GRAMMY NOMINATED SAXOPHONIST DAVE KOZ CELEBRATES TWO DECADES OF CHRISTMAS TOURS WITH NEW HOLIDAY CD FEATURING DAVID BENOIT, RICK BRAUN AND PETER WHITE

Dave Koz and Friends 20th Anniversary Christmas also features guest vocalists Selina Albright, Javier Colon, Kenny Lattimore, Gabriel Orengo and Jeffrey Osborne

After twenty years of sold out Christmas tours and five celebrated holiday albums within as many years, saxophonist Dave Koz has done his share – and then some – to help to make the season bright. This year he has reassembled his original holiday lineup – pianist David Benoit, trumpeter Rick Braun and acoustic guitarist Peter White – for the making of Dave Koz and Friends 20th Anniversary Christmas, an album that features brand new recordings of classic Christmas songs.

The September 29, 2017, release of Dave Koz and Friends 20th Anniversary Christmas on Concord Records sets the stage for Koz and this same lineup to go back on the road in late November for the 2017 holiday season.

“If you had asked me twenty years ago, I would never in a million years believed that we’d be doing Christmas tours two decades later,” says Koz. “But here we are, still doing it, and it’s going as strong as ever! So with twenty years under our belts, it seemed like a great reason to celebrate, and that’s why we decided to include the original cast of our Christmas tour. It’s our chance to go back to the very beginning and celebrate the relationships that this whole journey was built on.”

In addition to the brilliant instrumental synergy of Koz, Benoit, Braun and White, Dave Koz and Friends 20th Anniversary Christmas also includes a stellar lineup of guest vocalists: Selina Albright, Javier Colon, Kenny Lattimore, Gabriel Orengo and Jeffrey Osborne. In addition, several of the tracks are enhanced by the West European Symphony Orchestra. This confluence of instrumental, vocal and orchestral talent creates the peaceful, familial, home-centered vibe that everyone seeks at holiday time.

“This is the kind of record that really sets a mood and stays with that mood,” says Koz. “The feeling and the image I get when I listen to it, is that quiet time after dinner when the kids are asleep, the fireplace is crackling, you’re enjoying an eggnog and you’re gazing at the tree with all the lights and trimmings. This music is perfect for that moment. It’s just a very chill, very beautiful collection of songs for that very peaceful time during the season.”

The album opens on a light-hearted note with “Winter Wonderland.” The orchestra begins with a whimsical figure that sounds like snow falling, and then segues immediately into the familiar melody. “It’s a great song to start the album,” says Koz, “because everyone is featured, everyone plays the melody and everyone has a solo. You really get a sense of everyone’s personality in a single track.”

“Joy to the Wonderful World” is just what the title suggests – a medley of “Joy to the World” and “What a Wonderful World.” The track talks about the world in general, but especially at Christmastime. “People are different at this time of year,” says Koz. “Christmastime brings out the best in everyone and we all look at the world with childlike joy and tend to appreciate things more. We often hear people say – why can’t it be like Christmas all year ‘round.”

“Christmas Time Is Here” derives much of its beauty from the spontaneity of its inception. “We had a five minute conversation about what we were going to do,” says Koz, “we picked a key, we pressed record, and three and a half minutes later, there was the track! When you hear that melody, it’s the holidays. There’s no doubt about it. It takes you right there.”

Gabriel Orengo brings his expressive vocals to the Jose Feliciano classic “Feliz Navidad.” Koz calls the arrangement “a completely novel way of interpreting the song. Gabriel does this sort of Bruno Mars type of vocal delivery that’s so expressive and so in the moment. When I first heard Gabriel do it, I thought, ‘We have to find a way to make it work on the album,’ and we did. I’m very proud of this track.”

“Hark! The Herald Angels We Have Heard on High” is another one-take wonder that came together in the studio with very little preliminary planning. “It’s a pretty sophisticated piece of music, a musical mash up of two classics” says Koz, “and yet it was just one pass from start to finish.”

Selina Albright’s heartfelt vocals bring a retro sensibility to “Have Yourself a Merry Little Christmas,” but at the same time, “she has all the dexterity of a modern pop singer,” says Koz. “She takes it to another level, but never overdoes it. Her version sounds so true to what the song is all about.”

“O Tannenbaum,” one of Koz’s all-time favorites, creates an opportunity for plenty of interplay between himself and his three bandmates. “At the end of the track, there’s a musical conversation that came about organically. Look for quotes from familiar melodies like ‘Jingle Bells,’ ‘On Broadway’ and others.”

Javier Colon delivers the emotional payoff in “Silent Night,” a track that starts as a subtle instrumental piece and culminates with Colon’s angelic delivery. “Since the moment this song was written in the 1800s, it has been something more than a song. It’s like a prayer. So you must approach it with tremendous respect. Javier does that beautifully.”

Kenny Lattimore’s emotionally powerful rendition of Leonard Cohen’s “Hallelujah” had its origins in Koz’s 2016 Christmas tour. “The first night Kenny sang it, he got a standing ovation,” Koz recalls. “So we asked him to memorialize his version on this album.”

The lush and peaceful “O Little Town of Bethlehem” is a classic that Koz hadn’t recorded on any previous holiday albums. “It’s a beautiful melody in its own right,” he says, “and David wrote this absolutely gut-wrenching, gorgeous arrangement for the orchestra.”

Jeffrey Osborne delivers the stirring “Home Medley,” a combination of “I’ll Be Home for Christmas” and Kenny Loggins’ “Celebrate Me Home,” a song that is traditionally the final number in Koz’s Christmas shows, and it speaks to the emotional connection so common at this time of year. “It’s that sense of stability you get when you’re surrounded by your loved ones,” he says, “whether you’re actually in your physical home or not.”

Indeed, home for Koz and his bandmates is any place where they feel a positive connection. It may be in your town, or even in your living room. “Oftentimes,” he says, “because we’ve been going back to some of the same venues over the course of twenty years for the Christmas tour, these places feel like our home – even if it’s just for two hours in one night in December. Likewise, the songs on Dave Koz and Friends 20th Anniversary Christmas are all very important to those of us who recorded them. We’ve poured a lot of love and care into each song, and hope fans are filled with warmth, kindness and Christmas Spirit.”

The Mark Zaleski Band Returns After Nearly a Decade With Its Wide-Ranging, Hard-Swinging Second Album, Days, Months, Years

Bandleader/composer Zaleski pulls off the impressive feat of playing both saxophone and bass on the album, which features his long-running ensemble

Sparks can fly from an initial meeting, but true chemistry only comes with time. That's true in jazz as it is in life, as can be heard by listening to the evolution of the music's great bands as they grow and evolve over time. Nearly a decade after their debut release, the Mark Zaleski Band returns with the fruits of their own long tenure together. On Days, Months, Years, due out October 6, 2017, the quintet (and sometime sextet) reveals the fruits that come from putting in the time, year after year, gig after gig.

While the Mark Zaleski Band has been together for 11 years, the relationships between the bandleader and some of his collaborators reach back even further - nearly a lifetime in the case of keyboardist Glenn Zaleski, Mark's younger brother and a gifted composer/bandleader in his own right. Tenor saxophonist Jon Bean has been Zaleski's best friend since the two met as students at Boston's New England Conservatory 12 years ago. Both guitarist Mark Cocheo and bassist Danny Weller (who is a regular part of the live band and appears on one track here) first crossed paths with Zaleski at that prestigious institution as well. In that company drummer Oscar Suchenek is the relative newcomer, joining four years ago after meeting Zaleski in the ranks of the acclaimed Either/Orchestra.

It takes the kind of telepathic communication that only comes with such longevity and chemistry to manage the album's most impressive feat. Zaleski does double duty in the band's line-up, part of both his namesake band's frontline, playing alto and soprano saxophone, as well as its rhythm section, playing bass on five of the six tracks. A lot of planning and some complicated logistics (not to mention a bit of studio acrobatics) were required, though as with the best magic the effort never shows in the final product. The music on Days, Months, Years is as lively, swinging and robust as if a sixth member - Zaleski clone or not - was playing along with them.

"Playing bass and saxophone for a jazz record is obviously kind of tricky," Zaleski admits. "I don't think I'd be able to pull it off with just any group of musicians. It requires the real life bond that everybody in this band has with each other."

While saxophone has been Zaleski's primary instrument since he first picked one up at 9 years old, he's maintained a lifelong flirtation with the bass. Growing up listening to classic and modern rock, the guitar loomed larger in his imagination than the clarinet that he played in the school band, which seemed to have little to do with the music of Led Zeppelin or Metallica. Even as he shifted his focus to jazz, Zaleski would sneak away from his sax shedding to play around with a friend's upright bass while studying at the Dave Brubeck Institute or NEC.

Seven or eight years ago, that tinkering became a little more serious as Zaleski finally invested in a bass of his own and quickly found himself in demand for gigs and recording sessions as a bassist. "What I thought was going to be a fun little hobby suddenly blew up," he recalls. "I always felt this organic connection to the bass, but it's now become a real part of my life that I couldn't let go of. Though it was kind of crazy, it seemed like the most accurate representation of myself as an artist had to do with bass playing as well as saxophone playing."

Days, Months, Years kicks off with the anthemic "Mark in the Park," which has become something of a theme song for the band. Over the course of its ten minutes, the band gets to show off nearly every facet of its sound, from bracing swing to lilting groove, modern jazz angularity and a rocking, funky backbeat. The first solo belongs to Zaleski's alto, over his own thick, Ray Brown-influenced bass line. Pulling that off required a bit of in-studio juggling and after-the-fact tracking, but the seams never show. "I didn't want anything to seem overproduced," Zaleski says. "I wanted to maintain the organic quality of the improvisational sections."

"Cerina," named for the street where the band used to practice in Boston's Jamaica Plain neighborhood (not far from the park where "Mark in the Park" was written), begins with an unaccompanied duo improvisation between the two saxophonists that offers a glimpse of the deep friendship and understanding that Zaleski and Bean share. The rest of the band kicks in with a fiery, Latin-tinged rhythm, which later gives way to a more atmospheric section for Cocheo's entrancing solo.

The title track was penned by a younger Zaleski in a moment of career anxiety, its simmering intensity revealing of his frustration, though the song ultimately ends on a hopeful note, one that has since been paid off with the composer's success as both a musician and an educator. A funky arrangement of Thelonious Monk's "Epistrophy" follows, offering a glimpse of a well-known piece reimagined through Zaleski's own singular voice.

An elegiac ballad showcasing Zaleski's soprano playing, "Katie's Song" is a dedication to a close childhood friend who was killed far too young in a tragic car accident. Finally, the swaggering "Big Foot" offers a glimpse of the live Mark Zaleski Band experience, with regular bassist Danny Weller (who was busy attending to the birth of his child when the rest of the album was recorded) joining the fold. Zaleski's arrangement of the lesser-known Charlie Parker tune melds the original bebop sound with a burly blues feel.

A native of Boylston, Massachusetts, Zaleski has enjoyed a diverse career, playing with jazz greats like Christian McBride, Dave Brubeck, Antonio Sanchez and Dave Liebman, among others, while also working with singer Connie Francis and touring with rock legends Jethro Tull. At just 31, he's become one of the most in-demand educators in Boston, serving as chair of the Woodwind and Brass departments at Bard College's Longy School of Music and harmony professor at Berklee College of Music, and teaching ear training, lessons and ensembles at his alma mater, New England Conservatory. In addition to leading his own band, he's currently a member (on electric bass) of the long-running Either/Orchestra and Planet Radio, a funk/soul band that he co-founded.

CD Release Concerts:  

o Thursday, October 5 - Scullers Jazz Club, Boston, MA

o Friday, October 6 - Smalls, NYC 

o Saturday, October 7 - The Side Door, Old Lyme, CT

“HAVANA MEETS KINGSTON” EXPERTLY BLENDING THE SOUNDS OF TWO DISTINCT ISLANDS

On November 3rd, VP Records/17 North Parade will release “Havana Meets Kingston.” The innovative, culture-centric album pairs legendary and emerging Cuban and Jamaican musicians to reimagine classic songs and create new compositions, infused with Jamaican reggae and dancehall and traditional Cuban and Afro-Cuban rhythms. Produced by Australia’s leading reggae and dancehall producer Mista Savona (aka Jake Savona), ‘Havana Meets Kingston’ is the first full-length project to present the blended sounds of these two distinct island nations supported by an all-star cast of musicians.

Of the 15 new recordings on the album, fresh versions of ‘Chan, Chan,’ ‘El Cuarto De Tula,’ and ‘Candela,’ made famous by the album/film Buena Vista Social Club present a blended Caribbean flair. The album was recorded at Egrem Studios (Estudios Areito 101) in Havana and features performances by Grammyaward winning reggae duo Sly & Robbie with original Buena Vista Social Club instrumentalists Ronaldo Luna and Barbarito Torres among others.  New renditions of classic reggae songs; “Vibracion Positive” (Rastaman Vibration), “Row Fisherman Row” and “100 Pounds of Collie” feature the talents of vocalists Turbulence,Randy Valentine and Prince Alla among others. The music video and single ‘Carnival’ featuring emerging Cuban artist Solis and Randy Valentine, will be followed closely by “El Cuarto De Tula” featuring Maikel Ante, El Medico and Turbulence. A feature-length documentary chronicling the recording sessions is slated for release in 2018.

“When I first visited Cuba in 2013, there was something in the air- it just seemed to be begging to happen”, said Jake Savona. “The album simmers with an energy,warmth and sincerity that seems increasingly hard to find in this digital age. We hope you enjoy it as much as we enjoyed creating it.”

For generations, Cuba and Jamaica have been at the forefront of trends in music, art,fashion and food throughout the Americas. “Havana Meets Kingston” meshes these musical pathways, effortlessly blending Cuban rhythms and melodies with reggae’s rumbling basslines and hypnotic drums, resulting in an exceptional listening experience.

“We are excited to be associated with this album,” said Randy Chin, President of VP Records. “it’s a historical album with amazing production and talented artists, making it a truly ground-breaking project.”

 

Jordana Talsky’s new full length album ‘Neither of Either’ marks an evolution from jazz songstress to performer with a distinct sound

Jordana Talsky’s new full length album ‘Neither of Either’ marks an evolution from jazz songstress to performer with a distinct sound, combining acapella and full band tracks while seamlessly weaving between intricate support harmonies, vocal percussion and quirky textures to create an innovative and compelling sound.

The Toronto based vocalist-songwriter takes risks, sonically and stylistically, encompassing her diverse influences across multiple genres from jazz to pop, to alternative and ambient, to blues and soul and beyond.

Produced by Juno award winner Justin Abedin, the multi-instrumentalist, producer and composer recognized Jordana’s innate sense of music and deep well of creativity. “She understands the value in the craft of songwriting and brings a fresh approach to her style”.

Pushing the boundaries of her current sound, Jordana and Justin ensured the 10 track ‘Neither of Either’ has a great vibe, ease of vocal transition, convincing lyrics and musicality that harkens to other strong female voices influential on Jordana including Fiona Apple, Dido, Feist and Alanis Morissette.

Jordana Talsky is a voice to be heard. Her unique sound and varied style may be attributed to her wide ranging experience. Once an opera singer, a musical theatre performer, and member of a funk band, Jordana pushes boundaries and embraces all of her musical sensibilities. She was a finalist in the John Lennon Songwriting Competition, a semi-finalist in the Sarah Vaughan International Vocal Competition, and runner-up for the Julian Award of Excellence for Emerging Canadian Artists and Toronto Independent Music Awards (vocal jazz).

With a live show of high energy and excitement Jordana’s reputation has led her to perform in several music festivals and renowned venues. Established as one of Canada’s most exciting new artists in music, Jordana Talsky continues to perform on many notable stages both in the US and Canada making her a rising entertainer to watch.

From the catchy quirky intro of “Run” to the roots infused post-rock “Around You All The Time” followed by the darkly soulful “Ways”, and the epitome of being fed up expressed in “Sick”, Side A rounds out with “Bitter Sweet Heart”, where Jordana’s mesmerizing voice takes over. “Spark”, the first track on Side B, is a reminder that sometimes, that’s all that’s needed. “Wave of Emotion” conveys the confusion of being pulled in two directions while the title track, “Neither of Either” considers that sometimes not making the choice is wise. The RnB flavoured “Don’t Know” precedes Jordana’s imaginative acapella remake of Alanis Morissette’s “You Oughta Know” and completes the album much like it began – catchy, great vibe and shining vocals.

  

www.jordanatalsky.com

https://www.facebook.com/Jordana.T.Music/

https://twitter.com/JordanaZT

https://www.instagram.com/jzt123/

https://soundcloud.com/jordana-talsky         

NEW RELEASES: SUNNY & THE SUNLINERS – MR. BROWN EYED SOUL; SEAL - STANDARDS; DOME 25 YEARS: 50 CLASSIC TRACKS (VARIOUS ARTISTS)

SUNNY & THE SUNLINERS – MR. BROWN EYED SOUL

Insanely wonderful work from the Texas scene at the end of the 60s – a huge collection of the English language soul songs of Sunny & The Sunliners! The group first hit national fame in the earlier part of the 60s, with a sweet falsetto crossover hit – but as the decade moved on, they balanced their music equally between Spanish and English tunes – the former in more of a Tex-Mex mode, the latter in a wonderful version of sweet soul! In a way, Sunny's work here is a lot like Joe Bataan during his Sweet Soul years – a heartbreaking blend of Latin roots and east coast soul – produced with a rootsy vibe that really gets right to the heart of the matter! Sunny's work has never been reissued properly – especially the soul tracks from this period – and the collection is an ear-opening listen all the way through – and one that should hopefully put the group right up there with material by The Delfonics, Moments, and other sweet soul groups. Titles include "Smile Now Cry Later", "Put Me In Jail", "Should I Take You Home", "Cross My Heart", "Get Down", "Rain Makes Me Blue", "Outside Looking In", "My Dream", and "Open Up Your Love Door". ~ Dusty Groove

  

SEAL - STANDARDS

British soul legend Seal returns with his new album, ‘Standards’ - combining his unique voice with some of the greatest jazz standards and swing classics ever written. “I’m so delighted to announce that my brand new album, Standards, is out November 10th. This is the album I have always wanted to make. I grew up listening to music from the Rat Pack era, so recording these timeless tunes was a lifelong dream.” “It was a true honour to collaborate with the same musicians who performed with Frank Sinatra and so many of my favourite artists, in the very same studios where the magic was first made - it was one of the greatest days of my recording career.” Seal’s new album brings the glamour of Old Hollywood straight to the present, and his signature, velvety warm vocals bring to life classics made popular by Frank Sinatra (such as Luck Be A Lady, I’ve Got You Under My Skin and It Was A Very Good Year), Ella Fitzgerald (I’m Beginning to See The Light) and Nina Simone (I Put A Spell on You). Available on CD, Deluxe Signed CD, and Vinyl.

DOME 25 YEARS: 50 CLASSIC TRACKS (VARIOUS ARTISTS)

Includes: This I Swear (Richard Darbyshire); I’m Back for More (Bob Jones Club Remix by Lulu feat. Bobby Womack); I Want You Back (Sinclair); Flavour of the Old School (Beverley Knight); For Your Love (Hil St Soul); Enough Is Enough (Dennis Taylor); Gonna Get Over You (Full Flava Mix by Beverlei Brown); Betcha Wouldn't Hurt Me (Change Has Come Mix by Full Flava feat. Donna Gardier); Until You Come Back to Me (Acoustic Version by Hil St Soul); It's Alright (Cooly's Hot Box); This I Promise You (D-Influence feat. Shola Ama); Stories (Full Flava feat. Carleen Anderson); Can't Get You out of My Head (Incognito); Talk About It (Seek); Make You Smile (Brenda Russell); The One for Me (Rahsaan Patterson); Watching You (Avani feat. Rahsaan Patterson, Carl McIntosh); Starship (Conya Doss); Sausalito (George Duke); Future Street ( Martha Redbone); My Door Is Open (Carleen Anderson); Stay Awhile (Don-E); Fooled by a Smile (Julie Dexter feat. Khari Simmons); Words (Anthony David feat. India.Arie); If I Were You (Donnie); Slippin' (Mikelyn Roderick); Been in Love (Eric Roberson feat. Phonte); To Love Again (Gordon Chambers feat. Ledisi); After the Dance (James Taylor Quartet feat. Omar); Distant Lover (Heston); Fall in Love (Tortured Soul); Real Love (Drizabone Soul Family feat. Nataya); All in Me (Angela Johnson feat. Darien); I Got Sunshine (Avery Sunshine); Never in Your Sun (Khari Cabral Simmons feat. India.Arie); So Cold (Don-E feat. D'Angelo); Dealing (Eric Roberson feat. Lalah Hathaway); Lowdown (Incognito feat. Mario Biondi, Chaka Khan); Got to Let My Feelings Show (Bluey); Nature's Call (Shaun Escoffery); 4 Evermore (Anthony David feat. Algebra); A Universal Vibe (Down To The Bone); What Color Is Love (Citrus Sun feat. Valerie Etienne); Call My Name (Avery Sunshine); Music and Its Magical Way (Jarrod Lawson); Can't Keep Rhythm from a Dancer (Tortured Soul); Yeah (The Layabouts Remix by Imaani); Unconditional Love (Greg Dean feat. Chantae Cann, Jarrod Lawson); Ain't No Time (Gil Cang Extended Mix by Shaun Escoffery); and Morning Love (Simon Law feat. Caron Wheeler).

NEW RELEASES: SOUL TOGETHERNESS 2017; SOUL FESTIVAL 1971-1979 SOULFUL FLOORFILLERS; ORNETTE COLEMAN – ORNETTE AT 12 / CRISIS

SOUL TOGETHERNESS 2017 (VARIOUS ARTISTS)

Expansion’s most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year’s biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the ‘flow’ of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly’s Orchestra, Tawatha Agree (voice of Mtume’s “Juicy Fruit”) with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show “R&B Divas: Los Angeles”, other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

SOUL FESTIVAL 1971-1979 SOULFUL FLOORFILLERS (VARIOUS ARTISTS)

While “Soul Togetherness” on Expansion continues to feature the best new floor fillers of each year, “Soul Festival” is here now with a collection of music reflecting the label’s love of 70s soul. “Soul Festival” spans the period from when new soul music took influence from the Northern soul we enjoy here at UK clubs and events. As the decade progressed, records became more lavish in their arrangement and grander in production, always with that essential soul feel, and that’s what you will find here on this compilation. Music from this era is thankfully plentiful, always something to discover or enjoy all over again. Much has been reissued before, not always legally or of great sound quality, and so the intention of this series is to bring tracks together on both LP vinyl and CD of a high standard that are rare or have not previously appeared on one of these formats or the other.

ORNETTE COLEMAN – ORNETTE AT 12 / CRISIS

As the man who basically invented free jazz and even coined the term, Ornette Coleman has had the vast majority of his catalog reissued on CD, and rightfully so. But there are two records, both released on the legendary Impulse! label, that have somehow escaped digitization until now, The first, 1969’s Ornette at 12, features Ornette on alto sax, trumpet, and violin with Dewey Redman on tenor sax, long-time collaborator Charlie Haden on bass, and son Denardo (age 12 at the time of the 1968 recording) on drums. The jazz world was still getting over the effrontery of Denardo playing drums—he had made his debut two years earlier on The Empty Foxhole—which may explain why this one’s remained in the vaults till now. But Redman’s playing on tenor is just stellar, and Ornette’s untrained trumpet and violin technique make a nice foil for Denardo’s fresh approach to the traps. Another boundary-pushing record in a career full of them. But if it’s a puzzle that Ornette at 12 has not been previously reissued, it’s a downright mystery why 1972’s Crisis also hasn’t come out; recorded live in 1969 at N.Y.U. with a killer band of Redman, Haden, Denardo, and Don Cherry on flute and trumpet, it takes its place with Broken Shadows and Science Fiction as one of Ornette’s great small group recordings of the late ‘60s and early ‘70s. The version of Haden’s “Song for Che” is one of the best on record, the rendition of “Broken Shadows” here is simply beautiful, which is not a term many associate with Coleman’s playing, and the addition of Don Cherry—fresh from his own experiments in Indian and African music—spices up what is already a pretty heady brew. Real Gone Music’s two-for-one reissue of this pair of albums features the original gatefold album art and an essay by Howard Mandel, author of Miles, Ornette, Cecil: Jazz Beyond Jazz. Remastered by Mike Milchner at SonicVision from original tape sources.

NEW RELEASES: ROSCOE MITCHELL - DISCUSSIONS; SOULJAZZ ORCHESTRA – UNDER BURNING SKIES; JERRY BERGONZI – DOG STAR

ROSCOE MITCHELL - DISCUSSIONS

The title's an apt one – as the music here is based on the improvisations from Roscoe Mitchell's earlier Conversations albums – but recast in a whole new way for an improvising orchestra! The group here features Mitchell on sopranino sax – a very strong voice out in the lead – but the larger ensemble really has a lot to add to the sound, in a lineup that includes flute, clarinet, bass clarinet, bassoon, and oboe – reed elements used by Mitchell as in some of his previous "serious music" experiments – then mixed with violin, viola, electronics, trumpet, trombone, and percussion. The sound is a wonderful bridge between the compositional world of Mitchell and some of his looser small group improvisations – and the album satisfied both sides of that sonic spectrum in a great way. Titles include "Cascade", "Cracked Roses", "Who Dat", "Frenzy House", "Home Screen", and "I'll See You Out There".  ~ Dusty Groove

SOULJAZZ ORCHESTRA – UNDER BURNING SKIES

Excellent work from Souljazz Orchestra – a group who've consistently been one of the strongest contemporary Afro Funk ensembles for the past decade or so! There's a richness to the Souljazz approach that sets them apart from other groups that might just be going through the motions – especially in the way that they always know that the sound of the sum of their parts is very reliant on the parts – which mean that the individual musicians are quite strong, and burst out with very vibrant energy every time they get to take a solo! These guys are also never stuck in a groove – and really have found a way to refine and update their sound – this time around by maybe borrowing a bit more from some early 80s African roots and styles, of the sort that have had strong discovery in recent years. Titles include "Dog Eat Dog", "Lufunki", "Under Burning Skies", "Adawe Boogie", "Aduna Jarul Naawo", "Tambour A Deux Peaux", and "Oblier Pour Un Jour".  ~ Dusty Groove

JERRY BERGONZI – DOG STAR

Jerry Bergonzi has been making records for decades – yet lately, he seems to be finding an even fresher way forward – with a set like this that can grab us right from the very first note, and having us get excited all over again about his music! Bergonzi's tenor sound is tremendous – that raw tone that's been building up right from the start – but maybe the strongest element here is the group, which seems to have this soaring vision that's even more than the sum of its parts – driven on by this excellent presence on bass from Johnny Aman, whose dark notes really color the music, and open up the moodiest side of Bergonzi's music – alongside the excellent Carl Winther on piano, who wrote songs on the record alongside Jerry – plus Phil Grenadier on trumpet, and Anders Mogensen on drums. The trumpet/tenor pairing, quite familiar in jazz, somehow manages to find all these new places throughout – bursting out beautifully on titles that include "Pleiades", "Dog Star", "Darkness", "Live Stream", "Vertigo", and "Repor-Pa-Int".  ~ Dusty Groove

PIANIST HIROMI AND HARPIST EDMAR CASTANEDA FORGE A UNIQUELY THRILLING NEW SOUND ON THEIR DEBUT DUO ALBUM

Live in Montreal captures the Japanese pianist and the Colombian harpist in an electrifying and emotional set from the 2017 Montreal International Jazz Festival

Two of the most electrifying and original voices in contemporary jazz come together on Live in Montreal, the thrilling new album from Hiromi and Edmar Castaneda. Captured live at the 2017 Montreal International Jazz Festival, the album features the Japanese pianist/composer and the Colombian harpist finding common ground on Canadian soil, joining forces for a duo set that’s alternately – and at times simultaneously – engaging, explosive, moving, intricate and infectious.

Set for release October 6, 2017 on Telarc, a division of Concord Music Group, Live in Montreal was recorded exactly one year from the day when Hiromi and Castaneda first met. It was at the 2016 edition of the Montreal International Jazz Festival that the harpist was scheduled to open for a performance of Hiromi’s Trio Project. Each caught the other’s set and instantly fell under one another’s spell, as so many audiences had done before.

“I didn't really know what to expect,” Hiromi remembers. “When I heard Edmar play I couldn't believe what I was witnessing. It was a jaw-dropping experience. I didn't realize the harp could create such rhythm and groove. I only knew about classical harp, so my image of the instrument was very different. His way of playing was pure energy, full of passion - I was just blown away.”

For his part, Castaneda was equally awed by Hiromi’s set that night. “Her trio was burning, really crazy. The energy that she produced was the same as I like to play. I realized that we share the same passion for our instruments.”

After the show that night the two broached the topic of a collaboration, but so often that kind of backstage talk gets forgotten the moment that each side moves on to the next town. Fortunately that didn’t happen this time around, and it was less than two weeks later that Castaneda’s phone rang with an invitation to join Hiromi for a weeklong engagement at New York’s Blue Note Jazz Club. The moment they began to meld their distinctive sounds, the chemistry they’d suspected was more than confirmed.

“We both clearly remember the first few minutes of playing together in soundcheck,” Hiromi says. “It was really magical and effortless. It felt like all the musical notes that we created were happy to be together. It was like dancing.”

From the blooming string swell that opens Castaneda’s “A Harp in New York,” the duo’s synchronicity is gorgeously apparent. As a duo, their shared intuitions lead them from moments of serene beauty into bursts of propulsive momentum, leaving the listener floating with the perfect balance of tranquility and drive. The opening tug-of-war on “For Jaco” elicits appreciative laughter from the Montreal audience, providing a glimpse of the sheer joy that the pair finds in playing together. The tune’s buoyant groove was created in tribute to the legendary bassist Jaco Pastorius, whose brilliant art and tragic life proved both inspiration and cautionary tale for Castaneda.

“I was so impressed - and I’m still impressed - by all the tones and options Jaco created on the four string bass,” Castaneda says. “He inspired me to keep doing what I do on the harp, to try to show a different face of the instrument to people. At the same time, he showed me what not to do, how to try to be a musician but not try to go on the bad path that he took. I learned a lot from him, both personal and technical.”

Hiromi’s stunningly lyrical “Moonlight Sunshine” was written in response to the devastating tsunami and earthquake suffered by her native Japan in 2011. Though she’s performed it in the past with bass giant Stanley Clarke, it’s a perfect fit for the soul-stirring virtuosity of both of these players. Their shared musical passions turn more fiery on the album’s closer, an entrancingly sultry take on Astor Piazzolla’s immortal “Libertango.”

John Williams’ familiar “Cantina Band” from Star Wars swings the mood in the other direction, its playful spirit rendered in an arrangement that evokes Django Reinhardt’s gypsy swing, Calypso rhythms, and saloon-style stride piano. Hiromi, a diehard Star Wars fan from childhood, had long been looking for an outlet to tackle the tune, while Castaneda, shockingly for anyone born in the late ‘70s, has still never seen the film.

The centerpiece of the set is Hiromi’s four-part suite “The Elements,” composed especially for this duo. “I couldn't find anything written for this particular instrument combination, and I also wanted to write something for the way we played,” Hiromi explains. “I was imagining Edmar’s sound and it reminded me a lot of sounds in nature.” Each piece imaginatively reflects its subject: the weightless of “air,” the gritty, deep-rooted groove of “earth,” the shimmering fluidity of “water,” the roiling simmer of “fire.”

Most importantly, the suite allows the duo to show off the limitless range of their approaches to their instruments, especially Castaneda’s relatively unfamiliar (in jazz settings) harp. “She really studied what I do and wrote for the way that I play,” Castaneda says. “I always try to be away from ‘harp,’ all these glissandos and soft sounds. It was really nice to have grooves and a different approach to harmony and the combination of the voices in this suite.”

The final element in the concert was provided by the famously appreciative Montreal audience. One of the most renowned jazz festivals in the world, the Festival International de Jazz de Montréal, as it’s known north of the border, attracts true lovers of the music, who listen raptly and respond enthusiastically. It was as much for that reason as for the nostalgic thrill of returning to the same site where they’d met a year prior that the duo chose to record at the festival.

“I always love the audience in Montreal,” Hiromi says. “I always felt that they listen to the music with the same dynamics that we play it. They can be really loud and cheerful, but at the same time they can be really focused and quiet. That combination is very rare and amazing, and it puts me in the perfect mood to record.”

Not that either she or Castaneda need much encouragement beyond the spark they feel from each other’s inspiration. Live in Montreal captures all the exuberance and virtuosity that both bring to all of their music, with the added thrill of the new that comes with such an unusual pairing. “It takes courage to come hear a new combination of instruments,” Hiromi says – though she shrugs off the courage it takes to be part of creating such a new sound. “I can assure everyone that it will be a very exciting, brand new experience.”

Melissa Manchester: Through the Eyes of Love-The Complete Arista 7" Singles (2CD-Set)

“Please, don’t let this feeling end…” The sentiment of that famous lyric is one shared by listeners every time Melissa Manchester begins to sing. From her earliest pop hits through her recent triumphs on the jazz charts, Manchester’s voice has always resonated with warmth and power. In 1975, she was one of a handful of select talents chosen by Clive Davis to inaugurate his Arista Records label, and during her near-decade on the label, the fiercely independent artist established herself as both a singer and songwriter. 

Inspired by the trailblazing Laura Nyro, the onetime student of Paul Simon scored a crossover smash with the beautifully intimate “Midnight Blue,” established such songs as “Don’t Cry Out Loud” and the Oscar-nominated “Theme from Ice Castles (Through the Eyes of Love)” as standards, and reinvented herself as a contemporary dance diva with the Grammy-winning “You Should Hear How She Talks About You.” All of those songs and many more—including over fifteen chart hits—can be heard on Real Gone Music and Second Disc Records’ Through the Eyes of Love—The Complete Arista 7” Singles Collection. 

This landmark release brings together every one of Manchester’s Arista 45 RPM releases, all in their original single versions featuring 23 unique single mixes/edits, for a total of 43 tracks on two discs. These timeless recordings fusing pop, rock, soul, R&B, new wave, dance, jazz, and plenty of heart have been newly remastered from the original tapes by Mike Piacentini at Sony’s Battery Studios, and present Melissa’s hits on CD as they were first heard on the radio between 1975 and 1984. Through the Eyes of Love boasts several worldwide CD premieres such as the single version of “My Boyfriend’s Back” (heard as part of a medley in its album version), and as a special bonus, the extended 12-inch mix of “You Should Hear How She Talks About You;” Joe Marchese of The Second Disc provides new liner notes based on an exclusive interview with Melissa herself. Clocking in at 157 minutes, Through the Eyes of Love: The Complete Arista 7” Singles is the most comprehensive Melissa Manchester anthology ever, and reveals just why she became the cherished voice of a generation.

Disc : 1

1. Midnight Blue

2. I Got Eyes

3. Just Too Many People

4. This Lady's Not Home

5. Just You and I

6. My Sweet Thing

7. Better Days

8. Sing, Sing, Sing

9. Rescue Me

10. Happy Endings

11. Monkey See, Monkey Do

12. So's My Old Man

13. Be Somebody

14. Dirty Work

15. I Wanna Be Where You Are

16. No One's Ever Seen This Side of Me

17. Don't Cry Out Loud (Single Version)

18. We Had This Time

19. Theme from Ice Castles (Through the Eyes of Love)

20. Such a Morning

21. Pretty Girls

22. Fire in the Morning

Disc : 2

1. It's All in the Sky Above

2. Lights of Dawn

3. If This Is Love

4. Talk

5. Without You

6. Boys in the Backroom

7. Lovers After All

8. Happier Than I've Ever Been

9. Race to the End (Theme from "Chariots of Fire")

10. Long Goodbyes

11. You Should Hear How She Talks About You

12. Hey Ricky (You're a Low-Down Heel)

13. Come In from the Rain

14. Nice Girls

15. My Boyfriend's Back

16. Looking for the Perfect Aah

17. No One Can Love You More Than Me

18. White Rose

19. I Don't Care What the People Say

20. Emergency

21. You Should Hear How She Talks About You

NEW RELEASES: COSTAS ANDREOU – OBSERVATION POINT; VIBRATION BLACK FINGER - GUADI; ADAM RUDOPLH’S MOVING PICTURES – GLARE OF THE TIGER

COSTAS ANDREOU – OBSERVATION POINT

The new album Observation Point by Costas Andreou has just been released. The new, fourth solo album by Costas Andreou, Observation Point, features ten instrumental music songs. The album was created by musician Costas Andreou with the sounds of fretless electric bass, processed in real time with custom electronics. The album Observation Point is a live sound recording, an atmospheric music adventure through multilevel organic sounds and sensitive melodies. Track list includes:  Observation Point; The Enduring Memory; Intercepted At Dawn ; Silver Coins For Silver Eyes; On The Coastline; Come And Go; Skyscape In Infrared; Under The Motion Sensors; Wishes Are Sails and Far In The Horizon. http://www.costasandreou.com

VIBRATION BLACK FINGER - GUADI

The third release from this groundbreaking musical collective – and maybe their most compelling so far! As before, there's a fantastic melange taking place – elements of spiritual jazz, soulful funk, and lots more – but this time around, the sound is even more offbeat – darker in some corners, weirdly calming in others – very much experimenting for its own pleasure, but with results that are extremely pleasing – and hugely different than the kind of contemporary projects that filter down a world's worth of influences, but with an end result of nothing. Instead, VBF manage to sift things around in ways that are completely amazing, and spiritual too – but with a very unique approach. Maggie Nichols sings on two tracks, Ebony Rose on two more, and Nat Birchall plays some great tenor on a spiritual jazz take on "Amazing Grace" – alongside other titles that include "Get Up & Do It", "Got To Believe", "Love & Hate", and "Alive In The Five".  ~ Dusty Groove

ADAM RUDOPLH’S MOVING PICTURES – GLARE OF THE TIGER

The groove of Adam Rudolph just keeps getting deeper over the years – to a point where here, he almost sounds like he's somewhere between the scenes of 70s electric Miles Davis, and some of the later cross-cultural experiments of Bill Laswell! There's a great layering of electric and acoustic elements taking place here – a sound that almost seems to have no beginning or end at points – built up from lots of rootsy percussion from Rudolph, mixed with Fender Rhodes and hammond from Alexis Marcelo, cornet and flugelhorn from Graham Haynes, percussion from Hamid Drake, electric bass from Damon Banks, flutes and reeds from Ralph M Jones, and percussion, Rhodes, and electronics from James Hurt! The track length is nicely varied too – some long extrapolations, shorter bursts, and mid-level musical journeys – on tracks that include "Glare Of The Tiger", "Dialogics", "Ciresque", "Ecstaticized", "Wonderings", "Lehra", and "Rotations". (Limited to just 300 copies – includes download!)  ~ Dusty Groove

The New Orleans Jazz Orchestra Announces Kick-Off Events for Upcoming Fall Season

Season Begins with NPR's "Jazz Night in America" October 24th and The Orchestra's Showcase Concert October 26th at the New Orleans Jazz Market

The Grammy-Award Winning New Orleans Jazz Orchestra announces two events that will kick-off its official Fall Season starting with NPR's "Jazz Night in America" featuring Christian Scott aTunde Adjuah on October 24th and the Jazz Orchestra's Showcase Concert on October 26th.  Both performances are to be presented at the New Orleans Jazz Market (1436 Oretha Castle Haley Boulevard, New Orleans, LA 70113) with doors opening at 6pm and performances at 7:30pm.  More events to be announced soon and tickets are available at www.TheNOJO.com. 

The New Orleans Jazz Orchestra's showcase on October 26th represents the first performance since the organization filled its new leadership roles in 2017. Key leadership roles, as selected by the New Orleans Jazz Orchestra's Board of Directors, now consist of Artistic Director and Bandleader, Adonis Rose, and New Orleans Jazz Orchestra's President and CEO, Sarah Bell.

Additionally, famed Jazz pianist Ellis Marsalis and Arts Educator and Theater Executive Cassie Worley join longtime supporters Dee Dee Bridgewater and Mikki Shepard as the New Orleans Jazz Orchestra's Artistic Development Committee continues to take shape.

Rose, a New Orleans native, is a globally acclaimed, Grammy-Award Winning drummer who has performed with some of the world's most esteemed Jazz artists, from nine-time Grammy winning trumpeter Wynton Marsalis to three-time Grammy Winning vocalist Dianne Reeves to Jazz/Pop entertainer Harry Connick Jr. He is a graduate from the New Orleans Center for Creative Arts and the prestigious Berklee College of Music in Boston. "We are excited to have the orchestra performing again at the Jazz Market and moving in a positive direction," says Artistic Director Adonis Rose. "Good things are to come!"

Sarah Bell, a 10-year Central City resident, has been a long-time champion of New Orleans culture through her work with local and national non-profits. Bell joined the organization in 2014 and was appointed by the Board as President and CEO in February 2017 to maintain and solidify community programming and shift the organization's focus to the future. "Our devoted Board of Directors, generous individual supporters, and dedicated corporate sponsors have given us the margin to continue focusing on what we do best, which is providing authentic and meaningful experiences through the lens of Jazz. Our community programming has continued to thrive and with the return of extraordinary music to the Market, we are eager to reveal the future of our organization," states Bell.

Daryl Byrd, President and CEO of Iberiabank and member of the NOJO Board's Executive Committee notes, "The Jazz Market has been a staple on Oretha Castle Haley Boulevard since it opened in 2015 by consistently offering resources for children, musicians, and nonprofits. We're proud of Sarah's commitment to the community by already providing over 400 hours of community-based programming and support in 2017 and we are thrilled to have Adonis bring back the music."

The New Orleans Jazz Orchestra (NOJO) is a non-profit organization whose mission is to continue and strengthen the legacy of Jazz throughout local and global communities by providing access to unparalleled performances, creative gathering places, and authentic community engagement. We move forward in our mission with the Grammy Award-winning New Orleans Jazz Orchestra and the New Orleans Jazz Market; the only stand-alone facility built specifically for Jazz in New Orleans.  The NOJO prides itself in working with the community to offer services to local non-profits and musicians as well as educational opportunities for area youth.

Diana Krall Announces Third Leg Of Turn Up The Quiet North American Tour Dates

Multiple GRAMMY® Award-winning jazz pianist and world-renowned singer, Diana Krall will return to North America in January for the third US leg of her "Turn Up The Quiet World Tour."  The tour kicks off on January 30th in Clearwater, FL at the Ruth Eckerd Hall and will visit major venues and cities including the Walt Disney Theater in Orlando, FL, 2 nights at the Schermerhorn Symphony Center in Nashville (where Diana and her band will be accompanied by the Nashville Symphony), as well as The Symphony Hall in Atlanta, GA before concluding at the Capitol Theatre in Port Chester, NY on February 24th.  For a complete list of dates and for local on-sale information, please visit www.dianakrall.com

Krall recently wrapped the second leg of her North American tour with two incredible nights at The Hollywood Bowl in August, along with a stellar performance on Jimmy Kimmel Live! Click here to watch: http://abc.tv/2xTLMai.

"Turn Up The Quiet World Tour" features material from Krall's stunning new album Turn Up The Quiet out now on Verve Records as well as a mix of some of Diana fans' favorites. Earning critical praise, MOJO Magazine called the new album "spectacular" and said Krall was "on top form."  People Magazine said, "Diana Krall's new music will have fans falling for her all over again." 

Diana Krall is the only jazz singer to have eight albums debut at the top of the Billboard Jazz Albums chart. To date, her albums have garnered five Grammy® Awards, eight Juno® Awards and have also earned nine gold, three platinum and seven multi-platinum albums. Krall's unique artistry transcends any single musical style and has made her one of the most recognizable artists of our time.

Diana Krall - World Tour 2017-2018  Dates

01/30/2018 / Clearwater, FL /Ruth Eckerd Hall

01/31/2018 / Fort Myers, FL / Barbara B. Mann Performing Arts Hall

02/1/2018 / Fort Lauderdale, FL / Broward Center for the Performing Arts

02/3/2018 / Orlando, FL /  Dr. Phillips Center for Performing Arts

02/5/2018 / Melbourne, FL / King Center for the Performing Arts

02/6/2018 / Sarasota, FL / Van Wezel Performing Arts Hall

02/7/2018 / Jacksonville, FL / The Florida Theatre

02/9/2018 / Atlanta, GA / Atlanta Symphony Hall

02/10/2018 / Charleston, SC / Charleston Gaillard Center

02/11/2018 / Asheville, NC / Thomas Wolfe Auditorium

02/13/2018 / Nashville, TN / Schermerhorn Symphony Center

02/14/2018 / Nashville, TN / Schermerhorn Symphony Center

02/16/2018 / Augusta, GA / Miller Theater

02/17/2018 / Durham, NC / Durham Performing Arts Center

02/18/2018 / Charlotte, NC / Belk Theater at Blumenthal Performing Arts Center

02/20/2018 / Richmond, VA / Carpenter Theatre at Dominion Arts Center

02/21/2018 / Newport News, VA / Ferguson Center for the Arts

02/23/2018 / Brookville, NY / Tilles Center for the Performing Arts

02/24/2018 / Port Chester, NY / The Capitol Theatre

NEW RELEASES: JOHANNES LINSTEAD - AZUL; BRENDAN ROTHWELL – TIME ON MY HANDS; RUN N' FLY

JOHANNES LINSTEAD - AZUL

A new collection of deeply moving, melodic music from one of the world’s best selling jazz and world music guitarists, Canadian-born, Johannes Linstead. Inspired by the color of the tropics and exotic travels to warm climates, AZUL, is infused with glorious tropical vibes and spirited Caribbean rhythms. Recorded in his home away from home, the Dominican Republic, the album’s title (“blue” in English) comes from his musing about the sky’s reflection on the ocean. In addition to blending festive, high energy rock influences with Santana-esque graceful ballads, Linstead sets himself apart from other guitarist/composers with his artful, emotionally compelling interplay of electric and acoustic guitar melodies and harmonies on many of the songs. For the first time in his nearly 20 year recording career, he offers up vocals effortlessly in both Spanish and English. Slip away... into the Azul and find your home away from home. ~ smoothjazz.com

BRENDAN ROTHWELL – TIME ON MY HANDS

Canadian composer, bassist and producer Brendan Rothwell cites Marcus Miller’s work on Miles Davis’ classic recording TUTU as the reason he chose his lead instrument. On his debut album TIME ON MY HANDS, he emphatically bucks the trend of the bass being in the background. Optimizing the tone, scale, feeling and musicality of the instrument, he showcases its ability to stir melodic excitement while creating deep, hypnotic rhythms. While his soulful, funky fluidity often brings to mind the coolness of the late Wayman Tisdale, there’s also an atmospheric, trippy and mystical exploratory vibe influenced by Miller’s slow simmering fusion style. Fans of Stanley Clarke and Brian Bromberg will be fully engaged as well. You’ll enjoy keeping time with Time On My Hands! ~ smoothjazz.com

RUN N’ FLY – RUN N’ FLY

Veteran Brazilian born, New York based guitarist, composer and producer Sandro Albert teams up with his fellow countryman, renowned artist and master lyricist Manu Lafer to create Run N’ Fly – an outstanding, Steely Dan-esque musical collective featuring top New York session musicians and singers, as well as legendary Jazz/R&B drummer Omar Hakim. Combining Albert’s infectious, relentlessly grooving old school R&B/Funk and contemporary urban jazz vibes with Lafer’s fertile imagination and whimsical storytelling, Run N’ Fly creates a quirky yet powerful homage to some of our greatest and most beautiful female icons, and some obscure ones for good measure, starting with the irrepressible first single “Daughter of Cain,” inspired affectionately by Israeli actress Yuval Scharf. ~ smoothjazz.com