Keyon Harrold: The Vital Sound Behind Don Cheadle in Miles Davis Biopic, Miles Ahead

To genuinely emulate and articulate the writing and performance style of Miles Davis--a musical icon, one of the most prolific and recognized musicians of the last century--is a daunting task, one that becomes vital to the entire sonic aesthetic of a film responsible for depicting this true innovator's message. Cue modern luminary Keyon Harrold: the GRAMMY® Award-winning platinum trumpeter, /writer and roducer who proved a natural fit for critically acclaimed actor Don Cheadle who wrote, directed, and starred in the legendary trumpeter's biopic, in collaboration with Robert Glasper who scored the film's soundtrack. A powerful turning point for the Ferguson-native, Harrold has surpassed his already stellar career highlights--collaborating with dozens of the world's greatest musical pioneers and revolutionaries by channeling one of his greatest musical heroes, Miles Davis: a welcomed landmark to preface the imminent release of Harrold's next project as a leader.

For the new Miles Ahead film, Cheadle appears to be performing so in sync with these provocative compositions that it's hard to believe he didn't play them himself. Harrold is actually the sound behind all of those passionate on-screen performances, except, of course, for the vintage Davis recordings used in the biopic.

Having an actor learn to play a composition well enough to portray it on screen is the industry standard, however in this instance, Cheadle--who had been taking trumpet lessons for four years before shooting--improvised his own fingerings on film, to which Harrold then composed in post-production and sometimes simultaneously on set. But composing music in sync with an actor's fingering isn't the only obstacle Harrold faced; the music had to authentically convey the signature Miles Davis sound.

"It's impossible what he did. Often what we do as actors is, after we film the movie, we go into a recording studio and overdub anything that needs to be made clear," explains Cheadle, speaking on a panel with Harrold and Glasper at SXSW. "This is tricky enough when using your own voice. But what Keyon had to do was watch what we are doing and what I was playing as a trumpeter and sync over that. They had to play over action scenes where they would improvise over our improv, which isn't really possible; but he did it."

It takes a special talent to not only write to what you see someone performing, but it's a rare skill--and a true testament to Harrold's exceptional talent--to write not only to match what's on screen, but to parallel the unmistakable sound of Miles Davis. "I had been planning for this opportunity all of my life in many ways. Coming from St. Louis, my mother first bought me Miles's records when I was very young just so I could learn the horn. He was, in many ways, one of my first teachers," says Harrold. "I first learned his sound so that I could then discover my own. But my life also prepared me in ways I didn't expect. Some of the defining moments that shaped Miles's career as captured in the plot of the movie have also happened to me and, just as I hear how his sound is influenced by those experiences, I too find myself pouring the emotions of those trying moments into my own music."

Lesser known is how Harrold's own life and his contribution to music exemplify many parallels to Davis himself, not the least of which is their shared passion to create "social music" rather than be pigeon-holed by the jazz improvisational virtuosity for which they are both famed. Miles Davis is one of the greatest of all time; and Harrold is often noted by contemporaries and critics as one of the greatest trumpeters of his generation today. Harrold's vision enriches the trumpet, songwriting, and contemporary music with a fresh voice for these complicated times. His music resists conformity, re-imagines genres without boxes or boundaries, and represents the spirit of the social movements that also inspire his sound-just as Davis did in his own career. With this latest film release, he is now connected forever to the legacy of one of the leading music innovators of the modern era.

Harrold's own voice was added to the film as well as an integral part of the movie's plot: Davis has to take notice of the fierce talent of a young successor: Junior. "For Junior's portrayal, Don asked for something that was like Freddie Hubbard, pyrotechnic, and fast and just in your face," explains Glasper. "So I told Keyon to play like himself." While Junior was of Davis' time, Harrold's music skillfully showcases the lineage of current artists who are inspired and informed by Davis and serves as a tribute to what has evolved from Harrold's own body of music.

  

For Keyon Harrold the goal is, as it was for Miles Davis, simply to innovate the continuum of music, fusing various genres to tell the stories of our time. No stranger (nor prisoner) to the worlds of hip-hop, R&B, jazz, gospel, pop, soul, all music in fact. Harrold, like Davis, is never bound by the distinctions of genre categories, but rather inspired by how they inform each other.

While Harrold has been noted by publications such as JazzTimes as one of the best new artists of 2015, he has served as a coveted secret weapon crucial to the sounds of artists ranging from Gregory Porter, Will Calhoun, and Dr. Lonnie Smith, to Jay Z, Kanye West, Beyoncé, Common, Lauryn Hill, Mary J Blige, Erykah Badu, LL Cool J, 50 Cent, and Mobb Deep, including touring stints with artists like D'Angelo, Eminem, and Rihanna. The trumpeter also served as an integral part of R&B star Maxwell's two-time GRAMMY® Award-winning album Black Summer's Night. Harrold released his debut album, Introducing Keyon Harrold, in 2009; the highly anticipated follow up release is coming later in 2016 and will capture his journey through these many styles of music to where he has now arrived as one of the most distinct musical voices to emerge on the scene.

Harrold appears on four tracks of MILES AHEAD - Original Motion Picture Soundtrack, available now via Columbia/Legacy. For inquiries regarding the soundtrack, please contact

Maria Malta or Gabby Gibb at Sony Music.

Upcoming Keyon Harrold Performances:

April 6 / Brooklyn Bowl (w/ Dr. Lonnie Smith) / Brooklyn, NY

April 8 / Paramount Theatre - Asbury Park Film & Music Festival / Asbury Park, NJ

April 9 / Annenberg Center (w/ Dr. Lonnie Smith) / Philadelphia, PA

April 15 / National Sawdust (w/ Terrace Martin) / Brooklyn, NY

April 19 / Le Poisson Rouge (as part of Revive Music's 10th Anniversary) / New York, NY

April 26 / Refugee International Gala / Washington, DC

May 13 - 16 / Dizzy's Club Coca-Cola / New York, NY

June 3 / Party for a Purpose at Trinity Church / Chicago, IL

June 4 / Four Star Scholarship Music Festival / Chicago, IL

KeyonHarrold.com

Saxophonist WILL VINSON Releases PERFECTLY OUT OF PLACE

Alto saxophonist and composer Will Vinson possesses many gifts; incredible power, dramatic sensitivity, prodigious technique, and perhaps most importantly, a captivating sound that you want to hear again and again. John Fordham of The Guardian described a "superb solo of rugged leathery sounds turning into mellifluous high notes", with "secure control and storming energy". While JazzWise Magazine has said that Vinson has a knack for "combining a thoughtful originality of conception with energy and fluidity of execution in very satisfying proportions". It is this abundance of qualities that has made Vinson a serious part of the conversation when talk turns towards modern jazz musicians who are playing and composing with a high level of originality and artistry. In addition to being an acclaimed bandleader with five recordings under his own name, Vinson is a member of several leading ensembles: Gonzalo Rubalcaba's Quintet (appearing on the Grammy nominated albums Suite Caminos, and Charlie), Ari Hoenig's Punk Bop and Nonet, Miguel Zenon's Identities Orchestra (Grammy nominated for Identities are Changeable), and the much lauded OWL Trio (with Lage Lund and Orlando le Fleming). Vinson has also toured/recorded with Rufus Wainwright, Sufjan Stevens, Sean Lennon, Martha Wainwright, Beth Orton and Harper Simon.

Will Vinson is proud to announce the release of his debut recording for 5Passion and his sixth overall, Perfectly Out of Place, featuring an all-star group comprised of Mike Moreno on guitar, Gonzalo Rubalcaba on piano, Matt Penman on bass and Jeff Ballard on drums.  Perfectly Out of Place follows a string of inspired albums from Vinson: It's For You (Sirocco Jazz, 2004, "an auspicious debut, an album that is as mature in its conception as it is in its execution" - The NYC Jazz Record, formerly AAJ New York), Promises (NineteenEight Records, described as "impressive" and "coolly restrained" by Nate Chinen of The New York Times), The World (Through My Shoes) (a live recording called "marvelous" by DownBeat Magazine and "exhilarating, cascading ... outstanding" by JazzTimes), Stockholm Syndrome (2010, Criss Cross Records), and Live at Smalls (2013), one of the most successful albums on the Smalls Live label.

  

With Perfectly Out of Place Vinson felt ambitious. This album contains more-than-usual through-composed music from the saxophonist's pen, and also marks his first use of overdubs, synthesizers, vocals and strings. His aim was to enhance and augment his Quintet's sound (featured on Vinson's previous five albums) that many fans and critics have come to know and love. Vinson elaborated in the album's liner notes, "It was an exciting prospect for me, but one that was made challenging by the stubborn insistence of everyone in the band on making everything sound immediately perfect and unimprovable . . . you get what you pay for, I suppose. I've tried to add without inadvertently taking away, and I hope you feel it's been a success." He added, "The entirety of this project, from the music's conception in the mountains of Banff, Alberta; through the joyous session at Avatar (to my knowledge the world's greatest recording studio), has been a thrill. One that I'd be happy to go through again, if it weren't for the fact that this record is now complete and in the hands of the most important person in the process, the listener."

Vinson's collaborators on Perfectly Out of Place include four of the world's most extraordinary improvising musicians, Mike Moreno, Gonzalo Rubalcaba, Matt Penman and Jeff Ballard. "Their importance to this project cannot be overstated, each one of them being irreplaceable. It's fair to say that my personal aesthetic identity would not be quite what it is without the influence of these masters over the past (gulp) two decades," said Vinson. The saxophonist also felt exceptionally fortunate to be able to enlist Jamey Haddad (heard on "Skyrider"), Jo Lawry (heard on "Desolation Tango" & "Skyrider"), and the Mivos Quartet (heard on "Desolation Tango", "Skyrider", "Intro to Limp of Faith") to contribute to this project. "Jamey's vibe and generosity of spirit are legendary, and his playing joyous and infectious. It's hard to think of anyone other than Jo who would have the chops, not to mention relished the challenge, to achieve what was asked of her in this recording. I first heard Mivos right at the time I was beginning to consider using strings on this project. They performed Steve Reich's Different Trains and completely blew me away", said Vinson.

On Perfectly Out of Place, the listener gets unadulterated "Will Vinson music"; which not only means playing and composing that combines a great knowledge and respect for the century-long jazz tradition, with explorations into the rhythmic, harmonic and melodic realms of contemporary forms, but this artist's brilliant vision brought to life with great skill and unmitigated passion.   

Tracks: 1. Desolation Tango, 2. Upside, 3. Willoughby General, 4. Skyrider, 5. Intro To Limp of Faith, 6. Limp of Faith, 7. Stiltskin (Some Drunk Funk), 8. Chalk It Up, 9. The Clock Killer, 10. Perfectly Out of Place.

NEW MUSIC: CURTIS BROOKS - RELAX; ANTHONY HAMILTON – WHAT I’M FEELIN’; PAT METHENY - THE UNITY SESSIONS

CURTIS BROOKS - RELAX

Saxophonist, composer, and producer, Curtis Brooks plays by his own rules. Blessed with an astounding voice and natural knack for a hook via his saxophone, he’s redefining what’s possible within smooth jazz. Curtis Brooks; born Curtis Mark McCowen, Jr., had his first encounter with a saxophone at age 8 while in the 4th grade. The band teacher visited his class and said “If you join the band you can get out of class.” Out of class sounded like a great idea to young Curtis so he joined the school band, not knowing that this would soon become his passion. Now twelve years later he’s being called the new generation of smooth jazz; a child prodigy!

ANTHONY HAMILTON – WHAT I’M FEELIN’

Heavy sounds from Anthony Hamilton – a record that's still got all the warm flourish we love from his other work, but which also seems to have a bit more of a bass on the bottom! The production is by Mark Batson on most tracks – and the team of Salaam Remi and James Poyser on a few more – and there's a great use of rock-solid, slow-moving rhythms to the record – grounding the whole thing firmly (and maybe blowing out the cones in your speakers, too!), while Hamilton opens up with those well-crafted vocal modes, full of deep soul flourishes that have made him a hip favorite for years. Titles include "Save Me", "Take You Home", "Love Is An Angry Thing", "Never Letting Go", "Grateful", "Ain't No Shame", "What I'm Feelin", and "Walk In My Shoes".  ~ Dusty Groove, Inc.

PAT METHENY - THE UNITY SESSIONS

Nonesuch Records releases a pair of new albums from guitarist, composer, and bandleader Pat Metheny on May 6, 2016. Metheny is well-known as a musical collaborator, and both records feature friends and colleagues with whom he has worked for years. The Unity Sessions is taken from a filmed performance with Pat Metheny Unity Group that was recently released on DVD; the set comprises 13 songs by Metheny, one he co-wrote with Ornette Coleman, and one well known standard by Ray Noble. And Cuong Vu Trio Meets Pat Metheny joins the guitarist with a trio led by longtime Pat Metheny Group trumpeter Cuong Vu. It comprises five tunes written by Vu plus one by Metheny and one by Andrew D'Angelo. 

NEW MUSIC: SNOWBOY & THE LATIN SECTION – NEW YORK AFTERNOON; JAMES TAYLOR QUARTET – BUMPIN’ ON FRITH STREET: LIVE AT RONNIE SCOTT’S; PEO – SWEDE SOUL MUSIC

SNOWBOY & THE LATIN SECTION – NEW YORK AFTERNOON

The strongest album in years from the mighty Snowboy – a set that firmly returns him to his Latin roots, but with a sound that's even better than before! The approach is perfect – loads of strong congans and percussion from the leader, and a wickedly jazzy lineup that do way more than just rehash classic lines – and instead allow Snowboy to dig deep into all the funk, soul, and jazz influences he's explored over the years – borrowing their best bets to fold right back into a core Latin groove! The record features superb bass from Nico Gomez, great Hammond and Fender Rhodes from Neil Angilley, and searing work from Pete Wareham on tenor and baritone sax. House legend Marc Evans does an incredible job on vocals for the title cut "New York Afternoon" – a wicked reworking of the Richie Cole classic – and Jen Kearney sings on the tracks "Better" and "Oxen Free". Other titles include "The Triple Bluff", "Tres Tambores", "Ole Mambo", and "Cala Escarpada". ~ Dusty Groove

JAMES TAYLOR QUARTET – BUMPIN’ ON FRITH STREET: LIVE AT RONNIE SCOTT’S

Hammond legend James Taylor takes the stage at the legendary Ronnie Scott's Club in London – a place he could have hardly imagined gracing back in his early 80s years on the mod scene! Yet Ronnie's come a hell of a long way since those days – and has emerged as one of the best organists working today – able to soar along the keyboard at a level that even only a few folks from the classic years could ever hope to match! The pyrotechnics here are wonderful, and Taylor never loses his groove at all – working in a sharp quartet with guitar, bass, and drums – on titles that include "Duffin Round", "Song For My Dad", "Parallelo", "Jungle Strut", "Sweet Revival", and a nice version of Jimmy Smith's "Rootdown". (Includes bonus download!) ~ Dusty Groove

PEO – SWEDE SOUL MUSIC

Stunning soul from Peo Dahl – a Swedish musician by birth, as you might guess from the title – but one who comes across with a groove that matches the best hip Anglo soul of the past decade or two! There's a vibe here that reminds us especially of some of our favorite British acts – the jazzy rhythms of Brand New Heavies, and maybe the vocal warmth of Swing Out Sister – with a bit of Incognito thrown in for good measure! Yet the group's definitely got their own sort of special vibe – upbeat, positive sounds served up by Peo and his core instrumental crew – and delivered by a host of singers (mostly gals, one guy) who give the whole album a beautiful glow. The songs are great, production is perfect, and titles include "Another Weekend", "Good Love", "What Goes Up", "Everything", "Get Ready", "Wish I Could", "All Your Love", "Be Mine", and "Must Be Love". ~ Dusty Groove

After a Decade and a Half of #1 Billboard Jazz Instrumental Hits, Steve Oliver Has Released His First Ever Vocal Single "Why" -- From His Upcoming Album Pictures and Frames

Fresh off about the recent release of his first ever vocal single "Why" to Pop Contemporary radio stations nationwide, multi-talented singer, songwriter and guitarist Steve Oliver is set to open for legendary six time Grammy winning saxophonist David Sanborn Thursday, April 7 at the historic Genesee Theatre in Waukegan, IL.

Oliver, whose upcoming all-vocal album Pictures and Frames follows a decade and a half of #1 Billboard Jazz Instrumental hits, will performing his dynamic trademark "one man band" show that he has done at hundreds of venues and festivals throughout the world as well as on multiple contemporary jazz cruises.

As he chronicled on his popular 2008 CD/5.1 Surround Sound DVD package One Night Live, Oliver will showcase a wild array of sonic delights that include soulful lead vocals, snappy guitar lines, exotic vocal percussion excursions, playful "vocalese" and wonderworking with his synth guitar and pedals.

Oliver has always sprinkled a few pop/R&B vocals into his instrumental albums -- but "Why" and many of the other tracks on the album mark a deeper emergence as an observational, socially conscious songwriter.

Recorded at the legendary Capitol Studios in Hollywood, the John Mayer, Sting and Steely Dan influenced Pictures and Frames the all star rhythm section of bassist Lee Sklar (whose 2,000 studio sessions include multiple albums with James Taylor, Phil Collins and Linda Ronstadt) and legendary jazz/rock drummer Vinnie Colaiuta, known for his work with Sting, Frank Zappa, Eric Clapton and Herbie Hancock, among hundreds of others.

In his three-and-a-half decade career, David Sanborn has released 24 albums, won six Grammy Awards, and has had eight Gold albums and one Platinum album. Considered the most influential saxophonist and pop R&B and crossover players of the past 20 years, he continues to be one of contemporary jazz's most active touring musicians.

NEW MUSIC: DAVID MURRAY / GERI ALLEN / TERRI LYNE CARRINGTON - PERFECTION; MARK ETHEREDGE - CONNECTED; CHARLES BRADLEY - CHANGES

DAVID MURRAY / GERI ALLEN / TERRI LYNE CARRINGTON - PERFECTION

This is the much anticipated recording debut of the new jazz supergroup- David Murray, Geri Allen & Terri Lyne Carrington Power Trio- is dedicated to Ornette Coleman, who passed just days before the recording. The album features (and is named after) Coleman's never before recorded composition, Perfection. Tracks include: Mirror of Youth; Barbara Allen; Geri-Rigged; The David, Geri & Terri Show; The Nurturer; Perfection; D Special (Interlude); Samsara (for Wayne); For Fr. Peter O'Brien; and Cycles and Seasons.

MARK ETHEREDGE - CONNECTED

Contemporary jazz keyboardist Mark Etheredge's newly released album, “Connected,” is produced by two-time GRAMMY® winner Paul Brown, has already been called one of the best of the year. “Connected” is a sophisticated session of live-sounding contemporary jazz, R&B grooves, souled-out pop and zesty Latin rhythms brought to life by an astute ensemble that boasts Chuck Loeb (Fourplay) and Brown on guitar and an animate horn section top-lined by noted saxophonists Greg Vail and Andy Suzuki that breathes force and fire into the tracks. Etheredge’s deft and dexterous piano and keyboards carry melodic messages of self-discovery, empowerment and affection. With plenty of radio-friendly cuts from which to choose, expect “Connected” to issue multiple singles that bode to keep Etheredge’s breakthrough record on the charts through the end of the year.    

CHARLES BRADLEY - CHANGES

Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming. Dubbed “The Screaming Eagle of Soul,” due to his riveting live performances, the singer is proud to present his highly anticipated album Changes (named for his popular, “smoldering” (SPIN) cover of the Black Sabbath track.) By now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth. - ~ www.newreleasesnow.com

PRESIDENT OBAMA AND MICHELLE OBAMA TO HOST INTERNATIONAL JAZZ DAY 2016 ALL-STAR GLOBAL CONCERT AT THE WHITE HOUSE FEATURING HERBIE HANCOCK, STING, ARETHA FRANKLIN, TROMBONE SHORTY, DIANA KRALL, AND MANY OTHERS

All-Star Global Concert Will Be Televised on ABC on April 30 for the Fifth Annual International Jazz Day Worldwide Celebration Recognizing Jazz and Its Significant Role in Cultural Diplomacy

Paris and Washington, D.C. - United Nations Educational, Scientific and Cultural Organization (UNESCO) Director-General Irina Bokova and UNESCO Goodwill Ambassador Herbie Hancockare pleased to announce the fifth annual International Jazz Day, which will be celebrated around the world on April 30, 2016. President Barack Obama and First Lady Michelle Obamawill host the 5th anniversary International Jazz Day All-Star Global Concert at the White House on April 29th and this spectacular event will be broadcast on International Jazz Day as a one-hour primetime ABC television special, "Jazz at the White House," on Saturday evening, April 30th and streamed on the United Nations, UNESCO, U.S. State Department and White House websites. The concert will feature an extraordinary array of artists from around the world paying tribute to the truly American art form of jazz.

Washington, D.C. has been selected to serve as the 2016 Global Host City, and International Jazz Day programs are made possible by Toyota, the 2016 Lead Partner. Presented each year on April 30th in partnership with the Thelonious Monk Institute of Jazz, International Jazz Day highlights the power of jazz as a force for freedom and creativity, promotes intercultural dialogue through respect and understanding, and unites people from all corners of the globe. The day is recognized on the official calendars of both UNESCO and the United Nations.

The All-Star Global Concert at the White House will feature stellar performances by Joey Alexander, Terence Blanchard, Kris Bowers, Dee Dee Bridgewater, Till Brönner, Terri Lyne Carrington, Chick Corea, Jamie Cullum, Kurt Elling, Aretha Franklin, Robert Glasper, Buddy Guy, Herbie Hancock, Dave Holland, Zakir Hussain, Al Jarreau, Diana Krall, Lionel Loueke,Hugh Masekela, Christian McBride, John McLaughlin, Pat Metheny, Marcus Miller, James Morrison, Danilo Pérez, Rebirth Brass Band, Dianne Reeves, Lee Ritenour, David Sánchez,Wayne Shorter, Esperanza Spalding, Sting, Trombone Shorty, Chucho Valdés, Bobby Watson,Ben Williams and others, with further details to be announced shortly. John Beasley will serve as the evening's Musical Director.

UNESCO Goodwill Ambassador Herbie Hancock said, "We are thrilled that President Obama and Michelle Obama are hosting the International Jazz Day All-Star Global Concert at the White House, and are truly grateful for their commitment to jazz and its role in building bridges and uniting people around the world. Over the past five years, the innovation and creativity of Jazz Day has been a beacon of light to millions of people who find common ground and communicate through the values inherent in jazz. On April 30th, people of all ages in all corners of the globe will participate in International Jazz Day. A wide range of momentous events will take place in thousands of neighborhoods - and the streets will be alive with the sounds of peace and freedom."

Many acclaimed musicians and educators will participate in a daylong series of free jazz performances, master classes, improvisational workshops, roundtable discussions, education programs, jam sessions, and community outreach initiatives at schools, embassies, arts centers, hospitals, museums, social service agencies, jazz clubs, senior centers, metro stations, recreation centers and parks across Washington, D.C. on April 30th. These programs in Washington, D.C. will be among the thousands of International Jazz Day live performances, educational activities, and community service programs taking place in all 50 U.S. states and in more than 190 countries on all seven continents.

"Jazz was born in the US and traveled the world as a music of tolerance, freedom and human dignity. This is why UNESCO created International Jazz Day and we are extremely pleased that in 2016 Washington, DC has been designated the host city for this global celebration, with a unique All Star Concert at the White House, hosted by the President of the United States Barack Obama and First Lady Michelle Obama. This event reminds us Jazz is more than music - it is a universal message of peace with rhythm and meaning," declared the Director General of UNESCO, Irina Bokova.

The Thelonious Monk Institute of Jazz is once again working with UNESCO and its field offices, national commissions, networks, Associated Schools, universities and institutes, public radio and public television stations, and NGOs to ensure their involvement and participation in International Jazz Day 2016. Additionally, in countries throughout the world, libraries, schools, universities, performing arts venues, community centers, artists, and arts organizations of all disciplines will be celebrating the day through presentations, concerts, and other jazz-focused programs.

According to Tom Carter, President of the Thelonious Monk Institute of Jazz, "International Jazz Day places a strong emphasis on education programs and community service. Many of these worldwide programs are now provided year-round in big cities, small towns, and even remote villages. It is a testament to all those involved with International Jazz Day that we are reaching people on every continent, including some of the most vulnerable and challenged individuals and communities."

As part of the International Jazz Day worldwide celebration, the Thelonious Monk Institute of Jazz will launch Math, Science & Music, a groundbreaking education platform with free, engaging curricula, games, apps and other online elements that use music as a tool to teach math and science to K-12 and college students. The program will address the growing need for students to gain skills and knowledge in science, technology, engineering and math (STEM) subjects and learn to think creatively. The Institute is collaborating with international math, science and music experts at seven leading universities to develop the program, which initially will be offered in English, and in later years will be available in other United Nations languages. Math, Science & Music will debut earlier in the week on Tuesday, April 26 at a presentation at the U.S. Department of Education hosted by Secretary of Education John King.

For more information about International Jazz Day and to register events on the official website, please visit www.jazzday.com or www.unesco.org/jazzday.

NEW MUSIC: ANDY BROWN – DIRECT CALL; COREY DENNISON - COREY DENNISON BAND; YOLANDA RABUN - YOLANDA

ANDY BROWN – DIRECT CALL

A solid set from Chicago guitarist Andy Brown – a nicely understated player, but a great one too – working here with a very classic sense of tone, and a great chromatic range on his instrument! Brown knows how to inflect his chords in just the right way – making simple moments come across with a subtle sense of power – alongside an easygoing combo who really gives him plenty of time to shine out front in the lead! Quartet members include Jeremy Kahn on piano, Phil Gratteau on drums, and Joe Policastro on bass – and titles include "Funk In Deep Freeze", "Ela E Carioca", "Catch Me", "One Morning In May", "Relaxing", "El Cajon", and "Jeep Is Jumpin".  ~ Dusty Groove

COREY DENNISON - COREY DENNISON BAND

Corey Dennison's making one of his trademark growls of expression on the cover – a gritty grimace that seems to come from down deep inside and really inflect his music with a surprising amount of soul! Dennison's a midwestern bluesman, but has roots in the south – which really come through on this record – both in the swamp-styled way he inflects his guitar, and the soulful currents he brings to his vocals – an approach that's often as unabashed as blue-eyed southerners from the past, like Tony Joe White or Wayne Cochran. Corey's more blues-based overall, but still has that wide range we love in both of those artists – and titles are all originals, and include "She's No Good", "Room To Breathe", "The Deacon", "Getcha Pull", "Tugboat Blues", and "Good Enuff". ~ Dusty Groove

YOLANDA RABUN - YOLANDA

Yolanda Rabun's got a great groove here – a sound that's even tighter, warmer, and jazzier than on her previous album – with all the poise and class you'd expect from her image on the cover! The instrumentation's nice and laidback – plenty of keyboards, and less of the beats that you might expect – with gentle rhythms served up in a nicely tripping style that lets Rabun really open up her vocal flow! The set features great remakes of "Rocket Love", "Be My Husband", and "Feel Like Making Love" – alongside the originals "Believe In Love", "Hold On To Your Dreams", and "Yes".  ~  Dusty Groove

NEW MUSIC: CALIFORNIA SOUL – FUNK & SOUL FROM THE GOLDEN STATE 1967-1976; RICHARD POOLE / MARILYN CRISPELL / GARY PEACOCK; TOM TALLISTCH – GRATITUDE

CALIFORNIA SOUL – FUNK & SOUL FROM THE GOLDEN STATE 1967-1976

Damn funky work from the west coast scene of the late 60s and early 70s – just the kind of tracks to dispel the idea that too much sun or cannabis might have left the Cali scene a bit weak! Instead, these cuts are right on the money, stone funky throughout, and light years from any sort of California connotations you may have – no west coast jazz, smooth AOR, or breezy Bay Area – and much more of the grit and groove that was brewing up on funky 45s from all points east! Drums are heavy, guitars are sharp, and vocals are super-righteous – filled with the kind of messages that you could only get across on the sort of small label releases that make up most of this set – and which also include a few unreleased tracks appearing here for the first time ever. As usual with BGP, the package is as superb as the music – great sound, detailed notes, and a wonderful track selection that includes "Earthquake" by Rulie Garcia, "Hang Up (part 1)" by Warm Excursion, "Pickin Cotton" by Johnny Talbot & De-Thangs, "If She Wants To Go" by Choice Of Colors, "Just Ain't My Day" by The Entertainers IV, "The Git Down (parts 1 & 2)" by Little Johnny Hamilton & The Soul Pack, "Strike" by Union, "I'm Gonna Speak Out" by Eddie Horan, "The Man" by Jesse & Anita, "Check Me Out" by Little Denise, "The Sneak" by The Douzer, "You Don't Know The Damage You've Done" by Vernon Green & The Medallions, and "Tuned In Turned On" by Alvin Robinson. ~ Dusty Groove

RICHARD POOLE / MARILYN CRISPELL / GARY PEACOCK - IN MOTION

A very moody trio recording from this hip combo – a group that features Marilyn Crispell on piano, Gary Peacock on bass, and Richard Poole on drums! Poole's a player we're not that familiar with, but he wins us over right away – and definitely earns the right to be in the heady company of Crispell and Peacock with his careful sense of sound on the drums, and his creative ways of shifting their role in the music and place in the overall texture of the recording. Crispell's beautifully restrained, but in a way that makes her even more powerful than ever – and Peacock sounds as wonderful here as on his best records from years back – with a magnificent sense of moment that seems to balance his playing perfectly. Titles include "Dichotomy", "Ahzan", "Backseat Of The Galaxy", "Dichotomy", "Blue Streets Up & Down", and "Lucid Air".  ~ Dusty Groove

TOM TALLISTCH – GRATITUDE

Tenorist Tom Tallistch has gotten plenty of love from our ears in recent years – and with a record as great as this, he's bound to get plenty more! Tom comes on strong with a really deep tenor sound – a mode that we might put in a range between Hank Mobley and Eric Alexander – boldly rhythmic, but also very skilled at personal phrasing – with solos that fly out effortlessly on top of a crack rhythm combo that features Jon Davis on piano, Peter Brendler on bass, and Rudy Royston on drums – deeply exploring the full range of the tenor, but never in a way that calls attention to its process. Brian Charette joins the group on Hammond for two tracks – but most of the set is from the quartet, who play mostly originals from Tom – including "Terrain", "Kindred Spirit", "Refuge", "Northeast", "Alternate Side", "Oblivion", and "Rust Belt". ~ Dusty Groove

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

Whirlwind Recordings has released 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."

April 18-NYC CD Release Celebration - April 28 @ Smalls***

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

Jazz Vocalist MARTY ELKINS releases WALKIN' BY THE RIVER

Mentored by piano great Dave McKenna, tutored by the legendary Ann Marie Moss and supported by musical alchemist Allen Toussaint, Marty Elkins is fulfilling dreams - those of her own, and those of the fans who always knew she was a New York talent deserving much wider recognition. Her new record, Walkin' By The River, affirms everyone's belief; it finds Elkins interpreting a host of American Songbook standards. It is her third release on the German Nagel Heyer label. "I wanted to gather the songs that meant the most to me," the vocalist says, "tunes that feel timeless. My aim was to give them a shiny new coat and offer all a new way of hearing them."

On Walkin' By The River Elkins tackles some traditional gems that harken across the decades ("Runnin' Wild," "Between The Devil And The Deep Blue Sea," "Is You Is Or Is You Ain't My Baby,"), as well as less traveled tunes delivered with a twist ("Garbage Can Blues," "Down To Steamboat Tennessee," I'll Wind."). Throughout, she proves herself a songbird with heart, endowing these songs with lessons learned from the greats, from the likes of Billie Holiday, Bessie Smith and Louis Jordan.

  

"Everything I've ever heard goes into my singing," Elkins continues,"as if the sound of the classic singers AND the sound of their records live inside me. I like to draw on that for inspiration." The evidence can be heard on Walkin' By The River. It is Exhibit A for her case: the artists who deserve wider recognition might just get it.

Musicians: Marty Elkins (Vocals); Jon-Erik Kellso (Trumpet); Howard Alden (Guitar); Joel Diamond (Hammond C3 Organ); Steve Ash (Piano); Lee Hudson (Bass); and Taro Okamoto (Drums)

TRACKS

01 If I Could Be With You (4:51)

02 Runnin' Wild (3:23)

03 Is You Is or Is You Ain't My Baby (5:24)

04 Garbage Can Blues (3:09)

05 When My Sugar Walks Down the Street (3:31)

06 Don't Let the Sun Catch You Cryin' (5:20)

07 There'll Be Some Changes Made (3:18)

08 Down To Steamboat Tennessee (5:38)

09 Comes Love   (5:52)

10 Ill Wind   (4:40)

11 I'll Never Be the Same (5:05)

12 Between the Devil and the Deep Blue Sea (4:55)

13 Walkin' By the River (6:00)

OLEG KIREYEV & BEN JAVORS "THE MEETING" FEATURING TOM HARRELL, BEN WILLIAMS, AND E.J. STRICKLAND

At a time of great political and social uncertainty, the dynamic post-cold war partnership of the Russian Federation's Oleg Kireyev (tenor saxophone) and U.S.’s Keith Javors (piano) continues to inspire jazz audiences around the globe. The co-leaders recently welcomed jazz trumpet luminary Tom Harrell, the heralded bassist Ben Williams (Pat Metheny), and the creative drummer E.J. Strickland (Ravi Coltrane) to the studio for their dynamic upcoming release, entitled The Meeting, available on May 31, 2016. (iTunes and Google Play preorder begins May 3.) The new record bridges the influences of two continents, featuring new original compositions by Kireyev and Javors, interspersed with standard material. The deluxe physical-only version of the album includes two additional alternate tracks and liner notes by Howard Mandel.

A chance internet meeting would evolve into something spectacular. Kireyev and Javors' association began in 2007 when Kireyev's manager reached out to Javors through the Internet with the possibility of a gig at the Union of Composers Club in Russia, where Kireyev is Artistic Director. An instant chemistry was noticed and a friendship forged, one that would inevitably result in numerous American and European Tours. In addition to performances at numerous world class clubs such as Smalls, the Iridium, Blues Alley, Chris' Jazz Cafe, and many others, Kireyev and Javors were together featured at the prestigious International House of Music in Moscow, one of the premiere concert venues in Europe.

Their flourishing partnership was first sonically documented on the April 13, 2010 release of Rhyme & Reason, featuring Oleg Kireyev & Keith Javors alongside bassist Boris Kozlov and drummer E.J. Strickland. The record received much critical acclaim from major music writers and charted on the JazzWeek World charts for several consecutive weeks. The tandem’s new effort follows up on its success with a set that is as equally if not more captivating and creative, with model support from Harrell, Williams, and Strickland.

Now on the advent of their this, their sophomore project together, Oleg Kireyev & Keith Javors know, now more than ever, the significance of that chance internet meeting, and it shows in the faces of enthusiastic and involved audience members. While each day performing together is a meeting of sorts, Kireyev and Javors now see it as a blessing. Privileged now to draw from the deep talents of an All-Star NYC rhythm section and a lauded trumpet icon, the tandem continue to push the jazz envelope and promote unity wherever they play.

Oleg Kireyev is an internationally-recognized musician, touring frequently and playing to appreciative audiences in Europe and the U.S. Having undertaken many innovative and provocative international jazz projects in a performing career spanning three decades, The Express and Star says Kireyev is “a Russian sax player with a reputation for hard swing and high excitement”. “Incredibly good”, “Soft and enthusiastic” and “Stylish and top-notch” are all phrases music critics have written about his voice on saxophone. He has performed at the London Jazz Festival, the New York Jazz Improv Festival, and the Montreux Jazz Festival, to name a few. Legendary musician Bud Shank says: "Oleg's playing is a marvelous combination of styles, incorporating a whole lot of players. I hear echoes of the 1920’s and John Coltrane combined with unstructured jazz."

Keith Javors is an iconoclastic figure on today’s international music scene, rare in his accomplishments as dually a producer and artist as well as an award-winning educator. Known for his “technical virtuosity, a riveting compositional style, and constant creativity” (AllAboutJazz), Javors is a true musicians’ musician, possessive of extraordinary versatility and a riveting ballad style. His performance credits include eight albums as a leader and appearances at venues such as the Montreux Jazz Festival, Chicago Jazz Festival, North Sea Jazz Festival, and numerous others. As Bill Milkowski writes in Jazz Times, “Javors distinguishes himself as a bandleader intent on collective envelope-pushing.”

  

www.inarhyme.com/themeeting

Sarah Vaughan - Live At Rosy's -- Recorded Live at New Orleans's Iconic '70s Music Venue Rosy's Jazz Club on May 31, 1978

Resonance Records with the cooperation of National Public Radio (NPR) has announced the release of Sarah Vaughan - Live At Rosy's, New Orleans on March 25th, 2016. The deluxe 2-CD set is comprised exclusively of newly discovered recordings by "Sassy" capturing the legendary jazz singer's live performance at Rosy's Jazz Club on May 31, 1978.

Just after the release of the album, The U.S. Postal Service will honor Sarah Vaughan's legacy, by issuing a "Commemorative Forever Stamp". The ceremony will take place at the Sarah Vaughan Concert Hall at Newark Symphony Hall, 1020 Broad Street, Newark, N.J., @ 11:00am, March 29th, 2016.

Confirmed participants include: Tony Bennett, Rhonda Hamilton, Host of WBGO Radio's Midday Jazz, Mayor Ras Baraka, Mayor of Newark, Dr. Gloria White, Pastor of Mount Zion Baptist Church, Ronald Stroman, Deputy Postmaster General and Melba Moore, Grammy Award winning Jazz Vocalist and Tony Award Winning Actress & Singer.

Confirmed Performances to include: Mount Zion Baptist Church Choir, Carrie Jackson (A Tribute to Sarah Vaughan, Newark's Own), NJPAC Jazz for Teen Ensemble (educational program), Jazzmeia Horn, Winner 2013 Sarah Vaughan Jazz Vocalist Competition and Melba Moore.

In February 2011, Resonance producer Zev Feldman connected with Tim Owens, the former producer of NPR's weekly syndicated radio program, Jazz Alive! Owens mentioned to Feldman that he had Sarah Vaughan tapes of her stellar live 1978 concert performances at Rosy's. Having performed together hundreds of times with Sassy around the world, her rhythm section -- or as she referred to them, "my trio" -- of pianist Carl Schroeder, bassist Walter Booker and legendary drummer Jimmy Cobb was an extremely cohesive unit by the time they got to Rosy's in May of 1978. As the recordings in this set demonstrate, they were hand-in-glove with each other and with the great Sarah Vaughan.

Over the course of nearly four years, Feldman took on the role of Indiana Jones in tracking down all of the appropriate parties to ensure that this release would be fully endorsed and cleared by the Sarah Vaughan estate, plus by Walter Booker's widow Bertha Hope, as well as the living band members Carl Schroeder and Jimmy Cobb and NPR Music in Washington, D.C. Reflecting on the importance of this release in his introductory essay from the liner notes, Feldman notes: "My goal was to tell the whole story of this magical engagement that fortunately has been preserved for future generations to enjoy. These recordings celebrate the genius that was Sarah Vaughan. I hope we'll all take the time to revisit the legacy of this historic and pivotal figure in the history of jazz. These recordings demonstrate for us why she was much more than just a singer; she was a true artist."

Sarah Vaughan, along with Billie Holiday and Ella Fitzgerald, was a member of a triumvirate -- one of the three greatest female jazz singers in jazz history. She first attracted attention at 18 years of age in 1942, when she appeared at the Apollo Theater's amateur night, first as a pianist accompanying another singer and then a few weeks later in her own right as a singer, when she won the contest. During her weeklong Apollo engagement, which was one of the prizes she earned for her victory, Billy Eckstine, who was then the featured singer with the Earl Hines big band, spotted her. Eckstine recommended her to Hines, who asked her to join his band. Other members of the Hines band were Dizzy Gillespie and Charlie Parker; it was widely regarded as one of the early breeding grounds for bebop. The musical ferment of that grouping of musical geniuses had an enormous influence on Vaughan.

Vaughan had an exceptionally broad vocal range; it extended from a coloratura soprano down to a low alto -- some might even say she sometimes made her way into the baritone range. Her tone was rich and lush. Vocalist Helen Merrill told Zev Feldman in his interview with her conducted for this release: "When Sarah sang, she might just as well have been a trumpet player playing. Her musical ability, her jazz phrasing ... it was perfect." She was a musicians' singer, yet despite her extraordinary gifts, she was down to earth; she was always accepted by the musicians whom she worked with as one of them -- "she was like one of the fellas," says Jimmy Cobb.

When these live recordings at Rosy's Jazz Club were made in May of 1978, Sarah Vaughan was at her artistic peak (at age 54). That year, a kind of renaissance year for her, set her on a meteoric course during which she would win an Emmy and a Grammy and tour the world several times. Each time she released an album, Johnny Carson and Merv Griffin showcased her proudly on TV. For all the grand orchestras that backed her, Sarah Vaughan seemed happiest with her trio; they gave her the space to spread her wings and explore. I get ideas from all three of them while I'm singing," she said. "We have a ball together, all of us, and wherever I go to work, they're going with me." In 1978, Vaughan and her band -- pianist Carl Schroeder, bassist Walter Booker, and drummer Jimmy Cobb -- performed at Rosy's Jazz Club in New Orleans.

The founder/owner of Rosy's, Rosalie Wilson, describes her impetus for opening a jazz club in New Orleans in the 1970s: "I was puzzled as to why one seldom experienced these musicians in club settings. Roland Kirk explained this phenomenon during an interview...citing the continued reticence of many black artists to play clubs or smaller venues in the South for reasons of safety, treatment by club owners and the general negative conditions. I knew he was being truthful and I found this to be perverse, given the fact that New Orleans had long been anointed the birthplace of jazz. This angered me and provided the cause this rebel had long been seeking: to create a music club or venue in which the safety, respect and needs of the musicians were the first priority. One in which a "zero tolerance" policy would exist regarding any form of prejudice."

James Gavin writes in his essay "Romance, Family & Heartbreak: The Divine One" within the liner notes of the package: "By the time of Vaughan's performances at Rosy's captured in this set, her dark-chocolate voice had more than survived 36 years of professional singing; her art had only grown in splendor. She took dusky plunges and glided up to fluty soprano highs; she colored the three octaves in between with a wealth of textures, from gravel to velvet. Vaughan controlled her famous vibrato like a concert violinist; she could make it swagger, pulse, or vanish entirely."

Behind the vocal riches was a boundless musical mind. "As soon as I hear an arrangement I get ideas," she said, "kind of like blowing a horn." So many came to her that Vaughan was like a child let loose in a candy store. "She had tremendous harmonic conception," says Carl Schroeder. "Most singers have none." Her breath control enabled her to skitter tirelessly over daredevil bebop changes and to sing ballads at a luxurious crawl. All this came naturally to her. "I don't know what I'm doin'!" she said. "I just get onstage and sing. I don't think about how I'm going to do it--it's too complicated."

Journalist and critic Will Friedwald takes us through Live at Rosy's track-by-track: Gershwin, as always, is a major staple of Vaughan's repertoire, from her classic Gershwin double songbook in 1957 to her epic symphonic jazz concerts (and album) of 25 years later. "The Man I Love" was the Divine One's signature ballad. As with Fitzgerald, there were some songs and some lyrics that meant to more to her than others, and this song always occupied an extra special place in her heart. You'll often hear Vaughan take a serious ballad and completely jazz it up (as she does with "April" here), but when she does this particular song, you can tell she's only thinking about the man she loves.

In 1978, "Send in the Clowns" was gradually evolving into her climactic, show-stopping number. The Sondheim song kept getting longer and longer, growing bigger and bigger as well as slower and slower, and being pushed farther and farther back in the program. Still, it would be hard to say that Vaughan ever sang it better than she did in New Orleans: She absolutely nails it, and makes it clear why, of all the songs and shows that Sondheim has written over almost 60 years, this is easily his most beloved piece of music.

When the request comes through for "A-Tisket, A-Tasket" which was, famously, her colleague Ella Fitzgerald's first and biggest hit, Vaughan says, with mock exasperation, "Well, I'll be damned!" Clearly, it was one thing for Vaughan to make a joke about being mistaken for another singer (earlier she had joked that she was Carmen McRae), and quite another for someone in the crowd to confuse her with Ella Fitzgerald. Yet not to be outdone, she takes it a step further, "[he] thinks I'm Lena Horne, huh?" -- thereby compounding the joke by dropping the name of yet a third iconic African-American vocal headliner. "Then I'll tell you who I am when I finish," she declares, "We got to do this," and then flies into a whole chorus of the 1938 song.

Resonance Records -- a multi-GRAMMY® Award winning label (most recently for John Coltrane's Offering: Live at Temple University for "Best Album Notes") -- prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance's catalog. Such is the case with Sarah Vaughan - Live At Rosy's. Released as a deluxe 2-CD set on March 25, 2016, this release includes nearly 90 minutes of music from National Public Radio's series then dedicated to showcasing live jazz performances by elite jazz stars, Jazz Alive!, some of which has never been previously broadcast, along with a 36-page book, and is presented in a 6-panel digi-pak beautifully designed by Burton Yount.

Elaborate album books replete with rare photos, and newly commissioned essays and interviews have become a trademark of Resonance Records' historic releases. 2015's Wes Montgomery - In the Beginning included a 56-page book, and 2016's Larry Young - In Paris: The ORTF Recordings and Thad Jones/Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at The Village Vanguard come in at 68 and 92 pages respectively.

The Live at Rosy's book will also serve as new reference material for Sarah Vaughan fans providing historic essays, interviews and memoirs by producer Zev Feldman, author and journalist James Gavin (author of iconic biographies of Peggy Lee, Chet Baker and Lena Horne, among others), journalist, author, critic and expert on jazz and popular singers Will Friedwald (Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond; Sinatra! and many others; jazz critic regularly featured in The Wall Street Journal), Sarah Vaughan's music director and pianist, Carl Schroeder, Rosy's Jazz Club impresario, Rosalie Wilson and interviewees, the legendary drummer Jimmy Cobb (Miles Davis Kind of Blue) and Sarah Vaughan's esteemed colleague and early Emarcy Records stablemate, Helen Merrill. The album book also features a collection of rare photos by Herman Leonard, Ray Avery, Chuck Stewart, Riccardo Schwamenthal and Tom Copi, as well as ephemera from Rosy's Jazz Club at the time these recordings were made.