Spurring Positivity in Life through Blends of Neo-Soul, Pop, and Jazz: Wenso Ashby Returns with Bold New Album

Traversing through diverse musical genres, Wenso Ashby’s new album contains 9 magnetizing songs. Entitled “The Perfect Flow”, the newest release echoes a vibe reminiscent of the works of Quincy Jones, Robert Glasper and Brian Culbertson.

A fantastic production, the album melds together the best individual artists for each song while providing an overall continuity in the direction of the work itself. Through the lens of each characteristic and distinct style, “The Perfect Flow” traces the pathway toward self-reflection through a unique process.

Crafted as a beacon of positivity, the new album was mainly written and produced by seasoned songwriter, producer and pianist, Wenso Ashby. The album’s track ‘Fields of Wishes’ was co-written with the renowned guitarist Ken Navarro.

Recorded in Minneapolis at Tay Tay Tunes Studio and Logic Studio and engineered by maestro Brian Bart, “The Perfect Flow” encompasses a rich blend of Jazz, Pop, and R&B, with intricately woven rhythmic elements from the 70s.

Slated for release on March 27th , 2022, “The Perfect Flow” is set to precede Wenso Ashby’s 2022 promotional tour kicking off in Minneapolis in June. Imbued with a positive, feel-good vibe, the album is bound to touch the inner emotions of listeners. Shedding light upon the unparalleled talents of Ken Navarro, with 14 top up-and-coming artists including the likes of saxophonist Jason Peterson Delaire, bassist Yohannes Tona, saxophonist Antonio Jackson, vocalists Aimee K. Bryant and Thomasina Petrus, and several other exceptional artists.

“I believe in the moment rather than placing emphasis on what I have done in my past. Like so many artists I too have a history that reflects performing and sharing the stage with other national artists,” says Wenso regarding his musical inspiration.

New Releases: Hermeto Pascoal, Cecile McLorin Salvant, Blue Lab Beats, Daggerboard with Henry Franklin

Hermeto Pascoal - Hermeto

Far Out Recordings presents Hermeto Pascoal’s remarkable self-titled debut album. Recorded in 1970 at A&R studios in New York, the album features certified North American titans including Ron Carter, Hubert Laws, Joe Farrel and Googie Coppola, and Brazilian stars Airto Moreira and Flora Purim (who also produced the album). While it was Hermeto’s first album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira and Miles Davis, who allegedly called Hermeto “one of the most important musicians on the planet”. With Hermeto’s otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft-celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai’s 1972 debut and the unplacable early experimentalism of Pedro Santos’ 1968 album Krishnanda. With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album’s sleeve notes, Airto highlights the track “Velório (Mourning)” explaining how Heremto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard. The reissue of Hermeto Pascoal’s Hermeto, follow’s Far Out’s recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981, and 2017’s release of Hermeto Pascoal’s lost 1976 studio album: Viajando Com O Som.

Cecile McLorin Salvant - Ghost Song

A fantastic new chapter in music from Cecile McLorin Salvant – a singer who's only been with us for a little more than a decade, has already gotten a Grammy and a MacArthur Genius Grant – yet hasn't let that stop her from being even more creative than ever! Cecile's still very much a jazz singer at the core, but there's also an expressive range here that we might never have guessed on her earlier records – and that's saying a lot, as those albums really blew us away! The singer's really breaking out of just the world of jazz vocals here – rising with star power, ala Gregory Porter or Esperanza Spaulding – but also maybe going deeper at the same time too. Titles include a surprising remake of "Wuthering Heights", plus "Thunderclouds", "Unquiet Grae", "Moon Song", "Trail Mix", "The World Is Mean", "Obligation", "Optimistic Voices/No Love Dying", "I Lost My Mind", and "Dead Popular". ~ Dusty Groove

Blue Lab Beats - Motherland Journey

The first full length set from London duo Blue Lab Beats – a pair who are very well-placed on Blue Note Records, but more as ambassadors of some of the more soul-styled work the label has done in recent years! There's a very collaborative vibe going on here – as the core producers open the door to a range of guests, and change up the moods of the cuts from track to track – almost with the sort of energy of the initial Black Radio projects from Robert Glasper, but with more London elements in the mix – and an approach that moves far past jazz at many moments! The album features work from Killbeatz, Kiefer, Ghetto Boy, Emmavie, Poppy Daniels, Kofi Stone, Jerome Thomas, and others – including a from-the-grave appearance by Fela Kuti – and titles include "Motherland Journey", "A Vibe", "Gotta Go Fast", "Labels", "I'll Be Here For You", "Dat It", "Home", "Warp", "Sensual Loving", and "Blow You Away". ~ Dusty Groove

Daggerboard with Henry Franklin - Daggerboard & The Skipper

Daggerboard work here with the great west coast bassist Henry Franklin – aka Skipper, which you might know from his famous 70s albums for the Black Jazz label! Franklin's a talent who's been keeping the fires burning for decades on the west coast underground scene – and he's still a hell of a talent, and an equally great composer – as you'll hear here, when Daggerboard really lets him take the lead. If anything, Franklin's bass might be even more upfront in the mix than on some of his own recent albums – and the group's also joined here by the great Roger Glenn on vibes – another older west coast player who delivered a superb 70s album on Fantasy. The group's co-led by Erik Jekabson on trumpet and Gregory Howe on percussion – and some of the tracks also feature some great subtle use of a string quartet too. Titles include "Involuntary Separation", "Skipper's Garden", "Conception Point", "Video Culture", "Seven For Henry", and "Agapanthus". ~ Dusty Groove

Arnab Sengupta - Leap of Faith

Flashes of bold melody and timeless wisdom emanate from the multi-genre compositions of singer songwriter Arnab Sengupta on inspired new album "Leap of Faith", out now on streaming platforms. On his 3rd album "Leap of Faith", Arnab Sengupta incorporates a vast amount of fresh life experience, resulting in a revelatory, meditative signature sound appealing to a wide range of discerning listeners. With song titles like 'Impermanence" and "Alone but not Lonely", this new release finds Arnab leaning towards 'the ultimate truth' as he finds meaning in hypnotic, flowing and uplifting sonic fusions. 

"Leap of Faith" finds Arnab Sengupta showcasing his boundary-smashing songwriting approach, with jazz, blues, world, classical and experimental all playing important roles. To make the project come to life, Arnab has enlisted the support of a range of masterful guest musicians.

Those looking to explore the depths of their own consciousness should find much to enjoy here.

From the Artist:

"My songwriting journey started way back in 2006 after a good 15 odd years of having assimilated a plethora of musical styles and genre, by studying, performing and nurturing Contemporary music in various capacities. It was my last year in the frivolous 20s. I was soon entering the more mature 30s and various incidences and situations impelled me to look at life much more deeply from within.

Musically the harmonic sophistication of Jazz music left the most enduring impression in my artistic expression. I was not a great improviser, but I couldn't get enough of beautiful chord changes. But it wasn't until 2015 that I released my first record “Refrain” which I feel is a very bold album, very fresh, creative and is harmonically rich and lyrically deep and evocative. I recorded this album in an online mode with the help of musicians from the Berklee College of Music in Boston. The lyrics largely focus on my inner journey of self-discovery and self-expansion.

My second album “Inadvertently” was recorded the following year in 2016. By that time, I had found a steady musical direction and style with my original music and was well established in my unique sound. This album too, was recorded with the help of the musicians in New York via online exchanges. The words and music have a slightly more straight ahead jazz feel to it than “Refrain”.

For “Leap of Faith” I wanted to try out some new styles and sounds. The creative ideas for the songs in this album have spanned over 5 years, which entailed my migration to Australia, my experiences of setting up life in a new environment, my learning and regular practice of Vipassana meditation and dedicating my musical direction to learning and practicing Jazz piano with my teacher from New York. So this album did mark a “Leap of Faith” in many ways. The songs in this album are more versatile and there is a certain stylistic variety which shines through, though the words are still about my pursuit of the final frontier – the ultimate truth and meaning of Life."

Arnab Sengupta is a singer-songwriter and multi-instrumentalist with a penchant for creating original music. Over a period of 30 odd years, Arnab has diligently pursued the study and performance of Contemporary music which has shaped up his own artistic expression. His musical style is fresh, innovative and harmonically sophisticated and his lyricism is deep and evocative.

An alumni of the revered Berklee College of Music, Boston, Arnab has developed a significant body of original work. He is also a seasoned vocal coach and a session artist on several online session marketplaces. He is currently based out of Sydney, where he continues to explore opportunities to present his music in a live setting as well as develop new material.

SWIZZ BEATZ TEAMS UP WITH 12ON12 FOR ‘LONG LIVE JAZZ’ ALBUM

Entrepreneur, legendary producer, and leading industry visionary Swizz Beatz teams up with premium vinyl brand 12on12 for the release of album ‘Long Live Jazz’. 

Following acclaimed collaborations with Travis Scott x Saint Laurent and RUN DMC, Swizz Beatz is not only the latest curator to work with 12on12 but he also comes on board as their new business partner. Acquiring a strategic stake in the high-end luxury vinyl brand, Swizz continues to build on 12on12’s reputation for unique ‘Vinylworks’ and bespoke limited collector’s editions by compiling his own exclusive 12” vinyl compilation featuring artwork from his own private collection (The Dean Collection) shot by revered photographer Kwame Brathwaite as the unique work of art for the record. 

Swizz Beatz’s 12on12 is a limited edition premium package that is hand-numbered to a run of 1000 copies featuring a meticulously selected track list which shares Swizz’s love and passion for jazz across it’s four sides. 

A modern day renaissance man, Swizz Beatz is keen to showcase Jazz to new generations and audiences while capturing the new vibrancy of the Jazz scene; demonstrated by his selection of a reworking of The Weeknd’s hit ‘Call Out My Name’ by today’s leading jazz musicians the New Masters and featuring one of the most vital voices in 21st century Jazz: Immanuel Wilkins. 

Swizz’s selections are all intentional taking the listener on a journey from iconic recordings of jazz standards including Miles Davies’ “Round Midnight” and Kenny Dorham’s “Alone Together” through to contemporary jazz from present day greats such as “Doubts” by Ibrahim Maalouf, where you can hear the unmistakable influence of Miles Davis alongside Maalouf’s Arabic sounds. 

The piece of art selected by Swizz Beatz for the cover image ‘Untitled (Grandassas in Car)’ was shot in 1968 during a Garvey Day Celebration in New York by Kwame Brathwaite. Brathwaite has a long history with jazz, having started his career as a co-founder of the African Jazz Arts Society and Studios (AJASS) before going on to photograph superstars like Stevie Wonder and Bob Marley, as well as jazz greats like Miles Davies and John Coltrane. 

Swizz Beatz says “Jazz has always been magic to our ears. I feel like it should definitely get more attention! This is the first step to pay homage to the great craft & art. Photography is also one of the best expressions of art and should be shown more often. Art & Music are brothers and sisters so I thought it was a great match. I’m a big fan of Kwame and I also love that I'm able to share pieces from my collection through music!” 

Founder & Chief Creative of 12on12 Claudia Moross adds; “Our goal is to create transcending experiences through music and art, the combination of playing the record while exploring the thoughtfully curated artwork commissioned for the sleeve allows for a precious moment of cultural enjoyment. 12on12’s are very much pieces of art that can be collected and treasured. With Swizz’s finger on the pulse and his well-documented history within music and art, the brand will be upping the ante as we look to work with the very best artists, both visual and musical, to curate future Vinylworks. I am really looking forward to the next chapter for 12on12 and with the expertise and passion Swizz Beatz brings to the table I’m really excited for what’s to come for the brand.” 

Living at the intersection of music, art and pop culture, 12on12 provides a unique canvas for cultural icons to curate the soundtracks to their lives. With global trends growing around nostalgia and legacy artists dominating consumption both within rising vinyl sales and across streaming platforms, 12on12 continue to prove themselves as an exciting creative brand capturing a powerful part of the zeitgeist. 

Sharing the same belief in the opportunity the vinyl medium presents, 12on12 have partnered with Vinyl Me, Please (VMP) for the release of ‘Long Live Jazz’. 

Claudia Moross explains; “12on12’s partnership with Vinyl Me, Please gives us the opportunity to reach a large, dedicated base of avid music and visual media fans who might enjoy our unique Vinylworks.” 

VMP are a leading creative powerhouse in the world of vinyl, curating exclusive vinyl packages across genres. They will ship over 800,000 vinyl records to fans across the world this year, and have also seen first-hand the power of physical media to create tangible, transcendent experiences with music. 

TRACKLISTING

 Side A

Until the Real Thing Comes Along by JD Allen

Doubts 2 by Ibrahim Maalouf

Osmosis Part III by Paul Motian, Bill Frisell, Joe Lovano

 Side B

Call Out My Name by New Masters feat. Immanuel Williams

Never Let Me Go by Houston Person

I’ve Grown Accustomed To Her Face - Live by Wes Montgomery

 Side C

In A Sentimental Mood by Sonny Rollins feat. The Modern Jazz Quartet

Little Girl Blue by Jeremy Pelt

Doubts by Ibrahim Maalouf

 Side D

Alone Together – Rudy Van Gelder Remaster by Kenny Dorham

‘Round Midnight (Mono Version) by Miles Davis

In The Wee Small Hours Of The Morning by Bill Frisell, Thomas Morgan

 

 

U-Nam's California Funk Machine

California Funk Machine is not just another tribute band. California Funk Machine is not just a collection of music. California Funk Machine is a concept, a style, a coming together of like minded musical brethren to breath new life into some of the hottest Funk, Disco, Soul and Jazz Funk lassics of the 70’s and 80’s.

The driving force behind what is envisaged to be a series of volumes is none other than Billboard chart topping artist, platinum producer and multi instrumentalist Emmanuel “U-Nam” Abiteboul who, since moving to Los Angeles from his native Paris, France in 2008, his built a reputation for knowing Funk like no one else knows Funk.

His contribution to California Funk Machine reaches far and wide.  As well as arranging both horns and strings, U-Nam also produces and arranges the entire album.  In addition he provides his own virtuoso input with lead and rhythm guitars, talk box, vocoder, lead and background vocals, rap vocals, bass, moog bass, rhodes, clavinet, synth guitar, keyboards, drums, editing & mixing. It places him front back and center of the entire enterprise that includes a plethora of outstanding supporting artists, including some who, back in the 70’s and 80’s, were responsible for creating some of the music that California Funk Machine is now reigniting.

Take for example ex Stevie Wonder and Prince vocalist Marva King who takes the lead on the McFadden & Whitehead smash “Aint No Stopping Us Now” serves as the perfect curtain raiser to what is a very special collection.

Equally so “Ready” Freddie Washington who plays bass on the Maze classic “Back In Stride”. In his time he co-wrote, and was the bass player on, the original recording of Patrice Rushen’s seminal “Forget Me Nots”.

Here, for “Back In Stride”, Washington is teamed with Tony Tatum on vocals and former Maze & Frankie Beverley band members Wayne “Ziggy" Linsey (who plays on the original recording) on clavinet, organ,& rhodes plus Michael White (Maze drummer for 21years!) on drums.  Both of these fine players enjoyed time with the band, both in the studio and on the road, for decades.

Another bass player of note, Alex Al, who for over ten years played both bass and keyboards for Michael Jackson (and features on the MJ’s documentary “This Is It”), holds it down on the Brothers Johnson hit “Stomp!” for which U-Nam weighs in with a vibrant bass solo and vocals are in the capable hands of Frank Burke.  Closing the circle, Frank is a former member of Rod Temperton’s band Heatwave. Temperton co-wrote “Stomp!” (with George and Louis Johnson) as well as iconic anthems such as George Benson’s “Give Me the Night”, Michael Jackson’s “Rock With You” & “Thriller”.

When vocal duties switch to regular U-Nam contributor Tim “TiO” Owens the outcome is Fat Larry’s Band 1982 signature “Act Like You Know” and George Benson’s “Give Me the Night”, which in its extended form includes a rap from Jeff Lacey.

Another Rod Temperton number, “Motor Mouth”, also makes the cut. This song, that was originally included on Herbie Hancock’s 1982 LP  “Lite Me Up” finds U-Nam, with vocals, guitar and on point production, at his scintillating Funk drenched best.

Other gems include the Earth Wind & Fire blockbuster from 1978, “September” (complete with U-Nam and Kim Chandler on backing vocals), Al Jarreau’s “Boogie Down” and a very different version of Atlantic Starr’s “Perfect Love” that U-Nam bestows with an irresistibly hard driving edge which makes it sound brand new.  

The CFM line-up is completed by percussionists Denis Benarrosh and Larry Salzmann, The California Funk Machine Orchestra (comprising Maria Grig on violin and viola plus Lyudmila Kadyrbaeva on cello) and finally the California Funk Machine Horns courtesy of Joabe Reis on trombone and Christian Martinez on trumpet and flugelhorn.

As U-Nam himself explains, “…the real purpose of California Funk Machine is to perform live on stage and to support the release of the California Funk Machine Volume Serie a world wide tour is already being planned.”  

The shows will be where the music, fueled by fun, an evolving set list and surprise guest performers, will really come to life. In fact to lean on the title of another famous track from that musical golden age, “Good Times” are guaranteed and the party atmosphere, built upon classic grooves and marvelous melodies, looks set to rejuvenate even the most tired of dancing feet.

With real strings and real horns California Funk Machine is the real Funk deal. For the legions of Funkateers out there it will bring the memories flooding back. For those discovering Old School Funk for the very first time this is a tremendous place to start.

The message from U-Nam is clear - “May The Funk Be With U”.

New Releases: Nicola Conte/Gianluca Petrella/Joe Claussell, Jamael Dean, Henry Franklin, J.P. Bimeni & The Black Belts

Nicola Conte & Gianluca Petrella - Inner Light - Joe Claussell Sacred Rhythms Versions

"Inner Light", featuring Raashan Ahmad on vocals is the first song from "People Need People" (SCLP/CD 491) chosen for a series of reinterpretations that will be released throughout 2022 - this EP being the first one in a trilogy of 12". Joaquin Joe Claussell needs no introduction: Body & Soul founder and Sacred Rhythm label honcho, a true legend and purveyor of spirituality – a cosmic messenger that brings us two new proper versions of "Inner Light". Further releases in this series will feature none less than Anthony Nicholson, DJ Spinna and Tall Black Guy!

Jamael Dean - Primordial Waters

A sublme blend of jazz and Yoruba influences – served up here by keyboardist Jamael Dean with a sound and style that's all his own! Most of the tracks feature vocals from Sharada Shashidhar, but used in a wordless style that blends in beautifully with the instrumentation on the record – music from players who include Aaron Shaw on saxes, Zekkereya El Maghharbel on trombone, and Carlos Nino on piano – all working in a west coast spiritual style that certainly lives up to Nino's roots on the scene, and Dean's own legacy working with Kamasi Washington. There's some great other elements along the way – harp, bassoon, oboe, and other surprise – all used with a subtle sense of majesty that really elevates the whole sound – on titles that include "Galaxy In Leimert", "Osun", "Overstood", "Sango", "Ifa", "Akoda", "Odo To Da Iwa", and "Ori Apere". ~ Dusty Groove

Henry Franklin - Blossoms Of Blessings: Showers Of Blessings

Really great work from bassist Henry Franklin – a musician best known for his important 70s recordings on the Black Jazz label, and one who's secretly been creating some great sounds in more recent decades! The set is one issued on Franklin's own label – one of a run of wonderful records that not only show that Henry's soulful spirit is alive and well, but that he's also still a vital force on the west coast scene as well! The set features a great lineup – Theo Saunders on piano, Ryan Porter on trombone, Nolan Shaheed on trumpet, Willie Jones III on drums, and Teodross Avery on tenor and soprano sax – a group who have a very well-formed sound right from the very first note of the second track – as the first begins with a set of spare percussion and flute! Saunders wrote some great original material for the record – and titles include "Black Lives Lost", "Coconut Island", "The Valley Of Search", "Skipper Meets Pharoah", "The Guardian", and "The Return Of The Skipper". ~ Dusty Groove.

 J.P. Bimeni & The Black Belts - Give Me Hope

Great work from J.P. Bimeni – a soul singer with a style that's all his own, yet one that's also set up here in some nicely classic backings! Bimeni has unusual vocal phrasing that may well come from his Burundian roots, but he also manages to put across a tune with a vibe that almost feels like classic Memphis soul from years back – a quality that definitely comes from the tight backings of The Black Belts, who blend sharp drums and riffing guitar with nice use of warm organ lines and punctuated horn parts. Titles include "Four Walls", "Not In My Name", "James Stern", "Precious Girl", "Found A Good Thang", "When Everything Is Wrong", "Guilty & Blessed", and "Ghost City". ~ Dusty Groove

GO DUGONG - An intricate patchwork of rhythms, languages, instruments, field recordings + samples from all over the world

Go Dugong is Italian producer, DJ, musician and cosmic traveller, Giulio Fonseca. A global sounds lover, his productions are an intricate patchwork of rhythms, languages, instruments, field recordings and samples from all over the world that Go Dugong waved with the passion of a collector and the meticulousness of a craftsman. The result is animated by a global energy in constant evolution.

Recognised as a leading figure in the contemporary panorama of electronics research, his new album ‘Meridies’, released 12th November via Hyperjazz Records/La Tempesta Dischi, is the result of an investigation into traditional Apulian music from the south of Italy, inspired by his hometown, Taranto, and the phenomenon of the Tarantella. Tarantism is deeply rooted in South Italian folklore and history between the 15th and 18th century. It was a psychological illness related to a schizophrenic state, widely believed at the time to be caused by the bite of a tarantula, scorpion or snake. Legend has it that the victim, mainly women, would fall into a fit and to achieve healing, they would be subject to a ritual where they would be driven into a state of trance, thanks to a frenzied dance called Tarantella.

‘Meridies’ represents a fundamental step in the reinterpretation of the rhythmic and musical tradition of Southern Italy, filtered through electronic synthesis and contemporary languages. Rhythmic pizzica interweave with organs, old synthesizers, lysergic guitars and makeshift objects such as old cardboard boxes and cookware, used as side percussions to the traditional tambourine, all immersed in a psychedelic magma of deep trance and hypnosis for the purpose of “healing”.             

On a quest to push the boundaries of traditional Apulian music, Go Dugong’s research has allowed him to rethink and rework these musical traditions of his homeland, leading to the creation of a soundtrack for an imaginative and futuristic ensemble of peasants and farmers.

Go Dugong collaborated with numerous musicians on ‘Meridies’ - unusual with respect to the genre, in order to combine traditional Apulian music with sounds and influences belonging to other Italian and Mediterranean regions, reinterpreting a genre that for many years has lived trapped in its canons.

On ‘Corna di Serpente’, multi-instrumentalist Ricky Cardelli (Funkrimini, Caportuna) brings a trance-like rhythmic flow, while his father Claudio Cardelli, a musician, documentary film maker and author of several books on India, adds sitar to ‘Mercato Nero’, alongside Apollo Negri on Hammond organ. Indian psychedelia and Italian folk comes to life while the tribal, future exotica of ‘Randagio’ (feat. Mai Mai Mai), inspired by abandoned parts of the south of Italy and the stray dogs that live there, is a rich collage of sounds. Elsewhere, Rome-based trumpet player Francesco Fratini brings a jazz influence to the warm melodies of ‘La Montagna Sacra’ while Italian folk legend Alfio Antico brings frenzied tambourine to the archaic ‘Esorcismo’.

Go Dugong has brought his music to festival and venues throughout Europe and the rest of the world, constantly inspired by the concept of travel, both physical and cosmic as well as mental. He has collaborated with many artists in his career including Populous, Clap! Clap!, El Buho, Témé Tan, Rafael Aragon, Miriam García and more.

The brainchild of Italian electronic artist and producer Khalab, Hyperjazz Records is the product of the ever-changing language that is modern music, of its frantic and unrestrained evolution. A crossroads between past and present, and where jazz attitude meets new sounds and aesthetics.

Omar Coleman | "Chicago"

The New Mastersounds’ guitarist, bandleader, and producer Eddie Roberts, has joined forces with Chicago’s West Side soul sensation, Omar Coleman, to release Eddie Roberts Presents Omar Coleman: Strange Times via his record label and music platform Color Red. When Chicago-based producer David Vandenberg brought The New Mastersounds to the US for their first time to open for Greyboy All-Stars in 2004, little did he know nearly two decades later there would be full-circle energy tied into that first night out in Chicago and working with Omar Coleman, an icon-clad staple in the city heralded as ‘Home of the Blues.’ On Friday, June 4th, Coleman will release the second single on Roberts’ imprint, "Chicago," an ode to his hometown and its deep-seated musical roots.

“Chicago” represents the classic blues sounds of his hometown while intrepidly refusing to be confined to any musical pigeonhole. Coleman’s ode to his city follows a brazen harmonica solo where he proclaims to hail from the Westside blazing down the path of the daily hustle and grind. The City of Big Shoulders is spirited and the people hold their heads up high no matter what obstacles are thrown in their path. Coleman speaks highly of Chicago’s musicians who pay homage to the blues, embark down their own roads, and relentlessly show up to the gig prepared. “Chicago” was recorded during a 2020 session at Color Red Studios produced by Eddie Roberts. Joining Coleman on the track are Dan Africano (Ghost Light) on bass, Chris Spies (Matador! Soul Sounds) on keys, Cole Rudy (Dragondeer) on guitar, Carl Sorensen (Dragondeer) on drums, Eric “Benny” Bloom (Lettuce) on trumpet and Nick Gerlach (Michal Menert) on saxophone. 

Whether dating back to picking up a harmonica at his local music shop to pass downtime as a barber or deep diving into instructional books on leather smithing, a now 10-year side hustle of Coleman’s, curiosity and refusal to be confined to a singular scene have proven to be pillars of longevity in Coleman’s career. After cutting his teeth at Eddy Clearwater’s Sunday jam, he took the plunge to become a full-fledged professional touring musician in 2010. He’d embark on month-long tours in Brazil twice a year, make frequent appearances in Japan, and perform over 30 dates in Europe both solo and with as the lead vocalist/harmonica player in the award-winning Sean Carney Band, a group that has won the International Blues Challenge. He’s had notable plays as the headliner for  “Blues for a Cure” benefit in Columbus Ohio for 3 years straight; Spain Blues Fest; San Francisco Blues Festival, and more and has been featured on the all-star compilation Diamonds in the Rough: Chicago Harmonica Project.

Coleman's debut single and title track “Strange Times” is reflective of the modern state of the world while the bulk of the rest of the album will unveil classic blues themes and uncanny coincidences dating back to that first meeting of Roberts and David Vandenberg (who also produced Coleman’s 2017 album West Side Soul) in the early 00s. On Roberts’ very first night in Chicago, Vandenberg took him to Rosa’s, a legendary blues club on the West Side of town, a club that Coleman had been playing for decades. While laying down his original tune “Old Man Teaser,” Coleman explained it was a story about the lady behind the bar at Rosa’s teasing all the older blues musicians. 

An instance like that goes beyond coincidence and demonstrates the ripple effect of Color Red’s collaborative spirit and the minuscule degrees of separation in their musical network. As for the album’s title, it’s an ode to The New Mastersounds’ 2001 debut record, Keb Darge Presents: The New Mastersounds, that was championed by the iconic Scottish DJ and curator launching the band into a 20+ year career and nine more records to boot. Now, the baton is passed to Roberts as a leading voice in the modern funk and soul revival era with notable producer and bandleader accolades and the launch of Color Red that curates top-notch musical talent from all over the globe. 

Gabriel Evan Orchestra | "Global Entry"

New York saxophonist Gabriel Evan’s sophomore album Global Entry is a playful, skillful exploration of pre-war jazz, early chamber jazz, and bug music. Inspired by the classical-tinged sound of the John Kirby Sextet – one of the most celebrated bands on 52nd St. in the 1930’s – the Gabriel Evan Orchestra takes you on musical trip around the world. While bringing a fresh spin on traditional jazz classics, incorporating 1930s Cuban music and even mid-century exotica, Global Entry maintains the Kirby tradition of arranging classical music for jazz band.

A carefully constructed arrangement of Tchaikovsky’s Waltz of the Flowers opens the record, paying homage to the arranging style of trumpeter Charlie Shavers, reimagining the languid waltz into a fun, hot swing number, suitable for a Looney Tunes Nutcracker tribute. As a matter of fact, most of this record is suitable cartoon accompaniment – so much so, that GEO’s first two singles, Rumba Azul and Arabian Nightmare are released as cartoon music videos (Waikiki Wabbit [1943] & Chicken a la King [1937] respectively). Both Rumba Azul and album closer  Rumba Tambah are timeless classics from the Lecuona Cuban Boys, one of the most famous early Caribbean ensembles.

Arabian Nightmare – one of three Charlie Shavers arrangements on the record – is a brilliant take on Rimsky-Korsakov’s Scheherazade, echoing the haunting Dorian theme of the classic work before springing into swing. Drink to Me Only with Thine Eyes is a hip pre-bop arrangement of a 1616 classic by English playwright Ben Jonson. Effervescent Blues, a Shavers original, is a slow swinger with standout solos from Joe Goldberg (clar.), John Zarsky (tmp.) and “Big” Joe Kennedy (p), before a horn soli brings it on home.

The jazz capitol New York City is well represented by Duke Ellington’s red hot Jubilee Stomp, as well as two NYC inspired Evan originals: Negotiations of South Williamsburg, a klezmer rollercoaster featuring clarinetist Joe Goldberg shredding and wailing; and South 5th Street, written while Evan lived in South Williamsburg – a high-energy, pseudo-Broadway show tune, with a stomping 2 & 4 heartbeat. Global Entry is a brilliant tribute to the “biggest little band in the land,” as Kirby’s band was often called.

New Music: François Bourassa, Erin Propp & Larry Roy, CODE Quartet, Curtis Andrews

François Bourassa - L'Impact du Silence

François Bourassa—now with ten albums of original music under his belt—has become an ambassador for Canada’s thriving jazz community at an international level. A paragon of consistency and evolution, he continues to open new horizons for himself, his colleagues, and his growing community of listeners. Bourassa’s talent was initially recognized by the Festival international de jazz de Montréal in 1985. Performing and recording with his quartet since the mid‑1990s, Bourassa has been a staple of Montreal’s artistic landscape and has toured extensively throughout North America, Europe, and Asia. In addition to his work with his quartet, Bourassa’s artistic projects include the award‑winning albums Autour de Bill Evans and En Trois Couleurs, as well musical works composed for vibraphone, marimba, and symphony orchestra for Marie‑Josée Simard. He has also guested with Rémi Bolduc, Yannick Rieu, Tim Brady, and Montreal’s Orchestre National de Jazz. The pith of music is in the silences. People tend to overlook the importance of silence but, when used wisely, it can be moving and poetic. Silence has a powerful impact on listeners. Oscillating between raucous and introspective, François Bourassa's latest collection of piano pieces is a musical adventure that combines jazz, improvisation, lyricism, and abstraction with integrity and emotion as the central themes.

Erin Propp & Larry Roy - We Want All The Same Things

There is nuance in the everyday; in its layers of love, joy, and hurt, and in its emotional currents ever present. Erin Propp and Larry Roy reach into the everyday and blur the edges, creating works that are at once deeply personal and achingly relatable. These are songs that take it all in, that read between the lines, that hear the subtext, that feel it, that say it out loud. Their music rings true with nuance and power, with rare clarity and precision. Their musical abilities are tools of exacting expression, expertly honed. They reach in to resonate; calling the listener inside, sounding the overtones of our shared experience. Erin and Larry’s debut album Courage, My Love (2012), was met with praise and acclaim. The recording won Best Jazz Album of the Year at the Western Canadian Music Awards (2013), and a JUNO nomination in the category of Vocal Jazz Album of the Year (2014). Erin and Larry can do it all, from charming intimate jazz club sets, to moving concert hall performances, and key arts organizations have taken note. Erin and Larry have performed with the Winnipeg Symphony Orchestra, the Winnipeg Jazz Orchestra, and have opened for Gretchen Parlato at the Winnipeg International Jazz Festival.

CODE Quartet - Geneology

CODE Quartet is a collective based out of Montreal. Formed four years ago by Christine Jensen on saxophones, Lex French on trumpet, Adrian Vedady on acoustic bass, and Jim Doxas on drums, the group came together with the equal goals of composing and improvising in a chordless-quartet setting. The primary motivation for the formation of the group has been to build on the freedom of expression pioneered by Ornette Coleman’s seminal group of the 1950s, with two horns interacting with acoustic bass and drums. They prioritize the idea that each voice within the collective is given equal weight, blurring the boundaries between lead and supporting voices, between frontline instruments and the rhythm section. The group have spent the past three years sculpting their original compositions as a team, leading them to some exciting performance opportunities. Over the past four years, they have performed residencies at jazz clubs in Montreal as well as The Wellington Jazz festival in New Zealand in June 2019. The group’s principal focus is to present original compositions, orchestrated exclusively for this particular ensemble, weighing heavily on their improvisatory reactions to the written material. The  result is their album Genealogy.

Curtis Andrews - Speaking Hands

Speaking Hands is the sophomore release by the globe-trotting percussionist/composer Curtis Andrews. Released more than 10 years since his award-winning eponymous debut, Speaking Hands features his Vancouver-based ensemble The Offering of Curtis Andrews, and guests from across Canada (via South India), down to California, over to urban South Africa, and up to rural Ghana. Andrews once claimed he didn’t see the point of recording music anymore, but the inspiration for new compositions became too strong to ignore, and the results were too interesting not to share. The resultant album is rich in rhythmic exploration, modal and raga-based melodies, and some truly virtuosic performances. Though recorded on the cusp of and during the 2020 pandemic, this is far from a “COVID record”. The seeds were sown over the past 11 years of travel, study, collaboration, and exploration, both abroad and at home, within and without. The compositions are reflective of the various sounds, aesthetics, and influences that Andrews gravitates towards with an open heart and mind: the intertwined rhythms and polyphonies of vodu-derived traditional music West Africa, the micro and macrocosmic play of time and pitch found in Carnatic traditions of South India, the open field of improvisation, and the intersection of all of these as one cohesive and original sound. It a place where korvais intermingle with the timeline of the gakogui. Andrews has been dwelling in these musical (and physical worlds) for the past 20 years, through deep engagement and study with communities and master musicians.  As such, his music is a natural extension of these experiences.Of special note is the presence of world-renowned South Indian master drummer Dr. Trichy Sankaran. Andrews is honored and humbled to have his guru of more than 20 years join the ensemble on 4 pieces, including one piece that Sankaran composed especially for the group. While COVID restrictions may have closed some doors, it allowed for unplanned collaborations, leading Andrews to recruit some friends from distant locales including: bassist Sandile Jwaii (Cape Town) ; bansuri and alto sax from Neelamjit Dhillon (Los Angeles via Coquitlam); South Indian violinist Kaushik Sivaramakrishan (Edmonton via Chennai), and vibraphonist Mark Duggan (Halifax via Toronto). Making a cameo appearance are drummers from the village of Dzogadze (Ghana), a community Andrews has been visiting since 1999. The album’s title is drawn from the tune “The Speaking Hand”, itself inspired by Andrews’ own practice and play of the mridangam, the major percussion instrument of Carnatic music. The repertoire of the mridangam is taught and conceived of in a special rhythmic language known as solkattu. It is the voice that gives rise to rhythm before the instrument does. Thus, the hands “speak” what the voice (mind) creates. In the course of practice and play, ideas also arise from the hands themselves, opening up new vistas for creation.

Saskatchewan All Star Big Band | "The Saskatchewan Suite"

Through this recording project, the Regina Jazz Society seeks to communicate the beautifully unique history of Saskatchewan in the vernacular of jazz, by offering a live recording of a commissioned work by one of Canada’s most talented composers, Fred Stride. Recorded live at Casino Regina on December 28, 2019, the event featured many of the best local and ex-patriate musicians of the province in a truly special performance of Stride’s unique composition. It was an evening which allowed a fantastic group of artists to tell Saskatchewan’s story through music for the very first time ever.

The group of musicians on stage that night was one of the most impressive gatherings of talent in Saskatchewan’s history, and resulted in a caliber of performance unlikely to be replicated anytime soon. The Saskatchewan All Star Big Band is comprised of players that grew up here, got their musical start here, and were then exported to every corner of the globe to share their craft. They are joined by other players who came here to live, teach, and perform because Saskatchewan affords them that grand opportunity.

So, what is “The Saskatchewan Story”? It is the stories of everyone living here and all those that have gone before us. It is more than 150 years of narrative threads, weaving the canvas of our history since the days when Saskatchewan was ruled by the thundering hooves of the buffalo. It tells the story of how people arrived here. You will hear the train whistle bringing all the various settlers and immigrants to the province. It tells of the initial clash of cultures, followed by the important journey towards inclusiveness that has culminated in our society today. It tells the story of the seasons. You will hear the biting sounds of winter, the fierce wind howling at you over the brittle crunch of snow underfoot. You will also hear the soft, carefree nights of summer, with their cool refreshing breeze and orchestra of frogs croaking, crickets chirping, and songbirds singing sweet lullabies.

You will hear that Saskatchewan folk are farmers, businesspeople, potash workers, railroaders, hockey players, story tellers, writers, artists, and soldiers marching off to war. We are all The Saskatchewan Story, and that is what the Saskatchewan Suite is all about. This is the most novel, ambitious, progressive, and challenging project in the history of the Regina Jazz Society, and they are thrilled at the opportunity to share it with the world.

Winnipeg Jazz Orchestra (featuring Philippe Côté and David Braid)| "Twisting Ways"

In 2019, two jazz composers from French and English Canada joined forces with the support of the Winnipeg Jazz Orchestra to compose a 25-minute, multi-movement art song called Twisting Ways. A UK-Canadian collaboration, the piece combines the poetry of Dr. Lee Tsang (Liverpool) with music by Montreal-based composer, Philippe Côté (“Amazing” – NYC Jazz Record) and three-time-Juno Award winning Toronto pianist/composer, David Braid (“Uncategorizable” – Paris Transatlantic). The music is masterfully performed by the Winnipeg Jazz Orchestra, directed by Richard Gillis, and featuring acclaimed vocalist, Sarah Slean (“Compelling”– Time Magazine). 

The album also features vibraphonist Stephan Bauer (NYC) on a variation from Côté’s, La fleur et la roche from his acclaimed album Lungta with David Binney (“a grand sweeping accomplishment” – Ottawa Citizen) and Braid’s Lydian Sky from The David Braid Sextet Live, Vol 2 ( “astonishing” – All About Jazz). Lydian Sky features new words by Tsang, plus performances by multiple Juno winning saxophonist Mike Murley and vocalist Karly Epp (a finalist in the Sarah Vaughan International Jazz Competition).

The album’s central piece Twisting Ways begins with The Hand, sung from the perspective of a central character that takes the form of a nightingale, which is guided in turn by a mysterious force called The Hand. The second half revolves around the companion piece Hope Shadow, sung from the perspective of the mysterious force itself. Together, these texts explore imagery related to the human spirit and its transgressions. Slean’s performance infuses the music's narrative with brilliant colour and emotion, redefining what a vocal jazz album can be.

Joel Frahm | "The Bright Side"

The Joel Frahm Trio is a new band featuring Frahm on tenor and soprano saxophones, Dan Loomis on bass, and Ernesto Cervini on drums. The Bright Side is their debut recording for Anzic Records, and is the culmination of a musical partnership that has developed over the course of many tours and recording sessions spanning the last decade.

Frahm first encountered the chord-less trio format as a teenager, and says he was "mesmerized by the music they created and hooked by the feeling of freedom and space the “chordless” trio provided me as a listener.” He was part of several bands that fit that description: In the 1990s, Matt Wilson’s Quartet with Frahm and Andrew D’Angelo playing their musical version of Abbott and Costello with Wilson and Yosuke Inoue facilitating the antics on drums and bass, respectively. The millennium brought a seven year trio residency at Bar Next Door in Greenwich Village featuring Joe Martin on bass and Bill Campbell on drums. There were many nights at Smalls Jazz Club and later at Wilson Live featuring Frahm's trio with bassist and composer Omer Avital and drummer Anthony Pinciotti, another band that continues to work consistently. In fact, Frahm’s debut recording Sorry No Decaf was initially envisioned as a trio CD before David Berkman was added on piano.  This recording marks Frahm’s return to this formative trio format, this time as a bandleader. 

The trio was born at a masterclass at the University of Toronto, as an offshoot of Cervini’s band Turboprop. In the ensuing years, Loomis and Cervini took the reins and began to book gigs for the ensemble, and on their first European tour a repertoire began to take shape, comprised almost entirely of recently penned original songs by each member of the band. The music runs the gamut: from X-Friends, Dan Loomis’ knotty re-imagining of the Klenner/Lewis standard Just Friends, to Frahm’s title tune The Bright Side, which was inspired by the opening riff of Lou Reed’s Walk On The Wild Side. Cervini contributes The Beautiful Mystery, a pensive and emotional tone poem that contrasts beautifully with upbeat tracks like Frahm’s Beeline, a new melody written on the chord changes of My Shining Hour.

The Joel Frahm Trio is dedicated to playing original music with humour, emotion, blues spirit and all of the elements that people love about jazz. This  record is the first offering from a formidable band you’ll be hearing more from soon.

Tommy Ward | "From This Moment On"

At just 25 years old, singer Tommy Ward is already a veteran entertainer. Born in Houston and raised in Las Vegas, he found himself working alongside seasoned performers by the time he was 16, while at 17 he and his band became one of the youngest opening acts in Vegas history. He’s also garnered more than 10 million views on social media, finding a modern audience for his vintage sound. No less a music industry icon than Quincy Jones took the young singer under his wing, hailing Ward as “the epitome of great music.”

With his new EP, From This Moment On, Ward sets forth on a new chapter. Released via Le Coq Records, the vocalist that many have compared to Frank Sinatra and Michael Bublé asserts himself as a torchbearer for the legendary crooners and musicians who have inspired him, while carrying their timeless sound forward for a new generation of listeners.

“This EP feels like the first real statement piece that I’ll be able to share with people without any limitations whatsoever,” Ward says. “It's a great first step that opens a new doorway. This is who I am and where I am in my life at this moment, and everything that follows after this is going to be different. I think it's optimistic, it's hopeful, and it's a wonderful marker in my evolution.”

From This Moment On features five classic songs given new life by Ward’s heartfelt interpretations. He’s aided by the stellar contributions of an ensemble of master musicians – many of whom have become key members of the Le Coq Records family since the label’s recent launch – including bassists John Patitucci and Chris Colangelo, drummers Marvin “Smitty” Smith and Ray Brinker, guitarists Larry Koonse and Jake Langley, and pianist Bill Cunliffe, who also penned a tender arrangement of “Bewitched, Bothered and Bewildered” featuring Ward himself at the keyboard.

“Le Coq is one of the few labels out there who are truly passionate about the music,” says Ward, now based in Atlanta, GA. “It's been an incredible collaborative effort to work with them. They're making the next generation of jazz records, so to be on that cutting edge with them is more than alluring, it's an honor. I think they’re going to be a huge game changer in the business and I couldn’t be happier to be a part of it.”

Though only one of the album’s songs was released in Ward’s lifetime (Bob Dylan’s “Make You Feel My Love” came out in 1997, when Ward was two years old), his strong connection to these vintage standards shines through in his performances. The music of classic crooners like Sinatra, Tony Bennett and Dean Martin provided the soundtrack to his childhood, both at home and via their vital role in establishing Las Vegas as one of the country’s entertainment capitals. His love for the music was ultimately cemented through the influence of Michael Bublé.

The Cole Porter tune that gives the EP its name, “ From This Moment On,” opens the proceedings with that powerhouse big band sound, transporting listeners to the Vegas Strip with its exhilarating blend of virtuoso musicianship and neon-lit glamour. Another Porter classic, “Just One of Those Things” opens at a pulse-quickening simmer before exploding into a lively big band swing propelled by Smith’s muscular drumming. The finale, “The Way You Look Tonight,” strips away the orchestral glitz to reveal Ward alone at the piano, captivating with just his sultry vocal.

Growing up in Vegas, show business never seemed like an unattainable goal for Ward as it does for so many nascent artists; it’s simply his home city’s local industry. “It’s pretty surreal,” he laughs. “Vegas is definitely all that you think it is, but it’s so much more.” 

As much as Ward looks back with respect and admiration at the forebears who have set him on this path, From This Moment On is essentially a forward-looking collection of music. Which is perfect for a point in time when we all hope to move on into a brighter future. “Everything about this music feels right and positive, and I'm excited to share that with people. The artist's job is to convey emotion and make an audience feel something, hopefully this EP helps turn the page past this crazy year on to something a lot more positive and productive and hopeful.” Tommy Ward concludes. 

New Music Releases: Bobby Lyle, The New Guitar Underground, Dee Lucas, Michael Manson

Bobby Lyle - Ivory Flow

An incredible 45 years after releasing his epic debut album The Genie, and 33 years since his landmark Atlantic album Ivory Dreams, Bobby Lyle reminds us on his latest collection that he’s still engaged and excited about being in the Ivory Flow. The multi-talented pianist/keyboardist calls this gloriously crafted set “a reunion album,” with support from his equally legendary contemporary jazz pals Rick Braun, Gerald Albright, Najee, Marcus Miller, Marion Meadows, Nathan East, Everette Harp, Stanley Clarke, Kirk Whalum and Paul Jackson, Jr!  This dream team takes fanciful spins through a riveting, expansive landscape infused with classic soul/funk, Latin-fired fusion, straight ahead jazz, solo piano blues and an elegant tune dedicated to Lyle’s son Tommy, who passed away in 2017 from diabetic complications. Step into the Ivory Flow and feel the love. ~ www.smoothjazz.com

The New Guitar Underground - Volume One

Over 40 years after founding groundbreaking British acid jazz/R&B/funk collective Incognito – and two decades since launching its offshoot ensemble Citrus Sun, guitarist Jean-Paul “Bluey” Maunick is still on the cutting edge of groove sonics, surprising urban jazz fans with every fresh twist and turn. On his latest jam The New Guitar Underground, Volume One, Bluey teams with Portuguese born Incognito guitarist Francisco Sales to pay homage to the tonal vibes and adventurous melodic and improvisational spirit of legendary masters who inspired their lifelong love of the instrument.  Bluey’s trademark rhythms take hold, this time in the service of classic styled R&B/jazz fusion explorations and atmospheric moods that emphasize their dual string prowess and reflect their desire to continue, as they say, “chasing musical waterfalls.”  ` www.smoothjazz.com

Dee Lucas - The Time Is Now

The bio page of Dee Lucas’ website boldly declares “The Rebirth of Smooth Jazz” – and anyone who’s been following the sonically inventive, continuously grooving saxophonist since his emergence in 2004 knows his vibe is always on the cutting edge. That trailblazing streak continues on his latest EP, THE TIME IS NOW, which balances balmy, easy flowing vibes and fiery, high impact pairings with bassist Darryl Williams, pianist George Freeman and guitarists Blake Aaron and David P. Stevens. Helping bring Lucas’ fresh licks and infectious melodies are two of Smooth Jazz’s top producers, Adam Hawley and Lew Laing, Jr. We predict that the time is Now for Dee Lucas… and once the festivals return, he’ll be in demand! ~ www.smoothjazz.com

Michael Manson - A Ray Of Hope

In the dozen or so years between the release of his last studio album and this new collection, A Ray Of Hope, world traveling Chicago-based bassist and composer, Michael Manson and his wife Lana have served the needs of thousands of students at their Musical Arts Institute. Now back in full swing and groove, the multi-talented artist – who’s played with genre elites Steve Cole, Brian Culbertson, Kirk Whalum and Larry Carlton, among others – picks up where he left off, alternating instantly infectious, brass-fired,  melodic funk with a graceful jazz waltz and sensual ballads featuring pianist Ben Tankard and vocalist Kevin Whalum. The multi-mood swinging party also includes guest shots by Najee, Kevin Whalum, Lin Rountree, Ben Tankard, James Lloyd, Darren Rahn, and Tom Braxton! ~ www.smoothjazz.com

Mack Avenue Music Group Releases Albums from Kenny Garrett and Christian McBride for Record Store Day 2022

Mack Avenue Music Group has announced the release of two landmark projects as part of Record Store Day 2022 (April 23) with Kenny Garrett’s Sketches of MD – Live at the Iridium and Christian McBride’s Conversations with Christian. 

Each of these albums is being released on vinyl for the first time ever as a limited edition 2-LP set with foil stamped numbers; Garrett will be released on red color vinyl and McBride will be released on orange color vinyl. 

Garrett’s 2008 live release marked the saxophonist’s debut with Mack Avenue Records and made for a compositionally

relaxed yet performance intense record. On Sketches of MD – Live at the Iridium, he performed live at the Iridium Jazz Club in New York City with his band featuring pianist Benito Gonzales, bassist Nat Reeves, drummer Jamire Williams, and special guest tenor saxophonist Pharoah Sanders. 

Like all other great musicians and artists that came before him, Garrett keeps moving forward in his creative direction. "I'm always trying to challenge myself. Don't look for me to sound like my last record. I'm shifting – following what my spirit feels." The sentiment is clear on his most recent release, recently nominated for an NAACP Image Award, Sounds from the Ancestors. 

For a man that’s known to lead many groups, Conversations with Christian focused on duets for this stunning 2011 release. McBride first considered a proposal to do a duet project during the latter ‘90s. “At the time,” he recalls, “I didn’t feel I was ready, or that it was the project I wanted to do. I had other things in mind. But as time progressed, I got to do other projects—putting together the Christian McBride Big Band and experimenting with a lot of different sounds and layers—and my focus returned to the duets idea.” 

The iconic bassist placed himself in the forefront of the flow on a duet apiece with 13 of his closest musical friends and cohorts—singers Angélique Kidjo, Sting and Dee Dee Bridgewater; pianists George Duke, Eddie Palmieri and Chick Corea, as well as Dr. Billy Taylor and Hank Jones; violinist Regina Carter; trumpeter Roy Hargrove; guitarist Russell Malone; tenor saxophonist Ron Blake; and actress Gina Gershon. In the process, McBride unleashed the full measure of his already legendary skills, crafting as complete a portrait of his diverse interests—different vibrations of the blues and African-American church experience, bebop, the American Songbook, the Latin Tinge, the Freedom Principle, even comedy—as he has ever presented. 

The release of these two albums aligns with Mack Avenue Music Group’s longstanding commitment to releasing audiophile quality music in beautifully designed packaging and supporting the vinyl-loving community.

Quentin Angus | "The State Of Things"

Guitarist and composer Quentin Angus is back with a wonderfully unique album (his fourth as a leader), The State of Things (available March 18, 2022 on Outside In Music), a pristine recording that truly reflects Angus’ life experiences, including becoming a father, embarking on a Professorship (at BMCC), the challenges and rewards of living and working in NYC, observing the political, social and environmental turmoil of America and beyond, and much more. 

Because of this album being comprised of a cohesive book of music with eight chapters, and utilizing elements of rock, pop and R&B (such as forms with very little improvisation, songs with strong, catchy melodies that could be considered a 'chorus', and very little swing), it was imperative for Angus to assemble the right musicians, and did he ever hit the mark! It’s hard to imagine a better drummer for the music on The State of Things than Nate Smith, who delivers a colossal groove at every turn. His feel, pocket and taste reaches another plateau on these compositions. Vocalist/lyricist Michael Mayo is a talent deserving wider recognition, which this album should certainly help with. His crystalline delivery is joyous to behold and truly brings these songs to life, while his improvisations reveal a communicative and compelling soloist within. Pianist Can Olgun’s parts on the album, and his many solo trades with Angus, are so near perfect that you could take them for granted. But, to achieve the level of artistic maturity and skill required to deliver such a performance is a monumental task. Bassist Desmond White . . . words won’t do him justice, so the best bet is to go listen to the album! The fearless leader and architect of this album, Quentin Angus, more than lives up to such high praise as, "Lord of the strings" – Michael Dwyer, The Age, "The Future of Jazz Composition" – Paul Williams (ASCAP), and "Exuberant, richly melodic and smartly arranged" – Richard Kamins, Culture Creature.  

Highlights on the album include the compelling, thought-provoking title track, “The State of Things,” a strong statement (and the reason the album is named for it), meant to convey a somber story about the many predicaments and plights of the world, but also offer a more positive outlook, and ultimately to look forward to a more desirable future. The melancholy instrumental melody played by Angus and White, accompanied by a rapid-fire series of news clippings (addressing gun violence, race and gender inequalities, climate-change, political corruption, Covid-19 and more), is meant to make the listener feel uneasy and eventually overwhelmed, until suddenly the song releases into a propulsive groove in seven, with vocals and lyrics by Mayo: "As this world, ever turns. Fear, closed minds, as it burns. Can we hold, our hearts, to the sky? And make room, for our, human rise? We holding hands can inspire, Change in a land, bathed in fire. In our own, kind of way, we are whole. As long as we know, hope." Following a solo by pianist Olgun, the melancholy melody is reprised for an outro, again accompanied by a deluge of news clippings, but of a more hopeful, positive nature, covering topics such as renewable energy, new technologies, ultimately building towards a world of abundance and access for all.  

“New York Muster” is a composition about grinding it out in NYC. Beginning his journey in Eden Valley, a small South Australian country town with a population of only 200, Angus has been based in the world's Mecca for the arts, the Big Apple, since 2010. Angus elaborated, “NYC is the city of dreams, a hotbed for artistic expression, melting pot for cultural exchange, and arguably the best place for jazz in the world. While I acknowledge how wonderful it can be, it is also terrifying as the city can chew you up and spit you out if you are not lucky, and just being good at your craft does not guarantee a fruitful career. And though there are millions of people in NYC, it can also be a very lonely place at times.” Fast forward to now, and Angus is firmly entrenched in the City’s jazz scene, with the bonus of a solid career as a professor for the City University of New York. He has released many albums, toured around the world, and has a house and a family of his own. However, he’s never forgotten the New York City hustle, the struggle, hard work and persistence it took to reach this point, and “New York Muster” is a tribute to that progression. 

Peppered throughout the album are three melodic gems known the world over, arranged by Angus to great effect; “Pure Imagination,” “Somewhere Over The Rainbow,” and “What A Wonderful World.” These are songs that Angus has felt a connection with for a significant amount of time. The guitarist fell in love with “Pure Imagination” and “Somewhere Over the Rainbow” as a kid after seeing "Charlie and the Chocolate Factory," and "The Wizard of Oz." He has also listened to “What a Wonderful World” for more than twenty years (mainly Louis Armstrong's iconic versions). “Rather than simply covering the songs, I have tried to arrange them in a way to provide interest for the listener, including changing “Pure Imagination” to 3/4, adding a bass line 'riff' to “Somewhere Over the Rainbow,” and reharmonizing “What a Wonderful World” says Angus. 

Quentin Angus has received national and international recognition for both his guitar playing and composing, including an APRA Art Music Award for 'Excellence in Jazz' (2012), subsequent nominations in 2013 ('Excellence in Jazz') and 2014 ('Work of the Year'), winning three ASCAP 'Young Jazz Composer Awards' (2012/2013/2015), five Downbeat Magazine Awards in the 'Composition' (2011/2012/2014) and 'Soloist' (2012/2014) categories, and being named the Channel 9 'Young Achiever of the Year' (Arts Category/2013). 

Angus has been leaving audiences in awe around the world with performances in Holland, Belgium, Romania, Switzerland, Turkey, New Zealand, Australia and the United States. This includes appearances at the Montreux International Jazz Festival (Switzerland), Melbourne International Jazz Festival (Australia), and Jazz Hoeilaart Festival (Belgium), along with the release of three critically acclaimed albums as a band leader, In Stride (2017), called, “Eclectic, dynamic and lyrical” – Dragon Jazz, Perception (2013), described as, "A truly special and essential recording" – Jazz Inside Magazine (Eric Harabadian), and Retrieval Structure (2011), hailed as, "fresh, sophisticated, vibrant and formidable" – Edward Blanco, All About Jazz. 

Angus holds a PhD (Doctor of Philosophy), awarded with a 'Dean's Commendation', a Master of Music Degree (Jazz Performance) under the tutelage of jazz great John Abercrombie, awarded 'Summa Cum Laude', and a Bachelor of Music Degree (Jazz Performance). Angus' is the author of five original transcription books of Gilad Hekselman improvisations: 'Splitlife' (2012), 'Words Unspoken' (2012), 'Hearts Wide Open' (2012), 'This Just In' (2013), and 'Homes' (2015). He has also been published by PickUpMusic, Jazz Lessons Videos, MelBay, Jazz Heaven, and the NZMiC music journal along with conducting presentations of his academic research at music conferences across Australasia including the 2020 Music Business symposium for JEN (Jazz Education Network). 

Angus has performed and recorded with jazz luminaries Nate Smith, Ari Hoenig, Kevin Hays, Jon Gordon, Shai Maestro, Colin Stranahan, Linda Oh, Rogerio Boccatto, Jo Lawry, Elliot Mason, and Will Vinson. As part of his formal academic education, he has received instruction from Jason Moran, John Riley, Todd Coolman, Hal Galper, Jonathan Kreisberg, Randy Johnston, Pat Martino, Adam Rodgers, and Carmen Lundy.

The Jazz Defenders feat Doc Brown - 'Perfectly Imperfect' (jazz / hip-hop)

The Jazz Defenders are a group borne out of a deep love for Blue Note Records – specifically the hard bop recordings of Horace Silver, Hank Mobley, Lee Morgan and Art Blakey. Those records were highly regarded for a reason – catchy horn lines and incredible musicianship combined with Rudy Van Gelder’s engineering skills mean they will forever be regarded as classics of the genre. The Jazz Defenders are a group that would ‘defend’ the legacy of those recordings whilst creating its own original identity and distinctive flair.

The group is the brainchild of vibrant pianist and composer George Cooper who in 2015, set about choosing the right musicians for the individual qualities and style that they would bring to the group. Featuring some of the UK’s finest players the line-up is Nick Dover (tenor saxophone), Nick Malcolm (trumpet), Ian Matthews (drums), Will Harris (bass), and George Cooper (piano).

As session musicians in their own right, the five members of the band have worked with a variety of internationally acclaimed artists such as Kasabian, Nigel Kennedy, Hans Zimmer, Massive Attack, The Haggis Horns, Pee Wee Ellis, Andy Sheppard, Get The Blessing, Simon Spillet, Alan Barnes, Rodriguez & Nostalgia 77, as well as playing at venues including Ronnie Scott’s, The Jazz Cafe and The 606 Club.

Alongside an intense schedule of live gigs the band began laying down their own tunes, effortlessly channelling the spirit of the golden Blue Note era of jazz. The result of these efforts was debut album “Scheming“ released at the end of 2019 on Haggis Records. The album puts its own unique twist on classic bebop and hard bop, giving a modern soul jazz slant to the traditional sound and proving once and for all that jazz is far from dead.