New Music Releases: Philip Bailey – Love Will Find A Way; Quantic - Atlantic Oscillations; Boyan Rista - Without Your Love

Philip Bailey – Love Will Find A Way

Philip Bailey's looking hipper than usual on the cover – and he's sounding hipper than usual within – thanks to fantastic production help from Robert Glasper, Christian McBride, and Chick Corea – all artists who play on the record, and help give Bailey a really timeless sense of soul! The man himself needs no introduction – thanks to his long legacy in Earth Wind & Fire, and a range of great solo records too – but there's really something different, and something special taking place here – as Bailey pushes both his vocal range and sense of songform, working through music by Curtis Mayfield, Marvin Gaye, Oscar Brown Jr, and even the Talking Heads – while also turning in some great songs of his own, co-penned with some of the album's collaborators. The instrumentation is served up by a dream group of jazz talents – Kamasi Washington on tenor, Kenny Barron on piano, Robert Glasper and Chick Corea on keyboards, Steve Wilson on saxes and flute, Lionel Loueke on guitar,and Christian McBride on bass – and although the record features guest vocals from Bilal and Casey Benjamin, it's Bailey's work that's the real main attraction. Titles include "We're A Winner", "Stairway To The Stars", "Just To Keep Your Satisfied", "Once In A Lifetime", "Billy Jack", "You're Everything", "Brooklyn Blues", "sacred Sounds", and "Love Will Find A Way". ~ Dusty Groove

Quantic - Atlantic Oscillations

A masterpiece from Will "Quantic" Holland – an artist who always surprises us with new sounds, but really blows us away with the depth in this set! Quantic started out groovy, then got funky and soulful, then embraced a range of Latin cultures in later work – and throughout that long musical journey, he's never failed to keep on growing – always stepping forward towards new sonic horizons, rather than be content to serve up the same sounds that got him attention in the first place! Subtle strings are added to beats (both acoustic and electric), keyboards, and just the right use of vocals from Nidia Gongora, Alice Russell, Denita Odigie, and Holland himself – so that the album's got this balance between instrumental activity and lyrical passages – the shifting voices never taking the spotlight away from the larger musical vision that Quantic uses to guide the whole proceedings. Sly5thAve also adds in some great work – and titles include "Tierra Mama", "Incendium", "Divergence", "Is it Your Intention", "La Reflexion", "Orquidea", "September Blues", and "Now Or Never". ~ Dusty Groove

Boyan Rista - Without Your Love 

Serbian Soul! – East meets west in the sound of multi-instrumentalist Boyan Rista

London based artist and producer Boyan Rista releases the video for his début single ‘Without Your Love’ a song that talks about how Rista’s life was changed after loving and losing a very special girl. The video, which was shot in Miami, shows how one simple decision can change the course of one’s life (think The Butterfly Effect) as we watch one character live out 2 alternate time lines simultaneously. Originally from Serbia, Boyan fell in love with soul and R&B after discovering Stevie Wonder’s Innervisions in his dad’s record collection. He has gone on to become a multi-instrumentalist, writer and producer, much like his idol. Every instrument you hear on this track was played by Boyan himself. He also wrote, produced and mixed the song from his studio in South London. It was mastered by Bob Katz, mastering engineer of 2 Grammy Award winning albums. Katz said of the song “It’s magic … I listened to it several times after mastering, just for the joy.”

 

Guitar Virtuoso Scott Henderson To Release Instrumental Album For Guitar Trio “People Mover” On July 1, 2019

Guitar virtuoso Scott Henderson has finished his new album “People Mover,” the most ambitious project of his career! The highly anticipated instrumental album for guitar trio will be released on July 1, 2019.

Says Scott, “The music has a lot of interplay due to a busy touring schedule with bassist Romain Labaye and drummer Archibald Ligonniere. I'd say this album is a bit more harmonic than 'Vibe Station,' and the rhythm section plays a bigger role in the music. The challenge was to come up with new tones and effects I haven't used before, since like 'Vibe Station,' the songs are layered with multi guitar tracks.”

“People Mover” demonstrates Scott's striking ability to combine elements of jazz, rock, funk and blues in an even more authentic, seamless and musical way than any of his previous work. Proof that after 35 years as a bandleader, Scott is a musician who's playing and composing continues to grow.

From a recent interview, “My music isn't for purists, that's for sure, and I'm very thankful for my fans who are obviously open-minded and share my love for many different styles of music.”

Scott Henderson's impressive work over the years as co-leader of the group TRIBAL TECH, leader of his own ground breaking trio, and sideman to some of the best jazz artists of their generation, including the great Joe Zawinul, has elevated him to the front ranks of both Jazz and Blues. Catch Scott on tour in 2019: July in Europe, September in South America, and October in Asia.

https://www.scotthenderson.net/

https://www.facebook.com/scott.henderson.14418101 

18 Year Old Multi-Instrumentalist Matthew Whitaker Set to Release Debut with Now Hear This

Though he’s still only 18 years old, multi-instrumentalist Matthew Whitaker has come a long way to get where he is today, overcoming adversity and dedicating countless hours to honing his craft. Now, with his declarative label debut Now Hear This, Whitaker announces himself as a major new voice on jazz piano, organ, and a wide range of keyboard instruments.

Due out August 9 via Resilience Music Alliance, Now Hear This teams Whitaker with a stellar all-star band featuring guitarist Dave Stryker, bassist Yunior Terry, drummer Ulysses Owens Jr., and percussionist Sammy Figueroa. Keyboard great Marc Cary and flutist Gabrielle Garo also make special guest appearances. The album was overseen by GRAMMY® Award-winning producer Brian Bacchus, who has worked closely with the likes of Gregory Porter, Norah Jones, Randy Weston and Sullivan Fortner, among others.

But it’s Whitaker that commands the spotlight, evidencing a bold and confident sense of swing and a wide-ranging palette that spans straight-ahead jazz and hard bop to R&B and Latin influences. Supplementing his virtuoso piano skills with soulful Hammond organ and coloristic synthesizers, Whitaker leaves any “prodigy” stigma far behind on this stunner of an album.

Whitaker’s distinctive voice would be captivating under any circumstances, but the obstacles that he’s had to overcome in his young life make Now Hear This all the more breathtaking. He was born three months premature in 2001, weighing less than two pounds and able to fit in the palm of his father’s hand. The newborn was given less than a 50% chance of surviving; the oxygen that he was given by doctors allowed him to live but cost him his sight.

Blindness proved no obstacle to playing music, however, and Whitaker displayed preternatural talents from the first moment he touched a keyboard. That initial opportunity came at the age of 3, when Whitaker’s grandfather gifted him a small Yamaha keyboard. “I would come home from school and teach myself nursery rhymes,” Whitaker recalls. “No one showed me how, I just started playing. If I can hear it, I can play it.”

At 5 Whitaker began studying classical piano at the Filomen M. D’Agostino Greenberg Music School in New York City, the only community music school for the blind and visually impaired in the United States. He continues to work closely with the school; his heartfelt composition “Emotions” was written expressly for a performance there. “They’ve supported me since I was 5 and they continue to do that to this day,” Whitaker says.

WatchMatthew Whitaker perform live on The Ellen DeGeneres Show

As a blind African-American piano prodigy, comparisons to Stevie Wonder were inevitable. Meaningfully, Wonder himself gave the younger keyboard wizard his imprimatur when he invited Whitaker to open for him during his induction into the Apollo Theater Hall of Fame. In 2016 Whitaker returned to that legendary stage, this time performing Wonder’s classic “I Wish” for FOX TV’s revival of Showtime at the Apollo.

But Whitaker never set out to be a Stevie Wonder clone, and while the soul icon is a definite influence Whitaker can rattle off a long list of indelible influences that leans heavily towards jazz giants like McCoy Tyner, Barry Harris, Art Tatum, Oscar Peterson, Chick Corea and Herbie Hancock. His gifts have been recognized by a number of jazz luminaries who have provided crucial mentorship, including Cary, Christian McBride, Dr. Lonnie Smith, Regina Carter, Jon Batiste, Roy Ayers and Jason Moran, among others.

His musical path was set at the age of 7 when his father dialed into a jazz station on the car radio one day. “Ever since then it’s been my favorite genre of music to play and listen to,” Whitaker says with obvious enthusiasm. “Unlike other styles of music where you play what’s on a sheet of paper or play just like a recording, with jazz you have the ability to be free with the music and improvise. You can really do you.”

Whitaker has done just that from an early age, adding drums to his repertoire at 6 and the Hammond organ at 9, inspired by such legendary forebears as Dr. Lonnie Smith, Charles Earland, Jimmy Smith and Joey DeFrancesco. Whitaker shows off his impassioned B3 playing on a dazzling original arrangement of Charlie Parker’s “Yardbird Suite” that he premiered during his debut performance at NYC’s Charlie Parker Jazz Festival.

A more intimate, impressionistic side of his organ playing emerges on his own original, “Thinking of You,” which Whitaker insists is an open-ended dedication, with no single “You” in mind. He renders the Barry Mann/Cynthia Weil hit “Black Butterfly,” best known for Deniece Williams’ version, in soulful atmospherics embellished by Cary’s Fender Rhodes, and gets deeply funky on Eddie Harris’ immortal “Freedom Jazz Dance,” here highlighted by Stryker’s blistering wah-wah guitar.

The album opens on Whitaker’s brilliant acoustic playing, however, as he sets the pace for “Overcoat,” an intense contribution from guitarist Django Rowe, a fellow participant in the Kennedy Center’s renowned Betty Carter Jazz Ahead program. That’s followed by a tender trio rendition of Ahmad Jamal’s gorgeous “Tranquility,” after which the band expands to realize Whitaker’s own composition “Underground.” The piece blends a vibrant array of colors, with Figueroa’s percussion accents and Garo’s soaring flute added to Whitaker’s Moog and synth flavorings.

The Tyner influence emerges on a stormy trio rendition of the standard “Bernie’s Tune,” while a more elegant side of Whitaker’s talents is revealed on Billy Strayhorn’s “U.M.M.G.,” performed as a finely-tailored duet with Terry. Whitaker’s “Miss Michelle,” a dedication to his manager, melds Latin and R&B influences into a gently swaying dance, while the Latin inflections explode on Michel Camilo’s fiery “Caribe.”

Now Hear This is a perfect summation of Whitaker’s evolution to date. He’s enjoyed a remarkable career already, receiving the Harlem Stage Emerging Artist Award and the Herb Alpert Young Jazz Composers Award among other honors. His promise has only begun to be fulfilled, as he prepares to enter Juilliard as a freshman this fall as the first blind undergraduate student to join Juilliard’s Jazz Study program.

“This album is the next level for me,” Whitaker concludes. “I’m really happy and excited and hope people enjoy it.”

Matthew Whitaker · Now Hear This

Resilience Music Alliance · Release Date: August 9, 2019

www.MatthewWhitaker.net

Patti LaBelle to Headline the 9th Annual PITTSBURGH INTERNATIONAL JAZZ FESTIVAL

As a signature program of the August Wilson African American Cultural Center (AWAACC), the Pittsburgh International Jazz Festival (PIJF) is curated and directed by Janis Burley Wilson, the President & CEO of the AWAACC, who created and directed the Jazz Fest since its founding in 2011. The festival is a combination of free outdoor concerts and ticketed shows inside the AWAACC.

PIJF officially kicks off on Thursday, June 20th with a Wall of Sound Series performance by drummer, producer, beat scientist, Makaya McCraven. Tickets are on sale for this show in the intimate CAFÉ. 

The evening of Friday, June 21st starts with the signature Jazz Crawl around town featuring the some of the best regional talent from 5:30-7:30pm. At 7:30pm on Friday, Butcher Brown plays the Smithfield Stage, FREE. At 8:00pm, Patti Labelle will take to the stage at AWAACC.

Also on Friday, the highly anticipated Taste of Jazz party begins at 9pm at AWAACC. The celebration includes tasty samples from close to twenty downtown restaurants, and a sampling of different styles of jazz throughout the night.

On Saturday morning, June 22nd, The Pittsburgh Cultural Trust is excited to welcome families for a FREE morning of jazz! The performance, Jazz Time! will engage both children and adults at 805 Liberty Avenue.

Ticketed, late sets on Saturday night in the pop-up jazz club, the Jazz Studio at PIJF include the Tamara Tunie CD Release Party. Following Ms. Tunie's set is the New York based jazz vocalist, Paul Jost and his quartet. Tickets are on sale for the Saturday Jazz Studio Sessions here.

The Daughters of Betty is a project of the Black Women Rock Coalition, featuring the legendary, Nona Hendryx. Founded in 2004 by acclaimed poet, jessica Care moore, the band features up to twenty women musicians on stage, inspired by artists like Betty Davis and others that were trailblazers in rock, funk and soul music. Tickets on sale now for Daughters of Betty, 9:00pm at AWAACC Theater on June 22nd.

Saturday and Sunday FREE concerts on the outdoor stages include the GRAMMY winning, legendary and emerging headliners: Charles Lloyd, Stanley Clarke, WAR, Nubya Garcia, Christian Sands High Wire Trio, Roger Humphries' Art Blakey at 100 Tribute, Gary Bartz, Joey DeFrancesco, Keyon Harrold, Captain Black Big Band with Orrin Evans, Warren Wolf and Wolf Trap, Sean Jones with Gary Bartz with a tribute to Miles Davis' In A Silent Way and Bitches Brew, plus lots more. All the outdoor concerts are FREE!

New Music Releases: Carole King – Live At Montreux 1973; Out To Dinner - Different Flavors; Markus Howell - Get Right!

Carole King – Live At Montreux 1973

Carole King’s very first performance outside of the U.S. took place in 1973, at The Montreux Pavillon as part of the world-famous Montreux Jazz Festival. Released for the very first time, this concert film was captured two years after she altered the course of pop history with Tapestry, and one month after she issued the album Fantasy. Carole performs with heartfelt energy, playing classic hits such as “It’s Too Late,” “I Feel The Earth Move,” “You’ve Got A Friend” plus standout tracks from Fantasy - “Believe In Humanity” and “Corazón”- as she is backed by an ensemble of top musicians.  Also includes: “Smackwater Jack,” “Home Again,” “Beautiful.” “Up On The Roof.” “Fantasy Beginning,” “You’ve Been Around Too Long,” “Being At War With Each Other,” “That’s How Things Go Down,” “Haywood,” “A Quiet Place To Live,” “You Light Up My Life,” “Fantasy End” and “(You Make Me Feel Like A) Natural Woman.”

  

Out To Dinner - Different Flavors

A fantastic all-star group of players who've recorded separately for the Posi-Tone label – coming together here with a very fresh sound! You'll definitely recognize a few names in the quintet – which features Michael Dease on trombone, Behn Gillece on vibes, Tim Green on alto, Boris Kozlov on bass, and Rudy Royston on drums – and the mix of vibes and trombone in the frontline is really fantastic – maybe no surprise, though, as we've always been huge fans of Gillece – who wrote a good number of tracks on the set – although Kozlov, Royston, and Dease also contribute some numbers. There's a very fresh sense of rhythm on the record too – thanks in part to the work of Kozlov and Royston, and the lack of a piano – and titles include "Day Zero", "Blue Sojourn", "Night Glow", "Rio", "Spun Around", "Grave Concerns", "Two Down", and "Pay The Piper". ~ Dusty Groove

Markus Howell - Get Right!

Alto saxophonist Markus Howell unleashes a big sound on his strong debut, "Get Right!" The album features a well-balanced program of Howell's exciting compositions along with a few tasty covers thrown in for good measure. Howell is joined on the date by front line special guests trombonist Michael Dease and trumpet player Joe Magnarelli, and receives solid support from his rhythm section of pianist Art Hirahara, bassist Rodney Whitaker, and drummer Luther Allison. This hard-hitting session really swings solidly from beginning to end, and will certainly delight straight forward jazz fans everywhere. We feel confident our ardent and dedicated listeners will elicit an engaging response when Markus Howell's dynamic performances suggest an earful of good reasons for them to "Get Right!"

Saxophonist Steve Cole Set to Release New Album "Gratitude"

It’s during the times when we’re confronted with life’s hardest struggles that we learn to appreciate the humanity around us. On his latest album, Gratitude, saxophonist Steve Cole offers thanks for the people who’ve helped see him through some of his tough times – the loved ones, the musicians and collaborators who rallied around, and the often-nameless professionals whose job is to help and to heal.

Gratitude, due out July 26 via Mack Avenue Music Group’s Artistry Music, arrives on the heels of a health scare in Cole’s family. Their successful battle left the saxophonist feeling rejuvenated, with a renewed sense of hope and faith in his fellow humans. That depth of feeling shines through on the album’s ten tracks, which joyously spotlight Cole’s gift for infectious grooves, soulful melodies, and vibrant pop hooks.

Co-produced with longtime collaborator and fellow saxophonist David Mann, Gratitude in no way reinvents the trademark sound that has seen Cole consistently top the contemporary jazz charts, both solo and with the much-loved sax trio The Sax Pack, over the last two decades. But it does find an artist with a love of life and an overflowing passion for self-expression, the formula for an invigorating and moving set of music.

“Having a close family member go through something like this,” Cole says of the recent health scare, “and seeing all these marvelous people who care so much about others has really imbued my music with optimism and gratitude.”

The ensemble on Gratitude includes his regular rhythm section, bassist Lamar Jones and drummer Khari Parker, along with guitarist Bernd Schoenhart, organist Ricky Peterson and horn players Trevor Neumann and Dan Levine. As he has been since Cole’s second album, David Mann was a crucial partner: producing, playing multiple instruments, and even providing the album’s heartfelt title track.

“It’s a beautiful song, and perfect for me as an artist,” Cole says. “I feel like Dave knew the record needed that -- and that I needed it.”

Another reason for appreciation came via one of Cole’s Sax Pack partners when Marcus Anderson delivered the funky “Can’t Get Enough.” As Cole marvels, “He just laid it at my feet, completely finished. Marcus said, ‘I was thinking of you,’ and he gave me this awesome song. It was an incredible gift from one of my saxophone brothers.”

The album opens with “Good News Day,” one of three tunes for which Cole takes sole composer credit. The celebratory song takes pleasure in waking up to enjoy another day of being alive. A similar spirit fuels “Starting Over,” which basks in the opportunity for a second chance.

The grooving “Neo Sol” pays homage to two inspirations: the neo-soul genre, whose blend of modern R&B and contemporary jazz is a clear influence, along with a nod to Ramsey Lewis’ iconic “Sun Goddess.” The songwriter’s love of British neo-soul, embodied by bands like the Brand New Heavies and Incognito, is acknowledged through the warm vibe of “Soho.” And the cryptically titled “Five6oh83” is a stealth dedication to another sax idol.

The seductive late-night feel of Cole’s version of Skip Scarborough’s “Love Ballad” splits the difference between L.T.D.’s slinky original and the more disco-inflected take by George Benson. The adrenalized “Let’s Go!” is self-explanatory, while Mann’s “Toronto” (named for the city where it was written) close the album on a bluesy note.

Having created one of his strongest albums to date, Cole hopes that the music of Gratitude returns some of the healing energy and positive emotion that he received from so many people back into the wider world. He’s seen it happen firsthand: “Writing music is a dream, and it always blows me away when someone tells me a story about how my music has affected them in a profound way,” he says. “Joy is baked into this record, and hopefully it means as much to the listeners as it does to me.”

Steve Cole · Gratitude

Artistry Music · Release Date: July 26, 2019

MONTCLAIR JAZZ FESTIVAL 10th Anniversary Celebration: Two Weeks of Music July 26 - August 10, 2019

The award-winning JAZZ HOUSE KiDS® have announced the MONTCLAIR JAZZ FESTIVAL 2019 line-up. The Garden State's largest and favorite music festival will celebrate its 10th anniversary this summer with two jam-packed weeks from July 26 through August 10 featuring 250+ jazz musicians, 30+ musical acts, 2 marquee stages, 7 venues, and 20+ concerts and events.

Each August, the MONTCLAIR JAZZ FESTIVAL, produced by JAZZ HOUSE KiDS® along with presenting sponsor The Bravitas Group/Silver Family Foundation, attracts more than 15,000 music lovers from across the region to Montclair, New Jersey, and reaches thousands more who tune in to the many live-streamed performances.

The MONTCLAIR JAZZ FESTIVAL transforms the vibrant, arts-rich New York City urban suburb into a musical mecca. The event culminates with a day of world-class jazz at Nishuane Park, with headliners that include Bettye LaVette, Joey DeFrancesco, Mark Whitfield, Christian McBride, Eddie Palmieri, Mike Lee, JAZZ HOUSE Collective, and inspired performances by the more than 125 talented JAZZ HOUSE KiDS emerging musicians from across the country and internationally who attend the acclaimed JAZZ HOUSE Summer Workshop. 

  

The alter ego of six-time GRAMMY-winner Christian McBride, DJ Brother Mister will spin classic R&B, soul and funk on original analog vinyl from what he considers the "sweet spot" of dance music, from 1966 to 1986. Dance Party-goers will see why McBride is known as one of the most versatile artists on the scene today when he plays virtually all of the bass solos on his curated soundtrack of classic soul. Tickets go quickly to this can't-miss dance party kick off!

The exciting two-week run-up to Nishuane Park will be a jazz fan's dream, with smokin' hot music in the afternoons and evenings throughout Montclair Center. Every day of the week brings something special. On Wednesdays, the Montclair Social Club will host Piano Stars: Featuring Emmet Cohen Trio + Isaiah Thompson Trio (July 31) and the Ed Palermo Big Band (August 7). The players are two of the most accomplished young musicians on the worldwide jazz scene. Bandleader, composer and saxophonist Ed Palermo has an almost cult-like following among fans across multiple genres, as he satisfies everyone's musical tastes from Frank Zappa to classic jazz with his genius mashups.

On Thursdays, music fans will head over to the Montclair Brewery for high-energy performances by some of the most charismatic young performers on the scene today. 

On August 1, the venue will showcase Matthew Whitaker's B-3 Organ Party. A music prodigy and longtime JAZZ HOUSE KiDS student, Whitaker's talents have taken him all over the world. In addition to television appearances on ELLEN and the TODAY show, and an upcoming 60 Minutes special, Whitaker has performed as a headliner on world-renowned stages, including Carnegie Hall, the John F. Kennedy Center for the Performing Arts, and many others.

The following week on August 8, the Montclair Brewery will host Gemini, featuring tap dance phenom Michela Marino Lerman and saxophonist Julian Lee, a JAZZ HOUSE KiDS alum and recent graduate of The Juilliard School. Lee, a recipient of the 2017 Lincoln Center Emerging Artist Award, is hailed as one of the most promising young saxophonists in New York City. Both Lerman and Lee perform with the dynamic band Mwenso and the Shakes, and have appeared at Jazz at Lincoln Center and most major New York City jazz stages.

New this year, the MONTCLAIR JAZZ FESTIVAL will take over the Montclair Center Stage in collaboration with the Montclair Center BID on Saturday, August 3 for Jazz on Church Street, five hours of live music with performances by JAZZ HOUSE KiDS Alumni All-Stars, Candice Reyes Quintet (CRQ) ft. Nathan Eklund, and the Oscar Perez Quintet. More live music can be found down the street at the DLV Lounge Backyard Concerts on Sunday afternoons with the JAZZ HOUSE Adult Community Band (July 28), and the Blues Jam Band (August 4). Ruthie's BBQ & Pizza will host its annual JAZZ HOUSE Jam (Date TBA). Returning this year, community partner Montclair Film will feature a four-part curated jazz film series at its screening room on Bloomfield Avenue on July 28 and August 2, 4 and 9.

Daily Facebook Live Series! Jazz in the Afternoon with Special Guests

Tune in each day to the JAZZ HOUSE KiDS Facebook page to watch the JAZZ HOUSE Afternoon Concert Series offered at the JAZZ HOUSE Summer Workshop, a nationally recognized, two-week summer program that coincides with the MONTCLAIR JAZZ FESTIVAL. Afternoon concerts with an array of special guest artists every weekday afternoon from 2:30 to 3:30pm, July 29 - August 9, will stream live from Montclair State University featuring performances jazz legends, and exclusive Q&A sessions with JAZZ HOUSE Artistic Chair Christian McBride.

GRAND FINALE – JAZZ @ NISHUANE PARK: Meet the August 10 Headliners

Curator of the Grand Finale at Nishuane Park and hot off his gig as artistic director of the Newport Jazz Festival, Christian McBride has assembled another stellar MONTCLAIR JAZZ FESTIVAL line-up for the 10th anniversary celebration. The list of all-star headliners includes soul singer Bettye LaVette, making her debut appearance on the Bravitas Group Main Stage. A true legend with a musical career spanning over 50 years, Ms. LaVette is rightly recognized as one of the finest vocalists and one of the great interpreters of song. Returning to the MONTCLAIR JAZZ FESTIVAL is the incomparable Eddie Palmieri, a 10-time GRAMMY Award-winning pianist, composer, bandleader and NEA Jazz Master. Christian McBride tops off the Festival with his powerhouse quartet of musical friends: Hammond B-3 organ master Joey DeFrancesco, guitarist Mark Whitfield, considered one of the young lions of his generation, and drummer extraordinaire Quincy Phillips.

Rounding out the day is saxophonist and JAZZ HOUSE KiDS faculty member Mike Lee, who performs regularly in New York City as a member of jazz ensembles including the Jimmy Heath Orchestra, Dizzy Gillespie Orchestra and Loston Harris Trio, to name just a few.

Returning this year is the JAZZ HOUSE Collective, which includes JAZZ HOUSE KiDS' renowned faculty. Each year, the Collective showcases the music of a jazz luminary; this year the group celebrates the centennial of Art Blakey, known as the guru of hard bop. The Collective will pay tribute in grand style with a set themed "Free for All," named after Blakey's most dynamic album of the same name.

Straight from the set of NBC's Chicago Med, award-winning actor S. Epatha Merkerson returns as host to lead the festivities as Mistress of Ceremonies, along with WBGO on-air personality Gary Walker.

 

GRAMMY®Award-nominated JAZZMEIA HORN to release LOVE AND LIBERATION

In the two years since Jazzmeia Horn bowed with her first album, the GRAMMY Award®-nominated A Social Call, she’s been busy on the road, honing her vocal skills to a finely tuned level, writing songs of personal relevance and social message, and perfecting a fearless approach to improvisation and performance in general. The convergence of this drive and development has resulted in what is sure to be hailed as one of the most courageous recordings of 2019—Love and Liberation—filled with songs of daring musicality, emotional power, and messages of immediate relevancy. 

Horn chose the title she did for her second album because, “Love and Liberation is a concept and mantra that I use consistently in my everyday life. For me the two go hand in hand and they both describe where I am in my life and career right now. An act of love is an act of liberation, and choosing to liberate—oneself or another—is an act of love.” 

Love and Liberation, scheduled for release on August 23, 2019 via Concord Jazz, marks a formidable leap forward for Horn as a singer, bandleader and songwriter, the result of an almost non-stop touring schedule that followed the release of her debut album and which benefitted her vocal chops as well as her band sound. “I have evolved,” she says. “It’s like I’m really understanding music in a different way.” 

“Once A Social Call was released in May of 2017, I hit the road and I am still on tour. The album literally came out two years ago. I’m really tired but grateful because I’ve had the opportunity to travel and practice and improvise night after night in a room full of people with some of the best musicians playing today. We’d experiment, using a trumpet player on a song one time and a saxophonist the next, or sometimes just drums and voice in the beginning of a song, trying out different combinations and ideas, challenging ourselves. This was worth more than gold to me—understanding how to utilize my instruments: my voice, my body, the band that I’ve hired.” 

Horn has substantial experience with all the A-list musicians on these tracks: pianists Victor Gould (her regular accompanist) and special guest Sullivan Fortner, tenor saxophonist Stacey Dillard and trumpeter Josh Evans, bassist Ben Williams, and drummer/singer Jamison Ross. Chris Dunn, who produced Horn’s debut disc, is producer on this album as well.

Eight of the dozen new tracks are original tunes, a point of pride and significance for the 28-year old Horn: “All of these songs are about me and my experiences, but also as part of any young person’s journey. The message they all share is that you just have to learn—about people, about relationships, about business, love, or whatever. They don’t just tell one person’s story, they tell many people’s stories.”

The songs on Love and Liberation comprise an impressive variety of styles, approaches, and feel—some with full band, some just voice and one instrument, even an a capelladuet—each with a precise message to convey. There are songs that resonate with a powerful sense of African American identity, and others that speak with intention about her stature as a strong, independent woman. Still others deal with matters of love and attraction—with tenderness and humor. 

“Some of these songs are very cute and fun,” Horn admits. “But a lot of them are meditations and have deep meaning that people can listen to, to help free up their minds. People of all creeds and races, and even all generations because there’s a lot of tradition in this music. My godfather gave me the best compliment when I played the album for him. He said, I’m really proud of you because this music sounds like what Ella [Fitzgerald] or Billie [Holiday] or Abbey [Lincoln] or Nina [Simone] would have evolved into.” 

Musically, Horn’s compositions both breathe and bend jazz tradition, with tasteful touches of R&B and hip-hop, revealing a marked inventiveness and a love for a good melodic line. On Love and Liberation one can hear it on the opener “Free Your Mind” (a plea for more human interaction and less focus on digital media) and the coy yet firm “Time” (urging an avid suitor to take a breath and cool his jets), to the upbeat, off-kilter, rhythmic slam of “Out The Window” (warning of the other woman) and the intelligence and nuance of the a capelladuet, “Only You” (weaving the inner words of two lovers as their thoughts connect, diverge and reconnect.) 

Horn is quick to point out that she is constantly writing while on the road, and that many of the originals on Love and Liberation are not exactly new. “We’ve been playing ‘Legs And Arms’ for about a year now, and some, like ‘Searching’ goes back to 2013! We’ve also been doing ‘Green Eyes’ which is by Erykah [Badu] and then a bunch are brand spanking new.” 

The four covers on Love and Liberation are equally impressive, both in which tunes Horn chose to cover and how she approaches them, finding fresh takes on Jon Hendrick’s “No More” (as clear and strong a statement on Horn’s own philosophy of personal empowerment), Badu’s “Green Eyes” (Horn’s interpretation giving it a shot of gravitas with a more spiritual feel), Rachelle Farrell’s “Reflection of My Heart” (a poignant vocal duet with drummer/singer Jamison Ross), and Jimmy Van Heusen/Johnny Mercer’s “I Thought About You” (the sole classic standard of the set.) 

Blessed with a fitting name for her chosen path—it was Horn’s jazz-loving, piano-playing grandmother who chose “Jazzmeia”—the singer was born in Dallas in 1991, grew up in a tightly knit, church-going family filled with musical talent andstarted singing as a toddler. She attended Booker T. Washington High School for Performing and Visual Arts, known for launching such musical greats as Roy Hargrove, Norah Jones, and Erykah Badu. Her education included steering herself to the mentors who would guide her passion for jazz, like Bobby McFerrin, Abbey Lincoln, and Betty Carter. 

In 2009, Horn moved to New York City to enroll in The New School’s jazz and contemporary music program. An intense four years of training and performing followed, when she met many of the musicians who appear on her recordings, including Gould and Dillard. In short order, her talent began to be noticed. In 2013, she entered and won a Newark-based contest named for an initial inspiration—the Sarah Vaughan International Jazz Competition. In 2015, she won the Thelonious Monk Institute International Jazz Competition,the most coveted award a jazz musician can hope to attain. Part of her prize was a contract with Concord, which led to A Social Call and now Love and Liberation. 

“Honestly, I’m way more excited now about Love and Liberation because this is mostly my original music,” says Horn with palpable giddiness. “Don’t get me wrong, I love A Social Call and all the acclamations were great—the reviews in Downbeat, The New York Times and London Times. But now I’m like, You guys don’t really know what’s coming. Boy, do I have something in store for you!” - By Ashley Kahn

  

Yelena Eckemoff Presents A Journey through the Human Life Span On "Colors"

Yelena Eckemoff Colors Pianist-composer Yelena Eckemoff casts her eye on the visible spectrum with Colors, her third album in just over a year on her own L&H Production label. Accompanied only by the brilliant French drummer Manu Katché, Eckemoff creates musical impressions of 14 distinct hues, organizing them into a symbolic progression through the stages of life -- using a panoply of styles as diverse as the spectrum itself.

Colors is both a popular title and subject in the jazz world, placing Eckemoff into a tradition that extends from Ellington's magnum opus "Black, Brown and Beige" to Miles Davis's late-period suite Aura. The Russian-born pianist's conception is unique, however. There is striking originality in its stylistic breadth, its intimate duet setting, and its panoramic view of the human life span -- which Eckemoff also maps with a series of free-verse poems that correspond to each color and composition.

"Ultimately, everything is filtered through my inner feelings and expressed through melody and harmony, but this isn't about me," says Eckemoff. "I deliberately avoided any autobiographical references. It's about the average course of anyone's life."

That course runs from the "White" of birth's blank slate to the "Black" of death's unknowable void. The path within this framework, however, deviates from the basic light-to-dark progression that it suggests. "White" is followed by "Pink," representing an infant's discovery and perception of the world; "Orange" is the burst of youthful energy; "Violet" is the thrill of first love. As the life matures, a more sophisticated palette comes into play: "Bordeaux" portrays a bottle of wine as a nuanced metaphor for an aging mind and body, while "Aquamarine" evokes the ocean, along with an array of associated memories and sentiments.

Eckemoff's playing style similarly zigzags from point to disparate point, according to the moods and ideas expressed in each piece. Where "Indigo" is grim jazz-rock, "Blue" evolves from an exquisite lyrical ballad into a violent emotional storm, to be followed by the sultry but playful passions of "Red" and "Brown"'s whimsical waltz of inspiration. 

Yelena and Manu

The range of ideas in the music is informed by Eckemoff's work with drummer Katché (above), whose remarkable individuality made him a natural fit for the project. "He's always searching for grooves, while my music is a combination of structured and improvisational approaches," she says. "This was exactly what I wanted-the groovy, spicy drums which would be a world in themselves and not merely following the piano."

Yelena Eckemoff was born in Moscow, where she started playing by ear and composing music when she was four and attended Gnessins School for musically gifted children. During her teens she became devoted to rock music, even as she studied classical piano at Moscow State Conservatory.

In her early twenties, her eclectic musical interests extended into jazz. The standard repertoire was her primary teacher, though she applied those lessons to the writing of new tunes. Eckemoff's witnessing of Dave Brubeck's 1987 concert in Moscow, however, changed her life, leading directly to the formation of her first band that "tried to play jazz."

Playing jazz proved to be a difficult proposition, due both to the complexity of her compositions and to the repressive nature of the Soviet regime. On the latter issue, she devoted herself (at great personal cost) to obtaining a U.S. visa, finally doing so in 1991 and settling in North Carolina.

The former was a matter of finding high-caliber musicians to play with, which she would also eventually achieve. Cold Sun, her 2010 debut jazz recording, featured the great Danish bassist Mads Vinding and the legendary American drummer Peter Erskine. By the time of 2018's Better Than Gold and Silver, she was able to attract an all-star lineup that included the likes of trumpeter Ralph Alessi, guitarist Ben Monder, bassist Drew Gress, and drummer Joey Baron.

Then came Colors, and the chance to work with Katché -- at which she jumped, knowing the strength of their musical connection. "I felt the closeness of our souls," she says, "and thought that it would be a pleasant and exciting challenge to make this record with him."

New Music Releases: Ron Carter & Danny Simmons - Brown Beatnik Tomes: Live At BRIC House; Lonnie Smith - Gotcha; J-Galvin – Heart Glow

Ron Carter & Danny Simmons - Brown Beatnik Tomes: Live At BRIC House

Ron Carter has always been way more than a straight jazz bassist – especially in the past few decades, where his collaborative spirit has taken him into territory we never would have imagined early on in his career! Here, he works alongside writer Danny Simmons – whose words inform most of these tracks, read by Simmons himself. Carter plays these amazing basslines that are vivid and illustrative while Danny reeds – and a few tracks change up the approach slightly, one with a reading from Liza Jessie Peterson, two more with trio performances that feature Donald Vega on piano and Russel Malone on guitar. Titles include "Tender", "The Final Stand Of Two Dick Willie", "For A Pistol", "The Jigaboo Waltz", "The Brown Beatnik Tones", and "Feeling It Coming On". ~ Dusty Groove

Lonnie Smith - Gotcha

Smooth later work from Lonnie Smith – but still pretty darn great, with a feel that's in the late 70s Kudu/CTI mode! Arrangements are bigger than ever before – with large backings arranged by Lonnie, and some vocals that have a really wonderful, warm, Stevie Wonder-esque quality to them. The best tracks groove along at a nice midtempo pace, with strong work on keyboards by Lonnie, and a warm, dreamy, soulful quality that's quite different from his Blue Note work, but equally pleasing in another sort of way. Titles include "What's Done Is Done", "I Need Your Love", "Sweet Honey Wine", "My Latin Sky", and "Journey To Within". ~ Dusty Groove

J-Galvin – Heart Glow

J-Calvin is a Neo-Soul-Funk band from Durango, Colorado. On New Year’s Eve 2017, the five members of J-Calvin brought their unique and varied musical backgrounds together for the first time. The result was a soul-abducting fusion of authentic lyrics, jazz-influenced harmonies, and Dilla-Inspired beats. The summer of 2018 brought their positive, high-energy show to Telluride Jazzfest and Bohemian Nights at NewWestFest, and in late 2018 they celebrated the release of their debut album, Heart Glow, to a sold-out crowd headlining the iAM Music Fest in Durango. In the bands first year they played over 70 shows across the Southwest region at some of the areas finest music venues and have established strong roots in their home away from home Tucson, AZ. When not performing as J-Calvin, all members dedicate their time as music educators to iAM Music, a 501c3 non-profit music school that helps youth and adults pursue music, cultivates community events, and builds meaningful creative networks. Includes: Dare I Say; Heart Glow; Take Me Away; Won't Let You Go; Waiting for Sarah; Sun; See Far; and This Will Grow.

Ido Spak: The Jazz Traveler - Tales of Blood (in a Hot Distant Land)

Tales of Blood (In A Hot Distant Land) is the first release from virtuoso jazz pianist Ido Spak. Many choose to travel simply for personal pleasure but Ido Spak has ensured his journeys are available for everyone to experience musically. Though originally from Israel, Spak has traveled the world, experiencing music, sound and rhythms of all kinds, bringing them together in a way which takes the listener through lands which are both familiar and alien. Wrong Direction, Spak’s latest album, takes inspiration from musicians of Iran, Syria and Palestine to conjure up images of deserts beneath vast skies, bazaars and bustling communities, constantly shifting in tone and texture and never less than utterly enthralling.

"Absolutely one-of-a-kind... a master of jazz fusion" - Jazz Corner

Born in Israel, Ido Spak has lived in Holland, UK and Germany, though his travels as a musician have taken him to areas that could well be described as ‘off the map’. Spak is determined in his approach to jazz, dedicated to making his performances a constantly evolving process, eschewing the conventions of playing standards and using the left hand on the piano to improvise as much as the right, regularly interchanging between the two. Inspired in his youth by rock music and classical composers such as Beethoven and Liszt, he developed a passion first for bebop, then the techniques of Berg and Schönberg, in particular their use of twelve-tone serialism.

Wrong Direction offers melodies and rhythms from throughout the Middle Eastern region weaved around his complex, classically-influenced, avant-garde jazz compositions to great effect. Spak is accompanied on the album by drummer, Jan-Phillip Meyer; bassist, Gerrit Lütgering, and trombonist, Jean-Philippe Tremblay.

Listen to 'Tales Of Blood In A Hot Distant Land'

Facebook: https://www.facebook.com/Ido-Spak-The-Jazz-Traveler-120272181487099/

Instagram: https://www.instagram.com/idospak/

Website: www.idospak.com

Youtube: https://www.youtube.com/channel/UC-mXYr280yCzlMiJZWyxulQ?

JACQUES GAINES release new album VOLUME WON featuring the single 'Something Wrong With Me’

Jacques Gaines was born in Tacoma Washington USA of a French Canadian mother and an African American father.  He was born on a US air force base where he spent one year of his life before his father was stationed at McGuire air force base in New Jersey where Jacques lived until the age of 7. When his father retired from the Air Force, Jacues moved to his mother’s native town Québec city, Canada. Until the age of 18 he would call Quebec City home. From the age of 18 to 25 Jacques went to live in Lennoxville, Québec and then Montréal, Québec to pursue a bachelor studies in Economics and Finance at Bishop’s University.

After being disillusioned with the business world he moved back to Québec city. Lack of money and a goal put him right back at his parent’s house. In 1993 a close high school friend from the past, Brian Tuppert, came to Jacques with a music project that he couldn’t refuse.

This, for him, was a turning point and what would define his whole being. Although he did not know it, it awakened the idea that it would actually be possible to make a living off of being creative. So in 1994 they co-founded a band called Q-City. The members were Brian Tuppert (co-writer), Pierre Curado (keyboards and programmer), and Jacques (singer, songwriter). For a diverse number of reasons Q-City evolved into Soul Attorneys with members Eric Filteau (Keyboards, programming, co writer), Mathieu Dandurand (guitars, co-writer) and Jacques (singer, songwriter).  An energy, a vibe, and a hunger developed between the four members and they went on to earn, a Canadian gold record, an ADISQ nomination, a 36 date tour with Celine Dion and lots, lots more.

But during this time a great deal of soul searching occurred. It was a time of realization for Jacques that the be all and end all of “having a record contract” was only the beginning of his journey to creative enlightenment.

Jacques has several albums and Top Ten Canadian hits to his name but what he says about meandering through the landscape of music creation backed by the likes of record company majors like Sony is very telling

“Ever since that day when Brian Tuppert came up to me I have done many things. I have four albums to my name (3 English and 1 in French). Plus, lots of heartache, much joy and love experienced and a lot of intense emotion. It has definitely been a ride. Altogether, my musical career as a frontman lasted roughly 14 years with its conclusion being my last solo album in 2007 called “For”.”

“I loved it all, but I believe my work during the time I was a frontman, emanated a

general feeling of malaise, not only in the music I had done, but also even the general feel of anything done during this period. Something was always a bit out of kilt with each and every album that I made. On the first Soul Attorneys album, I was sort of green and innocent. On the second album (J.Gaines and the Soul Attorneys) I was dealing with the fact that I was now solo and was uneasy with the fact of being alone. The third album (the French album) was what it was. The fourth album was just an artist with a lot of baggage trying to redefine himself. I listen to those albums and sometimes cringe at some of the decisions that I made. At the same time I am proud and consider myself privileged to have been able to do what I did for the time that I did it. I have charted over 8 songs in one Top Ten list or another and I am proud of these songs. Better Man, So They Say, These Are The Days, Give A Little Love, Trace Of Tracey are songs that I will wear with pride.”

From 2007 all the way to 2016 Jacques distanced himself from music as a singer songwriter. Concentrating on music as a support role for circus artists and working on soundtracks for TV and film, he also honed his skills in the visual arts which included photography and video. But the itch to write songs was always there. In 2016 he was offered the chance to work on a solo album with Vega music and took it.

Today Jacques Gaines has been working on his own terms developing a business as a photographer, corporate and creative videographer, working to build a community of photographers on YouTube with his YouTube channel and developing a whole gamut of creative visual and audio projects in association with the Quebec City artistic community. Due to the fact that he has found other ways to live as a creative person, his craft and attitude as a writer and composer of music has matured. His latest musical project called Volume Won reflects this. The very fact that the project took roughly 16 months to complete is a testament to his new found ability to allow things to live and evolve in their own time. He always speaks of now allowing others to shine through his craft as well. This is reflected in his collaborations with some of Canada’s best musical artists including the likes of Kim Richardson, Luce Dufault, Bob Stagg, Gilles Tessier, Fresh Corleone and Rodney Skerritt. 

Hungry For Love" the second self-produced solo album from Carlo Ditta, a veteran New Orleans-based producer, and singer/songwriter

Carlo Ditta is a renowned label owner, producer, composer, and recording artist in his own right.  He is also a philanthropic individual, always willing to record and further the careers of many perhaps lesser-known artists who strive to maintain the authenticity of the vintage sounds of New Orleans, the city and region they all call home.

That is precisely the vibe of Carlo's second solo outing, entitled "Hungry For Love," for his own Orleans Records label.  Of the ten cuts, two are traditional tunes done up with Carlo's unique arrangements, three are covers of songs synonymous with some of New Orleans' famed artists, and five are Carlo's originals done with the soulful heritage of the Big Easy always in mind.

There are several highlights, fans.  Earl Stanley wrote the Sixties' pop hit, "A Gypsy Woman Told Me," and plays bass on this version, over Carlo's lovelorn vocal and Rick Stelma's organ.  Carlo checks in with one of our favorites, the cool Latin groove of the story of that lady, who, "if you wanna play, you got to pay," "La Muchacha Cha Cha!" The fellows do a fantastic job covering Baton Rouge artists John Fred And The Playboys hit, "Agnes English," and, yep, Andrew Bernard, who wrote the song as part of that band back in the day, appears here on both tenor sax and Wurlitzer!  "Pass The Hatchet," another of our favorites, is a Carlo original that rides a funky sax-guitar groove, over Carlo's spoken-word vocal, as he watches a pretty girl from a distance!  He closes  the set with our final favorite, an organ and sax-heavy arrangement done over Carlo's raspy vocal, decrying a misspent youth at that iconic place of ill repute, "The House Of The Rising Sun!"

Carlo Ditta is a champion of many veteran artists that perhaps history has overlooked.  He brings together many of these storied players and their material mixed in with his own clever originals to produce a set that is sho' nuff "Hungry For Love!"  ~Don Crow/DonAndSherysBluesBlog.Wordpress.com 5/5

Carlo presents himself and the area's soulful rhythm-and-blues legacy through five originals, colorful remakes of regional R&B and Funk classics, and imaginative interpretations of traditional songs, drawing on his decades of experience producing amazing albums for some of New Orleans' most powerful if underappreciated talents.

Hungry for Love features performance by saxophonist and keyboardist Andrew Bernard (John Fred and the Playboys); bassist Earl Stanley (Dr. John, Roger and the Gypsies, Earl Stanley and the Stereos); keyboardist Rick Stelma (Dr. Spec's Optical Illusion); bassist David Hyde; and drummer Chewy "Thunderfoot" Black all of whom appeared on Ditta's 2014 solo debut What I'm Talkin' About. Other local legends who contribute to the new album include saxophonists Jerry Jumonville (Captain Beefheart, Bette Miller, Rod Stewart); saxophonist Johnny Pennino (Skip Easterling, Freddy Fender); and drummer Freddy Staehle (Dr. John, Al Hirt, Eric Clapton).

With the album's title song Carlo and company conjure a hypnotic hoodoo vibe worthy of North Louisiana legend Tony Joe White. The remake of Eddie Powers' "Gypsy Woman Told Me," includes bass from Earl Stanley who co-wrote it and played on the 1964 original. He also plays on "Pass the Hatchet," the local proto-funk hit from 1966 he helped write and recorded with Roger and the Gypsies.

In "La MuChaCha Cha," another original, Ditta inveigles against an unfaithful lover over seductively warm and grooving Latin rhythms; Spanish guitar and congas reinforce the tropical vibe. "Agnes English" by Baton Rouge hitmakers John Fred and the Playboys, gets a spooky makeover that features Andrew Bernard, an original member of the Playboys and co-writer of the song, playing tenor sax and Wurlitzer keyboards.

Carlo goes full-tilt Soul on "Working So Hard for My Baby's Love," an original composition featuring Jumonville's gutsy sax playing and inventive arranging. In the contemplative, reggae-flavored "Life in Heaven," Ditta addresses big questions about life and love, singing as low and breathy as late period Leonard Cohen.

All these tracks are deeply steeped in Louisiana's steamy, soulful rhythm-and-blues heritage which he's labored to preserve and promote, rediscovering and producing albums for overlooked veteran artists from the region and released them on his Orleans Records label. Following a stint in NYC where he helmed recordings for acts like Willy DeVille, he returned to New Orleans and began recording the likes of Danny Barker, Mighty Sam McClain, Roland Stone, Little Freddie King, Guitar Slim Jr., Coco Robicheaux, Rockie Charles and the Original Pinstripe Brass Band. When he reactivated the label in 2014, one of his first releases was a previously unreleased live concert by New Orleans icon Professor Longhair.

On Hungry for Love, Carlo proves himself a worthy successor to the amazing musicians he championed.

The Best Of Mississippi Fred McDowell

Mississippi Fred McDowell was no Delta blues singer, his were North Mississippi blues because he came from the Hill country near Roseville, Tennessee. Born in 1904 he moved to the Delta in 1928 and settled in Como, Mississippi, which is 40 miles or so to the south of Memphis.

He was certainly old enough to have been recorded in the pre-war rush to put Delta bluesmen in the studio – either those of the travelling field recorders or by sending him north to one of the established studios such as Paramount in Grafton, Wisconsin. But as often as not it was fate that intervened to allow a blues player to record and fate, that first time passed him by.

In those days Fred was playing for tips in Memphis, but also working in feed mill and as a farm hand. He left Memphis to settle in Como, Mississippi and that’s where he was living when Alan Lomax came by with a tape recorder in 1959; fate was kind this time. This recording of ‘Highway 61’ is from Lomax’s first recordings and it was never bettered. In the early 1960s McDowell was playing locally, but soon he was persuaded to travel further afield to allow people to listen to the brilliance of his slide guitar playing in the North Mississippi hill tradition.

He played the Newport Festival in 1964 with Mississippi John Hurt and Sleepy John Estes and the following year he recorded for the Arhoolie label. He also visited Europe, touring with the American Folk Blues Festival and appearing in London with Jo Ann Kelly. In 1969 he recorded I Do Not Play No Rock 'N' Roll that captured Fred’s playing in all its intensity; it is is one of the great blues albums.

Fred’s best known today for providing the Rolling Stones with their cover of, ‘You Gotta Move’ that they recorded at Muscle Shoals Sound in December 1969; The Stones paid Fred the honour of playing his song ‘straight’. ‘You Gotta Move’ was eventually included on their Sticky Fingers album in 1971. Around the same time Bonnie Raitt was listening to Fed’s records and learning from his slide guitar style. He died from cancer the following year, having tasted the rewards of his rich talent, but not nearly enough.

This is what the legendary Dick Waterman had to say about Fred McDowoll and those that think the blues is a sombre kind of music.

“I don’t buy into the theory that says that blues is a catharsis for the soul, that it unburdens you and you feel better. Hound Dog Taylor was the happiest guy I ever knew. You would watch Hound Dog Taylor, you’d watch Fred McDowell, you’d watch Mississippi John Hurt and there was nothing depressing, nothing. They were happy, their music conveyed a real sense of joy, of real happiness. They played with a spirit, they played with an absolute love of it. So the idea of saying, well blues is a burdensome thing, blues is a low down old ache and chill? whatever, I become a lot more tolerant.”