Saxophonist Chad Lefkowitz-Brown Pushes Vigorously Onward with his Sophomore Release, featuring Randy Brecker

At just 27 years old, Chad Lefkowitz-Brown can already look back on a career of impressive accomplishments: he's become widely recognized among his peers as one of the most virtuosic saxophonists of his generation, toured the world with pop superstar Taylor Swift, played with jazz greats from Dave Brubeck to Clarence Penn, is a member of Arturo O'Farrill's multi-Grammy winning Afro-Latin Jazz Orchestra, received numerous DownBeat Student Music Awards, and become the youngest faculty member at San Francisco Conservatory of Music, where he'll help mold a new generation of jazz musicians alongside innovators like Robin Eubanks, Matt Wilson, David Sanchez and Julian Lage.

But despite having accrued enough laurels for an artist several decades his elder to rest on, Lefkowitz-Brown has firmly set his sights in one direction: Onward. With his new album of that title, out May 12, the saxophonist takes another leap forward with a set of original compositions and jazz standards that spotlight his ferocious chops and boundless musicality. He leads a quartet of longtime collaborators and friends - pianist Steven Feifke, bassist Raviv Markovitz, and drummer Jimmy Macbride, all of whom have been exploring music together at least since their high school days - and is joined on two tracks by legendary trumpeter Randy Brecker, who lends his imprimatur to a rising star whose expressive voice bears comparison with Randy's late brother, the iconic saxophonist Michael Brecker.

In addition to looking onward in terms of the music that he plays, Lefkowitz-Brown has shown a savvy ability to cultivate a younger fanbase through his outreach on social media. With more than 40,000 followers across platforms like Instagram, Facebook and YouTube, Lefkowitz-Brown has found a way to connect with the elusive millennial audience. In that aspect of his career he's learned a few tricks from his sometime boss Taylor Swift - albeit on a much smaller scale.

"A mom-and-pop coffee shop still has to take cues from Starbucks," the saxophonist shrugs. "I think that applies to jazz musicians as well. There's only so much that I can take from the pop world into the jazz world, but it's been exciting for me to see through social media that there are a lot of young kids out there who are passionate about jazz and want to hear people playing and improvising at a really high level."

Though still poised at the nascent stages of a promising career, Onward reveals the fruits of what has already been a wealth of rich and diverse experience. Lefkowitz-Brown earned his earliest performing credits on stages in his native Elmira, New York, where he played alongside then-septuagenarian drummer George Reed, a jazz veteran who'd accompanied legends like Marian McPartland and Teddy Wilson.

"Growing up playing with George really shaped my development as a musician," Lefkowitz-Brown says. "No matter how interested I became in modern concepts, he would always pull me back and remind me of how deep the tradition of jazz is."

Lefkowitz-Brown continued his education at the Brubeck Institute, where he was able to play regularly with the program's namesake, jazz giant Dave Brubeck.  He's since performed on the stages of renowned jazz venues and on more high-profile gigs including concerts at Carnegie Hall, Madison Square Garden, and the Super Bowl, often alongside Swift. "Experiencing first-hand the process of performing pop music to stadiums full of adoring fans made me value the importance of connecting with people through performance, even when playing more creative music," he says.

That wide-ranging approach, ability to communicate with listeners and familiarity with the music's history is evident in Lefkowitz-Brown's playing as well as that of his bandmates throughout Onward. Having worked and evolved together since their teenage years, Lefkowitz-Brown says, has resulted in a shared perspective on their own place in that spectrum. "We all play a lot of different music, anything from free jazz to fusion," he says. "But we all seem to settle into a home base with each other. Our favorite type of jazz aligns and I feel good that this music is representative of what we love to play."

The album kicks off with the leader's forceful title track, a blistering introduction to Lefkowitz-Brown's muscular approach to the horn. The mid-tempo "Franklin Street" is a nostalgic look back at his childhood home, while "Deviation" is a tribute to Brubeck and his singular path through the music. The simmering "Impetuous" hoists the description as a positive mantle, while "Blues for Randy" turns up the funk for a romp with Brecker.

Stevie Wonder's familiar "Isn't She Lovely" shows off Lefkowitz-Brown's gift for melodic elaboration, while he faces down Coltrane's "Giant Steps," a trial by fire for every tenorman, with fearless bravado, propelled by Macbride's driving rhythms. He turns to breathy tenderness for "The Nearness of You," and closes the album with a brisk jaunt through Cole Porter's "All of You," transforming the standard into a blisteringly swinging workout.

www.chadlefkowitz-brown.com

Guitarist Alex Goodman Opens a New Chapter Featuring a Stellar Band of Next-Generation Jazz Voices on Second Act

After five years in New York City, Alex Goodman has not only established himself as a rising star and significant voice in the jazz mecca, but has gathered together a gifted group of peers, each of whom are quickly forging a path forward for the music's next generation. The guitarist/composer began his career in his native Toronto, becoming an integral part of the scene in the Canadian city and receiving a wealth of accolades across the country. The CBC News hailed him as having "taken the jazz world by storm [and] attained a level of fame and success in the insular jazz community that few other Canadian guitarists can match." In 2014 he received international recognition winning both first prize and the Public's Choice Award at the Montreux Jazz Festival International Guitar Competition in Switzerland.

Goodman's last release, Border Crossing, documented his initial reactions to his move to NYC and his acclimation to a new setting. With his fifth album, Second Act, Goodman looks poised to make a similar impact in his adopted home, revealing a vision shaped by the Big Apple's thriving modern jazz scene and by the dedicated and accomplished group of musicians with which he has surrounded himself.

As the title implies, Second Act (out June 23rd via Lyte records) signals a new beginning as much as the closing of a particular period, and the album's eleven striking compositions more than live up to that promise. A stunning departure from the chamber-jazz style of Border Crossing, the music on Second Act balances inventive composition and thrilling improvisation, with pieces that boast exhilarating, fluidly angular melodies and intricate architecture but which spark electrifying spontaneity from Goodman and his deft quintet.

"Second Act is my first CD comprised of a New York City based band that was assembled around the member's similar artistic vision," Goodman says. "All the music was written while I've been living here, and it all relates to the things that happen in the life of a musician living in New York City."

Given the agility of the playing and the depth of communication throughout the album, Second Act features a band that has obviously spent a good deal of time getting to know each other's sonic personalities. Goodman is joined by four peers who have also come to the city from a variety of disparate places and experiences: saxophonist Matt Marantz (Texas), pianist Eden Ladin (born in NYC but raised in Israel), bassist Rick Rosato (Montreal) and drummer Jimmy Macbride (Connecticut). They've each formed relationships with such envelope-pushing artists as Avishai Cohen, Will Vinson, Lage Lund, Nir Felder, Terence Blanchard and Jonathan Batiste, while working together in a variety of settings, spurring each other onward into exciting new territory.

"Everybody in the band is on the same wavelength both musically and personally," Goodman says. "I think we all share the same creative mindset, where everybody has a very firm foundation in the tradition of jazz but is also very creative and adventurous. Each one of them brings some of their own personality and identity to their playing, which I really value, but they're also very well rounded musicians who can do a lot of different things."

To enhance the music's already wide-ranging palette, Goodman added layers of human voice to the pieces after the initial studio sessions, writing new parts for the wordless vocals that interweave with not only his originally written material, but also the band's in-the-moment interpretations. He enlisted a talented pair of fellow Canadians to sing the parts: Felicity Williams, a longtime collaborator who also appears in a similar role on Border Crossing, and Alex Samaras, a key contributor to the Canadian jazz and new music scenes. Goodman often layers the two vocalists' contributions, offering him the option of employing sinuous lines or lush, swelling choruses as desired.

Rosato's knotty bass initiates "Questions," the album's brisk opening track, highlighted by the sauntering swing of Ladin's piano solo. "The First Break" is fueled by Macbride's intense, mechanistic rhythms and the composer's serrated guitar, while the infectious "Departure" gradually accumulates from a tenuous solo intro passed off from Goodman to Ladin, which finally unfurl into the piece's memorable melody. The leader's ringing, resonant solo playing provides an extended overture for the exultant "Losing Cool," a showcase for Goodman's alluring vocal writing.

"Empty" erupts from the outset with an overdriven rock urgency, contrasted by the mysterious, ethereal hush of "Heightened," before that piece gives way to sheer, joyous swing. Marantz wends a boldly eloquent solo through the bustling "Sharon," while Goodman's fleet fretwork and Ladin's burbling Rhodes intermingle rapturously on "Welcome To New York." "Apprehension" adds soaring vocals to an already lyrical melodic cascade before "Acrobat" closes the album on a wistful, free-floating note.

The bliss and brusqueness that Goodman balances throughout Second Act are an apt portrait of life in the jazz metropolis, reflecting what the composer calls "a tension that exists in living and being a musician in New York City. It's difficult and crazy and sometimes out of control, but at the same time there's something fulfilling and exuberant about it. It's so inspiring to see the level at which everything is happening all around you. Just to be a part of that has been really powerful and life affirming."

Alex Goodman has been hailed as "a definite musical voice" (Guitar International), "a jazz phenomenon the world over" (Birmingham Times), "genius" (La Presse) and "among the best in jazz today" (Improvijazzation). The Toronto native released his leader debut, Roots, in 2007 and his 2013 album Bridges was nominated for a JUNO, Canada's highest musical honor, as Contemporary Jazz Album of the Year.

Since moving to New York in 2012, Goodman has recorded with artists including John Patitucci, Dick Oatts, Kevin Hays and Rich Perry and performed with a variety of notable jazz musicians including Charles Lloyd, Eric Harland, Ari Hoenig, Jane Monheit, Ben Wolfe, John Ellis and John Riley. He was awarded a 2013 ASCAP Herb Alpert Jazz Composer Award, has written a book of solo guitar etudes and has composed extensively for jazz groups, chamber groups, orchestras, big bands, and string quartets. Along with performing at top New York City jazz clubs such as Smalls, the Appel Room at Lincoln Center, Mezzrow, 55 Bar, Smoke, National Sawdust and Cornelia Street Cafe, Goodman has toured the world, playing prestigious international venues such as the Kennedy Center in Washington D.C., Massey Hall in Toronto and Club Unterfahrt in Munich. He's also performed on the stages of prestigious international jazz festivals including Winter Jazz Fest in New York, the Montreal Jazz Festival and the Montreux Jazz Festival. He is a graduate of the Master's Program in Jazz Performance at the Manhattan School of Music.

www.alexgoodmanmusic.com

Gerald Cannon Plays in a Remarkable Variety of Combinations on his Long-Awaited Sophomore Release

14 years after releasing his self-titled debut as a leader, bassist Gerald Cannon makes his long-overdue return with Combinations. Due out July 14 on Cannon's own Woodneck Records, the album makes up for lost time by mixing and matching a range of styles, moods and collaborators from across the spectrum of Cannon's far-reaching career.

In Cannon's virtuosic hands, Combinations carries a multitude of meanings. There's the obvious fact, first of all, that no two tracks on the album feature the same line-up of musicians, juggling ten of the bassist's closest collaborators in a variety of combinations. Then there's the diversity of sounds represented by the compositions (almost half of which were penned by Cannon himself): everything from simmering post-bop to boisterous funk, frantic modern jazz to elegant ballads, gospel to bossa nova. Then, as legendary bassist and Cannon's mentor Ron Carter points out in his liner notes, there's the many hats that Cannon wears, making him a combination of bassist, composer, arranger and producer.

"Not only did I want to do a record with a combination of my favorite musicians," Cannon explains, "but I wanted to do a record with a combination of different styles."

Cannon assembled the perfect line-up of musicians with which to realize that goal. The pool of artists from which he drew for the session includes saxophonists Gary Bartz, Sherman Irby and Steve Slagle, trumpeters Jeremy Pelt and Duane Eubanks, pianists Kenny Barron and Rick Germanson, guitarist Russell Malone and drummers Willie Jones III (who also co-produced the album) and Will Calhoun. Together with Cannon they combine and recombine in quintet, quartet, trio, duo and - in the bassist's memorable, heartfelt closing rendition of "Darn That Dream" - solo configurations.

"Everybody on this record is an honest musician," Cannon says. "They play their personalities."

The same could be said for Cannon, who has played with an impressive list of legendary musicians since arriving in New York City from his native Wisconsin more than thirty years ago. That encyclopedic lists includes his longtime tenure in the Roy Hargrove Group and the McCoy Tyner Trio, along with stints with Art Blakey's Jazz Messengers, the Cedar Walton Trio, and bands led by Elvin Jones, Dexter Gordon, Jimmy Smith, Joe Lovano, Monty Alexander and Stanley Turrentine, as well as playing with a host of legendary Cuban musicians.

Combinations comes out of the gate robustly swinging, with a tune by another early mentor, Slide Hampton. "Every Man is a King," which Cannon learned from a version by one of his bass heroes, Sam Jones, features a bold quintet with Gary Bartz and Jeremy Pelt out front, anchored by Cannon and his regular trio of Rick Germanson and Willie Jones III. That trio gets to shine on the classic ballad "How My Heart Sings," revealing fragility reminiscent of the classic Bill Evans Trio. Cannon's own ballad "A Thought" is highlighted by the sensitive touch of Kenny Barron, which sounds gorgeous in conversation with Sherman Irby's lithe alto.

Steve Slagle makes the most of his sole appearance with an unaccompanied intro to Duke Ellington's "Prelude to a Kiss," which is immediately contrasted by the frantic rhythms of Cannon's ode to his usually-packed home subway station, "Columbus Circle Stop." Cannon fell in love with authentic bossa nova while touring Brazil, and offers his own version in dedication to his late mother, "Amanda's Bossa." Sam Jones' influence returns with his composition "One for Amos," a feature for Cannon's thick, woody tone, while Bartz is the subject of the tribute "Gary's Tune." Also featuring Living Colour drummer Will Calhoun, with whom Cannon plays in a band honoring his former boss Elvin Jones, the tune is built on a soulful groove that Cannon wrote while reminiscing about his teenage years playing R&B in his parents' basement.

"Gary is a good friend and big brother," Cannon says. "The melody that I wrote for that tune had to do with a lot of things I hear him play with McCoy Tyner. Gary's a groovy cat, so soulful and complex at the same time. He's the consummate musician, and I like the fact that he's very true to his feelings about life and the world."

Growing up in the church, Cannon says that it was a rare Sunday that he wasn't either playing or hearing "How Great Thou Art." He recorded this captivating duo version with Russell Malone in honor of his later father, who led his own gospel group during Cannon's childhood. The title tune returns to a blistering quintet format, this time pairing Duane Eubanks with Bartz on the frontline.

That's a lot of combinations, but Cannon can add one more to his resumé: he is renowned as both a jazz bassist and a visual artist. Though he's long kept the two pursuits separate, not wanting to be thought of as a musician who dabbles in painting on the side, he's recently allowed his dual passions to cross paths more often. One of his colorful abstracts graces the inner sleeve of Combinations (alongside one by his gifted son, Gerald Cannon II), and he's begun to recognize how much influence each of the arts has on the other.

"Painting is like a bass solo," he says. "You start at one spot but you don't really know where it's going to end up. All you know is, on a canvas or on a chart, you've got four corners to finish it and at some point you've got to say who you are or what your emotions are at that particular time."

NEW RELEASES:TONY ALLEN – A TRIBUTE TO ART BLAKELY; BAHAMA SOUL CLUB – THE HAVANA REMIXES; GEMMA & THE TRAVELLERS - TOO MANY RULES & GAMES

TONY ALLEN – A TRIBUTE TO ART BLAKELY          

                

On Tony Allen's new EP, A Tribute to Art Blakey, the legendary Nigerian drummer and Afrobeat pioneer best known for his work with Fela Kuti pays tribute to his longstanding idol, the American jazz drummer and Blue Note legend Art Blakey. The 4-track EP features a fiery 7-piece band interpreting Jazz Messengers classics through an Afrobeat prism. The lead track "Moanin'" is available now to stream or download ahead of the EP's May 19 release.

BAHAMA SOUL CLUB – THE HAVANA REMIXES

Hot on the heels of their critically praised album "Havana '58" and with fans worldwide clamoring for more, Bahama Soul Club has now called upon a brilliant range of producers, DJs and artists to put their own personal spin on Bahama's latest release. "The Havana Remixes" is a bright collection of Latin, House, Jazz, Funk, Soul & Disco with a thoroughly modern take on Dancefloor Jazz. Opener "Muévelo Papi" is a stirring 60s Boogaloo-hip-twist by Club Des Belugas, while Smoove turns “No Words” into a fusion of Jazz-house and Breakbeat. Opolopo pulls "Dizzy's Bounce" deeeep into jazzy House while Maestro&Vezzola and Zouzoulectric vs. Gardener Of Delight both having a diverse view on "Tropicana Flight". Suonho jams a more modern Soul-Disco-Funk on "No Words" and amps up the funk quotient on "Muévelo Papi" with a touch of Jazz and a Latin Twist. Rounding off the release is a Nu-skool Brazilika-brukbeat from Positive Flow and some solid Latin funky breaks from

GEMMA & THE TRAVELLERS - TOO MANY RULES & GAMES

Debut album by Gemma and the Travellers gives a nod to early deep soul, r&b, northern soul and 60s funk but with a refreshing twist thanks to the band’s unique talent for songwriting. Contrary to the Motown model where the singer is rarely the songwriter, Gemma M. writes all of her songs with the help of guitarist/producer Robert P. The titletrack to Gemma & The Travellers’ debut album “Too Many Rules & Games” is a song about a woman who has had enough of a world run by men looking only for their own personal glory and fame. Love is the answer to the problems of this world! “Where I Lived Before” is another highlight: “I am looking back at the years of my upbringing living in the south of Italy, a juxtaposition of poverty, injustice and hardship with all the beauty of the land and warmth of the people; it was hard to be a teenager there as my mum would not let me go out, which amplified the rebel in me”, Gemma explains. Recorded live at Lemoncake Studios in northern Brittany, producer Robert P. strived for an authentic and original soul sound with a certain crunchiness and analogue distortion, like that of an old vinyl from the 60s, but without falling under the overused ‘retro’ banner. 

Frank Sinatra 'Baby Blue Eyes… May The First Voice You Hear Be Mine' New 20-Song Collection

Frank Sinatra always saluted his audience with a toast: "May You Live To Be A Hundred And The Last Voice You Hear Be Mine."  Envisioned as a child's first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: Baby Blue Eyes… May The First Voice You Hear Be Mine.

After combing the songs from Sinatra's Reprise, Capitol and Sony catalogs, Tina carefully chose 20 songs for 'Baby Blue Eyes' that express a father's love, compassion and dreams for children around the world. Featuring a baby photo of Sinatra on its cover, the collection will be available for download purchase or streaming across all major digital music providers worldwide, and at Sinatra.com's Sinatra 100 shop.      

Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.” Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: 'Baby Blue Eyes… May The First Voice You Hear Be Mine.'

Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.” Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: 'Baby Blue Eyes… May The First Voice You Hear Be Mine.'

"Dad is perhaps best remembered as a saloon singer. He often referred to himself as such," says Tina Sinatra. "But, first, he was a Father and that emotional connection to the child in all us is ever-present in this collection of songs that I have chosen as a concert to each new generation."

Frank Sinatra:  Baby Blue Eyes… May The First Voice You Hear Be Mine [digital album]

1.Yes Sir, That's My Baby

2.Ain't She Sweet

3.It's A Wonderful World

4.Isn't She Lovely

5.I've Got My Love To Keep Me Warm

6.Pocketful Of Miracles

7.I Believe

8.It's Only A Paper Moon

9.High Hopes

10.Jeepers Creepers

11.Pennies From Heaven

12.How Cute Can You Be?

13.A Baby Just Like You

14.Bein' Green

15.Hush-A-Bye-Island

16.Fairy Tale

17.Young At Heart

18.Dream

19.Put Your Dreams Away

20.Cradle Song (Brahms Lullaby)

LYDELL WILLIAMS KEEPS THE RAW, HEARTFELT NEO-SOUL FLOWING ON HIS EPIC 17-TRACK SET ‘THE SOUND OF MY MELODIES’

The Multi-Talented Indie Singer, Songwriter and Producer’s 2008 Breakthrough EP ‘The Sound’ Led To Success On The Jazz/R&B Festival Circuit and Opening Slots For

Superstars Miguel, Dave Hollister, Eric Roberson, Dwele And Liv Warfield, Among Others

Continuing to fulfill his mission to get back to the roots of R&B and Neo-soul with substance, raw emotions and the no holds barred baring of his deep life experiences, multi-talented singer, songwriter and producer Lydell Williams is set to drop The Sound of My Melodies. It’s an epic 17-track collection that lays the last four years of his heart on the line in a whirlwind of sensual melodic vibes, dope harmonies, lush balladry and dance floor grooves.

In an ambitious marketing move that aims to take the Arkansas bred, Richmond, Virginia based independent artist’s career to the next level, he will be releasing a total of eight singles from the album over a period of months. These include “Groove Your Body,” “Love Drug,” “Soul Tie,” “Don’t Go Looking for Love,” “Heartbeat,” “Get To Know You,” “The Morning After” and “Rain.”

The highly anticipated follow-up to his popular, critically acclaimed previous releases, his 2008 debut EP The Sound and the 2013 mixtape album A Peace of My Soul, Vol. 1, The Sound of My Melodies reflects Williams’ commitment to create a legacy and sound of his own. In his view, the only way to stir up the hearts and souls of people around the world is to give them the straight story of the past few years of his life. The back cover of the album shows the skylines of Little Rock and Richmond as a way to convey his geographical relocation during the time of writing and recording.

“The last four years of pain in particular brought me peace of mind, and taught me to balance,” he says. “Going through all that brought me to a place of hope and love. It brought me to a place where I felt free to write and sing. It brought me The Sound of my Melodies. For the last four years, I’ve been weaving and bobbing through life, going in and out of challenging circumstances, growing and dying, sometimes at the same time.

“I can honestly say now that I wasn’t ready to emerge with this kind of project till now,” Williams adds. “My story in this season hadn’t been completed yet. I still had to be broken and betrayed so I could write about those experiences. I still had yet to have my heart really broken so I could express these emotions. A lot of these songs are based on love, life and romance. Real life experiences and relationships with people that I extended myself and gave love to who didn’t see the purpose in loving me back the same way.  I sing about  the value of genuine commitment, perfect chemistry and the true meaning of connection in songs like ‘Soul Tie.’”

Williams has been on a creative and career roll since The Soundcaught the attention of the industry. He has performed up and down the East Coast at many prominent venues and festivals, from The Howard Theatre and Constitution Hall in Washington DC to the Hippodrome Theatre in Richmond, the Richmond Jazz Festival and Hampton Jazz Festival. Over the years, he has also opened for pop/R&B superstars Miguel, Dave Hollister, Eric Roberson, Dwele, Liv Warfield and Raheem DeVaughn.

Beyond the details of my production, arrangements and vocals, I really worked hard on the dynamics on The Sound of My Melodies,” Williams says. “I love that every song is unique in vibe and lyrical content and that each conveys a different emotion. I’m grateful for the opportunity to convey the sound I’ve put together and touch more lives as I share the album and the singles with the world. Grinding is what keeps the hunger for success growing in my spirit.”

The New York Standards Quartet To Release Sleight of Hand The Much Anticipated Follow Up To Power of 10

It's now approaching twelve years since the New York Standards Quartet (NYSQ) came into being, its core personnel taking time out from their multifarious individual projects to revel in the shared brief of refashioning familiar and lesser- known jazz standards. Their new release Sleight of Hand builds on their catalog of five previous albums (most recently, The New Straight Ahead and Power of 10, on Whirlwind) as saxophonist Tim Armacost, pianist David Berkman and drummer Gene Jackson welcome double bassist Daiki Yasukagawa back into the fold.

Describing the NYSQ's beginnings, David Berkman recalls: "We were at the period where we'd all done a lot of original recordings of our own music, as composers and leaders; and then, through a series of circumstances, we came together as a quartet with the particular mission of taking on standards, but arranging them to create a feeling that was similar to the original albums we recorded. It soon became apparent that audiences really got into the idea and the fun of seeing how we would expand the harmonic, tonal and rhythmic aspects into a more modern frame while always referencing the music's origins." This carries into the thematic approach for Sleight of Hand. Tim Armacost explains further, "the album title refers to the four of us, conjuring transformations of standards and enjoying the magic of creating something new out of that repertoire; really exploring the group's alchemy and chemistry, achieved through twelve years of touring and recording together." 

This is a band that regularly plays and performs together, so there's a common bond, which brings out the best in the arrangements they conjure. Recorded at the end of an international tour - in the beautiful, mountainous location of Lake Yamanaka, close to Mount Fuji (the quartet enjoys a special affinity with Japan) - Sleight of Hand's eight numbers reflect the band's spontaneous, transformational approach, with the title track (based on Gershwin's 'But Not For Me') irresistibly playful.

Mal Waldron's 'Soul Eyes' and Thelonious Monk's 'Ask Me Now' swing with respective vibrancy and jauntiness, while the metrical changes and perky rhythms of 'This I Dig of You' pick up on Hank Mobley's classic Blue Note album origins; and the various key modulations in 'Lover Man' are a world away from Billie Holiday's lingering vocal lines as Armacost's spritely soprano responds swiftly to Jackson's syncopated drum accents.

1940s song 'Detour Ahead' - perhaps mostly familiar in composer Herb Ellis's guitar setting - translates into a luscious tenor and piano-led ballad, sensitively buoyed by Yasukagawa's bass shaping; Jules Styne/Sammy Cahn favorite 'I Fall In Love Too Easily' is treated to sparkling, percussion-led animation; and Armacost's rich tenor lyricism in Duke Ellington's 'In a Sentimental Mood' is ravishingly restrained.

David Berkman relates that the NYSQ's journey continues to energize them: "Going into the recording studio is still as challenging as it is enjoyable, though I guess we feel like we don't need to prove anything anymore! And though we like to pull out obscure tunes, it's also important to include touchstones for our listeners, as everyone relates to them emotionally - there's still a lot of awareness there. These are such great melodies, you can do almost anything with them - and, as always with improvisation, that sense of 'What's happening today?' remains exciting. It's all about a moment." 

NYSQ SLEIGHT OF HAND TOUR DATES:

12th annual tour of Japan in support of Sleight of Hand:

July 13 - RAG, Kyoto

July 14-Azul, Osake

July 15-JB-5, Kobe

July 16-Cafe Soho, Okayama

July 19-So Nice, Takamatsu

July 20-Bird, Hiroshima

July 21-Jazz Society, Iwakuni

July 22-Seagaia Jazz Festival, Miyazaki

July 23-Doji House, Suzuka

July 28-Body and Soul, Tokyo

July 29-NHK Radio Broadcast, Tokyo

July 30-Yumeya, Gunma

August 1-Lifetime, Shizuoka

GRAMMY-NOMINATED SOUL/JAZZ DIVA MAYSA SHINES ON LOVE IS A BATTLEFIELD

Grammy-nominated vocalist Maysa has remained one of the most instantly identifiable voices in R&B and Jazz over the past 25 years by staying true to her musical vision. "I look for soul in a song," explains Maysa, who launched her musical career as a member of Stevie's Wonderlove and who has been a long-time vocalist with the explosive UK Jazz/Funk sensation Incognito. The Baltimore native adds, "I sing mostly positive, uplifting and loving music and lyrics. I am an artist who enjoys being close to the people who support my music. It's about the connection to people and helping someone circumvent the craziness of our world." 

On May 26, 2017, Maysa will release her 13th recording as a leader and ninth for Shanachie Entertainment, Love Is A Battlefield. Maysa joins forces with producers Chris "Big Dog" Davis, The Heavyweights and Jason Miles and re-imagines a handful of R&B gems like  BabyFace's Top 10 Tevin Campbell hit, "Can We Talk," The Isley Brothers' 1970s slow jam "Footsteps In the Dark," Natalie Cole's 1975 #1 hit single "Inseparable" and Luther Vandross' timeless "Because It's Really Love." Maysa also delivers surprises like the album's title track and Pat Benatar's Gold-selling 80s cult classic and Justin Bieber's hit single featuring Big Sean "As Long As You Love Me."

Maysa shares about the CD's first single, "The reason why I chose 'Love Is A Battlefield' is that it has a lot to do with the way the world is today and all of the things we are going through as a people.  As humans, we are surrounded by people who are not choosing love first. People are choosing money over love and compassion. To me, 'Love Is A Battlefield' is just that, a battle to allow love to reign over everything."

Virtuoso Violinist Regina Carter Digs Deep Into the Ella Fitzgerald Catalogue on Ella: Accentuate the Positive

A hundred years after her birth, the ever-eloquent Ella Fitzgerald continues to teach us lessons. Regina Carter has chosen this moment to celebrate the First Lady of Song's infectious and inclusive artistry with unabashed joy. "Accentuate the Positive, I thought was the perfect title considering the mood of the country and the world right now," Ms. Carter says. "We need some positive vibes."

On Ella: Accentuate the Positive, out now from OKeh/Sony Music Masterworks, the virtuoso violinist reveals the many faces of Fitzgerald that have influenced Carter's own remarkable path in music. Apart from the title track of Accentuate the Positive, Carter resists the allure of the songstress' most recognizable hits. Carter has mined tunes from deep within Ella's bountiful catalogue, and brought them to the surface with a distinct freshness. The reward is rich for the listener.

"One of the many things that I adore about Ella is that she just loved music and didn't box herself in," Carter explains. "She recorded everything, not just the American Songbook -- doo-wop, Stevie Wonder and Beatles songs, even some country western music. The fact that she experimented with so many different styles made me feel that, with this record, I would pay respect to her by taking the music and doing something else with it. I feel that she would smile in agreement."

To realize her vision of the album, which transforms the songs through a lens of classic 1950s-'60s soul and blues, Carter calls on an impressive roster of musicians and arrangers. The violinist is accompanied by her longtime rhythm section of bassist Chris Lightcap and drummer Alvester Garnett, and is joined by pianist Xavier Davis and guitarist Marvin Sewell. Both Lightcap and Sewell serve double-duty as arrangers.

This talented group is supplemented by in-demand bassist Ben Williams, producer and hitmaker Ray Angry, renowned vocalist Charenee Wade and pianist Mike Wofford, Fitzgerald's own former accompanist and musical director. Two tracks feature vocals by Carter's fellow Detroiters, actress and singer Miche Braden; and longtime friend and vocalist extraordinaire Carla Cook, who first introduced Carter to jazz violin while the two were classmates at Cass Technical School.

"When people arrange tunes, their voices become part of the recording as well," Carter says. "I wanted to have many voices and many stylistic approaches on this record."

Adoration of Ella Fitzgerald is a theme that is woven throughout the violinist's career. Many songs previously have found their way onto Carter's recordings. For instance, "Oh, Lady Be Good," shows up on 1999's Rhythms of the Heart while "A-Tisket, A-Tasket" appears on the 2006 release, I'll Be Seeing You: A Sentimental Journey, the moving tribute to Carter's late mother. Central to Carter's choice of songs for the album was the ability to spark a connection between the audience and the material, similar to the connection she felt upon hearing Ella for the first time. On the heels of Braden's spirited, gospel-tinged performance on the opening "Ac-cen-tchu-ate the Positive" comes Williams airily funky arrangement of "Crying in the Chapel." Best known as a hit for '50s R&B group, The Orioles, and recorded by everyone from Elvis Presley to Bob Marley, the song was the B-side to Ella's 1953 single "When the Hands of the Clock Pray at Midnight." Lightcap's bluesy take on "I'll Never Be Free" follows, while Davis' sultry Rhodes sets the tone for the slinky groove of Sewell's arrangement of "All My Life."

Wofford's setting of the standard "Dedicated To You" pares the band down to a violin/piano/bass trio, allowing Carter's touching lyricism to shine. Angry gives "Reach for Tomorrow" a shimmering ballad treatment, while Wade's gutsy R&B take on "Undecided" shines the spotlight on Cook's powerhouse, no-nonsense vocal. Carter pairs off with Sewell for an intimate duo rendition of "Judy," the song that jump-started Fitzgerald's career on the stage of the Apollo Theater. Finally, Sewell's gutbucket slide guitar fuels the rootsy version of "I'll Chase the Blues Away" to bring the album to a close.

A student of the violin from age four, Detroit native Carter first focused on listening to classical music. But a vast wealth of influences crept into her ears via her music-loving family. Her older brothers brought home Motown and other soul records, an influence certainly felt on Accentuate the Positive. From her parents' record collection she would pull titles at random -- one day jazz albums, the next, movie soundtracks. It was through that treasure trove that she first heard Ella and instantly was hooked.

"Something about her voice made me feel like I had a personal connection," Carter recalls. "When she sang, I felt really warm and safe, almost a maternal connection. It just felt like love." For Carter, the enchantment continued into adulthood. She grew to realize how much technique and virtuosity were involved in producing a sound so remarkably warm and inviting. "As an adult, I realized what an instrument she (Ella) had," Carter continues. "She had an incredible voice and I gained a lot of respect for her along with the love I had always felt. For years, I would get up and put on an Ella track first thing in the morning. That was the way I needed to start off my day."

Accentuate the Positive is the end result of Carter's daily communion with and lifelong devotion to the music of Ella Fitzgerald. In her heartfelt and deeply personal interpretations of these songs we can hear the same degree of warmth, feeling and elegance that imbued the legendary singer's work as filtered through Carter's singular voice. And that's nothing but positive.

  

Ella: Accentuate the Positive Tracklisting:

1. Ac-Cent-Tchu-Ate the Positive

2. Crying in the Chapel

3. I'll Never be Free 

4. All My Life 

5. Dedicated to You        

6. Reach for Tomorrow   

7. Undecided

8. Judy  

9. I'll Chase the Blues Away

Adam Rogers' DICE Conjures Electrifying Debut with Eponymous Album Featuring Fima Ephron and Nate Smith

Modern jazz virtuosity combusts with a raw, eclectic mixture of rock, funk, blues, country and R&B in a volatile combination that uniquely reflects our time while evoking the gritty street sounds of a bygone New York on the self-titled debut release by Adam Rogers' DICE. The explosive power trio brings together Rogers, one of the most acclaimed and inventive guitarists in modern jazz, with a pair of longtime collaborators: bassist Fima Ephron and drummer Nate Smith.

Together, these three adventurous artists have created a uniquely electrifying sound that merges danger-skirting experimentalism with blistering, genre-defying tunes and spontaneous grooves as tightly coiled as a rattlesnake about to strike. It's a singular concoction, one that could only come from a musician with Rogers' distinctive background and gift for uniting six-string wizardry with gut-churning propulsion.

Due out June 16 on Rogers' own ADRAJ RECORDS imprint, DICE marks the first release on the guitarist's new label as well as the debut of a trio that has been honing its visceral sound for the better part of a decade. The members have shared histories that date even further back, however; all three have been key members of Chris Potter's Underground, while Rogers and Ephron have co-led the uncategorizable group Lost Tribe since the early 1990s.

"The music that we play in this band is so infused by Fima and Nate's incredible capacity to really groove their asses off, regardless of how complex the music can become." Rogers says. "They have a phenomenal hook-up, both in terms of their natural talents and their ability to objectively conceptualize music."

Those qualities are key to the risk-taking approach of DICE, which uses the written material as the leaping-off point for powerfully infectious music created entirely in the moment. It's composition as a roll of the dice.

Rogers' formative years were spent on the streets of New York City at a time when a staggering range of music poured out of every house you passed by. He was surrounded by music in his own home, where both his parents were Broadway performers who raised him against a steady backdrop of show tunes, jazz standards, popular song and opera. He came of age captivated by everything from The Beatles to James Brown, The Temptations to Led Zeppelin, Parliament Funkadelic to Jimi Hendrix. He discovered jazz through fusion pioneers like Herbie Hancock's Head Hunters and Weather Report before tracing the music back to its source, finding inspiration in the music of Charlie Parker, Miles Davis and John Coltrane.

"In New York in those days," Rogers recalls, "radios were always playing everywhere, right out on the street. I was profoundly affected by that; the music I heard cast a spell on me when I was young. There was so much instrumental musicianship evident in all of that era's popular music, which, combined with what I heard at home, ultimately created the musical groundwork for me to start to appreciate jazz."

Some of Rogers' own earliest musical experiences were found on those same streets, as the young guitarist and his fellow musicians -- including Ephron -- would drag their axes and amps to a pre-Disneyfied Times Square to play for passersby. "We had gasoline generators and had certain places that we knew we could play where the cops wouldn't stop us, and we played between two and three sets a day, five or six days a week. It was a wild and beautiful and crazy environment, and we would play music that was exciting, fast and loud so that we'd get the crowds enthusiastic."

The music of DICE harkens back to those days, both in its excitement and in the techniques that Rogers and his fellow musicians honed to improvise and sustain chunks of groove in order to adjust to the unpredictable audiences. The same method can be heard throughout the trio's album, from the taut, crunchy chords that open the album with the nasty skronk-funk of "Dice" through the grungy, steamroller heaviness of closer "Seven."

"Chronics" begins with a deceptively simple blues-rock twang before taking a psychedelic twist at the end with the Beatles-inspired post-production addition of Mellotron and Clarinet overdubs -- an attempt, Rogers explains, to "put a little Schubert into the funk." Rogers embellishes many of the tunes on the album with lush layers of sound: samples, synths, clarinets, organ, Fender Rhodes, percussion and other elements that nod to the more sophisticated elements that sit side-by-side with the live vitality and expert musicianship of many of his influences.

The percussive guitar strumming at the heart of the funky "Sea Miner" and "Elephant" has a direct antecedent in the revered fretwork of Jimi Hendrix, while the deep-rooted Delta blues style of "The Mystic" is a direct tribute to the legendary Mississippi Fred McDowell. The dreamlike collage of "The Interlude" is just that, an entr'acte built on the foundation of a freely improvised groove. It's followed by the searing, syncopated thrash of "Flava," which is suddenly interrupted by a stunning, abstract piece of musique concrete borrowed from music for a theater piece Rogers scored.

Taken at a blissful lope, DICE's version of the Patsy Cline classic "Crazy" -- written by Willie Nelson -- luxuriates in the lyrical, warm sound of the Fender Telecaster. Rogers was inspired to interpret the song by Tele masters like Jimmy Bryant, James Burton and Roy Buchanan, putting his own unique, warped accent on the tradition over Smith's whispering brushwork and Ephron's swaggering bass. The brashly playful "L the Bruce" pays homage to iconic comedian Lenny Bruce in its irreverence and dark, edgy sense of humor.

On DICE, Rogers, Ephron and Smith tap the vein of a cityscape to find a vital source of visceral musical invention. It's rock, it's funk, it's blues, it's country, it's throat-throttling jazz as only these three innovative artists can create it.

DICE marks an exhilarating new direction for Rogers, best known as a versatile and innovative jazz guitarist who has toured and recorded with a diverse array of artists including Michael Brecker, Cassandra Wilson, Norah Jones, Joe Jackson, Walter Becker, Paul Simon, Regina Carter, John Zorn, Randy Brecker, Ivan Lins, Marcus Miller, The Mingus Orchestra, Chris Potter, The Gil Evans Orchestra, John Pattitucci and Ravi Coltrane, among others. He has previously released five albums as a leader in trio, quartet and quintet formats and appeared on over 200 albums.

NEW RELEASES: KASHIF – HELP YOURSELF TO MY LOVE: THE ARISTA ANTHOLOGY; TANIKA CHARLES – SOUL RUN; MTUME – PRIME TIME: THE EPIC ANTHOLOGY

KASHIF – HELP YOURSELF TO MY LOVE: THE ARISTA ANTHOLOGY

A huge legacy in soul music from Kashif – one of the greatest rising stars of the 80s scene, and an artist who really helped the music find a new direction at the time! By the time of these tracks, Kashif had already had a lot of experience writing for others – but on his own, he soars even further into the skies – as a mature, sophisticated artist who's able to get past straighter funk and club modes, but also avoid some of the more commercial soul music cliches of the time – with a timeless approach that's ensured that work like this has found a growing audience in the decades since it was recorded! Make no mistake, there's plenty of catchy tunes here – but there's also something special, too – as Kashif was never one to just make throwaway tracks, and instead always seemed to be working towards a greater role. The 2CD set brings together 30 of his best moments from the 80s – including some 12" mixes – and titles include "Stone Love", "I Just Gotta Have You", "Ooh Love", "Moving Song", "Condition Of The Heart (extended)", "Love Me All Over (extended)", "Love Changes (with Meli'sa Morgan)", "Step Into My World", "Love Letter Out Loud", "Kathryn (inst)", "Dancing In The Dark", "Movie Song", "Edgartown Groove", "The Mood", "All", "Ain't No Woman Like The One I Got (extended)", "I've Been Missing You", "Loving You Only (extended – with Doug E Fresh rap)", and "Reservations For Two (with Dionne Warwick)".  ~ Dusty Groove

TANIKA CHARLES – SOUL RUN

The first full-length from Tanika Charles – a deep funk singer with a difference! Tanika definitely works in some of the old school soul modes that you'll know from other artists on the Record Kicks label – but there's also a bit more of a contemporary crackle to her music, too – thanks to production work from Slakah The Beatchild, which brings in some hip hop elements to the rhythms! Tanika still sings like she's making a record from the 60s and 70s, and most of the other instrumentation falls in the same way too – but the added production really gives things a crisp vibe that gets past some of the more overdone retro soul cliches in recent years. Titles include "Soul Run", "More Than A Man", "Money", "Love Fool", "Endless Chain", "Darkness & The Dawn", and "Waiting".  ~ Dusty Groove

MTUME – PRIME TIME: THE EPIC ANTHOLOGY

James Mtume is an artist with deep roots in jazz – including some excellent spiritual jazz material in the early 70s – but here, he's hitting superstardom in the soul music world – by pairing up with Reggie Lucas for a great run of music from the Mtume group! Lucas also hails from jazz – Mtume met him when they were both working with Miles Davis – and both artists bring something really special to their sound that moves it away from simple commercial soul – a bit like the depth that lays behind Earth Wind & Fire, who have similar righteous roots, but are able to fuse a wonderfully smooth, groovy sound – and there's also a similarity to the late 70s material of Norman Connors, another artist who followed a similar path. This set spans the full run of excellent recordings Mtume did for the Epic label – almost a decade's worth of music, including some other mixes, and a few side projects with singer Tawatha. Titles include "Just Funnin", "Anticipatin", "Mrs Sippi", "Love Lock", "Closer To The End", "Funky Constellation", "The After 6 Mix (Juicy Fruit part 2)", "You Me & He (polygamy mix)", "COD", "Prime Time", "We're Gonna Make It This Time", "The Closer I Get To You", "Kiss This World Goodbye", "It's Non-Functional", "Body & Soul", "Breathless (A&G mix)", "Did I Dream You", and "Would You Like To Fool Around". ~ Dusty Groove

NEW RELEASES: QUANTIC & NIDIA GONGORA - CURAO; DELIA DERBYSHIRE APPRECIATION SOCIETY – ST TROPEZ 1966 REMIXES; JUKKA ESKOLO - SOUL TRIO

QUANTIC & NIDIA GONGORA - CURAO

Will "Quantic" Holland has really turned out to be a hell of a fellow – a guy we first fell in love with as a beatmaker, then as a funk artist – and now as one of the few people who can ever mix grooves with global elements and make the whole thing come out sounding right! Quantic's working here with Colombian singer Nidia Gongora – whose voice really gives a strong focus to the kind of territory that he's explored on other records – at a level that really elevates the music past any sort of underground expression, and may well allow Quantic a bigger bridge into a the world of contemporary Latin music! Yet the set's hardly Latin pop, either – as all the rich textures and complicated elements we love from Quantic's production are still very firmly in place – providing a rootsy vibe and funky currents alongside the fantastic lead vocals. Titles include "Ojos Vicheros", "Amor En Francia", "Se Lo Vi", "E Ye Ye", "Que Me Duele", "Dub Del Pacifico (version)", "Dios Promete", and "Un Canto A Mi Tierra (version)".  ~ Dusty Groove

DELIA DERBYSHIRE APPRECIATION SOCIETY – ST TROPEZ 1966 REMIXES

Garry Hughes and Harvey Jones are two pioneering electronic music composers who individually have collaborated with artists as diverse as Bjork, Sly & Robbie, Killing Joke, The Art Of Noise, the Orchestral Pink Floyd project, Julian Cope, Carla Bley & Chris Boti among many others. In addition Garry is the co-founder of popular Six Degrees act, Bombay Dub Orchestra. The duo’s collaborative debut album as Delia Derbyshire Appreciation Society has captured the imaginations of listeners around the world, with pioneering ambient artists like Killing Joke’s, Youth declaring it an “ambient masterpiece” & Banco De Gaia’s Toby Marks praising its "gorgeous electronic ambience” and “retro yet timeless feel.” One of the album’s stand out tracks “St Tropez 1966” has now been remixed in a variety of styles and moods by artists as diverse as “electro-swing” mastermind The Real Tuesday Weld & Garry Hughes' other project Bombay Dub Orchestra. In addition Axel Toben brings some minimal tech flavors to the track while Faltso Mortale & Harvey Jones (with his Brigitte Bardot Remix) embrace the warm, ambient sounds that Delia Derbyshire Appreciation Society are becoming so well known for.

JUKKA ESKOLO - SOUL TRIO

A fantastic full length set from trumpeter Jukka Eskola and his Soul Trio – a combo with a strange sort of name! The group here is actually a sextet – as the core combo gets guest help from Timo Lassy on saxes, Magnus Lindgren on flute, and Ville Herrala on bass – who really expand the trio's wonderful groove – a mode that's partly soul jazz, but with very rich flavors of its own – hardly any sort of easy copycat of old American modes! Teppo Makynen – aka Teddy Rok – plays drums, alongside Mikko Helava on organ – and while the album shows all the respect for soulful jazz traditions that we've heard in previous music from Rok, Eskola, and Lassy – the sound is also very different, fresh, and quite original! Titles include "Hong Thong", "Railyard Boogie", "Subterranean Variations", "For Anne Lee", "Sweet Honey Bee", "Introducing The Trio", "Soft Drop", and "Jumpin Punkins". ~ Dusty Groove

NEW RELEASES: THEO HILL – PROMETHEAN; MATTHEW SHIPP – INVISIBLE TOUCH AT TAKTLOS ZURICH; ART HIRAHARA – CENTRAL LINE

THEO HILL – PROMETHEAN

Wonderfully romping piano from Theo Hill – a musician who's clearly got some earlier soul jazz inspiration in his style, but who also knows how to warm things up with a bit of lyricism too – in a manner that reminds us of the direction that Cedar Walton took from the 60s into the 70s! Theo has a way of making complex ideas come across with a very natural pulse – and he gets great help here from trio members Yasushi Nakamura on bass and Mark Whitfield on drums – both players who share the same rolling spirit that Theo brings to his piano. Titles include the original track "The Phoenix", plus great takes on "Hey It's Me Your Talking To", "Finger Painting", "Blasphemy", "This Here", "Litha", and "Is That So". ~ Dusty Groove

MATTHEW SHIPP – INVISIBLE TOUCH AT TAKTLOS ZURICH

Matthew Shipp's been an amazing pianist for quite sometime – but occasionally, we'll forget how great he can be – and it takes a record like this to jog our memory! The set is all solo, with Shipp exhibiting an amazing command of the keyboard – really reaching out to shape sound in special ways, and often create these progressions that hint towards melody, but often step sideways into their own sonic territory – free, but never too loose – showing the confidence of Shipp in the direction he's taking the music! And while sometimes such a setting can make us think that the pianist is just winding us up, there's a real sense of cohesion here – maybe almost in the territory of some of the Keith Jarrett live solo improvisations, although each selection here is relatively short. Titles include "Blue In Orion", "Monk's Nightmare", "Intro Z", "Pocket", "Gamma Ray", "Piece Within Piece", and "Fairplay".  ~ Dusty Groove

ART HIRAHARA – CENTRAL LINE

Art Hirahara is a beautifully fluid pianist – one who really won us over with his last album on Posi-tone, and who seems to soar even more here – working in a fantastic trio that includes Linda Oh on bass and Rudy Royston on drums – plus some occasional tenor from Donny McCaslin! Oh and Royston have this round presence that really resonates strongly with Art's piano – creating this wave of soulful energy from the ground up, even on the mellower moments – with a tonal depth that's sophisticated, yet never forced at all. When McCaslin comes into the mix, his sound is a bit more separate from the three – yet in a way that only underscores their cohesion and beautiful sensitivity together. Titles include "Little Giant", "Sensitive Animal", "Central Line", "Kuroda Bushi", "Astray", and a version of the Chico Buarque tune "As Minhas Meninas".  ~ Dusty Groove

Soul-jazz saxman Elan Trotman will host his fourth annual Barbados Jazz Excursion with a festival lineup featuring Will Downing, Norman Brown, Brian Simpson and others

Bigger but simpler. That’s the mandate soul-jazz saxophonist Elan Trotman adopted for his flourishing music festival and benefit golf tournament in his native Barbados. Festivalgoers that flock to the fourth annual Barbados Jazz Excursion this Columbus Day Weekend (October 6-8, 2017) will be treated to the biggest and best lineup of contemporary jazz and R&B artists yet assembled at the fest along with a simplified schedule that allows more time to discover the alluring tropical beauty of the Caribbean island. For the second year, Trotman’s Charity Golf Outing will benefit the Never Lose Your Drive Foundation and the Headstart Music Program in Barbados. 

Top-lining the Barbados Jazz Excursion’s opening night marquee is Grammy-winning guitarist Norman Brown, who will share the bill with urban-jazz saxplayer Jeanette Harris and rising star bassist Julian Vaughn. Trotman & Friends, including Barbadian Alison Hinds - known as the Queen of Soca - will be presented in an outdoor setting on the afternoon of day two, concluding pre-sundown to give excursioners the entire evening to discover Barbados’ many dining and nightlife options. Sunday morning, the golfers will hit the wondrous and challenging greens of the Apes Hill Club. The Sunday evening bill will feature Grammy-nominated soul vocalist Will Downing, R&B-jazz saxophonist Marion Meadows and contemporary jazz keyboardist Brian Simpson. The weekend shall conclude with a late night all-star jam session.         

“Each year that we have produced the Barbados Jazz Excursion has been a learning experience. We want to ensure that our guests’ experience is better and better by presenting a topnotch lineup, amazing entertainment and first-class luxury accommodations. What gives the weekend more meaning and significance is that we have a nonprofit golf tournament attached thus the events are not just an opportunity to share my country, my culture and my story, but also an opportunity to introduce people to the charity I support that provides music education for elementary school students in Barbados,” said Trotman, who recently released his seventh album, “Electro Sax,” a collection that continues his commitment to incorporate authentic Caribbean sounds into a mix of contemporary jazz and R&B grooves. 

Introducing guests to Barbados has always been at the fore of Trotman’s festival weekend. With that in mind, this fall’s schedule and menu of excursions has been simplified to allow festivalgoers the flexibility to build their own itinerary along with the option to spend more time enjoying the array of amenities and plush accommodations at one of the three host resorts: The Crane, Hilton Barbados Resort and O2: Ocean Two. New for this year is that the Island Adventure Tour visiting scenic and historic locales is now included with the purchase of any festival package. Other exciting excursions on offer are the award-winning Atlantis Submarines Undersea Adventure; the Jolly Roger Lunch Party Cruise that serves up a sumptuous feast and world-famous Jolly Roger Rum Punch while observing sea creatures and sailing past sunken ships; exploring the natural wonders of Harrison’s Cave; and a chance to literally taste Barbados history at the Mount Gay Rum Distillery.     

The beneficiary of the golf tournament that is expected to include several music and sports celebrity participants, Trotman’s Never Lose Your Drive Foundation is a 501(c)(3) non-profit organization that generates funds to support the Headstart Music Program in Barbados, which provides lessons and instruments to students at the beginner’s level. 

AVERY SUNSHINE RELEASES TWENTY SIX FOUR

Some people have a calling that is undeniable. Avery*Sunshine is that force of nature. Yet the former church pianist/musical director, who scored a #1 Billboard chart hit, was at once a reluctant warrior. "I had no idea that my work in the church would prepare me to do what I do." Bringing people together through her riveting stage performances, candid and often humorous stage banter and optimistic anthems about love and life is what Avery*Sunshine does best. In fact she does it so well, that she has garnered praise from iconic musical figures like The Queen of Soul, Aretha Franklin, who raves, "I love Avery*Sunshine!"The Atlanta based singer's no holds barred signature soul/R&B sound has also made believers of such luminaries as Patti LaBelle, Berry Gordy and Boy George who proclaimed on twitter "@averysunshine love this woman's voice."

Twenty Sixty Four (released April 21st via Shanachie Entertainment), is Avery*Sunshine's sophomore CD for Shanachie, features organic soulful in-the- pocket grooves, sublime ballads, exquisite arrangements/orchestrations and exuberant life affirming tracks.  The vocals shine throughout, the production is tight and the songwriting hits home. Twenty Sixty Four marks the first time that Avery*Sunshine has had numerous collaborations on an album and expanded the instrumentation. "This is something that I have always wanted to do," she states. "I really wanted to have live strings on the record so we got to do that this time. We collaborated with Grammy award winning pianist and arranger, Ruslan Sirota. We also have a couple of writing collaborations with Eric Roberson, Carvin Haggins and Jamie Portee." Twenty Sixty Four also features a few guest appearances, including Mr. Talkbox (Bruno Mars, NSYNC, Erica Campbell), Frank McComb (Prince, Branford Marsalis, Lalah Hathaway) and recent Grammy winning trumpeter Keyon Harrold (Maxwell, Jay-Z, Beyoncé, Common, Gregory Porter). "These are some big milestones that I am really excited about," shares Avery*Sunshine. Twenty Sixty Four further asserts the consummate artist as one of the best things to happen in R&B in the past decade.

With the release of Twenty Sixty Four, Avery*Sunshine concludes, "I am always striving to fill the space that I was created to fill. Everybody has their own fingerprint and we are all here for a reason. I believe the reason that I am here is to share the music that God has given me."