J. Peter Schwalm and Markus Reuter | "Aufbruch"

Aufbruch, the title of the debut collaboration between electro-acoustic composer J. Peter Schwalm and guitarist Markus Reuter, translates as “departure” or “emergence.” Either definition offers an evocative interpretation of the powerfully immersive soundworld they’ve conjured together, but even more suggestive is the ambiguity between the two meanings. For the music of Aufbruch feels like both an awe-inspiring journey of discovery and a welling up from the murkiest depths of the subconscious.

Begun as a correspondence and fully realized as an in-person collaboration, Aufbruch captures and sustains an imposing air of alluring menace, an atmosphere that feels somber and distressed yet powerfully optimistic. “It seemed like we had the same sort of image in our minds,” Reuter says. “It feels like a dystopian future where the industrialized cityscape of the past has begun growing over with green. Which doesn't really surprise me.”

It’s true that the global conditions in which the album was produced might lend themselves to thoughts of rebuilding after an apocalyptic disaster rather then the somewhat more hopeful idea of preventing such disasters outright. But the Aufbruch, the “emergence” at which the title hints suggests that some remnant of humanity might be able to pull itself free from the wreckage and rebuild, about as cheery a thought as one could discern in these mesmerizingly bleak yet captivatingly rich aural landscapes.

That Reuter and Schwalm created such a vivid and cinematic set on their first meeting suggests the far-reaching imagination and gifts for intensive musical empathy that each man possesses. After trading files back and forth in an initial attempt at long-distance collaboration, the pair eagerly agreed to improvise together in the flesh. “When we met for the first time in my studio and started improvising, it was clear to both of us that a direct exchange was at least ten times more effective,” Schwalm explains. “We laid the foundation for eleven pieces in four hours.”

Reuter instigated the music on his self-developed Touch Guitar, digitally processed and manipulated in real time. Schwalm added his own colors via newly-devised synth sounds and later edited the improvisations into their final forms. On two tracks the duo is joined by the remarkable Belgian-born, Berlin-based vocalist Sophie Tassignon, whose late appearance returns a trace of the human to the stirring machine-made environments.

“Markus is the painter and I am the sculptor,” Schwalm says. “What made it very pleasant working together was that he incorporated so many ideas into the work process and gave me the green light to do what I wanted with them.”“It's a mystery to me how Peter does what he does,” Reuter adds. “I don't really understand the internal process he uses to make his decisions, but any decision he made was perfect for me.”

Both artists can boast a storied history of brilliant collaborations and startling sonic palettes. In 1998 Schwalm’s electro-jazz ensemble Projekt Slop Shop caught the ear of legendary musician/producer Brian Eno, instigating a six-year partnership that included recording the album Drawn From Life, composing the soundtrack to Nicolas Winding Refn’s film Fear X, and the creation of a multi-channel sound installation in the crater of the Volcano del Cuervo on the Spanish island of Lanzarote. Schwalm released Musikain, the first album under his own name, in 2006; since then he’s released four other albums, the last three for RareNoise: The Beauty of Disaster in 2016, How We Fall in 2018, and Neuzeit with Norwegian trumpeter Arve Henriksen last year.

Reuter's work as recording artist, solo performer and collaborator spans (and frequently fuses) electrophonic loop music, contemporary classical music, progressive and art rock, industrial music, world jazz, jazz fusion, pop songs and pure improvisation. Over the course of a two-decade career, he has been a member of multiple bands, ensembles and projects (including centrozoon, Stick Men, Tuner, The Crimson ProjeKct and Europa String Choir) as well as a solo artist. His prolific output bridges genres both within and between projects, and he has worked with a wide swathe of exploratory musicians including Ian Boddy, Robert Rich, Tim Motzer, Mark Wingfield, Asaf Sirkis, Kenny Grohowski and several members of King Crimson.

“Markus didn't come into the studio as a solo guitarist, but as a co-sound designer, co-improviser and co-composer,” says Schwalm. “He is extremely productive, an artist with unlimited creativity and a massive output.”

The swarming distortion of the title track inaugurates the album, growing from void to immense proportions from the emptiness of the ether, shrouding the listener in a swirling, shifting cloud of noise. The calming shimmers of “Von Anbeginn” are undercut by the agitated buzzing underneath, growing ever more insistent until the piece erupts into howling industrial rhythms. Reuter’s reverberant tones float weightlessly at the outset of the mournful “Rückzug,” while “Abbau” suggests images of rainfall spattering the rusted girders of an abandoned factory.

The distorted hiss and skittering, untraceable noises of “Ein Riss” presents the music at its most unsettling, while the spectral march beat of “Der lange Weg” has the haunting feel of a ghostly parade. The sudden appearance of Sophie Tassignon’s ethereal voice on “Lebewohl” is almost shocking in its introduction of a more organic feeling into the proceedings, prompting a more open, airy sensation in the piece. Tassignon also graces the following track, “Losgelöst,” one drone among many that contributes to the sound of a hybrid pipe organ. The album closes with the blissful, somberly soaring “Abschied,” a steely but determined gaze into an uncertain future.

Mike Pride | "I Hate Work"

Mike Pride was not a fan of legendary punk band MDC – a straight-edge hardcore devotee, you could even say he had a chip on his shoulder about this more mainstream, less disciplined form of punk – when he suddenly found himself on a tour of Europe as their drummer sometime in the early ‘00s. Twenty years later, now a longtime fan and friend of the band, Pride unexpectedly turns to the band’s raucous catalogue as a source for jazz standards on his warped new album, I Hate Work.

Out via RareNoiseRecords, I Hate Work draws its material exclusively from MDC’s iconic 1982 debut album, Millions of Dead Cops. Despite his long-established passion for bringing the extremes of hardcore and heavy rock into the jazz and improvised music realm (and vice versa), Pride instead does the unexpected, transforming MDC’s pummeling punk into swinging acoustic jazz. 

For the occasion he enlisted pianist Jamie Saft and bassist Bradley Christopher Jones, both master re-interpreters of a wide swath of pop and rock music, as well as special guests Mick Barr (Ocrilim, Krallice), JG Thirlwell (Foetus), Sam Mickens (The Dead Science) and MDC frontman Dave Dictor.

“I literally didn't know anybody when I moved to New York in 2000,” Pride recalls. “So to go from that to joining MDC, not realizing their history and how famous they were in certain aspects of the music world, was really eye opening. And doing 90-day tours without a day off was a serious ass kicking. In hindsight it was a great experience. I would never do it again, but it was a great experience.”

Pride quit the band in December 2004 after two years of touring and recording the album Magnus Dominus Corpus, though he’s maintained a close relationship with both vocalist Dave Dictor and guitarist/songwriter Ron Posner. Not long after, he began incorporating his experiences in the punk realm and his hardcore roots into “jazz” projects like his bands From Bacteria To Boys and Pulverize the Sound.

“Those projects really reflected my idea of the popular music I was into,” Pride explains. “I was getting to a phase of my musical output where I was trying to reflect the music that surrounds me rather than just following my id. I wanted to take tunes from my musical history and started thinking about ways to incorporate more aggressive music in the same way that certain pop tunes became jazz standards. That led me to think about trying to do something with these MDC tunes.”

The strangeness of the songs on the original Millions of Dead Cops was a product of its unusual recording, a marathon, speed-fueled session in which the entire album was recorded without a break. When he landed the gig two decades later, Pride had to transcribe every dropped beat and missed eighth note; he ended up reading from sheet music for his first year with the band, a definite curiosity in the largely untrained punk world that endeared him to his older bandmates.

That attention to detail paid off when it came time to revisit the songs for I Hate Work. “There’s a lot of meat on the bones of some of these tunes,” Pride says. “Originally I thought we could just play them really fast and blasty, which is probably what people would expect of me anyway. Then I decided it would be even cooler to slow them way down, figure out some chord progressions other than the usual I-IV-V stuff, and reimagine the melodies Dave might sing if everything wasn't happening at a breakneck tempo and he was able to really sing.”

That approach is in direct opposition to Pride’s actual tenure in the band, when the goal was to attempt the fastest possible version of each song on stage. The record came one night in Amsterdam, when this album’s title track, “I Hate Work,” clocked in at a blistering 24 seconds, nearly half the previous record. For its album-closing rendition on the present recording, the song is stretched into an 8-minute nightclub crooner, with Dictor bizarrely channeling his inner Sinatra (albeit Ol’ Blue Eyes in his present condition, disinterred and martini thrust into his decomposed clutches). 

I Hate Work opens with Pride’s chattering cymbal patterns setting the pace for a finger-snapping “Corporate Death Burger,” with Saft eloquently exploring the unearthed melody in much the same way as the eclectic pianist has songs by the likes of ZZ Top or Bob Dylan in his own projects. The serrated shredding of Mick Barr enters as the tune transitions into “Business on Parade,” where the guitarist plays like a death metal Sonny Sharrock. 

Barr’s presence on the album was a must, as the guitarist, along with Mr. Bungle bassist Trevor Dunn, was integral in encouraging Pride to join MDC in the first place. He returns for the funhouse mirror cabaret take on “Greedy and Pathetic,” featuring Pride’s frequent collaborator Sam Mickens on vocals. The drummer played with and served as musical director for the ex-Dead Silence singer’s Ecstatic Showband and Revue.

Foetus mastermind JG Thirlwell contributes his rasping purr to “America’s So Straight,” sounding like a showtune for a musical not only off Broadway but deep below it, in some subterranean lair. Saft switches to a calliope-like mellotron for the lilting “Dick for Brains,” trading buoyantly with Pride in the solo section. “Dead Cops” begins with a precision intro before settling into a lurching swing, with Saft essaying another dazzling turn at the keys.

In keeping with a series of threes marking the project – a 3-sided LP, a trio of guest vocalists – Pride also contributes three original compositions to the album, which take the ideas he derived from exploring and expanding the MDC songs into wholly different territory. He plays whispering brushes on the dirge-like “And So You Know,” and propels “Annie Olivia,” named for his young daughter,” with a methodical rumble. Jones’ vehement bowed bass and Saft’s droning mellotron combine in the ominous melody of “She Wants a Partner With a Lust for Life,” dedicated to Pride’s wife.

Family is central to Pride’s philosophy, perhaps helped by his tenure in MDC. I Hate Work is dedicated to bassist Mikey Donaldson, who died of an overdose at the age of 46. “It’s important to me that my family isn’t subjected to a terrible home life because their dad is a musician,” he says. “So I try to always give them some love on the albums.”

As Dictor’s memorable vocal turn implies, the members of MDC have given the project their blessing, which also was important to Pride. “They're very excited about it,” says the drummer, whose nickname during his time in the band was Baby Mongo. “With the generational divide, they definitely feel like proud uncles in some way. I hope it comes off respectful and sheds some light on their music, which is much more interesting than I ever would have assumed previous to joining the band.”

Canadian Smooth Jazz & Folk Chanteuse Catia Dignard Celebrates Starting Again with New Single, “Rather”

Learning from past experiences without reliving them is one of the key ways to win at this game called life, and Canadian jazz singer-songwriter Catia Dignard places us at the beautiful starting line of leaving the past behind with her new single, “Rather”.

“‘Rather’ is about starting love anew once we have lost our innocence,” Dignard explains, adding that it also touches on “carrying the scars of our pasts without them becoming liabilities.”

A torch song about not carrying one, “Rather” atmospherically sets such a stage for renewal with its lovely, interwoven piano and sax intro melody. Dignard’s yearning declaration of “wanted for so long to feel this peacefulness inside on my own” opens a channel to calmer waters after the storm.

“I’d rather be with you here than in the past.”

Weathering her own personal challenges — like going back to grad school, moving to a new city and ending a long-term relationship — provided the impetus for Dignard to release “Rather” now after initially writing and recording the song a few years ago.

“It’s one of these songs just ‘waiting’ for the moment to find its place in the world,” says the Montréal-born, Toronto-based artist. “Life changes and a great deal of soul searching made me revisit it with a new perspective.”

With Acadian heritage and having lived in Latin America and North Africa during her childhood, Dignard draws inspiration from the sea and her travels. As such, “Rather” flows along on a rolling sea of piano, saxophone and percussion with Dignard’s smooth, sultry vocal at the crest of the wave, journeying from one stage of life to the next.

“This song has also travelled quite a bit,” notes Dignard. “It was written in Montréal. Its music [was] composed and charted in Toronto. Then, recorded and performed first under the stars in Havana in December 2019 and finally mixed and mastered in the Eastern Townships, Quebec in the spring of 2020.”

A magical collaboration while visiting Cuba just prior to the first pandemic lockdown provided Dignard with the instrumental foundation for “Rather;” the musicians she met and recorded with in the musical hotbed of Havana helped give this song its wings just before a time during which creative flight has felt nearly impossible for many.

“In the midst of these turbulent times, both on a personal and global level, I found a safe haven musical community of collaborators and friends for this piece to come about,” she shares.

“Rather” was recorded at Manane Records Studios in Playa, Havana and produced by Miguel Ángel Wong Díaz — who also plays guitar on the track. In addition to Díaz are the “incredible team of Havana-based musicians,” Dignard says, including Lendy Fernández (piano), Francisco Spek Silveira (saxophone), Yan Sanabria Betancourt (bass), and Carlos A. Valdés Bastante (drums) — along with Dignard’s “long-time accomplice” and saxophonist David Elias engineering and mastering the track.

Musical and academic education have gone hand in hand for Dignard. While studying vocal jazz under the tutelage of Catherine Bastarache and Marie Vallée and attending multiple workshops and musical camps in Québec and Europe in the early 2000s, Dignard was also pursuing a second university degree. During this time, she also gained performing experience as lead vocalist for jazz guitar virtuoso Mike Gauthier’s combos at Bishop’s University and participated in Kim Richardson’s jazz jams at Montréal’s Dièse Onze club.

These formative years encouraged Dignard to start writing and recording her own compositions with her partner, double bassist Jean-François Martel. That led to collaborations with trumpet player Maxime St-Pierre, guitarist Louis Trudel, Cuban pianist and JUNO Award nominee Rafael Zaldivar and the recording of Dignard’s debut album, Strange Coziness, released in 2018.

Since then, Dignard’s music has found its way to Canadian radio with airplay on CFLX in Sherbrooke, Québec and CIUT in Toronto, as well as international airplay first in Australia, on Banks Radio and Valley FM 89.5, then in the U.K. and the U.S..

Not one to follow a singular path, Dignard also recently collaborated and performed with Toronto-based funk rock and soul band Bad Breed at the Canadian Music Week and Bloom online music festivals. This while pursuing a PhD in Hispanic Studies at the University of Toronto and currently working on more new music for release in early 2022.

For now, though, this rising jazz artist would ‘rather’ put the focus on her music that’s in the moment.

Eugenie Jones | "Players"

“Wide-ranging” takes on a new meaning with the March 11 release of vocalist, Composer, and  lyricist Eugenie Jones’s Players on her own Open Mic Records. Jones’s third album is the result of an odyssey that took her from her Pacific Northwest base (Seattle) to the Deep South (Dallas), the bustling East Coast (New York), the Midwestern Plains (Chicago), and back again, working in the process with a jaw-dropping spectrum of major jazz musicians that includes (among others) bassists Reggie Workman and Lonnie Plaxico, trombonist Julian Priester, keyboardist Shaun Martin, drummer Dan Weiss, and percussionist Bobby Sanabria. 

The multiple settings and ensembles are not incidental; making music in each region of the United States is the double-disc recording’s central concept. “It was way beyond anything I’d ever done,” Jones says, who produced the album and shared A&R duties with Workman. “And while it was a foreboding prospect, once I make up my mind, I’m very tenacious about doing what it takes to achieve my heart’s desire.” 

The diversity of Players extends to its tunes as well. Its Dallas session alone (featuring bassist Lynn Seaton and drummer Quincy Davis along with Martin) includes the Gershwins’ joyous swinger “I Got Rhythm” and two distinctive Jones originals: “There Are Thorns,” an anthem of determination, and the darkly soulful “One More Night to Burn.” Chicago’s output includes two Irving Berlin pieces in contrasting styles; “You Can Have Him” has a late-night lounge feel, while “Blue Skies” has an urgent, funky cast, highlighted in a Fender Rhodes solo by Kevin O’Connell.

In Seattle, Jones explores Billy Strayhorn’s moody ballad “Multicolored Blue,” Nina Simone’s blues-drenched “Do I Move You," and four of her own tunes, using three completely different lineups across the six tracks. Meanwhile, the New York session focuses on Jones’s originals, but these range from a hard-edged Latin groover (“Ultimo Baile En Casa,” featuring Sanabria) to a mellow, Quiet Storm-like ballad (“As Long As”) that trumpeter Marquis Hill underlines in a beautiful solo. 

The common bond, of course, is Jones. Her full alto voice, impeccable delivery, inventive rhythm, and expressive technique form an indelible stamp on songs of every type, across every city and musician. Imbuing her original compositions with remarkable verve and passion, she also breathes startling new life into the standard repertoire, claiming the familiar tunes as completely her own.

Eugenie Jones was born and raised in Morgantown, West Virginia, in a singing family: Her parents, Eugene and Tommie, were members of the choir at Friendship Baptist Church. Surrounded as she was by music, however, Jones at first had other plans for herself. She earned an MBA and moved to Seattle, where she started both a family and a successful career in marketing communications. 

In 2008, when Tommie passed away, Jones wanted to hold on to a piece of her mother. That drew her back to singing, which in turn drew her to the rich local jazz scene in Seattle. After spending several years honing her craft with the finest musicians in the Pacific Northwest, she recorded Black Lace Blue Tears in 2013. It was greeted with widespread acclaim on release, becoming the first vocal album ever to win the prestigious Earshot Jazz NW Recording of the Year. 2015’s Come Out Swingin’ was similarly celebrated, breaking Jazz Week’s Top 50 and winning Jones another Earshot Jazz award (NW Vocalist of the Year). 

Even as she thrived as an artist, however, Jones brought her considerable skills as a businesswoman to the local music industry. She founded two nonprofits, the education-centered Music Discovery Center (MDC) and the event-producing Music for a Cause. Under the latter auspices, she serves as Executive Producer of the Jackson Street Jazz Walk, an annual block party community event that both commemorates Seattle’s contributions to African American music history and raises funds for local community service organizations. 

This combination of creativity, skill, and resourcefulness leaves no doubt that Jones has the capacity to outdo even the impressive accomplishment of Players. “As a lifelong learner in pursuit of being better today than I was yesterday,” she says, “I will always look to answer that internal question of ‘what’s next.’” 

This winter and spring, Eugenie Jones will be bringing the music of Players to the cities where it was recorded, starting with a hometown show at the Royal Room, Seattle, Sat. 3/12, then cross-country to the Cloakroom, Harlem, NY, Sat. 4/2, and the Jazz Forum, Tarrytown, NY, Sun. 4/3. Additional dates will be announced soon.

Jazz Greats Kirk Whalum, Chris Standring and Jason Rebello Headline New 'Ultimate' Play Along App

London-based UK Music Apps Ltd has launched the 'ultimate play along' app for iPad and iPhone: Jazz300 features over 300 professional jazz, blues, soul, funk and pop backing tracks aimed at practicing and improvising musicians.

Jazz300 music app for iPhone and iPad contains over 300 professional backing tracks performed by 21 of the world's finest musicians including jazz legends Kirk Whalum, Chris Standring and Jason Rebello.

The brand new app offers musicians of all abilities the opportunity to play along to a huge collection of tracks - including over 200 jazz standards - recorded by 21 of the world's finest musicians including twelve-time GRAMMY® nominated Kirk Whalum (Whitney Houston, Luther Vandross), seven-time Billboard #1 Chris Standring and jazz impresario Jason Rebello (Sting, Jeff Beck).

In addition to its huge musical content, Jazz300 takes advantage of the latest advances in mobile audio technology. Users can change the key of the track on the fly and seamlessly speed up or slow down the music with just one touch.

Animated chord charts and crystal clear chord diagrams (for Piano, Guitar and Ukulele) help users learn new chords and improve their skills. There's an option to remove solo instruments - allowing users to play their own solo over the top, and the opportunity to create multiple playlists.

Paul Sissons, Executive Producer said: "Jazz300 offers a unique source of musical accompaniment. Not only is there a huge variety of real musical content which has been performed by world-class musicians, but the degree to which you can tailor each backing track in terms of key and tempo - while maintaining the quality of the audio - really is something new."

The content of Jazz300 is offered to users on a 'royalty-free' basis allowing them to play it anywhere and also use elements of the content in their own musical works - commercially or otherwise. Tracks can easily be exported from the app as stereo files but users who want to remix, rework or further develop Jazz300 tracks have the opportunity to download the multitrack version of any track. This is delivered to them as a GarageBand (Apple) project allowing access to the separate musical parts. This export option is available as a $0.99 (£0.99) in-app purchase.

Jazz300 is available from the Apple App Store at $15.99 (£13.99).

Ann-Margret & Sonny Landreth | "Rockin' Around the Christmas Tree"

It has been awhile since one of Hollywood's brightest lights and star of the film classics such as Bye Bye Birdie and Viva Las Vegas, Ann-Margret, has gifted the world with new musical recordings. So what better time than Christmas for the woman once dubbed the “female Elvis Presley” to return to the medium that launched her epic career? Ann-Margret is happy to announce the release of her brilliant and vivacious new version of “Rockin' Around The Christmas Tree” today on all digital platforms. With special guest, southern blues icon Sonny Landreth, joining in the fun, these two artists have crafted a vibrant rendition of a holiday favorite that seems tailor-made for Ann-Margret's sultry voice.

The track presages a new full-length album that Ann-Margret has been hard at work on and will be released in 2022. The project will pair her with several stellar guest artists including Bobby Rydell (who co-starred in Bye Bye Birdie), Blondie's Clem Burke, Wrecking Crew member Don Randi, rockabilly superstar Danny B. Harvey and more!

Also, for those in the Los Angeles area, Ann-Margret will be making an appearance at a special private engagement on January 13 at the Montalban Theater with special guest Rydell!

Fred Hersch | "Breath By Breath"

Iconic pianist/composer Fred Hersch was an early adopter of new technologies and new ways forward when the pandemic hit in early 2020. But he’s also been among the most eager to return to live performance and collaboration now that life has begun to resume some semblance of normality. In August he returned to the studio to record one of his most ambitious projects to date: Breath By Breath, his first album ever pairing jazz rhythm section with string quartet. 

“I’ve put all my streaming gear away,” declares Hersch, whose lockdown months started off with daily performances on Facebook and culminated in last year’s solo release Live From Home. “It was great while that was what it was, and now I'm in this place where it's live or nothing.” 

Due out January 7, 2022 via Palmetto Records, Breath By Breath draws inspiration from the pianist’s longtime practice of mindfulness meditation, centered on the new eight-movement “Sati Suite.” But while the album is certainly contemplative and lustrous, it’s far from being merely an ambient backdrop for blissful relaxation – the music on Breath By Breath is as fully engaged and emotionally rich as any that Hersch has made over the course of his remarkable career.

In part that’s due to the musicians Hersch has enlisted for the album. Bassist Drew Gress was a member of the pianist’s first trio and has been an inspiring bandstand partner for more than three decades. Jochen Rueckert is one of the most in-demand drummers on the modern scene, having played with such greats as Kurt Rosenwinkel, Mark Turner, Melissa Aldana and Pat Metheny. The Crosby Street String Quartet, named for the NYC address where they first rehearsed with Hersch, combines four of the city’s busiest freelance string players: violinists Joyce Hammann and Laura Seaton, violist Lois Martin, and cellist Jody Redhage Ferber. 

“String quartets have been some of my favorite music to listen to my whole life,” Hersch explains. As he writes in the album’s liner notes, “I grew up listening to string quartets as a very young musician in Cincinnati. My piano teacher was the wife of the cellist in the famous LaSalle Quartet. I used to lie on the rug in their living room as an elementary school student while they rehearsed, quietly following along, hearing how the viola part meshed with the first violin, or the second violin and the cello. And ever since I started studying composition at age eight, almost all of my music has always focused on four melodic parts - so string quartets are a natural musical configuration for me.” 

The string writing on Breath By Breath spotlights the broad scope of Hersch’s compositional imagination. With each piece the quartet seems to take on a new role in relation to the piano trio: a lush background on one tune, an equal partner in dialogue on the next, an abstract instigator on yet another. “It was important to me that we record live with the strings so I could interact with what they were playing,” Hersch says. “I didn't want to lay down the music and then have them come in later and overdub. I felt like the fun of the project was to do it live.”

“Sati” is a Pali word meaning “mindfulness” or “awareness,” an idea that is central to Hersch’s meditation practice – which itself took on an even more profound importance during the pandemic. “It basically saved me,” he says with no hint of exaggeration. “Meditation is not about not emptying your mind; it's about observation. The phrase I like to use is, ‘relax, allow and observe.’ When I meditate it’s about recognizing sensations or thoughts as they come in and out, observing them and realizing that they're just phenomena. The brain thinks, and there's nothing wrong with that.”

The first movement, “Begin Again” references the cycle of renewal that begins fresh with each moment. Other pieces touch on different aspects of the process. “Know That You Are,” the composition that initiated the suite, refers to the foundational instruction, “When you sit, know that you are sitting and when you breath, know that you are breathing.” The often frantic activity of a mind struggling to be at rest is the subject of “Monkey Mind,” while “Mara,” which features a guest appearance by percussionist Rogerio Boccato, is the name of the god who tempted Buddha with wine, women and wealth.

Bringing meditation to the forefront of his music brings Hersch full circle in a sense, as he recognized when he began the practice decades ago. “When I started, I realized that in a way I've been meditating my whole life – but on a piano bench. I close my eyes when I play and I go into in that world. Occasionally I get distracted, but I don't get wrapped up in it. Instead of my breath being an anchor, the anchor is the sound that I get, the tactile feeling of my fingers on the keys, hearing the space around the music, and leaving that space for other musicians to contribute.”

Breath By Breath, then, is a recognition that meditation has been a way for Hersch to align his daily existence with the enlightened state he reaches while playing the piano. With the release of this captivating new recording, the rest of us are fortunate enough to glimpse that place and to feel its life-affirming impact on our own hearts and souls. 

A select member of jazz’s piano pantheon, Fred Hersch is an influential creative force who has shaped the music’s course over more than three decades. A fifteen-time Grammy nominee, Hersch has long set the standard for expressive interpretation and inventive creativity. A revered improviser, composer, educator, bandleader, collaborator and recording artist, Hersch has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” by The New Yorker. For decades Hersch has been firmly entrenched as one of the most acclaimed and captivating pianists in modern jazz, whether through his exquisite solo performances, as the leader of one of jazz’s era-defining trios, or in eloquent dialogue with his deeply attuned duo partners. His brilliant 2017 memoir, Good Things Happen Slowly, was named one of 2017’s Five Best Memoirs by the Washington Post and The New York Times.

Charlie Peacock | "Blue For You"

Grammy® award-winning record producer Charlie Peacock adds another Jazz entry to his discography, an acoustic quintet set titled BLUE FOR YOU. Players are: ERIC HARLAND/drums, JOHN PATITUCCI/upright bass, CHRIS POTTER/tenor saxophone, MARCUS PRINTUP/trumpet, and Peacock on piano. The quintet performs Peacock’s compositions, “Refuge of the Wild”, “Blue For You”, and “Up Jumped Freddie.” 

While Peacock is known for his music production prowess, he has recorded with a long list of prominent jazz artists and musicians. 

Peacock followed his 2005 jazz debut, Love Press Ex-Curio (featuring Ravi Coltrane, James Genus, and Joey Baron) with Arc of the Circle (2008), an improvisational duets record with saxophonist Jeff Coffin featuring contributions from Marc Ribot and Derrek Phillips. Peacock’s solo piano outing, Lemonade, was released in 2014 and peaked at #4 on the Billboard Jazz Chart. All of Peacock’s jazz recordings have charted Top 5 on iTunes and Amazon, including 2018’s When Light Flashes featuring Jeff Coffin, Ben Perowsky, Felix Pastorius, Hilmar Jensson, and Matt White. In 2020, Peacock collaborated with bassist Steve Swallow on the single, “After All These Years” and yMusic Ensemble members, CJ Camerieri and Gabriel Cabezas on “Surprised Me Too.” In 2021, Peacock recorded “Brooklyn Brother Bond” with John Patitucci and Go Light, Go Free with the Turtle Island String Quartet.

Short Bio: Charlie Peacock is a Grammy Award-winning, multi-format performer, composer, and record producer. Peacock's production credits include Americana successes such as The Lone Bellow, Holly Williams, Ben Rector, Brett Dennen and "Misery Chain" for Soundgarden frontman Chris Cornell featuring Joy Williams, from the soundtrack to the film, 12 Years A Slave. Peacock composed the title theme to the AMC drama Turn: Washington’s Spies featuring Joy Williams and The National’s Matt Berninger. Peacock founded the Commercial Music Program at Lipscomb University in Nashville, Tennessee and served as Director of the School of Music.

Nicholas Payton | "Smoke Sessions (Remixed)"

Though it’s never simple (or advisable) to pin Nicholas Payton down to a particular genre or style, the renowned trumpeter, keyboardist, and composer’s two recent releases for Smoke Sessions Records have found him in relatively traditional acoustic trio mode. He was accompanied by the powerhouse rhythm section of bassist Peter Washington and drummer Kenny Washington on 2019’s live Relaxin’ With Nick, then with the generation spanning trio of drummer Karriem Riggins and legendary bassist Ron Carter on 2021’s acclaimed Smoke Sessions.

But Payton, it turns out, had more transformative intentions in mind for the latter session. On his new EP Smoke Sessions (Remixed), due out March 8 via Smoke Sessions Records, he turns the raw material of four of the album’s tracks over to Riggins and the rising star multi-instrumentalist producer Tomoki Sanders to create remixed versions of the tunes refracted through the lens of the hip hop generation.

This post-modern hybrid approach to what others may view as disparate genres is central to much of Payton’s discography, so it certainly makes sense that he would hear the potential for such electronic reimagining in the music he recorded with Carter and Riggins. “Many of my projects have a remix component built into them already,” he explains. “I felt giving those types of production treatments to an all-live acoustic session would speak more to the times in which we live. It gives the folks a bit of both worlds.”

Riggins, the drummer for the original Smoke Sessions album, puts on his producer hat for three of the four tracks on the remix EP. It’s a role he’s as comfortable playing as the one he essays behind the drumkit – he’s done production work for many of hip hop’s most creative artists, including Common, The Roots, Erykah Badu and Kanye West.

“Production and mixing [are] a significant part of Karriem’s body of work,” Payton says. “I hired him as the drummer on the session with this in mind.”

For his part, Riggins refers to Payton as, “one of those geniuses… He set the bar high and it’s always super inspirational being around him and playing music with him."

The original “Levin’s Lope” already brought inspiration full circle, taking a Ron Carter-inspired bassline from Payton’s “Cyborg Swing” and giving it to the man himself; the oft-sampled Carter now provides robust inspiration for a new Riggins beat and swirling melody. Payton’s Rhodes playing on “Gold Dust Black Magic,” which also featured guitarist Isaiah Sharkey, ripples out into a cosmic dub beat in Riggins’ hands, while guest saxophonist George Coleman’s sultry tenor sound is shrouded in stark, airy new atmospherics until a bold, funky new beat hammers into place.

The EP’s final track is another case of ricocheting inspiration. The young, uncategorizable multi-instrumentalist Tomoki Sanders, who Payton calls, “one of my favorite up and coming musician/producers,” provided a beat that helped inspire the original version of “Hangin’ In and Jivin’;” his remix amplifies and reconstructs the muscular groove at the heart of the tune.

While he insists that, “it’s never my intent to decide what anyone gets from my music,” Payton does hope that Smoke Sessions (Remixed) helps cement in listener’s minds his notion that all music co-exists in a continuum, and that genre classifications are inherently limiting. It’s an argument that on these four tracks he makes through the most enticing and infectious of means.

“I hope it highlights there’s not such a disparity between more traditional styles and current ones,” he says. “It’s all just music.”

Randy Brecker & Eric Marienthal Score Grammy Nomination for "Double Dealin'"

What do you get when you pair two visionaries who happen to be kindred spirits? You get an ace in the hole! Multi Grammy award-winners trumpeter/flugelhornist Randy Brecker and saxophonist Eric Marienthal, join forces for an unforgettable journey on their Shanachie Entertainment debut, Double Dealin'. It’s all aboveboard as Brecker and Marienthal opt not to follow suit, but rather let the spirit of the moment be their guide as they draw some wild cards and beautifully fuse the finer elements of traditional and contemporary jazz. Randy Brecker, who was a key player in numerous ground-breaking fusion bands like Blood, Sweat and Tears and Larry Coryell’s The Eleventh House states, “Duke Ellington said ‘There are only two kinds of music, bad and good' and we both love the latter!” Double Dealin’ marks Brecker and Marienthal’s first co-led recording and unites the dynamic duo with keyboardist and producer George Whitty, bassist John Patitucci and drummer Dave Weckl.

Brecker and Marienthal have built careers being musician’s musicians. Randy Brecker has remained at the forefront of creative music for over six decades, collaborating with everyone from Art Blakey’s Jazz Messengers, Horace Silver, Thad Jones/Mel Lewis Orchestra, The Brecker Brothers (with his late tenor titan brother, Michael Brecker), Bruce Springsteen, Parliament/Funkadelic and Steely Dan. Saxophonist Eric Marienthal’s equally impressive career has allowed him to captivate audiences alongside everyone from Chick Corea’s Elektric Band, Patti Austin, Lee Ritenour, Elton John, Billy Joel and Stevie Wonder, among others. Longtime comrades on and off the stage, Marienthal and Brecker credit one thing for bringing them together- “Pizza!” exclaims Brecker, who won a Grammy this year for his album with the NDR Big Band. Laughing he adds, “We dig each other's playing and personalities. We also like each other’s families. Eric and I have played together many times throughout the years with different ensembles including Jeff Lorber, The GRP Big Band and always 'clicked' as a section, so we were long overdue in doing a project together.” Marienthel adds, “Yes, definitely pizza! Besides being one of the world’s great musicians and trumpet players, Randy is a very open and cool guy. Getting to play with Randy is like getting to make a pizza with Mario Batali! You just know that no matter what you do it’s going to end up being great.” 

R&B-jazz guitarist Blake Aaron's second Billboard No. 1 hit of the year "Feels So Right"

It sounds like a bright ray of sunshine. Brimful of hope, optimism and positivity, R&B-jazz guitarist Blake Aaron’s “Feels So Right” vaulted into the No. 1 spot on the Billboard singles chart before Thanksgiving, notching the Innervision Records artist’s second No. 1 single of the year. Illumined by a vibrant horn section and swatches of soulful vocal improvs, Aaron’s ebullient electric guitar melodies and rhythmic riffs set an exuberant tone for the smile-inducing tune that he wrote with hitmaking producer and keyboardist Greg Manning.

Aaron last topped the Billboard chart in June when “Sunday Strut” became the third single from his “Color and Passion” album to go No. 1 on the industry bible’s chart. The fretman went right back to work, entering the studio to begin writing and recording his seventh album that will be titled “Love and Rhythm.” “Color and Passion” was completed during last year’s coronavirus quarantine thus the material was purposely injected with upbeat vibes to provide promise and escape. Aaron knows that the struggle continues for so many people and he wanted to wrap the year by writing a melody exuding joyous anticipation for what’s to come.

“The initial inspiration for ‘Feels So Right’ came from the great track sent to me from amazing collaborator and producer Greg Manning, which inspired me to write the melody,” said Aaron, who will include his latest chart-topper on his forthcoming album.

“In this day and age of remote internet collaboration, especially during COVID-19 restrictions, it was rewarding to create ‘Feels So Right’ old school. Greg and I actually sat together in person and collaborated in his studio. I wanted to match the feel-good vibe he already had on the track and with the vocals, composing a melody that would capture the innocence of a woman dancing outside in the sun ‘like nobody is watching,’” said Aaron, explaining the image that adorns the single cover.

The “Feels So Right” rhythm track is anchored by bassist Alex Al and drummer Eric Valentine. David Mann constructed the horn arrangements, playing saxophone alongside trumpeter Trevor Neumann and saxman Jimmy Reid. It’s Ken Turner’s vocal embellishments that provide a soul-powered touch.

Typically, Aaron records and releases a handful of singles before making them the foundation of an album, a practice that he anticipates will continue with “Love and Rhythm.” Expect the collection to be another amalgam of R&B, jazz, pop, Latin, funk, fusion and rock.

This year marked Aaron’s return to the concert stage where he played clubs, theaters and festival dates, including such marquee events as the Berks Jazz Festival and the Mallorca Smooth Jazz Festival. Aaron will end the year by performing a Christmas-themed concert on December 17 at Vibrato in Los Angeles where singers Erin Stevenson and Derek Bordeaux will join him.    

Big Chief Monk Boudreaux --- Grammy Nominated Regional Roots Album

Big Chief Monk Boudreaux's album, Bloodstains & Teardrops has been nominated for a Grammy in the 'Best Regional Roots Album' category. The album, released on May 21, 2021, by Tab Benoit’s Whiskey Bayou Records, was produced by Benoit and Rueben Williams.

The oldest living Mardi Gras Indian Chief, Boudreaux is the elder of elders in a tradition dating back to the 1880s. He is a cultural hero,a recipient of the National Endowment for the Arts National Heritage Award, and a well-loved American musical legend. His vast discography includes many records with the Golden Eagles, collaborations with Anders Osborne, Galactic, John Gros and 101 Runners. Nodding to history but clearly thriving in present day, this living legend has performed on Saturday Night Live with Robbie Robertson and has currently been enjoying airplay on Sirius XM's B.B. Kings Bluesville station. 

On Bloodstains & Teardrops, the Caribbean cultures of Jamaica and New Orleans collide. The island and the swamp, both find inspiration from the music of the slaves in New Orleans Congo Square. Chief Monk demonstrates its similarities in lyrical, musical, and cultural content. On his journey from the island​ ​to​ ​the​ ​swamp ​he​ ​is​ ​joined​ b​y an array of musical legends including Tab Benoit, Michael Doucet, and Johnny Sansone as well ​as a host of Jamaican​ ​and​ ​Louisiana​ ​musicians​.​ 

For this project, Monk traveled to Jamaica, finding his Reggae groove with local island musicians. "My manager Rueben Williams suggested we go to Jamaica and make a record, when I got there, I found that Bob Marley had been a fan of mine for many years."

Monk recorded with the reggae band and a toasting-style backup vocalist at Tad’s International Limited studio in Kingston. The six songs he cut, reflected on the inspiration he received from being in Jamaica and seeing the parallels to his New Orleans home. The lines between blues, swamp music and reggae become blurred as Monk developed his songs.

Bloodstains & Teardrops is a beautifully produced album from a near-octogenarian cultural and musical icon. On this recording, Big Chief Monk Boudreaux successfully blurs the lines between blues, swamp music and reggae, imparting wisdom along the way.

The Temptations | "TEMPTATIONS 60"

The Grammy Award®-winning Temptations announce their much-anticipated new album, TEMPTATIONS 60.  Released by UMe, a leading global music company, the new album consists of nearly all-original songs that are both modern and classic in feel and sound. In addition to tracks produced by group members, the album brings the iconic group together again with some of its beloved producers, including the legendary and award-winning Smokey Robinson and Narada Michael Walden. Dr. Otis Williams, the group's founding member and the album's executive producer, said, "Our new album carries with it, our legacy, our love of music and our hope that through our music we can uplift and bring people together. Most of all, we want fans to enjoy it and share it with family and friends around the world. It's a thank you gift from our hearts to all of our fans, past, present and future."

As The Temptations have done throughout their career, their latest album balances love songs with topical tracks, showcasing their enduring strength across the generations. Williams co-produced, with Dennis Nelson and Thomas "TC" Campbell, five of the album's 12 tracks, including the harmony-infused ballad, "Calling Out Your Name" and the up-tempo tracks "You Don't Know Your Woman" and "How Do You Spell Love." Williams also co-produced an updated version of "Come On," a song that had been the first recording by Otis Williams & the Distants, a precursor to the Temptations, in 1959, and features a special monologue about the group's history.

The first single released from the album, "Is It Gonna Be Yes Or No," is written and produced by and features Motown superstar Smokey Robinson. In all the years Robinson has delivered such timeless Temptations' hits "The Way You Do the Things You Do," "My Girl," "Since I Lost My Baby," "Get Ready" and more, the duet marks the only time he and The Temptations have sung lead together, save for a recording of "The Christmas Song" in 1989.

TEMPTATIONS 60 also features two brand-new songs produced by Grammy-Winning Narada Michael Walden, who produced their last platinum-selling album, Phoenix Rising; he delivers the biographical beauty, "When We Were Kings," available now, which sums up the Temptations legacy to this point, and "Breaking My Back," a love song that evokes the classic Tempts' catalog.

Longtime Temptation leading vocalist and songwriter Ron Tyson, and Thomas "TC" Campbell produced two tracks, including "Time For The People," a powerful statement addressing modern issues – a "Ball of Confusion" for the 21st Century – and the island-flavored love song, "I Want It Right Now." Dave Darling, who produced the group's last album, All the Time, brought to the album a stunning cover of the Vintage Trouble song, "My Whole World Stopped Without You."

Reflecting the rich musical influences of the third decade of the 21st Century, the album opens with a uniquely contemporary track "Let it Reign," featuring Queens New York, Hip Hop artist K. Sparks.  Much in the way "Cloud Nine" marked a bold update in the group's sound back in the late 60's, so too does this song, a modern-day shift from the group's vintage roots, that weaves together the powerful fusion of hip-hop, smooth jazz and soulful flavors.

The Temptations are today one of the most iconic, bestselling brands in the entertainment world; Billboard magazine named them "The No. 1 R&B Artist of All Time." With original member Dr. Otis Williams, the group's track record of continuing to sell decades worth of history-making music is breathtaking.

The Temptations are commemorating their 60th Anniversary. The national anniversary campaign launched this summer and will run through 2022, in a celebration befitting one of the most revered and prolific musical institutions of all time. The year-long campaign includes the new album in 2022; a national concert tour through fall of next year, including a trip abroad in fall of 2022; remastering of their music videos, including "Standing on the Top" with Rick James, and their No. 1 hit "Stay;" a new content series; the Imperial Theatre re-opening on October 16, 2021, of the Broadway musical, Ain't Too Proud: The Life and Times of the Temptations, based on Otis Williams's personal journey that was nominated for 12 Tony Awards®, including Best Musical, and won the Tony Award for Best Choreography at the 73rd Tony Awards ceremony in June 2019 and whose UMe cast album was GRAMMY®-nominated; the national launch of the musical's touring company; and celebratory events along the way including Dr. Otis Williams' 80th birthday, which was on October 30, 2021. Their Emmy® Award-Winning Television mini-series, The Temptations, which first aired to rave reviews in 1998, is still on air or streaming every day somewhere in the world. Williams' critically acclaimed autobiography, Temptations, was released as an audiobook edition for the first time in 2020, with a new introduction by Williams.

Reflecting on The Temptations' legacy, and the new album, Dr. Otis Williams said:

"Delivering our 60th anniversary album is a special moment for me. Being back in the studio this time filled me with so many memories of my journey and reminded me of how long and rewarding a journey it has been. I get emotional every time I think about it, because we poured every ounce of our heart and soul into making this album extra special, and only when we were satisfied that it was in keeping with our unique style, did we put our stamp on it. I can proudly say it showcases brand new songs that reflect the best of what's vintage, and modern, in our music. A capstone of my career, this album represents generations of unique melodies, lyrics and songs, distinctly our own. Some of the new songs echo our original ballads and love songs, while others capture current, topical vibes of the 21st Century. It also includes new songs that reflect the times we are living in now.

It brings together again several great producers we have worked with in the past, including Smokey Robinson, Narada Michael Walden, Dennis Nelson and Thomas "TC" Campbell.  Now, as divine grace would have it, we got another chance to collaborate again."

The Temptations presence across multi-media platforms has never been more vivid, and their popularity is ever-increasing. Most recently, adding to their dozens of sampled tracks, their hit "Papa Was a Rollin' Stone," was used as the foundation of the Migos smash hit, "Avalanche."

The Temptations rank No. 1 in Billboard magazine's most recent list of Greatest R&B/Hip-Hop Artists of All Time, and the group appears in the magazine's list of 125 Greatest of All Time Artists. Rolling Stone magazine commented that the Temptations are "Indisputably the greatest black vocal group of the Modern Era…," and listed the group's Anthology album among the 500 Greatest Albums of All Time. The group has five GRAMMY® Awards, including Motown's first-ever statuette, awarded to the Tempts for "Cloud Nine" for Best Rhythm and Blues Performance by a Duo or Group, Vocal or Instrumental and a GRAMMY Lifetime Achievement Award. The group's No. 1 hits "My Girl" and "Papa Was a Rollin' Stone" are in the GRAMMY Hall of Fame.  The group has been inducted into the Rock & Roll, National Rhythm & Blues Music, and Vocal Group Halls of Fame, and they have a star on both the Hollywood Walk of Fame and the Apollo Theater's Walk of Fame.

The Temptations were among the first African American musical artists to crossover into mainstream America and appear on popular, national mainstream television programs.  In 1968, and 1969, respectively, Diana Ross and the Supremes and The Temptations starred in primetime network television specials "TCB (Taking Care of Business)" and "G.I.T. (Getting It Together) on Broadway." Never before had two contemporary African American groups headlined their own #1 nationally rated television specials, all produced by Motown, an African American owned company. The "TCB" special was named the #1 rated variety show in 1968 and received an Emmy nomination. The original cast soundtrack album, TCB, reached #1 on Billboard's Top 200 Albums chart. At the time, this was an unparalleled accomplishment for African American entertainers. The Temptations helped change the face of primetime television and fueled the growth in the performing arts and entertainment world for African Americans artists forever.

Throughout the group's evolution, they have released countless gold, platinum and multi-platinum chart hits, many of which are considered American masterpieces. They have 16 No. 1 R&B chart albums, 44 Top 10 R&B chart hits, including, 14 No. 1 R&B singles, plus four No. 1 Hot 100 singles.

Track List

Let It Reign featuring K. Sparks  2:43

When We Were Kings  4:51

Is It Gonna Be Yes Or No featuring Smokey Robinson  4:11

Time For The People  5:25

 Elevator Eyes  4:07

My Whole World Stopped Without You 4:04

You Don't Know Your Woman (Like I Do)  4:00

How Do You Spell Love  4:10

Calling Out Your Name  5:34

I Want It Right Now  4:21

Breaking My Back  4:04

Come On   6:17

Executive Producer: Otis Williams

Track 1: Produced by Dan Bishop & Es-K

Tracks 2, 11: Produced & Arranged by Narada Michael Walden

Track 3: Produced by Smokey Robinson

Tracks 4 and 10: Produced by Ron Tyson & Thomas "TC" Campbell

Tracks 5, 7, 8: Produced by Otis Williams and Dennis Nelson for Left Hand Corner Productions

Track 6: Produced by Dave Darling

Tracks 9, 12: Produced by Otis Williams & Thomas "TC" Campbell

New Music Releases: Muriel Grossmann, Paolo Rustichelli, Tasha, Lyn Stanley With Her Big Band Jazz Mavericks

Muriel Grossmann - Union

Completely stunning music from the marvelous Muriel Grossmann – a saxophonist who's become one of our favorite jazz talents over the course of the past decade – thanks to deeply spiritual work like this! The album's got a Hammond organ, something you're not as always likely to see in a session like this – played by Llorenc Barcelo with these open lines that are filled with mystical currents and colors, and which provide a perfect accompaniment to Grossman's well-crafted solos on tenor and soprano sax! Guitarist Radomir Milojkovic grounds the sound with some slightly straighter lines, but still with a rhythmic pulse to match the modal vibes of the tunes – a quality that's driven forward deeply by the drums of Uros Stamenkovic. If you've not heard the music of Muriel Grossman before, you're in for a treat – and if you have, your collection of really special albums just got one record bigger! Titles include "Happiness", "Traneing In", "Sundown", "African Dance", and "Union". ~ Dusty Groove.

Paolo Rustichelli - Changes

A dynamic force in chillout music who has brought progressive energy to Smooth Jazz since the mid-90s, Italian born, L.A. based keyboard maestro Paolo Rustichelli has mesmerized everyone from Miles Davis and Carlos Santana with his mystical jazz-funk productions. His latest single “Changes” is an infectious, atmospheric urban jazz funk romp whose colorful blend of piano and synth textures – with a fiery touch of sax - is rooted in a fascinating serendipitous jam with fellow synth lover Stevie Wonder. In the late 80s, Rustichelli was testing new synths and amps at a West L.A. store when Stevie heard his funky grooves and began improvising on another amplified keyboard. Decades later, Rustichelli brings that memory to life with the fresh, spontaneous joy he felt in that magic moment. ~ smoothjazz.com

Tasha - Tell Me What You Miss The Most

Tasha hails from Chicago, but she's got a sound that's very much her own – a quality that's instantly personal, and a way of putting over a tune that's a bit unlike anyone else we can think of! Her voice can lilt on high notes, but also has a very down to earth quality too – one that's augmented by the album's strong use of acoustic guitar, which often gets touched up with other light instrumentation, and the occasional more forward-moving rhythm. But throughout it all, the voice is center stage – a striking quality that might remind you of the first time you heard a singer like Tracey Thorn, or Bjork – but very different than either of them too. Titles include "Bed Song", "History", "Perfect Wife", "Sorry's Not Enough", "Love Interlude", "Year From Now", "Burton Island", and "Lake Superior". ~ Dusty Groove

Lyn Stanley With Her Big Band Jazz Mavericks - It's Magic

Does a Christmas-themed album strictly need only holiday-specific songs to make it official?  Novel Noel, A Jingle Cool Jazz Celebration successfully challenges this idea with the wonderful addition of It's Magic. This 1949 Academy Award nominated song by Jules Styne and Sammy Cahn (written in 1947) was popularized by Doris Day in her film debut, Romance on the High Seas.  It was Lyn's thought that special things happen at Christmas time, creating a magical feel to the holiday season.  She and her band broke with traditional delivery as well when they decided this song would be more romantic under a smoldering Latin rhythm - a rumba – aimed at bringing couples closer. Lyn's tender, heartfelt vocal expresses the mystical intimacy and connection that only love can bring. Los Angeles area's KKjz-88.1fm jazz programmer, Saul Levine, proclaimed upon hearing the song, "It's a hit!!"   

Tim Carman Trio | "Blues For Bob"

Boston-based drummer, Tim Carman pays tribute to his first drum teacher, mentor, and legendary drummer Bob Gullotti, in “Blues for Bob.” Carman devised the idea for his latest project, Tim Carman Trio, in 2020 while quarantining in a New Hampshire cabin and revisiting records Gullotti presented him during his formative years as an aspiring jazz drummer. As he went down the rabbit hole and took advantage of time off the road with his primary project GA-20, Carman formulated the idea for the project. Tim Carman Trio is no-frills, timeless, B3 organ jazz Inspired by 60s icons such as Jimmy Smith, Brother Jack McDuff and more. “Blues for Bob” is an original composition and the opening track off of the group’s forthcoming debut LP ‘Key Lime’ coming out worldwide via Color Red in 2022. Eddie Roberts, founder of Color Red and guitarist/bandleader of The New Mastersounds, touts Carman’s songwriting and proclivity to the organ trio format as “soul jazz how it’s supposed to sound.”

Gullotti passed away suddenly in 2020 and was a staple in the Boston jazz scene for over five decades. In addition to being a longtime professor of percussion at the esteemed Berklee College of Music, he was best known for his co-founding the free-spirited jazz trio Fringe in 1972. He toured with the likes of J.J. Johnson, Joe Lovano, and John Patitucci and would make frequent sit-in appearances with Phish over the course of his career. He collaborated with Phish guitarist Trey Anastasio on his free jazz side project Surrender to the Air. Carman enlisted Steve Fell on guitar and Ken Clark on organ to round out his trio and "Blues for Bob" was written in the studio and recorded in one take capturing the spirit of Guilotti.

Key Lime, the group's forthcoming debut LP, will be released in 2022 and harkens back to an age where blues, gospel, jazz, and soul music combined and vigorously simmered in smokey barrooms across the country. 

Based in Boston, MA, Tim is an international touring musician, session drummer, educator, and published author with both Alfred Music and Hudson Music. “One of Boston’s most accomplished percussionists can be found in local Tim Carman,” Andrew Maroney of Vanyaland writes, “…If his name sounds familiar, then you’ve probably seen him on the back-line of a number of tremendous Boston groups the past few years. From GA-20 to Julie Rhodes, Carman leaves his indelible imprint on some of Boston’s most illustrious jazz/blues acts.” Tim’s session work earned him a nomination for “Session Musician of the Year” by the Boston Music Awards in 2020. Tim currently performs and tours with GA-20, an electric blues trio signed to Karma Chief/Colemine records. He also leads two of his own projects: Tim Carman & The Street 45s—a world-groove inspired funk band—and the Tim Carman Trio—a vintage organ jazz trio (à la Jimmy Smith) rounded off by locals Ken Clark and Steve Fell. 

Michael Weiss | "Persistence"

You can tell a lot about a musician by the company he keeps. The star-studded resume that pianist and composer Michael Weiss has quietly assembled over the past 40 years proves that some of the greatest names in jazz have long considered Weiss one of the best in the business. Heavyweights Johnny Griffin, George Coleman, Charles McPherson, Benny Golson, Lou Donaldson, Jimmy Heath, Art Farmer, Frank Wess, Bill Hardman, Junior Cook, Slide Hampton, and Jon Hendricks have all tapped Weiss for their working bands.

“Michael is very inventive and creative, and he has been for a very long time,” says tenor saxophonist George Coleman. “He’s harmonically adept and has a fantastic right hand. He’s gifted. He deserves more attention.”

Alto saxophonist Charles McPherson puts it this way: “Michael has done his homework. He has a real understanding of the language, has really good taste, and he has a great feel and touch. He’s also got a sense of artistry as well as craft, and he’s got dimension and range. He understands not only the bebop language but other music that grows out of that. He’s comfortable in more than one world, and not everybody is like that.”

Persistence — Weiss’ fifth recording as a leader and first on the Cellar Live label — brings together all the qualities that have made him such a valued member of New York’s jazz community since the 1980s. Deeply swinging and emotionally rewarding, the recording features four vibrant originals by Weiss that are rich with memorable melody, harmonic color, rhythmic vitality, savvy pacing, and expressive detail. Weiss also arranged four standards that reveal his ability to put a thoughtful individual stamp on diverse material by Thelonious Monk, Fats Waller, Antonio Carlos Jobim, and Jimmy Van Heusen.

Weiss’ improvisations sparkle. Keeping head and heart in perfect balance, his spontaneous ideas flower organically from the distinctive seeds of each composition and arrangement. When he cedes the spotlight, his attentive accompaniment lights a fire under his bandmates. His first-rate quartet, including the exciting tenor saxophonist Eric Alexander, and the cohesive bass-and-drum team of Paul Gill and Pete Van Nostrand, illustrates Weiss’ ability to project a band in his own image. These veterans have worked together for years, and the group sound pulsates with the same brand of authenticity and casual mastery that has earned Weiss the respect of his storied elders. Rooted in the bebop tradition but not limited by it, the music hits the air with the fresh relevance of the morning headlines.

“This recording is a snapshot, like any night on a gig,” says Weiss. “I’m satisfied with the way the band interpreted and contributed to the songs and how everything comes across. It’s one thing to write, arrange, and organize the material, but it’s another thing how it’s all realized.”

For a quick primer on Weiss’ approach, listen to his “Après Vous.” (The title refers to the song’s harmonic foundation, based on the standard “After You’ve Gone.”) The pianist roars out of the gate, improvising fluently for 16 bars with bass and drums right on his tail. Then comes a piano vamp with an animated written bass line and Latin rhythms on the drums. The vamp and bass line continue as Alexander plays Weiss’ instantly hummable melody. The alternating swing and Latin rhythms, counterlines in the bass, alluring harmony, and numerous stop-time rhythm section hits all wink at one of Weiss’ first heroes, pianist-composer Horace Silver. Note, too, the fine detail of Weiss playing some of the melodic breaks in unison with Alexander’s tenor. And don’t miss how the tenor solo comes shooting out of the melody like a canon.

“Michael’s compositions sound totally natural, but they are challenging to play because there’s such a specificity to them and a complexity too,” says Alexander. “It’s hard to sight read a Michael Weiss composition, but it’s easy to listen to a Michael Weiss composition for all the same reasons.”

Each of the tracks on Persistence rewards close listening. The title track scampers along with an enigmatic melody supported by evolving harmonies that grab the ear. “Second Thoughts” is a playful line that unfolds at a relaxed, irresistible medium groove. “Paul and Pete are really in the pocket,” says Weiss. The pianist turns in one of his best solos on the date. Beautifully realized melodies snake through the harmony, snapping with syncopation, swing, and soul. You can hear his affinity for pianists like Bud Powell, Barry Harris, and Sonny Clark, but Weiss never sounds like a copy. He plays himself.

“Only the Lonely” opens a window on the more reflective and vulnerable side of Weiss’ personality as he offers a gorgeous trio version of Jimmy Van Heusen’s beautiful song — one of many that the composer and lyrist Sammy Cahn created for Frank Sinatra. Waller’s “Jitterbug Waltz” and Jobim’s “Once I Loved” reinvent familiar songs with savvy plotting. Note how on the latter, Weiss uses the tenor sax only to deliver the vamp that frames the melody. Weiss’ solo builds in waves, winking occasionally at McCoy Tyner, and Alexander gets in a few licks over the concluding fade out. The quartet delivers Monk’s “Epistrophy” with elan, capturing the composer’s jubilant spirit. The finger-popping “Birthday Blues” concludes the recording with freewheeling soloing over one of the fundamental forms of jazz — a fitting coda to an expansive recital.

One additional reason Persistence emits such a glowing warmth is that it was taped at the studio built by legendary engineer Rudy Van Gelder in Englewood Cliffs, New Jersey. This was Weiss’ first trip back to Van Gelder’s studio since the pianist’s debut LP, Presenting Michael Weiss (Criss Cross) in 1987. “There’s a vibe there,” says Weiss. “It’s comforting and inspiring.” 

The striking quality of Persistence brings up a question: Why has it been so long since Weiss’ last recording as a leader, the critically acclaimed Soul Journey (Sintra) in 2003? Weiss turned down multiple opportunities because the terms were not ideal. Cellar Live provided the necessary conditions and creative freedom to showcase his art. The results are worth the wait. 

Since arriving in New York in 1982, pianist and composer Michael Weiss has forged a formidable career working in the bands of jazz legends Johnny Griffin, Art Farmer, Charles McPherson, George Coleman, Jimmy Heath, and Lou Donaldson. He was a longtime member of the Vanguard Jazz Orchestra and toured with the Jazztet and Mingus Epitaph Orchestra. Weiss’ 15-year association with Griffin yielded four recordings and annual tours throughout the USA and around the world. Weiss has also performed with Joe Henderson, Woody Shaw, Clark Terry, Clifford Jordan, Gary Bartz, Phil Woods, Pepper Adams, Joe Lovano, Nancy Wilson, Randy Brecker, Tom Harrell, Wynton Marsalis, Al Foster, and Pete La Roca Sims. 

Weiss’ previous recordings as a leader are: Presenting Michael Weiss (Criss Cross), Power Station (DIW), Milestones (SteepleChase), and Soul Journey (Sintra). In addition to his recordings with Griffin, Weiss appears as a sideman on recordings by Charles McPherson, Frank Wess, Steve Grossman, Vanguard Jazz Orchestra, Ronnie Cuber, Louis Smith, Dick Oatts, and others. 

As a bandleader, Weiss has headlined at every major New York jazz venue, including the Village Vanguard, Blue Note, Jazz Standard, Birdland, Bradley’s, Iridium, Sweet Basil, and Smoke. He has also headlined at the Detroit Jazz Festival, Smithsonian Institution, and George Wein’s Kool Jazz Festival in New York. Weiss has toured as a leader throughout America, France, and Italy. Wayne Shorter presented Weiss with the grand prize of the 2000 BMI/Thelonious Monk Institute's International Composition Competition. Weiss was also a 1989 prizewinner in the Thelonious Monk Institute's International Piano Competition. 

New Music Releases: Gregory Porter, Norah Jones, Makaya McCraven, Johnathan Blake

Gregory Porter - Still Rising

A really special sort of collection – one that features a fair bit of new material mixed in with some of the key cuts from the Blue Note years of singer Gregory Porter – an artist who started in jazz, but who's clearly had a huge impact on the world of soul music in recent years too! Porter's got a hell of a voice, and a majestic way of presenting his music – as you'll hear on the wide variety of work included here! The first half of the record features four new tracks, a few new arrangements and covers, and some older Blue Note material – titles that include "Dry Bones", "Illusion", "Real Good Hands", "Love Runs Deeper", "It's Probably Me", "No Love Dying", "1960 What", "Concorde", "If Love Is Overrated", "Why Does My Heart Feel So Bad", and "Bad Girl Love". CD2 features duets – some freshly recorded, others that use studio work to add Porter's voice to now-passed singers – a lineup that includes songs with Jamie Cullum, Ella Fitzgerald, Moby, Julie London, Lalah Hathaway, Lizz Wright, Nat King Cole, Lisa Fischer, Dianne Reeves, and Renee Fleming. ~ Dusty Groove

Norah Jones - I Dream Of Christmas

Norah has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has released I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. “When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah says. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year.” Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late,” which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” “Christmas Time Is Here,” and “Run Rudolph Run.” Norah’s version of “The Christmas Waltz” is also available exclusively on Amazon Music as part of their Amazon Originals series.

Makaya McCraven - Deciphering The Message

A really special album from our hometown hero Makaya McCraven – a set that's the drummer's debut on Blue Note, and which also has him bringing that label some of the magic that he's been cooking up for International Anthem! If you know Makaya's other records, you'll know that he works in a blend of jazz instrumentation and editing – a style that's much more sophisticated than previous "jazz remix" modes – as McCraven always has live jazz instrumentation at the core, but then uses editing to rework ideas after the performance. Here, the music is a blend of older classics from the Blue Note catalog, juxtaposed with contributions from Joel Ross on vibes, Jeff Parker and Matt Gold on guitar, Greg Ward on alto, Marquis Hill on trumpet, and De'Sean Jones on tenor and flute – a really well-chosen array of players who flesh out Makaya's ideas in a beautiful way. Titles include "Wail Bait", "Frank's Tune", "Slice Of The Top", "Sunset", "Ecaroh", "Black Rhythm Happening", "Monaco", and "Mr Jin". ~ Dusty Groove

Johnathan Blake - Homeward Bound

Johnathan Blake—the remarkable Blue Note Records debut by drummer, composer, and bandleader Johnathan Blake—signals shifting tides for a career that’s yet to crest. The album features Blake’s quintet Pentad with alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, keyboardist David Virelles, and bassist Dezron Douglas. Blake has released the third single from the album, “Shakin’ the Biscuits,” a feel-good groove-based tune by Douglas that features a lively dialogue between the five musicians. It follows the previous singles “LLL,” a dedication to drummer Lawrence “Lo” Leathers, and “Homeward Bound (for Ana Grace),” a celebration of the life of Ana Grace Marquez-Greene. Blake assembled Pentad with the intention of composing for a fuller, more chordal sound than his past projects have featured. The result is a wildly intuitive, tight sound that embraces spontaneity and relies on trust. “The name represents us as five individuals coming together for a common cause: trying to make the most honest music as possible,” he says. “I wanted to create a record where people would get inside my head. I want them to see the story I was trying to tell. That’s my hope.”

Michael Mayo | "Bones"

NYC-based rising vocalist, songwriter and instrumentalist Michael Mayo has released his genre-defying, highly personal debut solo album Bones on via Artistry Music/Mack Avenue Records about embracing his truth of being bisexual. Though classically trained, Mayo’s original music is a seamless blend of alternative and neo-soul elements, as evidenced on the album’s introductory singles “The Way” and “You and You,” released in 2020, and recently released single “20/20”.  Each of the songs on Bones represents a learning experience for Mayo, the building blocks (“Bones”) that made him the person he is today.. In many ways, the collection serves as a letter to himself after years of lying to others about who he truly was and felt. Bones affirms you can live authentically, and not be afraid to express it. Having no black bisexual role models growing up, Michael hopes he can be that person for someone now and that one day we won’t have to “come out” but coexist with our differences. 

A diehard New Yorker for the past five years, Mayo was born and raised in Los Angeles surrounded by music, and love, as the son of “first-call” session and touring musicians. His father, Scott Mayo, currently the musical director for Sergio Mendes, was a saxophonist for Earth, Wind & Fire, while his mother, Valerie Pinkston, now a back-up vocalist for Diana Ross, has also sang with Beyonce, Luther Vandross, Ray Charles, Whitney Houston and Morrissey. The final track on Bones, “Hold On,” features his mom, who wrote the lyrics, singing on the first half and his dad providing background vocals, bringing Michael’s life full circle. In addition to his influential parents, Michael also studied at the prestigious New England Conservatory of Music and the Thelonious Monk Institute -- now named after Herbie Hancock, who mentored Mayo, helping him discover the link between sound and technology through a looper pedal, while showcasing him as a featured vocalist on a tour of South America in 2018.