aboard” is a no-holds-barred guitar jam of the highest order, as is the slinky, soulful metal cruncher “Caminando,” which explodes with tectonic axe force. And on the unabashedly British blues-tinged “Shake It,” the two go toe to toe on not one but two extended solo runs that will have lovers of unhinged fretboard work rejoicing.

“Carlos and I feel more connected than ever,” says Schon. “We get super-aggressive when we play, but also melodic and poetic. We have an incredible dialog with each other on our guitars.”

Santana’s recurring themes of love and tolerance are common threads throughout Santana IV, most dramatically on the epic tone poem album closer “Forgiveness,” a languid and breathtakingly gorgeous atmospheric groover.

Music fans familiar with the “roaring lion” artwork on Santana’s 1969 debut album will instantly greet Heather Griffin’s graphic for Santana IV as a gloriously realized update of that iconic image. “I really think the music goes along with the cover, and vice versa,” says Santana. “It all fits together beautifully.”

Few bands can pick up a musical dialog after 45 years apart, but on Santana IV each band member reaches a new level of virtuosity and communal intuition on a collection of songs that easily stands side-by-side with the group’s treasured early work.

“When you can go back and break new ground with joy and determination – and  some whoop-ass energy – it gets you going,” says Santana. “I think we achieved something very rare. This music was screaming to come out of us. It wasn’t about nostalgia. It was about passion.”

Tracklisting:

1.Yambu

2. Shake It

3. Anywhere You Want To Go

4. Fillmore East

5. Love Makes The World Go Round (Feat. Ronald Isley)

6. Freedom In Your Mind (Feat. Ronald Isley)

7. Choo Choo

8. All Aboard

9. Sueños

10. Caminando

11. Blues Magic

12. Echizo

13. Leave Me Alone

14. You And I

15. Come As You Are

16. Forgiveness

NEW RELEASES: ALEX PUDDU – IN THE EYE OF THE CAT FEATURING EDDA DELL'ORSO; ADRIAN YOUNGE & VENICE DAWN - SOMETHING ABOUT APRIL; DISCO LOVE 4: MORE MORE MORE DISCO AND SOUL UNCOVERED

ALEX PUDDU – IN THE EYE OF THE CAT FEATURING EDDA DELL'ORSO

The world of Alex Puddu just keeps on getting bigger and bigger – and so do the wonderfully funky sounds on his records! Puddu's always been a real up-and-comer in the global funk underground – an artist who gets just the right 70s vibe in his instrumentation, arrangements, and production – not in a small group funk style, but in the best modes of the soundtrack and sound library scenes – especially the groovier artists working overseas at the time! And while his other music has always been great, this record really blows us away – with a mixture of complicated tones and catchy grooves that surpasses anything we've heard from Alex before – not just an attempt to be retro, but a move that goes beyond into territory that's all Puddu's own – even when famous Morricone collaborator Edda Dell'Orso brings her marvelous vocals into play on some of the album's tracks. Genius material throughout – with titles that include "Immersioni", "Il Sogno La Luna", "Terra E Fuoco", "Una Donna Allo Specchio", "Mood Psychedelico", and "The Bull".  ~ Dusty Groove

ADRIAN YOUNGE & VENICE DAWN - SOMETHING ABOUT APRIL

A record that hardly needs to be called a "part 2" – because this sweet little set knocks it out of the park even more than the first project issued under this title – all as a mighty tribute to the evolving studio genius of Adrian Younge! Like the first record, this one works as some sort of faux 70s soul album – but of the funky, deep-grooved sort – more badass soundtrack, with some heavy blacksploitation elements in the music – which Younge crafts from strings, beats, and a range of other great instrumentation that includes Hammond, electric piano, vibes, and even a bit of sitar! Yet the grooves here are also more expansive – surprisingly tuneful at times, especially on some of the numbers which feature surprising guest work from Laetitia Sadier of Stereolab – whose vocals appear on the album alongside some of the more soul-styled leads from Loren Oden. The whole thing's great – as heavy and funky as anything Adrian Younge's ever done, but better too – and titles include "Winter Is Here", "Sea Motet", "Sittin By The Radio", "Memories Of War", "Hands Of God", "Ready To Love", and "Magic Music".  ~ Dusty Groove

DISCO LOVE 4: MORE MORE MORE DISCO AND SOUL UNCOVERED

There's plenty to love here, and the groove is way more than just the disco promised in the title – and instead this sublime array of funky soul, modern soul, and lots other soul styles too! The tunes are definitely upbeat, but they're not slavishly tied to disco – and instead really represent the great array of groove-centric work that was bubbling in the American underground in the late 70s and early 80s – as soul singers worked with a variety of different rhythms to come up with the kind of cuts that still sound plenty fresh all these many years later! Legendary collector/DJ Al Kent put the package together – and also contributed a few re-edits to a few tracks, to help extend their best elements. Titles include "I Found Love" by Lee Edwards, "Call Me" by Symbol 8, "If It Feels This Good" by Barbara Jean English, "Things Got To Get Better" by Genobia Jeter, "I'd Rather Leave On My Feet" by Emanuel Lansky, "Prophesy" by Betty Everett, "A Slong For You" by Fresh Fruit, and "Looking Over My Shoulder" by Marva Hicks – and the set also features Al Kent re-edits of "Equal Love Opportunity" by Clear, "Love Is Gone" by Mary Mundy, "I Wanna Give You Everything" by Hazel Rambaransingh, "Running Away From Love" by Skip Mahoaney & The Casuals, and "Keep On Loving You" by Perfect Touch.  ~ Dusty Groove

DELUXE 2-CD SET OF THAD JONES / MEL LEWIS ORCHESTRA - ALL MY YESTERDAYS, THE DEBUT 1966 RECORDINGS AT THE VILLAGE VANGUARD

Resonance Records has announced the release of Thad Jones/Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard. This first official release of these recordings capturing the Thad Jones/Mel Lewis Orchestra in their Opening Night performance at the legendary Village Vanguard in NYC on February 7, 1966, a performance that launched a tradition of successive Monday night appearances by the Thad Jones/Mel Lewis Orchestra that lasted twelve years and which continues today through the dedication of the band's musical heir, the Vanguard Jazz Orchestra. This combined fifty-year residency at the Village Vanguard will be celebrated by the release of this album. The album includes recordings from March 21, 1966, as well as those from opening night. These recordings will be released as a deluxe 2-CD set on February 19, 2016, within two weeks of the 50th Anniversary. This is the first official release of this material endorsed by the estates of Thad Jones, Mel Lewis and the Village Vanguard, since some of the recordings were unofficially exploited via a limited bootleg in 2000. This Resonance Records release includes the best takes from the February 7th and March 21st performances, many of which were not on the 2000 bootleg.

Resonance Records, a multi-GRAMMY® Award winning label (most recently for John Coltraneʼs Offering: Live at Temple University for "Best Album Notes") prides itself in creating beautifully designed packaging to accompany previously unreleased recordings of music by jazz icons. Such is the case for All My Yesterdays. This release includes over 100 minutes of music, with a 92 page book, and is presented in a 6-panel, eco-friendly digi-pak. This package is one inch taller than a standard CD to present the 2 discs and book (extensive books have become a trademark of Resonance Recordsʼs historic releases: Wes Montgomery In the Beginning includes a 55 page book; the upcoming 2016 Larry Young release In Paris: The ORTF Recordings includes a 68 page book).

The All My Yesterdays book will serve as new reference material for Thad Jones/Mel Lewis fans providing rare, previously unpublished photos, historic essays, interviews and memoirs. Contributors include executive producer George Klabin who recorded the original tapes, producer Zev Feldman, associate producer Chris Smith (author of The View from the Back of the Band: The Life and Music of Mel Lewis), longtime Vanguard Jazz Orchestra arranger and pianist Jim McNeely, and trombonist/educator and current member of the Vanguard Orchestra John Mosca. All of the living musicians who played on these recordings contributed to the notes, recounting their personal experiences of the Thad Jones / Mel Lewis Orchestra. Included are accounts from saxophonists Jerry Dodgion, Eddie Daniels and Marv "Doc" Holladay, trumpeter Jimmy Owens, trombonists Garnett Brown and Tom Macintosh, along with bassist Richard Davis. The pages display rare photos by Chuck Stewart, Raymond Ross, Ray Avery and Jan Persson.

During the same year that Miles Davis and John Coltrane debuted at the Village Vanguard with their newly constituted small ensembles, in early 1966 Thad Jones and Mel Lewis made an important statement by creating a modern big band. Thad and Mel recruited a dream lineup of talented musicians including the late pianist Hank Jones, saxophonists Pepper Adams, Jerome Richardson, Joe Farrell and trombonist Bob Brookmeyer. During a time of social distress in the mid - 1960s, the ensemble also made a social statement due to its diverse mix of races, ages and religions.

On a cold February evening in 1966, jazz fans lined up around the block waiting for the doors to open at the famed Greenwich Village club; a new big band formed by Thad Jones and Mel Lewis was about to perform. Max Gordon, founder of the Village Vanguard, invited the Thad Jones/Mel Lewis Orchestra to play that evening and for subsequent Monday nights. Inside the club was Resonance founder George Klabin, a 19 year-old self-taught sound engineer who had already established a reputation recording jazz music around New York City. Using a small cocktail table by the edge of the stage near the drums, he set up his 50-pound two track Crown tape machine and portable Ampex four-channel mixing board. He apportioned his six microphones among the various sections of the band (for the March 21, 1966 recording he used 10 microphones). Ahead of his time, Klabin captured astounding sound quality - he recorded directly to two-track, while mixing the sound live, adjusting the mic volume for each of the soloists on-the-fly. For this release, he transferred and re-mastered the audio using the original two-track tapes as the source.

  

While a student at Columbia University, Klabin was head of the jazz department at WKCR-FM, the college radio station. His colleague Alan Grant, a jazz radio announcer, asked him if he would record this new big band during their fist gig at the Vanguard. Little did Klabin know that this group would become the renowned Thad Jones/Mel Lewis Orchestra who would perform every Monday night at the Village Vanguard for nearly 50 years under only three names: the Thad Jones/Mel Lewis Orchestra, the Mel Lewis Orchestra and the Vanguard Jazz Orchestra. As agreed, Klabinʼs recordings became a demo tape for the band, which secured them a record deal with Sonny Lesterʼs Solid State Records, in exchange for Klabin's being given free reign to play the recordings on his radio show on WKCR-FM.

In his essay, Klabin recalls the magical feel of that evening in the packed, small club. He writes, "There is a palpable crackling energy in the room! This is the first time they have played this innovative stuff in public. Thad is the cheerleader, conducting, waving, shouting, clapping. You can hear it throughout the recordings. Itʼs really special!"

One can hear this crackling energy in the room from the start. During the opening tune "Back Bone," a Thad Jones composition, players and audience members are clapping and shouting encouragement for each soloist. The recordings capture the atmosphere at the Vanguard without compromising the clarity of the music. One can hear people laughing and shouting as they listen to these innovative, cutting-edge arrangements and solos propelled by Mel Lewis's infectious, driving rhythmic force. The audience and musicians alike are electrified by the music of Thad Jones, who arranged and composed thirteen of the seventeen tunes heard on this album.

"Big Dipper" opens with a trumpet and alto saxophone exchange featuring Jimmy Nottingham and Jerome Richardson. This trumpet-alto sax conversation is followed by a brief piano solo by Hank Jones, after which the band roars in. There is a dazzling freedom to this music; you can hear the excitement in the room, not just from the energy of the music, but from the audience's reaction to it. The same holds true for the ballads, which include "All My Yesterdays," "Lover Man" and "Willow Weep for Me." Recordings from both evening performances (February 7th and March 21st) all convey the ebullient energy Thad, Mel and the band were expressing and the audience was feeling.

By the mid-ʻ60s, Thad Jones had established himself as a noted composer, conductor and a top jazz trumpet player. From 1954-1963, he performed with the Count Basie Orchestra as featured soloist, arranger and composer for the band. As Chris Smith describes in his essay, Thad had a unique, sophisticated writing style that is "never completely absorbed on first listen - or hundredth, for that matter. It takes mature ears and repetition to process Thadʼs unusual inner voices, unexpected rhythms and crunchy harmonies . . . Simply, he heard things in his head that our ears and brains are still trying to process 50 years later. That is an undeniable mark of genius and one that should be consistently mentioned among the ranks of other 20th century composers such as Ellington, Strayhorn and Gershwin." Thad Jones originally wrote many of the compositions and arrangements heard on All My Yesterdays for the Count Basie Orchestra, but for whatever reason, Basie didn't use them. Thad left Basie in 1963 and became an in-demand studio musician in New York. But he'd always wanted the material he'd created for Basie to be performed, and not quite three years later, he used it as the foundation for the big band he formed with the celebrated big-band drummer - and his musical colleague - Mel Lewis.

  

Toward the end of 1965, Thad joined forces with Mel to assemble a rehearsal band to perform Thad's charts for which they enlisted the top players currently working in New York. After a couple of months of midnight rehearsals at Phil Ramone's A & R studios, on February 7, 1966, they launched the Thad Jones/Mel Lewis Orchestra at the Village Vanguard in the performances on this album. Regarded as one of the finest big-band drummers of his generation, Mel Lewis developed his solid, bedrock big-band driving style with the bands of Stan Kenton, Terry Gibbs, and Bill Holman. He supported the rhythmic journey of Thadʼs compositions with precision and musicality while propelling the band with fire and energy. Together Mel Lewis and Thad Jones created an environment of innovation, as they explored new musical territories that paved the way for big band music to come.

When All My Yesterdays producer, Zev Feldman, started working at Resonance Records in 2009, he learned about the existence of these Thad Jones/Mel Lewis recordings that label president, George Klabin made as a teenager. A fan of the band since his college days, Feldman was determined to produce an official release of this music in an expanded edition to honor the 50th Anniversary. He always felt it was unfortunate that in the 2000 bootleg release, many of the musicians were not credited and no one received compensation. It's been a long journey for Resonance to negotiate agreements with the families and estates of Thad Jones and Mel Lewis and to secure clearances from all living members of the orchestra and the heirs of those who had passed away. Resonance is pleased to release this music officially with blessings from all those involved in the recordings.

Feldman beams with excitement: "This is one of the most important large music ensembles to ever record jazz. Some of the greatest players from the New York jazz scene in the 1960s come out of that band. You can feel the excitement - these recordings capture a special energy. Since I started working at Resonance, this has been one of the albums that Iʼve been most excited to release. Itʼs also special and personal to George Klabin, so we all wanted to go above and beyond for this project."

To engross oneself fully in the musical experience of the Thad Jones/Mel Lewis Orchestraʼs All My Yesterdays, George Klabin suggests, "Put on a pair of good stereo headphones and immerse yourself in the atmosphere of those two nights. You will hear all the subtleties: Thadʼs shouts, the room sound, the musicians' camaraderie, encouraging each other and most of all the pure joy! Now you can be there, too."

Fifty years later on Monday, February 8, 2016, the Village Vanguard along with Resonance Records, will commemorate this golden anniversary with a CD release celebration. On this evening, the Vanguard Jazz Orchestra will perform compositions from All My Yesterdays to celebrate opening night back in 1966. Although they normally play this material weekly, this evening will serve as a special tribute. Orchestra leaders John Mosca, Douglas Purviance and the Village Vanguardʼs Lorraine Gordon have joined together with Resonance to celebrate this milestone in American jazz history.

 

TRACKS

Disc One - Recorded Feb. 7, 1966

Back Bone (13:21)

All My Yesterdays (4:22)

Big Dipper (5:51)

Mornin' Reverend (4:49)

The Little Pixie (14:24)

Big Dipper (alt take) (5:44)

Disc Two - Recorded March 21, 1966

Low Down (4:38)

Lover Man (5:24)

Ah, That's Freedom (10:08)

Don't Ever Leave Me (4:28)

Willow Weep For Me (6:15)

Mean What You Say (5:51)

Once Around (12:44)

Polka Dots & Moonbeams (4:02)

Mornin' Reverend (5:49)

All My Yesterdays (4:24)

Back Bone (12:58)

HILARY KOLE - THE JUDY GARLAND PROJECT

On this stunningly fresh collection of performances of songs from the well-worn repertoire of Judy Garland, Hilary Kole reveals and brings new life to the emotional core of each tune while revealing herself as a consummate interpreter. While never attempting to imitate Garland, Hilary tells Judy’s story — relaying the joy of falling in love, the hope that love will prevail, the heartbreak when love fails. And most importantly, the gathering of the will and desire to pick oneself up again to give it one more try.

Song choices are based on Hilary’s successful live performances of the Judy canon, her “Over the Rainbow” tribute concerts held the world over. Fresh from a series of these performances, Hilary brought the energy and vitality of the live concert hall to into the studio on Manhattan’s Lower East Side.

Then, finally, the icing on the cake: Hilary Kole’s stunning interpretation of the most famous song of all. The signature tune that followed Judy through her whole life, changing meanings constantly from her teen years through her battles with demons of all kinds. The song that was almost cut from its famous movie because it was “too sad”. The song written in 1939, as World War II was brewing in Europe, the Great Depression was in full swing here at home, and storm clouds were gathering. It is from that starting point that Kole began writing her remarkable string quartet arrangement to that remarkable song. In her equally stunning vocal performance, she embodies every measure of despair — yet every measure of hope — the composers intended. It is a show stopper. - Richard Barone, Producer

I remember my father, who was then my biggest musical influence (he was a Broadway singer back in the day and a great vocal coach) sitting me down when I was ten or eleven to watch The Judy Garland Show. Now, I was a huge fan from seeing Judy as Dorothy in The Wizard of Oz – like the rest of the world. But this sealed the deal for me. She was a pro's pro. A singer's singer. I fell madly in love with her and her love of performing. With this project, I hoped to capture her love of these songs, done in my own way, but with a very respectful nod to someone who has influenced me beyond belief. So many times I have thought about how to approach a certain song or phrase in a song, and so many times I have asked myself – how would Judy do it? She was fearless, as I aspire to be on stage and in the studio. I recorded this project to pay homage to a singular talent, and to thank her for changing my life. - Hilary Kole

Tracklisting:

Zing! Went the Strings of My Heart

The Boy Next Door 

Just in Time 

You Made Me Love You 

Stompin' at the Savoy 

The Man That Got Away

A Cottage for Sale 

I Wish I Were in Love Again 

Look for the Silver Lining 

The Trolley Song 

Get Happy

Embraceable You 

As Long As He Needs Me 

It Never Was You 

Over the Rainbow 

The New York Standards Quartet Celebrates Ten Years of Touring & Recording With New CD - POWER OF 10

On March 18, 2016, Whirlwind Recordings proudly releases The New York Standards Quartet - Power of 10, celebrating ten years of touring/recording together. Power of 10 is the NYSQ's second recording for the label and the much-anticipated follow up to The New Straight Ahead. The New York Standards Quartet is: Tim Armacost (saxophones), David Berkman (piano), Gene Jackson (drums), and Michael Janisch (double bass, and also the owner of Whirlwind Recordings). "We were thrilled to team up with the great Michael Janisch for this project. He was a perfect fit with the group and he brings his unique voice to the music," said the NYSQ.

"Bands are like weeds," New York Standards Quartet pianist David Berkman says, "a lot of the time they come about accidentally, because of luck and circumstances, without much pre-planning." In the case of this band that circumstance was a shared love of, not only jazz, but also Japanese culture. Tim Armacost is a Grammy nominated saxophonist who has performed with Kenny Barron, Bob Hurst and Ray Drummond among many others, and is the NYSQ's founder. He has lived in Tokyo several times and has performed there for years. Gene Jackson, a drumming powerhouse well known from his nine years with the Herbie Hancock trio, as well as his performances/recordings with Dave Holland, the Mingus Band and Wayne Shorter, is married to a Japanese woman and splits his time between New York and Tokyo. David Berkman, a fiery pianist who is both rooted in the jazz tradition and a harmonically adventurous improviser and composer, is a thirty-plus year NYC veteran of many bands including Tom Harrell, The Vanguard Orchestra and countless others. Berkman, also married to a Japanese woman, frequently travels to, and performs in, Japan.

Of course, coming together is one thing, staying together, is another.

What began as a happy coincidence of three friends, three master musicians, playing together in a foreign land (documented on Live In Tokyo), has grown into a mature, imposing collective that has become far more than the sum of its impressive parts. Arguably, the most cherished moments in the history of recorded jazz have come from bands, due to the time these groups have had to reach a level of mutual understanding, respect and affection. It is this way with the New York Standards Quartet, as evidenced in their four previous acclaimed recordings, and the impassioned responses from audience across the U.S., U.K., Europe and Japan. "This band was a weed that hung in there through difficult conditions with a lot of perseverance in order to flower into the band it is today. It is a source of great pleasure and pride for all of us that we are still together and going strong, learning and developing and making music," said Berkman. Gene Jackson added that, "one day I was driving my car listening to a special radio show about the Modern Jazz Quartet. It became clear to me that reaching the type of interplay and communication the MJQ had can only be accomplished by developing together as a band for many years. I realized that if we committed to keeping the NYSQ together there could be many benefits, musically and otherwise. Often when things got difficult, when we had reached points where the thought of disbanding seemed plausible or even reasonable, I'd repeat my views to Tim and Dave on staying together, no matter what. I am grateful the NYSQ has chosen the road less travelled. Every time we hit the bandstand together it is obvious we made the right choice. I look forward to the days when, through our commitment to this band, we inspire other bands to stay musically connected, just as the example of the MJQ inspired me."

The mission of the New York Standards Quartet has always been to interpret standards and traditional jazz tunes in a way that would allow audiences to connect and be engaged, while at the same time, playing in the contemporary jazz style the members have developed through their many decades on the New York jazz scene. While Power of 10 celebrates the 10th anniversary of this band, it also shines a spotlight on the group's incredible ability to explore music, together. Tim Armacost explains further, "David was explaining what being a band for 10 years means: that the result of staying together is that we've become totally familiar with each other's playing. When one of us is going for something new, reaching for a different take on a tune, or just pushing the moment forward, everyone hears it immediately. You can feel what the other players are thinking. So when one of us gets inspired and starts a search, or finds a new angle on a tune, everyone jumps in to see where the music will go, or moves over and makes a space for something different to happen. Participating in those moments of discovery is intensely exciting, and that spark is what gives the music its life."

Berkman, who writes much of the band's original repertoire, has a distinctive flair for re-casting well-known jazz standards in new and unexpected settings. On Power of 10, songs like "Deep High Wide Sky" and "Hidden Fondness" are melodies based on the chord progressions of "How Deep is the Ocean" and a reharmonized, "Secret Love". In the hands of the NYSQ, his arrangement of the well worn standard "All of Me" becomes a daring, harmonically tense vehicle for Armacost's mighty soprano playing and Jackson's powerful drumming. Armacost's arrangement of "Lush Life" brings a new perspective to this classic Strayhorn ballad, and his "Green Doll's Phone" is a playful treatment of "On Green Dolphin Street," written to showcase the brilliant technical prowess of bassist Michael Janisch. Gene Jackson, the band's rhythmic center who drives the music forward with fire and infectious good spirits, is in fine form (as always) throughout the session and contributes his brilliant arrangement of Elvin Jones' "Three Card Molly."

NYSQ Upcoming "Power of 10" Japan Tour:

July 15-Shizuoka-Lifetime

July 16-Osaka-Always

July 17-Himeji-Layla

July 19-Okayama-Cafe Soho

July 20-22-Kita Kyushu-Workshop and Two Concerts

July 24-Kyoto-Live Spot RAG

July 29-Tokyo-Body and Soul

GUITARTIST MICHAEL WALKER RELEASES DEBUT CD “A SMOOTHER YOU”

Dallas guitarist Michael Walker releases new CD entitled “A Smoother You” on Spectra Music Group. The CD is co-produced and written by Quentin Moore (also of Dallas, Texas), and exhibits a style that infuses Smooth Jazz and “Southern Soul”. Walker began his musical career as a blues guitarist influenced by the legendary B.B. King.

During the year 2000, he switched to R&B and became leader of a local cover band known as“Chill Factor” playing mostly throughout Texas and Tennessee. After 12 years with the group, he turned his interests towards Smooth Jazz, leaving the band to create the “A Smoother You” project. After sending a few preview tracks to producer/guitarist Paul Brown, Michael forged ahead with his project and has recently released his latest CD in available world wide in stores and online.

In addition to production, writing, and guitar skills, Michael enlists Drummer Kenny Washington II, Quentin Moore (Keyboards, Wah Wah guitar, Bass & Vocals), John Robinson (Bass), Vandell Andrew (Alto Sax), Dunye Nasuhoglu (Congas, Percussion),  Karen Bernod (Chaka Khan and Erykah Badu) (Vocals), Angela Blair (Background Vocals), and Earl “Tee” Harris of the Los Angeles group “3rd Scenario” (Vocals).

  

Tracks include:

 *Let’s Do It

It’s Time

I Wanna Love You

*Brother To Brother (Featuring Karen Bernod)

A Smoother You

The Moment

Carnival

*Sweet Swag (Featuring Earl “Tee” Harris)

*I Need Your Love

(All songs written by Michael Walker & Quentin Moore BMI, except “Sweet Swag” and “I Need Your Love” written by Quentin Moore)

www.MichaelWalkerMusic.com

2016 Newport Jazz Festival®Set for July 29 - 31, Including Three Full Days of Performances by Some of the World's Greatest Established and Emerging Artists

Performers Include Chick Corea, Gregory Porter, Angélique Kidjo, Robert Glasper, Charles Lloyd, Kamasi Washington, Django Festival All Stars, Galactic, John Scofield/Joe Lovano, JoséJames, Steve Coleman, Darcy James Argue, Mary Halvorson, Monty Alexander, Kneebody, Kenny Barron, The Bad Plus, Christian Scott and Many More

 With last year's highly-celebrated festival behind him, George Wein, Festival producer and chairman of the Newport Festivals Foundation, Inc.™, today announced the lineup for the 2016 Newport Jazz Festival® presented by Natixis Global Asset Management, which will again take place in Newport, RI, July 29 - 31 at historic Fort Adams State Park and the International Tennis Hall of Fame at the Newport Casino.

  

This year's festival includes a wide variety of jazz, "from ragtime piano to the most progressive innovations from the minds of today's young musicians," says Wein, who has produced the festival since its inception in 1954. "The Newport Jazz Festival is quite different from other jazz festivals around the world. With multiple stages of music each day, we are able to present a panoply of the world of jazz. Having the opportunity to utilize the creativity of more than 50 different artists means that we can present every style of jazz."

The 2016 edition of America's first annual jazz fest will feature 22-time Grammy-winning jazz composer Chick Corea, celebrating his 75th birthday at both the Tennis Hall of Fame and Fort Adams. Also doing double duty are Grammy-winning vocalist Gregory Porter and saxophonist Kamasi Washington, in his festival debut. Others making their debut appearances are the New Orleans' seminal funk band Galactic, vocalist Tierney Sutton, the brass quartet The Westerlies, The Hot Sardines; the supergroup Potter, Holland, Loueke & Harland; and pianists Rossano Sportiello, Kris Davis and Terry Waldo.

Among the more than 50 musicians/bands appearing are Angélique Kidjo; John Scofield/Joe Lovano Quartet; Darcy James Argue's Secret Society; Charles Lloyd New Quartet; Robert Glasper Experiment; Django Festival All Stars; Kenny Barron Trio; Yosvanny Terry Quintet; Toshiko Akiyoshi; Steve Coleman and Five Elements; Christian Scott aTunde Adjuah Presents Stretch Music; José James; Kneebody and many others.

Leading new ensembles or presenting new projects are Eric Revis Parallax; The Bad Plus performs Ornette Coleman's landmark 1972 album Science Fiction; Monty Alexander Harlem-Kingston Express; Edmar Castañeda World Ensemble; Butler, Bernstein & The Hot 9; Stefon Harris Sonic Creed; Dave Liebman Expansions Group and Anat Cohen's Clarinet Re-Imagined.

Along with jazz superstars and Grammy winners galore, emerging artists will also have the chance to participate at the festival, particularly on Friday at Fort Adams. New compositions funded with support from the George Wein/Doris Duke Artistic Programming Fund will be presented by Peter Apfelbaum's Sparkler, Tyshawn Sorey & Alloy, Sullivan Fortner Quartet and Ben Williams & Sound Effect. Students from around New England will be well represented with appearances by the URI Big Band, various Berklee College of Music bands and the all-state bands from Massachusetts and Rhode Island. In addition, the festival welcomes a recipient of The ASCAP Foundation Herb Alpert Young Jazz Composer Awards.

Newport Festivals Foundation will again host THE Jazz Club, a special experience offered on Saturday and Sunday at Fort Adams. The option includes special seating, reserved parking, tented lounge access, upgraded restroom facilities and a Festival poster.

The lineup for the Newport Jazz Festival presented by Natixis Global Asset Management is as follows:

Friday, July 29, 2016 8:00 pm

International Tennis Hall of Fame, 194 Bellevue Avenue, Newport, RI 02840

Gregory Porter: Gregory Porter, Chip Crawford, Emanuel Harrold, Jahmal Nichols

Chick Corea Trilogy: Chick Corea, Christian McBride, Brian Blade

Friday, July 29, 2016, 11:00 am - 6:30pm

Fort Adams State Park, 90 Fort Adams Drive, Newport, RI 02840

Galactic, Kamasi Washington, Kneebody: Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood, Peter Apfelbaum's Sparkler: Peter Apfelbaum, Natalie Cressman, Jill Ryan, Will Bernard, Kyle Sanna, Charlie Ferguson, Tierney Sutton: "After Blue" The Joni Mitchell Project: Tierney Sutton, Mark Summer, Serge Merlaud

Steve Coleman and Five Elements: Steve Coleman, Jonathan Finlayson, Maria Grand, Miles Okazaki, Anthony Tidd, Sean Rickman, Tyshawn Sorey & Alloy: Tyshawn Sorey, Corey Smythe, Chris Tordini, Sullivan Fortner Quartet: Sullivan Fortner, Tivon Pennicott, Aidan Carroll, Joe Dyson, Eric Revis Parallax: Eric Revis, Ken Vandermark, Kris Davis, Nasheet Waits, URI Newport Big Band, Under the Direction of Jared Simsm And More ...

Saturday, July 30, 2016, 11:00 am - 7:00 pm

Fort Adams State Park, 90 Fort Adams Drive, Newport, RI 02840

Chick Corea Trilogy: Chick Corea, Christian McBride, Brian Blade, Gregory Porter: Gregory Porter, Chip Crawford, Emanuel Harrold, Jahmal Nichols, Angelique Kidjo: Angelique Kidjo, Dominic James, Magatte Sow, Benjamin Zwerin, Yayo Serka, The Bad Plus performs Ornette Coleman's SCIENCE FICTION: Reid Anderson, Ethan Iverson, David King, Tim Berne, Ron Miles, Sam Newsome, Ron Miles, Darcy James Argue's Secret Society

John Scofield/Joe Lovano Quartet: John Scofield, Joe Lovano, Ben Street, Bill Stewart

Monty Alexander Harlem-Kingston Express: Monty Alexander, Hassan Shakur, Obed Calvaire, Andy Bassford, Joshua Thomas, Karl Wright, Edmar Castañeda World Ensemble: Edmar Castañeda, Andrea Tierra, Grégoire Maret, Itai Kriss, Marshall Gilkes, Shlomi Cohen, Pablo Vergara, David Silliman, Rodrigo Villalon, Butler, Bernstein & The Hot 9: Henry Butler, Steven Bernstein, Curtis Fowlkes, Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Brad Jones, Donald Edwards, The Hot Sardines: Miz Elizabeth, Evan "Bibs" Palazzo, "Fast Eddy" Francisco, Jason Prover, Mike Sailors, Nick Myers, Evan "Sugar" Crane, Alex Raderman, Stefon Harris Sonic Creed: Stefon Harris, James Francies, Elena Pinderhughes, Mike Moreno, Joshua Crumbly, Jonathan Pinson

Dave Liebman Expansions Group: Dave Liebman, Matt Vashlishan, Bobby Avey,

Tony Marino, Alex Ritz, Henry Butler (solo piano), Kris Davis (solo piano), Mary Halvorson (solo guitar), Terry Waldo (solo piano), The ASCAP Foundation Herb Alpert Young Jazz Composer Recipient, RI Music Educators Association Sr. All-State Jazz Ensemble, And More ...

Saturday, July 30, 2016,  7:30 pm

Location TBD

Newport Festivals Foundation Fundraiser/Gala

Sunday, July 31, 2016, 11:00 am - 7:00 pm

Fort Adams State Park, 90 Fort Adams Drive, Newport, RI 02840

Charles Lloyd New Quartet: Charles Lloyd, Jason Moran, Rueben Rogers, Eric Harland,

José James: José James, Takeshi Obayashi, Solomon Dorsey, Nate Smith, Potter, Holland, Loueke & Harland: Chris Potter, Dave Holland, Lionel Loueke, Eric Harland, Robert Glasper Experiment, Anat Cohen's Clarinet Re-Imagined, Kamasi Washington, Christian Scott aTunde Adjuah Presents Stretch Music, Django Festival All Stars: Samson Schmitt, Ludovic Beier, Pierre Blanchard, DouDou Cuillerier, Brian Torff, Kenny Barron Trio: Kenny Barron, Kiyoshi Kitagawa, Johnathan Blake, Yosvany Terry Quintet: Yosvany Terry, Michael Rodriguez, Osmany Paredes, Yunior Terry, Obed Calvaire, Ben Williams & Sound Effect: Ben Williams, Gilad Hekselman, Christian Sands, Toshiko Akiyoshi (solo piano), Rossano Sportiello (solo piano), The Westerlies: Riley Mulherkar, Zubin Hensler, Andy Clausen, Willem de Koch, MA Music Educators Association All-State Jazz Band, And More ...

 

Official New Orleans Jazz Fest 2016 Talent Announcement Video

Solomon Jaye (Soulful Singer from Vocal Super Group “The Edge Effect”) Releases Debut Album "Ordinary Man"

After months of anticipation, multi-talented founding member of the groundbreaking vocal band “The Edge Effect” Solomon Jaye is excited to announce the official debut of his inaugural solo album Ordinary Man.The much-anticipated solo record features six catchy original tracks with some heavy blues influences and recognizable James Brown, Al Green and Otis Redding musical vibes, plus one Jackie Wilson cover. The album is produced by an all-star team of industry veterans: Grammy Award winning engineer Clark Germain, producer Jamey Tate (Al Jarreau, Mindi Abair, David Benoit, David Pack), keyboards by Jeff Babko (“Jimmy Kimmel Live,” Frank Ocean, Jason Mraz), guitars by Justin Smith (“Mad Men,” “Wicked,” “Book of Mormon,” LA Philharmonic), bass by David Hughes (David Benoit, Chaka Khan, Melissa Etheridge) and drums by Jamey Tate.

“Ordinary Man is the culmination of my time living in New York,” says Jaye. “Everyone can relate

to having a difficult job, falling in and out of love and just trying to make something out of your everyday existence. It’s a tribute to my appreciation of 50s, 60s and 70s music. Each song pays homage in its own way while lyrically and vocally holding onto a contemporary pop sensibility. While the recording quality is pristine, we went for raw, candid emotion over perfection. This album sets the mood for any occasion. It’s about love, happiness and pain in relationships and life in general.”

Album highlights include:

“Ordinary Man” – Blues inspired title track charting the relatable story of a day in the life of the average man with Jeff Babko shining on organ.

“Love You Now” – Jaye’s moving soul ballad and first single release, with background vocalists Stephanie Lilly and Sarah Pigion, that brings the rich girl poor boy love story to life.

“TOTGA: The One That Got Away” – Featuring a non-traditional rhythmic style detailing the story of being close to something that feels right and having it slip through your fingers. Guitarist Justin Smith and drummer Jamey Tate lend their talents to the track.

“Turn It Up” – The tale of love at first sight told with a James Brown vibe and powerful horn section.

“I Get the Sweetest Feeling” – Jaye’s original rendition of the popular Jackie Wilson tune with his own memorable acoustic blues treatment.

31-year-old singer, songwriter and talented tap dancer Jaye has over a decade of distinguished musical highlights, which include performing with winners of MTV’s “Top Pop Group,” Boyz II Men's "Next Great A Cappella Group" and “America's Got Talent” finalists The Edge Effect, premiering a solo show on the world’s largest cruise ship Oasis of the Seas, taking center stage in “Hairspray: The Musical” for Royal Caribbean, opening for Robin Thicke and Sky Blue (LMFAO) at the Florida SunFest Music Festival.

Sharing the stage with Broadway superstar Shoshana Bean, renowned saxophonist Mindi Abair, Las Vegas’ Santa Fe and the Fat City Horns and many more.

Currently, Jaye resides in Ft. Lauderdale, FL, recently returning to the Sunshine Stage after spending the last several years in New York City. Born in Tampa, FL, raised in Houston, TX and attending college in Georgia and Oklahoma, Jaye’s roots are reflected in the soulful “ol skool” style and songs of Ordinary Man.

“This project has been almost a year in the making,” says Jaye. “I’m so proud of these recordings. Of everything I’ve done, collaborations included, this is the best, fullest representation of my ability as a singer, songwriter, guitarist and arranger. I’m so excited to share this modest piece of art with the friends, family and fans who have supported me all this time. Hopefully, this will inspire countless new ones as well.”

Lisa Dawn Miller Makes Her Debut as a Singer-Songwriter With an EP Featuring Four Originals and a Soulful Re-Imagining of 'A Place in the Sun'

Fast emerging as a songwriter and recording artist, veteran musical producer and stage performer Lisa Dawn Miller - the daughter of legendary songwriter Ron Miller -- makes her highly-anticipated debut as a singer-songwriter with Hello You, a five-song set that is the first in a unique rollout of three EP releases.

The long awaited follow-up to her first independent album Fly Away nearly 10 years ago, Hello You, released on iTunes and Amazon, includes original songs, written and produced by Miller and her longtime creative partner Mark Matson, and a remake of the classic, "A Place in the Sun," written by Ron Miller and originally recorded by Stevie Wonder in 1966.

Included on the EP are four original songs, "Hello You," the title track, celebrating the joy of welcoming a loved one back; "Life Is Like A River," a lush ballad Miller wrote for her partner's mother and her own parents, reflecting how life and love live on forever; the inspiring rock ballad, "I Believe," a song about hope and faith; and the sexy, up-tempo and rhythmic "Tonight," about embracing and celebrating the moment.

Lisa, the producer and co-star of the long-running musical "Sandy Hackett's Rat Pack Show" (with her husband and co-star, Sandy Hackett), put her songwriting and recording career on hold for several years due to the ongoing demand for her successful show. Last year, when she and Matson penned the high energy dance songs, "Let's Go" and "Can You Feel It" for her young 9-year-old daughter, Ashleigh Hackett, she discovered her passion for writing, as she began to build momentum as a songwriter. She quickly got to work on her own material.

"I love songwriting and I am so excited to get back to my roots," says Lisa. "I will continue to honor my father's legacy and I remain committed to the multiple projects I am producing about his life. My father, more than anyone, would want me honor his legacy by creating and singing songs that are timeless."

"I feel blessed to have grown up in a world where great lyrics and strong musical composition mean something," she adds. "My father had a musical theater background but was discovered by Motown and became one of its top songwriters. He made history for his contribution to what would become the 'Motown Sound' and his songs went on beyond that to become standards having been recorded by hundreds of major label artists throughout the decades. I grew up with the best songwriter who produced the best singers.

"I aspire to my father's incredible legacy and hope his influence is reflected in my own work, not only as a songwriter but as a producer and singer as well. My father and my mother, Aurora Miller, a brilliant songwriter and singer herself, set a very high standard and I feel very blessed to have learned from the best!"

Lisa just wrapped a 15-performance, eight-city tour with "Sandy Hackett's Rat Pack Christmas" and she is also working on several exciting projects, including the newly announced musical comedy, "Mandropause," a show about four men going through male menopause. Lisa is also working on a new film and musical about her father, entitled, "For Once In My Life," a new CD release of the never-before-heard songs from the Ron Miller catalogue, and continues to write and produce songs and music videos for her multitalented children, 15-year-old Oliver Richman, who recently recorded "For Once In My Life - The 50th Anniversary Release" and has already shared the stage with Stevie Wonder and 9-year old, Ashleigh Hackett, who recently made her singing debut with "Let's Go" and headlined at the Charleston Kids Fair.