Bassist GEORGE PORTER JR Releases New Runnin’ Pardners Album CRYING FOR HOPE

New Orleans funk master and founding member of The Meters, George Porter Jr. has released his latest album with the Runnin’ Pardners — Crying for Hope — via Controlled Substance Sounds Labs and Color Red. The Grammy Lifetime Achievement Award-recipient, named one of the 50 Greatest Bassists of All Time by Rolling Stone, emerges from quarantine with a powerful new album that speaks to struggle, perseverance, comfort and rejuvenation. Crying For Hope is a 12-track reminder that music is the ultimate requital — and funk is the groove that keeps on giving.

The new album is Porter’s first release with the Runnin’ Pardners since 2015’s It’s Time To Funk EP, and the band’s first full-length album in a decade. Spearheaded by Porter on bass and vocals, the current quartet features Terrence Houston on drums, Michael Lemmler on keyboards and Chris Adkins on guitar. 

Crying For Hope came together virtually during the 2020 pandemic, with band members recording their parts individually from home studios, or down the road at Ora’s Third Floor Sound Lab. In a recent interview with Offbeat, Porter describes how the spark to create new Runnin’ Pardners music lit when he revisited unfinished recordings from a few years back, and became inspired. Written from the bass line up, Porter collaborated in the cloud and via Facetime with Lemmler, and then Adkins, before Houston laid down the final heartbeat to bring their new songs to life. 

Self-produced by Porter & Runnin’ Pardners and mixed and mastered by Joe Kalb, the result is a dynamic snapshot of the modern state of funk — and its place in the greater social conversation — from one of the most prolific and influential bassists of a generation. 

Crying For Hope kicks off with its first single and title track, which echoes the need for justice, understanding and allies in today’s cultural atmosphere. Hardline funk on “Wanna Get Funky” features a guest vocalist Mia Borders, while “I’m Barely” and “Too Hot Too Cold” reflect on uncertainty, and ultimately, acceptance. 

Around a third of Crying For Hope doesn’t use words to make its point clear. 

The album’s indelibly groovy instrumental songs like “Get Back Up,” “Cloud Funk” and “Taste of the Truth” meet the more jazz-forward “Porter 13A” and “Spanish Moss.” Collectively, Crying For Hope finds unity within Porter’s slick pocket — a foundation of funk — that allows each of the other Pardners to shine in their own way. 

After thanking his bandmates, team and influential women in his life, Porter closes the record’s liner notes by saying he’s, “Grateful that during this tough time something this good could happen.” 

New Orleans music royalty, George Porter Jr. founded The Meters in 1965 alongside Art Neville, Leo Nocentelli and Joseph Zigaboo Modeliste. Known as one of the progenitors of funk with Sly & The Family Stone and Parliament Funkadelic, The Meters carved their own place in history with syncopated polyrhythms and grooves inherited from New Orleans’ deep African musical roots. Porter’s heavy pockets and fat notes created the rubbery bass lines behind anthems like “Cissy Strut” off the group’s self-titled 1969 debut — The Meters’ greatest commercial single that reached No. 4 on the R&B chart and No. 23 on the Billboard Hot 100. 

The Meters became the house band for Allen Toussaint’s recording label and studio in New Orleans, backing records for Dr. John, Paul McCartney, Lee Dorsey, Earl King, Robert Palmer and Patty Labelle’s No. 1 hit, “Lady Marmalade”. They toured with the Rolling Stones and influenced everyone from Led Zeppelin and Bob Marley to the Red Hot Chili Peppers and the Beastie Boys. Porter’s rhythmic work with drummer Modeliste became the building block behind scores from hip-hop artists A Tribe Called Quest, Run DMC, N.W.A. and Queen Latifah, all of whom sampled The Meters. 

The band broke up in 1977, after Toussaint claimed rights to the name, but reformed in the 1980s as The Funky Meters following an informal jam during the New Orleans Jazz & Heritage Festival. Porter went on to become a highly coveted session bassist. He notched studio sessions with David Byrne, Jimmy Buffet, Tori Amos and Taj Mahal; and live performances with John Scofield, Warren Haynes, members of the Grateful Dead and countless others. 

Porter started his own band, the Runnin’ Pardners, in 1990 and released his solo record Runnin’ Partner. The group’s studio releases include Funk This (2000) and Can’t Beat the Funk (2011), as well as live albums along the way. The current lineup features drummer Terrence “Groove Guardian” Houston, Michael Lemmler on keyboards and guitarist Chris Adkins.

In 2000, the original Meters lineup reunited for a one-night stand at the Warfield in San Francisco, and again in 2006 to headline Jazzfest in the wake of Katrina. The group sporadically performed as The Original Meters to elated crowds between 2012 and 2017. Art “Poppa Funk” Neville retired from performing in 2018 and passed away the following year. But the Meters’ music and their heritage of funk lives on in George Porter and his bandmates – past, present and future. 

Born and raised in the Crescent City, Porter, now aged 70, calls New Orleans home to this day.

 

"Joao Donato JID007" | Joao Donato, Adrian Younge & Ali Shaheed Muhammad

Where’s João Donato? It’s a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato’s comfort with musical hybrids: “Bluchanga,” “Sambolero,” and “Sambongo,” to name just a few. Lacking a formal genre for his style of music, Donato’s is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when “funk” was a bad word (listen to either of his 1960s Brazilian LPs, Sambou, Sambou and The New Sound if Brasil, for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, revealing their intricate details upon repeat listening. 

Today, Donato brings this flavor, now near synonymous with his name, to a new album in the Jazz Is Dead series with Adrian Younge and Ali Shaheed Muhammad: Joāo Donato JID007. “Donato is one of the greatest Brazilian composers from that golden era. His signature style, simple melodies combined with colorful chordal progressions, establishes a new lane for Jazz Is Dead,” explains Younge. “João is one of the most innovative Brazilian jazz composers of the last century. Creating with and learning from this maestro was one of the greatest experiences of my career.”

On the first day of recording, João Donato was so flattered that to learn Younge and Muhammad had crafted some tunes for him to grace that on the second day, the maestro showed up to the studio with a composition in honor of his new musical partners: “Adrian, Ali and Gregory.” Gregory (aka Greg Paul) delivers an effortlessly buoyant rhythm to support Donato’s whimsical and wistful Fender Rhodes. Younge and Muhammad added the flute melody after the sessions, a perfect tribute and compliment to this master arranger, sweet and melancholic at the same time.  

Building off a sinister interlocking drum and bass pattern, Donato, Younge, Muhammad, Paul and vocalist Loren Oden, assemble a swaying and swirling tune with a romantic mantra, “Nāo Negue Seu Coraçāo,” which translates to “Don’t Deny Your Heart.” Aspirational saxophones dance among cascading monophonic synths, a churning Hammond B3 and cutting fuzz guitar while Donato’s subtle and slinky Fender Rhodes leads the way through the musical maelstrom. Delivered in Portuguese, Oden sings the song’s emotional energy into existence. 

If Jon Lucien made a fusion album, it would have sounded something like “Forever More.” Oden’s vocals capture the longing and romanticism of the title, while the rhythm section harkens back to the last album Donato recorded in Los Angeles in 1970, a jazz fusion fore-runner full of pulsing polyrhythms and urgent melodies. “You guys made me like L.A. again,” Donato told Younge and Mohammad towards the end of his 2019 trip to record this album and perform at the Jazz Esta Morto series.  

João Donato deserves a place among the legends of Brazilian music, alongside Antonio Carlos Jobim, João Gilberto, Dorival Caymmi, Ary Barroso, and select few others. Ironically, his constant experimentation with different genres – the very essence of his greatness – make him a challenge to classify and perhaps held him back from becoming the household name some of his peers became. Asked how he would describe his own work, he says, “It’s my style of music, the way I think about [music]. I don’t even think about it, it’s just the way I do things. I don’t know if it even has a name.”

Donato has finally received long overdue accolades for his contributions to date. An archetypal “musician’s musician,” Donato’s stepped out of the shadows more recently, recording at an unprecedented rate and collaborating with a variety of musicians, from Brazil and beyond, old and young. Still going strong at over eighty years old, the late praise and recognition is finally coming for the artist who Claus Ogerman offered to arrange an album, who Antonio Carlos Jobim called a genius, and who no other than João Gilberto claims invented the bossa nova beat. 

“Has the day unfolded without a smile landing on you? Then follow the road to a João Donato song, you are sure to find one there,” says Muhammad. “João, one of the founding fathers of bossa nova has opened his magical melodious spirit to us here at Jazz Is Dead. Together we found beleza na música.”

João Donato was born in 1934 and spent his early years completely landlocked in the Amazon wilderness of Acre, a state that borders Peru and Bolivia. By eight, he was playing accordion and even wrote his first song, “Indio Perdido,” which he would later re-record as “Lugar Comum” thirty-three years later with lyrics courtesy of tropicalist pop star, Gilberto Gil. Donato’s family moved to Rio de Janeiro when he was sixteen and he started hanging out with other jazz-obsessed teenagers in the suburbs of Rio. By 1958, at the age of twenty-four, Donato was one of the most respected musicians in Rio, but what he wanted to play was not what local audiences wanted to hear, so he spent the next 15 years bouncing between Los Angeles, San Francisco and New York City. Upon his return in 1973, he’d been forgotten by the general public, but had become a legend to a younger generation of musicians, including: Marcos Valle, Caetano Veloso, Gal Costa & Gilberto Gil.

Orrin Evans | "The Magic of Now"

Smoke Sessions Records proudly announces the July 23 release of The Magic of Now, Orrin Evans’ sixth leader album for the label, and the 20th of the 46-year-old pianist-composer’s luminous career. Recorded in the midst of the upheavals set in motion by the COVID-19 pandemic, this latest recording of Evans’ kaleidoscopic artistic journey coincides with several self-generated sea changes in his life. For one thing, Evans and his wife recently sold their Philadelphia home of 20 years to their oldest son. For another, on March 15th, Evans ended a three-year association with the popular piano trio The Bad Plus to focus on musical projects under his own name.

“People have had to make adjustments and be reborn to a certain extent,” Evans says by way of explaining the title. “We’re past the point where we didn’t know what was going on or what the future would look like. Now we’re settling into what our ‘new normal’ will be, embracing the magic of now and the shape of what will happen next.”

The Magic of Now was recorded at SMOKE during the second weekend of December 2020 by Evans and a multi-generational cohort of A-list partners – first-call New York bassist Vicente Archer; iconic drummer Bill Stewart; and the dynamic 23-year-old alto saxophonist Immanuel Wilkins. They generate an eight-piece program that exemplifies state-of-the-art modern jazz, including three tunes apiece by the leader and Wilkins (whose 2020 Blue Note debut, Omega, was named “Best Debut Jazz Recording of 2020” by NPR Music and number-one jazz recording of 2020 by the New York Times). From the first note to the last, the quartet, convening as a unit for the first time, displays the cohesion and creative confidence of old friends.

Actually, “old friends” is a precise descriptor for the protagonists. “This album is a reunion,” explains Evans, who met Archer when both moved to New York City during the mid-1990s. He began playing frequently with Stewart when saxophone titan Steve Wilson hired both to play in his Wilsonian Grain quartet in 2008. In 2013, he played “big fun” trio gigs with Archer and Stewart at the Litchfield Jazz Festival and the Detroit Jazz Festival, and used Stewart on his 2014 Smoke Session album Liberation Blues.

Evans initially met Wilkins – a fellow Philadelphia resident – when teaching him at a summer music camp. They first shared the Smoke Jazz Club bandstand in 2018, when Evans to organize a series called “Philly Meets New York.” Their simpatico intensified last summer, as Evans recruited Wilkins to play several self-produced “Club Patio” concerts outside his Philadelphia home.

“I knew Immanuel as a performer and a saxophonist, but not as a composer until I played some of his pieces during that series,” Evans says. “I loved the compositions, how he treated them within a set, and how he put everything together. Playing other people’s music inspires me.”

Producer Paul Stache, who’d personally experienced the Evans-Wilkins simpatico during a Wilkins-led livestream at Smoke last August, suggested the matchup. “I’d wanted to do more with Vicente and Bill after 2013, but they ended up playing with Nicholas Payton for a few years and I couldn’t figure out a way to put it back together,” Evans says. “By happenstance, we were all at home during the pandemic.”

“I love Vicente’s fearlessness,” says Evans, himself known for applying a “kamikaze” attitude to jazz expression since he began leading groups in his late teens. “He learns the music and then adds so much to the conversation by playing harmonic and rhythmic ideas you might not have thought of. And I love the way that Bill’s drums sound – his cymbal choices, the way he tunes his bass drum and snare drum.”

As for Wilkins, Evans appreciates his lovely tone throughout the alto’s registral range; his command of a broad swath of jazz lineage; his “ability to bring music to the table and let it breathe, allowing myself, Vicente and Bill to bring something to it totally different than what his band would do.”

On The Magic of Now, the members apply their collective mojo to three heretofore unrecorded Wilkins songs, including the gorgeous ballad “The Poor Fisherman,” of which Evans (a master of the genre) remarks, “I’ve always wanted to write a ballad like that.” The leader notes the “relaxed” quality that Archer and Stewart impart to the 5/4 time signature that underpins the melody-drenched “Levels,” on which composer and leader engage in probing dialogue before each uncorks a commanding solo. Evans also applauds Wilkins’ “Momma Loves,” analogizing it to “a modern-day Monk tune, or modern-day bebop, with extra bars that make it feel weird – everyone plays right on through it.”

The program opens with a medley of Stewart’s anthemic “Mynah” (which debuted on Stewart’s 1997 Blue Note album, Telepathy) and Mulgrew Miller’s “The Eleventh Hour,” a blues that Evans describes as “a melody that, when you get in there, it’s going to start swinging.” That understates what the unit does on this ferociously executed, up-tempo tour de force, on which Wilkins and Evans refract the language of seminal ’60s modernism into their respective argots, propelled by stalwart beat flow from Archer and Stewart.

The first of Evans’ three tunes is “Libra,” a stick-to-the-ribs melody that previously appeared on Evans’ self-released Luvpark and White Boy, You Don’t Know Nothin’ About No Barbecue. “I wanted to hear what Bill would play,” says Evans, whose intensely percussive solo dances to the “distinctive groove” of Stewart, who played regularly with jazz-funk saxophone legend Maceo Parker during the early ’90s.

Evans dedicated the medium-up swinger “MAT-Matt” – which debuted on Evans’ 1999 album Listen To The Band and was reprised on the 2010 date Faith and Action – to his two sons, now 28 and 23. “It speaks to watching them grow,” he says.

The intensity winds down on the set-closing “Dave,” a pensive ballad on which Stewart showcases his skill at flowing in the rubato space. As on the preceding tunes, where he explores numerous dimensions of piano expression, Evans projects his singular voice onto the 88 keys.

“I love the sound of the piano and drums on this record – and I love the sound at Smoke,” Evans says of The Magic of Now. “I love the energy – so close, so intimate. And I appreciate having a long-standing relationship with Paul Stache that’s built on mutual respect. That has a lot to do with how much I enjoy playing music there.”

Arturo O'Farrill w/Afro Latin Jazz Orchestra : Virtual Birdland

Multi GRAMMY® Award-winning pianist and composer Arturo O'Farrill and nonprofit the Afro Latin Jazz Alliance (ALJA) announces today they have reached more than 1 million people in over 25 countries through their innovative "ALJA Digital Village" programming since its launch one year ago in March 2020. ALJA immediately responded to the onslaught of the COVID-19 global pandemic with a multi-faceted initiative to raise urgent funds for New York/New Jersey-based jazz musicians (over $100,000 was raised) while instituting a digital platform for ALJA's close network of standout musicians and educators. 

The flagship "ALJA Digital Village" program "Virtual Birdland" will celebrate the milestone with the global release of a new album, Virtual Birdland, featuring O'Farrill and his acclaimed 18-person Afro Latin Jazz Orchestra performing with an array of special guests on 10 ambitious compositions recorded across a span of more than 50 online concerts. Each Virtual Birdland session is recorded remotely from the safety of each artists' homes. Jon Pareles (Chief Popular Music Critic) of The New York Times included "Virtual Birdland" in his story, "10 Best Quarantine Concerts Online" (July 2021).

Since March 2020, O'Farrill and ALJA have presented programs with lauded guests such as Dr. Cornel West, Paquito de Rivera, Rudresh Mahathappa, Ana Tijoux, Miguel Zenon, Sean Jones, Mandy Gonzalez, Letieres Leite and Orkestra Rumpilezz, Sofia Rei, and Sahr Ngaujah. Master classes have been led by the likes of John Benitez, Papo Vazquez, Samuel Torres, Yasser Tejeda, and others. "ALJA Digital Village" programs such as Ori-Gen Collective and La Plaza bring award-winning performances and panels to the community (free of charge). ALJA has presented more than 100 dynamic programs over the past 12 months. 

"When the pandemic began there was a national and global reckoning," says Arturo O'Farrill. "We were blindsided, and even though the sky seemed like it was falling, we rose up and were determined to play music and heal others. Virtual Birdland is proof that we are interconnected globally even if we are not allowed to leave our homes. The featured musicians sat in their living rooms, bedrooms, or closets and contributed to the lives of thousands of unseen listeners. No immediate feedback, no discernible applause, no fancy concert halls, just the purest form of art there is, service to others."

"It's during challenging times like the ones we are now living in that our community excels in its strength, compassion, and ability to come together for the benefit of all," says Marietta Ulacia (Executive Director, Afro Latin Jazz Alliance). "Reaching nearly 1.5 million people through our digital programming is a milestone we are very proud of and tells us that people need music now more than ever. We look forward to continuing our online initiatives throughout 2021."

Virtual Birdland opens with Gulab Jamón, a commissioned work by The Greene Space in New York City. The title is a nod to O'Farrill's two favorite cuisines, Indian and Spanish. The inspiration came from the thought that water exists in many forms, but is essentially the same. "We should see humanity in the same nature," says O'Farrill. "We do not dilute our essence when we embrace others."

Pouvoir (meaning "power" in French) is written by Moroccan-born artist Malika Zarra, who is a defender of the sacred Moroccan rhythmic code, Chaabi (a traditional style of North African dance music associated with weddings and festivals.) Rafi Malkiel contributes the composition "Desert," an example of inner joy flowing out. The work reflects the sound of ancient trade routes connecting with a moment in time where we all need healing.  

"Nightfall" by Larry Willis is an example of the compositional prowess of this brilliant pianist. The effortlessness of his swing and the efficacy of his tumbao reveal that the roots, path, and future of this music we call jazz are Afro Latino. If artists ran the world, the result would the global connection presented by Kuwait-based artist Ghazi Faisal Al-Mulaifi on his work, "Ana Mashoof." Originally performed in Abu Dhabi during a concert called Cuba Meets Khaleeji: The Middle Eastern Roots of Afro Cuban Jazz, the recorded iteration features the band of Kuwait percussionists Boom Diwan and the Afro Latin Jazz Orchestra

Paquito D'Rivera's "Samba for Carmen" was written for the inimitable Carmen McRae and arranged by Maestro Chico O'Farrill. Paquito is renowned as one of the amazing clarinetists of our time. On "Samba for Carmen," he is featured in a Brazilian samba and sounds like a born and bred "carioca."

Letieres Leite's "Alafia" is full blown Candomblé, scored for 5 percussionists, 4 trumpets, 4 trombones, 5 saxes and a tuba. Composed by Rafael Solano and orchestrated by Chico O'Farrill, "En La Oscuridad" is a meditation in elegance and soul. O'Farrill performed the piece under his father's direction and marveled at the playing of tenor saxophone giant, Mario Rivera. Mario's protégé, Ivan Renta, plays with so much reverence for his mentor, yet forged his own voice to remind us that we are part of an ancestral trail.

Don Angel "Papo" Vazquez is affectionately known as "El Almirante" (The Admiral). He is the creator of bomba jazz and amongst the finest trombonists performing today. "Cimarron" was commissioned by the Afro Latin Jazz Alliance and in this setting refers to the untamed runaway. "Cimarron" celebrates musical fearlessness.

Virtual Birdland closes with Tito Puente's iconic "Para Los Rumberos," arranged by José Madera. A rumbero is someone who is not bound by circumstance. When the picture is at its bleakest and the smart thing to do is cave in to fear, he does the opposite and celebrates the challenge with song and dance. Tito took the circumstances of his life and created a universe of joy, which is presented on "Para Los Rumberos."

Beginning on April 14, Arturo O'Farrill will perform a new concert/livestreaming series at the Soapbox Gallery (636 Dean St, Brooklyn, NY). His inaugural performance will be a solo recital and the series will feature O'Farrill in an array of formats including trio, quartet, quintet, and small orchestra. Forthcoming concerts will be listed at soapboxgallery.org.

Brian Bromberg | "A Little Driving Music"

After nearly a year of being cooped up within the same four walls, it’s only natural that one’s thoughts might turn to the freedom of the open road. That’s certainly true of virtuoso jazz bassist and world-renowned producer Brian Bromberg, whose third pandemic-era release shrugs off the prevailing mood of COVID-era claustrophobia and political strife for A Little Driving Music, a fun, funky paean to cruising with the top down and leaving your troubles behind.

While countless musicians have spent the quarantine months in a state of limbo, the always-prolific Bromberg quickly figured out a way to continue making music while remaining socially distanced. Due out May 21, 2021 via Artistry Music/Mack Avenue Music Group, A Little Driving Music follows the bassist’s wide-ranging holiday album, Celebrate Me Home, and the remixed and remastered digital release of his stunning tribute album Bromberg Plays Hendrix. 

“In one aspect it's been a weird, heartbreaking time to be a musician who just wants to play music with human beings, for human beings,” Bromberg laments. “On the flip side, I've been really fortunate. It's been a really positive, productive period because I've had nothing but time to sit in front of a computer or pluck my strings.”

A Little Driving Music features a dozen brand-new Bromberg compositions as well as a surprising 80s cover song, the joyful Katrina and the Waves hit “Walking on Sunshine.” Despite recording each musician in isolation and at a distance, the bassist managed to (virtually) assemble an elite roster of longtime collaborators and all-star special guests including saxophonists Dave Koz, Everette Harp, Gary Meek, Elan Trotman, Darren Rahn and Marion Meadows; keyboardist Tom Zink; guitarists Jerry Cortez, Nick Colionne and Ray Fuller; drummers Joel Taylor and Tony Moore; vibraphonist Craig Fundiga; and percussionist Lenny Castro. There’s even a string orchestra featuring members of the National Symphony Orchestra of the Dominican Republic, conducted by arranger/producer Corey Allen (again, with COVID safety protocols in place).

“This is the hand you're dealt, so you make the most of it,” Bromberg says of the unusual circumstances under which the album was recorded. “Everything about how we do things has changed, but when you come to terms with that and accept it for what is, you can enjoy the process. Especially when you're dealing with a lot of talented people and state-of-the-art technology – it's amazing what you can do despite not being in a prime situation.”

No trace of that adverse situation can be heard as the album kicks off with “Froggy’s,” a carefree, high-spirited funk tune highlighted by a lively horn section emulating the chorus of frogs that often greets the composer at his Southern California home. Bromberg takes a blistering solo on piccolo bass, which could easily be mistaken for a shredding electric guitar. The baton is then picked up by Everette Harp’s vibrant turn on sax. 

A diary entry for these strange times, “Quarantine” was the first track penned by Bromberg after lockdown commenced. The rest of the album was also composed in quarantine, with the sole exception of the title track – fittingly enough, as the freewheeling “A Little Driving Music” fills the listener with a sense of movement and freedom much missed over these solitary months. “That Cool Groovy Beatnik Jazz” is another self-explanatory title, conjuring the laid-back, finger-snapping groove of a classic BYOB hipster café (meaning Bring Your Own Bongos).

Both “Bado Boy!” and “Lullaby for Bado” are dedicated to a cat that Bromberg and his fiancée rescued from Barbados, a complicated tale that eventually involved the island’s Minister of Agriculture. (“It would be as if you wanted to rescue a cat and had to talk to the Vice President of the United States to do it,” Bromberg says incredulously.) The former tune, which features Barbados-born saxophonist Elan Trotman, reflects the feline’s playful spirit; the latter, pairing Bromberg’s emotional acoustic bass with the Dominican Republic strings, is an elegy for the lost cat.

“We knew he was sick, but we hoped he'd live a long time,” Bromberg recalls. “Unfortunately, he only lived a year, but he had a hell of a year living with us instead of being alone as a stray cat sick in the Caribbean.”

With an assist from Dave Koz, “Walking on Sunshine” reimagines the 80s classic in a jazz context, slower and funkier than the incessantly upbeat original. “After the year we've had – and, sadly, the year we're likely going to have – a little positive energy goes a long way,” Bromberg explains. “So, I wanted to record something with positive energy and uplift that also had that twist, that most recording artists might not have thought of doing.”

Short for Sagittarius, “Sag 5” is named for the December 5 birthday that Bromberg shares with saxophonist Darren Rahn, who guests on the track, melding sounds so harmoniously with the bassist that it lends a bit of credence to astrological synergy. Adding Andrew Neu on clarinet and Mitch Forman on accordion, “A Rainy Day in Paris” transports the listener to a café in the City of Lights as the weather turns gray outside. “If that song doesn't make you want to have a glass of wine and some cheese, I don't know what will,” insists Bromberg. “The only thing missing is a red and white checkered tablecloth.”

With Marion Meadows extolling the hopeful melody on soprano sax, “Peace” is Bromberg’s offering to the search for sanity in a contentious world. As he describes it, the tune is “the equivalent of a musical time out, suggesting that everybody just take a deep breath while the world and this country, in particular, is pretty upside down.” 

The country-accented “Jedediah’s Gold” paints a sepia-tinged portrait of a Gold Rush miner and his stake in the Old West, while “The Sitting Room” luxuriates in the feeling of relaxing in a favorite, comfy spot at home. The greasy, slinky “Baton Rouge” detours down south for a bit of hot, sweaty, fun-in-the-sun funk with Nick Colionne laying down some down-home guitar licks.

“There's some heavier music on A Little Driving Music,” Bromberg concludes, “but for the most part it's a fun, positive energy record. There's nothing better than that Zen moment of listening to great tunes on the road, looking out the window at life. That's the vibe of it to me: I hope people just want to put it on in the car and crank it up.” 

New Music Releases: Calle Sur, Reza Khan, Brettina

Calle Sur - Cancun

Sometimes a concert is much more than music.  Sometimes it’s a celebration of a special milestone, in this case the 20-year trajectory of Calle Sur, a Latin duo based in the Midwest, comprised of Panamanian Edgar East (vocals, Latin percussion, guitar, flute, trumpet, Venezuelan quitiplás bamboo tubes) and Colombian Karin Stein (vocals, guitar, Andean zampoña pan flutes, Colombian gaita flutes, Venezuelan cuatro). The COVID-19 pandemic nearly halted their 20th anniversary celebration plans, but Karin and Ed decided to start 2021 with renewed hope and the release of a 20th anniversary album, “Cancún,” an exciting variation on their usual repertoire of Latin folk and popular music infused with jazz piano.

Reza Khan - Imaginary Road

A socially conscious force in global jazz fusion for over 10 years, Bangladesh born, NYC based composer/guitarist Reza Khan taps into the exotic-meet-melodic aesthetic of one of his major influences, Pat Metheny in his adventurous approach to blending pop, jazz, soul and world music influences. On his multi-faceted and wildly groove intensive album Imaginary Road, Khan uses a wide array of musical textures to express his emotions about the pandemic and our political culture. Vibing with top genre musicians like Philippe Saisse and Miles Gilderdale (Acoustic Alchemy) as well as fusion great Mark Egan (bass) and trad jazz pianist Matt King, he leads us along an ultimately hopeful path filled with sunshine, sizzling soul, seductive light funk and exquisite free flowing balladry. ~ www.smoothjazz.com

Brettina - New Day

After a year in quarantine, nothing says sunshine like the music of the islands – and no Smooth Jazz artist these days better captures that spirit of a NEW DAY than Brettina. The Nassau, Bahamas born singer releases her new EP and showcases her equal facility for dreamy, sensual romantic soul/jazz along with breezy vocalese and harmonies, danceable grooves and dynamic percussion patterns of her homeland – the latter vibe infused with folk acoustic guitar and vibrant steel pans! Brettina collaborated on this sexy, feel good project with multi-platinum Grammy nominated producer G’harah Degeddingseze. ~ www.smoothjazz.com

Moka Efti Orchestra New Album

Moka Efti Orchestra is an international sensation that first gained notoriety on the hit Netflix series “Babylon Berlin.” The 14 member ensemble were first cast as musicians for the series and are all renowned players. The group was pieced together by composer and show music supervisor Nikko Weidemann, & composer Mario Kamien , along with saxophonist/arranger Sebastian Borkowski. The series invites the viewer into the Moka Efti, a re-creation of the famous pre-World War II Berlin club, with the goal to bring back the music and the vibe of the 20´s. The Moka Efti was an entertainment palace during 1920s Berlin and is also a prominent set location for the TV series. 

In the wake of the show’s international success and due to enthusiastic fan response, the Moka Efti Orchestra became an actual entity. The ensemble started to tour and perform their hits from the show’s soundtrack with vocalist, and series actor Severija Janusauskaitė aka SEVERIJA. Capitalizing on the momentum of their popularity, the Orchestra has now created a 13 song album featuring new versions of their popular songs plus new compositions. The album Erstausgabe sees its North American debut on April 16th on Six Degrees Records. 

From the onset of the series, album composers and arrangers were tasked to focus on musically defining vivid contemporary emotions, rather than worrying about achieving 100% historical accuracy. A lofty task for the most ambitious TV series in German film history. Music industry veterans, Weidemann, has been rooted for decades in the international musical subculture and Kamien has made a name for himself as part of the 90s duo dZihan&Kamien. Borkowski is a successful sax and flute player in Berlin’s jazz scene. With guidance from the series directors, they took the band and its music to unimaginable new heights. 

The band’s compositions and arrangements range from swing, blues, ragtime, Chanson, Big Band Charleston to Klezmer. The track “Zu Asche, Zu Staub” is a fan favorite standout. The song appears on the new album with an original arrangement featuring singer SEVERIJA. Another standout is “Snake – Together Alone,” showcasing Severija’s deep, smooth and silky voice, set over the orchestra’s bluesy, R&B influenced, powerful soundscape. 

The ensemble had been touring throughout Europe and Germany up until COVID-19. Highlight performances have included Brandenburg Gate, German Unity day, Europe’s GQ Awards, sold out shows at the famous Ballhaus Berlin, Munich Philharmonie, and Kassel ́s opera house. On April 18th, Moka Efti Orchestra will livestream direct from Germany commemorating the 76th Anniversary of the release of the prisoners from the Sachsenhausen concentration camp. They will perform music specially arranged for the celebration & from their debut LP. You can catch the livestream here: https://rememberliberation.stiftung-bg.de/en/online-events/#3751

 Paste says “Watching Babylon Berlin is often a visceral experience, one you may occasionally need a break from yet find it hard to tear yourself away. It is simply stunning television that has for too long been buried in the depths of Netflix’s vast catalogue. Seek it out like that fabled Russian gold. You will, indeed, uncover a treasure.” 

Entertainment Weekly has proclaimed the series the best TV show for self-isolation.

Self-titled album from Québec-based group L'abîme

L’abîme (The Abysm) is the first album by an exciting new Québec based quintet of the same name. Conceived over the past two years, this brilliant debut will be released in April of 2021 on Montreal based label Multiple Chord Music, in both physical (vinyl + cd) and digital form. The album unveils a dreamlike universe, a cinematic adventure suspended in time, like a dive through the abysm.

The group displays a bold, unique sound rooted in modern jazz with strong rock and contemporary classical influences (the music of Olivier Messiaen being a particularly important touchstone.) Pianist Jonathan Turgeon’s compelling compositions are bolstered by strong arrangements devised by the whole group. This project is a particularly compelling showcase for the group’s woodwind players, who explore a wide range of textures and timbres. Faithful to its jazz heritage, L’abîme expresses itself through deep, engaging improvisations by Hugo Blouin (upright bass), Jean-Philippe Godbout (drums), Alex Dodier (saxophones,  flute) and Gabriel Genest (tenor saxophone, clarinets).

L’abîme will be released on April 30th, 2021.

Pianist Ray Gallon - Make Your Move -Featuring David Wong & Kenny Washington

Pianist Ray Gallon’s debut recording, Make Your Move, certified, approved and endorsed by the legendary Ron Carter, who contributed the liner notes, comes to us after more than three decades of Gallon plying his trade on stages and in studios around the world with the crème-de-la-creme of jazz. The NYC native (born in 1958), and longtime professor (currently a full-time faculty member of the BFA Jazz Program at The City College of New York), finally leaps into the fray as a bandleader with a stellar debut, featuring his favorite trio of first-call drummer Kenny Washington (the “Jazz Maniac”) and the much sought-after mainstay on the scene, bassist David Wong (Roy Haynes, The Heath Brothers, Clark Terry, Illinois Jacquet, Benny Green, Eric Reed, Wynton Marsalis, and many others). The exemplary trio is comprised of artists all born and raised in New York City. 

Ray Gallon’s impressive CV does not indicate an artist “of the tradition,” or “from the tradition”, but rather an artist who embodies the tradition, one who is a modern-day, current, active jazz artist of the highest order. It includes appearances and recordings with the likes of Ron Carter, Lionel Hampton, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry “Sweets” Edison, Wycliffe Gordon, Les Paul, Benny Golson, Frank Wess, Lew Tabackin George Adams, and The Mingus Big Band. Gallon has also been called upon to accompany many vocal greats (often indicative of a pianist’s elevated musicianship), including Jon Hendricks, Sheila Jordan, Grady Tate, Nnenna Freelon, Gloria Lynne, Dakota Staton, Joe Williams, Chaka Khan, Jane Monheit and others. 

So, the looming question is, why now? What took Gallon so long to unleash his debut? “I needed to feel ready - that I had something special to offer, with a personal identity and a refined concept in terms of my playing, repertoire, and overall trio conception, all while being steeped in the classic tradition of swing and blues. What struck me most when I was coming up, spending countless nights at the Village Vanguard, Sweet Basil, and Bradley’s, seeing/hearing Hank Jones, Tommy Flanagan, Cedar Walton, Kenny Barron, Ahmad Jamal, Bill Evans, Jimmy Rowles, Steve Kuhn (and many other masters), was how they each sounded uniquely original while remaining grounded in the tradition. These values were also instilled in me by my teachers, John Lewis, Jaki Byard and Hank Jones – who all stressed the importance of ‘finding your own voice’,” explains Gallon. 

Also, simply put, Gallon has been busy working, fully engaged for the first fifteen years of his career as a valued sideman in studios and stages around the globe. This was followed by a period of forced retreat from the scene while he faced, battled, and recovered from colon cancer, while, at the same time, caring for his parents, both of whom were slowly succumbing to long term terminal illnesses. For the past 10 years, he’s finally had the chance to work steadily as a leader, doing countless gigs in local clubs, and having the opportunity to develop and fine-tune his personal, and trio, conception.

“With Make Your Move, everything came together just at the right time. I knew I wanted my first album to be in a trio setting, and I always had it in the back of my mind to do an album with David and Kenny, two dear friends who happen to make for a dream-team of a rhythm section. I’ve been playing regularly with David now for well over a decade - aside from being such a wonderful, special player (both as an accompanist and a soloist) with a great sound, he knows my music inside & out. I continually have to remind him that it’s bad etiquette to play better solos than the bandleader! It was very special for me to be able to do my first album with Kenny. Though I had not previously played in a trio setting with him, Kenny played a huge role in my early musical development, dating way back to when we first met as teenagers just out of high school. I had recently discovered (and become obsessed with) jazz and was working in the jazz aisle at J&R Records where Kenny was a regular customer; we’d hang for hours talking music, as he schooled me on who was who and what was what - even at that young age, Kenny already possessed an encyclopedic knowledge of jazz recordings! One of the key reasons for Kenny’s preeminence as a drummer is his remarkable arrangement-oriented concept; his ability to bring every detail to light. This is exactly what he did with my music, even though he was playing it all for the first time,” says Gallon.

Some of the music on Make Your Move has been in Gallon’s book for a while, evolving and growing over the years in the process of Gallon honing in on the finer details, and bringing them to their full realization. While other compositions came out fully formed and ready to go!:  

Kitty Paws – While playing for one of Sheila Jordan’s vocal workshops at City College, on a break, “I started fooling around with the chords of a standard song one of the singers had just performed, ‘The Song Has Ended but the Memory Lingers On,’ and out popped this playful melody that seemed to have the vibe of a tap-dancing feline,” says Gallon. 

Out of Whack – An off-kilter Gallon composition that has alternating time feels and sections of uneven lengths (4+8+4+7 bars).  

Craw Daddy – Gallon sees this composition as, “a modern take on an old-time blues; something that sounds both new and old at the same time. The title just seemed to capture this feeling.” “Craw Daddy” was previously recorded by T.S. Monk on his album Higher Ground (featuring Ray Gallon). 

Harm’s Way – Aptly titled for the challenging up-tempo of the piece, and also because Gallon based the composition on the harmonic minor scale. 

Back to the Wall – A play on words from a fond memory in Gallon’s life. He explained, “Academy Records, near Union Square, had this wall of super discounted CDs – I was hooked, regularly going ‘back to the wall’ to load up on gems of jazz and classical you could find amongst the flotsam and jetsam”. As for the composition, Gallon says, “While my tunes are generally melody-driven, they tend to include written-out bass figures and rhythmic hits that are structural parts of the compositional fabric – this reflects my love of Horace Silver and the way his compositions often include fully integrated rhythm section parts.” 

I Don’t Stand a Ghost of a Chance – “I love playing standard songs, particularly those I feel I can offer a personalized interpretation of. This arrangement includes moving bass figures and rhythmic hits within the context of a slow, spacious ballad. I originally conceived of this as a slow bossa, but, over the years, it evolved into what you hear on the record,” states Gallon. 

That’s the Question – An early composition of Gallon’s, based on “Getting Sentimental Over You,” with some variation to the song’s chord progression. It’s a nod to bebop and a lot of fun for Gallon and Co. to play on gigs as a set opener or closer. It was first recorded by the Harper Brothers on their album You Can Hide Inside the Music. There is also a vocal version entitled, "I'm Running Late," with lyrics by Angela Verbrugge, on her album, The Night We Couldn't Say Good Night. 

Hank’s A Lot – “Of all the great pianists I got the see play live, no one influenced me more than Hank Jones. I used to follow him around from gig to gig as if I were the president of his fan club. I especially loved when he played at Knickerbocker, where I could lean on the railing behind the piano for hours, looking over his shoulders, watching his hands, trying to “cop” as much as I could. One of the highlights of my student years was receiving an NEA grant to study with Mr. Jones privately. When I wrote this tune, it reminded me so much of him, it seemed only fitting to offer it as a dedication (and a huge “’Hank you”) to one of my true musical heroes,” says Gallon. 

Yesterdays – Ahmad Jamal, upon hearing Gallon’s rendition of this Jerome Kern classic, enthusiastically responded to this tip-of-the-hat to Art Tatum. “While I in no way intended to emulate Tatum directly (I couldn’t if I tried!), I was inspired to utilize a few of his devices – the way he transitions from rubato into a spirited tempo through an ostinato bass line, his remarkably dissonant voicings, and that little riff he plays to signal the end of each chorus. Mr. Jamal recognized these references right away and, so far, he’s the only one who’s noticed!,” says Gallon. 

Plus One – A contrafact based on Fat’s Waller’s “Honeysuckle Rose,” this original is filled with breaks and rhythmic hits, and offers the familiar chord progression with a bit of a twist. 

Make Your Move – Of the title track, Gallon says, “I’m particularly proud of how this piece balances a sunny, accessible melody with a harmonic structure and phrasing full of twists and turns. Whenever I see drummer Quincy Davis, he always requests this one. Nothing means more to me than the support of fellow musicians I respect and admire”. 

Noah Haidu – SLOWLY: Song for Keith Jarrett with Buster Williams and Billy Hart

SLOWLY: Song for Keith Jarrett was recorded at the end of 2020, a watershed year for pianist Noah Haidu. As critical accolades streamed in for his innovative multi-media release DOCTONE, Haidu was on the verge of realizing another ambitious project: recording a trio album with one of the greatest bass and drum combinations in jazz: Billy Hart and Buster Williams, whose own remarkable collaboration began half a century ago. The project will be released via Sunnyside Records on May 7, 2021, one day before Jarrett’s 76th birthday.

The decision to focus the album’s material around the great Keith Jarrett crystallized when news broke of Keith Jarrett’s retirement due to a pair of debilitating strokes. “When I heard about Keith,” says Haidu. “I was profoundly moved, and I started to envision the recording with Billy and Buster as a kind of musical response to these events and Keith’s body of work.” 

Jarrett’s music carries great personal meaning for Haidu. “My father and I had a tradition of going to hear Jarrett together for several years running,” says Noah. “My dad (who was largely responsible for introducing me to jazz) passed away a week before Keith’s final concert.  Attending that concert was one of the ways I was able to mark his passing and start a new chapter in my own life. My 17-year marriage came to an end and I refocused my energies on performing and recording with my own group.  Dad and I had been planning to attend that show together but his illness came on quite suddenly and a few weeks before the end he handed me the tickets and said, “you’d better find someone else to go with.” No one knew at the time of the concert that it would be Keith’s final performance.”     

The music on SLOWLY flowed organically with Hart, Haidu, and Williams all contributing compositions, but the project was not without its challenges. A planned west coast tour/record date in August 2020 was postponed due to the pandemic. The recording was eventually rescheduled for late November, with Covid’s second surge threatening to interfere again. “We decided not to put off the session a second time,” says Haidu. “It was not just another record date for any of us. We booked a large studio (Sear Sound), put on our masks and played our hearts out. I think you can hear the joy in this time when we are all so isolated. I felt honored that they were willing to come into the city and do this record at a time when just walking out of the house feels like a risk to one’s health.” The trio approached the thematic aspect of the music by maintaining a respectful distance, and a commitment to playing the music their own way rather than recreating performances of the past. “Everyone in the band has such a clearly defined voice,” says Haidu. “There was never a possibility of taking an imitative approach.”

The Jarrett waltz “Rainbow” (which some have credited to his former wife Margot Jarrett) segues into Haidu’s jubilantly rocking “Song for Keith Jarrett,” a nod to Jarrett’s legendary Standards Trio. Haidu elaborates on the repertoire choices in the liner notes: “We decided to include Buster and Billy’s wonderful compositions which highlight the type of interaction and open-ended expression that I feel is the heart of the Jarrett/DeJohnette/ Peacock trio.” Williams brought the dreamy “Air Dancing,” and Hart contributed the lush lyricism of “Duchess” and “Lorca.” The trio also chose a few standards: “Georgia,” “But Beautiful,” and “What a Difference a Day Makes” spontaneously in the studio, building on the songbook canon that helped make Jarrett, DeJohnette, and Peacock into one of the archetypal units in jazz history. Haidu, Williams, and Hart approached the standards with a Jarrett signature: a focus on the original melodies. The improvisations spring from those melodies and the stories behind the lyrics, eschewing the trend to “rethink” repertoire which has become commonplace in recent years. Haidu elaborates: “The idea was to get at the essence of, rather than reinvent these songs. I think that’s something I have absolutely absorbed from Keith Jarrett.” The titular SLOWLY was penned by Haidu and is dedicated to Jarrett’s solo piano style which Noah calls a “genre unto itself.”  

Of his relationship to Jarrett’s music Haidu says: “I’ve never thought of myself as a pianist who ‘plays like Keith’. However, his work has increasingly influenced my trio approach in the last few years. I’m getting back to playing ballads, standards and increasingly finding my own voice on standard repertoire. That evolution has been inspired by Jarrett who plays standards with complete authenticity, never sounding like anyone else on this music.”

Almost everything on the album is an unedited first take. According to Haidu, “These songs have a certain simplicity. There’s not a lot of pyrotechnics, everything depends on the band interaction, you can’t hide behind a complicated form or wild rhythms. You have to make a statement, and everyone has to breathe together in the music. The one song we did a second time was ‘Air Dancing.’ We had paused after the first take when executive producer and president of Sunnyside Records Francois Zalacain arrived at the session. Before we went back to record Buster said to me, ‘You’re doing a beautiful job, but this time just go for anything you hear, don’t worry about downbeats and playing every chord, Billy and I got that covered. ‘When Buster Williams says to ‘go for, it I got your back’ that really resonates.” 

2020 was a year of highlights for rising star pianist Noah Haidu: his acclaimed Sunnyside Records debut DOCTONE was the first to address the remarkable legacy of pianist Kenny Kirkland, and arguably the first album exploring the work of any jazz artist to be released in tandem with a film and a book. Haidu and the project were the subject of a nationally broadcast news story on NPR and critic Nate Chinen singled out the recording as an important new release on All Songs Considered. DOCTONE was the follow-up to Haidu’s 6-part suite INFINITE DISTANCES which was included in DownBeat’s 2017 Best Albums of the Year issue receiving a rare 4 ½ out of 5 stars. 

At age 19 Haidu studied at Rutgers University with the great pianist Kenny Barron, but was soon skipping classes to sit in at jazz clubs in Barron’s hometown of Philadelphia. After his second year, Haidu left college and moved to Brooklyn to devote all his time to practicing and gigging with artists such as Walter Perkins, Duane Eubanks, Essiet Essiet, Melvin Sparks, Jeanie Bryson, and Norman Connors. After the debut of his first album Slipstream, All About Jazz said of Noah, “The cat can play his butt off.” In 2011, Haidu was called a “rising star” in JazzTimes and “an important new talent” in Jazzwise magazine. His subsequent albums and sideman work have seen him collaborating with Ambrose Akinmusire, Mike Stern, Jeremy Pelt, Sharel Cassity, and Vincent Herring. After a 2015 MOCA concert his music was dubbed “vibrant and adventurous” in the Miami Herald. Giovanni Russonello described him as “an artist of focus and vision.” In 2017, DownBeat Magazine featured Haidu in an article entitled “Subversive Soul” and singled him out as an “innovative composer.”   

Buster Williams and Billy Hart first worked together in 1969 at a concert with vocalist Betty Carter in Chicago. Both played on classic albums by Miles Davis, but it wasn’t until they joined Herbie Hancock’s innovative sextet Mwandishi that they were able to tour and record together for four year years. As members of Mwandishi both took Swahili nicknames: Hart was called ‘Jabali’ meaning “strong like a rock,” and Williams was known in the band as ‘Mchezaji’ or “player.” Widely celebrated for their innovations in acoustic and electric music Williams and Hart have both been in frequent collaboration with legends such as McCoy Tyner, Stan Getz, and Kenny Barron. In recent years they have been lauded as major composers and bandleaders, both headlining regularly at top venues such as The Village Vanguard and the Montreux Jazz Festival.  Billy Hart turned 80 years old within a few days of this recording.

John Patitucci | "Letter For Paul"

Letter For Paul

In 1972, my family moved from New York to the Bay Area of Northern California. I was in my early teens and had started playing electric bass a few years earlier. Once we arrived in the Bay Area, it wasn’t long before I met Chris Poehler, an excellent bassist, arranger, teacher and band leader. He had played with Wes Montgomery, Earl “Fatha“ Hines, Chet Baker, and many others. Chris introduced me to many great jazz records by Miles Davis, Chick Corea, Herbie Hancock and others. Chris happened to be good friends with bassist Paul Jackson and drummer Mike Clark. In fact, Chris was there in the studio to watch some of the recording of Herbie’s amazing classic - Headhunters.

I remember being captivated by Paul Jackson’s Funk style. He was able to mix a loose and flexible jazz approach with an unbelievably funky feel. His bass lines were SO soulful, rhythmically ultra-creative and powerful. I wound up learning most of his bass lines from the Headhunters record, as well as others Paul played from subsequent Herbie Hancock records. Paul’s influence on my playing and, in particular his bass line composition, has been profound. I was in the studio working for Piero Pata and Le Coq Records a few weeks before Paul’s passing. On the last day of recording, we were jamming on a groove that was very “Paul“ influenced. I had no idea that Paul was ill and it was an eerie coincidence that he did leave us a couple of weeks later. I decided to release this tribute to him and his amazing playing. I offer it now with gratitude and love to him, and for the family he has left behind.

~ John Patitucci

Bill Kwan | "No Ordinary Love: The Music of Sade"

This is no ordinary jazz album. It’s not just that San Francisco vocalist Bill Kwan delves deeply into the songbook of one of the 20th century’s most popular female singers. No Ordinary Love: The Music of Sade captures an artist boldly redefining himself. Collaborating closely with a brilliant cast of New York players, he brings a confidently sensuous male sensibility to material defined by the Nigerian-born superstar, whose cool, understated style and regal persona has largely kept other artists from interpreting her songs. 

Working again with veteran producer Matt Pierson, whose credits range from Brad Mehldau, Joshua Redman and Kirk Whalum to k.d. lang, Laura Benanti and Jane Monheit, Kwan is both reverent and resolutely unprecious in reimagining Sade’s music. In many ways No Ordinary Love builds on his previous project with Pierson, 2015’s Poison & Wine, a pensive and often riveting collection of contemporary indie rock songs by the likes of Beck, Björk, Bon Iver, Gillian Welch, and The Civil Wars. 

With Noam Wiesenberg’s bespoke arrangements tailored to the sleek contours of his voice, Kwan finds a way to get inside Sade’s music, navigating treacherous emotional terrain while flipping the gender dynamic in familiar narratives. “It’s very different tackling these songs from a male perspective and I could only sing pieces where I could identify with the lyrics,” Kwan says. “The key was maintaining the intimacy and not over singing. We maintained the fragile quality of Sade’s music even though the feel is very different.”

Kwan is joined by a New York dream team distinguished by deep connections to both the city’s jazz scene and innovative singer/songwriters, starting with pianist/keyboardist Kevin Hays, a veteran improviser who also composes his own songs. Sex Mob and Bill Frisell bassist Tony Scherr and the brilliant Japanese-born drummer/percussionist Keita Ogawa round out the ace rhythm section. Paris-raised Django Festival All-Stars accordion master Ludovic Beier and Russia-reared trumpeter Alex Sipiagin contribute memorable solos. 

“Obviously casting is extremely important,” says Pierson, a producer with a deep catalog of career-defining albums by some of jazz and contemporary music’s most influential artists. “Kevin was involved with Bill in the past so he was a natural, but Tony Scherr and Keita Ogawa were also key. The versatility that Tony brings as a singer/songwriter himself is exceptional, and Keita is singular, a drummer with a whole lot of percussion integrated into his set. They’ve got a deep understanding about how to support a vocalist, understanding what not to play. Finally, I’d gotten to know Noam Wiesenberg when we worked together on Camila Meza’s Ámbar project, and felt he would create perfect treatments for many of these songs.”

From the opening track, a gorgeous string-laced arrangement of “The Sweetest Taboo” set to a slinky, predatory groove, Kwan embraces a less-is-more aesthetic. His restraint paradoxically amplifies a song’s emotional wavelength. He’s in the midst of the fierce tango maelstrom of “King of Sorrow,” a lacerating arrangement underscored by Ludovic Beier’s slippery bandoneon and Antoine Silverman’s violin accents. Beier’s harmonica-like accordina brings out the loneliness at the heart of “Jezebel,” a portrait that Kwan renders with gentle precision. 

The title track is also the album’s centerpiece, a startlingly effective version of “No Ordinary Love” that captures both Sade’s underappreciated skill as a songwriter and Kwan’s ability to make an iconic tune his own. Propelled by Hays’ funky Fender Rhodes and Scherr’s chunky electric guitar chords, the track pulls off the near impossible feat of standing brilliantly on its own while enhancing the original. With songs drawn from just about every Sade album (and lesser-known pieces she’s contributed to soundtracks), Kwan covers a lot of musical territory, striking pay dirt again and again. From his soothing croon on “Love Is Stronger Than Pride” to the anguished but triumphant “The Big Unknown.”

“The challenge is that her music is so identifiable,” Kwan said. “Even if some of the original productions, like ‘The Sweetest Taboo,’ may not have aged well, her phrasing and approach is so hip. I adopted a very specific rule, singing like you’re not singing, while trying to make sure there’s enough emotion. What makes her music interesting is the repetition. The magic is that hook or melody. Often times Matt would dial me down. He really did guide me with the dynamics of each song.” 

Kwan’s mid-life emergence as a jazz-informed vocalist is mostly due to the fact that music is his second calling. A dermatologist with a solo practice in San Francisco, he’s honed his craft at many of the Bay Area’s leading jazz venues. Born and raised in Southern California, Kwan wasn’t particularly drawn to music as a youth. By his early 20s he started getting seriously interested in jazz, finding particular inspiration from the master vocalists he saw performing at the Hollywood Bowl, such as Mel Tormé, Dame Cleo Laine, Nancy Wilson, and Ella Fitzgerald. 

Studying medicine at the University of Southern California didn’t leave him much time to pursue his growing love of music, but once he settled in San Francisco he started to seek out opportunities. He spent several years studying with Kitty Margolis, a master teacher and top-shelf jazz vocalist, and took classes at the Jazzschool in Berkeley with vocalist Laurie Antonioli and trombonist Wayne Wallace. Working with bassist Seward McCain and drummer Jim Zimmerman, who both spent many years in the popular trio of pianist Vince Guaraldi, he recorded his 2010 debut album Pentimento, a well-curated program of standards. 

Kwan followed up with 2013’s More Than This, a transitional album that ranged from American Songbook fare to Bryan Ferry and Radiohead. It was his first project produced by Pierson, a creative partnership that blossomed with 2015’s Poison & Wine. Undaunted by Sade’s indelible musical imprint, Kwan reveals himself as an artist with a cool and intoxicating sound himself on No Ordinary Love: The Music of Sade, an album that announces the arrival of a potent pop-jazz interpreter.  

Indian, Chinese, Electronica and Orchestra: Four Musical Traditions – One Piece of Music

Berlin composer Rettward von Doernberg has just released his third single called “Night Drive” which unites four musical traditions into one piece of music. “Night Drive“ follows his first two releases, “Be Water” and “Stay A While”, which have been featured on numerous radio stations, broadcasts, podcasts and YouTube channels.

“For the vocals I used an excerpt of an Indian Alap”, explains von Doernberg. “Alap is the introductory chant of a North Indian raga. While I was at it I also added a veena. This is an Indian stringed instrument with scalloped frets so that the notes can be played very expressively. It is similar to the sitar. Later in the piece a dizi, a Chinese bamboo flute, joins in. So, I had a lot of fun with different ethnic musical traditions.”

“But, of course, when you’re dealing with me then you have to have some electronica! An orchestra also enters later in the piece. I just love the class that orchestral instruments can lend to a piece of music. And finally, I made it a point to have a nice groove happening.”

About the title of the piece Rettward von Doernberg says: „To me, ‚Night Drive’ conveys a mood of mysterious shimmering lights and nocturnal beauty. Hence the title.“

Since its release, “Night Drive” is available via online music stores and streaming services including iTunes, Spotify and Amazon. Two additional versions can be found on the website “Aboard the Caravel”.

“Aboard The Caravel”, named after the type of ship used by Christopher Columbus, is a website dedicated to Rettward von Doernberg’s music as well as to various topics concerning a creative life. Via daily videos visitors may also witness the realization of new projects.

Rettward von Doernberg has many years of experience in writing, recording and performing music. His music has been featured on radio, TV, in movies and in video games. In addition, smaller as well as larger ensembles have played his music where he gained experience as a conductor.

He studied at the Musicians Institute and at the University of California, Los Angeles. He also had the opportunity to learn from acclaimed film composers and Academy Award winners such as James Newton Howard, Alan Silvestri and Hans Zimmer.

The Friends of Jazz at UCLA Virtually Honors Herbie Hancock In recognition of International Jazz Day

Grammy and Oscar winner Herbie Hancock will be virtually honored by The Friends of Jazz at UCLA on Friday, April 30, 2021 @ 7:30 PM PDT, streaming live from the Barbara Morrison Performing Arts Center sponsored by KJAZZ and the Ralph Ehrenpreis Performance Fund.

April is Jazz Appreciation Month and Barbara Morrison is on the beat with hosting “A Song for Herbie” in celebrating the 10 year anniversary of International Jazz Day with original compositions honoring Herbie Hancock, pianist, keyboardist, bandleader, composer, actor and professor at University of California, Los Angeles’s UCLA Herb Alpert School of Music. 

Tribute performances by special guests include; Grammy Nominated Vocalist Freda Payne, pianists Paul Cornish,Stuart Elster and Elder Gindroz, bassist Michael Saucier, drummer Peter Buck, UCLA Global Jazz Vocal students Arya Hora and Lauren Brewster. Anthony “Tony” White will MC the event.

All the proceeds from this event will benefit Barbara Morrison Jazz Scholarship Fund at the UCLA Herb Alpert School of Music. 

New Music Releases: Damiel Roure, Baxter, Wardell Piper

Daniel Roure - Quintessence

Jazz musician Daniel Roure is transporting listeners to the sidewalk cafes and lights of France with his latest album. “Quintessence” has all the jazz melodies fans will love paired with soulful lyrical content. “Quintessence” features the talent of many musicians as well as the powerful voice of Daniel Roure. The sounds blend together to form romantic, smooth jazz melodies. All of this is overlaid with the amazing vocals of Daniel Roure. Each track is sung with a well-stamped voice, perfect diction, relaxation, and classic charm which is heard across the slow tempos. Jazz lovers will need to add this to their playlist, experiencing a new depth to jazz. Daniel Roure was born in Marseille and is a singer, pianist and composer. His music is based on vintage love songs and French adaptations. Daniel released a successful album, “Le Temps D’un Jazz.” It garnered more 52 million streaming on Radio Pandora.

Baxter - Where Is The Love

Mentored by the legendary Leon Huff and blessed with a Teddy Bear appearance and a strong soulful voice, Baxter (The Ladies Choice) offered up his first-ever album, "Where Is The Love," last year featuring lush backing from the Ingram family band. Influenced by the likes of Teddy Pendergrass, The Isley Brothers, and Michael Jackson, Baxter paid homage to the City of Brotherly Love with ten tracks that deliver that sweet sound that his hometown is so beloved for. Presented here are new mixes of the title track from that critically acclaimed album. The single, "Where Is The Love," features a new radio mix, T.V. track and an instrumental version, written and produced by Society Hill Record’s main man Butch Ingram.

Wardell Piper - Super Sweet (Son Of A Butch Mix)

Records with producers John H. Fitch, Jr. and Reuben Cross, who co-wrote Evelyn Champagne King's huge hit "Shame." The album included the track "Super Sweet," which went to number 20 on the R&B charts and "Captain Boogie," which went to number 33 on the R&B charts in early '79, cementing Wardell's rightful place in the R&B pantheon while simultaneously boosting her status as an icon on the exploding disco scene. Wardell's soulful voice has only grown stronger over the years and she remains a force to be reckoned with as anyone who has witnessed her recent performances with the reformed First Choice could well attest. Wardell recorded a new version of her smash hit "Super Sweet" on her 2019 EP "Thankful" that was met with wide critical acclaim. The legendary Philly soul producer Butch Ingram has recently remixed that version of "Super Sweet" which is more geared to the dancefloor and destined to become a huge club hit once again. In addition to a bonus radio version of the new single mix, an added instrumental version of the track showcases the tight backing provided by the Ingram family band.

Montreux Jazz Festival and BMG set to release brand-new Nina Simone and Etta James live albums

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Director Claude Nobs and this unique trust and electricity can be clearly felt on the recordings.

Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

The CD edition of ‘Nina Simone: The Montreux Years’ will also include Simone’s 1968 landmark concert in full, the first time the full concert will be available on CD.

‘Etta James: The Montreux Years’ is a treasure trove of timeless classics, powerful and electrifying performances and raw, soaring vocals by one of the greatest ever female vocalists. The collection, featuring recordings from James’ live at Montreux concerts in 1977, 1978, 1989 1990 and 1993, encapsulates and reflects Etta’s dynamic artistry and long-lasting impact. Spanning performances from across three decades, ‘Etta James: The Montreux Years’ offers deeply personal and intimate snapshots into James’ acclaimed musical journey, highlights and her phenomenal career.

In 1975, Claude Nobs captured a significant moment of musical history – Etta James’ very first concert in Europe, performing at the festival’s 9th edition. The CD edition of ‘Etta James: The Montreux Years’ will include highlights of this special landmark concert, held at Montreux Casino on 11 July 1975.

The Red Quartet Reimagines Latin, Classical, Jazz Classics on Debut Album

Latin-jazz-classical ensemble The Red Quartet has released their first album, an evocative blend of European and South American traditions and sounds performed by four virtuosos who play here as one.

Featuring the rich soprano voice of Marissa Steingold, the fiery guitar of Kenton Youngstrom, Philip Vaiman's elegant and vibrant violin, and Maksim Velichkin's deeply sonorous cello, The Red Quartet presents a departure from the usual string quartet lineup (first violin, second violin, viola, cello).

Each Red Quartet member is a virtuoso in chamber, symphonic, and jazz, with vastly different musical influences, education, and experience. Yet as seasoned professionals they blend their exceptional musicianship and experiences to create a fluid, sensuous, passionate ensemble sound.

"Red to us is associated with life, vibrancy, and excitement," said Vaiman, who founded and leads the Quartet.

Known for its eclectic repertoire in live performances, The Red Quartet debuts on record with reimagined adaptations of jazz favorites "Three Preludes" by George Gershwin; J.S. Bach's timeless "Trio Sonata"; the Brazilian art song "Aria" from "Bachianas Brasilieras" by Villa-Lobos; and three playfully sensuous selections from Jobim and Gilberto's bossa nova standards. 

Vaiman produced the sessions for "The Red Quartet" at Watersound Studios in Sherman Oaks, California, working with recording engineers Carlos Castro and Marco Gamboa. Gavin Salmon provided additional percussion on the bossa nova tracks. The production's bright, warm intimacy puts the listener right in the studio with the musicians. Mastered by Alan Yoshida, the album is being released on the independent Talia Records label.

The Red Quartet's members are all first-call session players in Los Angeles recording and film studios and have appeared at prestigious venues worldwide. They have recorded for and performed with artists including Sting, Dave Matthews, Aretha Franklin, Tony Bennett, Taylor Swift, Goo-Goo Dolls, Rod Stewart, Shakira, Pearl Jam, Guns N' Roses, Andrea Bocelli, Placido Domingo, Stevie Wonder, Josh Groban, John Legend, and KISS.

The group has performed in Southern California for several years at venues including the Clark Library and the Bruman Chamber Music Festival at UCLA, the Summer Sounds Classical and Jazz Series in West Hollywood, and the Colburn School's Zipper Hall.

Todd Cochran | "Then and Again, Here & Now"

The creation of music as a collective art requires participants who are open and engaged. The essence of ensemble jazz music is the collaboration between elements, including sound and time and the musicians and audience. Pianist/composer Todd Cochran views these interchanges of energy and emotions as positive forces for change in the world. In his new album, Then and Again, Here & Now, set for June 11 release on Sunnyside Records, Cochran’s earlier explorations are folded into this fresh musical creation.

To assist him in his efforts, Cochran enlisted bassist John Leftwich and drummer Michael Carvin. Leftwich has been an important voice in the West Coast’s vibrant music scene for decades and was introduced to Cochran twenty years ago via Freddie Hubbard. The legendary drummer became a part of the pianist’s world even earlier through collaborations with Bobby Hutcherson. Together the Todd Cochran trio – TC3 – is a tremendously vibrant, cerebral and vividly emotive ensemble that breathes life into any piece they endeavor to touch.

Cochran’s musical interests have always been vast in their outlook, from the avant-garde to fusions of jazz and rock. Under the alias Bayeté, his sound can be heard on albums that push the bounds of genres, from Santana, Automatic Man, Peter Gabriel, and Joan Armatrading’s arena filling rock sounds to the explosively spiritual world of his own records. “It was a combination of learning about idioms outside of those with which I was most familiar, and the trajectory of a restless curiosity that pushed me to surmount the challenges of making music outside of my natural affinities. Playing different styles of music authentically rather than as an approximation overtook everything. Each musical idiom had its own aesthetic and particular alchemy” says Cochran. Though, the element that has never escaped Cochran’s work throughout his career has been the blues aesthetic tied to jazz’s legacy, which he re-embraces on Then and Again, Here & Now.

Then and Again, Here & Now presents a collection of stalwart jazz songbook compositions, expressively contemporized and poetically reimagined by Cochran and his trio. Cochran’s philosophy of the development of music through the passing of ideas from generation to generation through evolving syntax can be heard in the approaches that are taken on these pieces. Though experimenting and taking liberties with these classics, the trio remains responsible as keepers of the flame and protectors of the blues vernacular.

From the opening of Romberg and Hammerstein’s “Softly, As In A Morning Sunrise,” the trio’s command of the piece’s inherent swing can be interspersed with creative rhythmic experimentation. A variety of approaches can be heard from piece to piece, especially on a pair of Gershwin pieces with “A Foggy Day” morphing from ballad to mid-tempo and “I Got Rhythm” in pointillistic swing. Interstitials connect and introduce a number of pieces in a thoughtful fashion akin to live performance, including Dave Brubeck’s “The Duke,” which flows expansively like a lazy river. “My approach is to accentuate its eloquence and enhance the myth” says Cochran.  

Ellington’s “Don’t Get Around Much Anymore” finds a curious pull between the classicism that the song inspires and Cochran’s playful bending, while a solo bass meditation leads into a brilliantly woven version of J.S. Bach’s “Prelude XX” from Book II of the Well-Tempered Clavier highlighting Cochran’s continued classical inspiration. “After the theme is stated we segue into improvisations around the idea of climbing up and climbing down. Modeling real-life and the reality that we’re continually modulating in one direction or another” says Cochran.

Vernon Duke’s “April In Paris” inspires a sweeping but soft touch from the trio until Leftwich’s unaccompanied bass “Between Spaces - Interstitial” leads to a percussively propulsive take on Kaper and Webster’s “Invitation,” as Carvin, a masterful archetype of empathetic rhythming, imaginatively sets the tone. “It’s played as a song without words, I think about the emotion of finally arriving at the perfect moment to extend an invitation to someone long imagined or hoped for” says Cochran.

An impressionist touch introduces Michel Legrand and Jacques Demy’s “You Must Believe in Spring,” a heart stopping ballad performed solely by Cochran. Monk’s spritely “Bemsha Swing” follows in short order followed by a wistful take on Bobby Hutcherson’s jazz waltz, “Little B’s Poem,” poignantly played by the trio with brilliant solo turns by all. The recording concludes with the resonant “Then and Again, Here & Now,” a brief recapitulation of the elements that brought this recording together: fellowship, history and hope. 

Todd Cochran has made it his life’s work to bring love and understanding to the world. The method he endeavors to accomplish this is through the communal language of improvisation and jazz. Then and Again, Here & Now encapsulates Cochran’s desires in a tangible and invigorating way.

Growing up, Cochran found a middle ground between the dimensions of the intellectual and spiritual when he discovered jazz music. His parents and grandparents were highly educated and motivated him to become the same. That led to his serious investment in classical piano study; performing and entering competitions as early as when he was just eight years old. His cousin introduced him to jazz at 13 and Cochran found a parallel, magnetizing pulse. He began to revisit his parents’ collection of Duke Ellington, Oscar Peterson and Ahmad Jamal recordings, transcribing and analyzing them so he could apply their lessons to his own music. It wasn’t long before Cochran was reaching out to local jazz leaders. 

A San Francisco native, formative school days in the 60s, college and coming-of-age in the 70s, Cochran is a product of the dynamic convergence of attitudes and socio-cultural revolution. His hometown was frontline at a pivotal time in American music history and the visionary principles of the era influenced his worldview and the trajectory of his pursuits. At just 17 years old, he found himself performing alongside the likes of jazz masters John Handy, Mike Nock, and later, Bobby Hutcherson, Woody Shaw, Rahsaan Roland Kirk, Herbie Hancock, Julian Priester, and Eddie Henderson. 

Though his own music would branch out dramatically from his earliest jazz grounding, Cochran always remained in touch with the blues element of the music. Now after a ten-year hiatus from recording while nurturing his son into adulthood, Cochran has returned to the music that has given him so much joy and that he feels is necessary to reinvest in for the betterment of society.