Mark Lewis | "Naked Animals"

Alto saxophonist/flutist Mark Lewis revisits a chapter from his own musical history on Naked Animals, set for an April 2 release on the Audio Daddio label. Recorded in 1990, the album features eight original compositions performed by Lewis’s Dutch quartet, the working unit he maintained through most of his 14-year residency in Rotterdam: pianist Willem Kühne, bassist James Long, and drummer Frans van Grinsven. 

A native of Washington State, Lewis was all of 20 years old when he settled in the Netherlands in 1978. Shortly thereafter he formed the quartet to focus on his original compositions; with the above lineup locked in by the early 1980s, the band gradually built a popular following across Holland. “These musicians were and are a high point in my endeavors,” says Lewis today. “My one regret with this band is that we didn’t record more.” Indeed, Lewis only recorded the Dutch quartet twice, with Naked Animals coming near the band’s final days.

Yet despite its being more than 30 years old, Naked Animals is no historical curio. It is a vital, hard-swinging piece of music that sounds as fresh and exciting as if it was recorded yesterday. The rhythmic tensions of “Mercurian Rendezvous,” “Naked Animals,” and “City Slicker” are remarkably contemporary post-bop, whereas the refined ballad “A Dance with Monique” and the blues-redolent “The Seven Angels” draw on the classic, foundational elements of the art form. Hipness, Lewis and the band suggest, knows neither geographical nor temporal boundaries. 

Naked Animals is also timely in a more roundabout, coincidental sense. It was recorded thirty years, almost to the day, before Lewis’s last pre-pandemic performance. Combined with the ageless character of the music, it serves as a stark link not only to past triumphs but to future possibilities for—as van Grinsven succinctly puts it in the album’s notes—“Adventurous, surprising and creative art!”

Mark Lewis was born January 26, 1958 in Tacoma, Washington, and grew up outside nearby Gig Harbor. Profoundly visually impaired, he made sense of the world through music—especially the jazz records in his parents’ sizable collection. At the age of nine he began playing music himself, starting on his grandfather’s C melody saxophone and switching to his uncle’s old alto a year later. 

Starting his first band while still in middle school, Lewis was leading several by the time he finished high school (in addition to playing in the school’s stage and concert band and performing music for school plays). He studied composition, flute, piano, and electronic music at Western Washington University and at Seattle’s Cornish Institute of Allied Arts. 

Even big-city Seattle could not keep him, however, and in 1978, at 20 years old, Lewis flew to Europe. He made a home in Rotterdam, the Netherlands, where he made himself a force on the local, national, and international jazz scene. He led three working bands—an organ trio, a world-jazz quintet, and the progressive quartet heard on Naked Animals—as well as creating a highly regarded record label, Audio Daddio, with Lewis himself as the house producer. 

At the same time, Lewis made frequent trips back to the United States, continuing to work in Seattle and also establishing himself firmly on the Bay Area jazz scene, where he settled after returning to North America for good in the mid-1990s. He worked with the likes of Randy Brecker, Donald Bailey, Ted Gioia, Mark Levine, Bobby Hutcherson, and Larry Grenadier before returning to Washington to be closer to his family. 

Lewis is a dizzyingly prolific musician, with more than 30 albums and an astounding 1,700 plus compositions to his name. His most recent document of his work, 2017’s The New York Session, was an acclaimed album featuring the all-star rhythm section of pianist George Cables, bassist Essiet Essiet, and Victor Lewis. Naked Animals, however, is an important (and heretofore dormant) installment in Lewis’s career, showing that he has long been able to hold his own with artists of such high caliber. It is a testament to what he is able to achieve when surrounded by “great musicians who loved the music. It’s not always easy to find musicians who really dedicate themselves to your music.”

International Reggae Band Dub Inc Announces Their Debut West Coast Tour

The prominent international reggae band, Dub Inc. is excited to announce their 2022 Spring West Coast U.S.A. tour! It has been over 10 years since the French superstars have been in the United States and they are beyond excited to return once again. Kicking off in May at the 11th edition of California Roots Festival, Dub Inc will embark on their debut West Coast tour with Hawaii’s own Mike Love! 

In 2011 Dub Inc first came to the United States for their debut East Coast tour where they dazzled audiences with their unique blend of reggae, dancehall and world music stylings. It was a major milestone and dream for the seven piece band who began in high school in 1998. They are fronted by the singers Bouchkour and Komlan whose vocals and lyrical prowess embody the band's diverse but complementary influences. Embodying a universal message whether the song is French, English or Kabyle (an Algerian language), their music is influenced by their diverse backgrounds and they are upfront with topical issues like how important acknowledging mixed race and mixing of styles are to honoring one's heritage. 

With over 22 years together the band has impressively stayed intact. Based in Saint-Etienne, France the band is comprised of: Hakim "Bouchkour" Meridja (Singer), Aurélien "Komlan" Zohou (Singer), Jérémie Gregeois (Guitar), Grégory "Zigo"Mavridorakis (Drums), Frédéric Peyron (Keyboard), Idir Derdiche (Keyboard), Moritz Von Korff (Bass), and Benjamin Jouve (Sound engineer). 

With their largest audiences in Europe, Africa and Latin America, Dub Inc is an international sensation selling out concert halls and headline festivals. They typically perform for audiences in the tens of thousands all over the world and are looking forward to growing the U.S. fan base. The idea of the U.S. tour first came about with their collaboration with the renowned band Stick Figure. Dub Inc had invited Stick Figure to join them on a European tour. The fantastic pairing yielded an amazing line-up which won the hearts of fans and critics alike. It was there that the U.S. tour was seeded, Stick Figure invited Dub Inc to come to his home state California and beyond for a West Coast run. Once connected with Stick Figure’s team at Ineffable Music Group, the plan for their US return was laid. Thomas Cussins, head of Ineffable comments, "Dub Inc is one of the greatest reggae bands in the world. Their incredibly tight sound is captivating, regardless of language there is no barrier to enjoyment and the beats are sure to keep everyone dancing. I am looking forward to seeing Dub Inc take over in the U.S. and I will certainly be at many shows to enjoy the music!" 

The band will be performing in support of the iconic reggae artist Mike Love. Dub Inc bonded with Mike Love while on tour in France in December 2019, both sharing similar passion for positive and powerful messages. The band is delighted to reconnect with Mike Love in California commenting, "Dub Inc is one of the most passionate and energetic live bands I’ve ever seen. Their show is very fluid and dynamic, with powerful grooves and intimate ballads. American audiences are gonna go nuts for it. I can’t wait to  be there!” 

Dub Inc shows will feature a blend of classic hits and new material. They will be touring with the full band and audiences will be able to hear and enjoy the songs as intended. The tour starts at Cali Roots on May 28th, from there they head to Oregon and Washington with performances in Seattle, Portland and Tacoma. Then back to Nor Cal for a show at the Cornerstone in Berkeley and Mystic Theatre in Petaluma, before they head to So. Cal to hit L.A. and San Diego. 

With a catalog of over 9 records, three of which went Gold, and a handful of riddims, fans will be captivated and moved by Dub Inc’s range. Most recently the band released “Resist and Fight” riddim produced by Collie Buddz that appeared on Cali Roots Riddim 2020, and also their critically acclaimed political album Millions (2019) that confronts current cultural themes of borders, critical thinking, and political authenticity. 

Reflecting on their journey the band commented, “We’re really happy to go on this tour, it’s a dream come true. We’ve been waiting for it since 2020 (it was postponed twice). We’re particularly excited because we love to surprise people with our performances and having new audiences discover our music. It’s a real pleasure to go back to the basics and to have to win over an audience that doesn’t know us.” 

They continue, “We’re really looking forward to finally meeting the Californian audience! New York ten years ago was a real success and we’re more than excited to come back to the United States!”

Tour Dates:

05/28 - CaliRoots Fest / Monterey, CA

05/31 - Arcata Theatre / Arcata, CA

06/01 - WOW Hall / Eugene, OR

06/02 - Star Theater / Portland, OR

06/03 - The Crocodile / Seattle, WA

06/04 - Airport Tavern / Tacoma, WA

06/07 - Felton Music Hall / Felton, CA

06/08 - Mystic Theatre / Petaluma, CA

06/09 - Cornerstone / Berkeley, CA

06/10 - Ventura Music Hall / Ventura, CA

06/11 - Observatory / Santa Ana, CA

06/12 - Belly Up / Solana beach, CA

Dopolarians | "The Bond"

Once upon a time, three musicians, who came of age together during the last century's thriving free jazz scene in Memphis, joined forces in far off Little Rock. And they were gifted, and it was good. Alto saxophonist Chad Fowler and pianist Christopher Parker were experimenters going back to the 1990s, hovering in the orbit of the famed University of Memphis jazz department, two Arkansas jammers sharing a house in the Bluff City. They did one-off sessions with the likes of Frank Lowe or George Cartwright, or in combos with local luminaries. Ultimately Fowler introduced Parker to a Memphis singer named Kelley Hurt. The years rolled on. 

Cut ahead a quarter century, and the three were living in Arkansas again, with Parker and Hurt now married, and all of them still committed to finding something fresh in jazz. When the couple was commissioned to write music in honor of the Little Rock Nine, the students who marched into Central High School in defiance of local segregationists in 1957, they recruited Fowler and another comrade from their Memphis years, trumpeter Marc Franklin, now an arranger and side man extraordinaire for the likes of Grammy-nominee Don Bryant. Parker and Hurt's creation would become the No Tears Suite, premiered in 2017 with much acclaim on the grounds of Central High itself; and it was for that project that the beat stepped in. And the beat came in the form of Brian Blade. 

Adding the magic of rhythm to the mix, the group coalesced into something great, something resembling Dopolarians. Blade left his native Shreveport at 18 to learn from the many jazz masters of New Orleans, then applied that experience to found the Fellowship Band. Along the way, he drummed for even more legends, from Wayne Shorter and Herbie Hancock to Joni Mitchell and Bob Dylan. Beyond his drumming, he distinguished himself as a composer and songwriter in his own right. 

While Blade's participation in No Tears Suite galvanized the group, and led to a stellar album of the same name, they weren't yet the Dopolarians. That group identity came about when other players were added to the combo, as Blade went on to his many other commitments.  

The experience of bringing Parker and Hurt's composition to life left the core trio hungry for more creation. Working with Blade led them to set their sights high, and by the spring of 2018 they'd recruited two stellar players, well versed in the intricacies of free jazz. Bassist William Parker, who first came to prominence in his native New York with Cecil Taylor, was a perfect addition to set their course for free horizons, having developed a deeply philosophical approach to music over the course of two books, even as he pursued his playing beyond conventional jazz bass, developing a refined bowing technique and impressive skills on the West African kora.  

And with drummer Alvin Fielder, Jr., the newly formed group found a kind of shaman, a mentor to help set the tone for all that would follow. Having left his native Meridian, Mississippi to study phamacology, he nurtured his drumming with a passion, finally ending up in Chicago, where he played with Sun Ra, ca. 1960. From there, he became a charter member of the paradigm-shifting Association for the Advancement of Creative Musicians (AACM). This pillar of experimental jazz thus brought a wealth of experience to the group from Little Rock, and, as they prepared for their first recording session in New Orleans, adding the fabled saxophonist Kidd Jordan to the mix, they became Dopolarians. 

Their debut album, aptly titled Garden Party, was redolent of all the intimacy, beauty and wildness of a soiree in a Crescent City courtyard. And yet, to the players' great sorrow, it served as Fielder's swan song. He passed away in January, 2019, but his fellow Dopolarians, inspired by his memory, lived on.

Which brings us to The Bond, the group's latest offering to the gods of free expression and lyrical beauty, once again under the Mahakala Music imprint. With Fielder, their most inspiring force, having moved on, it was only fitting that they return to the beat that unlocked their potential in the first place: Brian Blade. And in this free context, Blade reveals his creative depths as never before, applying his acuity in the fleeting moments of creation, composer indeed. 

Also returning to the Dopolarians' fold is trumpeter Marc Franklin, filling Jordan's slot with brassier tones. In November of 2020, on the very day that the world breathed a collective sigh of relief over the defeat of a racist presidential incumbent, the group convened once again in Marigny Recording Studio, the very site of their initial sessions with Fielder. And what transpired was truly phenomenal, an achievement of musical telepathy and empathy equal to any in the free jazz tradition. In three extended pieces, “The Bond,” “The Emergence,” and “The Release,” the collective hive-mind of Brian Blade, Chad Fowler, Marc Franklin, Kelley Hurt, Christopher Parker, and William Parker conjures up a dream, an ineffable narrative, springing from the unconscious, and flying free in directions both gripping and glorious. 

Detroit Jazz Festival Presented by Rocket Mortgage Announces 2022 Lineup

The Detroit Jazz Festival presented by Rocket Mortgage, the world’s largest (and best) free jazz festival in the world, tonight announced its lineup for Labor Day weekend during a livestream preview event that included a live performance from the 2022 Artist-in-Residence Chucho Valdés. The Festival is expected to be back live, in-person in downtown Detroit.

The Detroit Jazz Festival Livestream Preview Event was held with a limited audience at the future home of the Gretchen C. Valade Jazz Center at Wayne State University, in Midtown Detroit. The Gretchen Valade Jazz Center is scheduled to open Fall 2023.

The Festival lineup announcement also coincided with International Jazz Day, a global celebration to raise awareness about the virtues of jazz as an educational tool, peace, unity, dialogue and enhanced cooperation among people.

“It’s extremely befitting we announce the 2022 Festival lineup on what is considered a global day of unity in the jazz community,” said Chris Collins, president and artistic director, Detroit Jazz Festival Foundation. “As we look forward to pivoting back to an in-person format, this year’s lineup reflects our renewed mission to feature legacy artists, propagate and nurture the next generation of jazz performers and audiences, and showcase the diverse tapestry of jazz in one festival.”

“We are proud to present the Detroit Jazz Festival, a marquee event that celebrates jazz’s rich history in our hometown of Detroit,” said Laura Grannemann, the Vice President of the Rocket Community Fund. “This event is more than a festival, it’s a community that comes together to celebrate music, our city and each other.”

Here’s a partial listing of this year’s Festival lineup: 

Friday, Sept. 2

Chucho Valdés “The Creation” with the Yoruban Orchestra, Hilario Duràn & John Beasley, Musical Directors, The extraordinary summation of an extraordinary career

The Soul Rebels 

Saturday, Sept. 3

The New Orleans Groove Masters with Herlin Riley, Jason Marsalis & Shannon Powell

Roosevelt Collier

Julian Lage

Harriet Tubman featuring Brandon Ross, Melvin Gibbs & JT Lewis

Donny McCaslin

Ranky Tanky with very special guest Ms. Lisa Fischer

Ambrose Akinmusire Quartet

Vijay Iyer Trio

Abdullah Ibrahim & Ekaya

Ulysses Owens Jr. Big Band with special guest Marquis Hill

Sunday, Sept. 4

Bill Frisell Trio featuring Thomas Morgan & Rudy Royston

José James presents Yesterday I Had the Blues: The Music of Billie Holiday

Georgia Anne Muldrow

Antonio Sánchez & Bad Hombre with Thana Alexa, BIGYUKI & Lex Sadler

Nubya Garcia

Tottori Jazz Generation Band

Charles McPherson Quintet featuring Brian Lynch

Cécile McLorin Salvant

Roberto Fonseca YESUN

The Lighthouse Project

Duets – Dianne Reeves, Chucho Valdés & Joe Lovano

 Monday, Sept. 5

Theo Croker – LOVE QUANTUM featuring Gary Bartz

Ethan Iverson Trio (with Larry Grenadier and Nasheet Waits)

Dianne Reeves

Artemis featuring Renee Rosnes, Ingrid Jensen, Nicole Glover, Alexa Tarantino, Noriko Ueda & Allison Miller

Emmet Cohen Trio

John Scofield’s “Yankee Go Home” featuring Vicente Archer, Jon Cowherd & Josh Dion

JD Allen Trio

Chucho Valdés Quartet

 The full Festival schedule will be available as the event nears.

New Releases: STR4TA, Kyoto Jazz Sextet with Takeo Moriyama, Nduduzo Makhathini, Jonathan Fritzén

STR4TA - When You Call Me

STR4TA unveil a refreshing neoteric layer on this latest offering. Led by broadcaster/ DJ Gilles Peterson and musician/producer Jean-Paul 'Bluey' Maunick. In a natural departure from their intoxicating signature new-wave-jazz-funk sound, reverberating with the essence of electro-street-soul in the UK. This is the first taste of things to come on their second album following their 2021 debut album ‘Aspects’ with standout tracks "We Like It" achieving over 1 million streams on Spotify, ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist, and a remix EP featuring Melé, Dave Lee, Greg Wilson, Dave Aju & more released at the end of 2021. Heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Now out on digital on Brownswood Recordings. You can catch STR4TA at one of their upcoming concerts: Wed, June 8 - Primavera Sound, Barcelona, Spain; and Fri, June 10 - Jazz Cafe, London UK.

Kyoto Jazz Sextet with Takeo Moriyama - Succession

Legendary drummer Takeo Moriyama joins the Kyoto Jazz Sextet here – and helps find a sound that's even stronger than their previous album for Blue Note! It's been many years since Shuya Okino first started giving us grooves under the Kyoto Jazz banner – and this sextet project is maybe one of his greatest efforts of the bunch – a searing jazz session that not only takes us back to the strength of Takeo's classic albums of the 70s, but which also makes the album more than worthy of inclusion in the legendary catalog of Blue Note! The rest of the lineup features Shinpei Ruike on trumpet, Takeshi Kurihara on tenor, Yusuke Hirado on piano, and Yoshihito Koizumi on bass – and titles include versions of the classic Fumio Itabashi titles "Watarase" and "Sunrise" – plus the tracks "Father Forest", "Miagete Goran Yoruno Hoshido", "Kaze", and "No More Apple".~ Dusty Groove

Nduduzo Makhathini - In The Spirit Of Ntu

An even more powerful set than the Blue Note debut of South African pianist Nduduzo Makhathini – a set delivered in response to all the recent struggles in his nation, and put together with all the righteous energy of similar projects from the 70s! Makhathini is way more than a pianist here – as although his instrument is important to the sound, his overall vision is more so – directing a lineup of players that includes Linda Sikhakhane on tenor and soprano, Dylan Tabisher on vibes, Robin Fassie Kock on trumpet, and Gontse Makhene on percussion – working in this sense of flow that swings between rhythmic and melodic, intense and more speculative passages. Omagugu sings on one track – the beautiful "Mama" – and other titles include "Nyoni Le", "Re-Amathambo", "Abantwana Belanga", "Sense Nina", "Omnyama", and "Ntu". ~ Dusty Groove

Jonathan Fritzén - Piano Tales

It was in 2008 that Billboard and SmoothJazz.com chart-topping pianist Jonathan Fritzén burst onto the scene with his debut recording Love Birds which at the time was described as reaching the very core of what great Smooth Jazz is all about. Now, six hit albums later Fritzén is back with the highly anticipated Piano Tales. As well as producing, recording and mixing throughout Jonathan also writes all ten choice tunes. The title of each track is linked in some way to the piano.  The album's first single, "Keys To Paradise," peaked at #1 on the Billboard Smooth Jazz Chart and the second single, "Hammers Of Love" also found its way into the Top 10! Quite simply Fritzén remains one of the hottest composers, producers and pianists in the world, in what is already a storied career, it seems likely that there are still many tales to tell. ~ www.smoothjazz.com

Maajo | “Better Days (feat. Gilbert K & Waina)”

Finnish-African group Maajo makes their debut on Brooklyn’s Wonderwheel Recordings with “Better Days,” an old school, upbeat disco cut with nods to balearic, reggae and funk. Featuring the soulful voices of two new band members, Mauritian drummer-vocalist Gilbert K and Zambian singer Waina, “Better Days” pays homage to 70s African and Caribbean Disco. Fusing a dance-floor-ready beat with live horn arrangements and uplifting vocals, the track is both ready for the club or a Sunday morning session.In addition to English, the lyrics are sung in the vocalists’ native Creole and Nyanja; the “Kumba” chant pleads for the strength to get through the bad times.

Hailing from Finland, Maajo is a tropical breeze from the cold north; their musical explorations lead from equatorial soundscapes to the woods and moods of their native Scandinavia. African influences, electronic beats and organic rhythms, ethereality and the sounds of nature all make up the patchwork sound of Maajo. Not only is Maajo’s music a way of traveling to faraway places, the songs themselves have traveled all over the globe.

Maajo has evolved from a sample-based electronic music project to a full-sized band, including African vocalists and musicians. The group has put out two full-length albums and three EP’s on Queen Nanny records, in addition to releases on German label Permanent Vacation. Additionally, Maajo has received the remix treatment from artists such as Luke Vibert and Call Super, and toured festivals and clubs around the world. The band has built a dedicated international following, and has been championed by the likes of Gilles Peterson (Worldwide FM), Tom Ravenscroft (BBC Radio 6), and Tim Sweeney (Beats In Space) amd featured by KEXP (Song of the Day), Resident Advisor, Ransom Note, and Pan-African Music.

“Better Days” is out on Brooklyn’s Wonderwheel Recordings May 20th, with an album due Fall, 2022.

Chastity Brown | "Sing To The Walls"

As the daughter of a blues musician, Chastity Brown was born with an innate ability to channel complex circumstances into beautiful, uplifting songs. But after surviving the isolation of the early pandemic and witnessing the global racial reckoning that manifested itself in the riots mere blocks from her South Minneapolis home, even she is surprised to hear the way her new album Sing To The Walls turned out. 

“It’s a love album, in a way I didn’t plan on,” Chastity says.  

Like so many artists who endured the uncertainty of the 2020 lockdown, Chastity’s instinct was to turn inward, at first out of self-preservation, and then because the new songs kept coming and coming. Since finishing her last album, 2017’s Silhouette Of Sirens, she estimates she’s written nearly 100 new songs, 10 of which found their way onto Sing To The Walls.

These songs unfold with Chastity’s expressive voice and expansive melodies, leading the listener through intertwining tendrils of atmospheric sounds. Even the titles hint at the album’s sense of optimistic yearning, from the dreamy opening track “Wonderment,” to her ode to healing a broken heart post-breakup “Curiosity,” to the pulsing promise of “Hope.”

 With the exception of “Golden,” a searing indictment of white complacency and a cathartic release of post-uprising rage that comes halfway through the album (and was released in an earlier form in mid-2020), Sing To The Walls is ultimately an album about hope, connection, and love; an ode to the sweetness of life, even amidst a pandemic, even in a city that’s experienced so much pain. 

“I think it’s an audacious response,” says Chastity. “Like how funk music came after Malcolm, Martin, and everybody got murdered in the ‘60s. Then the ‘70s popped off, and there was funk! This isn’t funk, but it’s rooted in that same kind of response. I just want to feel good. Straight up.”  

The album was started in Stockholm, Sweden with revered session drummer and producer Brady Blade and completed at Chastity’s own home studio with her longtime drummer Greg Schutte. Additional production and mixing was done by Chris Bell in Austin, Texas.

For the first time, Chastity also served as the lead producer on some of the tracks, and co-producer on all of them. “I just was like, ‘why can't I do it?’ It maybe meant that some things took longer, but it was like, ‘Where am I going now anyway?’ The way I've worked since the pandemic began, as far as songwriting and arranging and composing, I've never been so productive. Whatever touring life becomes going forward, I want to always carve out writing time. I'm addicted to it. And it's such a cool high,” she says.

Sing To The Walls is a sonically expansive album; it mines the roots of Americana, folk, and soul music, but Chastity’s stories are delivered in a style that feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional richness in the tradition, but in my music I’ve committed myself to moving forward and reflecting the experiences of those overlooked by tradition." 

In the same way, her lyrics seek to reach across a great divide. “I will sing to those walls, hope it gets through / And I will sing to your scars, they need healing too,” Chastity sings on the album’s title track, a pandemic love song about breaking through the physical, emotional, and social barriers that have been constructed around all of us in recent years. By the next track, “Like the Sun,” she breaks through into a melody that rises like a wide-open prairie sunrise—a heart-rending moment that demonstrates her talent for expressing big, beautiful ideas in her music, and to create songs that radiate bliss.

Even amid the chaos, while delivering the release-valve verses of “Golden,” she remains steadfast. “I’ve got joy even when I’m a target, if you think that’s political don’t get me started,” Chastity sings, demanding to know: “Why have I got to be angry?” 

Between writing sessions she’s been vibing to chilled out, forward thinking artists like Leon Bridges, H.E.R., SZA, and Daniel Caesar, taking their cue to expand beyond genre and her folk/roots history to encompass her appreciation of all Black American musical art forms. “I also want to poke at what the blues is,” Chastity reflects. “It has a lot of stereotypes, like it’s mostly only played by blue-eyed white guys now. But what about Bessie Smith and Ma Rainey? I feel so closely connected, in a pure, undeviating lineage, to the heritage of being a Black, queer blues woman. I want to share this music with them, to say that I’ve listened, and I’ve done something new.”

“This album does not serve sorrow,” Chastity says bluntly. “And in that way, it’s my trying to emulate Zora Neale Hurston’s Their Eyes Were Watching God—seeking personal spiritual fulfillment while rejecting expectations. What matters to me is my survival—and for my survival, it’s been necessary to try to embrace some joy.”

Contemporary Jazz Flute Phenomenon Ragan Whiteside Premieres New Video ‘Thrill Ride"

Flute-playing soul-jazz phenomenon Ragan Whiteside premieres her brand-new video, “Thrill Ride,” the title track from her forthcoming album, on her label, Randis Music. Written and produced by Dennis Johnson, Bob Baldwin, and Whiteside, the single is available on all digital download and streaming platforms including Spotify, Apple Music, Tidal, Deezer, and more. To view the video, click https://www.youtube.com/watch?v=Oqm0aK5GzmY.

“Thrill Ride” takes you on an energetic, musical adventure with melodic twists and turns skillfully navigated by Ragan on flute. The music video has a light-hearted, comical storyline, following Ragan on her impromptu stroll before her show. After getting dolled up by her glam squad, Ragan takes advantage of some downtime and ends up engaging in various thrill rides, skydiving, and a scooter sojourns around neighborhood. Ragan returns to the show venue a little worse for wear – much to the chagrin of her glam squad.

“I am a complete goofball at heart, and I wanted that silliness to be a part of the video,” says the native New Yorker, who now resides in Atlanta, Georgia. “If I can perform music that makes you nod your head and make you laugh, then mission accomplished.”

Composer, producer, and music partner Dennis Johnson adds, “I felt my heart racing while composing the framework of the song. I pictured rollercoasters and race cars; hence ‘Thrill Ride’ was born. The video has the perfect blend of music and comedy that complements our quirky personalities and thrill-seeker tendencies.”

This summer and fall, the classically trained flutist has a series of upcoming concert dates including Marcus Anderson’s Jazz and Coffee Escape in Asheville, NC (Saturday, August 6); Ferrario Elmira Jazz Festival in Elmira, NY (Saturday, August 13); Jazz in the Park in Huntsville, AL (September 4) with additional dates to be announced in the coming weeks.

Meanwhile, as the host of her four-hour Saturday morning radio show on Atlanta’s NPR affiliate radio station Jazz 91.9 WCLK, Ragan Whiteside’s show is growing exponentially with an increase of listeners and supporters internationally.

With a streak of seven career records on Billboard’s Top 10, which includes “JJ’s Strut,” “Reminiscing,” “Jam It,” “Early Arrival,” “See You At The Get Down,” and “Off The Cuff” and the Billboard No. 1 song, “Corey’s Bop.” Whiteside was also a featured artist on two Billboard No. 1 hits, “I’m Every Woman,” and Willie Bradley’s “It's On Now.” Whiteside has released five albums to her repertoire including the 2020 five-track EP Five Up Top, 2017’s Treblemaker, 2014’s Quantum Drive, 2012’s Evolve, and 2007’s Class Axe. The instrumentalist, composer, and vocalist was also a finalist for the Smooth Jazz Network’s Artist of the Year, and for two consecutive years, she remained in the Top 5 in Billboard’s Top Smooth Jazz Songs Year-End chart issue – the only woman to rise into the year-end Top 5 in the male-dominated world of jazz.

Originally from Mt. Vernon, New York, Whiteside was mentored during high school by members of the National Association of Negro Musicians, participated, and ultimately won Silver at the NAACP’s ACT-SO (Academic, Cultural, Technological and Scientific Olympics) competitions for young people. She continued her education at the Cleveland Institute of Music before transferring to the highly competitive HARID Conservatory in Florida. After graduation, she attended a show at a local jazz club and met keyboardist and producer Bob Baldwin, who encouraged her to pursue a career as a contemporary instrumentalist.

Robert Minott | “I Want To Know What Love Is”

This classic remake by Foreigner still propels one to think about the journey that love will take us on, how we are still all figuring out that all though it is a simple four-letter word, it is still yet a big mystery that is worth finding out all about, the beautiful complexities of love. One of Roberts favorite verses of the song is “ I can’t stop now, I’ve traveled so far’.

Robert Minott is a Jamaican recording artist/songwriter/producer. His songs “Yuk Mek Me Feel good”, “Can’t Hold Back featuring Mr. lexx” and “You Are” were successful Euro Indie and the World Indie Charts.  “You Are”, was number one for two weeks on both the Euro and Indie Charts, Top Ten US, and various charts In the US. “I Want To Know What Love Is” is off his fourth coming album  BIG Things”.

As an artist Robert has performed alongside the likes of Maxie Priest, Ziggy Marley Damian, Jr Marley, Jefferey Osbourne, Peabo Bryson, Regina Bell, Howard Hewitt, Yellow man, Chaka Khan, Toots and the Maytals, Steven Marley, Dorian Paul and Ziggy Marly.

An imaginative singer, he is always in pursuit of excellence in his music. Among his releases are “ We don’t want no troubles”, “Makes ends meet”, an exceptional recording that brings nostalgic flashes …….

Nephew of the late Sugar Minott born and raised in St. Andrew, Jamaica, Robert migrated to the US in 1974 and released his first album titled “Love Struck” in 1991. As a recording artist, he has performed alongside the likes of some of reggae’s biggest names including Burning Spear, Shaggy, Maxi Priest, and Ziggy Marley, to name a few. An imaginative singer, he is always in pursuit of excellence in his music. Among his releases are “We Don’t Want No Troubles”, “Make Ends Meet”, an exceptional recording that brings nostalgic flashes of Dennis Brown of whom Robert is often compared to especially whenever he performs.

He released his debut album in 1991 which featured the single, “Irie”, featuring legendary artiste, Bunny Rugs from Third World, and Marlon “Ultimate” Greenwood (Jamaican born professional NFL football player – formerly Miami Dolphins; now playing for the Texans), received substantial radio play in Canada and Jamaica.

In 2007 he collaborated with dancehall artiste Elephant Man on the track Roll It. It was accompanied by a video which was directed by Nordia Rose. A former concert promoter, Robert topped the charts in Jamaica in 2011 with the reggae single “Right Man Fi Yuh”. The single also made strides on the New York and South Florida Reggae charts. He later followed up with a cover of “Silver Words” which featured rapper Kirkie KBZ. “Silver Words” hit the charts in Jamaica and opened up new doors for the singer.

Seth MacFarlane | "Blue Skies"

Multi-Grammy nominated singer, Seth MacFarlane, announces his 7th studio album, Blue Skies (Verve/Republic) set for release on May 20th. The 14-track collection of swinging tunes showcases acclaimed arranger and conductor Andrew Cottee’s deft take on an uptempo album full of modern big band jazz orchestrations. The first track off the upbeat set is the classic jazz standard, “No Moon At All.” 

Recorded at the celebrated Abbey Road studios, Blue Skies features an all-star group of musicians enlisted by MacFarlane including Chuck Berghofer (Bass), Peter Erskine (Drums), Larry Koonse (Guitar), Dan Higgins (Alto Sax), and Tom Ranier (piano). Together, with longtime friend, collaborator, and producer, Joel McNeely, and superb engineer, Rich Breen, the album covers compositions by musical writing luminaries that include Irving Berlin, Sammy Cahn, Edward Heyman and Frank Loesser.

Track listing: 1. It's You or No One / 2. No Moon At All / 3. You'll Get Yours /4. A Hundred Years From Today / 5. If I Were A Bell / 6. Out of Nowhere / 7. On Green Dolphin Street /8. That Old Feeling / 9. Blue Skies / 10. It Could Happen to You / 11. I Didn't Know About You / 12. You Turned The Tables On Me / 13. Never In A Million Years / 14. Unless I Do It All With You

MacFarlane has released six studio albums: Music Is Better Than Words, Holiday For Swing, No One Ever Tells You, In Full Swing, Once In A While and Great Songs From Stage & Screen. Critically lauded, these albums garnered MacFarlane several No. 1 debuts on the iTunes Jazz Charts and a total of six Grammy nominations. MacFarlane has also performed with the legendary composer John Williams at the Hollywood Bowl, duetted with Barbra Streisand and joined numerous celebrated symphonies including Boston, San Francisco, Atlanta, Chicago, Baltimore, and the National Symphony Orchestra.

Liza Minnelli's Landmark "Live in New York 1979" Released as an Ultimate 3-CD Edition, 2-LP Set

Start spreading the news: Liza Minnelli's long-lost live album recorded in the very heart of New York, New York is getting the deluxe vinyl and even more deluxe CD treatment from Real Gone Music and Second Disc Records! When the Oscar, Emmy, and Tony-winning superstar (and future Grammy Legend) took the stage at the legendary Carnegie Hall on September 4, 1979, the concert was already a hotly-anticipated event. It would be the first of eleven consecutive shows through September 14 - the longest run in the Hall's history. Not only that, but every show in the five-level, 2,804-seat venue was sold out. Liza had the foresight to record three nights of concerts; two years later, in 1981, she began selling the limited release on vinyl at her live dates. 

The Live at Carnegie Hall double album preserved Liza's electrifying, roof-raising evening from start to finish, including definitive versions of familiar showstoppers such as John Kander and Fred Ebb’s "Cabaret," "But the World Goes 'Round," and "Theme From 'New York, New York'" But, deprived of proper retail distribution, the album never reached a wide audience...until now! It even gets better, though: Liza kept those pristine multitrack tapes of the three nights recorded at Carnegie Hall. The tapes revealed a treasure trove of performances not included on the original double album including James Taylor's "Everybody Has the Blues," Kander and Ebb's "Arthur in the Afternoon" and "Mr. Cellophane" (the latter sung by future Dreamgirls star Obba Babatunde), a Minnelli/Babatunde duet of Cole Porter's "You Do Something to Me," the funky disco jam "Dance Across the Floor," and even a beautiful nod from Liza to her mother, Judy Garland, with a verse of "On the Atchison, Topeka, and the Santa Fe." These tapes have been painstakingly restored and beautifully mixed by acclaimed engineer Ted Carfrae (Doris Day, Cilla Black) for this first-ever COMPLETE presentation of Liza's Carnegie Hall show from curtain up to curtain down. 

Live in New York 1979: The Ultimate Edition is available on 3 CDs, all of which overflow with showbiz sizzle: one disc with Mike Milchner's remastered version of the original vinyl release, which premieres on CD, and two discs with the never-before-released complete show. This deluxe edition also features an expanded booklet with new introductions by both Ms. Minnelli and Great American Songbook champion Michael Feinstein, both of whom served as executive producers for this release, plus photos of the artist and liner notes from reissue producers Joe Marchese and Charles L. Granata, and exclusive tributes from Liza's friends and collaborators inside a gorgeous, 8-panel digipak boasting the Warhol portrait. Again, NONE of this material has ever been available at music retail...this is indeed the ultimate Liza package!

CD 1: The Original Album / 1. How Long Has This Been Going On/It's a Miracle / 2. My Ship/The Man I Love / 3. Some People / 4. Come In from the Rain / 5. London Town / 6. New York Medley / 7. Someone to Watch Over Me / 8. Twelve Fellas / 9. The Marriage: You and I/The Honeymoon Is Over/Happy Anniversary / 10. City Lights / 11. Cabaret / 12. Shine On Harvest Moon / 13. But the World Goes Round / 14. Bows

CD 2: The Complete Concert - Act One / 1. On the Atchison, Topeka, and the Santa Fe (A  Cappella Introduction) /2. How Long Has This Been Going On/It's a Miracle / 3. Everybody Gets the Blues / 4. My Ship/The Man I Love / 5. Some People / 6. London Town / 7. Come In from the Rain / 8. Arthur in the Afternoon / 9. Mr. Cellophane - Obba Babatunde / 10. You Do Something to Me - with Obba Babatunde / 11. New York Medley

CD 3: The Complete Concert - Act Two / 1. Jam/Dance Across the Floor / 2. Someone to Watch Over Me / 3. Twelve Fellas / 4. The Marriage: You and I/The Honeymoon Is Over/Happy Anniversary / 5. City Lights / 6. Cabaret / 7. Shine On Harvest Moon/Bows / 8. But the World Goes Round / 9. Bows

New Releases: William Bell, Ruben Blades & Boca Livre, Phil Dawson Quintet, Dusty Springfield

William Bell - Never Like This Before: The Complete 'Blue' Stax Singles 1961 to 1968

William Bell was one of the first great soul singers to record for the legendary Stax Records in Memphis – an artist who really helped set the tone for deep soul singles to come from the likes of Otis Redding and Johnnie Taylor – and one whose early work is still some of the best he ever gave us! This well-done package brings together all of Bell's first 14 singles for the label, both a-sides and b-sides – standing together as a testament to all the greatness the singer brought to the fray right from the start – as Stax not only found a way to record him so much differently than he would have been handled in other spots, but also matured along with Bell to keep on creating fresh magic as the 60s moved on! As always with Ace/Kent, the presentation is wonderful – a detailed set of notes that matches the wonderful set list – which includes "Formula Of Love", "Just As I Thought", "Whatcha Gonna Do", "I Told You So", "Don't Stop Now", "Crying All By Myself", "I'll Show You", "Monkeying Around", "Ain't Got No Girl", "Every Man Oughta Have A Woman", "Never Like This Before", "Marching Off To War", "Soldier's Goodbye", "One Plus One", "Eloise", "You're Such A Sweet Thing", "Don't Make Something Out Of Nothing", and his great farewell to Otis Redding, "Tribute To A King". ~ Dusty Groove

Ruben Blades & Boca Livre - Parceiros

Ruben Blades is way more than just a superstar in Latin music – over the decades, he's become a key global figure, and one with much diversity in his work – as you'll hear on this great collaboration with the Brazilian quartet Boca Livre! Boca Livre have a warm harmony vocal style that goes back to bossa groups of the 60s, but which is served up with a more contemporary vibe – and the mix of their sound and Ruben's strong lead is really wonderful here – on a set of tracks that even includes a number of Portuguese tunes next to the Spanish language numbers you'd expect! Titles include "Sin Tu Carino", "Juana Mayo", "Pedro Navaja", "Vida", "Caminando", "Buscando Guayaba", and "Dime" – some of which are titles on the related Pasieros album, but done in a different language here! ~ Dusty Groove

Phil Dawson Quintet - It's Time

London guitarist Phil Dawson has a strong legacy of work with global heavyweights – artists who include Hugh Masekela, Tony Allen, and Mulatu – but the vibe here is much more jazz-based overall – as Dawson plays both guitar and Fender Rhodes in a group that has a great sense of flow! A great part of the record's sound is the work of flute player Rowland Sutherland – whose sweet lines are as much of a delight as Phil's guitar – and the rest of the group is heavy on percussion, but used in a lean way that moves along nicely, and never gets caught in any sort of bombast – maybe more Brazilian in inspiration, if that makes sense. Khadijatou Doyneh of The Heliocentrics makes an appearance at once point – and the tracks are reworks of a few different themes, but coming across in nicely different versions. Titles include "It's Time (fully spoken)", "Gnostic Hilife Nag Hammadi re-edit)", "It's Time (instrumental)", "Gnostic Hilife (flute edit)", and "Gnostic Hilife (original edit)". ~ Dusty Groove

Dusty Springfield - Dusty Sings Soul

A long-overdue look at the soul-based side of the work of Dusty Springfield – maybe the most important side of her music, really – given how many times we find her Atlantic Records material in collections next to Otis Redding and Aretha Franklin! Yet although Dusty soon recorded for Atlantic – in Memphis and other American cities – the singer had a strong ear for soul music right from the start – spurred on, no doubt, by raging interest in the sounds on her own British scene – and carried forth by Springfield in a range of debut solo recordings that were completely different than the folk-based material she was cutting in a group just a few years before! Dusty's got a voice that still knocks it out of the park, listen after listen – a quality that you'll know from big hits, and will discover even more fully here in a great package that comes with detailed notes on all the music – alongside two dozen tracks that include "Bring Him Back", "Can I Get A Witness", "Long After Tonight Is All Over", "Welcome Home", "All Cried Out", "Ain't No Sun Since You've Been Gone", "Every Day I Have To Cry", "Love Power", "Oh No Not My Baby", "Nothing", "Every Ounce Of Strength", "Ain't No Sun Since You've Gone", "I Just Don't Know What To Do With Myself", "Am I The Same Girl", "What's It Gonna Be", and "Don't Let Me Lose This Dream". ~ Dusty Groove

Full Circle Release Their Newest Album Which Ignites Fires In The Soul

Full Circle is a collection of talented musicians all of whom have individually been playing music for the last 20 years. These diversely experienced extremely enigmatic musicians have come together to produce music that speaks to each of them and the world at large. It is the sheer genius of these minds that helps produce music that speaks to all audiences with relatability and empathy.

The soothing, relentless symphony of the jazz tunes that are played helps transport listeners to their happy places, making their worries melt away for the moment, the music taking over and relinquishing the burdens of everyday life. The melodies serve to relax the audience just as a vacation, a trip to the beach, or a hang out with friends would. The album is the perfect pit-stop for an out.

The multiple different experiences of the listeners help amalgamate several different cultural influences and musical genres that give the music produced an undeniable universal character. Firm believers in God, the band members want their art to serve as a guiding light to those that feel inexplicably stuck in a cruel and unyielding world.

Some of the inspiring musicians in the band include Herman Outar the bassist and songwriter, Danne Sheet Jr. the Drummer, Edwin Marrero the guitarist, Pedro Marrero the percussionist, and David Autman IV. The saxophonist. Collectively the aspiring musicians wish to simply create some sort of a positive influence in the lives of individuals and to spread love and community with the art that they produce.

Full Circle’s wish to write compelling music shows their characterization of their craft as something that transcends beyond them and serves as a connector with the masses. The band hopes to attain as many musical gigs as possible for performances and is currently working on songs for their next EP.

Stream the inspiring artist’s music on YouTube as well as on Spotify at the following link https://www.youtube.com/playlist?list=OLAK5uy_n_6QrvBBwAusfIg7T2d_0zfoyCIXuVEgc. Follow the artist’s official social media page on Instagram for updates on newer music.

Jason Tamba Releases Debut Solo Album "Don't Give Up"

International singer, songwriter, and guitarist Jason Tamba is proud to announce his debut solo album “Don’t Give Up” out today on Playing For Change Records. The Congolese born artist has toured globally and appeared in numerous videos with the Playing For Change Band, Afro Fiesta and world-renowned musicians such as Peter Gabriel, Angélique Kidjo, John Paul Jones, Bono, Sara Bareilles and more. Now, with his infectious smile, compelling story-telling and powerful vocals, Jason embarks on his solo musical journey with a level of passion and soul that transcends boundaries.

Gethsemane is the second single from Jason Tamba's debut album “Don't Give Up.” This reflective song, sung in Tamba's native language of Kikongo, "speaks of the last words of Jesus at Mount Gethsemane where he warns of being aware of those who you surround yourself with." Tamba goes on to explain about the song: "The message is: choose your friends wisely!!" The new song comes out on the heels of the first album single released in December, Maasai, which is a beautiful, introspective song with a soul-stirring energy that evokes a time of innocence. 

“Don’t Give Up” is a culmination of Jason Tamba’s musical experiences around the world, and a fusion of sound, bridging the Congo with the West. Recorded in May 2021 with engineer Harlan Steinberg at Hen House Studios, the album features a combination of traditional instruments from Africa along with instruments more generally associated with contemporary and rock music. Tamba says, “The room in Hen is set up for live recording and the acoustics of the room are great for capturing the feel and sound I was going for. I am very happy with the sound we achieved.” 

Tamba is joined by an all-star cast of skilled musicians on “Don’t Give Up,” including Whynot Jansveld (active touring member for The Wallflowers) on bass and mastering, Greg Leisz (recording credits with John Mayer, Aaron Neville, Eric Clapton and more) on pedal steel guitar, award-winning guitarist/producer Louis Mhlanga, Matt DeMerritt on saxophone, Roberto Luti on slide guitar, Grammy award-winning producer Mark Johnson on production, and Yasu Takeuchi. Tamba is also joined by PFC Band members Mermans Mosengo (vocal/ percussion/harmonica) and Robin Moxey (guitar). 

For Tamba, the new album conveys the sentiment that one should always listen to their inner voice, for in doing so you are able to live and manifest your destiny. The title "Don't Give Up" stems from the lyrics in the song Loti, which appears on the album. This concept is the essence of the message of the whole album, Tamba explains, “My fundamental hope is that others can listen to these songs and gain inspiration to never allow challenges to dissuade you from your heart's desire and vision for, indeed, those are gifts placed inside you by God as a unique expression to the world.” 

Born in Kinshasa, the capital of the Democratic Republic of Congo, Jason Tamba, a self-taught musician, has been playing guitar since age seven, when he made his own instrument out of wood and four strings. He later pursued his musical aspirations, culminating in earning a degree in classical guitar and traveling to South Africa to explore more opportunities. It was there that he became a singer, songwriter and guitarist for the Afro/Latin/reggae group, Afro Fiesta, who are widely regarded as innovators in the entertainment industry, fusing elements of Afro-jazz, Kwasa-Kwasa, Makossa and hints of Latin music. Since 2008, Jason has been a lead singer, guitarist and touring performer in the Playing For Change Band most notably performing with musical legends in some of PFC’s most popular Songs Around The World videos that have been viewed by over 300 million people internationally. 

As a touring singer/musician, Tamba has traveled to over 25 countries, globally spreading a musical message of hope and unity, sharing concert stages with artists such as Robert Plant, Taj Mahal, Keb’ Mo’, Ziggy Marley, Toots Hibbert and many more. He is excited to perform the songs on “Don’t Give Up” live with audiences in 2022, most notably his upcoming performance at NOLA Jazz Fest in May. 

Jason Tamba has warmed the hearts of millions and continues to make an impact on world music with his charismatic presence and limitless talent. Tamba’s highly-anticipated debut solo album “Don’t Give Up” is out now on Playing For Change Records. 

Carnegie Hall Announces Schedule for NYO Jazz's First US Tour

Carnegie Hall has announced the schedule for the first-ever US tour by its acclaimed NYO Jazz set to take place on the heels of the June 24, 2022 release of the ensemble’s first full-length studio album, We’re Still Here. The album features NYO Jazz Artistic Director and Bandleader/trumpeter Sean Jones and special guest Melissa Aldana on tenor saxophone, plus an appearance by trombonist Wycliffe Gordon. Available for pre-order, the album will be released by Platoon and will be available for digital download and on all streaming platforms in standard and Dolby Atmos Spatial Audio formats. 

Following NYO Jazz’s US tour kick-off concert at Carnegie Hall on Thursday, July 28, the ensemble—joined by this summer’s special guest vocalist Jazzmeia Horn—will tour seven US cities under the direction of Sean Jones. The tour stops include: Cleveland, OH on July 30 (Tri-C Metro Auditorium); Chautauqua, NY on August 1 (Chautauqua Amphitheater); Pittsburgh, PA on August 2 (The August Wilson African American Cultural Center); Chicago, IL on August 4 (Navy Pier, Lake Stage in Polk Bros Park); Detroit, MI on August 5 (The Max M. and Marjorie S. Fisher Music Center); Madison, WI on August 7 (Wisconsin Union Theater); and Washington, D.C. on August 9 (The John F. Kennedy Center for the Performing Arts). 

"I’m very excited to perform with the amazing young musicians of Carnegie Hall's NYO Jazz this summer," said Jazzmeia Horn. "What a wonderful opportunity as this tour marks my first time playing an entire tour with a big band and I'm especially thrilled to sing selections from my new big band album, Dear Love. I’m curious to see how NYO Jazz will interpret my latest expression of love musically as we connect with audiences in cities around the US. This will be a fun journey to share with them!" 

One of Carnegie Hall’s three acclaimed national youth ensembles, NYO Jazz—comprising outstanding young musicians ages 16–19 from across the United States—showcases the legacy and bright future of American jazz. Created in 2018 by the Hall's Weill Music Institute, NYO Jazz annually brings together some of the nation’s finest teen jazz musicians to train, perform, and tour with world-class jazz masters while also serving as music ambassadors for their country. NYO Jazz’s successful international tours have included a 2018 inaugural European tour with Dianne Reeves as special guest, and the ensemble’s debut tour to Asia in 2019 with Kurt Elling as special guest. Although NYO Jazz was unable to travel during the past two years, the musicians convened virtually during the summer of 2020 and at Purchase College, State University of New York (SUNY) just north of New York City, in summer 2021, rehearsing and recording a wide range of repertoire, including its debut album.  

We’re Still Here features four new works written for the band since its inception, a range of classic and contemporary charts that are hallmarks of its live concerts, and works exploring themes that include social justice, resilience, and the power of music to spark joy. The four Carnegie Hall-commissioned works on the album are: “Run with Jones” by Miguel Zenón, featuring Melissa Aldana as soloist; “Mr. Jones and Co.” by Ayn Inserto, featuring Sean Jones as soloist; “Fête dans la tête” by John Beasley; and “RPM’s” by Igmar Thomas. In addition to these commissions, among the album highlights include: “We’re Still Here” by—and featuring—trombonist and NYO Jazz faculty member Wycliffe Gordon, which has become the band’s rousing encore theme song; hence, the album’s title; “The Art of War” by Ralph Peterson; “Oyelo” by Miguel Zenón, featuring Melissa Aldana as soloist; “A Taste of Honey” by Duke Pearson; “Mr. Gentle and Mr. Cool” by Duke Ellington, arranged by NYO Jazz ensemble coach Reginald Thomas; and “Transitions” by Sean Jones. 

“You close your eyes and think they’re all 20 years older than they are,” said Sean Jones, who pays it forward through his passionate leadership of NYO Jazz, carrying on the tradition of mentorship in jazz. 

The album—recorded during the ensemble’s summer 2021 training residency at Purchase College, SUNY, amidst the COVID-19 pandemic—is a declaration of resilience and longevity. A summer that began with the disappointment of a year without touring evolved into the opportunity to create this 97-minute showcase of the incredible artistry and enormous versatility of this remarkable ensemble, a recording poised to reach audiences around the world just as the ensemble resumes touring in summer 2022. 

“We’re thrilled for NYO Jazz to release its debut album this spring—the first recording by any of our national youth ensembles,” said Sarah Johnson, Chief Education Officer and Director of Carnegie Hall’s Weill Music Institute. “It’s a tremendous opportunity for these gifted young players to train, perform, and now record alongside some of today’s leading jazz artists including special guest Melissa Aldana. It was especially meaningful for the musicians to gather for an extended residency last summer as it marked the first time many of them had the opportunity to come together to play in a full ensemble since the start of the pandemic. With We’re Still Here, we are proud to showcase the incredible depth of talent and high level of musicianship of these standout jazz musicians from across the country who will help ensure one of America’s quintessential art forms is preserved for generations to come.” 

“The big band has always been America’s orchestral format and one of the most wide-ranging ensembles ever devised,” said Sean Jones, NYO Jazz’s Artistic Director and Bandleader. “It can convey nearly any style of music in a sonically stimulating and interactive way. This recording exhibits that diversity by placing classics by Duke Ellington and Neil Hefti alongside pieces that utilize the big band as a vehicle for contemporary American music and represent a wide variety of genres.” 

“Making this album was an absolute labor of love for the musicians, our incredible faculty and guest artists, and everyone involved,” said Joanna Massey, Director of Learning & Engagement Programs for Carnegie Hall’s Weill Music Institute, who has worked with the NYO Jazz program since its inception. “From their individual preparation prior to coming together as an ensemble, through long days of rehearsals and then recording sessions, the musicians were unwavering and inspiring in their dedication to producing something meaningful for the world to hear. It’s particularly special that by recording all of the original music written especially for NYO Jazz, the album also pays tribute to the outstanding musicians from previous NYO Jazz ensembles—who, like the players heard here, embody the future of jazz.”

US Tour Dates Include:

July 28 | Carnegie Hall | New York, NY

July 30 | Tri-C Metro Auditorium | Cleveland, OH

August 1 | Chautauqua Amphitheater | Chautauqua, NY

August 2 | The August Wilson African American Cultural Center | Pittsburgh, PA

August 4 | Navy Pier, Lake Stage in Polk Bros Park | Chicago, IL

August 5 | The Max M. and Marjorie S. Fisher Music Center | Detroit, MI

August 7 | Wisconsin Union Theater | Madison, WI

August 9 | John F. Kennedy Center for the Performing Arts | Washington, D.C.

Each summer, NYO Jazz, led by artistic director Sean Jones, shines a spotlight on the depth of talent found among teen jazz players across the United States. The program offers talented young musicians, ages 16-19, the opportunity to perform as cultural ambassadors for their country, sharing a uniquely American musical genre with people around the world through an international tour. The members of NYO Jazz have been recognized by Carnegie Hall as being among the finest jazz musicians in the country, following a rigorous and highly competitive audition process. After its Carnegie Hall debut in 2018, the ensemble embarked on its first-ever international tour for performances with vocalist Dianne Reeves at prestigious concert halls and music festivals in London, Amsterdam, Edinburgh, Kassel, and Berlin. In summer 2019, NYO Jazz made its debut tour to Asia, joined by vocalist Kurt Elling, including performances in Taichung, Beijing, Shanghai, Zhuhai, and Hong Kong. As part of their travel schedule, NYO Jazz musicians also have opportunities to meet and collaborate with young local musicians and experience the richness of different cultures and music. 

NYO Jazz builds on the success of the acclaimed National Youth Orchestra of the United States of America (NYO-USA) and its sister ensemble for younger musicians NYO2—programs created by Carnegie Hall in 2013 and 2016, respectively—to bring together the finest young classical musicians from across the country each summer for training, performances and international touring. Each of these prestigious national programs—free to all participants—is dedicated to the proposition that talented young musicians thrive when they have the opportunity to expand their musical, social, and cultural horizons and share their artistry with audiences around the globe. Since 2013, Carnegie Hall’s national youth ensembles have performed in 15 countries on four continents, including tours to China, South Korea, Mexico, Ecuador, Colombia, Russia, and across Europe.

Multi-platinum "Melody Man" Vassal Benford steps into the spotlight

With more than 57 platinum records to his credit working with a galaxy of stars in various music genres, over $150 million in movie box office receipts, and management duties for boxing champion Manny Pacquiao and the estate of fabled blues icon B.B. King, megaproducer Vassal Benford is returning to his roots determined to conquer jazz just like everything else he’s conquered throughout his unparalleled multimedia career. The songwriter-keyboardist is determined to breathe fresh energy and creativity into contemporary jazz, beginning with his first single, “Melody Man,” which goes for playlist adds on Monday (May 23) issued on The Benford Jazz Label.  

Benford was sixteen when legendary jazz pianist Ramsey Lewis recorded the song the teenager wrote about his first crush, “Michelle,” which went number one. Two years later, jazz bassist Stanley Clarke produced the second song Benford wrote, a tune that was a cowrite with Grammy winner Jeremy Lubbock, which became another number one hit for Lewis and his duet partner, the illustrious jazz singer Nancy Wilson.

As the years rolled by, the hits kept coming as Benford’s projects topped the charts in multiple genres for superstars DJ Diplo, Toni Braxton, NAS, Flo Rida, Queen Latifah, Mariah Carey, Rick Ross, Deborah Cox, Sheryl Crow, U2, Jade, Bobby Brown, New Edition, Lil’ Kim, Patti LaBelle,
Faith Evans, Chanté Moore, Oleta Adams, Lisa Stansfield, Tramaine Hawkins, and The Fine Young Cannibals among others.

In recent years, Benford was drawn back “home,” jazz and instrumental R&B, which sparked collaborations with Grammy-winning guitarist Norman Brown and eight-time Grammy nominated saxophonist Gerald Albright. Both artists are among the luminaries who will appear on Benford’s debut album, “My Favorite Moments,” which is slated to drop next February. But first, Benford wants to introduce listeners to the imaginative collection with a single or two, the first of which is “Melody Man.”

“Melody Man” is an apropos title as Benford pours layers of cascading piano melodies amidst lavish guitar and keyboard harmonies, and intricately textured percussion and multicultural rhythms. One of the unique allures of the single is that the innovative track sounds unlike anything in the music space yet its invitingly familiar and infectious.

“I wanted to create a song that everybody could remember that also made you feel as if you were watching me in concert. It was intentional the way I wrote this song. The inspiration around it was making a feel-good song for everybody to dance to or to listen to several times in order to ‘hear’ all of the elements in the track. I felt as if the world needed this kind of global music at this time,” said Benford, who changed the structure of the complex drum track multiple times during the mixing process with Billboard chart-topper Greg Manning.

“The reason we changed the drum track is because there's so many different elements to ‘Melody Man.’ It has a Latin feel, an African feel, a pop feel as well an R&B feel. There are so many distinct phases of music that are entailed in the song itself. The final product turned out exactly the way we wanted by changing the drums four separate times while in the mix.”

Decades ago, music industry titan Clive Davis gave Benford his own joint venture record label and today, Benford is partnered with blockbuster film producer Mark Canton. Together, they achieved box office success with 2019’s “After” and “After We Collided” released the following year. Composing music scores for movies such as "The Running Man" (Arnold Schwarzenegger), "New Jack City," "Class Act" (Kid ‘n Play), "The Associate" (Whoopi Goldberg), “The Smell of Success” (Billy Bob Thornton) and “Stay Cool” (Winona Ryder) is what fueled Benford’s interest in the motion picture business. He broke color barriers by becoming the first African American to score an animated feature, 2012’s “The Swan Princess.” On the small screen, Benford has crafted music for shows including "Melrose Place," "Beverly Hills, 90210" and "Fame L.A."

Benford produced a 2016 tribute concert to Michael Jackson that headlined The Jacksons, Aerosmith, Ne-Yo, Rick Ross and Christina Milian that was hosted by Magic Johnson at which the multihyphenate showbiz magnate who was born and raised in Detroit, and now splits his time between Las Vegas and Newport Beach, Calif., conducted a 30-piece orchestra. With his sights presently set on jazz, expect Benford to change things up in ways only this remarkable visionary can.  

"Lazy Breeze" from Lexsoul Dancemachine's upcoming EP (balearic funk)

Based in Tallinn, Estonia, Lexsoul Dancemachine is a 6-headed, smoking-hot funk beast known for tearing venues apart with its energetic performances on stage. Active since 2013, the aim of this machine is to hypnotize feel-good music lovers with thumping bass lines, syncopated rhythms, irresistible grooves and soulful vocals. It’s the kind of music you can breakdance to, although in between those hard-hitting sounds you’ll find some more tender moments.

Thanks to a successful Kickstarter campaign the band entirely self-produced its debut album “Deus Lex Machina”, which was released on CD, LP and digital download in December of 2015. It went on to gain praise and support from DJs and listeners alike, with single “Beef Grinder” getting picked up by the mighty Craig Charles for his “Funk & Soul Show” on BBC 6 & BBC 2 and even being included in his compilation “Craig Charles Funk & Soul Club vol.4” out on Freestyle Records. The following year was busy with live gigs in the Baltic-Nordic region, including Tallinn Music Week, Positivus, Funky Elephant and Pori Jazz Festival in Finland.

Lexsoul Dancemachine‘s next single was “Coconuts”, an irresistibly catchy tropical funk delight that was released digitally in July 2016. After stunning the region’s crowds with its unique sound and exotic feel it took off abroad, receiving air time worldwide, support from the funk-soul-disco communities throughout Europe and topping local radio charts. The enthusiastic reaction to the track encouraged Lexsoul Dancemachine to pursue this direction further and record their next album with a decidedly more latin funk and tropical disco influence. Sophomore full-length “Sunny Holiday In Lexico“ came out on Funk Embassy Records in 2018 and further cemented the band’s standing as as sweat-inducing groove machine.

As the band prepare for the release of their third studio album, there’s no doubt the raw funk beast shines first and foremost in a sweaty live setting. They’ve yet to leave a crowd unfazed as evident from the first UK tour in February 2017 when the Dancemachine made people stomp their feet in London, Bristol, Manchester and Leeds. Among the dates was a sold-out evening at the iconic Band on the Wall venue during the Craig Charles Funk and Soul Club evening.

Whether it be live or recorded, one thing is for sure, Lexsoul Dancemachine is here to wake you up, make you stomp your feet and jive with their raw street funk on one side and sweet soul on the other!

Jeremy Cunningham / Dustin Laurenzi / Paul Bryan | "A Better Ghost"

Cunningham and Laurenzi have been near-inseparable collaborators for years, working in countless groups together across Chicago’s vibrant jazz community. Their new album A Better Ghost finds them in collaboration with Los Angeles-based bassist/producer Paul Bryan, and is the product of phone-recorded improvisations and experiments dating back to 2017.  With Laurenzi creating sequences and samples on the OP-1 synthesizer while on the road with Bon Iver, and Cunningham developing drum parts and melodic fragments, the two began finding a distinct direction to take the work, sharpening and editing these snippets into cohesive compositions. 

While Cunningham and Laurenzi have collaborated this way for years, they decided to add Los Angeles based musician Paul Bryan, the Grammy-winning producer, engineer, and bassist (Jeff Parker, Aimee Mann, Lucinda Williams) who co-produced Cunningham’s Northern Spy debut 2019 LP The Weather Up There to finish these pieces. Adding bass parts and a producer’s ear to these songs, Bryan’s vital contributions were the missing link. “Paul really understood the vision of our music and added so much to what we’d already recorded. At a certain point it was a no-brainer to expand the duo to a trio” says Laurenzi. On A Better Ghost, there’s a euphoric melding of Chicago and LA’s jazz worlds present with features from prolific saxophonist Josh Johnson, legendary drummer Jay Bellerose, and Cunningham’s Resavoir bandmate and leader, trumpeter Will Miller. The resulting tracks are the product of years-long collaborators expanding their deep chemistry. 

On “New Dust,” Laurenzi provides a smooth, natural improvisation, dynamically ebbing over a deep dub groove kept steady with distinct rhythmic assurance from Cunningham, Bellerose, and Bryan. “With What We Have” wakes slowly, focusing on gradual layering of horns that culminates in near-chaos. . The title track highlights the trio’s seamless blending of acoustic and synthesized palettes, featuring a woozy clarinet sample and propellant percussion alongside sci-fi synths and a Pharoah Sanders-inspired saxophone solo. Singer Katie Ernst guests on  “The Way We Remember,” crafting a melody from a poem Cunningham wrote about the passing of his father in 2020. The synths ebb and flow along with Cunningham’s painterly approach at the drums, spreading colors and lines across a languid backdrop of saxophone chords and synth bass.

A Better Ghost is a reflection of how Cunningham, Laurenzi, and Bryan have found a natural musical connection that is unbound by genre and deeply personal. “Playing with Dustin and Paul has strengthened my musical instincts and allowed me to become more patient developing a sound and playing a song. Sometimes you have to just let the thing happen.  Try not to get in the way too much, and let the music breathe.” -Jeremy Cunningham