DANIEL BENNETT GROUP RELEASES SINKING HOUSEBOAT CONFUSION

Manhattan-based saxophonist Daniel Bennett can be heard throughout the world performing his award-winning compositions on saxophone, flute, clarinet, and oboe. The Daniel Bennett Group plays quirky modern Jazz, fused with elements of Surf Rock and Avant-Pop. The Boston Globe describes Bennett's music as "a mix of jazz, folk, and minimalism."  The band was recently voted "Best New Jazz Group" in New York City Hot House Magazine. Daniel Bennett Group is currently touring to promote their newest album, 'Sinking Houseboat Confusion' (Manhattan Daylight Media). On the new album, Bennett is joined by Nat Janoff (guitar), Eddie Khaimovich (bass), and Matthew Feick (Drums).

The album was produced by MP Kuo at Eastside Sound Recording in Manhattan. The Daniel Bennett Group has been featured in Boston Globe Magazine, NPR, First Coast Living (NBC), Indianapolis Public Radio, San Francisco Examiner, St. Louis Public Radio and the Village Voice. The Village Voice raves, "saxophonist Daniel Bennett makes hay with an airy approach that's buoyant enough to conjure notions of East African guitar riffs and Steve Reich's pastoral repetition."  Time Out New York describes the music as, "hypnotic." Daniel Bennett studied saxophone at the prestigious New England Conservatory in Boston. During his time in Boston, Bennett performed regularly with the Portland Symphony and the New Hampshire Festival Orchestra. Bennett also toured Italy and Switzerland with renowned Boston jazz ensemble, Musaner.

In addition to leading his own band, Daniel Bennett performs in Broadway and Off-Broadway theater productions in New York City. Daniel Bennett recently composed the musical score for stage adaptations of 'Frankenstein' and 'Brave Smiles' at the Hudson Guild Theatre in Manhattan. Daniel Bennett recently played woodwinds in 'Blank! The Musical,' the first fully improvised Off-Broadway musical to launch on a national stage. The show was produced by Second City, Upright Citizens Brigade, and Improv Boston. The New York Times called the show, "Witty, Likable and Ludicrous!" Daniel Bennett's theatrical works have strongly influenced his eclectic sound and musical storytelling abilities as a bandleader. Daniel Bennett is an official endorsing artist for Morgan Mouthpieces.

www.danielbennettgroup

Trombonist Steve Turre Features Modern Jazz Luminaries on Colors for the Masters

Trombonist and composer Steve Turre shows off his full spectrum of sounds on his latest album, Colors for the Masters. The album's ten songs, evenly split between jazz standards and original tunes that carry the torch for the tradition, offer a dazzling array of hues played in tribute to and alongside some of the elders that have inspired Turre. The leader's own trombone virtuosity is only one color in a palette that also includes a variety of mutes and his wholly original conch shell artistry.

Colors for the Masters, due out August 26 on Smoke Sessions Records, teams Turre with a rhythm section of legendary elders, each of whom shaped the trombonist's distinctive voice: pianist Kenny Barron, bassist Ron Carter and drummer Jimmy Cobb. On four tunes the band is joined by saxophonist Javon Jackson, like Turre an alumni of Art Blakey's Jazz Messengers; and for the album's final tune, a stirring rendition of Jobim's "Corcovado" on which Turre shows off his innovative shell playing, virtuoso percussionist Cyro Baptista also joins in. Together, they pay electrifying homage to other, departed luminaries like John Coltrane, J.J. Johnson, and Thelonious Monk.

"These are masters that I've always wanted to play with," Turre explains. While he has shared the stage with each of them over the years in various bands and all-star configurations, he says, "I've never had them play my music to hear what their mastery would bring to it. I wanted to hear how their interpretations would open up new avenues of expression to me."

The results shine through in the individual and collective playing throughout Colors for the Masters. Those avenues open up through the grooving, funky swing that the whole band brings to the album's opening tracks, "Taylor Made," which Turre wrote under the blues-drenched influence of two of his mentors, Ray Charles and Art Blakey. They're evident in the heart-wrenchingly emotive soloing of Barron on Turre's gorgeous, aching ballad "Quietude," or Ron Carter's stentorian, bass-register solo on Wayne Shorter's frenetic "United."

The opportunity for expressiveness that Turre was searching for is seized through Cobb's whispering, delicate brushwork on Monk's "Reflections" as well as on the full-throttle swing and brisk, rapid-fire soloing he unleashes on J.J. Johnson's "Coffee Pot." You can hear it in Jackson's fluid, cascading lines on "JoCo Blue," a simmering blues that Turre wrote in tribute to the great John Coltrane.

Though he knew this veteran group would bring their magic to any music that he set in front of them, a few of the pieces were specially written or chosen for the occasion. "Coffee Pot" was on the program of a J.J. Johnson tribute that Turre led at the Indianapolis Jazz Festival in 2014, which also included Jackson in the band. Most obviously, there's "Mellow D for R.C.," a bold mid-tempo tune penned with Carter's familiar gifts in mind. "What needs to be said about Ron?" Turre asks rhetorically. "He's a grand master. I was delighted and thrilled and at the same time humbled to play with him. He gives you such a foundation."

Turre heaps similar praise upon his other bandmates. "Jimmy's beat is timeless," he says of Cobb, best known for his stint with Miles Davis that included the recording of the landmark Kind of Blue. He also marvels at "Kenny's touch, sensitivity and nuance, and the colors that he plays."

While he modestly deflects praise onto his collaborators for the session, Turre himself has long been lauded as one of the modern champions of his instrument, whether accompanying Rahsaan Roland Kirk, Woody Shaw and Lester Bowie or playing between the laughs through his 30-plus year stint as part of the Saturday Night Live band. On this album he pays homage to one of his idols, J.J. Johnson ("to the trombone what Charlie Parker is to the saxophone") and shows off his own wide-ranging virtuosity and depth of feeling, wringing touching melodicism from "When Sunny Gets Blue," navigating intricate modal playing on the title track, or spinning off darting, barbed licks on "United" -- a song he recorded with Woody Shaw, but without the solo spot he typically had on live dates.

Turre's plunger solo on "When Sunny Gets Blue" not only shows off one of the most beautiful colors in his vivid musical crayon box, it is in a way another nod to the continuum of the jazz tradition. While a member of the Thad Jones/Mel Lewis Orchestra, Turre found himself playing next to Quentin "Butter" Jackson, who had taken over the plunger chair in Duke Ellington's Orchestra from Tricky Sam Nanton. Turre also shows off his Harmon mute playing on the melody of "Corcovado" and the solo on "Mellow D for R..C;" his solo on the latter features the cup mute.

Then there's the conch shells, the instrument that Turre calls "the most ancient of horns" and that he largely introduced to the jazz idiom. He shows off his ability to moan the blues on the seashells on Jobim's classic "Corcovado" to close the album -- even playing two shells at once, echoing the show-stopping antics of his earliest mentor, Rahsaan Roland Kirk.

"I'm still trying to grow," Turre concludes. "I'm very particular about how I present my music. I have a certain feeling and a certain direction in mind, and everybody on this record is in the same frame of mind about what jazz is and what this music means to them."

Eight Essential Diana Krall Albums Reissued In 180-gram Double-LP Vinyl Editions

As part of Verve Records' ongoing 60th anniversary celebration, Verve/UMe is proud to announce the July 15 release of eight essential Diana Krall albums in 180-gram, 2-LP vinyl reissues. The renowned pianist and vocalist has called Verve home for the vast majority of her illustrious career, and these new versions of her recordings originally released between 1996 and 2009 showcase many of her finest moments in lustrous vinyl format.

These reissues, which each feature the original album in its entirety on two LPs, range from intimate trio sessions to celebratory big band outings, songbook standards to modern pop favorites and memorable original songs. All feature Krall's expressive voice and deft piano playing, along with production by three-time GRAMMY® Award-winner Tommy LiPuma.

The series begins with All For You, Krall's reverent tribute to the Nat King Cole Trio, originally released by impulse! in 1996. The album features Krall leading a trio with guitarist Russell Malone and bassist Paul Keller through some of the legendary pianist/singer's most beloved tunes, with guest appearances by pianist Benny Green and percussionist Steve Kroon. Its follow-up, 1997's Love Scenes, includes 13 of Krall's favorite love songs, performed by her trio with Malone and Christian McBride on bass.

A distinctly orchestral sound comes to the forefront on Krall's official Verve debut, When I Look in Your Eyes, released in 1999. Eight of the album's 13 tracks feature strings conducted by veteran composer/arranger Johnny Mandel along with an all-star jazz ensemble. The symphonic approach was expanded even further for The Look of Love (2001), which spotlights Krall's vocals backed by the London Symphony Orchestra.

Recorded live during Krall's sold-out run at the legendary Olympia Music Hall in Paris in late 2001, Live in Paris captures the energy and spark of Krall's concert performances. The album's dozen songs feature several of Krall's regular collaborators, including guitarist Anthony Wilson, bassist Christian McBride, and drummer Jeff Hamilton, as well as Orchestre Symphonique Européen, conducted by pianist/arranger Alan Broadbent.

The Girl in the Other Room (2004) was Krall's first release to prominently feature her own original songs, many of them written in collaboration with her husband, Elvis Costello. She returned to the Great American Songbook for 2006's From This Moment On, which garnered a Best Jazz Vocal Album nomination at the 2007 GRAMMY® Awards. The series concludes with Krall's 2009 album, Quiet Nights--her tenth release--highlighted by GRAMMY® Award-nominated arrangements from frequent collaborator Claus Ogerman.

Diana Krall is a star in a long line of revered and influential artists who have been featured on Verve throughout the label's 60 years. Verve was founded in 1956 by Norman Granz, the forward-thinking impresario responsible for the hugely popular Jazz at the Philharmonic concerts, which brought the music to new audiences and garnered jazz an unprecedented level of respect in popular culture. Granz also managed Ella Fitzgerald and launched the label in large part to create new opportunities worthy of the singer's immense talent, including her landmark series of "Songbook" recordings.

Under the visionary leadership of Granz and, after MGM purchased the imprint in 1961, Creed Taylor, Verve continued to set new trends. The label sparked the Bossa Nova craze with the 1964 release of the GRAMMY® Award-winning Getz/Gilberto and brought a lush, elegant new sound to jazz with the arrangements of Claus Ogerman and Oliver Nelson. Its focus eventually widened to encompass groundbreaking comedy, folk and rock recordings, including now-iconic releases by The Velvet Underground, Frank Zappa & The Mothers of Invention, Janis Ian and Laura Nyro.

It was its jazz legacy that cemented Verve's place in the popular imagination, however, and after a fallow period in the '70s and '80s Verve was revived in the mid-1990s, again signing many of the biggest names in music: Herbie Hancock, Wayne Shorter, John Scofield, Betty Carter, Abbey Lincoln and Shirley Horn, all of whom recorded for Verve during this period.

Over the course of its six-decade history, Verve has become synonymous with the very best in jazz, venerating the music while charting its course and helping to break down racial and stylistic barriers. There's no better way to celebrate that legacy than with the music itself, and 2016's 60th anniversary releases invite listeners to revisit the breathtaking sounds of Verve in new and exhilarating ways.

NEW MUSIC: U-NAM – GOING FOR MILES; COMETA (KASSIN) - COMETA; SEAMUS BLAKE / CHRIS CHEEK / REEDS RAMBLE – LET’S CALL THE WHOLE THING OFF

U-NAM – GOING FOR MILES

U-Nam’s brand new single is a funky, driving jam infused with Soul and Disco is one of Billboard Chart Topping producer and guitarist U-Nam’s original work. The song includes a hint of the groove heard on “The Glow of Love“ from Luther Vandross and Change and is guaranteed to get your head nodding and put a smile on your smile. “Going for Miles" features U-Nam's signature soulful guitar sound and unmistakable licks with a irresistibly catchy melody. And all of this is supported by classy horns, groovy percussion, funky bass and lush string arrangements backed up with the usual all star band of musicians also featured on his #1 albums “C’est Le Funk” & “Weekend in L.A (A Tribute To George Benson)”. Musicians on the track include Dwayne “Smitty” Smith (Boney James) on Bass, Shannon Kennedy (Groove LTD.) on Tenor Sax, Denis Benarrosh on Percussion, Christian Martinez on Trumpet, Maria Grig on Violin and Viola, and Raymond Gimenes lends his talent with the String Arrangements.

COMETA (KASSIN) - COMETA

A totally wonderful project from the mad musical world of Brazilian genius Kassin – a set of all-instrumental tracks by the group Cometa – a combo who seem equally at home in the worlds of jazz and funk, as they do in a much wider territory of music, too! The record bristles with so many elements at once, each new track seems to be a fresh surprise – as the group will slide into moments that echo older soundtracks, or surf instrumentals, or even some of the more contemporary modes that Kassin has given us in his projects of the past decade or so – but fused into a more live, spontaneous energy by this group! The lineup includes lots of excellent keyboard lines and guitar work (the latter from Kassin), plus drums and guitar – yet despite these familiar elements, the overall sound is quite unique, and very fresh. Titles include "Jogada Senil", "Marini Squad", "Antenna", "Ashes", "Troy", "Liquid Jesus", "Bad Weather", and "Double Dip". ~ Dusty Groove

SEAMUS BLAKE / CHRIS CHEEK / REEDS RAMBLE – LET’S CALL THE WHOLE THING OFF

Tenorists Seamus Blake and Chris Cheek return again with their Reeds Ramble group – although the name of that lineup's a bit misleading – given the strong direction and focus we hear in both players! In fact, there's hardly a sense of "ramble" at all – as the solos are well-blown and always conscious of the best use of space and sound – balanced enough so that there's no one player that seems to drive the set, and open with the participation of both voices in an equal way! Yet the focus is perhaps also part of the rhythm lineup, too – as the quintet also features Ethan Iverson on piano, Matt Penman on bass, and Jochen Rueckert on drums – and while Iverson participates in the forward drive of the record at points, he's also given a few spots to let his darker currents flower nicely. Titles include "Choro Blanco", "Lunar", "Limehouse Blues", "Surfboard", "A Little Evil", and "La Cancion Que Falta". ~ Dusty Groove

Featured This Week On The Jazz Network Worldwide: Legendary Jazz Drummer Alvin Queen kicks off his European Summer Tour

Alvin Queen always at the top of this game, touring and keeping up with the trends of keeping a prominent face in the industry. His new website dons everything from his music catalogue, touring schedule, personal photography and reflections of a stellar musical career.

“The Jazz Network Worldwide is proud to feature legendary drummer Alvin Queen. He has been a mainstay with our network since its inception in 2008 and we couldn’t be prouder to design and launch his new website and promote his upcoming summer tour. He’s played with the best in the industry and continues to shine his light on any stage he sets his spirit to, its truly an honor to support his countless gifts as he launches his quest of ‘keeping up with Alvin” in todays technology” says Jaijai Jackson of The Jazz Network Worldwide.

Oscar Peterson was quoted saying “First and foremost, Alvin is basically a comedian, in a personal sense, being able to see humor in almost any circumstance. His whole personality is based on this premise. It is noticeably carried over into the music by that joyful, kid-like smile that he gets when the group seems to reach a very cohesive groove. He has a tremendous command of his instrument, along with a very creative and diversified musical cadence, speaking from the aspect of his solo work. It is a joy and inspiration to exchange musical ideas with him, which results in heightening of my own ideas as we go along. By the way, so far I have forgotten to mention the most important aspect that he brings to our group impeccable time!.”

Not only is Queen an accomplished musician, he is an impeccable photographer that truly has that gift of capturing the essence of a moment in time with depth, color and variety. There are quite a few of his favorite moments throughout his musical journey from his travels viewable on his new website (www.alvinqueen.com) In addition, Alvin shares some of the priceless memories he holds close to his heart as ‘reflections’ on his website.

The summer tour on tap for Alvin is going to be ‘real hot’ as New Legacy Concerts coordinated top-tier musical happenings that include Alvin on each concert with other jazz greats. Beginning June 1-July 10 Randy Brecker, Gary Peacock at The Jazz Standard in Copenhagen. June 1-9 Niels Lan Doky introducing Tobias Dall, June 10-12 Alvin Queen & Tobias Dall introducing Calle Brickman, June 14-19 Randy Brecker A.Q, June 28 - July 10 Copenhagen Jazz Festival: Gary Peacock A.Q.

Its no surprise the caliber of artistry Alvin has graced worldwide stages with, its like the ‘who’s who of jazz’ ie.: Eric Alexander, Terence Blanchard, Manny Boyd, Dee Dee Bridgewater, Arnett Cobb, Dolo Cocker, Al Cohn, George Coleman, Bob Cunningham, Dee Daniels, Eddie "Lockjaw" Davis, Jessie Davis, Buddy de Franco, Dorothy Donegan, Kenny Drew Sr., Mercer Ellington, Robin Eubanks, Art Farmer, Jimmy Garrison, Dizzy Gillespie, Eddie Gomez, Dexter Gordon, Al Grey, Johnny Griffin, Roy Hargrove, Milt Jackson, Plas Johnson, Kevin Mahogany, Wynton Marsalis, Branford Marsalis, Christian McBride, Jay McShann, Mulgrew Miller, Joe Newman, Horace Parlan, Nicolas Payton, Niels Henning, Orsted Pederson, Oscar Peterson, Red Richards, David Sanchez, Pharoah Sanders, Zoot Sims, Terell Stafford, Lou Tabackin, Buddy Tate, Leon Thomas, Mickey Tucker, Stanley Turrentine, Warren Vache, Eddie "Cleanhead" Vinson, Bennie Wallace, Peter Washington, Randy Weston, Joe Lee Wilson and Reggie Workman. That’s just to name a few!

Currently, Alvin is seeking non-exclusive agents worldwide to jump on his bandwagon in booking concerts for the 2017/2018 calendar year. In addition to live performance, Alvin is opening up his musical vault looking to assemble some classic sessions for his fans.  If in the area, be sure to buy your tickets to save your spot for his ‘hot’ summer tour.

CLICK HERE TO VISIT THE OFFICIAL ALVIN QUEEN WEBSITE

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

The Rhythm Future Quartet Performs Friday, June 24 At the Xerox Rochester International Jazz Festival Celebrating New Album Travels

The Rhythm Future Quartet brings its unique brand of 21st century Gypsy jazz to the Xerox Rochester International Jazz Festival on Friday, June 24 in celebration of its new CD Travels. The quartet features chief soloists Jason Anick on violin and Olli Soikkeli on guitar, along with second guitarist Max O’Rourke and bassist Greg Loughman. Shows take place at 6 and 10 p.m. at Montage Music Hall.

Comprised of forward thinking and prodigiously gifted players, the Rhythm Future Quartet continues its deeply felt mission to situate Gypsy jazz firmly in the here and now. On Travels, scintillating original compositions, dazzling improvisation and one-mind ensemble playing convert the swinging string driven sounds of the past into a viable and vital style that speaks directly to jazz lovers of the present.   The album was released February 26, 2016 on Magic Fiddle Music.

As DownBeat publisher Frank Alkyer writes: “The future of Gypsy jazz is in good hands with the Rhythm Future Quartet.... Anick is a fluid violinist and Soikkeli flat-out blisters on guitar... The musicianship throughout this 13-song set is breathtaking.... Rhythm Future, indeed.  I look forward to listening to this group for a long, long time.”

Rhythm Future Quartet (named after the Django Reinhardt composition “Rhythm Futur”) has itself evolved since its self-titled 2014 debut recording. Where that critically acclaimed release drew on standards as its core repertoire, Travels is largely devoted to group originals, compositions that touch on the tenants of the Gypsy jazz style yet thoroughly reflect the contemporary mindset of the makers. These ten new pieces are interwoven with shrewd reinterpretations of Bireli Lagrene’s “Made In France,” Paul Durand’s “Je Sui Seul Ce Soir” and, in a slinky arrangement that signals the band’s willingness to expand the scope of the Gypsy jazz idiom, Lennon and McCartney’s “Come Together.” Each of these thirteen performances display the awing virtuosity and sublime lyricism of the featured instrumentalists as well as the enviable cohesion of a musical unit that breathes as a collective entity.

As its title infers, Travels reflects the nomadic nature of the band and its individual members. “Over the past two and a half years, the group has done extensive traveling all over the world,” Anick says, “We used this time to work together to compose and co-arrange all the material that culminated into this new record.” With over 50 different countries between the four members throughout their careers, traveling has certainly been a big part of both their group and individual development, expanding their musical and cultural horizons and ultimately inspiring new compositions that tie all of these experiences together. Besides the literal sense of the word, Anick states, “This album also travels in the musical sense, traversing various musical landscapes from around the world, which opened up new rhythmic and melodic possibilities and allowed the group to take its Gypsy jazz influenced music into the future.” The international influences are easily heard in such Anick pieces as “Vesella” which incorporates Balkan music rhythms within the mix, and “Amsterdam” and “The Keeper” which are inflected with Latin rhythms and textures.

If rousing performances including “Bushwick Stomp” (which celebrates Finnish guitarist Soikkeli’s move to his present Brooklyn home) and “Don’t Tell Me” and “Made In France” are within the traditional Gypsy jazz vein, such pieces as “Travels,” “Still Winter” and “Round Hill” speak of RF’s new musical expression, a vision that makes effective use of more atmospheric textures and reflective moods. “We want to bring it all to the table,” Anick says, “Variety is valuable for our listeners and for us as players.”

Clearly this is not the Gypsy jazz for purists. “Instead of putting our own stamp on beloved material we are trying to bring new material to the forefront,” Anick states. “We’re trying to bridge a gap. We aim to draw in listeners that respond to the best of the tradition–the energy, the rhythm, the exciting virtuosity, the deep emotion­–and then take a leap of faith and open their ears up to new soundscapes. We as a group are trying to prove that a music normally associated with older players can now provide personal expression for younger players of today.”

One of the youngest instructors at Boston’s Berklee College of Music, Jason Anick, now 30, is rapidly making a name for himself in the world of jazz violin and mandolin. In addition to leading his own contemporary jazz ensemble and performing with the Rhythm Future Quartet, Anick has been touring and recording with Grammy award-winning Nashville guitar virtuoso John Jorgenson since 2008 when he was recruited while still a senior at Hartt Conservatory. In addition to his work with the Rhythm Future Quartet, Anick has released two highly acclaimed albums as a leader, Tipping Point (2014) and Sleepless (2010). A versatile and sought after side-man, Anick has also shared the stage with an array of artists like Stevie Wonder, John Sebastian, The Jim Kweskin Jug Band, Tommy Emmanuel, and Delta Rae.

Olli Soikkeli was born in 1991 in Nurmes, Finland. He started playing guitar at the age of 12 and, once he heard the music of Django Reinhardt, he was hooked.  He’s been performing Gypsy jazz ever since and has performed in jazz clubs and festivals in Finland and beyond. He currently lives in NYC and has performed with Bucky Pizzarelli, Cyrille Aimee, Tommy Emmanuel, Anat Cohen and many more, garnering him the title, ‘the Finish Boy Wonder’.  He’s released two albums under his own name in addition to albums with Rhythm Future Quartet.  The Wall Street Journal heralded him as “a riveting Finnish guitarist who combines astonishing dexterity and speed with pure soul.”

Vermont native Max O’Rourke is quickly earning a reputation as one of the top young Gypsy jazz guitarists of his day.  The 19-year-old was the winner of the 2015 Saga Award from DjangoFest Northwest and is currently a student at Berklee College of Music.  In addition to performing with the Rhythm Future Quartet, he has shared the stage with the Gonzalo Bergara Quartet and the Grammy winning John Jorgenson Quartet.

Greg Loughman is an “emphatically lyrical” (JazzTimes), versatile and sensitive bassist who’s performed with numerous jazz greats including George Garzone, Curtis Fuller, Jerry Bergonzi, Joanne Brackeen, Mark Murphy, Sheila Jordan and many others. He currently leads his own indie rock group Lowman and performs with the John Funkhouser Trio, Klezwoods, and many others.

Saxophonist Kris Allen - a protégé of the great Jackie McLean – advances the state of his art with Beloved, an album of originals

Saxophonist and prolific composer Kris Allen continues his fascinating evolution with his stunning second release Beloved.  The album's artful originals are simultaneously rooted in deep tradition while resonating with a personal sense of seeking.  Featuring Allen on alto and soprano saxophones alongside close friends Frank Kozyra (tenor sax), Luques Curtis (double bass) and Jonathan Barber (drums), the album will be released June 17 via Truth Revolution Records.

Many of the songs on Beloved are dedications to loved ones, while others reference musical models dear to Allen. The Connecticut native - who learned at the elbow of alto great Jackie McLean in Hartford and is now artist-in-residence at Williams College in Massachusetts - believes that music can help artists and listeners alike manifest the better angels of our nature: "I think art has a positive role in society, even if it's a subtle influence, of the spirit. I think music can help you connect to the best aspect of yourself, suggesting the values of diversity and cooperation. I know that I'm a better person when surrounded by beautiful music."

The music of Beloved has a hypnotic weft and weave, like the pattern of a beautiful Persian rug. With no harmonic instrument in the quartet, Allen leads the way, his horn a focal point, the weight of the beat in his sound. Low-toned and glinting by turns, his alto has an ideal complement in the warm, round sound of Frank Kozyra's tenor, as they voice melodies with a simpatico time feel. The rhythm section of Luques Curtis and the ever-in-demand Jonathan Barber plays the foil, the pair's sound muscular - with neither afraid to step upfront. In composing for Beloved, Allen aimed to challenge himself away from the piano and create a character for this band that is more open - earthy yet elusive, straight ahead but with a twist.

"Not having a piano or another chordal instrument in the band lends the music some mystery," Allen says. "The music still has complex chord changes, but things aren't spelled out so obviously. I've always liked the way that draws me in as a listener. I remember being struck by the Branford Marsalis Trio. They had a way of playing free that was open to structure that developed as the music flowed. As far as a two-horn band without piano, I always dug the Elvin Jones band with Dave Liebman and Steve Grossman, as well as Kenny Garrett and Joe Henderson on the LP Black Hope. I've always loved that sort of tight unison blend, where the melodies really speak."

Beloved kicks off with the warm, groovy "Lowborn." Another highlight is "Hate the Game," with its upbeat unisons and subsequent headlong alto/tenor chase. Allen composed many of the album's more lyrical numbers for people close to him. "'Beloved' is for my wife, while 'One for Rory' is for my 9-year-old daughter," he explains. "I wrote 'More Yeah' for my 11-year-old son when he was a baby. 'Mandy Have Mercy' is dedicated to our dog, just because everyone else in the family had a tune! But it's one of my favorites. It's based on this old Tin Pan Alley song 'I'd Rather Have a Memory Than a Dream,' which Sarah Vaughan sang with Charlie Parker in the band."

Several pieces on Beloved reference musical heroes and collaborators. " 'Threequel' is based on 'The Sequel' by the late pianist Mulgrew Miller, who was such an inspiration," Allen explains. "And 'Bird Bailey' references 'Won't You Come Home, Bill Bailey' in the version by Ernie Andrews, with Cannonball Adderley quoting Charlie Parker's 'Cheryl.' Our rendition features a composite of more than a dozen Parker tunes played by the tenor and bass while I solo over the top. It's almost a compositional game piece. The Latin-tinged 'Flores' is for a friend and collaborator of mine, Charles Flores, a bassist from Cuba who passed away a few years ago, just in his 30s. Leading into that piece is 'Lord, Help My Unbelief,' which I had originally written for a church service, with lyrics. Now it's about having your faith tested."

From age 14 through his college years, the most important musical relationship in Allen's life was with Blue Note icon Jackie McLean. "Jackie's individual saxophone style was so striking, the way he blurred lines between the chromatic and the atonal, even if he was ultimately coming out of Bud Powell," Allen says. "But I learned a lifetime's worth of lessons from Jackie, soaking them up alongside peers like Wayne Escoffery, Jimmy Greene and Julius Tolentino as well as guys who were a bit older, like Abraham Burton and Eric McPherson. Jackie inspired my pedagogical career, too. I ended up taking over his saxophone master class in Connecticut, at the Hartt School of Music." Reflecting on Beloved, Allen adds: "I hope people hear love in this music - for the tradition of jazz, for the people I've written pieces for - and for the guys I'm playing with. We take music seriously, but we're a pretty lighthearted, upbeat group on the bandstand. As I said before, being around beautiful music - as I hope mine is - makes the world feel like a better place."

Born in June 1976, Kris Allen grew up outside of Hartford, Connecticut, and studied with Jackie McLean at the Artists Collective and University of Hartford. He inherited a love of music from his mother, a church organist who gave him his first lessons on a tiny xylophone. Although he showed a gift while studying classical piano, the young Allen fell for jazz upon hearing a copy of Lee Morgan's Blue Note LP The Gigolo and switched to alto saxophone. He entered two venerable jazz academies: first Hall High School in West Hartford, known for nurturing excellent jazz musicians (including Brad Mehldau and Joel Frahm) and then the Artists Collective in Hartford, where founder McLean schooled Allen in the blues and bebop language, composition and arranging. Allen was drafted twice for the Grammy All-American High School Jazz Band and named its Most Valuable Player in 1994.

With a full scholarship, Allen continued his apprenticeship with McLean at the Hartt School of Music. After graduation, Allen moved to New York City. Playing in multiple groups and fronting a few of his own, Allen also toured and recorded with the likes of Gerald Wilson, Illinois Jacquet, Andy Gonzales and Curtis Fuller, as well as Winard Harper, Andy Laverne, Mario Pavone and Helen Sung. An in-demand sideman, Allen has played in the groups of Jen Allen, Noah Baerman, Earl MacDonald, Benje Daneman, Andy Jaffe and Avery Sharpe among others. He is a member and co-founder of the Jazz Samaritan Alliance, as well as a member of the Truth Revolution Recording Collective. In 1999, Allen was handpicked by McLean to teach saxophone and ensembles at the Hartt School. He went on to hold positions at Trinity College, Southern Connecticut State University and the Greater Hartford Academy of the Arts. Since 2013, he has been the Lyell B. Clay Artist in Residence in Jazz at Williams College. Allen has also been a teaching artist for the Litchfield Jazz Festival since 2001.

www.krisallenjazz.com

Miles Davis: The Universe of Cool. Visualized.

Miles Davis, international musical icon and cultural archetype, would have turned 90 years old on May 26, 2016. To commemorate Miles' 90th, Legacy Recordings (the catalog division of Sony Music Entertainment) and Polygraph (a publication for thoughtful, data-driven storytelling) is launching "The Universe of Miles Davis," an immersive destination website visualizing the astounding ongoing cultural impact and importance of Miles Davis. {Please link to site here: http://polygraph.cool/miles }

Built from data collated from over 2,000 Wikipedia pages mentioning the artist, "The Universe of Miles Davis" uses stunning visuals and animation to construct charts, graphs and interactive models illustrating that Miles Davis' larger-than-life impact extends beyond music into the worlds of fashion, film, politics, fine art, popular culture, social media and more.

Motown Gospel Presents ‘1 Mic 1 Take’ Live at Capitol Studios featuring Tasha Cobbs, Smokie Norful, Brian Courtney Wilson, Myron Butler & Levi and Newcomer Royce Lovett

Motown Gospel presents 1 Mic 1 Take, recorded live at Capitol Studios in Hollywood, CA.  1 Mic 1 Take will be available at retail and digital outlets everywhere on Friday, June 3rd. The ten-song acoustic gospel compilation includes five of Motown Gospel artists performing two songs—stripped of mass production to focus on the message and the voice. Many selections are already popular while others are receiving a well-deserved shot for wider exposure. The participants include GRAMMY®-winners Smokie Norful and Tasha Cobbs as well as award-winning artists Myron Butler & Levi, Brian Courtney Wilson and newcomer Royce Lovett.

1 Mic 1 Take is a concept that Blue Note Records president and super producer Don Was (under parent company EMI-Capitol) spearheaded initially as one-off promotional-only clips to highlight the legitimacy and vibrancy of the label’s acts by showcasing their vocal and song craft talents in naked, unadorned forms. In the world of pop music this can be revealing. In the world of Gospel music, it’s a revelation—offering kinetic alternatives for praise and prayer of favorite songs. Call them divinity remixes.  See preview of 1 Mic 1 Take featuring Don Was: https://umusic.app.box.com/s/r5pe6zo7ip8edmdoj6wwxsgh9s0lb1s7

 

Motown Gospel Presents 1 Mic 1 Take marks the first time such a project has been created for purchase to the public. The ten-song album will be released both physically and digitally plus a deluxe edition will include four high definition videos—all recorded in Hollywood’s hallowed and landmark Capitol Studios. “Putting world class artists in a legendary room performing their signature songs with scaled back production doesn’t present itself often,” says, Larry Blackwell, Vice President and General Manager of Motown Gospel. “I believe the artists captured the fundamental essence of our genre with their soulful performances.”

                                                                                                                       

In sequence order, the compilation opens with Brian Courtney Wilson’s GRAMMY-nominated titled track “Worth Fighting For,” which also earned him both Dove and Billboard Award nominations. The compilation continues with Tasha Cobbs’ “For Your Glory,” her second single from her GRAMMY-nominated and chart-topping album, Grace. Multiple Stellar Award-winning artist Myron Butler & Levi’s “Nobody Like Our God” is featured from his new studio album, On Purpose. The majestic call and response praise and worship number is performed to piano, backing vocals and snare drums accompaniment. Singer and songwriter Royce Lovett performs “Write It On The Wall.” He dubs the music he takes all around the world as Cerebral Soul. 

“Write it On The Wall” is the title track of his debut EP (following six self-released projects with titles such as Ought-ism and Acoustic Incentive). Co-penned with Nate Butler, Matt Armstrong and Bryan Fowler, the song is performed here by Royce to guitar accompaniment only. Wilson’s second offering, the guitar driven “Mindful,” also featured on Wilson’s Worth Fighting For project is a heart-stilling declaration about staying the course to grow ever-closer to the Lord. Butler’s title-track “On Purpose” is the introspective jazz-tinged song on Butler’s latest album, beautifully rendered with piano, drums and support vocals. Lovett’s “Say Something (Sasha)” is a catchy reggae pop song (co-penned with Nate Butler) that finds him reaching out to a girl in need of Christ in her life. He incorporates singing and rapping to fervently get his point across in this touching performance that he closes a cappella with finger snaps. Smokie Norful’s brilliantly written “Imperfect Me” (co-penned with Antonio Dixon, Habsen Jones, Harold Lilly & Demonte Posey) is sung solely to piano accompaniment. It was originally recorded on his chart-topping album, Forever Yours.  Cobbs’ “Jesus Saves” is her self-penned rock solid comfort song first introduced on her One Place Live album from 2015. 1 Mic 1 Take closes with Norful’s “Forever Yours,” the title track (co-penned with Antonio Dixon and Demonte Posey) from Norful’s latest 2014 album, bridging soul music with sacred gospel.

BRIAN CULBERTSON SET TO EMBARK ON "FUNK!" TOUR AND READIES NEW ALBUM

Message to funk received from the Mothership: hit-maker Brian Culbertson is in the studio conspiring with his cosmic group of musical soul brothers on his second funk collection, “Funk!,” which will be released September 16 on his BCM Entertainment label. Less than a week after his seventeenth album streets, the award-winning multi-instrumentalist will launch a coast-to-coast concert tour on a scale unlike any trek ever mounted by the vivacious showman who will be flanked by the same band showcased on the album. To help set the stage for the 11-song set plus three playful interlude sketches, all produced by Culbertson, radio stations will be serviced “Been Around The World” in early July.   

Those who have caught a Culbertson show over the last year might have had a premonition that the R&B-jazzman was about to again morph into an emissary of funk, a mission that began with his 2008 recording “Bringing Back The Funk,” which he co-produced with the late Maurice White of Earth, Wind & Fire and featured legendary funksters Bootsy Collins and Larry Graham. His set list at recent gigs included a pair of funk classics, “Got To Give It Up” and “Play That Funky Music,” which made it onto the new album. The Chicago-bred musician who plays piano, Fender Rhodes, Wurlitzer, clavinet, Hammond B3 organ, synths, trombone, bass, drums, percussion and sings on the entire record wrote or co-wrote nine new songs for “Funk!” that showcases his live band – Marqueal Jordan (vocals & sax), Tyrone Chase (guitars), Eddie Miller (keyboards, organ & vocals), Rodney Jones, Jr. (bass, guitar & vocals), Chris Miskel (drums) and Michael Stever (trumpeter & horn arrangements) - along with Chance Howard, a nasty R&B keyboardist, bassist and vocalist who has toured and recorded with fellow Minnesota native Prince. Noted trumpeter Patches Stewart will replace Stever for the Funk! Tour.

Next month, Howard will join Culbertson on stage to premiere a few choice cuts from “Funk!,” including the first single, at Culbertson’s fifth anniversary Napa Valley Jazz Getaway, a wine and jazz lifestyle experience in the heart of California Wine Country taking place June 8-12. 

“The concept for ‘Funk!’ was to make an old-school, throwback funkadelic record in the style of P-Funk meets Prince and to tour with the same band that appears on the album - my band plus Chance (Howard). We finished tracking and are mixing this week. The show we will be taking out on the road is unlike anything anyone has ever seen from me before. It’s on an entirely different level. Yes, we’re taking it there! I’m also very excited about capturing the magic by shooting a Blu-ray to be taped on tour this fall,” said Culbertson, who as an imaginative and trend-setting artist, producer and songwriter has architected 28 Billboard No. 1 singles along with a library of chart-topping albums. 

Once again, Culbertson has opened the doors to the recording studio by posting a series of video blogs from the “Funk!” sessions on his website (http://www.brianculbertson.com/funk) as well as engaging his followers through Facebook Live. And like his most recent studio release, he’s offering fans the opportunity to get involved with the process by launching an Indiegogo campaign (https://www.indiegogo.com/projects/brian-culbertson-s-funk--2#/) that provides a menu of unique options, including VIP concert tickets, tickets for the Blu-ray filming, autographed CD, limited edition vinyl album, a private personalized video message, sheet music and a bobble head Funk! doll.         

The songs that comprise “Funk!” are:

 “Get Ready”

 “The Call”

 “Been Around The World”

 “Take It Up”

 “Let’s Take A Ride”

 “We Got What You Want”

 “Sunshine” (interlude)

 “Hey Girl”

 “Damn, I’m Hungry” (interlude)

 “Got To Give It Up”

 “Mile Sauce”

 “Play That Funky Music”

 “Spend A Little Time”

 “To Be Continued…” (interlude)

The Funk! Tour itinerary is listed below (additional dates will be added):

September 22-25 - Seattle, WA @ Jazz Alley 

September 26 - Portland, OR @ The Aladdin

September 27 - Bend, OR @ Tower Theater

October 5 - Fresno, CA @ Tower Theater

October 6 - Santa Barbara, CA @ Lobero Theater

October 7 - Newport Beach, CA @ Hyatt Newporter

October 8 - Temecula, CA @ Thornton Winery

October 9 - Scottsdale, AZ @ Livewire

October 11-12 - Denver, CO @ Soiled Dove  

October 13 - Salt Lake City, UT @ The State Room

October 14-15 - Las Vegas, NV @ Aliante Casino

October 16 - Catalina Island, CA @ Catalina Island JazzTrax Festival

October 20 - Indianapolis, IN @ Murat Theater

October 21 - Cincinnati, OH @ Ludlow Garage

October 23 - New Albany, OH @ Schottenstein Theatre

October 25 - Pittsburgh, PA @ MCG Jazz 

October 26-27 - New York, NY @ B.B. King’s

October 28 - Cranston, RI @ Park Theatre

October 29 - New Haven, CT @ John Lyman Center

October 30 - Boston, MA @ Scullers Jazz Club 

November 4 - Collingswood, NJ @ Scottish Rite Auditorium

November 5 - Mount Pocono, PA @ Mt. Airy Casino Resort

November 11 - Minneapolis, MN @ Dakota 

November 13 - Detroit, MI @ Royal Oak Music Theatre

Nov. 28-Dec. 2 - London, England @ Pizza Express

Drummer Matt Wilson Celebrates the Memory of His Late Wife Felicia and His Extended Musical Family on Beginning of a Memory

Both a joyous act of communion and a solemn farewell, Beginning of a Memory is a celebration of life, community and family expressed with the virtuosic wit and embracing humor that has made Matt Wilson so beloved in the jazz community as a drummer, composer and human being. Returning to the studio as a leader for the first time since his wife Felicia lost her battle with leukemia in June 2014, Wilson convenes the closest members of his extended musical family, including all the members, past and present, of his longest-running ensembles: the Matt Wilson Quartet, Arts & Crafts, and Christmas Tree-O.

Due out May 27 from Palmetto Records, the result is a warm and loving commemoration, featuring new renditions of many of Felicia's favorite tunes from Wilson's past recordings interspersed with snippets of studio dialogue that capture the spirit of the session. The release also marks the 20th anniversary of Wilson's tenure on Palmetto and of his collaboration with producer/label founder Matt Balitsaris, making Wilson's behind-the-scenes collaborators as much a part of the Big Happy Family as his bandmates.

"I made this album to celebrate a community of people and how much their love and support through all of this has meant to me," Wilson says. "It also celebrates her relationship with all these folks, because Felicia had a really special relationship with each and every one of them."

Wilson's Big Happy Family is a raucous clan whose members span a considerable stylistic spectrum, spotlighting Wilson's sonically inclusive versatility. The horn section alone brings together saxophonists Jeff Lederer, Joel Frahm and Andrew D'Angelo with trumpeter Terell Stafford and cornetist Kirk Knuffke; they all gathered together in the studio with Wilson and bassists Martin Wind and Paul Sikivie.

Improbably, that recording session was done without written arrangements, adding to the raw, informal feeling of the album and showcasing the camaraderie among Wilson and the various members of the family. "Just letting the cats play is risky business," Wilson admits, "but I was really into that. It was nice to see what would emerge. I love the courageous trust that everyone had. It was a pretty vulnerable situation to be in, but the vulnerability opened up everybody's sound to put them in a different light. Each and every one of them are characters, but the moment and the surroundings welcomed them into other territories.

"This was a very special occasion," adds Martin Wind. "Matt creates a very special atmosphere because of his style of leading. He picks the guys who he trusts and loves and then he puts the music in front of us. He trusts our instincts and decision-making and he's exceptional in the sense that he embraces everything that you could possibly come up with. There's no such thing as a wrong musical decision when you play with Matt."

Chris Lightcap added his bass parts later, as did pianist, organist and accordion player Gary Versace. Long-distance contributions also came in from Larry Goldings, who contributes a loving and tender solo rendition of "How Ya Goin'" on prepared upright piano from L.A., while original MWQ bassist Yosuke Inoue chimes in all the way from Japan with an unexpectedly moving solo version of '80s schlock-pop masterpiece "Endless Love."

Most of the pieces on the album have been associated exclusively with one of Wilson's groups or another, making nearly every track simultaneously a revival and a discovery for the various members. The conjoining of bands also carries that feeling of familiarity and freshness into the ensemble itself. At the same time it felt like a homecoming with Balitsaris producing and engineering, Michael MacDonald mastering, and former label GM Pat Rustici cooking for the band.

The most deeply personal moment comes on "Flowers for Felicia," a heartwrenchingly intimate piece that combines the melodies of Wilson's "Orchids," written for his wife, and one of her favorite songs, the Carter Family classic "Wildwood Flower." She's also there in spirit on the title track, on which Knuffke plays the melody that Felicia originally performed on violin for the original recording on 2003's Humidity. But equally indebted to Felicia's memory is the album's most unruly moment, an impromptu romp through "Schoolboy Thug," originally recorded on 1998's Going Once, Going Twice and a song that she adored.

"She liked the music that was pretty nutty at times," Wilson says with a chuckle. "I know she would love that version of 'Thug.'"

"We all knew we were gathering that day for a special purpose," recalls Jeff Lederer. "It was a day of remembering, it was a day of celebration - of Felicia, of Matt, of the special bond between them which was music, and so much more.  Each one of us in the room had our own unique relationship with Felicia and with Matt and knew that, even more than usual, there was a special purpose to the music we played that day."

That spirit infuses every note on Beginning of a Memory. Moments of uninhibited joy collide with passages of bittersweet sadness, but all of it combines with Matt Wilson's emotional openness, empathy and exuberance to conjure a mood of wistful optimism.

"I wanted this to be a landmark representing new beginnings and celebrating all the new memories that are starting," Wilson sums up. "No matter what goes on in life, we have to welcome new things all the time but also celebrate the gifts that we've been given - and all of these musicians are full of gifts."

www.mattwilsonjazz.com

The neo-jazz sextet Ratatet - led by drummer/composer Alan Hall - dissolves genres and expands musical horizons on debut album, Arctic

With its audacious frontline of trombone and electric bassoon, the Bay Area-based sextet Ratatet is no run-of-the-mill jazz ensemble. The adventuresome spirit exemplified by the band's novel instrumentation is also reflected in leader Alan Hall's cliché-free and melody-rich compositions on Arctic, the outfit's genre-dissolving debut recording. Incorporating prime elements of jazz (from mainstream to fusion), funk, rock, South American idioms and classical music, Ratatet categorically rejects rigid categorization. The band, featuring Alan Hall on drums, Paul Hanson on bassoon and tenor saxophone, John Gove on trombone, Dillon Vado on vibraphone, Greg Sankovich on keyboards and Jeff Denson on acoustic and electric bass and vocals, blends sterling musicianship with unbounded creativity, taking full advantage of the inclusive freedom that characterizes the best of new millennium jazz. In addition, Paul McCandless, a member of the famed group, Oregon, is a guest on the album's last track.  

Hall's eleven strikingly melodic original compositions can build off of spirited rhythms ("Electrick," "Red State, Blue State,"  "Word By Word," "Gataxi") or paint effectively moody landscapes ("Arctic," "Returning"). Binding everything together is the singable quality of Hall's writing. "I thought in terms of tight pop song-like structures" he says, "melodies that were stimulating yet accessible and memorable." Full blooded yet succinct improvisations from Hanson and Gove, along with concise and noteworthy contributions from the others, enrich the performances. The darker, low-toned quality of the unique trombone-bassoon front line is cushioned by an active and supportive rhythm section bolstered by the inspired inclusion of Vado's atmospheric vibraphone. Although Hall cites such significant influences as jazz icons Pat Metheny, Wayne Shorter and Chick Corea, as well as classical masters including Ravel, Debussy and Copland, his own music has thoroughly assimilated its sources and found its own voice. The result is thoroughly contemporary jazz that owes its identity to no other composer or ensemble.

A respected drummer and educator, who has taught at Berklee College of Music, and worked with Cirque Du Soleil, Lee Konitz, Art Lande and Geoffrey Keezer, Hall brings the full range of his broad experience to his sextet. "It's hard to define Ratatet's music," Hall claims, "I purposely avoid limiting it to one genre. I also want to explore the full range of what the band's instrumentation can offer. Some songs call for funky electric bass, others for bowing on the acoustic bass. Some songs need organ, some need a muted trombone and a vocal. It's great having this sonic versatility."

Of special interest is bassoonist Paul Hanson's occasional employment of startling sonic effects on his electrified instrument as in "Gataxi," where his unaccompanied introduction and vigorous exchanges with trombonist Gove reveal a boldly altered bassoon tone. Hanson emerges as an integral key to the band's unique approach. "Paul is a Bay Area fixture." Hall asserts, "Anyone who has heard him knows he's one of a kind." Paul and the other members of Ratatet have performed with such celebrated artists as Bela Fleck and the Flecktones, Lee Konitz, Ralph Alessi, Dennis Chambers, Cuong Vu, and Pete Escovedo.

A visual artist as well as a musician-composer, Hall was inspired by celebrated works from a host of iconic painters. Song titles including "Basquiat (inspired by Jean Michel Basquiat)" "What Cy's Eyes See (inspired Cy Twombly)" and "The Marriage of Arnolfini" confirm the links between his passions. For the musicians in Ratatet, Arctic is as personally revealing as an artist's brushstroke. As Hall states, "the truth of who you are is on display."

Ridgeway Records is dedicated to the recording and perpetuation of jazz and related styles of music. The label is committed to providing artists a platform to promote improvisation, artistic growth and audience development. The label is a part of Ridgeway Arts, Inc. - a new non-profit serving the Bay-Area jazz scene led by renowned jazz bassist, composer, educator, and community activist Jeff Denson.  The organization is built upon a series of initiatives designed to enhance and fortify the Bay Area scene, and to make a strong contribution to the national landscape of jazz and the arts in general. Ridgeway Arts will present concerts, organize educational and community outreach activities, and more.

http://www.ratatet.com/