All Blues, the all covers album from the Peter Frampton Band, is set for release on June 7

All Blues, the forthcoming covers album from the Peter Frampton Band, is set for release on June 7 via UMe. The album is a collection of Frampton's favorite blues classics and was recorded with his longtime touring band, made up of Adam Lester (guitar/vocals), Rob Arthur (keyboards/guitar/vocals) and Dan Wojciechowski (drums).

All Blues was recorded at Frampton's studio in Nashville, Studio Phenix, and was co-produced by Frampton and Chuck Ainlay. The album features additional collaborations with Larry Carlton, Sonny Landreth and Steve Morse.

The vinyl will be available as a double LP and also as a limited edition translucent blue color pressing exclusively at PeterFrampton.com. The double LP will include the bonus track "I Feel So Good," which was written by Big Bill Broonzy and popularized by Muddy Waters.

Of the album, Frampton explains, "I have always loved to play the blues. When we formed Humble Pie, the first material we played together was just that. For the last two summers I had been playing a handful of blues numbers every night on stage with Steve Miller Band. I enjoyed this immensely and it gave me the idea of doing an 'All Blues' album live in the studio with my band. We started the resulting sessions 9 days after coming off the road last year. Over a two-week period, we recorded 23 tracks, all live in the studio. The energy of these tracks is completely different from building a track one instrument at a time. With this recording, we pay tribute to all the original artists who invented this incredible music. I hope you can hear and feel our enjoyment. I'm not sure if you can say we had fun playing the blues. But we definitely did."

To support All Blues, Frampton will be hosting a new six-week series on SiriusXM's Deep Tracks channel. "The Peter Frampton Show" will premiere on Friday, May 10 at 10:00am ET on SiriusXM radios (channel 27) and on the SiriusXM app. Additionally, Frampton will walk SiriusXM listeners through each song from the new album in an exclusive track-by-track on SiriusXM's BB King's Bluesville channel. "Peter Frampton's All Blues Show" will air on Monday, June 3 at 3:00pm ET on SiriusXM radios (channel 74) and on the SiriusXM app.

In conjunction with the album's release, Frampton will kick off Peter Frampton Finale—The Farewell Tour presented by SiriusXM—an approximately 50-date run this summer and fall produced by Live Nation. Frampton will retire from regular vigorous touring at the end of this year due to his diagnosis of the autoimmune disease Inclusion Body Myositis (IBM). IBM is a progressive muscle disorder characterized by muscle inflammation, weakness and atrophy. 

The tour will feature special guest Jason Bonham's Led Zeppelin Evening, as well as Julian Frampton on the west coast stops, with additional surprise guests to appear on select dates. Tickets are on sale now and VIP packages will also be available at www.frampton.com. $1 of every ticket sold, as well as any donations, will benefit The Peter Frampton Myositis Research Fund at Johns Hopkins, a newly established fund by Frampton and Johns Hopkins, where he's being treated.

Peter Frampton remains one of the most lauded artists in rock history. On May 7, the Music Business Association will present him with the Chairman's Award for Sustained Creative Achievement at the Awards & Hall of Fame Dinner that is part of the Association's annual conference—Music Biz 2019—set to take place May 5-8 in Nashville. Frampton was also recently honored with the Les Paul Innovation Award at the 2019 NAMM Show's 34th annual TEC Awards, and celebrated the 43rd anniversary of his fifth solo album, Frampton Comes Alive!, one of the top-selling live records of all time (over 17 million copies sold worldwide).

ALL BLUES TRACK LISTING

I Just Want To Make Love To You (featuring Kim Wilson)

She Caught The Katy

Georgia On My Mind

Can't Judge A Book By The Cover

Me And My Guitar

All Blues (featuring Larry Carlton)

The Thrill Is Gone (featuring Sonny Landreth)

Going Down Slow (featuring Steve Morse)

I'm A King Bee

Same Old Blues

PETER FRAMPTON LIVE

 June 18—Catoosa, OK—Hard Rock Hotel & Casino Tulsa+

• June 20—Little Rock, AR—Robinson Performance Hall
• June 22—Wetumpka, AL—Wind Creek Casino & Hotel+
• June 23—Chattanooga, TN—Tivoli Theatre+
• June 26—Memphis, TN—Orpheum Theatre+
• June 27—Nashville, TN—Ascend Amphitheater*
• June 29—Salamanca, NY—Seneca Allegany Resort & Casino*
• June 30—Bethel, NY—Bethel Woods Center for the Arts*
• July 2—Pittsburgh, PA—Benedum Center for the Performing Arts
• July 3—Syracuse, NY—St. Joseph's Health Amphitheater at Lakeview*
• July 5—Montreal, QC—Montreal Jazz Fest- Place des Arts: Salle Wilfrid-Pelletier+
• July 7—Gilford, NH—Bank of New Hampshire Pavilion*
• July 9—Boston, MA—Rockland Trust Bank Pavilion*
• July 10—Philadelphia, PA—The Met Philadelphia*
• July 12—Cincinnati, OH—Riverbend Music Center*
• July 13—Stayner, ON—Roxodus Music Festival+
• July 23—Interlochen, MI—Interlochen Center for the Arts-Kresge Auditorium+
• July 25—Clarkston, MI—DTE Energy Music Theatre*
• July 26—Morgantown, WV—MountainFest Motorcycle Rally*+
• July 28—Chicago, IL—Huntington Bank Pavilion at Northerly Island*
• July 29—Cedar Rapids, IA—McGrath Amphitheatre
• July 31—Morrison, CO—Red Rocks Amphitheatre
• August 2—Hinckley, MN—Grand Casino Hinckley Amphitheater*+
• August 4—Maryland Heights, MO—Hollywood Casino Amphitheatre*
• August 5—Kansas City, MO—Starlight Theatre*
• August 8—Cuyahoga Falls, OH—Blossom Music Center*
• August 11—Alpharetta, GA—Ameris Bank Amphitheatre at Encore Park*
• August 16-21—Keeping the Blues Alive at Sea Mediterranean+
• August 30—Charlotte, NC—PNC Music Pavilion*
• September 1—Saratoga Springs, NY—Saratoga Performing Arts Center*
• September 2—Uncasville, CT—Mohegan Sun Arena*
• September 4—Jacksonville, FL—Daily's Place*
• September 6—West Palm Beach, FL—Coral Sky Amphitheatre at the S. Florida Fairgrounds*
• September 7—Tampa, FL—MIDFLORIDA Credit Union Amphitheatre at the FL State Fairgrounds*
• September 10—Simpsonville, SC—CCNB Amphitheatre at Heritage Park*
• September 11—Washington, DC—The Anthem*
• September 13—New York, NY—Madison Square Garden*
• September 14—Raleigh, NC—Coastal Credit Union Music Park at Walnut Creek*
• September 20-21—Dallas, TX—Crossroads Festival @ American Airlines Center+
• September 21—Irving, TX—Cynthia Woods Mitchell Pavilion presented by Huntsman*
• September 22—The Woodlands, TX—The Pavilion at Toyota Music Factory*
• September 24—Albuquerque, NM—Sandia Resort & Casino*+
• September 26—Phoenix, AZ—Comerica Theatre*
• Sptember 28—Las Vegas, NV—Red Rock Resort Spa & Casino+
• September 29—Temecula, CA—Pechanga Casino-Pechanga Summit*†
• October 2—San Diego, CA—Cal Coast Credit Union Open Air Theatre at SDSU*†
• October 3—Paso Robles, CA—Vina Robles Amphitheatre*†+
• October 5—Inglewood, CA—The Forum*†
• October 6—Tuolumne, CA—Black Oak Casino Resort-Westside Pavilion*†+
• October 9—Seattle, WA—Paramount Theatre*†
• October 10—Ridgefield, OR—Ilani Resort & Casino-Cowlitz Ballroom*†+
• October 12—Concord, CA—Concord Pavilion*†

*with Jason Bonham's Led Zeppelin Evening

†with Julian Frampton
+not a Live Nation date

Seth MacFarlane will release his fifth album Once In A While

The tracks for Once In A While were recorded alongside the songs for his last album, 2017's In Full Swing- and material for another, future record- in a marathon 2016 session at London's legendary Abbey Road Studio 2, the room in which the Beatles cut the majority of their catalogue. Unlike the hard-charging big band swing of his previous project, the thirteen songs on this album are all ballads that MacFarlane says "deal with longing, lost love, and sadness, infused with fond recollection and a hint of hope."

"They're not necessarily sad break-up songs," says arranger Andrew Cottee. "They're more reflective, thoughtful, even philosophical, but they're not all torch songs."

Selections include compositions by such masters as Irving Berlin, Rogers, and Hart, and Johnny Mercer, with MacFarlane drawing on his encyclopedic knowledge of songs from the era to dig deep into their songbooks. The tracks were recorded live in the studio by the hand-picked "Dream Town Orchestra," direct to analog tape, with MacFarlane adding his vocals over the course of the last year. The arrangements take their time, with many songs featuring lengthy introductions and instrumental passages.

MacFarlane's first album, Music Is Better Than Words, debuted at No.1 on the iTunes Jazz chart in 2011 and went on to receive four Grammy nominations. His 2014 first-ever Christmas set, Holiday For Swing!, also debuted at No. 1 and was followed by No One Ever Tells You, another iTunes chart topper, and In Full Swing, his first No.1 Traditional Jazz album, garnering him two more Grammy nominations.

While MacFarlane has performed with renowned composer John Williams and duetted with the iconic Barbra Streisand, music isn't his only forte. The multi-hyphenate is better known for his work in the Television & Film industries which has earned him numerous nominations and Emmy Awards. At the age of 24, MacFarlane became the youngest showrunner in TV history when his animated series Family Guy (which is currently wrapping up its 17th season) aired on FOX. He is also the co-creator, executive producer, and voice actor on another animated series American Dad! MacFarlane recently created, executive produces, and stars in the live-action, one-hour space adventure series, "The Orville" for FOX. The show premiered its second season in December 2018 and currently holds an unheard of 100% rating on Rotten Tomatoes. MacFarlane made his feature film directorial debut in 2012 with the highest-grossing original R-rated comedy film of all time, TED, starring Mark Wahlberg and MacFarlane himself as the voice of the lovable, foul-mouthed teddy bear. Following the success of the raunchy blockbuster and hosting Saturday Night Live, MacFarlane went on to host the 85th Academy Awards in 2013 and release a highly-anticipate sequel, TED 2, in 2015. Today, the prolific actor is gearing up for the June 30th premiere of Showtime's forthcoming series The Loudest Voice, in which he will portray Brian Lewis, Fox News' former public relations chief. 

Vocalist John Dokes Explores Every Aspect of Romance, From the Unrequited to the Tempestuous with New Album True Love

There’s a love song to capture every aspect of romance, from the unrequited to the tempestuous. With True Love (available tomorrow via Rondette Jazz), vocalist John Dokes turns his attention, and his elegant baritone, to something deeper. Over the course of ten well-chosen songs and an equally diverse range of moods, Dokes explores the more profound, committed side of affairs of the heart, bringing soulful nuance and hard-earned wisdom to each tale of ardent amour.

Though he may have his moments of uncertainty, there’s little question while listening to True Love that Dokes falls squarely into the “cool” camp. Formerly a champion lindy hopper, he continues to get audiences dancing in his regular gig singing with the George Gee Big Band; he carries the same self-confidence from the ballroom to the boardroom, as the Chief Content Officer and President of Accuweather Network, following similarly successful tenures at Viacom and Marvel Entertainment.

When working with the world-class quartet on True Love, though, the executive suite is the furthest thing from Dokes’ mind. The album is the second in a planned trilogy, each of which pairs Dokes with a different frontline horn. The first was 2017’s Forever Reasons, his initial small group endeavor (following his big band debut, John Dokes Sings, George Gee Swings), which featured trombonist David Gibson with the same rhythm section as this release: alto saxophonist Mark Gross (Delfeayo Marsalis, Dave Holland), pianist Steve Einerson (Eric Alexander, Eddie Henderson), bassist Alex Claffy (Kurt Rosenwinkel, Jimmy Cobb), and drummer Lawrence Leathers (Cécile McLorin Salvant, Aaron Diehl).

If these tunes set your feet to at least tapping, that’s no accident. Dokes grew up dancing, but never intended to be a singer. Part of a hip-hop dance crew in high school, he eventually switched to swing dancing, insistent that he didn’t want to be “the old guy at the club.” One of his dance partners, who also happened to be legendary trombonist Slide Hampton’s sister, Dawn Hampton, heard Dokes sing while the two were cutting a rug and encouraged him to try it on stage. He surprised her by joining the George Gee Big Band for a number, after which the bandleader excitedly invited him to return. He’s been back on a nearly weekly basis ever since.

 

Drummer Johnathan Blake to release Trion, an exhilarating chordless trio outing captured live with fellow modern jazz greats Chris Potter and Linda May Han Oh

One of the most in-demand drummers of his generation, Johnathan Blake takes an all-too-rare turn as a leader with his vibrant new release, Trion. The album, captured live before a thrilled audience at New York City's renowned Jazz Gallery, features a virtuoso chordless trio with two fellow masters of their instruments: the modern tenor giant Chris Potter and the eloquent bassist Linda May Han Oh. Trion, packed with nearly two hours of thrilling, exhilarating music, will be released April 5, 2019 thanks to the groundbreaking new non-profit Giant Step Arts, led by noted photographer and recording engineer Jimmy Katz.

Though Blake's name is on the cover, he approached this trio date with the same sense of open camaraderie with which he enters into any musical situation - the collaborative spirit that makes him such a remarkable drummer. The album's title is taken from a physics term that refers to three atoms combining to form a single unit, a concept that is deeply meaningful in the context of this highly attuned trio.

Blake initially put this trio as a collective which called itself the BOP Trio, inspired by the initials of each member's last name. Their instant chemistry stemmed from extensive playing together in other situations: Blake had worked in similar chordless settings under Potter's leadership along with Larry Grenadier and Ben Street, and with Oh in trios with Mark Turner and Jaleel Shaw.

"I'm in awe of both Linda and Chris," Blake says. "This was a really beautiful chance for us to make some honest music together and I really enjoyed the process. We all felt very comfortable in the chordless format; we really know how to fill up the space without getting in each other's way, which gives each one of us the opportunity to have our shining moments."

Those moments are also facilitated by the unprecedented freedom offered by the innovative Giant Step Arts. Katz launched the organization in January 2018 in order to provide some of the music's most innovative artists with the artistic and financial opportunity to create bold, adventurous new music free of commercial pressure.  For the artists it chooses to work with, by invitation only, the nonprofit:

* presents premiere performances and compensates the artists well

* records these performances for independent release

* provides the artists with 800 CDs and digital downloads to sell directly. Artists will own their own masters.

* provides the artists with photos and videos for promotional use

* provides PR support for the artists recordings

"Giant Step Arts will not be selling any music," Katz says. "We have two goals: help the musicians and raise more money so we can help more musicians."

When Katz approached him with the offer to record, Blake says, "I was almost in shock. It's almost unheard of for artists nowadays to own their own project if they sign with a record label. Jimmy and [his wife and partner] Dena Katz have always been strong advocates for the music and they just want the best artistic project out there. Their idea is that if the project is really good, it's not only a reflection of the artist but it's also a reflection on them. I think they're really visionaries in that respect."

Both of Trion's two discs opens with a solo drum feature by Blake; the expressive "Calodendrum" is named for an evergreen tree native to Africa, reflecting the drum language's roots on the continent, while "Bedrum" is a word that means "to drum about in celebration," which couldn't be more appropriate for Blake's joyful percussion explosions.

The band initially enters via Potter's arrangement of The Police's frenetic "Synchronicity I," which showcases the trio's brilliant attack and sustained intensity, stretching out over an enthralling and invigorating 17 minutes. Oh's deeply moving solo leads into her own moody piece "Trope," built on her brooding bass throb and a sinuous melody beautifully expressed by Potter.

Potter contributes two pieces; the composer sets the pace for the lively bounce of the South African-inspired "Good Hope" by using his sax keys as percussion instruments, while the weightless lines of "Eagle" soar with seemingly effortless grace. Blake's own originals look back to his early days in Philadelphia. "West Berkley St.," named for the street where Blake grew up in the city's Germantown section, and "High School Daze" both groove with the influence of the funk and hip hop tunes he heard alongside jazz, while the latter adds in a few unexpected swerves that suggest the stupor of wandering from classroom to classroom. "No Bebop Daddy" was inspired by saxophonist Donny McCaslin's young son, who would loudly protest his father's choice of music from his car seat on morning rides to school.

Blake's own father, the late jazz violinist John Blake Jr., is represented by his "Blue Heart," a previously unrecorded composition. "Since he left us in 2014 I've made it a point to continue to celebrate my father's life and legacy," Blake says. "It's a way for me to continue to let people know about this man who was such a great artist and beautiful human being."

Bassist Charles Fambrough was a family friend and a collaborator with John Blake Jr. in the McCoy Tyner band. Fambrough's "One for Honor" was originally recorded on Tyner's 1980 album Horizon, and later on the bassist's own 1991 release The Proper Angle. "Charles basically knew me from birth and was one of the first people to give me a professional gig when I was still living in Philadelphia. He was like an uncle to me, and I want his music to live on and people to know about this amazing musician who left us way too soon."

The trio's take on Charlie Parker's classic "Relaxin' at Camarillo" was unplanned, an on-the-spot decision when the Jazz Gallery audience demanded an encore. Its muscular swing and infectious exuberance, especially coming on the spur of the moment, reveals the three musicians' love for playing together along with their spirited virtuosity.

"A lot of magic and beauty can come out of the freedom to explore that Jimmy granted us," Blake says. "I think the reason the music sounds the way that it does is because there was so much trust and freedom."

Johnathan Blake, one of the most accomplished drummers of his generation, has also proven himself a complete and endlessly versatile musician - "the ultimate modernist," as John Murph of NPR has dubbed him. Blake's gift for composition and band leading, so ably demonstrated on his 2012 recording debut The Eleventh Hour, reflects years of live and studio experience across the aesthetic spectrum. Through years-long memberships in the Tom Harrell Quintet, the Kenny Barron Trio and other top ensembles, Blake has reaped the benefits of prolonged exposure to the greats of our time - arguably of all time. Through his powerful, evocative drumming and fully rounded artistry, he's also left a huge imprint on the music of such rising figures in jazz as Hans Glawischnig, Alex Sipiagin, Donny McCaslin, Avishai Cohen, Omer Avital, Patrick Cornelius, Michael Janisch, Shauli Einav, Jaleel Shaw and more.

Through his award-winning photography with wife Dena Katz, and his esteemed work as a recording engineer, Katz has spent nearly 30 years helping to shape the way that audiences see and hear jazz musicians. Katz has photographed more than 520 recording sessions, many historic, and nearly 200 magazine covers. Whether taken in the studio, in the clubs, on the streets or in the musicians' homes, his photographs offer intimate portraits of the artists at work and in repose and capture the collaborative and improvisatory process of jazz itself. Recipient of the Jazz Journalists Association award for jazz photography in both 2006 and 2011, Katz's work has been exhibited in Germany, Italy and Japan. Among the world-renowned artists he's photographed are Sonny Rollins, Keith Jarrett, Ornette Coleman, Freddie Hubbard, Roy Haynes, Cassandra Wilson, Ray Charles, Dave Brubeck, Quincy Jones, Herbie Hancock, Wynton Marsalis, John Zorn, Pat Metheny, and Dizzy Gillespie. In addition to his well-known visual art, Katz is an esteemed recording engineer who has worked with artists including David S. Ware, Joe Lovano, Harold Mabern, William Parker, Benny Golson, and Chris Potter, among others.

Founded by renowned photographers Jimmy and Dena Katz, Giant Step Arts is an innovative, artist-focused non-profit organization dedicated to presenting one-of-a-kind performances by some of modern jazz's most innovative artists, all recorded for independent release and documented both photographically and on film. The most unprecedented aspect of the endeavor is the fact that the musicians have total control of their artistic projects: they not only receive all the recordings and digital downloads of their musical output but also retain complete ownership of their masters. Giant Step Arts is also committed to promoting the projects and fostering the careers of their artists by providing them with promotional photo and video material and publicity.

R&B/Soul Powerhouse Deva Mahal Releases New Single, “Goddamn” with R&B Artist & GRAMMY®-winning Producer Son Little

Deva Mahal, an equally admirable songwriter and vocalist with prowess independent of any singular genre, is set to release a new single, “Goddamn,” featuring and written with authentic modern soul artist Son Little, on May 17 via Motéma Music. The track finds Deva fully embracing her femininity and sexuality as an empowered woman in a playful yet heated tête-à-tête with Son Little. A gritty mix of soul, blues and rock, the collaboration is a natural intersection Deva and Son Little’s musical currents.

“When I first heard Son Little's song ‘Lay Down,’ it hit me and I knew I wanted to create with him,” explains Deva. “It’s important to me to have an authentic connection and relationship with whoever I work with. From the first time we met, we started creating this tune. It didn’t feel like work. We vibe on a similar plane.”

“Goddamn” follows on the heels of her critically acclaimed 2018 release Run Deep on Motéma Music. The album, praised by Okayplayer as “thunderous modern soul,” and “the best of soul, blues and classic rock” by Exclaim!, started Deva’s ascent as an international rising star, as she performed on major TV broadcasts in Germany, France and the UK, including the prestigious Later... with Jools Holland, and getting highlighted as one of the Best New Artists at SXSW 2018 by Grammy.com. On the album, Deva passionately explored a wide variation of emotional depth ranging cautionary tales and empowering anthems.

“We both have strong connection to blues and roots music, but from a modern vantage point,” she says. “This track is a result of us sticking our foot up into the music. You can expect that whatever comes next will feel like me but never be the same – that’s all I can say for now. “

Deva is the daughter of blues icon Taj Mahal and Inshirah Mahal, a dancer, artist, and educator. Through their support and strong artistic presence in her upbringing, her passion has flourished to make her an unstoppable talent.

Another single written and produced with Son Little, “Your Only One,” will be released on June 14. A tour is planned through the fall, including an intimate tour of the northeast in May and performances at Bonnaroo and Lockn’ Festivals, as well as the 2019 Libera Awards where she is nominated for Best Blues Album.

Deva Mahal Tour Dates

May 7 | Chris' Jazz Cafe | Philadelphia, PA

May 8 | Strathmore | Bethesda, MD

May 9 | Scullers | Boston, MA

May 10 | The Music Hall Loft | Portsmouth, NH

May 11 | Iron Horse | Northampton, MA

June 15 | Bonnaroo | Great Stage Park, TN

June 20 | Libera Awards | New York, NY

June 22 | Caramoor Center | Katonah NY

August 25 | Lockn' | Arlington, VA

Zebulon Café Proudly Presents Trombonist Phil Ranelin's 80th Birthday & Wide Hive Records Vinyl Record Release Party

Sunday, May 26th at 8 p.m., former Freddie Hubbard Sideman and Tribe Records Co-founder Phil Ranelin kicks off his year-long international birthday tour at Zebulon Café located at 2478 Fletcher Drive, Los Angeles CA 90039. 

Trombonist, composer, and arranger Phil Ranelin, is celebratiing  his 80th birthday and the release of a new limited edition 3 record individually numbered vinyl pressing. Live music by Phil Ranelin & Tribe Renaissance featuring Michael Alvidrez, Pablo Calogero, Don Littleton, Makela Session, Michael Session, Aaron Shaw & percussionist Najite Agindotan and Derf Reklaw. DJ sets by Carlos Nino & Mark Maxwell, followed by Black Nile & The Kabasa Drum & Dance Ensemble.

Phil Ranelin is loved & respected around the globe as a die-hard straight ahead trombonist in the tradition of JJ Johnson. Over the years, Ranelin has shared the bill with among others, Sonny Rollins, Wayne Shorter, Pharoah Sanders, McCoy Tyner & Jimmy Smith. Ranelin's versatility is evident by his studio musician status. At Motown Records in the Early 1970's & His 1980's appearance on the Red Hot Chile Peppers very first record. In 1999, Phil was designated a rare & valuable cultural treasure and a cultural ambassador through the world by several legislative bodies including the Los Angeles City Council, the Los Angeles Mayors Office, the Los Angeles County Board of Supervisors and the California Senate. During the mid to late 1990's, Phil Ranelin along with jazz advocate Dalili Pierson, implemented a Los Angeles educational jazz appreciation series entitled "Who Is" featuring internationally known musicians with Los Angeles Ties including Dexter Gordon, Harold Land, Horace Tapscott, Melba Liston, Eric Dolphy, Charles Mingus, & Hampton Hawes. In 2016, Ranelin was inducted into the Indianapolis Jazz Hall of Fame and performed that same year at the Indy Jazz Festival in honor of Wes Montgomery. Ranelin's year-long 80th birthday tour takes him to Detroit's Cliff Bells & The Trinosophes Art Galler, July 12th - 14th. The tour then takes on an international flair with an August 1st 2019 appearance at the Jazz Café in London with other European dates pending.

Phil is extremely excited to perform at Zebulon Café with his 10 piece Tribe Renaissance Band.

Bassist Charnett Moffett Breaks New Ground & Debuts New Quintet on Bright New Day

For Bright New Day (available June 21), bassist and composer Charnett Moffett’s seventh recording for Motéma Music and 16th as a bandleader overall, the virtuoso musician spearheads a genre-transcendent program that explores a wide range of sound, style, and emotion from the lyrical “Holy Spirit” and uplifting “O My God Elohim” to the urgent funk-rock of “Free the Slaves,” (which features an especially cathartic electric fuzz bass solo by the leader). Included in this potent collection of eight originals are two Ornette Coleman/harmolodic-inspired jams, “Netting” and the exhilarating “Bright New Day,” plus two thoughtful odes to the elements in “Precious Air” and “Waterfalls.”

The album represents a continuation in the leader’s explorative body of work, and is uniquely distinguished from Moffett’s prior recordings by featuring him strictly on fretless electric bass guitar. “After doing several tours in Europe with my electric bass I found myself really motivated to do this,” said the artist, who has gained much of his acclaim as an upright bass virtuoso. “I thought, ‘Why not do an all electric album?’ And so, I did. It’s definitely a different kind of record. We made it in spirit and truth and it represents a new time of my life.”

Moffett’s signature soloistic quality is apparent throughout Bright New Day as he unleashes melodies and riffs on the frontline alongside rising star violinist Scott Tixier and guitarist Jana Herzen. Rounding out the exceptional new quintet is the much in demand drummer Mark Whitfield Jr. and veteran keyboardist Brian Jackson.

The new unit has a strong ensemble feel with Herzen alternately doubling Moffett’s electric bass lines and floating in half-time against the bubbling groove in classic harmolodic fashion. “The bass and guitar represent the frontline, like a trumpet and a sax, as far as the approach,” said Moffett. “If you check out the tune ‘Netting,’ it’s obviously Ornette-influenced and we’re approaching it as if it could be Don Cherry and Ornette playing that melody.”

Tixier contributes sparkling solos throughout the album and engages in expressive call-and-response with Moffett on a couple of tunes, including the buoyant 6/8 jam “Set It Free.” Jackson’s contributions in the rhythm section are vital as he provides the cascading momentum underneath the reflective “Waterfalls,” helps fuel the driving “Free the Slaves” and channels his inner McCoy Tyner on his solo to “Holy Spirit.”

Whitfield demonstrates an interactive touch from track to track and slams with authority on the funk rock-ish “Free the Slaves,” (about freeing your mindset) on which Moffett contributes impassioned vocals and unleashes mind-boggling solo chops. Throughout the program, Moffett stylistically alternates between lyrical, singing fretless lines and creative rock-solid grooves. Herzen, who is also the founder of Motéma Music and has worked with Moffett in a variety of contexts, comments that, “Playing in this ensemble is liberating and requires total presence. The music is not created from a fixed position, so we have to keep our ears keenly tuned and react quickly to each shift in the musical current.” Herzen’s vocals are also featured on her composition “Precious Air” which the leader included on the album to represent the breath of life.

“I composed this album with intention to create emotional uplift and healing vibrations,” explains Moffett. “Each composition came out of an emotional feeling that I needed to express or address at an exceptionally challenging time in my life.” The album is also an improvisational jazz experience that specifically explores the intertwining relationships between freedom and structure. “Each composition here operates on a different set of musical laws that I asked the players to follow when using their instruments to express the harmonies, rhythms, melodies and flows between structured sections and improvisations.”

The recording is one of Moffett’s most fully realized to date and represents a new chapter in his music and humanity. “For me, Bright New Day is an album that is both for and about life, “he relates. “A story of feeling dedicated to any human being in the world who’s ever lost someone they love... and also to any human being who’s ever found someone they love.”

‘Bright New Day’ was recorded on August 17, 2018 by Sascha Von Oertzen at the Bridge Studio in. Brooklyn. The album was mixed by Sascha Von Oertzen and mastered by Alan Silverman at Ariel Studios in New York. Additional mixing for “Precious Air” was done by

Aki Nishimura, Alan Silverman and Paul Rollnick.

Angelo Magni's Debut Album "Ruah" Brings a Soothing Spiritual Jazz

ANGELO MAGNI is a New York based serial entrepreneur. Originally from Milan, Italy, Boston's Berklee College of Music graduate (class '00) he recorded Ruah after 20 years of musical silence but of eccentric business activity. The only shows he played during these years were international Jeff Buckley tributes. Ruah is a meditative, jazzy insight into Angelo's spirituality. He recorded 6 original songs and 4 covers at the Bunker in Brooklyn, singing and playing piano and guitar, with well known jazz musician Shahzad Ismaily on bass/drums (Ceramic Dog, Lou Reed, Jolie Holland, Damien Rice and many more) and Marcello Allulli on saxophone.

  

This music is better listened to late at night, with a glass of wine. Think about listening to someone praying. Ethereal harmonies flow up and down and effortlessly bring crescendos with a smooth warm voice that seems to be whispering in your ears. Angelo sings of a relationship of gratitude and God-partnered walk through daily events and people met. Ruah is "the Breath of Life," or "Holy Spirit" in the Christian and Jewish tradition. "Throughout the album I sing about how this spirit brings life, creates situations and ultimately teaches us how to be in touch and united with God," he explains.

Well this relationship with the divine has certainly brought him places. A pilot, he flew all over Europe sponsored by Bose. He built Italy's first indoor skatepark (Trinity Skatepark), six coworking spaces (IF: Idea Factory), managed a resort for pilots (Ca' Del Conte), produced a gadget to quit smoking, ran a modeling agency in LA, and is a volunteer on the Board of Directors of Mary's Meals, an international charitable movement that feeds children in need. His latest venture is a chain of Italian restaurants called "I Love Panzerotti" which opened its first shop on the 8th of April in the Greenwich Village, New York. Basically a fried calzone, each panzerotto sold feeds a child in need.

The album is available on all streaming and downloading platforms and the official title track video is also released today on YouTube at this address: https://youtu.be/uDkbNkRXw6Y

Ron Davis : SymphRONica UPFRONT

Ron Davis. Piano player, composer, band leader, Edinburgh Festival Fringe favourite, BBC Radio 3 repeat guest, solo artist, critics choice. Ron and his band of award-winning musicians have kept people listening, loving and coming back for more.

Ron's music blends genres and pushes boundaries. It builds on his jazz and classical training, influenced by world music (klezmer, Hungarian, Italian, Brazilian, Latin). He seeks new textures, new forms, new compositions, new formations and new ways of presenting his signature sound. The music is diverse in a characteristically Canadian way. Ron is the founder of SymphRONica, the creative project that combines jazz, world, groove, pop, classical music and a stellar group of Canadian musicians into a mix that can be found nowhere else. In Ron's words "Just as Toronto is a city composed of many people from many places, SymphRONica is composed of a group of musicians from diverse backgrounds, and every one of them plays with intense passion and pleasure together." SymphRONica is genre-defying – no one else is combining a jazz ensemble with full symphony orchestras or string quartets.

Ron and SymphRONica's experiences include performances on BBC Radio 3, and in  London  (including  Trafalgar  Square  for  Canada 150 celebrations), and repeat invitations to the Edinburgh Festival Fringe. The positive reception and successes reached with their previous 3 albums have shown that SymphRONica is a true example of the height and skill of Canadian instrumental groups.

For 2019, Ron Davis and SymphRONica will not only be returning to Edinburgh for their fourth year to release SymphRONica UpfRONt, but they will be making a quantum leap on the world stage in two of the most prominent venues there, the Jazz Bar and theSpaceUK. In addition, SymphRONica will be performing a total of 40 shows in 20 days in Edinburgh, collaborating with musicians from the United Kingdom and around the world.

SymphRONica UpfRONt is the latest release from Ron and is a collaboration of world-class musicians from diverse backgrounds,   From start to finish, UpfRONt demonstrates their eclectic take on jazz.

Produced by Juno-Award winning Mike Downes, SymphRONica UpfRONt showcases the great Canadian talent that has coalesced around SymphRONica. The music digs deep into Canadian musical talent, including music director and guitarist Kevin Barrett and the string section leader Aline Homzey, a bright emerging talent who is recognized worldwide.

SymphRONica UpfRONt offers arrangements from Ron and several members, bringing influences from around the world. With their predilection for rhythm & groove, a unified, magical sound is created, a sound that incorporates an improvisational style that the musicians and Ron have developed together over the years. It's the signature SymphRONica sound. From the Brazilian beat of "Hum-A-Samba" to the old-school jazz of "Whirlycurl" from the haunting beauty of "Les Angéliques" to "Nina" - a beautiful tune written by Paolo Conte and sung by the gifted Canadian performer, Daniela Nardi, SymphRONica UpfRONt has music for everyone.

Bassist and Composer ANNE METTE IVERSEN Presents Ternion Quartet - INVINCIBLE NIMBUS

The prolific and critically-acclaimed bassist and composer, Anne Mette Iversen (based in Berlin since 2012), formed Ternion Quartet at the beginning of 2015, exposing a new, exciting side of her musical personality, documented in grand fashion on the band's self-titled debut in 2017 (on Brooklyn Jazz Underground Records).

Ternion Quartet's sophomore album, Invincible Nimbus (available Today, May 10 on Brooklyn Jazz Underground Records), which showcases an ensemble of highly-creative, accomplished artists utterly in tune and musically enamored with one another, stretching out their seemingly inexhaustible imaginations, is about selflessness and being open to dialogue. Iversen elaborated that, "In music there is no room for selfishness. Music only lives and thrives when a dialogue is present. Only by giving room to others, by listening and by taking part in the conversation, can we lift ourselves out of the needy, greedy, self-centered orientation that threatens to grab us all. This is evident to all of us who are intimately familiar with music - and this is what we all intuitively respond to and love about music. My hope is that music can inspire more people, and especially people who have the power to make a difference in our current state of the world, to listen, omit selfishness and to respect other ideas than their own."

On Invincible Nimbus Ms. Iversen flexes her considerable composing chops, and while writing the music for this album she was studying different classical composing theories, and trying out approaches and techniques that she had not worked with consciously before. Iversen was especially focused on melody and harmony, and found herself experimenting with ways to apply the 12-tone scale to a jazz composition, ways to incorporate fugue-writing techniques and ideas from Messian's 'The Technique of My Musical Language'. The composer also searched for new sounds in Slonimsky's 'Thesaurus of Scales and Melodic Patterns', and had ideas for some challenging rhythmic material that the band had fun working with in the rehearsals (check out 'Dig Your Heels In'). While writing and recording Iversen eschewed compartmentalizing her music into genre or style. The ensemble simply played, worked out their sound for these compositions, and engaged in the musical dialogues.

Ternion Quartet is fronted by two amazing artists, alto saxophonist Silke Eberhard (rising star, DownBeat Magazine 2015 & 2017), and trombonist Geoffroy De Masure (professor at The Jazz Institute of Berlin), and is brilliantly supported, buoyed and propelled by Ms. Iversen and long-time friend and colleague from NYC, German-born drummer Roland Schneider. Iversen composes to allow the musicians unlimited space for their creative input, which is imperative to having a true dialogue. "The compositions I bring to the band are open pages. I do not dictate how anyone should play. The composition comes alive when each musician contributes what he or she hears and feels. The composition is an opening statement, setting the topic for the discussion, and the dialogue is the means for us to get the most out of each and every experience. We can be very different people, and we are, but because we share the values of keeping an open mind, being curious, respectful, and humble, the interactive dialogue we have with each other moves us and the music forward and the composition comes alive!", said Iversen.

The compelling album title, Invincible Nimbus, comes from classical mythology in which a nimbus is a cloud that surrounds a God or Goddess when he/she is on earth. Iversen liked the idea that this kind of aura is not something that can be destroyed, no matter what is done to the God/Goddess. "I guess I wish that we, humans, would find ourselves so strong that the aura that we are born with as children, the light that you see in the eyes of most children, would stay with us, and not disappear through being hurt or disappointed or manipulated into being something else than who we are. I believe that if we could meet each individual and not expect them to be anything else than who they are, then we would also be able to have an invincible nimbus around us," said Iversen. So the Invincible Nimbus album is about being still and engaging in true dialogues. Iversen elaborated, "our upbringing and our societies may not support the mindset that we were given at birth, i.e. a natural curiosity, trust and the need to explore, but this should be the base of our lives. We need to rediscover this foundation within ourselves, so that we can grow to the maximum potential and an important tool for that is in my opinion, dialogue."

Shortly after the recording sessions Iversen travelled to Athens to play concerts with another band and the importance of dialogue - the musical, but also the spoken, became very clear to her. She explains, "The dialogue was essential for the famous ancient Greeks for understanding and for learning. A true dialogue is a tool, characterized by openness, respect and humbleness."

For Iversen, the making of this album combined with her stay in Athens brought to consciousness what the bassist had always subconsciously understood and intuitively adhered to. Music teaches us about life and how to be the best we can be. Iversen elaborated, "It spreads the message to anyone who listens, and hopefully helps open hearts and ears for many. Our responsibility as musicians is to put something real into the music. Depth, soul, a heartfelt message. Real life content and experiences, not superficial crap. We are obligated to teach the importance of dialogue by making our music. To exemplify it. This is how we make an impact, and this is so much deeper than entertaining an audience for a few hours - what we put into the music is what they take home. This is why I am a musician and why it is meaningful for me to be a musician."

Ternion Quartet has toured successfully in Europe, performs regularly in and around Berlin, and has been invited to perform at Aarhus International Jazzfestival in Denmark (July 2017) and The Copenhagen Jazz Festival (2017). Their debut album Ternion Quartet received numerous rave reviews, and was on the long list of 'Preis der Deutschen Schallplatten Kritik' (2017), and on the list of "10 Best Jazz Releases of 2017" by Kjeld Frandsen, Berlingske, DK. Invincible Nimbus is their second album, available May 10, 2019 on Brooklyn Jazz Underground Records.

Invincible Nimbuswas recorded September 15 & 16, 2018, by Marco Birkner at RecPublica Studio, Lubrza, Poland.

It was mixed and mastered December 29, 2018 and January 4, 2019 by Dave Darlington, Bass Hit Studio, NYC.

NY Based SNACK CAT Releases Debut EP

Snack Cat is a NYC based band that features some of the cities top young musicians. The group's sound is a cross between soul, rock, jazz, blues and funk. Snack Cat has already played many of NYC's top music venues including Rockwood Music Hall, Mercury Lounge, The Falcon, Bryant Park, Groove, C'mon Everybody, and The Knitting Factory. The band consistently plays Sofar Sounds shows around the city as well. Snack Cat's members have played and recorded with some of of the biggest names in music: Roberta Flack, John Mayer, The Zach Brown Band, Grace Potter, Ben Folds, John Patitucci, Jersey Boys, Greg Allman, etc.

Snack Cat's first official release has been a long time in the making. The band has been refining its sound for a few years now, drawing inspiration from classic funk, soul and rock while never forgetting its jazz roots. Guitarist and bandleader Aleksi Glick wrote most of the music for this debut EP in January 2018 on a rooftop in LA. It was something about the setting of the dirty yet iconic city that got the creative juices flowing - the many dreamers trying to make it big and putting on whatever face or facade got them through the day. While the songs come from a reflective and almost pensive place, they express a certain joy and hopefulness. At its heart, Glick's music is inspired by his hometown of New York City, but for some reason these particular songs needed to come to life and grow elsewhere. Along the way, Glick's old bandmate, Madhava Hansen, and Snack Cat frontwoman, Chantal Mitvalsky, contributed final touches to the songwriting behind the tracks.

The EP was recorded at Flux Studios in NYC's Lower East Side by Tom Beuchal and mixed, mastered and produced in LA by Alvin Wee. Each member of Snack Cat's distinct musical voice adds to the group's classic yet one-of-a-kind sound displayed on this release. Chantal and Pete's soulful voices overlay the dynamic rhythm section (Aleksi, Jeff, Nathan and Sharik) with the tight horn section (Seth and David) adding final touches to bring the music to life.

ANAT COHEN TENTET RELEASES FIRST SINGLE, "MILONGA DEL ANGEL," FROM ITS EAGERLY AWAITED SOPHOMORE ALBUM, TRIPLE HELIX

In a stirring follow-up to its 2017 debut Happy Song, the Anat Cohen Tentet reaches a new crest in its evolution with Triple Helix. The album's centerpiece is a three-movement concerto composed for Cohen and the tentet, the Grammy-nominated clarinet virtuoso, by her longtime collaborator Oded Lev-Ari, the Tentet's musical director. Commissioned by New York's Carnegie Hall and Chicago's Symphony Center for live world premieres earlier in 2019, "Triple Helix" won raves from The Chicago Tribune as "a work of considerable expressive reach" and a "sensuous tonal palette," with Cohen "sounding like a musician transformed."

Those qualities are abundantly evident in the album version, conducted by Lev-Ari as he also did onstage in New York and Chicago, highlighting Cohen at her most "fresh, sophisticated and daring" (JazzTimes). The Tentet, a vibrant mix of ace New York players, bring a wealth of color to the new work, which defies all stylistic pigeonholing: weaving in and out we hear the sumptuous brass of Nadje Noordhuis and Nick Finzer, the robust baritone sax of Owen Browder, the sonically enriching vibraphone and percussion of James Shipp, the lithe and versatile cello of Christopher Hoffman, the radiant piano and accordion of Vitor Gonçalves, the edgy yet ingeniously integrated solid-body guitar of Sheryl Bailey and the decisive and driving rhythm section work of bassist Tal Mashiach and drummer Anthony Pinciotti.

"Oded knows my playing as well as anyone, and he never reaches for the obvious, so there's an edge of surprise to whatever he does," Cohen marvels. The concerto, Lev-Ari explains, "wasn't designed as a feature for Anat as a soloist with just an ensemble backdrop. I wrote it for her as the leader of an organic, interactive band, the Tentet, and the way they play together live. I composed the concerto like a tailor leaving a lot of slack in a suit: we can really let it out and expand it if we want to. It's the most technically demanding thing I've ever written for her, knowing as I do what's in her fingers and what she's capable of on the clarinet." Indeed the longstanding musical relationship of Cohen and Lev-Ari finds precedent in the storied bond of collaborators like Miles Davis & Gil Evans, or in Duke Ellington's use of specific idiomatic writing for featured soloists and band members.

Continuing to blaze a trail as a poll-winning clarinetist and far-sighted bandleader, Cohen delves into the wealth of ideas summoned by Lev-Ari on "Triple Helix": classical and contemporary sounds, Americana lyricism, Latin and Middle Eastern rhythms and more. The clarinet trill at the outset hints briefly at Rhapsody in Blue, subtly proposing a 21st-century perspective on Gershwin's model of hybrid-genre works for the concert hall.

Opening the album is one of the six non-suite tracks, Lev-Ari's luxuriant arrangement of "Milonga Del Angel" by the late Astor Piazzolla, setting a slow and haunting South American mood from the outset. Cohen reveals her unsurpassed clarinet tone as the Tentet's adroit, endlessly subtle approach to counterpoint, call-and-response and texture comes clearly into focus. Cohen later weighs in with her own "Miri" and "Footsteps & Smiles": the former a model of balladic restraint working up to harmonic passages of beguiling modernity; the latter a riot of clave rhythm and momentum, with shades of boogaloo and what one could call chamber-funk (solos by Shipp and Cohen, a breakout piano statement from Gonçalves, and a funk breakdown with bari sax and pizzicato cello keep this whimsical, anarchic tune on steady course). "Morning Melody (Epilogue)," Cohen's brief sendoff and set closer, coaxes the distinctive voices of individual instruments in turn, then places them in combination, offering a more intimate view of the band's inner workings.   

Two more resourceful Lev-Ari arrangements complete the program: the traditional Mexican "La Llorana" (crying woman) opens in an abstract rubato vein with achingly dissonant sectional harmony, setting up another breathtaking clarinet melodic feature for Cohen and an ensemble showpiece for the band. "Lonesome Train," composed by Gene Roland for the Stan Kenton band in 1952, is recrafted by Lev-Ari to suit the Tentet's idiosyncratic strengths. Cohen and her bandmates seem to evoke the swinging, noir-ish vocal part performed by Kay Brown. On both these arrangements, Bailey contributes enticing elements of grit and grain, well outside the more traditional jazz guitar approach.

The Anat Cohen Tentet has grown from workshops at Shapeshifter Lab in Brooklyn to multi-night runs of rousing club experiences at the Jazz Standard in Manhattan as well as high-profile engagements at the Newport, Monterey and SFJazz Festivals. The band's upcoming Los Angeles double bill with the great Maria Schneider Orchestra (at Disney Hall, April 19, 2020) positions the Tentet in the first line of large ensemble jazz of our time. In addition to Cohen's staggering versatility (on clarinet and tenor saxophone as well), and her mature command of such a wide range of musical idioms, she has found in the Tentet a vehicle like no other: one band that can explore all the styles and artistic pathways to which she's so eagerly dedicated herself. In the process she weaves these diverging strands into a style and an experience all her own.

 

Pianist Michel Camilo Celebrates 25th Album "Essence"

For his landmark 25th album as a leader, iconic pianist, composer and bandleader Michel Camilo wanted to do something truly special. That’s saying something, given that every release by the GRAMMY®, Latin GRAMMY®, and Emmy-winning Camilo is an event. But the Dominican-born pianist set out to celebrate in a big way: namely, by reconvening his all-star big band for the first time in a quarter-century to explore the full scope and breadth of his remarkable career.

Essence, due out June 7 via Resilience Music Alliance, offers exactly that: the essence of Camilo’s artistry spanning the last 40 years. The music, arranged in collaboration with trumpeter and longtime collaborator Michael Philip Mossman, is drawn from key points along Camilo’s storied trajectory. Most of the material has only been heard in trio settings in the past, while much of it hasn’t been revisited in the studio since the original recordings. All of it, however, vividly reflects the composer’s diverse influences, bringing together the various strands of his passion for jazz improvisation, Latin roots, and classical training.

“I tried to choose music from every stage of development as a creative artist and as a composer,” Camilo says. “I picked songs that represent shifts in my career and my point of view, that showcase how I developed my sound. I’ve always thought of the trio as a mini-orchestra, so the big band is a way to celebrate my career and my journey with a group of friends creating together in the studio.”

The cover of the album references an even more basic essence, the four elements that contribute to all life on the planet – each of which is represented vibrantly in the pianist’s singular sound. “My music has the fire, of course,” Camilo explains. “The air is the space between the lines and the way we breathe together. The water comes in the flow of ideas while the earth is in the grooves, the organic way they bring you down to earth.”

While Camilo has performed his music as a featured soloist with some of the world’s most acclaimed ensembles – Danish Radio Big Band, WDR Big Band, Luxembourg Jazz Orchestra, Vienna VolksOper Big Band, Bulgarian Brass Association, countless symphony orchestras – Essence is only the third occasion on which he’s recorded with his own big band. The first was the acclaimed 1994 album One More Once, followed in 2009 by Caribe – a live recording of the same material from the pianist’s 1994 return to his native Dominican Republic.

The ensemble Camilo has assembled for Essence fits the occasion; the 18-piece band comprises a stellar group of old friends, recent collaborators, and new acquaintances culled from the foremost plays in modern jazz. The band features a woodwind section with Antonio Hart, Sharel Cassity, Ralph Bowen, Adam Kolker and Frank Basile; in addition to Mossman the trumpets include Raul Agras, John Walsh, Diego Urcola and Kali Rodriguez-Peña; while the trombone line boasts Michael Dease, Steve Davis, Jason Jackson and David Taylor.

The core of the band, as always, consists of Camilo’s remarkable rhythm section. In-demand drummer Cliff Almond has worked with the pianist for nearly 30 years, appearing on many of his most beloved releases. Ricky Rodriguez is a young lion originally from Puerto Rico who has become Camilo’s bassist of choice in recent years, alongside his work with Joe Locke, Arturo O’Farrill and Dafnis Prieto, among others. The newest addition is Eliel Lazo, a Cuban percussionist and vocalist currently based in Copenhagen.

Photo Credit: Frankie Celenza

The album opens with the combustible grooves of “And Sammy Walked In” from Camilo’s 1989 album On Fire. The tune got its name from its original guest percussionist, the great Sammy Figueroa, who happened to wander into the studio during the session and ended up providing the song’s crucial element with his virtuoso conga playing. Lazo proves a worthy successor with his own solo, in conversation with Almond’s raucous work on the kit. The barn-burning title track is also revisited, with an audacious alto solo courtesy Sharel Cassity.

Figueroa is one of three master percussionists to whom Camilo pays homage on Essence. The second is the iconic Mongo Santamaría, the honoree of “Mongo’s Blues.” Santamaría took Camilo under his wing shortly after the young pianist moved to New York in 1979 and appears on Camilo’s self-titled American debut from 1988. Lazo provides a stirring introductory piece on percussion and vocals, both a lament and offering, that leads into the song, an intricate weave of blues, swing, and Afro-Cuban rhythms worth of its namesake.

Almond’s dexterous rhythms lead into the third tribute, “Repercussions,” a nod to the late, great Art Blakey. Camilo crossed paths with the head Messenger during his days as a regular at the now-defunct Upper West Side club Mikell’s in the ‘80s. “Art used to play there whenever he was in town,” Camilo recalls, “and I even sat in with him one night. He pulled me out of the crowd. It was one of the highlights of my life.”

The impressionistic “Liquid Crystal” shows another side of Camilo’s compositional voice and shines a spotlight on the ensemble’s youngest members, Cuban-born trumpeter Kali Rodriguez-Peña. “I wanted a Miles Davis vibe, full of long lines and atmosphere,” Camilo says. “With a name like ‘Liquid Crystal’ you expect something that flows. Kali killed it.”

The roiling “Mano a Mano” is the titled tune from Camilo’s 2011 trio album, and here provokes fiery, athletic turns from Bowen, Dease and Mossman. The same album also provides the blistering “Yes,” highlighted by Urcola’s lyrically burning trumpet. The evocative ballad “Just Like You” was originally penned for a film soundtrack, meant to evoke a sultry, mysterious film noir mood, and was reprised in trio form on 2002’s Triangulo (also the source of the smoldering “Piece of Cake”). Here it provides the perfect setting for a supple outing by Antonio Hart, a regular member of Camilo’s bands.

The album’s closing track is also its earliest; “Hello & Goodbye” reaches all the way back to Camilo’s 1985 debut, Why Not?, originally released only in Japan and not recorded again since. “I wanted to revisit some of the songs that I haven’t rerecorded over the years, take a fresh look and explore all the new ideas that we’ve discovered in them over the years,” Camilo says.

That never-ending sense of discovery lies at the essence of Camilo’s brilliant sound, which has thrilled audiences throughout four decades and, with the release of the stellar Essence, 25 albums. “Time flies when you’re having fun,” Camilo concludes.

 

The Comet Is Comingr eleases their Impulse! Debut - Trust In The Lifeforce Of The Deep Mystery

The Comet Is Coming, "an improvisational, intergalactic mash-up" (The Guardian), will release their Impulse! debut, Trust In the Lifeforce Of The Deep Mystery, on March 15. Their first-ever US tour begins in Los Angeles on March 12 and takes them through SXSW, NYC, Philadelphia, DC, Big Ears Festival and finally lands them in Bonnaroo on June 13. The first track from the album, "Summon The Fire," is available today.

The Comet Is Coming, who in 2016 were shortlisted for the Mercury Music Prize, is comprised of King Shabaka (Shabaka Hutchings) on saxophone, Danalogue (Dan Leavers) on keys/synth, and Betamax (Max Hallett) on drums. On this album, Trust In The Lifeforce Of The Deep Mystery, the trio envisage a 21st century take on spiritual jazz that is part Alice Coltrane, part Bladerunner.

Danny Bennett, President & CEO of Verve Label Group (home of Impulse!), says of the group, "When I first saw The Comet Is Coming, I knew immediately I was in the presence of greatness that was bound to shake the foundation of music. This group is shifting paradigms, enticing listeners to expand their consciousness through this mind-bending music. This is what Impulse! and Verve Label Group is about – always pushing the envelope." 

Consider the titles of some of the trio's new songs: ‘Because The End Is Really The Beginning', ‘Birth Of Creation', ‘The Universe Wakes Up' and ‘Unity'. This is music brings us back into being through creation myths and the inception of life itself. Their arsenal: drums, synthesizers and saxophones alone. King Shabaka explains, "We are able to catch glimpses of this lifeforce energy during our music-induced trances, and in doing so can contemplate our position as a human species in the context of the vastness of space and the epic scale of its workings." Drummer Betamax posits, "There are going to be some massive shifts in our own lifetime as life begins to transcend biology… so let's at least find some essential truths and inner peace so we can make wise decisions."

Listen to the pulsing ‘Blood Of The Past', on which guest vocalist Kate Tempest delivers a state-of-the-universe address that somehow simultaneously summons the spirits of William Blake, Ian Dury, Carl Sagan and Stephen Hawking, all with wide-eyed awestruck wonder. Or ‘Summon The Fire', perhaps their most accessible, riotous, and air-punching moment to date. The trio are nothing short of alchemists, concocting a primordial stew of taut beats, sub-bass, and unhinged sax breaks. They paint pictures of astral planes and neon seas, with driving beats and celestial melodies.

The Comet Is Coming formed in London in 2013 when the tall, "shadowy figure" of Shabaka appeared stage-side during show by Danalogue and Betamax's formidable drums and synths duo Soccer96, sax in hand. Exploratory jams were immediately undertaken. Visions were experienced, dreams born. A member of Sons of Kemet and Shabaka and the Ancestors, Shabaka was already the MOBO-winning leading light of the contemporary British jazz scene. Make no mistake though, The Coming Is Coming are a three-headed beast, with all music co-written, and Danalogue and Betamax mixing and producing the record.

"There is an incredible amount of historical evidence that suggests the control of a single leader leads to corruption and is not to the benefit of the community," says Danalogue. "There is a trust we have in each other - to do what is best for the group."

Discovering a shared love for Sun Ra, Hendrix, Can, the LA beat scene, Mahavishnu Orchestra and Death Grips and named after a beloved BBC Radiophonic piece that they found in a vinyl library, the trio hit the studio immediately to record hours of music that would comprise the EP Prophecy (2015) and debut album Channel The Spirits (2016) plus Death to the Planet released on Record Store Day (2017). A helter-skelter ride down worm-holes to splash through far-flung topographical oceans and scaling celestial peaks, Channel… took in freak-out space funk, freewheeling psychedelia and jazz punk mayhem all the way. It was shortlisted for the 2016 Mercury Music Prize.

The group signed to Impulse! Records in 2018, and this is their first release on the legendary label. They are among greats like John Coltrane, Pharoah Sanders, Alice Coltrane: fathers and mothers of the spiritual and transcendental jazz movements, among other legendary jazz artists. Impulse! Records was recently relaunched and is now operated out of the United States, sitting underneath Verve Label Group alongside other imprints such as Verve Records, Verve Forecast, Decca, Deutsche Grammophon, and more.

The Comet is Coming to destroy illusions. It will manifest new realities, perceptions, levels of awareness and abilities to coexist. It is a musical expression forged in the deep mystery. It is the overcoming of fear, the embracing of chaos, the peripheral sight that we might summon the fire.

Through the transcendent experience of music we reconnect with the energy of the Lifeforce in hope of manifesting higher realities in new constructs. Because the end is only really the beginning.

A DEEP LOVE OF JAPAN'S CAPITAL CITY INSPIRES FRANCESCO TRISTANO'S NEW ALBUM "TOKYO STORIES"

His personal experiences of the metropolis distilled into 16 original pieces for piano & electronic. Featuring guest artists Michel Portal, U-zhaan, Keiichiro Shibuya, Hiroshi Watanabe & Guti

The new album "Tokyo Stories" captures Francesco Tristano's deeply held admiration for the city in 16 original compositions for piano, synthesizers and electronics. The album reflects his long personal connection to Tokyo, with each piece or ‘story' crystallizing experiences that range from the profound to the happily serendipitous. Composed by Tristano and recorded primarily in Tokyo, the album features a variety of guest artists on several tracks, including the Japanese musicians U-zhaan, Keiichiro Shibuya and Hiroshi Watanabe, Argentine electronic artist Guti and legendary French musician Michel Portal.

Tristano explains: "I came here for the first time in 2000. I was only 18 years old, a freshman at the Juilliard School of Music in New York. I realized very soon that New York City is barely even comparable to the mega-city that is Tokyo! It felt totally like a neon jungle. Clearly, I was impressed. I remember this first experience very fondly, even though there were some difficult moments. I didn't return until 2009, but since then I've made around 40 trips to Tokyo. This is my humble soundtrack to the city; my album is not about explaining Tokyo – it is about very specific moments in my mind, moments that I have lived intensely in this wonderful city over the past 10 years."

In some ways this album picks up where his previous album, Piano Circle Songs, left off: the stories are piano pieces, but this time enhanced by live and studio electronics, synthesizers, soundbites and field recordings made around the city. While the album title doffs its hat to Yasujirō Ozu's iconic 1950's film Tokyo Story, the inspiration for the music is personal to Tristano.

An intimate example is Yoyogi Connect, where Tristano explains: "In the summer of 2017 my father-in-law passed away as I was traveling to Tokyo. I didn't board my second flight but returned home to play at his funeral. The trip back afterwards was going to be very different – my most difficult trip to Japan. I had already begun to explore the city by bicycle and running, and I had been to Yoyogi Park many times. But that summer, I went to the park just once: not for running, but to reset my mind. To reconnect with nature. This song captures these moments of solitude, confusion and, ultimately, strength and reconciliation."

Three stories will be released prior to the album in pure piano versions. These are Chi no oto (March 1), Lazaro (March 29) – a reflective melody written in memory of a friend's father, the melody stayed in Tristano's mind during the Tokyo recording sessions – and Neon City (April 26), which Tristano poetically describes as a "Juxtaposition of lights and shadows. Inexorable beauty and urban sadness. It is the Neon Jungle".

The tracks Lazaro and Neon City will each be accompanied by the release of a video visually representing the mood of each story.  

Tristano's collaborators are as varied as the stories themselves. The track Cafe Shinjuku sees renowned French musician Michel Portal contribute a beautiful collaboration on his bass clarinet. Considered one of the architects of modern European jazz, Portal's many accomplishments as composer, saxophonist and clarinetist bridge the worlds of jazz, classical, avant-garde and film music.

Japanese electro-acoustic composer Keiichiro Shibuya performs on synthesizers and electronics on Gate of Entry. This track is inspired by Tristano's contemplation of the majestic torii he stumbled upon when lost in the Tokyo suburb of Asakusa in 2011, while "preparing my mind for my first club show in Tokyo. The torii gave me energy". Shibuya has made an international name for himself composing and producing music for film, sound installations and through cross-sectional collaborations with researchers and artists using robots and artificial intelligence.

Japanese national master tabla-player U-zhaan adds a unique flavor with his array of tablas on the track Pakuchi. Tristano and U-zhaan's first collaboration, it proved an intense process of musical familiarization which can be heard developing via the call and response conversation between the piano and tablas.

Bokeh Tomorrow features the Japanese musician Hiroshi Watanabe on synthesizer and electronics. Watanabe trained at the Berklee College of Music and is one of Japan's leading electronic music producers; he's also well-known for composing, producing and recording music for games, TV and theatre, as well as through his collaborative projects.

The multi-talented artist and electronic music producer Guti hails from Argentina and provides mesmerizing electronics and synthesizers on Insomnia. With a deep-seated love of jazz and rock from his first incarnation as pianist in a popular Buenos Aires-born band, his career since has seen him play, produce and record house and techno to international and critical acclaim.

Francesco Tristano will present "Tokyo Stories" live in Germany in Stuttgart, Berlin and Leipzig in May 2019 and in Japan in October 2019.