Saxophonist KIM WATERS New CD SHAKEDOWN

Heralded as “Simply one of the planet’s best saxophonists” by JazzTimes Magazine and the “Pied piper of Smooth Jazz” by Upscale Magazine, Kim Waters has enjoyed a career longevity that is rare in the music business. For three decades, the prolific chart-topping saxophonist, composer and producer, has reigned as one of the premier architects of Urban Smooth Jazz and a beacon of light in Contemporary Jazz. He ‘s garnered praise from critics and fans alike, ranking among the top five best-selling instrumentalists in jazz. “New music continues to come out, which gives the world something to lift them up and share with family and friends,” states Waters, whose new and 24th recording as a leader, Shakedown offers a thrilling ten-track escape meant to catapult us to a happier frequency. The Georgia based saxman shares, “Shakedown to me is something that makes you want to get up and dance and move your body! That was my goal for this CD!! Music that makes you happy and soothes the soul!”

 Kim Waters’ instantly recognizable sound has found the perfect equilibrium between sensitivity and brawn, intellect and emotion and technique and soulfulness. On Shakedown the suave, debonair and commanding saxophonist’s ability to transcend the musical boundaries of Jazz, Pop and R&B have made him one of the most sought-after musicians in Contemporary Jazz. In typical fashion, Waters is like a one-man band, playing all the instruments on Shakedown as he creates dreamy melodies, sultry ballads and funky and bluesy dance-inspired grooves. He also reinvents a recent R&B gem. The new album is dedicated to Waters’ wife Dana and his twin daughters Kimberly and Kayla.  “They all inspire me so much and they are truly my best friends! Kayla has become an amazing artist, writer, producer and performer!! Words cannot express how this makes me feel to work together with her and to share the stage together on many occasions! She continues to grow at her craft and she and Kimberly are my heart!” 

Waters composed Shakedown at the piano as opposed to his normal process, which is in the recording studio. “This is the first album where I wrote all of the songs at my grand piano in my piano lounge. I usually write in my studio, but this time I stayed on the piano until all of the songs were written.” Shakedown opens with the jubilant and uplifting title-track and first single. It has a bluesy-old school feel and is reminiscent of the Ramsey Lewis hit and crowd pleaser “The In Crowd.” The composition “Feels Like Friday Night” is a fun-loving celebration marked by Waters’ soulful horn doubling on the chorus and his gorgeous flowing sax melody throughout. We are transported to the British Virgin Islands in the Caribbean for the song “Nina In Tortola.” You can feel the island breeze as Waters graceful soprano dances in the rhythms of the island mist. The undeniable groove and funk riffs on “Takin’ The High Road” and “On The Streets” will beckon you to get on your good foot while the tender moments created on the tranquil “With Open Arms” and pensive “The Moment I See You” will move you to a place of peace and quiet reflection. “With Open Arms” is dedicated to Waters’ late father-in-law, Frank Mayo Sr. “We were extremely close and did everything together,” shares Waters. “Whenever anyone came to his house, he welcomed them with open arms and always made sure they had plenty to eat and drink.” 

Shakedown revs into high gear with the edgy, driving and pulsating “In The Fast Lane.” This gear-shifting number is sure to release some much needed endorphins. Always current with what is hot on the scene, Kim Waters has enjoyed great success reworking Hip Hop, R&B and Reggae hits with a jazzy twist on his popular CDs Streetwize and Tha’ Hot Club.  On Shakedown the saxophonist reinvents the Ella Mai hit and a favorite of his sister Joyce, “Boo’d Up.” Waters’ own sensual take on this lovers delight makes its own notable mark on this R&B hit. It is apropos that Shakedown ends with “Hidden Treasure.” At the end of Waters’ ten-track excursion, this song is indeed a hidden treasure and the reward for joining the saxophonist on his musical adventure. The uplifting closer is sure to leave your mood and spirit elevated. “When my fans hear this new CD, I hope that they forget about whatever it is that they may be going through, and that their spirits are lifted up and they are smiling and moving to the grooves!!!” says Waters.

Born in Maryland into a musical family, Kim Waters picked up his first instrument, the violin, at the age of eight. "That didn't go over well with the fellas," says Waters, who later found his calling on the alto and soprano saxophones at 13. Shortly afterwards he began playing in a band with his brothers James (who he still performs with) and Eric and his old friend, pianist Cyrus Chestnut. Kim Waters has been called on to perform with or open shows for the best including Al Green, Isaac Hayes, Phyllis Hyman, Teddy Riley and Guy, and Gerald Albright to name a few. Through the years Kim Waters has recorded a string of successful and chart-topping albums on Shanachie: Love’s Melody (1998), One Special Moment (1999), From The Heart (2001), Someone To Love You (2002), In the Name of Love (2004), All For Love (2005), You Are My Lady (2007), I Want You: Love in the Spirit of Marvin (2008), Love Stories (2010), This Heart of Mine (2011), Rhythm and Romance (2016) and What I Like (2018).

We could all learn a thing from Kim Waters’ Zen-like approach to music and life. He is an advocate of not sweating the small stuff and seeing the big picture. He professes that these are key ingredients to living a long life. Waters is also motivated by the opportunity to reach others. He concludes, “My fans, friends and family inspire me to be the best I can be. It makes me smile when I hear and see people happy because of my music!!! That's what it’s all about.”

Soul-jazz guitarist Gregory Goodloe - Cool Like That

When R&B/jazz guitarist Gregory Goodloe dropped his new single, “Cool Like That,” at the beginning of March before the novel coronavirus outbreak hit the US with a vengeance, it was the No. 1 most added single on the Billboard airplay chart in its debut week and earned the most new spins in its second week. The song that he wrote with and features urban-jazz icon Bob Baldwin has taken on quite a different spin in the face of the health and economic crisis that have put lives, finances, and the future in peril. The track that was conceived to recreate the classic cool contemporary jazz sound and will serve as the title cut of his forthcoming album has become somewhat of an affirmation to Goodloe to stay calm and be fluid during this period of uncertainty
.
“What’s on my mind is the unsureness of life. It’s very fragile. My mother, who is in her 80s, I worry about keeping her safe. My main concern right now is to be able to continue taking care of my mom,” said the Denver-based Goodloe who is doing his best to maintain his even-keeled cool despite so many unanswered questions about what’s ahead for musicians and the music industry.

“Like every other musician right now, we’re going through a transition. We don’t know what’s going to be at the end of the rainbow. We don’t know if everything is going to be more condensed. Is it the end of concerts? Is it the end of festivals? Is everything going to be digital now? Are we just going to be in-house songwriters? That’s the kind of thing that’s going through my mind. This time is about being able to work through that; to have the change, but not let it defeat me. To move like water into the flow of whatever change has to happen in order to continue to create music.”       

“Cool Like That” is Goodloe’s first single since last June when he landed his first Billboard No. 1 single, “Stylin’,” which also topped the Mediabase and Smooth Jazz Top 20 charts. With Baldwin producing and crafting the lion’s share of the new single’s production as well as contributing shimmering keyboard flourishes, Goodloe’s crisp electric guitar recalls two of the legendary guitarists who inspired the track’s conception: George Benson and Wes Montgomery.

“When the idea came for ‘Cool Like That,’ I sought out the writing expertise of Bob Baldwin because he’s almost like a pure jazz enthusiast. I wanted to use his expertise to create that kind of vibe of when jazz was cool. I went through an era of listening to people like Herbie Hancock and wanting to be a musician. We thought it would be cool to be a jazz musician. That era includes your Grover Washington Jr.’s, Wes Montgomery and George Benson when he first came out. It was an exciting time - when classic jazz was the poster of what cool really was. So, I wanted my song to be cool like that, like that whole era. I wanted to reproduce that vibe,” said Goodloe.

Goodloe has been working towards a summer release for the “Cool Like That” album, but the stay-at-home mandate may lead to a delay. For now, he prefers to keep his cards close to his chest when it comes to the identities of the prominent hitmakers with whom he has been writing and recording for the collection. Goodloe admits to struggling to focus on songwriting since the outbreak.

“Some of the songs were written before the virus and I have yet to pen anything of any significance since  the virus hit and the economic downfall. It’s kind of a solemn time and people are reflecting. You have time to create and hone your craft because a lot of things are shutdown.”

At the suggestion of a fan, Goodloe has spent the last few Saturday nights in his home studio playing live and connecting with fans on Facebook Live. He is going to continue what he has now titled “Saturday Night Hang” (7pm Mountain Time), which he sees as an offering to help people get through the crisis.

“The idea is to interact and try to ease people’s minds during this pandemic because a lot of people are panicking. They are frustrated and some are freaking out. The quarantine itself, some people don’t know how to handle it. So, I want to provide an hour escape. I kind of mix it up. Because some of my followers are Christian, I may open with a couple of Christian songs and read a bible passage. After that, I try to play songs that people recognize and they can sing to. I play familiar tunes and throw in some of my own music.”      
   
Goodloe debuted as a solo artist in 2010 and has performed with an array of R&B, jazz and gospel greats including Howard Hewett, Surface, Tank, Ben Tankard, Shirley Caesar, John P. Key, The Rance Allen Group and Angela Spivey, and opened for Dave Koz, Brian Culbertson and Norman Brown. He also played one gig with award-winning blues artist Sista Monica Parker, an experience that perhaps answers the question about whether this crisis will diminish the joyous spirit that permeates his guitar play and songwriting as he works towards completing the “Cool Like That” album.

“I remember playing for Sista Monica and she only hired me one time because she said my blues is like happy blues. I don’t know if I would be able to write a song about the unhappy mood of current times because I don’t know if that part of me will come out. I’d probably just end up playing happy blues.” 

http://gregorygoodloe.com

Elemental Music Presents New Additions to the Famed Jazz Images Series

Elemental Music Presents New Additions to the Famed Jazz Images Series
Photographers Francis Wolff and William Claxton's Musically Iconic Historic Images

It’s always challenging to use one art form to pay homage to another. To capture the essence of a transcendent art form like jazz through photography, while representing its precious substance of sound and structure through a purely visual element is a challenge of the highest order. While many have taken photos of jazz artists in performance and in portraiture, only a treasured few have been able to match their artistry to the level of the music. Two of the most profound of these photographers are Francis Wolff and William Claxton – each of whom is powerfully represented in Elemental Music’s latest pair of releases in its Jazz Images series.

Like the first book in the series, Jazz Images by Jean-Pierre Leloir, Jazz Images by Francis Wolff and Jazz Images by William Claxton are beautifully packaged in 11.5 inch square hardcover editions, each book containing 164 pages with more than 150 images by both of these master photographers. For the most part the images are given a full page each and while Wolff’s are entirely in the black-and-white format that was his trademark, a number of the photos in the Claxton book are in color. Each photograph is underscored with the specific information as to the circumstances in which the photo was taken as well as the identity of all of those who are depicted in the photo. Both editions have highly informative introductions by noted writers/historians Howard Mandel (Claxton) and Ashley Kahn (Wolff). All of this contributes not only to the books as visual feasts, but also as important historical documentation of the glorious art of jazz.

Just as Miles Davis and Clifford Brown were two masters of the same discipline telling their stories through significantly different approaches, so the same can be said of these two giants. Wolff’s tightly contained claustrophobia in the sacred prayer chapel of Rudy Van Gelder’s studio contrasts with Claxton’s airy, open approach that airlifted the musicians out of the smoky club setting and into the natural atmosphere of the outdoors for what the photographer described as jazz for the eyes.

While capturing images of jazz musicians in performance is both compelling and exciting, an even deeper truth is conveyed through the artists as flesh and blood human beings with identities and personae as fully defined as the music they create. The most expressive and revered portrait photographers, from early masters like Dorothea Lange and Alfred Stieglitz to later heavyweights like Richard Avedon and Yousuf Karsh were all brilliant at capturing the essence of their subjects. But they primarily operated in a controlled environment where the photograph was really the only purpose of the action. While Claxton was an experienced fashion photographer, both he and Wolff had to play their instruments in the environment of spontaneity and immediacy that is the essence of jazz. That makes the results even more rewarding, and in truth, a form of jazz expression. 

Francis Wolff’s art was virtually limited to the New York domain of Blue Note Records within the sanctified environs of the peerless recording engineer Rudy Van Gelder’s fabled studio just outside of the city. A refugee from Nazi Germany and soon after his arrival in NY, co-owner of Blue Note with founder Alfred Lion, Wolff’s ability to remain “invisibly” unobtrusive (despite the use of flash) enabled him to portray artists in the purest moments of making recorded music – whether playing, conversing, writing, listening or even relaxing between takes. This makes Wolff’s photographs like no others.

Just a sample of some of the stunning images in this book -- Hank Mobley, cradling his horn in warm embrace as he listens to a playback; Lee Morgan and Joe Henderson playing face to face with horns positioned so it looks like Lee is pouring his tones into Joe’s welcoming bell; Art Blakey’s cat-like intensity as he squints into his snare waiting for the perfect moment to strike; the magnificent John Coltrane leaning back in passionate concentration as he streams his spiritual essence out through his preaching horn; Miles Davis coolly blowing over his crossed legs with his seemingly relaxed posture betrayed by the intensity with which his hand is grasping the metal back of the chair; Herbie Hancock with his head resting on his hand perched above the keyboard his eyes inches away from his fingers as he sounds out an idea; Elvin Jones’ hand tightly wrapped around Reggie Workman’s shoulder as they share a joyous laugh; Dexter Gordon, Ike Quebec and Alfred Lion poring over session notes – vividly illustrate what makes Francis Wolff so special. 

William Claxton also had an affiliation with a major jazz label as art director of Pacific Jazz Records. This led to a close relationship with Chet Baker, and the book contains 22 images of the iconic and highly photogenic trumpeter. As a native of California, Claxton’s focus was primarily on the West Coast – both its jazz scene and its wide-open sunny environment. That didn’t lessen the intensity of his artistry, just shifted the vibe from the confined to the limitless. And while there is an overall sense of joy and exuberance to his work, he could also create a powerful aura of intensity. This is evidenced by his images of Bill Evans scrunched over the keyboard in contorted internal passion; Stan Getz, playing with face in shadow under the light outside a stage door in Hollywood; Clifford Brown, elbows tight against his ribcage with face compressed as he births a tale from his horn.

It was Claxton’s style to bring the artist out of the expected musical environment and into the healthy outside world. Cannonball Adderley’s quintet clustered under a Chinese beach umbrella on a sunny California beach; Chet Baker hanging arched from the mast on a sailboat above his bandmates; Charlie Byrd playing alone under a tree over the Potomac River; Donald Byrd pensively playing seated among a group of riders on NYC’s “A”Train; John Coltrane, leaning against on a railing in the Guggenheim Museum; the Kenton band in stark silhouette with horns held high in the air outside the Rendezvous Ballroom on the beach in Balboa; Ramsey Lewis’ Trio on the streets of Chicago; Charles Mingus, Ornette Coleman, Max Roach and Kenny Dorham against the Newport RI backdrop on an impromptu stage during the Newport Rebels counter-festival.; Thelonious Monk on the back of a San Francisco streetcar; Art Pepper climbing a hilly street in LA; Sonny Rollins cradling his horn under one arm at the Joshua Tree Monument in California.

Featuring portraits of scores of the most legendary figures in jazz of the second half of the 20th century, Elemental’s founder Jordy Soley has bestowed a monumental gift to jazz fans and musician with this series. And most importantly it provides a firsthand look at the truth and soul embodied in those who make jazz the glorious manifestation of the human spirit that it is.

New Music Releases: David Philips & Abel Boquera,Tansy, Haggis Horns

David Philips & Abel Boquera - The Duo Sessions

David Philips and his good friend and keyboard wizard Abel Boquera have been playing in bands together for the past 10+ years. Last year they decided to get together in Abel's studio to make a few videos playing duo. The audio from this session is what you find here. Abel played an old 1970s Fender Rhodes electric piano and mixed/mastered the session. The first 2 songs are David's originals from his record "Get Along" and the last was a bit of fun; a cover version of the Michael Jackson hit "The Way You Make Me Feel."

Tansy – Full Bloom

New Orleans duo, Tansy, have released their debut album Full Bloom after receiving immense acclaim for their first two singles. Full Bloom is an ode to growth, love, and continuing down the path even when you are uncertain of the future. Full Bloom is a testament to their New Orleans roots and collaborative style, featuring several of New Orleans finest musicians. Their previous singles received high critical acclaim from the likes of IGGY Magazine, Bong Mines Entertainment, LeFuturewave, The Jamwich, and several others. Atwood Magazine described their debut as "Cozy jazzy tones and an R&B soulfulness". Full Bloom is an ode to their growth over the past years, both collectively and personally, as Tansy finds their niche in the contemporary jazz soundscapes of New Orleans. 

Haggis Horns - Stand Up For Love

The Haggis Horns just seem to get tighter and tighter with each new record – to a point where they're way more than just another funk combo with a gimmicky name, and have grown into a really great soul group on their own! The rhythms, arrangements, and horns are great – but there's also plenty of excellent vocals on the set from John McCallum, a singer who helps the group move way past just simple funk modes, and way into more of a fuller-blown style of vintage soul – one that might rival the best of their countrymen, Average White Band – and which almost has the sharp crackle and snap of early work by Brand New Heavies! Titles include "Burning", "Stand Up For Love", "Give It Up", "Haggis Express", "Shoulder To Shoulder", "Don't Give A Damn", and "Suzi Traffic". ~ Dusty Groove

Fabiano do Nascimento - Now-Again

The Brazilian guitarist’s third album for Now-Again, featuring 10 original compositions. Shades of Baden Powell, Hermeto Pascoal, Carioca, Tenorio Jr., Rosinha de Valença.

“To call it magic would be too dismissive of the work Do Nascimento has put into translating both the stunning natural landscapes and rich musical history of Brazil from his perceptions to this album. Blood, sweat, deep love all play vital roles…” – Pop Matters.

Prelúdio is the third album Now-Again Records has issued from the thrilling, young Brasilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento’s longtime drummer Ricardo “Tiki” Pasillas.

It is the first album of solely do Nascimento’s own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brasilian music, Brasilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady ‘60s and ‘70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brasilians for generations.

  

Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-father Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade’s band Bom de Três.

While he came from a musical pedigree, he’s largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continue to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira.

Moreiera states that Nascimento is “Brazilian but (his mind is) from a place in Brazil that is not common.” Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that’s the most important thing in music. The energy. That’s why I love to play live. And that’s why I’m playing with Fabiano.”

 

New Music Releases: Tenderlonious, The Black Art Collective, Diazpora

Tenderlonious - The Piccolo: Tender Plays Tubby

22a founder, producer and multi-instrumentalist, Tenderlonious, head's up this incredibly special release for Jazz Detective Records, paying homage to the British jazz legend Tubby Hayes. A chance sequence of events lead to Tenderlonious, getting his hands on Tubby Hayes' Piccolo, resulting in this outstanding re-interpretation of four classic Tubby Hayes tracks. Features some of London's finest jazz musicians, with the hope; to introduce a whole new generation of jazz fans to a true great of British jazz. Personnel: Ed 'Tender' Cawthorne (piccolo, flute, soprano saxophone), Nick Walters (trumpet), Hamish Balfour (piano, vibes, Fender Rhodes), Pete Martin (bass guitar), Aidan Shepherd (accordion), and Tim Carnegie (drums). ~ Dusty Groove

The Black Art Jazz Collective - Ascension

The Black Art Jazz Collective was founded in 2012 by Wayne Escoffery and Jeremy Pelt with the aim of honouring and preserving the art of some of the progenitors of jazz who inspired them, hired them and mentored them first-hand. And while the band does pay homage to the greats of the past they also continue the evolving tradition of jazz with a body of work that remains firmly entrenched in the modernism of today. From the angular melody of Escoffery's "Involuntary Servitude," to the ingratiating groove of Pelt's "For the Kids," the ensemble extends the range and potential established by their illustrious predecessors with innovative original compositions, solos that run the gamut from thoughtful to virtuosic and a shared sense of purpose that is unique on today's jazz landscape. Personnel: Wayne Escoffery (tenor saxophone), Jeremy Pelt (trumpet), James Burton III (trombone), Victor Gould (piano), Rashaan Carter (bass), Mark Whitfield Jr. (drums). ~ Dusty Groove

Diazpora - Ping Pong Powerplay

No time for table games here – as Diazpora jump right in the groove from the very first note – working with a sweet 70s funk approach to their music, which means lots of riffing guitar, funky basslines, and horns punctuating the keys – all while lead singer Axel Maximilian Fiege sings in this very strong way – able to go deep one minute, inflect a falsetto the next – all with these twists and turns that make him way more than just another soul singer working with a funk band! Axel's strong presence in the lead really gives the whole thing a heck of a lot of power and shape – and titles include "Hit Me", "The Bachelor", "Hangin On", "Ready To Go", "Play The Ball", "The Olympians", and "You Shot Me Down". ~ Dusty Groove

Erroll Garner's Gershwin & Kern

In his original 1976 liner notes, concert impresario George Wein concluded fittingly, “To put it simply, Erroll Garner is a great musical genius.” On this final album released during Garner’s life, he shows yet again his complete mastery of his instrument and his unmatched ability to interpret songs and make them his own. This newly restored album includes a previously unreleased Garner original, worthy of the two composers to which this album is dedicated.

The newly minted bonus tracks in the series are all Garner originals, eight of the 12 being previously unreleased compositions. “It’s truly shocking, and one of the greatest joys of this work, to find these fully realized tunes just sitting there on tape,” says Peter Lockhart, senior producer of the Octave Remastered Series.

One of the most prolific composers and performers in the history of jazz, as well as a courageous advocate for African American artistic freedom through the ownership and control over his own works. Garner is a legend among jazz pianists. His unique approach melds bebop and swing influences into a unique, unrivaled mastery.

Garner is also a notable figure in popular music history for the hard-won precedents he set for artistic freedom that still stand today. In 1959, because he had rights of approval on what was released, Garner successfully sued Columbia Records to remove an album they had released without his permission.

His victory was the first of its kind for any American artist in the music industry. Garner and his manager, Martha Glaser, subsequently founded and launched Octave Records, whose 12 releases make up the Octave Remastered Series.

Erroll Garner was a rare musician who was equally adored and respected by peers and devoted fans alike. He and his art were best summed up by the late trumpeter Clark Terry: “The man was complete. He could do it all.”

One of the most prolific composers and performers in the history of jazz, as well as a courageous advocate for African-American empowerment and artistic freedom, Garner is a legend among jazz pianists. His unique approach melds bebop and swing influences into a unique, unrivaled mastery.

In addition to his brilliant keyboard artistry, Garner is also a notable figure in popular music history for the hard-won precedents he set for artistic freedom that still stand today. In 1959, because he had rights of approval on what was released, Garner successfully sued Columbia Records to remove an album they had released without his permission.

His victory was the first of its kind for any American artist in the music industry. Garner and his manager, Martha Glaser, subsequently founded and launched Octave Records, whose 12 releases make up the Octave Remastered Series.

Erroll Garner was a rare musician who was equally adored and respected by peers and devoted fans alike. He and his art were best summed up by the late trumpeter Clark Terry: “The man was complete. He could do it all.”

La Lucha Releases Debut Recording: Everybody Wants To Rule The World

The trio’s music ventures boldly into a wide variety of musical styles, offering an appealing and fun mix of genres under the jazz umbrella. The combination of their musical versatility and varied musical influences makes for compelling virtuosic performances. Through an engaging stage presence and high level of interaction, La Lucha brings the audience into their world.

La Lucha has built an impressive resume performing with jazz legends including Randy Brecker, Dick Hyman, Charles McPherson, Wycliffe Gordon, Marty Morell; as well as, the renowned guests that appear on this album: Melissa Aldana, Ken Peplowski, Chuck Redd, Diego Figueiredo, and Houston Person.

La Lucha is a Tampa Bay based trio that consists of three best friends from three different parts of the world: Colombia (Alejandro Arenas), Mexico (John O’Leary), & United States (Mark Feinman). Their music ventures boldly into a wide variety of musical styles, offering an appealing and fun mix of genres under the jazz umbrella. The combination of their musical versatility and varied musical influences makes for compelling virtuosic performances. Through an engaging stage presence and high level of interaction, La Lucha brings the audience into their world.

Beautifully produced by clarinetist Ken Peplowski, Everybody Wants To Rule The World features a diverse and creative group of musicians with widely eclectic interests. From punk to heavy metal, salsa, jazz, world music, and even classical tuba, La Lucha melds their energies and unique musical and cultural backgrounds to create their sound. Having grown up in very different parts of the world with varied musical influences permeates throughout the music. “We find that jazz is the perfect vehicle for those differences to meld together, due to the freedom that exists within it. There is also a wonderful human and musical coexistence within La Lucha and that gives us a joy that sets the tone of what we do.” There's so much compositional strength in this trio.

With a name meaning ‘the fight or struggle,’ La Lucha positively reminds the audience to overcome whatever one needs, including the obstacles found in living with a commitment to an artistic life. “Trust is at the core of what we do. Each member of the group is an essential part of the La Lucha sound and brings something unique to the table. The sound we have is impossible to achieve without this particular combination of individuals, and that sound is the essence of our music.”

LAURA BENANTI - "SUCKER" 

LAURA BENANTI SHARES NEW SINGLE & MUSIC VIDEO HER TAKE ON THE JONAS BROTHERS' CHART-TOPPING HIT "SUCKER"
 
TONY® AWARD-WINNING STAR WILL DONATE 100% OF HER EARNINGS FROM THE RECORDING TO FOODCORPS ON THE HEELS OF LAURA'S SOCIAL MEDIA CAMPAIGN #SUNSHINESONGS

"I've been working on new music for a while and have been so looking forward to releasing it this year.  When it became clear to me that my first single would drop during the height of the Corona crisis, the only thing that felt right to me was to turn the release into a charitable endeavor. In keeping with the intention of the #SunshineSongs campaign (to bring light to a dark time) the accompanying video for ‘Sucker' is a compilation of how so many of us are spending our time; from quarantine to the frontlines. It is meant to be a love letter to America, especially our first responders and those being of service during this unprecedented time. We are all in this together."

In the midst of an illustrious career spanning Broadway, film, and television, Tony® Award-winning actress, singer, author, and philanthropist Laura Benanti now brings a longstanding dream to life as she gears up to release new solo music with Sony Music Masterworks.  With Broadway credits ranging from the My Fair Lady revival and Steve Martin's Meteor Shower to She Loves Me, Laura garnered a Tony® Award in the category of "Best Featured Actress in a Musical" for the 2008 production of Gypsy-among five career nominations to date. Meanwhile, her performance in Women on the Verge of a Nervous Breakdown would be honored with the Drama Desk Award and Outer Critics Circle Award for "Best Featured Actress in a Musical." Simultaneously, she enchanted audiences on the small screen, appearing on Younger, Supergirl, Nashville, The Good Wife, Nurse Jackie, and more in addition to films including WORTH and the upcoming Here Today.

Together with communities, FoodCorps connects kids to healthy food in school. Now that the COVID-19 pandemic has forced school closures, our 250 service members, spanning 375 schools in 18 states and Washington, D.C., are helping with emergency meal services, remote food and nutrition lessons that reinforce academic priorities, and garden cultivation for community building and local nourishment. FoodCorps is also mobilizing its nationwide network of partners and allies to advocate for policies that will help schools keep kids nourished through this crisis and beyond. Through our service and advocacy, we seek to demonstrate the power of food in schools and ensure our country's policies and food systems work together to nurture every child's potential. Learn more at foodcorps.org.

https://www.youtube.com/watch?v=nj1KTvZ1NZU

Bettye LaVette: Blackbirds

BLUES LEGEND BETTYE LAVETTE RELEASES POWERFUL RENDITION OF "STRANGE FRUIT" AHEAD OF SCHEDULE TO GIVE VOICE TO MODERN DAY LYNCHINGS 

Track to be featured on her upcoming album "Blackbirds," a tribute to iconic black women in music on August 28

Blues Hall of Famer Bettye LaVette has decided to release her stirring rendition of "Strange Fruit" ahead of schedule as it says as much about the history of American racism and the state of the country today.  "Strange Fruit" was originally recorded by Billie Holiday in 1939 and written by Jewish teacher Abel Meeropol who wrote the song based on a photo of two black men who were lynched as a crowd of white people looked in the camera pointing and smiling. LaVette's version will be featured on her album, "Blackbirds" (Verve) set for release August 28.

"It really is horrifying that nearly 80 years later, through Billie's lifetime and now my 74 years, the meaning of this song still applies. It might not be men and women hanging from trees, but these public executions are now on video and it feels like they're doing it for sport. I hope the song will be a reminder that we have had enough, and I support the Black Lives Matter movement," said LaVette.

"Blackbirds," features songs primarily popularized by some of her peers, other iconic women in music, who she personally respected and admired. Set for release August 28, the album finds LaVette in top form delivering powerful renditions of songs that touched her personally. It also re-unites her with producer Steve Jordan.

From Dinah Washington's "Drinking Again," Nina Simone's "I Hold No Grudge," Nancy Wilson's "Save Your Love For Me" and more, all delivered in LaVette's rich and raspy tone with a touch of the blues.

Bettye LaVette is a native of Detroit. Her first recording in 1962, at the age of sixteen, was on Atlantic Records. She later charted with such singles as "He Made A Woman Out Of Me" and "Do Your Duty," Since then she has recorded ten albums. Her most recent album Things Have Changed, also produced by Steve Jordan (John Mayer, Keith Richards), was released on Verve in 2018 and received two GRAMMY nominations, which brings her total Grammy nominations to five.

Chris “Big Dog” Davis - Focus

Multi-Grammy Nominated Producer & Keyboardist Chris “Big Dog” Davis Releases Shanachie Debut As A Solo Artist;  Star-Studded Affair Features Guests Maysa, Dave Koz, Kim Waters, Gerald Albright, Rick Braun, Nick Colionne, Bluey & Others!

Click Link To Check Out Chris "Big Dog" Davis' New Single "It's All Love"Featuring Dave Koz         

         

 Few artists are equally captivating behind the scenes and on the stage. It requires a certain amount of vision, keen musicianship and discipline. On Focus, all of these skills coalesce to create a thrilling 11– track experience that demonstrates the type of magic that multi Grammy nominated keyboardist and producer Chris “Big Dog” Davis’ has brought to other artists as a producer. His Midas touch has added finesse to endeavors by Brian McKnight, George Clinton, Will Downing, Syleena Johnson, Chanté Moore, Maysa, and numerous others. As he takes center stage for the first time on recording, his wizardry blesses an entire album of inspirational and moving originals. 

“This experience has really been exciting and rewarding. My hope is that people will enjoy coming into my musical world and getting a deeper glimpse into who I am and all of the music that has influenced me from Jazz, Funk Gospel and Pop,” says Davis, who has produced 17 #1 hits on the Contemporary Jazz charts. Danny Weiss, VP of Jazz A&R states, “Chris has been our go-to producer for everyone from Kim Burrell to Maysa to Norman Brown, just to name a few. We're thrilled to be releasing his first solo album, so that the world can witness the full expression of his artistic talent.”

“The idea behind Focus was to create music with some of my favorite people. It also served as a reminder to keep your eyes on a prize and to let our dreams become our reality,” shares the handsome and amiable 6’3” bodybuilder who spent a stint in the Marine Corps. The Waterbury, CT native drew from diverse influences like Miles Davis, Chaka Khan and George Duke and even his own Zen  rooted philosophy to living life.  Focus joins Davis with a cadre of the best working artists in Contemporary Jazz including Kim Waters, Gerald Albright, Rick Braun, Dave Koz, Maysa, Bluey and Nick Colionne. “It is so humbling to have all of these artists join me on this project. Every single one of them came bearing gifts that make this album so special,” shares the keyboardist.

Focus opens paying homage to the ‘Queen of Funk’ with the Doheny/Stuart Chaka Khan hit "Whatcha Gonna Do For Me." “Big Dog's” sophisticated and in the pocket-groove on this favorite R&B jam unites him with saxophonist Gerald Albright. The duo scored a Grammy nomination in 2015 for their collaboration Slam Dunk. The title-track is a fitting motivational anthem, as we face the challenges of our current time. Powered by the dynamic duo of Maysa and Bluey, “Focus” is a potent reminder to focus on the things that truly matter.

The ethereal Zen ballad, “One Day At A Time” reminds us to be mindful as “Big Dog’s” cascading piano lines take flight with Rick Braun’s sailing trumpet to perfect effect. The song takes inspiration from conversations Davis has had with his limo driver Max.  The gospel-tinged “You Are Loved,” inspired by George Duke and featuring bassist Ace Livingston, brings another layer of beauty into focus, while the jubilant “Silver Street,” featuring saxophonist Marty Quadrato, transports us down a winding road of joy. The composition “It’s All Love” is named after one of the Davis’ favorite sayings. He unearths a mountain of emotion on this track that unites him with saxophonist Dave Koz as they create one of the most memorable moments on the album. Focus also showcases the sensual "You Just Smile," featuring guitarist Tony DePaolo. “We are all so stressed and rushing from one place to the next and this song is just a reminder that the world would truly be a better place if we would all just take a moment and smile,” shares Davis, devoted father to five daughters. A pleasant surprise on Focus is the composition “Natural High” which takes inspiration from Miles Davis and finds “Big Dog” taking us down a bluesy bend as he stretches out and gets loose for this soul drenched number. ‘Big Dog’ kicks it up a notch on the dance-inspired “Fall Back” while "Just When You Thought You Had Enough," featuring guitarist Nick Colionne, serves up a sweet groove with the perfect combination of funk and soul. The album ceremoniously closes with the show-stopping finisher "Blue Light Special" showcasing Kim Waters.   

          

A native of Waterbury, CT, Chris “Big Dog” Davis’ early beginnings were immersed in music. He began studying piano at age four. His mother was the choir director at Refuge Church of Christ where he played in the band seven days a week. He was later recruited for a gifted after school program at Yale University where he studied classical composition. By sixteen, Davis had recorded his first 45 Gospel records with his church youth choir entitled “Lord, Who Shall Abide” and “He’s The Only One.” Davis would go on to study with famed altoman Jackie McLean at the Hartt School of Music. It was a time when Gospel, R&B, Jazz, and Hip-Hop were cross-fertilizing and Davis was finding his own voice where his arpeggios came accented with back-beats and flat sevenths. In 1995, he landed the opportunity to work with Brian McKnight and appeared with him on The Arsenio Hall Show, The Tonight Show, and The Rosie O’Donnell Show. Throughout Chris ‘Big Dog’ Davis’ career he has always reveled in the opportunity as he put it to “hear the music and become the architect that helps the artist achieve their sound and vision.” His unique gift has afforded him the opportunity to remain busy the past two decades working with Will Downing, Kim Waters, Kim Burrell, Maysa, Phil Perry, Avant and countless other artists. This time around on Focus, “Big Dog’s” canvas has come into sharp focus and the details of his artistry leave no doubt that he is a force to reckon with.

Eddie Henderson - Shuffle and Deal

Trumpet Great Eddie Henderson Turns up a Winning Hand with a Brilliant All-Star Quintet featuring Kenny Barron, Donald Harrison, Gerald Cannon and Mike Clark.

It’s never been wise to bet against Eddie Henderson. Not that the trumpet great is a gambling man, despite what the jackpot ride and shades-masked poker face on the cover of his invigorating new album, Shuffle and Deal, might imply. “I play War, but that’s about it,” Henderson jokes. “I’m not sophisticated enough for more than ‘high card wins.’”

Henderson’s storied biography suggests otherwise. The son of a vocalist father and a mother who danced at the Cotton Club, young Eddie received his first trumpet lesson from Louis Armstrong. His parents’ coterie of friends included Miles Davis, who provided the fledgling trumpeter with some typically sharp-toned mentorship. Henderson’s own remarkable career has included tenures with Art Blakey’s Jazz Messengers and Herbie Hancock’s Mwandishi band along with his successful parallel life as a psychiatrist in the Bay Area.

Due out July 31 via Smoke Sessions Records, Shuffle and Deal finds Henderson turning over yet another winning hand. It doesn’t hurt that he arrived with four aces up his sleeve – namely, the members of his stellar quintet: pianist Kenny Barron, alto saxophonist Donald Harrison, bassist Gerald Cannon and drummer Mike Clark. Add the leader into the mix and you end up with an unbeatable royal flush.

The album features a mix of familiar standards and original compositions by both Henderson’s musical and actual families – in addition to pieces by Barron and Harrison, the repertoire also includes pieces by the trumpeter’s wife Natsuko Henderson and his daughter, musician and educator Cava Menzies. The collection adds up to a blend of identities and voices that Henderson likes to refer to as a “collective portrait.”

Released just in time for Henderson’s landmark 80th birthday, Shuffle and Deal reveals a master at the height of his powers, able to unleash blistering, agile runs on bop burners as well as explore ballads with an exquisite fragility (yet more evidence that a lack of sophistication isn’t what’s keeping him away from the card table). If anything about this date looks backwards through the trumpeter’s eight-decade history, it’s not the vitality of the playing but the structure of the program, which keeps an engaged audience firmly in mind throughout.

“I want the audience to really feel the music and start moving,” Henderson insists. “Jazz started as dance music in the first place, so I want to bring that element back into the music. The telltale common denominator when people are really enjoying themselves is when they feel like they want to get up and dance. Not the European concept of listening to music, just sitting still and static, shushing people and politely clapping at the end of the tune. No! I thought it was supposed to be fun. That’s the way I grew up.”

Photo Credit: Jimmy Katz

Henderson’s newly penned title track should do the trick from the outset, jolting listeners out of their chairs with its insinuating shuffle beat (the actual source of the album’s title). The feel of the tune was inspired by Henderson’s early mentor, in particular Miles’ shadowboxing rhythmic feel on Jack Johnson.

“Miles just had this aura when he played,” Henderson explains, citing the goal he envisioned when playing the tune. “In the liner notes to My Funny Valentine they used the word ‘duende,’ which refers to the presence that matadors have, like they could walk on eggshells without breaking them. It’s a master’s approach; it leaves an indelible imprint on your memory. I always have some ideal in my mind when I play. I close my eyes and there’s a blank screen, but I envision elegance and purity. So I know where I want to go, but I don’t know how I’m going to get there.”

Henderson described a similar approach to “Over the Rainbow,” which he was inspired to play after seeing Judy Garland perform the song in a documentary. The tragic life imbued the song with a very different meaning than it possessed in the more innocent and whimsical context of her original version in The Wizard of Oz. That emotional resonance makes it a perfect companion piece with “God Bless the Child,” which is impossible to imagine separate from Billie Holiday’s emotion-laden voice. Both are rendered with aching tenderness by Henderson and the quintet, held aloft by Clark’s delicate yet foundational brushwork.

Barron contributed two pieces to the album. The barbed “Flight Path” was the title track to the 1983 second album by his Monk-inspired quartet Sphere, while “Cook’s Bay” was originally recorded for 2000’s Spirit Song with Henderson on trumpet. The two men share a long history and a matchless chemistry, nowhere more gorgeously evident than on their intimate album-closing duet on Charlie Chaplin’s “Smile.”

“Kenny Barron is invaluable to me,” Henderson says. “He’s always right there, always supportive and knowing exactly what I need. It’s just like breathing in and breathing out with Kenny. It’s like he’s part of my thoughts.”

The album’s final standard is a lyrical evocation of the classic “It Might As Well Be Spring.” Menzies’ offering for the album is the smoldering, dark-hued “By Any Means,” which echoes the tone of “Nightride,” her contribution to Henderson’s previous album, Be Cool. “Both those tunes are mysterious,” her father laughs. “I guess she got the mysterious side of her character from me.”

A crisp call-and-response between Cannon and Clark ignites “Boom,” Natsuko Henderson’s soulful new piece. It’s as aptly named as “Burnin’,” reprised by Harrison from his own 2001 album Paradise Found (which introduced his young nephew Christian Scott on trumpet). Like much of the album, the tune was nailed in a single take – in this case, an off-the-cuff rendition captured when Harrison was unaware that tape was even rolling. “I thought we were just rehearsing,” he says, shrugging off the effortless brilliance of his sharp solo. “I thought we were just jiving around but everybody else thought it was killing.”

That modesty, belied by the compelling beauty of his playing on Shuffle and Deal, is typical of Henderson, who has always preferred to keep his cards close to his chest. That doesn’t seem likely to change as the trumpet maestro turns 80. “That just happens to be another inch along the way,” he says. “I’m not close to finished. I feel like I’m just beginning.”

"Shuffle and Deal" was produced by Paul Stache and Damon Smith and

recorded live in New York at Sear Sound's Studio C on a Sear-Avalon custom console

at 96KHz/24bit and mixed to ½" analog tape using a Studer mastering deck.

Available in audiophile HD format.

MICHAEL SARIAN’S NEW AURORA

Trumpeter and composer Michael Sarian is an artist who paints images of humanity through sound. One who possesses a sound that is at once powerful and fragile, beckoning you, the listener, to take a glimpse, or often a full-on view, of Sarian’s truths as a human being, his worry, pain and lamentation, and his joys, hopes and exaltations. On Michael Sarian’s New Aurora, his fourth album as a leader, we find him on trumpet and flugelhorn as the sole melodic voice in this acoustic quartet, a clear departure from his previous releases which feature extensive four-horn arrangements, electronics and hard-hitting grooves (Sarian has released three albums as a bandleader with his septet, Michael Sarian & The Chabones, and also leads Michael Sarian & The Big Chabones, a 16-piece big band). Litening closely through flesh, metal, breath and spit we can hear his family’s heritage, his musical heroes and his declaration as a jazz artist who has something compelling and beautiful to add to the conversation.

Born in Toronto and raised in Buenos Aires from the age of one, Sarian has been calling New York City home for the past eight years. New Aurora has been in gestation since Sarian’s first release in 2014, and the album comes to us as a result of engineer/producer Luis Bacque’s downright insistence that the trumpeter venture into a freer, more acoustic setting that would feature his own playing, particularly on the flugelhorn, at the forefront of the ensemble’s sound (Sarian plays flugelhorn on all tracks save the first).

Inspired by the music of trumpet greats Kenny Wheeler, Tomasz Stańko, Enrico Rava, and legendary Armenian/American drummer Paul Motian, Sarian ventured into Bacque’s studio to test the waters of this new musical direction. After an afternoon spent at the New Jersey recording studio with Santiago Leibson (piano), Matt Pavolka (bass) and Dayeon Seok (drums), the session yielded the first two tracks of what would become Michael Sarian’s New Aurora.

Sarian began writing the first of the compositions, This Is Only The Beginning, in a hotel room in Florida during the first days of 2019, while reading Japanese writer Haruki Murakami’s “Killing Commendatore.” The novel tells the story of a thirty-something artist facing an early onset mid-life crisis, who, after a devastating separation, decides to quit his lucrative career as a portrait painter, retreat into the mountains and pursue a more fulfilling path of abstract self-expression, proclaiming ‘this is only the beginning’. Scottie(33), in honor of the great 1990s Chicago Bulls player Scottie Pippen, followed soon after. The opening theme is in 9 (the result of multiplying both 3s of his jersey number) and presents a subdued atmosphere. Originally meant to be a more up-beat composition, Sarian discovered that the only nickname Pippen had during his playing days was No tippin’ Pippen, because he was a notoriously poor tipper, probably as a result of the terrible contracts Pippen had with the Bulls organization and having to support his family, so Sarian decided to convey that sense of sorrow and disappointment in the music. The choppy, hip-hop groove in 7, then 15, gives the track a big finish because, after all, Scottie did win six championships.

The album derives its name from the track Aurora, which Sarian began writing on February 15, 2019. Although the word literally means dawn, which is the meaning Sarian hopes to convey behind the project, the composition came after hearing of a mass shooting that day in Aurora, Illinois. The composition bears a somber mood, a hopelessness which Sarian felt assuming #Aurora was trending because of the 2012 mass shooting there, only to find out that yet another senseless act of violence had taken place.

Dedicated to his cousin Nick, Primo (cousin in Spanish), is arguably the most ‘straight-ahead’ track of the album. The idea for the composition came after getting a copy of Nicolas Slonimsky’s book Thesaurus of Scales and Melodic Patterns. Sarian based the composition on a scale found on the second page. The marking at the top of the chart is “fast + gritty swing”, with no chords to be found, just the scale the tune is based on.

Paying homage to his Armenian heritage, Sarian arranged two pieces by Komitas, the celebrated Armenian monk, composer, musicologist, and founder of the Armenian national school of music (who last year celebrated his 150th birthday). Originally a love song, Dle Yaman became a song of loss and longing after the Armenian genocide, and is considered to be one of the folk songs that best represents the soul of Armenia. The theme is first presented on its own by Sarian’s trumpet, and then restated with the rhythm section playing roots and fifths. The piece is used as an introduction for Sarian’s original piece Portrait of a Postman, inspired by the music of the Paul Motian Trio, and named after the Vincent Van Gogh painting.

The second piece by Komitas on the album, Chinar Es, translates quite literally to “You Are A Tree”. Sarian says “The title refers to the poplar tree, and back in the day this was apparently something men told women when trying to flirt, as in ‘You’re as tall and slender as a tree’.” He says that much to his dismay, this pick-up line does not hold water any longer in Yerevan. Sarian arranged this piece using the traditional Armenian rhythm curcuna in 10/8, with the melody played loosely over pedal tones.

Drawing on his own family’s heritage in Armenia and Eastern Europe, Mountains deals with the landscapes his ancestors had to navigate, from historical Armenia in Eastern Turkey, to Istanbul, to Romania during and after the genocide, all the way to Argentina, Canada, and back to Argentina, for him to finally find his current home in New York City. A nod to his family name (sar means mountain in Armenian, and sarian translates to son of the mountain), the track has three layers working together: a drum groove in 5 based loosely on Armenian rhythms, the bass and piano playing a static two beat back and forth, and a floating melody on the flugelhorn. 

Sarian introduced a new piece the evening before the first December session, titled The Morning After. It starts out with a Beatles-esque piano motif, and conveys the frantic despair one might have after a big night out, which as fun as it might be, many times comes with self-doubt the next morning, giving in to the briefest of existential crisis. The shortest track in the album, the tune breaks down into a completely free improvisation between the four musicians, only to be brought back into the melody before an abrupt finish.

Colorado Yeta is the only ‘recycled’ tune of the album, which Sarian recorded with his septet and released on his previous recording. Literally translated into Spanish (or Argentine slang), it means ‘Bad Luck Ginger’, and expresses the sorrows of growing up as a redhead in Argentina.

The last track on the album is, Monk’s Ask Me Now, presented here as a lovely duet with Sarian and pianist Leibson, serving as a sort of palate cleanser after almost an hour of original compositions and arrangements. 

Michael Sarian is a trumpeter and composer whose work has been described as "a steady study in dichotomy. With a wordless elegance, the New York City based musician is flexibly firm, loosely tight, and brightly dark. The innovations within his compositions are deceptively dramatic with varying degrees of a melodic sensibility." – Frank De Blasé, The rochester City Newspaper.

Michael relocated to New York City in 2012 to pursue a master’s degree in Jazz Studies at New York University, where he studied with great musicians such as Laurie Frink, Alan Ferber, Brad Shepik, Ralph Alessi and Mike Rodriguez. He has since performed at the Montreux Jazz Festival, BRIC JazzFest, Getxo Blues Festival, Canary Island International Jazz Festival, Blue Note Jazz Club, Jazz at Lincoln Center, The Beacon Theater, Central Park SummerStage, Teatro Colón, Thelonious Club, has appeared on WNYC's Soundcheck with John Schaefer, NPR's World Cafe, and many more.

Michael has released three albums as a bandleader with his septet, Michael Sarian & The Chabones, most recently LEÓN in 2018 with Zoho Music, and has appeared on countless more as a sideman. He also leads Michael Sarian & The Big Chabones, a 16-piece big band alternative, in addition to his most recent quartet New Aurora, with a debut album set for September 4, 2020. Since the fall of 2015, Michael has been making yearly pilgrimages back home to Buenos Aires to perform his music with local musicians, including some of his old mentors. Sarian is a faculty member at TrumpetLand.com and a Remic Microphones endorser.

Besides performing regularly with his own projects and as a sideman throughout New York City, Sarian teaches trumpet, theory & composition, works at a non-profit, cooks noodles, enjoys bourbon & wine, goes to the gym, and tries to make the most of his fifteen minute walk to the nearest subway station.

John Scofield: Swallow Tales

Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts.

"I love these songs", says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: "Sometimes when we play it's like one big guitar, the bass part and my part together."

Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. "What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard." The guitarist himself plays with fire and invention throughout: "These two giants bring out the best in me."

Swallow's compositions, John notes, "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung."

Swallow Tales opens with "She Was Young", a tune introduced on Steve Swallow's ECM album Home, in 1979, where it was indeed sung, by Sheila Jordan. A number of the tunes addressed here – including "Falling Grace", "Portsmouth Figurations", and "Eiderdown" – belonged to the 1960s repertoire of Gary Burton's groups. Scofield, who had admired them from the outset, studied them with Burton and the composer in the early 1970s, by which point Swallow had made the transition from double bass to bass guitar, creating a new voice for himself on the electric instrument. When Scofield launched his own recording career, Swallow was in his trio (with Adam Nussbaum on drums). Touring widely the guitarist and the bassist fine-tuned their musical understanding, a process continued in many other configurations over the years. Scofield appeared on Steve's XtraWatt album Swallow in 1991, for instance, and Swallow is on numerous Scofield recordings - including the recent Country For Old Men, which also featured Bill Stewart. A close associate since the early 1990s, drummer Stewart had played in John's quartet with Joe Lovano, and gone on to join the guitarist in many journeys over varied musical terrain.

John Scofield has recorded for jazz labels including Impulse, Blue Note, Verve, Emarcy and Gramavision. ECM appearances to date have been infrequent but distinguished; they include two albums with Marc Johnson's Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) - in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams' Lifetime. Swallow Tales is the first of his ECM recordings to feature the guitarist as bandleader.

Christian McBride Big Band: For Jimmy, Wes and Oliver

In September 1966, organist Jimmy Smith and guitarist Wes Montgomery got together at Rudy Van Gelder’s famed studio in Englewood Cliffs, New Jersey. Over the course of three days, the two jazz icons recorded the material for two now-classic albums: The Dynamic Duo (1966) and Further Adventures of Jimmy and Wes (1968), backed by a big band featuring arrangements by the great Oliver Nelson.

That pair of electrifying outings would prove seminal for another dynamic duo over the ensuing decades: bass great Christian McBride and master organist Joey DeFrancesco would wear out the grooves on their copies of the Smith/Montgomery summit meetings during their high school days, and both would remain touchstones throughout a friendship and collaboration that has lasted nearly 40 years. Now, the pair pay tribute with For Jimmy, Wes and Oliver, the third release by the GRAMMY® Award-winning Christian McBride Big Band.

Due for release on September 25 via Mack Avenue Records, For Jimmy, Wes and Oliver echoes the format of the original Smith/Montgomery summit meetings, with a balance of big band and quartet tracks. To complete the core band, McBride called on another longtime friend and collaborator, Mark Whitfield, to play the Montgomery role, while regular CMBB drummer Quincy Phillips anchors the ensemble.

“Joey is, without question, my oldest friend in music,” McBride says. “We met in middle school playing in the Settlement Music School Jazz Ensemble in Philadelphia. We’ve recorded a few things here and there over the years, but we’ve never recorded an entire album together until now. It seemed logical to salute the two albums that we listened to quite a bit as kids.”

The repertoire on For Jimmy, Wes and Oliver also follows from the Smith/Montgomery recordings, with four tracks reprised for the originals along with a mix of originals and standards that capture the same ebullient spirit. The celebratory tone is set with the rollicking classic “Night Train.” The familiar, window-rattling tune was part of The Dynamic Duo, but it’s been a constant in the books of many a bandleader who’s been influential to McBride and DeFrancesco, including Duke Ellington and James Brown.

Montgomery’s “Road Song” originally appeared on Further Adventures, and here allows both Whitfield and DeFrancesco to show off on captivating, exploratory solos, each brilliantly comping for the other and showing off their dynamic chemistry. “Milestones” is taken from the same album, and again allows the band to tip its collective hat not only to the album’s titular sources but to another giant who has played a key role in their musical lives: Miles Davis, who famously recruited DeFrancesco straight out of high school.

The classic spiritual “Down By the Riverside,” which opened The Dynamic Duo, is taken at a breakneck pace by the skilled band, lending the tune an even more raucous spirit than the Smith/Montgomery rendition. The last two pieces are originals: Whitfield contributed “Medgar Evers’ Blues,” a salute to the slain civil rights activist originally recorded on his 1990 debut, The Marksman. And “Pie Blues,” which closes the album on a soulful, down and dirty note, is built on a groove that McBride and DeFrancesco devised while still in high school together at Philadelphia’s High School for Creative And Performing Arts (CAPA), alongside classmates like Kurt Rosenwinkel and members of Boyz II Men and The Roots.

“There’s not really a melody, just a groove,” McBride explains. “As for the word ‘Pie,’ we’re not sure where that came from. We were just being silly. I know we sure ate a lot of pie back then!”

The band pares down to the quartet of McBride, DeFrancesco, Whitfield and Phillips for four tracks. The first is a lilting take on Freddie Hubbard favorite “Up Jumped Spring” highlighted by a nimble, singing turn by the bassist. Whitfield is at his most heartfelt on “The Very Thought of You,” with DeFrancesco’s cloud-like chords conjuring an airy atmosphere. All four rise to the sophisticated elegance of Billy Eckstine on their version of “I Want To Talk About You,” while DeFrancesco’s “Don Is,” a winking homage to bassist and Blue Note honcho Don Was, is buoyed by Phillips’ light-footed swing.

The 17-piece Christian McBride Big Band has become one of the most scintillating large ensembles on the modern jazz scene since its 2011 Mack Avenue debut, The Good Feeling. Both that album and its successor, 2017’s Bringin’ It, garnered GRAMMY® Awards in the Best Large Jazz Ensemble category. The stellar band has remained remarkably consistent throughout that history, a testament to the camaraderie and joyous vibe of McBride’s intensely swinging ensemble.

The CMBB features a host of elite musicians mixing renowned veterans with rising stars, most of them bandleaders in their own right: trumpeters Frank Greene, Freddie Hendrix, Brandon Lee, Nabate Isles, and Anthony Hervey; trombonists Michael Dease, Steve Davis, James Burton and Douglas Purviance; and saxophonists Steve Wilson, Todd Bashore, Ron Blake, Dan Pratt and Carl Maraghi.