Yellowjackets Celebrate 35 Years with Cohearence - Album Serves as Debut for Virtuoso Australian Bassist Dane Alderson

An outgrowth of L.A. Express guitarist Robben Ford's band founded in 1977, the Yellowjackets came to full buzzing flight four years later with its debut eponymous jazz-funk album, a salient introduction to a new-styled electric fusion of jazz and R&B--a modern take on Weather Report, if you will--for the post Return to Forever/Headhunters decade. The band was an immediate and controversial hit at the time when the jazz pendulum was beginning to swing back in the acoustic direction.

Some skeptics didn't give the Yellowjackets a chance to survive, but here it is 35 years later--hardly trailing the segmented 40-year longevity of MJQ--and the group stretches its impressive longevity by continuing to evolve artistically with its third Mack Avenue Records recording, Cohearence. With two founding members--pianist/keyboardist Russell Ferrante and drummer Will Kennedy--and its longtime reeds player Bob Mintzer (a Jacket since 1990) and a brand-new virtuoso electric bassist, Australia-born Dane Alderson, the Yellowjackets cover a range of jazz flavors, including a rousing Weather Report jazz fusion vibe, a swinging switch-up on John Coltrane's "Giant Steps," a moving rendition of a folk song classic, a funky soul-jazz excursion and a chamber jazz-like grace in the album end-song, "Cohearence."

With its pockets of halcyon, buoyance, mystery, tumult and whimsy, Cohearence plays out as a multifaceted documentation of how far the once fusion band has come.

"There's a lot of gratitude," Ferrante says of the band's 35th birthday. "It's never been a given to us that we'd continue to be able to have the opportunity to write and record for that length of time. But you couldn't have that in place unless you had a band of generous, giving musicians, none of whom have ever been ego'ed out."

Based on the music of Cohearence, there's a wealth of variety. There's no sameness in hearing range. "We write music that reflects what fascinates us; music that's worth exploring," says Ferrante, who contributes five of the album's ten songs. "I compose to work though ideas and workshop a piece, bring it into the laboratory to work on the compositional elements and make the piece a vehicle for improvisation."

Mintzer composed three of the tunes and Kennedy one. Once an initial set list was conceived, the Jackets road-tested the music for five months, including dates in London in the late spring/early summer of 2015. "We spent a lot more time with the music than we usually do before we record," Ferrante says. "We rehearsed the songs by playing them live, so that when we went into the studio we weren't just playing our first impressions of the music. Then, we recorded totally live in less than two days."

Opening the album is one of Ferrante's songs, the catchy and upbeat "Golden State" about the Interstate 5 north-south freeway that runs though California, that has a bustling harmonic connect of piano and sax, and a relentless left-hand piano triplet rhythm. "I wanted to capture the energy and activity of the I-5," he says. This is followed by Mintzer's charged "Guarded Optimism" that is not only vibrant but also has a touch of dark mystery to it. "It's a fast piece with a syncopated melody that reminds me of Weather Report," Ferrante says. "For my piano solo, I used it as a challenge to see if I could keep my bass motif going with my left hand while independently playing with my right."

Ferrante's gentle "Anticipation" with folk-like influences starts slowly then builds in anticipation thanks to Alderson's bass solo and Kennedy's drum roll. It's followed by Mintzer's 6/8-grooved, synth-flavored "Inevitable Outcome," featuring the composer's EWI's tonal colors. "'Trane Changing' is a re-harmonization of 'Giant Steps' that Felix Pastorius had started during his time in the group," Ferrante says. "I was intrigued with the tune and helped to solidify the arrangement and the countermelody, which gave Bob a great opportunity to play bass clarinet counterpoint."

The playful part of the album starts with Ferrante's funky "Eddie's In The House," his tip-of-the-hat to the late saxophonist Eddie Harris who first turned him on to jazz through his collaboration with pianist Les McCann on their Swiss Movement album. That's followed by Kennedy's "Fran's Scene," a play on his wife's name (Francyne) that he masterminded, including the synth orchestration; while Mintzer's skipping, carefree "Child's Play" is a simple melody that has a depth to it with the band members' support.

A highlight is the Yellowjackets' lyrical, tenor sax-led cover of the traditional American folk song "Shenandoah." "That was Bob's idea," says Ferrante. "He heard it in the last episode of that TV series The Newsroom and wanted to write a rearrangement for us to play."

Ferrante's "Coherence" ends the album with a chamber jazz feel of intertwining parts and the piano playing counterpoint to the melody. "It does have a classical music feeling with the fixed rhythm underneath," says Ferrante. "Again this piece also connects to folk music. It's a challenging piece to play and was one of the more difficult pieces to record. But we pulled it off."

Speaking of "Cohearence" the song, why is the album title Cohearence? Ferrante laughs and says it's pun, with the word "hear" emphasized. But, if there is a theme at work on the recording, it is that sense of coherence.

When the Jackets were playing in London, Ferrante and Mintzer went to the Tate Modern where they were struck by the six-frame cycle of abstract paintings by Gerhard Richter, Cage-Six Paintings. "I decided to read further about it," says Ferrante. "I was impressed by the fact that they were inspired by the music of John Cage and then I read that the paintings were described as a coherent group. So I started looking into that word."

What Ferrante found was that the synonyms for coherent included balance, harmony, symmetry and unity. Given the music they were playing for the new album and the camaraderie of the band members, he had a profound realization that the triumph of Cohearence reveals the true nature of the group. "It means we're all connected to what we're doing as a band," he says. "We're making harmonious statements."

www.Yellowjackets.com

Original Santana Band at the House of Blues Las Vegas for One Night Only

On stage together for the first time since 1973, the Original Santana Band featuring: Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion), and Michael Shrieve (drums), will reunite on March 21 in Las Vegas at the House of Blues inside Mandalay Bay Resort and Casino for a very special live performance that will be filmed for television and DVD release.

Fans are invited to come be a part of television history as the super group takes them on a musical journey, touching upon the first three Santana albums, and introducing fans to songs from the forthcoming release of their new studio album, Santana IV.

Tickets for this special event go on sale tomorrow, Saturday, March 5 at 10 a.m. All tickets are $29.50 plus tax and fees and are general admission, standing room only tickets. Doors are at 6:30 p.m., filming begins at 8 p.m. Fans won’t want to miss this historic filming and live concert event. All guests must be 18 years of age or older with a valid photo ID to enter the venue.

With the same heralded lineup that exploded onto the scene at Woodstock, with Neal Schon added soon afterward, Santana IV radiates the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. In April of 2016, they will release their first studio album together since 1971’s Santana III. Appropriately named Santana IV, the album picks up where they left off with 16 all-new tracks written and produced by the band, explosive guitar work, incredible percussion, and a collection of songs that easily stands side-by-side with the group’s treasured early work. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts.

“There are very few bands from the ’60s and ’70s that can come back with this kind of energy,” Carlos Santana raves, “So 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.”

To date, this is the only full show scheduled that will feature this incredible lineup which will highlight the amazing guitar interplay of Carlos Santana and Journey’s Neal Schon, mixed with Gregg Rolie’s distinctive soulful voice and Hammond B3, complimented by the percussive ferocity of Michael Shrieve and Michael Carabello.

“Carlos and I feel more connected than ever,” adds Schon. “We get super-aggressive when we play, but also melodic and poetic. We have a dialog with each other on our guitars, and that allows us to do one-take solos and just blow each other away.”

Award-Winning San Diego Pianist Danny Green Spins Gorgeous New Tales With His Longtime Trio on Matt Pierson-Produced Altered Narratives

Danny Green knows that music should tell a story. A rising creative force on the Southern California jazz scene, the San Diego pianist/composer has distinguished himself with his beautifully articulated touch and deep affinity for Brazilian music. On his fourth album Altered Narratives, which is slated for a March 18, 2016 release on OA2 Records, Green's stellar trio explores a panoply of moods and grooves, sublimating Brazilian influences in favor of blues, swing and European classical influences. It's the work of a manifestly gifted composer who has honed a bespoke group sound ideally suited for his melodically charged sensibility.

Featuring bassist Justin Grinnell and drummer Julien Cantelm, Green's ensemble is one of the most lyrical trios working on the West Coast, and the pianist's program of original tunes provides an ideal forum for their exquisite interplay. The album opens with the bouncy blues "Chatter From All Sides," a piece composed amidst the tumult of Green's kids playing around him. It's an affectionately buoyant 16-bar theme that never wears out its welcome. "The Merge" is an episodic broken-field sprint that flowed out of a bit of spontaneous interplay on a gig with Cantelm. Listen to the way Cantelm's finely textured cymbal work shapes the piece. The brooding "October Ballad" embodies Green's gift for crafting emotionally evocative motifs, while "6 A.M." dawns with a dreamy passage before accelerating into a joyful baião feel, one of Northeastern Brazil's most infectious grooves.

Inspiration can come from just about any direction, and it's not surprising that Green has found fertile creative ground amidst the brothers Sprague, guitarist Peter and saxophonist Tripp, essential members of the Southern California jazz scene for some four decades. Several Altered Narrative pieces, including "6 A.M.", came from a concert with the Spragues where everyone agreed to bring in tunes pertaining to the theme "Things I Love That I Used to Hate." Not surprisingly, the late-night gin joint reverie "I Used to Hate the Blues" also came out of that concert. Clearly, the blues and Green now keep close company.

While not composed as a suite, the three tunes at the center of the album feature the trio with a string quartet led by violinist Antoine Silverman, a widely admired New York jazz and studio player. Green wrote "Second Chance" as part of the concert with the Spragues, and its gracefully flowing lines evidence his deep love of 19th century European classical music. The album's most intricate and beautifully unsettling tune, "Katabasis," takes its name from a Greek literary term that can refer to visiting the underworld. Keying on sumptuous cello work by Anja Wood, it's a sojourn deep into murky realms that moves from a plaintive minor blues to translucent chords offering a glimpse of light.

"I've loved classical music since college, and I listen to it as much as jazz and Brazilian music," Green says. "Some of my favorite classical composers who have had a profound influence on me are Wagner, Mahler, and Ravel. Writing for string quartet was a new undertaking for me, and one that I was extremely excited about. The string parts were going through my head for weeks before the session, and it was quite an emotional experience hearing it performed for the first time in the studio." 

The album closes with "Serious Fun," a rambunctious blues that embodies everything that's appealing about Green's trio. Working with a familiar form, they make it their own without affectation or pretension. More than the sum of its considerable players, the band has honed a book of tunes unlike any other trio on the scene.

Justin Grinnell is one of the most sought after bassists in San Diego. In addition to anchoring Green's trio he leads his own quartet featuring the brilliant LA pianist Josh Nelson (the band released a widely hailed 2013 debut album Without You). Julien Cantelm is a highly versatile accompanist who's performed extensively with San Diego heavyweights such as pianist Geoffrey Keezer, guitarist Peter Sprague, vocalist Allison Adams Tucker, and pianist Joshua White. He and nylon-string guitarist Dusty Brough also perform in the duo Vimana. Green introduced his trio with Grinnell on 2009's With You In Mind, which won the San Diego Music Award for Best Jazz Album. Cantelm joined the fold on Green's second release, 2012's A Thousand Ways Home, a quartet session with Tripp Sprague featuring Brazilian stars Claudia Villela (vocals) and Chico Pinheiro (guitar) as special guests. His third release, 2014's After The Calm earned him another San Diego Music Award for Best Jazz Album.

Born in San Diego in 1981, Green grew up in an academic family. Now retired, his mother was a longtime ESL teacher and his father was a professor of biology at the University of California, San Diego. He started piano lessons as a child and kept at it until 12, when he came under the sway of grunge rock. After two years teaching himself Nirvana tunes, he got interested in ska and joined a band with some fellow students. "Ska was the first style of music that I got into that featured improvisation, and I remember being so excited listening to the solos," Green recalls. "My first experience improvising was in my ska band. I had no clue what I was doing, but I just followed my intuitions and went for it."

Green experienced something of an epiphany around the turn of the century when he caught The Buena Vista Social Club documentary, which sparked a passion for Cuban son. He delved into Latin music working in local salsa bands, while writing in the Latin jazz idiom. Green earned a B.A. in Piano Performance from UCSD, where he studied jazz piano with Grammy-winning producer Kamau Kenyatta. A class on Brazilian music at UCSD turned his passion southwards. Looking for direct experience with Brazilian masters, he started attending California Brazil Camp in the redwoods of Cazadero in western Sonoma County. He credits legendary guitarist/composer Guinga, pianist Marcos Silva, guitarist/composer Chico Pinheiro, and drummers Edu Ribeiro and Marcio Bahia as particularly important influences. Green later went on to earn a Master's Degree in Jazz Studies at San Diego State University, where he studied under Rick Helzer. He was awarded "Outstanding Graduate," and several years later, "Alumni to Watch."

"I have always been the type to immerse myself in one genre of music, artist, or composer or months to years at a time. From Nirvana, ska, and Latin jazz, to Brazilian music, straight ahead jazz and Wagner operas, all these different musical phases that I went through helped shape who I am as a pianist and composer."

Green's singular journey has led to a strikingly beautiful body of music. Altered Narratives is the latest dispatch from a trio that still delights in the process of discovery.

http://dannygreen.net

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THE DEBUT ALBUM FROM ZMEI3 - ROUGH ROMANIAN SOUL

Zmei3 (pronounced zmay-tray) is made up of Romanian immigrants whose beautiful and heartfelt music rises from the harsh realities and struggles of a post-Communist rule.  Their debut album Rough Romanian Soul (out April 22 on Six Degrees Records) is produced by GRAMMY® award-winner, Ian Brennan, best known for his work with Tinariwen, Zomba Prison Project, Ramblin’ Jack Elliott, and the Malawi Mouse Boys.  Zmei3 being huge fans of Brennan’s work, successfully raised funds via Kickstarter to cover recording costs, travel, and more.  They flew Brennan to Romania and began recording the album in August 2015 live without overdubs in the Transylvanian mountains, just a stone’s throw away from Dracula’s Castle.

The band is led by powerhouse vocalist, Paula Turcas, a trained, mezzo-soprano opera singer who gave up classical music in the pursuit of a more truthful artistry grounded in the struggles of everyday life.  When she was three years old – the daughter of the village priest – began to sing the traditional Romanian folk songs. She would sing with such despair that when people passed by, her father would lift her up on the table and people would stop and listen with tears in their eyes.  Her voice remains so visceral that Berlin’s Der Tagesspiegel newspaper stated, “When Zmei3 are playing, it’s not rare that tears are falling in the audience.” Their sound is made all the more unique by featuring vibraphone virtuoso, Oli Bott, for their lead instrument.  Rounding out the talented group is Mihai Victor Ilieschu on guitars and lyrics, as well as Arnulf Ballhorn on double bass.  The band’s name is inspired by an ancient Romanian anti-hero, misfit dragon – a rebellious figure, who rarely prevails, but remains committed to his ideals.

The name of the album, Rough Romanian Soul is an ode to Romanian music entrenched with a deep history of regional blues and soul, as well as the inherent spirituality of their work.  Turcas adds, “The land is rough and the people strong, and our legacy is one of survival.”  Music from Transylvania is not commonly associated with aggressive styles mashing up blues and soul with influences of jazz, avant-garde, and folk with such introspective topics and emotive soundscapes.  But that is exactly what Zmei3 succeeds in doing on their fifteen-track debut.  Bott explains, “We had more than three albums worth of material and many of our most famous songs live were left off the album, in exchange for newer and more challenging material.”

Across the fifteen songs, Zmei3 cover topics of resistance, immigration, oppression, love, death, pride, loneliness, and strength.  “2 Mail” / 2nd of May is story of 2 Mai, a village at the Black Sea, close to the border with Bulgaria, which was a haven for hippies who wanted to escape the constraints of the communist regime.  “Poveste Din Țara Mea” / Story From My Country is about the feelings of an immigrant who left behind everything that he loved. A father is telling his little girl that she should never forget that there’s a country, a lost paradise, and that one day they will seek revenge on those who destroyed it.  “Shhh!!! (Tot ce nu se spunea atunci)” / Shhh!!! (All the speech that was forbidden then) is an improvised song, created around all the things, ideas and thoughts that were forbidden during the 45-year repressive regime in Romania.  “Mărie, Mărie” / Mary, Mary is an essential love ballad from southern Romania. A kind of southern blues.  “Până când nu te iubeam” / Since I’ve been loving you according to the band says, “It’s a strange coincidence that there is a Led Zeppelin song with the same title – but maybe it’s no coincidence since it’s exactly about the same feelings. ‘I’m about to lose…my worried mind’ – only that this song is urban folklore from Bucharest, dating from around 1850.”  “Într-o zi” / One day is the band’s slow blues song which was inspired by Bob Dylan’s “Girl From The North Country Fair.”  Other standouts include “Imn” / Hymn composed without lyrics and dedicated to the human experience, while “Vis” / Dream is dedicated to the memory of the Resistance fighters from the 50’s – and to those very few who always choose to fight and resist, even when it’s clear they have no chance.

Much of the songwriting was done via “instant composition,” where the producer Ian Brennan pushed the band to create songs and record simultaneously.  All while being inspired by the environment of the Transylvania mountains that were in view.  Brennan expresses, “music should breath, music should live, and come from inside a person. Equipment is secondary. Simply a means to an end.  The ability to be high amidst the mountains, to see them, and be there together, lends a sacredness to this project.”  Brennan is known for capturing the environment in which he records.  For example Brennan’s latest release on Six Degrees Records, Zomba Prison Project was recorded in Malawi, and documented the music of prisoners at the maximum security prison in Zomba.  The album was nominated for a “World Music” GRAMMY® which garnered critical praise on the cover of the New York Times, as well as features in CNN, Newsweek, Al Jazeera, NPR, Associated Press, Rolling Stone, The Guardian, and more.

Brennan concludes, “Eastern Europe in general has been neglected by the rest of the world in terms of interest and exploration of music and culture. It has literally and deliberately been treated as a bloc. There is a great ignorance amongst many as to what Eastern Europe even is after World War II, so to have vibrant and modern music from Romania is a very valuable thing.”

Track Listing:

Stai Lângă Mine (Stay Near Me)

Imn (Hymn)

2 Mai (2nd Of May)

Poveste Din Tara Mea (Story From My Country)

Shhh!!!…Tot Ce Nu Se Spunea Atunci (Shhh!!!…All The Forbidden Speech)

Mărie, Mărie (Mary, Mary)

Aș Munci La Plug Și Coasă (To Have You)

Până Când Nu Te Iubeam (Since I’ve Been Loving You)

Ah! (Ay!)

Într-o Zi (One Day)

Vreau Un Bărbat (I Want A Man)

Somn De Frumusețe (Beauty Sleep)

Voi Găsi (I Will Find)

Vis (Dream)

She’s Gone Wild

http://www.zmeitrei.com/

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https://soundcloud.com/zmeitrei

THE 38TH ANNUAL PLAYBOY JAZZ FESTIVAL AT THE HOLLYWOOD BOWL, PERFORMERS INCLUDES UNPRECEDENTED ARRAY OF CELEBRATED ICONS AND EMERGING ARTISTS

The Los Angeles Philharmonic announced today the line-up for the 38th annual Playboy Jazz Festival, to be held Saturday, June 11, and Sunday, June 12, 2016, at the Hollywood Bowl at 3:00pm. An internationally acclaimed event, the Playboy Jazz Festival is one of the premier jazz festivals in the United States and attracts audiences from across the globe.

Featuring an unparalleled mix of illustrious jazz greats, next generation leaders and Festival perennials, this year’s headliners include Festival alums Fourplay (celebrating their 25th Anniversary), Jon Batiste, Robert Cray, Pete Escovedo and Los Van Van, who will be joined by an extraordinary roster of Festival newcomers including Seth MacFarlane, Janelle Monáe, Cécile McLorin Salvant, The Bad Plus Joshua Redman, Joey Alexander Trio, John Beasley’s MONK’estra, Liv Warfield, South Africa’s Freshlyground,  London’s Anthony Strong,  and Sonny Landreth, who will be playing with Robert Cray.

Joining them will be Festival faves Naturally 7 and New Orleans’ Big Chief Donald Harrison Jr. (in a new configuration with the Congo Nation-New Orleans Cultural Group), along with Javon Jackson and Sax Appeal featuring special guests Jimmy Heath, George Cables, Peter Washington, and Willie Jones III; Christian Scott aTunde Adjuah Presents Stretch Music; The LAUSD/Beyond the Bell All-City Jazz Big Band Under the Direction of Tony White and J.B. Dyas, and the CSUN Jazz A Band directed by Matt Harris.

A very special celebratory tribute to the late Blues giant B.B. King will feature The Robert Cray Band with special guests Sonny Landreth and Roy Gaines.

A legend in the pantheon of music festivals, the Playboy Jazz Festival has featured artists ranging from legends such as Miles Davis, Dizzy Gillespie™ and Count Basie to today’s hottest stars and contemporary artists, including Herbie Hancock, Wynton Marsalis, The Roots, Esperanza Spalding and Trombone Shorty. Now in its 38th year, the Playboy Jazz Festival will once again feature two days of extraordinary musical performances, with multi-talented entertainer George Lopez as the Master of Ceremonies for the fourth year in a row.

The complete line-up is as follows:

PLAYBOY JAZZ FESTIVAL 2016

ARTIST LINE-UP

Saturday, June 11:  3pm

• Jon Batiste & Stay Human
• Seth MacFarlane with conductor Joel McNeely
• Cécile McLorin Salvant
• Los Van Van
• Naturally 7
• The Bad Plus Joshua Redman
• Joey Alexander Trio
• John Beasley’s MONK’estra
• Freshlyground
• The LAUSD/Beyond the Bell All-City Jazz Big Band Under the Direction of Tony White and J.B. Dyas

Sunday, June 12:  3pm

• Fourplay Silver Anniversary with Bob James, Nathan East, Chuck Loeb and Harvey Mason
• Janelle Monáe
• The Robert Cray Band Celebrating B.B. King with special guests Sonny Landreth and Roy Gaines Pete Escovedo Orchestra featuring Sheila E., Juan and Peter       Michael
• Javon Jackson and Sax Appeal featuring special guests Jimmy Heath, George Cables, Peter Washington, Willie Jones III
• Big Chief Donald Harrison Jr. and the Congo Nation-New Orleans Cultural Group
• Liv Warfield
• Christian Scott aTunde Adjuah Present Stretch Music
• Anthony Strong
• CSUN Jazz A Band directed by Matt Harris 

Master of Ceremonies: George Lopez

Arturo O’Farrill & The Afro Latin Jazz Orchestra Cuba: The Conversation Continues, With Special Guest Cuban Composers & Performers: Bobby Carcassés, Alexis Bosch, Cotó, Yasek Manzano, Michel Herrera, Jesus Ricardo Anduz, Antonio Martinez Campos

When Arturo O’Farrill & The Afro Latin Jazz Orchestra travelled to Havana, Cuba in December 2014 to record Cuba: The Conversation Continues, something nearly miraculous happened: President Obama unexpectedly announced the restoration of full diplomatic relations with Cuba, and plans for the opening of an embassy in Havana for the first time in more than a half-century. It was time, the President proclaimed, to reignite the conversation between the two long-estranged nations.

Just as Duke Ellington and Louis Armstrong trumpeted liberty abroad during the Cold War, Arturo O’Farrill’s efforts are a symbol of the new political current. O’Farrill is a modern day “jazz ambassador,” who fought for political normalization between the United States and Cuba through cultural diplomacy long before Obama’s announcement. As the founder and artistic director of the non-profit The Afro Latin Jazz Alliance, O’Farrill has been on the ground in Cuba repairing the rupture by promoting a cultural conversation despite political disengagement. O’Farrill and members of the Afro Latin Jazz Orchestra (the resident ensemble of the Alliance) have been traveling between New York City and Cuba for over a decade.

Though he is a frequent Cuba traveler, the announcement was still a surprise: “It was an emotional experience for me, a day that I had hoped would come for years,” says Arturo O’Farrill. He was in Cuba performing with his 18-piece Afro Latin Jazz Orchestra at the Havana International Jazz Festival at the time of Obama’s announcement. In fact, the night before the historic news (Dec. 16), Arturo and his orchestra, alongside several Cuban musicians featured on Cuba: The Conversation Continues, performed at the residency of the U.S. Chief of Mission in Havana.

An auspicious moment in the celebrated pianist’s 30-year career, the recording Cuba: The Conversation Continues is a profound statement that’s a touchstone of diplomatic engagement and cultural healing. For this full-length studio album, O’Farrill enlisted four of today’s premier Cuban composers and six world-class American composers/arrangers, including Bobby Carcassés, Alexis Bosch, Cotó, Michel Herrera, Dafnis Prieto, Michele Rosewoman, Earl McIntyre, Gregg August, Arturo himself and his son, Zack O’Farrill.

Executing such an ambitious project was no easy task. O’Farrill and Executive Producer Kabir Sehgal led a delegation of 58 people to make the recording: 24 musicians, 21 producers, 6 staff, 5 videographers, and 2 photographers traveled to Cuba, permitted by the U.S. Treasury Department. All told, 75 people contributed to making this studio album a reality, including the efforts of co-producers Julian Weller and Eric Oberstein. Recorded at Abdala Studios in Havana, Cuba: The Conversation Continues offers a compelling, forward-looking aesthetic – one based on dialogue and cross-cultural collaboration. With the news of political normalization, the musicians grasped the potential significance of the album – to create a cultural compass to guide future dialogue between the two countries. “There was a sizzle in the studio, and the resulting emotional rush made it onto the album,” says Sehgal.

For O’Farrill, Obama’s announcement had deep, personal significance. His father, the late Latin music legend Chico O’Farrill, was born in Cuba, but was unable to return to the island after the Revolution and he subsequently settled in the U.S. He died in New York in 2001, never seeing his homeland again due to Cold War travel restrictions. Arturo O’Farrill’s longstanding devotion to bringing Cuba and the U.S. closer together through the power of music has garnered utmost praise from The Recording Academy. Twice, in 2009 with Song for Chico and again earlier this year for The Offense of the Drum, his efforts have resulted in winning GRAMMY® Awards in the “Best Latin Jazz Album” category.

Musically, the roots of Cuba: The Conversation Continues stretch back to the collaborations between the American jazz icon Dizzy Gillespie and the Cuban conga virtuoso and composer Chano Pozo. Many jazz historians cite their momentous 1947 meeting and later collaborations as the birth of modern Latin jazz. Now, nearly seven decades later, O’Farrill and a cast of celebrated composers are resuming the conversation between Gillespie and Pozo, bringing it into the present at a pivotal time in U.S. and Cuban history.

“The Chano Pozo-Dizzy Gillespie conversation led to a realization that they had much in common. Both their music originates from Africa.”

Unfortunately, that conversation was interrupted by the diplomatic falling out. “But now we can resume and update their conversation,” notes O’Farrill. “This conversation is at the heart of our album.”

Cuba: The Conversation Continues gives new meaning to the ancient truth about music being a universal language. Gillespie himself spoke of a time when there would be neither “jazz” nor “Afro Cuban” but “universal music.” Arturo fulfills Dizzy’s prophecy of creating such a music, breaking down cultural walls. It turns out that musical borders are man-made, just like geographic and political ones.

Featured Compositions – Cuba: The Conversation Continues

On Cuba: The Conversation Continues, O’Farrill ultimately answers the question, “What would the music have sounded like if Pozo and Gillespie (and we) kept talking with each other?” Judging from the resulting compositions, it would have sounded very diverse, very adventurous, and yet reverent to tradition. The double disc set boasts several standout compositions, including O’Farrill’s masterful four-movement “The Afro Latin Jazz Suite,” a bold reimagining of Chico O’Farrill’s 65 year-old gem, “The Afro Cuban Jazz Suite.” Commissioned by Harlem’s famed Apollo Theater for its own 80th anniversary celebration in May 2014, “The Afro Latin Jazz Suite” is propelled by the extraordinarily soulful virtuosity of alto saxophonist Rudresh Mahanthappa.

O’Farrill notes of the track, “Rudresh is a voice that’s changing jazz, and it’s a voice that many jazz students in Cuba aren’t familiar with. He’s broadening the scope of this music. The jaws of these young musicians drop when they see him play. ‘The Afro Latin Jazz Suite’ is rooted firmly in the work and the vision that my father created.”

Envisioning the future, O’Farrill’s “Vaca Frita” features turntablist DJ Logic, the brilliant saxophonist David DeJesus, and Adam and Zack O’Farrill. For Arturo, the opportunity to work with the next generation of O’Farrills on such a momentous occasion was particularly rewarding.

“Watching my sons interact with their Cuban counterparts was one of the motivations for this album,” Arturo says. “There was such a tremendous respect and love for each other. When I saw them reach across borders, I said, ‘There’s a lesson here for every human, especially for the politicians who have divided our two nations.’”

“El Bombón” is another standout, written by Cotó (Juan de la Cruz Antomarchi). The work is a changüí that deals with a very specific feel and rhythm from Guantánamo. “Second Line Soca (Brudda Singh),” by Earl McIntyre features vocals from Reneé Manning and draws a direct line from Cuba to New Orleans. The cultural exchange between one of America’s most unique cities and the Caribbean island nation 90 miles south of our border goes back centuries.

“The roots of jazz are intertwined between Havana and New Orleans. For 50 years we have been denied an essential nutrient in the development of jazz.”

Finally, Cuba: The Conversation Continues leaves off with “There’s a Statue of José Martí in Central Park,” an epic 13-minute piece written and conducted by Zack O’Farrill in honor of the great Cuban national hero, and again featuring Rudresh Mahanthappa, along with Arturo on piano and Ivan Renta on soprano sax. With shades of free jazz, this song hints at what the future of Dizzy’s “universal music” might sound like.

Even though there’s been significant political progress in the seven months since the announcement, Arturo urges Americans to act:

“Call your congressman,” says Arturo. “Tell them to lift the embargo. It hasn’t worked during the last 50 years. We need a different approach. This album shows what normalization sounds like: there may be tension and discordance at times, but we still find harmony and resolution. It’s time for the politicians to catch up with the musicians.”

Gianluca Pellerito Quintet - Blue Note New York - March 21st 2016 8pm

Gianluca Pellerito, the 21 year-old Italian drummer, lives and studies in Boston at the prestigious Berklee College of Music. He and his quintet will play on March 21 at 8pm, on one of the most famous stages in the world: the Blue Note in New York. Pellerito is currently the only Italian band leader scheduled in 2016 at the legendary Blue Note in New York.

                       

He will perform with his quintet: Michael Eckroth (Piano), Sheryl Bailey (Guitar), Marco Panascia (Bass), Karen Marie (Singer), and will perform his funky, sparkling and intriguing jazz. In 2009, Gianluca was the world youngest musician to play as band leader at the Blue Note when he was only 14 when he made his debut at Blue Note in Milano.

                       

Gianluca has already released two albums:The first in 2009 is titled "Three Drums Show" with Peter Erskine – Alex Acuña and an orchestra – Etichetta The Brass Group Records – a live recording at the Verdura Theatre in Palermo on July 29, 2009. The second album, "Jazz my Way" Herbie Hancock Tribute, was released in 2013. It was recorded by a quintet at the Umbria Jazz Winter on December 28, 2012 and the concert preview was performed on July 5, 2013, during the opening evening of the Umbria Jazz Summer 2013, for the Emercy Universal label.

                       

He was born in Palermo, Sicily on May 1,1994, His first concert at age 8 took place at the Umbria Jazz 2002 with the Berklee band. His first concert as band leader came when he was 13 with "Gianluca Pellerito and Orchestra" at the Golden Theatre in Palermo when Gianluca was added to the noted repertoire of the Jazz della Fondazione Brass Group. He and an orchestra with 30 musicians attended the event together with well-known artists including John Pizzarelli, Rachelle Ferrell, Billy Childs and others.

                       

Gianluca met Peter Erskine when he was 14 and Erskine invited the young drummer to open his concert. Once back in America, Peter Erskine in an interview with the magazine Rhythm, said, "Gianluca Pellerito reminds me so much of when I was young and I believe he will be my future"

                       

A great friendship follows and two years later it gives life to the live concert and album "Three Drums Show" with three drums on the stage: Erskine's, Gianluca's and Alex Acuña's along with the great orchestra of the Fondazione The Brass Group.

                       

At 16 Gianluca was invited by the Kennedy family to play at the Kennedy Center in Washington. Two tours in the United States will follow, with stops in New York and Washington. In 2011 he was the special guest at a concert of the Incognito. Band leader Bluey Maunick called Gianluca again when the band played at the Blue Note.

I have a special bond with the Blue Note – Gianluca Pellerito stated– the Blue Note is a magical venue. I debuted at the Blue Note in Milano when I was 14 and today being in its historical venue in New York is like a dream come true for me.

                       

Peter Erskine, the person who discovered him, said: "The very first time I heard Gianluca Pellerito playing was with the Orchestra Jazz Siciliana for the Kenton project. It immediately reminded me when I was younger. He is a greatly talented young man. Being on the stage with him was and will still be an honor for me".

                       

Alex Acuña said: "I believe that Gianluca is a great musician and I think I can learn a lot from him. I am looking forward to sharing the stage with him, and with Peter, of course".

NEW RELEASES: HAKON KORNSTAD – TENOR BATTLE; THE BROKEN ORHESTRA - GLASS (FEATURING MELENTINI); HAROLD DANKO – LOST IN THE BREEZE

HAKON KORNSTAD – TENOR BATTLE

The title's a bit misleading – as the record's hardly the sort of tenor battle you might have heard from Wardell Gray and Dexter Gordon back in the day – and instead, the title's a bit of a pun, in that Hakon Kornstad plays both tenor sax, and sings in a tenor voice too! The record opens up in this really magical flow that begins with the saxophone sound of Hakon Kornstad, and blends in sublime sounds on instruments that include harmonium, cimbalon, harpsichord, and percussion – plus some excellent work from bassist Per Zanussi, who really grounds the whole thing. The record's easily one of the most compelling we've heard from Kornstad so far – that's saying a lot, given the strength of his other albums – and Hakon's got this new level of sensitivity that really comes through in the way he approaches his sound – not just his core performance on tenor, but also his use of a bit of flute, and process of looping live with the instrumentation too. Many of the compositions are from operatic sources – part of Kornstad's growing fascination with the format – and Hakon also sings a bit, in this stunning tenor voice that's really wonderful – completely captivating, especially amongst this instrumentation – and never forced or hokey at all. We'd hardly believe that such blend could come off so well – but it does, and with uniquely beautiful results – on titles that include "Je Crois Entendre Encore", "Song Of India", "En Fermant Les Yeux", "Morgen", and "Marechiare". ~ Dusty Groove

THE BROKEN ORHESTRA - GLASS (FEATURING MELENTINI)

The Broken Orchestra are a UK based production duo creating soulful, chilled yet experimental music with layers and textures of instrumentation and sounds. They began creating music in 2010 and since then have worked with world-renowned vocalists Inyang Bassey, Shawn Lee and Natalie Gardiner. In 2012 they released their first full length album ‘Shibui’ which was released in Japan through P-Vine Records. In 2015 they continued to develop and work with a range of vocalists and followed up with a series of single releases featuring female emcee Lady Paradox on ‘Digital Age’ and the heart felt vocals of Jack Conman with ‘Shallow Humour’. Both tracks received national airplay on BBC Radio 6 Music with ‘Shallow Humour’ also being featured on BBC Radio One.The latest single release from The Broken Orchestra see’s a return to layered textures and experimental sounds with the surreal but intriguing vocal talents of Melentini. Written as collaboration between the duo and Berlin based vocalist, ‘Glass’ features a haunting blend of layered vocals and subtly crafted instrumentation. Whilst musically remaining routed in the simplistic style and sound the duo has evolved and grown over the past few years, it has been highlighted as an exciting progression in the collectives’ development.

HAROLD DANKO – LOST IN THE BREEZE

A really well-balanced trio outing from pianist Harold Danko – so much so that almost all the compositions here are attributed to the trio of Danko, bassist Jay Anderson, and drummer Jeff Hirshfield! That sort of compositional credit is key to the workings of the record – as the role of the players is very equal, and there are even moments when Anderson's bass seems to take more of the center stage than Danko's piano – in a really great way that creates a marvelous interplay between the two instruments. Hirshfield is maybe a bit more understated on drums, but clearly plays a key role throughout – and titles include "Fall Splits", "Big Squeeze", "Salt N Sugar", "Stumble Crush", and "Fish Road" – plus versions of Duke Jordan's "If I Did Would You" and "Paula". ~ Dusty Groove

Smoke Sessions Records Releases Harold Mabern's Afro Blue as Limited Edition 180 Gram Double LP to Celebrate Esteemed Pianist's 80th Birthday

Smoke Sessions Records is set to release Harold Mabern's latest album, Afro Blue, as a limited edition 180 gram double LP on Friday, March 11. This special release, which was mastered by renowned mastering engineer Kevin Gray, was pressed at Memphis Record Pressing and includes a tip-on gatefold album jacket.

Three nights at Smoke Jazz & Supper Club will support the release and celebrate the esteemed pianist's 80th birthday from Friday, March 18 through Sunday, March 20 with a rotating lineup of special guests. On Friday, Mabern will be joined by vocalist Kurt Elling, bassist John Webber and drummer Joe Strasser; Saturday will feature guitarist Russell Malone, bassist John Webber and drummer Jimmy Cobb; and on Sunday by he will be joined by tenor saxophonist George Coleman, bassist Bob Cranshaw and drummer Joe Farnsworth. 

With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years - ever since his early days playing with the unparalleled Betty Carter.

On this album, Mabern has selected five of his favorite vocalists -- who also just happen to be some of the most popular and respected singers on today's scene -- and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively, and eminent guitarist Peter Bernstein on one track as well.

"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."

Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs - all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals.

Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend.

Legendary Bassist Ron Carter Comes Home as Detroit Jazz Festival's 2016 Artist-in-Residence

The Detroit Jazz Festival, the world's largest free jazz festival, announced that legendary bassist, cellist, composer and Detroit native Ron Carter will be its 2016 Artist-in-Residence. During his esteemed 50-year career, Carter has played on many of the most important jazz recordings with greats such as Miles Davis, McCoy Tyner, Herbie Hancock, Chick Corea and Wayne Shorter. He has appeared on more than 2,000 albums, making him the most-recorded jazz bassists of all time, in addition to earning two GRAMMY® Awards.

Carter, who has appeared at the Detroit Jazz Festival several times -- including an acoustic performance with last year's Artist-in-Residence Pat Metheny, which was one of the highlights of the Festival -- will orchestrate a variety of unique performances and collaborations that can only be found at this year's Festival. Details on his performances will be unveiled in April at a luncheon in Detroit announcing the 37th Annual Detroit Jazz Festival lineup.

"I have been to many wonderful places in my life, but no matter where I go, Detroit will always be home. It has shaped who I am and has had a tremendous impact on my life and music," said Carter. "It is an incredible honor to be an Artist-in-Residence from Detroit at one of the world's greatest festivals held in the heart of my hometown. I am thrilled to get the opportunity to become more involved with this world-class event and work with talented jazz students in a place that's so special to me."

As Artist-in-Residence, Carter will contribute to the Festival's continued efforts to support and grow jazz through education in Detroit and beyond. A lifelong educator himself, Carter will pull from his 18 years as a faculty member of The City College of New York's music department and participate in educational initiatives to nurture and develop young local talent in Metro Detroit.

At the Festival, Carter will occupy a traditional opening Friday night slot. He also will play collaborative sets with special guests throughout the weekend, including varied musical explorations unique to the Detroit Jazz Festival.

"When you think of legendary double bassists, Ron Carter is a name that comes to mind very quickly. We are ecstatic he has agreed to be our ambassador this year, extending his lifelong connection to Detroit and years of commitment to this Festival," said Chris Collins, Artistic Director of the Detroit Jazz Festival. "His personality and music are iconic and greatly reflect our values at the Detroit Jazz Festival -- artistry, expression and sharing the human experience through jazz."

Carter was born in Ferndale, Michigan, in 1937. He moved to Detroit when he was ten-years-old and later attended Cass Technical High School. He earned a bachelor's degree from the Eastman School of Music in Rochester, New York, and his master's degree in double bass performance from the Manhattan School of Music in New York City in 1961.

Carter's prolific catalogue features records with many jazz, rock and blues greats including Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, Bobby Timmons and more. Carter spent much of the '60s as a member of Miles Davis Quintet, which also featured pianist Herbie Hancock, saxophonist Wayne Shorter and drummer Tony Williams. He has toured the U.S. and Europe extensively.

Throughout his career, Carter has been named "Outstanding Bassist of the Decade" by The Detroit News, "Jazz Bassist of the Year" by DownBeat and "Most Valuable Player" by the National Academy of Recording Arts and Sciences. He was elected to the DownBeat Jazz Hall of Fame in 2012.

The 37th annual Detroit Jazz Festival will take place September 2 - 5, 2016. The festival spans several city blocks in downtown Detroit - from Hart Plaza to Campus Martius - with four stages and more than 100 performances.

The official Artist-in-Residence announcement was made Monday night during a performance by pianist and composer, Randy Weston with the Wayne State University Big Band "Celebrating the Music of Randy Weston and Melba Liston" at the Max M. & Marjorie S. Fisher Music Center in Detroit.

 

Norah Jones Set To Perform At Both Newport Folk Festival And Newport Jazz Festival This July

Nine-time Grammy Award winning singer and songwriter Norah Jones will perform the rare feat of appearing at both the Newport Folk Festival and Newport Jazz Festival on consecutive weekends this July. Demonstrating her versatility and wide appeal, Norah will make her first-ever solo appearance at the Folk Festival on Saturday, July 23 having previously performed at the 2014 festival with her band Puss n Boots and as a special guest with the legendary singer Mavis Staples. The following weekend Norah will make her first-ever appearance at the Jazz Festival on Saturday, July 30.

"Norah Jones is one of America's great singers of songs," said festival founder and music industry icon George Wein. "The scope of her artistry is so broad that it's possible for her to appear at both the Newport Folk Festival and Newport Jazz Festival, while still feeling comfortable that she will reach her audience and fans at these two historic cultural events. We are proud to have her with us."

Norah is currently putting the final touches on her sixth solo album, which is due to be released this Fall on Blue Note Records.

Norah Jones first emerged on the world stage in February 2002 with the release of Come Away With Me, her self-described "moody little record" that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Since then, Jones has sold over 40 million albums worldwide and become a nine-time Grammy-winner.

She has since released a series of critically acclaimed and commercially successful solo albums-Feels Like Home (2004), Not Too Late (2007), The Fall (2009), and Little Broken Hearts (2012)-as well as albums with her collective bands The Little Willies and Puss n Boots. The 2010 compilation ...Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Herbie Hancock, Willie Nelson, Outkast, and Foo Fighters. Little Broken Hearts, which was produced by Danger Mouse, was a fascinating step in Jones' artistic evolution, revealing her to be one of the music world's most consistently intriguing singer-songwriters.

The Pittsburgh Promise Announces "A Night of A Million Possibilities" Featuring an Exclusive Concert by Jazz Great Wynton Marsalis

On Thursday, November 10, 2016, the Keepers of The Promise will treat Pittsburghers to "A Night of a Million Possibilities," an exclusive gala evening featuring internationally acclaimed jazz musician and composer Wynton Marsalis and his small group, at a concert celebrating the success of The Pittsburgh Promise and its scholars.

                  

This one night only event is expected to raise $1 million for The Pittsburgh Promise Scholarship Fund which is working toward raising $68 million in order to sustain scholarships at least through the class of 2028. Thus far, The Pittsburgh Promise Scholarship Fund has achieved 73% of its $250 million fundraising goal, and has invested more than $74 million by sending 6,279 qualifying Pittsburgh Public Schools graduates to post-secondary education and a prosperous future.

                  

"A Night of a Million Possibilities" is being hosted by a broad-based advocacy group known as the "Keepers of the Promise," which operates exclusively to support and promote the work of The Pittsburgh Promise by increasing visibility and awareness through outreach and fundraising initiatives.

                  

In addition to entertaining Pittsburghers at the November gala, Wynton Marsalis, a renowned educator and arts advocate, plans to conduct a special Master Class for high school music students representing Pittsburgh Public Schools, during his visit.

                  

"Pittsburgh's future depends on helping its young people to fulfill their dreams," said Wynton Marsalis. "I'm so glad to be part of a musical celebration in Pittsburgh where the community comes together to fund education and create limitless possibilities for urban youth," added Mr. Marsalis. 

                  

Founder of Legendary Entertainment Thomas Tull and his wife Alba, who make Pittsburgh their second home, have agreed to be honorary co-chairs for the event. Mr. Tull is Chairman of the Board and CEO of Legendary Entertainment which has co-produced the recent major motion pictures, Jurassic World and Straight Outta Compton as well as producing Krampus, the Gothic Horror film Crimson Peak, Godzilla, Pacific Rim, and the Jackie Robinson biopic 42. Mr. Tull is also part of the ownership group of the Pittsburgh Steelers football team.

                  

"Alba and I are proud to be a part of one of Pittsburgh's great causes to help the next generation realize their potential," said Thomas Tull. "Getting more students to continue their education or training beyond high school benefits everyone. We're looking forward to this special evening with our Pittsburgh neighbors and enjoying the talents of Wynton Marsalis."

                  

Commenting on plans for the Gala, Pittsburgh Promise Executive Director Saleem Ghubril said, "Nothing is more important to us than shining the light on, and fueling the fires of, our city's kids, in whom live millions and millions of possibilities. We are exhilarated by the 'Keepers of the Promise,' their commitment to the mission of The Pittsburgh Promise, and their support of this gala. We are so thankful to Thomas and Alba Tull for deepening their engagement in Pittsburgh through investing in the futures of our kids. On behalf of our Board of Directors, staff, and supporters, we are beyond thrilled to have the great Wynton Marsalis visit with our high school music students and perform at our November Gala."

                  

"A Night of a Million Possibilities" will take place on Thursday, November 10, 2016, beginning at 6:00 p.m. at downtown Pittsburgh's Wyndham Grand Hotel. For information about purchasing tickets, tables, or sponsorships, visit www.PittsburghPromise.org/gala, or call 412-745-2220. Individual tickets are $250 and table sponsorships start at $2,500. Corporate sponsorships are also available.

                  

Wynton Marsalis, a New Orleans native, is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture.  He has recorded more than 80 jazz and classical recordings, which have won him nine GRAMMY® awards and sold over 7 million copies worldwide. Marsalis made history in 1997, when he became the first jazz musician ever to win the Pulitzer Prize for his oratorio Blood on the Fields. He has written six books including: Jazz ABZ: An A to Z Collection of Jazz Portraits, illustrated by poster artist Paul Rogers; Moving to Higher Ground: How Jazz Can Change Your Life with Geoffrey C. Ward; and Squeak, Rumble, Whomp! Whomp! Whomp!, also illustrated by Paul Rogers. 

                  

Wynton's lifetime commitment to inspiring and uplifting people though artistic excellence in jazz, has had an unparalleled impact both in the United States and around the world. He serves as the Managing and Artistic Director of Jazz at Lincoln Center and the Director of Jazz Studies at the Juilliard School in New York City. 

                  

The Pittsburgh Promise, a scholarship program for Pittsburgh Public Schools students, advocates for improving the quality of education and increasing the preparedness and diversity of the region's workforce. Pittsburgh has the largest Promise program in the United States. For more information about The Pittsburgh Promise, visit www.pittsburghpromise.org

Award-winning, inspirational songwriter Nate Brown announces the release of "Your Love"

Award-winning, inspirational songwriter Nate Brown announces the release of "Your Love," the highly anticipated single from the forthcoming album "Open Heaven." The single was recorded live in Venice, alongside Italy's prestigious Veneta Philharmonic Orchestra, which will be performing this fall with Grammy-nominated artist Andrea Bocelli. "Your Love" captures the wholesome and organic sound fans can expect from "Open Heaven" by Nate Brown & Friends, which will launch this fall.

Sublimely orchestrated, the song is an artistic expression of the overwhelming feeling of God's unconditional love, explains Brown. "I want to remind listeners that 'Love' itself is the greatest commandment from God," he adds, "and His love for us reaches beyond the human imagination. When you've experienced the true love of God it becomes indescribable and undefined. God's love cannot be contained within our human understanding of what love is; we'll never understand why He loves us so much. He just does, and He does so in spite of our many imperfect ways."

    

Brown is the founder and CEO of Gentle Giant Music Ministries, an international artist management company based in Maryland. He's earned a positive reputation for his music and production throughout Europe, having performed in well-known theaters and churches, as well as making multiple appearances on RAI Television. Brown studied at the Duke Ellington School of the Arts, Berklee College of Music and the University of the Arts. 

  

"Your Love" features lead vocals from Christie Dashiell, who entered the public eye as a contestant on NBC's hit show "The Sing-Off" as part of the group Afro-Blue. The Veneta Philharmonic Orchestra is conducted by the renowned Diego Basso. Background vocalists on the single include members of Gentle Giant Music Ministries, regional winners of the Verizon Wireless How Sweet the Sound competition in 2013. "Your Love" was mixed by award-winning engineer Ken Lewis and produced by Stellar Award nominee Christopher Leach.

An experienced and award-winning songwriter and multi-instrumentalist, Nate Brown has worked with the likes of Wynton Marsalis, Roy Hargrove and the late Grover Washington, Jr., among many others. As the founder of Gentle Giant Music Ministries, Brown has been at the helm of one of the fastest-emerging Christian/Gospel music companies in the US. Gentle Giant Ministries has embarked on six European tours, and the company's debut album – "Open Heaven" – will be available in fall 2016.