Saturday, August 17, 2019

IT’S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS


Also due from Omnivore on October 4: Johnny Costa Plays Mister Rogers’ Neighborhood Jazz

It’s Such a Good Feeling: The Best of Mister Rogers, a collection of 23 songs by Fred Rogers — beloved host of the landmark children’s television series Mister Rogers’ Neighborhood — will be released by Omnivore Recordings on October 4, 2019. The album, which is backed by long-time collaborator and pianist Johnny Costa, Carl McViker on bass, and percussionist Bobby Rawsthorne, features classics like “Won’t You Be My Neighbor?,” “You Are Special,” and the title track, plus five previously unissued tracks, including the show’s original closer, “Tomorrow.”

The CD packaging contains photos, an introductory note from Academy Award®- and GRAMMY®-winning director Morgan Neville, and an essay by Robert Bianco, long-time TV writer for the Pittsburgh Post-Gazette and former USA Today TV critic.

Produced at WQED-TV in Pittsburgh and premiering on national public television more than five decades ago, Mister Rogers’ Neighborhood has long been a part of the lives of countless kids and adults who experienced and learned from Fred Rogers’ timeless wisdom. While the series’ staying power never lapsed, Neville’s acclaimed 2018 documentary Won’t You Be My Neighbor reawakened the public’s love for Mister Rogers, and introduced a new generation to him. With the upcoming November release of A Beautiful Day in the Neighborhood (starring Tom Hanks as Rogers), the cherished host and his Neighborhood will once again be front and center in the hearts, minds, and ears of everyone.

Rogers found his perfect accompanist in Costa. The performances, flourishes, and embellishments that Costa and the band made during the show (all performed live) not only enhanced the experience, but also taught viewers about jazz.

In 1986, Rogers, Costa, McViker, and Rawsthorne teamed for the last record from Mister Rogers’ Neighborhood Records: Johnny Costa Plays Mister Rogers’ Neighborhood Jazz. The band takes an instrumental journey through 13 of Rogers’ songs, retaining their original compositional intent, while breathing new life into them. The release has been out of print for decades, fetching top dollar from collectors. It returns for the first time on CD and Digital.

Director Neville contributes an introduction in the packaging, while Musoscribe’s Bill Kopp traces Costa’s history and work on the program in an informative essay.

Track listings:

It’s Such a Good Feeling: The Best of Mister Rogers
1. Today Is A Very Special Day*
2. Won’t You Be My Neighbor?
3. I Think I’m Going To Like Today*
4. Look And Listen
5. Be Brave, Be Strong
6. Then Your Heart Is Full Of Love
7. Pretending
8. You Can Never Go Down The Drain 9. I Like To Take My Time
10. Sometimes People Are Good
11. You Are Special
12. I’m Looking For A Friend*
13. Some Things I Don’t Understand
14. The Clown In Me
15. It’s The Style To
16. Wear A Smile
17. I’m Taking Care Of You
18. It’s You I Like
19. Once Upon Each Lovely Day* Wishes Don’t Make
20. Things Come True
21. You’re Growing
22. Tree Tree Tree
23. It’s Such A Good Feeling Tomorrow*
* Previously Unissued

Johnny Costa Plays Mister Rogers’ Neighborhood Jazz
1. Won’t You Be My Neighbor?
2. You Are Special
3. It’s You I Like
4. Sometimes People Are Good/Children Can Medley
5. What Do You Do?
6. I Like To Take My Time
7. Everybody’s Fancy
8. Please Don’t Think It’s Funny
9. Something To Do While We’re Waiting
10. Many Ways To Say I Love You
11. Then Your Heart Is Full Of Love
12. Did You Know?
13. It’s Such A Good Feeling

Mister Rogers trailer: https://youtu.be/_yusJ1GF-FI


Pasquale Grasso -- Solo Ballads Vol. 1 Melds Bebop and Classical Technique


Sony Masterworks has announced the  release the second installment of guitar virtuoso Pasquale Grasso's digital EP series: Solo Ballads Vol. 1. The latest offering displays Grasso channeling the easygoing gait of stride piano on a collection of ballads close to his heart.

Grasso’s new digital only EP series – which began with Solo Standards Vol. 1 on June 28 – showcases him in the solo guitar format, where his intensive studies of both the masters of bebop and classical guitar technique meld into a signature mastery that is, remarkably, at once unprecedented and evocative. The approach of the releases echoes the changing landscape in the industry, allowing a prolific recording artist to release a multitude of material over the course of an extended period of time.

"Although there are significant drawbacks to the music industry's shift toward streaming, there are also great opportunities,” says producer, manager and Sony Masterworks A&R Consultant Matt Pierson. “When an artist’s creative impulses are very active, it’s possible to record and release material in a more progressive way, feeding listeners music on a much more consistent basis. In the case of Pasquale, since he’s such a brilliant solo player with so much repertoire already under his fingers, we cut 50 extraordinary tracks. Since I find his playing to be very addictive, my hope is that when people get hip to him, they’ll also get hooked, and we can deliver a flow of a variety of material over the course of a year."

But whom does it evoke? After a surface listen, Joe Pass and his essential Virtuoso LPs might come to mind. Now listen again. The sparkling, immaculately balanced tone; the tasteful tinges of stride and boogie-woogie rhythm; the stunning single-note lines that connect his equally striking use of chordal harmony—for Grasso, great solo arranging equals Art Tatum.

Many serious guitar heads have been hip to Grasso for a while now and are aware of his jaw-dropping online performance videos, his beautiful custom instrument – built in France by Trenier Guitars – and his early career triumphs. In 2015, he won the Wes Montgomery International Jazz Guitar Competition in New York City, taking home a $5,000 prize and performing with guitar legend Pat Martino’s organ trio. Last year at D.C.’s Kennedy Center, as part of the NEA Jazz Masters Tribute Concert, Grasso participated in a special performance to honor Pat Metheny, alongside his guitar-wunderkind peers Camila Meza, Gilad Hekselman, Dan Wilson, and Nir Felder.

His Sony Masterworks EPs showcase his sweeping abilities in the most intimate possible setting. Here you can experience his lifetime of listening and of challenging himself to transcend a bar set by Art Tatum so many decades ago. Solo Monk – the next release in the EP series – will be available on October 11, the day after Monk’s 102nd birthday. Additional EPs are slated for future release, including Pasquale exploring the works of Duke Ellington, Bud Powell and Charlie Parker. 

It was the kind of endorsement most rising guitarists can only dream of, and then some. In his interview for Vintage Guitar magazine’s February 2016 cover story, Pat Metheny was asked to name some younger musicians who’d impressed him. “The best guitar player I’ve heard in maybe my entire life is floating around now, Pasquale Grasso,” said the jazz-guitar icon and NEA Jazz Master. “This guy is doing something so amazingly musical and so difficult.

“Mostly what I hear now are guitar players who sound a little bit like me mixed with a little bit of [John Scofield] and a little bit of [Bill Frisell],” he continued. “What’s interesting about Pasquale is that he doesn’t sound anything like that at all. In a way, it is a little bit of a throwback, because his model—which is an incredible model to have—is Bud Powell. He has somehow captured the essence of that language from piano onto guitar in a way that almost nobody has ever addressed. He’s the most significant new guy I’ve heard in many, many years.”

As he’s done with many rising jazz stars, Metheny later invited Grasso over to his New York home to jam and share some wisdom. He’s since become a generous presence in Grasso’s life, and his assessment of Grasso’s playing is—no surprise—spot-on.

Born in Italy and now based in New York City, the 30-year-old guitarist has developed an astounding technique and concept informed not by jazz guitarists so much as by bebop pioneers like Powell, Charlie Parker and Dizzy Gillespie and the classical-guitar tradition.

These days, Grasso teaches and maintains a packed gig schedule around New York, including frequent solo performances at the popular Greenwich Village haunt Mezzrow, where a regular Monday-night gig allowed him to develop his solo-arranging skillset. Not that Grasso thinks his work is done. “All [of the musicians I love are] inspiration for me to get new ideas and form my style, because it’s still growing,” Pasquale says. “And it’s gonna be growing until the day I die.”


Friday, August 16, 2019

SOUL SINGER KELLY HAFNER EMBARKS ON US TOUR IN SUPPORT OF NEW ALBUM 'IF ITS LOVE'


Austin based R&B soul singer and songwriter Kelly Hafner is set to embark on aUS tour this August! She is touring in support of her new album If It's Love. Her show-stopping voice and unmistakably improvisational style keep listeners hooked from start to finish.  Echoing the traditions of her soul forebears like Etta James, Lauryn Hill, Marvin Gaye, and Amy Winehouse, If It's Love tests the boundaries of neo-soul in a refreshing way.

The new album takes a dive into a soulful journey that highlights the depth ofHafner’s voice. The 10 track album keeps you listening for more as Hafner’s voice takes you on a journey with songs like vintage vocal-driven title track and lead single “If it’s Love.” She comments, “It’s about having faith in trusting your gut, your intuition when it comes to the person you’re meant to be with, and the path to take in life. It’s half about falling in love and about going through life authentically and without doubt. No matter how hard it is to honestly reflect on where we’re at in the moment.” Hafner’s lyrics “Birds fly high, time moves slow, somehow they always know where to go” highlight this sentiment.

In the end, Hafner’s view of her own music is what gives it true soul.  She explains, “This release is for anyone who finds peace or happiness from listening to the songs, to express truth rather than perfection, to be an understanding force for people who need it, when they need it. There’s something special about communicating with people through sound, before even meeting them. That I think is magic.”

Upcoming Shows:
AUG 17 - Austin, TX - Stubbs BBQ
AUG 23 - Austin, TX - The Sahara Lounge
AUG 30 - Tulsa, OK - Whittier Bar
AUG 31 - Pittsburg, KS - TJ Lelands
SEP 03 - Denver, CO - Lion's Lair
SEP 05 - Laramie, WY - Coal Creek Coffee Company Uptown
SEP 07 - Salt Lake City, UT - Hotel RL Salt Lake City
SEP 09 - Forest Knolls, CA - Papermill Creek Saloon
SEP 10 - SF, CA - Simple Pleasures Cafe
SEP 11 - Palm Desert, CA - Desert Fox Bar
SEP 12 - Paso Robles, CA - The Pour House
SEP 14 - Tucson, AZ - Saguaro Corners Restaurant & Bar
SEP 15 - Bisbee, AZ - The Quarry


Christine Correa & Ran Blake: Jazz at the Kitano Hotel - NYC August 16 & 17, 2019


Christine Correa and Ran Blake return to Jazz at Kitano for another wonderful pair of evenings hosted by jazz manager and enthusiast Gino Moratti. Correa and Blake are very excited to share material from their up and coming release, When Soft Rain Falls a dedication to Billie Holiday, and revisiting some material from their latest album, Streaming, plus new music 
    
Friday August 16th and Saturday August 17th 2019 -Two sets each night at 8 & 10:00 PM / Jazz at Kitano Hotel / 66 Park Ave 
New York, NY 10016  

Lady in Satin was Billie Holiday's penultimate recording released in 1959, the year of her death. Although the repertoire is derived from the Great American Songbook, Lady in Satin is unlike any of Holiday's previous recordings as she specifically chose to be accompanied by the lush orchestral arrangements of Ray Ellis and personally hand picked each song based on its lyrics. 

Brooklyn-based Red Piano Records is proud to announce the release of When Soft Rain Falls . . . featuring pianist Ran Blake and vocalist Christine Correa paying tribute to the great Billie Holiday, 60-some years after the release of her Lady in Satin recording. 

In contrast to the grand orchestral arrangements of the original album, Correa and Blake interpret the music in a intimate duo settng. Holiday holds a special place in the hearts and souls of these artists; a place where her music, her sound and her aesthetic resonates deeply. On When Soft Rain Falls  . . ., Correa is able to capture the raw emotion, drama and the intimacy that is associated with Holiday; the way she bends and slurs her notes, her rhythmic phrasing and the liberty she takes in interpreting these songs. All the songs from Lady In Satin are re-imagined, and in addition to the twelve songs from the Holiday album, Correa and Blake include "The Day Lady Died," a Blake composition that has the great Frank O'Hara poem superimposed over it, as well as solo piano versions of "Big Stuff," "Practice Makes Perfect," and a solo voice version of "Please Don't Talk About Me When I'm Gone". 

Ran Blake has created a unique niche as an artist in improvised music. He has incorporated and synthesized several divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. On When Soft Rain Falls . . ., their sixth release together over a 40-year friendship, Blake and Correa reach new heights in terms of artistry, vision and expressiveness.
   
More on Ran Blake and Christine Correa:
In a career that now spans five decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions and themes from classic Film Noir, Blake's singular sound has earned him a dedicated following around the world. In the tradition of two of his idols, Ellington and Monk, Blake has incorporated and synthesized several otherwise divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. Ran Blake is a recipient of the MacArthur "Genius" grant. He was the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at the New England Conservatory in Boston, MA.

Christine Correa, originally from Bombay, India, has been involved in a variety of improvisational contexts and is currently on the faculty of The Louis Armstrong Jazz Performance Program at Columbia University in New York City.  She has been widely recognized as a leading interpreter of the works of a range of modern American and European poets as set to music by some of today's most innovative jazz composers, such as Frank Carlberg, Nicholas Urie, Sam Sadigursky and Steve Grover, among others. Correa has also recorded and/or performed with artists such as Steve Lacy and John LaPorta and appeared at numerous festivals, concert halls and clubs in the US, Europe, the Middle East, Africa, South America and India.  Correa is a long-time resident of Brooklyn, NY.


CRAFT LATINO TO UNVEIL THE FIRST BATCH OF CLASSIC FANIA VINYL REISSUES


CELIA CRUZ & TITO PUENTE’S ALMA CON ALMA, WILLIE COLĂ“N’S THE HUSTLER, FANIA ALL STARS’ LIVE AT YANKEE STADIUM AND CELIA CRUZ & JOHNNY PACHECO’S CELIA & JOHNNY

In 1964, a young musician from the Dominican Republic by the name of Johnny Pacheco teamed up with ambitious Italian-American lawyer Jerry Masucci for the creation of a record label in New York. Named Fania, the brand-new company captured the sheer excitement of Afro-Caribbean music as it was just beginning to incorporate elements of soul, R&B and jazz into a vibrant sonic stew known as salsa.

Fania grew in sales and scope at a rapid pace, documenting the New York Salsa Explosion of the ’70s and establishing itself as the Latin equivalent of Motown. Its catalogue of masterpieces from the ’60s, ’70s and ’80s remains one of the most prodigious bodies of work in all of Latin music.
  
On October 25th, Craft Latino, the Latin arm of Craft Recordings, will unveil the first batch of vinyl reissues to be released since the Fania catalogue was acquired by Concord in 2018. Cut from the original analog masters by Kevin Gray at Cohearent Audio, these four LPs offer an exciting and intriguing sample of Fania’s salsa magic.  There’s Alma Con Alma — an electrifying collaboration between Cuban powerhouse Celia Cruz and timbales king Tito Puente. Released in 1968, The Hustler is the second album by visionary producer Willie ColĂ³n and his partner in crime, Puerto Rican singer HĂ©ctor Lavoe. The Fania All Stars’ double-LP set Live At Yankee Stadium captures the label’s own mega-orchestra recorded in concert at the height of its powers — an album that was inducted into the National Recording Registry in 2003. Lastly, Celia & Johnny, the Queen of Salsa’s 1974 artistic tour de force, in collaboration with Fania co-founder and flautist Johnny Pacheco, is a salsa masterpiece that will be available exclusively through Vinyl Me, Please Classics as the October Record of the Month!

Strategically designed as an ideal introduction to the Fania aesthetic, and timed to coincide with Hispanic Heritage Month, the releases also illustrate the label’s breadth.  From salsified Cuban standards and funky boogaloos to raucous jam sessions and trombone-heavy dancefloor scorchers, this initial collection paints a vivid picture of Afro-Caribbean music as a genre marked by wide stylistic variety.

During the late ’60s, Fania thrived on contrasts. On the one hand, it championed the albums recorded by the prolific Johnny Pacheco, honoring the Cuban roots of tropical music with elegant charanga instrumentations and a certain innocence of spirit. At the same time, it was also the label of choice for young musicians of Nuyorican and Puerto Rican origin who wanted to disrupt the cultural status quo with the rebellious energy of fresh sounds.

Trombonist, singer/songwriter and producer Willie ColĂ³n was one such artist, and his 1968 LP The Hustler still breathes with unpredictability, raw arrangements and the kind of visceral approach to Afro-Cuban beats that would come to define the essence of ’70s salsa. In retrospect, The Hustler sounds remarkably self-assured for a sophomore effort, particularly thanks to the timeless vocalizing of HĂ©ctor Lavoe, the closest to a rock star that salsa has ever known. On tracks such as “Que LĂ­o” and “Eso Se Baila AsĂ­,” Lavoe’s soulful singing brims with humor and personality, while the piano licks by the late Markolino Dimond are, just by themselves, worth the price of admission. This reissue is pressed on 180-gram vinyl with the original artwork faithfully replicated on a classic tip-on record jacket.

Released in 1970, Alma Con Alma is a relatively obscure LP — one of a handful of masterpieces that Tito Puente and Celia Cruz recorded together between the late ’60s and the early ’70s. In later decades, both artists would remember these releases as some of the best work of their careers, lamenting the fact that poor promotion at the time caused these excellent albums to go virtually unnoticed. But the inspiration is certainly there, as demonstrated by the exotic strains of “Sahara” — with a solemn Celia chanting about the desert — and the exuberant energy of “Salsa de Tomate,” where Puente’s brass section and syncopated percussion are placed at the service of Celia’s powerhouse vocals. Pressed on 180-gram vinyl, Alma Con Alma also features faithfully replicated artwork printed on a tip-on jacket.

Whereas Alma Con Alma could find redemption as a newly discovered masterpiece, the Fania All Stars’ Live At Yankee Stadium is widely known as a testament of the salsa concert experience. It is difficult to imagine the Anglo equivalent of this band — picture John Lennon, Bob Dylan, Joni Mitchell and Elton John performing together as part of a touring group, and you’re beginning to get a feel for the star power involved in the Fania All Stars. But in this particular orchestra, even the instrumentalists — keyboardist Larry Harlow, bongosero Roberto Roena, conguero Ray Barretto — were bandleaders and legends in their own right.

By the time the Fania All Stars performed at Yankee Stadium in 1973, the salsa explosion had already become a mainstream phenomenon. Here we get a snapshot of a genre at its ultimate peak, and the performances are appropriately epic, from Celia Cruz’s 12-minute long “Bemba ColorĂ¡” to HĂ©ctor Lavoe’s moving “Mi Gente” — a Johnny Pacheco composition — and the warmth in Ismael Miranda’s delivery throughout the jazzy “QuĂ© Rico Suena Mi Tambor.” Live At Yankee Stadium Volumes 1 & 2 are released here as a 2-LP set for the first time!

If one had to pick a single Celia Cruz LP for the proverbial desert island, 1974’s Celia & Johnny would be the obvious choice. In a way, it crystallizes Johnny Pacheco’s entire career as an impossible dream that comes true: a musician who grows up idolizing Cuba’s La Sonora Matancera, then ends up recording a best-selling album of modernized classics with the orchestra’s former star singer. Cruz always collaborated with superlative producers and musical directors, but there was something about her partnership with Pacheco that brought her best qualities to the forefront. She sounds positively blissful on “QuĂ­mbara” — an essential salsa nugget to this day — then travels to Peru for an earthy take on “Toro Mata,” before showcasing endless amounts of tenderness on the velvety bolero “Vieja Luna.”

On October 25th, Vinyl Me, Please will be releasing exclusive 180-gram collectible color variants of these Fania titles. The Hustler in custard yellow vinyl, Alma Con Alma in olive green vinyl, and Live At Yankee Stadium in fire red vinyl.  

More LP reissues will follow soon, continuing an ongoing exploration and reevaluation of the Fania treasure trove.

~ ERNESTO LECHNER

 

Prince Estate Announces Next Wave of Titles in Definitive Prince Reissue Project


The Prince Estate in Partnership with Legacy Recordings Announces Next Wave of Titles in Definitive Prince Reissue Project Coming Friday, September 13

Long out-of-print as physical products, Chaos and Disorder and Emancipation, two pivotal Prince albums from 1996, will be available on disc for the first time in two decades, while new vinyl pressings of Chaos and Disorder (1LP) and Emancipation (6LP) mark both titles’ first appearance in the classic format. Each of the three vinyl titles will be pressed on highly collectible, limited edition purple vinyl.

The VERSACE Experience (PRELUDE 2 GOLD) was originally a limited edition promotional-only cassette of previously unreleased material given to attendees of the Versace runway at Paris Fashion Week in July 1995. A first glimpse of Prince’s upcoming The Gold Experience, the cassette featured remixed versions of future favorites “P. Control,” “Gold” and “Eye Hate U” as well as rare unreleased music by The New Power Generation, The NPG Orchestra, and Prince’s jazz-fusion project Madhouse. Many tracks–not available in the same form elsewhere–were remixed or edited specifically to make The VERSACE Experience (PRELUDE 2 GOLD) its own seamless sonic universe and an extremely rare, highly sought-after Prince collectible. A reproduction of The VERSACE Experience (PRELUDE 2 GOLD) cassette was released–in another limited edition–for Record Store Day 2019. The VERSACE Experience (PRELUDE 2 GOLD) is now widely available for the first time on digital, CD, and vinyl formats.

As part of the pre-order for The VERSACE Experience (PRELUDE 2 GOLD), the Prince Estate has made Prince’s Club Mix of “Pussy Control” (which became “P. Control” on The Gold Experience) available on all DSPs for the first time now. Listen to “Pussy Control (Club Mix)”: https://Prince.lnk.to/pussy

1996 was a pivotal year for the artist, who (in addition to Girl 6, the soundtrack album for Spike Lee’s film) released Chaos and Disorder (his final album of new material for Warner Bros.) and Emancipation, a triple disc three-hour musical extravaganza celebrating Prince’s full psychic, spiritual, emotional and creative liberation.

Released in July 1996, Chaos and Disorder is a taut 39 minutes of dexterous guitar and simple but addictive pop melodies. “Someone told me that Van Halen did their first record in a week,” Prince told the Los Angeles Times of the album’s quick creation. “That’s what we were going for–spontaneity, seeing how fast and hard we could thrash it out.” Chaos and Disorder proved Prince’s enduring connecting to his global audience of listeners. Even without promotion, the album reached #14 in the U.K. and #26 on the U.S. Billboard 200 charts while the album’s only single, “Dinner With Delores,” hit the Top 40 charts in the U.K. (the only country where it was released). The current release marks the reissue of the long out-of-print CD and the first time Chaos and Disorder has been available on vinyl.

First released in November 1996 (just four months after Chaos and Disorder), Emancipation is as expansive and ambitious as anything Prince has ever recorded. A triple album–each 12 song disc showcasing exactly one hour of music–Emancipation found Prince celebrating life, love and music on his own terms. “This is my most important record,” he told the Minneapolis Star Tribune at the time. “I’m free, and my music is free.” The album represents the incredible variety of his influences and moods. Romance and family are key themes (“Somebody’s Somebody,” “The Holy River,” “The Love We Make”). Prince reflects on technology (“My Computer”) and sex (“In This Bed Eye Scream”), and offers new, upbeat grooves (“Face Down,” “Jam Of The Year”) as well as four unique covers (Bonnie Raitt’s “I Can’t Make You Love Me,” the Philly soul classics “Betcha By Golly Wow” and “La, La, La Means I Love U,” Joan Osborne’s then-current rock hit “One Of Us”). Available for the first time on vinyl, Emancipation will include 6LPs–each with printed jackets and printed interior sleeves.

Emancipation was celebrated with a concert at Paisley Park on November 12, 1996, that was broadcast simultaneously on MTV, VH1, and BET. A press release issued by NPG Records after the event called the concert “a liberating performance.” The album debuted at #11 on the Billboard 200 charts and sold over 500,000 copies, making it the fourth-best-selling triple album of all time in the U.S. Prince supported Emancipation with the wildly successful six-month-long Jam of the Year Tour.
  
The Prince Estate passionately presents Prince’s life and work, and cultivates opportunities to further his legacy. As the singular, authoritative source on all things Prince, The Prince Estate inspires and educates fans, celebrates Prince in his totality, and stewards Prince’s legacy into the future.

Official Website: princeestate.com


EARPRINT Presents EASY LISTENING


DownBeat Magazine gave the band's eponymous debut album four stars in their January 2017 issue, with the esteemed Bob Protzman declaring, "Ah, freedom-the opportunity do something your way, and then enjoy the bonus of sharing your venture with anyone interested . . . full of surprises . . . If they stay together and keep working hard, there's no telling how good Earprint will become." Well, the band has stayed together, and two plus years down the road they have evolved and grown. They have expanded their field of vision and broadened their aesthetic comprised of what liner note writer Jacob Shulman calls, "The rough energy of Nirvana meets the transcendent progressivism of Mark Turner; psychedelic tinges of Jimi Hendrix recolor the counterpoint of Thelonious Monk."

Earprint is a quartet of improvising musicians-trumpeter Tree Palmedo, saxophonist Kevin Sun, bassist SimĂ³n Willson, and drummer Dor Herskovits-who see modern jazz as an invitation to unleash their creativity, their modern-day influences, and their vision of what a jazz quartet can sound like, which is loosely tethered to the blues but shares the same root system. Actually, the blues is an important "river" for Earprint, with the streams of both rock and jazz (two major descendants of the blues) playing roles in their sound: "Hot meets cold; sweet, sour, salty, and bitter coexist. Blues is music where opposites join, where contradictions relax and paradoxes thrive, and such is the nature of Earprint," says Shulman.
  
Each member of Earprint has a rich, clarion sound on his respective instrument, and the band doesn't hesitate to show their brilliant collective fingerprint. As Richard Kamins noted in Step Tempest, "Earprint has vitality, a youthfulness that is refreshing; they also understand what creative music can do, where it can go when you take chances (like jazz players have been doing since the days of Buddy Bolden)." Jon Garelick added in Arts Fuse that Earprint is delivering, " . . . post-Ornette post-bop that manages to be both knotty and transparent, fractured but also lyrical and swinging, rambunctious and balanced." 

Part of the appeal of Earprint is the strength of the compositions on Easy Listening, all of which are built on compelling, interlocking layers. Throughout the album, Palmedo and Sun make it clear that they have spent many, many hours dissecting and digesting the masters of their respective instruments, along with the wonderfully free world of piano-less ensembles led by the likes of Gerry Mulligan/Chet Baker, Sonny Rollins (A Night at The Village Vanguard), and the previously mentioned Ornette Coleman (beginning with Tomorrow Is The Question). In the rhythm section, bassist Willson hums along in a self-confident groove that forms the bedrock for the bands' flights, freeing up drummer Herskovits to offer textures of propulsion, swing, funk, rock, and humor. These two support, and they surprise, improvising with subtlety but without inhibition. All four musicians possess startling versatility with almost no clichéd stylistic leanings; one gets the sense they could play anything at any time and make it all sound like it was meant to be.

Shulman sums it up well:
"The excellence of its individual members aside, Earprint is notably a quartet of its time. Instead of just the usual variety of jazz styles, we are treated to a mix of rainy grunge, abstractness, harmonic constructions, and earnest anthems. These artists grew up in an era where it was easy to consume great volumes of music, and it shows. By the climax of the album, the title track, we have experienced a massive web of musical connections, ranging from satisfyingly natural to delightfully non-obvious... Easy Listening rewards the curious listener and takes them on a journey that is both vast and quick. This is the magic of smart, creative jazz."

More on Earprint:
Kevin Sun is a saxophonist living in New York City. His trio, established in 2016 and comprising bassist Walter Stinson and drummer Matt Honor, is documented on one album and performs regularly around the city. Sun plays in a number of co-led ensembles, including Earprint and Mute, which have released albums on Endectomorph Music and Fresh Sound New Talent. His creative work to date has attracted attention from leading critical publications, including The New York Times, The Village Voice, DownBeat, The NYC Jazz Record, Audiophile Audition, PopMatters, and Stereogum, among others. Sun is in-demand as a sideperson on the New York jazz and improvised music scenes, and he has performed with a variety of small ensembles and larger ensembles, most notably the John Hollenbeck Large Ensemble and Brian Krock's Big Heart Machine. He has also performed extensively across China and serves as Artistic Director of the Blue Note Beijing Jazz Orchestra, where he performs bimonthly.

SimĂ³n Willson is a Chilean-born, Brooklyn-based bassist and composer. As an eclectic and in demand sideman, he has toured with a host of different artists in Europe, the US, Canada, and South America. He has worked with a number of relevant jazz figures, such as Ethan Iverson, Rodney Green, Dave Douglas, Michael Blake, Steve Cardenas, Jim Black, Tim Miller, Jason Palmer, George Garzone, Frank Carlberg, among many others. In addition to his sideman work, he co-leads the bands Great on Paper, Family Plan, and Earprint. The latter won the "best debut album" category of the NPR Music Jazz Critics Poll in 2016. He can be heard on over twenty-five records for labels such as Tzadik, Steeplechase, Newvelle. He recently recorded an album as a member of Dave Douglas' Sextet and alongside GRAMMY award-winning guitar player Bill Frisell for pianist Elan Mehler's album TJ & the Revenge.

Tree Palmedo is a trumpeter, composer, and songwriter based in Brooklyn, NY. His work spans the worlds of jazz, free music, pop, and indie rock, and he has recorded and performed with the likes of Cuban jazz virtuoso Yosvany Terry, DIY Italian pop orchestra Tredici Bacci, singer-songwriter Ben Zaidi, underground legend JG Thirlwell, and acclaimed indie rock band The World Is A Beautiful Place and I Am No Longer Afraid To Die. After growing up in the cultural hotbed of Portland, OR, Tree graduated cum laude from Harvard and completed a Master's degree in Jazz Studies at the New England Conservatory. In Boston, he studied trumpet and improvisation with artists such as John McNeil, Vijay Iyer, and Jason Moran. In addition to Earprint, he currently plays regularly in the Brooklyn bands Tredici Bacci, Drinking Bird, and Peaceful Faces, and can often be found playing with many other improvisers, songwriters, and bands.

Dor Herskovits is an Israeli drummer and composer based in Boston. As a sought after sideman, he plays in various jazz and experimental groups on the Boston-New York line. He has also toured around the US, Canada, Europe and China. Herskovits has recorded many albums as a sideman, featured on labels such as Newvelle and Endectomorph music, alongside musicians such Grammy award-winning guitarist Bill Frisell, Michael Blake and Jason Palmer. He has also performed with George Garzone, Jon Cowherd, Steve Cardenas, Elan Mehler, TJ and the revenge, Bert Seager's Tet-rap-tych, Max Ridley's Basement Philharmonic, Daniel Rotem and Xiongguan Zhang. As co-leader of Earprint, he received critical acclaim from publications such as Downbeat magazine, NPR's critics' poll and many more. In 2018, he established the Dor Herskovits Quintet, featuring saxophonist Hery Paz, guitarist Caio Afiune, pianist Isaac Wilson and bassist Max Ridley. Their debut album Flying Elephants will be released in September 2019.

 

Thursday, August 15, 2019

BILLBOARD CHARTING REGGAE MUSICIAN LANDON MCNAMARA EMBARKS ON US TOUR


Reggae artist sensation Landon McNamara is set to embark on a US tour this August! From California to Florida, all the way to New York, Landon is touring in support of his latest album release Still Kickin’. A dubby and relaxing album full of soulful vocals and honest lyrics, the new album is sure to leave listeners feeling irie.

Landon’s music is inspired by reggae, alternative and acoustic music. His debut album titled “A Dollar Short & A Minute Late” impressively reached #1 on the iTunes and Billboard Reggae Album charts. And now with his sophomore album Still Kickin’ out now, Landon McNamara will serenade audiences with his new tunes and fan favorites including “Stony Haze” and “Loss for Words”. Landon says,“Much Mahalos to everyone out there who has supported my career! Without your guys’ support I would not be where I am today.” Keep on the lookout for him to come to a city near you!
  
Tour Dates:
AUG 28 – Jupiter, FL – Guanabanas
AUG 29 – Jacksonville, FL – 1904 Music Hall
AUG 30 – Orlando, FL – The Social
AUG 31 – Brooklyn, NY – Knitting Factory Brooklyn
SEP 01 – Asbury Park, NJ – Asbury Lanes
SEP 02 – Amagansett, NY – The Stephen Talkhouse


Sarah Vaughan's Golden Hits!!!


Sarah Vaughan's Golden Hits Celebrates A Golden Voice           

Best-Selling 12-Track Hits Collection From Legendary Jazz Vocalist Receives Remastered LP Reissue On August 30

On August 30, Verve/UMe is set to release Sarah Vaughan's Golden Hits on vinyl in two different color options: black and gold. Remastered at Capitol Studios from the original analog tapes, this collection of an even-dozen of the legendary jazz vocalist's greatest performances showcases the scope of her wide vocal range, bop-phrasing innovations, and expert yet effortless vibrato control. Upon the album's original release in November 1961, a featured review in Billboard magazine proclaimed, "Mighty good listening here." No doubt: both sides of Sarah Vaughan's Golden Hits LP lend ample proof as to why Vaughan has been long acclaimed as one of the pre-eminent vocalists of all-time, right alongside the likes of Billie Holiday and Ella Fitzgerald, who once called Vaughan "the world's greatest singing talent." Preorder here: https://UMe.lnk.to/GoldenHits. 

Vaughan, who passed away at age 66 in 1990, was a three-octave contralto equally adept at singing traditional jazz, contemporary pop, and classically arranged material with much verve, panache, and personal swagger, earning her the nickname "Sassy" in the process. Witness her operatic mastery of "Misty," the appreciative drive of "Smooth Operator," and the catchy swing of "Broken Hearted Melody," the latter of which remained a fixture in Vaughan's live repertoire for many years to come. Vaughan also saw success on multiple charts, having taken "Broken Hearted Melody" to No. 7 on the Billboard Singles chart and No. 5 on the R&B chart while "Smooth Operator" reached No. 8 on the R&B chart, all in 1959. More recently, the sly "ooh-ooh" come-on appeal of "Make Yourself Comfortable" is featured in a prominent global Lincoln Continental ad campaign starring Serena Williams.

Additionally, Vaughan's scintillating, scat-driven take on George Shearing and George David Weiss' "Lullaby Of Birdland" and her sensual, sultry pass at John Blackburn and Karl Suessdorf's "Moonlight In Vermont" set new standards for inventive vocal reimagining of such well-known jazz perennials.

In the 1930s, Vaughan began developing her vocal and piano-playing chops in a local church choir in Newark, New Jersey. Following that, she would soon frequent jazz clubs in Newark and New York City, ultimately leading to her securing featured vocalist stints in the 1940s with big-band jazz impresarios Earl Hines and Billy Eckstine before embarking on a solo career. Vaughan was also a nine-time GRAMMY® nominee, ultimately earning a Lifetime Achievement Award in 1989. In 1988, she was inducted into the American Jazz Hall of Fame, and in 1989, she was given the NEA Jazz Masters Award.

A vocalist for the ages, Sarah Vaughan's indelibly seductive tone and wide-ranging influence extend well into the 21st Century. Sarah Vaughan's Golden Hits is both the perfect entry point for neophyte listeners and a fine turntable refresher for longtime appreciators alike. Turn the lights down, make yourself comfortable, and enjoy the timeless charms of Sarah Vaughan, her golden throat, and her Golden Hits.

SARAH VAUGHAN'S GOLDEN HITS [black vinyl & colored gold vinyl]

Side A

Misty
Broken Hearted Melody
Make Yourself Comfortable
Autumn In New York
Moonlight In Vermont
How Important Can It Be
Side B

Smooth Operator
Whatever Lola Wants
Lullaby Of Birdland
Eternally
Poor Butterfly
Close To You




NEW KINGSTON DROPS NEW SONG “BRING YOUR RAYS”


New York-based family band New Kingston continues to be one of the most prolific and relatable bands in the U.S. reggae community and the announcement of their rock2rootsproject continues their upward trajectory. “Bring Your Rays” will be the second single from the rock2roots series, which will showcase the many styles and vibrations New Kingston brings both on the road and in the studio. The single was released on August 9th, 2019, via their longtime label Easy Star Records. 

Instead of focusing on a full-length album to follow up their last studio album, 2017’s A Kingston Story: Come From Far, New Kingston has put its energy into a series of singles to be released throughout 2019 for their rock2roots project. This will encompass the band’s approach to roots reggae fused with their many other influences, including rock, R&B, dancehall, and hip hop. Tahir Panton states, “The rock2roots series will showcase the wide range of our musical styles that we’ve been crafting for over a decade.” The diversity and quality of the band’s musical output thus far have made press take notice, including tastemakers such as Yahoo! Music, Paste Magazine, KCRW, KEXP, The Jamaica Observer, Sirius XM, and many more. According to the band, the second single “Bring Your Rays,” was inspired by humanity’s collective soul, adding, “In this changing world, love is something we need more of. It will solve more than we know. So be the sunlight in the darkness and “bring your rays”!” It’s the perfect follow up to their fiery last single release “Fyah Nuh Hot Like You,” which dropped on March 1st, 2019.

The Brooklyn-based group is comprised of a trio of brothers: Tahir Panton (keys/vocals), Courtney Panton Jr. (drums/vocals), and Stephen Suckarie (guitar/vocals). They first came together as a band performing for friends and neighbors under the watchful eye of their father (and bassist) Courtney Panton Sr. They dubbed themselves New Kingston, to appropriately reflect the combination of their Jamaican heritage and their home in New York City. The fusion of these two identities, both their cultural roots and their home, guides their musical and stylistic direction.
  
New Kingston will embark on their Summer + Fall 2019 tour in support of their new singles “Fyah Nuh Hot Like You” and “Bring Your Rays,” and will kick things off next week on the East Coast! You can check out New Kingston’s upcoming tour dates here and stay tuned for more touring throughout the rock2roots series in 2019.
  
Tour Dates:
AUG 31 – East Providence, RI – Bold Point Park
SEP 04 – Philadelphia, PA – World Cafe Live
SEP 05 – Washington, DC – Union Stage
SEP 06 – Asbury Park, NJ – House Of Independents
SEP 08 – Brooklyn, NY – Brooklyn Bowl
SEP 10 – Wilmington, NC – Brooklyn Arts Center
SEP 12 – Atlanta, GA – The Masquerade (Heaven)


DOR HERSKOVITS Presents FLYING ELEPHANTS


The prolific Israeli-born, Boston-based, drummer/composer Dor Herskovits' new album, Flying Elephants, available September 20, 2019, is chock-a-block with expressions of love, humor and creativity. Like most great works of art, music, dance, architecture, etc., the music on Flying Elephants began as just a seed of an idea in the brain of Herskovits, which was then transferred to notes engraved on paper. It came to exist in the material world, and then took on a life and uniqueness of its own once Herskovits' band mates got a hold of the music and ran it through their minds, bodies and ultimately their instruments. The result is a resplendent suite of music, played by what is in essence a "family", a band that Herskovits calls his "dream team"; Hery Paz - saxophones, Caio Afiune - guitar, Isaac Wilson - piano, Max Ridley - bass, and Dor Herskovits - drums and compositions.

Flying Elephants was conceived of with these specific musicians in mind - in fact, choosing this cast was the very first step the leader took. Knowing their strengths and utilizing their strong personal/musical connections, the album became a true group effort, shining a light on the member's uniqueness, their fearless and ego-less creative instincts, and unparalleled abilities as true improvisers.

In Herskovits' vision for this album, he aimed to make it a rich and complete work of art. Combining the liner notes with poetry, paintings, and descriptive nuggets, in order to create full, multi-faceted experience for his audience. He has also created a stop motion animated video for the title track. "This shows the eclectic nature of the album and the array of colors, atmospheres and purpose each of the songs might play, for me, and for the listener, such as invoking humor, introspection, peregrination, energy, aggression, romance, dance. "It was a natural to have the album art work done by our saxophonist Hery Paz, as his work is a big influence in my life," explains Herskovits.

Stylistically, the album encompasses a wide variety of influences and styles - traditional jazz (New Fashioned, Recursion), avant-garde/free jazz (Scottish Fold, Bangin'), modern jazz (Palette, Come to light), Cinematic music (Recursion, Flying Elephants) meditation music (Water), rock/metal (Flying Elephants), progressive rock (Magenta), and classical (Sob). The drummer/bandleader elaborates, "I believe that it is accessible music that can potentially bring any listener in. Yet, it is fresh, original and has many layers one can enjoy as the music is explored deeply."  

The title track, an avant-garde leaning lullaby, and the seed from which the entire album was born, "Flying Elephants," is a gift to the drummer's newborn son, in utero when the band was in the studio laying down this music. This composition is a heartfelt soundtrack to his future dreams, which symbolizes the power of our imaginations. "Flying Elephants" tells the story of, "a baby in a crib who falls into a wonderful dream filled with adventure. Elephants, stretched from a mobile coming to life, baby asking them to play, they embark on a voyage, flying into a dream world, elephants joyfully marching with heavy feet...Until baby is woken back to our world," explains Herskovits.

"As the knowledge of the pending baby inspired me to write a song for him, each of the other compositions have their own story and identity, some of which are embedded in this composition, and others took on a shape of their own as they were performed. Since music is the most abstract art form, it also engages our imagination in a powerful way and I wanted to celebrate that with this album. To me, music always opened up an inner world and a strong spiritual connection to people and nature. This is what always drew me to music, what excites me about it and ultimately what I hope to pass on to the listeners."

Flying Elephants band bios:
Isaac Wilson, is a pianist, keyboardist, and composer. A native of Los Angeles, he began playing the piano at the age of 4, teaching himself to play his favorite songs and piano works by ear. He moved to Boston to attend New England Conservatory of Music, graduating in the spring of 2015, having studied with Fred Hersch, Jason Moran, Ran Blake, and many others. While in Boston, Wilson performed on numerous occasions with saxophone greats Jerry Bergonzi and George Garzone. A recent recipient of a Master's Degree from Berklee's Global Jazz Institute lead by Danilo PĂ©rez, he studied under many Jazz luminaries while attending the one-year program, and had the opportunity to perform at the 2015 Monterey Jazz Festival, the 2016 Panama Jazz Festival, and the 2016 Newport Jazz Festival. Wilson also won first prize at the 2016 Keep an Eye Jazz Awards in Amsterdam. Wilson has also conducted clinics around the world, and was on faculty of the inaugural Berklee Newport Jazz Festival Summer High School Program. Wilson is an artist committed to the exploration of folkloric music from around the globe, and the possibilities of melding jazz with other genres and disciplines within the Arts. He performs internationally and in the United States in a wide variety of musical contexts, and his debut trio album, Dis-Connect, was released in February of 2018.

Hery Paz, saxophonist and painter originally from Cuba, embodies a rich and diverse color and sonic palette. His eclecticism is explicit not only in painting but also in his distinction as a musician and composer. He has won the acclaim and respect of legendary jazz musicians such as Fred Hersch, who called him, " . . . a revelation, a musician of extraordinary strength". Paz is currently an integral element of the creative music scene in New York City, where he has worked with artists such as Francisco Mela, Ralph Alessi, Fred Hersch, Dave Liebman, Thomas Morgan, George Garzone, Tony Malaby, Ingrid Laubrock, Kris Davis, Ethan Iverson, Miguel ZenĂ³n, Frank Carlberg, Tom Rainey, Gerald Cleaver, Bob Moses, Ran Blake, Joe Morris, Charles Downs and Michael Attias. Paz also holds a Master's degree from the New England Conservatory in Boston.

Guitarist and composer Caio Afiune is making a lasting impression on the East Coast jazz scene. Currently in Boston, Afiune has not only been performing extensively as a leader and a sideman, but is a part time faculty member of the prestigious New England Conservatory. Originally from SĂ£o Paulo, Afiune's compositions uniquely blend together the essence of Brazil and his immensely deep knowledge of the North American jazz tradition. He can be seen performing along jazz giants such as Jerry Bergonzi, Luciana Souza, Jaques and Paula Morelenbaum, Mark Zaleski, Phil Grenadier, and most recently Christian Sands.

Max Ridley is a Boston-based musician, composer and educator. He was awarded full-tuition scholarships to study at Berklee College of Music for both his undergraduate and graduate degrees. Ridley earned his graduate degree from Berklee's Global Jazz Institute under the direction of pianist and educator Danilo Perez and has gone on to share the stage with renown musicians such as Kenny Werner, Ingrid Jensen, Bob Mover, Jason Palmer, George Garzone, Terri Lyne Carrington, Ra-Kalam Bob Moses and Perico Sambeat. He has performed in venues such as the Blue Note, Dizzy's Club at Jazz @ Lincoln Center, the Kennedy Center and the Umbria Jazz Festival. Ridley has toured domestically and internationally and has also spent time embedded in the artistic community of Valencia, Spain, which he considers his second home. Ridley remains very active in the musical community of Boston as a first-call sideman, leader and co-leader of various groups.

Dor Herskovits is an Israeli drummer and composer based in Boston. As a sought after sideman, he plays in various jazz and experimental groups on the Boston-New York line. He has also toured around the US, Canada, Europe and China. Herskovits has recorded many albums as a sideman, featured on labels such as Newvelle and Endectomorph music, alongside musicians such Grammy award-winning guitarist Bill Frisell, Michael Blake and Jason Palmer. He has also performed with George Garzone, Jon Cowherd, Steve Cardenas, Elan Mehler, TJ and the revenge, Bert Seager's Tet-rap-tych, Max Ridley's Basement Philharmonic, Daniel Rotem and Xiongguan Zhang. As co-leader of Earprint, he received critical acclaim from publications such as Downbeat magazine, NPR's critics' poll and many more. In 2018, he established the Dor Herskovits Quintet, featuring saxophonist Hery Paz, guitarist Caio Afiune, pianist Isaac Wilson and bassist Max Ridley. Their debut album Flying Elephants will be released in September 2019.



Wednesday, August 14, 2019

SOULSTRESS KATHERINE PENFOLD RELEASES SWEETEST THING


Soul resides just beneath the exterior. Upon meeting Katherine Penfold, you might initially notice the prominent tattoos along her shoulder and arms before the conversation veers to her lifelong affinity for motorcycles, skateboarding, or woodworking - let alone music. Listening to her sound elicits a different impression altogether - as a sultry, smooth, and sweet delivery belies the rustic badassery she exudes with ease. This gorgeous contrast illuminates the artist’s 2019 full-length debut, SWEETEST THING, available October 4th.

With a story to every song and a really powerful vibe, SWEETEST THING is the musical juxtaposition that is Katherine Penfold. Although her tattooed, 6 ft, tomboyish exterior seems harsh to the naked eye, Penfold’s quirky Nova Scotia and Brandon University classically-trained upbringing creates a soft and clear musical voice that is all about love and joy. With this unique persona, Penfold went on to win the GROOVEFM singer/songwriter competition, perform alongside the likes of Hugh Laurie, Jeff Lorber, Brad Turner, and Jodi Proznick, and even sell out headline shows. Her fascination for construction and architecture drove her to build her own studio - one of the many things she loves creating from scratch with her hands. While co-producing this album with David Sikula, Penfold channels these experiences and her spirited style to a soul, funk, and R&B 10-track wonder.

She taps into this vibe on the first single, her cover of Roberta Flack’s “Feel Like Makin’ Love.” Over dreamy keys and slick percussion, she breathes new life into the classic staple, sliding into the pocket with seductive bliss. She co-wrote “Better” alongside GRAMMY® Award-winning producer Chin Injeti [Drake, Eminem]. Its slinky groove seesaws from jazzy verses into a resounding chorus as she croons, “You make me feel better,” in a call-and-response over a bass warble. “I struggle with depression and anxiety,” she admits. “The song is for my partner. He finds a way of making me feel better during those times. It’s dedicated to the person who helps you up.” Elsewhere, fluttering keys and dreamy production underscore “Far Away” on which she joined forces with Moonchild’s Amber Navran. The track details “the heartache of a long-distance relationship.” Handclaps and sky-high vocal runs abound on “Unapologetic,” highlighting the scope of her showstopping range. “It’s about stepping up and not hiding anymore,” she goes on. “It’s a powerful moment for me.” In the end, these moments define the duality at the heart of SWEETEST THING. The album will be released in full October 4th, 2019, with the second single, “Far Away”, releasing this Friday, July 26th.

TRACKLIST
1. Unapologetic
2. Feel Like Making Love (prod. Eye 3 Brandon)
3. Far Away (prod. Amber Navran from Moonchild)
4. Better
5. We Gotta Choose
6. High
7. Sweetest Thing
8. Movin’ On
9. Tell The World
10. You Know the Way I Feel

KATHERINE PENFOLD SHOW DATES 2019:
7/28 @ Langley City, Canada - Jodi Proznick Quintet
8/13 @ Vancouver, Canada - CBC Nooner featuring Katherine Penfold
8/19 @ Sechelt, Canada - Katherine Penfold at Sechelt Writers Festival


KRISTIN CHENOWETH - ONE FOR THE GIRLS


Emmy and Tony Award-winning singer-actress releases new album on September 27 featuring guest appearances by Ariana Grande, Dolly Parton, Jennifer Hudson and Reba McEntire
  
Kristin Chenoweth has emerged as one of today's most versatile and charismatic performers. An accomplished actress, commanding singer and uniquely charismatic personality, she's conquered Broadway, film, television and the recording medium, releasing a series of acclaimed albums that demonstrate the depth and breadth of Chenoweth's musical passions.
   
Chenoweth's seventh album, and third Concord Records release, is For the Girls, one of her most personal and compelling projects to date. The album is a tribute to some of the great singers who have influenced her, with Chenoweth's personally charged interpretations of 12 classic songs identified with such iconic artists as Barbra Streisand ("The Way We Were"), Eva Cassidy ("It Doesn't Matter Anymore"), Dinah Washington ("What a Diff'rence A Day Made"), Doris Day ("When I Fall In Love"), Patsy Cline ("Crazy"), Judy Garland ("The Man That Got Away"), Carole King ("Will You Love Me Tomorrow"), Eydie Gorme ("I Wanna Be Around") and Linda Ronstadt ("Desperado").

Entertainment Tonight has the premiere for “I Will Always Love You” here. Listen to the track: https://found.ee/KC_IWillAlwaysLoveYou 

"I really wanted to pay homage to all the women singers who have influenced me over the years," Chenoweth explains. "I wanted to make something that men could also enjoy, but this is by the girls and for the girls. These songs have all stood the test of time, and most of them are songs that I grew up listening to. It was a little intimidating, because people like Judy, Barbra and Dolly are the people who made me want to be a singer in the first place. I wanted to pay homage to these women and do them proud, but I also wanted to put my own stamp on it. And I think I was able to do that."
  
"Sometimes it felt impossible," she continues, "because there were about 45,000 songs I wanted to record, and it took me a year and a half to narrow it down for the album. Some of the songs were obvious choices, but others were not. I also tried to find a story arc for the album through the songs, which I was able to do with the help of my producer, Steve Tyrell."
  
On several tracks, Chenoweth is joined by some high-powered guest vocalists, including Dolly Parton, who lends her voice to her own composition "I Will Always Love You"; Ariana Grande, who's featured on a pointed reading of Lesley Gore's feminist pop anthem "You Don't Own Me"; and Jennifer Hudson and Reba McEntire, who trade vocals with Chenoweth on "I'm A Woman," originally popularized by Peggy Lee.

"These are some of my favorite singers in the world," Chenoweth asserts. "'I Will Always Love You' is a song I've loved since I was a child. I used to think, 'One day I'm going to sing that song.' Little did I know that I'd get to sing it with the queen herself."

Chenoweth credits veteran producer/performer Steve Tyrell, a key collaborator who also produced her acclaimed 2016 release The Art of Elegance. According to Chenoweth, Tyrell's experience and insight made him an ideal collaborator.

"Steve and I are a match made in heaven," Chenoweth states. "Not only is he an incredible singer and performer in his own right, he has a wealth of knowledge of all music. He has a fantastic ear and kept reminding me, 'KC, you don't have to be perfect the first time!"

Since achieving Broadway stardom with her roles in You're A Good Man, Charlie Brown and Wicked, Kristin Chenoweth has effortlessly transitioned between her parallel careers in stage, television, film and music. After winning a Tony award for her work in You're A Good Man, Charlie Brown and earning a Tony nomination for her breakthrough role in Wicked, she won an Emmy award for her work in the ABC TV series Pushing Daisies, and received two Emmy nominations for her work in the Fox series Glee.
  
In addition to numerous other TV, film and stage projects, Chenoweth was featured in 34 episodes of NBC's The West Wing, was a guest judge on American Idol and Project Runway, and has recorded four studio albums.  In 2014, Chenoweth released Coming Home, a live album, DVD and PBS special recorded at a historic concert in her hometown of Broken Arrow, Oklahoma, followed by the celebrated studio effort The Art of Elegance. Among her many upcoming projects are a pair of holiday-themed films, A Christmas Song and Holidate.

Her multimedia successes notwithstanding, Chenoweth retains her enthusiasm for the recording process, regarding her album projects as a vehicle for creativity and expression.

"I love to make records, because I love getting to say something through music on my own terms," she states. "Music is such a powerful, healing force. Whether you like rap or opera or country, music is something that bonds us together. And we live in a time where music is really speaking to us. There are no more rules, and that's really inspiring to me, because there's no limit now."

TRACK LIST:
The Way We Were
You Don’t Own Me with Ariana Grande
It Doesn't Matter Anymore
I Will Always Love You with Dolly Parton
What a Diff'rence a Day Makes
When I Fall In Love
Crazy
The Man That Got Away
I'm A Woman with Jennifer Hudson & Reba McEntire
Will You Love Me Tomorrow
I Wanna Be Around
Desperado 



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