San Francisco’s Historic Keystone Korner Reborn in Baltimore, Legendary Jazz Club Set to Open April 30 on International Jazz Day

"The Eternal Jazz Messenger Art Blakey often said that 'My heart belongs to Keystone,' and that heart is still beating strong." — Todd Barkan, NEA Jazz Master

“Keystone Korner was the quintessential jazz club. With the down-home feeling of

your favorite watering hole and with the special spark of international artistic charisma that a knowledgeable jazz audience brings to any environment, the Keystone was a happy home to people of all persuasions.”   — Wynton Marsalis

“Keystone Korner was the Birdland of the Seventies.” — Mary Lou Williams

NEA Jazz Master Todd Barkan and Michelin-starred chef Robert Wiedmaier have joined forces to relaunch Keystone Korner, the legendary San Francisco (and later) Tokyo club that set the standard for jazz performance in the ‘70s, ‘80s, and ’90s.

The impresario, a NEA Jazz Master and the former programming director of Dizzy’s Club Coca-Cola at Jazz at Lincoln Center, and the chef, proprietor of 11 restaurants in Washington, D.C., Virginia, Maryland, and New Jersey, will be bringing together world-class music and top-flight cuisine in Baltimore’s booming Harbor East.

The venture marks the first large-scale jazz club in the region since the demise of the beloved Ethel’s Place and Blues Alley Baltimore in the late ‘80s.

Keystone Korner Baltimore will officially open on April 30, to coincide with International Jazz Day, with three nights of performances by the Ron Carter Trio featuring Russell Malone and Donald Vega. The former Miles Davis bassist will be celebrating his 82nd birthday at the club.

Over the coming months, the venue will also host some of jazz’s most recognized and important artists, including Kenny Garrett, Duduka Da Fonseca, Joey DeFrancesco, The Cookers, Sean Jones, Kenny Barron, Steve Turre, Rene Marie, Gary Bartz, Monty Alexander, Christian McBride, and more. (Please see the complete and confirmed schedule, below).

Barkan is committed to providing the highest-quality sonic experience at the club. Last week he enlisted Baltimore-native Cyrus Chestnut to assist in selecting the perfect Steinway piano for the room. As well, Joey DeFrancesco’s Viscount Legend JD Signature Model organ will be housed on-site.

Barkan is equally committed to dynamic pricing for the room, which will hold upwards of 200 patrons. He said he hopes that keeping ticket prices low — and setting aside affordable seats at every performance for students — will make this art form he has committed his life to available to as many people as possible.

“Our mission at Keystone Korner in San Francisco from 1972 to 1983 was to provide the best music in the world for the most affordable prices in the most loving environment,” says Barkan, “and that is still our fundamental goal in 2019 at Keystone Korner Baltimore. Here, we have the added blessing of joining forces with chef Robert Wiedmaier and his talented team, which ensures that the food and libations will be as inspiring and reasonably-priced as the phenomenal music."

Wiedmaier and Barkan first met at the 2018 NEA Jazz Masters Awards Dinner, and soon after began talking about the idea of opening a space together. The club will take the place of Wiedmaier’s former Mussel Bar, located at 1350 Lancaster St in Harbor East.

Says Wiedmaier: “This is in so many ways a dream come true — to partner with a master like Todd Barkan and revive the legendary Keystone Korner and bring world-class jazz to a great city like Baltimore. And to be able to do it in this wonderful spot right on the water, in what we think will offer a new vision for the jazz club in this century, with a warm and lively vibe, a staff like family, great food, and the best musicians on the planet.“

That warmth and intimacy are of the utmost importance to Barkan, who says: “While Rahsaan Roland Kirk & The Vibration Society were making their iconic 1973 live recording Bright Moments for Atlantic Records at the Keystone Korner in San Francisco, Rahsaan happily noted that ‘it sure is nice to play in a place that feels like your living room.’"

Upcoming Performance Schedule

April 30 - May 2 | Ron Carter Trio w. Russell Malone and Donald Vega

May 3 - 5 | Kenny Garrett Sextet

May 6 & 7 | Samba Jazz & Tom Jobim — Duduka Da Fonseca-Maucha Adnet Quintet

w. Billy Drewes, Helio Alves, and Martin Wind

May 8 | Bill Charlap (solo)

May 9 | Bill Charlap & Jon Faddis

May 10 & 11 | Joey DeFrancesco Quartet

May 15 - 19 | The Cookers w. Billy Harper, Donald Harrison,

David Weiss, George Cables, Cecil McBee, and Billy Hart

May 21 | Matthew Whitaker

May 22 - 26 | Cyrus Chestnut w. Buster Williams and Lenny White

(special guest Antonio Hart from May 24 - 26 only)

May 28 & 29 | DOUBLE BILL: Raul Midón & Sean Jones "Dizzy Spellz"

May 30 - June 2 | Kenny Barron Quartet w. Regina Carter,

Kiyoshi Kitagawa, and Justin Faulkner

June 6 - 9 | Steve Turre Sextet w. James Carter, Vincent Herring,

Mike LeDonne, Buster Williams, and Darrell Green performing

"Bright Moments — The Music of Rahsaan Roland Kirk"

June 14 - 16 | John Pizzarelli — Centennially Yours, Celebrating Nat King Cole

June 20 - 23 | Freddy Cole Quartet w. Lionel Cole

June 27 - 30 | René Marie Quartet

PIANIST ED ROTH TO RELEASE NEW ALBUM JAZZLAND

His playing cuts across styles and genres as he masterfully executes jazz, rock, and pop sensibilities with a contemporary flavor. Ed Roth is truly a monster player and his talent shines bright on Jazzland, his debut album release for Funzalo Records out on February 22.

On Jazzland you will find Roth’s superlative take on Jazz classics like Charles Mingus’ “Nostalgia in Times Square,” John Coltrane’s “Big Nick,” Chick Corea’s “Crystal Silence,” and Miles Davis’ “Milestones,” Freddie the Freeloader” and “Blue in Green” among others. "Haunting melodies and some adult harmony really drew me to "Peace" (Horace Silver), "Blue and Green" (Bill Evans/Miles Davis), and "Zingaro" (Carlos Antonio Jobim). You have so much space in ballads like that, but every note you play has to mean something" Says Roth 

Get a taste here: https://youtu.be/GJ6DKQfthzs

 “Some songs and music are timeless. I tried to pick songs for this record that have that quality, and that moved me in some way. The different vamps and solo sections that I added to some of these may not be what you have heard before, but they are what came out naturally, without a lot of plotting and planning” – explains Roth

Roth worked alongside a total of nine Grammy winners. He’s performed and recorded with R&B artists the Brothers Johnson and Shuggie Otis to Pop stars Annie

Lennox and Sophie B Hawkins, Rock legends Ronnie Montrose, Robby Krieger, Keith Emerson, Deep Purple’s Glenn Hughes, Judas Priest’s Rob Halford and Red Hot Chili Peppers’ Chad Smith, to Hip-Hop legend Coolio. He’s also a long time member of CTA (featuring Rock and Roll Hall of fame drummer Danny Seraphine and 2 time Grammy winner Bill Champlin), and recorded with critically acclaimed country acts Turnpike Troubadours and Cody Jinks, and the list goes on.

 “The artists I have most admired never stopped evolving and growing- crossing musical genres and ignoring boundaries, making each recording another step out from their last one” – says Roth

A sonic purist, Roth is adept at not only piano, but also Fender Rhodes, Hammond B3, Wurlitzer, clavinet and accordion, (as well as a Kawai artist grand piano), all of which he records at his own Glendale, CA, studio, The Keyboard Room.

https://edrothmusic.com

New Releases: Luther Vandross – My Body (Louis Vega Remix); Lee Fields & The Expressions – It Rains Love; Mark De Clive-Lowe - Heritage II

Luther Vandross – My Body (Louis Vega Remix)

April 13, 2019 Record Day sees new release “My Body” performed by none other than the Legend and King R&B, soul singer Luther Vandross and remixed by Louie Vega. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album “Never Too Much”. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.

Lee Fields & The Expressions – It Rains Love

We've loved the music of Lee Fields for many many years – but these days, he seems to be sounding even better than ever – taking all of his decades of experience in soul music, and blending his deep soul roots with an even more mature, open sort of style! And even though Lee's early work was great, we never would have imagined the greatness he can hit with a record like this – a set that draws on so many currents of classic soul, but finds a way to make a statement that's totally personal, totally original, and totally out of sight all the way through! Fields has a fantastic raspy vocal style, but he never just lets that stand as his calling card – because he's really bringing new inflections, new inspirations to the music – all while working with superb backing from Leon Michels and The Expressions. If you can imagine Hi Records mixed with James Brown mixed with New Jersey soul mixed with Daptone mixed with The Impressions – then you've only got part of the multi-faceted genius of this set. Titles include "Two Faces", "You're What's Needed In My Life", "Love Prisoner", "Will I Get Off Easy", "It Rains Love", "Love Is The Answer", "A Promise Is A Promise", and "Blessed With The Best". CD features the bonus track "Don't Give Up". ~ Dusty Groove

Mark De Clive-Lowe - Heritage II

A beautiful second volume in the Heritage series from keyboard genius Mark De Clive Lowe – and one that we like even more than the first! The music here has the strong spiritual currents of the previous set, but also brings in more of the cosmic, electronic modes that we knew in Mark's initial music – a great blend of jazz with inventive rhythms, wide-ranging keyboard sounds, and even some live electronics – recorded in concert, but with the complexity of a more dynamic studio production! Other players include Teodross Avery on tenor, Josh Johnson on alto, Carlos Nino on percussion, Brando Eugene Owens on bass, and Brandon Combs on drums – and titles include "Isan", "Ryugu Jo", "Bushido II", "Mizugaki", "Mirai No Rekishi", and "O Edo Nihonbashi".  ~ Dusty Groove

New Releases: Terkel Nørgaard With Ralph Alessi – We Jazz; George David Kieffer - Encounters with the Moon; Jimmy Layton and His All-American Not-Your-Daddy's-Jazz Band - Fortunes Of A Misspent Youth

Terkel Nørgaard With Ralph Alessi – We Jazz

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. ‘One’ and ‘Twelve’ are the first tracks shared from the upcoming album, a fitting introduction to a solid selection of seven compositions which place Nørgraard at the forefront of the current Nordic jazz scene. On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now.

George David Kieffer - Encounters with the Moon

After studying piano as a boy, George began writing his own music in law school. While his impressive law and civic careers took center stage, he continued to hear music in his head and he would compose – whether he wanted to or not. It was a calling he kept largely to himself – an emotional respite and a creative outlet. However, his Memorial Day classic composition, Arlington, was discovered and debuted with the Gulf Coast Symphony Orchestra in 2014. In 2015 he added lyrics and Arlington was released with vocals by the famed Los Angeles Master Chorale. His Fanfare for the Special Olympics played at the Opening Ceremonies in Los Angeles 2016. Which brings us to today – a debut album of simple, elegant and inspiring solo piano pieces – Encounters with the Moon. This collection features 9 original compositions.

Jimmy Layton and His All-American Not-Your-Daddy's-Jazz Band - Fortunes Of A Misspent Youth

With no sign of musical talent, Jimmy taught himself how to play keyboards as a teenager. Later, he studied classical piano and took theory classes at San Francisco City College. His interest in jazz started through listening to fusion (Return to Forever; Weather Report; Pat Metheny and others). His interest in composition arises from his admiration of Frank Zappa, Charles Mingus, and playing in original, jazzical-rock group, Dr. Duck. Jimmy headed up GRoK, a SF Bay Area original fusion band, which has opened for Allan Holdsworth, Zero and Roy Rogers. He has released 3 CDs of his own music which have included jazz, blues, progressive rock, electronic and new age pieces ~ the last release being with EmptyHand.

Carolyn Fitzhugh's Living in Peace features soul-infused jazz vocals + special guest Freddy Cole

Carolyn Fitzhugh Living in Peace Carolyn Fitzhugh's soul-infused jazz vocals attain new heights with her March 15 release of Living in Peace, for Lenny White's IYOUWE Records. Fitzhugh's second album also finds the Chicago native in esteemed company. Produced by Grammy nominee Mark Ruffin and given lush arrangements by state-of-the-art pianist and composer Amina Figarova, the recording features Figarova's working band -- a murderer's row of major jazz musicians that includes tenor saxophonist Wayne Escoffery, guitarist Rez Abbasi, and drummer Rudy Royston -- and, on one track, the legendary Freddy Cole.

"I can't tell you what a thrill that was for me," says Fitzhugh. "When Mark asked me would I like to sing with Freddy Cole, I couldn't believe it."

Elder and fellow Chicagoan Cole appears in a sly duet with Fitzhugh on Ivan Lins's "I'm Not Alone," one of eight "new standards" on Living in Peace. Brazilian singer and percussionist Nanny Assis joins her on another tune, his cowritten "Intimate Acquaintances" from the 2016 musical Rio Uphill. Among the other jazzed-up modern staples are a lively take on the Average White Band's "Queen of My Soul"; Gil Scott-Heron's startlingly tender "Combinations"; and "Strollin'," Prince's swinging George Benson pastiche. 

Alongside these scintillating interpretations, however, are four of Fitzhugh's own original compositions. "Mark said he was impressed with my writing and wanted to showcase it," she says. The selections include the fragile, wounded title track; the funky "Wish I Knew"; the upbeat charmer "Once Upon a Lover"; and "In the Autumn," a sweet bossa nova that also features a bravura bass solo by Yasushi Nakamura.

Fitzhugh's elevated technical accomplishment on Living in Peace is not incidental. While she received acclaim for her 2016 debut album, Simply Amazing, Ruffin felt that her voice needed further development before she recorded a follow-up. Fitzhugh accepted his constructive criticism gamely, even agreeing to work with vocal coaches to hone her instrument. (Among other things, the coaches helped Fitzhugh discover that she was not an alto, as she had long believed, but a mezzo-soprano.)

Her self-improvement efforts are evident on the new album, which shines not only with moments of grand virtuosity but with attention to the smallest of details: the precision, in short, that marks the truest and most dedicated of artists.

Carolyn Fitzhugh Born in Chicago on May 16, 1961, Carolyn Fitzhugh began taking classical piano lessons at the age of five. She became enchanted with all kinds of music through the songs she heard on the radio -- songs like Roberta Flack's "Killing Me Softly With His Song," which she started playing when she ventured into playing popular sheet music at about nine.

Fitzhugh sang in her high school chorus and played piano in a jazz combo, dreaming of becoming a professional musician. At her family's insistence she studied accounting at Chicago's Roosevelt University, but supplemented that education with evening vocal and piano courses at Bloom School of Jazz. Even after she embarked on a 30-year career as an accountant and analyst for the federal government, she continued nursing her dream, sitting in with musicians at various clubs and restaurants and singing for two years straight as part of the legendary Von Freeman's weekly jam session.

In 2011, with her children growing up, Fitzhugh made the decision to begin a six-year retirement plan from her accounting job and devote herself full-time to singing and songwriting. She retired in the summer of 2017. In 2014, she began recording her first album, Simply Amazing, in a sextet setting featuring guitarist Larry Brown Jr. and pianist Stu Mindeman. Upon its release in 2016, Fitzhugh was lauded as "an artist of the first order," with "that something extra that inspires you to keep an ear cocked in her direction."

That cocked ear finds its reward on Living in Peace.

Carolyn Fitzhugh will be performing at the Museum of Contemporary Art in Chicago on Tuesday 8/13 and will be announcing other Chicago-area dates in the coming months.

Web Site: CarolynFitzhughMusic.com

Perpetual Optimism: Herlin Riley Examines a Positive Outlook on Life After Dealing with Loss of His Parents

Original Jazz at Lincoln Center Orchestra Drummer Reconvenes Fiery Young Ensemble Featuring Emmet Cohen, Godwin Louis, Bruce Harris and Russell Hall

“I want to live in a world where my glass is always half full!” That’s the inspiring maxim of veteran New Orleans drummer Herlin Riley. To help maintain such an upbeat outlook during the most trying of times, Riley counts on several important sources of strength: his faith in God; his wife of four decades and family of five children and ten grandchildren; and his lifelong home in New Orleans, where he remained in order to raise that family with the values and love of the music/culture that he grew up with. His roots in the church are also vital, shining through in the congregational claps that help establish the celebratory spirit that is showcased in the album opener “Rush Hour.”

Riley’s philosophy of Perpetual Optimism doesn’t mean turning a blind eye to the more distressing aspects of life. The drummer understands that as well as anyone; beyond the standard challenges faced in daily life and the tumultuous times in which we live, he was forced to deal with the loss of both of his parents over the two years since his previous album, New Direction, was released. This album was made against the backdrop of serving as caregiver and then saying farewell to two of the most important people in his life.

“The loss of a parent is always a challenging experience, and it’s something that no one ever wants to be confronted with,” Riley says. “We’re constantly faced with obstacles and challenges in life that can be depressing or diminishing to our intrinsic motivation. If we hold on to optimism, we can find the strength to overcome and move on to the next phase of our lives.”

Never-Before-Released Wes Montgomery Recordings from the mid- to late 1950s in Indianapolis, Indiana

Back on Indiana Avenue: The Carroll DeCamp Recordings is a collection of previously-unissued recordings from jazz guitar legend Wes Montgomery captured live and in studio in his hometown of Indianapolis, Indiana in the mid-to-late 1950s by renowned arranger/pianist Carroll DeCamp (Stan Kenton, Les Elgart), who played and hung out with Wes around that time. The deluxe 2CD set includes an extensive booklet with rare photos, essays by jazz scholar Lewis Porter and producer Zev Feldman, interviews with guitar icons George Benson and John Scofield, plus guitarist and Carroll DeCamp's nephew Royce Campbell and saxophonist /educator/publisher Jamey Aebersold. This is the sixth official Resonance release of previously-unissued Wes Montgomery recordings and fills in an important early piece of the jazz great's story. 

The limited-edition, hand-numbered 180-gram 2LP set was mastered by the legendary Bernie Grundman at Bernie Grundman Mastering Studios, pressed at Record Technology Inc. (RTI), and is available exclusively for Record Store Day and includes an 8-page LP insert.

WES MONTGOMERY - BACK ON INDIANA AVENUETRACK LISTING

DISC ONE

Four On Six (4:45)

Mr. Walker (3:45)

'Round Midnight (7:12)

So What (4:56)

The End of A Love

Affair (4:25)

Tune-Up (4:34)

West Coast Blues (3:14)

Jingles (8:19)

It's You Or No One (4:29)

Nothing Ever Changes

My Love For You (5:56)

Ecaroh (3:49)

Sandu (4:26)

Whisper Not (6:45)

DISC TWO

Stompin' at the Savoy (7:26)

It's You or No One (Alternate Take) (9:21)

Opus de Funk (6:52)

Summertime (9:38)

Between the Devil and the

Deep Blue Sea (4:51)

Easy Living (5:49)

Four (5:36)

I'll Remember April (5:23)

The Song Is You (8:48)

Jazz/pop vocalist and trombonist Aubrey Logan announces her new album Where The Sunshine Is Expensive

Jazz/pop vocalist and trombonist Aubrey Logan announces her new album Where The Sunshine Is Expensive out today on Resonance Records. Where The Sunshine Is Expensive is a love letter to her adopted hometown of Los Angeles. After a series of sold-out California shows, Logan is a featured performer on the Dave Koz and Friends at Sea cruise in Australia (with Tower of Power, Bebe Winans and other stellar acts). She returns to New York for an extensive run at the famed Birdland Jazz Club, April 10 through April 13.

Her latest single "L.A." is a song that speaks for itself. It’s loaded with clichés about the city that are also truths based in Logan’s observations, eavesdropping in a coffee shop and driving down the I-5. “On the surface, my relationship with the city is love/hate. But to be real, it’s love/love,” Logan says. Her stark, and hilarious honesty about the city is captured in this song’s opening lines, “I have a tan in January, I make six figures and I’m broke / Oh the smog, it ain’t so scary. And the sunset, well it sure puts on a show.”

Where the Sunshine Is Expensive was recorded live at the legendary East West Studios in Hollywood, in the very same room where Frank Sinatra recorded “My Way.” It all happened in front of a live studio audience over two days, with world-class musicians including guest appearances by jazz legend Dave Koz and vocalist Casey Abrams.

Logan is commonly referred to as “The Queen of Sass,” as her concerts are a mix of excellent musicality, jaw-dropping vocals, expert trombone-playing, and a breathtaking array of originals and original takes on cover songs. Her debut album Impossible shot to the top 10 on the iTunes, Billboard and Amazon charts, and her 2017 track “Habenera” was included in Amazon’s Best of 2017 Jazz Tracks. Her appearance on Summer Horns II, from A to Z (as a special guest of Dave Koz on Concord Records) became the #1 selling Contemporary Jazz Album.

Logan has shared the stage with numerous luminaries including Pharrell Williams, The Boston Pops, Josh Groban and countless others. She has performed more than 250 shows since 2016, touring as a guest star with Postmodern Jukebox, with Dave Koz and his all-star lineup along with selling out her own shows in venues all over the US and Europe.

Track List:

01) Tom Bradley International Terminal

02) So Cute

03) Understand

04) Laundry (featuring Dave Koz)

05) L.A.

06) High Place

07) The Remembering Song

08) I Keep Forgettin' (Every Time You're Near)

09) Airport Codes

10) One Three Nine

11) Put It Where You Want It (Featuring Casey Abrams and Dave Koz)

12) Alfie

Tour Dates:

04/10 - New York, NY @ Birdland Jazz Club

04/11 - New York, NY @ Birdland Jazz Club

04/12 - New York, NY @ Birdland Jazz Club

04/13 - New York, NY @ Birdland Jazz Club

04/25 - Washington, DC @ City Winery

04/26 - Bethlehem, PA @ Lehigh University

MEMPHIS COMBO SOUTHERN AVENUE TURNS UP THE RETRO-SOUL HEAT WITH THEIR SECOND ALBUM, KEEP ON

On their self-titled 2017 debut album, the boundary-breaking Memphis combo Southern Avenue sparked a one-band musical revolution, embodying an effortlessly organic soul/blues/R&B fusion that reflects the band members' diverse roots as well as their deep commitment to their chosen style. On their second album Keep On, set for release on May 10, 2019 via Concord Records, the dynamic outfit expands its gritty musical vision to embrace new musical challenges and a more expansive creative vision.

Southern Avenue combines the talents of a prodigiously talented set of young musicians who bring their individual backgrounds to the table to create music that carries the Southern soul legacy into the 21st century, spanning the band members' wide-ranging musical interests while showcasing the powerful chemistry and electrifying live show that they've honed through extensive stage and studio experience. Since the release of their debut, Southern Avenue has played in over a dozen countries and wowed audiences at such festivals as Bonnaroo, Firefly, Electric Forest and Lockn’.

Guitar phenom Ori Naftaly originally built his reputation in his native Israel before joining forces with deeply expressive Memphis-bred singer Tierinii Jackson and her subtly powerful drummer sister Tikyra Jackson. The band's lineup is rounded out by versatile keyboardist Jeremy Powell, an early alumnus of Stax Records' renowned music academy.

Keep On brilliantly captures Southern Avenue's combustible chemistry, with the emotion-charged energy of such distinctive originals as "Whiskey Love," "Savior," "Too Good for You" and "We Are Not So Different" reflecting the players' evolving talents as well as the influence of the extensive roadwork that they've invested in the band. The musicians recorded the album with producer Johnny Black (Jessie J, Daughtry, Estelle) at Memphis' legendary Sam Phillips Recording, with guest appearances by seminal Stax Records artist William Bell, noted Memphis musician Gage Markey (who serves as guest bassist on most of the album) and a horn section comprised of Art Edmaiston (JJ Grey & Mofro, Gregg Allman) and Marc Franklin (The Bo-Keys, Gregg Allman).

GRAMMY Award winner Bell, a formative figure in the development of Southern soul, was impressed by the band's talents. "In terms of new artists with the talent to become the stars of the future, you need to look no further than Southern Avenue," Bell commented.

The critics have been similarly impressed. "Southern Avenue's modern sound melds gospel-infused R&B with a rootsy rock feel," wrote Mix. Relix referred to Southern Avenue as "a deeply soulful Memphis band that’s turning the scene on its head," while Goldmine called their music "a frothy Memphis soul stew fit to twitch your body to in ways you didn't think you could," The Chicago Reader called the band's debut album "a boiling retro-soul primer," adding that "Tierinii has a riveting stage presence. They do the Stax legacy proud." No Depression commented that it's "easy to imagine Southern Avenue as a house band in their native Memphis or Muscle Shoals in the glory days of the '60s, sent back to the future to save us from inauthenticity and our collective hurt."

"Making this album was an interesting journey," Ori says of Keep On. "Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it's a big progression from the first album."  "The experience was completely different from making the first one," adds Tierinii. "We learned a lot about each other and a lot about the band."

As producer Johnny Black notes, "The thing that stood out most to me about Southern Avenue is their dedication to making this record 'the hard way.' Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort."

The seeds for Southern Avenue's birth were first planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American soul, blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to embrace a more expansive musical vision.  That opportunity arrived when he met Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.

Despite not having a record deal at the time, Southern Avenue quickly found success touring in America and Europe.  They won additional attention playing some high-profile festivals and making it to the finals in the International Blues Challenge.

The band’s self-titled debut was released in 2017, hitting #6 on Billboard’s Top Blues Albums Chart, reaching #1 on the iTunes Blues Chart and prominently sitting in the Americana radio Top 30 for nearly six months. The success of the album created demand for the band in both the U.S. and throughout the world performing in high-profile festivals around the globe. Since that time the band has seemingly lived on the road with over 300 shows under their belts. Building their audience one show at a time, they have headlined countless rooms from coast to coast and have toured with artists including Buddy Guy, JJ Grey & Mofro, Umphrey's McGee, Los Lobos, North Mississippi Allstars and Karl Denson to name a few. "We love playing live," says Ori Naftaly, "It's that connection with our fans that makes the time away from home worth it. Fans become our family out on the road and we love experiencing music together with them each and every night."

Their efforts were further acknowledged by fans and peers in 2018, when their Stax debut was honored with a Blues Music Award for “Best Emerging Artist Album.”

"What makes it Southern Avenue," Tierinii states, "is that when we come together, the music we make together is music we could never come up with individually. It's really rewarding to have so many influences in the band, and that we can find the balance between them."

"I'm proud that we don't sound like anyone else," Ori asserts. "We've been all over the world, from Australia to Poland to Norway to Spain to Canada to Mexico. Those experiences, and all the highs and lows, it's all reflected in the music. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night."

 

 

COLTRANE ’58: THE PRESTIGE RECORDINGS BOX SET CAPTURES LEGENDARY SAXOPHONIST DURING HIS BREAKTHROUGH “SHEETS OF SOUND” YEAR

Though it’s been 52 years since his tragic passing, John Coltrane’s importance and influence have never been greater. Though active for a relatively short period—from 1957 to ’67—he was an intrepid spirit who developed at a feverish pace. Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. Coltrane ’58: The Prestige Recordings, out March 29th on Craft Recordings,is a box set (8-LP, 5-CD & digital formats) that chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige label in those twelve months. This collection captures him in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” 

The timely release of Coltrane ’58 marks the 70thyear since the founding of Prestige Records and comes just after the 60thanniversary of these recordings. It also follows on last year’s successful release of Both Directions at Once, which debuted at No. 21 on the Billboard200, the highest chart position of his career.

Coltrane ’58 brims with the shared jazz repertoire of the day—blues, bebop standards and familiar ballads—as well as original compositions and obscure tunes Coltrane rediscovered. Together they offer an array of emotional depth and instrumental prowess, showing how the rising saxophonist was actively stretching sound and increasing the intensity, and shifting the direction of what jazz performance was about. Included are definitive versions of “Lush Life,” “Lover Come Back to Me,” “Stardust,” “Good Bait” and “Little Melonae”; first recordings of originals like “Nakatini Serenade,” “The Believer,” “Black Pearls” and the heartfelt “Theme for Ernie”; and extended tenor saxophone tours-de-forcesuch as “Russian Lullaby,” “Sweet Sapphire Blues” and “I Want to Talk About You” that anticipate the stratospheric heights Coltrane would reach in the 1960s.

  

In 1958 Coltrane was still two years away from emerging as a bandleader, but his membership in ensembles led by Miles Davis and Thelonious Monk had propelled him into the spotlight as one of jazz’s most exciting and controversial figures. Coltrane ’58serves as a window onto the shock and awe—and eventually deep appreciation—Coltrane generated during this period, when his sheets of sound approach pushed the bebop ideal of slaloming through a tune’s chordal pathways to its extreme.

To be sure, Coltrane ’58 is more than sheets of sound: It’s the sound of Coltrane working and smoothing out those sheets and exploring other ideas as well.  For example, he frequently played in double-time—as if the chords were moving twice as fast as the rest of the band—and, if the music called for it, he’d decrease the intensity, caressing and embellishing a melody, an aspect that could calm the toughest critics.

Produced by Nick Phillips, the vinyl box includes eight 180-gram LPs, remastered from the original analog tapes by Paul Blakemore (all of which were recorded by renowned engineer Rudy Van Gelder)and cut by Clint Holley from 24-bit/192kHz transfers. The lavish, linen-wrapped, portfolio-style book features an eye-catching design and includes 40 pages containing extensive liner notes by Grammy®-winning American music historian Ashley Kahn, rare ephemera and historical photographs of the saxophonist and his collaborators, including several taken by renowned jazz photographers Francis Wolffand Esmond Edwards. The 5-CD edition, containing a 76-page book, is a faithful replica of the 8-LP vinyl box.

  

Coltrane ’58 reveals other significant aspects of Coltrane’s emergence, too, like his growing status in the hard bop brotherhood of the day. He recorded with contemporaries (many future legends in their own right), including pianist Red Garland; guitarist Kenny Burrell; trumpeters Donald Byrd, Freddie Hubbardand Wilbur Harden; bassist Paul Chambersand drummers Art Taylor, Jimmy Cobband Louis Hayes. The sessions all took place in Rudy Van Gelder’slegendary home studio in Hackensack, New Jersey, where so much of the best jazz of that era was recorded. Coltrane’s music of 1958 benefits from a marked blue-collar, pressure-cooker aesthetic: Born in three-hour sessions with minimal rehearsal, head arrangements and mostly first takes, these tracks provide a true and transparent view of the talent Coltrane was able to draw upon and the timeless, improvised magic they created together.

  

It’s a challenge today to imagine how radical Coltrane must have sounded sixty years ago to jazz listeners accustomed to a gentler, lyrical flow. In his liner notes, Ashley Kahn sees an enduring relevancy in Coltrane’s bold chance-taking, as a creative artist and an African-American: “In the context of current headlines and an overriding sense of déjà vu, Coltrane’s music rings clearer than ever, with even greater meaning than it had in 1958. What he was playing then never felt less than urgent and relevant—subversive even. It still sounds that way.”

Remarkably, the majority of this music wasn’t released until the ’60s on various albums after Coltrane’s emergence as a bandleader, denying these 37 tracks the chance to tell their own collective story. By sequencing this music in the order of its original creation, Coltrane ’58clearly delineates Coltrane’s first full year as a recording artist, finally allowing fans to experience—track by track—the emergence of a master improviser in his first great career crest.

Collective Personnel:

John Coltrane (tenor saxophone), Kenny Burrell (guitar), Donald Byrd (trumpet), Paul Chambers (bass), Jimmy Cobb (drums), Tommy Flanagan (piano), Red Garland (piano), Wilbur Harden (trumpet, flugelhorn), Louis Hayes (drums), Freddie Hubbard (trumpet), Art Taylor (drums).

 

DEBUT ALBUM FROM NEW ORLEANS-BASED VOCALIST QUIANA LYNELL, A LITTLE LOVE, SET FOR RELEASE APRIL 5TH VIA CONCORD JAZZ

A feast of soul, gospel, r&b, groove and jazz, A Little Love blooms with songs about searching, trying times, buoyant love, deep reflection and social action. Lynell sings with the voice of authority and the takeaway from the album as a whole is honesty. She’s a truth-seeking storyteller with a spirited resolve - covering a wide range of songs from Nina Simone to Chaka Khan, from Duke to the Gershwins, from Donny Hathaway to Irma Thomas; with the bookends of the album featuring songs by powerful modern artists Alina Engibaryan and Joshuah Campbell.  Accompanied by a powerhouse band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes, the release of A Little Love will be accompanied by tour dates including a stop at the 2019 Playboy Jazz Festival in Los Angeles in June.

“Quiana is a dynamic and compelling vocalist,” said John Burk, President of Concord Records. “She has an incredibly rich voice and unique ability to effortlessly blend gospel, soul, and jazz into her music. We’re thrilled to add Quiana’s debut album to the longstanding lineage of exceptional artistry on Concord Jazz.”

Born in Texas and raised on Gospel, in 2017 Quiana Lynell made her salient mark on the jazz-and-beyond musical world as a wise, heartfelt, warm vocalist whose voice is singular in its soul, intensity, ecstasy and outright spiritual courage. She played with her trio at the New Orleans Jazz & Heritage Festival which led to her performing in Poland with trumpeter Terence Blanchard’s Spike Lee tribute with a 75-piece orchestra and a continued period of mentoring on Blanchard's part. In November of 2017, after considering for a couple of years whether she was ready, she decided to vie for the Sarah Vaughan International Jazz Vocal Competition Award. She commanded the finals stage at NJPAC’s Victoria Theater and wowed the judges and audience with her vocal prowess that earned her the prize, which afforded her the opportunity to record an album for Concord Jazz. The result, 2019’s A Little Love, produced by the renowned Brian Michel Bacchus, is testament to what a rare, mesmerizing artist can achieve on her auspicious debut.

Blanchard said his take on hearing Quiana for the first time was “a serious vocal discovery.” He added, “Quiana Lynell was already a vocal presence. When I first heard her sing, my initial thought was ‘Who are you, where have you been, and why am I just hearing you now?'

Frank Zappa's Beloved Live Double Album 'Zappa In New York' Celebrated With Suite Of 40th Anniversary Releases Including Deluxe 5CD Box Set, Expanded 3LP Vinyl And Digital

In celebration of its recent 40th anniversary, Frank Zappa's classic 1978 album Zappa In New York, was released today as a suite of expanded anniversary editions. Overseen by the Zappa Family Trust and produced by Ahmet Zappa and Vaultmeister Joe Travers, the versions include a deluxe 5 CD box set, 3 LP on 180-gram audiophile grade vinyl, and digitally. The 5-disc collection, which is housed in a limited-edition metal tin shaped like a NYC street manhole cover and complete with a replica ticket from one of the shows, consists of the main album in its original mix, newly remastered by Bob Ludwig in 2018 and available for the first time since its debut. The four additional discs are loaded with relevant Vault nuggets and more than three hours of unreleased live performances from the NYC Palladium concerts, representing every composition played during the concerts and the best alternate performances of every tune Zappa picked for the original album, all newly mixed in 2018. To achieve the highest-level sound quality, the audio team went back to the original two-inch 24-track multi-track master tapes and transferred every reel at 96kHz 24-bit wavs.

"We are excited to bring you this new Deluxe version of Zappa in New York: an opportunity to re-examine and celebrate the source material of a great album while exploring the events of Frank's life in late December 1976, Collections like these really show of the work ethic of a musical genius," exclaims the Zappa Family Trust in the album notes.

In 1976, Zappa played four historic sold-out concerts at The Palladium in New York City the week between Christmas and New Year's. These thrilling shows – described by band member Ruth Underwood as "theatrical, outrageous and raucously funny, but also filled with startling and gorgeous music, dating from Frank's 1960s output to literally the moment the curtain went up"— served as the source material for the live double album Zappa In New York which was constructed from the best-played performances with overdubs later recorded in the studio. Originally slated for release in 1977, the album was delayed for a year due to record label censorship issues, mostly over the controversial song "Punky's Whips," and finally released in 1978. One of Zappa's most beloved collections of songs, the now revered album included a sensational live version of "Sofa" alongside nine new compositions, including the complex percussion-based piece "The Black Page," which has become infamous in the drum community as the ultimate challenge, the Devilish comedic sendup "Titties & Beer," and the notorious aforementioned "Punky's Whips" about Punky Meadows, the flamboyant guitarist for the band Angel.

Zappa In New York includes expanded packaging which features previously unseen live photos by Gail Zappa alongside extensive liner notes by band members Ruth Underwood and Ray White (who were part of Zappa's band for these shows) as well as an insightful essay by Joe Travers with Australian writer Jen Jewel Brown. Underwood also contributes a solo piano version of "The Black Page" that has been newly recorded for this special edition. "'The Black Page' has proven to be one of Frank Zappa's most intriguing and enduring compositions. It is performed in many kinds of venues all over the world. It is taught and studied in schools. Perhaps most exciting is that it is adaptable and lends itself to a variety of orchestrations and re-workings, as FZ himself demonstrated. I am proud that after forty years, mine is finally among them. It is my love letter to Frank and Gail," Underwood writes in the liners.

The 3LP set, pressed at Pallas in Germany, features all-analog mastering of the original album mix, unavailable since first issued. Plus, an additional LP of select bonus content from The Vault. The digital release marks the debut of the original mix.

Zappa In New York capped off a terrific year for the ever-prolific and always-moving musician which included shows around the globe including his second Australian tour and one and only Japanese jaunt, the release of his album Zoot Allures and Grand Funk Railroad's record Good Singin' Good Playin, which he produced, a string of Halloween shows and a performance on "Saturday Night Live" which ended up having a profound impact on the Palladium shows. Following an on-air collaboration with SNL's announcer Don Pardo and the show's house band, Zappa invited them to be a part of the shows after three of the horn players so loved playing with Zappa that they asked if they could be involved. As Travers and Brown write in the illuminating liner notes: "Out of nowhere, the concept of adapting horns to the scheduled concerts became a reality. Frank was immediately swept up in the pleasure and challenge of writing and arranging parts for the existing material."

The collection showcases some of Zappa's most masterful guitar playing and electrifying arrangements as he leads an exceptional band featuring Ray White on vocals and guitar, Terry Bozzio on drums and vocals, Eddie Jobson on keyboards and violin, Ruth Underwood on percussion and synthesizer, Patrick O'Hearn on bass and vocals and David Samuels on timpani and vibes. Don Pardo provided "sophisticated narration" and the brass section, featuring jazz duo the Brecker Brothers with Randy Brecker on trumpet and Michael Brecker on tenor saxophone, was rounded out by the SNL players: Lou Marini on alto sax, Ronnie Cuber on baritone sax and Tom Malone on trombone.

This Record Store Day, Saturday, April 13, the Zappa Family Trust and UMe will continue their tradition of releasing a unique vinyl pressing to celebrate the bi-yearly indie record store extravaganza. The rare 1987 guitar-centric compilation, The Guitar World According To Frank Zappa, originally available only on cassette through Guitar World magazine and Barfko-Swill mail order, will receive its first-ever vinyl pressing. The album features unique mixes and edits by Zappa and a selection of solos that were released the following year on the Guitar album. Mastered by Chris Bellman at Bernie Grundman Mastering, this RSD First release, limited to 8000 worldwide, is numbered and pressed on 180-gram clear audiophile vinyl by Furnace MFG.

Christian Scott aTunde Adjuah and Harlem Stage Present the 3rd and Final Stretch Music Festival

Harlem Stage, the legendary uptown venue that for over 35 years has promoted the creative legacy of Harlem and artists of color from around the corner and across the globe, is proud to present its Spring 2019 season of performances. The 2019 spring season is curated by Monique Martin, Director of Programming for Harlem Stage and features artists who #Disrupt and take creative risk. The performances feature a range of artistic genres, offering audiences the chance to experience legendary performers, as well as rising stars.  

Harlem Stage is thrilled to continue its partnership with Edison Award-winning and Grammy-nominated trumpeter Christian Scott aTunde Adjuah to re-establish jazz as a social music through the Stretch Music Residency. This third and final year of Adjuah’s residency will feature the 3rd and final installment of the Stretch Music Festival. Featuring artists including Saul Williams, the Logan Richardson band, Freelance and more. The festival also includes a FREE Stretch Music Intensive, in addition to a performance from the Steve Turre Quintet as part of the Jazz Then and Now conversation series.

  

The series kicks off on April 9th as Christian Scott aTunde Adjuah returns to Manhattan School of Music to lead a FREE masterclass on his genre blind Stretch Music. All music students, musicians and lovers of the jazz idiom and all its variabilities are welcomed to join this immersive workshop centered on improvisation, technique and thriving as a working artist today. Also on April 9th, is a free pop-up performance at Silvana’s Restaurant featuring drummer, producer and composer King Klavé.

On April 11th, as part of the Jazz Then and Now series, Christian Scott aTunde Adjuah will be in conversation with composer and trombonist Steve Turre on improvisation, technology, collaboration, the importance of the historical lineage and more. The conversation will be preceded with a live performance by the Steve Turre Quintet. Jazz Then and Now is a conversation series, presented as part of the Stretch Music Residency that brings together innovative thought leaders in the field in dialogue on the history, the present and the future of jazz. 

Closing out the series on April 12th, Christian Scott aTunde Adjuah curates and performs at his final Stretch Music Festival under his three-year residency with Harlem Stage. The generosity, leadership and innovation Christian has brought to the Harlem Stage Gatehouse and broader New York community is extraordinary. The audience can anticipate another powerful festival that will once again advance and stretch the landscape of jazz. The evening will feature stellar guests including Saul Williams, the Logan Richardson band, Freelance and more, as Christian connects West African rhythms with his Afro New Orleanian cultural traditions to the sonic freedoms of creative improvised music. Come ready to be Stretched! 

Pianist Nick Sanders Looks to the Future - of Jazz and the World in General - with Dark Humor and Eclectic Imagination on Playtime 2050

On Playtime 2050, the third release by his inventive trio, pianist/composer Nick Sanders looks to the future with a unique combination of imaginative complexity and dark humor. Due out March 15 via Sunnyside, the album presents the latest evolution of Sanders' singular voice, which blends influences from a wide swath of jazz history with concepts from contemporary classical music and the composer's offbeat perspective.

Once again, Sanders is joined by bassist Henry Fraser and drummer Connor Baker.  Where earlier outings supplemented Sanders' distinctive compositions with aptly-chosen pieces by such heavily influential composers as Herbie Nichols, Thelonious Monk and Ornette Coleman, Playtime 2050 consists entirely of originals, a diverse repertoire ranging from entirely through-composed pieces to free improvisations, solo piano meditations to raucous swing tunes, tender ballads to prepared piano explosions.

"I like working with different extremes," Sanders says. "When I reflect on the spirit of jazz or improvised music, the greatest musicians always pushed the music forward, looked in a forward direction. A lot of modern jazz is very much stuck in the past, so I'm trying to draw on my experiences and do something different."

To set the mood, Sanders returned to the work of New Mexico-based artist Leah Saulnier, the self-described "Painting Maniac" whose painting of a sideshow contortionist also graced the cover of the trio's last release, You Are a Creature (2014). Her unsettling "Playtime 2050," which gave the album its name, depicts an adorable dystopia, with a young girl in pigtails and gasmasks cuddling a similarly accoutered stuffed bunny.

"When I first saw the image," Sanders recalls, "I found it really interesting and weird, not to mention starkly different from any artwork I've seen in the jazz world. I liked its tongue in cheek look at the state of the world today, with the silver lining being that it's clearly about surviving."

That notion resonated not just with Sanders' own views on the modern socio-political reality, but with his forward-looking take on jazz. It also runs parallel to an optimistic view of the place of art in the world. No matter how dark things get, it seems to suggest, there's always the escape of play - whether that means spending time with a favorite toy or taking the stage with close collaborators.

The painting's dark humor also captures a key element of Sanders' own music, a thread that can be traced back to the wry, puckish playfulness of the iconic Thelonious Monk. The sharp, jaunty angles of album opener "Live Normal" bear traces of Monk's influence, while the title comes from a line spoken by Steven Avery, the subject of the hit docuseries Making a Murderer. While Sanders' own story is far from that of Avery's, the desire to "live normal" is one that every outcast might feel at some point in their life.

The frenetic "Manic Maniac," with its blistering intensity and disorienting shifts in time, shows the influence of greats like Ornette Coleman and Jason Moran, the latter one of Sanders' mentors at NEC. It's followed by the title tune, a slightly skewed swing tune that laces its buoyant melody with a few eccentric touches, perfectly suited for that disturbing cover image. The moody "Prepared for the Blues," meanwhile, is the first of two pieces for prepared piano, here used subtly on slow, noir-ish blues, with just a pair of notes effected by finishing nails placed between the strings. The second prepared piano piece, the freely improvised "Prepared for the Accident," is much more audacious in its use of percussive sounds and unidentifiable noises. The inspiration for preparing the piano comes from legendary composer John Cage, whose work Sanders has studied.

The meditative "Still Considering" is an elegant, through-composed ballad, revealing Sanders' classical music background in its delicate construction and chamber music feel. The piece draws on the pianist's stint at a Buddhist monastery in California's Redwood Valley.  That sense is disrupted by the feverish "The Number 3," which evokes the insistent and unpredictable music of avant-garde saxophonist/composer Anthony Braxton in its aggressive repetitions and passages of sparse minimalism opening into fierce improvisation.

"Interlude for S.L.B." is a solo tribute to Sanders' late mother, who introduced him to a wealth of diverse music during his youth in New Orleans, from the sounds of her native Cuba to a range of other traditions that helped instill his love of music. "Endless" is built on the close relationship between Sanders and Baker, showcasing the close interaction between the piano and drums while Fraser provides the essential glue that binds them together. "It's Like This" provides another brief respite with its serene, spiraling melody, while "Hungry Ghost" turns dark, with hard-hitting, rock-inflected moments interspersed with uneasy segments of lurking tension.

"RPD" is reprised from Janus, Sanders' duo album with saxophonist Logan Strosahl, its unnerving wistfulness reflecting the themes of its source, the zombie apocalypse video game series Resident Evil. Finally, the reverent "2 Longfellow Park" ends the album on a spiritual note, its title taken from the address of an old church near Boston.

Representing a rich variety of moods, inspirations and approaches, Playtime 2050 feels like a culmination of the trio's tenure together and of Sanders' always expanding compositional palette. "I explored a lot of new territory on this album," Sanders concludes. "This is my contribution to the idea of pushing the music forward, which I think is extremely crucial in keeping the music alive and culturally important."

Pianist Nick Sanders is a truly fresh musical voice, wholly original yet clearly shaped by the masters he has studied and embraced. Sanders' New Orleans upbringing ensured an eclectic ear and musical sensibility. He began playing music before the age of four and was a quick study on the drums, able to almost instantly learn the second-line beat. He  tackled the  piano  in  second  grade  and  began  to  show remarkable promise as a classical performer, winning numerous regional and national competitions. Sanders studied classical piano at the famed New Orleans Center for Creative Arts (NOCCA) before moving to the jazz program after encouragement from pianists Michael Pellera and Danilo Perez. In 2006 Sanders earned a full scholarship to the New England Conservatory, where he studied with Perez, Jason Moran, John McNeil, Ran Blake, Cecil McBee and Fred Hersch, who produced Nameless Neighbors, Sanders' critically acclaimed debut recording for Sunnyside Records, as well as its follow-up, You Are A Creature.

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