Keely Smith: Little Girl Blue, Little Girl New (Expanded Edition) CD

You can’t get any more popular in American entertainment than Keely Smith was in the early ‘60s. Having blown the doors out in Las Vegas, winning a Grammy, having hit after hit and lighting up television screens playing straight “man” to husband Louis Prima, she’d navigated the tricky waters of a professional and personal divorce, striking out on her own and starting her own record label, Keely Records, in partnership with close friend and mentor Frank Sinatra, under the auspices of his Reprise label. 

A groundbreaking businesswoman, as well as recording artist, Keely recorded 5 classic albums for Reprise. Because she’d seen enough show business shenanigans to last a lifetime, a generation before it became standard practice to do so, she retained the rights to her masters. Those albums have NEVER come out legitimately on CD anywhere in the world. 

Now, Real Gone Music, in concert with Keely & her family, is very proud to announce that the label is going to answer the pleas of pop fans worldwide and release ALL of Keely’s Reprise albums on CD for the first time in deluxe packages featuring bonus tracks, rare photos, and new liner notes. Little Girl Blue, Little Girl New was Keely’s first release for her new label Reprise, and she celebrated her newfound freedom in grand style by putting out a concept album jointly supervised by Keely with Frank Sinatra. Reassembling the topnotch, high flying creative team of their Capitol years, the entire package was fashioned as two distinct records, from the song choices to the album artwork itself. It featured two different front covers, one lachrymose, one cheery. 

The first side, “Little Girl Blue,” offered such lovelorn fare as “Here’s That Rainy Day,” “Willow Weep for Me, and the title tune, while the second side, “Little Girl New,” was epitomized by the spirit of its closing track, “Blue Skies.” Taken as a whole, Little Girl Blue, Little Girl New is a uniquely powerful listening experience and stands as one of the first concept albums ever recorded by a female artist. We’ve added Keely’s first Reprise single (produced by Don Costa), “When You Cry” and “Going Through the Motions,” (mixed to stereo for the first time ever!) to the original stereo album for this Expanded Edition, which is remastered by Mike Milchner at SonicVision from original tape sources and also features fresh liner notes and rare photos. Oh, and one more thing…the whole thing is arranged and conducted by the great Nelson Riddle!

1. Little Girl Blue

2. Here's That Rainy Day

3. Gone with the Wind

4. Willow Weep for Me

5. It'll Never Be the Same

6. Guess I'll Hang My Tears Out to Dry

7. I'm Gonna Live Till I Die

8. It's Good to Be Alive

9. A Lot of Livin' to Do

10. Once in a Lifetime

11. New Sun in the Sky

12. Blue Skies

13. When You Cry

14. Going Through the Motions

Laura Nyro: A Little Magic, A Little Kindness—The Complete Mono Albums Collection (2-CD Set)

Can you surry?  Can you picnic?  Laura Nyro, to use her own fanciful word, surried onto the scene 50 years ago with the release of her debut album More Than a New Discovery.  Its title was certainly apt. Throughout the course of her life, Nyro wrote and introduced some of the most beloved popular songs of all time with her singular fusion of pop, jazz, R&B, soul, Broadway, and folk sounds.  

Real Gone Music and Second Disc Records are proud to celebrate the golden anniversary of Laura Nyro’s debut with a landmark 2-CD collection.  A Little Magic, A Little Kindness: The Complete Mono Albums Collection features, for the very first time on CD, both of Nyro’s original mono albums newly-remastered by Vic Anesini at Sony’s Battery Studios from the original master tapes.  

More Than a New Discovery, originally released on Verve Folkways in 1967, premiered the songs that Barbra Streisand, Blood Sweat and Tears, and The 5th Dimension would all take up the charts, including “Stoney End,” “And When I Die,” “Blowin’ Away,” and perhaps the most famous song Nyro ever wrote, “Wedding Bell Blues.”  This special edition restores the original album sequence and mono mix from the very first version of the album.  In 1968, Nyro moved to Columbia Records for her most acclaimed album, Eli and the Thirteenth Confession.  

Its songs were once again adopted by other artists such as Three Dog Night, Frankie Valli, and of course, The 5th Dimension.  Featuring “Eli’s Comin’,” “Emmie,” “Sweet Blindness,” and the era-defining “Stoned Soul Picnic,” this ultra-rare album – thought by many Nyro connoisseurs to be superior to the familiar stereo version – also makes its maiden appearance on CD.  A handful of bonus tracks round out this special package, including the Bones Howe-produced “pop” version of “Save the Country,” and the CD debuts of the Verve “censored” single version of “Stoney End” and the single mix of “Eli’s Comin’.”  

The Second Disc’s Joe Marchese provides new liner notes; the crystal-clear remastering is by Vic Anesini at Battery Studios in New York.  A Little Magic, A Little Kindness: The Complete Mono Albums Collection pays tribute to one of pop’s most enduring iconoclasts.  It’s a soul picnic you won’t want to miss.

Available July 7 from Real Gone Music.

Disc : 1

1. Goodbye Joe

2. Billy's Blues

3. And When I Die

4. Stoney End

5. Lazy Susan

6. Hands off the Man (Flim Flam Man)

7. Wedding Bell Blues

8. Buy and Sell

9. He's a Runner

10. Blowin' Away

11. I Never Meant to Hurt You

12. California Shoeshine Boys

13. Stoney End

Disc : 2

1. Luckie

2. Lu

3. Sweet Blindness

4. Poverty Train

5. Lonely Woman

6. Eli's Coming

7. Timer

8. Stoned Soul Picnic

9. Emmie

10. Woman's Blues

11. Once It Was Alright (Farmer Joe)

12. December's Boudoir

13. The Confession

14. Eli's Coming

15. Save the Country

Dusty Springfield:The Complete Philadelphia Sessions – A Brand New Me (Expanded Edition) CD

Having issued collections of her lost 1971 Jeff Barry-produced sessions (Faithful) and her entire 1970-1971 U.K. sessions (Come for a Dream), we have made chronicling the hallowed early ‘70s period of Dusty Springfield’s career something of a mission here at Real Gone Music. And we have saved what just might be the best for last—this collection brings together, for the first time ever, all of the historic recordings made by Dusty at Sigma Sound Studios in Philadelphia with Gamble-Huff Productions for Atlantic Records. The 17 selections cover the ten 1969 recordings issued on Springfield's 1970 album A Brand New Me— including the hit title song—plus 7 additional tracks from 1970 including the single "I Wanna Be a Free Girl," outtakes not issued until the 1990s on various compilations, and a previously unreleased track, “Sweet Charlie .” Additionally, because former iterations of this material have not been sonically quite up to snuff, each track is newly-remixed from the original multi-track masters by noted Sigma Sound veteran Tom Moulton under the supervision of legendary Gamble-Huff producer-writer Thom Bell, who worked on the original Brand New Me album and follow-up sessions with Dusty!  Liner notes by Joe Marchese and rare images from Dusty’s own collection complete this invaluable look at the seductive Ms. Springfield’s foray into the Philly Soul sound. Put this together with our other Real Gone Dusty retrospectives and you have the full picture of Dusty’s recordings from 1969-1971 that immediately followed her Dusty In Memphis pinnacle!

Available July 27, 2017 from Real Gone Music.

Tracklisting: 

1. Brand New Me

2. Never Love Again

3. Bad Case of the Blues

4. The Star of My Show

5. Let's Talk It Over

6. Lost

7. Silly, Silly Fool

8. Let Me in Your Way

9. Joe

10. Let's Get Together Soon

11. I Wanna Be a Free Girl

12. Something for Nothing

13. Summer Love

14. Cherished

15. The Richest Girl Alive

16. Goodbye

17. Sweet Charlie

Sabrina Malheiros announces new album Clareia

Having made her mark on Brazil’s rich musical legacy with three best-selling albums to date, Rio’s original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil’s eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth – and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito’s Jean-Paul 'Bluey' Maunick.

Sabrina Malheiros’ career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. “Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.”(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina’s innovative nu-bossa sound would continue with the 2006 remix album Vibrasons followed by sophomore New Morning – declared the “best album of summer 2008”(Evening Standard), before 2011’s best-seller Dreaming.

Six years on, Sabrina returns with Clareia. “It means to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.” All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio’s beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina’s emphasis on clarity, Alex notes that “the album’s title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.”

This pursuit of clarity continued into the studio: “It took a little longer than usual” notes Sabrina, “which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different… we took our time.”

Set for release at the height of summer this year, Clareia is an inter-generational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today’s scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil’s most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, “I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.”

1st Annual LuluFest In Austin, Texas To Be Presented Saturday, June 3 By Ritenuto Foundations, Inc. In Collaboration with The St. Edward's University Music Department & Festival Founder/Artistic Director Peggy Stern

LuluFest Pianist/composer Peggy Stern is passionate about creating opportunities for women bandleaders to present their music. In 2004, she founded the Wall Street Jazz Festival, which was held for 12 consecutive years in Kingston, New York, for exactly that purpose. After relocating to Austin, Texas in the spring of  2013, Stern was inspired to continue the festival's concept in Austin's forward-thinking community.

Her new brainchild, the first annual LuluFest, is a women-led band festival that will premiere on Saturday, June 3, with concerts from 5 to 10pm and workshops scheduled throughout the day. The festival, presented by Ritenuto Foundation, Inc., in collaboration with the St. Edward's University Music Department and founder/artistic director Peggy Stern, will feature a broad spectrum of music -- from jazz to Western swing to Latin and Brazilian. The concert series will be held on Saturday, June 3, from 5:00 to 10:00 pm, at the Jones Auditorium in the Ragsdale Center at St. Edward's University, 3001 S. Congress Avenue, Austin.

The focus of LuluFest will be women bandleaders, both seasoned and up-and-coming, who have committed their lives to music.

"These festivals are my attempt to even things out, between men and women bandleaders," says Stern. "Obviously we have a long way to go, but having women in charge of the music they are presenting helps to change the tone of the jazz culture, for future (and present) composers and leaders."

The evening concert schedule is as follows:

5pm: Albanie Falletta Trio, featuring Masumi Jones

6pm: Susanna Sharpe Brazilian Quartet

7pm: Ingrid Jensen Quartet

8pm: Helen Sung Trio

9pm: Estrella Salsa, featuring Peggy Stern, Suzi Stern (no relation), Joey Colarusso, Ingrid Jensen, Daniel Durham, Mike Longoria

Daytime workshops will be instrument specific: Piano (Helen Sung); Trumpet (Ingrid Jensen); Vocals (Suzi Stern); Drums (Masumi Jones). From 12 to 1:30pm, the workshops will take place in St. Edward's University's Carriage House, and from 2 to 3:30pm, a master class will be held in the Jones Auditorium.

Workshop passes can be bought separately at $30 for adults and $15 for students, or interested musicians can buy a festival pass for $50 that grant access to both the workshops and concerts.

More information about the artists, the concept of the Festival, and fees and directions can be found at lulu-fest.com. This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department. 

Peggy Stern Pianist/composer and native Philadelphian Peggy Stern lived, worked, and taught in New York, Boston, San Francisco, and Seattle, and toured widely throughout Europe, the U.S., Canada, Australia, and Japan, before relocating to Austin in 2013. Her music has a particularly broad ethnic base -- in addition to European and American classical music, it draws from Brazilian, African, Jewish, Irish, Cuban, and traditional jazz influences. Joining the vibrant music scene in her new home city, she intends to create a new (for her) musical genre, which she calls Cowboy Jazz.

Peggy has recorded and/or toured with such musicians as Lee Konitz, Diane Schuur, David "Fathead" Newman, Gary Peacock, Gene Bertoncini, Bud Shank, Thomas Chapin, Machito, Gerry Mulligan, and Emily Remler, to name a few. Among the many women bandleaders whom she booked to appear at her Wall Street Jazz Festival were Sheila Jordan, Ingrid Jensen, Christine Jensen, Jay Clayton, Dena DeRose, Su Terry, Claire Daly, Jamie Baum, Teri Roiger, Roberta Piket, Virginia Mayhew, Laura Dubin, Sheryl Bailey, Allison Miller, Marilyn Crispell, Jenny Scheinman, Natalie Cressman, and her own Estrella Salsa.

Peggy Stern Z OctetPeggy Stern's most recent recording is Z Octet (2016, Estrella Productions).

"It has been 16 years since Peggy Stern last applied her piano, composing and arranging talents to a mid-sized ensemble. Z Octet was worth waiting for . . . . Stern's writing weaves piano, clarinet, cello, trombone, flute, bass and drums into rich and often surprising textures. . . . The CD ends with an unlisted bonus track that makes enchanting use of cello, trombone and flute. The whole album is a bonus." -- Doug Ramsey, Rifftides

"This is Duke Ellington's brilliance, Maria Schneider's local color, and Miles Davis' diamond hard seriousness all melded and tempered by a singular mind and talent into a cogent and familiar musical statement." -- C. Michael Bailey, All About Jazz

"Peggy Stern has taken from her experiences playing in the bands of Eddie Henderson, Machito and Lee Konitz to weave a very special tapestry of indefinable music that bobs and weaves like a boxer named Ali." -- Mike Greenblatt, Classicalite

"This is music possessed of great explosions, bristling rhythms, dynamic contrasts starkly illuminated, and with unrelenting dramatic thrust. It is a record to die for." -- Raul da Gama, Jazz da Gama  

Web Sites: peggystern.com, lulu-fest.com

  

Featured this week on The Jazz Network Worldwide: Multi-Woodwind Instrumentalist, Mario Lamar Hunter and his Laid Back Jazz Ensemble: Powerful Jazz Winds

Mario Lamar Hunter is the founder, music director and award-winning woodwind artist that offers his ‘signature sound’ on his new release Mario Lamar Hunter and his Laid Back Jazz Ensemble: Powerful Jazz Winds.

‘Mario Lamar Hunter and his Laid Back Jazz Ensemble: Powerful Jazz Winds project is a unique blend of Jazz Standards that offer the listener a nostalgic musical experience through Mario's interpretations that sound like a natural choice for his soulful expression" says Jaijai Jackson of The Jazz Network Worldwide.

His diversified artistry spans genres of music as he is no stranger to international stages over his 35 years in the music industry. During the span of his career, he performed with The Coasters, Charo, Anna Gesteyer, Tommy Tune, Nat Jones and Isaiah "Ike" Oakley from the James Brown and the JBs' bands, Samuel Ramey of The Metropolitan Opera, as well as performing with Ray Charles and his world-renowned Ray Charles Orchestra and with Aretha Franklin in the Aretha Franklin Orchestra as well as the Orchestras of  Jerry "The Iceman" Butler and Gene "The Duke of Earl" Chandler. While in Las Vegas he appeared at The Mirage Hotel and Casino, The MGM Grand and Scores Las Vegas performing during Grand Opening Celebrations alongside of performers from the famed Cirque Du Soleil.

As a well-disciplined educator, he is accustomed to assembling great combinations of musicality and many of his students have gone on to become fine musicians, scholars and highly creative professionals. Hunter has taught saxophone at both private and public institutions including colleges throughout the United States.

Hunter is known for appearing as a clarinet-soloist with symphony orchestras and has held the principal clarinet positions with Maryland’s Salisbury and Goucher Chamber Symphony Orchestras and has performed within the clarinet sections of the North Carolina and Maryland Symphony Orchestras.

" I am extremely thrilled to have been signed to Centaur Records by its President Victor Sachse and look forward to a long lasting relationship with the label. This recording project has allowed me to offer my personal renditions of some of my favorite tunes written by some of the greatest Jazz Composers of all time. Simultaneously, I am able to further expose the wonderful talents of the musicians that perform along with me on the album whom are thriving musically in the region of my birthplace. It is my desire that the music will blow powerful (but beautiful) jazz winds towards Jazz Musicians and Music Lovers across the globe, thus creating a force that is enjoyable and certain to be reckoned with.” ~ Mario Lamar Hunter

Not only is Hunter looking to be booked on jazz festivals worldwide for their upcoming seasons with his new band, he continues to work as an on-call Freelancer with Musical Theatre productions, Symphony Orchestras and Stage Bands throughout the U.S.A.

Be sure to tune into his feature on www.thejazznetworkworldwide.com this week as well as stopping by his soundcloud page http://soundcloud.com/mario-hunter-reeds/ to hear more of his latest release Mario Lamar Hunter and his Laid Back Jazz Ensemble: Powerful Jazz Winds and more.

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

PIECES OF A DREAM HITS 40TH ANNIVERSARY & KEEPS IN STRIDE WITH NEW CD JUST FUNKIN' AROUND

The story of Pieces Of A Dream is a tale of destiny and brotherhood. Picture three starry-eyed fanatical teen musicians who manage to get discovered by Mister Magic (Grover Washington, Jr.), become teen sensations and go on to join the pantheon of musical wonders from the "City Of Brotherly Love" that includes Gamble and Huff, Patti Labelle, McCoy Tyner, and The Roots.  Dubbed "the Steely Dan of Smooth Jazz" by Allaboutjazz.com and heralded by the legendary Count Basie as "a tough act to follow" Pieces Of A Dream, remains one of the most satisfying, exhilarating and sought-after bands in Contemporary Jazz. 

They have toured the world, sold over one million albums, and scored both Smooth Jazz and R&B radio hits along the way. Crowned "Pioneers of Smooth Jazz" by The Philadelphia Inquirer, Pieces Of A Dream has long been revered for their signature fusion of Jazz, R&B, Funk, Pop and Blues.  Their sweet and soulful grooves, energized solos and organic compositions have made them a favorite on the touring circuit and on the airwaves.  Last year, founding members, keyboardist James Lloyd and drummer Curtis Harmon celebrated the milestone of their 40th anniversary and their feet are still on the accelerator as they power forward to the release of their new CD Just Funkin' Around (May 26, 2017).  

On their newest effort, the band continues to prove that they are still at the top of their game and as inspired as ever. Curtis Harmon says, "Lasting forty years in this business confirms the fact that we are truly blessed. When you have fans that support you for as many years as our fans have, you can't help but want to give them the best you've got and that's what we've tried to do." James Lloyd adds, "There is no stopping us now! In addition to the responsibility we feel towards our fans, Curtis and I also feel a duty to help the younger and future generations of Jazz to reach and exceed their goals the way the late, great Grover Washington Jr. did for us."

*Mark Guiliana On Late Night With Seth Meyers* New Album Coming This Fall

Acclaimed drummer and composer Mark Guiliana will be sitting in on Late Night With Seth Meyers (12:35 AM on NBC), Monday, May 15 through Thursday, May 18. Guiliana recently signed with Motema Music and will be releasing Jersey (October 2017), his debut album for the label, and the much anticipated sophomore album from The Mark Guiliana Jazz Quartet (following up the critically-acclaimed Family First).

Guiliana played on David Bowie's 5x GRAMMY-winning album Blackstar and was featured on GRAMMY-nominated album Mehliana: Taming the Dragon, his duo project with jazz icon Brad Mehldau.

Over the past decade, Guiliana has toured extensively around the world with artists such as Meshell Ndegeocello, Gretchen Parlato, bassist Avishai Cohen and many more.  He has earned international acclaim for his innovative and creative style, recognized by The New York Times as, "a drummer around whom a cult of admiration has formed."

  

Mark Guiliana On Tour: w/Donny McCaslin Group:

June 13 & 14 @ Dimitriou's Jazz Alley, Seattle, WA

June 15 @ SF Jazz, San Francisco, CA

June 16 @ PDX Jazz, Portland, OR

June 23 @ Electric Forest Festival, Rothbury, MI

June 26 @ Saskatchewan Jazz Festival, Saskatoon, Canada

June 29 @ Ottawa Jazz Festival, Ottawa, Canada

June 30 @ Montreal Jazz Festival, Montreal, Canada

July 1 - Mark Guiliana Jazz Quartet @ Gesu Theater, Montreal, Canada

July 2 - Drum Clinic@ Dave's Drum Shop, Ottawa, Canada

July 2 - Mark Guiliana Jazz Quartet @ Ottawa Jazz Festival, Ottawa, Canada

July 7 - Mark Guiliana Jazz Quartet @ Madeira Stage, Rotterdam, Netherlands

July 15 - Mark Guiliana Jazz Quartet @ Piazza Tebaldo, Brusato Brescia, Italy

September 3 - Mark Guiliana Jazz Quartet @ Detroit Jazz Festival, Detroit, MI

www.MarkGuiliana.com

Saxophonist Brian McCarthy finds the roots of jazz in the sounds and conflicts of the Civil War on The Better Angels Of Our Nature

Looking back on the most divisive moment in American history (no matter how much the current day seems ready to claim that title), saxophonist Brian McCarthy finds the roots of jazz in Civil War-era songs and spirit. On his new album, The Better Angels Of Our Nature, McCarthy pairs insightful new arrangements of vintage wartime folk songs with vibrant new compositions for his skilled Nonet to explore the clashing inspirations and enduring influence of the war that turned brother against brother in a battle over the soul of America.

Due out June 13 via Truth Revolution Recording Collective, The Better Angels Of Our Nature takes its title from the immortal words of Abraham Lincoln's first inaugural address. The speech, addressed in large part to the citizens of the Southern states, was offered in a spirit of reconciliation and hope for reunification with the seceded Confederacy. McCarthy's music locates the better angels at the heart of music representing the North, the South, and the African-American slaves who weren't considered full citizens but whose fate hung in the balance of the brutal conflict.

A self-professed Civil War history buff, McCarthy found the era an ideal subject for the large-scale project that grew out of a Vermont Arts Council Creation Grant. The war has long served as the starting point for the Jazz History class that McCarthy teaches at Johnson State College, as "a time before jazz existed, but a time that was crucial to its existence." As he explains, "Jazz came from the African-American experience here in America. Out of the darkness of terrible slavery, Reconstruction and Jim Crow came this really beautiful art form.

McCarthy designed the music of The Better Angels Of Our Nature for his nine-piece ensemble, largely composed of longtime collaborators dating from his days at William Paterson University, many of them fellow alumni of legendary trumpeter Clark Terry's band. Pianist Justin Kauflin (whose relationship with the late CT was documented in the moving documentary Keep On Keepin' On), tenor saxophonist Stantawn Kendrick and trombonist Cameron MacManus all spent time under the jazz icon's wing, a shared experience that McCarthy says left them all with "a deep appreciation for history. It was awe-inspiring just to play with him, but there were times when we'd just be hanging out and hearing stories about Count Basie, Duke Ellington, Miles Davis and Pops. I realized that he was living jazz history."

The band also features trumpeter Bill Mobley, one of McCarthy's teachers and compositional mentors at WPU, along with baritone saxophonist Andrew Gutauskas, one of McCarthy's earliest friends and collaborators at the school. Saxophonist Daniel Ian Smith is a professor at McCarthy's wife's alma mater, Berklee College of Music, while drummer Zach Harmon is a recent transplant to McCarthy's native Vermont who suggested bassist Matt Aronoff as an ideal rhythm section partner.

Many of the compositions on The Better Angels Of Our Nature date from the Civil War era, in transcendent new arrangements that discover richly emotional harmonies in music from a most disharmonious time. The album begins with Harry McCarthy's "The Bonnie Blue Flag," a song adapted from a traditional Irish tune to tout the Southern cause. The saxophonist (no relation) undergirds the piece's brisk, patriotic swagger with a darker undercurrent evoking the "oppressive foundation of the Confederacy."

Julia Ward Howe's familiar "Battle Hymn of the Old Republic," built on the melody of the Union's marching song, "John Brown's Body," couples the optimistic spirit of the Northern cause with a tinge of mournfulness, hinting at the profound loss entailed by the years-long struggle. Equally well-known to modern ears, "I Wish I Was In Dixie's Land" was most likely originally penned as a parodic minstrel song before being co-opted as a Southern anthem. McCarthy's raucous rendition returns the song to its African-American roots with blues and gospel accents and a ferocity inspired by the audacious rebelliousness of Frederick Douglass.

The spiritual "Oh Freedom" becomes a lush chorale for the horn section, while "Weeping, Sad and Lonely" is given an elegiac treatment better suited to Charles Sawyer's autumnal lyrics than Henry Tucker's upbeat original setting. Bonus track "All Quiet Along the Potomac To-night" sticks close to John Hill Hewitt's 1863 setting of Ethel Lynn Beers' poem recounting the First Battle of Bull Run. One crucial fact turned up by McCarthy's research was that George Frederick Root's "Battle Cry of Freedom" was equally important, with slightly altered lyrics, to soldiers on both sides of the conflict. While both original versions were sung to the same tune, McCarthy heightens the divide by splitting his arrangement in half, each reflecting an opposing take on the source.

McCarthy's original compositions try to imagine the mood and atmosphere of the period when these songs were written. "Shiloh" is a gorgeously aching ballad highlighted by the composer's yearning soprano, while the title track is a musical interpretation of Lincoln's first inaugural address in three sections: the driving, no-nonsense opening section, "The Lawyer," captures the President's most rational arguments for the Union; the chaotic "The President" depicts the burdens of leading a nation divided; while the tender "The Person" is a portrait of Lincoln the humanist, whose rhetoric soared to embrace the better angels of an embattled public's natures.

Since graduating from William Paterson University, Brian McCarthy has played a key role in the jazz community of his native Vermont, where he lives just outside of Burlington. He released his acclaimed leader debut, This Just In, in 2013, and plays regularly with his own ensembles and alongside trumpeter Ray Vega. He is a member of the faculty at the University of Vermont, teaches at Johnson State College and is director of bands at Saint Michael's College.

www.brianmccarthyjazz.com

Composer and Baritone Saxophonist Brian Landrus Reveals a New Vision for the Jazz Orchestra on Generations, out July 28 via ArtistShare

Monumental in creative ambition, imaginative scope, and artistic achievement – not to mention sheer scale – Generations is the breathtaking debut of the Brian Landrus Orchestra, a 25-piece all-star ensemble stocked with a stunning array of the most inventive musicians in modern music. These adventurous virtuosos have congregated to realize the extraordinary, sweeping music of composer, baritone saxophonist and low woodwind master Brian Landrus, whose work combines a lifetime’s worth of wide-ranging listening and playing into an arrestingly bold, radiant and singular vision.

Far from a standard big band project and unlike any orchestral jazz ensemble that’s come before it, the Brian Landrus Orchestra incorporates inspiration from classical music, hip-hop, soul, funk, jazz, reggae and world music – with “inspiration” being the key word. In Landrus’ inventive hands these diverse genres are deconstructed and absorbed, emerging in startling and unrecognizable ways to conjure a dramatic and thrilling sonic landscape.

The title Generations carries multiple meanings for Landrus – including influences that span centuries from Bach to Ellington to Motown to Led Zeppelin to J Dilla; the family members that inspired Landrus and his music, from his father to his children; and the generations of musicians who’ve come together to breathe life into these deeply personal compositions. The drum chair alone features a four-decade difference in age, from the legendary Billy Hart to rising star drummer Justin Brown.

The awe-inspiring ensemble also features Jamie Baum, Tom Christensen, Darryl Harper, Michael Rabinowitz, Alden Banta and Landrus himself on woodwinds; Debbie Schmidt, Ralph Alessi, Igmar Thomas, Alan Ferber and Marcus Rojas on brass; harpist Brandee Younger and a string section featuring Sara Caswell, Mark Feldman, Joyce Hammann, Meg Okura, Lois Martin, Nora Krohn, Jody Redhage and Maria Jeffers; vibraphonist Joe Locke; and bassists Jay Anderson and Lonnie Plaxico. The Orchestra is conducted by bandleader JC Sanford, who has also held the baton for the John Hollenbeck Large Ensemble and the Alice Coltrane Orchestra. Landrus co-produced the album with fellow composers Robert Livingston Aldridge and Frank Carlberg.

Landrus comes to the project with a wealth of experience both as a leader and as a performer with some of the world’s most distinctive artists from a variety of genres: he’s toured the world in superstar Esperanza Spalding’s band and played in Ryan Truesdell’s prize-winning Gil Evans Project as well as working with the likes of Bob Brookmeyer, Rufus Reid, Danilo Perez, Frank Kimbrough, Gary Smulyan, Maria Schneider, The Temptations, The Four Tops, Martha Reeves, George Garzone, Bob Moses, Louis Nash, Nicholas Urie, Jerry Bergonzi, Ayn Inserto, Alan Ferber, Uri Caine and Ralph Alessi, among others.

Generations is the culmination of a long-held dream for Landrus, whose previous releases – both with his Quartet and the aptly-named Kaleidoscope – were vibrant but necessarily scaled-down interpretations of the saxophonist’s formidable ambitions. “I’ve had these colors in my head for as far back as I can remember,” he says. “I would always have to strip down what I was hearing into its raw form to use what I had available to me.”

A full-scale orchestra project began to seem more within reach once Landrus, who holds two master’s degrees (in jazz composition and jazz saxophone) from New England Conservatory, entered a PhD program in classical composition at Rutgers University. Studying the scores of the world’s greatest composers, he was compelled to allow his vision free rein, leading to the multi-hued, densely inventive music of Generations. Of course, such a mammoth undertaking is easier to fantasize than to achieve, but a combination of passion, risk-taking and determination allowed Landrus to bring the orchestra to fruition.

Landrus’ compositions incorporate his encyclopedic influences in ground-breaking, original fashion. The merger of hip-hop and jazz for instance, has become a common one; but you’ll hear no easily identifiable grooves or beats in Landrus’ music. Instead, the composer spent years transcribing dozens of hip-hop tracks, with an especial concentration on the work of pioneering producer J Dilla, and then parceled those rhythms into the strings. The result is an unconventional but invitingly complex weave of sounds and textures that converge in deft, surprising forms.

“Growing up listening to Motown and hip-hop and everything else that I loved and played with, those influences were going to creep in regardless of what I did,” Landrus says. “I just had to try to put them together as well as I could and try to imagine how it could all work. It’s a puzzle to get it to fit together properly, but it gives the music a different color that I’ve never heard before, familiar but new.”

The centerpiece of the album, and its launching-off point, is the “Jeru Concerto,” a four-movement feature for the composer’s baritone named for and inspired by his son Jeru – the namesake of bari master Gerry “Jeru” Mulligan and not yet born when Landrus began writing the piece. Propelled by the throaty churn of the orchestra’s low voices, the first movement envelops Landrus’ sinuous lines in lushly wafting strings and buoyant percussion; a solo turn for the leader initiates the gentle second movement, while the third mingles tension and tenderness, perhaps an illustration of the nervous anticipation that ushers any newborn into the world. The final movement, penned after Jeru’s birth, explodes with an infectious joy unable to contain a father’s pride.

Landrus’ family is also at the core of several other pieces. His daughter lends her name to “Ruby,” who recognized her inquisitive spirit in the music as he was writing it. The haunting “Every Time I Dream” depicts a love that proved elusive for years until finally becoming embodied. Landrus pays tribute to his father with “The Warrior,” which depicts not a ferocious fighter but a man of gentle strength and stoic perseverance.

“Orchids” began as a dream, an atmosphere evocatively suggested by the combination of Brandee Younger’s harp and Joe Locke’s vibes. The love story gradually builds to an ecstatic crescendo, but ends on an ambiguous note – like many dreams and, sadly, many romances. “Arrow in the Night,” its title taken from a Buddhist saying regarding evil people who lurk in the shadows, came to Landrus fully formed, its mesmerizing, slow surges like broad, intense brush strokes. “Human Nature” evolves from the solitary to the communal, maintaining a spiritual urgency throughout as the unsung title lyrics are passed from instrument to instrument. The rhythmic intricacy of “Arise” was inspired by a dance collaboration and imbibes elements from Electronic Dance Music (EDM) and Latin jazz, though as always in transformative ways.

www.brianlandrus.com

Drummer Matt Wilson Pays Tribute to “Poet of the People” Carl Sandburg on his Long-Awaited New Recording Honey and Salt

When Carl Sandburg died in 1967, President Lyndon B. Johnson hailed the famed poet as “more than the voice of America, more than the poet of its strength and genius. He was America.” Fifty years after Sandburg’s passing, drummer and composer Matt Wilson’s Honey and Salt pays tribute to the “poet of the people,” who won three Pulitzer Prizes, wrote the definitive biography of Abraham Lincoln, advocated for civil rights and traveled the country collecting traditional folk songs.

Sharing both Sandburg’s Midwestern roots and his gift and passion for communicating lofty art to a broad and diverse audience, Wilson has been a lifelong admirer of the poet’s work and has been setting his words to music for more than 15 years. The long-awaited release of Honey and Salt (out August 25 on Palmetto Records) coincides with the 50th anniversary of Sandburg’s death in July 1967 and looks ahead to January 2018, when the 140th anniversary of his birth will be celebrated.

“Sandburg was a Renaissance man and a poet of the people,” Wilson says. “I feel sometimes that of all the celebrated American poets, he doesn't really get his due. Hopefully we can help his work get more recognition in some small way.”

To recite Sandburg’s poems, Wilson enlisted a stellar list of jazz greats whose spoken voices are as expressive and eloquent as their better-known instrumental voices, including Christian McBride, John Scofield, Bill Frisell, Carla Bley, Joe Lovano and Rufus Reid, along with actor/comedian/ musician Jack Black – an honorary member of the jazz family through his marriage to Charlie Haden’s daughter Tanya. Wilson sets these recitations in an eclectic variety of settings for the ensemble that he’s formed expressly to pay homage to Sandburg: guitarist/vocalist Dawn Thomson, cornetist Ron Miles, multi-reedist Jeff Lederer, and bassist Martin Wind, along with Wilson’s familiarly jubilant and spirited drumming.

Sandburg was born in Galesburg, Illinois, on January 6, 1878; in 1964, Wilson was born one town over, in Knoxville. That proximity meant that the drummer became acquainted with the poet’s name and iconic silhouette almost from birth; there was a junior college nearby named for Sandburg, as well as a shopping mall. At home, the Wilson family read and discussed Sandburg’s poetry and listened to recordings of his readings.

Later, finding himself in the frantic metropolitan surroundings of New York City, Wilson found nostalgic solace in Sandburg’s transporting verses. But he also found, in Sandburg’s free verse, a parallel to his own adventurous musical proclivities. “As you get older you start to appreciate your regional connections a lot more,” Wilson says. “But I was always fascinated because it didn't rhyme. That aligned with my tastes in music at that time, when I was exploring all different kinds of music.”

Sandburg’s influence has emerged sporadically throughout Wilson’s career. His leader debut, As Wave Follows Wave, was named for a Sandburg poem that is reprised here; his 2003 album Humidity included a setting of Sandburg’s “Wall Shadows;” and An Attitude for Gratitude, the 2012 release by Wilson’s Arts and Crafts quartet, features the Sandburg-inspired “Bubbles.” The Honey and Salt project began life in 2002 with the help of a Chamber Music America New Works Grant and has since toured the world while Wilson has continued to delve into Sandburg’s volumes for new additions to the band’s repertoire.

Honey and Salt is loosely divided into three chapters and an epilogue: the first, urban-leaning poems; the second, more rural themes and ideas; the third examining the collision and overlap of the two; and the epilogue serving as a meditative leave-taking. Lee Morgan-esque horn lines over a gut-rumbling blues bassline open “Soup,” Sandburg’s more-timely-than-ever musing about a celebrity caught in the ordinary act of slurping soup from a spoon. Christian McBride’s gregarious baritone intones “Anywhere and Everywhere People,” with a series of horn motifs for the poem’s key repeated words. Wilson himself recites the contemplative “As Wave Follows Wave,” ultimately joined by a host of collaborators, friends and family members. “Night Stuff” unfolds against a slow, twilit landscape, while John Scofield recites “We Must Be Polite” in a hilarious deadpan against Wilson’s New Orleans shuffle. Sandburg’s own voice can be heard in duet with Wilson’s drums on his most revered poem, “Fog.” Chapter one closes with the raucous march of “Choose.”

Lederer reads “Prairie Barn” (which references a barn owned by a relative by marriage of Wilson’s) against Thomson’s American-tinged guitar and clattering wind chimes to open chapter two. “Offering and Rebuff” becomes a country love song, while “Stars, Songs, Faces” takes on an Ornette-inspired harmolodic tone. “Bringers” closes the chapter with a taste of down-home gospel. Chapter three opens with Black reading “Snatch of Sliphorn Jazz” in a cantankerous rasp while Lederer and Wilson duet – a happy accident occasioned by a power outage at the studio. Bill Frisell’s soft-spoken voice on “Paper 1” contrasts with Joe Lovano’s hep-cat enthusiasm on its companion piece. The two are separated by Rufus Reid’s throaty purr on Wilson’s Beat-era throwback take on “Trafficker,” and the chapter ends with the lyrical “I Sang.”

Bley reads “To Know Silence Perfectly,” for which Wilson made silence the vehicle for improvisation; in an approach that John Cage would have appreciated, the tune’s theme is the same every time, while the length of silences vary based on the performers’ whims. Finally, “Daybreak” ends the album on a celebratory note.

As always, Wilson revels in a wide variety of moods and styles throughout Honey and Salt, which takes its name from a 1963 collection of Sandburg’s poetry. The title captures the delectable combination of sweetness and spice that characterizes the poet’s – and Wilson’s – work. “That’s my favorite volume of his poetry and I love the title,” Wilson says. “It has some collision, some rub. Music isn’t all flowers and candy; it has to have some edge to it.”

www.mattwilsonjazz.com

NEW RELEASES: DON BRYANT – DON’T GIVE UP ON LOVE; SAMIRA GIBSON – REFLECTIONS OF MIRA; DE-LIGHTFUL AND SOULFUL: DEEP MOVER (VARIOUS ARTISTS)

DON BRYANT – DON’T GIVE UP ON LOVE

The first album in decades from Memphis soul legend Don Bryant – a singer who hardly even gave us any recordings back when he was in his prime! Don was one of the lesser lights at the famous Hi Records – not as successful as Ann Peebles or Al Green, but steeped in the same wonderful sound as those great artists – and still going wonderfully strong after all these years! In fact, the album almost feels more like some lost Hi tapes from Bryant's glory days than a contemporary set – as his voice is wonderful, the songs are tight, and both the production and instrumentation have just the right sort of classic approach – soulful, but without overstating things in any sort of cloying "resurrection" mode. Instead, Don's just right on top, and right in the pocket – doing his thing wonderfully on titles that include "Don't Give Up On Love", "I Got To Know", "First You Cry", "It Was Jealousy", "Something About You", "Can't Hide The Hurt", "One Ain't Enough", and "A Nickel & A Nail". ~ Dusty Groove

SAMIRA GIBSON – REFLECTIONS OF MIRA

The young gifted and talented petite frame vocalist was born in New York N.Y, on December 7. Samira began her journey of music early, singing since the young age of 5. Coming from a very musically inclined family it was easy for Samira to take her place. She began writing music at 14 years of age. Growing up and even today, some of her major influences responsible for her very unique style of singing are Stevie Wonder; Donny Hathaway; Jill Scott; Erykah Badu; Lauryn Hill; India Arie; Beyoncé Knowles and many more. Samira is a three time winner at the World Famous Apollo Theater. Industry professionals such as Queen Latifah,Debra Cox and Ashford & Simpson slated her to be this nations next big star. From Opera to Gospel; singing in over four different languages Samira sings from the corners of her heart. This multi-talented young woman has graced the stage as not only a vocalist but also an actress featuring in several musical theatrical productions including, “Your Arms Are Too Short To Box With God”, also featuring Dr.Cissy Houston and Desire Colman. Samira completed training at Harlem School of the Arts on a full scholarship. She graduated from the Professional Performing Arts High School in New York City as a vocal major. Samira has performed for and with stars such as Donnie McClurkin; Cece Winans; Ashford&Simpson; Ben Vareen; Mike Bloomberg; Plies; Debra Cox; Chaka Khan; Mary J Blige; Elle Varner and many more. Once you’ve met Samira you can appreciate the quote, “Big things truly come in small packages.”

DE-LIGHTFUL AND SOULFUL: DEEP MOVER (VARIOUS ARTISTS)

A slice of soul you might never expect – early work from the De-Lite label, a company better-known for their famous club hits of the late 70s – but starting out here with an amazing array of deep soul 45s! The music is a wonderful contrast to the disco and club of the label's fame – and showcases an immediate commitment to singers who could really knock it out of the park – with vocals that rival the sounds coming from southern labels like Stax, or some of the more famous productions on Atlantic – which is a huge surprise if you only know the De-Lite recordings by Kool & The Gang or The Kay-Gees! 25 tracks in all – all super-rare – and titles include "Keep Away" by The Appointments, "Look What You Done For Me" by Contributors Of Soul, "Oh Girl" by Johnny Washington, "Need You Girl" by Fred Cole, "I Wish It Would Rain" by Beverly Hammonds, "Say So" by La Jay Alexander, "Everlasting Love" by Johnny Washington, "I Saw You There" by The Appointments, "I Smell Trouble" by Johnny De'Vigne, "I'll Always Love You" by Felton Burks, "Send Her Back" by Sammy Taylor, "When A Woman Loves A Man" by Jean Battle, "Tender Loving Care" by Joe Kennedy, and "I Got To Get Close To You" by Yvonne Daniels.  ~ Dusty Groove

NEW RELEASES: MERRY CLAYTON – GIMME SHELTER; LARRY CORYELL – AT THE VILLAGE GATE; SOULE MONDE – MUST BE NICE

MERRY CLAYTON – GIMME SHELTER

As the Academy Award-winning documentary 20 Feet from Stardom made abundantly clear, Merry Clayton is one of the greatest and most distinguished female backup singers in rock and soul history, having sung with everybody from Bobby Darin to Ray Charles to Joe Cocker to Linda Ronstadt to Neil Young to Lynyrd Skynyrd (on “Sweet Home Alabama”). But her most famous vocal turn, of course, was her 1969 duet (“It’s just a shot away!”) with Mick Jagger on “Gimme Shelter.” The notoriety she gained from that led to a recording contract with Lou Adler’s Ode label, and to this 1970 debut solo record, which took its title from the Stones track and featured Merry’s own hit solo version of the song. But don’t stop there—produced by Adler, arranged by the great Gene Page, and featuring Billy Preston on keyboards, this album is an overlooked soul classic, with Merry’s indomitable voice taking songs like James Cleveland’s “Here Come Those Heartaches Again,” The Doors’ “Tell All the People,” and James Taylor’s “Country Roads” to dizzying heights (she also turns “Bridge over Troubled Water” into the sanctified gospel hymn it truly is). First-ever vinyl reissue, in limited edition (of 900) opaque white vinyl! Includes: Country Road; Here Come Those Heartaches Again; Forget It I Got It; Tell All the People; Bridge over Troubled Water; You've Been Acting Strange; Gonna Worry My Life; I've Got Life; Gimme Shelter; Good Girls; and Glad Tidings.

LARRY CORYELL – AT THE VILLAGE GATE

Larry Coryell unexpectedly passed away earlier this year right after our Real Gone reissue of his second solo album, Coryell, and with the renewed attention given to his monumental recorded legacy, we decided to move up our long-in-the-works domestic CD debut of his album At the Village Gate in order to expose this classic record to the largest audience possible. This is the recording where Larry really went axe-to-axe with Jimi Hendrix, who had passed away four months prior to the January 1971 gigs that formed the basis of this release; perhaps in response, Coryell formed his own power trio of his own composed of himself, drummer Harry Wilkinson and bassist Mervin Bronson to play material that stylistically wasn’t too far removed from the funk/jazz/rock of Jimi’s Band of Gypsys. The result was a fan favorite that somehow has never been issued on CD in the U.S. (and came out overseas over a decade ago on a couple of lightly-distributed labels of suspect provenance). Coryell’s Gibson 400 has seldom sounded as slashing as it does here, while Wilkinson’s playing (aptly described as “busy” by Downbeat) is a cross between Mitch Mitchell, Tony Williams, and Buddy Miles; Bronson keeps things rooted when Coryell heads for the stratosphere. Which is often…this is maybe the most “heroic” of this underappreciated guitar hero’s records. Mike Milchner’s remastering captures every coruscating note, and Bill Kopp’s liner notes feature an interview with drummer Wilkinson. One of the truly great jazz-rock guitarists, loud, free ‘n’ fiery!.

SOULE MONDE – MUST BE NICE

A tight little duo who don't seem to need anyone else – given the tremendous power of their work on drums and Hammond B-3! These guys are funky jazz at the core, but also open to lots more ideas too – and really blow us away with their work here, which seems to include no other instrumentation besides organ and drums – yet makes us feel like there's a much larger group working on the album! Both artists have a legacy that includes lots of years on their instruments, and stints with bigger acts – but here on their own, they don't need to answer to anyone else at all – as they take to the skies on the power of funky drums and Hammond. Titles include "Compared To Jody", "Kota", "Nina", "Took You Long Enough", "Immigrant Too", and "Take My Hand".  ~ Dusty Groove

Pianist Yoko Miwa leads her longstanding, spectacularly attuned trio on Pathways, her first new album in five years

A jazz musician is by nature an explorer at heart, but it always helps to have a few fellow adventurers at your side. On her new album, pianist Yoko Miwa sets out to navigate a few new Pathways with the help of her longstanding and deeply harmonious trio. With more than a decade and a half together, the Boston-based group showcases the unique ability to wander down diverging trails without ever losing sight of their shared destination.

On Pathways, due out May 12, 2017 on Ocean Blue Tear Music, Miwa is joined by bassist Will Slater (with Brad Barrett stepping in for one track) and drummer Scott Goulding. The remarkable telepathy they share has been developed over 15 years and countless hours logged on the bandstand, not to mention the accompanying personal bonds (Miwa and Goulding are married, after all).

"When we play together, it comes out as one sound," Miwa says. "That's the best part of working together all the time. I'm very comfortable with these guys because they know my playing and I know them very well."

It's been nearly five years since the release of Miwa's last album, Act Naturally (JVC Victor), but she's been far from inactive in the interim. On the contrary, she's one of the busiest artists on the thriving Boston jazz scene, playing regularly at renowned local venues the Regattabar and Scullers as well as venues worldwide. Locally, the trio is a constant presence with three area residencies that keep them busy every weekend they're at home. On Fridays they can be found at the Central Square sushi bar and jazz club Thelonious Monkfish, where Goulding serves as music director and Miwa helped select the stunning Yamaha piano. Saturdays they play at the wine bar Les Zygomates, as they have for the last 12 years, while their Sunday brunch gig at Cambridge BBQ joint Ryles dates back even further.

That impressive calendar means that the trio has had plenty of time not only to try out new material but to explore each piece over time. "We play each song a little bit differently every time," Miwa says. "It really helps develop the music. If we only did concerts once a month in front of big audiences, I don't think we'd feel the same way or that I'd play the same way that I do now."

The repertoire that Miwa traverses on Pathways ranges widely, from the classic songs of The Beatles and Joni Mitchell to a pair of rarely (if ever) reprised pieces by legendary Bill Evans Trio bassist Marc Johnson, originally recorded solo. The album's highlights, though, are Miwa's gorgeous originals, which combine lively melodies, a delicate touch, and lush harmonies - the same qualities that she brings to her improvisations.

The album opens with the gospel-flavored chords that Miwa uses on Johnson's "Log O'Rhythm," and centers on the piano-bass dialogue between the leader and her "favorite bassist," Slater, who doesn't play with the trio as regularly since moving to New York City. The reunion here shows that the pair have lost none of their brilliant chemistry. Slater is also featured on Johnson's other contribution, "After You," where he agilely articulates the song's memorably nimble melody. Both tunes have become favorites at the trio's shows, and have received Johnson's own stamp of approval.

Driven by Goulding's intricate powerful rhythms, Miwa's "Lickety Split" lives up to its title with its brisk pacing and McCoy Tyner influenced forcefulness. Falling on the other end of the sonic spectrum, "Lantern Light" begins with a movingly lyrical solo piano intro, gaining momentum as Goulding and Slater enter, capturing both the warm glow and lonely isolation of a single lamp carried through a dark night. Its fragile beauty is all the more remarkable given the fact that Miwa wrote it quickly, in a sudden burst of inspiration, during a break between students at Berklee College of Music - without a piano nearby.

The playful swing of "The Goalkeeper" was inspired by a frequent visitor to the Miwa household - their neighbors' cat, who drops in often for a bit of food and play. His flawless ability to bat back a ball thrown by Miwa gave the piece its name, while the adorable feline has become a surrogate pet for her and Goulding following the loss of their own beloved cat. The last of the pianist's compositions, "Was It Something I Said?" is a sly blues imbued with the wry humor of the waiter whose teasing riposte Miwa borrowed for the title.

"Joni Mitchell's music is very beautiful and very unique," Miwa says, two elements beautifully captured in the trio's version of "Court and Spark," which luxuriates in the songwriter's compelling harmonies. The album ends with a melancholy take on the Beatles classic "Dear Prudence," which features the trio's current Boston bassist, Brad Barrett. "Everybody knows the Beatles' songs very well, so you don't want to change them too much and upset their fans," Miwa says with a laugh. "'Dear Prudence' is very simple but very powerful."

Integral to capturing the heartfelt communication forged by the trio was Miwa's insistence that they play together in the studio, not divided into isolation booths. Their spontaneity and spark found an ideal setting at Wellspring Sound Studios in Acton, Massachusetts, where they worked closely with engineer Matt Hayes. "It's almost like a live recording," Miwa says proudly. "I feel really uncomfortable separated into different rooms where you can't really see each other. Of course you can't go back and fix things, but I love the feeling of playing in the same room and our energy together."

A favorite at Jazz at Lincoln Center, Miwa was chosen to play on "Marian McPartland & Friends" a special concert as part of the Coca Cola Generations in Jazz Festival.  She was also chosen to perform at Lincoln Center's annual Jazz and Leadership Workshop for The National Urban League's Youth Summit.  Miwa also performs regularly at New York's famed Blue Note Jazz Club and has performed and/or recorded with a wide range of jazz greats including Sheila Jordan, Slide Hampton, Arturo Sandoval, George Garzone, Jon Faddis, Jerry Bergonzi, Esperanza Spalding, Terri Lynne Carrington, Kevin Mahogany, John Lockwood and Johnathan Blake among others.  Miwa is a Yamaha artis

www.yokomiwa.com

CUONG VU 4TET PERFORMS THE MUSIC OF MICHAEL GIBBS ON BALLET With Guitar Great Bill Frisell

On the heels of his acclaimed 2016 recording, Cuong Vu Trio Meets Pat Metheny (Nonesuch Records), and his 2014 collaboration with electro-acoustic pianist-composer and Director of the School of Music at the University of Washington Richard Karpen on Ellington-Strayhorn tribute That The Days Go By And Never Come Again (RareNoiseRecords), trumpeter-composer Cuong Vu joins forces with guest guitarist Bill Frisell on Ballet, a tribute to renowned composer-arranger Michael Gibbs.

With regular Vu 4Tet bassist Luke Bergman and drummer Ted Poor, the four exchange ideas in the moment in a collective fashion on the expansive opening track, "Ballet," which gradually morphs into a kind of quirky, dissonant blues waltz featuring brilliant solos from Vu and Frisell. The ethereal ballad "Feelings and Things" showcases Frisell's more sensitive and spacious side while Vu turns in a remarkably lyrical solo here. "Blue Comedy," a tune recorded by the Gary Burton Quartet (with Larry Coryell, Steve Swallow and Bob Moses) on 1968's In Concert, kicks off with a drum salvo from Poor before Frisell and Vu join together on some tight unisons through the intricate head. As the piece progresses, it picks up a kind of shuffle-swing momentum which Frisell solos over with his signature fractured phrasing and surprising detours. Vu and Poor engage in some spirited exchanges near the end of this jaunty number. The most dramatic piece on the album, "And on the Third Day," which originally appeared on Gibbs' 1970 self-titled debut album, evolves gradually from a peaceful opening drone to a turbulent crescendo featuring powerful. soaring solos from both Vu and Frisell, the latter power chording with impunity and kicking on his fuzz box and backwards pedal for maximum effect.

"This recording came about as Bill's wish to bring Mike Gibbs out to the University of Washington to do some of his arrangements of Bill's music for orchestra," says Vu. "Mike is indeed an iconic hero to Bill and it all came about from Bill's desire to bring him to the UW.  I asked the boss, Director of the School of Music, Richard Karpen, and he gave us the green light because he wanted to honor Bill. We did two nights with the first night being the orchestra night and the second being the big band night (both student ensembles). The quartet of Bill, Ted Poor, Luke Bergman and myself was a featured part of those (both the orchestra and the big band) performances. In addition to that, the quartet (sans orchestra/big band), played Mike's music as the second set each night. This recording is from the second night."

Regarding this exhilarating Vu 4Tet project, Vu says, "This was a very collective/equal opportunity effort, so we just played and dealt with the cards collectively as they were dealt. I think it just comes down to the collection of players and our individual aesthetics coming together and trying to find a common goal/language." They succeed in triumphant fashion on Ballet, the second collaboration between Cuong Vu and Bill Frisell (their first was Vu's 2005 ArtistShare album Mostly Residual).

TRACKS

1. Ballet

2. Feelings And Things

3. Blue Comedy

4. And On The Third Day

5. Sweet Rain