PAT METHENY with Antonio Sanchez, Linda May Han Oh & Gwilym Simcock plus Lean On Me: JOSÉ JAMES Celebrates Bill Withers Set for Newport Jazz Festival®

Be among the first to secure your seats at one of Newport's most popular summer eventsfeaturing Pat Metheny with Antonio Sanchez, Linda May Han Oh & Gwilym Simcock plus Lean On Me: Josè James Celebrates Bill Withers at the Friday evening concert of the Newport Jazz Festival® presented by Natixis Investment Managers.  The concert takes place August 3 at the International Tennis Hall of Fame at the Newport Casino, 194 Bellevue Avenue. The cocktail party begins at 6:30 pm, followed by the concert at 8:00 pm. 

"Pat Metheny is someone I first admired from afar, then wound up having the privilege of working with over the last 25 years. I consider him a true friend, a mentor and a constant source of inspiration, on and offstage," said Artistic Director Christian McBride. "Every time he makes music, the world listens. It's an honor to have him at Newport Jazz Festival this year."

McBride added, "I first met and worked with Josè James 10 years ago. I was the musical director for a Marvin Gaye tribute. I didn't know who he was then, but a number of musicians I respect told me I should hook up with him because he was a star in the making. They couldn't have been more correct. Josè has become one of the major voices of this generation and I can't wait to see and hear him wow the audience at Newport again."

The Newport Jazz Festival Friday evening cocktail party on the Horseshoe Piazza welcomes a limited number of attendees for pre-concert socializing with music, food and beverages. Tickets include open bar and hors d'oeuvres. Tickets are limited and exclusively for concertgoers. Party attendees must purchase a separate ticket to the Festival concert.

The 2018 lineup for the Newport Jazz Festival presented by Natixis Investment Managers also features concerts at Fort Adams State Park on Friday, Saturday and Sunday, including Living Colour; Sangam with Zakir Hussain and Eric Harland; Rudresh Mahanthappa Indo-Pak Coalition; Michel Camilo; and Matthew Shipp Trio on Friday, August 3. Andra Day; Charles Lloyd New Quartet with Jason Moran, Reuben Rogers and Eric Harland; and Mary Halvorson's Code Girl take the stage on Saturday, August 4.  Artemis featuring Cécile McLorin Salvant, Renee Rosnes, Anat Cohen, Melissa Aldana, Ingrid Jensen, Noriko Ueda & Allison Miller; Charles Lloyd & Friends featuring Lucinda Williams with Jason Moran, Marvin Sewell, Stuart Mathis, Reuben Rogers and Eric Harland; and Jazzmeia Horn will perform on Sunday, August 5.

Ohio Players - The Funkiest Band On Earth - Back With New Music and CD Collection

It's not an understatement to suggest Ohio Players are one of the greatest bands of all time. They are an American national treasure, a band that truly broke the mold and changed the face of music forever. The Players music is pure and organic, at their heights they produced 17 Top 40 hits, with several platinum and gold selling albums, including masterpiece songs such as 'Skin Tight', 'Fire', 'Love Rollercoaster' and 'Who'd She Coo?'

The Players sound has been ingrained into modern popular culture. Their music has been used everywhere, from McDonald's commercials to The Sopranos. In 2004 the Players were given a prestigious BMI award for the use of the song 'Fire' on 12 seasons of Hell's Kitchen. The Players also paved the way for the next generation of funkateers; samples of their music have enhanced the careers of Snoop Dogg, Dr. Dre, Ice Cube, Ice-T, Beastie Boys, Public Enemy, Jay-Z, Outkast, Notorious BIG, 2Pac, Mary J Blige and a great many others. Their songs have also been covered by a vast array of artists including Red Hot Chili Peppers.

In 2013, the Players were inducted into the inaugural class of the Official R&B Music Hall of Fame and in 2018, for the first time in almost 30 years Ohio Players are back with new music!

The original Players members of James 'Diamond' Williams (Drummer), Billy Beck, (Keyboardist), Clarence 'Chet' Willis (Guitarist) and Robert 'Kuumba' Jones (Percussionist) have been back in the studio recording the new music. The first single to drop is called 'Reset' and rest assured, that Player groove is ever present. Mature and refined and complete with that earthy timeless signature sound that made Ohio Players international superstars.

Coinciding with the release of the new record, Cherry Red Records out of the UK have put together the definitive three CD collection of Ohio Players works, combining music from the Capitol, Westbound, Mercury, Arista & Boardwalk days alongside various spin off projects by the members over the years for a total career overview of this exceptional Funk Band.

Saxophonist/Clarinetist Dan Block Revisits His Hometown of St. Louis with his Brother, Guitarist Rob on "Block Party"

Shut down the streets, it's time for a Block Party! The latest album from saxophonist and clarinetist Dan Block is a joyous event fully in keeping with the warm spirit of its namesake: a time to join together with other families, meet with your neighbors, and enjoy a timeless tradition. In this case, the tradition spans several generations of jazz, the neighbors are fellow transplants from Block's native St. Louis to the jazz mecca of New York City, and the family is, well, family - in this case, brother and guitarist Rob Block.

Block Party (due out January 19 from Miles High Records) is, at heart, a celebration of the Block siblings, recording together for the first time in their lives. Their collaboration shows off an easy camaraderie laced with a fiery competitive spark natural to brothers. The pair combine with the kind of unspoken communication that can only come from shared roots, qualities that many musicians spend decades working together to achieve but which comes naturally from two artists who've grown up in the same household.

"We have a certain chemistry when we play together," Dan Block says of working with his brother. We fell into it much later. "We're very different people but he brings something intangible out in me, and vice versa. You're completely free to be yourself when you're sharing the stage with your brother."

Sharing a bloodline with your sidemen is a rare opportunity, but sharing a hometown may be the next best thing. That explains why St. Louis native Neal Caine provides such a strong backbone for the band; best known as the longtime bassist for Harry Connick Jr.'s band, Caine's path paralleled Rob Block's, detouring through New Orleans on the way to New York City. Tokyo-born pianist Tadataka Unno and in demand drummer Aaron Kimmel don't share those same roots but they do have a common sensibility, one that doesn't get hung up on one era or style of jazz.

"We're all conversant in the whole history of the music," Block declares, an attitude that has endeared him to the similarly all-embracing Wynton Marsalis, with whom he performs regularly in the Jazz at Lincoln Center Orchestra. Block feels comfortable expressing himself in traditional Dixieland jazz bands as well as bop, modal jazz and beyond. That wide scope is reflected in the repertoire on Block Party, which draws from several decades' worth of source material while maintaining a cohesive sound.

Block's lyrical clarinet provides a welcoming tone to being the album on the somewhat obscure standard "Dinner For One Please, James," a favorite of singers like Nat King Cole and Eartha Kitt. It's followed by the Latin rhythms of "No, No, No," an unknown piece by nonagenarian songwriter Phil Springer, with whom Block has forged a close working relationship and friendship. Best known for "How Little We Know" and the perennial "Santa Baby," Springer was thrilled that Block wanted to interpret a different tune from among his stacks of sheet music. "Phil's a really fine songwriter and a brilliant musician," Block says. "He's one of the few people left who still writes in the tradition of the Great American Songbook."

Block wields the clarinet for a wistful, relaxed take on the Thelonious Monk classic "Light Blue," but the pace picks up via Kimmel's propulsive beat for Gigi Gryce's "Smoke Signal," highlighted by some delightful back and forth between the brothers Block. The pace is maintained for an update of composer Ferde Grofe's "Wonderful One," originally recorded in the 1920s by the Paul Whiteman Orchestra but gien a several-decade refresh in Block's bristling arrangement.

Block also dips back into the early decades of the 20th century for two Walter Donaldson compositions, both of which were recorded by one of the saxophonist's most powerful influences, legendary corentist Bix Beiderbecke. The first, "Beautiful Changes," is transformed into a time-shifting burner that sounds more like something found on a mid-60s Impulse! LP than an antique 78. "Ain't No Land Like Dixieland," on the other hand, retains a sense of burnished nostalgia without forsaking its modern pulse. All of these choices highlight the fact that Block finds inspiration from throughout the jazz timeline, recognizing fertile ground for exploration regardless of how long it's been abandoned.

"So many things were tried and left behind back then," he says. "There was a lot of experimentation at that time, influenced by impressionist composers like Debussy and Ravel, but those influences haven't been returned to very much since. But it's still rich territory to explore and use as a point of departure."

"By the Fireside," on the other hand, traverses more well-worn ground, a classic, gritty blues. The angular theme of Block's sole original contribution, "Option Click," reflects the nervy tension the composer feels when confronted with modern technology. Finally, Dan and Rob pair off for a lovely ballad of brotherly love on the album's closing track, the Harold Arlen classic "It Was Written in the Stars."

You can go home again, if the warm and wonderful sounds captured herein are to be believed. And when you do, hope to be received with a celebration as lively and lyrical as Block Party.

Saxophonist/clarinetist Dan Block has a dual reputation in the jazz world: he is well-regarded mainstream player, yet is best known as a specialist in traditional jazz. He's a diverse talent, fitting like a chameleon into a host of musical genres on a variety of instruments. He has worked as a sideman with Toshiko Akiyoshi, Frank Wess, Richard Wyands, Wynton Marsalis  and the Lincoln Center Jazz Orchestra, Harry Allen, Jerry Dodgion and Howard Alden. In the more traditional jazz vein he has worked frequently with Vince Giordano, Marty Grosz and Judy Carmichael. Quite a bit of his work has been with singers, performing and recording with the likes of Michael Feinstein, Natalie Cole, Anne Hampton Calloway, Bobby Short, Linda Ronstadt and Rosemary Clooney. Block's clarinet and saxophone have been heard in a number of motion pictures including The Aviator, The Good Shepherd, Revolutionary Road and most recently the critically acclaimed HBO series Boardwalk Empire. He has also played on countless radio and television commercials. He won the 2016 Charlie Parker Award as part of the BMI Jazz Composer's Workshop.  Block has recorded numerous CDs including his most recent, the Duke Ellington tribute From His World To Mine and the duo project Duality, both on Miles High. Dan Block has the kind of musical focus that onlycomes with real experience. Classically trained at Juilliard, he has played nearly every style and genre of music from Salsa to Caribbean to, Klezmer, which have all come together to form a unique sound: his own.

danblockmusic.com

Drummer Jeff Hamilton's band with Tamir Hendelman and Christoph Luty takes its place in the trio pantheon with Live from San Pedro

Little did anyone imagine that it would take a masterly drummer to pick up the mantle of the late, great Oscar Peterson as a leader of outstanding piano, bass and drum trios. Still, those with attuned ears will recognize that Jeff Hamilton has assembled one of the most meticulous and exciting small ensembles of present day jazz. With the virtuosic pianist Tamir Hendelman and the redoubtable bassist Christoph Luty working in swinging tandem alongside him, Hamilton-one of the most acclaimed drummers of the past five decades-reasserts his role as an invaluable bandleader. Live from San Pedro, available February 16, 2018 via Capri Records, is proof that the chemistry between these three equally gifted and assertive players remains unabated 17 years into the group's existence. Nodding to the grand tradition that predates them, yet eager to put a fresh face on the musical proceedings, the Hamilton trio stakes its place as a classic ensemble within the hallowed history of piano trios.

Captured at a single night's performance at the Alvas Showroom in San Pedro, California, the trio dives deep into an imaginative repertoire that includes bop standards ("In Walked Bud"), a beloved ballad ("I Have Dreamed"), reworked show tunes ("Gary, Indiana"), a classic from the Ahmad Jamal playbook ("Poinciana") and a host of original tunes from group members and others including John Clayton and Joe LaBarbera. The set demonstrates the indivisible unity that the threesome has achieved, as well as the individual virtuosity of each distinguished trio member. While not overtly resembling the trios of Oscar Peterson, the Hamilton trio shares the same rigorous adherence to stop-on-a-dime arrangements, careful dynamics and perfectly framed improvisations.

While asserting his leadership through his extraordinary rhythmic control, not to mention his exquisite taste, Hamilton is the opposite of a grandstanding percussionist. As Geoffrey C. Ward has written, "He's a musician first and foremost, always eager to serve the music, not to make the music serve him." One of the great practitioners of the art of brushwork, Hamilton gets to exhibit his mastery throughout the recording; his feature, "Brush This," composed by the bassist John Clayton (Hamilton's cohort in the Clayton-Hamilton Jazz Orchestra) is a special treat. His equally renowned stick work is also abundantly on display. With Hamilton navigating the trio through its paces, and Hendelman and Luty locking in with communal exactness, the band becomes a well-oiled, yet creatively inspired, swing machine.

One of the giants of mainstream jazz drumming, Jeff Hamilton has been heard with the big bands of Woody Herman and Count Basie, and as a member of the popular L.A. 4, as well as with such icons as Ella Fitzgerald, Ray Brown, Monty Alexander and Oscar Peterson. In addition to his work with the Clayton-Hamilton Jazz Orchestra, Hamilton has appeared with Diana Krall both in performance and on recordings.  Live from San Pedro is his third Capri Records album with the Jeff Hamilton trio.

The Israeli-born Tamir Hendelman has played with such luminaries as Tierney Sutton, Teddy Edwards and Harry Allen, and is the pianist for the Clayton-Hamilton Jazz Orchestra. Christoph Luty is also a member of the Clayton-Hamilton Jazz Orchestra and has worked with Diana Krall, John Pizzarelli and Milt Jackson, among others.

A UNIQUE VOICE IN JAZZ: DOLORES SCOZZESI RELEASES “HERE COMES THE SUN”

Dolores Scozzesi's voice is an anodyne for the cookie cutter vocals of so many singers we hear today. Here Comes The Sun, her newest CD, features Scozzesi’s unique sound and an engaging mix of tunes ranging from jazz and pop standards to off-beat and rarely done compositions. It follows up her 2010 release, A Special Taste, which received excellent reviews. 

Scozzesi, a New York City transplant, has been performing in Los Angeles clubs for many years. She began her professional singing career at Budd Friedman’s Improvisation Comedy Club, singing between comedy acts of up-and-coming talent, many of whom, like Robin Williams, Larry David and Jay Leno, have gone on to become household names. She began developing her singular style by singing in jazz and cabaret rooms around Los Angeles. Scozzesi also had the opportunity to perform in France, where she sang traditional American blues and jazz in Lyon and Paris. Over the years, she’s built a fan base and a solid reputation as a singer who can captivate an audience with her sultry voice, charismatic personality, and forthright honesty. 

Scozzesi’s musicality is a product of her diverse cultural heritage. According to Scozzesi, “My taste in music is a bit unusual. Although I love straight-ahead jazz, I also have a strong affinity for Latin and World music. I’m part Mexican and Irish with a dash of African-American, and I don’t doubt that my multi-ethnic background has been instrumental in forming my musical tastes. In any case, the songs that I like to sing must have a perfect marriage of lyrics and melody … whatever the genre.” 

Scozzesi opens the CD with a crisply enunciated rendition of Cole Porter’s “It’s Alright with Me,” arranged by Rich Eames and Scozzesi. Eames, the versatile pianist, composer and arranger, also wrote the arrangement for George Harrison’s “Here Comes the Sun,” which features the stellar guitarist Larry Koonse. Scozzesi takes a very different approach on this tune from Harrison’s original version. She sings with an earnestness that acknowledges the darkness and difficulties of the past that give urgency and much needed hope for a better, sunnier future. 

Quinn Johnson and Dori Amarilio also wrote arrangements for this project. Johnson, the longtime musical director for Steve Tyrell, wrote a funky arrangement for Randy Newman’s “You Can Leave Your Hat On,” as well as arrangements for the jazz standards “Wild is the Wind” and a very moody version of “In My Solitude.” As Scozzesi relates, “I want to know who an artist is, and I’m attracted to artists who reveal themselves on stage. I always try to get to the truth of who I am when I perform, and I’m entranced by singers who are totally authentic.” Indeed, Scozzesi sings “In My Solitude” with a somber sensitivity that cuts right to the heart of the lyric. 

Amarilio is a busy guitarist with a long resume of film, television, and gaming credits. His version of “I’m in the Mood for Love” opens with Scozzesi singing with only the accompaniment of Lyman Medeiros, a first call bassist in L.A., and features a melodica solo by Andy Langham, who has performed with a virtual Who’s Who of top jazz artists including Poncho Sanchez, Christian McBride, and Jane Monheit. Amarilio also wrote arrangements for Dave Frishberg’s “A Little Taste,” “Harlem Nocturne,” and a quirky version of “Tequila,” with new lyrics by Amarilio and Mark Winkler, who produced this CD.

Winkler is a popular vocalist and songwriter. He has released more than a dozen CDs as a leader, and over 250 of his songs have been recorded or sung by popular jazz and cabaret artists. Winkler and Scozzesi are old friends who met when she sang at the Hollywood Bar and Grill. They’ve worked together before. Winkler produced Scozzesi’s debut CD, and Scozzesi co-produced Winkler’s CD “Sweet Spot.” Scozzesi says, “I really enjoy working with Mark. He gets what I’m about, and he’s a pleasure to work with. For Mark, the process of making a CD should be fun, and he brings that attitude to the studio.” 

Scozzesi is also joined by Nolan Shaheed on trumpet and Kevin Winard on drums. Both are top-notch studio musicians with extensive resumes that include some of the most well-known names in the music industry. With Scozzesi’s rich and edgy voice, emotive interpretations, and wide-ranging choice of material, Here Comes The Sunis an enticing tour de force by an artist who defies easy categorization and it will be available in stores and online everywhere on March 1, 2018. 

NEW RELEASES: CARLOS NINO & FRIENDS – GOING HOME; CHARLIE MINGUS QUARTET – LIVE AT MONTREUX; THE RU-JAC RECORDS STORY VOLUME THREE 1966-1967 - FINALLY TOGETHER

CARLOS NINO & FRIENDS – GOING HOME

Carlos Nino is definitely going home here – hitting some of the most righteous modes we've heard in years – and also returning to his roots in spiritual jazz! The album's still got some of the meditative qualities of some of Nino's other music, but it's also got more bite too – thanks to help from friends who include Dexter Story on drums, Josh Johnson on alto and organ, Miguel Atwood-Ferguson on strings, and Jamael Dean on keyboards. As usual, Carlos handles a lot of instrumentation himself – including bells, percussion, keyboards, and more – in addition to doing the larger sonic vision of the record with his production and arrangements. the enigmatic Iasos guests on one track – and titles include "Deep Deep Breaths", "Light Codes", "OrganicSelf", "Garden Of Bells", and "Perrssspeshhhhiift".  ~ Dusty Groove

CHARLIE MINGUS QUARTET – LIVE AT MONTREUX

A pillar of jazz music history, Charles Mingus was one of the all-time great jazz bass players, as well as an innovative composer, bandleader and pianist. Having played with the likes of Louis Armstrong, Lionel Hampton, and Duke Ellington, Mingus pulled elements from every music genre he experienced, tracing gospel, blues, New Orleans jazz, swing, Latin music, and even modern classical. Recorded at the legendary Montreux Jazz Festival on July 20, 1975.

THE RU-JAC RECORDS STORY VOLUME THREE 1966-1967 - FINALLY TOGETHER

The Ru-Jac label is really on fire here – taking off with some sweet female soul singers, as you might guess from the image on the cover – in modes that mix their deep soul core with some nice jazzy touches too! Two big artists grab the first half of the collection here – Kitty Lane, who might have been right at home working for Stax Records – and Rita Doryse, a jazzier singer who recalls early Marlena Shaw material at Chess! Other artists here continue some of the male deep soul styles that have made Ru-Jac a real favorite for collectors of rare singles – and as with other volumes in this series, the package also includes a number of tracks that were never issued at the time. Titles include "When I'm Alone", "Wait Til Then", "Born To Be Loved", and "Please Let Me Love You" by Rita Doryse; "It's Love I Need", "Sweetheart", and "The Feeling Is Gone" by Kitty Lane; "I Would Cry" and "I Tell You" by Gene & Eddie, "Do The Roller" and "Working Hard" by Leon Gibson, "I Can't Stay Away" and "Who Can It Be" by The Caressors; "She's My Girl (demo)" and "My Love (demo)" by Winfield Parker, and "Sweet Little Girl" and "Finally Together" – both unreleased tracks by an unknown artist!  ~ Dusty Groove

Simon Pilbrow & The Brent Fischer Orchestra Collaborate on Compositions Penned Over 30-Year Period on Colours of Sound

Before their paths ever crossed, Simon Pilbrow and Brent Fischer had spent nearly four decades building upon their musical endeavors, Pilbrow forging a corpus of musical compositions, and Fischer pursuing an impressive resume and accumulating accolades, both within their respective circles. Pilbrow was very active in the Melbourne, Australia jazz scene and a composer of nearly 200 pieces, some of which are held in the U.S. Library of Congress as part of the Gerry Mulligan Collection.

Fischer, meanwhile, had established himself as an acclaimed bassist, orchestral percussionist, composer and arranger -- first under the tutelage of his father, renowned composer/arranger Dr. Clare Fischer, then under his own auspices and as the keeper of his father's legacy. With nearly 40 years in the music industry, Fischer has acquired credits on more than 30 million albums, writing for esteemed artists such as Michael Jackson, Al Jarreau, D'Angelo, Toni Braxton, Elvis Costello and many more. He has received many accolades including winning a GRAMMY® Award for best Latin Jazz album and a GRAMMY® nomination for Record of the Year.

The two were unknown to one another, however, until Pilbrow submitted a letter expressing his admiration to Clare Fischer's website in 2011. The legendary composer's health was already in decline (he passed away in 2012), but that email launched a friendship between Pilbrow and Brent Fischer, which resulted in regular contact and ultimately sparked a musical collaboration that can now be heard on the vibrant and enthralling new album Colours of Sound (out now via Clavo Records).

"It's wonderful to hear people playing my tunes and bringing the music to life," Pilbrow says. "These musicians lovingly get into the music and play with heart and soul -- and great technical capacity. These tunes have gestated for a long time, so finally recording them was kind of like birthing a child."

For listeners outside of Australia, Colours of Sound will serve as a stunning introduction to the music of Simon Pilbrow, featuring compositions penned over more than 30 years (all while maintaining a thriving medical practice). These long-unheard works have been given brilliant new life through the arrangements of Brent Fischer and the virtuosic playing of his gifted orchestra -- along with the electrifying contributions of special guests Ken Peplowski, Larry Koonse and Bobby Shew. Fischer's wide-ranging approaches -- from full-throttle big band vigor to sleek, supple nonet and quintet voicings, lush string orchestrations to an elegant clarinet choir - find the ideal soil for each of Pilbrow's diverse tunes to take root.

"I wanted to showcase Simon's compositional talents in a unique way," Fischer says. "Rather than making a whole album with one quartet or one big band, I felt we should present the broad swath of his compositions in an equally broad variety of settings."

That Pilbrow and Fischer share a love for diverse orchestrational approaches should come as no surprise given the fact they both share a deep admiration for Clare Fischer's music. The elder Fischer's own work took many forms over the course of his career, including modernist and straight ahead big bands, Latin groups, vocal or woodwind ensembles and a brass corps, among others. Beyond that he worked with a staggering array of artists, from Dizzy Gillespie and Donald Byrd to a long-running association with Prince.

Pilbrow says that his first encounter with Dr. Fischer's music was "an epiphany." Throughout a lifetime listening to music, he continues, "you have moments where you hear something fresh that opens up a new vista, a new kind of landscape. Clare Fischer's Duality was one of those -- then as I became more familiar with his music I was inspired by the fact that he produced such a broad range of music that it was nevertheless coherently and completely 'Clare Fischer.' As I've come to know Brent I've appreciated that same quality in his musical skills."

For Fischer's part, he took the responsibility of premiering Pilbrow's compositions to heart. "I wanted to present the music in as clever a fashion as I could without covering anything up," he explains. "I didn't want any of the musicians on the session to treat the melodies like they were familiar old standards that one could take a lot of liberties with. I was meticulous about how I wrote things so that the phrasing would represent what I heard Simon doing when he played these songs for me for the first time."

The album kicks off with the brisk, lively swing of Pilbrow's ode to his native land, "Australia." The first hint of the album's range comes with the gentle waltz "A New Beginning," written for Pilbrow's wife, Jean -- the first of many she's inspired over their 28 years together. It's highlighted by a warm soprano turn by Alex Budman and Koonse's spiraling runs. Jean also served as the muse for the ballad "September," here swathed by the rich tones of a string ensemble.

"Remembering Woody Shaw" was penned not long after the trumpet great's death in 1989, and reflects on Pilbrow's sole chance to meet the jazz legend in 1981. It's made all the more poignant by a bristling solo by Ron Stout, who counts Shaw among his own mentors. Other departed musical icons have served to inspire Pilbrow over the years, including Antonio Carlos Jobim -- memorialized by the breezy Bossa Nova "Autumn Breeze" -- and beloved trumpeter Blue Mitchell, the subject of the earliest piece on the album, 1981's bop-flavored "Blue Six," which includes a standout solo by Bobby Shew.

Perhaps inevitably, Clare Fischer himself is paid homage on "A Fischer's Line," which Pilbrow originally envisioned as a clarinet feature and which Brent Fischer realizes with a five-part clarinet choir, anchored by 89-year old bass clarinetist Gene Cipriano, purportedly the most recorded saxophone player in history (and still in amazing voice). The Latin-inflected "Studio City," one of the most recent additions to Pilbrow's catalogue, was directly inspired by his visits to the Fischer family in Los Angeles, reflecting the city's gleaming, multi-cultural urban landscape.

Pilbrow has also been inspired by musicians still among us, including longtime Fischer collaborator Gary Foster -- whose name the composer anagrammed as "Try For Ages," a lilting tune that reprises the clarinet choir and features clarinet master Ken Peplowski. "Fast Fingers" tips the hat to the fleet digits of Benny Green, a modern keyboard-blazer in the tradition of Oscar Peterson and Roland Hanna. Finally, the joyous "Surprise" blooms in Fischer's polyphonic reimagining, while a similar sentiment finds more urgent life in 2005's "Joyful."

"Tunes arise in all sorts of circumstances and from various inspirations," Pilbrow says. "What's beautiful about the arrangements Brent has done is that he's completely maintained the character of each one, while enhancing them greatly with his great skill and the nuances that he brings. It's been a wonderful experience."

 

BIGYUKI (Talib Kweli, Matisyahu & A Tribe Called Quest Collaborator) Announces Debut Album Reaching For Chiron

Torn between the ferocity of the equine and the civility of man, Chiron was considered to be the noblest of the centaurs. His front legs were not of a horse but of a man. He trotted about mythological worlds as a refined anomaly, forged with the best traits of both beasts. For keyboardist and songwriter BIGYUKI we are all on the verge of that transformation with our digital devices amplifying and polishing our intellects. His debut album Reaching For Chiron is a perfect synthesis of heart and technology, heavy beats and buoyant melodies.

"We don't memorize phone numbers anymore. We don't memorize maps. It's like a part of the brain now," says BIGYUKI. "There is an ongoing discussion about AI creating a god or summoning a devil. I kind of feel like in the near future there is no way a human will develop themselves without help from AI. It's a unity between human and machine."

BIGYUKI is naturally the perfect embodiment of that modern man. Raised in Japan, he moved to Boston to attend the Berklee College of Music. Up until that point a majority of his keyboard experience had been with the classical masters. "Playing classical music I learned how to depart from this realm. Me becomes not me. That's when I learned that. I love Chopin. I could really relate as my young self. He has beautiful melodies. I loved it. I think that part is still in me. Whatever music I play, it's always there."

Not long after arriving in Massachusetts, BIGYUKI began to see the changes, expanding and acquiring the knowledge that would create his powerhouse sound. An encounter with the much sought-after drummer Charles Haynes at Wally's Cafe landed BIGYUKI a church gig in the Boston suburb of Dorchester, one of the most diverse neighborhoods in the state. "People seemed to like my enthusiasm, attitude and maybe my playing. I didn't know any songs but I have an ear that doesn't suck. I can figure it out." And he did. He played that gig for six years, lasting far longer at the church than at the college. "That really kind of gave me a sense that maybe where you are from and what your background is doesn't really matter."

A move to New York helped to solidify BIGYUKI's transformation. He worked regularly with hip-hop artists like Talib Kweli and Matisyahu and made numerous contributions to the long-awaited return from A Tribe Called Quest. All of these elements -- Chopin, jazz, gospel, hip-hop -- reside between the keys on BIGYUKI's debut, trampling anyone who stands in the way.

  

The album opens by tuning into an intergalactic transmission with the ethereal "Pom Pom," a malleable swim through space dust that is engulfed in a storm of synths, Randy Runyon's panic attack-inducing guitar and drummer Justin Tyson's driving hi-hat. Despite its intensity, "'Pom Pom was one of the simpler ones," BIGYUKI explains.

He gets an assist from Taylor McFerrin on two tracks. "Eclipse" features vocalist Chris Turner in a swoony mood, crooning poet J. Ivy's impassioned lyrics over drummer Louis Cato's thundering presence. Drummer Marcus Gilmore sprinkles the funk on "Missing Ones," a chill-out crawl that blinks breathlessly from the atmosphere.

"Coming up with the bass lines and the changes was the easy part. Harmonies and melodies are very simple but then coming up with a form? Figuring out how to make the four-minute piece interesting enough so that you don't stop in the middle of it? That's the hard part." "Belong" and "In A Spiral" both showcase BIGYUKI's more sensitive side.

"Belong" features some of BIGYUKI's most delicate work on the album. Amid the clipped rhythms programmed by Reuben Cainer, BIGYUKI channels an inner calm that becomes even more stripped down on "In A Spiral," a virtual cabaret performance amidst the unrelenting futurism found throughout the album.

"I wanted to come up with something that was straight fire. That was the idea. Let's make something that hits people hard." There isn't any mystery to "Burnt N Turnt." BIGYUKI is aiming straight for the club floor with help from producer Bae Bro. The two mix samples and synthesizers for a menacing spin. "Boom," the duo's second collaboration further along the record, is equally indebted to the heavy jam, vocal samples twisted into place by dense drum programming.

"It was after one of those taping sessions for Stephen Colbert's late show. I was part of the house band for two months. I started jamming over my piano figure with Louis Cato and I recorded it on my phone." That sample made its way into the final recording of "NuNu." Drummer Lenny "The Ox" Reece lays down a skittering track that melds seamlessly with a distant vocal sample manipulation. There is a latin-ish vibe simmering beneath the surface throughout. "Reuben Cainer sprinkled a little bit of his flavor to it and the rest is blood and tears."

BIGYUKI first worked with Bilal years ago. The soul singer is the main guest on "Soft Places" making the tune decidedly his own. "You know that it's Bilal as soon as you hear his tone. He gives musicians such a freedom to stretch. He makes the music his playground." With help from co-producer and sound designer Stu Brooks, BIGYUKI presents a post-apocalyptic love song that veers through time to create a soundscape that ears can easily tumble into.

"Simple Like You" puts hip-hop in the center of BIGYUKI's universe. Javier Starks brings a swagger to the album that is refreshing and unexpected. A staccato riff keeps everyone on their toes while Celia Hatton's top melody on viola packs a hard-left turn with a symphonic break.

The album closes with "2060 Chiron," another floating collaboration with Cainer. An industrial pulse surrounds the futuristic song that is also incredibly indebted to the science fiction soundtracks of the 1980s. And as quickly as it arrives it goes, taking with it the future of BIGYUKI, the shape-shifting keyboardist, part man, part beast, all soul. 

Second Chance, Diane Shaw's much anticipated follow-up to the 2015 Best Selling Debut Soul Album

Her 2015 debut album ‘Love, Life & Strings’ was labelled ‘The Best Soul Album of the 21st Century’ by Tower Records in Tokyo. It spent 2 weeks at the top of the UK Soul Charts gaining critical industry acclaim and worldwide airplay after being championed on BBC Radio 2 and 6 Music by DJ’s including Craig Charles and Tony Blackburn. Following on the heels of that success, 

Diane Shaw now finally brings her much anticipated follow up set ‘Second Chance’ which expands on the theme incorporating that winning formula of old school arrangements and real musicians rarely heard in this day and age. Real songs are at the core of Diane’s concept for her own music style, and this album is comprised of 12 brand new ‘Future Classic’ Soul Songs.

‘Second Chance’ has been in the working for over 18 months now, and tracks have been handpicked from a variety of sources, original writers as well as industry veterans. We have been very fortunate to get our hands on some rare gems unreleased by songwriting greats. She also has a new song written by the legend Michael McDonald which has never been released, and has been rearranged it into a great mid-tempo track. An unreleased Motown track written by Jimmy Webb in 1963 was also found and rearranged and should hit the spot for the dancefloors of the Northern Soul scene.

Slightly different from her first album, Diane has introduced a few classic modern soul-style dance numbers in the vein of classic Philly Soul and similar, and she once again took on the immense challenge of ditching the computers for the recording with a full live band in the hope of recreating that real authentic feel once again. 

Second Chance Album will be released on February 8.

MATADOR! SOUL SOUNDS ANNOUNCE DEBUT ALBUM GET READY

Matador! Soul Sounds is proud to announce their debut album Get Ready. The band consists of the dream team of Eddie Roberts (New Mastersounds) and Alan Evans (Soulive) alongside keyboardist Chris Spies and bassist Kevin Scott. Rounding out the already killer line-up are vocalists Kimberly Dawson (Pimps of Joytime) and Adryon de León (Orgone) bringing their soulful and powerful energy to the mix. Combining the dynamism of each band leader, the music they have created is brand new, hard hitting and drenched with their shared musical passions – jazz, funk & soul.

In order to get to know the band better, we will introduce a more in-depth lookinto each band member during our #MatadorMonday weekly campaign. Starting on February 5th, check out Matador! Soul Sounds website and social platforms to get a free download from the album every week (for six weeks) leading up to release date. The weekly promotion will give fans more information on each band member and their personal stories about select songs and perspective on creating the album.

Matador! Soul Soundswas formed organically when Eddie and Alan were on tour. Eddie explains, "The idea came about one night while we were drinking wine in a bar in DC when I turned to Alan and asked 'can we start a band together?' Alan obviously shared the same sentiment as here we are today launching the debut album!" The next step was to come up with a name that encompassed both of their identities and musical inspirations. The naming of the band came about during Eddie and Alan's Grant Green tribute shows. Both of them liked the Grant Green album Matador!, and all that it evoked. Matador! Soul Sounds is a band loosely based on the concept of traditional Spanish bullfighting. However, a common misconception in America is that bullfighting is a feat of one man versus one bull. In reality, bullfighting is largely a team effort by a matador and his cuadrilla - which is the theme that showcases the all-star lineup behind this original band.

Matador! Soul Sounds made their debut live performance at the Brooklyn Comes Alive festival in the fall and did not disappoint. Live For Live Music stated, “Roberts, Evans, and company blessed the Brooklyn Bowl audience with their unique brand of power-funk. Roberts’s guitar skills were on full display as he anchored the band with his funky, rhythmic playing. Alan Evans was the king of the pocket, pushing the band forward with his locked-in grooves and tight hits. Chris Spies was excellent on the organ, playfully setting the tone, while Kevin Scott held the low-end down on his bass. Dawson and de León were a breath of fresh air, infusing these funky songs with a soulful vibe that elevated the music to another stratosphere. Matador! Soul Sounds’ musical prowess was on full display throughout their performance at Brooklyn Comes Alive, and the audience responded with endless enthusiasm, clearly loving the new project.”

Catch the band in March on their first national tour as they make their way from the east coast to the west bringing their fresh new sound from their debut album. Get Ready is slated for release on March 12th and will be available on red vinyl, as a digital download, and on all major streaming music services. 

Tour Dates

3/15 @ Rex Theatre – Pittsburgh, PA 

3/16 @ Union Stage – Washington, DC 

3/17 @ [Pacifico Presents] Brooklyn Bowl – Brooklyn, NY 

3/18 @ Fairfield Theatre Company – Fairfield, CT 

3/19 @ Brighton Music Hall – Boston, MA 

3/21 @ The Ardmore Music Hall – Ardmore, PA 

3/22 @ Martyr’s – Chicago, IL 

3/23 @ Cervantes’ Other Side – Denver, CO 

3/24 @ Fox Theatre – Boulder, CO

3/26 @ Great American Music Hall – San Francisco, CA 

3/28 @ Jack London Revue – Portland, OR 

3/29 @ Nectar Lounge – Seattle, WA 

NEW RELEASES: THE SOULTREND ORCHESTRA - 84 KING STREET; GERRY HEMINGWAY / SAMUEL BLASER - OOSTUM; JONATHAN BUTLER – SARAH, SARAH: THE ANTHOLOGY

THE SOULTREND ORCHESTRA - 84 KING STREET

The Soultrend Orchestra is the brainchild of author and arranger Nerio “Papik” Poggi (who has produced more than 20 albums in the last 10 years and has collaborated with several Italian and international artists including Mario Biondi , Matt Bianco, Sarah Jane Morris, Wendy D Lewis and Tom Gaebel) accompanied for this new project by producer and composer Luigi Di Paola with whom Papik has been working for over twenty years. The first abum from Soultrend was released in 2011 and was titled ‘Groovy Nights’. The new album is entitled ’84 King Street’as the band gets bigger and presents a more ambitious project than the previous one. The main inspiration is clearly the disco sound of Nile Rodgers & Chic who have been so popular of lately with a worldwide rebirth of their musical style. More than 35 musicians and singers have taken part in the recording of the Orchestra’s album. Among the featuring vocalists are, Lucy Campeti (from the Duo Groovy Sistas), who has worked with Gabin, Franco Micalizzi, Gloria Gaynor and Mario Biondi; Ely Bruna, (who has featured in most of Papik’s projects); Frankie Lovecchio, (who has collaborated with Claudio Baglioni, Delegation, Mario Biondi, Mike Francis and Amy Stewart); the soul Band ‘Adika Pongo’, who in 2011 released an album for the historic UK soul label Expansion Records; Frankie Pearl (from the Duo ‘Groovy Sistas’), a very talented singer; Letizia Liberati (‘More Blonde’), Isabella Canana, Dario Daneluz, all three well-known Italian session vocalists, and to complete the list are the soul duo Janine Johnson and Eli Thompson, aka ‘Westcost Soulstars’. The title “84 King Street” refers to the address of New York legendary “Paradise Garage” disco where Larry Levan (world renowned Disco DJ) was the main resident and where Disco Music had its highest peak in popularity during the second half of 70’s.

GERRY HEMINGWAY / SAMUEL BLASER - OOSTUM

A really great setting for drummer Gerry Hemingway – an album that has him improvising live with trombonist Samuel Blaser – a fantastic musician who's one of the freshest trombone talents we've heard in years! In previous comments, we've liked Blaser to a modern day heir to the genius of 60s trombonists like Roswell Rudd and Grachan Moncur – and those words definitely hold true here, as Blaser delivers a wondrous balance between new sounds and tuneful moments, fresh ideas and a longer tradition on his horn – all in ways that make Hemmingway sound even more creative than usual. The album features six duets, all recorded live in a church during a jazz festival in the Netherlands – with titles that include "Spoor", "Rogue", "Mettle", "Bloos", and "Balloon".  ~  Dusty Groove

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JONATHAN BUTLER – SARAH, SARAH: THE ANTHOLOGY

Classic 80s soul from Jonathan Butler – an artist who didn't emerge on the global scene until halfway through the decade, but one who'd already had plenty of recordings on his home turf of South America! Butler was part of the great Pacific Express group in the late 70s, and also recorded as a younger artist too – but by the time of these tracks for Jive, he was a fully-formed soul singer and guitarist, easily able to take on both the American and UK worlds of soul – where he shined brightly as a triumphant force to emerge during the generation of Apartheid. Unlike other South African artists crossing over at the time, Butler's got a vibe that's much more suited to the American soul world of the period – as you'll hear on this well-done collection of 32 tracks from his big crossover years. The set's got just about every key track from these years, including duets with Vanessa Bell Armstrong and Ruby Turner – and titles include "7th Avenue South", "Haunted By Your Love", "Baby Please Don't Take It", "I'll Be Waiting For Your Love", "Gentle Love", "Afrika", "Take Me Home", "Sarah Sarah", "One More Dance", "Barenese", "Say We'll Be Together", "What Does It Take", "Welcome Home", "No Strings No Ties", "True Love Never Fails", "Song For Jon", "If You're Ready", "Melodie", "Crossroads Revisited", "I Miss Your Love Tonight", "Holding On", "Lies (ext version)", and "Love Songs Candlelight & You". ~ Dusty Groove

NEW RELEASES: GATO BARBIERI – YESTERDAYS; HUGH MASEKELA – THE CHISA YEARS (RARE & UNRELEASED, 1965-1975); RON TRENT VS. LONO BRAZIL VS. DAZZLE DRUMS – (MANCHILD) IN THE PROMISED LAND

GATO BARBIERI – YESTERDAYS

A beautiful record from Gato Barbieri – almost a return to more traditional forms, but still graced with the searching, burning quality that made most of his early 70s sides so great! The tracks are all long and exploratory – and have Gato blowing with that tremendous tenor tone – a mix of late Coltrane and Pharoah, with some warmer, sentimental touches that really send us. The rest of the group includes George Dalto on electric and acoustic piano, Pretty Purdie on drums, and Paul Metzke on guitar – and most of the tracks feature added Latin percussion – not too much, but just the right amount to make them bounce along in a rhythmic groove. Totally great all the way through, and with tracks that include "Carinoso", "Marnie", "A John Coltrane Blues", and "Yesterdays". (Part of the Flying Dutchman 1000 Master Collection!) ~ Dusty Groove

HUGH MASEKELA – THE CHISA YEARS (RARE & UNRELEASED, 1965-1975)

The Chisa Years: 1965–1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label. Thom Jurek of Allmusic wrote “In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.” Dan Nishimoto of the Prefix Magazine stated “The compilation focuses on Masekela’s original idea of “African American Music.” From the early experiments of the Zulus (a group featuring M’Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/”Grazing in the Grass”-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela’s band in the mid-’70s, consisting of players from Ghana and Nigeria) and the ready-for-primetime belting of M’Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.”

RON TRENT VS. LONO BRAZIL VS. DAZZLE DRUMS – (MANCHILD) IN THE PROMISED LAND

Afro-centric house in its purest form, Manchild (In The Promised Land) is characterised by Lono Brazil’s golden voice and original poetry which paints a moving picture of urban deprivation and stolen childhood. Subtle synth chords shimmer behind the jazz influenced bass-line and warm percussion that seems to play ‘call and response’ with the vocal. Fresh from appearing on Boiler Room Tokyo back in April, talented and in-demand Japanese husband and wife duo Dazzle Drums provide a deep and tribal dub version of ‘Manchild’, steadily building up a compelling drum groove before taking flight into synth-heaven.

"The Poetry of Jazz," A Collaboration Between Saxophonist/Composer Benjamin Boone & The Late Pulitzer Prize-Winning U.S. Poet Laureate Philip Levine

Benjamin Boone Philip Levine Musicians and poets have been inspiring each other for millennia, with collaborations in San Francisco and New York between beat poets and beboppers during the 1950s a particularly memorable recent chapter. On the forthcoming The Poetry of Jazz, which Origin Records will release on March 16, saxophonist-composer Benjamin Boone and Pulitzer Prize-winning poet Philip Levine make an invaluable contribution to the jazz-and-poetry canon and set a standard for the genre that will be hard to surpass in the future.

Fellow professors at California State University, Fresno, until Levine's death in 2015, Boone and Levine performed their first concert together in March 2012; that fall they decided to lay down some tracks. The Poetry of Jazz features 14 iconic poems by Levine set to compositions by Boone based on the music he heard in their words and their author's delivery.

For the recording sessions, Levine was in the studio with the musicians. "He told me, 'Why the hell would I want to be in a room by myself? I do that enough already! Have the musicians there and then that will be fun,'" Boone recalls. "There were always musicians playing live with him. Phil did most tracks in a max of two takes. 'Gin' was the absolute first take."

A highly regarded composer who often sets text to music, Boone employs a vast and vivid sonic palette in writing and arranging settings for Levine's words. He recruited an impressive cast of California players, relying particularly on drummer Brian Hamada, bassist Spee Kosloff, and pianist David Aus, who also contributed compositionally.

In addition, on the intimate "The Unknowable (Homage to Sonny Rollins)," Boone evokes the inner struggle and beatific quest embodied by the saxophone colossus's famous woodshedding walks on the Williamsburg Bridge, a search that materializes in the thick, sinewy sound of Chris Potter's horn. Tom Harrell delivers a strikingly beautiful statement on "I Remember Clifford (Homage to Clifford Brown)," while the mercurial altoist Greg Osby darts and weaves around "Call It Music (Homage to Charlie Parker)," about Bird's infamous Dial recording session of "Lover Man." On Boone's poignant ballad "Soloing (Homage to John Coltrane)," Branford Marsalis's sinuous tenor lines bring to life Levine's comparison between his aging mother's isolated existence and a Coltrane solo. 

"I wanted to record Phil's poems about Rollins, Brown, Parker, and Coltrane, as well as his poems that created melodies when he read them," Boone says. "We talked a lot about the relationship of music and the voice, and I told him, I don't want to react word by word. The music and the poetry had to be equal and symbiotic."

A lifelong jazz fan who was born (1928) and raised in Detroit when it was a proving ground for a brilliant generation of bebop-inspired improvisers, Philip Levine often wrote about jazz and the musicians he loved in his verse. But Boone, an award-winning composer, player and educator, wanted to dig deeper. He drew inspiration not only from the subjects of Levine's poems but also from the musicality of his language and his wry, emotionally restrained recitation.

Over the course of his career Levine collaborated with musicians in a variety of settings, but felt the results weren't always salutary, which made the connection with Boone all the more satisfying. He observed that "[Boone's] ability to both hear and 'get' my writing was astonishing... He can tell just where the music needs to carry the moment or the language has to climb over the instruments. His compositions seem to grow directly out of the thrust of the language."

Benjamin Boone Born in 1963 in Statesville, NC, Benjamin Boone grew up in an intellectually stimulating family and could have devoted himself to any number of pursuits. He concentrated on the saxophone and started improvising from an early age, but was also interested in composition. "I learned a great deal about science, literature, visual art, writing, history, politics, and music from my four older brothers," he says. "So I've always gravitated towards interdisciplinary projects like this one, where I can combine playing, composition, literature, and oration to create an artistic statement that addresses history and topics relevant today."

Boone traces his fascination with the music of spoken language to a hearing issue "that makes it hard for me to understand words," he says. "When I hear people speak I hear it as music, a melodic line. This fascination with spoken language allowed me to use Phil's voice as an instrument, which makes this project unique."

Boone is heralded as a performer and composer in both jazz and new music circles. His compositions have been heard in 29 countries and on more than 25 albums and have been the subject of multiple national broadcasts on NPR. He conducted musical research in the former Soviet Republic of Moldova as a Fulbright Senior Specialist Fellow and is currently spending a year in Ghana performing and composing with African musicians as a Fulbright Scholar.

With The Poetry of Jazz Boone has opened up a new literary and musical frontier, and there's more in store. The album features the first half of the 29 poems he recorded with Levine, who addressed his readers in his classic verse, writing "if you're old enough to read this you know what work is." 

 

Jazz Holdouts holding out until “Morning”

The follow up to their No. 1 single, “Summer Nights,” started going for radio adds on Monday; album slated for summer release.

From night until morning, Jazz Holdouts frontmen Alan Palanker and Lou Cortelezzi have been toiling away in the studio diligently conceiving ultramodern electronic soundscapes to pair with their enticing keyboard and saxophone melodies. Last summer, they came up with a sensual blend of throbbing house music, nocturnal chill nuances and steamy contemporary jazz harmonies on a cut titled “Summer Nights,” which went No. 1 on the Billboard and Mediabase charts. Going downtempo for a laidback oeuvre of sunrise seduction, the duo wrote and produced “Morning Breeze,” the follow-up single that began going for radio playlist adds on Monday.     

“‘Morning Breeze’ refers to the urge we often have to make love when we awaken in the morning. It passes over us like a cool breeze on a hot summer day and we make of it what we will,” said Cortelezzi about the inspiration for the new cut. “Our goal is to create instrumental music that is, groove oriented, atmospheric and contemporary. The more traditional elements that say ‘jazz’ - like improvisation - are secondary to the overall effect of the composition.”

The winning combo of keyboardist Palanker and saxman Cortelezzi have taken Jazz Holdouts in bold directions. The outfit initially formed as an adult R&B/singer-songwriter venture that dropped the debut disc, “Intuition,” in 2014. Scrapping the original concept and recruiting the hornman into the fold, the reimagined Jazz Holdouts premiered their reworked vision in 2016 with the Billboard Top 20 single “Simple Things,” a futuristic foray swirling exhilarating electronica experimentations, dancefloor dynamics and soothing sophisticated sax. All three singles will be on the ten-song album slated for release this summer.      

Jazz Holdouts consists of a veteran core of accomplished musicians who have toured and recorded with many of the biggest names in pop, R&B and jazz over the past few decades. On “Morning Breeze,” Palanker and Cortelezzi are joined by guitar ace Michael Thompson, bassist John Siegler and percussionist Walfredo Reyes Jr. Fusion guitarist Jamie Glaser will appear on the album as well.

“Lou and I are the songwriters, but the Jazz Holdouts recording process is unique and technologically current, including valuable contributions from our highly-skilled audio mix engineer, Douglas Cooper Getschal, who is key to shaping our sound,” said Palanker.

After the album is complete, the Jazz Holdouts’ focus will shift to how to present the music live in a compelling multimedia production that stimulates the senses. Cortelezzi said, “We are excited about the possibility of adding extensive video content to our live shows. The combination should be very entertaining to our audience and interesting to us as musicians.”

http://jazzholdouts.com 

Kneebody + Inara George (The Bird and The Bee) to Release New Single "How High"

Stream Kneebody's "How High" feat. Inara George

Seventeen years in and the genre-bending electric jazz collective Kneebody is stronger and more diverse than ever. After the release of their critically acclaimed ninth studio album Anti-Hero, Kneebody teams up with Inara George -- from indie pop darlings The Bird and The Bee -- on "How High," the next chapter in the long history of this genre-defying band. This song is the first in a string of singles and collaborations with new artists that will come from Kneebody in the future.

"Inara is a powerhouse and kind of an icon here in LA.," says bassist, producer and songwriter Kaveh Rastegar. "She has one of the most recognizable and wonderful voices and the songs she writes are so good. She has made so much great music whether it's with her own albums or with The Bird and The Bee, her project with producer multi-instrumentalist Greg Kurstin."

After the release of Anti-Hero and months of touring internationally, Kneebody began the process of talking about writing songs with other artists. "We all thought of working with Inara right away," says Rastegar. "I was so excited that she wanted to get together to write this song." Kneebody's relationship with George is not new, with George contributing vocals to an early song in their discography -- before the band was even known as Kneebody and released the album Wendel. 

Saxophonist Ben Wendel recalls that early collaboration with fond memories and relates that experience to this new creations. "It was an organic process, when we decided we wanted to collaborate with new artists we knew how well we all would work together given our previous history," says Wendel.

"How High" came together in a very natural way one day with Rastegar playing guitar and George singing. The idea was to write a song that was positive and devotional as the main focus. "I think that those ideas and feelings came through in this song," reflects Rastegar.

"It was such a fun session," says George. "I felt like we sort of let ourselves get experimental while still writing something that's melodic and hopefully beautiful." Fans of Kneebody and Inara George alike will feel right at home between this marriage of artists, especially having an icon like George joining a band that truly makes it a goal to not be confined to any genre. Although Kneebody exists in the broad definition of instrumental music, this collaboration proves their influences and musical diversity comes from an enormous array of music genres.