Friday, August 05, 2016

Guitarist Francisco Pais' Lotus Project merges genres and keeps pushing boundaries on his new Album Verde

After three highly acclaimed albums, Portuguese born guitarist Francisco Pais has been exploring new music relentlessly with some of the most influential young lions in NYC. He is a creative tour-de-force who never ceases to try push the limits of what can be done in music.

For Pais this new album Verde means expansion. "When I make an album I am always driven by the creative collaborations I will have in order to give birth to any project. These musicians share my energy, my passion, my emotions and they believe in my music and my message. The expansion means getting bigger in depth though not in size," explains Francisco.

It's hard to describe what makes a musical collaboration work - there has to be just the right balance of tension and sympathy. That's what happens in Verde from the first note in the album. Francisco comments, "To be recording with the people I admire and love, my friends, it's truly a blessing. There is a connection amongst all of us. My goal is to facilitate a point of entry in my music that will allow everyone's unique skills and voice to be heard in a bold and honest manner. I see this recording as a ritual and an opportunity to birth creative impact in a world that needs light to shine trough. I am exploring my capacity for change. I am always evolving."

These musicians have been performing together for over 10 years, and the resulting instinctive, organic rapport shines through on Verde. The lineup for this album features saxophonists Myron Walden and Godwin Louis, longtime partner in crime drummer Ferenc Nemeth, pianist Julian Shore and bassist Connor Schultze.

Although this is a new band, Francisco shares a deep musical history with each musician. "I've been playing and touring with Ferenc since our Berklee years. Berklee sponsored my group to tour in Europe every year over the summer. It was a complete blast. I played several gigs with Myron in NYC and he was the sound that I was looking for. This perfect combination of soulfulness and artistry is why I invited him to play on both my 3rd album Raise Your Vibration and this one  In addition, I spent a handful of great years playing and recording with Julian Shore and Connor Schultze.

The sonic landscape presented on Verde is quite different from Francisco's 2012 and 2014 releases. This is a guitar heavy album, and the music is presented without edits or isolation, as captured in pristine detail by engineer Mike Perez at Big Orange Sheep Studios in Brooklyn and mixed by Grammy award winner and engineering guru James Farber at Shelter Island Studios in Manhattan. Senior mastering engineer Greg Calby at Sterling Sound in NYC did the final polish of Verde. Greg is a Grammy award winner that mastered artists such as Bob Dylan, John Lennon and Paul Simon to name a few.

While not a tribute recording in any way, this recording shows Francisco honoring all the guitarists who have inspired and informed his completely unique approach to the instrument and compostitions. You'll heard a myriad of sounds such as slide guitar, a screaming bluesy distortion, acoustic guitar, some drum'n' bass guitar synth sounds with reverse delays and a warm jazz vibrato guitar sound complementing his compositions in this album.  Francisco says, "This album embodies the deep inspiration I have taken over the years from my earliest guitar heroes, including Muddy Waters, Howlin Wolf, Robert Johnson, Chuck Berry, Jimmy Hendrix and Eric Clapton to name a few." Francisco filters his myriad influences (indie rock, R&B, jazz, Brazilian folk) into a singular, electrifying sound on Verde.

"I use to get all these magazines like Guitar Player and learn all the guitar licks in it. When I was a teenager at 14 I had a rock band and we played all kinds of hard rock, indie rock, funk and blues music. I was both the main vocalist and the lead guitarist. I used a Fender Stratocaster with a Floyd Rose. It was a blast! "

The tittle of the album Verde means green. "I come from a small village in Portugal called Sintra and there are thousands of shades of green over there. It's a magical stretch of mountains with Castles and Palaces that overlook the Atlantic Ocean. For me green is the color of hope and it has always been my favorite color. It also relates to our 4th Chakra located in our heart, called Anahata. I like to be aware of where the music is coming from and more than anything I wanted this music to shine through my heart. I wanted to encourage people to have an awakening during these crazy times. Lots of people are numb, consumed by technology, in fear of sending their children to school when we should be holding hands empowering each other. We must awake and teach each other not to give mental energy and unconscious loyalty to public figures who are shallow role models. We need to shine light and not criticize someone else's ability to shine light. We need a collective awakening."

A devoted yogi, Pais has played his own music all over the world with some of the best musicians in the New York scene. After an audition in Paris in 1998, Pais was awarded a scholarship to come to the United States to study jazz performance at the Berklee College of Music in Boston. In 2002, he graduated cum laude with a B.A. in Music Performance. In the following years he toured throughout the world playing at venues including Smalls, Shapeshifter and Joe's Pub (New York City), Ryles (Boston), The Rex and Trane Studio (Toronto), and Ducs des Lombards (Paris), among many others. Pais has also performed with a number of prominent musicians including Chris Cheek, Marcus Strickland, Seamus Blake, Gretchen Parlato, Becca Stevens, Myron Walden, Alvin Atkinson and Justin Brown. Pais has received numerous awards for his work from the Doris Duke Foundation, Chamber Music America and Rhode Island State Council for the Arts.



Thursday, August 04, 2016

STEVE DAVIS' "THE WAY YOU LOOK TONIGHT" PAYS HOMAGE TO THE GREAT AMERICAN SONGBOOK ERA

Steven Davis is the first to admit he’s enjoyed a lot of incredible musical lives. The versatile singer and multi-talented performer, who grew up singing gospel in church in his Midwest hometown, spent years wowing crowds in clubs in NYC, Atlantic City and L.A., and performing overseas with orchestras and big bands. Early in his life, he discovered a passion for Frank Sinatra, Tony Bennett, big band sounds and the Great American Songbook – and it has been a big part of his journey, infusing his musical sensibilities ever since. Marking the first time he’s brought that passion to a full scale recording project, Davis’ dynamic new album The Way You Look Tonight pays beautiful homage to an incredible group of artists from that wondrous era when songs had soul, arrangements swung powerfully and poetic lyrics penetrated the heart.

In addition to giving Davis his long awaited shot at achieving a lifelong dream, the eight song collection offers an opportunity for young people saturated with the electronica and hip-hop based pop of today to hear classic tunes in a fully contemporary yet timeless way. For them, it’s an open door to a musical era whose lyrical themes and innate coolness are still relevant – just in need of a fresh, exciting new voice.

Performing with a 17-piece big band, the singer recorded the set at the legendary Capitol Studio A in Hollywood, where Frank and Nat “King Cole” once held court. Assembling the perfect team was essential. He worked alongside three industry greats in producer Josh Charles, also a renowned artist and songwriter); Grammy Award winning mixer/recording engineer Ed Cherney, who has weaved his sonic magic for everyone from Bonnie Raitt and The Rolling Stones to Eric Clapton, Bob Dylan, Elton John and Etta James; and conductor and arranger Andy Farber, who has arranged for, among others, Jon Hendricks, Wynton Marsalis, Bob Dylan, B.B. King and Ray Charles. 

Includes: The Way You Look Tonight; Ain't That a Kick in the Head; Only You; Come Fly With Me; It’s Alright With Me; Teach Me Tonight; Luck Be a Lady; and On the Street Where You Live.


Wednesday, August 03, 2016

MAYA NEISER'S NEW ALBUM "TRANCECLASSICAL" TRANSFORMS CLASSICAL

Maya Beiser, described as a "cello rock star" (Rolling Stone) and "ferociously adventurous" (San Francisco Chronicle), has released her latest album, TranceClassical, worldwide on July 29, 2016 with Innova Recordings. In TranceClassical, Maya explores music for cello that entrances, and that transforms and transcends boundaries, styles, and centuries. TranceClassical includes selections by a wide array of composers, brought to common ground by Maya's unique artistic vision – from J.S. Bach to Imogen Heap, from Medieval visionary composer Hildegard von Bingen to Wilco drummer and composer Glenn Kotche, from Arab-American composer Mohammed Fairouz's new Kol Nidrei to David Lang's take on Lou Reed's Heroin, plus world premiere recordings of music by Michael Gordon, Julia Wolfe, and David T. Little, and original arrangements by Maya.
  
Maya's performance of J.S. Bach's Air on G, which opens the album, evokes the sound of an old LP, spinning on a distant turntable. Michael Gordon's All Vows takes the Jewish Yom Kippur prayer, the Kol Nidrei (which translates to All Vows) and reimagines it entirely. Maya melds cello and electronically transformed vocals, sung simultaneously while she plays, in Imogen Heap's mesmerizing Hide and Seek. Composer and drummer Glenn Kotche of Wilco contributes Three Parts Wisdom, a rhythmic and multilayered new work for Maya, described as "a soaring, gorgeous tour de force for solo cello" by The Washington Post. In Lou Reed's Heroin, arranged by David Lang, Maya sings the haunting confessional over her cello's arpeggios in a startlingly moving take on the original. Julia Wolfe's Emunah (or "belief") is an ancient-feeling vocal and cello duo expounding on the idea of devotion. Arab-American composer Mohammed Fairouz's new Kol Nidrei, in which Maya sings the text in Aramaic, also engages echoes of ancient cantorial styles, and has been described as "simply gorgeous" (The New York Times) and "luxuriant" (San Francisco Chronicle). David T. Little's driving Hellhound, written for Maya, is based on legendary bluesman Robert Johnson's 1937 song Hellhound On My Trail, which tells the story of a man pursued by demons. The album closes with Maya's plaintive but ardent arrangement of Medieval visionary Hildegard von Bingen's O Virtus Sapientiae.

Cellist Maya Beiser defies categories. Passionately forging a career path through uncharted territories, she has captivated audiences worldwide with her virtuosity, eclectic repertoire, and relentless quest to redefine her instrument's boundaries.  A featured performer on the world's most prestigious stages including Lincoln Center, Carnegie Hall, London's South Bank Centre, Sydney Opera House, Big Ears, and the Barbican's Sound Unbound, she has collaborated with a wide range of artists across many disciplines, including Brian Eno, Philip Glass, Steve Reich, Robert Woodruff, Bill Morrison, among many others. Maya Beiser is a 2015 United States Artists Distinguished Fellow. Her 2011 TEDtalk has been watched by close to one million people and translated to 32 languages. www.mayabeiser.com

Upcoming Concert Dates
August 13: Breckenridge, CO – Breckenridge Music Festival
August 17: San Francisco, CA – SFJazz
September 13: New York, NY – Le Poisson Rouge
October 27: Iowa City, IA – Hancher Auditorium
November 19: Stockholm, Sweden – Konserthus
February 10: London, England – Kings Place


Tuesday, August 02, 2016

Blues Legend Tom Lavin Becomes UCW's 11th Honorary Degree Recipient

If you were to think of University Canada West's (UCW) newest honorary degree recipient as a book, his true depth would likely escape you, unless you knew him as a book with many covers.

Tom Lavin, UCW's 2016 honorary degree recipient, and the university's 11th to date, is primarily known as an accomplished musician and record producer who was a founding member of Canada's legendary Powder Blues Band in 1978.

On July 15 in a convocation ceremony that begins at 11 a.m. at Vancouver's Italian Cultural Centre, Lavin will formally be awarded his UCW degree before the university's 28 graduands of 2016 are granted theirs. UCW President Arthur Coren will preside over the one hour and 15 minute ceremony, which concludes with a reception at 1 p.m. Media and the public are invited.

Despite major record labels' initially cool reception of the Power Blues' debut album, Uncut, the now world-famous band has gone on to sell more than one million records worldwide and has toured continuously for the last 38+ years.

Known for its mix of swing, blues, jazz, rock & roll and r & b that gets people of all ages bopping, the band's sound has garnered numerous international awards. Among the highlights are Canada's Juno in 1981, Canadian Music Industry Association (CMIA) awards for Guitarist, Singer, Songwriter and Producer of the Year in 1980 and the LA Reader Award for the Indie Film Score of the Year-Dennis Hopper's film Out of the Blue in 1980.

Tom Lavin & the Legendary Powder Blues have also appeared in concert with the Who, ZZ Top, Willie Dixon, John Lee Hooker, B.B. King, James Brown, Stevie Ray Vaughn and the Doobie Brothers.  They headlined the internationally lauded Montreux Jazz Festival in Switzerland in 1983.

Lesser known are Lavin's achievements as a high tech, venture capital consultant, CEO of several public companies and founder of a private college.

In 1992, the Chicago-born blues musician was appointed managing director of a film SFX software firm at George Lucas' Lantana Complex in Santa Monica, California. In 1994, Lavin started one of the first Internet services in Canada (Axion.net) and took it public on the Canadian Exchange (CDNX). 

In 1997, he became CEO of MegaChain.com Ltd., which traded on NASDAQ. He consulted for venture capital firms on projects including on-line gaming, virtual reality, GPS technology, wireless communications, stereo endoscopy, frequency counting technology, audio processors and micro electro-mechanical systems. 

In 1999, he founded and wrote curriculum for Pacific Audio Visual Institute (PAVI), a government-accredited private post-secondary technical college, and acted as its director until its sale in 2015. Ironically, UCW purchased much of PAVI's classroom and office equipment.

Lavin's Socratic approach to learning is the likely architect of the many covers that would have to adorn any book telling his professional story.

"Learning, musically or otherwise, is all about exploration," says Lavin, who moved to Vancouver in 1969 to study film and work as a recording studio musician.

"There is a time and place for learning in solitude, in pairs and in groups, however, first and foremost to me is the importance of 'beginner's mind'  -being able to approach an investigation without preconception."

"For example, my music production generated an interest in echo, which led to my pursuit of digital delays. This in turn caused me to investigate digital information packets, which resulted in my creating one of Western Canada's first public Internet services," offers Lavin about his learning journey.

But Lavin admits it's not just his gift for connecting ideational dots that has propelled his Renaissance man-like career path. It's his passion for business communication, a very fitting attribute for UCW graduands to emulate going forward into the business world.

"A famous successful jazz musician once said that the music business properly pursued is 50 per cent music, 50 per cent business.  I think this can apply to all fields. It's not enough to have a great idea; one needs to be able to communicate the concept," advises Lavin. "Be ready and able to share your vision verbally in three minutes. Refining a statement like this will also aid in making it clear to yourself what your true goals are." 

Reaction to Tom Lavin becoming a UCW honorary degree recipient 
•"Tom Lavin is a fabulous musician who`s made a large contribution to music and Canada. As a bandleader he should be used as a model for others in that position. Those fortunate enough to work with him are treated with respect and dignity."

•Gary Kendall, (Maple Blues All Stars Awards - Downchild) Multiple winner of Canadian Bassist of the Year 

•"Tom Lavin accomplished the amazing feat of bringing not one, or two, but many blues songs to mainstream radio. I cannot believe this has gone unmentioned for this long. He defined for me what a Canadian blues guitarist sounded like.  I love the guy. Congratulations Tom!"

•Bill Johnson, Juno award winning blues guitarist 

•"Not only being a wealth of knowledge, Tom brought to Canada the soul of a true Chicago blues man. His songs and voice evoke true artistry."

•Matt Petley-Jones, petley jones gallery, Dealers in Contemporary and Historical Art  



Sting: The Studio Collection - Solo Career-Spanning Vinyl Box Set On 180-Gram Heavyweight Vinyl To Be Released September 30th

On September 30, A&M / Interscope Records are proud to release The Studio Collection, a career-spanning vinyl LP box set featuring all of Sting's seminal solo studio albums brought together for the first time.

The Studio Collection includes eight essential A&M Records albums across eleven LPs – The Dream Of The Blue Turtles (1985), ...Nothing Like The Sun (1987) (double LP), The Soul Cages (1991), Ten Summoner's Tales (1993), Mercury Falling (1996), Brand New Day (1999) (double LP), Sacred Love (2003) (double LP) and The Last Ship (2013) – with both Brand New Day and Sacred Love available on vinyl for the first time ever.
  
All of the included LPs appear in exact replicas of the original artwork presented in an exceptional slipcase package, with brand new vinyl masters cut at the legendary Abbey Road studios to ensure exceptional audio quality.

Contained within The Studio Collection are some of the most iconic albums and songs of all time, including numerous GRAMMY® Award-winning tracks as well as a plethora of multi-platinum, platinum and gold worldwide awards. Beginning with Sting's first solo album, the revelatory The Dream Of The Blue Turtles from 1985 – featuring the cream of America's young jazz musicians in a politically-charged set – through 2013's The Last Ship, exploring the central themes of homecoming and self-discovery in the North East of England, The Studio Collection showcases Sting's meticulous song writing, evocative storytelling, and continual innovation in a ground breaking mix of musical genres and styles that have continually evolved throughout his remarkable career to date.

From perennial favourites 'Englishman In New York', 'If I Ever Lose My Faith In You', 'Fields Of Gold', 'Seven Days' and 'Shape of My Heart', to the political 'We Work The Black Seam' and 'Russians', the gospel-tinged 'Let Your Soul Be Your Pilot' and 'Fill Her Up', the bossa nova 'La Belle Dame Sans Regrets' and 'Big Lie Small World', through to the French hip hop of 'Perfect Love...Gone Wrong' and the arabesque 'Desert Rose', The Studio Collection combines the full breadth and power of Sting, the composer, singer, activist and timeless songwriter, on high-quality heavyweight vinyl.

The Studio Collection is out on September 30th and available to pre-order now. Click here to see the first look teaser.

To complete The Studio Collection, Sting's new album 57th & 9th will be released November 11th.

TRACKLISTING:
THE DREAM OF THE BLUE TURTLES (Original Release: 1985)
Side A:
1.     If You Love Somebody Set Them Free
2.     Love Is The Seventh Wave
3.     Russians
4.     Children's Crusade             
5.     Shadows In The Rain             
Side B:
6.     We Work The Black Seam
7.     Consider Me Gone
8.     The Dream Of The Blue Turtles
9.     Moon Over Bourbon Street
10.   Fortress Around Your Heart

…NOTHING LIKE THE SUN (Original Release: 1987)
Side A:
1.     The Lazarus Heart
2.     Be Still My Beating Heart
3.     Englishman In New York
Side B:

4.     History Will Teach Us Nothing
5.     They Dance Alone (Cueca Solo)
6.     Fragile
Side C:
7.     We'll Be Together
8.     Straight To My Heart
9.     Rock Steady
Side D:
10.   Sister Moon
11.   Little Wing
12.   The Secret Marriage

THE SOUL CAGES (Original Release: 1991)
Side A: 
1.     Island Of Souls
2.     All This Time
3.     Mad About You
4.     Jeremiah Blues (Part 1)
5.     Why Should I Cry For You?
Side B: 
6.     Saint Agnes And The Burning Train             
7.     The Wild Wild Sea
8.     The Soul Cages             
9.     When The Angels Fall

TEN SUMMONER'S TALES (Original Release: 1993)
Side A:
1.     If I Ever Lose My Faith In You
2.     Love Is Stronger Than Justice (The Munificent Seven)
3.     Fields Of Gold
4.     Heavy Cloud No Rain
5.     She's Too Good For Me
6.     Seven Days
Side B:
7.     Saint Augustine In Hell
8.     It's Probably Me
9.     Shape Of My Heart
10.   Something The Boy Said
11.   Epilogue (Nothing 'Bout Me)

MERCURY FALLING (Original Release: 1996)
Side A:
1.     The Hounds Of Winter
2.     I Hung My Head
3.     Let Your Soul Be Your Pilot             
4.     I Was Brought To My Senses
5.     You Still Touch Me
Side B:
6.     I'm So Happy I Can't Stop Crying
7.     All Four Seasons
8.     Twenty Five To Midnight
9.     La Belle Dame Sans Regrets
10.   Valparaiso
11.   Lithium Sunset

BRAND NEW DAY (Original Release: 1999) **available on vinyl for the first time
Side A: 
1.     A Thousand Years
2.     Desert Rose (feat. Cheb Mami)
3.     Big Lie Small World
Side B:
4.     After The Rain Has Fallen
5.     Perfect Love...Gone Wrong
Side C:
6.     Tomorrow We'll See
7.     Prelude To The End Of The Game
8.     Fill Her Up
Side D:
9.     Ghost Story
10.   Brand New Day

SACRED LOVE (Original Release: 2003) **available on vinyl for the first time
Side A:
1.    Inside           
2.    Send Your Love (feat. Vicente Amigo)
3.    Whenever I Say Your Name (feat. Mary J. Blige)
Side B:
4.    Dead Man's Rope
5.    Never Coming Home
6.    Stolen Car (Take Me Dancing)
Side C:
7.    Forget About The Future
8.    This War
9.    The Book Of My Life (feat. Anoushka Shankar)
Side D:
10.  Sacred Love
11.  Send Your Love (Dave Audé Remix) 

THE LAST SHIP (Original Release: 2013)
Side A:
1.    The Last Ship
2.    Dead Man's Boots
3.    And Yet
4.    August Winds
5.    Language Of Birds
6.    Practical Arrangement
Side B:
7.    The Night The Pugilist Learned How To Dance
8.    Ballad Of The Great Eastern
9.    What Have We Got? (feat. Jimmy Nail)
10.  I Love Her But She Loves Someone Else
11.  So To Speak (feat. Becky Unthank)
12.  The Last Ship (Reprise)


Monday, August 01, 2016

The Largest Jazz Festival On The East Coast Is Back Again With World Renowned Talent

The Richmond Jazz Festival, the premier musical event on the east coast, has returned for its seventh year, August 11 – 14th. Thousands of music lovers from across the country will converge on Richmond for a one-of-a-kind musical experience. This year boasts one of the most impressive lineups to date, featuring names such as Herbie Hancock, The Roots, Al Jarreau, Michael Franks and Esperanza Spalding. Other notable artists include Vanessa Williams, Ramsey Lewis, Diane Schuur, Grace Kelly, Arrested Development, Morris Day and The Time, plus many more noteworthy acts.

The Richmond Jazz Festival now has an app! (Available for both iOS and Android devices.) Users can connect with other attendees, share and view photos, purchase tickets, view the line-up, get weather updates and more!

In addition to the presenting sponsor Altria, the festival has partnered with Virginia is for Lovers and Dominion as stage sponsors.  Other corporate sponsors include WestRock, Richmond Region Tourism, Ste. Michelle Wine Estates, Wells Fargo, Pepsi and Virginia Lottery. Media sponsors include NBC 12, Summit Media and WCVE Public Radio.

Download the Richmond Jazz Festival app or visit jazzatmaymont.com to get ticket information, view the performance schedule and get additional updates!

Official 2016 Richmond Jazz Festival Schedule:
Thursday, August 11th
VMFA | 200 N. Boulevard, Richmond, VA  23220
Jazz Café
Free admission

Thursday, August 11th
Hardywood Park Craft Brewery | 2408-2410 Ownby Lane, Richmond, VA  23220
Hardywood Food Truck Rally
Free admission

Friday, August 12th
Hippodrome Theater | 528 N 2nd Street, Richmond, VA  23219
"Homegrown at the Hipp"
$30 admission

Saturday, August 13th
Maymont | 1700 Hampton Street, Richmond, VA  23220
Doors open at 11am | Performances begin at Noon
$85 single day admission /$160 weekend admission

Herbie Hancock
Wyclef Jean
Esperanza Spalding
Vanessa Williams
Ramsey Lewis
Loston Harris
Diane Schuur
Stephanie Mills
Buckwheat Zydeco
Arrested Development
Lucky Chops
Tome Browne & Jean Carne

Sunday, August 14th
Maymont | 1700 Hampton Street, Richmond, VA  23220
Doors open at 11am | Performances begin at Noon
$85 single day admission /$160 weekend admission

The Roots
Al Jarreau
Michael Franks
Morris Day and The Time
Freddy Cole
Sonny Fortune
Jonathan Butler & Gerald Albright
Tamia
Plunky & Oneness
Sasha Masakowski
Grace Kelly
Ramsey Lewis

RICH MAN IS ACCLAIMED SINGER-SONGWRITER-GUITARIST DOYLE BRAMHALL II’S FIRST RELEASE SINCE 2001

Concord Records will release singer-songwriter-guitarist Doyle Bramhall II’s latest album Rich Man on September 30, 2016. The album, long awaited by fans who have followed Bramhall’s collaborations with artists as far-ranging as Tedeschi Trucks Band to Roger Waters, is his first in over a decade.  The album reflects both his extensive experience in the interim with such artists as Eric Clapton, whom he’s worked closely with for more than a decade (and who hails him as one of the most gifted guitarists he’s ever heard) and Sheryl Crow, for whom he composed songs for and produced the 2011 album 100 Miles from Memphis, as well as an intensive spiritual and musical journey that took him to India and Africa in search of new sounds and an inner peace sought following the death of his legendary father Doyle Bramhall.

“I’d been writing pretty consistently for other artists and projects since Welcome and had stored a lot of songs, sort of documenting my life story,” says Bramhall, whose long list of collaboration credits further includes the likes of Roger Waters, the Fabulous Thunderbirds, B.B. King, T-Bone Burnett, Elton John, Gary Clark, Jr., Gregg Allman, Dr. John, Allen Toussaint, Billy Preston, Erykah Badu, Questlove and Meshell Ndegeocello.

Most recently Bramhall has teamed with ace guitarist Derek Trucks—both proclaimed as “The New Guitar Gods” by Guitar World when they served in Clapton’s band in the late 2000s—in the Tedeschi Trucks Band, also starring Trucks’ wife Susan Tedeschi.  Bramhall’s collaborations with Tedeschi Trucks have included standout tracks on each of their three acclaimed albums.

“I’d been so busy touring and producing for other artists. But producing actually gave me chops I didn’t have—and a focus on what I wanted to sound like. So all the stars finally aligned to allow me to be completely myself as an artist for the first time—singer, guitar player, producer—and take things that were happening in my life and put them into song.”

But Bramhall correctly notes that his desired sound is “not one thing stylistically, but a lot of sounds that come out of my life experiences and travels—and what I’m affected and inspired by.”  To be sure, there’s blues on Rich Man, but there’s also influences of R&B, Indian music and Arabic music, as well as Bramhall’s distinctive guitar work.

“There’s a lot to each song, and at the end, when I was sequencing them, I realized they tell a story,” continues Bramhall. “It’s hard to summarize 70 minutes of music in a couple sentences, because all the songs have dual meanings and themes that apply to a collective experience that parallels my personal experience. But basically, all the songs are steps on a personal journey back to my truth, and that comes around full circle from beginning to end. So it’s a really interesting record for me.”

Rich Man opens with the pointed “Mama Can’t Help You,” a “call for a reckoning,” says Bramhall, about “entitlement, accountability and taking responsibility for yourself, your circumstances, actions and resulting consequences.” It begins with the voicing of R&B drumming great James Gadson (Bill Withers), and Bramhall, in fact, wrote the tune expressly “for his groove—because no one has that groove!”

The second track “November,” being “a love song to my late father,” has the essence of their favorite R&B records the two listened two as Bramhall grew up.  The contemporary groove easily recalls the horn arrangements they loved—but with a decidedly personal statement.

“His words and who he was resonates with me now, and through his passing I was inspired to take a journey to find my voice and my truth and begin fully living.”

Doyle Bramhall, who composed for and played drums with Jimmie and Stevie Ray Vaughan, died in November 2011.

“I loved him dearly, but there were things in our relationship that we hadn’t voiced or reconciled,” says Bramhall. “But before he passed, I experienced an awakening where all that stuff got lifted from me and I went through a spiritual metamorphosis. I just didn’t get the chance to tell him, because he died unexpectedly.”

“The Veil” comes out of “the breakthrough” of discovering “a person’s dark, ugly, true nature, hidden by a veil of contrived charm,” Bramhall continues. “It’s a warning to look beyond the veil—a call to do better and try to live my life as a spiritual being.”

“My People” is distinguished by instrumentation including baritone 12-string guitars, harmonium, and sarangi—the North Indian classical bowed string instrument performed here by one of its top players, Ustad Surjeet Singh.

“It’s a statement about human connectivity between cultures and the hope of continuing to evolve with mutual respect and understanding,” says Bramhall. “Mystics say that the sarangi is the greatest of all instruments because it comes closest to the human voice. I practice meditation daily, and meditate to it. The music portrays the meaning of the lyric and merges elements of traditional blues with Indian classic music, drawn from my travels and experiences in India and Northern Africa over the last four years.

He adds, “People focus on our differences, but we’re really all the same.” “New Faith” likewise expresses his hope that “we can start looking at things differently. We fixate on what divides us as human beings and it isn’t working. We need new inspiration and different thinking to find a peaceful way forward.”

“New Faith” features Norah Jones: “We were cutting the song in Brooklyn, and I’d been playing live with her on a concert series we do every six months or so. I felt like the song needed somebody to duet, and she was perfect for it—and she came over and we cut it live in two hours.”

“Hands Up,” is titled with the phrase associated with last year’s racial unrest in Ferguson, Mo, and elsewhere: “It has a connection with ‘New Faith’ and ‘My People’ and is a reaction to Ferguson and at the same time a personal resignation: We need a more empathetic way to overcome adversity—a spiritual awakening.”

“Rich Man,” the album’s title track, says Bramhall, “is about living for the day, recognizing it’s all we have and finding strength and personal spirituality—and about gratitude for it.” It also plays on the word “lowly”: “It has a dual meaning in that it expresses the difficulty in achieving spiritual peace and gratitude, and getting close to the earth and who you are as a human being—and recognizing in that state that you have everything you need.”

“Harmony,” like the preceding “Rich Man” and other album tracks, is marked by a string arrangement from multi-instrumentalist Adam Minkoff, a Bramhall band member.

“He came up with an interlude intro that set the tone for the song and completely blew me away. Lyrically, it’s a love song about the things I can’t talk about, directed at someone whom I couldn’t really tell how I felt because of circumstances.”

“Cries of Ages” is “inspired by great leaders in our history and the hope that the goodness fostered by their teaching will help us overcome this moment of crisis,” says Bramhall, again citing Ferguson “and the racism in this country.” “Saharan Crossing” then jumps the Atlantic to North Africa, employing the melon-shaped Arabic oud (lute) played by his own oud teacher Yuval Ron, the renowned Israeli composer/player/arranger.

“I’ve been traveling to India and spending a lot of time in Morocco and have been influenced by a lot of different styles of music that comes from there—traditional Berber music, Andalusian, Moroccan flute music and Sufi trance music of Jajouka introduced to the West by the Rolling Stones. I first became acquainted with Gnawa music and went there to spend time with musicians and masters who heavily influenced me.  I then connected all the dots from the Delta and Texas blues that I grew up playing to the Sufi chants and African rhythms from Mali and Morocco and saw that all music everywhere was connected.”

The melody for “Saharan Crossing,” adds Bramhall, “has elements of an Arabic melody, and felt like the Sahara—which is in the middle of all these regions and music styles. I remembered it the last day or two of mixing, and wanted to do one last ‘interlude’ connecting me to those countries. In 2008, I went to Mali for a month and Morocco for three weeks and it changed my life and was the beginning of my spiritual breakthrough as a man.”

“Saharan Crossing” naturally segues into “The Samanas,” which addresses Bramhall’s “journey into the world to find who I was.”

“It comes out of Hermann Hesse’s main character in Siddhartha, who becomes a Samana, or seeker. But it’s a musical odyssey of three movements representing a personal journey through different musical influences and a spiritual journey back to the truth. Through that, it’s about finding peace.”

Rich Man concludes with an evocative reading of Jimi Hendrix’s “Hear My Train a Comin’.”

“When I played the album in sequence I realized that it ties everything together and brings the journey full circle: I start and end with American blues influences—which are the fundamentals to the foundation of my music—and have all the other rhythms and melodies I’m attracted to, that I’ve sought out and listened to. I don’t feel like I made a world music or fusion album, but it has blues and the influences of Eastern music and Arabic music and other types of music that make sense to me, like it did with the Beatles, for example.”

Rich Man, then, manifests Bramhall’s “life journey to find my voice and grow as a creative person and as a man to get to this place, which is now the beginning for me.”

“I read a quote from Charles Mingus,” he concludes. “He felt like he was not playing his music as much as creating the sound of his life and experiences through the medium of his music. I looked at his life and related to that, and tried to capture the same thing on this album.”


Thursday, July 28, 2016

NEW RELEASES: FLORENCE JOELLE – LIFE IS BEAUTIFUL IF YOU LET IT; LUCIA CADOTSCH – SPEAK LOW; KYLIE AULDIST – FAMILY TREE

FLORENCE JOELLE – LIFE IS BEAUTIFUL IF YOU LET IT

A great sort of old-school vocal jazz session – one that takes its classic vibe so seriously, it was recorded in glorious mono! Yet even the lack of stereo separation can't dim the brilliance of vocalist Florence Joelle – who can sing equally well in French and English, which she does here throughout on a set of beautiful original tunes – numbers that were mostly penned by the singer herself, with a cool sort of postwar, left bank jazz-based sound – and set to backings by a cool combo that includes chromatic guitar lines from Thierry Courault, plus flute and light percussion – and a bit of added trombone and organ on a few cuts. Titles include "Wake Up Swinging", "Two & Two Don't Make Five", "One Step Forward Two Steps Back", "Chez Moi", "Sleepy Eyes", "Live Is Beautiful", and "Angel's Child". ~ Dusty Groove

LUCIA CADOTSCH – SPEAK LOW

Such a cool little record – one that's quite different than the usual sort of jazz vocal session, thanks to some very "mouthy" tenor work from Otis Sandsjo, who almost acts as a second sort of singer on the set! Lucia Cadotsch is in the lead, with just the bass of Petter Eldh as the third element in the set – and her own vocals are often mirrored by inflections from Otis on the tenor – with a really compelling sound that articulates a beautiful space between the lyrics and the basslines, and completely transforms the tunes! Cadotsch is a slightly moody singer, but the use of tenor and bass really transport her elsewhere – on titles that include "Slow Hot Wind", "Strange Fruit", "Ain't Got No I Got No Life", "Don't Explain", "Deep Song", "Some Other Spring", and "Gloomy Sunday". ~ Dusty Groove

KYLIE AULDIST – FAMILY TREE

A sweet change in sound from Kylie Auldist – an artist we know mostly for deep funk work with The Bamboos on backup – but who steps out here in a style that's got much more of an 80s soul vibe overall! The arrangements are full, funky, and beautifully suited to Kylie's voice – pushing her even more out front than before, with this soaring sort of energy that reminds us a lot of the first few solo albums that Chaka Kahn cut with Arif Mardin – stepping out on her own away from Rufus! The vibe here with Auldist is similar – proud, positive, and very much her own woman – answering to no one as she blows us away even more than before. Titles include "Sensational", "Too Easy", "Saturday Night", "No Change", "Warming Up The Sun", "Look Away", "Rewards", and "Good Time Girl".  ~ Dusty Groove


Guitarist Gustavo Assis-Brasil Releases New Album “Chromatic Dialogues”

Much to the anticipation of guitarists worldwide, guitar virtuoso Gustavo Assis-Brasil has released a new album “Chromatic Dialogues”! The tracks were conceived and recorded in Boston, Los Angeles, and Pittsburgh during the Fall of 2015, and brought to Grammy winner engineer Dave Darlington for mixing and mastering at Bass Hit Studios, New York City, in January 2016.

Says Gustavo, “The main idea of recording this album was to combine compositions with improvised musical dialogues (duets). The result was an original blending of spontaneous instrumental conversations with intricate and introspective musical statements.

“My compositions are abstract. I want the listeners to interpret the dialogues and compositions the way they want. It becomes easier to understand the dialogues after listening to them a few times. I'd love to keep attracting a diverse and open-minded audience.”

Gustavo has performed/recorded with John Stowell, Esperanza Spaulding, Frank Potenza, Bob Mintzer, Richard Smith, Hiromi, Tony Grey, Prasanna, Julio Herrlein, Richard Bona, Greg Hopkins, Vardan Ovsepian, Brett Wilmott, Mauricio Zottarelli, Tim Ries, Nelson Faria, Prasanna, Mozik, among others.

Based in Boston, USA, Gustavo began playing the guitar at the age of 13. He attended the Federal University of Santa Maria, Brazil, to get his bachelor in classical guitar at the age of 21.

In 1995 he was featured in Guitar Player Magazine – USA (Spotlight session). In 1999 he got a full scholarship to get his Master Degree In Jazz at Berklee College of Music. His main teachers were Mick Goodrick, Wayne Krantz, and Hal Crook. While studying at Berklee, he had the opportunity to attend master-classes with Kurt Rosenwinkel, Pat Metheny, Frank Gambale, Mike Stern, Dave Liebman and John Scofield. Gustavo also studied improvisation and composition with Charlie Banacos.

From 2001 until 2006, Gustavo played/toured with the renowned group the Dig Trio. Gustavo is the director of the Jazz and Contemporary Music Ensembles and is a faculty member of at the Cambridge School of Weston. His other teaching experience includes: Berklee College of Music (Boston), Musicians Institute (Hollywood), University of Southern California (Los Angeles), Federal University of Rio Grande do Sul, Federal University of Santa Maria, and University of Passo Fundo (Brazil).

In 2005, Gustavo released the book “Hybrid Picking for Guitar”, a method entirely dedicated to the art of combining pick and fingers. In 2008, he released the follow up book “Hybrid Picking Exercises: Single Note Permutations”, with more than 1,400 different exercises based entirely on math permutations. Also in 2008, Gustavo released a live DVD/CD combo called “In Concert”. On that same year, he was invited by ESC Records (Germany) to write and record an arrangement of Steely Dan's “Aja”, for which was to be included in a tribute CD called “Maestros of Cool”.

In 2009, Gustavo was invited to participate in the project “Mahavishnu Re-Defined – a Tribute to John Mclaughlin & the Mahavishnu Orchestra”. In 2010 he released the soundtrack for the Brazilian movie “Manhã Transfigurada”. In 2011, Gustavo released his third book, “Hybrid Picking Lines and Licks”. Guthrie Govan wrote the foreword for it.

And now, Gustavo has released his highly anticipated new solo album “Chromatic Dialogues”!

The album features:
Gustavo Assis-Brasil (guitars / compositions)
Tony Grey (electric bass) - performed and collaborated with John McLaughlin, Hiromi, Herbie Hancock, Wayne Shorter
Vardan Ovsepian (piano and synthesizer) - performed with V.O.C.E., Peter Erskine, Jerry Bergonzi, Mick Goodrick, and more…
José Pienasola (acoustic bass) - performed/recorded with Elis Regina, Chico Buarque, Leny Andrade, Emilio Santiago, and more…
Mauricio Zottarelli (drums) - performed/recorded with Lee Ritenour, Eliane Elias, Hiromi, Dig Trio, Chuck Loeb, and more…

Upcoming show dates:
9/14 - Ryles Jazz Club, Cambridge, MA, USA (CD release concert)
9/18 - Rockwood Music Hall, New York, NY, USA (CD release concert)
10/6 - Uppsalla Guitar Festival, Uppsalla, SWEDEN (workshop and solo performance)
10/8 - Uppsalla Guitar Festival, Uppsala, SWEDEN (workshop and solo performance)
Fall 2016 – will record instructional videos for MyMusicMasterclass.com

Promo video:
Gustavo's website:
Facebook:
Youtube Channel:

Darren Barrett’s Trumpet Vibes pays tribute to “The Music of Amy Winehouse”

Trumpeter Darren Barrett, winner of the prestigious Thelonious Monk International Jazz Competition, was flipping through cable television channels while taking a break from a recording session when he stumbled upon a live concert by Amy Winehouse. He had heard the buzz about the unconventional British artist, but hadn’t heard any of her music until that moment. The musician of Jamaican descent with a proclivity for incorporating reggae into his neo-bop jazz recordings was instantly struck by the way the rhythm & soul singer-songwriter infused reggae into her throwback tracks. 

“I was surprised to discover that the majority of her concert consisted of performing music mirroring the spirit-liberating sound of reggae music. Damn! Amy was laying the music down like one of the ‘old heads.’ She immediately gained much respect from me and I soon became a fan and a loyal follower of her fast-moving musical career,” Barrett recalled about his 2008 discovery and the inspiration for his eighth album, “The Music of Amy Winehouse,” which will be released August 26 on the dB Music label. 

Barrett and his Trumpet Vibes band, a jazz and reggae group, selected nine songs from the late artist’s songbook and spent over a year working on the arrangements and rehearsing before entering the studio. To recreate Winehouse’s high voltage, multi-tiered sound, Barrett augmented his band by adding guitars, keyboards, saxophone and percussion to the Trumpet Vibes lineup that consists of the trumpeter-producer, bassist Alexander Toth, drummer Anthony Toth and vibraphonist Simon Moullier (noted vibraphonist Warren Wolf is featured on “Our Day Will Come”). Naturally, the toughest part was casting a female vocalist capable of capturing Winehouse’s uniquely soulful and charismatic spirit on hallmark hits such as “Tears Dry On Their Own,” “Rehab,” “Back To Black” and “Just Friends.” Enter Joanna Teters.  

“I met Joanna many years ago when she was a student at Berklee College of Music, but never had the opportunity to work with her,” said Barrett, who is an associate professor in the ensemble department at the distinguished school in addition to his work as an artist. “I continued to listen to many of her projects after she graduated, having a strong sense that someday we would eventually work together. Well it happened just as I predicted. Joanna joined us on the Amy Winehouse project and really captured the essence of Amy's musicality without neglecting to incorporate the uniqueness of her own personality into each song. The commitment and musical steadfastness that each musician brought to the project has resulted in a recording that Amy’s well-deserving fans will not only enjoy, but also appreciate as they reconnect to Amy’s simple joy of creating music.”
  
A Toronto, Ontario native who has been based in Boston ever since he attended Berklee, Barrett was a soloist on Esperanza Spaulding’s two-time Grammy-winning “Radio Music Society.” Mentored by trumpet great Donald Byrd, he has recorded or played internationally with jazz giants Elvin Jones, Jackie McLean, Herbie Hancock, Antonio Hart, Wayne Shorter and Roy Hargrove. Barrett has also performed with Common, will.i.am, Talib Kweli and D’Angelo. Maintaining a prolific album release pace since 2014, “The Music of Amy Winehouse” follows last fall’s critically-hailed jazz and reggae mashup “Trumpet Vibes” and predates a straight-ahead jazz outing from the dB Quintet that is expected in the first quarter of 2017. For more information, please visit www.DarrenBarrett.com.

“The Music of Amy Winehouse” contains the following songs:
“Tears Dry On Their Own”
“Rehab”
“Our Day Will Come”
“Back To Black”
“Will You Still Love Me Tomorrow”
“Cupid”
“Just Friends”
“To Know Him Is To Love Him”
“Monkey Man”

“Tears Dry On Their Own” (clean version)


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