Trombonist Marshall Gilkes Presents: Cyclic Journey, Featuring Aaron Parks, Linda May Han Oh & Johnathan Blake

Grammy nominated trombonist and composer Marshall Gilkes has a singular and distinct voice on the trombone, one that simultaneously expresses beauty, virtuosity, the raw spontaneity of improvisation fused with the elegant, stately architecture of classical music. From playing lead trombone with The Vanguard Orchestra, to performing with The Maria Schneider Orchestra, the Slide Monsters Trombone Quartet, and leading his own projects, producing six critically-acclaimed albums thus far. Gilkes is also a prolific composer, most recently contributing a stunning set of compositions to the WDR Big Band, titled “Always Forward.” In short, the man is a musician’s musician who can do it all. 

Following up his essential album with the WDR Big Band, Köln, and his 2020 release, Waiting To Continue, Marshall Gilkes latest coup de maître is a stunningly beautiful and captivating suite of music, titled Cyclic Journey, available on September 30. On Cyclic Journey Gilkes uncovers and explores the elements of his own journey. “I wrote the music for this album in March and April of 2022, but I’ve had this idea – to bring these two worlds together – for quite some time,” Gilkes explains. “And in terms of the theme, it really came to light through reflection on what’s most familiar to me. That’s how I arrived at the idea to write a soundtrack to my daily external and internal existence.” Gilkes’ daily existence means being able to deliver on a very high level in a multitude of musical situations and partnerships, which he does with a quite uncommon flexibility, and command of his instrument; and taking care of his family as a dedicated father and husband.

The ensemble on Cyclic Journey is an accomplished and unique band, and they bring Gilkes’ vision to life in remarkable ways. Pianist Aaron Parks, bassist Linda May Han Oh and drummer Johnathan Blake could be thought of as a modern day version of “the rhythm section,” so cohesive and powerful is their union (as many know, the original “rhythm section” being Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums). Integrated with this dream quartet, is a brass octet comprised of a who’s who of classical heavyweights, including trumpeters Brandon Ridenour (of Canadian Brass fame), Ethan Bensdorf (from the New York Philharmonic), and the omnipresent Tony Kadleck (a much in demand lead player in the Big Apple), horn player Adam Unsworth (Professor of Horn at the University of Michigan and a former member of the Philadelphia Orchestra), the legendary Joseph Alessi (longstanding Principal Trombone in the New York Philharmonic), bass trombonist Nick Schwartz (from the New York City Ballet), euphonium ace Demondrae Thurman (Chair of the Brass Department at Indiana University), and king of the tuba, Marcus Rojas, who has held down the low end for everybody from Henry Threadgill to the Metropolitan Opera. “I feel like with this project it’s not just about the combination of two groups or ideas, but the musicians themselves. Linda’s sound on the bass is just so incredibly pure. Aaron’s touch on the piano, evident, for example, in the way he takes over after that fanfare on ‘Go, Get It!,’ is beautiful. The way Johnathan plays and orchestrates everything just elevates the music. And I have the ultimate cast of characters with these brass players. I feel like I’m very lucky that I was able to bring together the perfect group of people,” says Gilkes. 

The nine movements on Cyclic Journey reflect the elements of Gilkes personal and professional life. “First Light” opens with a gentle chorale (Gilkes composes the hippest, emotive Chorales, which are featured throughout the album), capturing the optimistic mood of a quite house, very early in the morning, while the rest of the world is seemingly still sleeping. “That’s really a piece about the gears of life starting to turn at the beginning of each day,” explains Gilkes. “Up and Down” is about moving out into the world, putting things in play with a hip, understated groove. “The Calm” is an aural depiction of one being able to catch their breath, and on this movement we hear the perfect integration of jazz quartet with classical brass octet in all its glory. Contrasting “The Calm,” is “Go Get It!,” a call to action, the fanfare an announcement of great things to come. After the lovely serenity of “Respite” our hearts are racing again with “Beat The Clock,” which is about having too much to do, and not enough time to do it! Check out “Genre Battles,” which offers contrasting brass octet sections against the jazz quartet absolutely burning over Rhythm Changes, demonstrating, to great effect, Gilkes’ impartial love for these idioms. “I’m honestly someone who adores classical brass playing, but also loves jazz,” says Gilkes. “Musings,” and “Cyclic Journey,” are the resolution and the afterglow, expressing joy and satisfaction, and two examples of Gilkes’ gorgeous sound, his gift as a composer, and his melodicism. The bonus track, worth the price of admission alone!, is one final bow to brass grandeur, as Gilkes and his fellow horn men bring down the house with “Sin Filtro,” (Unfiltered) which boasts some of the leader’s signatures – extreme register jumps, strong melodies, sophisticated harmonies, rhythmic intensity – it’s a Spanish-tinged stunner that spotlights this unbelievable collection of slide and valve virtuosos.     

 

New Music: Kool & The Gang, Vega Trails, Neil Swainson, Rudi Mahall & Michael Griener

Kool & The Gang - The Albums Vol 1 – 1970 to 1978 (13CD set)

That's the later Kool & The Gang logo on the front cover, but this killer set brings together all their greatness from the early days – a fantastic run of funk that set a whole new standard for the 70s! Right from the start, the group had something different going on – a leaner, sharper vibe that took some of the raw energy of the 60s, and gave it a sharper focus – heard first on an assortment if important funky 45s, then brought together on their first album, and expanded into some tremendous developments as the 70s moved on! All that greatness is here, featured in one amazing box – a full CD of singles from the time – plus the full albums Kool & The Gang, Music Is The Message, Good Times, Wild & Peaceful, Light Of Worlds, Spirit Of The Boogie, Love & Understanding, Open Sesame, Force, and Everybody's Dancing – plus the incredible concert albums Live At PJ's and Love At The Sex Machine. A fantastic set – essential for any fan of funk and soul! ~ Dusty Groove

Vega Trails - Tremors In The Static

Both artists here are ones you might know from other UK jazz projects – bassist Milo Fitzpatrick hails from Portico Quartet and saxophonist Jordan Smart is part of Mammal Hands – and together, they work in these spare duets that are really beautiful, and often very different than their previous recordings! There's a nice sense of space in both the way the bass and sax are recorded – so that the larger sound of the production wraps their sounds together nicely – almost an ECM sense of space, but without the coldness that label always seems to have – which makes for a key difference here in the way things come across. Titles include "Train To Kyoto", "Spiral Slow", "New Planet", "Epic Dream", "Red Moon Rising", and "Thoughts Shifting". ~ Dusty Groove

Neil Swainson - Fire In The West

Bassist Neil Swainson almost never gives us a record as a leader, but when he does, it's usually something special – which is definitely the case on this well-crafted set! Swainson's kind of a secret talent – a great player in his own right, an excellent composer, and one of those leaders who really seems to pull something extra out of the players in his group – as you'll hear here in the quintet session with Rene Rosnes on piano, Lewis Nash on drums, Brad Turner on trumpet, and Kelly Jefferson on tenor! Both Turner and Jefferson aren't as well-known as the rhythm players, but they do a fantastic job of illuminating Swainson's set of all-original material – tracks that really set things up for the horn solos as they take off. Titles include "Late Afternoon", "Fell Among Thieves", "Standing Back", "Cascades", "Fools Gold", "Kyushu", and "Silver Mine". ~ Dusty Groove

Rudi Mahall & Michael Griener - Jazzpreis

Rudi Mahall and Michael Griener have known each other for many years – a fact that becomes instantly clear on hearing their rapport here in improvisation – Griener on drums and vibes, and Mahall on bass clarinet and baritone saxophone – instruments used in these stark, lean settings that really get at the heart of what makes free jazz so wonderful! Griener doesn't use vibes that often, but when he does, the approach is great – and no matter what the reed instrument, Mahall always has a way of crafting these notes that are sharp and distinct, and full with a subtle sense of emotive power. Titles include "Minute Spater", "Nach Entsprechenden", "Derweil", "Viele Tassen Beruhigungstee Spater", and "Und So Nahm Die Sache Ihren Lauf". ~ Dusty Groove

New Music: Nat Birchall, Pharoah Sanders, Richard Baratta, Marc Mac

Nat Birchall - Spiritual Progressions

An instant classic from saxophonist Nat Birchall – the kind of set that first made us fall in love with him all those many years back, when we first heard his early records on the Gondwana label! Nat's working here in a mode that's spiritual, but on long tracks that have a great modal vibe – really enforced by the energy of his group here, which features some especially great piano from Adam Fairhall – a player with a very majestic command of his instrument, and one that really sets the tone for the whole record! Other members of the group include Michael Bardon on bass, Paul Hession on drums, and Lascelle Gordon on percussion – but Birchall is clearly the shining light in the front – blowing beautiful long solos on tenor, plus a bit of wood flute too – with occasional contributions on mbira and balafon as well. Tracks are all nice and long, and include "Nile Valley", "Sun In The East", "Lokumbe", and "Unity" ~ Dusty Groove

Pharoah Sanders - Africa (2CD deluxe edition)

A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet with John Hicks on piano, Curtis Lundy on bass, and Idris Muhammad on drums – all players who have this way of doing a lot with a little, especially in the rhythm department – where they seem to give Sanders some of his strongest sense of groove since the key albums for Theresa. Muhammad's got this tight sense of timekeeping, but with a looseness that we love – and Lundy's warm soulful bass does more than enough to give the set a sound bottom – and Hicks' free lyrical piano works nicely with Sanders' spiritual horn. Titles include a remake of "You've Got To Have Freedom", plus "Naima", "Origin", "Speak Low", "After The Morning", and "Africa". Also features the tracks "Duo" and "Heart To Heart" – not on the vinyl release! Great 2CD version – with a bonus CD that features two alternates of "Speak Low", and one more of "After The Morning". ~ Dusty Groove

Richard Baratta - Music In Film: The Sequel

Jazzy takes on tunes that you'd know from famous film soundtracks – served up in a special way that not just draws from the talents of leader Richard Baratta on drums, but also heavily from pianist Bill O'Connell, who handled most of the arrangements for the set! There's a strong Latin jazz vibe to the set that reminds us a lot of O'Connell's own records – with Baratta on percussion alongside his drums, and added percussion and congas from Paul Rossman – in a group that also features Vincent Herring on alto, Paul Bollenback on guitar, and Michael Goetz on bass. Most tunes are familiar, but the arrangements are mighty fresh , and really open things up – on tunes that include "Last Tango In Paris", "Soul Bossa Nova", "Pure Imagination", "Man Of Constant Sorrow", "You've Got A Friend In Me", "Out Of This World", and "Pink Panther". ~ Dusty Groove

Marc Mac - Br-Azil-Ah EP

Marc Mac's given us two previous records that each showcase cultural inspirations – one on Africa, the other Jamaica – but as with those releases, the style on this Brazil-driven collection is still very much Marc's own – that wonderfully cosmic groove we've always loved in his music going back to the early days of 4Hero! There's maybe a slight touch more acoustic percussion here than usual, but the rhythms are still cracklingly jagged – warmed up by some great keyboards, and saxophone work on a few tracks – including one appearance from the great Nathan Haines! Titles include "Encantadora", "Music Of Life", "Tribos Coloridas", and "The First Movement". ~ Dusty Groove

Otis Redding Foundation to Host Weekend of Events Celebrating 81 Years of Otis Redding

The Otis Redding Foundation will celebrate Otis Redding's legacy on what would have been the Soul singer's 81st birthday. The events, to take place September 9-10 will bring world-renowned musicians to Macon, GA and serve as a major fundraiser to benefit the future Otis Redding Center for the Arts, which will further support the Foundation's mission to empower, enrich, and motivate youth through education programs involving music, writing, and instrumentation. 

"Our family is elated to celebrate my dad's legacy in person for the first time since the pandemic. We are happy to bring the weekend-long celebration back to Macon and thank the countless patrons who have supported the Otis Redding Foundation since my mother established it in 2007. We're excited to share our vision of musical education with the community," says Karla Redding-Andrews, Vice President and Executive Director of the Otis Redding Foundation. 

The weekend of events will kick off on Friday, September 9 with the highly anticipated groundbreaking for the new Otis Redding Center for the Arts—an 11,000 square foot space dedicated to musical education, outfitted with learning labs, collaborative spaces, practice rooms, and a stage for student performances.

That night, An Evening of Respect will take place at Macon's historic Grand Opera House and feature GRAMMY Award-winning, jazz-influenced pianist Robert Glasper and GRAMMY-nominated singer Mickey Guyton. During the event, the Otis Redding Foundation will honor supporters DJ Derrick "D-NICE" Jones, Georgia heroes Chuck and Rose Lane Leavell, Dr. Vickie Perdue Scott of Legacy Builders Foundation, and Dr. C. David Keith of Mercer University.

The Big "O" Homecoming Show will take place on Saturday, September 10 at the Capitol Theatre and feature performances by Kendra Morris, Monophonics, and The War and Treaty. The tribute show is a callback to Otis Redding's own Home Coming Show and Dance held at the Macon City Auditorium throughout the 1960's, where the singer brought his contemporaries and musical peers to Macon. 

Since its inception, the Otis Redding Foundation has supported thousands of students in pursuit of their goals in music and the arts. Programs include the annual Otis Music Camp for ages 12-18, Camp DREAM for ages 5-11, music education workshops, private and group lessons, and opportunities to perform on iconic stages, such as the Ryman Theater in Nashville, TN. 

The Otis Redding Foundation's mission is to empower, enrich, and motivate all young people through programs involving music, writing and instrumentation. Each partnership and program sponsored since its inception in 2007 supports the philanthropic commitment of Otis Redding to empower and enlighten all young people to fulfill their dreams.

The Otis Redding Center for the Arts is a multipurpose space open to students ages 3-18 who have a desire to explore their interest in all elements of music and the arts. Planning is well underway with a proposed opening in 2023. The Center will be staffed with Macon's finest musicians offering private music lessons in areas such as piano, audio engineering, strings, and more. Students are encouraged to go beyond and tap into their best effort. The Center believes in the vitality of music and the arts and continues to develop those avenues for youth. Partnerships with Mercer University, Middle Georgia State University, Georgia Southern University and more, help make these efforts possible for our students.

New Music: Terrace Martin, Kaidi Tatham, Chicago Soul Jazz Collective with Dee Alexander, Jas Kayser

Terrace Martin - Drones

Terrace Martin is an artist who just keeps on getting deeper and deeper over the years – an already-great jazz musician, but one who's widened his scope to touch on broader currents of soul and hip hop – all of which really open up with the jazz-based energy at the core! At some level, this record might be to Martin's career what the Black Radio project was to Robert Glasper – as Terrace opens the door to all-star guests who include Kim Burrell, Leon Bridges, Ty Dolla $ign, Kendrick Lamar, Kamasi Washington, and even Glasper himself – while also finding space to serve up a few key tracks on his own, without any guests – tracks that may well be some of our favorite on the album. Titles include "Turning Poison Into Medicine", "Drones", "Leave Us Be", "Don't Let Go", "Listen", "Sick Of Cryin", "Leimert Park", "Tapped", and "Griots Of The Crenshaw District".  ~ Dusty Groove

Kaidi Tatham - Don't Rush The Process

Kaidi Tatham never rushes the process – and in fact, sometimes he makes us wait so long between full length albums, we really jump into a new record with a great sense of excitement! And here, all that excitement is definitely warranted – as Tatham not only lives up to that sense of cosmic energy we've always loved in his music, but also really seems to be opening up to new rhythmic modes as well – which take the record far past the broken beat generation, and really show a way that an artist like Kaidi can reach for the stars with a new sense of spiritual energy! There's a richness to the record that we haven't heard before from Kaidi – and we've loved every one of his other albums – and although Tatham plays most instruments himself, the set does feature some great guest appearances by others, including surprisingly strong use of the Easy Access Orchestra. Titles include "Knocknee Donkey", "We Chillin Out", "Just Not Right Rudi", "Don't Rush The Process", "Sooretama", "Any Flavour", and "Runnin Tru". ~ Dusty Groove

Chicago Soul Jazz Collective with Dee Alexander - On The Way To Be Free

A very hip step for this tight Chicago group – as they take their already-righteous sound, and open the door for singer Dee Alexander, who really adds a lot to the record! We mostly know Dee as a jazz singer, but here, she also brings in a bit of soul too, as do the group – and create a record that's in territory that's maybe a bit more jazz-based than the music of Sharon Jones, but still also pretty funky too! Dee's great in the lead, and the set's full of original tunes that really carry a message – as you might guess from the album's title, and the group's previous record – mostly written by John Fournier, the tenorist in the group – with titles that include "The Man Is Coming Back", "Nothing Good Ever Goes Away", "On The Way To Be Free", "Mama Are We There Yet", "Carry Me", and "Crazy Wrong". ~ Dusty Groove

Jas Kayser - Jas 5ive

A great entry in the fantastic 5ive series from the UK jazz underground – music led by drummer Jas Kayser, but with a vibe that really draws a lot from the rest of the group! Kayser's rhythms are nicely jagged at times – mixed with live percussion, but with a vibe that often feels like some of the cosmic rhythms of the London club underground – complex, but always moving forward too – and topped with alto, tenor, trumpet, and a bit of vocals from female singer Ava Joseph – who leads off the first track and really sets the tone of the record! Jamie Leeming brings in some great guitar lines at times, with a very unique solo approach – and titles include "Half Race Face", "Stupid On The Beat", "Darkness In The Light", "Dream", and "Jamie's Blues". ~ Dusty Groove

Tawanda | "Smile"

The 9th Annual Sarah Vaughan International Jazz Vocal Competition, held in Newark, New Jersey on June 6, 2021, uncovered a 25-year-old singer of such grace, musicality, and emotional directness that it was hard to imagine how she had learned so much, so soon. Tawanda Suessbrich-Joaquim, now known simply as Tawanda, could have rested on the natural beauty of her alto voice, with its trombone-like low notes, a middle register as clear and polished as glass, and a distinctively sweet-and-sour tone. She was rhythmically spot-on, with impeccable diction, but underneath it, all lay a wisdom unusual in one so young.

For her debut album Tawanda took on a broad, demanding repertoire, much of it suggested by Resonance owner-producer George Klabin.  Backed by a stellar band featuring pianists Josh Nelson & Tamir Handelman, bassist Kevin Axt, guitarist Anthony Wilson, saxophonist Gary Meek and others.  Features a fresh and adventurous mix of standards including ‘Smile”, “What A Little Moonlight Can Do”, “Out Of This World” and many others.

Tawanda is determined, she says, to keep developing, and to “sing these different styles of music and honor the song while putting my own spin on things. I’ve been practicing a lot and trying to get more comfortable with jazz theory and expression. I want to be right there with my voice and storytelling.” She’s well on her way.

Track Listing: 

1. Smile/I'm All Smiles
2. Out of this World
3. Bridges
4. Sister Moon
5. What a Little Moonlight Can Do
6. I'm Okay
7. A Child Is Born
8. Lucky to Be Me
9. Sack Full of Dreams
10. Bring Back My Dreamer
11. Smile (A Capella)

Dr. John’s Final Studio Album - Things Happen That Way Due

There are few artists who are as closely associated with New Orleans as Malcolm John “Mac” Rebennack, Jr., known to music fans the world over as Dr. John. His Nite Tripper persona was, for many, their introduction to the music and culture of New Orleans, and Rebennack was the ultimate ambassador for his hometown’s artistic heritage.

When Rebennack set out to record Things Happen That Way, one of the featured guest artists he invited to participate in the sessions was fellow New Orleanian Aaron Neville, whose friendship with Mac dates back to their teen years. Today, their jubilant, joyful rendition of The Traveling Wilburys’ classic “End of the Line,” on which they are also joined by rising star Katie Pruitt, is released. 

Rebennack was planning future projects when his life was unexpectedly cut short in 2019. Now, three years after his untimely passing, in a world complicated by COVID-19, Things Happen That Way will see the light of day. The album, which features three brand new original compositions, a mesmerizing reworking of Dr. John’s 1968 classic “I Walk on Guilded Splinters, and new interpretations of songs by Willie Nelson, Cowboy Jack Clement, Hank Williams, and The Traveling Wilburys will be released on September 23. 

Things Happen That Way marks the fulfillment of a longtime goal of the six-time GRAMMY-winning singer/songwriter/pianist and Rock & Roll Hall of Famer, who first began plotting a country-inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary. Along with an elite cadre of New Orleans session players, the album also features guest appearances by his longtime friend and frequent musical collaborator Willie Nelson and Lukas Nelson & Promise of the Real. 

Things Happen That Way Track Listing:

1. Funny How Time Slips Away
2. Ramblin’ Man
3. Gimme That Old Time Religion (feat. Willie Nelson) 
4. I Walk On Guilded Splinters (feat. Lukas Nelson & Promise of The Real)
5. I’m So Lonesome I Could Cry
6. End Of The Line (feat. Aaron Neville)
7. Holy Water
8. Sleeping Dogs Best Left Alone
9. Give Myself A Good Talkin’ To
10. Guess Things Happen That Way

Lindsey Webster | "Reasons"

“Everything is energy," exclaims the stunning, charismatic Billboard #1 singer/songwriter Lindsey Webster. “Atoms make up everything, and they are only made of 0.0001% matter. That leaves 99.9999% space - aka energy! This simple fact is how I remember to take my focus off of this physical world and tune into my spirit." Webster who studied cellular and molecular biology in college with the intentions of becoming a researcher adds, “The more we tune into our own energy, the better our lives become.”  Soultracks once declared “If Carole King and Sade had a kid, she would be Lindsey Webster.” The amiable and earthy singer, has managed to shake up the cliquish male and instrumental dominated - Contemporary Jazz scene, forging a path that is uniquely her own. Amazingly in 2016, Webster became the first vocalist to hit #1 on Billboard’s Contemporary Jazz charts since Sade.  All About Jazz declares, “Webster is soulful, authentic and belongs on the short list of new talents keeping the tradition alive and taking it to the next level,” while Pop Matters describes Webster’s voice as “Soulful…Effortless.” The Woodstock native’s anticipated new recording, Reasons, (to be released September 9, 2022) is the next step in her evolution as an artist. “For the first time, I think I made an album for myself,” she confides. “I’ve come a long way. On my first album, little 21-year old Lindsey was singing those songs the way I thought Mariah (Carey), Amy Winehouse or Adele would do it. I had no idea who I was as a person, let alone as an artist. This album speaks to what I want and in return I think that it will connect with my audience in a deeper way.” Reasons features several major special guest collaborators including bassist Nathan East, trumpeters Nicholas Payton and Randy Brecker, pianist Brian Culbertson (who plays trumpet and trombone on the album) Kev Choice who raps on a track and drummer Lil John Roberts, among others. At the heart of Lindsey’s collaborations is her long-time musical partner and former husband, pianist Keith Slattery. “I think our shared vision for the potential of what our music is capable of keeps the dream alive,” confides Lindsey. “Keith is an amazing example of understanding and compassion. I can speak for the both of us when I say that relationships are given to us to learn from whether they are romantic or not. I find it trivial and petty to throw away a great friendship and partnership over differences. Life is too short!”  The winning combination of Webster and Slattery has resulted in two Billboard #1’s and eight Top 10’s on the Billboard charts.

The highly anticipated Reasons is an intimate and introspective portrait of Lindsey Webster’s epiphany about herself and her relationships. It has all the makings of a career-defining album as she steps forward as one of the best singers of her generation, a promising songwriter and rarity in the world of Contemporary Jazz. The cathartic album explores not only the joyful side of love but also the heartbreak and growth from disappointment. Although Lindsey has always prided herself in maintaining a level of honesty in her music, she has only recently become comfortable delving into the darker side of her feelings. “I used to shy away from my negative emotions and felt guilty about being one of those ‘toxic positivity people’ who fake smile through things, telling myself and others to ‘just be positive,’” explains Webster, who meditates daily. “This attitude got me through a certain time in my life but it took sitting with myself and being curious about my negative emotions. It’s scary territory, but once you become friends with your demons, it’s like the Wizard of Oz, and it’s not as scary as you once thought it was.”

Reasons is a sublime showcase of Lindsey Webster's metamorphosis as an artist, shining a spotlight on her precise, effortless and ethereal vocals. At times her voice calls to mind such iconic singers as Mariah Carey, Anita Baker and Roberta Flack. There is an authenticity that permeates the songs featured on the album. “There has never been another option for me, other than honesty,” reveals the former EMT and firefighter. “The better I get to understand myself, the better my expression and music seems to get and this makes music truer, and people feel that.” Reasons was recorded during three different sessions, starting August 2021, with a second session at the end of January 2022 with the final session wrapping in May 2022. “I think that the pandemic really forced me to look inward, giving me deeper insights into who I am, which made it easier for me to say what I was feeling in these songs,” shares Lindsey, who was first cellist in High School and continues to play to this day. “I reached a new level of not caring if what I said might offend someone.” 

Reasons opens with the sassy, insatiable groove of “I Didn’t Mean It,” which is a Top Ten Billboard single. The track features Brian Culbertson who joins Lindsey for the fist time on recording. Bassist Chris Snowden and drummer Lil John Roberts are also on the track and in the rhythm section throughout most of the album. "I Didn't Mean It" finds Lindsey reconsidering her feelings about a love gone awry. “I wrote this one when I was in a mood and frustrated that this particular guy wouldn’t take our dating to the next level. I was reacting to what was a blow to my ego and the frustration of not getting my way.” Lindsey sublty reverses the mood with the sensational "Love Of Your Life." In a soulful and moving performance, she proves why she is worth every bit of praise she commands. Once you hear her sing a ballad, it is hard not to become a believer and “Love Of Your Life,” a shining example. The stunning and flirty number finds Lindsey's voice at its peak as she shows off her impeccable range, soulful delivery and flawless intonation. She sings, “Come and let me give you the love of our life” and it is hard not to surrender. The track features bassist Nathan East who solos on both bass and vocals, adding just the right touch. “When choosing what instrument should take the solo, I kept hearing Nathan on his bass, doing his classic singing along thing. He agreed to be on the song and killed it!” 

Another highlight on Reasons is the lilting, melancholy and sultry “Just The Night.” “This is a song that led me to do a lot of soul searching,” reveals Lindsey. “My heart felt broken, because despite how much I wanted this relationship to work, the guy still tried to deny our chemistry and I was left feeling alone. At the time I didn’t realize that this experience would push me to inquire deeper into myself and my motives for wanting him, and for that matter, any man, enough to let it disrupt my inner world so much." “Stay With Me,” is a vibey bouncy R&B banger featuring trumpeter Randy Brecker and a rap by Kev Choice while “Wish You Well” tells the realization of a love affair coming to an end as Lindsey sings “We were cool and now you don’t even feel like a friend…baby its cool, one day I’ll wish you well...” Webster shares that the track “The Way” is the best song that she has written to date. The song itself is realization and confirmation that Lindsey is enough and right where the universe needs her to be whether she is in a relationship or not. Webster candidly sings about finally arriving in a space where she can trust her intuition, not give in to fear and have the confidence of knowing her own heart. “The words to this song are so true to my journey and musically Keith really killed it,” she shares. “4 AM” is a short but sweet, dreamy ditty about a new love, while “Twin Flame” further explores Lindsey’s new love with a kindred spirit. “A twin flame is an energetic match. It’s much deeper than a typical soulmate. It’s someone who is basically a mirror.” Also showcased on Reasons is the memorable “You Take Me," about a departed love that still lingers in your heart and mind and haunts your dreams. The album’s title track was one of the final songs written on the recording. "I was having trouble determining the title for the album," explains Lindsey. "The title 'Reasons' resonated because there were so many reasons for all of the things that happened leading up to this album." Lindsey leaves us on the right now with “I’m OK,” featuring trumpeter Nicholas Payton. The gorgeous track is affirmation that everything Lindsey has been through has brought her to where she needs to be. “The truth of the matter, is that through all the things that happen in this world, I always end up being OK.”

Growing up in an artist community of Woodstock, NY, the daughter of loving hippie parents, the allure of music was never far from Lindsey Webster. The singer grew up listening to her parent's Jimi Hendrix, Beatles and Elvis Costello LPs and later the Supremes. Influenced by everyone from Mariah Carey and Christina Aguilera to Steely Dan and Earth Wind and Fire, these days Lindsey still feeds her eclectic taste. “Bob Marley is my #1 most listened to artist on Spotify but I listen to Lake Street Dive, Raveena, Chaka, Joanna Teters, and so much more,” shares the singer who enjoys outdoor activities, bootcamp challenges and hiking. Webster made history in 2016 with her original, "Fool Me Once,” which was the first vocal driven #1 song to top the Billboard Contemporary Jazz chart since Sade's “Soldier of Love” in 2010. She beat Sade’s three-week run at #1 with a four-week stay at the top of the charts. November 2016, Webster made her Shanachie debut with Back To Your Heart, which spawned three songs that reached Top 3 on the Billboard Contemporary Jazz Charts: “Back To Your Heart,” “Next To Me” and “Where Do You Want To Go,” which hit #1. 2018 saw the release of Love Inside, which featured the Top 5 hit “Love Inside” and "the Top ten single “It’s Not You, It’s Me” featuring Rick Braun.  A Woman Like Me followed in 2020 featuring the standout title track, the lush ballad "A Love Like Me" and the catchy "One Step Forward." Webster who counts Steve Wonder, Anthony Hamilton and Chris Botti at the top of her wish list of collaborators concludes, “I feel that the highlight of my career is still an unfolding journey. There is excitement around every corner of my life and work!

Saxophonist Candy Dulfer announces ‘We Never Stop,’ her new full-length album

Dutch jazz and pop saxophonist Candy Dulfer has announced ‘We Never Stop,’ her new full-length album, out 10/28 via The Funk Garage/Mascot Label Group. A party platter of stanky jams, silken R&B, jazz, and pop-funk, ‘We Never Stop’ features several guest appearances by Chic guitarist, producer, songwriter, and three-time GRAMMY Award-winner Nile Rodgers. Take a listen to the first single “Jammin’ Tonight (feat. Nile Rodgers),’ a bold injection of party pop-funk with a slick jazz overlay that recalls Rodgers’ 1970s “Good Times” finery.

Give the people an invigorating beat, some swanky sax uplift, and watch the pain melt away. That’s the funky stuff Prince’s former top-choice sax player Candy Dulfer and her band specialize in. A solo artist, a songwriter, and in-demand instrumentalist, Dulfer has worked with some of the biggest names in modern music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, and Aretha Franklin, among many others.

Now, after three decades of superstar collaborations and world tours, and chart-topping and high-selling solo career releases, Candy is living proof of the title of her latest album, ‘We Never Stop.’ Nothing gets in the way of her making funky stuff. ‘We Never Stop’ features vocals from Candy’s rainbow family of a band with lyrics informed by band dialogues and the culture and health crises of the past two years. These include the toll of the pandemic on the music communities and the race horrors that have galvanized a global Black Lives Matter movement.

“This is a personal album—I struggle with the fact that so many people in this world are hurting on so many levels,” Candy shares. “The main spirit of this music is to elevate. It feels like it’s never been more important to take a stand and not let the hurt and the pain defeat us. That’s why I called this album, ‘We Never Stop.’”

Dulfer first rose to fame with her high-profile collaboration with Dave Stewart on the worldwide number 1 smash “Lily Was Here.” Her tenure with Prince may be best remembered by his tongue-in-cheek recommendation in the “Partyman” video: “When I want sax, I call Candy.”  Their collaboration continued over the years with many studio sessions, TV show appearances, award show performances, including the Grammy Awards, and concert tours around the globe, including Candy joining Prince’s NPG band as a permanent member for his record-shattering Musicology tour and album.

In addition to her superstar collaborations, Candy is a serious lifelong musician with a robust history as a solo artist releasing albums and touring the world for over 35 years. Since her Grammy-nominated debut, 1990’s Saxuality, Candy has issued 12 albums. The combined world-wide sales of her solo albums top 2.5 million copies, and she has had several number 1 hits in the USA. In between her solo albums and her high-profile collaborations, Candy still manages to join Dutch female supergroup the Ladies of Soul for their annual sold-out concerts at the massive Amsterdam Ziggo Dome; she is a headline performer on Smooth Jazz Cruises in the USA and Europe; she is an ambassador for the Dutch ALS Foundation; and Candy was a judge on the Dutch version of X Factor. 

At the age of 4, Candy’s destiny unfolded before her eyes, watching jazz heavyweight saxophonist Sonny Rollins. Her father, Hans Dulfer, brought her to the show. Hans is a well-known Dutch jazz saxophonist who, when Candy was growing up, surrounded himself with legends such as Archie Shepp, Dexter Gordon, and guitarist John McLaughlin. Candy began playing sax at the age of 6, and started her own band Funky Stuff at the age of 13. 

Candy soaked up music and life lessons from her father, and the iconic musicians he worked with, but Candy also boldly discovered her own voice as a songwriter and an instrumentalist, finding a home in contemporary jazz and pop-funk. She has worked hard to become an artist on her own terms, inspired by the likes of David Sanborn, Marcus Miller, Michael Brecker, Maceo Parker, Miles Davis, Cannonball Adderley, percussionist Sheila E., and even Janet Jackson. “I wanted to be like her but then with a saxophone; strong melodies, vision and entertaining to a mixed young crowd,” Candy says.

Today, her determination and passion remain, but her motivations are different. “These days, I play music to, hopefully, inspire younger people. When I was 12, I didn’t have many female saxophonists to look up to, and I want to be that person for the next generation of musicians,” she says.      

‘We Never Stop’ – Track List

1. YeahYeahYeah
2. Mo’ Seats At The Table
3. Jammin’ Tonight (feat. Nile Rodgers)
4. Deeper
5. Say Something
6. Raindrops
7. We Never Stop
8. The Walls (feat. Marcus Miller)
9. Perspective (feat. Durand Bernarr, Aron Hodek, Philip Lassiter)
10. Since I Found U
11. Afraid For More
12. No Time For This
13. The Climb
14. Convergency (feat. Nile Rodgers)

Rob Silverman’s ‘Drumology, Volume II’ features an astounding roster of drummers & special guests

Drumology, Volume II, due out August 12 from Autumn Hill Records, features drum greats from jazz, fusion, prog and rock including Billy Cobham, Mike Mangini and Todd Sucherman, along with an all-star band including keyboardists Michael Silverman and Jay Oliver, guitarist Dweezil Zappa and bassist John Patitucci, among others.

When Rob Silverman enlisted a who’s who of fellow drum masters for 2020’s critically acclaimed summit meeting Drumology, it felt like a once-in-a-lifetime opportunity. Fortunately, this lifetime has turned out to be big enough – and the community of virtuoso drum greats large and tightknit enough – that Silverman is back this year with not one but two sequels.

Due out August 12, 2022 via Autumn Hill Records, the exhilarating Drumology, Volume II not only features an astounding roster of drummers and other special guests, but it also expands its predecessor’s purview beyond the realm of jazz and fusion into progressive rock. Drumology, Volume III will follow later this year. As with the original album, all proceeds will benefit the Neil Peart Fund for brain cancer research at Cedars-Sinai Medical Center.

A notoriously competitive bunch, drummers from across the musical spectrum reached out to Silverman after the release of Drumology, each seeking to challenge their own formidable chops. “For volume one we had to chase drummers down,” Silverman recalls. “This time out, drummers were coming to me. Before we knew it we ended up with enough material for two albums.”

The line-up for Volume II rivals the jaw-dropping talents of the debut installment: drummers Billy Cobham (Mahavishnu Orchestra), Mike Mangini (Dream Theater), Todd Sucherman (Styx), Casey Grillo (Queensrÿche), Glen Sobel (Alice Cooper), John Spinelli (founder of Spinelli drums), renowned music technologist David Frangioni, and veteran studio drummer Kenny Aronoff, whose exhaustive resume ranges from John Mellencamp to Smashing Pumpkins to John Fogerty to Black Sabbath’s Tony Iommi.

While the drum duels are clearly the main attraction here, they’re placed in the context of dazzling new compositions by Rob Silverman, his brother and collaborator Michael Silverman, and keyboardist/producer Jay Oliver (Eagles, Sheryl Crow). Pianist/keyboardist Michael Silverman and bassist Larry Kornfeld (Randy Brecker, Jeff Lorber) fill out the core band for the project, joined by special guests including Oliver, guitarists Dweezil Zappa and Michael Angelo Batio, saxophonist Eric Marienthal, bassists John Patitucci and John Myung, and violinist Jerry Goodman.

The songwriting on Volume II benefited from the brothers’ earlier experience, according to Michael. “We got much better at tailoring the music to the personalities of the various drummers. We wrote these songs to give the guest artists plenty of latitude to interject their own personalities by crafting the kinds of tempos, grooves and feels that the different drummers prefer.”

That tailoring is evident from the outset, as the soaring, anthemic “Victory” kicks the album off at full throttle. Pairing Silverman with Mike Mangini and his Dream Theater bandmate John Myung on bass, the tune revels in the odd time signatures and complex but propulsive rock sound associated with the modern prog-masters – and with everyone’s mutual influence, Rush.

The mesmerizing “Sea Spray” then veers into fusion territory with a very Mahavishnu-esque sound achieved by the drummer and violinist of the iconic John McLaughlin-led ensemble, Billy Cobham and Jerry Goodman. They’re joined by fellow fusion veteran John Patitucci, charter member of both Chick Corea’s Elektric and Akoustic Bands.

Silverman and Kenny Aronoff provide the invigorating pulse for the epic “Timber Falls,” which conjures the image of towering evergreens and rushing waterfalls via Eric Marienthal’s majestic melodies and Dweezil Zappa’s sublime guitar solo, channeling the layered harmonies of Queen’s Brian May.

“Avalanche” ups the ante with a THREE-drummer collision featuring Silverman, Casey Grillo and John Spinelli. If that wasn’t enough, their interwoven rhythms fuel a master class in neoclassical shredding from the incredible Michael Angelo Batio. The maniacal laugh that erupts just before the one-minute mark perfectly captures the mood of glorious excess.

Michael Silverman’s keyboard intro is reminiscent enough of classic Styx to make Todd Sucherman feel right at home on the glittering prog track, highlighted by a joyously funky Marienthal solo. The evocative “Moving Mountains” follows, with Silverman switching to percussion alongside Glen Sobel’s drumming for a track that scales the heights of an exotic mountaintop landscape.

The bracing “Drum Dreams” ends the album on a hard-charging high note with Silverman and David Frangioni accompanied by both Silverman and Oliver on keys. The piece was inspired by a visit to the Modern Drummer Hall of Fame Museum, during which Silverman and Frangioni test-drove a number of iconic drum kits. (The experience inspired a contest in which the magazine asked readers to name each of the drummers represented in the “Drum Dreams” video.)

The stunning Drumology, Volume II is a drum aficionado’s dream come true (for a second time!) and best of all, it benefits a good cause in the name of one of the instrument’s Mount Rushmore figureheads. Legendary Rush drummer Neil Peart died in January 2020 of glioblastoma, an aggressive form of brain cancer.

“I first heard Neil Peart in 1976 when I was taking drum lessons as a kid,” Silverman recounts, still marveling at the occasion. “I heard his live drum solo on ‘Working Man’ from the album All the World’s a Stage, and it completely changed my whole perception of what is possible on the drums. I decided then and there, that’s what I want to do when I grow up. This is my chance to give back for that life-changing influence.

New Music: Ben Iota, Kokoroko, Carlos Nino, Bennie Maupin & Adam Rudolph

Ben Iota - Hazy (EP)

Emcee, vocalist, and producer Ben Iota released his new EP entitled 'Hazy' on 1st of July 2022. It is the most technically-advanced release from Ben; written while juggling the competing priorities of nurturing a family, career and individual identity,and recognising the magic of it all. The title track 'Hazy' (featuring singer Taiaha of TIL The Break) speaks on a colourful youth lived, and how this formative experience and identity carries on into the 9 to 5 world. The B-side 'You Shape My Life' is a homage to Ben's family, and the unparalleled bonds that have been created through sharing a life together. The backdrop of producer Caper's Lofi soul/jazz production ties it all together. Ben Iota has made a journey since his days as a founding member of Adelaide underground Hip Hop groups Adroit Effusive and Common Cause. The solo emcee, vocalist and producer is now a four album veteran (Born 'Free' 2013, Jazz 2017, Letting Go EP 2019, Hazy EP 2022), orbiting around Lofi Soul/Jazz synth-sprinkled Hip Hop. The music; borne out of Ben's love for warm beats, human imperfection and creating meaning; is shaped by an arduous childhood, a colourful youth, a period of inner and outer exploration, and ultimately a time of planting roots and creating a family. Beats for the lounge, words from the gut.

Kokoroko - Could We Be More 

London's Kokoroko are a group with roots in many traditions and global modes – but they've also got a cohesive jazz-based sensibility that really makes the whole thing come together – and makes their music feel fresh and new, instead of a contemporary take on older modes! There's definitely strands of West African styles that run through the record, with vocals on a number of cuts – but those are offset by these prominent instrumental passages too – always given lots of different inflections, depending on the tracks – as the group have a lot to draw from in an octet lineup that mixes together trumpet, keyboards, alto, trombone, guitar, and plenty of percussion. Titles include "Age Of Ascent", "Something's Going On", "Blue Robe", "Home", "War Dance", "Those Good Times", "Soul Searching", and "Ewa Inu". ~ Dusty Groove

Carlos Nino - Extra Presence

The music of Carlos Nino has just gotten more and more spiritual as the years go on – and that's really saying a lot, given how spiritual he was right at the start! But with recent records, Nino has transformed from a jazz-inspired musician to maybe more of a sonic astronaut – able to take organic moments of expression and weave them into a rich tapestry of tone, color, and life – almost as if he's reworking the plane of existence, and trying to find the door to greater enlightenment in the process! That approach definitely comes through here, as Nino opens up in the company of contributors who include Jamael Dean on piano and keyboards, Devin Daniels on alto, Miguel Atwood-Ferguson on strings, Jesse Peterson on guitar, Sam Gendel on alto, and Jamire Wiliams on drums – as well all players whose work appears in different ways on a variety of tracks – all helmed by the sonic exploration of Carlos, with a bit of help from veteran travelers Iasos and Laraaji. Titles include "Explorations 7", "Actually", "For The Shapalaceer", "Luis' Special Shells", "Jamirelandflight", "Waterwavesarrival", "In The Moment", "Youwillgetthroughthis I Promise", "Dreamsishappening", and "Recurrent Reiki Dreams". ~ Dusty Groove

Bennie Maupin & Adam Rudolph - Symphonic Tone Poem For Brother Yusef

The Yusef here is Yusef Lateef – and reedman Bennie Maupin teams with Adam Rudolph in a set of richly organic numbers that we're guessing Lateef would have really appreciated! There's less "symphonic" and more "tone poem" on the record than the title might imply – as the setting is very intimate, with just a variety of reeds from Maupin, used in sonic territory created by Rudolph – a mix of percussion, electronics, and plenty of effects – but all used gently, and without any sort of bombast – so that the music progresses with a careful unfolding that lets all the best elements find a way to resonate together! The album features one long track, divided into five movements – and Maupin is at his most experimental here, while Rudolph really seems to respectfully address the legendary legacy of his collaborator. ~ Dusty Groove

Grant Geissman | "Blooz"

Mesa/Bluemoon Recordings has announced the release of veteran guitarist and composer Grant Geissman’s new album Blooz, out August 19, 2022.  The twelve instrumental tracks are a collection of original blues and jazz songs, performed by a stellar supporting cast of musicians. Geissman comments: “On Blooz, with the help of great friends and incredible musicians, I had some of the most fun and made some of the best music of my career.  It’s the album I have always wanted to make.”

The gospel-oriented “Preach” (featuring Randy Brecker), the Latin-influenced, Santana-inspired ‘Carlos En Siete” (featuring David Fairfield), the funky “Robben’s Hood” (featuring Robben Ford), the blues shuffle ‘This and That” (featuring Tom Scott), the mournfully bluesy ‘Sorry Not Sorry” (featuring Russell Ferrante), the rockabilly-styled ‘Whitewalls and Big Fins” (featuring John Jorgenson), and the Bo Diddley-inspired, three-guitar shootout “One G and Two J’s” (featuring Josh Smith and Joe Bonamassa) come together to form a project that might just surprise listeners who think they had a handle on Geissman both as a player and a composer.  Blooz showcases Geissman’s new creative directions and limitless musical prowess.

California-born Geissman’s storied carerr took off in late 1976, when he was asked to join Chuck Mangione’s band. The first album Geissman recorded with Mangione was Feels So Good, a platinum-selling album containing the mega-hot song “Feels So Good,” featuring an iconic guitar solo by Geissman.  Geissman’s career as a session guitarist has been prolific and includes work alongside many of music’s greatest, including Quincy Jones, Ringo Starr, Steve Tyrell, Burt Bacharach and Elvis Costello, Klaus Voormann, Gordon Goodwin’s Big Phat Band, and David Benoit.  Geissman’s pop and jazz solo work in the 1980 also helped define the contemporary instrumental music of that era.  Geissman released four albums with Mesa/Bluemoon in the early 1990s, and label president George Nauful notes: “In 33 years of running the label, I can honestly say that Grant’s releases are among my very favorites. And now I love every track on this new album!  All the compositions and the musicianship are off the charts.  We are very excited to be working with Grant again.”

 

 

Contemporary Jazz Flutist Ragan Whiteside’s ‘Thrill Ride’ Leaps to the Top 10 on Billboard’s Smooth Jazz Chart

Contemporary jazz flutist Ragan Whiteside's current single, “Thrill Ride,” leaps to the Top 10 at No. 9 on the Billboard Smooth Jazz chart after only 11 weeks on the chart. The single is her eighth consecutive Billboard Top 10 single. Filled with joy and excitement about the news, she said, “I swear this never gets old.”

“Thrill Ride” is the title track from her forthcoming album, set for release on August 26, 2022, on her label, Randis Music. Written and produced by Dennis Johnson, Bob Baldwin, and Whiteside, the single features guitarist Phil Hamilton and drummer Richard Harrison, also known as the artist RAH.

The music video of “Thrill Ride” 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 the neighborhood. Ragan returns to the show venue a little worse for wear – much to the chagrin of her glam squad. 

Though the pandemic resulted in two challenging years for Whiteside, 2021 still proved to be a successful year for her previous hit single, “Off The Cuff,” where it spent 17 weeks on the charts and peaked at No. 7 on the Billboard Smooth Jazz Airplay chart. The single also reached No. 5 on RadioWave, No. 3 on Media Base, and No.5 on Smooth Jazz Network. “Off The Cuff” will also be featured on her forthcoming album.

She also 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); SOUTH Jazz Kitchen in Philadelphia, PA (September 15); White Plains Jazz & Food Festival in White Plains, NY (September 18); and Velvet Note in Atlanta, GA (October 1) with additional dates to be announced in the fall.

Meanwhile, her four-hour Saturday radio show (10:00 a.m. – 2:00 p.m. ET), “Saturday with Ragan Whiteside” is the No. 1 Saturday show on Atlanta’s NPR affiliate radio station Jazz 91.9 WCLK. The broadcast is also the No. 2 show behind the gospel show, “Joy In The Morning.”

New Music: Eric Essix, Sheku Kanneh-Mason, Dave Slonaker Big Band, Ken Powe

Eric Essix - Stride

The title of Eric Essix’s latest album says it all: 36 years and 28 releases into his extraordinary career, the prolific veteran guitarist is just hitting his Stride. Whether recording for outside record companies or his own label Essential Recordings, one of the Birmingham, Alabama native’s greatest ongoing gifts has been sharing his Southern blues, jazz and gospel roots via songs that are either edgy, bright and funky or laid back and simmering. Offering a sweet balance of punchy grooves and soulful atmospheres, Stride is a dynamic showcase for his fascinating guitar tone that’s crackling one minute, silky, languid, and smooth the next. Highlights include a haunting meditation on freedom and a vibrant organ and harmonica laced spin on hit current smash single, the Bill Withers classic, “Ain’t No Sunshine” featuring American Idol alum Ruben Studdard on vocals. ~www.smoothjazz.com

Sheku Kanneh-Mason - Song 

Song, the new album from cellist Sheku Kanneh-Mason, features music from across the entire spectrum of classical, folk, jazz and pop – all personally curated by Sheku. The eclectic mix of styles are tied together by one thing – the unique singing voice of Sheku’s cello. On Song, Sheku collaborates with friends and family, including jazz pianist Harry Baker, singer-songwriter Zak Abel, and soprano Pumeza Matshikiza. Sheku Kanneh-Mason became a household name in 2018 after performing at the wedding of the Duke and Duchess of Sussex at Windsor Castle. His performance was greeted with universal excitement and was seen by nearly two billion people globally. Sheku initially garnered renown as the winner of the 2016 BBC Young Musician Competition, the first black musician to take the title. He has released two chart-topping albums on the Decca Classics label, "Inspiration" (2018) and "Elgar" (2020). The latter reached #8 in the overall UK official album chart, making Sheku the first cellist in history to reach the UK top 10.

Dave Slonaker Big Band - Convergency

The Dave Slonaker Big Band, coming off its 2013 Grammy® nomination for Best Large Jazz Ensemble, returns with a dazzling collection of new music celebrating the tradition, but also pushing the possibilities of big band jazz. Featuring an all-star cast of West Coast jazz and studio legends, including Bob Sheppard, Larry Koonse, Peter Erskine, Wayne Bergeron, and so many more, Convergency brings together the lives, stories and extraordinary talents of these great musicians, with the music of veteran Los Angeles composer/arranger Dave Slonaker, to create what will certainly be another  ave Slonaker's "Convergency" will be released via Origin Records on August 19th.

Ken Powe - Steppin'

Coinciding with the release of his high spirited, melodically sparkling and deeply grooving 5th album Steppin', veteran keyboardist, composer and producer Ken Powe recently published a book exploring the possibilities of our visions and dreams being divine experiences. Smooth Jazz fans checking out the array of moods and grooves by this vibrationally in tune spiritual and musical explorer may truly feel they’ve entered an urban dreamscape full of colorful and trippy atmospheric textures, eclectic rhythms and dazzling, dramatic ivory runs – all of which draw from Powe’s mult-faceted background in jazz, gospel, R&B, pop and classical music.  ~ www.smoothjazz.com 

Jimetta Rose & The Voices Of Creation | "How Good It Is"

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians, their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood-Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.” 

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul-drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel. 

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.” 

Steve Turre | "Generations"

Trombonist and composer Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters – Art Blakey, Rahsaan Roland Kirk, Woody Shaw, and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of fresh blood while paying tribute to the elders who have helped shape his sound. 

Set for release on September 16 via Smoke Sessions Records, Generations features literal second-generation players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the core band includes young pianist Isaiah J. Thompson and the more tenured Corcoran Holt on bass, who has been working with Turre for more than a decade. 

Over the course of the album this stellar group is joined by the likes of saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez. 

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.” 

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career, ranging from burning modal jazz to tender ballads, sophisticated swing to reggae grooves to Latin rhythms, and of course, at the root of everything is the blues. “The blues don't never get old,” Turre declares. “I like playing the blues. To me, it's quintessential to American music.” 

The most straightforward blues on the album comes in the form of “Blue Smoke,” a tip of the horn to Turre’s home label for his past four releases and its namesake club, where he’s a regular performer. The tune pairs the trombonist with guitar great Ed Cherry, a fellow alumnus of the Dizzy Gillespie band. 

The album opens with the searing “Planting the Ceed,” an homage to Cedar Walton. “He’s one of my heroes,” Turre says of the great pianist, who was a member of Art Blakey’s Jazz Messengers when Turre joined the band in 1973. The tune is highlighted by a bold and serpentine tenor solo by Modeste. “I didn't set out to write a tune for Cedar, but it made me feel a similar kind of feeling that I used to get when I played with Cedar. And he planted the seed in me when I was young and started playing with him.” 

An even earlier influence was Duke Ellington, the honoree of the elegant “Dinner with Duke.” Turre had the opportunity to see the iconic bandleader in concert when he was in the fourth grade. “My parents took me to Oakland Auditorium to see Duke in 1957, when I had just started playing the trombone,” he recalls, still marveling at the experience. “He had Johnny Hodges, Clark Terry and Britt Woodman in the band, Coleman Hawkins was the guest soloist, and Ella Fitzgerald was a guest vocalist. I didn't know what they were doing, but it blew my mind. That was it. I said, ‘Man, I'm gonna do that.’ It just made me feel good.” 

For “Don D.,” a tribute to the legendary Skatalites trombonist Don Drummond, Turre convened a reggae summit meeting with guitarist Andy Bassford, bassist Derrick Barnett, drummer Karl Wright and keyboardist Trevor Watkis. The searching “Pharoah’s Dance” is a joint tribute to saxophone titan Pharoah Sanders and the genius pianist McCoy Tyner, both of whom have been collaborators with the trombonist over the years. Roney’s bristling solo is buoyed by Pedrito Martinez’s rollicking percussion. 

The album’s sole standard is a simmering rendition of the classic “Smoke Gets in Your Eyes,” Turre showcasing the supple grace of his playing on the wistful melody. “I'd never heard a trombone play that song,” Turre says. “But I didn't want to do it the same way everybody else does it so I put a little bit of African 6 [6/8 rhythm] to it, which is where swing comes from. That gives it a very tranquil mood. It's more relaxed than the hard-hitting tunes, so it's a nice release of tension.” 

“Flower Power” shines the spotlight on Turre’s famed conch shell virtuosity on a mesmerizing, elusive new piece. “It’s kind of a dreamy journey,” Turre describes with a grin. “You start out on your first steps with the bass, you go on a musical journey, and then your last steps end with the bass. I told the horn players, ‘I'm gonna play for a while, both with the trombone and later with the shells, then you join me and we'll make it a conversation.’ It was completely spontaneous and it's totally different every time. That's the thrill of discovery.” 

The Latin-influenced “Good People” is a tune that Turre has had in his book for years and finally decided to record. It’s enlivened by the presence of the brilliant percussionist Pedrito Martinez. “Sweet Dreams” is a gentle ballad graced by Orion’s feather-light brushwork, a breathtakingly eloquent bass solo as only the mighty Buster Williams can provide and an intimate and soaring turn from the always masterful James Carter on tenor.

 “Resistance” brings the album to a vigorous conclusion with a determined composition penned at the time of the tumultuous 2016 election, though it’s taken on a broader and more urgent meaning in the years since. “It's tough times,” Turre says. “This song is about resisting all the negative forces that we must encounter in the world today.” 

The generations of remarkable musicians joining forces on Generations prove that the music’s bloodline remains strong. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead.”