U-Nam Goes Big Band On New Album

There are only a few established artists who are capable of reinventing themselves and jazz guitarist and Billboard chart-topper U-Nam is certainly one of them.  As if to prove it he will release the genre busting “U-Nam Goes Big Band”, 03/27/2020, on the Skytown Records label.

Coming off the back of a scintillating 2019 that saw him enjoy huge chart success with his 2 sensational albums “Future Love Parts 1 and 2” (that reached #20 on the Top25 Billboard Jazz Best Selling Album Chart and #8 in the Contemporary Jazz category) this is an exciting new direction for U-Nam to take but, with nine Top30 Billboard radio hits already to his name and an approach recognised as always innovative and often daring, his reputation for shaking the musical world to its core is already firmly in place.

“U-Nam Goes Big Band”, a sumptuous eleven track rendering of sophisticated mood jazz, is made even more enticing by the amazing back-story that first put it on U-Nam’s radar. A phone call to his Los Angeles studio from Estonian producer Mikk Targo is all it took. Targo, CEO and Founder of the Estonian Author Society EAU had, for the past several years, been working with a panel of music industry experts to select from what was generally regarded as the best one hundred songs Estonia has ever produced. As they did so a body of work emerged that was not only a glimpse into the nation’s musical heritage but also an outstanding showcase for the renowned Lutz Krajenski Big Band.

The resultant album was released in 2016 accompanied by a “behind the scenes” television documentary yet Targo knew that if the project was really going to be a global smash a different approach would be required. Having heard his music played extensively on radio Targo was already a huge fan of U-Nam’s work. When he explained his desire to transform what he already had into something altogether more jazzy, the prospect of creating Sinatra like, bossa nova tinged, big band driven music that crossed seamlessly over to instrumental jazz was, for U-Nam, just too good to miss. In addition it offered him an avenue to get back to why he had got into music in the first place.

To understand why this recording could not happen sooner, or what prevented songs of such potential from finding their way to the world’s best artists; one has to understand the political landscape of the time where the all-pervasive Soviet regime excluded any such possibilities.

All that changed in 1991 when the country was finally recognized by the USSR as an independent state. Artistic freedom was restored and as part of that the first tentative steps were taken to bring some of Estonia’s best songs to the notice of a worldwide listening public.

The musical magnificence of U-Nam is epitomized by the opening number, the luxurious “Something Right” where his interplay on guitar with the immaculate seventeen-piece big band lays down a marker that is replicated throughout. This is particularly so with “Beautiful, Beautiful” that finds U-Nam at his finest and again with the ultra smoky “Dance” that glides along on a delicious mid tempo beat.

The sultry “Each Day’s a Gift” is delivered first as an exciting instrumental then later with vocals from the inaugural winner of the X-Factor UK TV Show Steve Brookstein. It is one of two vocal tracks with the other being “The Dance Must Go On” where Susanna Aleksandra evokes the aura of a New York supper club circa 1946.  In every respect it is a musical extravaganza and much the same can be said of the warmly inviting “When You Fall In Love” that begins with musical sparring between Lutz Krajenski on piano and U-Nam on guitar. 

It ensures a romantic opening to an otherwise upbeat track while elsewhere the dramatic first bars of “The One” lays a path to a Latin groove that U-Nam generates with his trademark playing style. 

When the rhythm eases and the mood becomes relaxed the consequence is the wonderful “Saaremaa” and although the whimsical “In the Blink of an Eye” really swings it is the easy grooving “The World to Me”, fuelled as it is by a picture perfect and understated brass section, that impeccably encapsulates what “U-Nam Goes Big Band” is all about.

Since moving to the USA from Paris, France in 2007, U-Nam’s stature has skyrocketed. Now, as the founder and owner of the niche label Skytown Records, he is reshaping the many complexions of jazz in a way that makes him stand out from the crowd. His sophomore album “Back from the 80’s” included the #1 hit “Street Life” which stayed in the top three on the US Billboard chart for three months and in the top ten chart for an entire year.  

By 2014, when the critically acclaimed “C’est Le Funk” hit the streets, his standing as a purveyor of high-octane guitar driven smooth jazz was well and truly established. A real landmark moment in U-Nam’s illustrious career came when he undertook the ambitious venture of creating the first ever tribute to the great George Benson.

Featuring jazz and r&b legends such as George Duke, Marcus Miller, Ronnie Foster, Patrice Rushen, Wah Wah Watson, Phil Perry, Stokley Williams and Paul Jackson Jr to name but a few, the album was endorsed by Benson and included liner notes written by him. “Weekend in LA – A Tribute to George Benson” reached #1 on iTunes Japan for Jazz, #1 on Amazon US for Neo-Soul, #1 on Amazon US for Smooth Jazz and also received Grammy consideration with 10 entries over 6 categories in 2012.

All this seems a far cry from when the then 16 year old U-Nam attended the C.I.M, 1st European Jazz School in Paris, where for three years he got to hang out and play with a whole raft of future jazz superstars including Angelique Kidjo, Andre Manga and Armand and Felix Sabal-Lecco as well as established jazz legends such as André Ceccarelli, Pierre Cullaz and Tal Farlow. Yet it was these experiences and influences that, in part, have perfectly equipped him for the challenges of “U-Nam Goes Big Band”.  
As Mikk Targo describes it, “U-Nam is not only a phenomenal guitarist with his roots deep into jazz, he is also the consummate professional and a great musical story teller too.

Start with Benson-esque guitar skills, add just a hint of Sinatra’s smile, a touch of Buble’s sophisticated swagger and a real big band playing real jazz with a real swing and what you have is magic, what you have is ”U-Nam Goes Big Band”.

The first radio single “Dance” and the album, “U-Nam Goes Big Band” will go for adds on 03/30/2020.

New Music Releases: Ennio Morricone, Alabaster DePlume, Maria Bethania

Ennio Morricone - Musiques Des Films – 1964 to 2015 (18CD set)

An amazing collection of music from one of the greatest soundtrack composers of all time – presented in a hefty book-styled package, and done with a very unique presentation of his work! The package is huge – a hardcover volume with 18 CDs and a 48 page book, all presenting a total of 400 tracks that really span the scope of the music of Ennio Morricone over the decade – presented on CDs that each have a different theme, to showcase a different side of the maestro's many creations! The first five CDs focus on Morricone's music for director Sergio Leone, and other CDs present work for directors Henri Verneuil, Roland Joffe, Quentin Tarantino, and Giuseppe Tornatore – plus a full set of music used in films that starred Jean-Paul Belmondo. There's also thematic CDs, too – "Genre Cinema", "Committed Cinema", "Mafia Thrillers", "History Of Italy", and "Faces Of Italian Cinema" – and the final CD features songs penned by Morricone, interpreted by a host of others – including Charles Aznavour, Chico Buarque, Traffic Quintet, Gerard Depardieu, Sting, and many more. A beautiful tribute to Morricone's 50 years of film music – with some unreleased music, rarities, photos, and more! ~ Dusty Groove 

Alabaster DePlume - To Cy & Lee – Instrumentals Vol 1

Beautifully meditative music from Alabaster DePlume – a set that brings together work from a variety of recorded projects from the past decade or so – finally getting full exposure in this Transatlantic collaboration between Chicago's International Anthem label and London's Total Refreshment Centre! The sound is a great illustration of the genre-crossing modes that have been going on in both scenes – as Alabaster's music is definitely beyond easy description or definition, and comes across in a way that's as personal as it is collaborative – since DePlume works with a whole host of different musicians on the recordings, mixing flute, percussion, strings, keyboards, and other elements together in a way that follows a spiritual legacy from the more spacey side of Alice Coltrane, to the west coast experiments of Carlos Nino and Miguel Atwood-Ferguson, to the changes taking place on the planet at present. Alabaster plays tenor and guitar, and vocalizes slightly – but never really sings – and titles include "Why Buzzardman Why", "Not My Ask", "Whisky Story Time", "If You're Sure You Want To", "What's Missing", and "Song Of The Foundling". ~ Dusty Groove

Maria Bethania - Mangueira: A Menina Dos Meus Olhos

Brilliant work from the legendary Maria Bethania – a singer who might be looking a few years older on the cover, but who still has all the tremendous power of her youth! Maria's vocals are tremendous, and set up in these beautiful arrangements that blend samba-styled percussion and guitar with some occasional fuller orchestrations – but always in a way that's very understated, so that the lady herself is right up front in the lead – almost never needing the other instrumentation at all, since her presence is more than enough to hold us rapt. Arrangements are by Letieres Leite, and the set features guest appearances from Caetano and Moreno Veloso – on titles that include "A Mangueira E La No ceu", "A Flor E O Espinho/Sombras Da Agua", "Luz Negra", "Sei La Mangueira", "Maria Bethania A Menina Dos Olhos De Oya", and "Historias Pra Ninar Gente Grande". ~ Dusty Groove

Trumpeter Marquis Hill Releases Love Tapes: With Voices

Over the course of eight releases, Chicago trumpeter/composer Marquis Hill has established a distinct sound, thoroughly his own, fusing elements of jazz, hip hop, funk, soul, and R&B. The latest culmination of this musical erudition was the 2019 release Love Tape: a groove-centered studio album culling excerpts from black women’s interviews (including Eartha Kitt, Phylicia Rashad, and Abbey Lincoln, among others) with pianist/keyboardist Michael King, bassist Junius Paul, and drummer Marcus Gilmore laying the foundation.

This Friday, February 14, Hill will release the follow up – Love Tape: With Voices. With the theme of self-love amongst ambient layered sounds and a soul jazz vibe, Hill recruits renowned vocalists to call attention to the ever-present need for everyone’s journey to self-love. Chris Turner, Phoelix, Alex Isley, Christie Dashiell, Kate K-S, and Kaycee Shakur all pour their hearts into this ten-track release.

"The concept behind Love Tape: With Voices is very similar to an EP I released called Meditation Tape,” explains Hill. “I produce the original version of both projects completely instrumental and follow that up with an extended version that incorporates vocals, spoken word and emcees. The music and melodies I have been writing and producing lately works well in an instrumental setting but I’m also at a stage in my career where I'm naturally hearing lyrics and vocals on top of the melodies I play. My ultimate goal as an instrumentalist is to mimic the human voice”

Marquis Hill funnels love and positive energy into this meditative blend of infectious groove and subdued tone. Love Tape: With Voices focuses on one key aspect of the many conditions that fall under the umbrella of love.

"Self-love is one of the main topics discussed throughout the project. Knowing and loving oneself is the only way to truly love another being. We live in a climate where most of the music we hear on the radio emphasis's romantic relationships and over-sexualized themes,” he says. “I wanted to use this project to create something that deals with something real, the power of self-love."



MarquisHill.com

New Music Releases: Marcos Valle, Beat Bronco Organ, Linkwood & Greg Foat

Marcos Valle - Cinzento

One of our favorite Brazilian artists of all time – stepping out here with a record that really lives up to all the faith we've had in his music over the decades! Back at the start of the 90s, Valle had all but disappeared from the recording world – but since that time, he's continued to mature and grow as an artist – really stretching himself, expanding his sound, and moving forward his groundbreaking styles of the 60s and 70s, which continue to influence new generations as time goes by! Here, there's some of the warmth of the soul records that Marcos cut in the 80s, including his collaborations with Leon Ware – but with touches of more unusual, more personal elements too – so that you'll have a sweet electric sound on one number, and a more pronounced acoustic element on the next – all made even more interesting by some of the collaborative help on the album's compositions, which include contributions from Moreno Veloso, Domincio, Kassin, and Emicida. Titles include "Se Proteja", "Pelo Sim Pelo Nao", "Rastros Traros", "Nada Existe", "Posto 9", "So Penso Em Jazz", "Lugares Distantes", and "Cinzento". ~ Dusty Groove

Beat Bronco Organ Trio - Road Trip 

The Beat Bronco Organ Trio are more than great enough at the core, but they also offer up some great surprises over the course of this fantastic full length album – including slight use of clavinet and mini-moog by Gabri Casanova, who mostly handles the Hammond in the lead – and guest work at a few spots from Chip Wickham on flute and electric piano! There's a few other players who drop in along the way – but the core groove here is from the trio, who not only replicate a 60s soul jazz vibe, but also move things through a deep funk legacy – maybe more in the mode of the Sugarman Three than a Don Patterson or Jack McDuff combo on Prestige – as there are rhythms and elements that pick up bits of 70s funk. Drums are by Antonio Pax Alvarez and guitar is by Lucas De Mulder – and titles include "Hard Play", "Crispy Time", "Easy Baby", "Hey Hey", "Squirtly", "Under Pressure", "Road Trip", and "Electro Pi".  ~ Dusty Groove

Linkwood & Greg Foat - Linkwood & Foat

A set that's more electronic than some of the other recent albums from Greg Foat, but a record that still fits nicely inside his style – that understated approach to keyboard-driven jazz – heavy on influences from the past, yet never delivered in a way that's too straightforward at all – in a lineage that just has things getting more and more complex as Foat keeps on making records! This time around, Greg's teamed up with Linkwood – and the set has elements that move between 70s and 80s electronic styles, including occasional rhythm patterns – sometimes a bit more upbeat than we're used to hearing from Foat, but still with all the spacey touches that we love in his music. Titles include "Es Vedra", "Pressure", "Bentley 101", "Neutrino", "Push It", and "Mysterious Richie". ~ Dusty Groove

Mitch Ryder Socking It To You – The Complete Dynovoice/New Voice Recordings (Take A Ride / Breakout / Sock It To Me / Sings The Hits / What Now My Love / 45s) (3CD set)

Five full albums of work from the mighty Mitch Ryder – plus a fair bit of rare singles as well – all brought together in a package that features the first full look at his years at the New Voice label! 

First up is Take A Ride – a classic set from the mighty Mitch Ryder and his smoking Detroit Wheels combo! These guys might have been a garage band in another side of the universe – and you can definitely hear that style on some of the guitars and keyboards in the set – but they also drunk deep of the Motown sound of their hometown, and listened to plenty of soul from Chicago and Memphis too – which they draw on to great extent for the grooves in this classic set! Years before so many other groups would cop 60s soul style and hit it big on the charts, Mitch and the boys made their move – much closer to the ground at the time, and with a lot more grit in their grooves too – so much so that we've always been unsure as to whether to file this record in the rock section or in soul. The whole thing's great – and titles titles that include "Jenny Take A Ride", "Shake A Tail Feather", "Come See About Me", and "I Hope" – plus three James Brown songs – "I'll Go Crazy", "Please Please Please", and "I Got You". 

Next is Breakout – a record that's steeped in styles borrowed from Memphis and Muscle Shoals, and given a bit of a color-blind twist on the Detroit scene of the late 60s! Mitch clearly loves the motor city sound of the 60s, but also takes things to farther points south, too – using elements that would be right at home on Stax or Atlantic Records, and coming up with a crossover sound that had his recorded almost ending up in more soul collections over the years than rock ones! Production is by pop maestro Bob Crewe, but it's surprisingly unadorned compared to some of Crewe's other work of the time – and the album bristles with sock-soul instrumentation from the Detroit Wheels, and loud, proud vocals from Mitch. There's a bit of garaey guitars in the mix, too – making for a mighty nice hybrid of styles – and titles include "Shakin With Linda", "You Get Your Kicks", "Any Day Now", "I Need Help", "Little Latin Lupe Lu", "Walkin The Dog", "I Had It Made", and the classic "Breakout". 

Sock It To Me is a smoking third set has the group breaking out with a fierce and funky sort of style! Most songs are by producer Bob Crewe – but Mitch and the group deliver the goods with a strong dose of Detroit soul influence – mixing Motown inspirations with lots of rougher garagey touches on the instrument – all with nonstop energy that makes the record a cooker all the way through! Titles include "I Can't Hide It", "Sock It To Me", "Shakedown", "I Never Had It Better", "Slow Fizz", "A Face In The Crowd", and "Wild Child". 

Sings The Hits is a record that has Mitch Ryder singing the hits of other big soul and rock artists of his generation – but with that crackling Detroit Wheels blend of fuzzy rock and funky soul! Arrangements are by Hutch Davie, and Bob Crewe produces the group to perfection – but it's really Mitch and the group that make the real magic – with titles that include "Come See About Me", "Walk The Dog", "Sticks & Stones", "I Got You", "Let Your Lovelight Shine/Turn On Your Lovelight", "Stubborn Kind Of Fellow", and "Please Please Please". 

On What Now My Love, Mitch Ryder takes a bit of a turn from the garagey funk and Detroit soul of previous records – and works in territory that's maybe a bit more familiar for longtime producer Bob Crewe – Mitch in the lead, ala solo Frankie Vallie – working through tunes made popular by other artists, but with all these unusual inflections in both the arrangements and vocals! The vibe isn't the same rollicking party as early records by Ryder, but the album has all these sublime elements that make the whole thing stand up there with some of the best on Dyno Voice – a list that would also include the Barbarella soundtrack – almost like Mitch is trying to go into solo Scott Walker territory. Titles include "Born To Lose", "If You Go Away", "Let It Be Me", "Sally Go Round The Roses", "Brown Eyed Handsome Man", "I Need Lovin You", and "That's It I Quit I'm Moving On". 

CD also features loads of rare tracks from 45s – including "Joy", "Ring Your Bell", "One Grain Of Sand", "Personality/Chantilly Lace", "Lights Of Night", "Blessing In Disguise", and a special "Radio Promo". ~ Dusty Groove

New Music Releases: Orpheus (Jarrod Lawson); Aurra; Light Mellow Malaco Compilation

Orpheus (Jarrod Lawson) – Visions (Limited Edition Vinyl LP)

Izipho Soul Records presents the vinyl element of Jarrod Lawson’s pseudonym project, Orpheus – a beautiful, bewitching, viby brew of acoustic & electronic elements, featuring lush, soulful vocal textures and elegant melodies.In Jarrod’s words – “VISIONS, a non-lyrical album of all original music which has been carefully crafted and tailored to tease your senses and guide you thru a peaceful, spiritually enriching experience. I am truly honored and humbled to have been a creative conduit through which came this vivid tapestry of dreamy, visionary tales. The original concepts which gave birth to these compositions are, in my mind, not unlike “visions” which are imparted to shamans during traditional consciousness-altering ceremonies, and much like the healing that comes through the use of associated sacred plant medicines, my intention is for THIS MUSIC also to produce healing vibrations, to soothe, and be a sort of medicinal balm for your soul. I have chosen to release this under the pseudonym, Orpheus, whom was a legendary musician in Greek mythology known for his unique ability to charm the very animals and trees of the forest with the enchanting melodies he performed on his lyre. It was important to me that I create some division between Jarrod Lawson, the soul singer as I have come to be known, and Jarrod Lawson, the purveyor of alternative artistic pursuits, such as this. Essentially, an alias gives me artistic freedom to explore other creative territories and (hopefully) not alienate my fervent supporters, to whom I am most appreciative and grateful!”

Aurra – Satisfaction

The mythical ‘Satisfaction’ album by Aurra has been folklore for three decades.There were rumors that a 5th Aurra album produced by Dayton Ohio Funk Legend Steve Washington was recorded just after the Salsoul years. The Album was recorded in 1983 with his wife Sheila who had just finished writing and touring with The Brides Of Funkenstein. Plans were made for Quincy Jones’ newly formed Qwest Records, but legal troubles complicated it’s release. No one was quite sure what happened to the master tapes, not even Steve himself. Then in 2012, the tapes surfaced and Family Groove delivered the music back to Steve Washington & Sheila Brody. This is Electronic Funk and R&B at it’s finest, recorded during a pivotal year in Modern Funk music. Post-Disco, right at the beginning of Hip-Hop’s finest hour when Boogie and Electro music was making the scene in New York. Making this an important milestone in music and documenting the inception of the drum machine. The grooves smoke, as Washington delivers the Dayton Funk style. Mean and lean basslines, irresistible hooks & towering vocal riffs with crisp, tight dance rhythms. The relentless flow gives the feeling of an endless party, which the Satisfaction album definitely provides.

Light Mellow Malaco (Various Artists)

You might know Malaco Records as a hotbed of deep soul during the 70s – but as the decade progressed, the southern label also really opened up to some of the warmer, more sophisticated styles that were brewing up north – all to create a magnificent sort of hybrid that really helped move its music forward! The vibe is a bit hard to describe, but maybe imagine late 70s Philly soul with some deeper soul vocals – warm, but never too polished or commercial – and still very close to the best traditions of earlier soul music, while sounding a bit more mature. Artists here include some older southern soul acts from the 60s, mixed with up-and-comers in the 70s, and a few special acts that Malaco helped discover themselves – in a great set of 20 tracks that include "Sweet Life" by Frederick Knight, "Girl Overboard" by Dorothy Moore, "Trust In Me" by Natural High, "Sara Smile" by Latimore, "Let Me Be" by The Duncans, "Show Me" by Mosley & Johnson, "Come To Bed" by Denise Lasalle, "So In Love" by Freedom, "Groovin" by Power, "I Wonder Where The Love Has Gone" by Shirley Brown, "I Need Your Love" by Patterson Twins, "Just To Love Someone Like You" by Sho Nuff, "Take A Chance On Me" by Eddie Floyd, "Let Your Love Rain Down On Me" by Jewel Bass, and "When Can We Do This All Over Again" by ZZ Hill. ~ Dusty Groove

LPT'S DEBUT ALBUM – SIN PARAR IS OUT NOW

LPT, the fast rising 10-piece orchestra out of Jacksonville, FL, are quickly becoming the ambassadors of Salsa and Afro-Cuban music in the Southeast. Their high energy and thought provoking take on Salsa Dura (Hard Salsa) is captured on their debut album Sin Parar, which is out now.

LPT came together with the mission of keeping legit ‘Descarga’ salsa alive. Formed in 2015, the crew realized that playing salsa music was a way to share the diversity of the area with a new, young audience, while still giving the seasoned salsa veterans a taste of that old school.

Their debut album Sin Parar strikes a fine balance between respecting the old school salsa legends with infectious danceability combined with LPT’s riveting lyrics rooted in deep messages that evoke contemplation. Lead singer Josué A. Cruz elaborates, “We wanted to harken back to the giants of the genre that made you shake your rear end and still say something to make you think.” Pianist Ángel D. García adds, “Sin Parar is a collection of songs born from the desire to righteously contribute to the salsa music canon. It is an attempt at pay respects to the melting pot that salsa music is – African, Cuban, Puerto Rican and American music, codified in New York City. We want to contribute and share our music with everyone.”

Sin Parar was recorded at NFS Records Ranch, 15 minutes west of Saint Augustine, in Elkton, FL. The magic that was recorded there in the Summer of 2019 can be heard through the rich analog sounds, which were captured straight to 2-inch tape. The results yield a very authentic and warm sounding album. In between takes, the musicians would take a dip in the pool on the ranch to keep cool and refreshed for their sessions with an energy that flows throughout the 9 original songs.

The album kicks off with the track “Guerra Guerra” that translates to “War War.” Combining dance energy with the topic of how society wants war and it seems to never end. “War, war, and the peace doesn’t come” is the chorus chant and that’s what we see in our world today. The theme about the woes of more violence, greed, anger, and separation, and less peace and love and inclusion. Another one of the many standout tracks is “Los Bravos” that translates to “The Brave Ones” or “The Bad Ones.” The song is an anthem to salsa dura and bringing the fire to the stage. LPT is all about the energy in the room, the experience of the live show and communing with the audience. This song embodies that feeling. It is bravado encapsulated.  There are moments on-stage, when everything is locked in, that the band can feel larger than life.

The title track “Sin Parar” which was released in November received critical acclaim from Medium, Sounds and Colours, and Joy of Violent Movement. Medium called the track “Marvelously wrought and arranged, ‘Sin Parar’ projects electrifying dynamism, contagious rhythmic allure, and intoxicating Salsa Dura gusto.” The song translates to “non-stop” and represents the grind of living in today’s world, and how the “machine” doesn’t stop grinding. The topics continue to traverse life with “Mala Mentira,” which translates to “a bad lie.” This song is about the complications of love, and how we can convince ourselves to recognize feelings that aren’t true, to justify a certain end. At face value, the song can be aimed at a lover. Under a deeper microscope view, the song is being sung to music itself, as in, “I can tell myself that I can live without you (music), but I can’t. I need you more than ever.” It is a bolero style, so it is meant to be slower and pensive and reflective.

As the listener continues down the journey of Sin Parar they will dive into diverse topics of life, death, love, and social topics all wrapped up into an infectious rhythm that lets you move, while critically thinking of issues going on around them. In the spirit of similar genre pushing groups like Grupo Fantasma and Bio Ritmo, LPT aims to bring thought-provoking lyrics and topics to a genre of music not normally associated with it.

Josué A. Cruz concludes, “We want to bring our music to everyone to demonstrate the power music has, how it can make everyone in a room start moving, even if they may not know what the song is about, lyrically. The language of music transcends spoken language and cultures and borders. It stands alone and speaks to all sentient beings that are willing to listen. It is the original language, and LPT wants to share that sentiment with the world.”

Members:

Milan Algood – Timbales, Vox

Josué A. Cruz – Lead Vox

Angel Garcia – Keys, Vox

Mike Emmert – Baritone Sax

Bryant Patterson – Trombone

Jonah Pierre – Bongo & Bell

Stan Piper – Bass

Juan Carlos Rollan – Tenor Sax, Vox

JP Salvat – Congas

Steve Strawley – Trumpet

Tour Dates:

2/21 @ Coastal Carnaval - Atlantic Beach, FL

2/23 @ Seawalk Pavilion - Jacksonville Beach, FL

3/01 @ Intuition Ale Works - Jacksonville, FL

3/07 @ Carnival On The Mile - Miami, FL

3/24 @ Copacabana Times Square - New York City

3/25 @ Pianos NYC - New York City

3/26 @ Next Stage Arts Project - Putney, VT

3/27 @ Rockwood Music Hall - New York City

4/03 @ Smith's Olde Bar - Atlanta, GA

4/04 @ Jacksonville Zoo & Gardens - Jacksonville, FL

Shabaka & The Ancestors make their Impulse! debut with the band's sophomore album We Are Sent Here By History

On March 13, Shabaka & The Ancestors will make their Impulse! debut with the band's sophomore album We Are Sent Here By History. Their breakout 2016 album, Wisdom of Elders, established Shabaka & The Ancestors as a sudden force in spiritual jazz. But where that record warned of impending societal collapse, this one unfolds within it.

Shabaka refers to the album as a "meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning." On the lead single "Go My Heart, Go To Heaven," Siyabonga pays homage to his father's favorite church song. The word "hamba" (or "go") is repeated, and within the context of this track, it's "about the point where one gives in and wants out of this world," Siyabonga says. "But in times of darkness is a call to the light and the heart."

Shabaka & The Ancestors was formed in 2016; Shabaka had been flying to Johannesburg to play with trumpeter/bandleader Mandla Mlangeni, who connected him to a group of South African jazz musicians that Hutchings admired. After several sessions, their first album Wisdom of Elders was made. This follow-up record reunites the group, who recorded again in Johannesburg and Cape Town last year (2019). This album is more urgent, more unrelenting, darker and energetic and presents a major social commentary in the context of ancient traditions. Shabaka explains this is "what happens after that point when life as we know it can't continue."

We Are Sent Here By History mixes African and Afro-Caribbean traditions. The album takes the concept of the griot – the living archive of a historical narrative, the storyteller and contextualizer -  and presents the album as the modern day griot. Therefore, a really important aspect to this is the accompanying text to this album: South African performance artist Siyabonga Mthembu chants and sings on this record and composed lyrics for the album. Shabaka then chose song titles from the lyrics and composed poems around each title, based on Siyabonga's lyrics. On the aptly titled "We Will Work (On Redefining Manhood)," Siyabonga sings a poem in Zulu that, when translated to English, shuns the archaic pillars of virility. From childhood, young boys are trained to suppress their emotions and suffer in silence. "This song sings from the point of the toxic masculine," Siyabonga says. "It repeats the sentences they tell to their boys-to not cry, to not grieve and to not hurt."

Tracklist:

They Who Must Die

You’ve Been Called

Go My Heart, Go To Heaven

Behold, The Deceiver

Run, The Darkness Will Pass

The Coming Of The Strange Ones

Beasts Too Spoke of Suffering

We Will Work (On Redefining Manhood)

‘Til The Freedom Comes Home

Finally, The Man Cried

Teach me How To Be Vulnerable

Lineup:

Shabaka Hutchings - Tenor Sax and clarinet

Mthunzi Mvubu - Alto Sax

Siyabonga Mthembu - Vocals

Ariel Zamonsky – Double bass

Gontse Makhene - Percussion

Tumi Mogorosi – Drums

Nduduzo Makhathini (Fender Rhodes), Thandi Ntuli (piano), Mandla Mlangeni (trumpet) on select tracks

BASSIST OMER AVITAL– QANTAR RELEASES NEW YORK PARADOX

Bassist and composer Omer Avital, one of the most celebrated and revered musicians on the global jazz scene, offers his latest creative tour-de-force, New York Paradox, to be released on Avital’s label, Zamzama Records (in partnership with jazz&people), on March 20, 2020. New York Paradox is the second album from Avital’s dream Quintet, Qantar (following up their self-titled debut), featuring Eden Ladin (piano & keyboards), Ofri Nehemya (drums), Alexander Levin (tenor sax), Asaf Yuria (soprano & tenor sax).

Qantar is more than just another group, it is for all intents and purposes a family and a community with its own customs, growing traditions, and even language (both musical and verbal). These five artists have formed a special friendship that projects a singular energy on the bandstand and on their recordings. Indeed, all are Israeli expatriates, all living in Bed-Stuy, Brooklyn, all regularly hanging out at their leader’s home, sharing dinner, Turkish coffee, stories, ideas, joys and sorrows. This shared history, even though years apart, imbibes this quintet with the key to Avital’s music: the ability to bring the various rhythmic and harmonic vocabularies underpinning 20th and 21st century hardcore jazz expression to flow with a polyphonic attitude and musical multilingualism.

The recording of New York Paradox came together after three years of the guys playing together regularly. It was recorded in Avital’s NEW studio/club/lounge - Wilson Live! in Bushwick, Brooklyn, on April 21 & 22, 2019, in a very comfortable, homey environment, captured by the band’s good friend, engineer Roy Boukris. Avital added, “we know the room as we have been playing here a lot in the past year and a half, and we recorded in the same room with no separation, no edits, no fixes; we just played the room as if we were on a gig.” 

More on New York Paradox with Omer Avital:

“Qantar has been working together for the past several years, traveling the world, rehearsing, and just as importantly, hanging hard. For this band, we don’t use charts but rather learn the music by heart and create the arrangements on the spot, organically. For me as composer/arranger this is the best way to work since you get the best results when the musicians can tailor their parts to the music . . . also, the music becomes highly personal as everybody feels invested. Plus, learning music this way, you never forget it, which means less rehearsing and a much more natural feeling on the bandstand.”

Shabazi – Rabbi Shalom Shabazi was a great and beloved Jewish Yemenite poet who lived in Yemen during the 17th century. I grew up on his poems and songs. It is also a name of a nice street/area in the south part of Tel-Aviv.

Zohar Smiles – One of my favorites - and a big favorite at gigs - written for my son when he was still little, around 2010/11. It is, of course, a very special melody that reminds me of the feelings I had during his early years, and his amazing smile. To me this is the best proof of godliness and true spirituality in life.

NY Paradox – I composed this one when we moved back to NYC in the later summer of 2005 after 4 years in Israel. The complexity of the city was very evident to me at the time . . . the beauty and energy I missed but also the harshness and the reality of the financial situation of living here. NYC presents an imperfect balance, a certain energy that can be exhilarating and taxing, that I have learned to deal with, and sometimes even beat, to an certain extent. I still have strong feelings towards this place that I love so much and have called home for almost 27 years, on and off!

C’est Clair – I started composing this in summer of 2017 first in Marciac before our concert and completed that summer in Israel. First titled “Waltz in F Minor,” then another title, “Au Clair Du Lune,” emerged. When I first recorded the composition with The Yes! Trio in Paris, Ali Jackson suggested changing the name to C’est Clair (named after a great couscous restaurant in Paris that the band loves.)

Today’s Blues – Written sometime around 2010 this is a blues with a bridge. It moves between the Spanish modes and some pretty basic harmonies that are more African in nature, but still essentially a swinging blues.

Just Like the River Flows – When I first moved back to NYC I first played this tune with my band at Smalls. It is a Suite of sorts as it has different sections towards the end. It has a Middle eastern vibe and for me represents the way traditions keep flowing.

It’s All Good – A composition from the late ‘90s, which was a complex period for me as my first band of four saxes, drums and bass was ending, a major record deal had been canceled on me, and things in general were changing. Musically, there was a lot of hip hop and groove orientated music going on, and less straight-ahead, so opportunities were dwindling. I often like to write tunes that represent a moment in life, what we were feeling, etc., this is definitely late 90’s! 

Bushwick After Dark – A minor blues that became the theme song and the unofficial title for our late night sessions at my club, Wilson Live. It’s also a play on “Bohemia After Dark”g. It was on February 12 2016...... I have a voice memo from February 12, 2016, the day I heard that my mother, who was very sick at that time, was not doing well, and basically dying. We bought tickets to fly to Israel the next day and as I was packing and going down to the basement I started humming this blues riff . . . it’s so strange how music comes about and goes in circles.

New York Paradox was recorded on April 21 & 22, 2019, at Wilson Live , Brooklyn, NY by Roy Boukris.

Assistant Engineer: Ron Warburg

Mixed and mastered by Roy Boukris

The band was recorded live in one room, no headphones, no separation, no edits!

Upon Avital's arrival in New York City in 1992, the rapid growth of Israeli jazz was set in motion in a profound way. Avital quickly forged an indelible mark on the scene, mainly through his legendary performances at Smalls, where he lead one of the most celebrated groups of the time, a sextet with a front line onslaught of four saxophones (an early gem from this time in Avital's early days is the tune "Kentucky Girl", featured on the compilation, Jazz Underground: Live at Smalls, on Impulse!). “Years from now, when folks are remembering the early days of the West Village jazz haunt Smalls, bassist Omer Avital’s name will be as synonymous with the club as Bill Evan’s is with the Village Vanguard, and Thelonious Monk’s is with the original Five Spot Café." - Time Out New York. 

The prolific Avital has released sixteen albums as a leader and co-leader since the late 90s. Through his recorded output and live appearances he has become a river of creativity, leadership, composition and as a conceptualist. Now, with his new label, Zamzama Records (in partnership with jazz&people) and his venue, performance space and recording studio in Bushwick, Brooklyn, Wilson Live, you can add entrepreneur to the list as well. “I started Zamzama to have a home for my old masters that I now own, as well as new recordings. Eventually, I’d like to have other artists on the label, and have a more seamless connection between the creative process and the production/distribution. Ultimately, it’s a way to be free to create and release new music in the long run, and I am very happy to be in this partnership with Vincent Bessieres and his wonderful label, jazz&people. With Wilson Live I aimed to establish a creative home for musicians in Brooklyn and all of NYC; a club, a studio, a lounge with a super intimate atmosphere which allows music to grow and prosper,” said Avital. Keep an eye out for upcoming events at Wilson Live, including their Monday night series, Bushwick After Dark.

New Music Releases: Casey Abrams; Claudio Scolari Project; Dennis Kwok Jazz Orchestra

Casey Abrams - Uncovered

Jazz bassist and vocalist Casey Abrams is a modern musical chameleon, seamlessly blending traditional Jazz musicianship with contemporary Pop sensibilities and uniquely distinct voice. Largely known for his time spent on American Idol and with Postmodern Jukebox, Abrams has also released several successful solo projects, including 2019's Jazz and 2018's Put a Spell On You which peaked at #2 and #5 respectively on the Billboard Jazz Albums charts. So productive were the recording sessions for these albums that not all of the material could fit on the albums. Not to simply be left on the cutting room floor, these songs are now being made available on Uncovered, the new EP from Casey Abrams, set for release on February 21st, 2020. Abrams will also be going on tour to promote the new project. You owe it to yourself to experience the frenetic musical force that is Casey Abrams. Includes: Smooth; What A Wonderful World;I Don't Need No Doctor; and In The Wee Small Hours of the Morning.

Claudio Scolari Project – Upside Down

Upside Down is the fourth album by the project that continues its journey where experimentation find no limits in a unique blend of acoustic and electronic sounds. The album features Claudio Scolari on drums and synth programming, Daniele Cavalca on drums, live synths, Rhodes and piano, Simone Scolari on trumpet, and finally Michele Cavalca on electric bass (the new entry of the project who turned the trio into a quartet). The project released so far 4 albums. "Colors of red Island" could be considered instinctive and fresh where we felt real "improvisers". "Syhtesis" consolidated the project giving it a more defined direction where ideas were created with a more compositional approach. "Natural Impulse" was a mix of pure improvisation and compositional parts with a bit more of fire,  while "Upside Down" has become our revolutionary album, since for the first time everything has been recorded live, in one shot, all together.

Dennis Kwok Jazz Orchestra - Windward Bound

Windward Bound is the ambitious debut album from the Dennis Kwok Jazz Orchestra, a 19-piece contemporary big band involving some of the finest performers, composers and arrangers under 35 in the Greater Toronto Area. Evoking the sounds of Kenny Wheeler, Maria Schneider, and symphonic works, Windward Bound consists of an original 6-movement suite inspired by memories of sailing on Lake Ontario as well as the folklore of life on the seas. At the centre of this album is the Dennis Kwok as the multiple woodwind soloist. As the journey unfolds, 10 different woodwinds are matched to the themes of each track. With plenty of room to showcase the ensemble, this is a fine example of the next generation of the big band tradition. The Dennis Kwok Jazz Orchestra has been making waves in the Toronto music community in the last 3 years with appearances at the T.U. Jazz Festival, collaborations with JUNO-award winning artists, Allison Au and Alex Dean, as well as being selected as a TD Toronto Jazz Festival Discovery Series Special Project. Lead by 22-year old Dennis Kwok, what began as a passion project is now an ensemble dedicated to the performance, creation and showcase of original works from new generation artists. By constantly pushing new boundaries and creating music at the highest level this group is showcasing the creativity, ambition and musicianship of upcoming artists.The CD will be officially released on March 13th and will be celebrated with a performance at 918 Bathurst (www.918bathurst.com) in Toronto on Sunday, March 29th at 8pm.

BRAM DE LOOZE links jazz + baroque to the most complex avant-garde structures on new single

Belgian artist BRAM DE LOOZE is pleased to share new single 'Dream Box’, taken from his forthcoming solo album 'Colour Talk', released 21st February via Sdban Ultra. Exquisitely linking baroque, avant garde and highly-refined jazz improvisation, Bram uses a Werckmeister III, which is a 17th century non-equal tuning system, and it brings a different sensation and an additional emotional layer to the sound of the music. It makes it possible to explore different colours of intervals and harmonies beyond the usual equal tuning system. “After my ears have been adapting to it for a couple of years now, and I can feel the impact it has on my music. Dream Box is an example of how it makes me take different directions in writing and improvising,” says Bram. STREAM HERE 

Plunging into the depths of sinuous musical structures, Bram De Looze is a talented young jazz musician who evokes contrasting moods that harmoniously follow on from one another. The Belgian pianist and composer’s distinct musical vision has found its way through both solo projects and collaborations. His unique technical skill and musical maturity have earned him considerable critical acclaim back home as his work spotlights his far-ranging interests – from traditional classical piano music to jazz and solo improvisations that have often been compared to Keith Jarrett and Jason Moran.

On ‘Colour Talk’, what you hear is a musician who has freed himself from stylistic constraints and limitations. While still rooted in jazz, classical music and free improvisation have found a new balance, a coexistence that enables the pianist to express himself with a new vigour. Switching between shorter pieces that feel like curious, unresolved puzzles and more extended explorations, ​‘Colour Talk’ ​is once again an ode to (re)invention in the grey zone were the classical idiom and improvisatory urges meet, with the 13-minute ​tour-de-force ​of ‘Hypnosis’ as one of several undisputed highlights.

Singer Shayna Steele Releases "Watch Me Fly"

One of the greatest singing sensations of our time, known from recordings with Snarky Puppy and Moby and a host of other stars, Shayna Steele takes flight on her third album, Watch Me Fly. Offering six self-penned originals and four select classics ranging from soul via blues and gospel and easily crossing over to retro R&B and jazz, showcasing Steele’s supremely soulful energy, as well as her mind blowing vocal artistry and songwriting skills.

“I am outrageous, larger than life” are the first words on Steele’s new album. The few notes she sings to voice them in the aptly named song “Be” already make it clear that this is not braggadocio, but a fact. The singer, born in California and raised in Mississippi, who as a self-proclaimed “American Air Force brat” grew up all over the world, but lives and thrives in New York, not only has a charismatic, charming and truly unique voice, but also plenty of technique and the vocal strength of a volcano. She has performed with the likes of Rihanna, Kelly Clarkson, Bette Midler and Steely Dan as a sought after background vocalist. Steele made the decision that being in the background was not an option anymore and has been touring regularly as a featured vocalist with GRAMMY® Award-winning trumpeter, Chris Botti, was a featured vocalist on Snarky Puppy’s Family Dinner and reached #1 on the Dance Billboard charts as a featured vocalist on Moby’s Disco Lies. Saying Steele is ready to step out on her own would be a major understatement.

Watch Me Fly, produced by David Cook, Steele’s co-writer/partner/producer/MD, was recorded as a concerted effort with her tried and trusted band at Dreamland Studios, a converted church near Woodstock, in September 2018. The ten songs range from dynamite, gospel drenched soul and R&B as in “Be,” “Shadow” or the title track, via the super sensual hymn “Treat me Good” or the uplifting and upbeat gospel emotion of “Wash Me Over” on to a sensationally emotional version of the blues ballad “Life Goes On” by Big Mama Thornton or jazzy/funky readings of Michael Jackson’s “Baby Be Mine," and “Secret Love," once a hit for Doris Day. The final song and the icing on this musical cake is “Home," as beautiful and emotional as it is autobiographic. “I grew up all over the world,” Steele explains in her liner notes. “It was hard to call any place home for most of my life, but it was my time in Biloxi that really shaped me into the person I am. I struggled with the lack of access to different cultures, but I found the silver lining through music and performance. I was a bit of an outcast, coming from a bi-racial family, living in Mississippi, where the races pretty much segregated themselves… I didn’t belong. But when I go home to visit, the community is so welcoming and proud of my accomplishments. I get that 'Mississippi hospitality' and I wanted to write them an anthem to let them know how important they were to me.”

Watch Me Fly in all its soulful diversity is as much a showcase for Shayna Steele’s overwhelming musical powers, as it is a statement. “I hope you’ll listen to it in its entirety like we all did as kids,” she says. “I remember those times I memorized an album, track for track like Purple Rain, Thriller and Whitney Houston’s self-titled debut album. Everybody is so hung up on singles and hits and I’m hung up on the musical journey to really know what an artist is going through during the making of an album. I hope you will go on this journey with me.”

Schooled in jazz by her godfather, self-taught and guided by her musician father and educated in gospel by her choir director, the GRAMMY® Award-nominated Michael McElroy, Steele dove headfirst into music in her teens, entering (and winning) several pageants and talent shows, including an appearance on Ed McMahon's Star Search at the tender age of 15 (she came in 2nd by a 1/2 star). "I never really felt 'grounded' until I moved to NYC,” she says. “It was then that I really opened up to different genres of music." Steele began to develop her sound, blending new influences, from Ledisi to Rachelle Farrell, with her childhood icons Stevie Wonder, Aretha Franklin, Chaka Khan and the Temptations.

Having released an EP and two full length albums by now, she continues to tour extensively with her band, as well as appearing as a special guest vocalist with jazz big bands throughout Europe and the U.S. In 2017, Steele took on another title of “symphony soloist” performing with Symphony Pops Orchestras throughout North America such as the Dallas Symphony, Detroit Symphony and the Long Beach Symphony and several others.

Shayna Steele · Watch Me Fly

Membran Records · Release Date: April 26, 2019

 

JAZZ DISPENSARY PRESENTS AZAR LAWRENCE’S SUMMER SOLSTICE

Jazz Dispensary has released the first ever vinyl reissue of Azar Lawrence’s groundbreaking free-jazz album Summer Solstice, as part of the Jazz Dispensary Top Shelf Series which focuses on audiophile quality pressings of rare and out of print titles. Originally issued in 1975, this spiritual free-jazz album remains one of the highlights of the illustrious career of Azar Lawrence, one of the only remaining artists from the legendary Prestige Records era who is still touring and putting out new music. The album was remastered All-Analog from the original tapes and pressed on 180-gram vinyl at Quality Record Pressing. 

Highly regarded as one of Lawrence’s finest solo albums, Summer Solstice is a transcendent journey into his Brazilian influenced free-jazz fusion musings. Having started his journey in the jazz realm as a very young man, Lawrence honed his skills among luminary giants such as Miles Davis and John Coltrane, followed by a five-year stint of work with the great McCoy Tyner where he found his voice as a performer and composer. According to an article on Lawrence by Chuck Koton for All About Jazz, “…his ascent to the peak of the jazz world at times lead Lawrence to wonder how he could be playing with these giants and it was Tyner who reassured Azar that as a young man that he belonged in such company because he could not only play the hell out of the horn, but because he felt the same way about the music as John (Coltrane) did.”

Recorded during a prime period of exploration and adventure for modern American jazz music, Summer Solstice finds Lawrence leading a team of international virtuosos consisting of Amaury Tristão on guitar, Dom Salvador and Albert Daily on piano, Ron Carter on bass, Billy Hart on drums, Guilherme Franco on percussion, Gerald Hayes on flute, and the one and only Raul de Souza, who is known for his work with artists like Sérgio Mendes and Sonny Rollins, on trombone. In the producer’s chair is Orrin Keepnews, famous for his golden ears that led him to discover artists such as Bill Evans, Cannonball Adderley and Jimmy Heath. The result is an album that operates in the sonic space halfway between the influence of the American jazz standards of the 50s and 60s and the free spirit of the Brazilian jazz made popular by artists like Hermeto Pascoal and Egberto Gismonti. Lawrence’s bold and fearless exploration of new sounds influenced many generations to come, and can be heard in the playing of his younger colleagues, like the great Kamasi Washington who cites him as a big influence.

CELEBRATING THE CENTENNIAL OF CHARLIE “BIRD” PARKER WITH THE SAVOY 10-INCH LP COLLECTION

Craft Recordings is proud to announce the release of The Savoy 10-Inch LP Collection, which spotlights Charlie Parker’s groundbreaking bebop sessions for the legendary jazz label, spanning 1944 to 1948. The deluxe, four-LP box set—also available digitally—features newly restored and remastered audio, faithfully reproduced artwork from the original 10-inch albums, plus a booklet containing vintage photos, rare ephemera and new liner notes from GRAMMY® Award-winning journalist and author Neil Tesser. These historic recordings, reissued as the world celebrates the 100th anniversary of Parker’s birth, feature such jazz greats as Miles Davis, Dizzy Gillespie, John Lewis, Bud Powelland Max Roach. Set for a February 28th release date, The Savoy 10-Inch LP Collection is available for pre-order today, while the instant grat single, “Ko-Ko,” can now be streamed or downloaded on all major digital outlets. “Ko-Ko” was one of Bird’s early masterpieces, and his first recording as a leader. In 2003, it was added to the National Recording Registry, categorized as a recording that is, “Culturally, historically or aesthetically important, and/or inform or reflect life in the United States.”

When saxophonist Charlie “Bird” Parker and his contemporaries introduced bebop in the ’40s, they were ushering in a bold new style that would influence modern music for decades to come. Nowadays, as Neil Tesser argues in the box set’s liner notes, it’s easy to forget that bebop was considered avant-garde. “Bebop undergirds such a vast swath of American music that its revolutionary nature recedes into the background. It is now so familiar and comfortable, such an ever-present part of the family history, that non-historians can hardly envision it ever being ‘revolutionary.’” However, when listeners heard this new sound for the first time, it was unlike anything they had experienced before. Up until this point, the general public enjoyed swing-era big bands performing standards from the Great American Songbook, led by the likes of Louis Armstrong, Duke Ellington and Benny Goodman. It’s also worth noting that—to those who were not entrenched in the jazz scene—this new style of music seemingly came out of nowhere. Though bebop evolved in the early part of the decade—cultivated in New York’s late-night jazz clubs—it didn’t appear on record until the mid ’40s, following a two-year strike by the Musicians’ Union, which banned commercial recordings for labels, due to royalty disputes.

The 28 tracks that make up The Savoy 10-Inch LP Collectionare some of the world’s earliest bebop recordings, including takes from a November 1945 date that is often referred to as “The Greatest Jazz Session Ever,” featuring Davis, Roach and Curley Russell appearing as “Charlie Parker’s Reboppers.” The tracks were compiled by Savoy and released over the next several years as the four LPs reissued in this box set: New Sounds In Modern Music, Volume 1 (1950), New Sounds In Modern Music, Volume 2 (1951), as well as Volumes 3 and 4, both released in 1952. Nearly all of the compositions heard in this collection are originals by Parker, with a few contributions by Miles Davis, and an original tune from guitarist Lloyd “Tiny” Grimes—who led Parker in the session for “Tiny’s Tempo.” Highlights include the upbeat “Now’s the Time,” the bluesy “Parker’s Mood” and “Constellation,” which Tessler notes “seems to anticipate the free-jazz energy solos of the 1960s.” Also notable is “Ko-Ko,” featuring an impressive improvisation from the saxophonist, as well as one of Bird’s most recognizable tunes, “Billie’s Bounce,” which was inducted into the GRAMMY® Hall of Fame in 2002. Though multiple styles of bop would become mainstream by the end of the ’50s, these recordings mark the beginning of a new era and a radical shift in musical trends. It was a sound that, Tesser declares, was “at once liberating but also threatening. Charlie Parker and his fellow instigators…sparked a cultural earthquake that upended the music landscape for decades.” 

Though his life and career were all too brief, Charlie “Bird” Parker (1920–1955) was ahead of his time, altering the course of music in his wake, and paving the way for hard bop, free jazz, fusion and beyond. Like Louis Armstrong, Duke Ellington, Miles Davis and John Coltrane, Parker was a pioneering composer and improviser who ushered in a new era of jazz and influenced subsequent generations of musicians, writers and artists. 2020 marks the 100thanniversary of the saxophonist’s birth, and to celebrate his legacy, a variety of special events, performances, as well as music and art releases—collectively celebrated as “Bird 100”—will take place throughout 2020.