CHICK COREA Adds Duets with Herbie Hancock, John McLaughlin, Brad Mehldau & Gonzalo Rubalcaba to Two-Month Birthday Celebration at The Blue Note

Final lineup additions have been announced for Chick Corea's unprecedented two-month 75th Birthday Celebration at The Blue Note, which runs October 19 through December 11, 2016.

Lineup additions to the 80-show engagement, which will feature Corea leading 15 legendary bands comprised of 60 musical friends from over half a century, include the following:

Chick Corea Piano Duets: November 18-20

w/ Brad Mehldau (November 18)

w/ Herbie Hancock (November 19)

w/ Gonzalo Rubalcaba (November 20)

Chick Corea & John McLaughlin Duet: December 7

Additionally, genre-defying multi-instrumentalist and producer Taylor McFerrin and firebrand Cuban saxophonist Yosvany Terry have been added to the "Experiments in Electronica" project (November 9-10), in which Corea debuts his new, next-level take on electronica with drummer Marcus Gilmore.

The complete residency schedule can be found at the bottom of this press release.

Corea's first Blue Note birthday run, marking his 60th anniversary in the fall of 2001, was a cathartic two-week engagement for a city just beginning to heal following the 9/11 attacks. The run produced the GRAMMY®-winning album Rendezvous in New York. In November 2011, he returned to The Blue Note with a month-long 70th birthday residency featuring countless artistic giants. This year's 75th birthday celebration marks his most ambitious Blue Note residency ever.

Chick Corea's 75th Birthday Celebration will feature two shows nightly, at 8pm and 10:30pm.

CHICK COREA BIRTHDAY CELEBRATION AT THE BLUE NOTE

Complete Schedule

Wednesday - Sunday, October 19-23

THE CHICK COREA ELEKTRIC BAND

Chick Corea (keyboards), Eric Marienthal (saxes),

Frank Gamble (guitar), John Patitucci (bass), Dave Weckl (drums)

Wednesday - Sunday, October 26-30

FOR MILES

Chick Corea (keyboards), Kenny Garrett (saxes), Wallace Roney (trumpet),

Mike Stern (guitar), Marcus Miller (bass), Brian Blade (drums)

Wednesday - Thursday, November 2-3

THREE QUARTETS BAND

Chick Corea (piano), Steve Gadd (drums), Eddie Gomez (bass), Ben Solomon (sax)

Friday - Sunday, November 4-6

THE LEPRECHAUN BAND

Chick Corea (keyboards), Steve Gadd (drums), Gayle Moran Corea (vocals),

Steve Wilson (sax & flute), Michael Rodriguez (trumpet), Steve Davis (trombone),

Eddie Gomez (acoustic bass), TBA (electric bass)

Wednesday - Thursday, November 9-10

EXPERIMENTS IN ELECTRONICA

Chick Corea (keyboards + computers), Marcus Gilmore (drums), Taylor McFerrin

Friday - Sunday, November 11 - 13

CHICK'S FLAMENCO HEART

Chick Corea (keyboards), Jorge Pardo (sax & flute), Niño Josele (acoustic guitar), Carles Benevant (bass), Tom Brechtlein (drums), Luisito Quintero (percussion), Flamenco Dancer (TBA), Vocalist (TBA)

Wednesday - Thursday, November 16-17

THE CHICK COREA BIG BAND

Chick Corea (keyboards), Erlend Skomsvoll (arranger & conductor),

the Trondheim Jazz Orchestra - 13-Piece Big Band (8 horns, guitar, bass & drums)

Friday - Sunday, November 18-20

CHICK COREA PIANO DUETS

Friday, November 18: Chick Corea & Brad Mehldau

Saturday, November 19: Chick Corea & Herbie Hancock

Sunday, November 20: Chick Corea & Gonzalo Rubalcaba

Tuesday - Wednesday, November 22 & 23

CHICK COREA & GARY BURTON

with the Harlem String Quartet

Chick Corea (piano), Gary Burton (vibes),

Ilmar Gavilán (violin), Melissa White (violin),

Jaime Amador (viola), Felix Umansky (cello)

Friday - Sunday, November 25-27

ORIGIN II

Chick Corea (piano), Ravi Coltrane (sax),

Steve Wilson (sax & flute), Steve Davis (trombone),

Carlitos Del Puerto (bass), Marcus Gilmore (drums)

Wednesday - Sunday, November 30 - December 4

THE MUSIC OF RETURN TO FOREVER AND MORE (ACOUSTIC)

Chick Corea (keyboards), Ravi Coltrane (sax),

Hubert Laws (flute), Avishai Cohen (bass), Lenny White (drums)

Wednesday, December 7

CHICK COREA & JOHN McLAUGHLIN

DUET

Thursday - Sunday, December 8-11

THE MUSIC OF RETURN TO FOREVER AND MORE (ELECTRIC)

Chick Corea (keyboards), John McLaughlin (guitar),

Victor Wooten (bass), Lenny White (drums)

Brazilian born, Parisian resident, Dom La Nena has recorded a beautiful new EP of cover versions of some of her favorite songs - Cantando EP

In the wake of the release of her acclaimed second full length album, Soyo, and in between her many live dates around the world, Brazilian born, Parisian resident, Dom La Nena has recorded a beautiful new EP of cover versions of some of her favorite songs. 

Dom explains the inspirations behind the Cantando EP and why she felt compelled to record these particular songs from this diverse group of global composers:

I am a composer, although sometimes my desire to sing the songs of other artists is strong.  These creative impulses often inspire me to record cover versions. I actually perform some of the songs chosen for the “Cantando” EP in my live concert set, others I only sing at home. All of the songs selected for this EP are long time favorites of mine, many of which I have enjoyed since I was a child.  With these four songs, I wanted to achieve a variety of moods, languages, atmospheres, time periods, and revisit my musical roots.

I approached the arrangements of these recordings with the intention of keeping things simple, a minimalist vision, placing the focus on the lyrics and the melodies.  This is why I only used my cello as accompaniment. Additionally, I found Maxime Le Guil to be one of the best sound engineers with whom I have ever worked. His delicate and insightful touch was extremely important to the creation of each arrangement.

“Felicidade," from Brazilian composer Lupicinio Rodrigues, reminds me of my childhood. It is one of the first songs I learned to play. "Felicidade" means “happiness”. I have a strong sense of contentment whenever I hear or perform this song. I think Lupicinio makes me feel so happy because she transports me back to my hometown of Porto Alegre (Lupicinio was also from there), back to my family roots. Suddenly, I am back in the school choir, singing this song with my best childhood friends.  Recording this song preserves these wonderful feelings and honors my origins.

Chilean composer and musical pioneer Violeta Parra is one of my biggest musical references and inspirations.  She was an extraordinary woman, a Latino-American innovator.  "Gracias a la Vida” will always be a part of my life. It is a song that is a part of the musical and cultural heritage of every Latino-American. I remember passionately singing this song during my teenage years while in Buenos Aires.

When I arrived in Paris for my studies, I was 18 years old, and listening non-stop to Beirut's first album, "The Gulag Orkestar.”  I don't know why but I always found Brazilian influences within the song "Scenic World," almost like a little Samba. Perhaps I felt this way because I was far from my country, and was sensitive to every little detail of life that might remind me of Brazil, making me feel closer to home.  When recording this song, I wanted to finally create the little Samba that grew from my imagination over the years.

"Les Vieux," by Belgian singer/songwriter Jacques Brel is my mother's favorite song. She was the one who introduced me to Brel's music during my childhood in Brazil before I arrived in France. It was with this song that I became familiar with the French language.

Free Nelson MandoomJazz Ups the Ante on The Organ Grinder I Third RareNoise release slams with more authority and an expanded vision for the group

With the release of 2013's double EP/The Shape of Doomjazz To Come/Saxophone Giganticus, the renegade Scottish trio Free Nelson MandoomJazz laid out its musical manifesto in bone-crunching terms and followed up in 2014 with the equally potent Awakening of a Capital. Both recordings showcased the Edinburgh-based musicians Colin Stewart (bass), Paul Archibald (drums) and Rebecca Sneddon (alto sax) in a provocative blend of doom metal and free jazz, influenced principally by such artists as Black Sabbath, Electric Wizard, Sun Ra, Sonny Rollins, Albert Ayler and Wayne Shorter.

The band's sound has progressed with each new recording, and now with The Organ Grinder they take it up a couple of notches. While retaining the same intensely throbbing core that is at the heart of Free MandoomJazz music, the addition of trumpeter Luc Klein and trombonist Patrick Darley on a few tracks brings new colors and textures to the proceedings. This is a bigger, bolder vision for the group without forsaking its punk-jazz essence.

"One major difference with this album is the space we recorded in," says drummer Archibald. "Before any writing took place, the first thing we decided on was the space-a 218-seat Victorian venue built in 1859. The Reid Hall is a huge space with tons of natural reverb, and our starting point for each song was 'what would sound good in this room? We worked closely with the sound engineer, Seamus Connacher."

Regarding the more focused intensity and aggressive attack heard on the core trio tracks throughout The Organ Grinder, Archibald says it's a natural development that came with time and bandstand experience. "Gigging has helped, listening to each other and seeing the reaction to certain songs. I think it comes individually, living apart, playing in different projects, and coming back together to see what we've all experienced. It keeps things fresh and gives us time away to think about direction. I know bands that tour all the time, get super polished but often struggle to find time to not play, but to compose and consider where they would like to go musically. We're the opposite of that, though there must be a happy balance somewhere!"

Bassist Stewart expounds on the notion of how the trio has grown since its incarnation. "The initial concept of the band was quite straightforward: doomjazz. 'Let's see if we can combine these two seemingly disparate genres'. But I think since then we've developed a lot in terms of what we can each bring to the group." Saxophonist Sneddon agrees that the band's approach to composition has definitely evolved since the first EP and Awakening of a Capital. "Each of us has taken a more collaborative role in writing for all instruments, not just our own. I think we all have a strong desire to push the boundaries of our own instruments, which creates limitless possibilities in composition. So our overall approach has matured, and with this album we all felt like we needed to break out of some of the structures of the previous releases." 

The idea of adding trumpet and trombone for some track on The Organ Grinder also came about organically. "All three of us have worked with Luc Klein before in various jazz/blues projects," says Archibald. "We first met in 2010-2011. For some years now he's been living in Amsterdam as part of the jazz scene there. One of my earliest ideas for the album was that I wanted to do a take on 'Calcutta Cutie' by Horace Silver. We needed a trumpet for the head so I asked Luc to join us for that track. Luc came over for the whole period we were recording and ended up hanging out during rehearsals, our time in the Reid Hall, and the time in-between. We noticed quite early on that his personality was rubbing off on us as a group so we invited him to jam on some of the tracks we were rehearsing. He even wrote a song for us, which we liked and kept ('LORA')." He explains, "As for trombone, I had always wanted Patrick Darley on the album but was determined to wait until the right spot on the album came up. I love the sound of a trombone, and Paddy loves exploring what sounds and noises the instrument can make. When Luc wrote his song he incorporated trombone because he knew Paddy was playing (he knows him too!). The band met Paddy around the same time as we met Luc. We both have the same taste in jazz music and recently took a trip to New Orleans together. Paddy plays in many bands around Edinburgh; he makes a personal study of early trad jazz players."

Adds Stewart, "Luc was there while the songs were being written for the most part and it became obvious that his knowledge of us, as people and players as well as the sound of the band and what we wanted to achieve, was going to be invaluable. I hadn't initially included parts for him on any of the tracks I started but Luc is an 'ideas-man' and he certainly helped to shape the album, including his playing on this album, which I think is incredible."

Sneddon has equally high praise for the special guests on The Organ Grinder. "Having Luc's second opinion and creative input really helped with the clarity of tracks, and introducing trumpet into our sound was a fun and interesting step. When I conceived 'The Woods' and workshopped it with Colin and Paul, it was lacking something -- a hole which Paddy filled nicely. It was excellent timing, with Paddy only having recently arrived back in Edinburgh. His subtlety and inventiveness in playing really added to that track."

The introduction of piano on the Horace Silver tune "Calcutta Cutie" and organ on "Om" (both played by Archibald) was another new touch to the recording. "One advantage to using the Reid Hall was that it is an active classical concert venue with lots of instruments," explains Archibald. "I was excited to get access to these instruments and incorporate them when was appropriate. We obviously needed a piano for 'Calcutta Cutie' and there was a beautiful concert grand already there. The 'ting' sound you hear almost immediately at the start of that song was actually an old celesta in the corner. As for the organ, it dominated the space the moment we walked in. A 21-stop 2-manual German organ built by Jürgen Ahrend in 1978, it's considered to be one of the finest of its kind in the UK. It fills the room and is high above you as you record. It was just 'there' the whole time, and it just needed to be heard!"

Archibald adds that the idea of including Horace Silver cover, "Calcutta Cutie," was an easy choice. "Horace Silver is a very important artist to me. He's what got me listening to jazz in the first place. Of my five favourite albums in the world, two are his."

And Stewart says, "I'm definitely the least jazz literate of the group but Horace Silver really helped me to get into the genre as a whole and I think it's just because a lot of those riffs as you could call them are really memorable and get stuck in your head. I guess in that sense there is a parallel with the rock and metal stuff we like so much as well. I'm a sucker for a good riff in any genre."

"I've known about Paul's love for Horace Silver for a while, so I guess it was inevitable that he suggests this track," says Sneddon. "Luckily, I'm also a fan, and as a horn player it's always fun to play these tunes, especially with Luc on board. I was initially unsure as to how it would fit in on the album, but Paul convinced me that the tune was 'doomy' enough, and in context alongside our jazzier tracks I think it works well."

Sneddon also contributes the compelling, atmospheric piece "The Woods." Says Archibald, "We each have one on this album (a first for us, where usually everything is equally-composed). Mine is 'You Are Old, Father William' and Colin's is 'Shapeshifter' (Luc's is 'LORA'). Becca had given me instructions as to what she wanted, mostly in metaphors, but very helpful."

Currently, the three core members of Free Nelson MandoomJazz, who formed in Edinburgh, Scotland, are scattered to three different spots on the globe -- Rebecca in Bristol, Colin in Abu Dhabi and Paul in Edinburgh. "It's very easy to collaborate nowadays even when we're far away," says "Archibald. "We come together on average for two/three sessions per year, one European Tour and then for another shorter thing, a festival, or a one-off big performance somewhere. And perhaps a recording. This has been the format for the past two years. We will be doing our third European Tour this September, doubling as an album launch, and we are booked for a festival in Gdansk (Festiwal Jazz Jantar) in November. And maybe something further afield after that."

Stay tuned for the further adventures of this mighty triumvirate. They may be coming to a jazz festival near you. Meanwhile, dig The Organ Grinder.

TRACKS

1. Open The Gate

2. You Are Old, Father William

3. Funambule

4. The Woods 

5. Calcutta Cutie

6. LORA

7. Bicycle Day 

8. Inferno Pt. 1 

9. Shapeshifter

The New Recording From Frank Carlberg's Word Circus - No Money In Art Featuring Frank Carlberg with Christine Correa, John O'Gallagher, Pascal Niggenkemper & Michael Sarin

Brooklyn-based Red Piano Records is proud to announce the release of No Money In Art by Frank Carlberg's Word Circus. This album features a stellar quintet of jazz and improvised music heavy-hitters such as Christine Correa, voice; John O'Gallagher, alto sax; Pascal Niggenkemper, bass; Michael Sarin, drums and Carlberg on piano. Word Circus is a collection of musical settings of poems by contemporary American writers such as Ron Padgett, Jim Gustafson, Ken Mikolowski and Anselm Hollo. Carlberg gives some insight in to the background of Word Circus: "This project, my 11th CD devoted to settings of poetry, is a follow-up release to the 2015 Word Circus recording. Poems on No Money In Art are thought provoking and range from light and humorous to existential musings, and to meditative ruminations on the state of our world. No Money In Art is the culmination in my work with American poets, which has continued uninterrupted for the past twenty-plus years, beginning with the release of The Crazy Woman on Accurate Records in 1995." 

The songs on No Money In Art were written for this Quintet, which has, with a few modifications, been around since Carlberg's earliest works with poetry in the mid-1990s. About the vocalist Christine Correa Carlberg explains: "Christine is the main reason for the existence of this group and this repertoire; my muse as it were. I have by now written over 150 songs with poems by writers such as Robert Creeley, Anselm Hollo, Anna Akhmatova, Rabindranath Tagore, Kenneth Rexroth, Allen Ginsberg, Alejandra Pizarnik, etc, as well as various other texts such as excerpts from Bill Clinton's Grand Jury testimony, fragments from medical journals, pieces from legal documents, cut-up versions of the Bill Of Rights, etc. All this work would never have happened had I not had a voice to compose for. Christine provided me with that voice. She was able to execute whatever lines I would dream up and she was able to infuse the words with such powerful expression and emotion. The rest of the group has remained remarkably stable as well with drummer Michael Sarin working with us since the In The Land Of Art project (on Fresh Sound New Talent) in the late 90's. John O'Gallagher has worked with us since the Uncivilized Rumination CD about 6 years ago. Pascal Niggenkemper is a relative newcomer who stepped in to this project after longtime collaborator John Hébert was unable to participate because of scheduling conflicts. This group is really a dream come true for me as these musicians are all completely committed to the music, while bringing such strong personalities and remarkable musicianship to the plate. A real composer's paradise."

The compositions for Word Circus/No Money In Art were commissioned by Chamber Music America through their New Jazz Works program. 

The songs on No Money In Art cover a broad range of moods and emotions. The opening title track features Gustafson's hilarious yet insightful ruminations that in this time of Spotify and YouTube seems more relevant than ever. Art is now just to be consumed freely with no societal concern how artists are to make a living. The poem by Ken Mikolowski is from a series of poems that he wrote titled "Ecology." After a brief introduction Correa and Carlberg deliver the beginning of the setting of the poem in rubato. Soon the rest of the band joins in with a few tempo switches including fast swing and a hint at a 12/8 groove. The text finally reaches the title of the text with Correa in full voice. O'Gallagher takes over with an intense and soulful solo statement ably supported by the rhythm section before Correa re-enters for a final recap. For The Nail the pace slows down to an almost country-western cowboy feel (reminiscent of some grooves that Shelly Manne and his groups used to incorporate in their music), with a wistful, yet playful, poem by Ron Padgett. A delicate piece delivered to perfection by Correa, it features Carlberg's piano before the voice and sax return in perfect unison to provide support to Carlberg's solo. After the return of the melody O'Gallagher has a few more fleeting thoughts before the piece evaporates in to the ether. On Banner Spangled Star, with a poem by Ken Mikolowski, we are treated to a reconstruction of the text to the "Star Spangled Banner." The setting has a loping cyclical feel with neither a beginning nor an end. O'Gallagher takes the improvisational spotlight with his characteristic energy and invention. Headline Haiku starts with a rhythmic unison figure before piano and Rhodes depart on whimsical excursions. Correa and Carlberg eventually settle in to the aphoristic text by Anselm Hollo, which is sung in a new tempo, creating a moment of Ivesian flavor with multiple strata. After joyful solo statements by Niggenkemper and Carlberg the whole band convenes on a lively almost circus-like jaunt that leads us back to the final melody statement. The mood slows down on Clarification, a duo piece with Correa and Carlberg. The acerbic wit of Hollo's text; "Not buying you/just buying you a drink," is performed with great restraint, creating a sense of melancholy. Carlberg solos on Rhodes with a fitting delicacy. Verbal Scenario is a funky romp that centers on a repeated D in the melody. The obliquely coherent text (by Mikolowski) is briefly interrupted by Correa's howling vocalizations. The solos over a cantankerous off-kilter form build throughout the piano solo in to the climax of the sax solo. A short repeat phrase in unison closes the piece. The last song, Nothing with its haunting text, "Nothing/can replace/poetry/in my life/and one day/surely/it will," places Correa remarkable vocals front and center. After an alap-like improvisational voice introduction the chant-like melody is stated with stately grace. Carlberg provides solo piano commentary before the final melody statement delivered with a hint of resignation and sadness, but no melodramatic emoting, just a powerful end to the program.

With No Money In Art, his 11th recording of settings of poetry and text, Carlberg continues his explorations of the connecting points between poetry and music. Not since the remarkable oeuvre of the late great Steve Lacy has there been such a sustained and satisfying effort in creating connections between these two spectacular art forms. May No Money In Art receive wide attention, as the music is accessible yet intelligently constructed and brilliantly performed by a long-standing ensemble that is intimately familiar with the music as well as each other.

LORRAINE KLAASEN ANNOUNCES U.S. CD RELEASE DATE OF NEW ALBUM – NOUVELLE JOURNEE

After winning a JUNO award for World Music Album of the Year in 2013 with Tribute to Miriam Makeba, Lorraine and her co-producer Mongezi Ntaka (former lead guitarist with Lucky Dube) wanted to take their time in choosing material for her next project. For Lorraine Klaasen, it was important to make sure the songs on her new album, Nouvelle Journée, communicated the importance of family, social responsibility, and, as the album title says, the joys of a new day. Known as a melting pot of cultural diversity (not to mention one of Nelson Mandela’s favorite singers) she has done just that.

Born in South Africa, Klaasen has never been shy about paying homage to her many influences, among them her mother, Thandie Klaasen, a highly respected jazz singer. Fortunately for anyone who has ever heard her sing, Lorraine was able to launch her career at a young age due to all the traveling she did with her mother. Accompanying her to performances all over South Africa, Lorraine learned the ropes early. After touring Europe, she eventually made her way to Canada, settling in Montreal. A foray in to musical theatre, a JUNO and three albums later, Lorraine was ready to revisit the infectious, upbeat style of Township music on Nouvelle Journée. Lorraine sings in Tsonga, Sotho, isiZulu and Xhosa languages of South Africa, English and French, with a joy that comes across on first listen.

“This new release is a reflection of where my life is at this point in time. I got inspired to record this CD when I decided to make some changes in my life, which included spending more time with my ailing mother in South Africa. It’s almost like a new beginning for me, as I chose to make sacrifices to get to where I wanted to be. It was important for me to discover more about my beautiful country and reconnect with family, friends and my culture.”

Heading in to the Studio with co-producer Ntaka, recording began at Studio 451 in Montreal in November 2015, with mixing and mastering taking place in the beginning of 2016. Lorraine wanted a calm and relaxed environment for pre-production so she could create the right ‘Township music feel’ that was so important to her. By the time she stepped in to the Studio, she was more than ready. “The recording sessions for this new CD were very calm, but efficient. I always made sure that laughter stayed contagious while we were recording.” The musicians on this project were also a very integral part of the process, even though not all of them were South African. Says Lorraine, “Noel Mpiaza, the drummer, is from the Congo in Central Africa, but he understands the Township music feel very well. Cédric Dind-Lavoie, the upright bass player, laid down some of the most exciting grooves even though this was his first encounter with Township music. Medad Ernest, the keyboard player, was a perfect fit for my recording because he has a good background of Haitian music, which is rooted in African music. And Assane Seck, the second guitarist, who contributed his West and Southern African cross cultural guitar riffs.”

All ten tracks on Nouvelle Journée have special meaning to Lorraine, who wanted to make sure the songs represented her current journey. Title track “Nouvelle Journée” is about being able to start fresh without any regrets or bitterness from past failures, while the gorgeous, piano driven “Polokwane” talks about home, and how your place of birth holds a special place in your heart.  The funky, 70s sounding “Make It Right” speaks to being part of a solution to problems that affects others rather than turning away, and the buoyant “Ke Tsepile Bafatsi” is a song about having faith in one’s own abilities by staying positive, drawing inspiration from people who have come before you.

Of course, Lorraine, a born performer, is planning to take the songs from Nouvelle Journée on the road, with a month long US tour starting in mid-October. She can’t wait to share these new tracks with her audience. “Nouvelle Journée is where I’ve always belonged: music from my culture, words that represent my thoughts and a sound that’s all my own. This release fits in perfectly with my previous albums as it is true Township. Come see my show – I’ll make you laugh, I’ll make you cry and I will definitely make you dance!”

JC4: Can You Believe It? featuring JC Sanford - trombone, Mike Baggetta - guitar, Dave Ambrosio - bass, and Russ Meissner - drums

Let's start by acknowledging the elephant in the room. JC Sanford - the go-to music conductor for the forward-looking bands of John Hollenbeck, Joel Harrison, Alan Ferber and others, including the legendary Alice Coltrane - has been overlooked as a trombonist.

This is partly JC's own doing. For the past decade and more, when not conducting someone else's band, JC has spent much of his energies writing and arranging for his own equally forward-looking large ensembles: first in conjunction with David Schumacher (Edge of the Mind, 2009), then on his own (Views from the Inside, 2014). He wrote and performed and conducted a luminous score to accompany all 143 minutes of the original 1927 silent classic Ben-Hur for the Syracuse International Film Festival. (Forest Hills, heard on Can You Believe It?), became Ben-Hur's theme for that score.) JC also was busy curating "Size Matters," the weekly, much-heralded, cleverly-titled large ensemble series at the Tea Lounge in his Brooklyn neighborhood of Park Slope.

And yes: intuitively as well as trivially, size does matter. But it's not everything that matters. We can agree that sound matters, too, and we can then hone in on JC's trombone tone. It's one I find I crave even as I'm listening to it, like relishing a friend's voice you haven't heard in years. It's not the effortless sound of a JJ Johnson; not the frictionless tone of JC's mentor, the great valve trombonist Bob Brookmeyer; but also not the extroverted, rough-edged sonority of a Ray Anderson or Craig Harris. JC's tone suggests the human voice in all its expressive texture, occupying about the same conversational range as the voice of this thoughtful, vegan, animal-loving adult male. There's breath in it, not breathlessness.  It's a sound reflective of the understated Upper Midwest ethos of his youth, seasoned with the aesthetic smarts of a Boston-trained city-dweller repelled by all sorts of showboating BS. When JC solos - as you may have heard on Andrew Green's Narrow Margin (2008) or on Views from the Inside - you hear a sound that is (weirdly) distinctive yet familiar, exploratory yet grounded like home.

Aristotle, that ancient student of jazz interaction, notes that the best friendships (like the best bands) are rare because they take time, and men can't know each other "till they have 'eaten salt together'." You can hear that these four musicians have eaten salt together. (Also dim sum; ask David for the best spots in Queens.) Russ Meissner was drumming back in '03 for JC and John McNeil's retro-radical My Band Foot Foot, a group that pays quirky homage to The Shaggs. He and bassist David Ambrosio have recorded as co-leaders for the SteepleChase LookOut series; as JC puts it, their "hookup is so nice." David goes back even further with JC. He plays with a striking authority and solos with a gymnast's controlled intensity, often revealing - as in Ja-chan on Patrol - elastic strands hidden in the melody. Guitarist extraordinaire Mike Baggetta and JC met up in "a series of these weird fancy men's barbershop gigs near Wall Street." They graduated (for less pay) to this distinctly non-barbershop quartet, where Mike "helped give the group a certain dirty personality that I liked." What he does on DumPac? The dirt shines through.

  

All the tunes, save one, are JC's: Can You Believe It? captures the scrappy fortitude of JC's beloved 2004 Boston Red Sox team and their astonishing come-from-behind World Series victory. That's BoSox announcer Joe Castiglione opening the proceedings, after which Mike's distorted guitar enters as if on steroids. (Here's looking at you, Manny Ramirez and David Ortiz?) The shifting meter will throw you off like a good slider.

The lovely line of Forest Hills dates from JC's New England Conservatory days. It recalls his peaceful walks in that Boston cemetery with his dog Pepper, who liked to pause and sniff the redolent air.

DumPac is all about that 7/4 drum groove that Russ sets down. Sometimes it's accentuated by its melodic surroundings, but elsewhere - as in the opening of JC's brilliant solo - it seems to hover stealthily in the background.

Ja-chan on Patrol is a stop-and-start, melodramatic tale whose hero is Jazu, JC's mouse-stalking cat. The slide-guitar textures at the end of Mike Baggetta's solo make me think some poor creature's lost her footing, scrabbling across the linoleum.

"Yamete" is one of the first Japanese words JC learned from his wife (the composer/arranger/pianist Asuka Kakitani) since she used it so often while they were dating. David spells out the title with a 3-beat riff after his exploratory solo. Then it's as if JC's trombone noodles around for a translation (or maybe feigns cluelessness) until the insistent 2-beat drum riff teaches him the English equivalent. ("Stop It!")

Easy for You, John Scofield's backcountry line from his 90s album What We Do, gets a stunning rubato treatment from all involved. Try to close your mouth as Mike's guitar weaves echoes of Jim Hall and Chet Atkins together without skipping a thread.

Chico's First Date is JC's tribute to the late Chico O'Farrill. The band approaches this tuneful, Latin-dance feel, AABA structure without a whiff of irony, but you still know that the mystery implied by those minor-key outer sections won't last long. JC's soaring trombone on the major-key bridge - especially on his solo and in the outro - is all jollification and merry-making.  All in all, sounds like a good first date.

Sanford studied at the University of Northern Iowa and the New England Conservatory where he earned a D.M.A. in Jazz Studies. After relocating to New York in 2000, he became involved with the BMI Jazz Composers Workshop under the direction of Manny Albam and Jim McNeely and remained trombonist/contractor of the BMI/New York Jazz Orchestra until 2016. He has also appeared as a trombonist on recordings with such diverse bands as Andrew Green's Narrow Margin, the Andrew Rathbun Large Ensemble, Nathan Parker Smith's jazz/prog rock big band, and Joseph C. Phillips, Jr.'s new music/jazz hybrid orchestra Numinous. His orchestra's album Views from the Inside received worldwide acclaim as well as a coveted recording grant from the Aaron Copland Foundation. In addition to JC4, he's leads the improvisational trio Triocracy featuring saxophonists Chris Bacas and Andy Laster whose new album That's All There Is is due to be released in 2017.

NEW RELEASES: PAUL TAYLOR – COUNTDOWN; MIKE LEDONNE & THE GROOVER QUARTET – THAT FEELIN’; DEANA MARTIN – SWING STREET

PAUL TAYLOR – COUNTDOWN

In the 19 years since Paul Taylor first got On The Horn with his hit debut album, he s enjoyed an extraordinary journey in the contemporary urban jazz world. From the start of his recording career, Taylor has created his ever cool deeply soulful and rhythmic trip-hop influenced sound by working with some of urban jazz and R&B s top producers, including Rex Rideout, Barry J. Eastmond and The Heavyweights. But one of the most important architects of the saxman s core flow has been Dino Esposito, who helped Taylor establish his vibe with On The Horn and Pleasure Seeker, and has played a powerful role in the saxophonist s evolution by helming tracks on his subsequent recordings Undercover , Hypnotic, Nightlife, Prime Time and Tenacity. Countdown marks the return of Dino Esposito who for the second album in a row is the sole producer. I m always trying to grow as an artist, so there were ideas going all the time as we developed these tracks, he adds. I definitely have an established sound, so the key was having an open mind and being honest when we hit on a certain vibe, groove or lick I had done before and taking the tune in another direction , says Taylor. Countdown also finds Paul working with guest artist Peter White. Taylor s mix of funk and sensuality were a natural fit for the emerging urban jazz genre, and he soon became one of its core artists.

MIKE LEDONNE & THE GROOVER QUARTET – THAT FEELIN’

There's a real sense of collaborative joy in the image on the cover here – and that vibe really comes through in the energy of the Groover Quartet of organist Mike LeDonne – a fantastic combo that brings together the tenor of Eric Alexander, guitar of Peter Bernstein, and drums of Joe Farnsworth – plus some guest work on alto from Vincent Herring on a few tracks too! Alexander cut his teeth in the group of Charles Earland on Chicago, and he's really on fire here next to Mike's soaring work on the B-3 – in a flurry of soulful sounds that are further embellished by the great sense of tone that Bernstein brings to his guitar – driven forward by LeDonne's basswork on the Hammond, and the always rock-solid drums of Farnsworth. Titles include "Sweet Papa Lou", "That Feeling", "La La Means I Love You", "I'd Never Change A Thing About You", "At Last", and "This Will Be An Everlasting Love". ~ Dusty Groove

DEANA MARTIN – SWING STREET

"Swing Street” is one of the finest in Deana’s canon of work. Each album sees this artist grow … take more risks … and spread her wings. There are 15 swingin’ songs on "Swing Street” packed with all the diversity and elegance you would expect from a woman who is passionate about her music. Deana challenges herself with each project and "Swing Street” certainly proves that. In this collection, she once again gathers her A-list of session players, arrangers, composers, conductors, and engineers ... the ones who live and breathe this music, and she hands them 15 gems to wrap themselves around. ”Swing Street” is a sophisticated collection of superb performances. And, while it might not be her motivation, it sure feels like her proud Pop is giving her his inimitable smile and saying, "Ya did good, Kid. Let ‘em have it.” Includes: 52nd & Broadway; I've Been Around; Spooky; Hearing Ella Sing; That's Life; Bye Bye Blackbird; New York State of Mind; Good Things Grow; I Know What You Are; Quando, Quando, Quando; Strangers in the Night; Bellissima; Georgia on My Mind; Tennessee Whiskey; and Who's Got the Action.

NEW RELEASES: KHARI CABRAL & JIVA – HEAVEN & EARTH; ORRIN EVANS - #knowingishalfthebattle; MIGUEL ATWOOD-FERGUSON & OTHERS - MIGUEL ATWOOD-FERGUSON’S CONTRIBUTION WORKS

KHARI CABRAL & JIVA – HEAVEN & EARTH

Fantastic work from everyone involved – and a great reminder of why we first fell in love with the sound of the Atlanta scene years ago! At a time when so much underground soul only goes digital, or stays underground too deep, it's great to get a record like this from such wonderful artists – fully-formed, masterfully mature, and still very much at the forefront of the sorts of sounds they helped introduce many years back! There's a collaborative warmth here that comes through from the very first moment – not just in the way that Khari Cabral can set up a groove, then step aside to let everyone flow through it – but also in the beautiful vocal interplay from a range of different singers – including Brenda Nicole Moorer, Chanda Leigh, Paige Lackey Martin, and the great Julie Dexter. Righteous, positive, uplifting, and inspirational soul – on titles that include "Heaven & Earth", "Arc Of Horizon", "Mantra 3", "Listen To The People", "Gemineyes", "More To Do", "78 & Sunset", "Next To You Next To Me", and "Samara Smiles". ~ Dusty Groove

ORRIN EVANS - #knowingishalfthebattle

The first track here almost made us think we had the wrong record in the sound system – as it's a creative electronic piece that introduces the straighter jazz numbers – but that sonic surprise is just another great reminder of the ever-growing range of expression we've come to experience from pianist Orrin Evans! Evans has always been great, but in recent years he really seems to have expanded his musical idiom – and here, he's working with an unusual group that features two guitarists – Kurt Rosenwinkel and Kevin Eubanks – who don't play on every track, or together at once, but who create these chromatic elements that are beautiful alongside Orrin's more angular piano lines! The core trio has Evans on both acoustic and Fender Rhodes, with Luques Curtis on bass and Mark Whitfield on drums – and as the tracks move on, they draw contributions from both guitarists, plus saxophonist Caleb Curtis, and singer M'Balia – whose performances include a fantastic version of the David Bowie tune "Kooks", and "That's All". Other tracks include "Calls", "When Jen Came In", "Chiara", "You Don't Need A License To Drive", "Half The Battle", and "Doc's Holiday". ~ Dusty Groove

MIGUEL ATWOOD-FERGUSON & OTHERS - MIGUEL ATWOOD-FERGUSON’S CONTRIBUTION WORKS

A wonderful collection of work that features from Miguel Atwood-Ferguson – an artist you might know from his music on a variety of projects from spiritual jazz maestro Carlos Nino – and one who continues that collaborative spirit here with a surprising range of different artists! Miguel has a great talent for bringing in subtle touches that can add a good degree of sophistication to a tune – especially use of string instruments, used in ways that often seem to echo the way that strings were used on the spiritual jazz scene of the early 70s, particularly on Impulse Records – but in modes that are much more contemporary overall. We've always loved Atwood-Ferguson's music, but were also surprised to discover a few tracks here we didn't know already – and titles include "Weather Any Storm" by Mocky, "Twelve O'Clock Shadow" by Flako, "All Yours" by Artyom Maknukyan, "Sun (edit)" by Nabowa, "Rose Heiress" by Miguel Atwood-Ferguson, "Mowa" by Dexter Story, "African Sun" by Nick Rosen, "Sounds Like Love (Carlos Nino & Miguel Atwood-Ferguson's in space rmx)" by Illa J, and "Sketch For Miguel" by Mark De Clive-Lowe.~ Dusty Groove

NEW RELEASES: GEORGE CABLES – GEORGE CABLES SONGBOOK; PLUNKY & ONENESS – JUJU JAZZ FUNK; BOBBY HEBB – SUNNY

GEORGE CABLES – GEORGE CABLES SONGBOOK

George Cables looks incredibly young on the cover of this album – and his music sounds quite young, too – as if we've just discovered the pianist as a new player, with a sense of surprise that wins us all over again! The core trio on the record is great enough – with Essiet Essiet on bass and Victor Lewis on drums – a combo that help Cables hit this wonderful flow on part of the set – but then things really open up once other artists join in – including Craig Handy, who blows tenor or flute on four tracks – and the fantastic singer Sarah Elizabeth Charles, whose performances on six of the album's tracks almost remind us of the magic that Carmen Lundy brought to music with her brother Curtis! Charles is a fantastic singer, and her work on George's tunes here just brings in a whole new dimension to his music – the kind of collaborative association that makes jazz such a wonderful art form in the first place. Titles include "The Dark The Light", "Traveling Lady", "Baby Steps", "Think On Me", "Face The Consequences", "The Mystery Of Monifa Brown", and "For Honey Lulu". ~ Dusty Groove

PLUNKY & ONENESS – JUJU JAZZ FUNK

One of the best records we've heard from reedman Plunky in years – a set that really takes us back to the late 70s groove of his Oneness Of Juju ensemble! As with that period for the group, the style here is a hybrid of jazz, funk, and soul – with occasional touches of some of the deeper percussion they brought to their earliest spiritual jazz material, but with a much more soul-based delivery overall! Plunky sings and plays saxophone – and the group's also got some strong vocals from two female singers, too – who really open up the more righteous currents in the lyrics. The sound is definitely contemporary, but the approach is strongly rooted in the long legacy of Plunky's music – and titles include "Nu Juju Drum Song", "One Love One Us", "Seize The Time", "Move Forward", "Wisdom Peace & Love", "Afro Future Dialogues", and a great remake of "Plastic Is Easy To See Through". ~ Dusty Groove

BOBBY HEBB – SUNNY

Sublime pop soul genius from Bobby Hebb – a standout record that really made his career, and a dusty nugget we never tire of hearing! Bobby was really unique at the time – singing a mixture of soul and pop that kept things real while still crossing over big – earning him an equal audience on both sides of the charts. Part of the credit for the album goes to producer Jerry Ross and arranger Joe Renzetti – who work here in a careful, almost gentle approach to pop – one that's never overblown, and which really lets Bobby's vocals step out front on the title hit "Sunny", plus other tunes that include "Crazy Baby", "I Am Your Man", "Where Are You", "Yes Or No Or Maybe Not", and "Love Love Love". (Heavy vinyl 50th anniversary pressing – with bonus booklet too!) ~ Dusty Groove

The Girshevich Trio releases debut recording Algorithmic Society; featuring 12-year-old drummer Aleks Girshevich with legendary bassist Eddie Gomez and veteran pianist Vlad Girshevich

"Pianist/composer Vlad Girshevich is a thrilling and adventurous talent." - Bass Players United

"Folks on the Colorado music scene have been talking for years about the tremendously talented drummer Aleks Girshevich, who was born in 2001." - All About Jazz

Algorithmic Society, the debut recording from the Gershevich Trio, brings together three generations of musicians: 12-year-old drum prodigy Aleks Girshevich, his father veteran pianist Vlad Girshevich and legendary bassist Eddie Gomez.  Their mutual respect shines through on this album of originals written by the father and son team with Aleks creating the grooves and Vlad penning the melodies.

Aleks was greatly inspired by the Grammy winning Cuban percussionist Horacio "el Negro" Hernandez. The tunes incorporate influences of great composers from the history of music while also integrating more modern ideas.

The music is augmented by a string section on several tracks and on Healing the Chaos, Rony Barrak plays Darbouka, Rig and Dal adding a Middle Eastern flair.

A classically trained pianist from Uzbekistan, Vlad Girshevich began his training at the age of 4 years old. He became interested in jazz as a teenager and never looked back. He moved to Colorado in the early 90's and has performed with a wide range of jazz greats: Bob Berg, Stanley Jordan, Ernie Watts and, while at the Thelonious Monk Institute at Jazz Aspen/Snowmass, he performed with Jerry Gonzales, Arturo Sandoval, and the legendary drummer Horacio "el Negro" Hernandez.  He has performed at numerous jazz festivals including the Rostov Jazz Festival, Santa Fe Jazz Festival, Vail Jazz Festival, and the Windham Chamber Festival among others. His son Aleks joined his trio when he was only 10 years old.

Aleks Girshevich released his first trio CD at age 11 entitled Tomorrow which received "a first rate 5 star release" from Critical Jazz and 4 stars from All About Jazz. He was named one of the Best Student Musicians of 2015 in DownBeat Student Music Awards in the category of "Jazz Soloist - Drums."

http://vladgirshevich.com/

International jazz guitarist Marc Antoine returns to health and California with a diverse outing at “Laguna Beach” with friends

The four-year gap between albums for global guitarist Marc Antoine was spent fighting for his life and career as well as moving his family from their longtime home in Spain to the Southern California coast. Having conquered two major health challenges – one life-threatening and one career-threatening – and resettled into the placid enclave of Laguna Beach, the Paris-born, classically-trained hit-maker resumes his recording career Friday with the release of his Woodward Avenue Records debut, “Laguna Beach.” The title cut, which preceded the celebratory set of Antoine’s signature classical acoustic and nylon-string guitar melodies, quixotic gypsy jazz forays, brassy funk grooves and sultry Latin, Brazilian and Cuban rhythms, is already No. 5 on the Billboard songs chart, offering a last gasp of summer.

His thirteenth album, Antoine produced “Laguna Beach,” wrote eight of the nine songs and called upon some of his accomplished friends to collaborate with him, something he couldn’t do easily when he lived abroad for twelve years.  

           

“When you live near LA, you can call anyone to come and work with you. Once I built my new studio over here, fired it up and began working on new material, I knew I just had to make a few phone calls to get the right guys to play on it,” said Antoine, who reached out to soloists Philippe Saisse (keyboards), Rick Braun (trumpet), Greg Vail (saxes), Armand Sabal-Lecco (bass), Tim Welvaars (harmonica) and two-time Grammy winner Paul Brown (electric guitar), who mixed the album. Anchoring the tracks were drummer Gorden Campbell, upright bassist Roberto Vally, keyboardist Marco Basci, and percussionists Gumbi Ortiz and Richie Gajate Garcia.

Incorporating an interesting variety of sounds, tapestries, moods and styles remains the guitar alchemist’s forte. Antoine’s compositions on “Laguna Beach” are enriched with his spirited sense of joy and gratitude after enduring major heart surgery in 2012 to repair an incapacitating atrial fibrillation problem only to be followed by hand surgery two years later to relieve the crippling pain and permanent nerve damage he endured while playing the guitar that locked the fingers on his left hand in odd positions.

After “pretty much hitting rock bottom” in 2014, Antoine and his wife, Rebeca, decided to make the move back to California where they resided prior to Spain. It turns out playing the guitar is ideal physical therapy, enabling Antoine to work through the scar tissue in his hand.

“I remember vividly what a hand therapist from LA told me, that the only way to fix this is to change my ways,” Antoine recalled. “I have a deep relationship with my guitar. It's a little bit like a marriage: if you don't put effort into it, there is no life in it. So playing, and most importantly, playing with joy, love and respect is the key. I am so grateful for what is going on in my life right now and I am back enjoying my instrument, which fixes all problems. It is for real: life through guitar therapy.”

Rejuvenated, re-inspired and restored to full health, Antoine anticipates a busy concert itinerary of festival, theater and club dates to support the album release across the U.S. where he has been a popular entertainer ever since he toured globally with Basia in 1988. He’s also shared the stage with superstars Sting, Queen Latifah and Selena prior to launching his solo career with the album “Classical Soul,” which spawned the first of a library of radio hits that have made Antoine one of the mainstays at contemporary/smooth jazz radio since 1994. He’s played in pop, rock, jazz, world music, hip-hop and acid jazz settings, each of which have informed his multicultural sonicscapes and furthered his international appeal.  For more information, please visit www.MarcAntoine.com.

Antoine’s “Laguna Beach” album contains the following songs:

“Why Not”

“This and That”

“Laguna Beach”

“Deixa”

“Minority”

“Romantico”

“High Five”

“New Morning”

“Twice Upon a Time”

"Richie Cole Plays Ballads & Love Songs," The Alto Saxophonist's First Ballad Album in His 45-Year Career

Richie Cole Plays Ballads & Love Songs Setting down roots in Pittsburgh two years ago has borne fruit for alto saxophonist Richie Cole in the form of his beautiful new album, Richie Cole Plays Ballads & Love Songs. The CD, his first all-ballads album, will be released on his Richie Cole Presents imprint on October 21.

"I don't play the saxophone, I sing the saxophone," Cole says. "It's all about telling a story. If you don't know the melody or the words -- which is true of a lot of musicians -- you can't tell the story."

Though Cole has probably been better known for his footloose "Alto Madness" bebop style, dating to his early-'70s association with vocalese master Eddie Jefferson, he's hardly been a stranger to ballads. Yet the new album came about entirely by chance.

CD producer (and bassist) Mark Perna booked studio time last September for Cole's Pittsburgh Alto Madness Orchestra. When the horn section picked up a big-money road gig at the last minute, Perna decided to use the time instead for a "fun blowing session for our archives."

At the end of the evening, Perna realized that 8 of the 11 songs cut that night were ballads, and all were first takes. It occurred to him that Cole had never released a proper ballads album before. "We decided to finish the album at our next session," he says. "Three more songs were recorded, the album was mixed and sequenced, and that was it."

Richie Cole Plays Ballads & Love Songs includes popular standards such as "Emily" (the name of his mother, who always asked him to perform it in his sets), "Bewitched, Bothered and Bewildered," and "Alfie," but also offbeat choices like "The Internationale," the Soviet national anthem; "That Sunday, That Summer," a minor early-'60s hit for Nat King Cole; and "Chances Are," a major hit in 1957 for crooner Johnny Mathis.

Deepening and intensifying his always distinctive vibrato, Cole takes ownership of the Mathis song, which was featured on Shorty Rogers's 1959 album, Chances Are It Swings, but few if any other major jazz releases.

Richie Cole "It tells a story and has a beautiful melody, one you can improvise on without going crazy," says Cole. "In the end, there's no real difference between playing and singing. Chet Baker sang exactly like he played. He could break your heart with those melodies. Jack Sheldon is another example of what I'm talking about. Satchmo, too."

Another quality that sets Richie Cole Plays Ballads & Love Songs apart is its intimate setting. Cole is accompanied by a cool and companionable Pittsburgh-based quartet comprised of the lyrical, light-fingered guitarist Eric Susoeff, who's worked with artists ranging from Dizzy Gillespie to Ivan Lins, and whose primary focus is his Latin jazz quintet Salsamba, founded in 1984; versatile drummer Vince Taglieri, whose extensive experience includes work with big bands, theater productions, r&b vocalists, and jazz artists such as Bobby Shew and Sean Jones; and bassist/producer Mark Perna, a veteran musician who's recorded six albums under his own leadership, plays trombone and bass in the improvisational klezmer band Klezlectic, and has worked with Don Aliquo, Emily Remler, and Ron Affif, among many others.

A native of Trenton, New Jersey, 68-year-old Richie Cole has lived at various times in San Francisco, Los Angeles, and Las Vegas and also spent time in Chicago and San Antonio. In 2014, following a divorce, he moved to Pittsburgh at the behest of his daughter Annie, who lives there with her husband and children.

"I always liked this town," he says of the city that claims Billy Strayhorn, Art Blakey, Stanley Turrentine, Ahmad Jamal -- and Eddie Jefferson -- among its native sons. Mark Perna was instrumental in getting him on various local gigs, and in getting area musicians to participate in the rehearsal bands Cole put together between tours and recording dates. As Cole's original composition, "I Have a Home in Pittsburgh," suggests, things have worked out exceptionally well for him in the home of the Steelers, the Pirates -- and a strong jazz scene in which he's now a full participant.

CD release shows by Richie Cole Quartet & Richie Cole's Pittsburgh Alto Madness Orchestra:

10/15 Quartet on the Saturday Light Brigade, http://slbradio.org, 11am-12 noon ET

10/30 Orchestra at Village Tavern & Trattoria, Pittsburgh, PA

11/4 Quartet at Press Bistro, Johnstown, PA

11/17 Orchestra at Westmoreland Jazz Society, Greensburg, PA

12/2 Orchestra at James St. Gastropub, Pittsburgh, PA

Jazz Guitar Icon Larry Coryell To Release New Studio Album “Barefoot Man: Sanpaku”

Much to the excitement of music aficionados worldwide, Jazz guitar icon Larry Coryell, one of the most respected and celebrated guitarists of his generation, offers a brand new album of seven original compositions titled “Barefoot Man: Sanpaku”!

Says Larry, “I was inspired by John Lappen's suggestion that I do a recording similar to one that I did in the 70's that had a lot of energy. Using that as a template I carved out several compositions that I felt would be appropriate. The result was better than I expected; I had a great rhythm section in John Lee and Lee Pierson, and the soloists from Florida, Lynne Arriale and Dan Jordan, played on a world class level. Michael Franklin's production was hands off except for a few relevant suggestions that really helped round out the project.”

In addition to Coryell's signature guitar playing, this album features the talents of award-winning pianist Lynne Arriale, longtime Coryell collaborator John Lee on bass, Dan Jordan on saxophone and flute, and drummer Lee Pierson!  Release date October 14, 2016 – Purple Pyramid Records

Track List:

1. Sanpaku

2. Back To Russia

3. If Miles Were Here

4. Improv On 97

5. Penultimate

6. Manteca

7. Blue Your Mind

Catch Larry Coryell LIVE

Delray Beach, FL - Oct 14

Middletown, NY - Oct 22

Birdland Jazz Club (Germany) - Oct 28

Cork Jazz Festival (Ireland) - Oct 30

Deidesheim (Germany) - Oct 31

Ra Ra Room (London) - Nov 1

JJ Smyth’s (Ireland) - Nov 3

Jazz Showcase (Chicago) - Nov 17-20

The Birdcage (Australia) - Dec 13

Urban Jazz Flutist Kim Scott Brings The Fire On Debut For Innervision Records Titled "Southern Heat"

Perfectly in line with the title of her explosive and eclectic third full length release Southern Heat debuting on Innervision Records, Kim Scott's latest hit, the edgy, brass and funk fired "Sizzle" – featuring the dynamic trumpet of co-writer Lin Rountree – has become a self-fulfilling prophecy, as the lead single from Southern Heat was also a Top 20 hit on the National Smooth Jazz Airplay Chart.

Well known for her unique, hauntingly beautiful tone, Kim amps things up considerably on the new collection, which – like her last CD Rite of Passage – was produced by Kelvin Wooten, whose credits include contemporary R&B greats Anthony Hamilton, Jill Scott, Mary J. Blige and Chrisette Michele.

Southern Heat includes wild, infectious re-imaginings of R&B classics like MJ's "Billie Jean" and Lakeside's otherworldly "Fantastic Voyage," and a fiery Latin jam of Martha Munizzi's gospel hit "Glorious." It also features a batch of soulful, inspiring originals (all co-penned by Kim) that showcase her virtuosity as a flutist and increasing presence as a lead vocalist. Among these are the elegant, spiritual minded ballad "Forgiveness," the exotic, deep bass slow-jam "Two Become One" and the trippy and edgy trance-soul tune "What You STANK About This?" The set closes with a "Stank Remix" of that last song called "Groove With Me" that comes alive with Stephen Strickland's rap and instruction on some new hip-hop dance steps created by Kim.

"My previous albums were chock full of me playing melodies, which was cool – but here my goal was to do a hot album with a mix of uplifting originals and cover tunes people would dance to," says Kim, who released her debut album Crossing Over in 2011 and Rite of Passage in 2013. "As an artist, I love to make a deep connection with people whether they're seeing me live in performance or listening to my recordings. I want listeners to be inspired by what they hear and I want to move them to tears, to laughter, into joy and give them something to remember. For me, making and performing music is a very heart-felt action and it truly comes from my soul. This album reflects all of these things and shows the more spirited side of my personality, the one that likes to dance and sing! I titled it 'Southern Heat' because I am a bit of a southern belle, but I've got a fire lit that forces me to showcase the flute and all of its capabilities in the jazz world! This album brings that fire and charm to life through music."

Kim designed the new project to be different from her first two, starting with the feeling of her playing with no inhibitions whatsoever. "Listeners will find that I'm singing more and delving into more of a fusion of jazz, soul, pop and Rhythm & Blues. It's truly a feel good album with a lot of up-tempo numbers and I believe the growth and evolution of my 'voice' is evident as Kelvin challenged me to just be me and do it without apologies. With my first two projects, I was getting my feet wet and tried to see just where I fit as a classically trained flutist now playing smooth jazz. It dawned on me that I don't have to 'fit' a particular music model/style. I just have to be me and make music that I love because in turn that will speak my truth and pierce the ears and hearts of my listeners."

Website:http://www.kimscottmusic.com/

Facebook: http://www.facebook.com/KimScottMusic