Emilio Teubal | "Futuro"

NYC based, Argentine pianist/composer Emilio Teubal presents his new recording (his sixth as a leader), Futuro. The title track, and most of the music on the album, was conceived of and composed during the initial lockdown in early 2020 for the newly formed, Emilio Teubal Post-Trio (w/ Pablo Lanouguere and Chris Michael). It is reflective of Teubal’s experience during this harrowing, uncertain time, with the added sadness of mourning the loss of his father. The music heard on this album came to life in the studio at the end of 2021 when the Post-Trio was joined by special guests, drummer Brian Adler (replacing Chris Michael who had a strong case of long-covid, and hasn’t recovered since), vibraphonist Chris Dingman, guitarist Fede Diaz, and clarinetist Sam Sadigursky. The resulting album is an eclectic, modern collection of singular music which represents Teubal’s rumination and contemplation about loss, grieving, and of course about the future; his own, and the world’s.  

Teubal explains, “Futuro (Future) is the word that synthesizes all those emotions that I felt during that period: the idea that suddenly we were living in a dystopian world not far from what is seen on those end-of-the-world movies I used to watch as a kid such as Mad Max and Blade Runner. On a more personal level, the loss of my dad in 2021 was a big part of the concept of “the future" that I had as a kid. Without much preparation, I found myself in a new reality that meant navigating a life without parents (is it even possible? I used to wonder)." Teubal pays tribute to his late father on the album’s closing tune, "Los Ultimos Seran los Primeros." “’The last one would be the first,’ is a phrase my dad would always use when I would lose a race or a game (probably against my brother). I finished writing this piece a few days before my dad passed in January 2021, so this is the last music he heard me compose and practice. This piece will always remind me of him, of those last days we spent together, and of how much I miss him. Closing this very personal album with this song felt like the right way to pay tribute to my dad,” says Teubal. 

Teubal also pays tribute to a dear friend who passed away recently, with the composition “Tokyo-Trenque.” Teubal elaborates, “I composed this piece in the style of Zamba (a rhythm/form from the north of Argentina), dedicated to Eduardo Garcia, a very close friend who we lost in 2019. Eduardo was born in Trenque Launquen, a small town in the middle of the Argentine Pampas, and he passed away in Tokyo, Japan. The title of the song refers to his departure and arrival destinations.” 

Futuro is a recording in which many different styles and genres organically coexist. Argentine music, especially the folk rhythms zamba, chacarera, milonga, etc, is a common language that keeps the music and musicians on the same page. However, it is far from being just an Argentine music record as Teubal is strongly influenced by modern jazz, classical music, rock, cinematic music, experimental, and even by Balkanic and Middle Eastern Music. This mixed bag, is represented in much of the music, including “Children of MMXX,” initially conceived using Chick Corea's Children's Songs as inspiration. “Next to the room where I have my piano, my then 7-year-old son was attempting to ‘go to school’ through Zoom. I felt for him, so I dedicated this piece to him and his generation; the kids who had to go through that horrible and disruptive experience during the pandemic,” explains Teubal. 

On “Remolinos (Tolerance)” a minimalistic piece that, instead of being inspired by classical minimalistic composers such as Phillip Glass or Steve Reich, was conceived as an homage to one of Teubal’s all-time favorite rock bands, King Crimson. “The addition of Chris Dingman's vibraphone opened up new possibilities on this tune, and others that he appears on. The subtitle of the song, Tolerance, was added later and it refers to the nickname that was given to the song by my son and my partner at the time, who had to listen to me and tolerated me practicing such a repetitive song. It’s also a wink to Crimson’s, Discipline. 

Los Que Fluyen (those that flow) is a Chacarera-infused song (Chacarera is a rhythm/song form/dance from the north of Argentina) that was part of the initial repertoire of the trio, but then acquired a new dimension in the studio thanks to the folkloric strumming of Fede Diaz’s guitar. Teubal comments that, “los que Fluyen” refers to a particular method of composing music that flows very organically for me, but it also refers to those situations in which things/energy flows smoothly and effortlessly (it can be friendships, relationships, musical ensembles, etc). We tend to stop and pay attention when those things don’t flow organically, but when they do, we don’t even notice it (and not noticing usually is a sign that things are flowing.) 

Other highlights on Futuro include Lennon-McCartney’s “Blackbird,” arranged in the style that fits the trio, with elements of Chacarera, odd meters, and a minimalistic cinematic coda, providing a snapshot of the heterogenous styles of the recording; “Rio” (titled by Teubal’s son after one listen), which works especially well with this trio due to, “drummer Chris Michael’s adeptness with South American grooves,” says Teubal; and “Tortuga,” a piece Teubal wrote for solo piano and featured on his previous album, Tides. “One of the most challenging and fun tunes for the trio to play. The version we recorded with the trio departs from the solo piano version thanks to the beautiful solo bass interlude that Pablo Lanouguere wrote, that eventually leads to a free improvisation that works as a contrast for all the written material,” explains Teubal.

 

Rick Cutler | "The Unfolding"

Keyboardist, drummer, and composer for Dateline NBC, Later TODAY, the theme for the NY Yankees: Rick Cutler, Releases: ‘The Unfolding.’ The album combines different sized groups of musicians, including solo piano, duo, trio as well as a quintet. With a wide range of styles such as jazz, new age, and piano, with 12 new original compositions, including a cover of synth-pioneer Thomas Dolby’s “Airwaves,” using vocal, keyboards, and spoken word, as well as “Butterfly” by Tokyo-based guitarist Hiroki Endo. “Exit’ reunites his fusion band from the ‘70s that toured with Gloria Gaynor as her backing band and opening act, with pianist Mark Soskin, Sonny Rollins’ pianist and renowned jazz drummer Billy Mintz. 

Rick has been playing drums since the age of 5 and keyboards since his teens, studying at Julliard School with Chick Corea. Performing in Broadway shows including Hair, The Wiz, Candide, They're Playing Our Song, Woman of the Year and Seesaw, Ray has composed music for TV, including the Emmy-nominated theme for Dateline NBC, Later Today on NBC, the theme for the New York Yankees on the MSG network and the Outlaws & Lawmen mini-series on the Discovery channel.

Touring as keyboardist and drummer for Liza Minnelli, Ray performed in her Tony-winning Broadway show, "Liza's At The Palace.” For 18 years, he served as keyboardist and musical director for Gregory Hines and "Boom," performed at the nationally-televised Gala For The President and Mrs. Clinton. He also composed the music for The Gregory Hines Show on CBS and was one of the original percussionists for Leonard Bernstein's "Mass," for the opening of the Kennedy Center in Washington D.C.

The 7 solo piano pieces include Hymns 5, 6 & 7, Whisper Of A Memory, a soft piece called "Lullaby For Chris" as well as "Irish Prelude" and "Vienna Walking Streets" that evokes Rick's memories of those places. "Dusk Over The Antique Shop" creates a mood of an antique shop just about ready to close for the day using the trio instrumentation of Rick, Emedin Rivera on percussion and David Katzenberg on acoustic bass. The rest are a jazz vein using both electric and acoustic instrumentation. "A Walk In Rio" and "Straight & Bent" feature former Sonny Rollins pianist, Mark Soskin and "Exit" features acclaimed jazz drummer, Billy Mintz. Ray has released 5 albums of original compositions blending jazz, classical, new age and folk music.

His music is available on iTunes, Amazon and other digital outlets. Upcoming projects include a digital album of electronic music, an album of children's music accompanying poetry and a documentary about the life of writer Elmore Leonard.

Some of the artists Rick has performed and recorded with include Michael Franks, Noel Pointer, Stevie Van Zandt, Herbie Hancock, Freddie Hubbard, Don Rickles, Billy Eckstine, Gloria Gaynor, Rodney Dangerfield, Regis Philbin, Donna Summer, Pete Seeger, Larry Coryell, Jon Lucien, Johnny Hartman, Savion Glover, Perry Farrell (of Jane's Addiction), Richie Stotts (of the Plasmatics), Charles Aznavour and the NY Philharmonic Brass Quintet. His first CD release, Sanctuaries, received praise from musicians such as Mike Garson (former keyboardist for David Bowie) and Mark Soskin (pianist for Sonny Rollins). A video for Yar, directed by Spike Lee protege, Lee Davis was also released and can be seen on YouTube.

Ramsey Lewis - Les Fleurs/Fantasy/Keys To The City

A trio of 80s albums from piano genius Ramsey Lewis – all brought together in a single package! First up is Les Fleurs – a bit later than Ramsey Lewis' classic electric sides for Columbia Records in the 70s, but still a pretty great little album – and one that mixes mellow grooves on Fender Rhodes with a nice dose of acoustic piano – in a style that's a bit like Rodney Franklin at the time, but considerably warmer and sweeter overall! The core trio backs Ramsey on acoustic bass and drums – but there's plenty of extra bits added in throughout, including a bit of sax from Ronnie Laws, and some overall arrangements and additional keys from Tom Tom 84 – who really helps keep a sophisticated Chicago vibe in place – almost a ghost of Charles Stepney, lurking nicely in the background. Titles include remakes of "Reasons", "Les Fleurs", and "Super Woman" – plus the tracks "Physical", "With A Gentle Touch", and "Essence Of Love". 

Fantasy is a sweet 80s set that has Ramsey Lewis showing the world that he's still one of the reigning master of the keyboard – as he opens up here with a whole bunch of keys from that decade, at a level that marks a strong new chapter from his electric work of the 70s! Lewis works alongside additional keyboardists Morris Butch Stewart and Lonnie Graves – and at times, even the rhythms are electric too – influenced by both R&B and hip hop at times, similar to Herbie Hancock electric experiments of the time – but with more of that soulful vibe that we love from Ramsey! There's a bit of vocals on the record – courtesy of Stewart, Maurice White, Brenda Mitchell, Josie Aiello, and Alice Sanderson Echols – on titles that include "Les Clefs De Mon Coeur", "It's Gonna Change", "Victim Of A Broken Heart", "Slow Dancin", "Ram Jam", "This Ain't No Fantasy", "Part Of Me", and "The Quest". 

Keys To The City is a late 80s effort that still has the piano genius very much at the top of his game – tight, but never in the sleepier territory of some of the smooth jazz artists who were coming into the scene! Ramsey's on piano both electric and acoustic – getting more keyboard help from Larry Dunn, who also handles arrangements – with musicians who include Don Myrick on saxes, Roland Bautista on guitar, and Maurice White on percussion – the last of whom is a key influence here, as it's clear that Lewis is holding onto that great balance of jazz and soul that he furthered in his work with White and Earth Wind & Fire in the 70s. Titles include "Keys To The City", "7/11", "Strangers", "My Love Will Lead You Home", "You're Falling In Love", "Shamballa", and "Love & Understanding".  ~ Dusty Groove

Gregory Porter Announces Las Vegas Debut: August 25, 2023 at The Smith Center

Presented by Jazz Cruises, Grammy Award-winner Gregory Porter (widely heralded as one of the premier male vocalists in contemporary jazz) will make his Las Vegas debut at The Smith Center on Friday, August 25, 2023, at 7:30pm. Porter will be joined by American comedian and actor Alonzo Bodden, known for winning the grand prize in the third season of the reality-television series “Last Comic Standing.” Tickets are now available to the public at TheSmithCenter.com. 

Acclaimed singer-songwriter Gregory Porter was raised in Bakersfield, California, and began singing in small jazz clubs in San Diego and later New York City, where his music career began to ascend with the release of his first two albums—Water (2010) and Be Good (2012). In 2013, he released his Blue Note debut Liquid Spirit which quickly grew into a global phenomenon, selling more than a million albums and earning Porter his first GRAMMY Award with NPR declaring him “America’s Next Great Jazz Singer.” His 2016 follow-up Take Me To The Alley won Porter his second GRAMMY for Best Vocal Jazz Album and firmly established him as his generation’s most soulful jazz singer-songwriter. In 2017, Porter released the heartfelt tribute album Nat King Cole & Me and in 2020 returned to his original songwriting on the uplifting ALL RISE. Porter has hosted the podcast The Hang, as well as his own cooking show The PorterHouse. 

A regular panel member on NPR’s “Wait Wait…Don’t Tell Me,” Alonzo Bodden has been making audiences around the country laugh for more than 20 years. Alonzo’s latest (2022) comedy special “Alonzo Bodden: Stupid Don’t Get Tired,” was released on YouTube by Helium Comedy Studios. In 2019, he starred in his fourth stand-up special, “Alonzo Bodden: Heavy Lightweight,” which premiered exclusively on Amazon Prime Video. 

Joe Lovano Trio Tapestry | "Our Daily Bread"

The third album from Joe Lovano’s Trio Tapestry extends its spacious and lyrical approach, with deep listening and intense focus. “Our Daily Bread is fueled by the rhythm spirit of expression that projects the mysterious world of music that lies ahead,” says master saxophonist Lovano in his liner note, addressing his elegantly fluid pieces and imploring ballads. In the course of his long life in jazz, Joe Lovano has addressed the full range of the music, playing in-the-tradition and beyond it. Trio Tapestry, with Marilyn Crispell and Carmen Castaldi, is a vehicle for some of his most personal work. As Joe has emphasized: “This is not a band that starts from the beat. The momentum is in the melody and the harmonic sequence. And rhythm evolves within each piece in a very free flowing manner.” 

“The intensity comes not from ferocity but from depth of feeling,” wrote the BBC Music Magazine of the group’s debut. “Lovano’s themes and harmonies provide rich potential which the trio realises beautifully, exploring texture and mood as fruitfully as it develops melody and harmony.” 

As with the previous two albums with Marilyn Crispell and Carmen Castaldi - Trio Tapestry and Garden of Expresssion, recorded in 2018 and 2020 respectively – Lovano wrote the pieces for Our Daily Bread specifically for this trio, whose character becomes ever clearer. As Joe says, “I bring in the material, but there is an equal weight of contribution, creating music within the music…” Trio Tapestry’s frame of reference is broad, the album’s opening piece “All Twelve” situating the interaction within a 12-tone context. Title piece “Our Daily Bread," meanwhile, and “Grace Notes," yearning in their expression, seem to draw from the spiritual well that nourished Coltrane. 

Marilyn Crispell again proves to be the optimal pianist for this music, orchestrating it as it unfolds with a sensibility attuned to both contemporary chamber music and the multiple possibilities of improvising in the post-free era. Wolfgang Sandner once wrote of Crispell, “she can linger on the beauty of a single note and develop an infinitude of melodies from a single chord.” And as long ago as the 1970s Cecil Taylor predicted that Marilyn would “spearhead a new kind of lyricism in jazz," a process that she continues to redefine. 

Lovano first encountered Marilyn Crispell when she was a member of Anthony Braxton’s quartet, negotiating sound, space and silence in new ways. The pianist has a considerable ECM discography as a bandleader and soloist in her own right with acclaimed recordings including Nothing Ever Was Anyway, Music of Annette Peacock (recorded 1996) Amaryllis (2000), Storyteller (2003), Vignettes (2007), One Dark Night I Left My Silent House (2008), and Azure (2011). 

Enigmatic drummer Carmen Castaldi, an exceptionally subtle percussionist, embellishes Lovano’s pieces with his own poetic touch on cymbals and, like Joe himself, periodically draws blossoming resonances from gongs. Castaldi’s association with Joe Lovano goes back to teenage years in Cleveland. In addition to his contributions to Trio Tapestry and Garden of Expression, Carmen can be heard on Joe’s Viva Caruso album of 2002 (Blue Note). 

Midway through the programme, Lovano delivers the bluesy “One for Charlie” as a solo tenor tribute to Charlie Haden, investing every note with meaning, as the tune’s dedicatee once did. Lovano and Haden played together in multiple contexts over the years, from Charlie’s Liberation Music Orchestra to Paul Motian’s On Broadway formations. It was with Motian that Lovano first appeared on ECM, joining the drummer in time for Psalm in 1981 in a quintet line-up that also included Bill Frisell. With It Should’ve Happened A Long Time Ago (1984) the long-running Motian/Lovano/Frisell trio was established, among the many documentations of it are the albums I Have The Room Above Her (2004) and Time and Time Again (2006). 

Joe Lovano, together with Danish guitarist Jakob Bro, has celebrated Motian’s musical legacy and influence on the album Once Around The Room. Other recent ECM recordings with Lovano have included new collaborations, with the Polish Marcin Wasilewski Trio on Arctic Riff, and with Italian trumpeter Enrico Rava on Roma. 

Our Daily Bread was recorded at Lugano’s Auditorio Stelio Molo in May 2022 and produced by Manfred Eicher.

Kombo | "This Is The Good One"

Famed poet, novelist and founding father of the Beatnik movement, Jack Kerouac, once stated, “The only truth is music.” There is no doubt that music has helped many find themselves. Pioneering Contemporary Jazz duo Kombo; Hammond B3 guru Ron Pedley and guitar whiz John Pondel can attest to this. “At 14, I heard Jimmy Smith’s The Sermon, reminisces Pedley. “It was the first time I ever heard Jazz. It opened my ears to improvisation and the simple fact that you don’t have to play what’s on the written page.” Pondel muses, “My world expanded one day when my older brother bought an FM radio! We listened to Jazz and found R&B and Rock music that we had never heard on AM radio. That day, I was convinced that I would be unhappy doing anything else with my life!” The spark that was ignited all those years ago, still burns bright for Pedley and Pondel. Their passionate and rock-solid musicianship have been summoned by such iconic artists as Aretha Franklin, Barry Manilow, Dionne Warwick, Air Supply, Gerald Wilson, Maynard Ferguson, Paul Anka and Al Jarreau, among numerous others. On April 14, 2023, Shanachie Entertainment will release Kombo’s first new recording as a unit in two decades. The anticipated, This Is The Good One, is a scintillating ten-track excursion of originals and one Curtis Mayfield classic, that brim with joy, virtuosic playing, gorgeous orchestrations in the mode of Bacharach/David and sumptuous jamming grooves inspired by the likes of Medeski, Martin, Wood, and Scofield. “We are so proud of our new record. This IS The Good One, we are on the right path!” exclaims Pedley. 

“Kombo's music evokes those wonderful classic organ, guitar combos of the 50's and 60's, while at the same time creating their own state-of-the-art contemporary sound. It's a blast of fresh air and a blast from the past all at once. No wonder the audience has embraced them whole heartedly,” states Danny Weiss, VP of Jazz A&R at Shanachie Entertainment. The synergy and energy created between Ron Pedley and John Pondel is undeniable. “Jazz, R&B, Pop, and Classical music are the essence and DNA of who we are musically. We put it all in a hopper together and it comes out like Kombo!” declares Huntington Beach, CA organist Ron Pedley, who met Pondel at a Barry Manilow rehearsal in 1984. “Ron and I have always maintained a close friendship whether we were recording in a band together or on hiatus,” shares Pondel. Kombo was born in 1999 when drummer (former Manilow band member) and Grammy nominated producer Bud Harmer (Keiko Matsui, Lalah Hathaway, David Benoit, Jeff Golub) came up with idea of the duo forming an organ/guitar combo for contemporary jazz. Believe it or not, Kombo was the first with this instrumentation to hit the format. Harner along with bassist Marc Levine joined Pedley and Pondel a decade earlier in the funk jazz collective Uncle Festive. “Being jazz players at heart, an organ and jazz combo felt natural,” explains Tarrytown based Pondel whose guitar muses include Jim Hall, Wes Montgomery, Joe Pass, B.B. King and Andres Segovia, among others. “We wanted to write music that felt that way too and that let our personalities shine through.”

This Is The Good One also features long-time collaborators, bassist Matt Bissonnette and drummer Gregg Bissonnette, who both played with Pedley in Maynard Ferguson’s band. The Hammond B-3 player recalls, “For me playing and recording with Maynard Ferguson was an incredible experience. He was always very supportive of us kids in his band and always encouraged us to strive to find our own voice.” The personnel on This Is The Good One also included percussionists David Rozenblatt and Luis Conte and The Fat City Horns. Although it has been over two decades since Kombo’s last two recordings, The Big Blast Blast (1999) and Cookin’ Out (2001), the dynamic duo doesn’t skip a beat on the new recording.

This Is The Good One opens with the winning title track and breezy Sophisti-Pop swinger with head-turning changes. John explains that the title comes from a plea he once heard from a very patient TV and radio producer. “He was frustrated with his voice over artist, (it was a celebrity) who could not read the copy without making lots of mistakes. About a half hour into the recording session, you can hear the producer say ok, ‘This Is The Good One.’ Almost begging the voice over artist to get it right!” “Wind It Up” is a funky and tasty ditty propelled by drummer Gregg Bissonette and the album’s first single “Right In There” hits a musical sweet spot with its memorable melody, harmonic wonder, catchy groove, and montuno feel. Ron explains, the title “Right In There,” comes from an old beatnik term. “It could mean something hip or cool like ‘Man that groove is “Right In There!” Works for me that way!’” John adds, “Like a lot of tunes, ‘Right In There,’ started as a germ of an idea and we kept building on it.” John credits his time early on in his career with Gerald Wilson’s Orchestra as pivotal. He recalls with smile, “Gerald rarely played his trumpet on gigs and roamed about the bandstand after counting off the tunes. He came up to me during one gig and whispered in my ear, ‘This is Jazz!’” 

In the tradition of the great Hammond B3 players, Pedley cooks and gets down to the heart of organizing on the soul jazz number, “Pass A Good Time.” In addition to Jimmy Smith, Ron admits to being influenced by the late Joey DeFrancesco and Larry Goldings. One of the beauties of Kombo is their uncanny ability to craft intricate arrangements that disguise themselves behind beautiful melodies and danceable grooves. “It’s Daybreak,” inspired by a lyric from Barry Manilow’s song “Daybreak,” is a prime example. “Ron and I basically do the rhythm section arranging,” shares John. “Ron did a great job arranging the horns on several tunes. He also kills as a string arranger!” Ron who cites Vince Mendoza, John Beasley, and Rob Mathes, as among his compositional influences right now, recently did the rhythm, horn and string arrangements on labelmate Keiko Matsui's new album, Euphoria, along with John Beasley and Randy Waldman. Another highlight on This Is The Good One is the Brazilian Bossa groover “Hitomi’s Rose,” penned by John in tribute to his girlfriend Hitomi. Kombo slows down the pace with Pedley’s R&B inflected “There Everywhere,” which takes its cue from Bruno Mars and Silk Sonic’s “Leave The Door Open.” This Is The Good One also showcases “Rain Back On Top,” a feel-good romp with a Motown-esq feel and the album’s lone cover Curtis Mayfield’s hit “It’s Allright.” Kombo’s refreshing take is a delightfully swinging arrangement with a laid-back and buttery smooth horn section. This Is The Good One comes to a show-stopping finale with the jubilant “Let’s Do This.” When all is said and done, I think we can all agree, Kombo indeed has done it!

New Music From: Marie Mørck, Hyson Green, Louis Stewart, Maelan Abran

Marie Mørck - Songs To Comfort

The 2nd album from Danish jazz singer Marie Mørck was released this Friday, 24 March, and the title has already been added to a handful of Spotify playlists, including Spotify editorial playlists "Cozy Jazz" and "Relaxing Vocal Jazz". The two first singles from the album have been in A-rotation on national Danish radio P8 Jazz. Danish upcoming jazz singer Marie Mørck attracted lots of attention on her debut album from 2019. She had lots of airplay on Danish national radio and was nominated for "Best Vocal Jazz Release" at the Danish Music Awards in 2020. During 2019, she toured with her band in China, France and Scandinavia until the pandemic lockdown. In late April, she will perform a live showcase at the big European jazz fair - jazzahead! - as one of three selected jazz artists by the Danish jazz export organisation. "Song to Comfort" shows clearly what a great singer she is. Enjoy this silk smooth voice of hers.. and by the way - she also excels being a natural and playful composer and songwriter. This single was co-written with Marie's boyfriend, Jonathan Strøm. Musicians: Marie Mørck - voc; and Agnes Darelid - Trombone.

Hyson Green - Keep On Dreaming

The follow-up to  the well-received, and much played, The Needle and the Groove (also available on NubMusic Records) Keep On Dreaming continues in the same musical groove as before with songs that hark back to the music of the English and American soul these two love. From Boz Scaggs to Jess Roden, from Delaney and Bonnie to Robert Palmer, from Hall and Oates to Frankie Miller, from Steely Dan to Chic and Chicago house, and so many more.  Their music harks back to a time when songs and music were shaped by experience and the love of good music and of good times. Keep On Dreaming is the sound of today with a twist of London and a hint of California. Think palm trees in the Market Square, sun kissed beaches alongside the Thames and you've got Keep On Dreaming. A contemporary sound for contemporary times...The full digital release of Keep On Dreaming is slated for 21st April 2023.

Louis Stewart - Out On His Own

“Out On His Own” is a fitting title for Louis Stewart as he is perhaps the only Irish jazz musician to attain international front-rank status. This solo record features a mix of lead only and rhythm with lead tracks with a repertoire of Jazz and American Songbook standards, contemporary composers (Chick Corea, Steve Swallow etc.) plus an interpretation of an Irish traditional tune and a self- composed blues. The album was recorded in Bray, just south of Dublin, while Louis was at his peak and alternating between playing with Ronnie Scott’s band in London with the best of visiting musicians, and his frequent trips back to Dublin to play to packed clubs and bars.“Out On His Own” was Livia Record’s first release meeting with excellent press reviews as follows: Sunday Times critic Derek Jewell: “Louis is revealed here as a guitar virtuoso already of considerable maturity. A virtuoso in anyone's language, and … a musician to be spoken of in the same league as Django Reinhardt, Wes Montgomery, or, among contemporary virtuosos, Joe Pass.” Irish Times critic, Ray Comiskey: “a performance of such virtuosity, that very few guitarists of any era could ever hope to match it ...a brilliant combination of melodic inventiveness, harmonic ingenuity, technical virtuosity and sheer joy in playing that seems certain to win for it an outstanding place in the record of Jazz guitar” Ronnie Scott: “Louis is a superbly talented natural musician. In my book he's one of the world's great jazz guitarists”

Maelan Abran - Time is Now

On her stylistically eclectic, highly autobiographical new album Time Is Now, multi-talented Hawaiian vocalist and poetically insightful songwriter Maelan Abran invites us into a unique, sonically dynamic world. She balances exquisite and vulnerable romantic expressions with edgy social consciousness, an impactful feeling of pop/soul/jazz fired hope and thoughtful, heart wrenching and motivating imagery reflecting on her roots growing up on the Big Island. Adding to the epic, sometimes dreamy and atmospheric, other times, swinging and funky vibe is a beautiful piano and orchestra interlude that serves as a sweeping break between the collection’s powerful dramatic narratives. Helping shape the fascinating soundscapes is Abran’s Grammy nominated co-writer and producer Marlin “Hookman” Bonds, best known for his work with pop superstars Jason Derulo, Swizz Beatz, Jay Sean and Chris Brown.   ~ www.smoothjazz.com

Marcus Rezak | "Sweet Like Mary Jane"

Since the release of his intrepid debut album Gateway to the Galaxy, Marcus Rezak has become a staple in today’s touring circuit known for his virtuosic guitar playing and flexibility to maneuver through a variety of projects. His road warrior reputation spans bandleader endeavors that include his high-octane Grateful Dead tribute project Shred is Dead; his newly-launched Gumbo project performing notable 90s Phish shows in their entirety and performing original music under his name. The Chicago native has connected with GRAMMY-award-winner Paul Nelson to produce his next body of work entitled Guitar Head, a blues-oriented album that melds his prestige in the jam, improvisation, and songwriting world with his roots that hail from the “Home of the Blues.” The lead single “Sweet Like Mary Jane” will come out via Color Red on Thursday, March 16th in tandem with a 3-night run on the east coast with plays in Newmarket, NH (3/16), Waterbury, VT (3/17), and Cohoes, NY (3/18). Rezak will be joined by Ray Paczkowski (Trey Anastasio Band), Felix Pastorius (Jeff Coffin Mu'Tet / Hipster Assassins), Adrian Tramontano (Twiddle & Kung Fu), Chris DeAngelis (Kung Fu & The Machine), Cotter Ellis (Swimmer), and Matt Dolliver (Swimmer) throughout the performances.

Inspired by late ‘60s freedom rock, the anthemic “Sweet Like Mary Jane” does not leave room for interpretation with its progressive blues homage to women working in the cannabis industry. The song celebrates free spirits who enjoy fine herbs and rock ‘n’ roll drawing influence from Jimi Hendrix’s blues-rock era and a modern vocal and guitar solo style inspired by Warren Haynes. The track features Ray Paczkowski (Trey Anastasio Band), Adrian Tramontano (Twiddle & Kung Fu), and Chris DeAngelis (Kung Fu & The Machine).

Rezak connected with esteemed blues guitarist and producer, Paul Nelson, after a performance he had at The Music Room in Yarmouth, MA. They immediately hit it off after an impressive performance as they dove through Nelson’s distinguished career which includes being hand-picked to join Johnny Winter’s band in 2010 and producing several of his records including his GRAMMY-nominated albums I'm a Blues Man, Roots, and Step Back, which won the GRAMMY Award for Best Blues Album and debuted at #1 on the Billboard chart for Blues Albums. Nelson enthusiastically conveyed that he would love to produce Rezak’s next record. They recorded the album at The Music Room’s world-class, in-house studio laying down Rezak’s initial ideas in one day of pre-production and later joined by Rezak’s frequent collaborators and top-call east coast musicians Adrian Tramontano (Twiddle & Kung Fu) on drums and Chris DeAngelis (Kung Fu & The Machine) on bass laying the rhythm section foundation for Guitar Head in a vigorous 1-day session that produced 10 songs. After Rezak honed the final guitar and vocal parts in subsequent sessions, the tracks were sent to keyboardist Ray Paczkowski of Trey Anastasio Band, whom Rezak had worked with on his 2020 EP Truth in Sound. With Ray’s finessed keyboard parts recorded at his home studio, the final piece of the puzzle was having Eric Lawrence of Little Feat fill out four of the tracks with horn parts.

With a release date TBD, Rezak is assured that Guitar Head will be his best album to date. "Working with GRAMMY-winning producer Paul Nelson has been an absolute pleasure and has brought out the best in my guitar, playing and songwriting for this record,” he says, “Additionally, having a world-class rhythm, section helps make things go smoothly as they did for the making of this album. Adrian Tramontano, Chris DeAngelis, Ray Paczkowski, and Eric Lawrence make for a dream team that can only be heard on this recording."

Nelson shares Rezak’s fervor for the forthcoming record, “Marcus is a force to be reckoned with—as both a guitarist songwriter and vocalist. It was a real pleasure to produce his latest album which I feel showcases his diversity and amazing talent.”

Christine Jensen | "Day Moon"

We’ve witnessed and heard testimonies from countless musicians who were forced to struggle—financially and artistically—through the lockdowns of the pandemic. For some who have survived, there’s been the silver lining of a shift in perspective. Many artists dug deep in isolation and discovered the solution to long-elusive mysteries. Some let go of the tried-and-true and instead explored new means of expression. 

While we’re hopefully emerging from the final Covid surge, it’s a welcome that an artist like Christine Jensen is opening ears to the magic of reflection on her long, turbulent days and months locked down.

 The exceptional alto and soprano saxophonist from Canada releases the compelling Day Moon with her impressive quartet on Justin Time Records. The music is at turns, melancholic and ebullient, sober and playful. It’s a date where she creates an improvisational community of close friends in quartet and duo settings. “I got hit hard by the pandemic because I felt alone and was not doing what I’m supposed to do,” Jensen says. “So, I focused on my saxophones, teaching myself to present my sound, my solo voice. It’s almost like becoming the vocalist.” 

At home leading her own renowned jazz orchestra, Jensen was forced to pull back by necessity into a more intimate space. “I had to shed the extra instrumentation that was always in my head,” she says. “So, I started to once a week play music with my longtime piano friend Steve Amirault. We worked together—he collaborated with me and pushed the boundaries. It created a stable place for me.” 

Jensen invited her regular rhythm team of bassist Adrian Vedady and drummer Jim Doxas to mask workshop in small spaces to bring new colors into the ebb and flow of her compositions. The quartet members became, as she writes in her liner notes “my refuge and sanctuary.” She continues, “I feel like we met on thin ice through two cycles of seasons, meeting, greeting, and expanding on this repertoire, so that we could find a place that allowed us to trust and support each other at the highest level—not just in the music, but also in friendship, empathy and love, all words that the lockdown was attempting to repress.” 

The album opens with the title tune that was written pre-pandemic for her chordless collective CODE Quartet that included trumpeter Lex French. The ‘60s Ornette Coleman-inspired band issued its Genealogy album for Justin Time in 2021. “It started out as a demo that ended up being the recording,” Jensen says. “At that point, the tune was just starting to jell, but I never glued to it. So, I thought let’s explore it wider harmonically with the piano instead of trumpet. The changes led to a surprising end.” 

It’s the perfect lead tune inspired by a vision Jensen experienced. She was on her street in the middle of the day and saw a perfect moon in front of her with the sun glowing behind. “It was so strange,” she says. “It’s how the pandemic felt—living in another world. Other worldly and so sci-fi. It makes for a perfect prelude to the rest of the album where the world is shifting.” 

The four-song suite Quiescence was written for a commission from New York’s Jazz Coalition that had raised funds for composers. Jensen sketched compositions including the Brazilian clave-feel “Tolos d’Abril,” her April Fool’s birthday song. “I wrote it because I was alone and I didn’t want to be in the Montreal snow and would just love to be anywhere from here,” Jensen says. “So, I thought of any opposite place, like a beach in Brazil.” 

Highlights of the album feature the duo spots with Amirault, including the short-and-sweet torrent of the playful “Balcony Rules” based on “What Is This Called Love?” and the gem of the album, the gorgeous rendering of Jimmy Van Heusen’s “Here’s That Rainy Day.” 

“That’s one of my favorite cuts,” Jensen says. “Steve and I hit on the emotion in ballad playing that’s not often captured in this day and age. We just looked at each other, slowed the tune down and played our feelings. I take the melody line and Steve is focused on time. It’s a deep conversation and an elaboration of who we are as musicians. We stole the slowness of this tune from the style of Shirley Horn and her delivery of a ballad."

 Finally, Jensen is happy to play some gigs to support Day Moon. In the future she continues to be on the tenure track at Eastman School of Music and has more music ready to go, including another CODE Quartet album, more recording and performing with her sister Ingrid Jensen and a big band recording to be released by the end of 2023. “It’s all in motion,” she says. “And who knows, maybe even an album of duos in the setting I discovered on Day Moon.”

SAMARA JOY, TAKE 6, JOSE JAMES ADDED TO THE LINEUP FOR CHRIS BOTTI AT SEA

Newly minted GRAMMY winner Samara Joy, gospel and jazz icons Take 6 and the exciting, genre-bending vocalist Jose James have just been added to the lineup of Chris Botti at Sea, a luxury cruise personally curated by Botti himself. They will join the incomparable musician, David Foster, Gregory Porter, Katharine McPhee, Melody Gardot, International Mentalist Lior Suchard, Keb Mo, and Lisa Fischer as well as Taylor Eigsti,  Sy Smith,  John Splithoff,  Eric Marienthal, Music Director Emmet Cohen,  Randy Brecker,  Wycliffe Gordon and the Chris Botti Band.  Chris Botti at Sea sails February 8 – 15, 2024 from Miami to Aruba and Curacao on Celebrity Cruises’ Summit, the voyage features a world of entertainment, the very best in music, accommodations and destinations.  

Jazz Cruises, LLC, the gold standard for music cruises at sea since 2001, will produce the cruise, undertake the reservation process and provide programming and technical support.  With more than 80 full-ship charters to its credit, Jazz Cruises has produced themed programs of all types throughout the world.  

The cruise features a 2,100-passenger ship and will head out to Aruba and Curacao, the gems of the Caribbean Sea.  But it is the entertainment that separates Chris Botti at Sea from other programs.  Botti hand-picked most of the performers and each one of them is both a star and an exciting performer in their own right.  

Samara Joy is the second jazz artist to win the coveted Best New Artist GRAMMY Award, which she took home earlier this year along with a trophy for Best Jazz Vocal Album.  She previously won the Sarah Vaughan International Jazz Vocal Competition and was named the Best New Artist of 2021 by Jazz Times. Samara has performed at the Monterey Jazz Festival, the Newport Jazz Festival, Winter Jazzfest, Lincoln Center and Carnegie Hall and has toured with the Jazz at Lincoln Center Orchestra. 

Take 6 is a groundbreaking ensemble, bringing jazz, gospel and a capella together like no other group. They have won eight GRAMMY Awards (with 19 nominations), won 10 Dove Awards, a Soul Train Award and received multiple NAACP Image Award nominations. This year marks the 35th anniversary of their debut, self-titled album. 

Jose James continues to be one of the most innovative vocalists in contemporary music, winning awards and fans with his stirring alchemy of jazz, soul and spoken word. His work has received the Edison Award and the Academie du Jazz Grand Prix’s Best Jazz Album.  James has performed at the Montreal Jazz Festival, North Sea Jazz Festival, Victoria Jazz Festival and Central Park Summerstage in New York City. 

Since the release of his debut recording in 2004, trumpeter Chris Botti has become the largest-selling American instrumental artist.  His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 jazz albums, earning certification as both Gold and Platinum selling recordings, as well as numerous Grammy nominations and awards.  Over the past three decades, Botti has recorded and performed with the best in music, including Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, Aerosmith’s Steven Tyler and even Frank Sinatra. Hitting the road for as many as 300 days per year, the trumpeter has also performed with many of the finest symphonies and at some of the world’s most prestigious venues from Carnegie Hall and the Hollywood Bowl to the Sydney Opera House and the Real Teatro di San Carlo in Italy.  And Botti’s month-long residency at Blue Note New York is a longstanding staple of the holiday season.

Tito Puente And His Latin Ensemble | "Mambo Diablo"

Craft Latino announces the first-ever vinyl reissue of Mambo Diablo, the acclaimed 1985 album from legendary bandleader and percussionist Tito Puente. Offering a lively blend of standards and originals (including fan favorite “Mambo Diablo”) this long-out-of-print classic finds the King of Latin Jazz putting his own twist on classics like “Take Five,” “Lush Life” and “Lullaby of Birdland” (featuring its composer, George Shearing, on piano). Set for release on May 26 and available for pre-order today, Mambo Diablo was cut from the original master tapes (AAA) by Kevin Gray at Cohearent Audio. Pressed on 180-gram vinyl and housed in a tip-on jacket, the album also features its original liner notes by the Emmy®-winning journalist and longtime New York City TV reporter Pablo Guzman. Additionally, Mambo Diablo will make its debut on hi-res audio (192/24).

This special reissue arrives as Craft Latino celebrates the centennial of Tito Puente. Throughout the year, Puente’s vital contributions to Latin music will be honored through special reissues (including an April release of the bandleader’s 1972 classic, Para los Rumberos), exclusive digital content and much more.

Tito Puente (1923–2000) lived countless musical lives during his five-decade-long career. When he signed with Concord Picante in 1983, the celebrated songwriter, bandleader, producer and percussionist was enjoying living legend status, with absolutely no signs of slowing down. For more than 30 years, the New York–born, Puerto Rican timbalero had reigned as the King of Latin Jazz, while his hugely popular records (and hits like 1962’s “Oye Como Va”) brought Afro-Cuban and Caribbean rhythms into the mainstream, popularizing styles like mambo, cha-cha-chá and son. In the ’70s, Carlos Santana’s hit renditions of “Para los Rumberos” and the aforementioned “Oye Como Va” introduced Puente to a new generation of fans, while the ’80s ushered in yet another career resurgence for the prolific bandleader.

1985’s Mambo Diablo stands as a particularly high point in Puente’s catalog during this period and marks the bandleader’s third release with Concord Picante (the then recently established Latin arm of Concord Records). A refreshing blend of classic and original material, Mambo Diablo deftly bridges the gap between Latin and jazz and serves as a testament not only to Puente’s versatility as a musician (his outstanding work on the vibraphone can be heard throughout the album) but also as an expert arranger. “His ideas, segues, choruses, and handling of [the] ensemble’s sections simply [sparkle],” praises Pablo Guzman in his liner notes.

Puente and his all-star Latin Ensemble put their magic touch on standards like Billy Strayhorn’s “Lush Life,” the Jerome Kern/Dorothy Fields classic “Pick Yourself Up” and Paul Desmond’s “Take Five” (made famous by Dave Brubeck), while their sublime rendition of “Lullaby of Birdland” features a cameo by the song’s composer, George Shearing, on piano. Rounding out the album is a classic bolero, “No Pienses Así,” courtesy of the legendary Cuban composer Pérez “Pepe” Delgado. Mambo Diablo also features several originals, including “China” and the joyful title track, which opens the album. Led by Puente on the vibes, “Mambo Diablo” showcases the talents of his band members, including Sonny Bravo (piano), Bobby Rodriguez (bass), Jose Madera (congas, percussion), Johnny “Dandy” Rodriguez (bongos, percussion), Jimmy Frisaura (valve trombone, trumpet, flute), Mario Rivera (flute, saxophone) and Ray Gonzalez (trumpet, flugelhorn).

Reflecting on the album, Guzman argues that Mambo Diablo—and the diversity of its tracklist—allows fans the opportunity to witness the full scope of Puente’s musicianship: “Puente is about much more than being a richly rhythmic drummer.”

While Puente was in his early 60s when Mambo Diablo was released, he was still very much in the prime of his career—with plenty more to accomplish. In the following years, he would perform at the 1996 Summer Olympics’ closing ceremony, appear in a variety of films (including 1987’s Radio Days, 1992’s The Mambo Kings and the 2000 documentary Calle 54), and even make a cameo on The Simpsons. At the time of his death, his catalog boasted over 100 albums and more than 400 compositions, while his lengthy list of collaborators included such legends as Quincy Jones, Dizzy Gillespie and Celia Cruz. During his five-decade-long career, Puente also received a multitude of honors, including five GRAMMYS®, Billboard’s Latin Music Lifetime Achievement Award and the prestigious National Medal of Arts from the United States government.

Emilie-Claire Barlow | "Spark Bird"

During the dark isolation days of the coronavirus pandemic, award-winning Canadian songstress Emilie-Claire Barlow found herself at an artistic crossroads. She questioned if she would ever want to make another record to add to her impressive 12-album oeuvre. She hadn’t been able to tour and she wasn’t aroused to assemble a new collection of songs.

In her 25-year career of delivering a distinctive and accessible style of vocal jazz, Barlow has accrued a remarkable resume of critical success, including seven Juno nominations, with two jazz vocal Junoawards—2013’s best Jazz Vocal Recording for her all-French song collection Seule ce soir and her Clear Day collaboration with the Metropole Orkest winning the same award in 2016. Also in 2013, Barlow scored a Felix Award for Seule ce soir as ADISQ’s Album of the Year—Jazz Interpretation. Previously, she had been named Female Vocalist of the Year at the 2008 National Jazz Awards.

So, despite the pause time of recent years, you can’t fully quiet a vital creative artist. Case in point: Barlow’s return to action with her brilliant new album, Spark Bird, that she co-produced with her partner Steve Webster.

After a five-year hiatus from releasing a full album, this year finds Barlow in fine Spark Bird shape to wing her career to a new plateau. Little did she guess during the dark times that a daily visit from a yellow-winged cacique that is native to the southern Pacific Coast of Mexico would inspire her to dedicate an entire album of songs to birds of all shapes and varieties.

Released on her own independent label, Empress Music Group, which she founded in 2005, Spark Bird takes flight in its entirety on March 31. As Barlow writes in her liner notes, “A bird arrives and changes everything.” Before its debut, she is offering a cascade of singles, beginning January 20 and continuing every two weeks until the release date. “Birds have the power to completely transport me,” says Barlow, who splits her time between Toronto and Mexico where she and Webster are building a house with a fully operational studio. “So, when I decided to do the album, I started going down this path of gathering songs about birds. They’re my joy, my fascination. These songs tell a story.”

The first hatching comes with Barlow delivering a bright jazz voyage into the Harold Arlen-Yip Harburg standard, “Over the Rainbow” (the single released on January 20). Relaxed yet energetic, Barlow leads the way for her quintet to soar into a percussive bossa swing. True to her theme, she buoyantly sings, “If bluebirds fly over the rainbow, why can’t I fly?”

Barlow follows the first single on February 3 with the playful single “Fais comme l’oiseau” (translated: “Do Like the Bird”) where she delightfully sings in French the hopeful voice of bird-like patience while swinging with tenor saxophonist Kelly Jefferson’s lyrical lines. Choral translation: “Act like a bird/It lives on pure air and fresh water/On a bit of hunting and fishing/But nothing ever stops it from going higher.”

Both singles offer a fresh beginning to a captivating eight-song avian journey that began with the magical cacique incident.

“In our Mexican home, the biodiversity is incredible,” Barlow says. “The bird activity is off the charts. My first personal experience came when a bird kept tapping on the window of our guest room and squawking loudly. When I tried to catch a glimpse, it would fly out. So we set up a camera and caught this wonderful, comical activity of a yellow-winged cacique that I discovered was a very common bird for this area. I started spotting them everywhere and hearing them—their vocabulary fascinates me.”

She started to tune into the variety of bird voices that she says is a “constant soundtrack,” with rhythmic tapping, high-pitched whistles, piercing calls, soft sporadic whistles, diatonic melodies. “It’s the closest thing to living in an aviary,” she says. “As the sun appears, you hear the orchestra warm up. Birds are nature’s musicians.”

Barlow hastens to note that while she is not a member of an organized birder group, her appreciation of the choirs and colors of birds has heightened her passion to learn more about her winged discoveries.

Other bird songs include a show-stopping, uptempo reimagining of Stevie Wonder’s 1974 hit “Bird of Beauty” (part of the chorus encouraging ”Take a chance and ride the bird of beauty of the sky”). Then there’s Barlow’s unique sexy, romantic, blues-touched read of the Hoagie Carmichael/Johnny Mercer standard “Skylark” with a surprising swell of strings arranged by Drew Jurecka. On the Gershwin & Gershwin classic tune, “Little Jazz Bird,” Barlow swerves from the obvious with the playful song—adding in another popular melody from the ’20s, “When the Red, Red Robin (Comes Bob, Bob, Bobbin’ Along)," as a countermelody and ending the song with guitarist Reg Schwager’s solo that Barlow uses for a noteworthy stretch of vocalese.

Barlow sings deep into the mystery and longing of the futuristic “Where Will I Be?”—“When there’s no more rain, no more sun/Will there still be birds?”—by the Toronto-based composer Hannah Barstow who plays piano on the track and in Spanish renders Manolo Garcia’s “Pájaros de Barro” in a duo format with pianist Chris Donnelly as the appropriate closing song about seizing the day and flying free.

The most poignant song of the collection is Barlow’s moving take on Coldplay’s “O” that was arranged by band pianist Amanda Tosoff. “This song has a special meaning,” the singer says. “I tragically lost a young family member in a plane crash. He and I and his mom were big fans of Coldplay, so the lyrics of ‘fly on’ are so relevant. I played this at his funeral. For this album version, we used strings and Rachel Therrien offers a melancholic, mournful flugelhorn solo.”

In addition to the bird songs of joy and sorrow on Spark Bird, Barlow has worked with graphic designer Caroline Brown of Whitebear Design to create original bird illustrations. “Caroline’s avatars for each song are so whimsical, playful and special,” Barlow says. “And she has me interacting with them in some way. There’s a happy orange-breasted bunting for ‘Over the Rainbow,’ a graceful and solitary great blue heron for the darkness of ‘Fais comme l’oiseau,’ a flock of swallows for ‘O,’ a ridiculously cute Australian pink robin for ‘Little Jazz Bird.’ And the signature bird for ‘Pájaros de Barro’ is my yellow-winged cacique.”

So, Spark Bird ends with the noisy, comical bird that served as the inspiration for her soulful, emotive music. In her liner notes, Barlow writes, “When that cacique tapped on my window, I felt a spark. Not just a budding bird obsession, but the curiosity and desire to see what life would be like if I spent more time in this place that makes me feel so buoyant and full of wonder…the birds—a constant source of joy and inspiration—have reignited my spark. For that, I’m full of gratitude.”

New Music Releases: Dan Wilson, Nevaris, Lucas De Mulder, Will Summer

Dan Wilson - Things Eternal

Dan Wilson has new album coming out May 19! Things Eternal was co-produced by Christian McBride and Wilson and will be available on CD and digital. This album is centered around the shock of losing a lot of people that were central to Wilson's upbringing. Wilsons says that navigating this grief brought back to the surface a hymn lyric that has always resonated with him: "Build your hopes on things eternal and hold on to God's unchanging hand." The first song on guitarist and composer Dan Wilson’s Things Eternal opens with a recorded voicemail from the late organist, personal mentor and dear friend Joey DeFrancesco, serving as a tribute, guiding light and mission statement. Throughout a curated selection of 12 songs, Wilson gathers hope and inspiration from ancestral wisdom, dedicated to the enduring quality of the human spirit. From unique takes on classics from The Beatles, Sting, Stevie Wonder, Michael Brecker, Freddie Hubbard and McCoy Tyner to original compositions, Wilson has crafted an impeccable statement for the world to take notice. 

Nevaris - Dub Sol

Touted by Carlos Santana as "a work of supreme creativity”, NYC artist Nevaris presents 'Dub Sol', the lead track from his 'Reverberations' LP, forthcoming via celebrated label M.O.D. Reloaded. Nevaris' third collaboration with Bill Laswell and this lineup of musicians, this album focuses on the dub aspects of their sound, combining dub, funk, Afro-Latin rhythms, turntablism and improvisation. Hailing from the Upper West Side of Manhattan, he is of European and Mexican descent with multi-generational roots in NYC and LA. Nevaris has recorded and performed with an evolving lineup of musicians under the name Loud Apartment, most notably Bernie Worrell of P-Funk and Talking Heads fame. 

Lucas De Mulder - Feel The Spirit

‘Feel the Spirit’ finds Lucas De Mulder as the newest bearer of the torch of deep funk and boogaloo guitar work. Produced by Eddie Roberts, bandleader and guitarist of the international funk group, The New Mastersounds, the album is a direct eulogium to Grant Green’s iconic 1962 record ‘Feelin’ the Spirit.’ De Mulder and Roberts connected while Roberts’ all-star soul project Matador! Soul Sounds was touring through Spain and the two found themselves at a jam session at The Intruso Bar where Roberts immediately recognized their simpatico style of playing and acute influence from Grant Green. A few weeks later, De Mulder sent Roberts a demo and was immediately invited to record a record at Roberts’ Color Red Studios in Denver, Colorado. The sessions featured fellow members of The New Mastersounds Joe Tatton (keyboards) and Simon Allen (drums) as well as Nate Edgar (bass) of The Nth Power. The joyful, imaginative spirit of Grant Green’s playing is kept alive in a new generation through De Mulder’s beyond-his-years wisdom and thoughtful navigation on his instrument. 

Will Summer - Meadowlark

After a series of edgy electric guitar driven Smooth Jazz albums featuring beachy and summery titles like C0ast Drive and Ride The Wave, multi-talented musician-composer Will Sumner got more personal with his 2021 release Ocean Street, which featured songs emotionally connected to his longtime former family home in Carlsbad, where his mother lived until her passing at 96. On this latest, truly innovative sonic excursion Meadowlark, Will keeps his trademark blend of buoyant funk/rock, sensual atmospheric balladry and breezy, piano-enhanced melodic grace flowing in loving homage to the beautiful working alfalfa farm in Apple Valley, California. owned by his grandmother in the 1960s and 1970s. The collection of infectious tunes brings to life grandma’s warmth and generosity, as well as the sweet nostalgia of his childhood summer vacations there.  ~ www.smoothjazz.com   

New Music Releases: Rob Mazurek Exploding Star Orchestra, The Dining Rooms, Emily Braden, The Composers Collective Big Band

Rob Mazurek Exploding Star Orchestra - Lightning Dreamers

A killer set from a group that may well be the most perfectly realized version of the Exploding Star concept from Rob Mazurek – one who've got some fantastic parts that come together here in a wonderfully visionary record! Rob's still in the lead on trumpets and electronics – but the group really resonates from some key contributions from Damon Locks on voice and more electronics – at a level that has him rising to that long-overdue role of stardom, which seems to give the whole group an even greater source of focus and energy. Jeff Parker lays down some wicked guitar, Angelica Sanchez and Craig Taborn are fantastic on Wurlitzer electric pianos and moog – and the great Nicole Mitchell is on flute and a bit of vocals. There's a sense of majesty here that Mazurek has never had before – and the album is maybe one of the most crowning achievements in his long and very storied career. Titles include "Future Shaman", "Shape Shifter", "White River", "Dream Sleeper", and "Black River".  ~ Dusty Groove

The Dining Rooms - Rarities And Outtakes EP1

Milan-based duo The Dining Rooms have been a fixture of the local underground scene for more than 20 years and of the most popular signee of Schema Records. Currently working on their 10th album, due to be released early 2024, the duo consisting of Stefano Ghittoni and Cesare Malfatti is set to release two digital EPs of Outtakes and Rarities. First in line is EP1, a 3-tracker including  'Education of a Scoundrel' featuring Sean Martin, originally released on the French version of the album 'Ink' in 2008; the song takes the cue from the live version of 'M.Dupont'. 'Odd are the words' featuring Chiara Castello is an outtake from the 2002 album 'Turn To See Me' . The third and final track selected for the EP is a new edit of Four Tet's remix of 'Così Ti Amo'

Emily Braden - Cannon & Sparrow

Boise-born, Harlem-honed vocalist, songwriter and lyricist Emily Braden’s sound is an effortless blend of jazz and soul. Winner of New York City’s ‘Best of the Best’ Jazzmobile Vocal Competition, she has been a celebrated name on NYC’s music scene for more than a decade. Braden’s sophomore release Cannon & Sparrow is a vibrant collection of powerful originals and reimagined standards. Both daring and delicate, the album marks the second studio collaboration between Braden and her musical partner of more than fifteen years, Misha Piatigorsky. As producer, pianist, composer and arranger, Piatigorsky expertly spotlights Braden’s vocal freedom and fresh and forward interpretation. The catalyst for Cannon & Sparrow was the passing of Braden’s father within a week of the 2016 presidential election. The recording process began years later, and was completed in the early days of the global pandemic. The songs were largely workshopped in front of international audiences over the course of Braden’s residency at NYC’s famed 55 Bar. Cannon & Sparrow confronts the truth that it is often the heaviest things in life that jolt us alive. Braden’s vocals shine and soar with an uplifting message of love and resilience in dark times. 

The Composers Collective Big Band – The Toronto Project

What is the sound of a city? With The Toronto Project, the Composers Collective Big Band has put together its most ambitious project yet, commissioning Toronto’s top jazz composers to write about the neighbourhoods and aspects of their city that inspire them  the most. The Composers Collective Big Band is an 18 piece jazz ensemble led by trombonist and composer Christian Overton. Since forming in 2005, the group’s mandate has been to present new works for large jazz ensemble by Canadian composers. Toronto has been known as a great jazz city for decades. When jazz fans all over the world hear bands like Rob McConnell and the Boss Brass, they instantly recognize the swinging arrangements and immaculate playing as being emblematic of  the Toronto sound. Today, that sound is evolving into something new – an audacious sensibility forged by a diverse new generation of jazz musicians. Discover the unique people and places that make up Toronto as seen through the eyes of its finest jazz artists.

Phillip Bailey - State Of The Heart: The Columbia Recordings 1983 to 1988

A trio of solo albums from Phillip Bailey – presented here with bonus material too! First up is Continuation – an 80s soul classic from Philip Bailey – stepping out here from Earth Wind & Fire in a set that has him sparkling strongly as a solo act! The vocals still have that trademark Bailey sound – a wonderful range that's never overdone, and which seems to shine especially well on the mellow and midtempo tunes in the set! Production is by George Duke, who does a lot to preserve the jazzier warmth of Bailey's previous settings – and although there's a bit more crossover potential here, the sound is still never too commercial or aimed at the charts. Titles include "It's Our Time", "Trapped", "I Know", "I'm Waitin For Your Love", "Desire", "The Good Guy's Supposed To Get The Girls", and "Your Boyfriend's Back". 

Next is Chinese Wall – a big breakthrough for Philip Bailey – and a record that was kind of a second-level explosion for the Earth Wind & Fire sound in the 80s! There's a definite crossover feel to the record – a style that takes Bailey's soulful vocals, and mixes them with lots of catchy hooks – in ways that push the Kalimba aesthetic even more into mainstream modes. Yet the album's still got some solid soul grounding, too – thanks to arrangements by Tom Tom and Arif Mardin – which is a nice contrast to the production by Phil Collins, who also guests on the hit "Easy Lover". Other cuts include "Time Is A Woman", "Go", "Walking On The Chinese Wall", "Photogenic Memory", "I Go Crazy", and "Children Of The Ghetto". 

Last is Inside Out – a set that has Philip Bailey working with Nile Rodgers, who gives him a lean, clean sound that works perfectly with his vocals! The sound is a nice change from the direction Bailey was heading in previously – a return to the focused soul of the later Earth Wind & Fire years, with his amazing lead opening up in ways that few other singers can match. Tunes are pretty well-penned too – catchy, but never cloyingly commercial – and titles include "State Of The Heart", "Welcome To The Club", "Special Effect", "Because Of You", "Take This With You", "The Day Will Come", "Back It Up", and "Echo My Heart". 3CD set features nice bonus material – "I Know (ext dance mix)", "Love Is Alive", "Easy Lover (with Phil Collins)", "Walking On The Chinese Wall (single)", "State Of The Heart (dub mix)", "Twins (with Little Richard)", "Twins (club mix)", and "Easy Lover (ext dance mix)".  ~ Dusty Groove

Ryan Meagher | "AftEarth"

Guitarist and composer Ryan Meagher explores postapocalyptic soundscapes—and imagery—on the scintillating AftEarth, set for a May 19 release on Atroefy Records. On one level a quartet recording—with Portland, Oregon-based saxophonist Tim Willcox, bassist Andrew Jones, and drummer Charlie Doggett delving into 11 Meagher compositions (and a jazz setting of a Felix Mendelssohn composition)—it is also a collaboration with visual artist Tina Granzo, whose lonesome, haunting pen-and-ink images form the album’s packaging.

Though largely created in the shadow of the worldwide COVID-19 pandemic, AftEarth was initially conceived earlier, as a cross-disciplinary project dealing with themes of apathy, inaction, and the devastating effects they could bring to the world. With the advent of the pandemic, alienation and mortality inevitably became major players among those themes.

“Tina drew a ‘seed’ drawing for each [theme],” explains Meagher (pronounced Marr). “I wrote music for each theme/seed, and then she drew more art for each tune after hearing the music.”

The drawings feature odd juxtapositions of nature and manmade objects, portending the aftermath of ecological and technological disaster. While they unquestionably explore humans’ effects on the world around them, the drawings are empty of humans themselves; while Granzo simply believes that she is “terrible at drawing people,” that emptiness itself is a key component of both the visual and sonic sides of the project. The slow pace and echo effects of “AftEarth,” “End of the Rainbow,” and “The American Scream” suggest vast, lonely landscapes, bereft of companionship, while the melodic shapes of “Refuse, the Redeemer,” “Vanity’s Breath,” and “Scorched Berth” evoke an insular kind of sadness and regret.

Art and music are also featured in a series of videos created by Granzo and posted on Meagher’s web site (ryanmeagher.com, password: AmericanScream). “This project was partly inspired by the animated videos Brad Mehldau released alongside his Finding Gabriel album,” says Meagher (pictured below right with Granzo). “Tina’s videos are one of the more compelling aspects of the abstract storytelling we set out to do. We wanted them to unfold slowly while the music develops, and for the viewer to wonder where this whole thing is going next.”

Yet for all its melancholy, both the art and the music are singularly beautiful. Meagher’s playing uses a variety of moods and colors to build striking melodies and solos, and locks in beautifully with Willcox’s tenor and soprano saxes and, on three tracks, Clay Giberson’s piano and keyboards. Even more locked in are Jones and Doggett, who share a stark instinct for rhythmic punch.

Some of AftEarth’s themes became manifest during its creation. An early version of Meagher’s band fell apart due to their unease at rehearsing during COVID’s reign, and the ultimate recording took place during a freak summer heatwave in Portland. Nevertheless, they persisted, and their efforts paid off handsomely—casting a ray of hope on the dark themes of the project. If these musicians can succeed, the rest of us can, too.

Ryan Meagher was born in 1981 in San Jose, California. His childhood was driven by a love of baseball until, in his early teens, the discovery of grunge music led him first to Nirvana, then to the African American traditions of jazz and blues. The new passion carried him through high school and on to San Diego State University, where he was mentored by trumpeter Gilbert Castellanos.

Meagher moved in 2003 to New York City, a year later making his debut album Sun Resounding with pianist Bryn Roberts and drummer Greg Ritchie. Fresh Sound New Talent releases Atroefy (2009) and Tone (2012) followed, the latter made during a bicoastal period: Meagher was living in New York but also attending graduate school at the University of Nevada, Reno. That same year, upon completing his MM, he moved to Portland, Oregon full time.

Upon arrival, Meagher quickly became a crucial component of the Rose City’s bustling jazz scene. He currently serves as cofounder and programming director of the Montavilla Jazz Festival, artistic director of the Portland Jazz Composers Ensemble (and director of its attendant record label, PJCE Records), director of jazz programs at Lower Columbia College, and a teacher of guitar at both Mount Hood Community College and the University of Portland. He also works regularly with Portland luminaries including pianists George Colligan and Andrew Durkin, saxophonist Bryan Smith, and bassist Chris Higgins, in addition to Willcox, Jones, and Doggett. AftEarth is his ninth recording.

Gregory Goodloe | "In This Love"

It’s a fragrant love affair and on the eve of Jazz Appreciation Month, R&B-jazz guitarist Gregory Goodloe composed a fervent song of love and appreciation that drops as a single on Monday from Hip Jazz Records. Goodloe wrote “In This Love” with producer Jeff Canady to covey his ardor and affection as well as his gratitude for the gift of music.

“For as long as I can remember, you have been a great part of my life. As long as you stay with me, I know that I will love you all of my life. Unspeakable melodies, harmonies, tones, major and minor keys have given me inspiration every day. ‘In This Love’ is dedicated with devotion to a way of life, and a deep love of music. Let me pass it on,” said Goodloe, who topped the Billboard singles chart for the first time in 2019 with “Stylin’,” receiving more than four million Spotify streams.

Poetically lyrical guitar verses and impassioned improvised solos drive the funky rhythm track, soulful groove and vibrantly cascading choruses on “In This Love.”  With Goodloe’s classic cool jazz electric guitar in the fore, Canady’s sturdy drum beats, Robert Skinner’s rubbery basslines, Demetrius Nabors’s keyboard melodies and Gary Johnson’s rhythm guitar decorate the track with lush sound. 

“I have loved music for as long as I can remember. It’s always been a part of me and my soul. I’ve learned one thing in life and that is music can bring us through our ups and downs, through our good times and bad. My love, devotion and dedication to music has brought me to respect music and the love that it brings to the world. I feel so blessed to be able to share my expression of music,” said Goodloe, a Denver native.

“In This Love” is Goodloe’s second consecutive single with Canady. They teamed on “In Paradise” in 2021. Earlier releases include collaborations with multiple Grammy nominated saxophonist Darren Rahn (“Stylin’”), seminal urban-jazz keyboardist Bob Baldwin (“Cool Like That”), Billboard chart-topping guitarist Adam Hawley (“Somewhere Out There”), and Barbadian saxophonist Elan Trotman (“Step’N Out”).

Growing up strumming the guitar to Wes Montgomery and George Benson records, their presence is heard and felt in Goodloe’s recordings. He played drums and guitar through high school and while attending Bishop College, an HBCU in Dallas. After serving in the United States Army, Goodloe embarked on a recording career, debuting in 2016 with the single “All The Way.” Goodloe has performed at premier jazz festivals and has shared the stage with Howard Hewett, Tank, Ben Tankard, Norman Brown, Dave Koz, Brian Culbertson, Michael McDonald, James Ingram, Roy Ayers, Shirley Caesar, Angela Spivey, John P. Key, The Rance Allen Group and Larry Dunn of Earth, Wind & Fire fame, a fellow Denverite. Goodloe hosts his own radio show, “Mile High Smooth Jazz,” which airs on World Wide Jazz Radio.