Joona Toivanen Trio "Both Only"

A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-199os, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson ‘Juniper') has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on ‘Both Only’. 

‘Both Only’ by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, ‘This and This’, you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward. 

The first single ‘Enlightened' is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like ‘Direction’ proves, the melody is there throught the album, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. ‘Except For’ keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, builfing the intenmsity within the music. 

‘Both Only’ is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely. 

New Music: Sean Khan, Ourra, Badbadnotgood, Mariana Zwarg with Hermeto Pascoal

Sean Khan - Supreme Love: A Journey Through Coltrane

A wonderful setting for the talents of UK saxophonist Sean Khan – a set that features some great tracks from the John Coltrane songbook, plus original material too – all served up in that cosmic version of future jazz that we've loved from some of Sean's previous albums! Yet there's also a richness here that goes beyond those – a sense of larger arrangements that really brings a sort of majesty to the record – a vibe that has Khan continuing the legacy of London contemporaries like Nathan Haines and Chris Bowden on some of their best recordings! The album also features work from older greats Peter King on alto sax and Jim Mullins on guitar, and the Cinematic Orchestra's Heidi Vogel adds lyrics to a few tunes too. Titles include "Cousin Mary", "Equinox", "Impressions", "Giant Steps", "Moment's Notice", "Savage Detectives", "Love Supreme", "Starchild", "Afro Blue", "Emilia's Pick", "Azawala", and "Naima".  ~ Dusty Groove

Ourra - Fantasy Point

A sweet set of cosmic funk in the best Star Creature mode – lots of crispy beats mixed with the sorts of 80s elements you might guess from the fonts used on the cover – all served up in a nice way that's not nearly as slavishly retro as other projects of this nature! But then again, that's what we've come to expect from Ourra – a cat who's got a way of doing more with less, and finding his own bright star out there in the cosmos! The whole thing's instrumental, and filled with lots of beats and keyboards – on titles that include "Night Glider", "Breaker's Boogie", "Rekab's Azy", "Ghost Reflex", "Game Over", "Sea Green Eyes", "The Climb", and "Red Wave". ~ Dusty Groove

Badbadnotgood - Talk Memory

A really different sort of record from Badbadnotgood – and we mean that in the best way possible, as the group are really maturing and opening up their sound! The core blend of funk and jazz elements is still at play on the record – but there's also a more expansive vibe too, one that uses larger arrangements to really color in the sound and create all this sense of sonic wonder – a vibe that really comes through on one track that features guest work from cosmic musician Laraaji, and five more that feature the legendary Brazilian artist Arthur Verocai! In a way, the spacious quality of Verocai's own music might be a good way to describe the approach here – although the group certainly leave their own mark on the sound too. Titles include "City Of Mirrors", "Unfolding", "Love Proceeding", "Timid Intimidating", "Beside April", and "Talk Meaning" – the last of which features guest work from Terrace Martin and Brandee Younger too. ~ Dusty Groove

Mariana Zwarg with Hermeto Pascoal - Nascentes

A really lovely album from flute player Mariana Zwarg – working here with the legendary Hermeto Pascoal, who also happens to be her grandfather, but in a style that's very much her own! While it might be tempting to say that there's some of the Pascoal tradition of complexity here, Mariana's music is more straightforward and tied to jazz – but always with that freewheeling vibe that's grace Brazilian variants of the music from the 60s onwards – which means that even when things are sophisticated, they're very organic – and vocals often come into play with the group as much as an instrument – effortlessly blending with the melody and rhythm. The whole set is really beautiful – like one of those rare treasures on a label like Som Da Gente or Pointer – and titles include "Lucas E Lena", "Acalanto", "Viva Hermeto", "Ventania", and "Na Carioca". ~ Dusty Groove

Jane McNealy | "Marsha Bartenetti sings McNealy & Kuhns"

Advancing years and a stage four cancer diagnosis spurred songwriter, composer, arranger and librettist Jane McNealy to sift through the pages of her songbook of jazz, pop, soul, funk and folk tunes as well as theatrical material penned for stage and screen, selecting what she felt are some of the best songs, many of which she wrote with longtime collaborator Alice Kuhns. Set list in hand and with legacy on her mind, McNealy headed to the iconic Capitol Studios to record the material as she always envisioned the songs to sound. Giving voice to the opulent, exquisitely orchestrated collection is award-winning vocalist Marsha Bartenetti. The album, “Marsha Bartenetti sings McNealy & Kuhns,” drops April 1 on McNealy’s Lo-Flo Records.

One would imagine that assembling a “time capsule” of your life’s work, spanning more than fifty years of music, would be an emotional experience and the album is indeed an emotional listen.

“This album is extraordinarily rich, expressive, layered and complex. It’s a lot to take in in one listen. It is a combination of everything that I love that I’ve written over the years that shows in total what my artistic life has been about,” said McNealy, who was mentored by the late Harold Battiste Jr. and has collaborated with Dr. John, Joyce Dunn, Tami Lynn, Lydia Marcelle, Judy Karp, Henry Butler, Andy Simpkins and Roy McCurdy among others.

Relying upon Mike Watts to masterfully orchestrate and arrange “Marsha Bartenetti sings McNealy & Kuhns,” McNealy knew that key to bringing to life a project that has such meaning and significance was finding the right voice to illuminate the songs. The tracks were already complete when Bartenetti entered the picture.

“Lyrics are everything to me. Whenever I choose songs to record, my first consideration is the lyric and how I resonate to the story…and then, of course, melody. Jane and Alice’s songs paint very evocative pictures – like you are walking into an impressionistic painting. And the lush arrangements of the songs create depth and texture, supporting each lyric. I was very drawn to the longing and hope in their lyrics as well,” said the elegant-voiced Bartenetti, who is also an actor and well-known voiceover artist.

McNealy knew what she found in Bartenetti, saying, “The subtlety and depth of Marsha’s interpretation, the haunting quality that she infuses into each song, her light touch, the fluidity of her vocal range - all this and more is interwoven into a fine tapestry of musical poetry on the album.”

“Marsha Bartenetti sings McNealy & Kuhns” can be categorized as a jazz vocal album although the project is diverse stylistically, offering a wealth of sophisticated sounds akin to a collection of contemporary classics and standards culled from the great American songbook.

The first of three singles that will preview the album, “Why Does The Sky Keep Changing” will drop March 4 along with a video. Dramatic and desirous, underscored by sweeping strings and Bartenetti’s yearning portrayal, the song was penned for the musical “Gauguin” written by McNealy and Kuhns about the French Post-Impressionist artist. A snapshot of a frayed relationship with a straying lover is depicted on “Running Around,” a jazzy single coming March 11 bolstered by Jeff Bunnell’s classy trumpet and Rusty Higgins’ soulful saxophone. Dropping March 18, Bartenetti’s voice beams wistfully and longingly like an amorous dreamer on “Love,” written for the musical “Primrose Hill.”       

The variety show continues as “One Day At A Time” dances to Latin and Afro Cuban rhythms, a soaring jazz number propelled by trumpet, sax and Watt’s gleeful piano, buttressing Bartenetti’s impassioned voice. Vacillating between a gentle waltz and a brisk bebop cadence, “What Is Today Without You” is a showstopper composed for the fantastical musical “To Be Fred” that ruminates on isolation, imagination and ardent pining. Jazz singer and four-time Grammy winner Sarah Vaughan performed “I Never See That Rainbow Anymore,” a bluesy jazz joint featuring yet another knockout performance by Bartenetti about unrequited love. McNealy wrote “Kite In The Clouds” in fond remembrance of her father. The cut is a bright-eyed carnival ride that soft shoes to ragtime piano and whimsical percussion.

“Marsha Bartenetti sings McNealy & Kuhns” is the type of big-budget album the major labels used to make, and you can hear it in the finished product. McNealy is proud of the record and delighted to spotlight Bartenetti. Like uncovering a time capsule buried in the backyard, she hopes that new listeners for years to come will discover these songs for the first time and that people already familiar with her catalogue will fall in love with it as beautifully rendered by Bartenetti. And McNealy acknowledges that the album may present a challenge.

“I think it’s probably extremely difficult to describe this album because it’s almost like eating chocolate mousse seven times. Making it was a once-in-a-lifetime experience to be treasured forever.”

Transcultural Modern Music from Singer Cymin Samawatie, Percussionist Ketan Bhatti and the Trickster Orchestra

Singer Cymin Samawatie and percussionist Ketan Bhatti from the Berlin-based group Cyminology apply their poetic musical language on a larger scale with the Trickster Orchestra. Under Cymin's and Ketan's artistic direction, the orchestra interprets their characteristic blend of trans-traditional contemporary music. Cymin draws inspiration from ancient to modern verses spanning psalms to texts by Sufi poets Rumi and Hafiz, performing not only in Farsi but also in Hebrew, Turkish, and Arabic. With growing instrumentation comes an expansion of dynamics, textures, and colours. 

The Trickster Orchestra represents Cymin Samawatie's and Ketan Bhatti's first shared collaboration outside of Cyminology, their Berlin-based group, whose three ECM recordings (As Ney, Saburi and Phoenix) each respectively gained praise for their cross-cultural approach. This program sees Cymin and Ketan expanding their musical reach with the Trickster Orchestra. "When working with this orchestra," says Cymin, "Ketan and I step outside of our musical comfort zone and reinvent ourselves – try out new paths that we still have to discover."

Founded by Cymin and Ketan in 2013, the Trickster Orchestra was born out of a collaboration as part of the education program of the Berlin Philharmonic. It soon turned into a permanent outlet for the singer's and drummer's multi-faceted music and more experimental compositional forms – also drawing on influences from contemporary classical music. Cymin explains that "what really distinguishes this orchestra from other projects and what makes it so special, is the fact that it's made up of very strong and individual personalities, who have each achieved great things on their own. For this project, they step outside of their individual musical bubbles and join forces to create a new, collective musical world." Among the musicians in the orchestra are, for example: koto virtuoso Naoko Kikuchi drawing on the classical and contemporary heritage of her instrument and expanding its range; Susanne Fröhlich with her mastery of the recorder family, bridging European old and new music; Berlin Philharmonic violist Martin Stegner, who appeared on Cyminology's last album Phoenix; clarinetist Mona Matbou Riahi, who recorded with the Naqsh Duo for ECM, and award-winning virtuoso Wu Wei, who plays the traditional Chinese reed sheng – they all are part of the equation, but merely represent a fraction of the talent at hand. 

The album's instrumentation – reaching from the Arabic flute nay through the zither-like oriental kanun to electronic manipulations – substantially widens Cymin's and Ketan's expressive spectrum and the textural depth of their arrangements. Ketan points out that the question of "How do we create a collective musical language" takes center stage when working in such a diverse environment. "We have such a variety of musical systems and conventions gathered under one roof – from people who read notes versus those who don't to the simple matter of instruments being differently tuned. In an attempt to work together, we automatically conspire in an act of imitation, or to be more precise, we enter into a mimetic process. While trying to understand and translate each other's respective traditions, we create something new."

Gaining momentum since performing at the Jazzfest Berlin in 2015, the orchestra continues to initiate its own projects, such as Modara – the orchestra's own festival for classical contemporary music that celebrates cultural transformation. A concept born from the readings of 13th century poet Jalaluddin Rumi, Modara refers to a place of intense encounter and dissolution of the self into something completely new. Or in Rumi's own words: "Out beyond ideas of wrongdoing and right doing, there is Modara. I'll meet you there."

An idea that speaks strongly to Cymin, Modara is also the title she gave one of the album's compositions. Reciting Rumi's words in Farsi, Cymin conveys a peaceful message: "Beyond religion (Islam) or infidelity, there is a desert plain. / For us, there is a passion in the midst of that expanse." Other texts found on the album include verses that are immediately inspired by the Quran as well as readings from the Hebrew Bible and a poem by contemporary Turkish poet Efe Duyan, whose writing deals with current social and political topics. Cymin explains that integrating an expanded repertoire of languages represents a deliberate move on her part: "As a direct contrast to my work with Cyminology – where the Persian lyrics play a central role – for Trickster Orchestra, it was important to me that the lyrics reflect the orchestra's trans-traditional lineup."

"Por se ssedaa," which already featured on Cyminology's ECM debut As Ney, reappears in a new guise, energized by the substantial orchestral scope and untethered by the instruments' breadth. The title and lyrics are based on verses by 14th century Persian poet Hafiz, whose most important work "Divan" famously inspired Goethe to create the poetry cycle West-Östlicher Divan. Contemplating a path, on which love, passion, and music intersect, Hafiz' words echo through Cymin's grounded yet flexible alto in a way that discloses the words' deep resonance with the singer.

Cymin Samawatie studied classical music at the Hanover University of Music and Drama with a focus on piano and percussion, and jazz singing at the Berlin University of the Arts.

With her quartet Cyminology, whose last three recordings were released on the Munich label ECM, she combines chamber jazz with Persian poetry by Rumi, Hafiz, Khayyam and Forough Farrokhzaad, among others.

Cymin Samawatie has composed works for projects including the Osnabrück Morgenland Festival, Female voice of Iran Orchestra, Divan Berlin Istanbul, Neuköllner Oper, Komische Oper, Elbphilharmonie and for Polymorfilms Brussels.

Her artistic work has been honored with the German World Music Award RUTH 2018, the German creole World Music Award and numerous other awards.

Cymin Samawatie was a scholarship holder at the Tarabya Cultural Academy in 2018 and 2020.

Composer and percussionist Ketan Bhatti is a border crosser between different genre and cultural worlds. His work ranges from contemporary chamber music, experimental music and dance theater to electronic, hip-hop based productions. Since 2003 he has worked regularly with his brother Vivan Bhatti for theatre productions of directors like Nuran David Calis at the Deutsches Theater Berlin and Schauspiel Köln, among others. Ketan and Vivan Bhatti's music theatre pieces are based on collaborations with authors such as Feridun Zaimoglu or Roland Schimmelpfennig and have been premiered e.g. at the Neuköllner Oper , the Tischlerei of the Deutsche Oper Berlin or the Staatsoper Hannover. Ketan Bhatti can look back on numerous publications and international concerts, as well as scholarships and awards from the German Music Council, the Berlin Senate and the Goethe Institute. For his concerto for jazz and new electronic music performed with Simon Stockhausen, Ketan Bhatti was awarded the Karl Hofer Prize 2008. From January to June 2017, Ketan Bhatti was a scholarship holder at the Tarabya Cultural Academy in Istanbul.

New Music Releases: Cathy Segal-Garcia, Devin Hoff, Earl MacDonald, LE GGRIL

Cathy Segal-Garcia - Social Anthems, Volume 1

Cathy Segal-Garcia is one of the most prolific recording and performing jazz artists on the scene today. An impresario, teacher, and jazz champion, she is a friend and linchpin for many singers and musicians on the Los Angeles jazz scene. Her newest album, Social Anthems, Volume 1, is her 14th CD as a leader. As an artist, Segal-Garcia is always looking for new avenues of expression. She forms each of her projects around a different theme, instrumentation or musical style, and Soscial Anthems is no different. This time, she moves the needle forward by looking back to the past by singing memorable songs of social import with sparkling new arrangements. These songs are originally outside of the jazz genre, but Segal-Garcia and her superb band reinterpret them with soulful, contemporary jazz arrangements. Segal-Garcia always surrounds herself with top musicians. For this recording, she works with a few mainstays on the Southern California jazz scene, as well as New York vocalist Paul Jost, who is widely known as one of the best male jazz vocalists since Mark Murphy, and vocalist Mon David, who is known for his stirring, heartfelt vocals and imaginative, improvisatory vocal approach. Segal-Garcia chose each of the songs on Social Anthems because they resonated deeply with her. Her clear, cool voice and ability to convey lyrics with warmth and sensitivity, combined with her jazz chops, are always the main attraction of her albums. But when you add the innovative arrangements by Josh Nelson and Anthony Wilson and the superb contributions of Jost, David, and the entire band, Social Anthems is Segal-Garcia’s most compelling album yet.

Devin Hoff - Voices From the Empty Moor (Songs of Anne Briggs)

Hoff has been active in international creative music circles for decades, performing and recording Solo Bass music as well with a wide range of artists. In addition to the talent assembled here, Hoff has collaborated with legendary iconoclasts such as Yoko Ono and Amiri Baraka, virtuoso instrumentalists Nels Cline, Vijay Iyer, Ben Goldberg and Ava Mendoza, underground heroes Cibo Matto, Jewlia Eisenberg, and Carla Bozulich, and punk rock legends such as Mike Watt, Kira Roessler, and Bill Stevenson among many others. The arrangements here include collaborations with musician friends that share a fascination with mining specific folk forms for universal and timeless truths set against multi-tracked bass choirs solo upright bass retellings of Briggs’ a capella songs that transcend the limitations of instrument and genre. The collaborations came about very organically through casually inviting musician friends to participate. Hoff has recorded and performed previously with most of the musicians: he befriended Julia Holter, Shannon Lay, and Sharon Van Etten through playing bass for their own projects, oud player Alejandro Farha and saxophonist Howard Wiley are old close friends and long term cohorts, whereas Emmett Kelly and Jim White are more recent collaborators. Voices From the Empty Moor seeks to honor the mystery and beauty of Anne Briggs’ music while maintaining its own unique perspective, foregrounding powerful emotion and, hopefully, magical transformation.

Earl MacDonald - Consecrated

Consecrated is an album of traditional hymns, brimming with poetic elegance. Unlike any of MacDonald’s previous award-winning recordings, vocals stand front-and-center, with Canadian up-and-comer Karly Epp introduced as an important, new collaborator. Her stirring vocal interpretations mixed with MacDonald’s thoughtfully-crafted instrumental underpinnings convey a wide spectrum of sentiments, ranging from reverence and gratitude to petition, pleading and lament. Consecrated is a deeply spiritual, personal album for MacDonald, and therefore, a deeply refreshing one for the jazz listener. In both his musical artistry and in life, MacDonald clearly searches for beauty and a connection to the Divine, while comfortably exploring dissonance – both cognitive and musical.

LE GGRIL - SOMMES

GGRIL is a motley and joyful crew of musicians from the small, culturally vibrant town of Rimouski in eastern Quebec. In their first decade and a half together, they’ve worked with many of improvised music’s leading lights, including Evan Parker, Ingrid Laubrock, and Xavier Charles. This year, they’re celebrating their milestone 15th anniversary with the release of their 7th recording, the ambitious and gargantuan Sommes: three discs, 12 commissioned pieces by 12 different composers, 21 musicians,  and epic 211 minutes of music. For this new release on the Tour de Bras label, the group revisits music from their storied history, performing compositions by a mix of Canadian and international composers written specifically for the ensemble between 2012 and 2020. Produced and mixed by Michel F. Côté under the musical direction of Guido Del Fabbro, and recorded by Bernard Grenon at the Coopérative de Solidarité Paradis in September 2020, Sommes represents GGRIL at the height of their creative powers. This is truly new music, spontaneous and alive, created by an unlikely and exciting ensemble. 

Belgian-Ghanaian jazz flutist Esinam Dogbatse, a.k.a ESINAM, debut album ‘Shapes in Twilights of Infinity’

Solely carried away by sound, ESINAM succeeds in blending her soulful voice with traditional African percussion, adding electronic influences combined with dazzling melodies and mesmeric flute improvisations. Her compositions carry traces from numerous geographical, cultural and musical influences, collected from her personal history and through various travels, encounters, tours and collaborations.

After starting her solo career as a “one-woman band” sampling and looping all instruments herself to build her tracks, she released her critically acclaimed self-titled debut EP on Sdban Ultra back in 2018 and has performed on numerous stages across Europe including Brussels Jazz Festival, Les Nuits, Copenhagen Jazz Festival and Eurosonic/Noorderslag. As a flutist and percussionist, she has played in, amongst others, Marock’in Brass, Kel Assouf, Témé Tan and Sysmo and collaborated with Baloji, Ibaaku and Jaguar Jaguar. She has supported Mélanie de Biasio, Alsarah & The Nubatones, Selah Sue, Moses Sumney and Mayra Andrade on global tours.

Built on futurist flute sounds, elaborate rhythms and sensitive melodies, ‘Shapes in Twilights of Infinity’ unfolds like a dreamlike path into an unparalleled musical universe. ESINAM invites us on a cosmic journey, a trip towards horizons coloured with sounds and influences that reach as far as the eye can see.

‘Shapes in Twilights of Infinity’ finds a balance between the acoustic and electronic, between the future and ancestral. The songs are deeply rooted in grooves and global sounds, at the same time composed and spontaneously evolving, always filled with a strong musical feeling. From ‘New Dawn’ with its pulsating beats, vivid flutes and poetical spoken word featuring of the Londoner Nadeem Din-Gabisi, over the soulful jazz vibe of ‘Lost Dimensions’, to the etheric melodies and mesmerizing singing of South-African guest vocalist Sibusile Xaba on ‘Flowing River’: ESINAM delivers nothing less than a profound patchwork full of musical connections, where traces of house, trip hop and hip hop intertwine with tones from traditionals, blues and psychedelica.

Based on loops, samples, impressions and field recordings, each song follows the other like a cycle that opens, evolves, transforms and returns to the starting point. ‘Shapes in Twilights of Infinity’ touches the soul with emotion, grasps you, questions you, does you good. The music is rooted in culture and tradition while flying far away, towards tomorrow, as a surprising and engaging infinity.

Similar to the wide range of musical angles, her process of recording and producing is also as eclectic. ESINAM produced many of the tracks herself in her home studio, while others were recorded with her full band, forming of three musicians – Axel Gilain on bass, Pablo Casella on guitars and Martin Méreau on drums and vibraphone – who she picked precisely for their musical identities. The combination of their acoustic and electronic instruments brings a soulful and vibrant interpretation to ESINAM’s compositions, uplifting their groovy vibe.

Fascinated by music at a very young age, particularly percussion instruments including the tama, the piano became ESINAM’s first instrument but for practical reasons, she found herself drawn to the flute.

Either performing solo or with a band set-up, ESINAM unveils herself by orchestrating authentic music full of poetry, rhythms and melodies that make her a unique voice in today’s jazz-and-beyond scene.

Jen Kearney | "Atlantic"

If life is a never-ending series of evolving dualities, then over the past few years, Jen Kearney has experienced a dramatic effect on both ends. The Boston singer-songwriter, multi-instrumentalist, and producer spent two years living in London just before the pandemic hit, writing new music and honing her craft across English stages while getting accustomed to a new rhythm of life. Upon returning home to New England, the pandemic suddenly hit, and like most of us, the artist was rendered limited by lockdowns and quarantines not only in her personal life, but as a born performer. 

The pandemic, however, didn’t curb her creativity, as on March 4 Kearney is set to release a new EP titled Atlantic, a collection that bridges the space between her life in London and life in Boston. Across the EP’s four lived-in compositions, Kearney shows off a creative core that augments her eclectic amalgamation of sound combining  elements of soul, R&B, funk, rock, and Latin music. 

And true to a sign that we’re finally coming out of the past two years of unnaturally subdued living, Kearney takes the Atlantic EP and shows it off where it sounds best, on stage at The Burren in Somerville for the official release party on March 6.

“Like any album, the songs are observational of the times we’re living in,” says Kearney. “It’s a personal snapshot of the last few years looking deep within, but also observing what’s on the surface of society. I feel like I’ve taken some different turns musically and lyrically on ‘Atlantic.’ Living in two countries with completely different rhythms of life over the last few years influenced me for sure. I pushed myself out of some comfort zones.”  

That shines through on Atlantic’s four bold and vibrant  tracks, which were first conceived in London, and then recorded and finalized around Boston using a hybrid approach of home recording and studio production sessions at Charlestown’s A1 Productions and Chillhouse Studios, as well as Wonka Sound in Lowell. Both cities influenced the EP, furthering its oceanic theme. 

Audiences received a taste of the EP last year, when Kearney released lead single “Writing on Water,” which was written after she watched the news and saw how doctors and caregivers were struggling to keep up with the pandemic, and how we need to look inward in order to heal. It's a soulful track where Kearney's warm songwriting acts as its core, and an updated version with live strings finds its home on Atlantic. 

Elsewhere, “Spinning” finds Kearney reclaimed her soul through an unrequited love song, and tracks like “Magician” and “In The Neighborhood” show off a loose playfulness that belies their more serious lyrical nature, the former about how ageism and sexism intersect in both music and life, and the later about gentrification in cities that are becoming unrecognizable. Atlantic finds Kearney taking inspiration from a wealth of favorites across a musical spectrum.

“I think the evolution of a songwriter goes directly with the evolution of the person and every life circumstance, joy, lesson, interaction, heartbreak and loss gets absorbed,” admits Kearney. “I feel like I’ll never be finished learning or have anything in life or music really figured out, so my songwriting is always moving and hopefully growing in good ways.” 

The band around Kearney keeps things moving as well, providing a diverse and comprehensive backbone that buoys the singer’s powerhouse vocals. As Kearney commands her Fender Rhodes, as well as holding court on her Wurlitzer, clavinet, and other keyboards and synths, she’s surrounded by a veritable arsenal of instruments – from brass to strings to everything in between – helmed by some of her closest collaborators.  

“There have been so many great moments getting to work with everyone on the record,” Kearney says. “I am so lucky that I genuinely love all the people on this album. They all feel like a family that has my back and they just happen to be amazing musicians in their technical skills, but also far beyond  in their soul,  imagination, and creativity. I come from a stance that a good song should be able to stand strong when you play it solo or when you play it with a band, but there’s no doubt that the players on this all have such great taste and enhanced these songs in every way.” 

Now they’re ready to be heard, from one side of the Atlantic to the other. 

Norwegian Trumpeter and Composer Mathias Eick Returns to Musical Storytelling with When we leave

Mathias Eick is among the most immediately recognizable soloists to have emerged from the Norwegian jazz scene, and his wistful trumpet sound and strongly melodic compositions have met with a positive response around the world. When his ECM leader debut The Door was issued in 2008, US magazine JazzTimes described the trumpeter’s tone as “plaintive and spare,” while emphasizing that, “like all good bandleaders, his focus is on the interaction of his musicians. The contrast of his restraint and the energy around him constitutes the album’s driving tension.” 

Over the years, Eick has focused and strengthened his approach on both fronts, as soloist and ensemble leader, with concepts for the band adjusted to meet the needs of each project, as well as what The Guardian has described as “a cinematic interest in musical storytelling.”

Skala (recorded 2009 and 2010), for instance, introduced the two-drummer format, latterly a hallmark of much of Eick’s work. Midwest (2014), a meditation on the voyage of Norwegian music to North America, brought violin into the ensemble sound along with colours and textures from folk music. Ravensburg (2017) turned the spotlight on Eick’s own biography, looking, with affection, at his Norwegian and South German family roots. The full group heard on Ravensburg returns for When we leave, augmented by Stian Carstensen’s pedal steel guitar – last heard in an Eick context on The Door - and the saga continues. 

Mathias Eick sees When we leave as “a natural continuation of Ravensburg, almost a Ravensburg 2. More of everything.” Where its predecessor drew portraits of friends and family and sketched some personal interactions, the new album follows its protagonists through a troubled year. A sense of narrative could be drawn from the interplay of titles and musical atmosphere: “The songs and titles on When we leave play upon each other, draw inspiration from each other.” 

Meanwhile the Eick band continues to grow in confidence and range. Violinist Håkon Aase, increasingly recognized as one of the outstanding improvisers of his generation (his ECM credits also include two albums with Thomas Strønen’s Time Is A Blind Guide ensemble), augments the bandleader’s solos with lines that draw upon folk traditions as well as jazz. There is mystery, too, in the way that the violin leans into the delicate swell of Stian Carstensen’s pedal steel. Eick: “Stian’s carpet of harmonies adds a feeling of depth - and the combination with the violin creates a special sound. I’m always searching for sounds that are unique and stand out of time.” 

Powerful drummer Torstein Lofthus has played in contexts from pop to free jazz (including sessions with US saxophonist Sonny Simmons) and is known also for his contributions to exploratory rock group Elephant9. When Ravensburg was released, Eick explained his decision to add a second drummer: “I wasn’t trying to make the drumming bigger but rather more three-dimensional. What’s going on in the area of rhythm is very much like what’s happening between Håkon and myself, where a similar idea of shadowing and call and response is taking place.” Co-drummer Helge Andreas Norbakken digs into the textures of the music, creatively detailing the rhythm and working freely with sound as he has on ECM recordings from the Jon Balke/Amina Alaoui project Siwan to the “percussion think-tank” Batagraf or Jon Hassell’s Last Night The Moon…, as well as Mathias Eick’s Midwest. 

Andreas Ulvo, a pianist of lyrical gifts, draws inspiration from classical music, in his own projects juxtaposing Satie and Rodrigo with free playing, and working across a broad range of idioms. Latterly he has been collaborating with Swiss harpist Giovana Pessi in a new project: an ECM release is in preparation. In parallel with his musical activities he is also a photographer, and has contributed images to albums by Dans les arbres and Giovanna Pessi/Susanna Wallumrød, among others. 

Bassist Audun Erlien’s particular groove, informed by years of playing soul and funk music, has been part of the Eick band sound since The Door. Erlien can also be heard with Nils Petter Molvaer on Solid Ether. 

Mathias Eick was born into a musical family in Norway in 1979 and took up the piano at the age of five, followed by trumpet a year later. A multi-instrumentalist, he also plays vibraphone, double bass, guitar and keyboards, although the trumpet was always “the instrument closest to my heart” as he once put it. He has been the recipient of numerous awards, including the including the International Jazz Festival Organization’s “International Jazz Talent” prize, the Statoil Scholarship and the DNB Prize. 

When we leave was recorded at Oslo’s Rainbow Studio in August 2020. It was produced by Manfred Eicher. The Eick band presents music from the album in concert at Nasjonal Jazzscene Victoria, Oslo (September 17), Collage Festival, Copenhagen (October 2), Jazzfest, Brno, Czech Republic (November 1), and Schloß Elmau, Krün, Germany (November 20).

LNDFK Releases Debut Album "Kuni"

LNDFK (aka Linda Feki) presents her ground-breaking debut album, “Kuni,” on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify’s “Pollen” and “Fresh Finds.” 

“Kuni” is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album. 

“Kuni” opens with “Hana-bi,” an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi’s stunning soundtrack, as well as Kitano’s paintings which appear in the film. “Hana-bi” expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. “Takeshi” acts as an extension and to “Hana-bi,” albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout “Kuni”) – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda’s sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song’s rich texture. “Kuni” truly hits its stride with the next song, “Smoke – a moon or a button” (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again. 

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): “Don’t Know I’m Dead or Not (feat. Chester Watson)” – track #4 – and “How Do We Know We’re Alive (feat. Pink Siifu)” – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with “Kuni’s” message and sonic palette, acting as testaments to LNDFK’s willingness to explore and experiment. 

Meanwhile, “Ku” – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, “Sin City,” and its female assassin protagonist Miho, “Ku” is a musical interpretation of Miho’s story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character’s vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla’s rhythmic syncopation, and Thundercat’s instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington). 

Mixed in throughout “Kuni” are three instrumental pieces that function as something akin to an interlude. The aforementioned intro, “Hana-bi,” and the album closer “se mi stacco da te, mi strappo tutto:” act as bookends, while “Om” indicates the half-way mark. These tracks are the ambient foundation of “Kuni,” representing the thematic duality of the work. Clocking in at only 24 minutes, “Kuni” packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess. 

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility. 

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Her last appearance on the stage was at the Primavera Sound Festival 2019 in Barcelona. 

“Kuni,” is due out now on NYC label Bastard Jazz Recordings, while the vinyl LP will follow shortly after.

Kit Downes | "Vermillion"

After his widely acclaimed ECM leader-debut Obsidian saw Kit Downes exploring a broad spectrum of organ timbres and the chamber-toned follow-up Dreamlife Of Debris substantially expanded the instrumental pallet, Vermillion now introduces us to Kit’s exceptional pianistic qualities in a trio context with collaborators Petter Eldh on bass and James Maddren on drums. 

The Guardian has praised Kit for his “uncanny ability to make difficult music sound natural” and Vermillion provides proof of that, capturing the trio in a carefully assorted piano trio programme that treads gentle lyricism and bold creative outbursts in equal measures and with a strong penchant for melody.

“This record is different from what I’ve done before. We pushed ourselves into an area that we haven’t played in before, which is a more chamber music-oriented sound. The complex rhythmic component is still kept intact, but it’s wrapped in a different aesthetic.” Kit traces his constant search for new musical challenges back to his early mentor, pianist John Taylor, who passed in 2016 and to whom Kit dedicated his first ECM recording: “John sought after real moments in the music, often by doing something unpredictable. He wanted to make new things happen and was obsessed with taking risks musically, which is what I think I did with Obsidian and what we’re doing now on Vermillion.”

Risk comes in subtle disguise as the trio navigates rich and varied structures. Powerful bass attack is intercepted by the softest piano touch, uneven meters veiled in rubato feel and Kit’s unique harmonic language hides its intricacies in patient timing and warm cadences. James Maddren’s percussive contribution is both assertive and adaptable, woven into the music’s fabric. 

No matter whether written and rehearsed at an earlier point or brought to the group on the day of the recording, the trio gives each idea definition and every impulse precise form. “Rather than just documenting everything we’ve done live, with Manfred Eicher’s help we picked what felt like a great collection of music – some music written a couple of years ago, other songs merely two days old. ‘Class Fails’ for example was brought on the day of the recording by Petter. Its bass line may sound like it’s free, but it’s actually in quite specific time. As we started playing the song it turned into what sounds like an organized rubato.” 

On Vermillion, construction and deconstruction exist in harmony with each other, creating organic shapes as the two extremes pull at opposite ends and yield gracefully melodious themes in the process. Kit and Petter each came up with five pieces, while the eleventh and final one is an abstract take on Jimi Hendrix’ “Castles Made Of Sand” – the trio joining in a careful unravelling of the song’s individual elements. Vermillion, recorded at the Auditorio Stelio Molo in Lugano in May and June 2021, was produced by Manfred Eicher. 

James Maddren and Kit Downes’ musical association goes back to their college days, when the two were flatmates, making music together on a daily basis. James studied with percussionist Martin France at the Royal Academy of Music in London and belongs to the most in-demand percussionists in today’s UK jazz scene – having contributed to recordings and performances by the likes of Norma Winstone, Marc Copland and Gwilym Simcock, on top of being the rhythmic backbone to the majority of Kit’s projects. 

Known as the bassist in pianist Django Bates’ Belovèd trio – the trio’s album Study of Touch was released on ECM in 2017 – Petter Eldh’s distinct lower-end contributions can be heard in a variety of contexts since joining Bates’ trio in 2010. Besides his work as an accomplished jazz player, Petter also experiments with electronics, hip-hop and other forms of popular music, which he combines with his jazz background in his Berlin-based group Koma Saxo.

Kit Downes was an organ scholar at St Peter Mancroft in Norwich before going on to study piano, organ and composition at the Purcell School and the Royal Academy of Music. He recorded and toured widely with the band Empirical while also working with – among others Django Bates and Lee Konitz. Besides Petter Eldh and James Maddren, over the years Kit has frequently collaborated with drummer Sebastian Rochford, saxophonist Tom Challenger and cellist Lucy Railton, who all appear on his last ECM outing Dreamlife Of Debris.

New Music Releases: Daniel Maunick, Colin Curtis – Presents Jazz Dance Fusion, Brandee Younger, Phil Walker

Daniel Maunick - Persistence

The Azymuth, Marcos Valle and Incognito producer has announced his sophmore solo album. Between producing landmark albums with the likes of Azymuth, Marcos Valle, and Sabrina Malheiros, recent years have seen Daniel Maunick flourishing as a solo artist. His new solo album Persistence is an exemplary culmination of the momentum Maunick has built since his 2019 debut Macumba Quebrada, which earned support from Moodymann, Benji B, Gilles Peterson, Ron Trent, Palms Trax, Derrick Carter and Moxie to name just a few. As on his previous Far Out opuses (most recently the Musica Encantada EP), Persistence sees Maunick continue to playfully use foundations of traditional afro-brazilian rhythms, as is heard in the spectral cuicas throughout the blissfully bumping, deep-disco lead-single ‘Illusions’. 

Colin Curtis – Presents Jazz Dance Fusion Volume 3 

After the immense success of Volume Two last year, it was only right we get Colin back. Here we find Colin gathering the essence of the last 15 months, reflecting the positivity and feedback from his previous compilations for ZR and his Worldwide FM show. Jazz Dance Fusion Volume 3 is a combination of tracks that had previously evaded a release on vinyl and a reflection of the reaction that the new music was getting in his DJ sets and Radio show. The whole purpose of these compilations is to introduce you to fantastic talent to allow you to then go and explore all their works and keep this movement moving! With exclusive releases, many only available on Vinyl for the first time from Idris Ackamoor, Martin Johnson B3, Jane Bunnett and Maqueque, JuJu, Bellita & Jazztumbatá, GeeW & JD73’s ElecTrio. The UK has made a great musical contribution to this genre in 2020 – 2021 From London to Leeds from Wales toScotland and beyond, quality emerging jazz talent which Colin hopes to showcase right here. “ ~ www.firstexperiencerecords.com

Brandee Younger - Unrest

Today harpist, composer, and recent Grammy® and NAACP Image Award nominee, Brandee Younger releases “Unrest” (Impulse! Records). The socially conscious two track digital single reflects upon the extraordinary uprising against police brutality and racial violence, aurally capturing the nations sociopolitical upheaval. Made possible by a grant from the Jazz Coalition and recorded at Van Gelder studios amid a pandemic and sweeping political change,and Younger deftly captures the turmoil on the emotionally charged tracks. Commenting on the two track release Younger says, “One thing is true for every person hearing this piece; we've all witnessed unrest as the nation grapples with its past and present - all in the midst of quarantine and major political change.” “Unrest” follows the 2021 release of her major label debut album, Somewhere Different, that garnered her a Grammy® nomination for Best Instrumental Composition for “Beautiful is Black” from the genre-busting set and a NAACP Image Award nomination for Outstanding Jazz Album – Instrumental. In addition to her prowess as a bandleader, Younger straddles the line between the mainstream and the current jazz generation, exemplified by her work with jazz leaders and popular hip-hop and R&B luminaries including Ravi Coltrane, Kanye West, Maxwell, John Legend, Pharoah Sanders, Common, and Lauryn Hill. Her original composition “Hortense” was also featured in the Beyoncé documentary Homecoming.  

Phil Walker - In The Air Tonight

As proud of his “day gig” as a financial planner as he is of his burgeoning career as a sly and funky, soul-fired saxophonist, Phil Walker says his goal is destress you in two ways – Smooth Jazz and Smooth Life in Retirement. Because of the title of his latest seductive yet funky, groove intensive and Latin fired album In The Air Tongith, much hoopla will be made of the soaring, spot-on Phil on Phil (Collins) connection. Yet Walker, working with genre greats like Steve Oliver, Richard Smith and former Rippingtons’ members Kim Stone and Dave Hooper, also kicks it up on a Rufus classic and a batch of inspiring originals showcasing his talents at late night mood setting and firing on all cylinders for a danceable good. ~ www.smoothjazz.com

New Music Releases: Melissa Manchester, Delvon Lamarr Organ Trio, Diego Rivera, Irma Thomas

Melissa Manchester - Live '77 (2-CD Set)

1977 was a whirlwind year for Melissa Manchester. The singer-songwriter toured North America's arenas and amphitheaters that summer with Leo Sayer before launching a fall solo tour that attracted the attention of none other than Bob Dylan, who attended the Minneapolis date. Melissa played Carnegie Hall, appeared on network television specials, taped a memorable commercial with Ella Fitzgerald, and released her sixth album, Singin'. But that wasn't all. On October 30, 1977 at Gainesville, Florida's Great Southern Music Hall, Melissa recorded her first live album. The electrifying double record captured her in front of an appreciative college audience, leading a smoking-hot, seven-piece band of rock, R&B, and jazz veterans including two KISS collaborators' saxophonist and keyboardist Tom Saviano (Dolly Parton, Earth Wind & Fire) and bassist Bill Bodine (Van Morrison, Cher)'plus drummer Art Rodriguez (Rickie Lee Jones, Manhattan Transfer) and Melissa's discovery Lenny Castro, now one of the most-recorded percussionists of all time. Yet Arista Records shockingly consigned the album to the shelf, where it's remained unheard'until now. Melissa Manchester's Live '77 makes its long-overdue debut from Real Gone Music and Second Disc Records as a deluxe 2-CD set. Its 21 songs'joyful, sensual, romantic, optimistic, soulful, spellbinding, and ultimately empowering'spoke directly to the thoughts and emotions of the young audience and have proven timeless over the ensuing decades. These include her hits 'Midnight Blue,' 'Better Days,' and the song Bob Dylan admired, 'Just You and I,' as well as the now-standard 'Come in from the Rain,' fan favorites 'We've Got Time,' 'Happy Endings,' and 'Caravan,' and spirited covers of such beloved tunes as 'I Wanna Be Where You Are,' 'Rescue Me,' and 'Monkey See, Monkey Do.' Live '77 also premieres Melissa's only recording anywhere of the blues classic 'Hi-Heel Sneakers.' This landmark release has been mastered from the original tapes by Mike Milchner at Sonic Vision, and boasts a deluxe booklet with rare photos and new liner notes by Joe Marchese based on a fresh interview with the artist and including exclusive quotes from the legendary Clive Davis. Appropriately, Melissa closed this concert of pop, rock, and soul sounds with 'No One's Ever Seen This Side of Me.' Now, in time for its 45th anniversary, you too can finally hear this thrilling side of Melissa Manchester.

Delvon Lamarr Organ Trio - Cold As Weiss

A really great set from one of our favorite groups on the Colemine label – just a trio, but a group who manage to deliver with the same raw funky power as a much larger group! Delvon Lamarr handles the Hammond in the group – and he's a wizard on the keys, able to move between rhythmic vamping and these incredibly deft solos – at a level that matches some of our old school favorites, like Jack McDuff or Lonnie Smith! The rest of the group features Jimmy James on guitar – a player who can bring a nice edge to his sound – plus Daniel Weiss, who handles some mighty heavy drums – the rock-solid core of the trio, and always keeping things funky throughout. Titles include "Keep On Keepin On", "Pull Your Pants Up", "Don't Worry Bout What I Do", "I Wanna Be Where You Are", "Get Da Steppin", and "Uncertainty". ~ Dusty Groove

Diego Rivera - Mestizo

Fantastic work from Diego Rivera – a real rising star on the tenor, and a player who seems to really be able to pack a lot into a very small space! The tunes here are never super-long, but they're overflowing with meaning and color – not just from Rivera's well-crafted solos, but also the trumpet work of Alex Sipiagin and piano of Art Hirihara – both musicians who really do a lot with their space on the record too! The rest of the combo features Boris Kozlov on bass and Rudy Royston – and all members of the group work together as if they've been thinking the same thoughts for weeks before going into the studio – effortlessly making magic on Rivera's original tunes that include "Battle Fatigue", "Braceru", "Cancion De Cuna", "Most From The Least", "Mestizo", "Rasquache", and "La Raza Cosmica". ~ Dusty Groove

Irma Thomas - Full Time Woman

'Soul Queen of New Orleans' Irma Thomas enjoyed a run of national success in the U.S. in the mid-'60s with classics like 'Wish Someone Would Care,' 'Anyone Who Knows What Love Is (Will Understand)' along with the original vocal version of 'Time Is on My Side' (later a massive hit for the Rolling Stones), recorded for Imperial Records. Following a short stint at Chess Records, Irma recorded for Canyon before being signed to Atlantic Records by the label's much renowned executive, Jerry Wexler. A first session in 1971 yielded one single, 'Full Time Woman' (produced by noted New Orleans music legend Wardell Quezergue), which failed to chart but was singled out by Wexler in a 2007 interview as one of his all-time favorite recordings. Undaunted, Atlantic arranged further sessions for Irma in Detroit, Miami and Philadelphia throughout 1972 ' yet none of the material was ever issued until a 2014 CD collection. Now, some 50 years after they were originally recorded, Full Time Woman: The Lost Cotillion Album brings all of Irma's recordings for Atlantic (under its Cotillion imprint) to LP for the first time! Irma puts her own distinctive, ever-soulful stamp on such tunes as the standard 'Time After Time,' Bobbie Gentry's 1969 hit, 'Fancy,' and Billy Walker's country hit, 'Tell Me Again,' alongside the funky 'She's Taken My Part,' (the flipside of 'Full Time Woman'), and R&B-flavored original material including the highlights 'Waiting For Someone,' 'Our Love Don't Come Easy,' and two early '70s Philly soul cuts, 'No Name' and 'Adam And Eve.' All told, 13 of the 15 tracks on Irma Thomas: Full Time Woman'The Lost Cotillion Album make their vinyl debut (on light blue vinyl, to be exact); it goes without saying that this release represents a major addition to the Irma Thomas discography!

Jazz Is Dead Returns with new albums joined by Lonnie Liston Smith, Jean Carne, Tony Allen plus NFTs and Concerts

In the music industry, time moves ten times faster. There is no pause given to greatness, and legends can vanish amidst the churn of the hit parade. It is no minor miracle, then, that in the face of a deadly pandemic and faltering supply chain, Jazz Is Dead has returned with another offering of top-shelf recordings, paying tribute to past legends and new school torchbearers alike. Whether you’ve known the names of Jazz Is Dead Series 2’s featured guests or are just meeting them for the first time, prepare to be blown away. 

For Adrian Younge and Ali Shaheed Muhammad, collaborating with music icons and personal heroes is a dream come true. As Younge notes, “A lot of the luminaries have been forgotten, and we want to get people excited again. For me, there is nothing more rewarding than that.” However, completing such a monumental task while facing the ongoing unprecedented challenges of the COVID-19 pandemic meant taking careful steps to ensure each artist’s safety and contending with obstacles brought by a global supply chain slowdown, all while keeping the initial vision for the label and production house intact.

“Due to the pandemic, we weren’t able to have live events, which are such a foundational part of what we do,” says Muhammad. “We launched the label during the pandemic, unsure how we would be able to promote the music when the world was in chaos and turmoil and suffering such loss. We weren't even sure if the music mattered. But what we discovered was these albums helped ease some of the pain of the adversities and difficulties. There's no greater prize than your music having a positive impact on a person.”

With Jazz Is Dead Series 2, Younge and Muhammad have once again, together with a roster of world-renowned legends, crate digger patron saints, and an exciting vanguard of young talent, delivered another unimpeachable collection of fresh and captivating recordings inspired by jazz’s past, present, and future. There are names that some may already be familiar with, such as Lonnie Liston Smith, Jean Carne, and Tony Allen, and those less so, like Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, & Katalyst. What unites each new collaborator is their unbent dedication to remaining original, preserving their creativity, and sharing it with the world. More info about Series 2 below.

After a 2-year hiatus from social gatherings, Jazz Is Dead is back in the concert business! With sold-out upcoming concerts for Nate Smith (2/19), Kamaal Williams (2/27, second show added) and Alfa Mist (5/18, second show added) and are currently on-sale with the Los Angeles legends Pan Afrikan Peoples Arkestra, saxophone god Ronnie Laws and Sons of Kemet. To find more info and tickets for Jazz Is Dead concerts visit jazzisdead.co/events.

Jazz Is Dead has also stepped into the NFT world. “We recognize the value in the utilities that NFT’s can provide and the security and transparency that blockchain provide. Our NFT’s will act as vinyl subscriptions, concert season passes, lottery tickets (with monthly drawings) and weekend getaways. NFT’s are allowing us to build a stronger community for fans and reward them for their support of Jazz Is Dead,” says co-founder Andrew Lojero. The first NFT Jazz Is Dead will release is for FREE. The only way to get it is by collecting all of the records in Jazz Is Dead Series 1 (JID001-JID010). If this all sounds complicated to you, don’t worry, Jazz Is Dead has created simple, original and comprehensive materials to guide you through the process. To buy NFT’s and find more info go to jazzisdead.co/nft.

Few can claim to have shaped Jazz-Funk to the extent that Lonnie Liston Smith has. “To have Lonnie Liston Smith in the studio was an immense honor. Once he stepped in and saw the analog equipment, he lit up, and took us all to space,” says Younge. 

Known for her incredible vocal acrobatics that span from Spiritual Jazz to Disco and R&B, Jean Carne dazzled those in attendance for her session. As Muhammad puts it, “Jean Carne walked through the door, and her grace and positive spirit filled more than the Linear Labs studio. It was a playland, there were no challenges.”

As the drummer for Fela Kuti’s Africa 70, legendary drummer Tony Allen brought Afrobeat to the world, and reinvented the possibilities of rhythm. “It’s bittersweet”, says Younge. “We just feel very fortunate that we’re given the privilege to add to his indelible legacy. To be able to record with him in the studio, on my drum set...I feel like it should be in a museum.”

Best known to curious ears for his work on the trailblazing independent Black Jazz label, Henry “The Skipper” Franklin reconfigured the bass into the emotive focal point of some of the label’s most well-regarded releases. “He was so cool about everything that was happening, one slide on that bass and the whole universe shifted”, recalls Muhammad. “(Franklin’s former collaborator) Hugh Masekela had just passed. It’s hard to highlight how something so subtle gets into the music, but it does.” “Working with Henry was like a warm Spring Day,” adds Younge. 

As founders of the legendary Tribe Records, Phil Ranelin and Wendell Harrison led a jazz underground renaissance in Detroit, forming a model for creative independence that is still followed today. “It was great working with Phil and Wendell, they definitely set the blueprint”, says Muhammad. 

Virtually forgotten after the botched release of his head-spinning debut album, Garrett Saracho returned to the studio after a decades-long hiatus with unflappable poise. “The LA Latin sound, built on Black and Brown unity, deeply resonates with me”, says Younge. “For us to have the opportunity to revisit this idea with Garrett in this day and age is powerful and inspiring,” adds Muhammad. And although jazz insiders around Los Angeles may have already known for some time, Katalyst, is bridging the timeless sounds of past generations forward for a new audience. “It is important for us to include the younger generation,” says Muhammad. “We feel that they are legends in the making.”

For both Younge and Muhammad, preserving and sharing these legacies remains at the core of their mission. “We do this work with reverence, for the people who came before us, that’s our intent,” says Muhammad. In an era of streaming and rapid devaluation of music, and with the lingering uncertainty of running a new independent label in the time of COVID, Jazz Is Dead continues with Series 2. 

Brev Sullivan | "Ira The Tribute Album"

Although Ira Sullivan performed with jazz luminaries like Charlie Parker, Lester Young, Roland Kirk, and Art Blakey, his music is not as widely known among general audiences; however, as a master on the saxophone, flute and trumpet, he had a reputation among his peers as an outstanding bebop soloist. Trumpeter Brad Goode called Sullivan “one of the greatest soloists in the history of the music.” Sullivan limited his touring performances and instead chose to focus on teaching at the esteemed Frost School of Music, becoming one of the leading jazz educators in the U.S., mentoring several generations of up-and-coming musicians. Sullivan passed away in 2020 at the age of 89, but his musical legacy lives on in a new recording project titled Ira The Tribute Album by The Blue Road Records Band. The band is the house band of Blue Road Records Studio, a Miami institution founded in 2019 by guitarist Miriam Stone. 

The Blue Road Records Band is made up of some of the sterling musicians who have made a home in South Florida, including Brev Sullivan, one of the lead guitarists and son of Ira Sullivan.  Sullivan passed away while Stone and Brev were working together, and they decided to record a tribute album to Sullivan. Brev relates, “My father had so many families, not only his actual family, but also his touring family as well as his family of students. I wanted to make this album to not only preserve his legacy but also preserve the memory of those moments that are dear to me when I performed with him on stage.” Brev brought his father’s complex charts to the recording sessions. A bebop player at heart, Sullivan embraced a younger generation of musicians, like Pat Metheny and Jaco Pastorius, whom he mentored and who learned from Sullivan’s iconoclastic approach to music. The charts reflect the later period of Sullivan’s life when his music touched on the sounds and harmonies of fusion. Ira The Tribute Album is a fitting tribute to the multi-instrumentalist who has influenced so many lives through his teaching and music.

New Music Releases: Nina Simone, Ethan Iverson, Travis Duo (Jarvis Earnshaw & Trevor Dunn), Toots Thielemans

Nina Simone - Feeling Good – Her Greatest Hits & Remixes

A really great collection of work from the legendary Nina Simone – a set that's overflowing with the kind of timeless cuts that continue to resonate as strongly today as when Nina was first recording them back in the 60s – served up in that genre-breaking blend of jazz, soul, and folk-styled elements – all in a style that continues to remain Nina's own! The set is very heavy on message-oriented cuts, but also includes a few remakes of standards – but done with that edge that Simone had that could turn a love song into a biting moment of commentary – a quality that really comes through here in the 19 classic tracks in the set, which are mostly from her years at Philips. Titles include "Feeling Good", "Sinnerman", "Black Is The Color Of My True Love's Hair", "Me Me Quitte Pas", "Mississippi Goddam", "Strange Fruit", "Work Song", "Take Care Of Business", "See Line Woman", "I Put A Spell On You", "Don't Let Me Be Misunderstood", "Ain't Got No I Got Life", and "Don't Explain". The package also features 7 remixes too – new reworks of classic Simone tracks, done with the continuing power that's kept her fresh – titles include "Feeling Good (Joel Corry rmx)", "See Line Woman (Riton rmx)", "Sinnerman (Sofi Tukker rmx)", "My Baby Just Cares For Me (honne rmx)", "Take Care Of Business (Rudimental rmx)", "I Put A Spell On You (Floorplan rmx)", and "Be My Husband (Hot Chip rmx)". ~ Dusty Groove

Ethan Iverson - Every Note Is True

A very different album than you might expect – certainly different than the music that pianist Ethan Iverson was giving us when he was a member of The Bad Plus – and a set that may well stand as a great testament to his decision to break out on his own! There's a subtle sort of majesty here as Ethan plays in a trio with Jack DeJohnette on drums and Larry Grenadier on bass – often with the kind of rhythmic pulse of his previous work, but with themes that travel at a deeper level, and which have the record bristling with meaning at each new twist and turn – thanks to the fresh vision of Iverson's music! Make no mistake, this is hardly a standard piano trio album – something that's signaled on the initial tune, "The More It Changes", which has a vocal chorus – then continues through the trio titles "Had I But Known", "For Ellen Raskin", "The Eterna Verities", "She Won't Forget Me", "At The Bells & Motley", "Praise Will Travel", and "Merely Improbable". ~ Dusty Groove

Travis Duo (Jarvis Earnshaw  & Trevor Dunn) - HYPNAGOGIA

Travis Duo’s debut album is a collection of improvisations done based on a set of line drawings and diagrams drawn during lucid dreams. Recorded by legendary producer Martin Bisi at his studio in Brooklyn NY, “HYPNAGOGIA” is a bold and honest 1st album by the pair pushing abstractions whilst gently nestling on their pop roots. The kaleidoscopic overtones of the sitar dance elegantly with the charismatic and eloquent contrabass, provoking dreamers to kenopsia-tic drawers of the sub-consciousness; psychedelic with a mean right hook, at times eruptive like a feral animal ready to bite, to long deep bows that stretch across the glittering night sky reaching through to your deepest of nightmares lurking at the bottom of oceanic abyss. Featuring: Daniel Carter on flute and saxophones, the NYC Jazz veteran weaves through the tapestry of colours painted by Sean McCaul on xylophone, as Devin Brahja Waldman poetically releases the spirits summoned by the dynamic drumming of Niko Wood moving mountains and parting the clouds to a brighter future.

Toots Thielemans - Soul Station: The Complete Toots Thielemans 1952 to 1961 (4CD set)

A huge collection of work from the initial years in the long musical career of Toots Thielemans – a musician who really helped shape the sound of jazz on a few different instruments, and who also made strong contribution to the world of soul and soundtracks over the years too! The package features eight full albums by Toots – all brimming over with color and lyrical magic – with Thielemans famously crafting these amazing lines on harmonica – bringing the instrument into jazz territory that no others had touched – and often playing guitar as well, depending on the record. The settings here vary nicely, as the records are from both European and US sources, each of which have a different setting – including a date with backings by Kurd Edelhagen on the record Road To Romance, small combo European sounds on the 1961 record Toots, work with the Ray Bryant trio on The Soul Of Toots Thielmans, a cool French group on Try A Little Tenderness, a larger US orchestra on Time Out For Toots, a small jazz combo with Pepper Adams on Man Bites Harmonica, Toots' group with organ from Billy Desmedt on Toot's Quartet, and a larger group on The Sound Of Toots Thielmans. 84 tracks on four CDs – with notes in English and French!  ~ Dusty Groove