DAVE KOZ AND HIS FRIENDS RETURN WITH SUMMER HORNS II FROM A TO Z, A STUNNING SET OF 11 CLASSIC TUNES

June 22, 2018 release features Gerald Albright, Rick Braun, Richard Elliot and Aubrey Logan with guest vocalists Jonathan Butler, Kenny Lattimore and Sheléa

  

Five years ago, after Dave Koz and Friends released Summer Horns—the GRAMMY-nominated album that paid tribute to classic songs featuring killer horn sections—all that the musicians could think about was how much fun they’d just had. They toured behind the album during the summer of 2013, then vowed to spend the following summer doing it all over again.

“The second tour was even better than the first,” says Koz, the world-class saxophonist who piloted the release, which rocketed to No. 1 on Billboard’s Current Contemporary Jazz Albums chart. “We had a total blast and the fans really gravitated toward it.”

There was no question in Koz’s mind that a sequel was in the stars, but getting everyone’s schedules to align was never going to be easy, each participant being a headliner with bookings well into the future. It took a few years but finally, says Koz, through “divine intervention,” a window of time opened up so that everyone could be in the same place at the same time.

Summer Horns II From A To Z, scheduled for release on June 22, 2018 via Concord Records, is the result, a stunning set of 11 more timeless tunes reimagined by Koz (soprano, alto, tenor and baritone saxes), joined by alto saxophonist Gerald Albright and tenor saxophonist Richard Elliot—both returnees from the earlier session—with new additions Rick Braun (trumpet) and Aubrey Logan (trombone and vocals). A crew of ace rhythm players collaborates with the Summer Horns lineup along with a who’s who of arrangers: Tom Scott (who’s worked with everyone from Frank Sinatra to Aretha Franklin to Steely Dan), Greg Adams (best known for Tower of Power, but also Santana and Elton John) and GRAMMY-winning arranger Gordon Goodwin. Braun, himself a legend of contemporary jazz, produced the album, with co-production by Koz.

With the creative team in place, the biggest dilemma facing Koz, Braun and the others was which songs to choose—or, rather, how to narrow down an enormous list of contenders. “My original list was in the hundreds,” Koz says. “We’d have good-natured arguments during weekly conference calls. We each pitched songs and then tried to get other people on our team.”

The final track list, 11 in all, is impeccable, to say the least. Opening Summer Horns II From A To Z is a medley of Earth, Wind & Fire’s 1976 smash “Getaway” and the KC and the Sunshine Band dance staple “That’s the Way I Like It.” Next up is “More Today Than Yesterday,” the only Top 20 hit from the Spiral Starecase, from the spring of 1969. “Most people, when they hear that song, think it was by Chicago,” says Koz. “It sounded so much like them.” The Crusaders’ “Keep That Same Old Feeling,” written by that group’s late trombonist Wayne Henderson, is next, with a horn arrangement by Adams (best known for his work with Tower of Power) and Braun.

The fourth track in the sequence gives the album its subtitle, “From A to Z.” It’s another medley, and on paper it seems an improbably marriage: Here, with a horn arrangement by Gordon Goodwin and rhythm arrangement by Goodwin and Braun, are the 1939 Billy Strayhorn standard “Take the ‘A’ Train,” made famous by Duke Ellington, seamlessly intertwining with hip-hop icon Jay-Z’s “Roc Boys (And the Winner Is).” Hence the A to Z.

How in the world did this one come about? Says Koz, “Somebody sent me ‘Roc Boys’ and said, ‘Jay-Z’s got this song that’s got a bunch of horns in it.’ I’m a fan but I don’t know that music well. I heard that track and I said, ‘That horn line is so great! We have to utilize it somewhere.’ Originally, it was going to be its own song. But also on the song list was ‘Take the “A” Train.’ Rick Braun said, said, ‘Wouldn’t it be great to do something so classic and so old and yet modernize it?’ It was [Concord Records president] John Burk, the executive producer of the album, who said, ‘Maybe the two songs could work together. It would be really funny to go from A to Z.’”

This Will Be (An Everlasting Love),” a Top 10 hit for Natalie Cole in 1975, is dedicated to the late vocalist, who was a friend of Koz’s. It’s sung on Summer Horns II From A To Z as a duet, by R&B star Kenny Lattimore and the young vocalist Sheléa. “We started to develop this track, which is very uptempo and really fun,” says Koz. “Tom Scott wrote a brilliant horn arrangement. And then we were thinking, maybe we should look for a male singer because anything we’d do with a female vocalist would immediately be compared to Natalie’s version. Tom came up with the idea of doing it as a duet. It’s not an easy song to sing and their vocal performance is a complete tour de force.”

“Before I Let Go,” written by Frankie Beverly of the R&B group Maze, features a lead alto sax solo by Gerald Albright, and is followed by Paul Simon’s pulsing “Late in the Evening,” from the singer-songwriter’s 1980 album One-Trick Pony. Koz remembers being in a restaurant with friends when Simon’s recording came on the house music system. He immediately emailed himself so he wouldn’t forget it when he got home. Braun didn’t even need to hear Koz’s reasoning: “It's in,” the producer told him. “I don't care what the others say.”

Playing acoustic guitar on the tune, and singing the lead vocal, is the South African great Jonathan Butler. “He went total South Africa on it,” says Koz. “Now this song has a completely new point of view. It pays homage to the original, but it takes it to a completely new place.”

Summer Horns II From A To Z only grows more intense as it plays on. If you want to make a funky record, you’ve got to have some Stevie Wonder on it, and it doesn’t get much funkier than 1971’s “If You Really Love Me.” Following that track is “Conga,” the 1985 breakthrough hit for Gloria Estefan and her then-band Miami Sound Machine. Aubrey Logan, the 30-year-old singer and trombonist on the album, provides the lead vocal. She received a special surprise while the group was recording the track.

“We got the track together and Aubrey always loved that song and looked up to Gloria as one of her mentors,” Koz says. “It’s got a great arrangement from Tom Scott and a really cool modern rhythm arrangement that Rick did. Gloria is a friend so I said to myself, ‘I have to play this for Gloria.’ I sent it off to her via email and said, ‘I just want you to know we're doing this Summer Horns record and we did your song and I hope you like it.’ I was just looking for a little musical blessing. She didn't send back an email; she sent back a track with her singing harmony to Aubrey's lead vocal! Aubrey’s jaw dropped to the floor.”

Michael Jackson’s Earth Song, with a horn arrangement by Scott and—as is the case with several tracks on the recording, a rhythm arrangement by Chris “Big Dog” Davis—features a lead tenor sax solo by Elliot and lead vocal by Ashling Cole. Summer Horns II From A To Z wraps up with a piece of vintage Americana, “Route 66,” written by Bobby Troup and recorded by everyone from Nat “King” Cole to the Rolling Stones. Logan, who Koz discovered when he saw her performing with the group Postmodern Jukebox, fronts the tune with her trombone and lead vocal. The horn and rhythm arrangement is courtesy of Goodwin, who fronts his own outfit called the Big Phat Band.

Recording Summer Horns II From A To Z, says Koz, was just as much of a treat as the first go-round in 2013. “It reminds me of my youth,” he says of this music. “I grew up playing in jazz bands. That’s how I was educated in music, playing in a saxophone section and playing in a big band, then sometimes doing small group stuff, playing with other horn players. For most horn players, even if you go on to do more solo work, part of your identity is rooted in being in a section and blending with others. How do you do this? How do you play that? All these fine nuances of music are in there somewhere.”

That passion is shared by all of the musicians who took part in the project, and audiences fortunate enough to catch a live Summer Horns show—they’ll be touring this summer—immediately feel the heat too. “With this music, the fans know every song,” says Koz. “And the musicians leave their egos at the door and show up with a commitment to the band. We know that this is not a replacement for our solo careers, that we will resume them eventually, so it’s not like we’re saying bye-bye to that. But people see all the star power on stage—where everybody could do a two-hour show on their own—the five of us with an incredible band, and it’s an event. Then we get addicted to the response from the fans! That’s why we did it again.”

NYC’S PREMIER FARSI FUNK BAND, MITRA SUMARA ANNOUNCE NEW ALBUM TAHDIG

Mitra Sumara, New York City’s only Farsi Funk group, is proud to announce their debut album Tahdig, set for release on June 8, 2018 on Persian Cardinal Recordings. This international party band revives the vibrant Persian pop and funk music silenced by the Iranian Revolution. The popular music of Iran in the 60s and 70s combined disco, funk, and Latin beats with Middle Eastern melodies and poetic lyrics. Mitra Sumara interprets hits by Iran’s beloved singers such as Googoosh, Soli, Leila Forouhar, and remakes intoxicating Southern Iranian Bandari beat tunes. The band is comprised of musicians drawn from New York’s indie-rock, jazz, and avant-garde communities and was founded by singer Yvette Saatchi Perez.

Yvette was adopted and raised by American parents in Los Angeles and through her search for her birth parents, came the journey and fruition of Mitra Sumara. After twenty years of writing and recording her own music (avant-pop group Birdbrain, I Fly; and H*E*R, Songs About the Mysteries of Housework and Nature) and performing in numerous rock bands and new music ensembles, Yvette discovered the popular music of pre-Revolutionary Iran. She founded Mitra Sumara after studying Farsi and uniting with her Iranian birth father. This project is an outgrowth of Yvette’s journey to reclaim her personal identity, and a love letter to the beauty of Iranian culture and music.

Yvette passionately tells, “As an adopted person, it is tremendous to find and make a connection with birth parents or any other blood relatives. My Iranian side is via my father which, for me, was the most compelling as I had always felt it was the key to my personal identity. I discovered this music while searching for my father. After I found him in 2009, I met other half-siblings, cousins, and an aunt. Then I began to study Farsi more seriously. A couple of years later, I created a band to play this awesome music. This music should be as popular among Americans as 70s Brazilian music, in my view. Mitra Sumara is an unexpected party band of American musicians putting a spin on Iranian tunes to bridge cultures. For years I sought a way to participate in the Iranian diaspora and this is my contribution. It’s a celebration of family and connection. It’s also the chance to present positive aspects of Iranian culture to the West.”

Although Mitra Sumara was founded in 2011, the group is only now ready to release their first full length. As the saying goes, “Good things come to those who wait,” and the results on Tahdig are definitely worth it. The reasoning behind the wait came down to finding the right producer for the project which Yvette eventually found with Salmak Khaledi. Meeting through a mutual friend, it wasn’t until Yvette discovered that Salmak was mentored at the Tehran Conservatory by session musicians that performed on most of the pre-Revolutionary pop recordings, that she knew she found the perfect producer for Mitra Sumara as the spirit of the original music comes full circle.

The diverse ten-track album showcases 70s Iranian pop and funk songs, spun with updated beats, modern production, NYC’s indie spirit, and psychedelic touches that is unquestionably Mitra Sumara. The band has taken forgotten music and has refreshed it with their own touch. The album title word Tahdig is a popular type of Persian food that translates into ‘bottom’ (‘Tah) and ‘dig’ (Pot). That is exactly what Mitra Sumara did through digging through these selections and stirring their pot of influences throughout.

In addition to Yvette, the full cast of musicians in Mitra Sumara is an all-star group consisting of Peter Zummo (trombone), Bill Ruyle (hammer dulcimer), Julian Maile (guitar), Jim Duffy (keyboards), Nikhil Yerawadekar (bass), Michael Evans (drums/congas), and Kaveh Haghtalab (drums/percussion). You may recognize Peter Zummo and Bill Ruyle as members of Arthur Russell's various bands, Nikhil Yerawadekar from Antibalas, and Michael Evans from David Grubbs, Michael Gira (Swans), Carla Bley, and Aimee Mann to name a few. The list goes on with such a top pedigree of talent that also stretches to the artwork with cover design by Iranian artist Homa Delvaray and videos from Alice Cohen, who is creating it using all Iranian imagery and cut outs of the band.

While most Americans have no idea what this music is, these songs have deep meaning for Iranians who lived in Iran before the American hostage crisis and the Iranian Revolution of 1979. The Revolution ended the careers of many popular singers. Many left for Europe or LA and still tour to this day. Younger Iranians have fond memories of their older relatives listening to these songs. Yvette adds, “This music bonds generations. I feel super privileged to be able to play this music and have Iranians and Americans come to our shows and have a good time.” In an era where governments want to build walls instead of bridges, it’s refreshing to hear a band bridging cultures and generations, who help keep history intact, while bringing the party vibes too. Don’t miss them in New York City on June 7th for their album release party at Nublu. More info at http://www.nublu.net

Tracklisting:

1. Bemoon ta Bemoonam

2. Helelyos

3. Shahre Paiz

4. Miravi

5. Mosem-e Gol

6. Gol bi Goldoon

7. Donya vafa Nadare

8. Manoto

9. Hamparvaz

10. Kofriam

New debut album from Alexandra Jackson: Legacy & Alchemy, as she pays hommage to the music of Brazil

Alexandra Jackson  is a new singer and songwriter from Atlanta.  A classically trained pianist, as a child her household was filled with the music of Miles Davis, Earth, Wind & Fire, and Michael Jackson, as well as that of Johnny Hartman, Luciano Pavarotti, and Antonio Carlos Jobim. The youngest daughter of Atlanta’s first African-American mayor, the late Maynard Holbrook Jackson, Jr., and businesswoman and NPR personality Valerie Richardson Jackson ... her grand aunt was Mattiwilda Dobbs, the African American coloratura soprano who was one of the first black singers to enjoy a major international career in opera.

Alexandra studied Jazz at the University of Miami, where she was exposed to a wealth of music, including Brazilian Jazz and MPB -- performing with Latin bands and Brazilian ensembles.  After finishing college, Alexandra moved to Los Angeles, where she spent time as a working musician. She then returned to Atlanta to begin performing in Jazz festivals in both the U.S. and in Europe.  She channels all of these experiences into her life and music.

... “My musical influences have provided me with a broad taste in what I listen to and how I write and think about music.  I love the music of Ivan Lins, Djavan, Caetano Veloso and Gilberto Gil, as well as that of Sarah Vaughan,Oscar Peterson,Take 6,Tony Bennett and Chaka Khan.  And,as a member of Generation X, I also embrace the music of Maxwell, D’Angelo, the Brand New Heavies and Jamiroquai ... It really just goes on and on.”

Her debut project: "Alexandra Jackson: Legacy & Alchemy" indeed channels this new artist's 4 primary musical loves and experiences: Brazilian Music, American Jazz & Soul, NeoSoul, and London Soul Jazz ... into a music alchemy intended for contemporary audiences worldwide.

The Scott Reeves Jazz Orchestra celebrates its first decade on Without a Trace

Duke Ellington famously insisted that he never wrote music for instruments, but tailored each piece for the particular individuals in his band. After nearly ten years together with a remarkably stable line-up featuring some of the most gifted musicians on the New York City jazz scene, the Scott Reeves Jazz Orchestra offers bandleader, composer and trombonist Scott Reeves a similar opportunity. The big band's thrilling second album, Without a Trace, showcases the results with a decade-spanning repertoire drawing from both original compositions and bold new arrangements of jazz standards.

Due out March 16, 2018 from Origin Records, Without a Trace draws on the influences of great big band composer/arrangers from Ellington and Gil Evans to Thad Jones, Bob Brookmeyer and Jim McNeely. Reeves spent years writing for the likes of Dave Liebman's Big Band, the Westchester Jazz Orchestra, Bill Mobley's Smoke Big Band, and the BMI Jazz Composers Orchestra before setting out on his own in 2008. Seeing the divide between swing traditionalists and more harmonically inventive modernists, Reeves decided to cull the best from both worlds, devising inventive harmonic progressions but never letting go of the vigorous swing that makes large ensemble music so exciting.

"I've had people describe my band as sounding like 'swinging dissonance'," Reeves says with a laugh. "A lot of my music is overtly swinging in the tradition of big band jazz, but in the majority of my work I'm trying to get away from the typical harmonic palette."

It helps when bridging such a stylistic gulf to be supported by some of the most talented and sought-after musicians in modern jazz, and Reeves can count many of them as regular band members for the whole of the 17-piece Orchestra's existence. The line-up on Without a Trace includes saxophonists Steve Wilson, Tim Armacost, Vito Chiavuzzo, Rob Middleton, Jay Brandford and Terry Goss; trumpeters Seneca Black, Nathan Eklund, Chris Rogers, Bill Mobley and Andy Gravish; trombonists Tim Sessions, Matt McDonald, Matt Haviland and Max Siegel; pianist Jim Ridl, vibraphonist Dave Ellson, bassist Todd Coolman, and drummer Andy Watson. Stunning vocalist Carolyn Leonhart, on a break from her busy touring schedule with Steely Dan, guests on the lovely title tune.

Having been able to get know his musicians' sounds so intimately over the years, Reeves has become adept at styling his arrangements to spotlight their particular talents. Not that there's much that a virtuoso like Steve Wilson - an in-demand guest soloist for most bands, but regular lead alto with Reeves' Orchestra - couldn't handle. Wilson's fiery yet controlled voice drove Reeves' take on Kurt Weill's classic "Speak Low," which begins with a nod to Bill Evans' classic rendition from his New Jazz Conceptions album before surging along on an Afro-Cuban beat. Trumpeter Chris Rogers and drummer Andy Watson follow with their own blistering solos.

Leonhart's elegant turn on Reeves' own "Without a Trace" follows. Where the orchestra's debut, Portraits and Places, featured wordless vocals as a coloristic element, here Reeves pens lyrics to craft a love song that matches the emotion and drama of some of the Songbook standards in his repertoire. Leonhart's subtle grace belies the tune's angular melody, which combine to conjure a uniquely dark-tinged atmosphere for the song. The familiar "All or Nothing at All" is completely reimagined in Reeves' handling, with an Ahmad Jamal-inspired groove and a taste of John Coltrane's immortal "Giant Steps," giving the timeless tune a feeling unmoored from any particular era.

"I always try to transform a song in some way when I do an arrangement," Reeves explains. "I learned that particularly from studying Gil Evans' music. He would take a tune and it would somehow end up in a completely different universe from where it originally started."

Reeves' entrancing original "Incandescence" was inspired by a trip to the south of France, where the composer - an amateur astronomer when away from the bandstand - marveled at the star-filled skies over a medieval walled village. The very next day he was at the piano in his rented house, capturing the majesty and mystery of that experience in music. "Shapeshifter" is similarly evocative, built on a tonal twelve-tone row that adds a touch of sci-fi strangeness (with an explicit wink towards Star Trek).

"JuJu" has been a favorite of forward-looking jazz musicians since Wayne Shorter first recorded it more than 50 years ago; of course, being one of the most forward-looking of them all, Shorter has never been interested in doing things the same way. John Patitucci, the longtime bassist in Shorter's revered modern quartet, gave Reeves the lead sheet for the sax icon's current approach to the song, which Reeves combines with a sax-section arrangement of Shorter's original solo, making this version something of a portrait of Shorter's incredible evolution. Another portrait of sorts, the lively "Something for Thad" closes the album with a brisk homage to another of Reeves' bandleading heroes, the great Thad Jones.

Though the prospect of leading a big band in the current music-industry environment is a daunting one, Reeves has learned all the right lessons from his mentors: assemble brilliant musicians; pen original, heartfelt music and inventive arrangements; innovate without losing touch with the tradition. With all of those elements radiantly in place, the Scott Reeves Jazz Orchestra takes its place among jazz's most compelling ensembles on Without a Trace.

Scott Reeves is a trombonist, alto flugelhornist, composer, arranger, author, and college jazz educator. A Chicago native, he attended Indiana University where his teachers included David Baker and Thomas Beversdorf. Over the years, he also studied improvisation with Woody Shaw and Kenny Werner, and arranging with Manny Albam, Mike Abene, Jim McNeely and Mike Holober. Reeves regularly performs with the Dave Liebman Big Band, the Bill Mobley Big Band, and the Valery Ponomarev Big Band, and has subbed with the Vanguard Orchestra, the Chico O'Farrill Afro-Cuban Jazz Orchestra, and the Oliver Lake Big Band. His own groups include the 17-piece Scott Reeves Jazz Orchestra, his quintet with saxophonist Rich Perry, and his 4-trombone, 3-rhythm band, Manhattan Bones. Reeves has been teaching jazz at the university level since 1976 and is currently a Professor at The City College of New York, CUNY. His two books, Creative Jazz Improvisation and Creative Beginnings (both published by Prentice-Hall), are among the most widely used texts in their field.

Cameron Graves – Planetary Prince: The Eternal Survival EP, feat. Stanley Clarke, Kamasi Washington, & Ronald Bruner, Jr.

Who is the Planetary Prince? According to keyboardist and composer Cameron Graves, it’s him. The title and concept go back long before the 35-year-old pianist struck his first piano key but in the past few years, Graves has surveyed a fair amount of the Earth as a member of the West Coast Get Down, a Los Angeles-based collective that also includes saxophonist Kamasi Washington, keyboardist Brandon Coleman and drummer Ronald Bruner, Jr.

Following on the heels of his 2017 critically-acclaimed debut album Planetary Prince, the fleet-fingered pianist is ready to continue the message with an EP entitled Planetary Prince: The Eternal Survival EP. This new collection of music features dynamic no-holds-barred live performances from Washington, Bruner, trombonist Ryan Porter, bassist Carlitos del Puerto, guitarist Matt Haze, and special guest Stanley Clarke, as well as two previously unreleased studio sessions.

Three of the five tracks were recorded in 2017 at Graves’ record release party held at the world-famous Troubadour nightclub in West Hollywood, CA - a room that has boasted more than 600 live albums from renowned artists, including Carole King, Elton John, The Eagles, Tim Buckley, Donny Hathaway and Merle Haggard. “The Troubadour was one of the first places that Return to Forever played,” says Graves. “Stanley was going to be performing with me. I had one of the guys there! It was just a legendary situation.”

Planetary Prince: The Eternal Survival EP Track Listing:

“Planetary Prince” (Live)

“Black Narcissus” (Live)

“The End of Corporatism” (Live)

“Titan”

“Kahuna”

The opening track features a rambunctious band engaging a rambunctious crowd for maximum energy. With a grand piano squeezed onto the tiny honky-tonk stage, Graves pounces on a riff that is more OzzFest than Monterey. Washington with his saxophone and trumpeter Philip Dizack pull the tune closer to a bullring, chomping with a matador’s confidence. Bruner keeps the procession tight from his drum kit going through stellar solos from Graves and Washington. “Ronald and I are telepathic,” says Graves. “I know where he’s going to go. He knows how I sound. I have a quirky sound. Ronald has a very precise sound. He compliments what I do.”

Joe Henderson’s “Black Narcissus” features Stanley Clarke on upright bass for a straight-ahead display of chops and melody. Clarke has been a mentor to many of the West Coast Get Down members, employing and collaborating with many of them including taking Graves on the road for the past four years. “The West Coast Get Down used to play a club in Hollywood called Piano Bar. That’s how we all got our sound. Everybody would come through the Piano Bar including Stanley Clarke’s son, Chris. It came up that Stanley was looking for someone to do keyboard stuff, and next thing I knew I was on tour.”

Clarke is responsible for Graves’ understanding of the tune, often calling it from the bandstand as an ode to the giants of jazz. “Cameron is an unusual kind of musician,” says Clarke. “It’s hard to put a label on him. You can’t say he’s a jazz musician, rock musician, classical musician. He’s well versed on all those genres of music. Very few piano players have a technique like he has.”

“I have a little bit of hip-hop in there and a little bit of Indian music, too, though,” clarifies Graves. “I played tablas for six years. I immersed myself into Indian music. Because I draw from all those styles, there is a certain quirkiness to my playing. It has this off-beat, on-beat, off-beat constant playing around with the rhythms. I’m in and out of every type of scale. I feel like everything works with everything in music. The dissonance and the consonance comes together to create that magic.”

That magic is on full display with “The End of Corporatism.” “It’s like a fast 7. I love to write in 7; 7 is just my favorite number. I love the feel of 7. It has a very advanced feel to it.” The advanced meter giddiness is propelled by a soulful band sound. The horns work in tandem while guitarist Matt Haze adds his own muscle. Washington offers a breathless solo imbued with melody and defiance. “I’m very much into the title of that song,” Graves says with a smile. “We’re ready.”

“Titan” is the first of two unreleased studio recordings featured on the EP. “I used to play that at Piano Bar all the time. It has a dark theme to it. I pulled that melody idea from the movie The Fifth Element. ‘Titan’ goes into the dark but it’s a journey into the light. It’s a wormhole.” The instrumental workout rumbles with angst, bassist Hadrien Feraud hums with electricity as Graves unravels an anxiety-inducing display of unparalleled technique. It is an authoritative display matched only by trombonist Ryan Porter’s carefully constructed retort.

“Kahuna is a Hawaiian belief. It’s almost like a Hawaiian religion,” says Graves. “It’s a spiritual practice. I put it together with The Urantia Book. You have to put it together to get a great spiritual grounding. When I was studying spirituality, I was getting way into the kahuna belief system and I got so inspired.” It is also the final track on this EP. Not quite imbued with an island vibe, the band still finds a deep pocket. Graves amazes with a mature pace but unwavering technical prowess. A solo by trumpeter Philip Dizack further highlights the inclusiveness.

The origin of the Planetary Prince comes from The Urantia Book, a 20th century philosophical manifesto. “It’s a spiritual book. It talks about the different Planetary Princes that rule each planet in this solar system and other solar systems. There is a consciousness of the planet.” The book has proven to have a considerable influence on Graves’ outlook on life and his music. “It compliments the music that I write. I like to write advanced music. I can write pop music but I’m very much into metal music -- death metal music. That’s a big influence on my writing. That dark element in there it’s just a cool compliment.”

A little over a year after releasing his recorded debut, Graves is here to show that he is not only surviving but thriving, blessing the solar system with the unmistakable sound of the Planetary Prince, bound for the stars.

The Rolling Stones 'The Studio Albums Vinyl Collection 1971-2016'

Whenever The Rolling Stones do anything, they do it with quality and gravitas. Having defined rock'n'roll in the '60s, The Rolling Stones entered their imperial phase in 1971 with Sticky Fingers. What followed is a run of albums that couldn't have happened at any other time, by any other band: the decadent excess of Exile On Main St, the Jamaican voodoo swamp of Goats Head Soup, the disco and punk-infused prowl of Some Girls. With each new decade, the Stones evolved while staying true to their roots, coming full circle in 2016 with Blue & Lonesome, a love letter to their first inspiration: the blues. Today, The Rolling Stones and UMe announce 'The Studio Albums Vinyl Collection 1971-2016,' a brand new limited edition vinyl box set collection, featuring 15 albums across 20 LPs released on June 15 2018.

'The Studio Albums Vinyl Collection 1971-2016' presents this monumental era in rock'n'roll history in a highly bespoke, lenticular mounted, limited edition box-set housing the 15 studio albums from Sticky Fingers through to Blue & Lonesome in faithful and intricate original packaging replications. Every album has been lovingly remastered and cut at revelatory half-speed at Abbey Road Studios, from vinyl specific original tape transfers designed to get the very best possibly sound from the format. Each album is pressed on heavyweight 180-gram black vinyl and includes a download card for HD digital redemption of the catalog and includes a numbered certificate of authentication.

Cut at half speed, these are among the highest quality vinyl pressings that these classic

Rolling Stones albums will have ever received. Half speed mastering and pressed to a very high standard ensures top notch sound quality for the listener. 

Special care has been taken to create packaging to the same high standards, with detailed artwork reproduction for each album including Some Girls, which comes housed in the replica design including 20 cut-outs on the cover, while the sleeve of Sticky Fingers is presented as Andy Warhol's original design, complete with a working zip with a hidden image underneath and Exile On Main St comes with a set of 12 original postcard inserts.

ABOUT THE PROCESS

Abbey Road Studios' engineers have been cutting grooves into discs since the studios first opened in 1931. In 2013, award-winning engineer Miles Showell joined their existing mastering team, bringing a wealth of disc-cutting experience with him.

One of the artisan techniques offered by Abbey Road Studios that results in the very highest quality sound reproduction is Half Speed Cutting. This process involves the master source being played back at precisely half its recorded speed while the cutting lathe is similarly turned at half the desired playback speed. This allows the cutting head twice the time to cut the intricate groove, allowing considerably more accuracy with important matters such as frequency extremes and micro-dynamic contrasts. The resulting cuts have excellent high frequency response (treble) and very solid and stable stereo images.

It's not quite as simple as running everything at half rate. There is an EQ curve applied to all vinyl records and by running the lathe at half speed, all the frequencies are wrong. However, the technical staff at Abbey Road Studios have had new custom-built filters installed which allow Miles to practice half speed cutting to the full on a modified Neumann VMS-80 lathe.

'The Studio Albums Vinyl Collection 1971-2016'

•Sticky Fingers (1971)

◦LP sleeve presented as Andy Warhol's original design complete with working zip and hidden image beneath

•Exile On Main St (1972) (2LP)

◦2LP in original style gatefold sleeve complete with inner-bags and set of 12 perforated postcards

•Goats Head Soup (1973)

◦LP in gatefold sleeve with two inserts

•It's Only Rock'n'Roll (1974)

◦LP with original heavyweight inner sleeve

•Black And Blue (1976)

◦LP in gatefold sleeve with original inner bag and lyric sheet

•Some Girls (1978)

◦LP housed in replica design including 20 cut-outs on the cover

•Emotional Rescue (1980)

◦LP with original sized poster

•Tattoo You (1981)

◦LP with original heavyweight inner sleeve

•Undercover (1983)

◦LP with original heavyweight inner sleeve and lyric sheet

•Dirty Work (1986)

◦LP with original heavyweight inner sleeve, red shrink wrapping and bespoke sticker

•Steel Wheels (1989)

◦LP complete with original inner sleeve and sales insert

•Voodoo Lounge (1994) (2LP)

◦2LP gatefold sleeve with original lyric inners

•Bridges To Babylon (1997) (2LP)

◦2LP with original lyric inners

•A Bigger Bang (2005) (2LP)

◦2LP gatefold sleeve with original lyric inners

•Blue & Lonesome (2016) (2LP)

◦2LP gatefold sleeve with original inners

THE ROLLING STONES 'THE STUDIO ALBUMS VINYL COLLECTION 1971-2016'

WILL BE RELEASED BY UMe ON JUNE 15 2018

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Tracklisting:

Sticky Fingers

Brown Sugar, Sway, Wild Horses, Can't You Hear Me Knocking, You Gotta Move, Bitch, I Got The Blues, Sister Morphine, Dead Flowers, Moonlight Mile

Exile On Main St

Rocks Off, Rip This Joint, Shake Your Hips, Casino Boogie, Tumbling Dice, Sweet Virginia, Torn And Frayed, Sweet Black Angel, Loving Cup, Happy, Turd On The Run, Ventilator Blues, I Just Want To See His Face, Let It Loose, All Down The Line, Stop Breaking Down, Shine A Light, Soul Survivor

Goats Head Soup

Dancing With Mr. D., 100 Years Ago, Coming Down Again, Doo Doo Doo Doo Doo (Heartbreaker), Angie, Silver Train, Hide Your Love, Winter, Can You Hear The Music, Star Star

It's Only Rock'n'Roll

If You Can't Rock Me, Ain't Too Proud To Beg, It's Only Rock'n'Roll (But I Like It), Till The Next Goodbye, Time Waits For No One, Luxury, Dance Little Sister, If You Really Want To Be My Friend, Short And Curlies, Fingerprint File

Black And Blue

Hot Stuff, Hand Of Fate, Cherry Oh Baby, Memory Motel, Hey Negrita, Melody, Fool To Cry, Crazy Mama

Some Girls

Miss You, When The Whip Comes Down, Just My Imagination (Running Away With Me), Some Girls, Lies, Far Away Eyes, Respectable, Before They Make Me Run, Beast Of Burden, Shattered

Emotional Rescue

Dance, Summer Romance, Send It To Me, Let Me Go, Indian Girl, Where The Boys Go, Down In The Hole, Emotional Rescue, She's So Cold, All About You

Tattoo You

Start Me Up, Hang Fire, Slave, Little T&A, Black Limousine, Neighbours, Worried About You, Tops, Heaven, Not Used To Crying, Waiting On A Friend

Undercover

Undercover Of The Night, She Was Hot, Tie You Up (The Pain Of Love), Wanna Hold You, Feel On Baby, Too Much Blood, Pretty Beat Up, Too Tough, All The Way Down, It Must Be Hell

Dirty Work

One Hit (To The Body), Fight, Harlem Shuffle, Hold Back, Too Rude, Winning Ugly, Back To Zero, Dirty Work, Had It With You, Sleep Tonight, Key To The Highway

Steel Wheels

Sad Sad Sad, Mixed Emotions, Terrifying, Hold On To Your Hat, Hearts For Sale, Blinded By Love, Rock And A Hard Place, Can't Be Seen, Almost Hear You Sigh, Continental Drift, Break The Spell, Slipping Away

Voodoo Lounge

Love Is Strong, You Got Me Rocking, Sparks Will Fly, The Worst, New Faces, Moon Is Up, Out Of Tears, I Go Wild, Brand New Car, Sweethearts Together, Suck On The Jugular, Blinded By Rainbows, Baby Break It Down, Thru And Thru

Bridges To Babylon

Flip The Switch, Anybody Seen My Baby?, Low Down, Already Over Me, Gunface, You Don't Have To Mean It, Out Of Control, Saint Of Me, Might As Well Get Juiced, Always Suffering, Too Tight, Thief In The Night, How Can I Stop

A Bigger Bang

Rough Justice, Let Me Down Slow, It Won't Take Long, Rain Fall Down, Streets Of Love, Back Of My Hand, She Saw Me Coming, Biggest Mistake, This Place Is Empty, Oh No Not You Again, Dangerous Beauty, Laugh I Nearly Died, Sweet Neo Can, Look What The Cat Dragged In, Driving Too Fast, Infamy

Blue & Lonesome

Just Your Fool, Commit A Crime, Blue And Lonesome, All Of Your Love, I Gotta Go, Everybody Knows About My Good Thing, Ride 'Em On Down, Hate To See You Go, Hoo Doo Blues, Little Rain, Just Like I Treat You, I Can't Quit You Baby

International Jazz Day 2018 Comes to a Close Following Celebratory Concerts in St. Petersburg and New Orleans

International Jazz Day 2018 came to a phenomenal close this evening in St. Petersburg, following an extraordinary All-Star Global Concert at the historic Mariinsky Theatre that capped off several days of educational outreach programs across the city. The concert, led by artistic co-directors Herbie Hancock (USA) and Igor Butman (Russia), was streamed live by the United Nations and UNESCO and on www.jazzday.com. It featured performances by an international roster of artists including Oleg Akkuratov (Russia), Till Brönner (Germany), Oleg Butman (Russia), Terri Lyne Carrington (USA), Joey DeFrancesco (USA), Fatoumata Diawara (Mali), Vadim Eilenkrig (Russia), Kurt Elling (USA), Antonio Faraò (Italy), James Genus (USA), Robert Glasper (USA), David Goloschekin (Russia), Hassan Hakmoun (Morocco), Gilad Hekselman (Israel), Horacio Hernandez (Cuba), Taku Hirano (Japan), Anatoly Kroll (Russia), Gaoyang Li (China), Rudresh Mahanthappa (USA), The Manhattan Transfer (USA), Branford Marsalis (USA), James Morrison (Australia), Moscow Jazz Orchestra (Russia), Makoto Ozone (Japan), Danilo Pérez (Panama), Dianne Reeves (USA), Lee Ritenour (USA), Luciana Souza (Brazil) and Ben Williams (USA). John Beasley (USA) served as musical director.

The All-Star Global Concert included special remarks from the International Jazz Day Co-Chairs: UNESCO Director-General Audrey Azoulay and UNESCO Goodwill Ambassador Herbie Hancock. The evening showcased incomparable musicians from around the world and their unique interpretations of jazz. Inventive pairings included The Manhattan Transfer delivering an exhilarating version of "Birdland" with the Moscow Jazz Orchestra, and renowned saxophonist Branford Marsalis performing "As Long As You're Living" alongside acclaimed vocalist Kurt Elling, German trumpet sensation Till Brönner and Italian pianist Antonio Faraò. The stunning vocalist Dianne Reeves joined forces with Russian saxophonist Igor Butman, Japanese pianist Makoto Ozone, and American rising star bassist Ben Williams for a breathtaking performance of "In A Sentimental Mood." The concert concluded with the entire cast performing a heartfelt rendition of John Lennon's beloved peace anthem, "Imagine."

Leading up to the All-Start Global Concert, St. Petersburg hosted a wide array of programming including master classes and workshops with Oleg Butman and Lee Ritenour; panel discussions exploring Jazz and Peace, Women in Jazz and Jazz and Roots Music; and jam sessions with the Thelonious Monk Institute of Jazz Performance Fellows.

Earlier in the week, the International Jazz Day festivities kicked off in New Orleans with an International Jazz Day Salute to New Orleans concert at the historic Orpheum Theater. Thousands attended this free concert commemorating the 300th anniversary of the founding of New Orleans, the birthplace of jazz. The show opened with an only-in-New Orleans second line fronted by the Preservation Hall All-Stars and featured performances by Herbie Hancock along with Patti Austin, Philip Bailey, Bilal, Terence Blanchard, Jon Cleary, Ledisi, Quiana Lynell, Herlin Riley and many others. The concert will stream on www.jazzday.com at 7pm et, following the broadcast of the All-Star Global Concert from St. Petersburg at 4pm et. In addition to the live concert, a series of engaging, in-school jazz education presentations were led by the Institute's teaching artists and educators at schools across New Orleans.

Celebrated around the globe each year on April 30, International Jazz Day highlights the power of jazz as a force for freedom and creativity, promotes intercultural dialogue through respect and understanding, and unites people from all corners of the globe.

International Jazz Day was adopted by the UNESCO Member Nations on the initiative of UNESCO Goodwill Ambassador Herbie Hancock. Established in partnership with the Thelonious Monk Institute of Jazz, the day is recognized on the official calendars of both UNESCO and the United Nations, and it is celebrated in more than 190 countries on all seven continents. Each year, schools, universities, libraries, jazz clubs, performing arts centers, artists and arts organizations of all disciplines around the world pay tribute to jazz through thousands of performances, education programs and community service initiatives.  

NEW RELEASES: JIM SNIDERO & JEREMY PELT - JUBILATION! CELEBRATING CANNONBALL ADDERLEY; GILSON PERANZZETTA – TRIBUTO A OSCAR PETERSON; PALM UNIT – HOMMAGE A JEF GILSON

JIM SNIDERO & JEREMY PELT - JUBILATION! CELEBRATING CANNONBALL ADDERLEY

2018 release. Cannonball Adderley is considered to be one of the all-time greatest jazz musicians; one whose playing projected depth and command. But, he also possessed the rare ability to connect and uplift the listener, shouting out "joy" in every phrase. For his 90th birthday, "Jubilation!" celebrates the genius of Cannonball Adderley. Beloved veterans Jim Snidero (Downbeat critics' poll) and Jeremy Pelt create a formidable front line while David Hazeltine, Nat Reeves and Billy Drummond form an incomparable rhythm section. It's an all-star lineup celebrating a true jazz giant.

GILSON PERANZZETTA – TRIBUTO A OSCAR PETERSON

A straight jazz album from Brazilian pianist Gilson Peranzzett, an artist who's played on countless sessions over the years, including a wealth of famous vocal records too – but who here pays tribute to the great Oscar Peterson, in a nicely stripped-down set of jazz piano trio tracks! Peranzzetta plays acoustic throughout, and has that magical soulful swing of Peterson – the fluid groove that made Oscar's work so revolutionary in the 50s, and which continues to be an inspiration all these many years later. At points, Gilson maybe brings in some darker touches of his own – especially on the intros to the tracks – and the group here features Paulo Russo on bass and Joao Cortez on drums. Titles include "I Feel Pretty", "Con Alma", "Days Of Wine & Roses", "Easy To Love", "I've Got You Under My Skin", and "Somewhere". ~ Dusty Groove

PALM UNIT – HOMMAGE A JEF GILSON

A beautiful tribute to pianist Jef Gilson – one of the hippest French jazz talents of the 60s and 70s – put together by a combo who take their name from his legendary Palm Records label! The group here are a quartet, and they work with wonderfully moody use of Hohner electric piano by Fred Escoffier, plus a bit of Farfisa and Hammond – of which are used spaciously, over rhythms that often move a lot more fiercely – with a third element created from the soulful tenor work of Lionel Martin – a saxophonist who really gets the spirit of the older Palm Records releases right! Actually, the whole group gets the spirit right – working here with a knowledge of the freer corners of jazz, but never going to that space – and instead hanging back in this spiritual blend of global currents, but all with a sensibility that's really unique. The mixture of tenor and harder electric piano lines is already great enough – but the loose rhythms at the core are what really send things home – on titles that include the Jef Gilson compositions "Mother Africa", "Chant Inca", "Chakan", "Mode De Fa", "Newport Bounce", and "Ouverture Jazz Pour San Remo" – plus a version of "The Creator Has A Master Plan". ~ Dusty Groove

NEW RELEASES: JANELLE MONAE – DIRTY COMPUTER; STIMULATOR JONES – EXOTIC WORLDS & MASTERFUL TREASURES; RUBY VELLE & THE SOULPHONICS – STAGE OF ALL THINGS

JANELLE MONAE – DIRTY COMPUTER

Janelle Monae knocks it out of the park here – sounding every bit as great as before, but also hitting this righteous mode that really takes the singer to incredible new territory! If you loved Janelle's previous records, don't worry – she's still as catchy and playful as ever – but there's also a depth and darkness that's inspired by recent political turns in America – which Monae also uses to address issues that go back much farther in her experience, woven together in songs that are maybe even more politically powerful because of the way that they'll also win over the mainstream! Stevie Wonder gets the very first thanks in the long notes at the end of the book – and the mix of soul and message here definitely hearkens back to Stevie in the 70s – is all Janelle's own. Heck, even guests like Zoe Kravitz, Brian Wilson, and Pharrell Williams can't get in the way – on titles that include "Screwed", "Django Jane", "I Got The Juice", "Stevie's Dream", "Don't Judge Me", "Crazy Classic Life", "Take A Byte", "Do Afraid", "Americans", "I Like That ", "Pynk", "Jane's Dream", and "Make Me Feel". And hey, you've gotta love a record that's inspired both by Vibranium and Stevie Wonder!  ~ Dusty Groove

STIMULATOR JONES – EXOTIC WORLDS & MASTERFUL TREASURES

Bass-heavy funk with a definite 80s influence – but served up here with a contemporary crispness that's the best calling card of Stimulator Jones! In a world where so many others find it easy to completely cop the sounds of the post-disco years, these guys take all the best elements and weave them into something that's completely their own – unabashedly bright and bubbly in their choice of melody, and crafting tunes that are way more than just a blend of beats, bass, and keyboards – even though the keyboards here are pretty darn great overall! Titles include "Need Your Body", "Water Slide", "Give My All", "Feel Your Arms Around Me", "Together", "Trippin On You", and "Suite Luv". ~ Dusty Groove

RUBY VELLE & THE SOULPHONICS – STAGE OF ALL THINGS

Ruby Velle's got one of those voices that will no doubt make her huge – soaring and powerful, right from the very first notes – with a capable confidence that could probably take on just about any style of music, but which is especially great here in the company of the Soulphonics combo! There's definitely an influence here from older soul music – particularly southern deep soul – but the presentation is much more contemporary, although manages to be that way without resorting to modern production or hip hop elements in the rhythms. Titles include "Love Less Blind", "Who Closed The Book", "Lost Lady USA", "I Tried", "Call Out My Name", "Used Me Again", "Broken Woman", and "State Of All Things".  ~ Dusty Groove

Toots and the Maytals Announce 2018 North American Summer Tour

Legendary reggae artist, Toots and the Maytals have announced a major 2018 summer tour throughout the U.S. and Canada. The tour hits major cities and festivals, most notably: New Orleans Jazz and Heritage Festival, DC World Reggae Festival, LOCKN’ and Kaya Fest.

Toots Hibbert is one of the true and rightful architects of reggae music – so much so that “Do the Reggae,” a 1968 single by Toots and his group, The Maytals, is credited with giving the genre its name. Classic songs written and recorded by Toots and the Maytals have been covered by the likes of The Clash, Amy Winehouse, Sublime, Pitbull, and Jay-Z - and the group was featured in reggae’s greatest breakthrough event - “The Harder They Come,” the 1972 film that became an international sensation.

Toots’ highly-successful 2004 album, TRUE LOVE, featured all-star guests ranging from legends like Keith Richards, Eric Clapton and Bonnie Raitt to next generation stars including No Doubt, The Roots and Phish’s Trey Anastasio. The caliber of these collaborators revealed the impact that Toots had on generations of rockers and rappers, while appearances from reggae icons Bunny Wailer and Marcia Griffiths showed the respect granted to the man who might be music’s greatest living vocalist. And at the heart of it all is that voice – drenched in soul, rooted in gospel, and still breathtakingly powerful after almost four decades in the spotlight.

Toots recently signed with UTA for representation in all areas, with the agency playing an integral role in booking the tour.

Toots is currently hard at work on new music, having already recorded more than two albums worth of material. Expect to see something exciting very soon. 

See below list of all upcoming tour dates:

Apr 28: Kaya Fest - San Bernardino, CA

Apr 29: The Marquee - Tempe, AZ

May 1: Strauss Square at AT&T Performing Arts Center - Dallas, TX

May 2: Tobin Center for Performing Arts - San Antonio, TX

May 3: New Orleans Jazz & Heritage Festival - New Orleans, LA

May 5: SunFest - West Palm Beach, FL

Jul 6: Fremont Theatre - San Luis Obispo, CA

Jul 8: Harrahs SoCal - Valley Center, CA

Jul 11: The Fillmore - San Francisco, CA

Jul 12: Music in the Park - San Jose, CA

Jul 13: SOMO Village - Rohnert Park, CA

Jul 14: Reggae on the Mountain - Topanga, CA

Jul 18: At The Plaza Concert Series - Albany, NY

Jul 19: Finger Lakes Grassroots Fest - Trumansburg, NY

Jul 20: Capitol Theater - Port Chester, NY

Aug 1: Higher Ground – South Burlington, VT

Aug 3: Aura - Portland, ME

Aug 4: Brooklyn Bowl - Brooklyn, NY

Aug 5: Hartwood Acres Amphitheatre - Pittsburgh, PA

Aug 8: Thalia Hall - Chicago, IL

Aug 10: Danforth - Toronto, ON

Aug 11: Corona Theatre - Montreal, QC

Aug 13: Martha's Vineyard Concert Series - Martha's Vineyard, MA

Aug 14: The Chicken Box - Nantucket, MA

Aug 15: The Chicken Box - Nantucket, MA

Aug 17: Ocean Mist - Kingstown, RI

Aug 18: Reggae In The Park - Philadelphia, PA

Aug 19: DC World Reggae Festival - Washington, DC

Aug 22: College Street Music Hall - New Haven, CT

Aug 23: Paramount - Huntington, NY

Aug 24: LOCKN' - Arrington, VA

 

Rejoining Pangea: Seattle’s Duende Libre Uses Jazz Savvy to Knit Continents and Rhythmic Sensibilities from Cuba to Turkey

Once long ago, there were no continents, nothing to divide the great mass of land. Seattle-based trio Duende Libre’s tender, clever songs explore this notion, charting the imaginary folds and roads of Pangea, the ebb and flow of the world’s sounds.

Guided by founder and bandleader, pianist Alex Chadsey, Duende Libre prove that what drifted apart can drift back together, and that musical traditions are living things and therefore constantly in flux. The Puget Sound and the Bosphorus, Cuba and Jamaica overlap and inform one another in pieces that wed jazz concepts with pop pleasures on Drift (release June 15, 2018; release celebration: June 29, 2018), the group’s second album.

“We draw influences from many different cultures and countries and parts of the world, and the album’s title is a tribute and invocation of these influences,” explains Chadsey. “We explored using different rhythmic feels and styles as a way to meld those sensibilities. That’s what I was going for: a musical pangea where borders become less rigid, and where surprising new sounds emerge in the grey areas between traditions.”

Chadsey comes by his global influences honestly. Growing up with an ear for music from around the world, Chadsey developed a lifelong passion for Western classical and jazz, including pieces like Chick Corea’s “Spain,” covered artfully on the album by the trio joined by vocalist Chava Mirel. Chadsey applied his classical and jazz training to Latin music as a member of the GRAMMY-winning Quetzal and as a core player in roots reggae legend Clinton Fearon’s Boogie Brown Band. Chadsey drew on these experiences and a lifetime of curious listening as he embarked on his own project, tapping fellow open-eared Seattle musicians bassist Farko Dosumov and drummer Jeff “Bongo” Busch to create an original sound that Jazziz called “a strikingly authentic blend, one that has marked their city as an epicenter for musicians who share an appetite for bridging worlds.”

They take full advantage of Seattle’s wealth of global musical talents. “Choro,” a piece a few degrees removed from the Brazilian style, pays homage to Jovino Santos Neto, a master pianist and composer whose work guided Chadsey. The grooving “Kiki” tips the hat to the Cuban son of Cuban cuatro virtuoso Kiki Valera Alarcon and La Familia Valera Miranda, his family’s long-standing band. Valera invited Duende Libre to join him for a collaborative concert, part of a larger series he was curating. “We did one gig together and I was so inspired by that encounter,” recalls Chadsey. “I wrote the piece for him. We are drawing on clave, but trying to do something different. I wanted to know what would happen if I took traditional figures and chord progressions from Cuban son, which is usually in four, and experimented with changing meters. It creates a whole different feel and has been a fun challenge for us to play.”

Duende Libre’s debut album sparked an extensive round of touring, taking them from their hometown and as far afield as Alaska. They spent long hours on the road together between gigs. The downtime had a musical upside, as the group became more integrated and tighter. “It’s osmosis,” notes Chadsey. “You’re just hanging out together more than you’re actually playing. You’re sitting in the bus, hanging out with the people you meet. Time spent together on the road impacts the music in interesting and surprising ways.”

New directions coalesced for Duende Libre, and they took advantage of the momentum to jump into the studio, resulting in Drift. They invited friend and fellow Clinton Fearon bandmate, singer and songwriter Mirel to join them, adding her voice’s lilting strength to several tracks including the ethereal “Zephyr.” Busch and Chadsey put their heads together to shape the rhythmic push and pull of the title track, “Drift,” which contrasts various nuances of the pulse and the swing, the juxtaposition of triple and duple meter that is so integral to African diasporic musics. Dosumov also contributed a piece to the album, the bouncy, gritty “Subway.” “We are starting to have musical convos as a trio, or quartet when Chava joins us,” says Chadsey. “To do that spontaneously is one of the goals of any jazz artist, to be creating musical communion.”

This communion has grown out of productive tensions between Chadsey, who loves to engage with pop song forms and hooks, and the other members of the trio, in particular Busch, who wants to open things up and push the boundaries. In the end, Duende Libre strikes the balance between ear candy and experimentation.

“When I’m writing a tune, I intentionally try to strive for something as melodic as possible. But I’m not too attached to how the songs are arranged,” Chadsey says. “When I bring them into the band, they go through different iterations, experimenting with forms. Jeff has great arrangement ideas, in particular, and he and I often agree to disagree. That’s the beauty of any relationship, the opportunity to step out of your bubble. That’s where growth happens.”

By exploring new territory where heritage, influence, and style can meet, Duende Libre reenforce, in their own nuanced way within the jazz tradition, the ties that bind our world, sonic and otherwise. “Everyone in the project really understands and values music as a sacred way of connecting people across lines of difference,” states Chadsey. “The imperative to connect has never been more important than it is now, and music will keep us healthy and sane through these turbulent times.”

Kristo Rodzevski Releases The Rabbit and the Fallen Sycamore

The Rabbit and the Fallen Sycamore, the third album in a trilogy by singer-songwriter Kristo Rodzevski and his group of jazz progressives, will be released by Much Prefer Records on May 25, 2018.

Mixed by celebrated producer Bill Laswell, "The Rabbit..." represents the fulfillment of a musically adventurous idea: Assemble seven world-class improvisers in a studio, establish an environment for pure music-making, and capture all on tape. Such is the essence  - and beauty - of "The Rabbit..."

By partnering with core collaborators Mary Halvorson (guitar), Tomas Fujiwara (drums) and Michael Blanco (bass), then inviting contributions from Kris Davis (piano), Ingrid Laubrock (saxophone) and Brian Drye (trombone), Kristo fermented an intoxicating brew. The bubbling inventions are spontaneous performances without overdubs. 

Once the group selected the best material, Laswell was called in to shape all. In a great sense, Laswell's touch (and ears) provide the sonic and musical template for the album. He is celebrated as a lover of musical hybrids and cross-pollinations. His legendary work with Herbie Hancock, Iggy Pop, John Zorn and Motörhead, among others, attests to his wide-angle views.

"The Rabbit..." boasts a melding of seemingly disparate influences, all living together sweetly - Eastern European folk, free jazz, punk and song-form narrative. Heard, too, is Kristo's  affinity for the music of Tom Waits, Burt Bacharach and Jim O'Rourke. Critic Chris Brazier calls it "collision music."

Thematically, the album continues themes established in Kristo's earlier efforts, Batania (2015) and Bitter Almonds (2017). While those trilogy installments examined the deep feelings for his Macedonian grandmother and mother, "The Rabbit..." explores a transition - the fading significance of his past to his life in the USA.

Kristo's songs resonate in that gray area between nostalgia and expectation. There is passion here, tapping the most human of emotions, desire and suffering. The cover design by Ikue Mori (DNA) provides a visual analog to this provocative music.

Kristo Rodzevski is Macedonian-born vocalist, guitarist, and composer, based in New York City since 1999. He began as a street musician in Europe in the early 1990s. He was a founding member of an influential group of Macedonian musicians who would go on to form the bands Foltin and Ljubojna and perform at festivals throughout Europe.

Kristo's debut album, Batania, received positive reviews by the Wire, All About Jazz, Jazz Right Now, etc., and won plaudits as the best single of 2015, and was voted the  second best album of that year  by the Macedonian Kanal 103.

His second album, Bitter Almonds, features two songs soon to appear on Bikini Moon, a  feature film by Academy-Award-nominated (director, writer, and visual artist Milcho Manchevski). [Video Here.]

Kristo has appeared on other film soundtracks, including Shadows (by Milcho Manchevski), To the Hilt (by Academy Award nominated director Stole Popov) and The War is Over (by Mitko Panov, a Palme d 'Or winner at the Cannes Film Festival).

He has had solo performances at Joe's Pub and Merkin Hall, and has performed as soloist with the Macedonian Philharmonic Orchestra, at the Macedonian Opera and Ballet, New York City's Carnegie Hall.

Kristo's  singing style has been described as "effortless," "velvety," and with "a masterful control of vocal micro-dynamics and access to emotional depth.