Adventures in Time and Space, the second release by Alchemy Sound Project, blends jazz, classical and world music

When Alchemy Sound Project initially came together, their mission seemed as elusive as the medieval mystics that inspired their name: after all, combining five distinctive composers, separated by miles and even continents, each melding jazz, classical and world music influences in their own unique ways, into a single ensemble that also played to their individual gifts as performers and improvisers - well, that all starts to make turning lead into gold seem like child's play.

Despite those challenges, Alchemy's debut Further Explorations (the title suggesting that they were already looking forward, even their first time out), made an impressive impact, earning widespread critical acclaim and earning the band a place on DownBeat Magazine's Best Albums of 2016 list. Many a collective ensemble has managed one great album before disbanding; the proof is in the longevity. Now, Alchemy returns with their second outing Adventures in Time and Space - due out June 15, 2018 via Artists Recording Collective - and the results are even more compelling this time around.

"We're committed to each other," says pianist Sumi Tonooka who originally masterminded the project. The five core members of Alchemy Sound Project were initially brought together by the Jazz Composers Orchestra Institute, a program of the American Composers Orchestra and the Center for Jazz Studies at Columbia University that encourages jazz composers to explore writing music for symphony orchestra. Saxophonist Erica Lindsay attended the first JCOI session in 2010; at her encouragement, both Tonooka (a frequent collaborator) and trumpet player Samantha Boshnack (a former student of Lindsay's at Bard College) enrolled in the second round in 2012. There, Tonooka and Boshnack met and bonded with bassist David Arend and multi-reedist Salim Washington. For this release, the band is supplemented by trombonist Michael Spearman and drummer Johnathan Blake.

"We all wanted to write in a way that helps each other grow as composers but also provides a platform for us to experiment," Tonooka says. "It's a community of sorts, a support system that allows us to have our music heard within a certain context. We write for each other, we learn from each other, we're all growing in our own ways and it's coming out in the music."

Forming Alchemy Sound Project provided a means to hone the members' composing chops with an encouraging, supportive and skilled ensemble. But all five have also broadened their musical horizons in other ways as well. Most remarkably, at a time when orchestras across the country are under scrutiny for the dearth of female composers represented in their repertoires, the ensemble boasts three female composers who've had their innovative work performed by major orchestras.

Tonooka served as composer-in-residence for the South Dakota Symphony Orchestra and was commissioned by Seattle's Northwest Symphony Orchestra to write her piece "For Malala," an homage to Pakistani activist Malala Yousafzai, the youngest Nobel Prize laureate in history. Lindsay's piece for drum set and orchestra, "Mantra," was performed by the Detroit Symphony Orchestra, while another orchestral composition, "Inner Dialogue," was read by the American Composers Orchestra. Boshnack's piece "Coelacanth: In Its Own Time," was premiered by the Northwest Symphony Orchestra in 2015.

That's not to discount the guys, who have also been making waves as composers. Arend is currently working on an orchestral commission for the Bellingham Festival of Music's 2019 season and recorded two concertos featuring himself and Washington with the Moravian Philharmonic Orchestra. Based in Durban, South Africa, where he teaches at the University of KwaZulu-Natal, Washington recently received a commission from the Jazz Foundation to arrange big band charts of his music as well as the music of South African pianist Nduduzo Makhathini.

"We've all broadened our experience," Tonooka says. "Everyone in this band is really unique, and when we come together it creates a very interesting picture."

The title Adventures in Time and Space offers a broad explanation for why that picture is developing in such a vivid fashion. The six pieces on the album are just that - sonic adventures - but they're also born of the time these five composers have spent together and the travels and communions they've shared. "I think each of us as composers now are really starting to understand the range and the possibilities that each player, who is also a composer, offers," says Lindsay, who wrote the title tune. "That opens up our compositional scope and gives us a really rich palette to work from."

Lindsay's two contributions bookend the album, the transformational narrative of the title track providing an enticing opening, and the buoyant "Jeff's Joy," penned in tribute to drummer/bandleader Jeff Siegel, closing on a celebratory note. Arend's mysterious "Ankh" was inspired by early Egyptian alchemists. "The Ankh was a symbol of eternal life," Arend notes, "of life beyond this mortal life. The music's dreamy melody and subtle harmonic shifts are inspired by this symbol."

Boshnack's "Song of the Whistle Wing" draws on her childhood memories of growing up in rural New York. "I started the piece by trying to capture the nostalgia of the call of the mourning doves," she says. "I then incorporated the whistling sound their wings make during takeoff and landing." Tonooka's moving "Transition Waltz (for Matt)" was penned for her longtime friend Matt Yaple, a Philadelphia composer and presenter who'd recently left his longtime apartment for a new home that doubles as a performance space. "I've known Matt for more than 30 years and he's finally transitioning into this life that he's always wanted," Tonooka says. "So I thought I would write something for him to help celebrate our friendship and the fact that he's moving forward."

Washington's "Odysseus Leaves Circe" was originally intended to accompany an exhibition of Romare Bearden's paintings in Cape Town. While the show never happened, Washington had already immersed himself in the artist's work and this piece, as vibrant and multi-layered as Bearden's work, was the result. He says, "I loved the painting 'Odysseus Leaves Circe.' The color and composition haunted me. So I tried to write a composition that on the one hand gave voice to the painting and on the other referenced the story of Odysseus trying to free himself from the pull of Circe and her charms."

Alchemy Sound Project is a collective of composer-performers whose music combines elements of jazz, world music and modern chamber music. This diverse and eclectic group aims to blur the boundaries between notated composition and improvisation. The alchemy of these individual voices working together results in music that is powerful, original and highly interactive. Pianist Sumi Tonooka, saxophonist Erica Lindsay, trumpet player Samantha Boshnack, bassist David Arend and multi-reedist Salim Washington are all unique and forward-thinking composers traversing the borders between the composed and the improvised. Alchemy Sound Project is committed to synthesizing the individual voices and experiences of diverse composers into a musical experience that is fresh and new.

http://alchemysoundproject.com/

Stefon Harris & Blackout - Sonic Creed

Vibraphonist, composer, educator, and bandleader Stefon Harris and Motema Music are proud to present the long-awaited new album from Stefon Harris & Blackout, Sonic Creed, available September 28, 2018. The album is Harris and Blackout's first recording since Urbanus (which earned a Grammy nomination for Best Contemporary Jazz Album in 2009), and 2004's Evolution. The conception and birth of Sonic Creed came about as a result of Harris bursting with this music, this sound, and this album, inside of him. "What pushes me to release a new album is the answer to the question; if I don't record this music will the sound of this music exist in the world? And if the answer is no, then we have to go into the studio!", says Harris.

Sonic Creed is about music that chronicles the story of a people and their time on earth. It is a reflection of African American life in the late twentieth and early twenty-first centuries. Furthermore, it is a sonic manifestation and creed of family, community and legacy. Harris explains that, "these core assets of the Black community are the messages of Sonic Creed, and we honor our legacy by exploring the music of masters such as Bobby Hutcherson, Abbey Lincoln, Wayne Shorter and Horace Silver. Their music is timeless and is the literal aural expression of those community assets". The album therefore serves as a representation, through Harris and Blackout's existence and experience, of Black American life in the present. "I want to document our time on the planet in the here and NOW! What is the sound of 'Black Lives Matter' for example? What is the sound of electing the first African American President of The United States? What is the sound of right now? This is what Blackout represents. It's art for our sake", states Harris.

Nextbop.com called Stefon Harris & Blackout, a "scintillating ensemble that's as versed in modern jazz as it is with rhythms, melodies and soundscapes associated with R&B, pop, hip-hop and funk." Will Layman stated in Pop Matters that when Stefon Harris "burst on the scene in 1998 with A Cloud of Red Dust on Blue Note, he seemed suddenly and gloriously too good to be true. Here was a classically trained percussionist playing hot and smart on the jazz instrument that seems perpetually to have the fewest contenders. Harris splashed into view as the logical successor to Bobby Hutcherson - bold and thrilling, inside the tradition but surging outward." And, John Murph recently reported in DownBeat Magazine that, "Sonic Creed riveted the packed house [at The Kennedy Center] with an exploratory, tightly focused set that placed high stakes on rhythmic agility, communicative alertness and spontaneous invention, starting off with a blistering reading of Horace Silver's 'The Cape Verdean Blues.' Each member admirably held their own next to Harris, whose virtuosic and imaginative improvisations can certainly prove unnerving for lesser talents."

Sonic Creed more than lives up to the abundance of praise that has been raining down on Harris for years, opening with a funkified version of "Dat Dere". "Every Blackout record starts with a classic tune which we put a Blackout stamp on. Art Blakey was an educator, a mentor of the highest order and a pioneer in jazz education, and this is something that resonates very deeply within me. This pays tribute to a master of our music", says Harris.

"Chasin' Kendall" was written for Harris' two sons, and is a remembrance and reflection of family get-togethers that Harris experienced growing up, where the soundtrack was always the likes of Donny Hathaway, The Temptations and Marvin Gaye. The song is built on a bass line that Harris "found" on the piano, which is reminiscent of that time, and the music of that time. It also makes Harris smile!

Next up is "Let's Take A Trip To The Sky", written for his wife while Harris was on the road during their 10th wedding anniversary. The lyrics, sung by Jean Baylor, are Harris' reflections on their love, and on allowing love to perpetually grow and evolve.

Horace Silver's "The Cape Verdean Blues" gets the Blackout treatment/stamp, adhering to the "sonic creed" of, "paying tribute to our ancestors and masters the way they would want it done - in a way that expresses our time on the planet", proclaims Harris.

Harris and Blackout tackle Wayne Shorter's "Go" (from Shorter's Schizophrenia) with deep respect and love for the master saxophonist/composer. Harris explains, "Wayne could say two sentences to you that could completely change your life, and he did that to me several times. Ultimately the lesson he imparted on me, the takeaway, was to hold steadfast to the 'sonic creed' of authentic expression, to always represent our lives and times honestly and with courage.

"Song Of Samson", written by Lasean Keith Brown, son of pianist Donald Brown Jr., expresses another "sonic creed" of Blackout, which is to record originals from other living artists, recognizing that it's equally important to play music composed by your peers as it to record music from the masters. This tune is an example of the African American experience interacting with Afro-Caribbean culture, and a representation of Blackout's holistic view of the African diaspora.

Stefon Harris beams when the conversation turns to the late, great Abbey Lincoln. "She was so intelligent and courageous, and just so beautiful. She sang in a way that made you feel as if she was just telling you a story. I learned to phrase from vocalists, especially Abbey!" Harris came in with an arrangement of "Throw It Away", but drummer/co-producer Terreon Gully suggested a different approach. He instructed the crew at Systems Two to turn off all the lights in the studio and let the band know when they were rolling. It was pitch black, the band summoned Lincoln's spirit, listened intently, and relying on their kinship and trust, launched into the music. The first take is what you hear on the album.

Arguably, the only tune that could logically follow the emotional momentousness of Blackout's version of "Throw It Away", is Bobby Hutcherson's "Now", with vocals arranged and sung by 2018 Grammy nominee, Jean Baylor. The beauty of this composition cannot be overstated, and the band expresses their reverence for the late vibraphone master with aplomb. "Hutch was such a beautiful human being, and a genius, harmonically, and technically, of course. He had an insatiable curiosity, and it was a privilege to witness him evolving and growing throughout his life. He would always tell me, 'family first', and I took that to heart", says Harris. These days Harris absolutely loves melodies and derives so much joy from telling a story. "Now" has a simple, but beautiful, repeating melody that's like a chant. Baylor wanted to try something on the spot in the studio and Harris, having the wisdom of a good leader, allowed her all the time she needed. "Jean is just amazing, and when she said she's hearing something and wanted to try it out, I instantly agreed because I trust her instincts. She created layer after layer of vocals, in the moment - and we just had to step aside so she could let this beauty out of her soul."

Sonic Creed closes with a tribute to Michael Jackson, "Gone Too Soon". Harris, like many others, was hurt when Michael Jackson passed away. "His music was a perfect example of Black American life - he wasn't just a pop icon, but also a cultural and artistic icon, and very much part of the narrative of my people", says Harris. "His contributions were significant to say the least, and it pained me to see how people characterized him, sometimes in a derogatory way, so I wanted to pay tribute to him here." "Gone Too Soon" also provided Harris with an opportunity to shine a light on another musician coming up behind him. In this case, Harris performs a duet with vibraphonist Joseph Doubleday (the first ever vibraphonist accepted to the Jazz Studies program at Juilliard, and a coveted sideman with Chris Potter's Underground Orchestra, The Kenny Barron Quintet, The Ralph Peterson Fo'tet, and many others).

Stefon Harris' passionate artistry and astonishing virtuosity have propelled him to the forefront of the jazz scene. Heralded as "one of the most important artists in jazz" (The Los Angeles Times), he is a recipient of the prestigious Martin E. Segal Award from Lincoln Center, has earned four GRAMMY™ nominations, and has been named Best Mallet player eight times by the Jazz Journalists Association. He was also chosen Best Vibes in the 2018 and 2017 DownBeat Magazine Critic's Poll, the 2016 JazzTimes Expanded Critics Poll, the 2014 JazzTimes Critics Poll and the 2013 DownBeat Magazine Critics Poll.

NPR's All Things Considered praised Mr. Harris' audacious CD Urbanus, which also earned a GRAMMY™ nomination for Best Contemporary Jazz Album, as one of "The Year's Best New Jazz" recordings. As a member of the SFJAZZ Collective, Harris was featured on their 2014 recording, Wonder: The Songs of Stevie Wonder, which won an NAACP Image Award for Outstanding Jazz Album.

Stefon Harris received his Bachelor of Music degree in classical music and Master of Music degree in jazz performance at Manhattan School of Music (MSM). He teaches in person at universities throughout the world and virtually via his Distance Learning Studio, has led curriculum development at the Brubeck Institute, and serves as Jazz Advisor for Jazz Education at New Jersey Performing Arts Center. Prior to being named Associate Dean and Director of Jazz Arts at MSM in July 2017, Mr. Harris was Visiting Professor at Rutgers University and served on the jazz faculty of New York University for the past decade. "The Art of Listening," part of a series of documentaries focusing on Harris' community work in arts education in Kalamazoo, won 3 Gold Camera awards and 3 Michigan EMMY nominations.

As a thought leader, Mr. Harris leads transformative presentations on corporate leadership development and team empowerment to Fortune 50 companies using jazz as a metaphor. His inspiring 2012 TED talk, "There Are No Mistakes on the Bandstand," has gained nearly three-quarter of a million views to date. Mr. Harris has served on the Board of Directors for Chamber Music America and WBGO-FM and is currently on the Board of Advisors for the Percussive Arts Society.

In addition to Sonic Creed (on Motema Music), Harris has recorded as part of The Classical Jazz Quartet, with Kenny Barron, Ron Carter and Lewis Nash, as a member of the SFJAZZ Collective, as well as recording and performing with many of music's greatest artists, including Joe Henderson, Wynton Marsalis, Milt Jackson, Lionel Hampton, Herbie Hancock, Wayne Shorter, Bobby Hutcherson, Cassandra Wilson, Diana Krall, Dr. Billy Taylor, Max Roach (MSM alumnus), Cedar Walton, Mulgrew Miller, Benny Golson, Bobby Watson, Chaka Khan, Kurt Elling, Buster Williams, Dianne Reeves, Ry Cooder, Charlie Hunter, Common, and Pablo Zeigler.

His venture into new technological advances led to the co-founding of The Melodic Progression Institute (MPI) in 2013 with partner Clif Swiggett. With a focus on designing innovative ways to help musicians learn and grown, MPI released its first app in 2016, Harmony Cloud™, an ear-training learning tool now available on iTunes.

We are thrilled to announce that educator, musician and entrepreneur Stefon Harris has been named a recipient of the 2018 Doris Duke Artist Awards. One of the most prestigious programs in the arts, "the Doris Duke Artist Awards invest in exemplary individual artists in contemporary dance, jazz, theater and related interdisciplinary work who have demonstrated their artistic vitality and commitment to their field." Harris joins 6 artists from various disciplines including Dee Dee Bridgewater, Regina Carter, Michelle Dorrance, (dance), Murial Miguel (theater), Okwui Okpokwasili (dance), Rosalba Rolan (theater). More information at www.ddcf.org. Harris has also just won the 66th Annual DownBeat Critics Poll in the vibraphone category. 

 

GROUNDBREAKING NEW ELVIS PRESLEY ALBUM, ‘WHERE NO ONE STANDS ALONE,’ TO BE RELEASED AUGUST 10

Groundbreaking New Elvis Album features 14 Original Performances of Gospel Songs with Newly-Recorded Instrumentation and Backing Vocals featuring Legendary Presley Alumnae including Darlene Love, Cissy Houston, The Imperials and The Stamps

RCA/Legacy Recordings, a division of Sony Music Entertainment, will release Elvis Presley – Where No One Stands Alone, a new Elvis album celebrating the artist’s everlasting love of gospel music, on Friday, August 10. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, Elvis Presley – Where No One Stands Alone introduces newly-recorded instrumentation and backing vocal contributions from music legends who’d performed on-stage and/or in-the-studio with Elvis. 

It also includes a reimagined duet with Elvis and his daughter, Lisa Marie Presley, on the album’s title track and spiritual touchstone. “It was a very powerful and moving experience to sing with my father,” wrote Lisa Marie in her notes for the album. “The lyrics speak to me and touch my soul. I’m certain that the lyrics spoke to my father in much the same way.” Background vocalists on the album include: Darlene Love (who first sang with Elvis on his 1968 NBC television special); Dr. Cissy Houston (who, with The Sweet Inspirations, sang with Elvis on-stage beginning in 1969); Terry Blackwood, Armond Morales and Jim Murray (members of The Imperials, who sang on Elvis’ How Great Thou Art – with the title song winning the 1967 Grammy for Best Sacred Performance); and Donnie Sumner, Bill Baize, Ed Hill and Larry Strickland (members of Presley’s longtime backup group, The Stamps). 

Elvis Presley – Where No One Stands Alone will be available in digital, CD and 12″ vinyl album configurations. Elvis Presley – Where No One Stands Alone provides new musical perspectives on 14 of the singer’s favorite pieces of gospel music, from the reverential to the celebratory, with song selections including Presley’s beloved enduring gospel classics (the 1965 Top 5 smash “Crying In The Chapel,” “How Great Thou Art,” “You’ll Never Walk Alone”), praise-filled gospel-rockers (Jerry Lieber and Mike Stoller’s “Saved”) and traditional hymns and spirituals (“So High,” “Stand By Me,” “In The Garden,” “Amazing Grace”). 

Elvis Presley once said, “Since I was two years old, all I knew was gospel music. It became such a part of my life, it was as natural as dancing. A way to escape my problems, and my way of release.” It was Elvis’ explosive mix of styles–blues, bluegrass, country, swing, pop–that generated his iconic world-changing rock n’ roll, but it was the hymns, spirituals and church music of his childhood, the deep-seated gospel roots that sustained Elvis and his musical vision throughout his life. Friends and family would often recall hearing Elvis sing gospel tunes at home and to warm up before concerts. “We do two shows a night for five weeks,” Presley said in an interview featured in the documentary Elvis On Tour, recorded during one of his residencies at the International Hotel in Las Vegas. “A lotta times we’ll go upstairs and sing until daylight—gospel songs. We grew up with it…It more or less puts your mind at ease. It does mine.” “This was his favorite genre – no question about it,” says Lisa Marie in her album notes. “He seemed to be at his most passionate, and at peace while singing gospel. He would truly come alive – whether he was singing just for himself and me at home, or on stage in front of thousands of fans.” 

Lisa Marie Presley will participate–along with Joel Weinshanker, Andy Childs (album co-producers) and John Jackson (Senior Vice President, A&R, Legacy Recordings/Sony Music Entertainment)–at a special “Where No One Stands Alone” event to be held at the Graceland Soundstage (1pm, Saturday, August 11) as part of Elvis Week 2018. 

Elvis Presley – Where No One Stands Alone Track List 

I’ve Got Confidence
Where No One Stands Alone (with Lisa Marie Presley)
Saved
Crying In The Chapel
So High
Stand By Me
Bosom Of Abraham
How Great Thou Art
I, John
You’ll Never Walk Alone
He Touched Me
In The Garden
He Is My Everything

Amazing Grace

Keyboardist David Garfield is joined by George Benson, David Sanborn, Smokey Robinson, Michael McDonald, Natalie Cole, Ray Parker Jr. and many more, his “Outside the Box” series continues with “Jammin’ Outside the Box”

Indulging his passion for R&B-pop on the second volume of his five-part, multi-genre “Outside the Box” series, keyboardist David Garfield will release “Jammin’ Outside the Box” on July 20 on Creatchy Records. Like the first disc, the straight-ahead jazz exploration “Jazz Outside the Box,” Garfield produced, arranged and played piano, Fender Rhodes, Wurlitzer electric piano and synthesizers on a carefully-selected set list with purposefully-chosen collaborators that spotlights sessions with seminal icons, Grammy winners, chart-toppers and prominent players. Garfield has a personal connection and meaningful history with every song and each musician he selected for the groove rich, soul-jazz album, crucial elements that position the ambitious “Outside the Box” anthology towards becoming an enduring, career-capping collection. 

Two of the singles that prefaced “Jammin’ Outside the Box,” “Go Home” and “Jamming,” peaked in the Billboard Top 10 and the recently-released third single, “Stay” featuring George Benson, David Sanborn and singer-songwriter Moon Calhoun, aims to follow suit. In addition to the three original Garfield tunes, including “One Like You,” which he wrote with Smokey Robinson, who plies his trademark falsetto complimented by Michael McDonald on background vocals, Garfield redesigned R&B, funk and pop classics made famous by Stevie Wonder, Bob Marley, Adele, Sting, Aretha Franklin, Toto, Isley Brothers, Rufus, Minnie Riperton, Bobby Caldwell and one of his keyboard mentors, Joe Sample. To do so, Garfield gathered members of the Zac Brown Band, Steely Dan, Tom Petty’s Heartbreakers, Chicago, Toto and Tower of Power along with an army of noteworthy soloists including Ray Parker Jr., Kirk Whalum, Rick Braun, Marcus Miller, Paul Jackson Jr., Eric Marienthal, Tom Scott, Vinnie Colaiuta, Greg Phillinganes, Steve Jordan, Freddie Washington, Will Lee, Tony Maiden, Rickey Minor and Lenny Castro.

“One of the things I have always loved to do is keep the spirit of old-school R&B fresh and alive for new generations of listeners. This explains my longstanding tradition of creating interesting and sometimes stylistically off-the-beaten path reimaginings of songs by legendary soul artists. It was a thrill doing these songs, adding a jazz touch with improvisation that take the songs ‘outside the box.’ What was also special for me is that this album features a lot of people I work with or have worked for, from Smokey and George to David Sanborn and Natalie Cole, but now I got to have them as guests on my thing,” said Garfield, a Los Angeles-based musician’s musician who grew up in St Louis on a steady diet of R&B and jazz.

An example of the poignancy that proliferates “Jammin’ Outside the Box,” one can look at “The Highways Of My Life,” which features an introduction by Cole. Garfield toured with her for two years. During their first trek together, she introduced him to the Isley Brothers’ original and asked him to craft an arrangement for her. Before they could perform it live together, Garfield was summoned to return to his long-held gig as Benson’s music director. But Cole performed his arrangement nonetheless. When Garfield hatched the “Outside the Box” concept a few years ago, he reached out to Cole to have her sing it. Unfortunately, she passed away prior to the recording date. Admirably filling in for her are Oleta Adams and Phil Perry, who masterfully reposition the song as a moving duet. Cole’s voice is heard introducing the song, creating a divine moment. 

“The final touch was having a 24-piece string section arranged by Grammy winner John Clayton. This takes the song to the high and luxurious level a tribute to Natalie deserves. I owe this track to Natalie. It was one of her favorite songs and that’s why it’s an important part of this collection.”

“Jammin’ Outside the Box” contains the following songs:

“Go Home”

“Chasing Pavements”

“Please Don’t Go”

“Stay”

“Lovin’ You”

“Fragile” (instrumental)

“Jamming”

“One Like You”

“Waiting For Your Love”

“Rainbow Seeker” (electric)

“The Highways Of My Life”

“Rock Steady”

“What You Won’t Do For Love”

“Harvest Time” (electric)

www.DavidGarfield.com

Jaki Graham – When A Woman Loves

As the first black British female solo artist to have 6 consecutive Top 10 / 20 hits, Jaki Graham firmly maintains her position as Britain’s most revered queen of soul with the release of her long awaited new studio album When a Woman Loves.

Mastered at Abbey Road Studios and brought to you by Absolute Label Services, When a Woman Loves is the beautiful result of Jaki’s personal and at times challenging life journey, highlighting her resilience and strength of character. With song contributions from Michael McDonald (Through The Rain, Someone Like You and Song Inside Me), Eric Benet (News For You) and the late Maurice White of Earth, Wind and Fire (Eye To Eye), the album is an exciting celebration of Jaki’s 40+ years in the business.

This 14-track album offers up a versatile mix of retro, soul and funk as it tells a story and takes us on an eclectic, soulful ride, which Jaki herself is proud to call upgraded old-skool. From the sentimental songs that many will consider life’s soundtracks, to the fresh feel good vibes (with a pinch of nostalgia thrown in), there’s a little something for everyone. Fans of old definitely won’t be disappointed as Jaki seamlessly picks up where she left off, whilst at the same time re-introducing us to her outstanding vocals, having matured and amassed even more power. Its broad appeal has the pull to draw a whole new audience whom, if they weren’t previously aware of Jaki Graham, then they soon will be.

On each listen you can’t help but discover something new, whether embedded deep within the music or simply with those subtle background harmonies, but either way as soon as the album has finished you can happily have it on repeat and immediately listen all over again. The solid foundations on which this has been produced is honest and authentic and almost leaves you with a sense of familiarity, as it takes you back to a time where music truly was music, came from the heart and was there for all to be enjoyed.

When a Woman Loves is an exquisite testament to Jaki’s timeless artistry and professional growth and proof that Jaki Graham still shows us all.

Salsoul Sounds Familiar: Re-edits, Remixes and Remakes from the Sounds Familiar Family

Salsoul Records have always stayed one step ahead of the game. Since the labels inception in the early 1970’s the imprint’s focus has been firmly fixed on presenting the most cutting edge dance music sounds and in the process the label has been instrumental in creating legends and shaping the landscape of contemporary club culture throughout the original Disco era and beyond. It comes as no surprise that many of todays labels and artists cite Salsoul as a fundamental influence on them and their output. The labels music has been endlessly rediscovered, sampled, re-edited and appreciated over and over again, your favourite DJ’s and selectors undoubtedly reach for tracks from the catalogue each time they play. This is why Salsoul continue to collaborate with the best labels and artists out there today.

This is where Italy’s Sounds Familiar crew come into the picture, for them Salsoul was always inclusive and for the people. The label’s music was — and still is — food for the soul. Sounds Familiar has been about bringing a different flavour to club culture since its inception. Their artists may or may not be known to the masses but their collective and individual influence on global music trends and club culture is inherent and indelible. Salsoul and Sounds Familiar coming together is like a Sunday lunch where generations of friends and family cook together. The food of our grandmothers and forefathers getting a fresh new spin as their children come of age and return to the family home.

Featuring a stellar array of internationally renowned underground diggers, DJ’s, producers and remixers including DJ Spinna, Mark Grusane, GE-OLOGY, Twice & Volcov, Kai Alce and Specter, this special collaborative release shines a light on the deep corners of the Salsoul catalogue, lovingly reworked for 2018’s discotheques by those who know, feel and understand the label, the dancefloor and respecting traditions while adding something a little bit different and a little bit new.

Even when it’s a little bit different, it still Sounds Familiar.

Citrus Sun - Ride Lile The Wind, featuring Bluey & members of Incognito

Incognito founder Bluey presents his third outing with his eight-piece band Citrus Sun, featuring guitar legend Jim Mullen and key members of the Incognito line-up. Citrus Sun is a project born of Bluey’s love for the guitar playing of UK guitar legend Jim Mullen, who features once again following his debut on People of Tomorrow Incognito regulars Matt Cooper (keyboards), bassist Francis Hylton, guitarist Francis-co Salas, drummer Francesco Mendolia and trumpet player Dominic Glover also re-turn. 

The obvious difference from Incognito is that Citrus Sun is largely instrumental, with stunning funky instrumentals like Refugee and Calling Mr Wolf. There is also a five-part Krabi Suite, which closes the album and was recorded in an idyllic studio on the Thai island of Krabi. Says Bluey: “In terms of sound it is more sparse as it features the sole trumpet reminiscent of Donald Byrd. At times it is obvious that this is the Incognito rhythm section and for that we make no excuses, instead celebrating the fact that this is a new project by the same band with me at the helm.” 

One highlight of the album is the assured vocal debut of the band’s percussionist Joao Caetano singing in Portuguese on the 1981 Marcos Valle-Leon Ware song Von-tade de Rever Voce. Imaani handles lead vocals on Ride Like The Wind”– the worldwide Christopher Cross hit – while Natalie Williams sings lead on Send Me Your Feelings, originally recorded by New York-based Japanese jazz trumpeter Terumasa Hino.

Tracklist: 
01        Refugee        
02.       Ride Like The Wind    
03.       Calling Mr Wolf
04.       Vontade de Rever Voce
05.       The Stallion Rides Again
06.       Send Me Your Feelings
07.       All Mine
08.       Long-Tail Boat To Railay        
09.       My One And Only       
10.       Don't Tell Me What To Do       
11.       Reno And The Queen Pin        

12.       Back To The Moon

Backstreet Brit Funk Vol. 2: A Collection of the UK's Finest Underground Soul, Jazz-Funk and Disco

Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years with the much-anticipated follow up to Backstreet Brit Funk. Volume 2 has been eight years in the making and continues to showcase the best of the genre from the late 70s to early 80s, compiled once again by Joey Negro.

Brit Funk is perhaps one of the UK’s most under-appreciated genres. Emerging in the late 70’s and taking influences from jazz, funk, reggae and pop, by the early 80s it had spread all over the UK. Chart-topping mainstream bands like Wham!, Spandau Ballet and Haircut 100 tapped into the style and sound to help launch their careers, whilst Linx, Level 42, Light of The World, The Cool Notes and Hi Tension were all Brit Funk acts who troubled the UK top 40 with their own singles.Brit Funk was essentially the UK’s answer to underground disco, with musicians at first imitating and eventually developing the sounds they heard on the US imports that made it across the pond. And like disco, the Brit Funk scene was significant in reducing racial boundaries in the clubs and raising the profile of black and white musicians who worked together.

Back in 2010 Joey Negro complied the first volume of Back Street Brit Funk: a collection of obscure and forgotten gems of the scene that found favour across the board.

“I thought I had it all when it came to Brit Funk and beyond but then again I hadn’t been round Joey Negro’s had I. A crucial selection from a world that inspired a whole generation of DJs and bands.” Gilles Peterson

The fact that it’s taken eight years for Volume 2 to see the light of day is a testament to the both the obscurity of the records included, and the logistical challenges involved in digitising what started life as vinyl-only releases, with only a handful of 12”s remaining in some cases.

“I hadn’t planned a Volume 2 of BSBF when putting together the first, but after a while, I started to wonder if there was potential for a follow-up. Over the past 8 years I’ve kept my ears peeled for interesting UK productions that for some reason hadn’t come to my attention before.” Joey Negro

It’s incredible how rare some of the records included on Vol.2 are and how diverse the sounds become. Though well over half the album’s material comes from the likes of Touchdown, Rick Clarke and Savanna which have the classic slapped bass-driven Brit-Funk sound that many will be familiar with, acts like Mercy Mercy, AD 2000 and Veira Crew were releasing a little later in the scene’s evolution, employing drum machines and resulting in more synth-based records. Paul Bailey Sound and Eastbound Expressway were earlier acts, experimenting with the disco sound, whilst ICQ is a classic early 80s UK jazz dance cut that’s never been released beyond the original white/green label.

So, by mid-2016, JN finally felt there were enough tracks worthy of a second volume and the long slow, process of tracking down the acts and label owners began. This album contains some of the stuff that came out and some that slipped between the cracks for whatever reason, so if you dig the Brit-Funk sound and want to hear a few songs you’ve maybe not come across before, you’ve come to the right place.”

As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl resulting in the cleanest sounding copy possible.

New Releases: Millie Jackson — Millie Jackson Exposed: The Multi-Track Sessions Mixed By Steve Levine; Pat Van Dyke – Hello Summer; Gary Brumburgh - Moonlight

Millie Jackson — Millie Jackson Exposed: The Multi-Track Sessions Mixed By Steve Levine

A flawless batch of classics from Millie Jackson in the heart of her early years on Spring Records – maybe sounding better than ever here! Millie's raunchier style would come later on, but here she's working in styles that are a perfect mix of gritty and sweet – arrangements tailored perfectly to those characteristics in her sultry, smoky voice – and equally at home in sessions in Muscle Shoals, Philly or NYC. Covers the bases from moody southern soul, to tender ballads, to lightly soaring strings – and the mixes by Steve Levine really bring out the vibe of the original sessions, as closely as possible to the spirit and vision of the original recordings – a restoration as opposed to a revision. Includes "Sweet Music, Soft Lights & You" featuring Isaac Hayes, "House For Sale", "I'll Continue To Love You", "My Man, A Sweet Man", "I Cry", "If Loving You Is Wrong (I Don't Wanna Be Right)" and "It Hurts So Good" – plus "Kiss You All Over", "Bad Risk", "Never Change Lovers In The Middle Of The Night" and more. 12 tracks on the CD. ~ Dusty Groove

Pat Van Dyke – Hello Summer

The most summery, breeziest, soul jazz-steeped sounds we've heard from Pat Van Dyke! Pat covers a lot of territory on Hello Summer, a lot of it with a 70s jazzy soul vibe, but stretching much farther – with strains of reggae and breakbeat funk, bossa and more – and it's anything but a stylistic mishmash. It flows masterfully,most tracks blending into the next in a way that makes this a vital beginning-to-end listen. Along the way he gets some excellent solos on horns, Rhodes, Wurlitzer, guitar that make it that much deeper instrumentally, with titles that include "Lotus", "Chaos & Confusion", "Return Of the Bossa Break", "Like They Used To Say", "Go-Go", "Hello, Summer", "Blues For Benny", "Gutter Ball", "Stone Road" and "All I Need (Outro)".  ~ Dusty Groove

Gary Brumburgh - Moonlight

For vocalist Gary Brumburgh, the lyrics of a song are like dialog from a play, and when he sings, he approaches the material much like an actor prepares for a role. The lyrics, along with the music, suggest to him a scene and a persona with distinct emotions and motivations. That technique allows him to pour himself into a song, creating a highly personalized rendition of the lyrics.  Now, on Moonlight, Brumburgh’s second CD, his distinctive style takes center stage in an eclectic project of modern jazz tunes, songs from the Great American Songbook, and re-invented pop numbers from the 60’s and 70’s. Moonlight features some of the top Los Angeles jazz players, including several tunes performed by piano icon Terry Trotter. His son, Jamieson Trotter, a rising star in the jazz firmament, arranged  the CD and plays piano on the other tunes. Gary Brumburgh is an appealing performer whose warm voice and sensitive approach to lyrics make Moonlight an engaging project and a superb introduction to a performer who is well-known to jazz aficionados in L.A. and is now poised to receive much wider recognition.

 

Saxophonist Stéphane Spira enlists Joshua Richman, Steve Wood and Jimmy Macbride to join him on a lyrical, swinging New Playground

Saxophonist and composer Stéphane Spira honed his jazz chops old-school style, at late-night jams and cutting sessions. Self-taught as a musician, Spira pursued an engineering degree, did a brief stint as an engineer in Saudi Arabia, then in the 1990's headed back to his hometown of Paris to pursue music full time. After 15 years of playing in Paris clubs, woodshedding, and eventually recording two albums, Spira decided to change everything. Soprano saxophone in hand, he moved to New York City and started over.

What he found was inspiration beyond his wildest dreams: a jazz career with a core group of tremendous musicians, and love with the woman who would become his wife and the mother to his young son. On New Playground, Spira celebrates the creative and personal happiness he's discovered since making over his life.

"I had my first kid at 51," Spira says. "That helps to keep me young.  I'm also a young musician, just not in age. But I so love the music, and I'm truly realizing my dream." 

Due out on September 21, New Playground finds Spira leading an impeccably gifted quartet featuring longtime bassist Steve Wood, pianist and keyboardist Joshua Richman, and rising star drummer Jimmy Macbride. The band reflects the rich playground - and the wealth of talented playmates - that Spira has discovered since arriving in New York. "It's unique to have such a level of playing everywhere you look," he says. "Because there are so many great players, the criteria becomes finding human relationships that can grow. In the end, that helps the music."

Wood returns from Spira's previous album, In Between (2014), while Richman has newly joined the ensemble. The in-demand Macbride, who has worked with legends Herbie Hancock and Wynton Marsalis as well as being a member of the thriving young NY jazz scene alongside artists like Nir Felder, Fabian Almazan and Melissa Aldana, brings a vigorous sense of swing and a bristling energy to the proceedings.

Recorded as Spira was still finding his bearings in his newly adopted home, In Between captured the sense of limbo in which he was living at the time: between countries, and between one phase of life and another. Much has changed since then, making the title New Playground equally autobiographical given his current place in life, still fresh but offering exciting opportunities to enjoy life's playful side.

Spira discovered jazz as a teenager and got his first saxophone at the age of 22. Despite the intellectual and time demands involved in getting an engineering degree, he never stopped playing his instrument.

After returning to Paris he regularly attended jam sessions, played in clubs, woodshedded in the basement, and, at the age of 40, released his first album, the 2006 First Page. In 2009 came his second recording, a tribute to his late father, and the move to New York City, jazz mecca of the world.

Even with that major change, the most transformative development of Spira's life has been his marriage to classical vocalist Jessica Goldring and the birth of their son, Léo. For their wedding gift the couple received a piano, and much of New Playground was composed at the keyboard after Léo was put to bed. "I wrote most of the tunes at night between two bottles," Spira laughs.

Many of those tunes show off Spira's gift for lyricism and the winsome way he sings with his soprano. "I love the soprano so much because it gets back to the voice," he says. "New York is great medicine for your ego because you can see such immense and great players. But I've had time now to say this is who I am. I wanted to expose myself honestly and let my personality kick in."

Those late-night composition sessions are most vividly reflected on "Nocturne (Song For My Son)," which shows off the composer's ability to be sentimental without succumbing to mawkishness. His wife's maiden name is evoked on the classically-tinged "Gold Ring Variations," which uses a bit of Spira's cherished wordplay to wink towards the famous Bach piece. "New York Windows" was inspired by "Les fenêtres de Moscou (Moscow Windows)," a traditional Russian song that was a favorite of his father, whose 2007 passing helped spur Spira's life-changing move. "My father was really into Russian gypsy music, so by extension he loved Django Reinhardt. I was really into jazz and by extension of that, I loved Django. So he always loved when I would play that song with him. I used it as a departure for my song."

Family is also evoked in the pulse-pounding opener "Peter's Run," penned for a cousin who ran the New York Marathon - and who may be inspired to run another based on the tune's driving, hand-clapped rhythm. "Underground Ritual" surges with the hectic pace of the NYC subway, but it's a dedication to Frederic Lebayle, a mouthpiece designer whose basement workshop became a meeting place for saxophonists who ran his designs through their paces. "Ravi Coltrane, Mark Turner, even Wayne Shorter - they'd all come into his basement and play their licks, run through harmonics, go low, check the sounds," says Spira.  "It was like a ritual."

The only piece on the album not written by Spira, Wood's "Kaleidoscope" features a changing melody over a repeated five-bar cycle, shifting perspective akin to the titular device. The album's closer, "Solid Wood," is a self-explanatory dedication to the rock-solid bassist.

"Life brings surprises," Spira says succinctly. "I was a late bloomer, but I'm embracing this new life. It's become a playground for me in the true sense of the term."

French-born, New York-based saxophonist Stéphane Spira grew up with jazz the old-school way: in late-night jams and cutting sessions. A protégé of longtime Chet Baker pianist Michel Graillier, Spira's jazz career has taken him from 4 a.m. basement sessions in the underbelly of Paris, through acclaimed collaborations with trumpeter Stéphane Belmondo and pianist Giovanni Mirabassi, to the cutting edge of New York jazz. Trained as an engineer, Stéphane sharpened his chops off the books, after hours, immersing himself in a hard-edged milieu. Perhaps since he honed his chops in the depths of the jazz underground, Spira was spared the awkwardness of growing up in public: Spira's "remarkable maturity" (Radio France) has not gone unnoticed by the critics. Prior to the 2018 New Playground, Spira released four critically acclaimed albums as a bandleader: First Page, Spirabassi (a duo collaboration with pianist Giovanni Mirabassi) and Round About Jobim, a tribute to the father of bossa nova featuring Lionel Belmondo's acclaimed Hymne au Soleil ensemble, and 2014's In Between.

New Music: MND FLO Proves that American Cultural Melting Pot is Alive & Well

In a time of increased nationalism and populism throughout the world, it is essential not to forget the true essences of the human condition: acceptance, growth through knowledge and culture, and the idea that a heterogeneous and homogeneous society can influence each other with extremely positive results while creating harmony. This idea is ever present with a group of four young men – from Hungarian, Trinidadian, Indian, Canadian, French and American cultures – brought together by the power of music and education, collectively naming themselves MND FLO.

The birth of MND FLO (pronounced “mind flow”) began as a trio between pianist Sharik Hasan, bassist Alexander L. J. Tóth, and drummer Anthony A. Tóth. For them, it was a story of an initial meeting where everything just clicked from the start. Formed in Boston, MA while studying at the Berklee College of Music, the trio experienced a time of endless musical experimentation, marking the beginning of a meaningful friendship that has lasted throughout the years.

Enter vibraphonist Simon Moullier: although arriving in Boston slightly later, he immediately found himself creatively exploring with the now developed trio. "Again, it was that instant connection. We really feel like he added his own unique voice, and that extra layer to the music that took it to a new level," states the collective quartet.

MND FLO's debut album From Time simply touches on the deep connection and duration of collaboration that the group has forged. The album features an array of ethnic subtleties, as well as their apparent hunger for creating new vessels of musical expression through electronic elements and atmospheric detail. "Ultimately, our main goal as a band is really to just break down the walls of whatever frame of mind someone might be in, invite them to be in the moment with us, and just let their MND FLO. We want to spread the message of exploring and crossing cultures in music, while using our outlet the best we can to create a sense of community in the world.”

The rich heritage between the members of MND FLO is something that's highly influential to all of them, and they often find themselves being asked where they all individually come from. Hailing from vastly different parts of the world including India, France, Trinidad, Hungary, and Canada, MND FLO has found a never-ending pool of inspiration to draw from within this diversity. "To us, one of the most beautiful things about creating music is digging into those roots and incorporating elements of your own culture within it," says the band.

Another concept that the group aims to achieve within their music is the idea, or interpretation of, what they like to call "Flo;” a feeling where everything fits into place, allowing for a sense of seamlessness and being fully immersed in the music. Aside from music, “Flo” can relate to everyday life. “There's Flo in the way you dress, there's Flo in the way you speak, it's in the mind, and it's almost always present when we all come together as a unit.”

MND FLO’s musical philosophy has never revolved around individual instruments or personalities, but rather as one unit, that moves together and flows together. Even as individually distinguished artists that reside in various cities, MND FLO always remains their artistic home, more of a state of mind than a geographical location. In a time where it seems rare to come across a band where all members are equally invested in every aspect, MND FLO emphasizes the fact that they love doing what they do and they love doing it together.

In a variety of musical settings, the members of MND FLO have individually performed at Newport Jazz Festival, Novosadski Jazz Festival, Kriol Jazz Festival, Nancy Jazz Festival, Jazz A Vannes, Panama Jazz Festival, Atlanta Jazz Festival, Tri-C Jazz Festival, Jacksonville Jazz Festival, Beantown Jazz Festival, Cambridge Jazz Festival, Toronto International Jazz Festival, International Jazz Day, Blue Note Jazz Club NY, Jazz at Lincoln Center NY, and various venues across France, Sweden, Russia, Finland, Spain, Portugal, Cuba, Italy, Austria, India, Germany, Cape Verde, Indonesia, UK, USA and Canada.

In addition, they have performed and/or recorded with internationally renowned artists including Herbie Hancock, Wayne Shorter, Marcus Miller, Terri Lyne Carrington, Ralph Peterson Jr., John Patitucci, Valerie Simpson, Patrice Rushen, Chris Potter, Walter Smith III, Donald Harrison, Darren Barrett, Bill Pierce, Billy Kilson, Tia Fuller, Sean Jones, Antonio Sanchez, Joe Lovano, Kurt Rosenwinkel, Jazzmeia Horn, Geri Allen, Vijay Iyer, Danilo Perez, Myron Walden, Warren Wolf, Gregoire Maret, Antonio Hart, Matthew Garrison, Steve Wilson, Thelonious Monk Institute, among many more.

New Releases: Kamasi Washington - Heaven And Earth; Ben Hauke - Only Old; Tom Webster – The Deep Blue Summer

Kamasi Washington - Heaven And Earth

The long-awaited follow up to Washington’s debut The Epic, Heaven & Earth is comprised of two halves, which find Washington confronting quotidian realities with cosmic themes. A further investigation of Washington’s world building ideas, the new album explores his reckoning with current global chaos and his vision for the future. Washington convened his band, The Next Step, as well as members of the long running collective The West Coast Get Down at Henson Studios in Los Angeles to record the 16 tracks on Heaven & Earth. The music was composed, written and arranged by Washington, with new arrangements of jazz and bebop legend Freddie Hubbard’s “Hubtones” and iconic kung fu film theme “Fists of Fury,” as well as one song by bandmate Ryan Porter. Thundercat, Terrace Martin, Ronald Bruner, Jr., Cameron Graves, Brandon Coleman, Miles Mosley, Patrice Quinn, Tony Austin and many more contribute to the album. Heaven & Earth, will be available on double deluxe CD. “The world that my mind lives in, lives in my mind.” This idea inspired me to make this album Heaven & Earth. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe. The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between.” Kamasi Washington.

Ben Hauke - Only Old

South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven track release for Far Out Recordings. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban and Colombian records, Only Old stays true to Ben’s distinctly London identity, with a record that fluctuates between house, broken beat and instrumental hip-hop.Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London’s new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release ‘Only Old’ as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality. Always full of character and style, Hauke’s productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Listen to the jazz-house summer stepper 'Get Up to Get Down' and pre-order Only Old on 12" vinyl + digital from Far Out Recordings | Bandcamp

Tom Webster – The Deep Blue Summer

Tom has enjoyed a successful career as a professional photographer and cameraman working worldwide with a wide-range of stars such as Kim Kardashian and Quentin Tarantino but decided to follow his passion for music by releasing his debut album Deep Blue Summer. "I was going through a rough patch, getting divorced and the death of a parent which hit me hard, so I was struggling to make sense of it all. I decided that the best course was to put my faith into music which allowed me to express my personal emotions. I felt that if I put everything I had into making the album it would help to untangle all the difficulties and challenges I was facing in my life. It was a spiritually uplifting experience recording the album," says Webster. Tom brought together an eclectic host of musicians featuring a saxophonist, harpist, gospel backing singers perfectly blended with jazz, traditional Scottish folk and complemented with Tom's powerful vocals to record the album on Scotland's west coast island of Mull, produced by Glaswegian producer, Angus Stirrat. The album of dreamy pop-folk songs captures the essence of a summer finding new love, lost love and the hope of finding love again.

 

Outside the Soiree: Erin McDougald's latest album exemplifies the concept of thinking - and singing - outside the box

Ever feel left out of the party? Vocalist Erin McDougald's fourth studio recording, Outside the Soiree, is a heartfelt ode to all the outsiders - those independent-minded souls who find themselves, by choice or by fate, living outside the halls of power: neglected by history, oppressed by the majority, lonely in love, bucking the trends, swimming upstream.

Outside the Soiree offers a thematic narrative explored through "McDougald's evocative artistry" (Chicago Music Guide), a voice that Jazz Improv Magazine has called a "rare instrument to be savoredŠ sweet and spicy, positively mercurial." The subject matter is poignantly and uniquely expressed from unexpected musical angles as Erin seamlessly amalgamates, modernizes and reinterprets obscure standards, her own original composition and genres "outside" the jazz idiom within a progressive jazz mentality.

She's joined by a stellar band featuring guitarist and pianist Rob Block, bassist Cliff Schmitt, drummer Rodney Green, percussionists Mark Sherman and Chembo Corniel, and saxophonist Dan Block. The band is given the imprimatur of a couple of born outsiders who've become insiders (and legends) through decades of singular artistry: saxophonist David Liebman and trumpeter Tom Harrell.

McDougald is well acquainted with the outsider's existence; she tends to be one herself. Known by her fans as "the Flapper Girl," the Chicago-based improvisational jazz singer is a progressive thinker with a throwback aesthetic. She embodies the sensuality and fierce emancipatory attitude of an audacious fashionista and political egalitarian in her personality and artistry. With a moniker evoking a '20s-era flapper she's not interested in glamorous nostalgia, but instead spotlights the formidable female icons that stemmed from an era of resistance that forever changed American culture and its musical heritage.

As McDougald regularly points out to audiences, flappers were suffragists, with libidos, rhythm, style and social cachet. As "the flapper girl of modern vocal jazz", Erin's artistry has become synonymous with marrying vintage foundations and contemporary concepts in her rhythmic, daring interpretations of era-spanning jazz, from American Swing through the Post-Bop catalogue. Her ability to borrow music from other genres and infuse a jazz treatment has garnered her fans of all ages, and collaborators with global renown.

Miss McDougald has appeared and or recorded with members of the elite jazz scene that include Nicholas Payton, Paul Wertico, Ira Sullivan, Carlos Henriquez, Ben Wolfe, Von Freeman, Howard Levy, Roy Hargrove and many others. Downbeat critic and Jazz Journalist Association President Howard Mandel declares, "McDougald is one of the finest and freest voices in jazz OR pop today." The late Verve Records producer/conductor/arranger Buddy Bregman emphatically stated of Erin in 2006, "There's an essence to her singing that is all her own... not a mimicked, watered-down version of someone else, but... a very deep, soulful connection to the songs she chooses. Her pitch and phrasing are superb, but there is something about her interior-very sweet... she has 'It'. My favorite singer to come along since Anita O'Day in her prime."

With performances in sold-out venues from Chicago to Paris, McDougald has headlined The Chicago Jazz Festival's Heritage Stage, and premier jazz venues such as The Jazz Showcase, The Allerton, Green Dolphin Street, The Green Mill, 54 Below, Smalls, Anthology, Savanna Jazz, The Mint, Dizzy's of San Diego, The Velvet Note, BluJazz, The Acorn Theater, Notes Jazz Club, and Le Bilboquet in Paris, among many others.

Outside the Soiree is a sublime symposium of venerable soloists and emerging talents that expose a raw synergy and emotive message. Erin's keen idea to turn Charles Deforest's obscure, melancholy 1950's ballad "Don't Wait Up for Me" into a liberating, rhythmic 5/4 proclamation also crystalizes the style and strengths of featured soloists David Liebman on soprano saxophone and Tom Harrell on trumpet (with impeccable embellishment by drummer Rodney Green). Likewise, the sophisticated and changing time signatures on Erin's "Midnight Sun" shed light upon vibraphonist Mark Sherman's musical eloquence where again Liebman shines in a flurry of pithy soprano sound.

Brothers Rob and Dan Block create an ethereal, sorrowful beauty on the group's Chorinho-styled adaptation of the Broadway musical song "Unusual Way;" Tomoko Block (Rob's wife) teamed up with Rob to arrange this gem, showcasing Rob's quietly weeping guitar solo and Dan's haunting clarinet playing. Percussionist Wilson "Chembo" Corniel is strongly showcased along with bassist Cliff Schmitt on Erin's original composition and title track "Outside the Soiree" in a connected, reflexive and moving journey through Erin's poetic lyricism and mournful melody. Hard-swinging is Erin with her band on songs like "Spring Can Really Hang You Up the Most" and "Don't Be on the Outside;" exceptional elements of avant-garde singing and playing are showcased on the CD's final cut, "The Parting Glass," a deftly reimagined traditional Irish funeral hymn in a minor key, performed with thundering gravity. The addictively nuanced Cha-Cha rendition of "Brother, Can You Spare a Dime?" gloriously highlights the band with undulating musicality and fervor.