Sarah Reich releases debut Tap Jazz Album "New Change"

Sarah Reich (Performer, Choreographer, Instructor, Composer) has emerged as one of the new leaders in the Art Form of Tap Dance. She was named one of the “25 To Watch” in the 2017 Dance Magazine article. Sarah has been sought after to perform, choreograph, and teach in over 40 countries.  "I want to continue to bringtap into mass media with great respect and quality," she says, focusing on "reprogramming the minds of the general public on their perception of tap dance." (DanceMagazine 2017)

Sarah has become one of the art form's pop culture ambassadors, thanks to her appearances in videos with Scott Bradlee’s Postmodern Jukebox. Her videos withthem (A Star Wars–themed tribute, "The Tap Awakens," & “Thriller”, a Michael Jackson cover featuring Wayne Brady) have garnered over 1 million views onYouTube, all receiving rave reviews. She has toured the world with Postmodern Jukebox playing prestigious venues such as Radio City Music Hall, Walt Disney Concert Hall and the Sydney Opera House.

In addition to her vast international travels and countless television appearances, Sarah has had the honor to perform at some of the most prestigious venues backhome in Los Angeles such as The Hollywood Bowl, the Greek Theater with Mexican Pop-Star, Cristian Castro and the Kodak/ Dolby Theater with the great Herbie Hancock.

Sarah is developing new, and exciting works with her company Tap Music Project, with her debut Tap Jazz Album titled “New Change”. This album is originally produced, composed from percussive tap rhythms, and performed by a great selection of musicians to create a unique sound. She hopes this is just the beginning: "I want to be the first tap dancer to win a Grammy Award!"

Verve Jazz Ensemble Showcases Jubilant Group Sound on Its 5th Album, "Connect the Dots"

Verve Jazz Ensemble Connect the Dots Always highly polished, the Verve Jazz Ensemble's timeless straight-ahead jazz reaches for exuberance as well on LightGroove Media's July 20 release Connect the Dots. The fifth album by the VJE, a modular New York-based ensemble led by drummer Josh Feldstein, features upbeat performances of band originals, standards, and lesser-known works by classic jazz composers -- each characterized by the musicians' palpable delight in playing together.

Connect the Dots also finds the VJE expanded to seven pieces, with alto saxophonist/flutist Alexa Tarantino and trombonist Willie Applewhite making their VJE debuts alongside the existing quintet of trumpeter/flugelhornist Tatum Greenblatt, tenor saxophonist Jon Blanck, pianist Steve Einerson, bassist Elias Bailey, and Feldstein.

The exuberance is amplified by the tunes themselves: catchy melodies, imbued with deceptively rich harmonies and finger-snapping grooves. This, according to Feldstein, is part of the band's reason for being. "Beyond the joy of playing the music, one of our goals is to make the music more widely accessible," he says. "Brighter and with melodic and rhythmic structures people can immediately connect to, whether the listener is new to jazz or an aficionado."

To that end, Connect the Dots includes new arrangements of some of jazz's most beloved standards -- Lee Morgan's "Ceora," Cole Porter's "Love for Sale," Harold Arlen's "My Shining Hour" -- alongside intoxicating originals like Feldstein and Greenblatt's lush bebop title track and Blanck's subtly funky "Autumn Left."

However, the album also features "underserved" tunes by jazz royalty of the likes of Benny Golson ("Little Karin"), Stan Kenton ("Intermission Riff"), and Gerry Mulligan ("Disk Jockey Jump"). Here too, says Feldstein, is one of VJE's missions: "To find music that is fresh, with melodies we love, and blow the dust off it. There's so much amazing music that people haven't heard."

The full septet appears on four of the album's 13 tracks. The remainder feature three different quintet configurations, as well as trio settings for Einerson, Bailey, and Feldstein. The drummer, along with Greenblatt and Blanck, contributed the arrangements for these configurations as well as providing the original tunes.

The Verve Jazz Ensemble is the brainchild of Josh Feldstein, born and raised in New York City. He began studying drums at 11; a year later, his drum teacher told him that Josh's drumming style reminded him of Gene Krupa. Josh immediately immersed himself in the recordings of the legendary "Sing, Sing, Sing" soloist. That was it: At a time when most of his friends were listening to pop artists like Elton John, Stevie Wonder, and Michael Jackson, Josh "withdrew into jazz."

Through junior high and his years in Queens at Bayside High School, Josh continued his drumming. He attended Queens College where he got his undergraduate degree in English. Later, while living with his wife in DC, and after they moved to Connecticut, Josh continued sitting in at local clubs.

A turning point came in 2005 when Josh saw a recent West Conn jazz grad named Jon Blanck perform. Impressed with Jon's playing and musicianship, he introduced himself to the young saxophonist, and soon struck up a great friendship and musical connection. Together with bassist Chris DeAngelis, they formed a trio that became the core of the Verve Jazz Ensemble -- a name Josh chose to express his love of the music and the recording legacy put out by the storied jazz label.

Verve Jazz Ensemble The band's lineup steadily evolved from their 2013 debut, It's About Time, a quintet outing that included the VJE debuts of New York's Tatum Greenblatt on trumpet and Matt Oestreicher on piano. East End Sojourn followed in 2014, with Elias Bailey taking over from DeAngelis on bass and Oestreicher alternating with Steve Einerson. The latter became the sole pianist on 2016's Perimeter (a breakthrough for the VJE, featuring five original compositions along with their usual well-chosen tunes). Their fourth album, Swing-A-Nova (2017), a trio feature with three tracks adding Greenblatt on trumpet, reached #6 on the JazzWeek radio charts. Now, with Connect the Dots, Alexa Tarantino's alto saxophone and flute and Willie Applewhite's trombone fill out the VJE's exhilarating classic jazz sound.

Guitarist Pete McCann Fluses Jazz-Rock On "Pay for It on the Other Side"

Pete McCann Pay for It on the Other Side Pete McCann's trademark infusion of postbop jazz with roots-rock grit and energy reaches a new peak with the guitarist-composer's July 20 release of Pay for It on the Other Side (McCannic Music). McCann's sixth album, and his third with the quintet of alto saxophonist John O'Gallagher, pianist/keyboardist Henry Hey, bassist Matt Clohesy, and drummer Mark Ferber, packs a hefty punch that emphasizes the confrontational aspect implied by its name.

"It sounds like an aggressive album title," McCann acknowledges, noting that on one level, the title refers simply to the toll he pays every morning when he crosses the George Washington Bridge from New Jersey into New York. He adds, though, that if there's a confrontation at work in the music, it's one that takes place in the afterlife. "I'm fascinated by the spiritual implications of karma," he says. "How we treat people and the environment and the consequences of that."

Far from ethereal, mystical meditations, however, McCann's ten new compositions are earthy and direct. Tunes like the title track, "Mud Flap," and "Conventional Wisdom" land with a crunch, loaded with driving rhythms and intense, instantly memorable hooks. Even more tranquil tunes like "Yonder" and "Indemnity," and jazzier, more overtly complex pieces like the angular swinger "Is April Okay?" and the bluesy, noir-ish "Floor Three," are delivered with an immediacy and command that grabs the listener's attention from the moment they begin.

The music also carries a strong sense of synergy that McCann attributes to the chemistry at work within the band. "These musicians have the ability to read and play anything I put in front of them, yet also bring their own creativity to the project," he says. "They have the ability to flesh out what I'm thinking even before I say it."

Pete McCann   

He wrote the music on Pay for It on the Other Side with the band members specifically in mind. "I definitely heard John O'Gallagher's alto voice on all this music," he says. "Henry has so many ideas for sounds and different instruments. His playing is so unique, walking a fine line between terrific jazz piano, funky clavinet, accordion, organ. He's like a one-man band. And I love the way Mark and Matt work together. They have an amazing sense of time and feel."

Pete McCann was born in 1966 in Eau Claire, Wisconsin, and raised there in a bustling farm household. Radio and turntable played sounds of country, rock 'n' roll, and heavy metal, and thus the pathway to a life in music came into view. Pete's love affair with the guitar began at age eight, when his mother persuaded the local music store to take him at an early age for lessons.

As a junior high and high school student, he attended Shell Lake Jazz Camp, 80 miles from Eau Claire, for six summers in a row. Master classes in jazz improvisation with teacher Mike Irish and weekly guitar lessons with Russ Moss provided further inspiration. At University of North Texas, he studied with Jack Peterson; during his junior year, he attended a summer program at the Banff Centre in Alberta, studying with Kevin Eubanks.

Arriving in New York shortly after his 1989 graduation, McCann gigged with the East Down Septet, performed with Erwin Vann's Worlds project, and subbed for Ben Monder in the Maria Schneider Orchestra. He has also worked with Lee Konitz, Brian Blade, and Dave Liebman, as well as the Mahavishnu Project (in which he was endorsed by John McLaughlin himself), Patti Austin, Grace Kelly, and Curtis Stigers.

McCann is also a member of the quartet Spin Cycle, co-led by drummer Scott Neumann, whose ties with the guitarist date back to college days, and saxophonist Tom Christensen. That group debuted in 2016 with Spin Cycle; their 2018 follow-up is Assorted Colors.

McCann made his first recording, Parable (1998), in a quintet setting featuring bassist Tim Lefebvre and drummer Matt Wilson. Two more albums with varying lineups followed before McCann's current quintet coalesced for 2009's Extra Mile and 2015's Range.

Pete McCann and his quintet will perform a CD release concert at the 55 Bar, NYC, on Thursday 7/12 (10pm start, two sets). 

Alan Hall's Ratatet Addresses Current Turmoil in American Society with "Heroes, Saints and Clowns"

Alan Hall Ratatet San Francisco Bay Area drummer, composer, and bandleader Alan Hall turned to music when he found himself in the midst of what he describes as "some of the greatest turmoil our country has ever experienced." In order to cope, he penned the sonic vignettes heard on his new CD Heroes, Saints and Clowns,set for June 22 release on Ridgeway Records. Performed by his genre-bending sextet Ratatet, which was formed in 2014 and made its recording debut in 2016 with the critically acclaimed album Arctic, the seven musical portraits reflect people who inspired, empowered, or infuriated him during today's unsettling times.

"It's just impossible to escape what's going on these days," says Hall, a native of San Jose and one of the West Coast's premier drummers and music educators. "This music is informed by what I see in the news, the violence, the police, the politics. At the same time, we have to keep our chins up. I'm also looking at personal heroes, people who help me stay positive."

Heroes, Saints and Clowns brings together an impressive set of improvisers, including Paul Hanson on tenor sax and bassoon (acoustic and with effects); Jeff Denson on double bass and five-string fretless electric bass; trombonist John Gove; Dillon Vado on vibraphone and percussion; and Greg Sankovich on piano, organ, and keyboards. They're joined on several tracks by Oregon's Paul McCandless on English horn and oboe, and cellist Joseph Hebert.

 Alan Hall Ratatet

L. to r.: Dillon Vado, Jeff Denson, Paul Hanson, Alan Hall, John Gove, Greg Sankovich.

Together they use an electro-acoustic sonic palette to interpret a program of improvised and through-composed music ranging from the satirical to the sublime, from the serene to the disruptive. Hall, who blurs boundaries between composition and improvisation, uses his ensemble as a brush to paint musical portraits ranging from chamber jazz and tone poems to pieces with the moodiness of Mingus, the zaniness of Zappa, and the serialism of Stravinsky.

That Hall's compositions lend themselves to being described in terms usually applied to the visual arts is not surprising given that he is a master of both the drum brush and the paint brush. Initially inspired by an exhibition of Alexander Calder sculptures he saw at the San Francisco Museum of Modern Art, Hall has become an accomplished visual artist who creates work under the name A. Miguel Hall. He uses individual and mixed media as well as digital abstract photography (the cover to Heroes, Saints and Clowns is one of his works). Hall honors the American abstract painter Agnes Martin with the through-composed piece named for her that closes the new album.

"It seems that, at any given time, one art form or the other -- visual or musical -- will demand expression, and the other must wait," says Hall. "I can't seem to be fully engaged with both simultaneously, which suggests they're both drawing on the same source, whatever that may be. This is very interesting to me, but my goal is to have both fully activated at the same time."

Alan Hall Born (1958) and raised in San Jose, California, Alan Hall stood out early on as a precociously talented drummer. His band director at John Muir Middle School, Tony Nigro, started hiring Hall for gigs before he started high school.

Part of a brilliant wave at Berklee College of Music in the late 1970s, Hall ended up teaching at the school from 1986 to 1993. A significant influence on Hall's development as a musician was his two-year course of study (1983-1985) with drummer Alan Dawson, himself a longtime member of the Berklee faculty. While Dawson had left Berklee before Hall matriculated there, the younger drummer received tremendous guidance from Dawson not only in the area of jazz drumming but in the school of life as well.

"One thing about Alan was his devotion to the seriousness of the craft," Hall shared in a 2016 interview with former student and fellow Bay Area drummer Niels Myrner. "His project was refining his craft to the highest level. That standard of excellence had a very strong impression on me."

Moving back to California, he settled in the East Bay and started playing with Dave Eshelman's Jazz Garden Big Band, which quickly established him as a first-call accompanist. Collaborating with veteran touring masters like Art Lande, Paul McCandless, and Rebecca Paris and younger stars such as Geoffrey Keezer and Ed Simon, Hall has provided the rhythmic foundation for more than a dozen leading ensembles over the past 25 years. A dedicated educator, he continues to teach at Cal State University East Bay, the Monterey Jazz Festival's Summer Jazz Camp, the California Jazz Conservatory, and Jazz Camp West, as well as seeing private students.

Hall is thinking bigger and smaller with Ratatet, breaking out smaller lineups for particular pieces and adding new instrumentalists for others. He recently submitted a piece to NPR's Tiny Desk contest which featured an octet with an acoustic guitarist and cellist added to the lineup. "There is so much more to explore with this group!" he says.

The Ratatet Octet -- the same band featured on Hall's Tiny Desk video -- will be performing a CD release show at the Hillside Club, 2286 Cedar Street, Berkeley, on Saturday 7/7, 8:00 pm. A selection of paintings and photography by Hall will be exhibited and for sale during the concert. The Ratatet Sextet (with Sheldon Brown subbing for John Gove) is scheduled to play the San Jose Jazz Festival, Sunday 8/12 at 4pm, on the Gordon Biersch Stage.

 

New Releases: Alex Lefaivre Quartet - Yul; Black Art Jazz Collective – Armor Of Pride; Pierre Douge - Soundscapes

Alex Lefaivre Quartet - Yul

Drawing his inspiration from Montreal’s distinct urban energy, bass player Alex Lefaivre presents a series of modern jazz originals written for some of his home town’s most original musicians, notably Erik Hove on alto saxophone, Nicolas Ferron on guitar as well as Mark Nelson on drums. The lyrical, song-like melodies develop over interesting forms that leave a lot of room for the group to interact and showcase their conversational improvisations. Taking its name from Montreal’s airport code, YUL takes the listener on a cinematic trip through the city, where dreamy, hazy summer vibes are intertwined with a gritty, metropolitan edge. A highlight of this set is a surprising cover of John Carpenter’s theme to his cult-classic 1978 horror movie, Halloween. – Colette Schryburt aka Coco Jazz, CKVL 100.1FM

Black Art Jazz Collective – Armor Of Pride

A set that's bursting with every bit as much of the fantastic energy you might expect from the lineup – a bold sextet that features Wayne Escoffery on tenor, Jeremy Pelt on trumpet, James Burton III on trombone, Xavier Davis on piano, Vicente Archer on piano, and Johnathan Blake on drums – all coming together here in a righteous message that's even stronger than the sum of its parts! All titles are originals, and have this progressive, soaring vibe – spiritual, but not in a mellow way – and instead very much up to date in terms of contemporary jazz expression, thanks to the individual strengths of the soloists – who feel completely unified throughout. Titles include "Armor Of Pride", "When Will We Learn", "Black Art", "Pretty", "The Spin Doctor", and "Awuraa Amma". ~ Dusty Groove

Pierre Douge - Soundscapes

Guitarist Pierre Dorge has been giving us amazing music for many years – but he sounds especially amazing here in the company of a really great group – the excellent Kirk Knuffke on cornet, plus Stephen Riley on tenor, Conrad Herwig on trombone, Jay Anderson on bass, and Adam Nussbaum on drums – all very dynamic players who seem to make Dorge sound even fresher than ever! There's an especially strong sense of phrasing on the record – no surprise, especially with Knuffke in the mix – and while Pierre can sometimes use his instrument in more abstract ways, that quality is really balanced by all the other members of the lineup. Anderson's bass is great – nicely pointed at the best moments, and a great contrast to Dorge's strings – and all tracks are originals, with titles that include "Lullaby For Sun Ra", "Mingus' Birthday Party", "Afrikaa Mbizo Dyani", "Sim Sim Ba", and "Alligator In Paradise".~ Dusty Groove

Grammy Award Winning Trumpeter Nabaté Isles Takes Listeners on Eclectic Excursions With New Album

Industry acclaimed, Grammy Award-winning trumpeter and composer Nabaté Isles is releasing his debut album, Eclectic Excursions, on Friday, July 20th 2018. Isles has performed, toured and/or recorded with almost every top musician in the industry, such as Yasiin Bey (aka Mos Def), Christian McBride, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Dianne Reeves and more. The album is produced by multi-platinum, Grammy Award-winning songwriter/producer/keyboardist Sam Barsh, who has written/produced numerous recordings and commercially released songs, including hits for Kendrick Lamar, Joey BadA$$ and Macy Gray.

Isles kicks the summer vibe off with "Find Your Light" (feat. Alita Moses). As a summer bonus, listeners get the track "Laid Back," which features Elzhi, Canadian singer, JRDN.

On Thursday, July 12th at NuBlu 151 on Avenue C, New York, NY 10009 from 8:00 pm to 12:00 am, guests will enjoy mixes by D.J. Dan.C.E., with rising vocal talent Alita Moses opening for him. Throughout the night, Isles will perform music celebrating the release.

  

Nabate Isles is a Grammy-winning trumpeter/composer. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. He instructed actor Rob Brown as trumpeter Delmond Lambreaux on the HBO series, Treme.

As a performer, Isles was part of both of Christian McBride Big Band's Grammy-winning albums, The Good Feeling (2012) and Bringin' It (2018) as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, 'Empire II.'

He recently completed a score for his first feature called, 'The Rhythm in Blue'. Isles is also an accomplished producer and host for SiriusXM NBA Radio & he hosts his own weekly television show called 'So Much to Talk About' on MNN (Manhattan cable). Also, a sports trivia expert, Nabaté excelled on TV gameshows, ESPN's 'Stumb The Schwab' and Crackle/NBC Sports' Sports Jeopardy. 

'Jazz Loves Bernstein' Commemorates Beloved Composer/Conductor Leonard Bernstein's Centennial With Star-Studded Two-Disc Collection Featuring Classic Jazz Interpretations Of The Maestro's Greatest Songs

In a dazzling musical career that spanned more than forty years, Leonard Bernstein distinguished himself as a conductor, pianist and educator, as well as a passionate musical communicator. But it was his work as a composer that made the most enduring impression upon the public. Bernstein's timeless compositions have become deeply ingrained in the American soundtrack, encompassing the Broadway stage, the pop scene and the jazz world.

Now, just in time for the 100th anniversary of his birth on August 25, some of his greatest works have been assembled for Jazz Loves Bernstein, available June 29 via Verve/UMe. The two-CD/digital collection spans the musical and emotional breadth of the Bernstein songbook, with interpretations of the maestro's classic tunes spanning more than half a century, performed by some of the era's finest jazz singers and musicians.

  

Starting today, Bobby's Scott rare 1959 recording of "Ya Got Me" is available for streaming and for immediate download with digital album pre-order. Pre-order Jazz Loves Bernstein now: https://lnk.to/JazzLovesBernstein

"Jazz and I are on excellent terms," said Bernstein, one of whose earliest jobs was transcribing the instrumental improvisations of such jazz greats as Coleman Hawkins and Earl "Fatha" Hines. Jazz remained a cornerstone of Bernstein's musical consciousness for the remainder of his career, and jazz performers would continue to record Bernstein compositions in the decades to come.

Many of those artists are represented on Jazz Loves Bernstein, which opens with Billie Holiday's rousing 1944 rendition of "Big Stuff," from Bernstein's early ballet Fancy Free, and closing with a haunting 1996 reading of "Some Other Time," from Bernstein's Broadway smash On the Town, performed here by Mark Whitfield and Diana Krall. In between is a sterling selection of performances that demonstrate the ongoing appeal of Bernstein's melodic gift.

For example, the West Side Story standard "Tonight" features a warm vocal interpretation by Billy Eckstine, while the West Side Story classics "Maria" and "I Feel Pretty" are sung memorably by Sarah Vaughan; the anthemic "Cool" gets a distinctive reading from jazz great Oliver Nelson, and the romantic "Somewhere" and "Something's Coming" receive poignant readings from the Oscar Peterson Trio. From Bernstein's early Broadway triumph On the Town comes "New York, New York," revisited by pianist Bobby Scott, and the pensive "Lonely Town," sung by master vocalist Mel Tormé. Jazz Loves Bernstein also features timeless performances by such jazz legends as Carmen McRae, Bill Charlap, Bill Evans, Maynard Ferguson and Bob James.

In his exhaustive liner notes for Jazz Loves Bernstein, producer Didier C. Deutsch writes, "Next to the great George Gershwin, no other American composer can claim to have worked in as many musical genres with the exception of Leonard Bernstein. A musical genius who enlightened our lives over a brief few decades, Bernstein seemed equally at ease in classical works, the theater, jazz, and, in at least one instance, the movies, always different, always compelling."

Leonard Bernstein's boundless talent and ongoing influence are reflected throughout Jazz Loves Bernstein, which celebrates his work with the style and sensitivity it deserves.

Jazz Loves Bernstein Track Listing

Disc 1

Big Stuff – Billie Holiday

America/I Feel Pretty/One Hand, One Heart – Manny Albam & His Jazz Greats

New York, New York – Bobby Scott

Tonight – Billy Eckstine with Hal Mooney and His orchestra

A Quiet Girl – Bill Charlap Trio

Cool – Oliver Nelson and His orchestra

My Love – Bob James

Lucky To Be Me – Bill Evans

Maria – Eric Reed

It's Love – Bill Charlap Trio

Lonely Town – Mel Tormé

Something's Coming – Manny Albam & His Jazz Greats

Somewhere - Oscar Peterson Trio                                                    

I Feel Pretty - Sarah Vaughan

Disc 2

Ya Got Me – Bobby Scott

Something's Coming – Oscar Peterson Trio

It's Love – Carmen McRae

Jump – Bill Charlap Trio

I Can Cook Too – Bobby Scott

Maria – Sarah Vaughan

Jet Song – Oscar Peterson Trio

It Must Be So – Bobby Scott

Tonight – Manny Albam & His Jazz Greats

Lonely Town – Maynard Ferguson

I Feel Pretty – Oscar Peterson Trio

Ohio – Bill Charlap Trio

Some Other Time – Mark Whitfield with Diana Krall

Jill Barber's New Album Metaphora

Jill Barber released her third single "Bigger Than You," off of her upcoming album Metaphora. It premiered on Grok Nation and was paired with an in-depth interview discussing the power behind the track.

"Bigger Than You," is Barber's own #MeToo movement coming to surface after recovering from a toxic relationship. She states in her interview with Grok Nation, "Although I wrote this tune before the #MeToo movement began, there was already an undercurrent of empowerment and solidarity rising in my community of women. I feel like we had all been whispering some form of “me too” for years before that whisper became a roar."

Last month, Barber released "Mercy," the second single from her upcoming album. It premiered at Billboard, and was shot by Juno Award-winning director Christopher Mills, whose work includes videos for Modest Mouse, Leonard Cohen, and Broken Social Scene. "Mercy" follows the female empowerment anthem "Girl's Gotta Do," which bowed at #1 on CBC national radio and Apple Music Canada’s Singer-Songwriter Chart. PopMatters said, "If the women's movement of the 21st century — whether it's #MeToo or #TimesUp — needed a hashtag theme song to carry its message, this versatile vocalist who can handle jazz, pop, blues, folk and rock 'n' roll on any given night, delivers it with genre-fender-bender style."

A bold entrée into the world of contemporary pop music, Metaphora reveals a Jill Barber we’ve never heard before. Metaphora showcases her power and vulnerability as both an artist and a woman. Evolving over the course of many albums from folk to jazz, R&B and pop, Jill’s success is defined not by genre, but by her undeniable songwriting chops and distinctive voice. Metaphora is a continuation of Barber's musical story that confidently tackles everything from issues of empowerment, sexual politics, the complications of love, and depression.

Mutual friendships and living on the same street led Jill to sit down with Ryan Guldemond, the enigmatic lead singer of Mother Mother, for inspiration and creativity. Ryan's commitment to Jill and unwavering enthusiasm garnered co-writing credits on four of the nine songs on Metaphora, including the instantly catchy lead single, “Girl's Gotta Do," a hook-filled and very timely call to arms that aims to "challenge the patriarchal status quo, as we usher in a new era of equality," says Barber. "Writing with Ryan was a big departure for me, and very exciting. He's extremely creative and not afraid to push my creative boundaries," recalls Barber. "The sessions became part songwriting and part therapy because I was writing about things that felt pretty raw; politics, sexism, being a mother. I started to realize that this was going to be a very different kind of album for me. I had more that I needed to say and Ryan helped bring that out with his uncanny knack for melody and song structure."

Metaphora's opening track "The Woman" generates a sense of anticipation with its pounding bass drum, an urgent heartbeat for what is next to come from the fearless multi-Juno nominated performer. "It's a song about how a woman is required to be everything to everyone, but may still be a mystery to her own self," shares Barber. "She is part of nature, but also has a nature of her own, ever-changing and elusive." On "Bigger Than You," Barber explores a personal experience that she hopes may inspire others to take a stand against tactics like power plays, bullying and manipulation. "Hooked Your Heart,” “Clumsy Heart,” “Cage Without A Key," “Love Is,” and “Hold On” round out Metaphora.

On the advice of trusted friends, Jill reached out to producer Gus Van Go (Whitehorse, Arkells, Terra Lightfoot), who immediately took on the project and began to craft a complete vision for Metaphora. They recorded at Van Go's studio in Brooklyn, NY, with creative partner Werner F and multi-platinum Grammy nominated producers Chris Soper and Jesse Singer, collectively known as Likeminds, who perform all the drums, piano and analogue synths on the album. Additional tracks were recorded and produced by Gavin Brown and Maia Davies at Toronto's Noble Street Studios.

On Metaphora, Jill Barber bursts back onto the stage with a bold and daring offering of music, confidently executed with the style and grace of a woman who knows exactly what she's doing.

Jill Barber North American Tour Dates:

6/18 - Winnipeg, MB - Winnipeg Jazz Festival

6/28 - Montreal, QC - Le Gesu

8/4 - Kaslo Bay Park, BC - Kaslo International Jazz Festival 

9/22 - Chicago, IL - Schubas Tavern

9/24  - New York, NY - Rockwood Music Hall

9/25 - New York, NY - Rockwood Music Hall

9/26 - Boston, MA - Regatta Bar

9/28 - Ottawa, ON - Ottawa National Arts Centre Theatre

9/29 - Knowlton, QC - Theatre Lac-Brome

10/9 - Fredericton, NB - Playhouse Theatre

10/11 - Charlottetown, PEI - Confederation Centre

10/12 - Truro, NS - Marigold Cultural Centre

10/13 - Halifax, NS - Rebecca Cohn Auditorium

10/16 -Toronto, ON - Roy Thompson Hall

10/18 - Gravenhust, ON - Peter's Players

10/19 - London, ON -  Aeolian Hall

10/20 - London, ON -  Aeolian Hall

10/24 - Saskatoon, SK - Broadway Theatre

10/25 - Regina, SK - The Exchange

10/26 - Calgary, AB - Bella Concert Hall

10/27 - Edmonton, AB - Triffo Theatre

11/1 - Vancouver, BC - Vogue Theatre

11/2 - Campbell River, BC - Tidemark Theatre

11/3 - Victoria, BC  - Capital Ballroom

Metaphora Tracklisting:

The Woman

Girl's Gotta Do

Hooked Your Heart

Bigger Than You

Mercy

Clumsy Heart

Cage Without A Key

Love Is

Hold On

Colin Whitby - creator of culturally diverse ‘hybrid’ music, releases his new CD “Synchronicity”

Featured artist this week on The Jazz Network Worldwide: Colin Whitby - creator of culturally diverse ‘hybrid’ music, releases his new CD “Synchronicity”

  

The title of the album Synchronicity is an indirect, playful reference to the ‘unexpected’ meeting of diverse genres and instrumentation encountered in each of the seven tracks, and specifically to their potential use for sync in film projects and more.

Colin Whitby has worked in various capacities in the creative industries including film production and has been working with audio production and music creation software for close to eighteen years, culminating in the creation of his distinct ‘hybrid’ compositions. Apart from pure listening pleasure, these seven tracks were created with “music sync” in mind with a wide variety of musical influences, from Classical to Jazz, Funk, Dub, Industrial, traditional Ethnic, Ambient and Experimental/Systems music. Psychology also plays a part and creatively, the work of Swiss analytical psychologist Carl Jung is an important inspiration to Whitby, who is also a visual artist. Whitby does not restrict his musical choices by following a strict concept; rather he finds himself naturally inclined to a non-hierarchic eclectic field of musical directions. His nuanced ‘hybrid’ compositions are informed by a musicological interest as well as passion and flair for music composition.

But while he is creatively multivalent, music has been a mainstay, with the trumpet being his traditional instrument. There were influential periods of experimenting with recording incidental sounds of the city, and in nature, that had earlier fed ideas of music concrete, now discernible in such tracks as Off the Rails. Percussion has been the natural medium, using a full drum kit, between periods of painting and object-making, in his East London studio.

The hybrid genres of the seven tracks are like distillations or ‘time capsules’ of “world” music. And, is it coincidence or not that Whitby hails from the historical port city of Liverpool, England? Centuries ago, English seafarers would have reached the ancient ports of the Nusantara, now modern day Southeast Asia, where Whitby currently resides. All seems to be rather in “sync”, in that meaning has come about via unforeseen connections!

“The seven tracks were created with “music sync” in mind. The title of the album Synchronicity is a play on the word “sync” as in potential synchronization with film projects and other media. It also kind of refers to the ‘unexpected’ meeting or surprising co-existence, if you like, of disparate and diverse genres and instrumentation in a ‘shared space’. I wanted to create nuances, shifting grounds, unexpected juxtapositions that keep the listener guessing. Each track came about naturally from personal experiences and choices made from a wide field of musical interests I had developed over the years.  The end result, the album as a whole, I think is a landscape of diverse sounds, a kind of confluence of styles and genres. Each track is a small ‘window’ onto a ‘soundscape’ coming out of a disparate range of instruments. They variously refer to the timeless classical past and contemporary eras of the West, to tribal/ethnic chants, to tonal shapes and structures that point to the more ‘futuristic’ allusions of minimalist Systems Music. Each track holds subliminal ‘cinematic memories’ or ‘themes’ inspired by film moments, perhaps continuing in the tradition of “Music for Films” (Eno) and “Pictures in an Exhibition” (Mussorgsky).” ~ Colin Whitby

https://thejazznetworkworldwide.com

New Releases: Love Unlimited Orchestra - The 20th Century Records Singles 1973 to 1979; Love Unlimited - The Uni, MCA, & 20th Century Records Singles 1972 to 1975; Shamie Royston – Beautiful Liar

Love Unlimited Orchestra - The 20th Century Records Singles 1973 to 1979 (3LP set)

One of the greatest soul instrumental groups of the 70s, finally given their due – here in a massive package that brings together all their great singles done under the guidance of Barry White! White was a genius at the time of these tracks, and he worked with Love Unlimited at a level that was different from other groups of its nature – and which really helped pave the way for so many styles of soul modes to come! Love Unlimited Orchestra was a large studio group with plenty of strings, but they always worked with a great White-crafted groove – forged in the years before disco, and an undeniable influence on that mode – but often cut with the sophistication of blacksploitation soundtrack styles too – which makes for a really fantastic sound. The package brings together all the group's singles from their great mid-70s run, then also includes a few of their 12" mixes too – when they could really stretch out. A fantastic amount of music for the price – with titles that include "Sweet Moments", "Rhapsody In White", "Barry's Theme", "Satin Soul", "Find The Man Bros", "Theme From Together Brothers", "My Sweet Summer Suite", "Theme From King Kong", "Always Thinking", "Midnight Groove", "Only You Can Make Me Blue", "Baby Blues", "Forever In Love", "Brazilian Love Song", "Hey Look At Me I'm In Love", "Theme From Superman", "Whisper Softly", "Theme From Shaft", "Don't You Know How Much I Love You", "Hey Look At Me I'm In Love (disco version)", "Brazilian Love Song (disco version)", "Theme From King King (disco version)", "My Sweet Summer Suite (disco version)", "Blues Concerto", and "Don't You Know How Much I Love You (disco version)". ~ Dusty Groove 

Love Unlimited - The Uni, MCA, & 20th Century Records Singles 1972 to 1975

A fantastic selection of work from one of the hippest girl groups of the 70s – the mighty Love Unlimited trio, three singers who all worked under the genius of Barry White in his prime! Unlike other girl trios of the time, who often used an older soul mode refitted with disco grooves – sometimes acting more like a chorus than a lead act – Love Unlimited always brought their full vocal strengths to play, and do a fantastic job here working in modes that rival some of the best male harmony groups of the early 70s – especially the sweet soul groups from New Jersey, New York, and Philly. And yes, Barry does kick up the groove a bit at times, but even then things are usually more in a midtempo mode, not a disco one – which makes for tremendous sounds throughout. This is the first-ever proper collection of the girls' singles from the early 70s – and titles include "Oh Love Well We Finally Made It", "Fragile Handle With Care", "Are You Sure", "I Should Have Known", "Is It Really True Boy Is It Me", "Walkin In The Rain With The One I Love", "Under The Influence Of Love", "It May Be Winter Outside", "I Love You So Never Gonna Let You Go", "I Belong To You", "So Nice To Hear", "People Of Tomorrow Are The Children Of Today", and "Share A Little Love In Your Heart". ~ Dusty Groove

Shamie Royston – Beautiful Liar

A fantastic album from pianist Shamie Royston – an artist who's been making records for a few years, but really knocks us out of the park with this one! The set's got this perfect vibe right from the start – music that's deeply soulful and spiritual, but also swinging a lot too – maybe a bit like the spirit that Wayne Shorter hit on his first few albums for Blue Note – with that balance of individuality, modernism, and deeper traditions. Shamie really hits all those elements perfectly here – really finding her voice, and getting tremendous work from a group that also includes Jaleel Shaw on alto and soprano, Josh Evans on trumpet, Yasushi Nakamura on bass, and husband Rudy Royston on drums. The two horns are tremendous together – really soaring over Shamie's beautiful compositions – and bassist Nakamura is a real revelation, as his round, bold tone really helps shape the songs. Titles include "Beautiful Liar", "Circuloso Vicioso", "Sunday Nostalgia", "Push", "Dissimulate", and a version of the Bill Withers' tune "Lovely Day".  ~ Dusty Groove

New Releases: Jean Carne - Don't Let It Go To Your Head:The Jean Carne Anthology; Kris Brownlee – Breathe: Night Sessions; Curtis Haywood - Summer Breeze

Jean Carne - Don't Let It Go To Your Head:The Jean Carne Anthology

A fantastic tribute to the great Jean Carne – a singer who started out in jazz, working with then-husband Doug Carn on spiritual sessions and drummer Norman Connors on his soulful sides of the 70s – then shifted over to the Philadelphia International label, where she really helped Philly soul find new direction moving into the 80s! Jean always brings all the sophistication of her roots into her music – making her way more than just another soul singer, and instead a vocalist with a great range of expression that has her opening up in just the right way, no matter what the setting. This excellent collection is filled with classics from her years on Philadelphia International, and also includes some rare 12" mixes and duets with other artists too. Titles include "Free Love", "No Laughing Matter", "Don't Let It Go To Your Head", "You Can't Come Back Now", "There's A Shortage Of Good Men", "Time Waits For No One", "Lonely Girl In A Cold Cold World", "Bet Your Lucky Star", We Got Some Catchin Up To Do", "When I Find You Love", "Was That All It Was (12" mix)", "What's On Your Mind (12" mix)", "Revelation/Infant Eyes", "Mystic Stranger", "Completeness", and "If You Don't Know Me By Now" – plus "I'm Back For More" with Al Johnson, "Sweet & Wonderful" with Glenn Jones, "You Might Be Surprised" with Roy Ayers, "Love Is Beautiful" and "Dreams Of Tomorrow" with Dexter Wansel, "Keep In Touch" and "The Look Of Love" with Grover Washington, and "Dindi", "Love's In Your Corner", and "Valentine Love" with Norman Connors.  © 1996-2018, Dusty Groove, Inc

Kris Brownlee – Breathe: Night Sessions

Saxophonist Kris Brownlee returns with a new collection of originals, playing multiple instruments on each track of this, his fourth album. First emerging on the scene in 2001 as the frontman for his group, The Grooveside, Kris quickly setup a weekly jazz residency in Chicago that allowed him to not only sharpen his contemporary sound, but allowed him to evolve his straight-ahead jazz chops as well. "Over the past 25 years of playing, I've been influenced by many, but none more than by saxophonist Boney James," Brownlee said. Kris is always looking for new ways to set himself apart from the crowd. Whether it’s through his all out dance party-like shows or through his unique compositions, Kris Brownlee will take contemporary jazz fans on a journey that they won’t soon forget. ~smoothjazz.com

Curtis Haywood - Summer Breeze

Just in time, saxophonist Curtis Haywood brings you a smooth rendition of “Summer Breeze” and a new collection of studio recordings.  On his latest album, Curtis broadens his signature ballad sound with Urban Contemporary rhythms from his R&B Funk roots, thanks to production partner and longtime friend Ainsley Taylor and the early work of Witnel Paul. "Wherever The Chips Fall" (featuring Nathaniel Mitchell on keyboards) and the inspirational "Promise Me” are the lead singles.  Curtis exuberates his passion on The Stylistics’ classic "You Are Everything", displays his versatility with steelpan on the Caribbean-flavored rendition of the Seals & Crafts classic title track "Summer Breeze”, and invites flutist Ragan Whiteside to join the fun on "Let it Go”. There’s something for everyone, from Calyspo-flavored "Touch Me" to quiet storm specials like "Midnight Hour" and “Lullaby”.  Overall, it’s a solid album from Curtis Haywood that deserves a place on your playlist. ~smoothjazz.com

Django Festival AllStars Release Attitude Manouche: Album Blends Gypsy Jazz Tradition with Modern Jazz, Classical, World Music and More

Among nomadic peoples like the gypsies, the oral tradition is central to keeping a heritage alive. Customs, beliefs, stories and, of course, music must be passed down from one generation to the next, always honored but continuously evolved and updated as time marches on. With their new album, Attitude Manouche (available June 15 on Resilience Music Alliance – pre-order available now), the Django Festival AllStars carry on that tradition in their own way, as modern-day virtuoso Samson Schmitt steps into the crucial lead guitar role long held by his father, legendary gypsy jazz guitarist Dorado Schmitt.

Attitude Manouche reveals that Samson Schmitt has inherited those vital qualities, and brings them to a thrilling new take on the gypsy jazz tradition. The Django Festival AllStars reinterpret Django Reinhardt’s vision through a set of new music that carries forward their namesake’s vision in a way that both honors his legacy while giving them a thoroughly contemporary twist.

While the AllStars’ name represents a community of gifted artists who collaborate in different line-ups depending on the performance, the quintet on Attitude Manouche have forged a distinctive voice together as all are featured soloist which join Schmitt. Ludovic Beier is a renowned accordionist and player of the accordina, Pierre Blanchard a virtuoso of the violin and Grappelli prodigy, Dou Dou Cuillerier – scat singer and rhythm guitarist, and the only Italian – Antonio Licusati on bass: five master musicians with their own innovative voices within this storied tradition.

“We have a great passion for playing music together and for trying to create a new sound,” Beier says. “Every musician is different, but we’ve succeeded in creating a common music together that lets everybody express ourselves very well. That’s really important and also very rare.”

The title of Attitude Manouche reflects the fact that while these French and Italian musicians may not share Reinhardt’s Manouche heritage by blood, they all reflect that heritage in their souls. That’s abundantly clear in the set of mostly original music that makes up the album, which fluidly and spiritedly combines the gypsy jazz tradition with influences from modern jazz, classical music, other world music, and even film scores.

The latter comes to the fore on the album’s sole non-original tune, the main theme from John Williams’ Academy Award-winning score for Steven Spielberg’s Schindler’s List. The AllStars’ rendition not only moving renders an achingly beautiful piece of music, but pays heartfelt tribute to the gypsy people who were victims of the Nazi regime. “A lot of gypsies were deported to concentration camps along with the Jewish community,” Beier explains. “We wanted to pay tribute to that very dark period of history, so we decided to create an arrangement for that song mixing gypsy swing with Jewish traditional music, spearheaded by violinist Pierre Blanchard.” This track in particular coincides strongly with the mission of Resilience Music Alliance, founded by social and political activist Steve Ruchefsky, in celebrating the human driven condition of resilience.

The Django Festival AllStars’ eclectic and forward-looking repertoire reimagines Reinhardt’s pioneering sound for modern ears, and in that way, is a fitting tribute to the icon whose name they proudly bear. “Django passed away more than 50 years ago,” says Pat Philips-Stratta, who produced the album. “But I think if he was here today he would be exploring new fields and bringing them into his music. We add new experiences and new influences, but when the audience listens to our music they can hear Django Reinhardt’s legacy. That’s very important to us.”

Percussionist Hamid Cooper Pays Tribute to LeBron James with "Nu-Jazz" Sound, Announcing the Release of Two New CDs

King James 23 and Digital Reign are the latest CD releases from acclaimed percussionist Hamid Cooper of Hamid Cooper Latin Jazz (HCLJ). Released simultaneously this month, Digital Reign and King James 23 mark HCLJ's exploration into "Nu-Jazz." A long-time fan of LeBron James and the Cleveland Cavaliers, Cooper was inspired by James' record-breaking season and pays tribute with selections like (cover), Digital Reign.  "I love being creative with my music, being able to express my inspirations at any given time," he adds.  Listeners enjoy a great mix of up tempo songs with multicultural infusions that include: Asian, Middle-Eastern and African beats. Some fan favorites from the new CDs are Azizanam, BronLe and Dancing Star.

Formed in 2007, Hamid Cooper Latin Jazz is a 5-7 member band is comprised of talented international musicians playing a range of instruments from wind to percussion.  HCLJ is best known for Afro-Cuban Latin Jazz music with a middle-eastern influence. The band can been seen live in the SoCal region performing original and popular tunes like Besame Mama, I Like It Like That, Samba de Orpheu and more.   Jazz greats, the likes of Arturo Sandoval, Ruben Estrada, Henry Estrada, Freddie Ravel and David Paich (Toto) have also joined HCLJ on stage for Jam sessions. http://hamidcooper.com/

Submissions Now Being Accepted for Detroit Jazz Festival’s 2018 National Jazz Instrumental Competition

The Detroit Jazz Festival Foundation is accepting submissions for its annual National Jazz Instrumental Competition – this year open to trombonists, tubists and baritonists, 35-years-old and younger. This is the eighth consecutive year the Festival is hosting an instrumental competition in an effort to give up-and-coming, outstanding musicians the opportunity to win a performance slot at the Detroit Jazz Festival during Labor Day weekend.

In keeping with the tradition of honoring a jazz legacy in conjunction with the competition, this year’s competition — The Detroit Jazz Festival Curtis Fuller National Jazz Trombone/Low Brass Competition — is in honor of Curtis Fuller’s lifetime of artistry and leadership. In order to be considered for the competition, the work of submitting artists must reflect the commitment to tradition and search for originality that are tenants of Fuller’s virtuosity.

Fuller, a trombonist, composer and bandleader, who was born in Detroit, has made a significant impact on the genre over the course of his more than 60-year career. He attended Cass Technical High School and Wayne State University, and went on to be a member of impressive collaborations, including becoming a founding member of Jazztet with Art Farmer and Benny Golson in the beginning of Fuller’s career, followed by joining Jazz Messengers, and later working closely with John Coltrane.

“With a rich history as one of the brightest lights in the Detroit story, and as a brilliant trombonist that has given so much to our beloved genre, Curtis Fuller is the perfect artist to center this year’s instrumental competition,” said Chris Collins, president and artistic director of the Detroit Jazz Festival Foundation. “This competition is just one aspect of our Festival programming that stays true to the genre’s roots and it continues to grow in interest and the level of submissions each year. We hope to receive an even more powerful group of submissions in 2018.”

To be considered for the competition, applicants must:

Submit up to three tracks featuring solo work with any size ensemble by July 9, 2018

Be 35-years-old or younger as of Aug. 3, 2018

Participate in the semi-finals in Detroit (if selected as a finalist), scheduled Aug. 2 and 3

Be available to perform at the 2018 Detroit Jazz Festival presented by Quicken Loans

Each submission is reviewed and judged based on level of artistry, musicality, interaction and excellence, by Collins and a select group of professional musicians. The grand prize recipient will receive:

$2,000

A performance slot at the Festival on Saturday, Sept. 1, on the JPMorgan Chase Main Stage

Acknowledgements in the Festival’s program and on its website

VIP status during Labor Day weekend

Two runner-ups will each receive $500.

Submissions are accepted at http://www.detroitjazzfest.org/artist-submissions/ or can be sent via mail (with attention to 2018 National Instrumental Competition) to the Detroit Jazz Festival Foundation at 19908 Harper Avenue, Harper Woods, MI 48225.

Past winners of the instrumental competition include Zach Adleman, Cole Davis, Tal Yahalom, Theodore Davis, Theo Croker and more.

For jazz fans unable to attend the 39th Annual Detroit Jazz Festival presented by Quicken Loans, which runs Aug. 31 through Sept. 3, 2018 in downtown Detroit, they can still listen to the winner’s performance (among the dozens of other performances taking place across four stages) via Detroit Jazz Fest LIVE! For just $10, jazz enthusiasts can livestream performances from all four stages, all four days via their smartphone, tablet or desktop. Additionally, the livestreaming service features select performances throughout the year from the Foundation’s year-round initiatives, Festival schedules, maps and more. Jazz enthusiasts that purchased Detroit Jazz Fest LIVE! for the 2017 Festival, will need to repurchase the livestream service for 2018. Register for the livestream at https://live.detroitjazzfest.org.

About the Detroit Jazz Festival Foundation

The Detroit Jazz Festival Foundation is an independent, non-profit organization that presents jazz and educational workshops throughout the year. The Foundation supports the Detroit Jazz Festival, which is the largest free jazz festival in the world and a major tourist attraction for the City of Detroit, with 26 percent of its audience coming from out of state.

The Foundation receives grant funding from the Kresge Foundation, Michigan Council for Arts and Cultural Affairs, Erb Family Foundation and the National Endowment for the Arts to support education programs, community engagement activities and Festival operations. Hundreds of individuals also contribute to the Festival through Rhythm Section memberships and annual Guardian contributions.