Ron Bosse | "Burning Room Only"

Jazz fusion guitarist Ron Bosse blazes a path via mindset and the power of collaboration,“Burning Room Only,” produced and cowritten by Grammy winner Jeff Lorber.  

Inherently jazz is about collaboration, the sum of the whole being greater than the parts due to the magic that results from improvisation when the chemistry amongst the musicians is right. That’s the approach jazz fusion guitarist Ron Bosse took to record “Burning Room Only.” The Boston-based fretman hooked up with Grammy-winning fusion icon, keyboardist Jeff Lorber, to write and record the eleven-song set produced by Lorber that drops October 28 on the Deep Cat Records label.

Bosse views “Burning Room Only” as a mindset. Yes, musicians love to describe scorching performances as “burning,” and that certainly applies to the masterful musicianship on display throughout this collection, but Bosse takes the meaning deeper.

“On a deeper level, the name is a metaphor for how I feel about people. If you want to be successful in life, you need to surround yourself with people who share the same mindset. In essence, there’s ‘only room’ for positive people who have a ‘burning’ desire to succeed,” said Bosse.

Over the course of fourteen months, Bosse spent hours talking to Lorber about the funky contemporary jazz grooves, intense rock fusion explorations and compelling melodies they were creating. Led by the guitarist’s remarkably proficient and alacritous finger work, the set that Bosse and Lorber crafted is a team effort with this formidable team featuring some real “burners.” Lorber deploys nimble keyboard harmonies and unleashes fiery solos. Drummer Gary Novak (George Benson, Lee Ritenour, Chick Corea) anchors the beats with precision, locking into the bass lines etched by Ben Shepherd, Jimmy Haslip (Yellowjackets), Frenchman Hadrien Feraud, or the colorfully experimental MonoNeon (Prince). Robust horn section arrangements by David Mann add muscle and might, with two saxophonists - the Yellowjackets’ Bob Mintzer and Snarky Puppy’s Bob Reynolds - harnessing soul, power and passion in spotlight solos. 

Citing jazz guitar great Pat Martino’s “El Hombre” as inspiration for the groove-jazz style of play that proliferates “Burning Room Only,” Bosse said, “There are two songs on Pat’s album - “Cisco” and “A Blues for Mickey-O” - that are more groove oriented rather than traditional swing, yet Pat still solos with his classic linear approach of fluid eighth-note lines. Ever since hearing that album, I’ve wanted to record an album that was groove oriented, with a contemporary rhythm section, but where the guitar still had a classic clean jazz tone, and the solos were super swinging. With ‘Burning Room Only,’ I think we nailed this approach.”

“My solo on this song really crystallized some of the technical approaches I had been working on for quite some time. I was going for a super streamlined and fluid way of playing eighth-note lines over funky 16th-note-based grooves, and I feel like I really locked in this approach on this song. It definitely set the tone for the solos that followed. Anyone who knows me, knows that I am very dedicated to my instrument in the sense that I’m constantly practicing. In the years leading up to recording this album, and throughout the recording process, I got to a heightened level of practicing of almost 6-8 hours a day. I was really trying to push myself as hard as possible to be able to improvise as fluidly as possible without boundaries with respect to tempo. Essentially, I wanted to be able to play anything that came to my mind and be able to deliver it effortlessly,” said Bosse, who was called “Bossman” by friends when he was a kid.

Tracks from “Burning Room Only” will aptly be promoted at multiple jazz radio formats. Sweetly melodic, invitingly familiar yet grand and challenging in scope, “Kiss The Sky” will begin collecting playlist adds on the smooth side of jazz on September 26.

“To me, the song takes you on a journey through every twist and turn. The melody evolves throughout the song without much repetition, and keeps you closely engaged. The harmony is very complex and enchanting. This was one of the first songs on the album that made me see the true genius behind Jeff’s writing. He has this unique ability to write extremely rich chord progressions, yet he keeps the melody so strong and memorable that you sometimes miss how elaborate it really is. I think that with all art, this is a constant challenge – trying to balance complexity and richness with accessibility,” said Bosse.

“This is the first song on the album that we got Snarky Puppy saxophonist Bob Reynolds to play on and I love how he plays on it. His intonation on the melody in unison with the guitar is spot on, and his solo is a great blend of tasteful, bluesy playing combined with some killer jazz lines,” said Bosse admiringly.

Bosse has been playing in jazz bands and leading his own outfits ever since graduating Berklee College of Music. Guitar Player magazine voted him “Outstanding Guitarist,” saying that he’s “a master in the making.” He created the Next Level Jazz concert series in 1998, producing over a hundred shows throughout the US and Canada. Six years later, he founded the Bosse School of Music, a premier pre-college-level program for contemporary music in Weymouth, Massachusetts. In 2007, he launched Bosse Studios, a world-class audio recording and video production studio that produces content for major brands, including Disney, Paramount, Samsung, Amazon, Lockheed Martin, Walmart, Harvard University, NFL, The U.S. Open Tennis Series and many others. Five years ago, Bosse paired up with Grammy-winning R&B-jazz guitarist Norman Brown on a series of duet performances and instructional videos focused on improvisation, technique, composition and production.

Meticulously attentive to details large and small, Bosse poured a lot into making an impactful statement on “Burning Room Only.” And he knew that statement would benefit in ways unimagined via collaboration. In Lorber, Bosse not only found a producer and co-songwriter, but a partner with a shared ethos who is able to coax the best performances possible from the guitarist. Lorber also played a role in surrounding Bosse with the finest musicians available. The chemistry and community formed during the recording sessions elevated the project, forging lasting bonds.    

“When I first began the process of recording this album with Jeff, I immediately noticed that we shared similar values in that we feel that all aspects of the production require a high level of attention and detail. Not only is it about the songs, it’s about the orchestration, it’s about the musicians, the solos, the way it’s recorded, how it’s mixed and mastered, the album artwork, the song titles. One of the things I think about when reflecting on the process of writing and recording the album is how collaboration can yield a result far more unique than going it alone, especially if you put the right people together,” Bosse reflected.

“This time period has been one of the most prolific for me which is a true testament to the power of collaboration. My most memorable experience throughout the process of recording this album is the camaraderie and connection with the musicians involved. It’s these personal experiences that really mean the world to me.”

Electric Beethoven Feat. Karl Denson | "New Path"

"New Path" is Reed Mathis’ rearrangement of the 2nd movement of Beethoven's Piano Sonata #8. When saxophonist Karl Denson (Rolling Stones, Greyboy Allstars, Karl Denson’s Tiny Universe) and Mathis began talking about how we would approach this classic piece of music, they hit immediately on our shared love of Charlie Parker. They decided Parker’s "Charlie Parker with Strings" album would be our model—eschewing the written melody altogether, and instead, weaving a freeform improvised melody from the emotion contained in the raw chord changes themselves. Denson and his tenor saxophone were all over it.

For the recording they made for Color Red, Mathis played the bones of the piece on electric guitar and keyboardist Todd Stoops played the bass lines on a synth. The incredible and expressive drumming is from String Cheese Incident's Jason Hann, a longtime Electric Beethoven collaborator and friend. The addition of Denson is fledged from a 20-year relationship of being a friend and mentor to Mathis. From the first moment he sat in with Mathis’ first band, Jacob Fred Jazz Odyssey, they have bonded over a blend of funky momentum, fiery improv, and a sense of control within recklessness on stage.

"New Path" is the longest studio track Reed Mathis and Electric Beethoven have ever put out, but considering the towering lineup they assembled to record it, they feel that it is a compelling and emotional journey from start to finish, with some surprising twists and turns, and a whole lot of soul.

Hear No Evil, the group's forthcoming double LP, will contain a multitude of unreleased tracks with fellow Color Red collaborators and an entire remix series of electronically produced reconfigurations of the group’s works by esteemed producers on today’s circuit. 

New Music: Ernesto Cervini, Noam Lemish, The Harry Bartlett Trio, Gentiane MG

Ernesto Cervini - Joy

Joy is the latest record from Juno-winning drummer and composer Ernesto Cervini. Inspired by Louise Penny’s Gamache series of books (NYTimes Best-Sellers) and the qualities of goodness, decency, courage, and love that permeate them, Cervini was moved to compose music that captures the characters, landscapes and relationships created by Penny. From the opening track “Three Pines” that sets up this voyage, to a musical portrait of a duck and her cranky, poet laureate owner in “Ruth’s Rosa,” from the mercurial “Beauvoir” to the beautiful love story of “Sandalwood and Rosewater.” The album showcases Canada’s finest musicians and is the first of Cervini’s albums to feature vocalists; Two tracks feature Alex Samaras (Queer Songbook Orchestra), and an additional featuring track with Felicity Williams (Bahamas, Bernice), Emilie-Claire Barlow (2 time Juno Award winner, 6 time nominee) and Amy Cervini (Duchess)  who also co-produced the album. Featuring Ernesto’s Turboprop, Tune Town, Tetrahedron groups as well as other sonic surprises, this album is a musical journey through the soul and heart of Three Pines and the characters who inhabit it, guided by an adoring fan. Cervini’s music and personality beam with unbridled joy and this album is a true reflection of that.

Noam Lemish – Twelve

Noam Lemish is a Toronto-based pianist-composer whose music often defies categorization. In Twelve he leads a formidable jazz 12tet presenting a captivating set of six original compositions. This chamber-sized jazz orchestra – a nimble, yet powerful ensemble – features a stellar cast that includes many of Canada’s most prominent jazz artists, including multiple JUNO award winners. Growing up “in-between” cultures and places, having lived for extended periods in Israel, the United States and now Canada, Lemish’s music fuses an array of disparate influences and traditions. In Twelve, Lemish and his orchestra distill this integrated, transcultural musical life into a compelling, poignant, and joyful artistic statement. Lemish’s distinct and innovative voice as a composer permeates every facet of this recording. The six pieces that comprise Twelve stretch the conventional boundaries of the jazz idiom in more ways than one. Pushing jazz structures in new directions, the works showcase inventive, long-form, through-composed music that seamlessly integrates soaring melodies, exquisite large ensemble writing and orchestration with stunning improvised solos. Owing to Lemish’s multi-cultural upbringing and life experiences, the compositions also reveal a musical vision that embraces genre-bending as an essential feature. Lemish’s writing effortlessly blends his rootedness in jazz and western art music with the musical influences of his Israeli childhood and Eastern-European Jewish heritage. 

The Harry Bartlett Trio - Wildwood

Wildwood is an exciting new release by the Harry Bartlett Trio. Rooted in the jazz tradition, this album draws heavily on American Folk and Western styles. The trio’s unique, focused identity offers a fresh path through the infinite potential of improvised music. The compositions on Wildwood were written and recorded on Gambier Island BC over a 6 month period. The rugged, isolated character of the BC coast permeates into the songs, lending qualities of reverence and peace. Through this process Harry was working closely with Toronto based guitarist and composer Geoff Young who lent his wide ranging experience and razor sharp focus as an artistic advisor. The Harry Bartlett Trio features Harry Bartlett (guitars), Caleb Klager (bass and modular synthesizer), and Harry Vetro (drum set). The Trio began in 2018 with the release of a debut EP, The Harry Bartlett Trio, and has since performed extensively, appearing in major venues and festivals across Canada. The Trio was awarded the TD Niagara Jazz Festival Jazz for the Ages Award in 2020. This album is a thoroughly crafted set of music that appeals not only to the dedicated forward thinking jazz listener, but to anyone interested in creative new music of a high caliber. After the release of 2 singles, Wildwood will be made available on November 18th 2022 with a release show held at the Array Space in Toronto on November 19th.

Gentiane MG – Walls Made of Glass

Following up on the potent musical message of her first two releases Eternal Cycle (2017) and Wonderland (2019), Montreal-based pianist Gentiane Michaud-Gagnon (known as Gentiane MG) is excited to share her deeply immersive third outing, Walls Made of Glass. The album features MG’s longtime colleagues Levi Dover (bass) and Louis-Vincent Hamel(drums), both major voices of the Canadian jazz scene, in a tour de force collection of new original music. More than ever, the band shares a deep bond that obscures the boundaries between written and improvised material. Walls Made of Glass comes from a desire to capture and to share meaningful and alive moments stemming from the deep connection MG has felt with her environment: objects, animals, plants, sounds and so forth. These inspirations led to 10 enthralling pieces, bright and full of contrast. Together with Dover and Hamel, MG creates a trio sound rooted in flexibility, interactivity, rhythmic command and expressive connection, conveying strong emotion and bringing imagination and mystery to a compelling acoustic landscape. Listening to Walls Made of Glass, one can lose themselves in a musical universe that goes way beyond notes, that stands as an artistic whole before everything else. Through music and artwork, Walls Made of Glass represents MG’s growing perspective on learning to live more in the moment and on the meaning of art. “When a light glows in the dark,” she offers, “our eyes are unavoidably drawn towards its beam. The moments from which this music originated are like this light. The contrast made them unexpectedly, yet miraculously, perceptible.” Driven by her love of modern jazz and her early training as a classical pianist followed by her development as a jazz pianist, MG pilots her trio with a vibrant sense of groove and lyricism, employing impeccable technique, revealing a penchant for bold dynamic arcs and harmony rich in ambiguity and subtle dissonance. 

Ricardo Bacelar | "O Último Pôr Do Sol"

Brazilian pianist, vocalist, composer, and arranger Ricardo Bacelar recently released the first single, “O Último Pôr Do Sol,” from his forthcoming album entitled Congênito. The full album represents a departure from his previous recordings and features Bacelar as the project’s sole producer, vocalist, arranger, and instrumentalist. They are being released on his record label Jasmin Music.

“O Último Pôr Do Sol” was written by songwriters Lenine and Lula Quiroga and recounts lost love. Bacelar’s recording features a video set on a beach near Fortaleza, Brazil, a quaint fisherman village surrounded by a lush, scenic landscape, and tells the story of a man who is alone because his partner has left him. In it, Bacelar joins a fisherman at sea and sings the song’s Portuguese lyrics that reference the ocean, land, air, and the wind, all elements of the area that are highlighted throughout the piece.

Toward the end of the song, Bacelar incorporates a blend of exotic instruments, including the Berimbau, a common African instrument used by enslaved people when they were brought to Brazil from Africa. It is the primary instrument used in Capoeira, a martial arts form that incorporates dance with fighting. The form originated when enslaved people practiced fighting but camouflaged it with dance movements so it would go unnoticed by their enslavers. Later in the song, he uses a mix of Brazilian percussion and cymbals, symbolizing elements of Brazil’s culture.

The release of Congênito marks the launch of Bacelar’s fifth solo album, and is a significant accomplishment for him as he recorded, produced, and played all of the instruments on the recording exclusively. For Bacelar, it is the first solo album he created this way. He spent considerable time researching proper recording technologies, planning and writing many arrangements and determining the most suitable instruments to feature. He, along with only one recording engineer, Melk, completed the entire project. Throughout the process, he learned of the difficulties of playing each instrument and combining them to sound like a cohesive ensemble.

On his full album Congênito, Bacelar reimagines classic Brazilian music composed by numerous legendary Brazilian masters including Chico Buarque, Gilberto Gil, Caetano Veloso, Djavan, Ivan Lins, Lenine, and others. With the exception of two songs in English, all of the songs are in Portuguese.

“O Último Pôr Do Sol” was made available on all major music platforms on July 1, 2022; the full album is scheduled to be released in early August.

Alma Records Signs #1 Jazz Chart Topper MICAH BARNES To Their Artist Roster

Alma Records, the Canadian jazz label home to releases from Florian Hoefner Trio, Alfie Zappacosta, Eliana Cuevas, and Hilario Duran is excited to announce former Nylons singer Micah Barnes to their roster.

Launched 1992 by jazz performer Peter Cardinali, Alma Records discovers and develops new and original artists who choose not to be compromised by the demands of an obsessively commercial music industry.

This philosophy has been a success. Their company has a roster of exceptionally gifted musicians and artists who have recorded an enduring catalogue of albums. Their work is now available around the world via prudent licensing deals with kindred labels such as Universal, eOne, edel, JVC, Proper, Perleberg, Pony Canyon, Gallo, EMI, Scorpio, Sony, Warner, and more.

“It gives me great pleasure to welcome multi-talented singer, songwriter, musician, Micah Barnes, to the Alma family, and I look forward to making some great records together,” says Peter.

As Micah gears up for his Brampton show on September 24, it’s almost showtime on the national broadcast has also been named as Music Director for the upcoming Canada’s Got Talent season, set to air in 2023.

Born in Vienna and raised in Canada, Micah Barnes cut his teeth in the cabarets and jazz clubs of Toronto in his teen years, before joining The Nylons in 1989. Recording and touring as a member of the internationally celebrated A Capella group placed Micah firmly within the global music scene. Through managing a busy schedule of concerts and television appearances, Micah’s rich and soulful baritone was introduced to music fans around the world.

Micah says, “It's rare for an established indie artist to find a home with a label so perfectly designed to support their journey. That’s why I’m especially thrilled to be joining forces with Peter Cardinali and Alma Records. I know my next album will benefit from Peter’s extensive history as a producer, and we’re both looking forward to rolling up our sleeves and jumping into the music together! With the added support from Universal Music Canada, it feels like our audience is about to expand internationally, which adds an extra layer of excitement for all of us involved.”

In his days since the Nylons, Micah has launched an active solo career, which included touring the USA with his international club hit “Welcome To My Head” - which placed #1 on the Billboard charts. His solo career also marked his long-awaited return to the jazz genre of his early years, resulting in a series of critically acclaimed recordings, including New York Stories (eOne Music). Micah has also shared the stage with a host of internationally renowned artists, including Molly Johnson & Jackie Richardson.

Micah’s latest release, 2020’s “Vegas Breeze” entered the jazz charts at #1. The music (including singles “When in Rome” and “End of a Love Affair”) transports listeners back to the days of the legendary Vegas showrooms, featuring songs first recorded by jazz luminaries Sammy Davis Jr., Tony Bennett, Nat King Cole, Mel Torme, and Peggy Lee.

At his home base in Toronto, Micah is a busy Vocal, Performance and Career Strategy Coach whose international clients include GRAMMY nominated 

New Music: Nils, Bruce Barth Trio, Ed Calle, The Jazz Defenders

Nils - Cool Shades 

In 2021, as his #1 hits “Caught in the Groove” and “Outta Sight” were spinning regularly – ultimately making him Billboard’s #1 Smooth Jazz Airplay Artist of the Year – guitarist, composer and producer Nils was going through a rough personal time, traveling back and forth from L.A. to his original home of Munich to care for his ailing parents. The stylistically, eclectic gems written for his latest album Cool Shades (which he dedicates to his late father Kurt) alternately reflect the heavy emotions of this time, the importance of musical catharsis and the need for joyful, infectious and funky jams to balance the sadness and brighten up the world. Not surprisingly, Nils works his bluesiest excitement ever – a point emphasized by his clever jazzy arrangement of a Jimi Hendrix classic. ~ www.smoothjazz.com

Bruce Barth Trio - Dedication

On his seventeenth album as a leader (and his first since 2019), Dedication, pianist and composer Bruce Barth brings thirty-five years of experience performing and recording at the highest level to bear in a heartfelt tribute and homage to a dear friend and partner in music, drummer Montez Coleman. Barth also pays tribute with compositions for Tommy Flanagan, McCoy Tyner and George Floyd. “’Live at Smalls’,” an engrossing record made over a few nights of gigs last fall by Mr. Barth’s trio at that tiny New York jazz club, makes his case better than I’ve ever heard it before: as a composer, a bandleader, an improviser, and a musician of modesty and patience…his music descends from the straight-ahead jazz piano-trio tradition since the late 1950s: Sonny Clark, Bill Evans, Wynton Kelly, Tommy Flanagan. In practice, he’s a player who can find essence underneath style; he connects the fragments of his band’s sound and melts into them.” ~ Ben Ratliff, The New York Times. 

Ed Calle - Soulful Nights with Jon Secada & KC

If you want to know what the multi-faceted musical city of Miami sounds like in 2022, listen no further than Soulful Nights, the latest seductive, snazzy, pop, funk and Latin jazz driven album by Latin Grammy winner and five time Grammy nominated saxophonist Dr. Ed Calle. Calle’s silky, uber-romantic and punchy tenor is the delightfully infectious emotional through-line on the compelling originals and imaginative covers of classics by Stevie Wonder, Bobby Caldwell and Marvin Gaye. Yet at heart, this multi-faceted project is a full-on celebration of the saxophonist’s hometown, featuring guest vocals by two pop greats that make their home there (KC of the Sunshine Band and the bilingual Jon Secada) as well as ace production and arrangements by legendary behind the scenes figures Hal Batt and Mike Lewis. ~ www.smoothjazz.com

The Jazz Defenders - King Phoenix

The Jazz Defenders are a group borne out of a deep love for Blue Note Records – specifically the hard bop recordings of Horace Silver, Hank Mobley, Lee Morgan and Art Blakey. Those records were highly regarded for a reason – catchy horn lines and incredible musicianship combined with Rudy Van Gelder’s engineering skills mean they will forever be regarded as classics of the genre. The Jazz Defenders are a group that would ‘defend’ the legacy of those recordings whilst creating its own original identity and distinctive flair. The group is the brainchild of vibrant pianist and composer George Cooper who in 2015, set about choosing the right musicians for the individual qualities and style that they would bring to the group. Featuring some of the UK’s finest players the line-up is Nick Dover (tenor saxophone), Nick Malcolm (trumpet), Ian Matthews (drums), Will Harris (bass), and George Cooper (piano). As session musicians in their own right, the five members of the band have worked with a variety of internationally acclaimed artists such as Kasabian, Nigel Kennedy, Hans Zimmer, Massive Attack, The Haggis Horns, Pee Wee Ellis, Andy Sheppard, Get The Blessing, Simon Spillet, Alan Barnes, Rodriguez & Nostalgia 77, as well as playing at venues including Ronnie Scott’s, The Jazz Cafe and The 606 Club. Alongside an intense schedule of live gigs the band began laying down their own tunes, effortlessly channelling the spirit of the golden Blue Note era of jazz. The result of these efforts was debut album “Scheming“ released at the end of 2019 on Haggis Records. The album puts its own unique twist on classic bebop and hard bop, giving a modern soul jazz slant to the traditional sound and proving once and for all that jazz is far from dead.

New Music: Al DiMeola / Jean-Luc Ponty / Stanley Clarke, Carl Stone, The New Mastersounds

Al DiMeola / Jean-Luc Ponty / Stanley Clarke - Rite of Strings - Live at Montreux 1994

Mercury Studios is proud to release for the first time on CD Rite Of Strings: Live At The Montreux Jazz Festival 1994 on October 28. Previously released on DVD in ’05, the brilliant interplay between three virtuoso musicians—Al Di Meola, Jean-Luc Ponty and Stanley Clarke—is on full display. The nine-track two-CD set features such deep cuts as “Renaissance” and “Memory Canyon” along with six others. Violinist Jean-Luc Ponty had never played with guitarist Al Di Meola. Their special on-stage chemistry is all over this sterling performance. Di Meola—dubbed “Best Jazz Guitarist” by Guitar Player magazine for five consecutive years (’77-’81)—is on fire. His solos on acoustic guitar sting in a non-stop dizzying flurry of notes while bassist Clarke slides up, over and underneath his every riff with alarming dexterity. The absence of drums frees each master musician to fill in the spaces with pure technique. At 21, Clarke first played Montreux with Stan Getz. Later in his career, his “slap” technique became a funk standard. His solo School Days, in ’74, cemented his rep as a fusion icon. Jean-Luc Ponty exploded out of Europe to join Frank Zappa and Mahavishnu Orchestra. Known for being the first violinist to fully integrate electronics and effects into his playing made him the Jimi Hendrix of the Violin. Here, in an acoustic format, his playing is sweet, swift and fully supportive. The CD starts in the key of Coltrane: “Song To John” a Clarke/Corea composition from Clarke’s ’78 Modern Man. Clarke’s “La Cancion De Sofia” is a portend of things to come as it would prove to be the highlight of this trio’s subsequent album together a year later. Solo spots then ensue climaxing with Ponty’s “Eulogy To Oscar Romero” off his 1983 Individual Choice. A folkloric South American groove permeates Di Meola’s “Chilean Pipe Song” as all three spiral upwards to a whirlwind conclusion. Since the spectral presence of Chick Corea hangs over this night, a second version of “Song To John” ends the proceedings as guest pianist Monty Alexander perfectly recreates what Corea himself might have added. But the crowd hadn’t had enough, demanding a second encore “Indigo.”

Carl Stone - We Jazz Reworks Vol.2

Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone’s recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as ”genre” virtually meaningless. Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again. Carl Stone says: ”It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach.” ”To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period.” This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what’s there. This time around, the artwork is reinvented by Tuomo Parikka, a great friend of the We Jazz collective and a regular cover collage contributor for the We Jazz Magazine. 

The New Mastersounds - Deplar Effect

It's hard to go wrong with the New Mastersounds – and even after so many years, and so many records, these guys are still totally at the top of their funky game – one of the tightest, hardest, sharpest combos around – one of the first in the 21st century generation of deep funk acts, and still one of the best! Eddie Roberts, as always, is a monster on guitar – both in terms of his solos and his sense of riffing rhythms – and the group features plenty of C3 organ and other keyboards from Joe Tatton, plus some guest vocals on a few cuts from Lamar Williams. Titles include "Gonna Get In My Way", "Hot Tub", "Let Me In From The Cold", "Georgie Famous", "Meet You In The Sunshine", "Northern Lights", "Before", and "High On The Mountain". ~ Dusty Groove

Jeremy Rose & The Earshift Orchestra | "Disruption! The Voice of Drums"

Jeremy Rose is a two-time ARIA nominated Eora/Sydney based woodwind specialist, composer, band leader, label and festival director, whose music explores the intersection of socio-culture and genre, creating interesting and unique collaborative projects that span the globe. His music has been performed at festivals around Australia, Europe and the UK, has toured extensively in Australia, in Europe recently with guitarist Kurt Rosenwinkel and The Vampires in collaboration with Lionel Loueke. 

On October 14th, Jeremy Rose and the 8-piece Earshift Orchestra bring a thrilling tribute to the timeless, visceral and disruptive power of the drum - Disruption! The Voice of Drums, featuring extraordinary drum virtuosi Simon Barker and Chloe Kim. Premiering to wide acclaim at the 2021 Sydney Festival, this major new work offers an opportunity to reflect on the current disruptive challenges we face, with bush fires, a global pandemic, civil unrest and a growing ecological disaster.

Alongside the voice, the drum is the most elemental form of human expression. From prehistory to the present we have used drums to conjure spirits, create ecstatic states of mind, bring communities together and put fear into the hearts of enemies. “I have always been fascinated by the power of drums,” explains Jeremy. “Drums can create ecstatic states of mind and alter our brain waves.” Drums have been used in ancient rituals, religious ceremonies and to instill discipline in the military. More recently, drums have been the élan vital of music whose purpose is to disrupt, featured in protest songs across the world from Hong Kong, to Russia and the United States.

Versed in jazz, drummer Simon Barker has played with many international touring artists including Tim Berne, Marilyn Crispell, Joe Lovano, Sheila Jordan, Gary Smulyan, John Hicks and Carlos Ward. He has spent years investigating traditional music from Asia and the Pacific. His collaboration with Korean Pan Sori singer Bae Il Dong and trumpeter Scott Tinkler is internationally recognized. “Simon has developed ways of playing things on the drums that are technically impossible for ordinary drummers,” explains Jeremy. Another drummer has emerged in recent years that has been one of the first to embrace Simon’s ideas whilst creating her own distinctive voice - Korean-born Chloe Kim, finding a musical path of discovery of rock, hip-hop and jazz through her Korean-informed approach. 

“In searching for material to draw upon for a possible collaboration between the three of us,” explains Jeremy, “I turned to their respective solo drum music to arrange music for; Chloe’s Right Turn, and Simon’s Urgency! (Vol.1 & Vol. 2), On Running, 1 & 2, amongst others.” This body of work highlights their respective musical backgrounds whilst demonstrating a quest to create new languages to themselves. In particular, Simon’s use of dense, fast rhythms and rhythmic variants (‘entangling’) posed exciting compositional opportunities. Disruption! was therefore begging to be created.

“The challenge of composing music for solo drums was that harmony and melody typically dictated the direction of the music and how I wrote for the ensemble,” explains Jeremy. “For Disruption!, drum parts became the foreground, with the other instruments moving in and out of focus.” Harmony and chords often had the reverse effect of diminishing rather than adding to the music. “I navigated this by creating layers of sound that need not lock in with the drums. These layers served to enhance and provide space for Simon and Chloe’s performances.”

The music of Disruption!, along with powerful images by video artist duo Peachy Mosig, provides a soundtrack to the year that’s been – 2020. Whilst challenging us all, we hope this work offers an opportunity to reflect. 

New Music: Gloria Scott, Emmet Cohen, Connie Han, Lee

Gloria Scott - So Wonderful

In June 2022, Acid Jazz announced the signing of Gloria Scott, with an amazing response to the 7” single ‘Promised Land’ – an elegant, soulful cover of Joe Smooth’s Gospel-House classic. We are delighted to present her upcoming album ‘So Wonderful’, out 30 September, leading with the new single ‘All Of The Time, You’re On My Mind’ out now on streaming platforms. While Gloria Scott might not be a household name, she has her own distinguished story in the history of soul music. She was discovered as a recording artist by Sly Stone, before working in Ike and Tina Turner’s backing vocal group ‘The Ikettes’ and touring with ‘The Supremes’. She also recorded her own classic, collectible soul records, collaborating extensively with Barry White. Tracks included ‘(A Case Of) Too Much Love Makin’’ from the album ‘What Am I Gonna Do?’ (1974). ‘All Of The Time, You’re On My Mind’ is one three tracks included on the album from her period working with Barry White, alongside a collaboration with P.P. Arnold, and co-writes with producer Andrew McGuinness. ‘Promised Land’ closes out the record, making Gloria Scott’s first album for 48 years one of the most exciting soul releases of 2022.

Emmet Cohen - Future Stride 

Emmet Cohen’s time has come. Since his debut Mack Avenue release Future Stride, Cohen has toured the world consistently - bringing the joy of music to people in need during a global pandemic — all while hosting weekly livestream concerts from his home in Harlem, NY. These livestreams provided a sense of community and a home to the displaced musicians of New York, reminiscent of the 1920s rent parties. On Uptown in Orbit, his sophomore release for Mack Avenue, Cohen brings the tradition of jazz to the forefront while providing the modern twist needed for the current times. Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick Bartley, bassist Russell Hall and drummer Kyle Poole.

Connie Han - Secrets Of Inanna

Rising star pianist/composer Connie Han brings the ancient Sumerian culture to the present day by channeling Inanna -- the ancient Sumerian goddess of love, beauty and war — on her third release for Mack Avenue Records. Featuring Katisse Buckingham (alto flute and piccolo), John Patitucci (bass), Rich Perry (tenor saxophonist) and drummer Bill Wysaske, Secrets of Inanna creates a new world open to interpretation, harkening back to the ethereal soundscapes of 1970s spiritual jazz with the modern composition Han has received praise for since her 2018 debut Crime Zone,creating a truly unique soundscape of great depth.

Lee - Maybe Now

Lee's always been one of the most compelling artists in the neo soul underground – from his early work in Square Egg, to the handful of solo albums he's given us over the years – and although it's been awhile since we heard from his last, the singer seems to have honed his craft even more, to a point where the strength of his music might be more than enough to finally give him a bit of mainstream exposure! The set's a double-length album – and Lee uses all that extra space to move into modes that move between acoustic and electric soul, with some jazzier stops along the way – and a surprising array of catchy tunes delivered with a real depth of style. Titles include "Mr Smith", "Long Way To Go", "Feel Thangs", "Room 101", "It Ain't Fair", "Harrison Bergeron", "Calle", "Good Times", "I Love The Rain", and "Rich Man's War Poor Man's Fight". ~ Dusty Groove

Miguel Zenón | "Música de Las Américas"

Renowned saxophonist and composer Miguel Zenón Releases Música de Las Américas, inspired by the history of the American Continent. Música de Las Américas features all-new music from Zenón for his long-time working quartet plus master percussionists from his native Puerto Rico.

“This music is inspired by the history of the American continent: not only before European colonization, but also by what’s happened since—cause and effect,” says Miguel Zenón of his latest album of all original works, Música de Las Américas. The music grew out of Zenón’s passion for the history of the American continent, and the resulting album pays tribute to its diverse cultures while also challenging modern assumptions about who and what “America” is.

Featuring his longstanding quartet of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole, Música de Las Américas represents a broadening of scope and ambition for Zenón, who is best known for combining cutting-edge modernism with the folkloric and traditional music of Puerto Rico. In realizing such a wide-ranging project, Zenón engaged the illustrious Puerto Rican ensemble Los Pleneros de La Cresta to contribute their unmistakable plena sound to the album, with additional contributions by master musicians Paoli Mejías on percussion, Daniel Díaz on congas, and Victor Emmanuelli on barril de bomba.

Zenón’s compositions on Música de Las Américas reflect the dynamism and complexity of America’s indigenous cultures, their encounters with European colonists, and the resulting historical implications. Zenón immersed himself in these topics during the pandemic, reading classics like Eduardo Galeano’s Venas Abiertas de América Latina (Open Veins of Latin America: Five Centuries of the Pillage of a Continent), which details Western exploitation of South America’s resources and became the inspiration for Zenón’s “Venas Abiertas.”

Other sources of inspiration include Sebastián Robiou Lamarche’s “Taínos y Caribes”, referring to the two major societies who inhabited the Caribbean prior to European colonization and who are the subject of the album’s opener. “They were the two predominant societies but were very different: the Taínos were a more passive agricultural society while the Caribes were warriors who lived for conquest,” says Zenón, who captures the clashing of the societies in the interlocking rhythms of the piece.

Following the thread of indigenous Caribbean societies, “Navegando (Las Estrellas Nos Guían)” pays homage to the seafaring culture that existed across the region. “One thing that blew my mind was how they could travel the sea at long distances just using canoes while being guided by the stars,” says Zenón. “That opens conversations about what’s ‘archaic’ versus what’s ‘advanced’ in terms of scientific achievement between the ‘New World’ and ‘Old World.’” 

Zenón referred to the star formations used for navigation by those societies as the musical foundation of the song, which prominently features the percussion and vocals of Los Pleneros de la Cresta, who sing and accompany the titular chorus: “Navegando vengo, sigo a las estrellas.”

Possibly the most challenging piece on the album in its harmonic dissonance and complexity, “Opresión y Revolución”evokes the tension and release of revolutions on the American continent, notably the Haitian Revolution among others. Featuring the percussion of Paoli Mejías matched with the percussive piano work of Perdomo, the piece also reflects the influence of Haitian vodou music, which Zenón was heavily exposed to while working with drummer Ches Smith and his ensemble “We All Break.”

Although for many the term “empire” brings to mind the contemporary Western world, Zenón composed “Imperios” with the various indigenous empires of America in mind, including the Incas, Mayans, and Aztecs. “They were some of the most advanced societies at their time; as a matter of fact, they were in some ways more advanced than what was happening in Europe in terms of contemporary mathematics and astronomy, society and politics,” says Zenón. “There was something there already that was really advanced, and it makes me think about what could have been: what would have come out of that?” The melody derives from Zenón’s transcription of music from a ceremony of Aztec descendants, which is the counterpart to the rhythmic structure of the song.

“Bambula” features percussion virtuoso Victor Emmanuelli, whom Zenón lauds for pushing the musical envelope as a bandleader in his own right. The term “bambula” refers to a dance that was brought over by African slaves to the Americas. Over time, bambula became the rhythm commonly referred to as “habanera,” which is found in much of Latin American music today. Here, Zenón captures the feeling of connection across time and space that is carried by this single rhythmic cell: 

“It’s a thread from New Orleans to Brazil to Central America back to Africa, across all these eras from the past to contemporary pop,” says Zenón. “For me, I wanted it to feel like you’re out at the dance, but at the same time hearing this more modern harmony and melody.”

In highlighting these connections across geographical regions, Zenón also returns to a major theme throughout the album: the conception of America not as a country—that is, only referring to the modern United States—but as a continent. “América, el Continente” makes that point clear while reminding listeners of the political implications of the United States assuming ownership of the term “America,” with its subtle erasure of the remaining Western hemisphere. 

“Antillano,” named for the residents of the Antilles, showcases what Zenón is best known for: bringing together past and present in a forward-thinking, musically satisfying way. Ending the album on an optimistic note, the piece emulates aspects of contemporary dance music while serving as a feature for Daniel Díaz on congas. Some odd-meter surprises may fly past the ear of a casual listener, but they do so without any interruption to the musical flow so naturally conveyed by Zenón’s quartet. 

In confronting often challenging historical topics on Música de Las Américas, Zenón has created a masterwork, whose musical delights will inspire and uplift while spurring a conversation about the problematic power dynamics across the American continent. The premise that modern jazz cannot be both grooving and emotionally resonant to the casual listener while formally and intellectually compelling is patently false, which Zenón proves here as he has time and again throughout his career. 

A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Jazz and his many influences. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, David Sánchez, Danilo Pérez, Kenny Werner, Bobby Hutcherson and The SFJAZZ Collective. 

New Music: Taurey Butler, Chip Wickham, Jasmine Myra, Scone Cash Players

Taurey Butler - One Of The Others

Pianist Taurey Butler is a native of East Orange, New Jersey and now makes his home in Montreal. During his last year of high school, a prescient teacher, who was also a distinguished percussionist, Barry Centanni handed Butler a CD of Oscar Peterson and advised him to listen. He did, and from then on, he knew where he was going. ”I didn't know a piano could do that!" he recalls and began to focus more on jazz studies. With his self-titled debut, released on Justin Time Records in 2011, Butler firmly established his signature artistry in his adopted home base – he is a well-known and favorite performer in Montreal’s preeminent jazz clubs, including Dièse Onze, the Upstairs Jazz Bar & Grill and the illustrious Festival International de Jazz de Montréal. He has toured internationally with stops in Asia, the Middle East, and in the USA including New York City’s Blue Note Jazz Club and The Cotton Club in New Orleans as well as the Detroit and JVC Jazz Festivals. The pianist teams up with Montreal-based Justin Time again for One Of The Others, set for release on October 7. The trio recording is a genuine, creative deepness of effort, and is selflessly shared. The album delivers the real Butler in a musical representation of who he is, and what he feels, a suite of truly personal and personalized tracks. One Of The Others is also one of the tracks on the album and like a title or heading it is an expression of the thoughts and musings presented throughout about being an outsider in a new and strange, but immediately, not so strange land. With Wali Muhammad on drums and Morgan Moore on bass, Butler tells us his story through eleven songs some authored and some re-imagined and authored. Listen to this music and travel the Taurey Butler migration from his then to his now.

Chip Wickham - Gondwana

The music of Chip Wickham just seems to get deeper and deeper with each new release – the kind of "instant classic" territory that few jazz musicians seem to hit so effortlessly – and exactly the kind of record that's had us loving Chip's music from the very first record! The groove is mostly modal, and the group has this great blend of bass, drums, and percussion that rolls along with a wonderfully fluid quality – almost in the nascent spirituality of a player like Yusef Lateef in the early 60s, but with a lot more contemporary understanding too – especially as Wickham adds in elements from the harp of Amanda Whiting, trumpet of Eoin Grace, and vibes of Ton Risco! Phil Wilkonson handles the piano with a majestic sort of grace – and Chip blows both flutes and tenor, on titles that include "Dark Eyes", "Tubby Chaser", "Winter", "Lower East Side", "Stratospheric", and "The Hit".  ~ Dusty Groove

Jasmine Myra - Horizons

Really lovely music from saxophonist Jasmine Myra – an artist who's a great fit for the contemporary spiritual sound of the Gondwana label! Myra has great ties to the contemporary British scene, and as with some of her contemporaries, she's far more than just a soloist – as the album resonates with her strength as both a leader and composer – music that moves beyond just being a showcase for her reeds, and which also has this larger vision that's really wonderful! Some tracks are straightforward, others are more ambitious, and other players include Ben Haskins on guitar, Jasper Green on piano, and Alice Roberts on harp – all musicians who really help Jasmine carve out a wonderful first statement on record – on titles that include "Morningtide", "1000 Miles", "Words Left Unspoken", "Horizons", and "Awakening". ~ Dusty Groove

Scone Cash Players - Brooklyn To Brooklin

The second Brooklin in the title here is a city in Brazil – referenced by the group as a place of new inspiration, which seems to come through in some occasionally more complicated rhythms on the set! If you love the previous work by this Hammond-heavy combo, don't fret – as there's plenty of funky organ here to love. But there's also some occasional nods to the legacy of Brazilian groove too – which breaks organist Adam Scone out of his deep funk box a bit, as he works alongside guitarist Jimmy James and tenorist Neal Sugarman – with a vibe that's nicely loose at times, tighter at others, and always right on the money! Titles include "It Wasn't Meant To Be", "Anadira", "Cold 40s", "In Our Hands", "What's Her Name", "It Wasn't Meant To Be", and "Brooklyn To Brooklin". ~ Dusty Groove

Xiomara Torres | "La Voz del Mar"

Vibraphonist Dan Neville & vocalist Xiomara Torres reveal a treasure trove of Afro-Colombian culture with La Voz del Mar, an album recorded on Colombia’s Pacific coast, featuring guest artists John Benitez, Edmar Castañeda, John Santos, Wayne Wallace and Destiny Muhammad.

The musical seeds scattered across the Americas by the African diaspora took root far from the motherland, eventually bursting forth in an astounding variety of kindred styles, traditions and idioms. Some, like Cuban son, Brazilian samba and American blues, quickly reverberated around the world. But others have been overlooked and undervalued, like the enthralling rhythms and songs of Colombia’s Pacific coast, where generations of Afro-Colombians have nurtured a verdant array of music heard nowhere else in the world. La Voz del Mar introduces the stunning singer Xiomara Torres (pronounced See-o-mar-a), who hails from one of the region’s most illustrious musical families. 

Spearheaded by San Francisco vibraphonist Dan Neville, a deeply skilled jazz musician who has spent years studying with master musicians in Cuba and Colombia, the album was created in tribute to the recently departed maestro Diego Obregón, Xiomara’s uncle, a revered marimba player, instrument builder and repository of música del Pacífico. Recorded in a Cali studio built for Obregón with funds raised by Neville via an IndieGoGo campaign, La Voz del Mar is part of an ongoing effort to share an extraordinary cultural heritage from a little-known region that’s overlooked even within Colombia. 

Born and raised in the rural town of Guapi and based in Cali, Xiomara records and performs with some of the Pacific region’s most acclaimed folkloric ensembles, including Canalon de Timbiqui and Grupo Bahía. But La Voz del Mar is hardly a preservationist project. While drawing on her deep traditional roots, she also finds inspiration in a panoply of contemporary styles including salsa, bolero, cumbia and vallenato. 

“This really shows my range musically and what I’m able to do artistically,” Torres said, speaking in Spanish via an interpreter. “The foundation of the project is rooted in Maestro Diego and all the music he gave us. We’re basing our artistic interpretation of these rhythms specific to the region without losing the root culture of the Pacific. It’s really about showing and pushing the full artistic range of Afro-Colombian music.”

“Cali is this place where there’s a unique confluence of folkloric Pacific coast traditions, salsa, jazz, reggaetón, vallenato and all these other styles,” Neville added. “It’s very unique and inspiring. I think the songs on the album reflect that. Xiomara is from Guapi and she sings with a certain swing that comes from folkloric music.”

Torres and Neville waste no time introducing their act local/think global vision with a salsified song by the Spanish Gitano flamenco group Los Chunguitos recalibrated as a rumba guaguancó, “Me Quedo Contigo.” The propulsive groove laid down by Puerto Rican Latin jazz bass legend John Benitez keeps the conflagration roaring throughout. By the end of the first line it’s clear that Torres possesses a voice that, like the title suggests, stays with you. 

Part of what makes the album so thrilling is the quicksilver dialogue between rhythmic forms. Obregón’s “Tío” was originally set to a 6/8 folkloric rhythm from Colombia's Pacific Coast known as currulao. The percussion-driven arrangement features the cununo, bombo, guasa and marimba, which carries the celebratory groove as Torres engages in call and response with the chorus. About halfway through the meter shifts into a 4/4 Colombian rumba with the dramatic entry of horns and bass. Xiomara composed the final verse, and the piece is dedicated to Obregón. 

The role of music in Colombia’s Pacific coast provinces isn’t just for communal celebrations. It’s also a source of news and protest, like the anguished grito del corazón “Justicia,” a lamento written by Xiomara's cousin Leidy Riascos about the brutal killing of a local 11-year-old girl. This song features the brilliant Colombian harpist Edmar Castañeda joining a delicate mesh of strings, flutes, glockenspiel and vibraphone (along with the traditional cununo, bombo, and guasa drums). Supplied by Bay Area’s Destiny Muhammad, the harp also features prominently in “La Puerta,” a sensuous late-night bolero.

The album includes two very different popular tunes. “Tarde Lo Conocí” is a ubiquitous Colombian vallenato, but Neville’s arrangement bends the groove in the direction of porro, a north Pacific coast feel from the Buenaventura/Choco region with a marching band/ party vibe driven by bombo, congas, and platillos (cymbals). And Lennon and McCartney’s “Let It Be” turns into a salsa anthem with the great East Bay percussionist John Santos buoying Torres’s soaring vocals. The closer is another gem, a gorgeous traditional tune from Guapi, “Filomena” reimagined with a rumba guapireña feel. Neville’s arrangement for bass, vibraphone and horns (including trombonist Adam Theis, the leader of the Bay Area’s prolific and well-traveled Jazz Mafia collective) offers Torres and the great Pacific coast folk singer Nidia Góngora a lush setting. In a final nod to Obregón, the arrangement interpolates a verse from his song “Con El Corazón” towards the end. 

While La Voz del Mar only scratches the surface of the region’s musical riches, the album makes a compelling case that música del Pacífico stands alongside better known African diaspora blooms. It’s not surprising that the music caught the attention of trombonist Wayne Wallace, whose Patois label has released a series of Grammy-nominated albums that expand the Latin jazz lexicon. “There’s great synergy between folkloric music, modern jazz and salsa,” said Wallace, a tenured professor in the jazz studies program at the Indiana University Jacobs School of Music. “This album embraces the past without compromising it and looks forward to what music in the diaspora can be without losing its roots.”

La Voz del Mar reflects Neville’s deep commitment to Afro-Colombian culture. An award-winning multi-instrumentalist, composer, performer, and jazz big band arranger, he gained invaluable experience as a featured soloist who composed and arranged for the SFJAZZ Center's Monday Night Big Band for seven seasons (2013-2016). He won 1st place in the Jazz Search West competition in 2017, the same year that he released Tenerife, his critically hailed debut album featuring his original compositions and a talent-laden sextet including percussion maestro John Santos, flutist Rebecca Kleinmann, harpist Destiny Muhammad, pianist Grant Levin, and violinist Anthony Blea. His successful crowd-funding campaign to build a recording studio in Cali coincided with his in-depth studies with Diego Obregón. 

As a vibraphonist, Neville found his way to the region via the marimba, an instrument that defines música del Pacífico. Struck by the combination of vocals and mallets on a radio broadcast, he sought to trace the sound to its source “and I was just drawn in from there. I’ve been curious about roots of the vibes, which obviously don’t come from Colombia, but that’s one important stop on the journey. I’m definitely inspired by the African balafon too. I’ve been very inspired by marimba music also, and Colombia is one of the most important sources of that.”

With the fifth largest Black population outside of Africa, Colombia has long neglected the Pacific coast region, which gets little attention from the central government. While Black arts from Brazil, Cuba, Haiti and Peru inhabit the international arena, Afro-Colombian culture remains undercover. La Voz del Mar seeks to change that equation. 

“On the Pacific, our voices are so versatile,” Torres said. “We can sing jazz, opera, salsa, and can do it without losing the roots. I feel a responsibility to open new ways and possibilities, rooted in that tradition, but not stuck in only one genre. I want to recreate the identity of a Pacific coast artist containing lots of different things. This is a start.” 

Re-defining Soul Music with Relatable and Profound Music- The Jazz Catz Drop New Album “Hymn for Africa”

A soul-stirring musical experience, The Jazz Catz’s new album is an independently curated, authentic record that will be welcomed by fans of Jazz.

Cape Town, Western province, South Africa — September 8th, 2022 – A skilled and creative jazz duo, The Jazz Catz, is making themselves known with a soul-stirring, expressive, and profound new record. Titled “Hymn for Africa,” the artists’ newest CD album marks their third record after previous releases, “Timeless” and “Con Fusion,” continuing a passionate musical journey.

Having dropped on August 23rd, 2022, “Hymn for Africa” includes a series of stunning musical compositions from artists Ryan Sackanary and Boris Guderjahn. Meanwhile, the album artwork has been created by Boris Guderjahn. With an intention to create music that listeners can fully understand, appreciate, and relate to, The Jazz Catz continue charming audiences with their musical brilliance.

Independently arranging, playing, and recording all instruments, as well as controlling the mixing and mastering of “Hymn for Africa,” The Jazz Catz continue to be a one-of-a-kind artistic phenomenon.

With a formidable debut and several spectacular hits under their belt, the talented group was nominated for The Mzantsi Jazz Awards 2021 in 2 categories: Best Contemporary Jazz Album and Best International Jazz Collaboration. In 2022, the duo was also nominated for Best Jazz Album, Best Contemporary Jazz Album, and Best International Jazz collaboration.

Having already received immense critical acclaim and popularity amongst listeners, The Jazz Catz’s success is a testament to their distinct sound, drawing listeners on a journey of pure joy and emotions. Their signature soundscape offers a fusion that is comparable to a mix of Chick Corea, Herbie Hancock, and several other pop and classical elements.

“Our concept is to create music where the listener can relate to. Our music comes from the heart and soul, maybe a new definition of Soul music, which is easy to digest,” said the artists regarding their music.

The Jazz Catz is a dynamic duo of two talented individuals -Boris Guderjahn, who was born in Germany, and Ryan Sackanary, who was born in Cape Town, South Africa. The band has been producing several hits since 2017, beginning with their first album, “Timeless,” which marked their shift from contemporary to classical music.

With their latest album, “Con Fusion,” the artists experimented with different and complex sounds, taking the listener on a new adventure of emotions. The Jazz Catz have constantly been reinventing their musical style, all the while staying true to their authentic sound. Their music has harbored fans all over the world, and they are on their way to becoming one of the top jazz bands globally, with three albums already released and their newest single rising to become a top sensation.

Owen Broder | "Hodges: Front and Center, Vol. 1"

Saxophonist Owen Broder pays tribute to iconic jazzman Johnny Hodges, delving deep into his work with Duke Ellington and beyond. Hodges: Front and Center, Vol. 1, due out October 14 via Outside In Music, bridges six decades of jazz history with a stunning quintet featuring trumpeter Riley Mulherkar, pianist Carmen Staaf, bassist Barry Stephenson and drummer Bryan Carter

As influential as he’s been on the history of the jazz saxophone, Johnny Hodges is usually discussed wholly in light of his key role in the Duke Ellington Orchestra. On his second release as a leader, saxophonist Owen Broder shifts the spotlight to focus more intently on the legendary altoist. With Hodges: Front and Center, Vol. 1, Broder and his gifted quintet explore nine compositions associated with the Rabbit (the nickname that Hodges earned early in his career and the source of several conflicting stories), culling pieces both from the Ellington repertoire as well as from the saxophonist’s often overlooked catalogue of small group albums.

Due out October 14, 2022 via Outside In Music, Hodges: Front and Center is hardly an exercise in nostalgia. On his acclaimed 2018 debut, Heritage, Broder offered striking new interpretations of American roots music from Appalachian folk to early blues, spirituals to bluegrass. He takes a similar approach to Hodges’ music here; the interpretations are not radically altered, but Broder’s insightful arrangements honor the beauty and elegance of the originals while lending them a deeply felt modern vibrancy.

“My generation is really a product of all that Charlie Parker brought to this music,” Broder points out. “Bird was such a founding father and introduced the language that became the language of the saxophone. But Johnny Hodges has always been a big influence on my playing. I really enjoy his lyrical, melodic playing and the warm vocal quality of his approach to sound.”

Broder was introduced to Hodges’ playing while still a high school student in Jacksonville, Florida. Naturally that initial exposure came via Ellington’s music, with Hodges being one of the foundational voices that the bandleader sculpted his signature sound to fit. Only later did Broder begin to discover Hodges’ extensive small group discography, beginning with a pair of 1959 releases co-led by the two giants: Back to Back and Side By Side.

It was the 60th anniversary of those two landmark albums that instigated this project. Broder embarked on a short tour in the summer of 2019, assembling local bands in each city he visited to delve into the Hodges songbook. In the interim he recorded the video album Our Highway with Cowboys & Frenchmen, the eclectic ensemble that he co-leads with fellow saxophonist Ethan Helm. When it came time to record the Hodges project, Broder assembled a stellar group well versed in both modern jazz and the vintage styles that this album (and its follow-up second album, currently slated for the spring of 2023) investigates.

In addition to Broder on alto and baritone saxophones, the band features trumpeter Riley Mulherkar, a co-founder of the renowned brass quartet The Westerlies as well as a regular member of Ryan Truesdell’s Gil Evans Project, where he takes on the Miles Davis role; pianist Carmen Staaf, who serves as musical director and pianist for singer Dee Dee Bridgewater and co-leads the band Science Fair with drummer Allison Miller, a frequent collaborator; bassist Barry Stephenson, a member of Jon Batiste and Stay Human as well as the band of drummer/vocalist Jamison Ross, a high school classmate of Broder’s; and Bryan Carter, another high school friend whose drumming has been heard everywhere from Jazz at Lincoln Center to Sesame Street.

“Some of them are old friends and some of them are new friends,” Broder says. “But because of their musical backgrounds, they all felt like the obvious choices for this band.”

The album opens with Clarence and Spencer Williams’ “Royal Garden Blues,” from Back to Back, which immediately draws the listener in with its buoyant swing and robust excitement. Any fear that this is some backward-glancing museum piece drops away with Broder’s burnished, sinuous solo, followed by Mulherkar’s rambunctious turn on the muted trumpet. Quickly realizing that the two Ellington small group collaborations were almost exclusively made of blues tunes, Broder dug deeper to find material, leading to discoveries like the strolling “Viscount,” from 1957’s The Big Sound, or Gerry Mulligan’s piquant “18 Carrots for Rabbit,” which offers a bold showcase for Broder’s supple bari attack.

Ellington is of course represented here, via a rollicking rendition of the immortal “Take the A Train” that reserves the famous theme until the song’s closing moments. The piece’s sheer joy stands in brilliant contrast to Hodges’ achingly gorgeous “Ballade for the Very Sad and Very Tired Lotus Eaters,” with Broder’s breathy, strong yet vulnerable baritone playing revealing all the nuance and lyricism that he learned from Hodges over Carter’s delicate brushwork and Staaf’s gracefully elegiac mood-setting.

Bridging six decades of musical evolution with an exuberant spirit and a shrewdly modern perspective, Owen Broder and his standout quintet have crafted a welcome reminder of Johnny Hodges’ profound soul and lyrical genius. Front and Center, Vol. 1 is both a fitting tribute and a luminous expression of the timeless state-of-the-jazz art.

Owen Broder is a saxophonist based in New York City who runs in a variety of musical circles. His American Roots Project’s debut album, Heritage, was praised by DownBeat Magazine as a “transcendent work of art,” while his quintet Cowboys & Frenchmen has received critical acclaim for its three full-length recordings. Broder is a member of the GRAMMY® nominated Anat Cohen Tentet and the Manhattan Saxophone Quartet and has performed with internationally respected artists such as Ryan Truesdell’s Gil Evans Project, Trio Globo, and YouTube sensation Postmodern Jukebox. UNCSA’s 2021 Artpreneur of the Year Award and the 2018 Eastman/ArtistShare® New Artist program recognized Broder’s entrepreneurial ventures; most notably, in response to the pandemic, Broder co-founded and performed in Live From Our Living Rooms. Credited as “the first online jazz festival” by Rolling Stone, the initiative raised over $140k in support of US-based musicians whose performance careers were halted due to COVID-19. As an educator, Broder teaches Jazz Theory and Jazz Arranging at Portland State University and saxophone lessons at Pacific University.

Album Release Concerts

• Wednesday, October 26 – Chelsea Table + Stage –  NYC
• Thursday, October  27 – PAUSA – Buffalo, NY
• Friday, October 28 – Deer Head Inn – Delaware Water Gap, PA
• Saturday, October 29 – BluJazz – Akron, OH
• November 3 – Earshot JazzFest, Royal Room  – Seattle, WA
• Friday, November 4 – Mood Indigo – Bend, OR
• Saturday, November 5 – The Jazz Station – Eugene, OR
• Sunday, November 6 – The 1905 – Portland, OR

Barrio Lindo takes folktronica into Latin jazz territory on new single featuring tenor sax improviser Camila Nebbia

In 2019, whilst touring Japan, Barrio Lindo found himself moving away from the dance floor, instead getting lost in his headphones while listening to music that dismissed genre, oscillating between jazz, chamber orchestras and electronica. As a producer at the forefront of Latin America’s folktronica scene over the last 10 years, Agustín Rivaldo, to give Barrio Lindo his given name, has proven himself more than adept at crafting soundscapes that can transport listeners, full of detail and nuance, but they always had to pander to the club and its duty to keep revellers energised. The epiphany in Japan necessitated a change in direction, to make music that people could get lost in, and which also meant he could revert to his younger self, that guy in his twenties playing guitar with his friends, just for fun. So he booked a studio on the outskirts of Buenos Aires in early 2020 and invited some friends over; the idea was simple, let’s play some music and see where it takes us.

Espuma de Mar is the result, those initial sessions refined over the intervening years, new collaborators brought in where necessary, the production crafted in the same manner as his previous electronic-focused output, but the feel here, the ambience, is completely different. Like the espuma de mar, the sea foam that gives the album its name, this music has a fleeting quality, it arrives, imperfectly, and never stops transforming; it replenishes, it diminishes, it breathes.

The biggest difference between this album and Rivaldo’s previous works is the increased tension, and the sense of space; whereas beats and sequencers, as per their design, propel constant rhythm, here every note has intent, only played if necessary to the composition. This is felt on “Llegada”, a minimal groove soothed by kalimba thumb piano and fidgety synths while layers of trumpet take the lead until a surprisingly sombre piano motif brings the song to a close. The title track has a similar feel, whereby the music sounds improvised, each instrument free to roam, yet each note hits you in the stomach; here, we get an ominous opener, spare notes of trumpet, charango, snare drum and heavily-reverbed piano taking their turn until a rhythm begins to develop, albeit a rhythm that refuses to retain its form, flutes, synths, bass and detached vocals all playing their part as the song refuses to stand still.

Rivaldo has stated that it was the sounds of German-Senegalese group Mark Ernestus' Ndagga Rhythm Force and the UK-based project Hidden Orchestra that had the biggest impact on the album’s sound, and it is certainly possible to see the affect of the latter in the mixture of field recordings and percussive symphonic jazz. For this record, Rivaldo has worked with a small ensemble of Nicolás Lapíne on trumpet, Ignus and drums and Federico Estévez on percussion, as well as invitees such as flautist Mariana Iturri and violinist Alex Musatov. With Rivaldo himself adding guitar, synth, bass and piano, the effect is of a modern chamber orchestra and the drama that can bring. Opening track “Seguí” is a great example with its crashing piano chords and pulsating violin, and there’s no denying the euphoria of a track like “Oasis”, whose woozy trumpets can’t help but recall prime Beirut.

But there’s a reason Rivaldo is thought of so highly within the folktronica scene, and it’s for his attention to detail. No two tracks on the album are the same, it goes from the percussion-heavy “Migrante”, whose breakbeat and jerky synths show a love for hip-hop and 80s funk, to a beguiling track like “Azufre” that has a vaguely-Caribbean cadence until a tenor sax solo from Camila Nebbia takes it into more overtly-jazz territory. Then there’s a track like “Periferia” whose use of close-mic’d percussion makes it feel like the speaker is literally shaking with rhythm, alongside “Tac Tac Tac” that is full of warm, reverberant bass notes, albeit offset by hand claps and the only-discernible vocal on the album. With this in mind, it should be no surprise that Rivaldo is also a luthier, using some of the instruments he’s created on the album; there is a meticulous mind at work.

Espuma de Mar is that rare beast, an example of an artist reinventing themselves, yet somehow sounding completely like they’ve always sounded. As Bandcamp once said in a feature on Barrio Lindo, his music is “carefully composed, revealing an underlying sense of wonder and joy”, and this continues on his latest, an album that is destined to provide someone else with an epiphany as they get lost in the music on their headphones, whether that be in Japan or elsewhere.

Espuma de Mar is released by Shika Shika on 23rd September 2022. The second single, “Azufre”, is out on Friday 16th September 2022.