New Music: Jennifer Hartswick, Dennis Coffey, Will Sessions, C’ammafunk

Jennifer Hartswick - Something In The Water 

Reprising her studio collaboration with renowned bassist and dear friend Christian McBride, the highly sought-after singer and trumpeter interprets nine new tracks comprised of original repertoire and fresh arrangements of familiar songs alongside her core ensemble and featured guests. Co-written with guitarist and album producer Nick Cassarino, Something in the Water presents a tender portrait of the human condition, brimming with humor and vulnerability. “We wanted to celebrate the human experience,” says the Nashville-based artist. “We wanted to write about all facets of love and life and loss and gain. There’s definitely an arc of someone’s life in this album.”

Dennis Coffey - Electric Coffey

Mad funk from Dennis Coffey – and the follow-up to his landmark Evolution album! It's interesting to note that Coffey's group is listed as the "Detroit Guitar Band" – which kind of foregrounds their link between the city's two strongest music sides of the late 60s: the hard heavy rock of groups like The Stooges and MC5, and the still-strong soul industry, of which Coffey was a seminal part. But note also that Coffey's the only guy playing guitar on the record, thanks to the magic of overdubs! The album features a funky follow-up to Coffey's earlier hit, called "Son Of Scorpio", plus plenty of other funky guitar numbers like "Capricorn's Thing", "Lonely Moon Child", "Twins Of Gemini", and "The Sagitarian". ~ Dusty Groove

Will Sessions - Electromagnetic Reality

A full funky set of tracks from Will Sessions – a record that more than lives up to the group's previous legacy, but also seems to take them into this cool cosmic territory – maybe even the "electromagnetic reality" promised in the title! There was always raw funk energy at the Will Sessions core, but this time around it's almost as if it's wrapped up in some sweet spacey sounds that echo the 70s revolution of artists like Lonnie Liston Smith or Larry Mizell – which, as you can imagine, only makes the elements at the core even sound better! The whole thing's great – and titles include "Coffee Cup", "Lil Picasso", "Seagulls", "Out Done", "Yeah Yeah", "Phase Shift", and "Planet Jumper". ~ Dusty Groove

C’ammafunk - Bouncing

With one foot firmly planted in the past and their eyes set on the future, C’ammafunk are a sextet characterized by an explosive and energetic sound, perfectly showcased in their debut full-length Bouncing. Bouncing owes its title to an expression the band uses frequently: “let the bounce be with you”, which encapsulates the group’s mission of creating captivating grooves and contagious feel-good music. The album was anticipated by two singles, uptempo funk burner “Funkshovit” and neo soul / rap blend “Fly High” feat. Canadian rapper L. Teez. Elsewhere on the full-length you’ll find the fast-paced funk-fusion of “Pachyphytum”, or jazzy, instrumental hip hop vibes like in “DAM”, with its sophisticated Rhodes chord progressions. The album’s titletrack starts with a psychedelic intro which is then enriched by synths and effects, up to the final vamp that references rock sounds. In “N.O.E.L (No One Escapes The Loop)” the band pays homage to James Brown, using samples, loops and a badass bass. “This Is What You Got” provides some lighthearted, uplifting vibes, using panned guitar to give the song a rollicking quality. And finally, “Dundalk” closes the album and highlights the solo skills of C’ammafunk’s rhythm section, while laying a hard-hitting and slightly psychedelic beat. Irresistible grooves, fluid melodic lines and improvisation are what characterize C’ammafunk’s sound. Bouncing is not just the expression of this vision, but also a launching pad from which the band hopes to soar to new heights, thanks also to the collaboration with historical Italian label IRMA Records.

Jeff Denson, Brian Blade and Romain Pilon | "Finding Light"

The first time that bassist Jeff Denson and guitarist Romain Pilon got together to record with drummer Brian Blade felt like a lightning strike. Like so many musicians before them, the longtime friends from their days as standout students at Berklee experienced what’s often been described as the Blade Factor, a sudden, clarifying jolt that illuminates the musical moment. Captured in the studio on the 2019 Ridgeway Records album Between Two Worlds, the trio’s debut introduced an uncommon communion that seemed destined for further adventures.

Even two years of pandemic angst hasn’t been able to dim their brilliant chemistry. If anything, the trio’s second album, Finding Light, blazes all the more brightly as an antidote to isolation, anxiety, and despair. Slated for release on Denson’s Ridgeway Records label on September 23, 2022, the project beams with the palpable pleasure the musicians take in each other’s company as they explore new music together in glorious trialogue.  

Denson spent the first 18 months of the pandemic keeping the California Jazz Conservatory running online as dean of instruction. Though two years had elapsed between the trio’s last tour and regrouping to record Finding Light, they picked up where they left off, exploring a “sound that evolved because we did a lot of playing and travelling together in 2019 and 2020,” Denson said. “Each time we played together the band kept growing and our sound and direction evolved. Our connection kept intensifying.”

That intensity is evident throughout Finding Light. The trio’s new music reflects both the unbridled joy of gathering together again and the small pleasures (particularly the fur-bearing variety) that eased the surreal passage of pandemic time. The album opens with Denson’s “Daily Jubilee of Dancing Herbie D.” an odd-meter tune inspired by his miniature schnauzer, a smart little dog with a big personality. Bouncing with an irresistible groove in the vicinity of New Orleans, it’s an invitation for an outdoor romp written with Blade and Pilon in mind.

Denson’s title track is a sinuous, singing melody and an imperative. The dance between his bass and Blade’s brushes is so deft and exquisite that the tune builds tension to a delicious peak while maintaining an almost whispered dynamic. When Pilon reenters the conversation, “Finding Light” answers its own call. The light we need is embodied in the musical connection. Denson says, “With this tune, I really wanted to encapsulate a sense of hope ­– a sense of finding much need light amidst these dark times we’ve all been living through.”

It’s only kind of a coincidence that Pilon’s first tune is also a paean to his pooch. “This Way Cooky” is a slyly grooving number “inspired by some of the funk music I rediscovered during the pandemic,” he said, thinking particularly of Blade’s work with Joshua Redman. With its fierce determination and sinewy rhythmic feel, Cooky is clearly a handful. “On walks I’m always trying to direct him, ‘this way, Cooky,’ and he never goes the way I want,” Pilon explains.

The trio really hit a high point on their tour in February 2020 reaching a new level of interaction and connection that is clearly evident in their live concert videos from the Freight & Salvage in Berkeley on Feb. 11, 2020. “That tour was a like a musical dream – the trio was on another level!” Denson recalls. “And then less than a month later the world went into a surreal nightmare with the onset of COVID.”  “A Moment in Time” was the first piece composed for the album and with it, Denson paints a sonic surrealist landscape of the unknown – inspired by the novelty of the imposed silence and naivety that it would only last a few weeks. “In those first three weeks of the shelter-in-place, like everyone, I was somewhat in shock, and had no idea it would last for such a long time. Sitting alone in my home studio I kept hearing Romain and Brian in my head from our tour in February and their sound mixed with the silence of the world around me and the feelings of bewilderment brought this piece clearly into focus for me.”

Denson transformed his song “Wishing Well,” which he recorded with his vocals on his 2016 album Concentric Circles, into a mysterious instrumental ballad that fits snugly into the trio’s exploratory mission. His piece “The Tipster” is a briskly swinging tune inspired by a frisky feline companion who long kept his mother company, and passed away this past fall. Swing is central to Denson’s musical identity, “and who can swing like Brian?” he says. “I could hear the melody and like ‘Finding Light,’ there’s all this intricate harmony, and all these rhythmic shifts, which kind of reflects Tippy’s personality. He was a wild, playful guy.”

Drawing on his Virginia roots, Denson improvised the bass intro to Pilon’s “Terre,” evoking a bluesy Americana melody and feeling. The tune itself, which means “Earth” in French, is a loving, sometimes ominous ode to our endangered planet inspired by the striking landscape Pilon and his family have inhabited since a pandemic-induced move from Paris to the Brittany coast. The album closes with a disparate pair of Pilon compositions. “Espoir,” which means “hope,” is a spacious anthem that evokes the search for silver linings. With its rock edge and lean beat, the track offers his distilled take on Brian Blade Fellowship, the drummer’s gospel-and-folk-music inspired band. Finding Light concludes with “Sixto,” a piece inspired by the story of Sixto Rodriguez, the musician whose astonishing story was featured in the award-winning 2012 documentary Searching For Sugarman. For a project that’s all about breaking through darkness, the tune’s stutter-stepping ascent evokes a sense of immanent, luminous possibility.

The creative sparks that kindled Finding Light first ignited back in 2017 when Denson joined a tour anchoring Joel Harrison’s Spirit House quintet, which the guitarist/composer built around Blade. “Brian and I clicked right away,” Denson says. “Immediately we were throwing the ball back and forth really quickly. As a bassist, to have a drummer I can completely react and do anything I want and he’s right there throwing ideas back, well, that’s not a given.” Something about their chemistry prompted Denson to reach out to Pilon, an old friend from Berklee he hadn’t had a chance to play with much in recent years. “He’s a bad dude,” Denson said. “A virtuoso player, but very sensitive and very musical—the same exact words I would use to describe Brian. It just seemed like a perfect fit.”

Jeff Denson

Born on December 20, 1976 in Arlington, Virginia, internationally renowned bassist, vocalist, composer, and educator Denson grew up in the Washington, DC area. Musically inclined, he switched from saxophone to bass and vocals in high school and went on to study music at Virginia Commonwealth University and Northern Virginia Community College, all the while freelancing regularly on the DC jazz scene. Transferring to Boston’s Berklee College of Music to complete his degree, he co-founded the trio Minsarah, touring and recording with the band for 15 years. Via the trio he also became an accompanist for legendary saxophonist Lee Konitz, a relationship that spanned four albums and more than a dozen years. In the meantime, Denson completed a master’s degree at Florida State University and a DMA at UC San Diego. Denson relocated to the San Francisco Bay Area in 2011 to become a professor at the California Jazz Conservatory, where he now serves as Dean of Instruction. He released his first solo project, Secret World, in 2012 and has earned wide critical acclaim for his performances and recordings. DownBeat magazine cited Denson’s “considerable gifts as an improviser, interpreter and sonic trailblazer...” earning him spots for the last four years on the DownBeat Rising Star Poll for Bassist, Male Vocalist and winning the Electric Bass category in 2021. Germany’s Jazz Podium magazine noted that “Denson is breaking new ground…(he is) one of the leading bassists of contemporary jazz.” Denson has released 16 albums as a leader or co-leader and performs widely with his own groups as well as with the San Francisco String Trio (Denson, guitarist Mimi Fox and violinist Mads Tolling), among others and has worked with some of the brightest stars in jazz such as Joe Lovano, Chris Potter, Edward Simon, Mike Clark, Omar Hakim, Rachel Z, Walter Smith III, Warren Wolf, Jane Ira Bloom, Cuong Vu, Ralph Alessi, Dayna Stephens, and many more.

Denson has brought his many pursuits under one umbrella with Ridgeway Arts, a nonprofit designed to enhance and fortify the Bay Area scene, and to make a strong contribution to the national landscape of jazz and the arts in general through a four-pronged plan of expression, education, presenting and documentation. The label has become an essential conduit to an international cast of musicians, including pianist Edward Simon, and the portal to Denson’s multifarious musical imagination. Commissioned by the Portola Vineyards Summer Jazz Festival, his next project involves recording an ambitious new work featuring Chinese pipa master Wu Man, reed legend Paul McCandless, and drum great Gerald Cleaver. 

Romain Pilon

Described by Jazzwise as “a brilliant improviser,” French guitarist and composer Romain Pilon has earned a glowing reputation in the jazz guitar world. He took up the instrument at 10, exploring all kinds of music throughout high school before going to conservatory in his native France and eventually earning a scholarship to Berklee College of Music in Boston. After his US sojourn (where he won three awards and was chosen with his group to open for Pat Metheny out of 1,000 guitar students) he lived between Paris and New York City, performing with some of the world’s greatest improvising musicians. Pilon has recorded three albums as a co-leader and five as a leader: NY3, Colorfield, The Magic Eye, Copper and the most recently, Falling Grace, collaborating with some of the world’s top musicians: Ben Wendel, Walter Smith III, Jeff Ballard, Seamus Blake…His talent both as an improviser and composer has earned him kudos in the international press as one of France’s standout jazz artists. Jazz journalist and curator Vincent Bessieres wrote, “Romain is a guitarist whose flow of imagination sets high standards, and whose guitar tone is one of the most elegant around….” His ability to play all forms of jazz, from swing and bebop to modern and avant-garde, makes him an in-demand sideman. In addition to his performing and recording career, Pilon is an esteemed pedagogue. He’s given masterclasses in France, the US, Portugal, Italy, Spain, Japan, Germany, Slovenia, Malta… Over the years he has taught hundreds of private students, many of them now respected musicians in their own right. 

Brian Blade

Brian Blade was born and raised in Shreveport, Louisiana. The first music he experienced was gospel and praise songs at the Zion Baptist Church where his father, Brady L. Blade, Sr., has been Pastor since 1961. In elementary school, music appreciation classes were an important part of his development, and at age nine he began playing the violin. Inspired by his older brother, Brady L. Blade, Jr., who had been the drummer at Zion Baptist Church, Brian shifted his focus to the drums throughout middle and high school. During high school, while studying with Dorsey Summerfield, Jr., Brian began listening to the music of John Coltrane, Charlie Parker, Miles Davis, Art Blakey, Thelonious Monk, Elvin Jones and Joni Mitchell. In 1988, at the age of 18, he moved to New Orleans to attend Loyola University. Over the next five years, he was able to study and play with many of the master musicians living in New Orleans, including Johnny Vidacovich, Ellis Marsalis, Steve Masakowski, Bill Huntington, Mike Pellera, John Mahoney, George French, Emile Vinette, Germaine Bazzle, David Lee, Jr., Alvin Red Tyler, Tony Dagradi, and Harold Battiste. In 1997, Blade formed The Fellowship Band with pianist Jon Cowherd, releasing their self-titled debut album in 1998, Perceptual in 2000, Season of Changes in 2008, Landmarks in 2014, and Body and Shadow in 2017, all on Blue Note Records. While continuing to work with The Fellowship Band, Blade has been a member of the Wayne Shorter quartet since 2000. He has recorded with Daniel Lanois, Joni Mitchell, Kenny Garrett, Ellis Marsalis, Marianne Faithfull, Norah Jones, Emmylou Harris and Bob Dylan, among many others. In 2009, Blade released his first album as a singer-songwriter, Mama Rosa, featuring songs dedicated to his grandmother and family, written from experiences about his life so far.

WESLI EXPLORES THE ROOTS OF HIS AFRO-HAITIAN CULTURE ON TRADISYON

Tradisyon is the first of a two-part project that retells the story of Haiti’s past and imagines its future.

“You have to know where you’re from to know where you’re going,” says Wesli, the acclaimed Montreal-based winner of the prestigious 2019 JUNO Award. Overflowing with 19 songs, Tradisyon explores traditional chants from the voodoo religion, explosive carnival rara rhythms and lilting, folksy twoubadou songs.

To prepare for his ambitious new musical project, Tradisyon, the uniquely talented Haitian-Canadian songwriter, guitarist and producer Wesli (Wesley Louissaint) had to return to his roots. He embarked on a multi-year musical pilgrimage to explore often hidden facets of Haitian traditions. Wesli traveled across his homeland, visiting lakous, gathering places and community groups for practitioners of Haiti’s voodoo religion, to learn songs in African languages brought to Haiti hundreds of years ago. He honed his skills at a wide range of local musical instruments, from powerful interlocking rara horns to intricate drums in all shapes and sizes, not to mention folk instruments such as the Haitian banjo. And he reconnected with the profound spirituality and rich life philosophy of Afro-Haitian beliefs, which represent the inspiration and motivation, indeed the very soul, of Haitian culture. 

The result of this ambitious research is Tradisyon, the sixth album of Wesli’s celebrated career, and the first of a two-part set that retells the story of Haiti’s past and imagines its future. The encyclopedic first album features 19 songs, original compositions and treasures from the expansive Haitian music repertoire. By drawing on these traditions, Africa inevitably emerges -- through the rara, petro, nago, congo and yanvalou rhythms, and the lyrics sung both in Creole and the African languages of Yoruba, Ewe and Fon. They are all accompanied by local instruments such as the bamboo, the kata, the segon, the boula, the manman and the banjo, an originally African instrument that had been adopted by European colonizers. 

Of Haitian origin and Montreal adoption––but above all a citizen of the world––Wesli is one of those rare artists capable of exploring different sounds while keeping his identity and his roots firmly anchored in his traditions. Ever since the release of his first album Kouraj in 2009, Wesli’s creativity has been unstoppable, leading to the acclaimed album Liberté dans le noir in 2011, the star-studded ImmiGrand and the more traditional Ayiti Étoile Nouvelle in 2015 and an expanded version of ImmiGrand in 2017. Only a year later, the prolific artist released Rapadou Kréyol, an exploration of African rhythms and instruments Wesli believes Haitian musical culture has neglected as it is increasingly drawn towards the commercial music encouraged by globalization. In 2019, the astonishing album was awarded the prestigious JUNO award for World Music Album of the Year. For Wesli, winning the JUNO award proved to him that the musical and cultural value he brings to the world had been accepted and welcomed, a message he hopes other young Haitian musicians will see as a sign that they too can inspire change with their craft. 

The Tradisyon project, named after the Haitian and African diasporic traditions it honors, is a continuation and deepening of the goals of Rapadou Kreyôl. This previous album “was something that I wanted to do for the Creole culture” Wesli explains, “but I did so much research into the culture, I felt like one album wasn’t enough.” After years spent visiting various Haitian villages, learning lyrics in new languages, and recording the album’s percussion tracks in Haiti to capture a truly authentic, island sound, Wesli returned to Montreal to finish putting the epic albums together. When asked about the immense scope of the project, Wesli reflects, “I wanted to write a story, but a story that I didn’t create, because the story has been there for hundreds of years. I’m talking about the traditions, the core elements of a great culture: the Haitian culture.” In Tradisyon and the upcoming Tradisyon, Vol. 2, Wesli accomplishes the incredible feat of weaving this magical musical story through complex and ambitious arrangements. 

Wesli has himself been a character in the epic story of Haitian culture. Born in 1980 to a poor family of seven children in Port-au-Prince, Haiti, Wesli built his first guitar at the age of eight by stringing an old oil can with nylon fishing line. His musical adventure began at a young age when he sang alongside his mother in the gospel choir of the local church. His father, Henri Louissaint, was a well-known banjo and percussion player of twoubadou, a popular Haitian folk music style. Inspired by his parents, Wesli began playing the guitar as his primary instrument along with banjo and a wide range of traditional percussion. Growing up in a poor household, Wesli was often told that he had to be seven times better than anyone else to make it out of poverty. After experiencing the joyful, passionate music played around him as a child, both by his parents and his broader community, he dreamed of becoming a professional musician. He likes to say, “music chose me to share its spirit.” 

His own spirit was challenged at a young age, when his family fled to a Cuban refugee camp during the violence that erupted after the 1991 Haitian coup d'état. Just 11 years old at the time, this difficult experience taught him “resilience, reconciliation and forgiveness” in the face of conflict. “No matter what,” Wesli says, “you can rebuild yourself and give yourself a positive direction, and make yourself into a new person that is useful to the society that you are living in.” This desire to serve his society has driven Wesli throughout his life, encouraging him to create change and bring Haitian culture to new audiences through the power of his music. 

At the age of 21, the musical prodigy won a scholarship contest sponsored by the Canadian government which allowed him to study arrangement and percussion in Montreal. Since then, Wesli has made Montreal his home, a process of integrating his home culture with an unfamiliar world which he describes as difficult but transformational: “I always like to say that I have two hearts. I have one heart in Haiti and I have one in heart Montreal, and that makes me who I am now.” 

Wesli put both of his hearts into the making of Tradisyon. The album starts with the thrilling call of the koné, a metal trumpet used in carnival parades. The opening song “Peyizan Yo” is a rallying cry for the farmers of Haiti who form the core of the island’s economy. Inspired by arrangements of voodoo music from the 1990s, the song asks people not to steal land from the farmers, who provide the nation with its sustenance. 

That is followed by “Fè Yo Wè Kongo Banda,” a traditional song used in the beginning of Lakou Congo ceremonies to call the spirits to gather. Sung by a Samba, preachers of the Afro-Haitian cultural tradition, the song often begins a Capella before the entire community lifts their voices and pounds their drums in celebration. 

A number of the songs on Tradisyon pay tribute to legends of Haiti’s musical past. “Samba” is an homage to Azor Rasin Mapou, one of the most influential artists in voodoo culture, while the rara composition “Wawa sé rèl O” celebrates the efforts of roots musician Wawa Rasin Kanga to pull the shroud of secrecy from Afro-Haitian traditions. “Konté M Rakonté M” sings the praises of Éric Charles, one of the founders of the band Haiti Twoubadou, which in the 1990s revived the twoudabou folk music style. 

Tradisyon features a number of banjo-led twoubadou tracks, notably “Kay Koulé Trouba” in which Wesli describes a leaking house––a metaphor for his interpretation of the fragile condition of Haiti’s cultural values in the present day. “Makonay” is a call for unity, singing of the circle created by the coming together of people from all the provinces of Haiti who each bring their own values to create a diverse, unified culture. “Trouba Ewa” aims to elevate the twoubadou musical style by bringing together a modern lover’s story with the traditional sounds of Haitian folk music, creating a unique, captivating arrangement dedicated to present-day Haiti.

The upbeat reggae-influenced song "Le Soleil Descend” was the first single of the album and its colorful video launched the Tradisyon project in June 2021. Featuring Quebec singer-songwriter Paul Cargnello. the two artists sing about uniting under the sun. As Wesli says, “The sun breaks down all cultural, social and political borders and barriers. Under this sun we are all one people because it is this same light that inspires us and illuminates our paths.” 

Congolese drummer Kizaba joins Wesli in “Peze Café”, which blends the igbo rhythm with the classic folk song about a child sent to buy coffee for his family before being wrongfully arrested on his way home. Sung in Haiti during the dictatorship of François Duvalier to protest military brutality, this age-old song and the parable it tells gathers new meaning and power each time it is performed. In Wesli’s rendition, his striking vocals take center stage, backed by his stripped-down guitar accompaniment and Kizaba’s expert cajón playing. 

Overflowing with these and other highlights, Tradisyon honors and reveals Haiti’s rich musical history. The upcoming follow up, Tradisyon, Pt. 2, explores the new directions for the island’s music, blending traditional genres with electronic music, Afrobeat, soul, funk, hip-hop and more to create a rich, festive and uniquely engaging sound. Always thinking about the future and the legacy he leaves, Wesli’s aim with Tradisyon Pt. 2 is to give young Haitian musicians a “formula to merge ancient and new sounds. We are coming from somewhere, now we are somewhere else. You have to know where you’re from to know where you’re going. Tradisyon is where we’re coming from, and Tradisyon, Pt. 2 is where we’re going.”

Wesli will be touring in Europe and North America in 2022 and 2023.

 

New Music: Joshua Redman, Brad Mehldau, Christian McBride, & Brian Blade, Eji Oyewole, Nicolas Politzer, Wayne Shorter / Terry Lyne Carrington / Leo Genovese / Esperanza Spalding

Joshua Redman, Brad Mehldau, Christian McBride, & Brian Blade - Long Gone

This all-star quartet really won us over the first time around (and trust us, we can always be wary of too many cooks in the broth) – and they're equally great here, too – with a sound that's even greater than the sum of its mighty parts – almost as if each of these longtime leaders have decided it's even better to throw their collective hats in the ring and come up with something really special together! The piano of Brad Mehldau has a way of really ringing out with a brightness next to the sharper edges of Redman's horn – who himself seems to push forward with a new sense of imagination on his solos – warmed up a bit by the bass of Christian McBride, as all the players are kicked into gear by Brian Blade's work on drums. Titles include "Statuesque", "Ship To Shore", "Kite Song", "Disco Ears", and "Long Gone".  ~ Dusty Groove 

Eji Oyewole - Charity Begins At Home 

Another long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole. Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinity the prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon. While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the world stage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs. As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn-laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music. This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans. Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

Nicolas Politzer - Sera Niebla

Sera Niebla is Nicolas Politzer's debut album as drummer, composer, and leader of this trio that is completed by Santiago Leibson on piano and electronics, and Maximiliano Kirszner on double bass. The trio was formed in 2010 and has recorded a total of four albums, Amon, Pendular, Vivo en el FNA (these three under the name of Santiago Leibson Trío), and lastly, Sera Niebla. This joint trajectory, to which concerts and tours of this band are added, is presented as a fundamental element in the formation of a common language, thus allowing a natural musical development of the compositions, with a strong emphasis on group interaction. , improvisation as a compositional element, and confidence. Composed entirely in 2020 as a result of some composition classes (digital since we were going through the first year of the pandemic) with maestro Diego Schissi, the album is one more excuse to continue making music in this group and find a way of self-expression that invites you to discover new textures, dynamics and ways of appealing to the listener's emotions.

Wayne Shorter / Terry Lyne Carrington / Leo Genovese / Esperanza Spalding - Live At The Detroit Jazz Festival

A really unique lineup, coming together in a really unique performance – one that definitely pushes the boundaries of all artists involved, and makes for music that's beyond any expectations you might have for the players! The tracks are long, and the music is often quite free and improvised at times – loose, open, and wonderfully experimental – yet still filled with the individual strengths and souls of each of the players – Wayne Shorter on tenor and soprano, Leo Genovese on piano, Terri Lyne Carrington on drums, and Esperanda Spaulding on bass and vocals – the latter of which are nicely different here than on her own albums. There's definitely some of the darker currents that Shorter has brought to his music in the past two decades – and titles include "Someplace Called Where", "Endangered Species", "Encontros E Despedidas", "Drummers Song", and "Midnight In Carlotta's Hair". ~ Dusty Groove

Kim Tibbs | "The Science Of Completion Volume 1"

Kim Tibbs proudly presents the highly anticipated album The Science Of Completion Volume 1. Recorded at the legendary Royal Studios in Memphis, TN, USA and co-produced by Lawrence Boo Mitchell, son of the late great Willie Mitchell.

Twenty five musicians played their part on this project and have created the most authentic 70s soul you will ever hear in 21st century music, attention to detail even went as far as retrieving Al Green’s microphone from the original Hi sessions to enhance that vintage sound!

The lead 7” single Where Would I Be Without You? released in the Spring of 2022 sold out on pre-order and created a buzz of what is to follow. As well as receiving extensive radio plays, Where Would I Be Without You? appeared on many DJ playlists at soul events around the U.K. and beyond.

The eleven original songs penned by Kim herself are a soundtrack to her life, covering a range of themes such as love, hope and faith. A word of warning though, there’s a goodly number of long compositions on this album – their depth, beauty and intricacies simply cannot be edited – hence a double vinyl LP!

Selected track descriptions include –

Loving You Makes Life So Easy! A classic in the making, conjuring the feel of those femme ballads from the mid 70s. When hearing this for the first time you’ll instantly get this as Kim’s monologue intro sets the scene!

Summertime – A dreamy ballad that evokes memories of summer’s gone by. The horn and string arrangement on this opus perfectly add to the theme as Kim gently unfolds her story; the scatting in the second half interspersed with the backing vocals are truly sensational!

Walk To The Light – A song about achieving personal empowerment. The string, bass and wah wah guitar intro let’s you know you are in for a musical treat. Kim’s voice builds and builds until she breaks out into a powerful crescendo along with her own Hammond organ playing – this is pure church!

In summary, this is an all killer no filler affair, from the opening drum beat on track one to the final whistle on …I'm Holding On…!

The Inaugural Jazz Music Awards Announces the 2022 Nominees and Honorees including Wayne Shorter, McCoy Tyner, Ambrose Akinmusire, Henry Threadgill, Dr. Lenora Helm Hammonds, James H. Patterson and More

The global awards ceremony to exclusively celebrate Jazz music, The Jazz Music Awards: Celebrating the Spirit of Jazz, and its creator and executive producer, Wendy F. Williams announce the recipients of six honorary awards and the nominees in eight competitive award categories. These special honors, as well as the thirty-three nominees, recognize individuals who have made – and continue to make – a lasting contribution to this American art form. Finalists in each category are the result of the first round of nominations submitted during the eligibility period from April 1, 2021, through March 31, 2022. These well-deserved honors will be presented at the Jazz Music Awards ceremony, set for Saturday, October 22, 2022, at the Cobb Energy Performing Arts Centre in Atlanta, GA. 

The Lifetime Achievement Award will go to saxophonist and composer Wayne Shorter; the Jazz Legend Award will be presented to the family of the late pianist and composer McCoy Tyner. There are three Awards of Distinction categories: Innovator, Composer, and Educator. Modern jazz trumpeter and composer Ambrose Akinmusire will receive the Jazz Innovator Award; avant-garde saxophonist and woodwinds player and composer Henry Threadgill will be honored with the Jazz Composer Award; vocalist and composer, Dr. Lenora Helm Hammonds will receive the Jazz Educator Award; and veteran musician and educator James H. Patterson will receive the Jazz Impact Award.

The Jazz Music Awards Announcing Honorees Nominees

Also, the final four nominees have been announced in eight competitive categories; a tie in the Best Duo, Group, or Big Band category resulted in five nominees, while the Best International Artist category submissions did not meet the Jazz Music Awards submission criteria resulting in this award being removed from the final ballot this year.

Four-time Grammy Award-nominated artists Jean & Marcus Baylor, also known as The Baylor Project received three nominations for their release, Generations; along with Orrin Evans with two nominations for The Magic of Now and EEE (Eubanks-Evans-Experience) with well-known TV personality Kevin Eubanks; 2023 NEA Jazz Master and Grammy Award-winning saxophonist Kenny Garrett with two nominations for Sounds From The Ancestors; eight-time Grammy Award-winning bassist Christian McBride with two nominations with his band Inside Straight for Live at the Village Vanguard; acclaimed jazz harpist Brandee Younger with two nominations for Somewhere Different; and contemporary jazz keyboardist Brian Culbertson with two nominations for The Trilogy Red.

Also nominated are acclaimed jazz vocalist Jazzmeia Horn with Her Noble Force (Best Duo, Group, or Big Band); the late veteran organ master Joey DeFrancesco, who passed away last week on August 25, 2022 (Best Mainstream Artist); chart-topping contemporary flutist Ragan Whiteside (Best Contemporary Artist); contemporary jazz keyboardist and producer Bob Baldwin (Best Contemporary Album); multi-instrumentalist and producer Ben Tankard, best known as "the godfather of gospel/jazz" (Best Contemporary Artist); and veteran smooth jazz guitarist Norman Brown (Song of the Year).

Other nominees in the contemporary jazz categories include popular bassist and producer Brian Bromberg (Best Contemporary Artist); jazz/pop vocalist Lindsey Webster (Best Contemporary Artist); master drummer Sonny Emory (Best Contemporary Album); Jazz educator and vocalist Shawnn Monteiro (Best Vocal Performance); multi-instrumentalist Gabriel Mark Hasselbach (Best Contemporary Album); and the Count Basie Orchestra, under the direction of Scotty Barnhart (Best Duo, Group or Big Band).

The Jazz Music Awards nominations also recognize a diverse array of burgeoning artists, including French vibraphonist Simon Moullier (Best New Jazz Artist); Grammy-nominated Jazz vocalist Stacey Kent (Best Vocal Performance); Kazemde George, Brooklyn-based saxophonist, composer and beatmaker (Best New Artist); Julieta Engenio, Argentine-born tenor saxophonist, composer, and bandleader (Best New Artist); neo-traditionalist Samara Joy (Best New Artist); acclaimed Rwandan-Ugandan jazz singer and playwright Somi (Best Vocal Performance); South African-born teen multi-instrumentalist Justin-Lee Schultz (Song of the Year); and Alabama-based drummer/producer James "PJ" Spraggins (Song of the Year).

"We are honored to recognize and present a wide range of dynamic and innovative artists including our six award honorees and our thirty-three nominees. I am still amazed that in 2022, a dedicated global Jazz award show in North America has never been done at this level.  I am thrilled that we can step into this space to honor and recognize musicians and the entire genre in this way.  We are making history and we are just getting started," says Wendy F. Williams, creator and executive producer of the Jazz Music Awards, as well as the General Manager of NPR-affiliate Jazz 91.9 WCLK. "Jazz music has been an essential part of the legacy of Jazz 91.9 WCLK, which will be celebrating fifty years on the air in 2024, from its home on the campus of Clark Atlanta University in Atlanta. By recognizing our honorees and nominees, we are giving thanks for their incredible artistry that furthers the richness of the Jazz tradition, which is integral to American music and culture."

An added attraction during the Jazz Music Awards will be several live performances. These will include appearances by several acclaimed Jazz vocal talents: NEA Jazz Master and Emmy, Grammy and Tony Award-winning artists Dee Dee Bridgewater, Grammy Award-winning artist Ledisi, preeminent jazz/gospel/blues vocalist Lizz Wright, and four-time Grammy Award-nominated artist Jazzmeia Horn. All performances will be under the musical direction of NEA Jazz Master and three-time Grammy Award-winning recording artist and composer Terri Lyne Carrington, who serves as the musical director and co-executive producer for the inaugural ceremony.

"The Jazz Music Award is a necessary and important platform for the jazz community," says Carrington, who is also the founder of the Berklee Institute of Jazz and Gender Justice. "It's vital that we spotlight and celebrate artists across all hybrids of Jazz, many of whom have been overlooked or unsung throughout their careers."

The inaugural Jazz Music Awards will establish a new platform for recognizing the rich history, musical innovation, and vital artistry that continue to inform America's truly original art form – Jazz Music. As an essential component of the vast tapestry that weaves together African Americans' contributions to the arts, Jazz is the Culture of America. It is a unique sound and style that is beloved around the world.

For a complete list of nominees and honorees, please visit jazzmusicawards.com and wclk.com.

Eric Vloeimans and Will Holshouser | "Two for the Road"

Two for the Road, the striking new album from Dutch trumpeter Eric Vloeimans and American accordionist Will Holshouser, was recorded during a live concert tour of the Netherlands in 2021, during a window in the pandemic when musicians and audiences could finally come together. The second album from this duo, it showcases their expressive writing, playful and virtuosic improvising, and omnivorous range of influences, stretching the format to include a colorful range of sounds from their eclectic musical backgrounds.  A CD & digital release via Bandcamp and streaming platforms, the album will be released September 1, 2022 via V-flow / Challenge Records.

On the menu here are Eric's beautiful "Innermission" series composed during lockdown: several pieces that range from introspective, almost Schubert-like meditations to joyful rhythmic romps. Will’s long-form composition "Redbud Winter," commissioned by the American Accordionists' Association, is a jazz/folk chamber suite that explores both plaintive and energetic sides of these two instruments. The duo also pay tribute to some of their musical heroes with tunes dedicated to Louis Armstrong and Doc Watson (“To Louis” and “Deep Gap”), as well as a cover of the 1970s classic "The Rainbow Connection."

Their collaboration will continue with a tour of the U.S. and Canada this fall, with support from the Netherland-America Foundation. 

Eric Vloeimans (trumpet) is one of the best-known musicians in his native country, the Netherlands. He has led a wide variety of ensembles over the years and is a frequent guest soloist with bands and orchestras of all kinds. He has won four Edison prizes (the “Dutch Grammy”) for his recordings and has toured throughout Europe, Asia and the US with his own groups and artists such as Mercer Ellington, John Taylor, Peter Erskine, The Rotterdam Philharmonic Orchestra, Wayne Horvitz, the Royal Concertgebouw Orchestra and many others. 

Will Holshouser (accordion) is a veteran of the New York music scene who has performed all over the world with artists including violinist Regina Carter, clarinetist David Krakauer, and improvisers Han Bennink & Michael Moore as well as with his own projects. He has also performed with Antony & the Johnsons, Kiran Ahluwalia, Uri Caine, Guy Klucevsek, New York City Ballet, New York City Opera, Martha Wainwright, Loudon Wainwright, Suzanne Vega, and others.

Pianists Hilario Duran and David Virelles Team Up on "Front Street Duets"

Front Street Duets, set for release on ALMA Records on November 4 (October 14 in Canada), is a compelling collaboration of two internationally acclaimed Cuban jazz pianists and composers, Hilario Duran and David Virelles. This collection of piano duets features the virtuosic playing of two musicians in peak form. Duran and Virelles have a musical and personal relationship dating back over two decades, but this is their most extensive project to date.

The Toronto-based Duran is a towering figure in Cuban music. Over a career now spanning over 45 years, he has won three Juno Awards and earned a Grammy nomination (for 2006’s From the Heart, by Hilario Durán and his Latin Big Band). His extensive discography includes work as a solo artist, and in duo, small group and big band settings, and he has also achieved distinction in the classical and chamber music worlds.

Now based in New York City after a stint in Toronto, Virelles records as a solo artist for such labels as ECM and Pi Recordings. He has collaborated extensively with such noted musicians as Andrew Cyrille, Bill Frisell, Henry Threadgill, Steve Coleman, and Ravi Coltrane, and last year he won the prestigious Herb Alpert Awards in the Arts.

When ALMA head and album producer Peter Cardinali presented the concept to Duran and Virelles a couple of years ago, both instantly agreed. “This album is very special because I had the privilege to work with David,” Duran explains. “He is the most important Cuban piano player of this new generation, and now he has so much success in the New York City scene, playing with great jazz stars and doing his own projects.”

Thirty years Hilario’s junior, Virelles had long admired Duran’s music. “Growing up in Santiago de Cuba, I knew of him, and then I was introduced to a lot of his records that weren’t available in Cuba through my Toronto friends Jane Bunnett and Roberto Occhipinti.

“As a bandleader, arranger, composer, and pianist, Hilario’s sophistication as a musician is unparalleled and that is something I’ve tried to emulate,” Virelles says. “He has always been a reference point for me and for so many young Cuban musicians. When he asked me to do this I was like, ‘this is perfect!’”

The album is a carefully curated collection of material that features new arrangements by both of traditional Cuban material, original compositions written by Hilario specifically for the project, and a fresh take on a much-loved standard, “Body and Soul.”

Duran says “most piano duets by jazz players come from improvisation, where they make it up in the moment. We have that here, but also a lot of complex arrangements we both contributed.” Both pianists are masterful improvisers, and Duran notes that “having the same background with and knowledge of Cuban music is a great foundation. It is like we have the same musical blood in our veins! It was almost mental telepathy, as we were very aware of each other in the cues and where we were going.” Virelles concurs, noting that “the music we grew up with from the country we share is part of our collective consciousness.”

The resulting album is both musically sophisticated and melodically attractive, and the compositions have a pleasing variety of tempos and tones. Arranged by Virelles, the breezy and bright “La Malanga” has a tropical vibe that can transports the listener to a Cuban beach, while “Santos Suarez’s Memories” is a reflective piece written by Hilario as an homage to the Havana ‘hood he lived in. Another Duran composition inspired by Havana is “Milonga For Cuba,” dedicated to those protesting in the city last summer.

The meditative “Danza Lucumi” features a Virelles arrangement of a tune from his Santiago de Cuba region, while “Guajira For Two Pianos” is a spirited piece featuring shifting rhythms.

“David’s Tumbao” is a thrillingly dynamic tune written by Duran for Virelles in the tumbao form with which Hilario is closely associated (his nickname, ‘Con Tumbao’ inspired the title of his acclaimed 2017 album). “I wrote it when we started the project, as the pandemic started,” Duran says. “David and I decided to put this together and record it online. We then put it online and people went crazy for it, and I think the finished version came out wonderfully.”

Front Street Duets came together over just two days at the renowned Glenn Gould Studio in Toronto last November, with the recording helmed by the experienced tandem of producer Peter Cardinali and Juno/Grammy winning engineer John ‘Beetle’ Bailey.

It is fitting that a studio/theatre space named for the iconic Canadian classical pianist Glenn Gould was employed for the making of an album by two other piano virtuosi. Both Duran and Virelles have a fond earlier memory of the space, as in Oct. 2008, as part of a special celebration of Glenn Gould, each performed original compositions (some inspired by Gould), accompanied by the acclaimed Penderecki String Quartet.

One noted musician with a unique perspective on this exciting collaboration is Juno-winning, Grammy-nominated jazz composer/ instrumentalist/bandleader Jane Bunnett. She explains that “I have had the gift of being able to collaborate deeply with both of these masters for many years and many projects. To see these two visionaries and virtuosos go head-to-head on this marvelous recording gives me inspiration and a profound sense of joy.”

The Chris Parker Trio | "Tell Me"

You would be very hard pressed to name an A-list artist from the past fifty years who drummer Chris Parker has not worked with. From Miles, to Grover Washington Jr., the Brecker Brothers, Bonnie Raitt, Carmen McRae, David Sanborn, Freddie Hubbard, Dexter Gordon, Ron Carter, Buster Williams, Pat Metheny, John Scofield, Quincy Jones, Donald Fagen, Aretha Franklin, Billie Holiday, James Brown, and many, many others. Just name your favorite musician, and it’s a good bet Parker has shared the studio and stage with them. Like the best of the best, even in the light of these amazing musical associations which have resulted in multiple platinum, gold and Grammy-winning albums, his humility and desire to keep growing as an artist are intact. “What’s so great about music is that there’s always more to learn and every player is a brother or sister who helps you, mentors you and nurtures you, encouraging your own development and showing you another path you can explore,” explains Parker. 

This long road that Parker has travelled on for the past fifty years seems infinite, forever winding its way through one creative tour-de-force after another, and brings us to his latest recording as a leader, Tell Me, marking his third trio album and eighth as a leader, and featuring his longtime working trio of Kyoko Oyobe on piano and Ameen Saleem on bass. Tell Me, available September 30, epitomizes the trio’s collective joie de vivre. It captures the joyful spirit which spread throughout the room at a recent performance. Parker elaborates, “Kyoko’s feet are up off the floor, her stylish black boots bouncing animatedly off the sustain and damper pedals of the acoustic piano, Ameen’s hat is now off and on top of the upright’s neck because the perspiration is flowing so generously after his killer solo on ‘Desaparecido.’” While Parker, seemingly motionless, is once again driving his trio to new musical heights. After years of percolating, he knows how to keep things simmering, seamlessly shimmering and adding muscle to his arrangements and lifting up these talented youngsters with his groove, allowing them to shine brightly. “This album documents the reunion of ‘the trio’ after nearly two years in which everyone’s lives, everywhere, changed dramatically. It was a musical joy and so thrilling to see Kyoko and Ameen after such a long time, and to play new music together again. I get such a kick from both of them while listening to their ideas, their solos and their interpretations of my music, they make me smile,” says Parker.

On Tell Me, eight of the ten tunes are Chris Parker originals, the other two being “Coolypso,” a re-working of Monk’s “Let’s Cool One,” and the Polish folksong, “Dwa Serduzska (for Hanna)” (which translates to, “Two Hearts, Four Eyes). Highlights include the soulful “Minky Don’t You Weep,” which has a pocket as deep as the Grand Canyon, and “Nippon Days Nippon Nights,” showcasing just how slick and propulsive Parker’s playing is, and how in lockstep this trio is with one another. The album proceeds with another home run, “Tophland,” from Parker’s nickname amongst friends, “Toph.” This track really displays how inspiring it can be to hear a musician reveling in his craft with nothing to prove! “West Cornwall Bridge” is a nod to the Northwestern Connecticut town where Parker’s father lives, and also captures the rugged beauty of England’s Southwest coast, while the titled track, “Tell Me,” conjures up the joyful swing of a Big Easy second line in a big way, and means, “Everyone has walked through hell over the past two years, so tell me all your problems, lay it on me, and maybe I can cheer you up or help in some way with your predicament,” says Parker. The last track, “Title Waived,” is, “something special I had an idea for with layers of Steven Bernstein’s wind instruments, David Finck soloing on bass and Chris Biesterfeldt delivering on guitar, with minimal drums from me,” explains Parker. Mission accomplished! 

More on Chris Parker: Born in Chicago, Chris Parker was playing drums at age three and began performing his first professional gigs at eleven. At nineteen, Parker began recording and touring with blues great Paul Butterfield and then broke into the NYC studio scene in 1970, recording albums, movie scores and filling the drum chair on Saturday Night Live.

Toph, as friends know him, recorded platinum, gold and Grammy winning albums and CDs with many artists, including the original Brecker Brothers, Bob Dylan, Cher, Natalie Cole, Donald Fagen, Ashford and Simpson, Aretha Franklin, Freddie Hubbard, James Brown, Salt ‘n’ Pepa, Stuff, Miles Davis, Patti LaBelle, Michael Bolton, Michael Franks, Lionel Hampton, Eddie Palmieri, Gato Barbieri, Ivan Lins, Billie Holiday, Tony Bennett, Jon Secada, and Quincy Jones, who contributed liner notes for Parker’s previous recording, Blue Print. Currently leading his own band, the Chris Parker Trio with Kyoko Oyobe on piano and Ameen Saleem on bass, Parker has recorded the trio’s self-titled debut, and also Blue Print, dedicated to Arif Mardin, produced by Arif’s son, Joe, and featuring Randy Brecker. 

Dennis Mitcheltree | "Golden Rule"

Saxophonist and composer Dennis Mitcheltree’s new recording, his sixth as a leader, Golden Rule, is one brimming with humanity. The music celebrates family, lost friends, his major inspirations (including tenor giants John Coltrane, Joe Henderson, and others), and speaks directly to our shared journey through life, and the imperative to treat each other with love, respect, trust and dignity – in short – to treat others as you wish to be treated. The music on Golden Rule is a reflection of that notion. It also swings like mad and engages the listener with nine wonderfully crafted compositions from Mitcheltree. 

“The long arc of humanity bends upward towards cooperation,” says Mitcheltree. That is exemplified in his ensemble, which features pianist Johannes Wallmann, bassist Jesse Crawford and drummer Bill McClellan. The quartet has been playing music together for several decades, and, “have become personally simpatico and musically empathetic. We’ve toured the world and working together is never a struggle as we trust each other on a deep and instinctual level. The Golden Rule is followed when we play music - treating each other as we wish to be treated: with respect, freedom, and joy,” explains Mitcheltree. He continues, “in collaboration each musician brings their individuality to the music and allowing them to do so makes the music better. When I embrace my bandmate’s contributions I find that the music can go places I hadn’t imagined. We have our own individual lives and projects, but when we perform together a unique entity is formed. What we create together is more powerful and beautiful than any single contribution. We think the results are wonderful, and hope you do as well!” 

For Mitcheltree, his bandmates are held in such high regard as to represent elements of our natural environment. He explains that, “Jesse Crawford is the rock, the earth of the group - always prepared and the one tying us together. His influence is felt throughout without drawing too much attention to itself. His work on ‘Waltz for Tai’ is an on-point example. Bill McClellan is the passion and fire - a role that can easily go overboard - yet he does his job with grace and a deep understanding of direction. His solo at the end of ‘Omicron’ is classic McClellan, and his work on ‘Genghis Kant’ is brilliant. Johannes Wallmann is the ocean, the water - he sets the temperature from cool to scalding hot with harmonic and rhythmic possibility, notably on the introduction to ‘Sarah,’ the ending to ‘Pacifisticuffs’ and in his comping and solos throughout the recording.” 

Regarding Mitcheltree, his tenor playing is chock-a-block with ideals, convictions and passions – you’re hearing an artist who “speaks” directly, eloquently and purposefully. Not to mention, with great melodicism and harmonic sophistication. Nancy Lee said of Mitcheltree, "the saxophonist is aggressively adventurous and most expressive...Mitcheltree evokes hearty tones from his instrument as he masterfully interweaves unexpected lines to create fascinating sound tapestries at any tempo" (JazzTimes Magazine). Michael G. Nastos called Mitcheltree’s tenor, “soulful, swinging and street smart” (AllMusicGuide), and the esteemed Martin Johnson called Mitcheltree "one of the area's best young tenor players...His album ‘Brooklyn’ is one of the better records of the last two years" (Newsday). The saxophonist/composer regularly receives high praise of this nature from veteran jazz critics. 

More on the nine tunes which comprise Golden Rule, with Dennis Mitcheltree:

1 – Waltz for Tai 5:36 - a 3/4 tune, 56 bars in AABA format, written for my 12 year old son Tai, who’s since picked up the tenor saxophone himself, and can be a monster at it if he chooses to do so. Like Tai, very lyrical, but with surprising melodic tension and an intense bridge section.

2 – Omicron 5:25 - the study of melodic 4ths, in a setting reminiscent of Coltrane’s mid-60s vibe with a B section that makes me feel like Joe Henderson every time I play it. Like the covid variant it’s named for, it’s relentless and catchy, but causing less damage than previous incarnations. Bill’s solo at the end is a strong continuation of the theme.

3 – Sarah 7:09 - written for my wonderful, smart and beautiful girlfriend. I love the solo intro by Johannes! Sad, hopeful and strong, all at the same time, the tune is beautifully brought to life by the entire group.

4 – Genghis Kant 4:33 - a play on words juxtaposing one of the more notorious might-makes-right characters in human history, Genghis Khan, with philosopher Immanuel Kant. Kant is known for his philosophy of moral reasoning, the Categorical Imperative, a secular version of the Golden Rule.

5 – Via Dance 5:46 - named for my 15 year old daughter Olivia. It’s a chill swinger, a grown-up tune, just like the wonderful young adult she’s in the process of becoming.

6 – Bling Tone 5:11 - my reworking of If I Were A Bell with nods to Coltrane. Check out the tenor/ drums duet directly before the melody out. I get a chance to get in some serious melodic 4ths lines with Bill.

7 – Rachel 6:31 - written for a wonderful human who presented our group at numerous concerts in Brooklyn. She died of cancer, too young, in the early 2000s...there are not many humans as wonderful as her and I wanted to celebrate what she brought into the world by writing this tune. The beginning is at once introspective and anthemic, then transitions into a raucous 12/8 feel.

8 – Ginger Foot 4:20 - like quickly and carefully dancing on a floor full of unbroken eggs. It’s based on Rhythm changes in Eb concert. Check out Jesse’s bass work on this one.

9 – Pacifisticuffs 4:11 - a written melody with no chords. It’s how one feels when one wants to knock the crap out of an antagonist but doesn’t believe in violence as a way to deal with conflict. Check out Johannes’ solo. Winning the war within isn’t an easy task to accomplish...and it’s never-ending.

All compositions by Dennis Mitcheltree, BMI ©&℗ 2021. Recorded December 9, 2021 at Samurai Hotel Recording Studio, New York City. Engineered and mixed by David Stoller at Samurai Hotel Recording Studio Mastered by Kevin Blackler at Blackler Mastering. Graphic design by Jamie Breiwick at B Side Graphics Photography by Josh Nessen and Sarah Becker Carrera

Peter Janson | "Getting To Here"

Eastern Woods Music Records releases Getting To Here by American guitarist Peter Janson. Featuring original compositions as well as original arrangements of songs composed by some of the worlds legendary composers (Jerome Kern, Antonio Carlos Jobim, Chick Corea), Getting To Here has six solo jazz guitar songs with Janson’s trademark fusion of jazz, classical, and acoustic-instrumental styles played with passion, artistry, and technical mastery.

Recorded in Nashville March 15-18, 2022, this 6-track album is an intimate, introspective and soulful musical journey that includes jazz standards “All the Things You Are,” “Dindi,” and “Spain” (dedicated as a tribute to the profound influence Chick Corea’s music played in Janson’s artistic musings), original compositions “I Should Have Just Waved Hello,” and “Blues for Joe” (dedicated to Joe Pass), and the obscure yet guitar cult favorite “Lamentos do Morro” by Garoto. There aren’t many jazz guitarists today that are focusing on solo guitar, but for Janson, playing solo jazz guitar is both his contemporary passion - loving the solo guitar works by Pat Metheny, Kurt Rosenwinkel, and Wolfgang Muthspiel - and a nod to legends such as Joe Pass, Earl Klugh, and Jim Hall.

Getting to Here was produced by Eric Conn, and recorded and mixed by Brandon Bell at The Cabin Studio, Nashville TN.

Track listing

• All the Things You Are - 5:04 (Jerome Kern, arr. P Janson - solo guitar)
• Dindi - 6:26 (Antonio Carlos Jobim, arr. P Janson - solo guitar)
• Spain - 4:58 (Chick Corea, arr. P Janson - solo guitar)
• Blues for Joe - 3:17 (Peter Janson - solo guitar)
• I Should Have Just Waved Hello - 10:33 (Peter Janson - solo guitar with overdubs, effects, voices)
• Lamentos do Morro - 4:54 (Anibal Augusto Sardinha, arr. P Janson - solo guitar)

Rebecca Jade | "A Shade Of Jade"

Vocalist Rebecca Jade has carried a journal in her backpack ever since she was a college athlete at UC Berkeley. She journaled her thoughts, feelings, reflections and experiences in the form of poetry and song lyrics. However, although she sang and came up with the album title “A Shade of Jade,” she didn’t consider herself to be a songwriter and didn’t have the confidence to put out original material, so she just toted the notebook around thinking “one day.” That day has arrived. Jade opened the pages of her journal to create ten R&B, jazz and pop songs that she wrote and co-produced with Carnell Harrell for “A Shade of Jade,” which drops October 14 from LadyJade Music.

“The bare bones of a couple of the songs on this album have been sitting and waiting patiently to come to life in a lyric book from many years ago. I knew in my heart that I had something to say that might resonate with others,” said Jade who recently previewed the album at sold-out concerts in San Diego and just south of Los Angeles.

“I have had the title for this album since college, and I wasn't even doing music at the time. With this being my first album that I wrote and co-produced, I feel like it represents who I am because I have so many different styles of music that have influenced me and make their way into my music. This album is one of, hopefully, many ‘shades’ of me.”

Jade’s songs on “A Shade of Jade” are personal, visceral, emotional and motivational. Melody-rich harmonies emoted skillfully with warmth, passion, urgency and ardor, her voice reflects the authentic heart and soul of a confident and courageous woman, an artist desiring to connect with listeners via intimate stories, resonant themes, and messages of hope and inspiration. Jade dares to make herself vulnerable; loves, desires and fantasizes freely; confronts brazenly, celebrates with gratitude in the face of loss, and empowers strength and resilience.    

“I wanted the songs on the album to touch on what so many people experience in real life - from love to heartbreak, to loss and overcoming difficult situations. Sometimes a song can help put feelings into words or encourage someone to push through when they want to quit. I've had songs do that for me, so I wanted to create music that might do that for someone else,” said Jade.

Jade has been working on “A Shade of Jade” for a while. Last December, she gave listeners a glimpse of what’s to come when she put out a video for the uplifting hip-hop/funk tune “What’s It Gonna Be,” which won two statues at this year’s San Diego Music Awards. The basketball-themed clip – Jade played division one hoop at UC Berkeley and was invited to try out for the WNBA’s Los Angeles Sparks twice – has received more than 126,000 YouTube views.

“We all go through tough times in life, but I truly believe that we can get through those tough times a little easier if we accept that they will happen and face them head on, knowing that we will get on the other side of it,” said Jade who produced the life-affirming song with Timothy "Twizz"  Bailey, Jr.

Earlier this month, radio was serviced the jazzy, atmospheric, hard-hitting neo soul groove “Show Me,” a multilayered cut showcasing Jade’s intricate vocals and deft arranging skills on a song asking for action over words in the context of a romantic relationship.

"Like so many others, I've experienced love, heartbreak and had my share of potential relationships where I thought I had feelings for someone but wasn't sure if they felt the same way and vice versa. I know that anticipation is a part of the story when it comes to relationships and I wanted to write a song about that very specific moment, that moment right before a decision is made to either go forward with a new love adventure or stop it in its tracks. ‘Show Me’ is my version of putting those feelings into words, the idea of either the possibility of what that relationship could be or the reality of what it never becomes,” Jade said about the single swiftly garnering airplay across the nation.

“A Shade of Jade” finds Jade typically in the company of Harrell on keyboards, guitarist Kyle Bolden, bassist Raymond McKinley, and drummer Charles Streeter Sr. The dreamy “Drift Away” is augmented by real strings – violin, viola and cello, adding opulence to the celestial tapestry. Saxophonists Dave Koz and Eric Darius are featured soloists on the ballad “My Reason” and the sweet and whimsical “Bottle Up Magic” (with lyrics cowritten by Veronica May) respectively. Jade’s history with Koz dates back to performing on his all-star cruise in 2016 and will continue this holiday season when she heads out on the superstar’s 25th anniversary Christmas tour, a monthlong trek at which she’ll share the stage with luminaries Rick Braun, Peter White and Keiko Matsui. Jade and Darius are frequent touring partners as well with five concert dates on the itinerary before the end of the year, including festivals and performing arts venues.   

Jade has toured extensively with Sheila E. and performed with the “Queen of Percussion” on the Emmy-nominated Grammy salute to Prince a couple of years ago. Also in 2020, Jade accompanied Sir Elton John at the Academy Awards. She has opened for Musiq Soulchild, Will Downing, Boney James, Jeffrey Osborne and El DeBarge, and on record, Jade has shared the spotlight on songs by Darius, DW3 and Aubrey Logan. But now her attention is focused on occupying the spotlight on her own, building her brand and elevating her recording career to new heights. Part of Jade’s evolution involves learning to play bass and keyboards, which she now does on stage.

There’s a lot of substance and depth to explore on “A Shade of Jade” – from the seamless alchemy of musical styles to the intoxicating melodies that cascade throughout the set, to Jade’s proficient ability to use her voice to seduce, swoon and sway while providing nuanced color and  texture. While essentially being a new singer-songwriter on the scene, she exudes the poise, power and purpose of a seasoned veteran in her prime, making “A Shade of Jade” a calling card harbingering the arrival of a rare and special artist.

“This album is very special to me because I have learned so much about what it takes to make a record. I challenged myself to write all the lyrics for this album and to be the person to produce this record. I wanted to experience the process from start to finish and there is no better way for me to learn than to do it. And I'm so grateful for the people along the way in this journey, especially my primary writing and producing partner Carnell Harrell, people who have helped guide me and shared their knowledge to help me along.”

“A Shade of Jade” contains the following songs:

• “Show Me”
• “Please Come Home”
• “My Reason”
• “What’s It Gonna Be”
• “Drift Away”
• “Thankful”
• “Beautiful Lies”
• “Bottle Up Magic”
• “Other Side of the Moon”
• “Insane”

Catch Rebecca Jade on tour through the end of the year at (dates may be added):

• September 9 - Hyatt Regency Summer Concert Series, Newport Beach, CA
• September 10 - Bishop Arts Center (ft. w/ Eric Darius), Dallas, TX
• September 11 - Oxnard Jazz Festival (w/ Eric Darius), Oxnard, CA
• September 18 - Smooth Jazz Cruise on Land at The Factory (ft. w/ Eric Darius), St. Louis, MO
• October 8 & 9 - Barbados Jazz Excursion, Barbados
• October 22 - Catalina JazzTrax Festival (w/ Eric Darius), Catalina Island, CA
• November 3-6 -    Florida Smooth Jazz Weekend (w/ Eric Darius), Daytona Beach, FL
• November 25-December 23 -  Dave Koz & Friends 25th Anniversary Christmas Tour
• December 30 & 31- Rick Braun’s New Year’s Eve Getaway, Tucson, AZ

Ruddy Thomas | 'First Time Around" and "Reggae For Lovers"

One of the most accomplished Jamaican singers to first make their mark in the mid-70s, Ruddy Thomas found considerable success on both sides of the Atlantic with a succession of reggae chart hits throughout the tail end of the decade and beyond.

His most successful early works were recorded for arguably Kingston’s leading producer of the period, Joe Gibbs, with hits including his hugely popular interpretations of ‘Every Day Is Just A Holiday’, ‘Let’s Make A Baby’ and ‘Loving Pauper’, which was Jamaica’s best- selling single of 1978.

Now, at long last, his debut album finally sees its official re-issue on CD, with its original tracklisting expanded to include the best of his remaining work with Gibbs, plus the very best of the producer’s romantically-themed productions from the period.

Including a dozen tracks new to CD, the collection is an essential acquisition for all fans of both the sound of lovers rock and late 70s reggae.

Track Listing:

DISC ONE

RUDDY THOMAS ‘FIRST TIME AROUND’

1. That’s What Friends Are For
2. Ticket To Ride
3. Poorer Side Of Town
4. Loving Pauper
5. Shake Your Body Down To The Ground
6. Little Jeannie
7. Go On
8. Let Me Know It
9. Sad Eyes
10. Someone To Love
11. Bonus tracks
12. Memories (By The Score)
13. Mama Say
14. Feeling Soul
15. (Every Day Is) Just A Holiday
16. Time To Leave Daddy
17. Close To Me
18. Let’s Make A Baby
19. I Can’t Stop Now
20. When I Think Of You (7” mix)
21. Don’t Go Changing aka Just The Way You Are
22. Emotion (7” mix)

DISC TWO

VARIOUS ‘REGGAE FOR LOVERS’

1. Since I Fell For You – George Nooks
2. (Riding On A High And) Windy Day – Ruddy Thomas
3. Why Girl (7” mix) – Earth & Stone
4. After You (What Am I Gonna Do) – Wayne Wade
5. Gypsy Woman – The Mighty Diamonds
6. Working My Way Back To You (7” mix) – George Nooks
7. Nice First Sight Loving (7” mix) – Freddie McGregor
8. Everyday Is Just A Holiday – Hugh Griffiths
9. Just When I Needed You Most – Tyrone Taylor
10. Don’t Stop Til You Get Enough (7″ mix) – Derrick Lara
11. Gonna Get You AKA I’m Gonna Make Me Love You – David Isaacs
12. Hey You – Jimmy Riley
13. Something Precious – Shirley McLean
14. You Body’s Here With Me – Nehemiah Heild
15. Sadie (7” mix) – George Nooks
16. (This Is) Party Time – The Mighty Diamonds
17. It’s So Nice To Be With You – Hugh Griffiths
18. Got To Get Your Love – Delroy Wilson
19. Being With You (7” mix) – Ruddy Thomas
20. Left With A Broken Heart (12” mix) – George Nooks

New Music: Sol Set, Matthew Halsall, Shawn Lee & Misha Panfilov, Monophonics

Sol Set - Ola De Novo

Some of the richest work we've heard from John Beltran in years – a well-crafted little record that's bubbling over with influences from jazz and Brazilian music – and which make Beltran sound a lot more like a group leader than just a producer in the studio! The album's criss-crossed with vocal parts that really recall the glory days of 70s Brazilian jazz – while the rhythms pulsate with some of the more contemporary elements you'd expect from Beltran's other projects, but handled with soulful warmth that really holds the whole thing together as a full length set! There's plenty to love here if you dig older Brazilian rhythms, breezy 70s club jazz, and some of the warmer currents of contemporary club – on titles that include "Rhythm Of The Sun", "Linda Sao Paulo", "Sugarloaf", "Beija Flor", "Pour Le Moment", "Bliss Mode", and "Let's Get Away". ~ Dusty Groove

Matthew Halsall - Temple Within

A record that's more of an EP than a full length release, but one that's still really overflowing with fantastic music from the great Matthew Halsall – a player who can deliver as much meaning and soul in a short space as most musicians can in a double-length set! The album features four tracks, and Halsall's trumpet is wrapped up wonderfully with the flute of Matt Cliff – a player with a very evocative vibe, and one that really fits the modal rhythms of the tunes – as does the harp work of Maddie Herbert. Liviu Gheorghe plays both piano and organ, and the set features the originals "Temple Within", "Earth Fire", "A Japanese Garden In Ethiopia", and "The Eleventh Hour". ~ Dusty Groove

Shawn Lee & Misha Panfilov - Space & Tempo

Two contemporary funk legends, coming together in a really wonderful set of tracks – spare, yet full-on funky all the way through – and very much at the top of the game for anything you might expect from both artists! Shawn Lee serves up funky drums, Misha Panfilov handles the bass – and both of them bring in a huge range of keyboards, electronics, and other effects – complete with the sort of spacey touches we especially love in Misha's music – almost an outer space version of deep funk at times! Titles include "Rope Tornado", "Tom Tom Yum", "Prowling", "Separated At Surf", "Glamorous Life", "Florian", "Stairway To Seven", "Turbo Engine", "Hans Zimmerframe", "Samba Brown", "Porta Hole", "Wet Streets", and "Rope Tornado". ~ Dusty Groove

Monophonics - Sage Motel

Slow funk and soul, with plenty of psychedelic touches – all delivered in the best mode we've come to expect from the Monophonics over the years! The group's always off in their own space in a really great way – creating a sonic environment that easily shifts between past, present, and future – often thanks to a range of keyboard work from vocalist Kelly Finnigan – who plays Fender Rhodes, Hammond, Farfisa, Mellotron, Moog, and other keyboards too! Finnigan's vocals are often processed in a great way – sounding different than albums under his own name – and given these great funky drums from Austin Bohlman, whose rock-solid rhythms really keep things moving forward. There's lots of other great touches too – subtle use of horns and strings amidst the swirling sound – on titles that include "The Shape Of My Teardrops", "Let That Sink In", "Check In", "Never Stop Saying These Words", "Crash & Burn", "Warpaint", and "Love You Better". ~ Dusty Groove