Benjamin Koppel with Jazz Masters | "The Art of the Quartet & "Ultimate Soul & Jazz Revue"

Acclaimed Danish saxophonist Benjamin Koppel showcases his versatility and virtuosity on two distinctly different releases for the Unit Records label. While the 2CD set The Art of the Quartet finds the alto sax star engaging in freewheeling musical dialogues and executing thoroughly composed pieces with top American jazz luminaries Kenny Werner on piano, Scott Colley on bass and the great Jack DeJohnette on drums, Ultimate Soul & Jazz Revue (also a 2CD set) has him throwing down with authority on familiar funk and R&B anthems alongside two American music icons in trumpeter Randy Brecker and legendary drummer Bernard Purdie. Whether searching in uninhibited fashion and navigating heady compositional waters with his fellow intrepid improvisers on The Art of the Quartet or testifying to the power of groove on Ultimate Soul & Jazz Revue, Koppel handles both worlds with equal aplomb. 

The extraordinary lineup featured on The Art of the Quartet came about through some longstanding musical hookups that Koppel had fostered through his celebrated career. He and Werner met in 2007 at an all-star event that Koppel put together to celebrate Danish drummer Alex Riel's 50 years in music. They further explored their chemistry together on 2008's At Ease, which featured Koppel playing alongside fellow alto saxophonist Bobby Watson, and in 2009 they recorded their duo album Walden, with music inspired by Henry David Thoreau. Since then they have toured extensively in both US and Europe and have recorded a dozen albums together. Scott Colley, known from his work with Carmen McRae, Herbie Hancock, Jim Hall and the supergroup Hudson (consisting of guitar great John Scofield, Medeski, Martin & Wood keyboardist John Medeski and drummer extraordinaire DeJohnette), is also a member of the Koppel-Colley-Blade Collective formed in 2012 with Benjamin and top drummer Brian Blade. "Scott and I met in 2009 at my annual Summer Jazz festival when I put together a quintet with him, Kenny Werner, John Abercrombie and Al Foster," said Benjamin. "Scott and I instantly became very good friends and have worked frequently on many different projects since then, including a duo album we made. Scott is a great spirit, an amazing player and composer." 

It was Werner who recruited DeJohnette for The Art of the Quartet. As Koppel recalled, "After hearing some of the music, Jack wanted to join as an equal partner in the project. He even recommended the studio, Clubhouse in Rhinebeck, which is very close to where he lives near Woodstock. We all had a very good feeling about recording at the Clubhouse. Everybody brought music and we had a ball working together over three or four days." 

CD 1 is bookended by the daring collective improvisations, "Free I" and "Free II," each of which travels from searching, rubato introspection to turbulent freebop paced by DeJohnette's whirlwind drumming and Colley's insistent pulse. Koppel's exchanges with Werner here are both provocative and highly conversational. "Since we had all worked together before in different configurations, we felt that we really knew each other well, so it felt really natural for us to go into the studio without any directives at all and just invent together, create from a mutual understanding. And since we are all composers, everybody was simply composing right there on the spot. We didn't have to talk about anything up front." 

Koppel's sparse and gently introspective "Bells of Beliefs" was inspired by an orchestral piece by György Ligeti. "A very little spot in this piece had a certain bell-vibe to it and the sound stuck with me," he explained. "I went home and composed 'Bells of Beliefs' in a minute. "At the session, Jack heard my demo of this tune and he was super excited and wanted to postpone the recording of this particular song in order to drive back to his house and pick up a very special set of bells that he had just been given prior to our session. And his playing on those bells is amazing!" With DeJohnette's bells, Colley's bowed bass and Werner's sparse tinkling setting a peaceful tone, Koppel summons up a depthful Trane-like vibe on this pensive piece.

Koppel addresses his own near-sightedness on the gently droning "Night Seeing," which unfolds gracefully and gradually before segueing to an exploratory drums-alto breakdown at the 6-minute mark. Regarding the title, the composer said, "It's inspired by the thought of us as human beings too often not comprehending, not seeing what is going on right around us. Too often we don't see climate change at night, we don't see racism unless it is recorded on film. But at the same time I didn't want this music to be a lecture in any way. No raised index fingers, but hopefully just inspiration." 

They revive a buoyant DeJohnette Special Edition piece from the '80s, "Ahmad the Terrible" (from 1984's Album Album) and deliver Werner's delicate through-composed piece "Follow" with conviction. "It's a typical Kenny piece in that it really demands of the musicians that they explore a certain vibe in both themselves and in their collaboration. And that certain vibe is set with Kenny's quite simple but nonetheless really deep composition."  

Werner's "Iago," a moving number in honor of Brazilian composer Weber Iago, is a brilliant showcase for Koppel's spirited virtuosity while the pianist's "Ballad for Trane" carries a loping swing feel and has Benjamin blowing over the top in ecstatic fashion. As Koppel explained, "Kenny wrote this tune many years ago after listening to some bootleg Coltrane recordings through a whole night. This tune really sets off a great path of exploring and tributing Trane, without having to try to play or sound like him at all. But just the feeling, the changes, the melody are very connected to Trane's huge musical wisdom." 

They deliver a faithful reading of the standard "If I Should Lose You," which has Colley and DeJohnette each stepping out for show-stopping solos. "When playing standards, it feels natural to me to approach them freely, maybe a bit in the tradition of Lee Konitz," said Koppel, "although I also love to just dive into a good melody and more or less stay with it." Then they revel in Colley's striking rubato number "Americana," which Koppel said, "pointed the group in an obvious wide-open-spaces direction where there is room for everyone, both musically and spiritually." 

The gestalt quartet next jumps on DeJohnette's hard driving, energetic "One on One" with abandon. "Jack is obviously both a great drummer and pianist, but also a great composer," said Koppel. "This piece immediately set the four of us in a creative and powerful mode, where we take turns leading, pushing or commenting on grounds of the theme. One thing that really struck us all when recording this track was the power of omission. What we leave out, don't play, choose not to react to all makes a conceptual and open-minded piece like this really come to life. Everyone keeps challenging and surprising the others while taking responsibility for both the theme and the composition and track as a whole." 

They settle into Werner's peaceful hymn-like closer, "Sada," with uncommon delicacy. "This is one of Kenny most beautiful and long-lasting compositions, based on a chant from his ashram. It contains so much love, hope and yearning, while at the same time confronting each one of us with the sorrows of our lives. But it is a piece of light and thoughtfulness, almost meditational at times. It is one of Kenny's pieces that we have played live the most." 

On the Ultimate Soul & Jazz Revue, the saxophonist returns to his roots. "A great part of the record collection in my childhood was American gospel music (Golden Gate Quartet, Mahalia Jackson, Staple Singers) and soul music (Aretha, Stevie Wonder, Marvin Gaye), which is what I listened to the most when I was a kid, besides the Beatles," he recalled. "My sister Marie and I began playing concerts at various cafés in Copenhagen when I was 14 and she was 17 and our repertoire was mainly soul standards. So soul music in various forms is a great part of my musical DNA and something I always return to." 

Recorded live at Betty Nansen Theatre in Copenhagen during the 2019 edition of Koppel's Summer Jazz Festival, Ultimate Soul & Jazz Revue features Benjamin, Brecker, Colley and Purdie backed by top Danish musicians in keyboardist Jacob Christoffersen, Hammond organist Dan Hemmer, percussionist Jacob Andersen and guitarist Søren Heller, an impressive newcomer on the Scandinavian music scene. Together they come out of the gate with intensity on a ferocious version of Buddy Miles' 1970 tune "Them Changes" (famous recorded by Jimi Hendrix's Band of Gypsys at their historic 1970 Fillmore East show in New York City). From there they expertly blend jazz and funk on a Fender Rhodes-fueled rendition of Dizzy Gillespie's Afro-Cuban classic "Manteca" before moving on to the slyly funky "Hammond Street," one of three Koppel originals of the set. Brecker and Koppel play tight unisons on the head here, rekindling some of the Brecker Brothers vibe, before Benjamin breaks loose for some virtuosic double-timing over Purdie's chugging groove. "I love to play with Randy," said Koppel. "The first time we shared a mic was on a session with a Danish piano player, which I co-produced in New York in 1999. And since then we fortunately have had the opportunity to work quite a few times together in different settings, among them in Kenny Werner's Quintet (with Scott and Antonio Sanchez). Randy is so easy to play with. His sound, time and inventiveness are beyond virtuoso and his generosity and curiosity as a musician ever-inspiring.                                                   

They capture the perfect '70s vibe on a rendition of Curtis Mayfield's anthemic 1970 hit song, "Move on Up," then conjure up an appealing Crusaders-type crossover vibe on Koppel's "Feel the Burn" (which he dedicates to Bernard Purdie). Benjamin's sister, singer Marie Carmen Koppel, next tackles Aretha Franklin's "Respect" with all the gusto and earthy intent of a real-deal soul diva. "We went to New York City together in January 1994 (I was 19, she was 23) to experience the city, to hear music, to study, to explore. I eventually went home but she stayed for two years, becoming the first European (maybe even the first white girl) to become a part of the Brooklyn Fountain Church of Christ, where she sang in the choir and as a soloist with a bunch of amazing gospel singers and musicians." Marie's gospel influence definitely comes out on her interpretation of "Respect."

Koppel's noirish "Con Alma and Sax" is a haunting ballad with some expressive playing by the leader while their instrumental rendition of King Floyd's 1970 soul staple, "Groove Me," is perfectly anchored by Purdie's signature backbeat and Colley's deeply resonant, funky upright basslines. Koppel delivers some alto testifying on a funky version of Stevie Wonder's "Don't You Worry 'Bout a Thing," which has Purdie unleashing on his kit over a mesmerizing ostinato near the end of that epic 10-minute rendition. Koppel also wails with impunity over a soul-jazz take on The Carpenter's 1970 hit, "Close to You."  

Their Summer Jazz set closes on a funky note with a organ-fueled rendition of Sly & The Family Stone's 1968 classic, "Sing a Simple Song," that has Koppel channeling his inner David Sanborn, Hemmer offering a greasy B-3 solo and Randy reverting to his Brecker Brothers swagger on his trumpet solo. Said the elder Brecker brother of this Soul & Jazz Revue gig, "I had just come from a week of Billy Cobham gigs which were just great, but his music is very involved with odd tempos and a lot of metric modulation and many, many notes (!), so this gig with Benjamin and Purdie at the heart of it was a lot of fun. I hadn't played with Bernard in years. He was on my first record, Score, back in 1969 and back in the day we did a million sessions together, where he would set up 'Pretty Purdie' signs around his drums with his phone number on it - the technology of the day. So it was like a homecoming to play with him at this festival and he sounded great with Scott Colley on bass. They really locked it up. And Benjamin, who arranged all of the tunes and wrote some, was, as always, outstanding." 

The grandson of famous Danish classic composer Herman D. Koppel and the son of musician and composer Anders Koppel, co-founder of the '60s rock group Savage Rose, Benjamin Koppel is one of the most outstanding musicians of his generation. Originally a drummer, inspired by Bernard "Pretty" Purdie, he switched to saxophone at age 13. "My first inspirations when I began playing saxophone were Johnny Hodges, Benny Carter and Earl Bostic," he explained. "Then came Charlie Parker and Sonny Rollins, Ben Webster (whom I am named after - my father used to play with him in the early 1970s) and Coleman Hawkins. And then Cannonball and Trane." Koppel made his recording debut as a leader in 1993 with The Benjamin Koppel Quartet at age 18. The following year he came to New York and studied with Paquito D'Rivera. Koppel has been the most productive, in-demand and far-reaching Scandinavian musician of his generation, appearing on more than 50 recordings with such noteworthy players as Phil Woods, Jim Hall, Joe Lovano, Daniel Humair, Palle Danielsson, Alex Riel, Paul Bley, Miroslav Vitous, Inger Dam Jensen, Michala Petri, Chano Dominguez, Charlie Mariano, Portinho, David Sanchez and Sheryl Crow.  

In 2000, Koppel formed his own independent record label, Cowbell Music, and since 2009 has been the organizer of Summer Jazz and Winter Jazz, two popular independent music festivals that take place in the Danish capital of Copenhagen. Koppel has received numerous awards and honors, including the Palæ Bars Jazz Prize, the Jacob Gade Prize and the Holstebro Music Prize. In 2011, he was named Knight of France, Chevalier des Arts et des Lettres for his musical work. He was also a jazz radio host, producing more than 200 programs for National Danish Radio.

Gregory Tardy | "If Time Could Stand Still"

Gregory Tardy was born in New Orleans and is endowed with a sound burnished in the bands of Elvin Jones, Andrew Hill, Tom Harrell, Dave Douglas, Nicholas Payton, Bill Frisell, Rashied Ali, Elio Villafranca, Todd Marcus, Omer Avital, Brian Lynch and many others. On his new album If Time Could Stand Still, Tardy convened Willie Jones III (drums, producer), Alex Norris (trumpet), Keith Brown & Alex Claffy for an impassioned recording that reflects on the changing seasons of life, and surges with his love of swing and the tradition. Tardy explains that, “the title track is an emotional ballad written as a reflection on some changing seasons in my life. My kids are older teens now, my oldest leaving for college this fall, and my parents are in their 80s. As a musician you spend a lot of time on the road, so some precious moments are spent away from loved ones. I have moments now where I wish time could stand still, to savor these moments. For others it might be a situation they are enjoying, a job, gig or something that they want to last, but I keep reminding myself it’s never too late. I know our best hope is to have gratitude and fully appreciate the time we have, before they become memories.”

Tardy’s recorded output as a leader stretches all the way back to 1992 and the release of his first album, Crazy Love (1992 also being the year that he joined the Elvin Jones Jazz Machine; a relationship that lasted several years). Tardy moved to NYC in 1994 towards the end of the “young lion” movement in jazz, quickly becoming a highly sought after New York sideman, and landing a major label contract with Impulse!/GRP Records (releasing Serendipity). Tardy has been featured prominently on several DownBeat Magazine “Albums of the Year,” and also several Grammy nominated recordings; including a Grammy winning CD with Brian Lynch in 2006. The artist has also been voted a “Rising Star” in DownBeat Magazine’s Annual Critics and Readers Polls multiple times. After fifteen albums as a leader, with each project building upon the excellence and merit of its predecessor (including Serendipity, Hidden Light on J-Curve Records, Abundance on Palmetto, followed by no less than nine recordings for the SteepleChase label), Tardy is, “on track to help write the next chapter in jazz history” (Jim Santella, AllAboutJazz. With If Time Could Stand Still (produced by Willie Jones III for WJ3 Records), Tardy’s prestige and eminence as a leader catches up to, and even surpasses, his storied career as a first-call sideman.

Tardy often composes utilizing recent influences or concepts, but much of the music for this project was written with his love of swing and the tradition in mind. Having experienced being a member of many amazing bands over the years, people often associate his recorded work with his “voice”, but that is not necessarily true. “In my writing, I try to explore new things. I really respect the tradition, and it’s always in the back of my mind, but I try to not let it prevent me from exploring new ideas that I hear,” explains Tardy. He has seven original compositions on If Time Could Stand Still, many focused on the joy in swinging, all with an abundance of profundity and humanity. “Music is an expression of the soul and I always try to speak through my horn. I once heard an older musician say ‘it is better to be felt than to be heard’. I never forgot that. That is my approach to writing and playing any style of music,” says Tardy.

Luba Mason | "Triangle"

With her last album, Mixtura, vocalist Luba Mason established her own musical genre, a “blend of different musical currents” that draws upon a staggeringly eclectic palette of influences and approaches. Her breathtaking new release, Triangle, carries the concept forward with a wholly unique, spare yet vibrant new line-up. Captured before an intimate gathering of invited friends, family and fans at Manhattan’s renowned Power Station studio, the album features an unprecedented trio of vocals, vibraphone and bass featuring master musicians Joe Locke and James Genus and produced by longtime Prince collaborator Renato Neto. 

Due out October 23, 2020 via Blue Canoe Records, Triangle exemplifies the passion for fresh perspectives and unexpected choices that led Mason to trademark the “Mixtura” name. The material is jaw-droppingly diverse: from pop classics by the Beatles and Paul Simon to a Monk standard, a Slovak folk song and a recent Broadway hit, and surely the first time that Brazilian legend Antonio Carlos Jobim and heavy metal band System of a Down have been represented in the same repertoire. Add to that the surprising instrumentation and you have a collection that is absolutely gorgeous in its unfamiliarity while remaining vividly engaging. 

JazzTimes has the track premiere for Thelonious Monk’s “In Walked Bud” here:https://jazztimes.com/audio-video/premieres/jt-track-premiere-in-walked-bud-by-luba-mason/

“My tastes span the musical spectrum,” says Mason. “I like to represent that in my performances. By trademarking ‘Mixtura,’ I wanted to challenge the accepted musical formats that tells one that you need to record or perform in one specific genre, and to give the artists complete freedom from labels or limits.” 

While Mixtura was realized by a six-piece ensemble, Mason wanted to pare down the line-up for her follow-up, eager for more space to explore and greater opportunity for focused dialogue with her collaborators. But true to form, the idea of a traditional piano, bass and drums band felt too familiar. It was Neto’s left-field suggestion to experiment with vibes and bass, a format that has never been attempted before in the annals of jazz. 

Despite its seeming limitations, the unique trio proves to be as thrilling as it is diverse. The joyful opener, composer Sxip Shirey’s “Bach, Stevie Wonder and Janelle Monae,” is both a love letter to the music of one’s mind and something of a “Mixtura” anthem. The yearning “Haled’s Song About Love” comes from David Yazbeck’s Tony-sweeping 2017 Broadway musical The Band’s Visit. Colombian percussionist Samuel Torres makes the first of three appearances on the Lennon/McCartney classic “Ticket To Ride,” remaining for the Jobim favorite “Waters of March.” 

The coming-of-age folk song “Ceresne,” performed in duo with Locke, is Mason’s tribute to the Slovak community in which she was raised. Its wrenching emotion stands in stark contrast to the buoyant swing of the trio’s take on Thelonious Monk’s “In Walked Bud.” The oft-recorded bolero “Inolvidable” is the vocalist’s nod to her Latinx fanbase, while “Toxicity,” which retains the tension if not the brutal volume of the System of a Down original, is the album’s most shocking piece. The Frank Loesser/Jimmy McHugh standard “Say It” is rendered with a lush tenderness before Paul Simon’s “50 Ways to Leave Your Lover,” with Torres, concludes in high spirits with an audience clap-along. 

The challenge of venturing into unexplored territory comes naturally to Mason, in part a natural outgrowth of her unique background. A first generation American of Slovak descent, she grew up in Astoria, Queens and studied classical piano and voice. She went on to realize her dream of starring on Broadway, with performances in Jekyll & Hyde and Paul Simon’s The Capeman, starring as Velma in Chicago opposite Brooke Shields and in How To Succeed in Business Without Really Trying with Matthew Broderick, among others.  At the same time she’s enjoyed a rich life in jazz, dueting with Al Jarreau on the legendary singer’s final recording and collaborating with such esteemed musicians as Hubert Laws, Randy Brecker, Jimmy Haslip and Wynton Marsalis and the Jazz at Lincoln Center Orchestra. 

Most recently Mason learned to play the drums for her role in Conor McPherson’s Girl From the North Country, a Broadway musical based on the songs of Bob Dylan that achieved critical acclaim before going on hiatus due to the Coronavirus pandemic. She’s also made the transition from stage to screen, guest starring in episodes of shows like Law & Order and Person of Interest and co-starring with her husband, the Panamanian musician, actor and activist Rubén Blades, in Tonya Pinkins’ upcoming political horror film Red Pill. 

Mason’s acting talents come to bear in her musical life as well, allowing her to fluidly segue between genres and emotions as if taking on a new role with each song. Triangle is her fourth solo album, following her 2004 debut Collage, the Brazilian-inspired Krazy Love, and the genre-defying Mixtura. It was on Krazy Love that she first worked and co-wrote original songs with Neto, a native of Brazil who played keyboards in Prince’s New Power Generation band off and on for nearly a decade. 

“I respect Renato tremendously as a musician,” Mason says. “He has impeccable taste. But the most important aspect of our relationship is trust. When you work with a producer, you’re putting your baby into their hands. I really trusted that Renato would take care of it and bring it to its best potential.” 

As soon as she determined to act on Neto’s offbeat suggestion, Mason knew that she had to find just the right musicians to realize such an improbable sound. In Locke she enlisted one of the leading voices on the instrument, a versatile and virtuosic vibraphonist whose wide range of collaborators has included Grover Washington Jr., Cecil Taylor, Dianne Reeves, The Beastie Boys and Ron Carter. A familiar figure from his long tenure as bassist for the Saturday Night Live band, James Genus is also an acclaimed jazz bassist whose three-decade career includes work with Herbie Hancock, Dave Douglas, Branford Marsalis, Chick Corea and Michael Brecker, among countless others.

Matt Moran Trio | "Return Trip"

Matt Moran’s Return Trip and Peter Hess’ Present Company are comprised of music that is absorbing and dripping with originality. It is music masterfully played by musicians with immense ears, razor-edge musical instincts, utterly at one with themselves and their respective instruments, displaying rousing creativity, and an extraordinary freedom that is a joy to behold.     

Return Trip marks a happy recurrence for the Matt Moran Trio after their first recording, Play Ball. This trio’s harmonic and rhythmic elasticity, and ability to expand (sound like a much larger group) and compress (play intimately) their sound is remarkable. So for bandleader Moran, this new album brought up many new questions: what will be different now? Why is it important to make this music? For Moran, this was an exciting prospect, because, “frankly I had made the first record from a place of uncertainty, and through making, releasing, and performing it with two of my favorite improvisers in the world – Gary Versace and Tom Rainey – and feeling the depth of their support, I arrived at a new place of confidence and joy. It’s been many years since I released a jazz-based album as a vibraphonist, but I’ve been increasingly returning to jazz in my listening over the past decade, after decades of being uncertain of my place in that tradition. I feel more confidence now in bringing myself fully and respectfully to what I hear in this music, and that’s what this return trip is about. In a way there’s no such thing as return, whether you’re talking about the same river twice, or physicists’ spacetime. So a return is never the same as the first time; this is much deeper and subtler music than I would have made years ago with the same trio,” explains Moran.

It’s an unusual trio, but the members, Moran on vibes, Gary Versace on Hammond B3 and Tom Rainey on drums, relish in the blend that they posses. Moran elaborates, “when I formed the trio, I really wanted a small group (I also lead a nine-piece band by the name of Slavic Soul Party! and this trio is a much-needed complement to that energy). Organ is an amazing instrument that can cover melody, bass, texture, and orchestrational effects, especially in the hands of Gary Versace, one of the most amazing musicians I’ve worked with. He’s also a kind and supportive person who I knew I’d feel comfortable being vulnerable with as I tried to make this real. A call to another musical hero, Tom Rainey, cinched the deal. Tom told me that one of the very first gigs he played was as a teenager on the west coast was drums, organ and vibes, and he always wondered why that instrumentation didn’t get explored more. Our first album was more open and explorative, and I feel that we’re able to use what we unearthed to serve the arc of the music on Return Trip.”

The music on Return Trip explores subtle polytonality, in terms of superimposition, but also in ambiguity. Moran explains, “Gary and I found that we have both separately been pushing ourselves into how to organically integrate being in different places simultaneously in our harmonic context. It was a wonderfully confirming moment of arrival for me, since Gary is one of my musical heroes. I have been looking for ways to express the richness and ambiguity of polytonality without the ‘this on that’ sound; I’m looking for more of a gently revealing coexistence. That search is underpinning most of the compositions. I also have a rule for this trio, so that our music-making can focus on the joy of improvising: no composition can be more than one page long!” 

Ripples was written after the Trio's CD release performance for Play Ball, full of excitement for a new era of this trio and a re-examination of what jazz forms mean to Moran. The piece started from the harmonic progressions, which are of unusual lengths and subvert typical harmonic motion; the melody came after, imagining how to radiate out from typical jazz phrasing (and on subverting the hardness of the minor 9th interval, which can almost make your mouth water). The title wasn’t obvious, but Moran asked his 9-year-old daughter to name it, and she nailed it. Spring is a short meditation on polytonality, and those elements got reverse-engineered into a polyrhythmic intro for Tom Rainey to expound on. Chord Conversation considers different ways to structure a song, and, “I can’t hear it without a thinking of John Hollenbeck and our years spent reflecting on composition – he has so much to say,” states Moran. Lush is a meditation on being wrong, dissonance, and polytonality, and embraces the sweet joy in the depth of the African-American tradition that is jazz. Moran elaborates, “it is amazing to me how Gary and I can make ‘wrong’ sounds – major melodies over minor chords – sound good, but that’s the beauty of this instrumentation and these musicians.” 

Sometimes That’s Ok is a composition that was written as part of a lesson for incarcerated adults learning music. “I was asked to share something about my roots, and I thought of the first time I ever played a vibraphone; I couldn’t believe how beautiful the instrument sounded, no matter what notes I rang out. In this piece I tried to show that a simple gesture can be beautiful and deep and easy, and that the act of composition is simply making choices, something we all do all the time,” says Moran. Effish is a romp through two keys at once (Db and E) that somehow comes out sounding, well, F-ish. Rainey suggested a solo section based on part of the melody, leading to a short, polytonal bluesy solo in seven. Peace and Integration ends the record gently and is an appreciation for Horace Silver and his beautiful ballad Peace. Moran explains, “my melody is built on his chord progression, but this piece is written so that you hear different parts of the form simultaneously, which brings a beautiful calm richness that I find inspiring. It’s a fitting way to end an album in the summer of 2020, in hopes that soon African-Americans, who have created so much of the greatness of this music and this country, will be able to integrate peace and justice into the fullness of their lives.”

Alexander Zonjic | "Motor City Sway"

It’s been eleven years since contemporary jazz flutist Alexander Zonjic dropped a new album, making Friday’s release of his 13th collection, “Playing It Forward,” an event album. A genuine multi-hyphenate, Zonjic is a longtime multimedia personality (he hosts television and radio shows) and artistic director for nearly a dozen music festivals and concert series throughout Detroit and the Michigan region in addition to being a recording artist, explaining the lengthy gap between albums. Finishing the new Hi-Falutin Music release produced by GRAMMY-winning keyboardist Jeff Lorber was made possible because COVID-19 forced the cancellation of most of the calendar of live music events that Zonjic produces.  

Whetting the appetite of both radio programmers and fans alike is the disc’s first single, “Motor City Sway,” a tune written and produced by Pieces of a Dream’s James Lloyd. A fun video shot on stage and on the streets of Detroit (the Canadian-born Zonjic’s adopted home), including at the Motown Museum, reveals a “Motor City Sway” dance to go along with the funky R&B instrumental track currently climbing the Billboard Top 25 (https://youtu.be/Cba0NStZM_M).

“Playing It Forward” is an energetic blend of jazz, funk, fusion and soul comprised of five Lorber originals along with a handful of reimagined classics. The outing showcases the work of top shelf musicians, including guitarists Chuck Loeb (one of his final recordings before his passing), Paul Jackson Jr. and Michael Thompson, drummer Gary Novak, horn player and arranger David Mann, and 14-year-old South African keyboard phenom Justin-Lee Schultz, who can be seen performing a talk box solo in the “Motor City Sway” video.   

The album title intentionally riffs on “paying it forward,” which is something the benevolent Zonjic does generously throughout metropolitan Detroit and the Michigan region. The award-winning musician is organizing and headlining a November 13 fundraiser for Mariners Inn, a shelter and treatment center for the homeless.   

Rebecca Hennessy | "All The Little Things You Do"

All The Little Things You Do is a beautifully written, performed and produced album by award-winning vocalist, trumpeter and songwriter Rebecca Hennessy. It deals with love, grief and mental health. Being released between the death of her mother and the birth of her first child, this album will take you on a journey that weaves through time and space in unexpected ways. All of the elements of her diverse musical career merge together, with her warm clear voice as lead singer and songwriter featured front and centre.

Rebecca’s songwriting brings to mind many different musical traditions, including jazz, folk, roots and pop. Her band on this album is world-acclaimed and celebrated musical voices, including guitarist Kevin Breit (Sister’s Euclid, Johnny Goldtooth, Norah Jones); pianist Tania Gill (Happiness Project, Tania Gill Quartet); bassist Michael Herring (Peripheral Vision, Bona Fide Scoundrels) and drummer Dave Clark (Rheostatics, Gord Downie). Other guests include The Upper York Mandolin Orchestra, Thomas King (Inconvenient Indian, CBC’s Dead Dog Cafe), Tom Richards (The Heavyweights Brass Band, The Human Rights), Drew Jurecka (Jill Barber, Royal Wood), Claire Doyle (YUKA) and Alex Samaras (Beverly Glenn-Copeland, Queer Songbook Orchestra).

This is Rebecca’s first album collaborating with award-winning producer and engineer David Travers-Smith (Jane Siberry, Veda Hille, Jayme Stone, The Wailin’ Jennys, and Deerhoof). David’s attuned creative input and overall aesthetic brought All The Little Things You Do a level of lush expression that masterfully served each song and the overall shape of the album.

This album features collaborations with numerous artists, including musical settings of two poems by internationally-acclaimed author Thomas King (“Nothing Passes for Favour” and “Dig Up The Stories,” both from King’s new collection of poetry 77 Fragments of a Familiar Ruin.

New Music Releases: Ziggy Marley, Emma-Jean Thackray, Laila Biali

 

Ziggy Marley | "More Family Time"

Simply put: this album is incredible. A follow up to 2009’s Grammy winning Family Time - Ziggy has bottled the energy of his four year old son and put it into music form, the songs are captivating for kids, yet sophisticated to keep parents engaged. Ziggy is joined by an incredible set of friends who are featured throughout the album, including Stephen Marley, Sheryl Crow, Ben Harper, Angelique Kidjo, Alanis Morissette, Tom Morello, and more. A portion of proceeds will benefit Ziggy’s 501(c)3 U.R.G.E. Foundation, which supports the education, social development and overall well-being of the Chepstow Primary School and the One Love Youth Camp, both in Jamaica.: U.R.G.E. Foundation

Emma-Jean Thackray | "Um Yang EP – Night Dreamer Direct To Disc Sessions"

A fantastic EP UK trumpeter Emma Jean Thackray – really growing into an important role as a leader here, amidst some of her hippest contemporaries from the London scene! The album features two side-long tracks, both brilliant – built up from spontaneous interplay between Thackray and the rest of the group, in a mode that's maybe a 21st Century take on the sorts of work that first emerged on Impulse Records during the post-Coltrane years – but always in a way that's completely individual, and never a slavish adherent to older jazz modes! DwayneKilvington and Crispin Robinson provide lots of great percussion at the core – while Lyle Barton gloLailws beautifully on Fender Rhodes, and Soweto Kinch is searing on tenor, as you might expect. Ben Kelly bridges the sound with sousaphone, used both like a bass and a horn – and the sound throughout is wonderful – full of fire, life, and imagination. Titles include "Um" and "Yang". ~ Dusty Groove

Laila Biali | "Anthem"

The 2019 JUNO-Award winner covers fellow Canadian and music icon; Leonard Cohen in 'Anthem,' a relevant song with a salient message for the times we find ourselves in: "Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything, that's where the light gets in." Leonard would have turned 86 on September 21, 2020. This single releases on the heels of Laila's highly-anticipated 2020 album release, Out of Dust, which came out on March 27 and features an expansive ensemble of instrumentalists and singers including GRAMMY Award winners and nominees Lisa Fischer, John Ellis, Larnell Lewis, and others.

New Music Releases: Carla Bruni, Davine Tuch, Cecilia Stalin

Carla Bruni | "Carla Bruni"

Carla Bruni, one of the most talented songwriters of the French scene, shares her latest eponymous album today. A wholehearted embracing of her true self, this album is Carla's first collection of new songs in seven years. Always sensitive, with emotions on the surface at times, the music of the album's 13 songs – 14 on vinyl and 17 on the collector's edition – bears witness to a unique temperament. The entire album was produced by Albin de la Simone. For his first collaboration with Carla Bruni, the multi-instrumentalist – one of the very best in the French scene in the past 20 years – was determined to give her new songs the most delicate treatment. Essentially written in French, the album includes one original song in English, and another one in Italian – a duet with actress Valeria Bruni Tedeschi. Music is composed by Carla Bruni, Michel Amsellem, Jeremy Reynolds and Calogero. Listening to this new "Carpe Diem" manifesto, you can't help but regain a strong sense of the present moment and this is what's so disarming about Bruni's songs: the intimacy, the simplicity, in a spirit of freedom, friendship, and love.

Davine Tuch | "Grand Rising" featuring Ragan Whiteside

Jazz instrumentalist Davine Tuch is releasing his new single Grand Rising that features Ragan Whiteside. Ragan is the first female flautist to hold the #1 spot on 3 major smooth jazz charts simultaneously. The original composition also includes Rich Harrison on drums, James "Biscuit" Rouse – percussion, Tony Stevenson on bass and Mark Bowers on guitar, who are established artists, show their love and support for young independent music. They collaborate on this melodic tribute to new beginnings and embracing life. This is the first single off Davine’s upcoming album Traveling Man. His jazz, funk, gospel, R&B and Hip-Hop mixology “tuch” to his original music is a result of years of classical piano training, professional gigs with A-list jazz, soul and funk artists and his unstoppable search for a different vibrant sound.

Cecilia Stalin | "I Am"

It's been awhile since we last heard from Cecilia Stalin, but the singer's still got everything in place that made us love her so much in the first place – those strong vocals that first emerged in Koop, then really took shape once she started writing more of her own songs! The album's got Stalin coming across as much as jazz singer as a soul vocalist – and the tunes are all great, with some complex rhythm parts at points, and more straightforward grooves at others – always touched by the open, personal lyrics that make a rare few from Cecilia's generation still sound so great after all these years. Backing is nice and jazzy – with lots of Fender Rhodes – and titles include "Released", "Brave", "Sungod", "Grace Of You", "Didn't You Know", and "B Song". ~ Dusty Groove

New Music Releases: Average White Band, Midlife, Tony Strong

Average White Band | "On The Strip: The Sunset Sessions (aka Shine)"

An unusual collection of work from Average White Band – the sessions that went into their Shine album, but presented here with the full list of tracks from the recordings – all done at Sunset Sound in LA! The whole thing is great later grooves from Average White Band – a real gem from the point when the group was settling nicely into a mellow soul vein! By this point, the combo wisely realized that they couldn't keep things going forever as a funky group – so they laid back and fell into their second strongest suit – the kind of mellow stepping rhythms that sparkled nicely between the bigger cuts on earlier records, produced to perfection here with a shimmeringly soulful feel! The album's got a mature feel, and the lyrics are often understated and well-balanced – no easy crossover soul or adult contemporary cliches – just the kind of warmth the band was always known best for. 2LP pressing features the entire sessions from the album – and titles include "Into The Night", "Catch Me", "For You For Love", "If Love Only Lasts For One Night", "Miss Sun", "Let's Go Round Again", "Whatcha Gonna Do For Me", "Wasn't I Your Friend", "Love Gives Love Takes Away", "Growing Pains", and "Shine". ~ Dusty Groove

Midlife | "Automatic"

Mildlife snuck under the radar a bit with their previous record – but here, they seem poised to break big, and with a sound that's very much their own! All the great keyboard work from before is still in place, but the vocal quotient of the music has been increased – to a level where the songs mix jazzy instrumentation with some dreamy lyrics, all served up with a nicely spacey vibe overall! The blend is a bit hard to explain – production at times almost reminds us of mid 70s German work, with the vocals handled like a Neu record – but the instrumentation is farther ranging, with lots of nice electric flavors that change things up over the course of the record. Most tracks are funky, but in a spacey way – and titles include "Vapour", "Downstream", "Rare Air", "Citations", "Memory Palace", and "Automatic". ~ Dusty Groove

Tony Strong | "Philly Style"

Tony Strong was a multi-talented R&B vocalist and choreographer who got his start in gospel music before moving on to the sweet sounds of secular soul. Strong lent his prodigious talents to such groups as The Perfections, Blue Magic, The Intrigues, Taylor Made, The Ebonys, former Motown recording artists Ron Thorpe & The Hearts of Stone, as well as being the lead vocalist for the best variation of the original Intruders, dubbed The Philly Intruders. Prior to his recent passing, Tony hooked up with renowned producer Butch Ingram of Society Hill Records and recorded as both a solo artist and as part of reformed soul outfit The People’s Choice. This special release, put together by Ingram for members of Tony’s family, compiles the best of Strong’s vocal work for the Society Hill imprint and features the musical input of the hard-working Ingram family band, drummer David Thompson, bassist Stanley Stazan Thomas, guitarist Darnell Jordan and organist Bruce Alford, with all ten of its tracks getting a fresh new remix. Chock full of great takes on Gamble and Huff classics, the album also features Strong’s standout performance on Butch and brother Jimmy’s heartfelt original entitled “If I Could Only Talk To Daddy” that will bring tears to the eyes of many a listener. Rest in peace, Tony. You will be greatly missed.

New Orleans Singer Roderick Harper To Release New Album Evolving

'Evolving’ is more than just the title of Harper’s new record; it’s his entire way of life. “I’ve spent the last few years deep in a process of self-discovery and change,” says the versatile vocalist. “I’ve been trying to understand myself, to peel off the cellophane and really get at what’s underneath. This album is the sound of me becoming the man I was always meant to be.”

Recorded live with a cast of friends and mentors (including appearances from late piano legend Ellis Marsalis, sax icon Donald Harrison, and vocalist/drummer Jamison Ross), ‘Evolving’ is both a homecoming and blank slate for Harper, a return to form and a start from scratch. The songs here span the full breadth of his remarkable journey and extraordinary talents, but rather than linger in nostalgia, they press forward with newfound immediacy and resolve. Harper’s delivery is vibrant and mesmerizing to match, his voice smooth as velvet as he charts his own distinctive course through a collection that’s equal parts head and heart. Sure, there’s plenty of vocal sophistication and dazzling instrumental work on the album, but at its core, ‘Evolving’ is all about raw emotion and gut instinct, about taking chances and breaking free. Harper is making up for lost time with this record, and he’s laying it all on the line in the process.

‘Evolving,’ opens with the intoxicating “Infinite Heart.” A collaboration between Harper (who wrote the lyrics) and Harrison (who wrote the music and lends a spectacular performance), the track sets the stage beautifully for an album that’s as surprising and spontaneous as it is warm and inviting, a collection that explores the rough edges of romance and regret with deep empathy and an unwavering belief in the resiliency of the human spirit.

While ‘Evolving’ is certainly a showcase for Harper’s transportive vocals, it also demonstrates his skills as a consummate interpreter of song, and his choices here double as something of a loose autobiography. He nods to his roots with a bouncy, playful take on Alvin Batiste’s “Salty Dog,” says farewell to Ellis Marsalis with a soft and silky rendition of “Never Let Me Go” (which features one of Marsalis’ final recordings), and looks back on his time with the Lincoln Center Jazz Orchestra on the Mingus classic “Duke Ellington’s Sound Of Love.” Throughout the album, Harper tips his cap to a host of friends and influences who shaped his journey (he salutes Shirley Horn with a jaunty performance of “The Great City” and celebrates Betty Carter with a gentle take on her “Look What I Got”), but he spends an equal amount of time looking forward, meditating on justice and race with the soulful “Someday We’ll All Be Free” and pushing his personal artistic limits with an adventurous performance of “Valsa Mineira.” Perhaps the collection’s most affecting moment, though, arrives with album closer “Do You Know What It Means To Miss New Orleans?” Soft and breathy, it’s both a heartbroken lament and a tender embrace, a wistful sigh and a welcome home.

“I truly do know what it means to miss New Orleans,” Harper says. “I recorded that song within months of returning to town, and even though there was so much uncertainty in my life, I just felt so happy and blessed to be back.”These days, there’s plenty of uncertainty to go around, but no matter what the future holds, Roderick Harper knows where he’s meant to be. And, as ‘Evolving’ ably demonstrates, he knows who he’s meant to be, as well.

ELLA FITZGERALD: LIVE BERLIN CONCERT RECORDING FROM 1962 / THE LOST BERLIN TAPES

Verve Records announces the release of a never-before-heard stellar live recording from the First Lady of Song, Ella Fitzgerald. The Lost Berlin Tapes were recorded – incredibly in both mono and stereo – at Berlin’s Sportpalast on March 25, 1962 and finds Ella at the top of her game with a trio led by pianist Paul Smith, Wilfred Middlebrooks on bass, and Stan Levey on drums.

There was just something about Berlin that brought out the best in Ella. In February of 1960, she gave a concert at the Deutschlandhalle, which became one of her best-known and best-selling records, Mack The Knife: Ella in Berlin. The album won her 2 Grammys, it went on to be inducted into the Grammy Hall of Fame.

Two years after that historic concert, Ella returned to the city at the height of her career, in the midst of her most extensive European tour to date. Flanked by her stalwart rhythm section including pianist Paul Smith, bassist Wilfred Middlebrooks and drummer Stan Levey, Ella delivers an energized, top-of-her-game set a month before her 45th birthday.

Ella Fitzgerald The Lost Berlin Tapes is a jewel in the treasure chest of impresario and Verve Records founder Norman Granz’s private collection. As Ella’s manager, he had a habit of recording Ella live – sometimes for radio broadcast, sometimes for later release, sometimes just to have. This particular recording was amazingly done in both mono and stereo – and on this March evening at Berlin’s Sportpalast, Ella delivered, singing some lesser-known gems as well as the hits.

One of those hits was “Mack The Knife.” Ella famously flubbed the lyrics in the known 1960 recording, and two years later, nails them. But – she forgets the name of the town she’s in. On the recording, she charmingly says, “Ladies and gentlemen, I’m so embarrassed. This is where the first time I sang Mack The Knife and when I got to the part of the town, I couldn’t think of it!” The audience is enthralled, nonetheless.

That unique charm, energy and skill are palpable throughout this live recording. She opens with “Cheek To Cheek,” followed by the rarer “He’s My Kind of Boy.” After her behind-the-shoulder scat-heavy salute with “Jersey Bounce,” Ella shifts to a heart-wrenching ballad of the Great American Songbook, “Angel Eyes.” Ella also sings the Ray Charles hit “Hallelujah, I Love Him So,” singing a reprise that shows Ella’s improvisational skills. 

New Music Releases: Sun Ra & His Solar-Myth Arkestra, Roscoe Weathers, Sam Prekop

Sun Ra & His Solar-Myth Arkestra - Solar-Myth Approach Vols 1 & 2

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks titles include "Spectrum", "The Satellites Are Spinning", "Seen III Took 4", "Adventures Of Bugs Hunter", "Legend", "The Realm Of Lightning", "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". ~ Dusty Groove

Roscoe Weathers - I'll Remember

Really wonderful work from a very overlooked talent – reedman Roscoe Weathers, a player who worked the west coast in the 60s before settling in LA – then led a group with a very strong flute sound in the lead! Roscoe's music here has plenty of echoes of the spiritualism of Yusef Lateef, mixed with some of the groovier styles of Roland Kirk – and the cuts here are from a range of small label 45s that really stand as an overdue testament to Weathers' beautiful music! There's occasionally touches of Latin, a strong dose of soul jazz, but also this ear for higher ideas in his music, even on shorter tracks – with a vibe that almost makes this work a precursor to the 70s recordings of Lloyd McNeil – a high recommendation from us. Hats off to Jazzman for such a great job – and titles include "Afro Latin Junto II", "Poem For Anna", "Blue Cha Cha", "I'll Remember Clover", "The Bob White Bird", "Echoes", "Dandelion Wine", "Root Flute", and "Yours Alone". ~ Dusty Groove

Sam Prekop - Comma

A compelling step forward for Sam Prekop – a key member of Sea & Cake for many years, but maybe an even more engaging artist on his own! This set's different than some of Sam's previous records – in that it's all electric, really electronic – with modes that hearken back to early ambient experiments, and some of the Japanese work of the 80s – but which also ties things in more strongly to the crucial contemporary vibe of his scene! These aren't retro electronic modes – as some are freewheeling in rhythm, almost evoking the early Thrill Jockey records of Oval – while others are tuneful and more direct, but still with edges around the sides – a subtle rasp that makes it clear that the record is as much a project of Prekop the visual artist as it is the musician. Titles include "Comma", "September Remember", "Never Met", "Above Our Heads", "Circle Line", "Summer Places", "The New Last", and "Park Line". ~ Dusty Groove

New Music Releases: Society Hill Records - The Red Light Special: Private Party Mix, David Sills, Alan Braufman

Society Hill Records - The Red Light Special: Private Party Mix

The Philly Soul music phenomenon is one of the longest running soul music movements with origins stretching back to the early 1970s, and Society Hill Music, under the auspices of the legendary Philly Soul producer Butch Ingram, has been at the forefront of that movement for decades. On "The Red Light Special: Private Party Mix," Butch brings together the cream of the crop of Philly Soul vocalists that are still active on the scene today, such as Blue Magic, TRU, The Legendary Bluenotes, Donnie Tatum, Johnny Ingram and others that are responsible for keeping the true sound of the movement alive and kicking - and also strive to preserve its sweet, precious sound for future generations of listeners. This is a party record that's going to bear repeated listening for years to come. Long live the immortal sound of Philly Soul.

David Sills – Natural Lines

Los Angeles-based reed player David Sills is a prolific recording and performing artist. Natural Lines is his 17th CD as a leader. The album features seven of Sills’ original compositions as well as tunes by Bill Evans, Miles Davis, Jimmy Davis, Alan Broadbent, and two of Sills’ accompanists, guitarists Larry Koonse and Mike Scott. The Los Angeles Times has said “The playing of tenor saxophonist David Sills has been described as a meeting of Stan Getz and Joe Henderson, a style in which smooth reserve and technical ability combine in a single cool-to-the-bone sound.” Sills has always worked with top players for his many recordings, which he does once again on Natural Lines. Besides being one of Sills’ oldest friends and a frequent collaborator, guitarist Larry Koonse is one of the most respected musicians on the West Coast. With fellow guitarist Mike Scott, the two guitarists create a rich tapestry for Sills to weave his rich and soulful sound. Rounding out the rhythm section are two top L.A. sidemen, Blake White on bass and Tim Pleasant on drums, both of whom work frequently with Sills. David Sills is a cool musician with a warm tone and swinging, modern sound that’s been honed over his very prolific career, both as a recording and performing artist. He’s also a first-class composer, writing tunes that are harmonically rich with engaging, highly accessible melodies. He’s joined on Natural Lines by top-notch musicians who possess the natural, empathic communication of friends who have worked together for many years.

Alan Braufman - Fire Still Burns

A long-overdue second album from Alan Braufman – maybe not the most familiar name in jazz, but a reed player who gave the world one fantastic album on India Navigation back in the 70s – and who now finally returns as a leader for this equally great second set! Braufman plays alto and flute – and the whole thing has this bold, soaring sort of energy – maybe even more spiritually forceful than Alan's classic album, thanks in part to an excellent group who bristle with dynamic vibes throughout – always on the edge of going farther out, but also nicely together too. Other players include Cooper Moore on piano, James Brandon Lewis on tenor, Ken Filiano on bass, and Andrew Drury on drums – with a bit of percussion at times from Michael Wimberly. Titles include "Creation", "Alone Again", "The Fire Still Burns", "Home", and "No Floor No Ceiling". ~ Dusty Groove

New Music Releases: Martin Wind / Philip Catherine / Ack Van Rooyen, Nat Birchall, Conrad Herwig

Martin Wind / Philip Catherine / Ack Van Rooyen – White Noise

When noise or other unpleasant acoustic appearances are being overlaid with “white sounds” such as ocean waves, rain, wind etc. the human ear seems to perceive them as softer and less disturbing. This healing principle from psychoacoustics can be wonderfully applied to music – as bassist Martin Wind impressively proves on White Noise. The Flensburg native is one of the German fIgureheads on the New York jazz scene. For the recording of his new album White Noise, he surrounded himself with two European “Jazz icons of the highest order”: Philip Catherine, for many critics – besides John McLaughlin – the most respected guitarist in Europe. And the Dutchman, Ack van Rooyen, whose warm and soft tone on trumpet and flugelhorn is his unmistakable trademark. “In a world where silence is becoming more and more of a luxury, I wanted to set a little acoustic opposite pole. Kind of a sound oasis, in which the audience can lean back and enjoy the music undisturbed to its fullest effect” explained Wind on the concept of White Noise - the quietest in his discography so far. But if you’re worried that three jazz virtuosos ended up among esotericists, you’re mistaken.

Nat Birchall - Upright Living: Nat Birchall Meets Al Breadwinner

A mighty feather in the cap of UK saxophonist Nat Birchall – and a set that really shows just how much he's opening up his sound in recent years! The set is a second meeting between Birchall and Al Breadwinner – and like the previous, both artists handle a wide range of instrumentation in a mode that matches 70s dub production styles with jazzy elements too – as Nat plays tenor, soprano, melodica, organ, piano, and percussion – and Al handles drums, organ, guitar, piano, and more percussion too! Breadwinner recorded and mixed the set – with the kind of mysterious vibe that almost recalls Lee Scratch Perry at Black Ark – and the duo are joined by Vin Gordon on trombone, David Fullwood on trumpet, and Stally on baritone sax. Titles include "Wise Man Style/Dub Of The Prophet", "Tribute To The Great Tommy McCook", "Man From Jones Down", "Upright Living", "Mystical Dawn", "African Village Dub", and "Upfull Dubbing". ~ Dusty Groove

Conrad Herwig - Latin Side Of Horace Silver

A sublime mix of Latin rhythms and soulful hardbop from trombonist Conrad Herwig – working here in a formula he's used before, but which seems especially well-suited to the music of Horace Silver! Silver's work for Blue Note always had these wonderful currents of Latin and exotic modes in the rhythms – expanded more strongly here by the group, with conga work from Richie Flores ringing out next to the bold piano lines from Michel Camilo and Bill O'Connell, both great players for a date like this. The mode is different than Horace, but in a great way – and in addition to trombone solos from Herwig, the album also features Craig Handy on alto and flute, Igor Butman on tenor, and Alex Sipiagin on trumpet. The date is a live one, which really increases the energy of the music – on titles that include "Peace", "Gods Of The Yoruba", "Nica's Dream", "Song For My Father", "Nutfille", and "Cape Verdean Blues". ~ Dusty Groove

New Music Releases: Immanuel Wilkins, Alex Bird and the Jazz Mavericks, Joel Ross

Immanuel Wilkins - Omega

Alto saxophonist Immanuel Wilkins delivers an opus about the Black experience in America on Omega, which JazzTimes called “the most important debut jazz recording in years.” Omega was produced by Jason Moran & features pianist Micah Thomas, bassist Daryl Johns & drummer Kweku Sumbry. With powerful pieces like “Mary Turner - An American Tradition” & “Ferguson - An American Tradition,” Wilkins conveys the deep pain his people have endured for centuries. That’s balanced with moments of uplift, too, as on “The Dreamer,” a gorgeous ballad based on a poem by James Weldon Johnson. Watch Wilkins on First Look with Don Was.

Alex Bird and the Jazz Mavericks – Whisky Kisses

This 11-track all original debut album is inspired by the classics, but we are taking this beautiful tradition to a new generation of fans. With reviews coming in with comparisons to Elvis, Bobby Darin, Frank Sinatra, and Michael Bublé, this album calls to the past but is paving the way for a new style of Jazz. Scheduled to be released October 23rd, 2020. Whisky Kisses is nostalgic, beautiful, and yearning and is the Because One Day, a short documentary about Alex Bird’s journey. It opened the Canadian Film Fest (May 2020) and was awarded Best Music by the film festival jury. Our second single Whisky Kisses (May 2020) was awarded Best Jazz Song at the World Songwriting Awards. In November of 2019, we released our debut single The Way She Moves, and it was picked up by CBC radio (Canada), was Track of the Day on All About Jazz, and awarded the top spot in Reader Favourites on Jazziz Magazine’s Inside Track. Alex Bird and the Jazz Mavericks and I have been making a name for ourselves on the Toronto Jazz scene and abroad. With Ewen Farncombe on piano/b3, Scott Hunter on bass, and Eric West on drums, these three monster players bring Whisky Kisses to another level.

Joel Ross – Who Are You?

On Oct. 23, vibraphonist Joel Ross will release his highly anticipated 2nd album Who Are You? featuring his band Good Vibes with Immanuel Wilkins on alto saxophone, Jeremy Corren on piano, Kanoa Mendenhall on bass & Jeremy Dutton on drums, plus special guest Brandee Younger on harp. The lead single “More?” is available today to stream or download, and the album can be pre-ordered on vinyl, CD, or download. “This record is a culmination of our maturing – as people, as a band, within the music – it’s about figuring out who we are,” says Ross.

New Music Releases: Jean Carne, JAF Trio, Becki Fishwick

Jean Carne – Sings Philadelphia

This is a collection of some the best songs the incomparable Jean Carne has recorded for the Society Hill label and it’s a loving tribute to the music community of Philadelphia, like Thom Bell, who produced the original version of “Could It Be I’m Falling In Love,” the powerhouse duo of Kenny Gamble and Leon Huff who wrote “Hope That We Can Be Together Soon,” The Wizard Ted Mills, who wrote “What’s Come Over Me,” Bunny Sigler, who wrote “Do You Get Enough Love,” Dexter Wansel, who wrote “One Million Miles From The Ground,” Grover Washington Jr., who was responsible for “Closer Than Close,” Bianca & Butch Ingram, who co-wrote “Come Home To Me,” Doug Carn, who wrote “Infant Eyes” and the late Barbara Ingram, who wrote “Spirit Of Love” and sang on almost of all Jean’s hits. Every song on the playlist has been reworked and remixed for this most special compilation.

JAF Trio – JAF Trio

The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio) and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work. Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as witnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

Becki Fishwick – Know You Know

Based in the stunning Lake District, Ulverston, North West England, Becki has a 1950s vintage style and provides a retro twist to modern songs and revives old jazz, soul and Motown too! Becki’s unique voice is influenced by 1940s jazz, 1950s rock n roll and 1960s soul, a perfect mixture of a wonderful era. Becki has carved quite an exciting career with singing at Kendal Calling 2018 and 2019, working for the BBC with Geri Halliwell, playing Amy Winehouse in a sell-out show and winning a top industry vocal awards, to name just some of her highlights. Now she releases her own debut single 'Know You Know' alongside her cover of Charlatans 'One To Another' with the permission and praise of Tim Burgess after booking and seeing Becki perform at Tim Peaks diner Kendal Calling.

New Music Releases: Bill Frisell, Tony Saunders, Markus Rutz

Bill Frisell - Valentine

Bill Frisell has released his 2nd Blue Note album Valentine featuring his trio with bassist Thomas Morgan & drummer Rudy Royston. The guitarist discusses the new album—which was awarded a 5-star “Masterpiece” rating in DownBeat—on the latest episode of “First Look” with Blue Note President Don Was. The 13-song set was produced by Lee Townsend & mixes Frisell originals new and old, jazz standards, traditional songs & covers while exploring the creative freedom of the trio format & the profound relationship that exists between these three musicians after years of touring.

Tony Saunders - Sexy Somethin

Four years after taking us to the heart of his years growing up on the NYC club scene with Uptown Jazz, legendary bassist/composer Tony Saunders delivers on his stated promise to “make the best, most pleasurable and sensually satisfying album yet” with the perfectly titled Sexy Somethin. Alternately bouncy and buoyant and dreamily sensual, the tracks are all infectiously melodic and roll deep in a groove-intensive pocket. Yet true to the diversity of Saunders’ expansive resume, he infuses stylistic and thematic surprises from track to track. While grounding everything on his trademark deep bass tones and delivering sparkling solos, he invites a vibrant all-star cast to help execute his multi-faceted vision – including Nils, Jeff Ryan, Paul Jackson, Jr., Paul Brown, Marion Meadows and Jeff Lorber. ~ smoothjazz.com

Markus Rutz - Blueprints Figure One: Frameworks

Capturing the same spirit as his dynamic live performances, 2019 marked the release of his third album, Blueprints – Figure One: Frameworks. The first of two volumes in partnership with OA2 Records, the majority of this album is comprised of his own compositions and ranges from duet to sextet, incorporating pieces featuring Cuban percussion, ballads, bop, West Coast Cool and swing. Markus began trumpet at the age of nine. His post-secondary musical studies took him to the University of Wisconsin-Madison, Berklee College of Music and the University of New Orleans where he graduated with a Bachelor of Arts. Markus continues to partner with musicians locally and from around the globe. Open-minded and curious, his musical journey benefits from all that is new and unexpected, courtesy of his global collaborators. He performs, teaches and composes music from his home base in Chicago, Illinois.

New Music Releases: Matt Haviland, Kutiman, Michel Legrand

Matt Haviland - Something To Say

Only the second date as a leader from Matt Haviland – a trombonist with years of recordings for others under his belt – and a set that really marks a great leap forward for his strengths at the head of a group! Haviland's got a strong tone, and beautifully well-shaped solos – and he works here with an all-star group that includes Vincent Herring on alto, David Kikoski on piano, Ugonna Okegwo on bass, and Johnathan Blake on drums – plus work from Mark Gross on tenor and Bill Mobley on trumpet, each of whom play on three tracks on the set! The set includes some well-penned -originals, all with room enough to really open up – "Graham Benjamin", "Fillet Of Soul", "Finding The Words", and "The Way It Is" – plus versions of "Arietis", "Inner Urge", and "Driftin". ~ Dusty Groove

Kutiman - Wachaga

Much deeper work than we're used to hearing from Kutiman – and a set that's really widened the global scope of their sounds and influences! At the start, these guys were a funk group with a mix of psychedelic and 70s Afro-oriented influences – but they've really expanded here, and bring in spiritual jazz elements and other more sophisticated modes – all handled with a richness that's very organic, and which has a very uplifting quality we really didn't expect! There's often use of vocals by a group of female singers, in ways that recall some of the more powerful South African vocal chorus passages of vintage recordings – mixed with acoustic percussion elements, and layers of keyboards, samples, and other sonic touches – on cuts that include "Awake In The Rain", "Firefly Before Tomorrow", "A Giant Snail", "Tanzania", "Maasai", "Lost In The Bush", and "Rainbow Kilimanjaro". ~ Dusty Groove

Michel Legrand - Le Monde Instrumental 1953 to 1962: Jazz Et Musiques De Film (10CD set)

A gem of a package from one of our favorite film composers ever – a huge 10CD assortment of music from the earliest years of Michel Legrand – a set that shows just what an amazing career he was already having in Paris before his mid-60s rise on the international scene! The scope of work here is wonderful – and as you can guess from the title, the set includes only instrumental music from Legrand (although we will admit, there's a few vocals here and there) – which comprises not only early film scores and soundtrack contributions, but also some jazz projects and other instrumental recordings too – some more orchestral, others more in a groovy style that's like an instrumental take on early French pop! We're huge fans of Michel's music, and have lots of it in our collection already – but there's still a lot here that we'd not heard before – a whopping 234 tracks in all, with a completeness from these years that's echoed in the detailed notes, which are in both French and English. There's a huge amount of tracks we've never seen on CD, including lots of material from obscure French 7" EP releases – and the inside package offers the full details on the origin of all the many varied titles. ~ Dusty Groove.