New Music Releases: Oscar Peterson, Benny Carter, Francisco Mela with Cooper-Moore & William Parker, Fabiano Do Nascimento & Itibere Collective

Oscar Peterson - Hymn To Freedom

Over the course of the last century and beyond, there have been few songs that have stood the test of time and continue to inspire hope in times of adversity. Marking the 60th anniversary of the recording and composition of Oscar Peterson’s “Hymn to Freedom” (from his seminal album Night Train), Two Lions Records (released by Mack Avenue) has enlisted pianist Benny Green (Peterson’s protégé), bassist John Clayton and drummer Jeff Hamilton to pay homage to the composition while honoring the journey the song has taken as the unofficial anthem of the Civil Rights Movement, its performance on the United States Capitol steps during President Obama’s first inauguration and its performance by choirs worldwide 60 years after its inception. "What makes this one piece of music so special, so beloved? Perhaps its simplicity," reflects  Kelly Peterson (Two Lions Records). "It is a melody that reaches deeply into our cores and touches us all on a profound emotional level. This hymn carries with it the universal human longing for peace, love, and freedom. Its message and its melody are timeless. This is why today we are commemorating the 60th anniversary of the day Oscar Peterson composed 'Hymn to Freedom' with a new recording."

Benny Carter with André Previn, Shelly Manne, Barney Kessel and Ben Webster  - Jazz Giant

In May, Craft Recordings launched the Acoustic Sounds Series, which celebrates 70 years of Contemporary Records and highlights gems from legendary jazz label's extraordinary catalog and featuring artists who both defined and expanded the sound of West Coast jazz. Following reissues of Art Pepper’s +Eleven: Modern Jazz Classics and Barney Kessel's The Poll Winners, Craft releases Benny Carter's Jazz Giant on vinyl today. Jazz Giant features performances by André Previn, Shelly Manne, Barney Kessel and Ben Webster amongst others. First released in 1958 and recorded by legendary engineer Roy DuNann, this new edition features all-analog mastering from the original tapes by Bernie Grundman. The record is pressed on 180-gram vinyl at QRP and presented in a Stoughton Old Style Tip-On Jacket. The Acoustic Sounds Series continues on February 24, 2023 with the release of Art Pepper Meets the Rhythm Section, the altoist’s auspicious 1957 Contemporary debut pairing him with pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones, three-fifths of Miles Davis’ nonpareil quintet. The sixth album in the series is the September 15, 2023 release of Shelly Manne’s hugely popular 1956 trio session My Fair Lady with bassist Leroy Vinnegar and pianist André Previn, paved the way for hundreds of jazz albums dedicated to Broadway shows. 

Francisco Mela with Cooper-Moore & William Parker - Music Frees Our Souls Vol 2

There's a nice variation here to the previous album from Francisco Mela with this title – and that difference is pianist Cooper-Moore, who steps into the place that Matthew Shipp held in the previous trio – and brings all sorts of wonderful sounds and flavors into play! Mela's a great leader for the set – as his approach to the drums is as open and elliptical as the bass of William Parker and the piano of Cooper-Moore – who really has a way of circling around these sonic passages in a great way – almost slowly winding up, and pulling Parker and Mela along with him – then generating sparks that allows all three players to bristle with energy in all sorts of different directions. The set features two long tracks – "Musical Literacy" and "Mental Scenario". ~ Dusty Groove

Fabiano Do Nascimento & Itibere Collective - Rio Bonito

A wonderful record – one that takes off from the spare sound of earlier albums by guitarist Fabiano Do Nascimento, and adds in some smaller group instrumentation that really sends things over the top! Fabiano's still got all the amazing touches on his instrument – played at a level that's in a legacy of Brazilian acoustic right up there with Baden Powell or Luiz Bonfa – mixed this time around with a shifting palette of instrumentation that includes percussion, flutes, violin, cello, and tenor – all elements used in ways that are still spare, yet shade the music in wonderfully! While we've loved Fabiano's airy explorations in the past, we love him even more here – as the album's as full of color and scope as you'd guess from the image on the cover, or its evocative reference to Rio Bonito – on titles that include "Strings For My Guitar", "Coletivo Universal", "Kaleidoscope", "Retratos", "Theme In C", and "Emotivo". ~ Dusty Groove

New Music Releases: Shirley Davis & The Silverbacks; Luxury Soul 2023; Ava Cherry; Noah Preminger Trio

Shirley Davis & The Silverbacks - Keep On Keepin' On

Shirley Davis is centered, feet firmly planted and gazing right on into the future. The powerful soul singer takes no prisoners and holds no regrets on her third album, Keep On Keepin’ On. As Shirley Davis & The Silverbacks, Davis harnesses the power of soul mothers past as well as her own history to deliver a record that rollicks from soul serenade to rocking ballad, then brings it on home with hard stepping soul. Keep On Keepin’ On embodies the best of the modern soul tradition, while showcasing a unique voice in its growing canon. Conjuring classic soul and funk sounds of the 1960s and ’70s, as well as the mighty Sharon Jones – whose last words to Davis provide the album title — Shirley Davis & The Silverbacks’ latest is a highly personal tale of empowerment and self-realization, served up without losing an ounce of grooviness.

Luxury Soul 2023 – Various Artists

The UK’s No.1 independent soul label Expansion Records commences each year with the label’s most anticipated collection, “Luxury Soul”. The success of the series comes down to the quality of tracks sourced from independent soul music artists, often unsigned or with recordings previously unissued or on limited release elsewhere. Included on this unique collection are exclusives by Kloud 9 and Kenya feat. Noel Gourdin, first time on CD releases by Output/Input (Chaka Khan’s touring band), Julian Jonah, We Are One X-Perience, Royalty Duo, Brian Power, Lisa Dietrich, Alton McClain Scarborough, and others, including tracks previously No.1 or Top 10 in UK Soul Chart. 35 tracks in total, together at an amazing price. Release to coincide with the 20th Anniversary Luxury Soul Weekender in January 2023 and includes tracks by three artists performing live at the event.

Ava Cherry - Love Shines So Bright

Ava Cherry is a singer and model. Her breakthrough as an artist began in 1972 when she met David Bowie in New York City while Bowie was touring for 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars'. It began with a period of personal and artistic collaboration that heavily influenced the 'Young Americans' 'blue-eyed soul' era of Bowie. Following this, she struck out as a solo artist and background singer for musicians such as Luther Vandross and Chaka Khan. Ava Cherry's solo career has been long-running, with her first album 'Ripe!!!' released in 1980. Her solo work, known for its disco influence, has received a lot positive critical reception. Ava Cherry is still a recording artist and seems to not age at all. She sounds great, has incredible work ethics and has not lost any charisma as a person, singer and model. 'Love Shines So Bright' is a collaboration with writer and producer Rob Hardt and David A. Tobin. This exclusive production marks a new phase and brings along a modern Soul tune with a vintage touch. It will shine bright on all platforms and will become a sparkling diamond in every DJ set and playlist. ~ www.sedsoul.bandcamp.com

Noah Preminger Trio - Sky Continuous

With Sky Continuous, Downbeat Critics Poll Winner 2022 (Rising Star Alto Sax) Noah Preminger, presents his 3rd album as a leader for Criss Cross. Sky Continuous is an exceptionally compelling trio recital with bass virtuoso Kim Cass, who has performed on 10 of Preminger's 11 prior albums (including Criss Cross releases Genuinity and After Life) and drumset Bill Stewart, who had never before shared a bandstand with Preminger. The music, which includes eight Preminger originals, is logically structured but adventurous and open - ended. The Album was recorded November 9, 2021 at the Samurai Hotel Recording Studio in NY. Recording engineer Mike Marciano also did the editing, mixing and mastering at Systems Two in NY.

Ann Hampton Callaway Pays Homage to Peggy Lee on "Fever: A Peggy Lee Celebration!"

With her artist legacy series, pop/jazz vocalist and songwriter Ann Hampton Callaway paid homage to Ella Fitzgerald and Sarah Vaughan on two critically-acclaimed CDs while staying true to her artistic aesthetic. Callaway continues that series with Fever: A Peggy Lee Celebration!, which highlights the songwriting talents of Lee, who wrote or co-wrote over 270 songs in her lifetime, and features two of Lee’s compositions that have never before been recorded. One, a poem written by Lee titled “Clair De Lune,” Callaway composed music for; the other, a premiere of “The Other Part of Me,” a song written by Lee and Paul Horner for the 1983 autobiographical Broadway musical, Peg. Featured on two tracks is special guest John Pizzarelli, another connection to Lee, whose favorite guitar player, after her husband, Dave Barbour, was John's father, Bucky Pizzarelli.

The recording came on the heels of Callaway’s show, Fever: The Peggy Lee Century, a 100th birthday celebration of the singer at the New York City supper club 54 Below for which she just received a BroadwayWorld nomination for Best Celebrity Show.

Callaway comes from an artistic background—her parents were John Callaway, a legendary TV and radio journalist, and Shirley Callaway, a pianist, performer and revered voice teacher. She writes in her liner notes: “I like to say I was raised on milk and 'Fever' because Peggy's iconic hit came out the year I was born and pulsed through our little Chicago walk-up like a welcoming heartbeat." Lee's many records were spinning on her parent's turntable, sparking Callaway's lifelong love of the pop/jazz icon.

As Callaway matured, she especially appreciated how Lee's less-is-more approach to her singing lent her songs beauty, mystery and vulnerability. And, when she discovered what a brilliant and prolific songwriter Lee was, she became an even more defining inspiration to her.

Curious and genetically-inclined to do her research like her father, who “knew more about the people he interviewed than the people themselves,” according to Callaway, she was inspired to explore beyond Lee’s world-facing persona and the hit songs such as “Fever.” She was also fortunate to have access to the deeply personal stories behind the music through her friendship with Holly Foster Wells, sole granddaughter of Peggy Lee and administrator for the estate.

Their friendship led to the enviable once-in-a-lifetime creative opportunity for Callaway, bestowed upon her by Wells, resulting in the recording debut of the two new Lee works, hidden gems entrusted by Wells to Callaway, that make this legacy project unique.

“Clair De Lune,” Wells says, was inspired by Lee’s fascination with the love affair between French composer Claude Debussy and a woman named Gabrielle "Gaby" DuPont. So intrigued, she even optioned the rights to a book that detailed it, wrote a screenplay and painted a picture of Gaby. “That screenplay meant so much to her,” Wells says. “I know that having the poem become a song would make my grandmother so happy.”

Lee wrote the lyric for “The Other Part of Me" for her late, estranged husband and father of her only child, Dave Barbour. According to Wells, her grandfather was the love of Lee’s life, but due to his alcoholism, they divorced. Just as they were contemplating getting back together, he suddenly died.

On being the first person to record Peggy’s homage to Barbour, Callaway says, ”What an honor to bring this magnificent love song into the world where it belongs. The love between Peggy and Dave can now be more fully immortalized.”

Callaway and Lee share several traits: both are songwriters, superb vocalists, mesmerizing storytellers and fearless. “They both have a way of really captivating an audience and casting a spell,” says Wells, who went on the road with her grandmother starting at six years old. “Ann has an incredible instrument and she is also a sensitive human being and performer. They are both spiritual people and that comes through their music.”

“Fever” kicks the album off with the stellar band she’s assembled, laying down a deep groove with an added piano track. Originally a simpler blues song that Lee wrote two additional verses to, Callaway didn’t want to “stray too far” from the original version, but added additional lyrics of her own, telling the story of the Lee-Barbour love affair. The affair plays a large role in the Peggy Lee live show and she felt strongly about referencing it in her version of the song.

Callaway says “Black Coffee" is one of the “greatest torch songs ever written.” Lee’s understated approach to singing was something she appreciated, and while many singers lean into the sexy reading of this song, Callaway opts for expressing the torment of being betrayed by one’s love instead.

“I Don’t Know Enough About You,” was the first song that Lee and Barbour wrote after Barbour was fired from Benny Goodman's band for "consorting with the girl singer," and Lee subsequently resigned. So, they left and started writing their own songs. “It’s A Good Day,” was also written by the husband-wife team in the “After Benny Time” as Callaway calls it. Callaway makes a medley of that with “This is a Very Special Day,” written by Lee for the 1953 film, The Jazz Singer. She wove the songs together to acknowledge what she regards as Lee's superpower through a challenging life—optimism.

Lee recorded “Till There Was You” on what Callaway calls her “second concept album,” Latin ala Lee!, and includes it on the album as a bossa nova simply because she felt it "expressed the feeling of the lyric describing love’s awakening and how it beautifully transforms the way we see the world."

The Kern/Hammerstein ballad “The Folks Who Live on the Hill,” arranged here by pianist Ted Rosenthal, is where Callaway echoes Lee’s heartbreak and disillusionment in her 1957 recording of the song on "The Man I Love" because her marriage and idyllic life have come apart. “You can hear the sadness in her voice,” says Callaway, who approached it from a contrarian reading, “putting higher stakes in the song” by becoming someone whose dream doesn’t come true.”

“Johnny Guitar” is a Victor Young-Peggy Lee collaboration written for the 1953 film of the same name, starring Joan Crawford. Callaway includes this melancholy and beautiful ballad as an homage to Barbour— Lee’s “Johnny” in real life.

“Sing a Rainbow” began as a note scribbled by Arthur Hamilton on a card tucked into flowers he sent Lee before a show. She called him afterward and told him what a beautiful title for a song and that he should write it. He did eventually when he wrote two compositions for the 1955 film, Pete Kelley’s Blues, which garnered Lee an Oscar-nomination for Best Supporting Actress, and featured a guest appearance by Ella Fitzgerald. Callaway believes that Lee’s heartbreaking performance of the song earned her the nomination, which she recreates in her live shows. “I love that he actually ended up writing that song as she suggested and that it made such an impact,” Callaway concludes.

With these 14 spellbinding tracks on Fever: A Peggy Lee Celebration, Callaway provides a deeper look into the prodigious songwriting talent of Lee, who some regard as the first female singer-songwriter, burnishing her legacy as a trailblazer for women in the music business.

“To me, Ann is helping to finish some of the work that my grandmother started,” Wells says. “She chose all of the songs for the album, and I think my grandmother would love how Ann focused so much on her songwriting, something she was very proud of."

2022-23 Tour Dates

• 12/10/2022 South Orange Performing Arts Center South Orange, NJ "Ann Hampton Callaway & Liz Callaway - Broadway the Calla-way!"
• 12/16-18/2022 Orchestra Iowa Paramount Theatre Cedar Rapids, IA "Ann Hampton Callaway - Holiday Spectacular w/ Orchestra Iowa Pops II"
• 1/6-13/2023 The Jazz Cruise 2023 Fort Lauderdale, FL "The Ann Hampton Callaway Trio"
• 1/15/2023 54 Below New York, NY "Ann Hampton Callaway - "Fever: A Peggy Lee Celebration! & "Ann Hampton Callaway Sings The 70's" - APAP Showcase
• 1/20/2023 Del E. Webb Center for the Performing Arts Wickenburg, AZ "Ann Hampton Callaway - The Linda Ronstadt Songbook"
• 2/18/2023 Sacred Heart University Community Theatre Fairfield, CT "Ann Hampton Callaway & Liz Callaway - Broadway the Calla-way!"
• 2/4/23 Fort Wayne Philharmonic Center Fort Wayne, IN "Ann Hampton Callaway - The Streisand Songbook"
• 2/24/23 The Purple Room Palm Springs, CA "Ann Hampton Callaway - Fever: A Peggy Lee Celebration"
• 3/2-4/2023 54 Below New York, NY "Ann Hampton Callaway & Amanda McBroom: Divalicious" 
• 4/7/2023 The Music Room Cape Cod West Yarmouth, MA "Ann Hampton Callaway - "Fever: A Peggy Lee Celebration!"
• 6/9-11/2023 Seattle Symphony Seattle, WA "Ann Hampton Callaway w/ Seattle Symphony - The Linda Ronstadt Songbook

Jimmy's Jazz & Blues Club Features GRAMMY® Award-Winning NEW ORLEANS JAZZ ORCHESTRA with 3x-GRAMMY® Award Nominated Jazz Vocalist JAZZMEIA HORN

GRAMMY® Award-Winning NEW ORLEANS JAZZ ORCHESTRA Featuring 3x-GRAMMY® Award Nomination Jazz Vocalist JAZZMEIA HORN perform at Jazz & Blues Club on Friday January 20 at 7 & 9:30 P.M. 

The New Orleans Jazz Orchestra was formed in 2002 and was designed to celebrate and fortify the American Jazz portfolio while providing infrastructure for developing the New Orleans Jazz Industry. Led by GRAMMY® Award-Winner Adonis Rose, the New Orleans Jazz Orchestra band has an ever-increasing repertoire that exemplifies the influence of Jazz as the grandfather of all modern American music.

3x GRAMMY® Award Nominated Jazz Vocalist JAZZMEIA HORN, who is the Winner of both the 2013 Sarah Vaughan International Jazz Vocal Competition and the 2015 Thelonious Monk Institute International Jazz Competition, joins the New Orleans Jazz Orchestra in their return to Jimmy's Jazz & Blues Club.

Horn's most recent GRAMMY® Award Nomination was in 2021 for her album Dear Love. Garnering praise from critics and fans alike Dear Love is a recording that brims with the combination of her assured delivery and spoken world segments, deft arrangements, and fiery musical ideas. In 2018, Jazzmeia Horn was Nominated for a GRAMMY® Award ("Best Jazz Vocal Album") for her album A Social Call. Horn was Nominated for another GRAMMY® Award ("Best Jazz Vocal Album") in 2020 for her album Love & Liberation.

"We are very excited to have the New Orleans Jazz Orchestra return for a Special Performance at Jimmy's Jazz & Blues Club with outstanding jazz vocalist Jazzmeia Horn," said Suzanne Bresette, Managing Director of Programming at Jimmy's Jazz & Blues Club. "We have been working with Artistic Director Adonis Rose to bring New Orleans Jazz Orchestra back to Jimmy's since their first wonderful performance in early 2022. Their return with brilliant singer Jazzmeia Horn will make for another phenomenal night of Jazz music — and a rare, one-of-a-kind experience for jazz music enthusiasts at Jimmy's Jazz & Blues Club!"

Jimmy's Jazz & Blues Club's 2022 Schedule of Shows included 9 NEA Jazz Masters, 52 GRAMMY® Award-Winning Artists, 46 Blues Music Award-Winners, and a comprehensive list of talented musicians with 575+ GRAMMY® Award Nominations amongst them. Tickets for the NEW ORLEANS JAZZ ORCHESTRA with JAZZMEIA HORN at Jimmy's Jazz & Blues Club on Friday January 20 at 7 & 9:30 P.M., as well as the current list of 2022 & 2023 shows, can be found on Ticketmaster and Jimmy's Online Event Calendar at: http://www.jimmysoncongress.com/events.

Pleasure’s Joyous Returns to Vinyl Exclusively Through Jazz Dispensary’s Coveted Top Shelf Series

Jazz Dispensary proudly announces the latest release in its acclaimed Top Shelf Series, Pleasure’s long out-of-print classic Joyous. Produced by Wayne Henderson (The Jazz Crusaders), the 1977 album delivers instant party vibes, thanks to a lively blend of soul, funk, disco and jazz. As with every title in the album-centric Top Shelf Series—which reissues the highest-quality, hand-picked rarities (all culled from Craft Recordings’ vaults)—Joyous has been cut from the original analog tapes by Kevin Gray at Cohearent Audio and pressed on audiophile-quality 180-gram vinyl at RTI. The LP is housed in a tip-on jacket, featuring faithfully reproduced original designs.

Ahead of the holidays, Jazz Dispensary is also adding a groovy new colorway to its popular “Catnip” T-shirt. Perfect for all jazz cats, the design (now available in Granite or Ivory) features an original illustration by Favorite Vegetable. The Jazz Dispensary store also includes a variety of exclusive gifts, including a logo T-shirt and crewneck, a corduroy logo hat, a zeotropic slipmat from record animator Drew Tetz and a variety of bumper stickers, in addition to a curated selection of vinyl LPs.

Hailing from Portland, OR, Pleasure formed in 1972, blending the talents of two local acts: The Franchise (featuring drummer Bruce Carter, guitarist Marlon “The Magician” McClain and bassist Nathaniel Phillips) and The Soul Masters (keyboardists/brothers Donald and Michael Hepburn, saxophonist Dennis Springer, trombonist/guitarist Dan Brewster, vocalist Sherman Davis and percussionist Bruce Smith). Soon, the nonet’s electric fusion of soul, jazz and funk caught the ears of Jazz Crusaders co-founder and trombonist Wayne Henderson. Under Henderson’s wing, Pleasure signed to Fantasy Records (home to the likes of Creedence Clearwater Revival and Vince Guaraldi), where the soul jazz star would produce four of the band’s albums, including their 1975 debut, Dust Yourself Off, 1976’s Accept No Substitutes and 1977’s Joyous.

After spending months on the road, opening for the era’s hottest R&B acts (including Earth, Wind & Fire, Tower of Power, War, Natalie Cole, Bill Withers and B.B. King), the members of Pleasure were primed to deliver their most confident album yet. The result was Joyous, which offered a perfect, genre-bending example of their self-declared “360 degrees of music.” Marking the band’s final album with its original line-up, Joyous allowed each member of the group to shine—particularly when it came to songwriting. Among the highlights is the McClain-penned party anthem “Dance to the Music,” Brewster’s pop-forward “Let Me Be the One” and Michael Hepburn’s enduring hit “Joyous.” The title track, which opens the album, offers a six-and-a-half-minute-long funk-fueled jam that feels right at home on a disco floor. The song became the group’s first Top 40 hit on the R&B charts, helping to propel Joyous to No.34 on Billboard’s Top Soul Albums chart and No.113 on the overall album chart (Pleasure’s highest position at that point in their career). The album also featured a handful of chilled-out delights, including Donald Hepburn’s sultry “Sassafras Girl” and Nathaniel Phillips’ smooth-as-silk ballad “Tune In.” Dan Brewster’s “Only You,” meanwhile, delivers a soulful, socially conscious message.

Since its release, Joyous has only grown in its popularity and has become a sought-after favorite of DJs. Reflecting on the album, AllMusic called it “a classic that underscores Pleasure’s risk-taking nature.” The UK-based Soul and Jazz and Funk hailed it as “a must-own [LP] for jazz-funk enthusiasts,” while Soulstrut praised Joyous as “the apex of [Pleasure’s] sophisticated, matured sound.” Over the decades, several of the songs on Joyous have found new lives through samples—particularly the title track, which has appeared in releases by Janet Jackson, LL Cool J, Eric B. & Rakim, Sugarhill Gang and Daft Punk, among many others. “Let Me Be the One,” meanwhile, was also sampled in tracks by the likes of Public Enemy and Ultramagnetic MCs.

New Music Releases: It Hurts So Good; Matthew Halsall; Avram Fefer Quartet; Monday Michiru

It Hurts So Good – Various Artists

It doesn’t always hurt to hurt…Soul 4 Real’s first venture into the albums market is as compellingly essential as the label’s impressive singles catalogue. Its 11 tracks explore every lonely street and losers avenue that soul music has walked down since the early 60s, tempering essays of heartbreak and love lost with the occasional glimpse of positivity and happiness. “It Hurts So Good” is very much in the tradition of those great 60s soul compilations where diverse strands of black American music sat side-by-side with each other, and still formed a satisfying listening experience despite their apparent disparity because, in the final analysis, the music mattered most. This album showcases just under a dozen goodies by some very big names in soul. It may well be that one or two of the tracks might be less than familiar to you, but you will know the artists – and you will know, too, that they will never let you down. Originally unissued tracks by James & Bobby Purify and Walter Jackson blend seamlessly with early essentials from Aretha Franklin, Willie Hutch and the Main Ingredient (as the Insiders). Soul 4 Real has delved into the deeper parts of discographies of legendary artists like Marvin Gaye, Dionne Warwick, Gladys Knight & The Pips and Esther Phillips to bring you songs and performances that are every bit as unforgettable as those that forged their reputations. And if you remain unmoved after experiencing the stellar offerings from the Soul Children and Lou Courtney, it may well be that you didn’t have a soul to begin with. In the song that gives this collection its title, the great Prince Phillip Mitchell wrote “it ain’t no good unless it hurts a little bit”. It’s true, and the ‘Hurt’ here really IS ‘So Good’…and then some…

Matthew Halsall - Changing Earth

Four sublime tracks from trumpeter Matthew Halsall – all of which work together to give this EP release all the spiritual power of his full length albums! Halsall has a sense of majesty here that's undeniable – the continuing evolution of that style that's grabbed us strongly for over a decade, mixed here with flute and saxes from Matt Cliffe, Harp from Maddie Herbert, piano from Liviu Gheorghe, bass from Gavin Barras, drums from Alan Taylor, and percussion from Jack McCarthy. The harp and flute are especially nice, and the work has a style that's meditative, but modal too – really moving forward with some great gentle grooves – on titles that include "Yogic Flying", "Upper Space", "Positive Activity", and "Changing Earth". ~ Dusty Groove

Avram Fefer Quartet w/Marc Ribot, Eric Revis, Chad Tahylor - Juba Lee

Guitarist Marc Ribot again joins the group of reedman Avram Fefer – a match that really seems to be a highlight in the recent careers of both musicians! Ribot's work in the group is maybe the most focused and meaningful we've heard from him in years – a really back-to-basics return to the strength of his sense of tone and timing – which also really seems to bring out a lot on Fefer too, especially when he hits these straight, soulful lines that come across with a richness that seems distinct from other projects. The rest of the group features the great Chad Taylor on drums – always a treat – and Eric Revis on bass – on titles that include "Juba Lee", "Sky Lake", "Love Is In The Air", "Gemini Time"- "Say You're Sorry", "Showtime", and "Bedouin Dream". ~ Dusty Groove

Monday Michiru - Free Soul Collection (2022 Japan Record Day Release)

Monday Michiru is one of the few contemporary artists to get the Free Soul treatment – but that's more than ok with us, given the depth of her work, and her near-classic sound! The collection brings together some of the most soulful and deeply flowing tunes by Monday from the past decade or so – numbers that sparkle with a sense of life and joy that you'd be hard pressed to find in most other soul singers, even those from the current Neo Soul underground! A few numbers are more uptempo and dancefloor-oriented, but these are offset by others that are gentler and more introspective – performed in a great range of instrumental styles that really keep things fresh. CD features a few special versions of tracks, and titles include "Loving You (acoustic live version)", "You Make Me (single version)", "Play It By Ear", "Conversations With Myself", "Sunshine After The Rain (radio edit)", "Leaf In The Wind", "Chasing After The Sun (barefoot n pregnant version)", "Tattoo My Heart", "Changes", "Mermaid", "Maiden Voyage – Gone", "Stop N Listen", "Thinking Of You", and "How Deep Is Your Love".  © Dusty Groove

Papik | "Enjoy The Ride"

‘Enjoy The Ride’ is Nerio Papik Poggi’s sixth album with his real and only artist name. Since 2009, the release date of his first album entitled ‘Rhythm Of Life’, the Roman musician and producer has come a long way. In addition to his solo albums, all full of illustrious guests including musicians and singers, he has released about thirty albums / collections dedicated to musical genres, artists or repertoires of famous songs.

His sound, a fusion of Soul, Jazz and West Coast, is now a trademark recognized by his fans all over the world for the refinement, attention to detail and soul that characterize it. Considering the particularity of his products, not destined for pop charts, but followed obsessively by his faithful listeners, his numbers are also important on digital stores with over 100 million streams both on Spotify and Youtube. All his products are printed and distributed also in physical Compact Disc format and often also in vinyl.

Also in this new album we find all the characteristics that distinguish him, including remakes of famous songs and original songs, and many of his closest collaborators such as Peter De Girolamo, Alfredo Bochicchio, Fabio Tullio, Massimo Guerra for the musical part and Alan Scaffardi, Ely Bruna, Walter Ricci, Francesca Gramegna, David Florio for the vocal part. Vocal guests this time also two Brazilian singers: Gustavo Baiao and Rosalia De Souza. 

Papik is a musical project born from an idea of the Roman producer and composer Nerio Poggi, which ranges from Pop to Nu Jazz and from Bossa to Nu Soul. He has collaborated with various artists including Mario Biondi on the albums “Handful of Soul” and on the album “I Love You More” where he appears as an author in both. The choice of the name Papik originates from a nickname given to little Nerio by his mother, who after having seen the scene of the birth of the newborn Papik in Nicholas Ray’s film “White Shadows”, noticed the similarity between the two. In 2009 he released his debut album “Rhythm of Life” (Irma records) which contains the single “Staying For Good” sung by Alan Scaffardi ‘. 

The song is very successful and is broadcast in heavy rotation by the largest Italian national radio networks as well as by many English radios such as Jazz FM and BBC. He begins a close collaboration with the Irma Records label which leads him to the release of 4 other studio albums in his name, an album such as The Soultrend Orchestra, a live album, the soundtrack of the Japanese anime television series Lupine III the Italian Adventure, 8 volumes of a series called Cocktail in which he revisits important songs of Italian music with thematic volumes and genre albums. In addition, he produces solo albums for many of his major collaborators such as Ely Bruna, Alan Scaffardi, Erika Scherlin, Neja, Matteo Brancaleoni, Fred Buccini, Cristiana Polegri, Alessandro Pitoni, Vittoria Siggillino, Massimo Guerra, Fabio Tullio and Alfredo Bochicchio. His popularity abroad also grew, leading him to play, among many live concerts, in 2012 also in the temple of international jazz: the Blue Note in Tokyo and in England twice at the Costwold Park Soul Weekender. He collaborates with the legendary English band Matt Bianco on their album “Hideaway” arranging two songs and with the AngloAustralian singer Jason Donovan very popular in England, with the title track of his album Sign Of Your Love.

WAAN - Omi | Low slung Jazz

WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.

Omi, the second single to be taken from their debut album Echo Echo, has something of an Ethiopique feel, largely thanks to the low slung groove laid down by guest drummer Jimmi Hueting and the dark, crunchy bass line of Kasper Kalf. The track sprung to life via a piano melody that was eventually, and organically, transformed into alto sax and bass clarinet. The use of those instruments gave Omi a kind of Arabic or Middle Eastern

flavour to add to the already steamy musical stew. The duo then sprinkled on icy synths to cool things down somewhat and give the piece a more electronic and club friendly feel which complements the hot Afro horns that ride the rhythm throughout. And finally, to add the finishing touches to this heady concoction, Emiel and Bart visited renowned beat maker Frank Wienk, better known as BinkBeats, who not only added his trademark percussion but also blended a little vibraphonette (a special kind of Italian vibraphone) into this mystic brew to create a unique and cosmic outernational sound!

With influences as disparate as Floating Points, BadBadNotGood and Eddie Harris, Echo Echo is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!

WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.

Vince Mendoza Reunites with Longtime Collaborator Metropole Orkest on "Olympians"

Vince Mendoza, who has won seven Grammy Awards and been nominated 36 times, reunites with his longtime collaborator Metropole Orkest, to record Olympians, a select collection of the composer/conductor’s works written for the orchestra over their 28-year collaboration. The album follows 2021’s Freedom Over Everything, his Grammy-winning debut for BMG’s Modern Recordings. 

Ever the master arranger and orchestrator, Mendoza deftly explores the language of jazz, classical music, flamenco and samba, rock, and R&B and film music among others, from the vast palette of idiomatic colors he chooses for each of his compositions. To achieve that vision Mendoza requires musicians who are willing to take that journey with him.   

Born out of the ashes of World War II, Metropole Orkest (52 musicians strong) has been a major part of cultural life in the Netherlands for 75 years and remains the only full-time jazz and pop orchestra in the world. They are in high demand for concerts great and small, recordings, festivals, and tours. It’s a small wonder that Mendoza and the Metropole had such an affinity for each other’s work. 

“The term ‘Olympians,’” Mendoza explains, referring to the album’s title, “is something that I use quite often while on the podium with Metropole as I feel that this orchestra continues to play difficult music with grace, enthusiasm, and accuracy, especially given the wide scope of the projects they have done over the years. They’ve really developed the ability to be comfortable with so many different styles of music which is quite unusual for an orchestra. This recording shows them at the height of their Olympian powers.” 

Vocalists Dianne Reeves and Cécile McLorin Salvant, saxophonists Chris Potter and David Binney, percussionist Alex Acuña, and the late guitarist Ramón Stagnaro (playing the charango) all make guest appearances on Olympians. And for each of these musicians as well as the orchestra and its featured soloists, Mendoza crafts the ideal setting for their artistry.  

 “Quixote,” the opening track on Olympians, finds Mendoza joining a long list of composers inspired by Cervantes’ epic novel that stretches from Richard Strauss to Brian Eno. Metropole Orkest, with whom Mendoza has collaborated with since 1995, is in full effect right from the downbeat. The piece showcases the composer’s flair for expressing the full range of the ensemble’s dynamics from the most solemn percussion to the transition and interplay between the lead soprano saxophone and the orchestra’s thematic variations. 

“Partido Alto,” another piece illustrative of Mendoza’s use of percussion and string orchestration is based on the Brazilian rhythms from which the composition’s name is derived. It was originally conceived as a symphonic tone poem commissioned by the Henry Mancini Institute, with whom Mendoza worked for several years during its residence in Los Angeles in the 90’s. Mendoza gives “Partido Alto” a fresh and grooving treatment on Olympians complete with a rousing “samba school” brass anthem at the end. 

When Mendoza won a Grammy for Best Arrangement, Instruments and Vocals in 2022 for his composition “To the Edge of Longing”, it simply confirmed what music fans have known, at least since “Esperança,” one of Mendoza’s most beloved compositions appeared on his 1997 recording Epiphany. The vocal version “Esperanto”, with lyrics by Kurt Elling, is loosely inspired by Pablo Neruda’s Book of Questions. Mendoza’s new Olympians orchestration of “Esperanto” is a long build, taking full advantage of Reeves’ soaring multi-octave voice and vocalese, lending considerable authority to Elling’s lyrics. 

Mendoza recruits Salvant for a brand-new orchestration of “House of Reflections”, a 1992 Mendoza composition with lyrics by the brilliant poet, lyricist, and British jazz vocalist Norma Winstone. The work was inspired by and in tribute to the late trumpet player Kenny Wheeler with whom both Winstone and Mendoza had worked. 

Vocalists aren’t the only soloists who a beneficiaries of Mendoza’s compositional largesse. The role of the saxophonists represented on this recording is a veritable woodwind showcase - from guest altoist David Binney’s fire breathing solo on “Lake Fire” and Chris Potter’s articulate tenor on “Barcelona” to Metropole Orkest’s own Marc Scholten on soprano and alto on “Quixote” and “Miracle Child.” 

There is no composer more adept than Mendoza at using devices most frequently associated with contemporary and indigenous musical genres and making them part of the language of a symphonic orchestra, albeit a jazz symphonic orchestra. Metropole Orkest’s performance of Mendoza’s compositions “Big Night,” “Barcelona,” and the live version of “Bright Lights and Jubilations,” which closes the album, are masterful in the use of the electric guitar and the back beat rhythms seamlessly integrated into an orchestral context. The hip jazz solos provided by both the guest artists and individual members of the orchestra are an absolute delight for both the audience and those musicians lucky enough to be able perform under Mendoza’s baton.

Bassist Andrew Dow debut w/ Michaël Attias & Santiago Leibson, spoken word - ears&eyes

Andrew Dow is a multidisciplinary artist living in New York City. Bass player, composer, photographer and videographer, Andrew has long been developing his personal sound and vision on the electric bass guitar. Inspired by jazz musicians, classical composers, rock music and songwriters alike, he has been following a singular vision, one that he hopes is felt throughout his first recording as a leader, In Motian. From our very first breath to our last, we’re faced each and every day with navigating an ever changing world. In Motian is an attempt to acknowledge those every day changes; changes that we sometimes accept with grace, and sometimes we meet kicking and screaming. Andrew has composed a beautiful album of personal reflections on time; both lived and lost, personal and collective. A musically poetic weaving of  memories, of hopes and dreams, of our shared human experiences. 

Time is at the heart of the album; time and motion. In Motian is a play on words, giving a nod to the great drummer/composer Paul Motian, whose own sense of time, and artistic vision, has long been an inspiration of mine. However, In Motian is my own story, the story of my life. It’s the people that I’ve met, and the music that I’ve lived, learned and played. Singing classical music through college, my time playing with great songwriters, and later, all of my experience playing jazz and avant-garde music, both around Boston and then in New York City. Simply put, this is the debut presentation of my artistic DNA.

• Andrew Dow - electric bass guitar, compositions, poetry, spoken word
• Michaël Attias - alto sax 
• Matt Hull - trumpet
• Sumner Thompson - voice
• Santiago Leibson - piano
• Max Goldman - drums

Finnish fusion bassist Jukka Haavisto releases debut album | "Relections"

Electric bass player Jukka Haavisto's first self-titled album 'Reflections' was just released on November 25th 2022. Recorded live at Latosound in Tampere (Finland), the album brings back thoughts to the best fusion jazz records of the 70's. Catchy compositions, skillful playing and the energy of young virtuosos create an irresistible combination for all fans of electric jazz. 

Haavisto is known as a master of fretless bass, a composer of jazz fusion and world music fusion, and a skilled improviser. He describes Reflections as a guitar-driven album that pays tribute to the best fusion jazz records of the 1970s.

Jukka Haavisto is a virtuoso bass player who has done extensive work both in the studio and as a live musician. In addition to his own band he plays and performs with many different artists and ensembles. Among these, e.g. Jukka Haavisto Trio, Bossapoika, Beat, Bass & Bone, Heiskanen Bayatz Baharatz, VENHA and Helsinki Headnod Convention.

Haavisto studied at the University of Stavanger, Norway, where he graduated with a master's degree in music performance and jazz improvisation in 2016. Haavisto's band is completed by Johannes Granroth, the recent winner of the Jazzkukko festival's guitar competition, Severi Sorjonen, one of the best jazz fusion drummers of his generation, and the young keyboard wizard Vili Itäpelto.

Haavisto himself is an Aguilar Amplification, Soundtools Oy and Maruszczyk Instruments artist. The resume of his previous collaborators covers a wide range of musicians and composers such as Stein Inge Brækhus, Jouni Järvelä, Mikko Hassinen, Marouf Majidi, Mika Säily, Jarno E.J. Tikka, Marc Bernstein, Jussu Pöyhönen, Robin Methlie and Johannes Ulveraker.

New Music Releases: Al Lloyd & His Orchestra, Christian McBride, The New Regency Orchestra, Made In Wood

Al Lloyd & His Orchestra - A Moment In Time

Drawing on influences from across the musical spectrum including Thom Bell, Burt Bacharach, Quincy Jones, and Henry Mancini, UK composer, producer and conductor Al Lloyd presents “A Moment In Time,” featuring full orchestral strings, horns, and percussion alongside contemporary rhythm section and vocalists. The four tracks of original compositions includes the Philly Soul-infused ‘Yesteryear Feels Like Yesterday’; the Burt Bacharach-inspired ‘You Don’t Have to Prove I’m a Fool,’ featuring vocals from Emma Watson; ‘I Count the Tears’ with an emphasis on Orchestra’s horn section; and the atmospheric piano and string piece, ‘Rain On Piccadilly Circus’. Available through SoulMusic Records-Digital, distributed worldwide by Warner X on all major digital platforms.

Christian McBride - The Movement Revisited: A Musical Portrait of Four Icons

Christian McBride’s magnum opus available on vinyl for the first time. The Movement Revisited: A Musical Portrait of Four Icons is culminating documentation of a richly inspired piece – lauding four key figures of the Civil Rights Movement: Rev. Dr. Martin Luther King, Jr., Malcolm X, Rosa Parks and Muhammad Ali. Marshaling his ever-sharpening skills as a composer, arranger, conductor, musician and lyricist, Christian McBride has created a historically and culturally illuminating five-part suite for an 18-piece big band, chorus and narrators that places the motivating forces as well as the goals of the Civil Rights Movement within a powerfully relevant artistic context. It is a one-from-the-heart project McBride was, apparently, destined to undertake. This recording of The Movement Revisited marks the addition of a fifth movement, “Apotheosis,” which acknowledges the election of Barack Obama as the first African American President of the United States.

The New Regency Orchestra - Mambo Rama

The New Regency Orchestra’s first offering is here.Two versions of the classic Tito Puente track ‘Mambo Rama’ originally composed and recorded by the timbale maestro Tito Puente in 1952 in New York City. The tune was re-recorded under Eliane Correa’s direction back in July 2022 at the Fish Factory with an eight-piece rhythm section and a storming twelve-piece horn section that includes trombonist Rosie Turton, saxophonist Tamar Osborn (Collocutor) & trumpeter Nick Walters (Ruby Rushton, Riot Jazz) alongside Latin music protagonists, Ernesto Marichales (timbales - Waaju, Jordan Rakei), bongo player Flavio Correa, and bass player Jimmy Martinez. The alternate version imagined by Lex Blondin was produced at the Total Refreshment Centre. This version brings a more modern take on this classic as drums and synth bass elements are brought into the mix, taking a hip hop and dub approach to layering and sound treatement. Almost a remix of the original, the track features instrumentalist and composer Momoko Watanabe Gill (Tirzah, Coby Sey, An Alien Called Harmony) on drums and Korg MS-10 , Alex Burke (Forest Law, Esa, Haha Sounds) on various percussions with contributions from Capitol K and Kissu.

Made In Wood - Simplicity

Made in Wood create a unique instrumental tale and the duo has something to tell you through their music.. something that they convey through their simple and elegant music expression, where there is time and space for the musical tale, time for immersion and to those listeners, who are joining the meditative and dreamy tales. Made in Wood invite you into an intimate and present musical space, in which the simple means of action create intense atmospheres.The new album called "Simplicity" by the Danish/Swedish duo, Made in Wood,  was released Friday, 25 November. The lead single for the album release is the track called "Freedom", but there are also two previous singles, as stated here (both have music videos made).

Alex Bird & Ewan Farncombe | "Songwriter"

From the heady feeling of being the only one awake at night, to the brooding at the end of a relationship, to the coziness of a rainy day, to the slithering sexiness of a night out on the town, Songwriter is a jazz album of deliciously dark tones and stormy sonic landscapes. It’s the third album – available now – on which vocalist Alex Bird and pianist Ewen Farncombe combine their singular talents, and it reflects deeply on the full spectrum of human mood and the act of songwriting itself.

Songwriter introduces itself with “This Song Is Ours,” meandering in between sunlight and melancholy – “nightbirds that sing” – and featuring introspective interludes juxtaposed with cascading piano. Conversely, “I’ve Seen The Sun” is marching and jaunty, tinkling with hopeful optimism. The following track, “The Soul I’ve Left Behind” is dark and bereft, brooding on a relationship that’s come to an end and lingering on all the ways the narrator has fallen short as both a person and a lover. The gothic theme continues with “Nighttime Grooves,” slinky and sexy with Bird’s voice shimmying through the dark-horse galloping of piano as he challenges, “Can you feel them, those nighttime grooves?”

“Symphony of Love” alternates between lighthearted confessions of love, and the stormier frustrations of being led on by someone who’s not all in  – “So I am waiting and you, you’re contemplating.” Next, “Raindrops” meditates on gray moods and indoor days with beautiful “drizzling” piano, mimicking the sounds of rain in all its iterations and concluding with audio of an actual storm. “If You’re Not Laughing” is a bluesy, full-of-attitude ode to keeping your chin up, staying realistically positive, and maintaining a sense of humor – “If you’re not laughin’, you’re cryin’, my friend.”

“What’s Inside” gives us floating, gauzy vocals and piano sections that beat like the wings of a bird. It’s a particularly dramatic track, sonically cinematic and lyrically dark and poetic, delving into the unknowable psyche of another human being. “I’ll Go Where You Lead” is velvety and exploratory, as lover pledges trust and devotion. “Tiny Warbler,” meanwhile, is a song of nature’s innocence and the beauty of steadfast love. The album concludes with “Songwriter,” another bluesy number that turns the album inward on itself, an honest pulling back of the curtain on the sometimes-punishing grind of writing songs – “Wake up and write that song.”

Bird and Farncombe have taken centre stage on the Canadian jazz scene. Creating timeless and heartfelt originals for a modern audience, this talented duo has spent the past four years producing an alchemy that’s completely unique. 2022 brought JUNO nominations, reviews from around the world, and even the crafting of the single "The Sweetest Moments,” which became known as Canada's “Thanksgiving Anthem” (it was broadcast across the country with a national ad campaign and interviews on CBC, CityTV, and many other news outlets). Bird and Farncombe are making themselves known. 

Smooth Jazz Guitarist and Composer Jeremy Sean Hector Releases Highly Anticipated Sophomore Album "Light After Dark"

Sometimes when we’ve been through hard times, music can guide us to a brighter future. Mostly composed with the post-pandemic future in mind, Caribbean-Canadian smooth jazz guitarist Jeremy Sean Hector returns with his sophomore album Light After Dark that explores many different human emotions attached to the anticipation of brighter days ahead.

The highly anticipated album Light After Dark follows the theme of new beginnings with songs titled “Joy of Life,” “Guiding Light,” and “Redemption” that build on Hector’s soothing jazz melodies from his debut album Ascension, released in 2019, that has accumulated more than 4 million streams since its release.

“I feel like in some way we can all relate to these emotions as we navigate these times. The beauty of music for me is being able to capture the sound of moments as they are felt,” says Hector.

Light After Dark’s lead single “Night Flight” began the journey into our evocative world after dark with its soulful and scintillating trip into the atmosphere. Hector’s soothing, melodically, and technically masterful guitar riffs mixed with the pulsating bass, gently propelling drums, and vibe-setting keyboards set the tone of the album.

“‘Night Flight’ is the kind of song that seems to come alive at night,” says Hector. “With an air of wonder and anticipation, this song just wants to take you on a pleasant trip.”

Helping Hector create the soundtrack to a fresh start is Eddie Bullen on keyboards, Otios Williams on drums, and bassist Eric Lyons. Other musicians who contributed to the album are bassist guitarists Mo Pleasure, Andrew Stewart and Keane Jules, drummers Larnell Lewis and William Laurencin, Isaac Agerman and Michael Arthurs on saxophone, Alexis Baros on trumpet, and Meiron Kelly on trombone.

The new album Light After Dark, released on November 18 via Thunder Dome Sounds through Slammin Media, is Hector’s second time partnering with Billboard charting producer and pianist Eddie Bullen. With all the compositions written by Hector, the new album is a collection of musical ideas that came to life for the artists over the course of our global pandemic.

Born in 1990, Hector’s musical journey began on the Caribbean Island of Grenada after classical piano lessons at age 7. He studied guitar with his father for a few years before earning a master’s degree in psychology. But his desire to be a musical artist shined through and he has since had the pleasure of sharing the stage with world renowned artists such as Arturo Tappin, Eddie Bullen, Ronald “boo” Hinkson, Larnell Lewis, and the British Collective.

With a hugely successful debut album behind him, Hector’s highly anticipated new album Light After Dark was released on November 18, 2022, via Thunder Dome Sounds through Slammin Media.

Jeff Goldblum & The Midred Snitzer Orchestra's Holiday Single: The Christmas Waltz

Christmas is a time for good cheer and tidings of comfort and joy, and that is exactly what Jeff Goldblum brings with his new Christmas single, ‘The Christmas Waltz’. Recorded with his long-time band, The Mildred Snitzer Orchestra, the heartwarming jazz standard is released globally today on Decca Records.

‘The Christmas Waltz’ marks a welcome return to music for the Hollywood icon – not that he ever stopped, having continued to gig with The Mildred Snitzer Orchestra whenever he had the opportunity. 

Here, we are treated to the actor’s incredibly distinctive voice, which is perfectly suited to this high-spirited, festive number, as he takes to the mic for lead vocals.

Jeff Goldblum, who celebrated turning 70 just last month, says: “Our purpose is a mighty one. We rejoice in life for its own sake. Was I wearing a hat?”

The song was originally written for Frank Sinatra, who requested a new Christmas song and recorded it for the first time in 1954. As ever, Goldblum brings his inimitable wit and charm, the band bring their dazzling jazz licks, and together they deliver the feel and the swing.

The new single is not the only thing launching today. Fans will be thrilled to know that Jeff is entering the world of TikTok, revealing his first post, in true Goldblumian style.

With his two No.1 jazz albums – his debut, ‘The Capitol Studios Sessions’ in 2018 and follow up ‘I Shouldn’t Be Telling You This’ in 2019 – Jeff was simply doing what he has always done (having performed with his jazz band for the past 30 years), but these albums enabled everyone to enjoy it. Goldblum’s televised live set at Glastonbury 2019 was hailed as one of the festival’s most iconic moments of all time, and he not only received glowing reviews and many stars from the critics, but was described in The Times as performing an important service by "reminding us that jazz should be allowed to be fun".

Ragan Whiteside | "This Christmas"

Contemporary flute-playing soul-jazz phenomenon Ragan Whiteside caps off a banner year with the No. 1 top-charting single, “Thrill Ride” on five Jazz Radio charts. This year has been incredible for Whiteside, her current single, “Thrill Ride” peaked at No. 1 on five charts including the Billboard Smooth Jazz (14 weeks), Mediabase, the Smooth Jazz Network, Radiowave and Groove Jazz Music radio charts (15 weeks) on the chart, making it her second No. 1 single as a solo artist, which is also featured on her sixth career album of the same title. 

The classically trained flutist also re-issues her first-holiday single, “This Christmas.” Her warm and witty version of the perennial seasonal classic, originally penned and performed by the late Donny Hathaway, is available on the Randis Music label, through all digital download and streaming platforms, including Spotify, Apple Music, Tidal, Deezer, and more. 

“After nearly three years of the global pandemic, I have so many things in my life to be grateful for including family, and a career that continued to flourish during these tough times,” says Whiteside. “Christmas is a time for family and to spread more love and joy throughout the world. It’s also my favorite holiday and ‘This Christmas’ is one of my all-time favorite holiday songs.”

Just off a win for Best Contemporary Artist for the inaugural Jazz Music Awards, Whiteside was also recently nominated for her fourth Smooth Jazz Network’s Best Artist (2019 – 2022). Winners will be announced on Thursday, December 15 via the online magazine, Beats.

She continues to wow audiences during a series of summer and fall concerts in between hosting her No. 1 weekend show, “Saturday with Ragan Whiteside” on Atlanta’s NPR affiliate station, Jazz 91.9 WCLK.

Additionally, Whiteside appears on Kim Scott’s 2022 remake of Ashford & Simpson’s 1978 mega-hit, “I’m Every Woman” along with Althea Rene, which also peaked at No. 1 on the Billboard Smooth Jazz chart. 

Her streak of seven previous Billboard Top 10 singles included “JJ’s Strut,” “Reminiscing,” “Jam It,” “Early Arrival,” “See You At The Get Down,” and “Off the Cuff,” also featured on her current album, and her Billboard No. 1 single, “Corey’s Bop.”

 

Jimmy's Jazz & Blues Club Features 9x-GRAMMY® Award Nominated Jazz Vocalist TIERNEY SUTTON

Jimmy's Jazz & Blues Club Features 9x-GRAMMY® Award Nominated Jazz Vocalist Tierney Sutton on Saturday January 14, 2023 at 7 P.M. Known for her impeccable voice and imaginative treatments of The Great American Songbook, Tierney Sutton is heralded for her abilities as both a jazz storyteller and her ability to use her voice as an instrument.

Sutton's 14 recordings as leader have addressed themes such as materialism ("Desire" in 2009), the pursuit of happiness ("On The Other Side" in 2007), as well as paying tribute to the music of Bill Evans ("Blue In Green" in 2002), Frank Sinatra ("Dancing In The Dark" in 2004), and pop icon Sting ("The Sting Variations" in 2016). Her 2013 Joni Mitchell tribute album, "After Blue" featured keyboardist Larry Goldings, drummer Peter Erskine, jazz vocal legend Al Jarreau, and NEA Jazz Master flautist Hubert Laws.

In recent years, Sutton has headlined at The Hollywood Bowl, Carnegie Hall, The Kennedy Center and Jazz at Lincoln Center. She can also be heard on film and television soundtracks including that of the Academy Award-Nominated film The Cooler as well as on television commercials (BMW, Green Giant, Yoplait Yogurt, Coke).

In May 2016, Sutton was approached by legendary Director Clint Eastwood. The original score to his box-office smash, Sully, was created by Tierney Sutton Band pianist, Christian Jacob, The Tierney Sutton Band and Clint Eastwood. The end-title song "Flying Home" features music by Eastwood and lyrics by Tierney Sutton and JB Eckl. It is performed by Tierney Sutton and The Tierney Sutton Band.

Sutton's most recent GRAMMY® Award Nomination ("Best Jazz Vocal Album") is for her 2019 album "Screenplay." The album spans the first century of American film music with an ambitious 19-track collection of songs in five parts. The arrangements and Sutton's readings of the songs are pure Tierney Sutton Band at the height of its powers, subtly illuminating and revolutionizing each classic, as well as introducing a few lesser-known gems. "With 'ScreenPlay' this long-running group adopts and adapts material from the silver screen, creating high art that's spellbinding and eminently listenable," stated Downbeat Magazine in their album review. 

Tony Williams | "Play Or Die"

It’s 1980 and Tony Williams, perhaps best known for his seven-year stint with Miles Davis’ 1960s Quintet, before creating fusion with his impossibly brilliant 1969 album, Emergency! followed six years later by the equally influential Believe It, is somewhere in Europe on tour with a band of his choosing that is slowly disintegrating. 

The previous year, Williams recorded the genre-smashing The Joy of Flying that featured a star-studded cast which included a concert on July 27, 1978, at Japan's Denen Coliseum, billed as “The Tony Williams All Stars.” The album planted yet another jewel in the crown of Williams, who as a luminous 17-year-old drummer had set the jazz world ablaze with Miles Davis’s Quintet and his own Blue Note debut albums, Life Time (1964) and Spring (1966). 

Recordings with Eric Dolphy (Out to Lunch), Jackie McLean (One Step Beyond) and Grachan Moncur III (Evolution) further established the precociousness and power of a young Bostonian who would become one of the greatest and most influential jazz drummers of all time. With fusion, Williams originated a controversial genre that never met its creator’s own demanding expectations, and for whom it took years to receive due credit. 

But in Europe, on tour with a band that included keyboard player Tom Grant (on recommendation from Jeff Lorber), another keyboardist Bruce Harris and guitarist Todd Carver, the mercurial Williams is in a funk and the band’s sell by date is long past due. 

“I suggested we get bassist/keyboardist Patrick O’Hearn,” recalled Grant, who toured with Williams for two years in the late ‘70s and early ‘80s. “We played with Patrick and Tony just killed it. As soon as he started playing, it was like we’d taken off in a spaceship. The power of his playing, it was so physically incredible.” 

On May 30 and 31 of 1980, Williams, Grant and O’Hearn, who had previously worked with Frank Zappa and would co-found the new wave band Missing Persons the following year, entered Tonstudio Zuckerfabrik, Stuttgart (Germany), to record five original tracks that comprised Play or Die, a vinyl album limited to 500 pressings that probably never saw the light of day beyond its German borders. Recorded in two days and mixed in the studio with co-producer Peter Schnyder, the trio was soon back on the road, the album lost to history. Williams died from a heart attack following a gall bladder surgery in 1997. 

In cooperation with Williams’ widow, Colleen Williams, and produced by M.I.G. Music GmbH, Play or Die finally receives the release it deserved in 1980, not long before the direction of jazz changed, not long before the direction of jazz changed to follow Young Lions’ fashion, and Williams led his great band that recorded six albums for Blue Note. 

With digital remastering performed by Johannes Scheibenreif, a renown mastering engineer from Vienna, Play or Die is reborn as a jazz power trio onslaught, with touches of rock grandeur and new wave fashion shaped by Williams, a time-traveling pioneer whose voice speaks today as forever fresh, innovative, and restless. The original master, not the re-release, was cut at SST Brüggemann in Frankfurt in 1980.  

Ominous synthesizer and mushroom cloud-leveling ride cymbal open “The Big Man,” which recalls nothing less than Weather Report’s Mr. Gone, Williams’ pulse adorned with blazing single-stroke power rolls and measured explosions, over which Grant wails analog synth notes and Williams injects cathartic tom flurry bombs and tactful crash cymbal bruises. Williams swings a steady, low-down beat like hipsters skulking to unknown destinations. A broad wide view over a featureless plain, Mad Max envisioning the future.

A flurry of tightly tuned, non-resonant, undulating tom tom rolls and clashing bass drum and cymbal crashes introduce “Beach Ball Tango,” which quickly takes off in pure Missing Persons-like new wave fashion. Williams’ power and grandeur drive the 18th-note pummeling fury over which Grant and O’Hearn layer serene melodies and soaring solos. Williams takes over at midpoint, detonating his kit with controlled, metric-modulating/samba fury, Grant responding with salvos of energetic Rhodes piano improvisation. This is take-no-prisoners jazz-rock suffused with delicate melodies and manic solos. “BBT” ends with Williams’ unaccompanied drum solo, leaving nothing in its wake but scorched earth.

“Jam Tune” sounds like a breather, Williams driving his floor tom with mounted toms, a gleeful, time-changing rhythmic tattoo with angular bass and subliminal synths. Williams massages his rims on “Para Oriente,” slashing his hi-hats as Grant punctuates first his Rhodes, then his analog synths. The track eventually goes swing, Williams’ majesty on the ride cymbal sheer beauty. “Para Oriente” is a breathy, textural moment that wouldn’t be out of place on Jeff Beck’s classic Wired, Billy Cobham’s Spectrum or Mahavishnu Orchestra’s Trident Sessions. If Play or Die had received wider distribution and press, it would be a classic on par with those historical fusion phantasms.

The album closes with “There Comes a Time,” which swings lightly and delicately but savagely and directly, as only Williams could. His vocal here adds a bittersweet note to Play or Die, a phrase that encompassed Williams’ life. Williams’ music was like his life, played for all it was worth.