Composer/Multi-Instrumentalist Mehmet Ali Sanlıkol and Whatsnext? Connect American Jazz with Turkish Modes, Microtones and Rhythms on Resolution

Resolution marks a major step forward for Mehmet Ali Sanlıkol, the musical polyglot, multi-instrumentalist, restless bandleader and prolific composer who writes in both contemporary classical and jazz but draws heavily from Turkish influences. His band Whatsnext? — a shapeshifting jazz orchestra that can be pared down to a combo, depending on his needs — is a force to be reckoned with, able to conform to the demands of Sanlıkol’s complex but accessible compositions and shift genres on a moment’s notice.

Sanlıkol was able to recruit a roster of A-list guests to solo on the compositions of Resolution, including clarinetist Anat Cohen, soprano saxophonist Dave Liebman, trumpeter Tiger Okoshi and drummer Antonio Sanchez. Moreover, he composed their showcases with them in mind after he secured their commitments, rather than try to fit them into the music he had already completed. “I designed (the compositions) to make sure that it was these four specific artists that these pieces were written for,” he says. “This was not a project where I brought them in to blow. Absolutely not.”

The new album picks up where Sanlıkol’s What’s Next? — which Jazziz proclaimed one of the 10 best albums of 2014 — left off. The orchestra spent most of that record exploring pieces Sanlıkol had composed between 1996 and 2000; only the last composition was new, written in 2011. In the intervening years, Sanlıkol — who was born in Turkey in 1974 — immersed himself in Turkish music and began to grasp the connections between American jazz and the music of his native country. He wrote the music that populate Resolution in the summer of 2015, and more than ever before — perhaps more than anyone has done before — they point to the places where the two cultures meet.

The music of Resolution is a direct outgrowth out of Sanlıkol’s desire to learn more about the music and culture of his birthplace. During what he calls his “Turkish decade,” he studied it intently — reading about it, listening to it and, eventually, composing within its framework of Middle Eastern modes, microtones and rhythms. “When I realized that I didn’t know much about my roots, that was a big shock, and I think it triggered something in me that deep,” he says.

Sanlıkol adds other cultural touchstones to the mix. Though “The Turkish 2nd Line,” the song that kicks off Resolution, is obviously steeped in the New Orleans brass band tradition, the album is filled with references to other idioms — funk, R&B, rock, ’70s fusion, reggae and Ellington-style big band, to name a few. The first movement of the album’s centerpiece, “Concerto for Soprano Saxophone and Jazz Orchestra in C,” was inspired by the soundtracks of 1970s crime movies like Dirty Harry and The Taking of Pelham One Two Three.

While Sanlıkol conducts the Whatsnext? ensemble, he also performs on some of the tracks. An accomplished pianist, he plays piano, harpsichord, clavinet, Moog Prodigy and other keyboards as well as Middle Eastern string and wind instruments, percussion and, the continuum fingerboard, a keyless synthesizer that allows the musician to play microtones that aren’t possible on a piano keyboard. “I overdubbed pretty much everything,” Sanlıkol says of his own playing. “If one listens carefully to the album, with all of the harpsichord, clavinet, Moog and Turkish instrumentation — they’ll notice that there is a lot of production techniques in this album.” And, to boot, he sings, a duet with vocalist Nedelka Prescod on the absolutely gorgeous “Whirl Around.”

“This album is a far more focused statement musically,” Sanlıkol says. “It is all new material, and it really represents where I am here and now. The first one (What’s Next?) was showing where I was and was hinting at where I was headed. The first album basically set up this. I think this is a really major statement from me musically.”

Mehmet Ali Sanlıkol was born in Istanbul in 1974, learned piano from his mother and began performing publicly at age 5. He came to Boston to attend Berklee College of Music on a scholarship. He has been leading bands in Boston since the 1990s, and earned master’s and doctorate degrees from the New England Conservatory of Music. He cofounded and serves as the president of DÜNYA, a Boston-based collective of musicians and an independent record label which presents contemporary music influenced by Turkish traditions. He has composed dozens of pieces for a variety of jazz and classical groups, and was nominated for a Grammy in 2014. Sanlıkol teaches at Emerson College and is a fellow at Harvard’s Center for Middle Eastern Studies.

Trombonist Michael Davis Brings Electricity to the Modern Big Band with Hip-Bone Big Band

New York trombonist/composer Michael Davis marks the release of his 11th album with his most dynamic and energizing offering to date. Hip-Bone Big Band showcases the electricity and energy of the modern big band and features an elite roster of New York legends and young lions. The 12 original compositions and arrangements feature a handful of internationally renowned trombone virtuosi, including Davis, Michael Dease, Marshall Gilkes, Conrad Herwig, Andy Martin, Bob McChesney and Bill Reichenbach.

Additionally, the prodigious ensemble is comprised of a who’s who of the jazz and big band worlds including Vanguard Jazz Orchestra veterans Dick Oatts on lead alto, Nick Marchione handling lead trumpet duties and Scott Wendholt holding down the jazz trumpet chair. The saxophone section also features jazz great Bob Malach, Paul Simon’s featured tenor man Andy Snitzer and Steely Dan horn section member Roger Rosenberg on the baritone saxophone. The chairs of rhythm are manned by the best of the best with longtime member of Yellowjackets, drummer Will Kennedy, handling much of the drum responsibilities, New York jazz veteran David Finck anchoring the bass department and long time Chris Botti keyboardist Andy Ezrin rounding out the section on piano.

In addition to the virtuosic ensemble playing and soloing featured on the project, Hip-Bone Big Band is a showcase for Davis’s trademark compositional and arranging style. As a frequent guest artist at colleges around the country for the past 20 years, Davis has been able to write a wide array of pieces that showcase all aspects of big band performance and the trombone in particular.

“Some of these compositions were originally written in the late ’90s, while others were finished a few days before going into the studio,” Davis says with a smile. “Having an ensemble of this magnitude record your music is a dream come true for any musician.”

Davis’s pedigree in the world of big band jazz is as formidable as it is noteworthy. Fresh out of college at the age of 21, he signed on for what would become a two-year stint with Buddy Rich and his high-energy big band. A gig Davis still describes as “one of the best experiences of my career.” During his two years with Buddy, the band would often be utilized as a warm up act for Frank Sinatra and many of the horn players from Buddy’s band would be used to supplement Sinatra’s orchestra. Due to this good fortune, Davis was eventually offered a position in Sinatra’s touring band and ended playing lead trombone with Ol’ Blue Eyes for the better part of seven years.

After further stops with the orchestras of Woody Herman and Louis Bellson, Davis landed a chair in the great Bob Mintzer big band. Mintzer has gone on to become a mentor and major influence to Davis both as a player and a writer. “Bob has been a major inspiration and influence on me and I’m absolutely honored to have been a part of his band for 25 years” says Davis.

Based on his longstanding commitment to music education, Davis will also offer the recording (in physical or digital format) free to students at all schools he is a guest artist at in the future. “It’s vitally important for young musicians to have the opportunity to listen to and emulate the music they perform, and in this case, the music from Hip-Bone Big Band. Through this album, I’m thrilled to be able to contribute to their musical development in some small way.”

Davis has enjoyed a diverse and acclaimed career over the past three decades. Widely known as the trombonist for the Rolling Stones from 1994 to 2007, he toured and recorded with Frank Sinatra from 1988 to 1994, released 11 solo albums, composed over 150 works, authored 13 books and appeared on over 500 albums and motion picture soundtracks. He is the founder and president of Hip-Bone Music, offering a wide variety of educational tools aimed to assist young brass players including online master classes, books, extensive interviews with top brass players and practice routines.

As testimony to his versatility and wide regard, the list of jazz and pop luminaries he has worked with includes: Michael Jackson, James Taylor, Bob Dylan, Aerosmith, Tony Bennett, Jay Z, Sarah Vaughan, Sting, Beck, Branford Marsalis, Peter Gabriel, Sheryl Crow, Lyle Lovett, Bob Mintzer, Paul Simon, David Sanborn, Terence Blanchard and scores of others.

Trumpeter and Vocalist Till Brönner Reemerges as a Dual Threat – Releases New Album The Good Life

Sony Music Masterworks releases The Good Life – the debut album from renowned German jazz trumpeter, Till Brönner. Featuring bassist John Clayton, guitarist Anthony Wilson and pianist Larry Goldings, The Good Life will be released worldwide September 2, 2016 digitally, on CD and vinyl. It will also be released as a super deluxe boxset including special photobook with CD, download code and vinyl LP.

Recorded at the former Ocean Way Studios in LA, the very same place that Sinatra recorded “My Way,” The Good Life revisits a selection of standards, all of which have made history through their vocal interpretations. Brönner’s aim throughout was to create a specific atmosphere-a sunnier, more lighthearted groove; easygoing but thoughtful, gentle but never superficial. The album includes new arrangements of works made famous by Frank Sinatra (‘In The Wee Small Hours of the Morning’), Billie Holiday (‘I’ll Be Seeing You’), and Nat King Cole (“Sweet Lorraine”). Brönner has produced many of his own albums, but on this occasion he made the conscious decision to hand over the reins to legendary Dutch producer, Ruud Jacobs.  As Brönner likes to put it, “constantly looking at your own reflection can get a bit wearing after a while.”

Since recording his first album in 1994, Generations of Jazz, Brönner has steered his career through a series of different phases, including making a name for himself as a producer through his work with artists such as Hildegard Knef and Thomas Quasthoff, as well as, very significantly, discovering his own singing voice. Up until now Brönner has been seen as a trumpeter who occasionally sang and now he will demonstrate his new found talent across an entire album of popular jazz hits – including two originals.

Till Brönner can rightly be regarded as Germany’s most successful jazz musician, but his fame has spread far beyond the National and even the European scene. This year he was invited to participate at International Jazz Day at the White House, playing alongside such legends as Ray Brown, Dave Brubeck and James Moody. Brönner has always walked his own path, evoking thought and finding ways in which to challenge the greater jazz community as a whole. He continues to push those preconceived notions of what a jazz musician should be, showcasing his clear vision and determination throughout his longstanding career.

Vocalist Allison Adams Tucker Set to Perform in Celebration of Her Upcoming Release WANDERlust

Vocalist Allison Adams Tucker is set to perform in San Diego at Sunset Temple Theater on Friday, September 16 at 8:00pm in celebration of her upcoming release, WANDERlust. Tucker will be joined by bass clarinetist and tenor saxophonist David Burnett, guitarist Peter Sprague, pianist John Nelson, bassist Edwin Livingston, and drummer Dan Schnelle.

Recorded in New York City under the direction of award-winning producer Matt Pierson (Brad Mehldau, Becca Stevens, Joshua Redman, Jane Monheit), WANDERlust features a stunning all-star ensemble that not only bridges west and east coasts but adds flavors from around the world. The singer and her longtime pianist Josh Nelson are joined by New York jazz heavy-hitters Chris Potter, Matt Moreno, Scott Colley and Antonio Sánchez, along with percussionist Rogério Boccato and guitarist Romero Lubambo (both from Brazil) and French guitarist Stéphane Wrembel.

Tucker’s versatility is remarkable not only for her ability to sing in a half-dozen different languages but to weave entrancing and expressive stories in each of them. Regardless of whether the listener understands English, French, Portuguese, Italian, Spanish and Japanese, the emotion of every word is crystal clear thanks to Tucker’s lucent articulation and supple, silken phrasing.

Growing up in the border city of San Diego, Tucker was exposed to intermingling cultures from an early age. While still in kindergarten, a Spanish-language childrens book suddenly brought to light the fact that people in different places spoke different languages, and the desire to explore those far-off places was ignited within her. “It was an epiphany for a five year-old child that there was another world out there that was very different than mine and had all these different ways to communicate,” she recalls.

Friday, September 16 at Sunset Temple Theater

Allison Adams Tucker / vocals

David Burnett / bass clarinet and tenor saxophone

Peter Sprague / guitar

John Nelson / piano

Edwin Livingston / bass

Dan Schnelle / drums

Friday, September 16

Performance at 8:00pm

Sunset Temple Theater

3911 Kansas Street

San Diego, CA 92104

Phone: 619-795-3630

Web: SunsetTemple.com

Brazilian Songstress Kenia Reunites Members of Her First Band After Nearly Two Decades with On We Go

For many jazz fans in the 1980s and ’90s, Kenia‘s singing was the gateway to contemporary Brazilian jazz and pop. She stood out from her compatriots because of her intimate, smooth vocals-subtle yet soulful-and her finesse with both American standards and Brazilian material. On We Go will entice a new generation of listeners, as it showcases Kenia at the top of her form with a seductive, polished vocal phrasing. The intriguing repertoire includes songs co-written by Kenia and the Brazilian songwriting legends Ivan Lins and Antonio Adolfo.

The singer, born Kenia Acioly, grew up in Rio de Janeiro and moved to the U.S. in 1980. She made her recording debut as the featured vocalist on trumpeter Claudio Roditi’s Red on Red, produced by the legendary Creed Taylor, the producer of “Desafinado” and “The Girl from Ipanema.” Kenia established herself as one of the most popular Brazilian vocalists in the U.S. with her MCA solo debut Initial Thrill (1987) and Distant Horizon (1988), both of which gained substantial radio airplay, and were followed by well-received albums with Denon. On these releases, Kenia sang in English and Portuguese and freely mixed composers like Harold Arlen and Stevie Wonder, Djavan and Toninho Horta.

On We Go boasts standards by big names (Gershwin, Lennon and McCartney), works by lesser known contemporary composers (Romero Lubambo, Luis Simas and others) and songs written for Kenia by Adolfo and Lins.

Paul Socolow plays bass and Mark Soskin handles keyboards on the new album, with Sandro Albert on guitar, Lucas Ashby on percussion and Adriano Santos on drums. Guitarist Romero Lubambo and harmonicist Hendrik Meurkens make notable guest appearances.

The album came about, recalls Kenia, when she “reconnected with Socolow and Soskin, who were the original members of my very first band, Pau-Brazil, and played on her first two albums. When we met again after nearly two decades, it just felt so right that I couldn’t resist the urge to do another project with them.”

The album opens with Eric Susoeff’s upbeat samba “On We Go,” which Kenia recorded previously with Susoeff’s band Salsamba in vocalese form. For lyrics, “I reached out to the great lyricist Lorraine Feather,” says Kenia. A hip, jazzy version of George Gershwin’s “Summertime” follows, with adroit vocalese by Kenia.

          

About “Que Amor É Esse (What Love is This?),” Kenia comments, “Antonio Adolfo and I have been friends for many years and I asked if he would write the music for my lyrics,” and the result is a lovely, slow love song.

          

Kenia also contributed the lyrics for two songs by the famed singer-songwriter Ivan Lins. “Closer to Me” (“Mudança de Ventos” originally) is in the bossa nova style, with a beautiful intro by Meurkens. She notes, “I love the melancholic yet sensual sound of his harmonica-perfect for this song.” And about Lins’s “Illusion,” Kenia comments, I asked Ivan (Lins) if he would write a song for me and he shared this jewel.”     

The album closes with a soft acoustic version of the Beatles’ “Nowhere Man.” It is a little surprising yet soothing and pleasing to the ear, like the other songs on On We Go. Once again, the vocalist has bridged jazz, international pop and Brazilian music and done so effortlessly, in one of her best works to date.

Saxophonist Rob Reddy Blurs the Lines Between Improvisation and Complex Structure on Citizen Quintet

Since his emergence onto the scene in 1989, composer/soprano saxophonist Rob Reddy has established himself as an adventurous and original leader in the contemporary jazz realm. Prolific, eclectic and versatile, Reddy is recognized by musicians, critics, and funding institutions. With his new recording Citizen Quintet, Reddy adds another powerful milestone to his reputation. Citizen Quintet is his eighth album where Reddy is again fully within his own territory and in the company of a superb group of musicians – trumpeter John Carlson, guitarist Brandon Ross, double bassist Dom Richards and drummer Pheeroan akLaff–all regular collaborators of his for more than 20 years.

With Citizen Quintet, Reddy has purposefully diminished the emphasis upon the compositional form on behalf of a looser and more open approach to the creative substance, allowing the musicians’ longtime familiarity to breathe more freely. As a result, Reddy says “this session had a real joy & ease to it.” Indeed, the sense of joyful turbulence and free-reined expressiveness that is so fundamental to the music of the Art Ensemble of Chicago, Sun Ra and Albert Ayler is vividly displayed throughout this album.

But this is no free improv or loose-knit blowing album by any means. There is a rich and complex structure and overall sense of purpose and shape always in full bloom. Reddy states, “Within the confines of five instrumental voices I attempted to break the ensemble down…solos, duos, trios, entire ensemble improvisations… I continue to explore the idea of juxtaposing the composed melodic material and the improvised music with one another.” They emerge from the compositional structures and sometimes the process is reversed–and often combined. Written and improvised lines are sometimes blurred, sometimes intersected and sometimes indistinguishable within the pure musicality and extraordinary musicianship of the members of the ensemble.

Striking unison passages, stirring anthems, arresting harmonies, atmospheric rubato, and a rollicking sense of energetic jubilance are all part of the compositional structure and improvisational interplay. The individualistic voices of the musicians combined with their impeccable artistry and consummate sense of creativity make the music shimmer with excitement and vitality.

Reddy uses one collage-like piece in three parts to create a web of context to anchor the album.  “Hear Me?” opens the album, while “Hear Me? (Very Slight Return)” emerges a bit more than halfway through, with “Hear Me? (Slight Return)” closing the album out.  Swaggering blues, hollering unison, mesmerizing chants and collective exchanges at the highest level create a sumptuous aura that makes the listener feel that they are waking from a lovely dream each time this mosaic reappears.

Richly dense atmospheric excursions are at play for a pair of extended pieces. “Time Smells Good” opens with crystalline guitar also; darkly ominous with impending danger, then ushering in a lovely slow drag dirge that sets the foundation for Reddy’s sinuous, serpentine solo. Fluttering soprano opens “Redemptive Grace,” a smoothly grooving waltz time sojourn, with exceptional guitar/bass interplay over delicate percussion opening up the way for a riveting guitar solo and sparkling soprano.

The captivating Art Ensemble of Chicago vibe is invoked on two other items. “Right as Rain” has an Ornette-ish compositional line in rubato, with visceral individual statements emerging from the compositional mass; and “Duck Duck Goose” is a delightful “battle” that pits soprano and drums against trumpet, guitar and bass. Carlson’s dynamic talents are showcased on “Paralysis Of Analysis,” opening on an inspired trumpet cadenza eventually underscored by an explosive, rapid-fire, starkly syncopated and suspended line that buoys his exhilarating solo.

“Forsaken’s” richly syncopated unison melody lays the foundation for a full ensemble improvisation that constructs a fervid and impassioned wall of sound. The whimsically sardonic spirit of one of Reddy’s greatest mentors, Makanda Ken McIntyre, is on hand for the delightful “Without a Paddle”, staggering like a happy drunk, with echoes of Reddy’s Bechet project in Richards’ tuba-like bass.

There is a European artistic giant who does come to mind in terms of Reddy’s musical approach – the immortal filmmaker Ingmar Bergman, who maintained a steady group of collaborators in front of and behind the lens to shape his most singular vision. A true modernist, Reddy draws upon the full palette of jazz expressionism rather than the Modern European milieu that flavors many of today’s more daring composers. 

Upcoming Rob Reddy Performances:

October 5 / New School of Jazz and Contemporary Music, Arnhold Hall / New York, NY

October 13 / Jamaica Center for Arts & Learning / Jamaica, NY

October 16 / ShapeShifter Lab / Brooklyn, NY

Rob Reddy · Citizen Quintet

Reddy Music · Release Date: September 30, 2016

Jazz Guitarist STEVEN KIRBY Releases ILLUMINATIONS

Jazz guitarist nonpareil Steven Kirby’s radiant new vision is the perfectly titled Illuminations.  The recording – textured, ebullient and lyrical – represents a lengthy stride in the creative evolution of a significant talent.  Kirby, whose experience include work with Chris Potter, Mike Manieri and George Garzone, as well as de rigeur experience in the classroom at Berklee, brings his deep roots to the surface of Illuminations, and he proves in doing so that he has something new, organic and exciting to say.

Helping Kirby with the heavy lifting is a first-call roster of Boston and NYC-based jazz musicians who all make creative contributions.  Personnel includes: Aubrey Johnson, John Funkhouser (piano/keys), Greg Loughman (bass), Mike Connors (drums/percussion), and with guest appearances by Bill Vint (sax/flute), Mark Shilansky (piano), Steve Hunt (keys), and Ed Lucie (bass).  Together, the gathering conceives an original musical universe, multi-layered and evocative, with colorful instrumentation and inventive musicianship.

At the center of Kirby’s Illuminations is Aubrey Johnson, a vocalist whose wordless singing amid complex and creative compositions really stands out.  Perhaps the best example is the title track, an exhilarating Brazilian tinged tour de force of jazz composition featuring stunning solos from guitar, piano, flute and Johnson’s lovely singing.

Elsewhere Kirby’s “cinematic” and strikingly original arrangement of the classic “Over The Rainbow” succeeds in wringing real freshness from a worn out chestnut.

Additionally, there are instrumental pieces ranging from lyrical, ECM-inspired jazz to fusion-fired adventures.  The warm tone of Kirby’s nylon-stringed guitar flows through Illumination, and is dominant on the gentle “Returning” which evokes the best of Metheny/Mays.  The album closer “Last Song,” is dedicated to Kirby’s daughter, Poomina, and is delicately wrought, with  its ambience striking a distinctive balance between Metheny’s sonic tone and something closer to Bill Frisell.  Sweet, but also with complexity and bite.

Without a doubt, Illuminations is the kind of recording that deserves to be heard by a broader audience, not just for it accessible yet complex sound, but for its internal affections as well. “ I don’t often feel like I’m trying to discover something that’s already there waiting to be given form,” says Kirby.  “I’m just trying to tune into what that first idea wants to become and then hope that I can facilitate that.  As a listener and fan of music, my favorite artists are those that express two interrelated things: something beautiful and something true.  They are really the same thing.”

4-time Grammy winner Gordon Goodwin allows his jazz band to open up on “An Elusive Man”

Having amassed 20 Grammy nominations, four statues and three Emmy wins, Gordon Goodwin is the most decorated big band leader in the 21st century. After all six of his Big Phat Band albums have garnered Grammy nominations or wins, he’s not elusive about why he trimmed his large 18-piece ensemble for an outing as the 8-member  Little Phat Band, which will release their debut album, “An Elusive Man,” on September 9 via the Music of Content  label. 

“It represents another side of my interest in jazz with more emphasis on improvisation and letting the musicians explore things in a way that they can’t do in a larger ensemble. The music I write for this band covers a wide range of styles, from swing to Latin to funk and more. The seven musicians who join me in making up the Little Phat Band are all members of the Big Phat Band and are, to a man, the most accomplished and versatile musicians that I know,” said Goodwin, who produced and arranged the date while composing eight new songs for the ten-tune set. 

Goodwin’s Little Phat Band – Goodwin (piano and tenor sax), Wayne Bergeron (trumpet), Eric Marienthal (alto and tenor sax), Andy Martin (trombone), Andrew Synowiec (electric and acoustic guitar), Rick Shaw (electric and acoustic bass), Bernie Dresel (drums) and Joey De Leon (percussion) – fills the diverse “An Elusive Man” with regal swing, elegant be-bop and effulgent Latin jazz rhythms along with soulful jazz funk jams. Throughout the collection adeptly balancing serious and somber with playful fun and quirk, astute musicianship is on full display with the players granted more room to bob and weave spontaneously than in the tightly-scripted big band settings to which they are typically confined. Goodwin’s communicative piano ruminations and probing tenor sax explorations carve space to solo as do Marienthal’s roaring tenor and penetrating alto sax, Bergeron’s commanding and eloquent trumpet, Martin’s character-rich trombone, Shaw’s rock-steady bass and Synowiec’s adaptable electric guitar that pierces tunes with expansive straight-ahead and contemporary jazz riffs as well as country licks.    

As for the album’s title, Goodwin reveals, “It is a reference to people we all know who go through life in fear and hide behind their jobs, their sense of humor or even their skill sets, but never really reveal much about themselves. They present a public persona, often a well-crafted one, but we never get to see who they are inside.” 

Breaking into the industry while still a student at California State University Northridge, Goodwin, a native of Wichita, Kansas, began by writing music for various aspects of the Disneyland park, which eventually led to composing and orchestration gigs in such films as “The Incredibles,” “Remember The Titans,” “Armageddon,” “Get Smart,” “The Sorcerer’s Apprentice,” “National Treasure” and “Gone in 60 Seconds.” His inventive scoring and orchestrations for television garnered three Emmys while his resume boasts crafting music for Quincy Jones, Christina Aguilera, Johnny Mathis, John Williams, Ray Charles, Natalie Cole, Sarah Vaughan and Mel Torme. Longing to forge his own legacy, he formed the Big Phat Band, which debuted in 2000 with “Swingin’ for the Fences,” nabbing a pair of Grammy nominations. Each release that followed cemented the unit’s place as the preeminent big band with Grammy nominations and wins for albums featuring contributions from Eddie Daniels, Arturo Sandoval, David Sanborn, Brian McKnight, Dianne Reeves, Take 6, Lee Ritenour, Patti Austin, Chick Corea, Dave Grusin, Dave Koz, Gerald Albright and Marcus Miller. The group’s most recent offering, 2014’s “Life in the Bubble,” snared four nods along with the Grammy for Best Large Jazz Ensemble Album. Goodwin shares his ardor for the big band sound that first captured his imagination on “Phat Tracks with Gordon Goodwin,” a radio show airing weekends on KJAZZ, America’s jazz and blues station. For more information, please visit www.GordonGoodwin.com.

  

“An Elusive Man” contains the following songs:

“The LP Shuffle”

“Cot in the Act”

“Behind You”

“An Elusive Man”

“Samba Cya”

“Garaje Gato”

“I Know You”

“Walkin’”

“In a Sentimental Mood”

“Why We Can’t Have Nice Things”

NEW RELEASES: RICARDO SILVEIRA / JOHN LEFTWICH - COSMOS; WHIT DICKEY / KIRK KNUFFKE – FIERCE SILENCE; LARRY JOSEPH WITH LUCI MARTIN & DEE SCOTT – YOUNG GIANTS OF PLATINUM FUNK VOL. 1

RICARDO SILVEIRA / JOHN LEFTWICH - COSMOS

A set that not only offers up some great work from co-leaders Ricardo Silveira on guitar and John Leftwich on bass – but one that also includes some of the best small group work we've heard from Hubert Laws in years! The legendary flautist really opens up on the record – with these soulfully-blown lines that really take us back to his genius of the 70s – that breathy approach to his instrument that really set Hubert apart, and which created such a great flow on his classic albums. That flow is a great match for the warmly chromatic lines of Silveira on guitar – whose approach is gentle, but a bit more punctuated – as is the bass work of Leftwich, which has this subtle rumble that brings the bottom up in careful ways. Drummer Kiko Freitas completes the group – and titles include "Outro Rio", "Reflections", "Cosmos", "Valsa Nova", "9 to 1", and "Northeast & West". ~ Dusty Groove

WHIT DICKEY / KIRK KNUFFKE – FIERCE SILENCE

A brilliant pairing of drums and cornet – and a record that's every bit as bold as the musicians who created it! Drummer Whit Dickey punctuates the sound here in great ways – sometimes snapping the kit with an infectious pulse, sometimes moving into gentler sonic realms – but always with an inventive style that hangs somewhere between the role of timekeeping and much freer modes – while Kirk Knuffke's cornet lines step out with a spacious sound of their own – often hitting a different time structure than Whit, or concentrating on a key sonic quality – before blowing off into new shapes and tones. The pairing almost feels as if Max Roach and Leo Smith cut a set of duets – and titles include "The Calling", "Fierce Silence", "Stalker", "Lodestar", "Legba's Dance", "Ashes", and "Leave It To The Wind".  ~ Dusty Groove

LARRY JOSEPH WITH LUCI MARTIN & DEE SCOTT – YOUNG GIANTS OF PLATINUM FUNK VOL. 1: YOU’RE THE BEST (VOCAL, EXTENDED MIX)/IRRESISTIBLE

A sweet 80s-styled groove from bassist Larry Joseph – one that's peppered with some tightly riffing guitar and great piano fills – and topped with soaring lead vocals from Luci Martin of Chic! The whole thing sounds like it might have been done right during the mid 80s run of Chic (there's no date on the record) – and the extended mix has some nice bassy bits too! Dee Scott sings on "Irresistible" – with a style that's a bit more in the higher range of the soul vocal spectrum, which suits the catchy hook of the track wonderfully!  ~ Dusty Groove

NEW RELEASES: SHARON JONES & THE DAP KINGS – MISS SHARON JONES (SOUNDTRACK); PHONTE & ERIC ROBERSON – TIGALLERRO; WILLIAM S. BURROUGHS / BILL LASWELL – THE ROAD TO WESTERN LANDS

SHARON JONES & THE DAP KINGS – MISS SHARON JONES (SOUNDTRACK)

Partly a soundtrack to the film on the life and music of the mighty Sharon Jones – partly a collection of some of her best tracks, with a bonus cut that's previously unreleased! The music here documents the amazing run of modern funk we've heard from Ms Jones & The Dap-Kings – a partnership that's given the 21st Century some incredible soul records – of the sort to rival 60s classics from labels like Stax or Atlantic Records! Yet the music here is also something else all its own – the story of struggle, survival, and rebirth – as Jones began her career with a hell of a strong sound, and has emerged with an even more powerful voice than ever – as you'll hear on cuts that include the never-issued "I'm Still Here" – plus "Slow Down Love", "I Learned The Hard Way", "Mama Don't Like My Man", "Let Them Knock", "Longer & Stronger", "If You Call", "People Don't Get What They Deserve", "Tell Me", "Retreat", "Humble Me", and "I'll Still Be True". ~ Dusty Groove

PHONTE & ERIC ROBERSON – TIGALLERRO

A fantastic collaboration between Phonte and Eric Roberson – one that's way more than just the sum of its parts, as the duo really find a special place to come together and soar! Phonte's been giving us much more soulful sounds in recent years, and Roberson's always had a strong ear for a hip hop element in his music – but together, the two hit territory that's even more unexpected – bold, rich, and very expressive – almost announcing a new generation of sounds from the contemporary soul underground! The album features collaborative help from Zo, Nicolay, DJ Harrison, Carmen Rodgers, and others – all of whom leave their mark on the set – but the standout presence of Phonte and Roberson is undeniable, on cuts that include "Hold Tight", "Grow This Love", "Something", "3:45", "Waiting 4 Ya", "Lie To Me", "Never The Same Smile", and "It's So Easy". ~ Dusty Groove

WILLIAM S. BURROUGHS / BILL LASWELL – THE ROAD TO WESTERN LANDS

William S. Burroughs - reading from his classic novel - The Western Lands, the final volume of the trilogy that began with Cities Of The Red Night, published in 1981, and The Place Of Dead Roads in 1984. Burroughs at his most spiritual, informative and shamanistic, with heavy references to the Egyptian Book Of The Dead and Norman Mailer's epic work - Ancient Evenings. Set to the musical soundtrack of Bill Laswell's Material, featuring Indian violin master - L. Shankar, Jamaican drum legend - Sly Dunbar, Senegalese percussionist - Aiyb Dieg and others. A miracle project to be sure. Miracles are made from the most unlikely ingredients. And miracles are the deadliest of all weapons, when all else fails, the final, the last result is a miracle. Tracks: The Western Lands; Seven Souls; Soul Killer; Words of Advice for Young People; and The End of Words.

JOSH CHARLES’ NEW SOUL-DRENCHED FUNK AND ROCK ALBUM ‘1974’ HAS JOHN OATES (HALL & OATES) PROCLAIMING: “IT TAKES ME BACK TO THE GOLDEN ERA OF RECORDING IN THE EARLY 70’S – THE SOUND AND FEEL ARE JUST RIGHT”

Musical time travelers, listen up! On his latest album, Josh Charles is ready to stamp your one way ticket back to the magical year of 1974.

Drawing from a deep and dynamic well of influences that includes his mentor, New Orleans legend Dr. John, as well as Allen Toussaint, The Meters, Steely Dan and those classic early Elton John albums, the veteran singer/songwriter and producer puts his own bluesy funk and roll twist on the simmering soulful vibes we were diggin’ in the mid-70s on the perfectly titled collection.

On Friday, August 19, SiriusXM’s Radio Margaritaville (Ch. 24) will premiere the 

opening track, the powerhouse brassy funk jam “Best Thing Thatcha Told Me Was Goodbye.” The song, co-penned like all the others by Charles and legendary multi-Grammy nominated songwriter Milton L. Brown, is reprised in an extended nine and a half minute jam that is a highlight at the end of the album. Charles says, “We just let the tape go on that one and the magic came out.” 

1974 is set for release on AWAL/Kobalt Friday, August 26. Those ordering in advance on iTunes now will receive an automatic download of “Best Thing Thatcha Told Me Was Goodbye.” 

An emotionally resonant, tight and grooving set of originals that takes the warm, enduring sounds of that era and makes them jump as fresh, contemporary blasts of creativity, the album was co-produced at Parlor Studios in New Orleans by Charles and Tracey Freeman,  two time Grammy Award winner for his work with Harry Connick, Jr. and Rebirth Brass Band. 

One of Charles’ heroes and frequent collaborators, John Oates of the legendary pop/soul duo Hall & Oates, sums up 1974 perfectly: “Josh’s new album takes me back to the golden era of recording in the early 70s  - the sound and the feel are just right…he’s got it nailed. Love it!”

The tracks were recorded live using period specific gear and mics with Charles’ pick of the best musicians on the planet,  starting with George Porter, Jr., renowned bassist for The Meters and including longtime Hall & Oates musical director and guitarist Shane Theriot, drummer Doug Belote and percussionist Michael Skinkus, with horns arranged by Mark Mullins, trombonist for New Orleans brass funk rock band Bonerama. 

“Once I had the right guys,” Charles says, “the other key was finding the perfect studio to get that 70s sound right. The right sonic elements of the room were essential. All the great albums from that time were recorded in what they called ‘dead rooms,’ small boxy recording spaces that are very different from most of today’s facilities.  I spent months diggin’ up liner notes and talking to engineers and producers of the time researching how those bands got that classic sound. Finding David Farrell and bringing him to Parlor to record the live sessions there was essential to recreating the vibe of that era to help bring these songs to life.”  

Other tracks on 1974 include the Allen Toussaint-inspired simmering, funky “Outa The Blue,” the deeply emotional lament “Edge of the Blues,” a song about “wanting to do right” and “looking for the light” that showcases Charles’ most raw, emotional vocals; the New Orleans R&B, uplifting, gospel/rock/blues driven “Winning Streak”; and a moody and sensual laid back look at a comfortable “Lazy Love.”  

Josh Charles brings an eclectic background as a recording artist to the sessions of 1974, including recordings for Columbia Records/Sony Music Entertainment, Island Records, Elektra Records/Warner Music Group. He has produced/co-produced and written/co-written seven albums, including his most recent “NOtown” release Love, Work & Money.  In-depth television profiles of Charles and his music — including his philanthropic efforts to help rebuild New Orleans after Hurricane Katrina — have appeared on “Good Morning America,” “The Tavis Smiley Show,” “CNN” and other outlets.  

He has also been featured in national print and digital media, including “USA Today,” “LA Weekly,” “The Huffington Post,” “Keyboard Magazine,” “Voice of America,” “Electronic Musician,” and others.  Josh was the first musical artist for Casio, serving as the national spokesperson for Casio’s Privia brand of digital pianos and appearing in the nationwide marketing campaign.  He is also endorsed by Gibson Guitars, UVI software and ASTON Mics.

Charles moved to Nashville in 2013 to further develop his career. There he began collaborating with hit songwriters including John Oates, Milton L. Brown, Sonia Leigh, Jeff Cohen, Bridgette Tatum and others in both the country and pop/rock formats. In 2014, Josh also began producing and co-writing with traditional big band singer Steven Davis. Their prolific partnership has led to five albums of original songs and the recently released album of standards, The Way You Look Tonight. In addition to working with Dr. Dre’s Aftermath production team, Charles works with many up and coming artists.

The concept for 1974 was sparked by Charles’ rediscovery of the joys of classic vinyl. “My favorite records were ones by some of the New Orleans legends I’ve worked with, including The Meters, Allen Toussaint and Dr. John,” he says. “Getting a new turntable and stereo inspired me to listen with fresh ears to my collection of great old albums that really got me in the spirit of the mid-70s – particularly Dr. John’s In The Right Place, The Meters’ Rejuvenation, Steely Dan’s Aja and Robert Palmer’s Sneakin’ Sally Through the Alley. It hit me that you just don’t hear anything recorded these days that comes close sonically or with that vibe and mastery of harmony and melody. How did anyone get this kind of sound? That question quickly evolved into a challenge – Could I somehow pull it off? 

“There have been revivals of the 60s in recent years, and in pop there’s a current trend to bring back the 80s – but nobody in this generation is tapping into the kind of music that was blowing everyone’s mind in the 70s,” he adds. “1974 is my contribution to hopefully starting a new movement back to this great era.”

Multifaceted singer / songwriter / arranger / producer LYNNE FIDDMONT releases POWER OF LOVE

Vessels of love come no bolder, brighter or more beautiful than multifaceted singer, songwriter, arranger, and producer Lynne Fiddmont. All that pours forth from her essence is compassion and creativity of purest purposed beauty. Over a career that has seen her glide gracefully from sharing her vocal gifts at the service of world class artists such as Stevie Wonder, Natalie Cole, Bill Withers, Phil Collins, Barbara Streisand and Joe Zawinul to recording her own lovingly crafted projects Flow and Lady: A Tribute to Billie Holiday, Lynne generously ladles on the love, the laughter and the longitude in an artistic situation. Her fourth album, Power of Love, speaks to the many hues and dimensions of matters of the heart be it the brotherhood/sisterhood of global human existence or the slippery sensual space between lovers that shuts the world out like the most delicious of kisses.

Power of Love is an exquisitely balanced collection of hand-picked classic R&B covers that reveal some of Lynne’s influences and mentors, along with her freshly penned original soul songs that amplify and reflect precisely how those inspirations have helped to shape who she is today – as an artist and as a woman. 

“I’m always thinking, ‘How did I get here,’” Lynne confesses. “There are so many great artists. How come I am here right now? Part of this project is about me going back to the songs that started me loving music. Too many younger people have been missing out on them so I try to bridge that gap. The other part of this project is about how I feel as I look around and wonder, ‘What in the world is happening in the world?’ I want to send a message of love to counter all the hate.” 

The first single is Lynne’s take on “Groovy People,” the Philly Soul finger-popper from `76 penned by legendary team Kenny Gamble & Leon Huff for the late, great Lou Rawls. Making the song more her own, Lynne takes the groove in a decidedly more Motown direction, even using Diana Ross’ background singers Valerie Pinkston, Lamont Van Hook and Fred White. She also puts a deeper spin on that pesky term “groovy.” “The way you live and the way you accept others’ way of living - with love in your heart – that’s what I’m calling ‘groovy’,” she states. “Not overly concerned about how people make a living, who they love, what they look like or which religion they practice. Inclusion is the key. I also decided to record this song because singing with Lou Rawls was one of my first professional gigs.” 

Among Lynne’s original songs on Power of Love is “Walking on Rainbows” which she composed with longtime writing partner/co-producer Andrew Ford. “My Power of Love Movement deals with the inside and the outside. I recently went through the breakup of a 10-year relationship,” she says softly. “’Walking On Rainbows’ is a personal message about loving yourself. That visual came from out of nowhere. Listening to Andrew’s music had me imagining hopping from one rainbow to the next – feelin’ good! I thought the song would be perfect for Mary Mary or Vivian Green. When that didn’t work out, I said, ‘I’ll do it!’”

Lynne was also recently in a nasty freeway accident – her car was totaled, landing upside down – yet she was blessed to walk away from it with only a broken nose. The scare reconfirmed the fragility and fleetingness of life, pushing her forward to start on this fourth album she’d been putting off. That urgency was heightened upon the passing of Natalie Cole who Lynne was singing backup for right up until her death on New Year’s Eve. Therefore, alongside sensual covers of classics by Minnie Riperton (“Lovin’ You” and “Memory Lane”) and Norman Connors (“Invitation”), Power of Love also includes profound selections by John Lennon (“Imagine”) and Stevie Wonder (“Ngiculela - Es Una Historia - I Am Singing”).

“Power of Love is a record but it’s also my inner life from which I am making a clear Love Movement, include things that have nothing to do with music,” Lynne shares: “random acts of kindness, adopting a ‘grand’ (i.e. elderly mentor or grandparent), using social media to spread love (#ilovegroovypeople). It may also turn into a one-woman show with songs or it may be a book. My passion is to work within my purpose to make situations better…more loving.” 

St. Louis, Missouri-native Lynne Fiddmont graduated from Boston’s prestigious Berklee College of Music then moved to Los Angeles, landing her first gig with the Jazz Crusaders. She became an in-demand studio and touring singer working with the likes of Nancy Wilson, B.B. King, Whitney Houston, Elton John, Dave Brubeck, Babyface and Stanley Clarke (among many) - from “American Idol” to “The Grammys,” and at the White House for President Barack Obama. In 2006, Lynne Fiddmont released Flow on her own label, MidLife Records, followed in 2010 by her loving salute to Billie Holiday, Lady, and Spirit of Christmas (2012).

Quinsin Nachoff's new recording Flux combines jazz invention and classical intricacy

Saxophonist and composer Quinsin Nachoff brilliantly captures the sound of evolution on his latest release, Flux, due out September 16 from Mythology Records. Exploring the elusive terrain between modern jazz and contemporary classical, between the cerebral and the organic, Nachoff reveals a fervently original sound that evokes bold, incisive playing from a singularly innovative quartet. Nachoff's vision asserts that the state of flux can represent shape-shifting invention rather than uncertainty - though he's certainly not afraid to venture into the untested unknown.

The bass-less quartet of Flux is entirely composed of leaders in their own right, each known for their groundbreaking adventurousness. Alto saxophonist David Binney, whose Mythology label is releasing the album, is a prolific and forward-thinking player and composer as well as being an influential producer whose collaborators have included Donny McCaslin, Uri Caine and Chris Potter. Pianist/keyboardist Matt Mitchell has seized a place at the leading edge of the music through his jaw-dropping work with the likes of Dave Douglas, Tim Berne and Rudresh Mahanthappa. And drummer Kenny Wollesen is a founding member of the New Klezmer Trio and Sex Mob whose diverse resumé includes work with Bill Frisell, Norah Jones, Tom Waits and John Zorn.

These four come together to breathe vivid life into Nachoff's wide-ranging compositions, which continue to develop his longtime interest in fusing together eclectic influences from jazz and classical music. Don't mistake this for a "Third Stream" or "chamber-jazz" project, however; this is radically creative music that forges its own path.

"The kind of music that I'm interested in making isn't straightahead in either genre," says Nachoff, who has composed for string and brass ensembles as well as jazz big bands. "I like mixing and matching things. I try to find commonalities between them to put people into different landscapes to improvise in."

Flux was born out of a time when Nachoff's life was in a state of flux itself. The Toronto native was in the process of moving to New York City and finding a new niche for himself in the jazz mecca's ultra-competitive scene. "It's quite a transition going from working a lot and teaching at well-respected schools to starting again from scratch," he says.

Nachoff discovered kinships with the members of the Flux quartet in different ways: Binney on shared gigs with bassist Michael Herring, Mitchell during an Australian tour under Nachoff's leadership, Wollesen simply through hearing the drummer play with bassist Eivind Opsvik's Overseas ensemble. "I was blown away by his incredible feel," Nachoff says of his first experience hearing Wollesen live. "I was infatuated with his hi-hat the whole night - which was only playing quarter notes!"

At the core of the sound of Flux is two pairings - the twin saxophone frontline, and the alchemical, opposites-attract meeting of Mitchell and Wollesen. "The concept was to put more heady material that Matt can deal with on top of this really organic feel that Kenny does and have it work as a band sound."

The compositions that Nachoff brings to the quartet fully explore that tension between the band's virtuosity and passion, which fuel each other in thrilling ways. With the two saxophones, Mitchell playing a variety of keyboards including Fender Rhodes, organ, Wurlitzer, and Moog, and Wollesen incorporating a variety of handmade percussion instruments, the palette that Nachoff had to work with, in his often surprising orchestrations, was vast.

Several of the pieces on Flux began life as commissions for classical ensembles, reinvented for and by the quartet. Aptly-named opener "Tightrope" is Nachoff's response to the Toca Loca ensemble's request for a "pop" influenced piece - allowing for as abstract an interpretation of that proviso as desired. The piece follows a loose verse-chorus structure with an underlying rock feel to the rhythm - and Mitchell interpreting two keyboard parts into one intricate whole.

"Complementary Opposites" is derived from a suite penned for trumpeter Peter Knight's 5+2 Brass Ensemble and is built on surprising juxtapositions of style and rhythm - as when a reggae groove suddenly takes over the piece somewhere in the middle. The two-part "Mind's Ear" comes from a suite written for the Greg Runions Jazz Orchestra that featured Nachoff and trumpeter Tim Hagans (who gave the piece its name) as guest soloists. The pieces are marked by unconventional harmonic motion and jarring tonal shifts.

The evocative title of "Astral Echo Poem" is an anagram for the name of its primary influence - Brazliian composer Hermeto Pascoal. Finally, "Tilted," which erupts with nervous energy, is an apt bookend with "Tightrope," drawing once again on hard rock inspirations for its driving beat, complicated by the fleet, snarling melodies.

A graduate of the University of Toronto, Nachoff has been colliding genres since his 2006 debut, Magic Numbers, which melded a jazz trio with a string quartet. He's since composed music for a variety of ensembles in both worlds, including the Penderecki String Quartet, the Toronto Jazz Orchestra, and the Cecilia String Quartet, as well as his own Horizons Ensemble, Quiescence Quartet, and FoMo quartet. He also leads the Pyramid Project, which brings together saxophone, brass quintet and drums and features Ralph Alessi, Jonathan Finlayson, John Clark, Ryan Keberle, Marcus Rojas and Jim Black.  As a sideman he's performed and/or recorded with Kenny Werner, Howard Johnson, Tim Hagans, Kenny Wheeler and Don Thompson among others. He has coached at the Banff Centre for the Arts and taught at the University of Toronto and Humber College, as well as serving as artist-in-residence at the Queensland Conservatorium in Brisbane, Australia.

www.quinsin.com

Bassist & Composer MICHAEL BLANCO Releases SPIRIT FORWARD

The story of bassist/composer Michael Blanco's third album as a leader, Spirit Forward, available on Brooklyn Jazz Underground Records on October 7, 2016, is primarily the story of how Blanco assembled this particular group of musicians, and how they in turn inspired the composer to write compelling music for this very special and unique combination of musical personalities; the Michael Blanco Quartet, featuring John Ellis (tenor saxophone), Kevin Hays (piano) and Clarence Penn (drums). The album title Spirit Forward is a bartending term for a type of cocktail made with strong spirits (like the Manhattan or Martini) that seeks to highlight and enhance the flavor of the base spirit, not to mask its flavor. These cocktails are harmonious and balanced, yet bold. "When choosing Spirit Forward for the album title, I had this definition in mind and how it relates to my music. It's a good metaphor for how strong musical personalities can come together and create a dynamic unit, while still maintaining their individuality. I also had a few other meanings in mind: I like the idea that the act of releasing an album of original music is akin to putting your 'spirit forward' out into the world, as well as the way the word spirit can be used to mean motion (like 'spirit away'), so Spirit Forward also means forward motion and continuing progress," explained Blanco. 

John Ellis is a longtime friend and musical comrade whose soulful and melodic style is the perfect "voice" for Blanco's melodies. Ellis has a deeply personal and well-developed sound, and is always tasteful and musical above all else. Blanco elaborated, "there's no pretense in his playing and everything he plays sounds like a melody to me. I first met John at a jam session at Aaron Goldberg's Brooklyn apartment sometime around 2002. We hit it off musically and personally and have worked together a lot over the ensuing years. He played on my previous 2013 CD release, No Time Like the Present, and I still close most of my gigs with 'Ellis Island,' a tune I wrote for him that has become a frequently requested 'hit' among the people who come to hear my group."

It was during gigs supporting No Time Like the Present that Blanco connected with the other members of the Spirit Forward quartet. "I had admired Clarence Penn's playing for years, but it wasn't until a 2013 gig I led that we first played together. Clarence showed up to the gig and blew me away. He approached the music in a way that both challenged and supported the band, while adding a level of rhythmic and dynamic complexity that really brought the music to another level. Our musical chemistry and bassist/drummer hookup was apparent from the first tune of the night, and by the time the gig was over I knew that I had found my new favorite drummer. Clarence has been on every gig that my group has performed since that night, and even though finding dates that work with his busy schedule can be difficult, I plan to try to keep it that way!" said Blanco.

                                                                             

Blanco met Kevin Hays as sidemen on a 2014 gig (at SubCulture) with vibraphonist Anthony Smith's band. "After being a fan of Kevin's for many years, it was a thrill to finally play with him, and I could hear exciting possibilities for my music in his playing. His incredible harmonic and rhythmic flexibility, his lyricism, and sense of adventure all appealed to me - and I had a feeling that Kevin, Clarence, and John would be a really potent combination," said Blanco. And he was right of course, evidenced in the music on Spirit Forward.

After assembling his "dream team" the band played several gigs together over the course of 2015, leading up to the August 2015 recording session for this release. "I was able to experiment with my compositions during the gigs and rehearsals, and make small tweaks between gigs to make the music work better for the band. We even had a really fun 'pre-recording celebration' gig at The Cornelia Street Cafe the night before heading into the studio, which fine-tuned the music even more. I hope the listener enjoys it and digs it as much as we do," said Blanco.

More on the music on Spirit Forward from Michael Blanco:  The Mystic Chord is a six-note chord used by Russian composer Alexander Scriabin, and believed by Scriabin to have mystical properties. While practicing at home one day, I discovered that I could create a bass line with an interesting 6/4 groove by spelling out this chord one note at a time. The melody has a kind of funky, lopsided quality, and the rest of the song explores the possibilities of the "Mystic Chord" sonority, with a melodically contrasting "B" section that is in 5/4 time - juxtaposing nicely with the 6/4 groove.

Notes From Underground was originally written for a gig at The Cornelia Street Cafe. The Cafe has been a wonderful home base for my group while I was developing the music for this album and continues to be the main spot where I lead my group in town. With this tune, I tried to capture the feeling I have when I'm performing there - and also the feeling that I have when I'm in the audience of any of my favorite jazz clubs. When coming up with a title, I thought of the low register piano/bass counter-melody that offsets the tenor lead at various points of the tune, as well as the fact that so many of my favorite jazz clubs are in basement rooms - hence the double entendre.

Song Without Words is a tuneful composition that I could easily imagine being sung. I wanted to write something overtly lyrical and pretty - something that can seem like a bold move in today's jazz climate. After recording one take with all of us sticking very closely to the melody in our improvisations, we took a lunch break and then recorded the take that is heard on the album. We loosened up and stretched out a little more, but still captured the heart-on-your-sleeve lyricism that I was going for.

Spirit Forward has a swinging, open feel, and an optimistic vibe. The form has a few mixed meters, and some harmonic twists and turns that make it both challenging and fun to play. Kevin, John, and I all stretch out with solos on this one.

Acrobat gets its name from the wide, acrobatic leaps in the bass line of the "B" section of the tune. It has a driving straight-eight groove, a hummable melody, and features great solos by both Ellis and Hays.

Last Stable Orbit is a somewhat quirky blues, that doesn't ever quite resolve in the way that you expect it to. The title is an astronomy term for the last orbit possible before an object (planet, spaceship, etc) gets sucked into a black hole!

Reasons To Be Pretty is named after a play by Neil LaBute that I went to see on Broadway in 2009. The performance really moved me, so I bought the script and read it again at home. This song actually differs in mood quite a bit from LaBute's play - but I thought the title was a good fit for this piece. Hays (once again) plays a gorgeous solo.

The Boulevardier is the name of one of my favorite spirit-forward cocktails, as well as old-school French slang for a stylish "man about town." The unison tenor sax/bass melody was inspired by a lick I heard guitarist Jonathan Kreisberg play on a gig we did together. The form and harmony are loosely inspired by Thelonious Monk's Green Chimneys, and it's a straight ahead, swinging piece.

Michael Blanco is a two-time recipient of the ASCAP Foundation Young Jazz Composer Award (2005, 2006), moved to NYC in 2000, and has since worked with many artists at the forefront of the contemporary jazz scene, including saxophonists John Ellis, Rich Perry, Donny McCaslin, Jon Irabagon, and Will Vinson; guitarists Lage Lund, Jonathan Kreisberg, Gilad Hekselman, and Mary Halvorson; pianists Kevin Hays, Aaron Goldberg, Adam Birnbaum, and David Cook; and drummers Clarence Penn, Donald Edwards, Ari Hoenig, Mark Ferber, and Tomas Fujiwara. He has been a member of bands led by Alan Ferber, Bob Reynolds, Shayna Steele, Russ Nolan, Doug Wamble, Patrick Cornelius, John Chin, Richard Doron Johnson, and Frank Basile, among others. Blanco's debut album In The Morning was released in 2006. JazzTimes Magazine called the album, "a remarkable introduction that leaves one eager to hear more," and described Blanco's compositions as having a, "dusky, imploring quality, with catchy, insistent hooks and compelling harmonies," while Bass World declared that "His approach to composition is fresh and the arrangements are lush and compelling." Blanco's second album, No Time Like The Present, was released in 2013. The album made Ralph A. Miriello's "Best of Jazz 2013" list in the Huffington Post, while Marc Meyers at JazzWax described it as, "a beautiful album with compositional depth and technical maturity," and proclaimed, "Blanco understands the meaning of originality - tastefully rolling out your creative vision while keeping the customer satisfied." Blanco has been selected twice by the U.S. Department of State to be an artistic representative for the U.S. abroad. Blanco is also in high demand outside of the world of jazz: he has performed in the orchestras of over thirty Broadway shows and is currently the bassist for the 2015 Broadway revival of Fiddler on the Roof. Recent highlights from his busy freelance career include a recording with the legendary violinist, Itzhak Perlman, performing on the soundtrack to the Cohen brothers' major motion picture, Hail Caesar!, and a television appearance on USA's Royal Pains, alongside violinist Joshua Bell. Blanco has performed at major NYC venues including Carnegie Hall, Radio City Music Hall, Town Hall, Birdland, Iridium, Smoke, and Blue Note, as well as smaller important laboratories for jazz like The Cornelia Street Cafe, Smalls, ShapeShifter Lab, Barbes, Korzo, IBeam, and The Bar Next Door at La Lanterna. Although he spends most of his time in NYC, Blanco has also had the pleasure of performing around the world.

www.blancobass.com