Steve Cole | "Smoke and Mirrors"

“Smoke and mirrors” refer to the trickery used by magicians to fool an audience – but don’t we all indulge in a bit of hocus-pocus to represent ourselves to the world? On his new album, Smoke and Mirrors, Steve Cole offers up an intimately personal reflection of his own true self, free of trickery or sleight of hand.

Created entirely in pandemic-necessitated isolation, Smoke and Mirrors (due out June 18, 2021 via Artistry Music/Mack Avenue Music Group) brings together an all-star band with Cole’s longtime producer, co-writer and multi-instrumentalist David Mann. The far-flung ensemble includes guitarist Bernd Schoenhart (Cher, Marc Anthony); trumpet and flugelhorn player Trevor Neumann (The Eagles, Jeff Lorber); organist Ricky Peterson (David Sanborn, Prince); bassists Mel Brown (Stevie Wonder, The Temptations) and Mark Egan (Pat Metheny Group, Sting); drummers Brian Dunne (Hall and Oates, Ariana Grande) and Todd Sucherman (Styx, Brian Wilson).

While there were certainly challenges to corralling this stellar roster of musicians remotely from home recordings or socially distanced studio settings, quarantine did prove an equalizer in another sense. “Everybody’s stuck at home,” Cole points out with a laugh. “There are a lot of musicians that I would love to work with, but it’s impossible because they're always on the road. So there was a little silver lining in the fact that I could call old friends like Todd Sucherman and Brian Dunne, or amazing artists like Mark Egan, and they’re actually available.”

The unusual situation we’ve all found ourselves living in also changed the way that Cole and Mann composed the music for Smoke and Mirrors. In the past, the two collaborators would traditionally meet in a room and write together, trading ideas in the moment. The same creative back and forth happened this time, but long distance, with the two sending audio files between New York and Cole’s home studio in Minneapolis. The result offered the best of both worlds, allowing for a fruitful exchange of ideas with time for reflection.

“The energy of writing together can be really amazing and inspiring,” Cole says. “But you always tend to land on the first right answer and then move on. Having the time and space to contemplate and try things gives you the opportunity to discover a better right answer.”

The answers that Cole and Mann found throughout the writing of Smoke and Mirrors yield a wide spectrum of emotion, from quiet contemplation to funky celebration. The societal turbulence in which the album was crafted couldn’t help but pervade the music, Cole explains. “We're sitting with this stuff in our lives every single day: the pandemic, the political and social climate. How does that not find its way into your creative output, whether deliberately or subconsciously?”

On an even more personal note, Smoke and Mirrors marks Cole’s first outing since the untimely passing of his usual drummer, the great Khari Parker. “I didn't realize how much I thought about Khari when I was writing music,” Cole says. “I remember looking forward to what a tune would end up sounding like, knowing that Khari would be playing it. I have this idea of this groove in my mind that is so informed by how I’m expecting Khari to interpret it. Being cut off from that creativity and from that personality is really rough.”

In many ways, being “cut off” is a theme that weaves through the album. Another loss to the music is represented by “Wayman,” written for the late NBA player-turned bassist Wayman Tisdale, with whom Cole recorded on the bassist’s 2001 tune “Loveplay.” Tisdale was also an inspiration behind the album’s joyous opener, “Living Out Loud,” which took a convoluted route to its eventual shape, with Cole conceiving the melodies on bass a la Tisdale.

Travel has been an indirect casualty of the pandemic, which Cole references on the wistfully buoyant “Covent Garden.” The title is a reference to the area of London where the saxophonist and his wife stay during their yearly sojourns to England, a tradition sorely missed. 

The issues dominating the headlines this past year are more directly confronted on two pieces: “Justice,” which closes the album on a somber note, was written in reaction to the killing of George Floyd, mere miles from Cole’s home in Minneapolis, and the ensuing protest movement. “At a Distance” directly address life during Covid with both longing and optimism, while the soulful “Trust” – which Cole describes as a cross between Van Morrison and Babyface – conveys the composer’s gratitude for those closest to him, whether physically or spiritually.

Not every moment can be spent dwelling on such heavy themes even in such unprecedented times, and Cole does cut loose with some classic funk. “It’s a House Party” is a feel-food slab of Bootsy Collins-inspired funk, while “On the Money” reconnects the saxophonist with his Chicago roots with a song sure to thrill audiences once they can safely reconvene. 

Finally, the title track sums up the themes of the album and the notion of identity that prompted the name. Throughout Smoke and Mirrors, Cole reveals himself in both intimate, personal reflections and the extroverted thrill of his groove-loving spirit. No smoke, no mirrors – just heartfelt, inspiring music for the soul.

MISS FREDDYE I "SOMETHING TO BELIEVE IN"

Freddye Stover aka Miss Freddye began her musical journey 25 years ago, when the Pittsburgh songstress first stepped onto the stages in and around her Western Pennsylvania hometown. Since then, the "Lady of the Blues" has seen her star on a continuous upward rise. Her career highlights have included international chart-topping singles, multiple industry award nominations and recognition in her own beloved town.

With the 2020 release of her first gospel single, "Wade In the Water," Miss Freddye returned to her church-singing roots. Her recording of the century-old spiritual reached #2 on the international iTunes Gospel sales charts, while hitting the European indie radio charts, too. Now, Freddye is about to release the second single from her forthcoming gospel album.

"Something To Believe In," recorded in Pittsburgh with renowned producer and fellow 'burgher, Bryan Cole, will be released on Saturday, April 24th, the anniversary of her mother's passing.

Miss Freddye says, "The song is a gift to my siblings, nieces and nephews, who all still miss her terribly. I pray for them. I want to them to know God has her watching over them. Love for our family will always prevail, in loving arms and loving spirit."

"Something To Believe In" was written by Frank Wildhorn. It will be released on Pittsburgh-based MTS Records.

The frontwoman for two bands: Miss Freddye's Blues Band (electric blues) and Miss Freddye's Homecookin Band, (acoustic blues, classic rock, gospel), Freddye Stover is a multiple award-winning blues singer from Pittsburgh, PA.

She has won past blues competitions; 2008 West Virginia Blues Society for Best Blues and 2012 Blues Society Of Western PA Best Duo/Solo Act. In 2014, Miss Freddye was awarded the Star Award from the Pittsburgh VA Medical Center for her work with veterans. She was awarded the 2015 Freedom From Silence Award from the Center For Victims. Miss Freddye has won in the Iron City Rocks Awards for Best Blues Band in 2016, 2017, and 2019. Her self-released CD, "Lady Of The Blues" won for Best Album in 2017.

In 2018, Miss Freddye was nominated for two Blues Foundation Awards, one for Best Emerging Artist CD and The Koko Taylor Traditional Blues Female. In 2020, Miss Freddye was named Best Blues Performer by the Pittsburgh City Paper.

http://www.missfreddye.com

Carol Welsman & Randy Bachman Serve Up “A Taste Of Paradise” with Newly Reimagined Single

Six-time JUNO Award nominated jazz vocalist and pianist Carol Welsman is serving up “A Taste Of Paradise” with this, her newly reimagined single with Randy Bachman.

“I had the good fortune of meeting Randy recently,” Welsman shares, “and, when I heard him sing ‘A Taste of Paradise,’ I immediately included it in my repertoire.”

As founder of The Guess Who and Bachman-Turner Overdrive, and with multi-Platinum, chart-topping, and multi-award winning status in the sphere, Bachman is ultimately known for his rock-influenced songs — but notes early-life inspiration from guitarist Lenny Breau; it was Breau who introduced him to Bossa nova, and the music of Antonio Carlos Jobim.

The newly released version with Bachman on guitar and vox is a fresh take on the initial version found on Welsman’s recent album, Dance With Me (2020). Her 13th studio offering, the 11-track offering marked Welsman’s foray into Latin jazz; it’s an eclectic collection of International songs arranged among Latin rhythms including salsa, boleros, cha cha cha, Afro Cuban and calypso — all the while keeping within Latin jazz and traditional rhythms.

The selections include popular Latin standards adapted into English, Great American Songbook standards, original compositions, and a duet with multi-GRAMMY winning Latin superstar, Juan Luis Guerra on the title track and first single release, which is an English adaptation written by Carol of his song “Si Tú No Bailas Conmigo” (If You Don’t Dance With Me). Welsman’s co-producer, Oscar Hernández, is a four-time GRAMMY winning composer and arranger who, given his depth of knowledge of the Latin jazz idiom, was commissioned by Welsman to arrange all the music for the recording.

“A Taste of Paradise — The Paradise Mix” and Dance With Me are available now.

Eric Goletz's "INTO THE NIGHT"

On his new CD, Into The Night, trombonist and composer Eric Goletz offers a program that mixes funk, rock, and jazz sounds into a unique sonic blend. By featuring his trombone over a full rhythm section with keyboards, guitar, bass, drums and percussion, Goletz’ music has no artistic parallel in the current jazz scene. While the compositions are intricate, the approach is highly accessible for music lovers of all kinds. As a composer, Goletz wanted his pieces to appear in their fully developed state. On two tracks, he has added five horns to the band to create a powerful big band sound. Even when approaching established standards like John Coltrane’s “Mr. P.C.” or Cole Porter’s “What is This Thing Called Love,” Goletz finds inventive ways to make the music fit the personality of his band. These incredibly flexible musicians can create perfect grooves in a wide variety of genres, and then can switch those styles on the turn of a dime. They are also masters of dynamics, as displayed in the brilliant composition “Oasis,” which develops as a long crescendo and diminuendo. Naturally, this disc offers plenty of examples of Goletz as virtuoso trombonist, starting with the brilliant unaccompanied cadenza that launches the album opener, “Say What??” to the tender notes of the closer, “Lullaby.”

Keith Jarrett | "Sun Bear Concerts"

Sun Bear Concerts, documenting five complete solo performances by Keith Jarrett in Japan, is a milestone achievement in the history of jazz recordings. As DownBeat wrote on the occasion of the original release, Jarrett’s improvisations are “the inventions of a giant, overpoweringly intimate in the way they can draw a listener in and hold him captive. Jarrett has once more stepped into the cave of his creative consciousness and brought to light music of startling power, majesty and warmth.” Rich in incident and detail, the music is beautifully produced, illustrated, and presented in this ten-LP set. First issued in 1978, it revealed Jarrett as a player of limitless creativity, unique in his ability to find new forms in the moment, night after night. “These marathons showed Jarrett to be one of the greatest improvisers in jazz,” Ian Carr wrote in his biography of the pianist, “with an apparently inexhaustible flow of rhythmic and melodic ideas, one of the most brilliant pianistic techniques of all, and the ability to project complex and profound feeling” continued Carr. The present edition is a facsimile of the original LP set, described by the late Haus der Kunst curator Okwui Enwezor as “part of ECM’s declaration of independence from standard packaging of jazz records. Setting itself apart in this way, ECM treats recordings as works of art by musicians of the highest artistic and conceptual order.”

A work of art by any standards, Sun Bear Concerts brings together solo performances in November 1976 in Kyoto, Osaka, Nagoya, Tokyo and Sapporo, in recordings made by Japanese engineer Okihiro Sugano and producer Manfred Eicher, who travelled through Japan with Keith Jarrett. The set’s book-form packaging was designed by Barbara Wojirsch, and includes photographs by Klaus Knaup, Tadayuki Naitoh and Akira Aimi. 

Harold Land | "Westward Bound!"

Continuing its mission to unearth important, previously unreleased jazz performances, Reel to Reel Recordings returns in June with Westward Bound!, a crucial collection of forceful quartet and quintet performances by the masterful tenor saxophonist Harold Land. 

Crisply recorded at the Seattle jazz club the Penthouse in 1962-65 by engineer Jim Wilke and originally aired as part of a weekly broadcast from the venue on KING-FM, the new collection will be issued on June 12 in celebration of ‘Record Store Day’ as a 33-1/3 rpm two-LP set on 180-gram vinyl mastered by Kevin Gray of Coherent Audio and pressed by Standard Vinyl in Toronto. The album will then be available on CD on June 18 and digitally on August 6. 

Reel to Reel – a partnership between Vancouver-based jazz impresario and saxophonist Cory Weeds and Resonance Records co-president and award-winning “Jazz Detective” Zev Feldman – was launched in 2018 with a pair of releases that included its initial title drawn from the Penthouse’s audio trove, Cannonball Adderley’s Swingin’ in Seattle. The label has since issued Ow!, featuring 1962 Penthouse dates by tenor men Johnny Griffin and Eddie “Lockjaw” Davis; previous Resonance titles from the Penthouse archives have included sets by West Montgomery (Smokin’ in Seattle) and the Three Sounds featuring Gene Harris (Groovin’ Hard). 

In his notes to the new album, Feldman writes, ‘I feel that these recordings of Harold Land are special and need to be heard. Land was one of the purveyors of West Coast jazz whom I feel is an under-recognized genius who doesn’t get discussed enough….Land was on top of his game during this important part of his career in the mid-1960s.” Comparing the new release to In Baltimore, Reel to Reel’s 2020 live collection by George Coleman, Weeds adds, “Westward Bound! finds us celebrating another unsung hero of the tenor saxophone.” 

Born in Houston and raised in San Diego, Harold Land established himself as a jazz star with four EmArcy albums in the tenor chair of trumpeter Clifford Brown and drummer Max Roach’s celebrated ‘50s quintet. Based in Los Angeles from the mid-‘50s on, he worked fruitfully as a leader, recorded regularly with big band leader-arranger Gerald Wilson, and played behind such giants as Dinah Washington, Wes Montgomery, Thelonious Monk, Les McCann, and Hampton Hawes. In later years he forged fruitful alliances with trumpeter Blue Mitchell, vibraphonist Bobby Hutcherson, and the Timeless All Stars. 

Sonny Rollins – who replaced Land in the Brown-Roach combo – says in a new interview with Feldman, “Harold Land was one of the premier saxophonists of the time. He was one of the best….He was a great player, one of my favorites.” Contemporary tenor titan Joe Lovano tells Feldman, “Harold had his own sweet way of playing and his own flowing language….He was equal to Coltrane and Sonny.” 

The earliest of the Penthouse dates heard on Westward Bound! pairs Land with a similarly underestimated player, the gifted Kansas City trumpeter Carmell Jones; the two musicians worked together regularly on sessions for Pacific Jazz Records. In his overview essay, jazz historian and producer Michael Cuscuna notes, “He and Land made a like-minded team; each would play every note with purpose and articulation.” The band on the Dec. 12, 1962 performance also included Wes Montgomery’s brothers Buddy (piano) and Monk (bass) and drummer Jimmy Lovelace. 

During Penthouse gigs on Sept. 10 and 17, 1964, Land was joined by another prominent artist he had worked with before: pianist Hampton Hawes, who had led the storied 1958 quartet date For Real!, which also featured the saxophonist. In an essay about the keyboardists heard with Land on the new album, pianist Eric Reed says, “Although it is not widely acknowledged (or even known), Hamp was largely responsible for blending the language of the Blues, Jazz, and Gospel music in such a way as to influence many that came after him.” 

Westward Bound! climaxes with an Aug. 5, 1965, date featuring Monk Montgomery, pianist John Houston, and another jazz legend, the explosive drummer Philly Joe Jones. The rhythm turbine of Miles Davis’ magnificent ‘50s quintet, Jones relocated in the ‘60s to L.A., where he played regularly with Land. Cuscuna writes, “This is a high-octane quartet, thanks in large part to Philly Joe’s ability to swing hard and keep a tight rein on the music with the loosest feel.” 

In his own introductory note to the album, Charlie Puzzo, Jr., son of the Seattle club’s owner and operator, says, “I hope the release of this album will allow you to experience the magic of Harold Land’s performances at the Penthouse and also to feel the excitement of actually being in the audience. As a collector myself, I know how important it is that the packaging and esign live up to the source material, and I believe this album does just that.”

Jazz Quintet Fifth Element Releases "FIFTH ELEMENT”

“Fifth Element” incorporates the musical talents of each member to create the ensemble sound you hear on every track. Bassist, Ron Johnston, brings decades of experience to provide the big sound that is the foundation of every great ensemble. His lines weave in and out of the changes in a seamless manner and he is also a wonderful soloist. Drummer, Glenn Anderson, provides the ideal balance bringing his vast knowledge to supply just the right touch to every tune. In Swing and Latin tunes, Glenn provides energy and drive to the ensemble and he is equally gifted with impeccable brush work on Ballads. Pianist, Dale Scaife, has a musicality in his accompaniments that demonstrates remarkable sensitivity in backing the vocals and soloists. His own solos have a thoughtful compositional approach and are, at times, playful. Our vocalist, Nina Richmond, has a complete mastery of every genre on this album. With her gift of musical phrasing and lyricism, she has an ability to communicate with her audience in large and intimate settings, which translates beautifully in this recording. Tenor saxophonist, Dave Coules, ensures that he complements each vocal in an eminently tasteful manner. As a soloist, he consistently gives the listener access to the song clearly rooted in the lines he crafts. "Fifth Element" displays the strengths of the individual players and provides the perfect vehicle for this ensemble to perform 12 of its most requested tunes, all arranged by Dave Coules.

Christina Jones - You Were My Compass AN ALBUM OF LOVE SONGS

Pain. Fear. Denial. Hope. The overwhelming emotions that come when love breaks. The anger at being betrayed. These are the topics of You Were My Compass, a collection of 8 songs written by Kimiko Ishizaka and performed by Christina Jones.

In a collaboration that started at the very outbreak of the COVID-19 pandemic, Christina and Kimiko have created an epic musical journey of love ballads, rooted in jazz and blues, that mirror Kimiko's own experience when her husband left her.

Guided by arranger and producer Corey Allen (The Tonight Show, Manhattan Transfer, Chuck Mangione, Lou Rawls), the album resulted from studio sessions in The Dominican Republic, Los Angeles, and Cologne, Germany.

Allan Leschhorn, the recording engineer, is a four-times Album of the Year for the Latin Grammys winner. 

The mix and mastering for You Were My Compass is done by Tom McCauley, who has worked with some of the biggest names in music, including Dionne Warwick, Arturo Sandoval, Bobby McFerrin, Snarky Puppy, John Legend, and Herbie Hancock.

As a musical theater major at Boston Conservatory at Berklee, Christina Jones started her pursuit in art as a young girl by singing in church, school musicals, and competitions.

She entered the world of performing arts and music theater as a top contender in American Idol, with multiple appearances at The Apollo in Harlem, NY, and roles in musicals at the New Repertory Theater and Central Square Theater.

Her influences include Ella Fitzgerald, Janelle Monae, Alicia Keys, and Maya Angelou. Christina has a unique artistic style that moves seamlessly between multiple genres and draws on her special talents of perfect pitch and synesthesia.

You Were My Compass will be released in June, 2021.

Alberto Rigoni’s “For The Love Of Bass” Features All-Star Bass Player Line-up

Featuring Nathan East, Leland Sklar, Michael Manring, Tony Franklin, Doug Wimbish, Adam Nitti, Lars Lehmann, Cody Wright, Mohini Dey, and David Pastorius. Alberto Rigoni's “For The Love of Bass,” simply put, it’s bass heaven.

After the success of his latest prog rock album “Odd Times,” Italian bassist & composer Alberto Rigoni (BAD As, Natural Born Machine, The Italians, Vivaldi Metal Project), now releases his 10th solo album. As the title suggests, the instrumentation is exclusively electric bass, spanning ambient, fusion, jazz and new age styles. 

“It has been really challenging but the special guests contributed some gorgeous playing and we are all proud of the result,” says Alberto. “For The Love of Bass” is an all-star bassists album featuring some of the best players anywhere: Nathan East, Leland Sklar, Michael Manring, Tony Franklin, Doug Wimbish, Adam Nitti, Lars Lehmann, Cody Wright, Mohini Dey, David Pastorius, 

Are you ready to face a new bass experience?!

Friendy - Friendy Fire

Friendy Fire is an explosive collection of original compositions, fusing supercharged rock with contemporary jazz, while also drawing inspiration from animated Japanese TV shows and films. Friendy’s vision is to create a powerful musical experience that mixes a strong rhythmic feel with an abstract atmosphere. 

The album will be released through GSI Records (Eric Harland) and is a culmination of over a decade of friendship, hard work, and a common view of life. The band’s quirky social media activity uses humor and creative videos to create buzz and hype through their original music. 

Friendy’s members have been living in NYC and Boston for the past 3 years and have performed regularly on the scene. They have played or recorded with the likes of Kenny Garrett, Mark Turner, Kurt Rosenwinkel, Dave Douglas, Alex Sipiagin, Andy Mckee (bass), Jonathan Finlayson, and more.

The album was mixed by Brett Bullion, who mixed albums by Dave King and Reid Anderson, members of the Bad Plus. It was then mastered by Nate Wood, drummer for Tigran Hamasyan and Kneebody, who also mastered albums by Ben Wendel, Aaron Parks, Donny Mccaslin, Shai Maestro, and Tigran Hamasyan among others.

Each song in the album has its own narrative and imagery- "Glass Box" conveys the feeling of finally breaking out of a shell, "h" tries to give the feeling of sitting alone in a dark room lit only by your computer screen and "My Ninja Way", named after a quote from the Japanese anime “Naruto”, is all about staying true to your inner self and values. 

Each member’s unique style and approach adds a different dimension to Friendy’s musical universe. Zohar Amar has a passionate and rhythmic approach to the horn, very much influenced by African rhythms such as Gnawa. His harmonic language blends very well with Noam Borns’ into a style which they cultivated together since their high school days, based around concepts by Allan Holdsworth and Shostakovich among others. Borns has a charismatic and defined style, blending emotional melodicism with detailed and complex lines and textures coming out of Paul Bley, Aaron Parks, and Lennie Tristano. Daniel Ashkenazy’s playing is very imaginative, has story-like qualities, and manages to push boundaries and conventions of how to approach harmony, rhythm and form on the bass. As a unit, Ashkenazy and drummer Shai Yuval are cohesive and dynamic and are able to make both a swing tune and a heavy rock groove sound just right. Yuval is a very dynamic and wholesome musician, bringing a compositional approach to the drums that compliments the music and helps guide it where it needs to go. As a composer, drummer, and a person, he is the voice of reason that ties the music together.

Friendy’s members have been playing together for over 13 years, and share a unique musical language and view of the world- both of which are portrayed and demonstrated in the album Friendy Fire.

Kevin Hays, Ben Street, Billy Hart | "All Things Are"

On June 4th, Smoke Sessions Records proudly releases All Things Are, a collaborative encounter between pianist Kevin Hays, bassist Ben Street and drummer Billy Hart. Performed on the bandstand of an otherwise empty Smoke Jazz Club, the album features seven pieces, six composed by Hays, who contributes three original melodies and three ingeniously crafted contrafacts of canonic standards.

The proceedings transpired on the first weekend of December 2020, when Smoke proprietors Paul Stache and Molly Johnson – who have made herculean efforts to sustain the club as a viable venue during the COVID-19 pandemic – booked the trio for two livestream concerts in celebration of Hart’s 80th birthday. “The setting and the circumstances were unique, and the guys were eager to play again,” Stache says. “The music was so incredible that we all thought we should cut a record from these tracks.”

These jazz all-stars from different generations, convening for the first time as a unit, achieved this sublime recital in an empty room, after a single rehearsal. That they were able to coalesce so fruitfully in this environment stems not only from their rarefied musicianship, but also mutual trust built on long-standing relationships.

Street’s been a first-call bassist for everyone who’s anyone in New York’s progressive jazz circles since the late 1990s, when he and Hays first intersected on a private gig at Ahmet Ertegun’s Long Island house. They’ve subsequently worked together with Kurt Rosenwinkel and other ensembles led by luminaries of their generational peer group. He’s played alongside Hart in Hart’s working quartet with Ethan Iverson and Mark Turner since 2006.

Hays – whose c.v. includes 16 albums as a leader, a host of collaborative duos and trios, and consequential side artist work with such luminaries as Eddie Henderson, Sonny Rollins, John Scofield, Chris Potter, and Roy Haynes (and an engagement at Smoke Jazz Club in March 2020 with Ron Carter and Al Foster that was attenuated by the onset of COVID restrictions in New York) – first played with Hart in 1987.

Then 18, Hays was in Madrid, on tour with [drummer] Tony Moreno, who brought him to a club where Hart was playing with Dave Liebman, Richie Beirach and Ron McClure. “Tony introduced me to Billy, and without skipping a beat, Billy said, ‘I’m curious about you. You want to play?’ It was an amazing experience. He didn’t know me, and he didn’t have to do that, but if you know Billy Hart, he does stuff that he doesn’t have to do.”

On All Things Are, Hart decisively imprints his personality on the flow. “It seemed like Billy was playing with Kevin like a singer, which inspired me to think of Kevin that way and guided everything,” Street says, perhaps thinking of Hays’ mid-career choice to showcase his considerable singer-songwriter chops on albums like the eponymous trio recital New Day (2015), the Hays-Lionel Loueke duo Hope (2017), and a duo with vocalist Chiara Izzi titled Across the Sea (2019).

Street continues: “Playing next to Billy, there’s a feeling that he’s searching again and again for this thing he already knows, that could be out of reach but is worth reaching for. This beautiful human drive is inspiring. It takes you out of the mundane self-judgment process of ‘am I playing well or not?’”

Hays concurs. “Every time I’ve played with Billy, it sounds like everything is freshly minted in that moment, even though, of course, there’s such history behind it,” he says. “He’s constantly listening and responding to you; there’s a tremendous amount of conversation going on.”

Hart regards All Things Are as an opportunity “to play with two of my favorite players.” He describes Street as “unique – my epitome of a contemporary bassist; what he takes as normal, I think is extraordinary.” He continues: “I love the way Kevin plays. I played with Herbie Hancock and McCoy Tyner and Richie Beirach, and I don’t use the word ‘love’ lightly. Kevin reharmonizes on that level, and I love his touch.”

Consider Hart’s remarks as you absorb Hays’ ingenious melodic formulations on the contrafacts “Unscrappulous” (“Scrapple from the Apple”), “All Things Are” (“All the Things You Are”) and “Twilight” (“Stella by Starlight”); or the lovely melody and beautiful chord changes of “Elegia” (which debuted on Modern Music, Hays’ two-piano recital with old friend Brad Mehldau) and “Sweet Caroline.”

Then consider how “the sound of surprise” suffuses this iteration of “New Day,” the anthemic leadoff track. “After we finish the head, we’re suddenly in outer space,” Hays says. “Ben somehow knew it was time to go somewhere else, and he stopped playing, then Billy took it – and we were off. I wouldn’t have expected it to go completely left. But at that moment, BOOM, this ‘big bang’ happened, and we now had to evolve.”

That telepathic interplay, which these exemplary improvisers perhaps might have regarded as their quotidian norm before COVID, resonated deeply after months-long pandemic-imposed isolation. “I’ve been practicing more than maybe ever, which I enjoy – but it’s me alone at home,” Hays says. “Perhaps I’ve improved, but I’d also fallen out of practice of playing with other musicians. For this date, I was excited to interact with other musicians again, that it wasn’t just me and my own musical thoughts.

“This is the way I like to play. As someone who loves improvisation, I do my best to not repeat myself. I like the unplanned and I tend not to be directive – these musicians already have a direction, which tends to be open. This isn’t a free trio; we’re not playing free jazz. But we’re playing with the tabula rasa spirit, with as little as possible figured out other than the bare bones.”

Contemporary and Smooth Jazz Saxophonist Charles Langford releases his Sophomore album titled, "Powerless"

Contemporary and Smooth Jazz Saxophonist Charles Langford releases his sophomore album titled, "Powerless". Featuring guest appearances from Jimmy Haslip (bass), Russell Ferrante (keys), Jimmy Branly (drums), Avery Sharpe (bass), Poogie Bell (drums), and many other notable musicians. ​With "Powerless", Charles and his talented group take the listener on a smooth musical journey by way of deep grooves, soulful horns, and passionate textures that blend seamlessly with their superior musicianship and production.

Charles Langford has been writing music since his teenage years. This Springfield, Massachusetts jazz man does it all...tenor, alto, soprano sax, clarinet and flute. Mr. Langford came to the Northeast United States after attending the University of Massachusetts at Amherst and the New School for Social Research in New York City. He studied composition and teaching with Billy Harper, Donald Byrd, and Barry Harris, among others. Prior to that, Mr. Langford studied with Archie Shepp and Yusef Latef. Since then, Charles Langford has become one of the Boston area's top A-list players. He's played with artists ranging from The Toni Lynn Washington Blues Band to The Temptations and Mighty Sam McClain. He's paid his dues and put in years with Melvin Sparks, Norman Connors, Solomon Burke, and Steve Turre.  

Jihye Lee Orchestra: DARING MIND

Daring Mind, the Motéma debut of the Jihye Lee Orchestra, came out March 26th to great enthusiasm from critics and playlisters who have recognized Lee as a refreshing and important new force in contemporary jazz.  Produced by Lee, in collaboration with Secret Society bandleader Darcy James Argue,  Daring Mind presents selections from Lee’s award-winning ‘Mind’ series, including her BMI Charlie Parker Jazz Composition Prize-winning “Unshakable Mind” and the Manny Albam Commission “Revived Mind.”

The album, which reflects her "struggles, doubts, joys, and hopes while living in the amazing city of New York" has gained features internationally including a coveted online lead feature for Telerama (France), features in Jazz Times, Jazz Thing, Jazz Wise, covers for Amazon's "The Pocket" and "Fresh Jazz" playlists, inclusion on Spotify's "State of Jazz" and Apple's "Jazz Currents" and "Pure Jazz" playlists.  So the word is out, and the word is good. Congratulations, Jihye!

Steve Gadd Band Captured Live "At Blue Note Tokyo"

According to Modern Drummer Magazine, “Steve Gadd is one of the very few drummers whose innovations changed the way other musicians heard music.” For the Rochester native, who turned 75 last year, it’s all about making the music feel good. And though Gadd has played his share of super-intricate, challenging music throughout his illustrious career spanning five decades, he’s strictly laying in the pocket with that signature organic feel throughout At Blue Note Tokyo, his latest recording on BFM Jazz and a follow-up to 2018’s Grammy-winning Steve Gadd Band. The great drummer is joined by longtime Steve Gadd Band members Jimmy Johnson on bass and Walt Fowler on trumpet along with newer member Kevin Hays on keyboards and vocals on two tracks. Guitarist David Spinozza, an associate of Gadd’s from the ‘70s, replaces guitarist Michael Landau in the lineup for this Tokyo engagement. “Michael wasn’t able to do the tour,” Gadd explained, “so I was glad that David could do it.”  The tracks on At Blue Note Tokyo were hand-picked and mixed by Gadd and his son, Giancarlo, from the two sets the band played at the legendary club on one magical night during their 4-night run in December of 2019. Three of the nine tracks are original compositions which have never been recorded or released by this band (“Doesn’t She Know by Now,” “Hidden Drive,” and “Walk with Me”). At Blue Note Tokyo proves in no uncertain terms, Gadd is still grooving after all these years.

  

Pasquale Grasso | "Solo Ballads"

Pasquale Grasso’s eloquent classical technique, jazz phrasing, bebop rhythms, and nimble fret musings have distinguished him as a celebrated 21st century virtuoso, culminating in his latest effort Solo Ballads. Grasso augments his repertoire again with five freshly-minted tracks culminating in an expanded edition of his 2020 EP Solo Ballads, Vol. 1. The 10 combined songs represent the first installment of an eventual three-part album series set for release in 2021-2022. 

“I chose songs I’ve performed for my whole life. They’re my favorite ballads, and they remind me of my childhood. I’ve got a personal story related to each one,” says Grasso. With five previously-unreleased tracks, Grasso introduces Solo Ballads with an intimate interpretation of the standard “When I Fall In Love.” His pronounced plucking places the arpeggio at the forefront before carrying the instantly recognizable melody—popularized by Natalie Cole and Nat King Cole—with nothing more than his guitar.

“I’ve always been a romantic,” he smiles. “I’m a Southern Italian, and I grew up watching my parents, who have been in love for more than forty years. I tried to add more classical guitar to the melody. The song is beautiful, and it reminds me of what it means to be in love.”

Meanwhile, “Smoke Gets In Your Eyes” hangs on a deft and dynamic lead punctuated by fascinating moments of improvisation as notes ring out with emotion. “When I recorded it, it was a very sad time because my girlfriend’s grandmother died, and it was her favorite song. Every time I saw her, she asked me to play it. On the album, I dedicated ‘Smoke Gets In Your Eyes’ to her,” Grasso says.

On its heels, Grasso will celebrate the legacy of Duke Ellington with Pasquale Plays Duke. This forthcoming release has the musician reimagining five Duke Ellington classics on solo guitar, alongside several additional tracks recorded with longtime collaborators bassist Ari Roland and drummer Keith Balla. To be released in late summer, the album will feature some of Ellington’s most-cherished masterpieces including “Sophisticated Lady,” “Prelude to a Kiss,” “It Don’t Mean a Thing” and “Cotton Tail,” with guest vocalists Sheila Jordan and Samara Joy making appearances on “Mood Indigo” and “Solitude,” respectively. 

Further down the line and expected to be released early in 2022, Pasquale, Roland and Balla will join forces once again, this time to put their spin on a Bebop-era tracks popularized by the likes of Miles Davis, Sonny Rollins, John Coltrane, Horace Silver, Clifford Brown, and more.

Whether he’s by himself, as part of a band, on stage, or on a livestream, Pasquale Grasso’s goal ultimately remains the same, shining on each and every effort. “I always want people to just enjoy what I’m doing. Put the recording on and drink a glass of wine. It might be relaxing or help you concentrate. I just hope you forget about the world for a minute and enjoy yourself,” says Grasso.

Long before earning the endorsement of everyone from The New Yorker to jazz guitar god Pat Metheny and recording a series of solo EPs and albums for Sony Music Masterworks, Pasquale Grasso grew up in this quaint and quiet Italian town of Ariano Irpino. At six-years-old, Pasquale developed a bond with his guitar that ignited an unbelievable journey from the Italian countryside to international renown. After attending the Conservatory of Bologna, the U.S. Embassy enlisted him as its Jazz Ambassador. He embedded himself in New York City’s jazz community through a standing gig with late iconic saxophonist Charles Davis. Among many standout performances, he won the 2015 Wes Montgomery International Jazz Guitar Competition and shared the stage with Pat Martino’s organ trio. In 2018, he appeared at the NEA Jazz Masters Tribute Concert at the Kennedy Center in Washington, D.C., delivering a show-stopping homage to honor Pat Metheny who christened him “The best guitar player I’ve heard in maybe my entire life.” Signing to Sony Music Masterworks, he kicked off his solo EP/album series in 2019 with Solo Standards, Vol. 1, Solo Ballads, Vol. 1, Solo Monk, and Solo Holiday. His momentum continued in 2020 with yet another string of solo releases Solo Bird, Solo Masterpieces, Solo Standards, and Solo Bud Powell, earning the praise of The New Yorker, who wrote, “Pasquale Grasso can play guitar like ringing a bell.” He capped off 2020 by accompanying actress and singer Laura Benanti on her self-titled solo debut, joining the Tony® Award winner during her entrancing performance on The Late Show with Stephen Colbert. His eloquent classical technique, jazz phrasing, bebop rhythms, and nimble fret fireworks have distinguished him as a celebrated 21st century virtuoso. In 2021, he expands his repertoire once again with Solo Ballads, an expanded edition of his 2020 EP Solo Ballads, Vol. 1 and the first installment of an eventual three-part album series set for release in 2021-2022.

Vince Mendoza | "Freedom Over Everything"

Six time GRAMMY® Award-winner, and 34-time nominee, Vince Mendoza is considered the foremost arranger of his generation, working with legends such as Björk, Elvis Costello, Sting, and Joni Mitchell. In a new star-studded release, Mendoza returns to his roots as a composer and conductor with a remarkable collaboration—highlighting the Czech National Symphony Orchestra, soprano Julia Bullock, guest artists Joshua Redman, Antonio Sanchez, Derrick Hodge, and The Roots' premier MC Black Thought—for his forthcoming album, Freedom Over Everything, on BMG’s Modern Recordings label imprint.

The album opens with Mendoza’s Five movement “Concerto for Orchestra” which was commissioned by the Czech National Symphony Orchestra, with whom Mendoza has had a working relationship for the last several years. The collaboration aimed to create a work that would feature soloists in the orchestra but to somewhat forge a new direction in this revered form. “My approach is a departure from the traditions of an orchestra concerto. For me it was more about having an arc that tells a particular story but also incorporates rhythmic and melodic aspects of African American music and improvisation.” explains Mendoza. 

“Coinciding with the composition of the concerto was the 2016 [American] saga of the election of ‘45’ and the resulting tremendous discord in the U.S. during that time. While writing this piece, the events happening in our country invaded my artistic space. For the first time I felt I couldn’t really write music and be removed from what was going on in our environment. I started seriously considering the importance of an artist to reflect the times and how I could make my music a reflection not only of what I was witnessing but what I hoped would occur. So that’s when the arc of this concerto started to take shape.” 

Mendoza, as a skilled practitioner of the classical-jazz fusion that Gunther Schuller once called third stream, was and is ideally suited to meet this challenge. “I sought to design the structure of the concerto to be inspired by M.L. King’s remarks on the moral universe, that the arc is long, but it bends toward justice. The beginning of the concerto (the first movement is called ‘American Noise’) reflects the discord that began leading up to the 2016 election. Of course, it pales in comparison to what we dealt with in 2020 and now 2021,” says Mendoza, “but the arc of the composition goes through that process of pure noise, much needed consolation and the need for ‘hitting the streets’. The end of the concerto seeks to reflect justice and the hope for a peaceful resolution to what we were only entering in 2016. Arguably in 2021 we still haven’t quite gotten there.” 

Throughout the “Concerto for Orchestra,” drummer Antonio Sanchez provides rhythmic 

textures using color, placement and variation accenting the various motifs and ideas expressed in Mendoza’s score. “Antonio thinks and plays like a composer,” says Mendoza. “He was the perfect person to step into this music. He was very sympathetic to what I wanted to achieve, while never losing his voice in the process.” Joshua Redman’s saxophone performance in “Meditation” provides an important improvisational voice to the movement. Mendoza points out that the piece was not originally conceived to have improvised commentary in it. “Once we recorded it, I thought that the music asked for Joshua’s dialog with the orchestra. Joshua understood the purpose and the mood that was needed in that moment, and he played so beautifully.” 

The fifth movement of the concerto, “Justice and the Blues,” is a sly reference to two famous quotations from philosopher and public intellectual Dr. Cornel West: “Justice is what Love looks like in public,” and "The Blues responds to the catastrophic with compassion, without drinking from the cup of bitterness." “When we recorded this piece last year in July (of 2019) in particular that last movement – the middle section of that piece that has the groove and the vamp, was originally going to be an instrumental solo,” Mendoza recalls, “I thought we should really have a message there through rap instead. Listening to the recordings of Black Thought, his work seemed to reflect a certain awareness of message I wanted to bring out in this piece. When he agreed to record, Covid hit the U.S. and we were delayed. And then (the death of) George Floyd happened – and then the reaction to George Floyd happened. And so, the shift of consciousness of what we thought was going to be in Black Thought’s performance was entirely different. Then he came up with this amazing heartfelt text,” Hodge provides a foundation of groove for the music and Black Thought’s text of Freedom Over Everything.

“In a way, my plan for a long, constructed arc was interrupted by reality. That’s sort of Jazz sensibility. You can plan your structure but then somebody comes in with their voice and completely changes your point of view. And I love that part of it – things are going to change when the human spirit gets put into it. Improvisation gives us that,” says Mendoza. He is uniquely suited to address these challenges with the ability to speak in the language of the composer and the language of the improviser. It is this denouement which allows for the transition from the end of the “Concerto for Orchestra” to “The Edge of Longing.”

When Mendoza finished writing the concerto the years of turbulence portrayed in the narrative arc of the music seemed to cry out for a piece that might serve as consolation communicating that ‘it’s going to be okay.’ “I wanted it also to be somewhat of an encouraging text that was going to bring people together and bring light into our situation,” Mendoza explains. “To The Edge Of Longing” is an extraordinary art song setting composed by Mendoza for Julia Bullock with orchestral accompaniment, based on verses from the “Book of Hours” by the late 19th, early 20th century poet and novelist Rainer Maria Rilke. 

Ms. Bullock described her approach to the material this way: “Vince wrote a poignant setting of an English translation of the German text by Rilke, which is what first got me excited about the project. There’s an intimacy in what is said, but the intensity of the words makes the scope far reaching, and Vince’s music follows that framework. The singers and interpreters I most respect and admire have clear intentions in the delivery of whatever music they share, and I aim for that same kind of immediacy—whether it was music written centuries ago or with my voice in mind. As long as there’s a message to be communicated and a genuine connection to that message, I find no reason to limit how to use my voice, or in which context. So, in that respect, it’s wonderful to participate in a project that is also uninhibited.”

There’s a through line music lovers can identify from Mendoza’s body of work as an arranger and from his previous long form orchestra works as a composer; especially Epiphany (1999) and Constant Renaissance (2019.) “New York Stories,” a Concertino for Trumpet and Orchestra, was commissioned by the Czech National Symphony featuring trumpeter and orchestra founder Jan Hasenöhrl.

As with the artists and the orchestra, Mendoza selected a co-producer and engineer with the capability and experience to be able to work in both the jazz and classical idioms equal to his own whom he knew from his work with the Metropole Orchestra. Jonathan Allen — formerly the chief engineer at the most famous recording studio in the world, Abbey Road — was responsible for the recording, mixing and mastering of this album. If it is true, as Aristotle once said, that “Music has the power of producing a certain effect on the moral character of the soul,” then Vince Mendoza’s Freedom Over Everything is sure to be received as a welcome addition to the times in which we live.

Garage A Trois I "Calm Down Cologne"

Garage A Trois return in the form from which they were born 22 years earlier with new studio album, 'Calm Down Cologne,' released April 16 via RPF Records. The title track is available across all streaming outlets today (listen/share). Comprised by guitarist Charlie Hunter, saxophonist Skerik and drummer Stanton Moore, OG GAT released its debut album, 'Mysteryfunk,' to wide acclaim in 1999. The band evolved over the pursuant years in various configurations before eventually going dormant following its 2011 album, 'Always Be Happy, But Stay Evil.' In 2019, however, the original three piece line-up reunited for a handful of shows. This would also result in an afternoon spent recording at Stone Gossard's Studio Litho in Seattle, right across the street from where the band was playing a sold out, three night run at Nectar Lounge. Ace engineer Randall Dunn was invited to document the proceedings and captured the resulting album in one magical session. Dunn would later take the tracks back to AVAST! Recording Co. for mixing. With all but a few edits on beginnings and ends of performances, 'Calm Down Cologne' presents the music as it was played in the studio that day.  

"Getting to make this record with two of my long time musical collaborators was a pure joy," says Stanton Moore. "We took a decidedly old school approach to making this one. During the day of what was to be our third night at Nectar Lounge, we carried the drums, uncased, with the cymbals still on the stands, across the street and placed them in the studio. We were getting sounds within minutes. We recorded for a few hours, carried the drums back and played the gig. No muss, no fuss."

A high-stepping mind/body elixir, 'Calm Down Cologne' finds Garage A Trois in full improvisational flight, composing live, in the moment, on the studio floor. Charlie Hunter on the Hybrid Big6 and Stanton Moore on the drums and cymbals are locked in a mountainous groove throughout. Simultaneously, Skerik conjures the melodic lines with one hand on the tenor saxophone and the other on a clutch of analog keys: Modal 001 synth, Rhodes 54 and Mellotron, among them. The jaunty title track is the only pre-composed piece on the collection, while Seattle singer Christa Wells adds the LP's sole overdub—a Stereolab-esque inspired vocal matching the sax/keys line on aptly-titled "The Epic."

Set opener "No Zone" finds OG GAT channeling Stuff with Eddie Harris sitting in. The outcome is electrifying. The album's centerpiece, the massive "In-A-Pro-Pro," stretches ten-plus minutes as it checks a number of vital boxes for which Garage A Trois are celebrated: stone cold funk, outer-space breakbeats, '70s 'On The Corner' guitar grease. Ever the masters of shapeshifting, OG GAT seamlessly reconfigure course on "Numinous," a dubbed-out descent that winds down the record. 

"Charlie and Stanton have been playing together for 25 years. There is a limitless quantity of output that they are able to generate. My job is to stay out of the way of their immovable freight train of rhythmic power and add melodic content on top," explains Skerik. "And the final element of this sonic signature comes from Randall who glues the music together in the recording and mixing process. He's the perfect engineer for records that depend on improvisation. He moves fast and gets huge sounds that convey the dynamics and power of the band."

As for the rather curious album title, the story goes that legendary underground Seattle artist Rick Klu gave Skerik the idea when he was describing a bouncer having to use some 'calm down cologne' on an unruly patron. More metaphorically speaking, a whiff of Garage A Trois' new magic potion elicits a "free your mind and your ass will follow" response—truly a much needed balm in these anxiety-ridden times. 

Jazz WORMS – Squirmin’

More than 30 years after the release of their acclaimed debut album, Denver-based quintet the Jazz WORMS make their belated return with Squirmin’, out via Capri Records. Well worth waiting for, the thrilling new session reconvenes all five original WORMS – pianist Andy Weyl, saxophonist Keith Oxman, drummer Paul Romaine, cornetist Ron Miles and bassist Mark Simon – on an invigorating set of all-new material that picks up where the band left off three decades earlier.

Just as their 1987 debut, Crawling Out, made species-appropriate reference to the emergence of five new voices on the jazz scene, so Squirmin’ captures the sense of eager anticipation and urgency that marks this long-overdue sophomore effort. Both the continuity and the passage of time are reflected by the album cover, which replicates its predecessor with a bit more gray hair and an updated fashion sense.

“I think Crawling Out made a mark of some sort,” says Oxman with a fair degree of understatement. “I run into people all the time who say, ‘I still have that original vinyl,’ or ‘I used to love hearing you guys play.’ So it feels marvelous to be together again.”

The long hiatus can be chalked up to the fact that each of the WORMS has enjoyed a busy and fruitful career in his own right. Oxman is a mainstay of the Denver scene who has recorded albums with such legends as Charles McPherson, Dave Liebman and Houston Person in addition to being a highly influential educator at the city’s East High School. Miles has become one of the most acclaimed artists on the current jazz scene, recording his own albums for Blue Note while forging meaningful collaborations with greats like Bill Frisell, Jason Moran, Brian Blade and Joshua Redman. Weyl has toured the world with the vocal group Rare Silk and crossed paths with such artists of note as James Moody, Tom Harrell, Benny Golson and Eddie Harris. Romaine and Simon co-founded the Colorado supergroup Convergence.

But when they first joined forces in the early 1980s, the WORMS (the name is an acronym for their respective last names) were simply five rising stars on the Denver jazz scene eager to find opportunities to craft an original sound. “We all grew up together,” reflects Oxman. “We were all young guys coming up at the same time who had similar ideas about music and just enjoyed playing together.” After a few years, however, each found himself on a separate path until a 2014 reunion concert at the revered Denver jazz club Dazzle revealed that the old chemistry was intact.

Squirmin’ not only fulfills the band members’ long-held desire to recapture the magic, it also marks the realization of a dream for Capri Records founder Thomas Burns, who was himself in the early stages of a remarkable career as a label owner, promoter, photographer, writer and entrepreneur. “I really wanted to record their first album, but [vocalist and label owner] James Van Buren beat me to it,” Burns recalls. “The Jazz WORMS had such a different sound for that period of time, when most jazz musicians in Denver were still looking back at the classic jazz of Ben Webster and Coleman Hawkins. To hear a group of young guys at the time just blowin' their asses off was really exciting.”

That sound still feels vital and current today, realized through eight captivating new compositions. The album kicks off, appropriately enough, with Simon’s sizzling “Launching Pad,” on which he and Romaine lay down a muscular groove punctuated by knife-edged horn lines. Simon also contributed the jaunty “What If All?” which spurs graceful melodic flights from Weyl and Miles. Romaine’s two pieces were inspired by his pet birds – and, in the case of “Wheaty Bowl,” one iconic Bird: Charlie Parker, who Wheaty can apparently chirp along to and whose memorable compositions are quoted throughout the piece. “Bu’s Box,” meanwhile, reference Bu’s cardboard home, which supplements Romaine’s percussive arsenal on the tune itself.

Oxman’s new compositions are both dedications. “Joaquin” is something of a companion piece to an earlier tune, “Elena,” recorded with Charles McPherson. That piece was written for a close friend’s granddaughter; “Joaquin” is for the same friend’s grandson, and captures the sense of wonder and tenderness evoked by a newborn. “The Chimento Files,” which closes the album, is a simmering blues dedicated to one of Oxman’s East High colleagues, Alan Chimento. Weyl’s pair of offerings range from the blistering “Lickity-Split” to the wistful, self-explanatory “Balladesque.”

The results of this welcome rebirth exceeded expectations. “It was magical,” Burns says. “I love the way these guys interact. They seem symbiotic: they speak as one, they listen to one another, all the stuff that they teach about jazz musicians – they have it. They always shine as a group.”

“I'm thrilled about this album,” Oxman says. “I think it’s even better than the first one. I think that’s mostly due to the fact that we all truly love each other and love playing together, even though it's sometimes been difficult to get us all in one room.”

Formed in 1984, the Jazz WORMS emerged from the thriving Denver jazz scene of the era, bringing together five young musicians who would go on to make great strides as artists and educators in the ensuing decades: pianist Andy Weyl, saxophonist Keith Oxman, drummer Paul Romain, cornetist Ron Miles, and bassist Mark Simon. The quintet recorded a single album, 1987’s Crawling Out, before going their separate ways. A 2014 reunion concert reignited the spark, providing the opportunity for a rare second act for this adventurous and witty ensemble.

Caravela - Orla

Caravela’s debut full length LP ‘ Orla’ is an intoxicating mix of Afro-Brazillian rhythms and contemporary London jazz drenched in modern psychedelic and progressive textures.

The band’s deep and infectious grooves form the basis from which they can showcase their beautiful and mature songwriting craft. Lyrics touching on social and environmental issues in both Brazil and Cape Verde, as well as reflections on modern life, weave between the songs in Loubet’s native Portuguese. Initially inspired by a recent period of living in Bahia, Brazil, interacting and working with local musicians there, Caravela took that experience and melded it alongside their wide range of influences to deliver a stunning set of contemporary songs.

Hypnotic and groove-laden percussion ties together all the different elements Caravela are bringing to the table, from Afro-Brazilian influences like Candomblè music or the tropicalia of Gilberto Gil and Caetano Veloso with some darker, electronic elements reminiscent of Radiohead, electric era Miles Davis and Herbie Hancock. There’s also a grittiness from the band’s music evolving from within London’s contemporary jazz scene that makes Caravela’s music uniquely their own. The African and Brazillian rhythms and jazz approach remain at the core of the groups sound, but the development and growth of their own songwriting, diverse range of textures and influences and their soaring vocals and spiritual lyrics make their sound so distinct.

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.”