Senri Oe | "Class of '88"

Ever wondered what would happen if Justin Timberlake suddenly fell under the spell of Bud Powell? That’s essentially what happened fifteen years ago, when J-Pop superstar Senri Oe decided to give up his celebrity life in Japan and reconnect with his teenage love of Bill Evans and Thelonious Monk. At 47 he moved to New York City, enrolled at the New School for Jazz and Contemporary Music, and reinvented himself as a jazz pianist.

With seven jazz albums to his name since his 2012 re-debut Boys Mature Slow, it had been safe to say that Oe never looked back – until now. On his latest album, Class of ’88, Oe comes full circle with a piano trio album revisiting several of his classic pop hits, featuring bassist Matt Clohesy (Darcy James Argue, Seamus Blake) and drummer Ross Pederson (Manhattan Transfer, Grace Kelly). Due out June 30, 2023 via PND and Sony Music Masterworks, the album is at once a surprising look back and a brilliant look at how far the pop star-turned-piano virtuoso has come. 

“It's fun to turn the pages of the book called life,” Oe muses poetically. “Appearing on TV and being picked up in a huge limousine were valuable experiences for me. But starting over next to my 20-year-old classmates at the New School was also a valuable and fresh experience. This album is a trip back and forth into the past, the present and also the future.”

While his name may be unfamiliar to American audiences, it’s hard to overstate how famous Senri Oe became in his home country during the ‘80s and ‘90s. From his debut performance on STV Radio’s Sunday Jumbo Special in 1983, Oe released 45 hit singles and nearly 20 albums, more than half of which won the Japanese Gold Disc Award. He has written songs for more than 30 J-Pop artists, including the winner of the 1999 FNS Pop Music Award for Best Song, and he hosted a talk show on Japan’s national broadcasting network, NHK.

2023 marks the 40th anniversary of that debut, but Oe chose a different year to commemorate in the title of Class of ’88. That year saw the release of one of his most successful albums, 1234, which was awarded the Album of the Year prize at the third annual Gold Disc Award (Japan’s equivalent to the Grammys). Oe also saw parallels in the monumental social and political events occurring then and now.

“A lot of things happened at the end of the Cold War that seem very similar to what’s happening in 2023,” he says. “So I thought about my history and wrote some brand new tunes, and I tried combine and mix them up to see if I could make great chemistry happen.”

Class of ’88 features three new tunes alongside Oe’s reimagined classics: the Monk-influenced ballad “Poetic Justice,” the alluring Brazilian fantasy “Lauro De Freitas,” and the wistful “Class Notes,” a beautiful solo piece that serves as the album’s nostalgic theme song. While Oe praises Monk as his favorite composer, the gorgeous lyricism in his playing reflects his supreme influence, Bill Evans. “That's the most beautiful music in the world,” he says of the iconic pianist. “Tender, strong, powerful, kind and genuine. I was shocked when I was 15 and I heard Bill Evans for the first time.”

Class of ’88 opens with the title track from Oe’s 1990 album Apollo – an apt kick-off for the album as the original lyrics looked back over the decades from the ‘60s through the ‘90s while reflecting on the changes in society since the onset of the space program. “Bamboo Bamboo (Takebayashi wo Nukete)” comes from the same album, the original’s pulsing dance beat replaced by Pederson’s more complex rhythms.

“The challenge I kept in my mind when arranging these songs was not to change the original melody or chord progression,” Oe explains. “Japanese listeners will instantly recognize the original songs in my new jazz world. So the biggest changes I made were in the meters and polyphonic approach.”

“I Wanna Live With You (Kimi To Ikitai)” transforms the original ballad, from 1986’s Avec, into an uptempo Latin number. The title track from the same album closes the album, its original lyrics protesting war in Libya becoming a lament for the decades of conflict and bloodshed that have followed in the region and around the world. On an arrangement inspired in equal parts by George Duke and Hall & Oates, Oe cedes some of his original vocal melodies to Clohesy’s eloquent bass on “Cosmopolitan,” originally recorded for Chibusa (1985).

“My Glory Days (Glory Days)” is the thematically appropriate single from 1234, played as a straight melody by Oe alone at the piano. The humor in “Stella’s Cough,” from the 1987 album Olympic, comes through in the trio’s buoyant, joy-filled new version, while “Fish,” from 1988’s Red Monkey Yellow Fish, becomes a jaunty swinger as infectious as its ‘80s pop counterpart.

Though Senri Oe has left his pop past behind (“No more dancing!” he declares with a laugh), the 62-year-old pianist has never forsaken his songs from that era. With Class of ’88 he finds himself in the unique position of recontextualizing his own music as if they were jazz standards.

“My pop tunes and my jazz tunes were all written by Senri Oe,” he concludes. “I imagined myself throwing a ball over the net from the jazz side to the pop side. It was great to reopen my ‘80s treasure box.”

New Music: Pierre L. Chambers, Walter Smith III, Karl Berger & Kirk Knuffke, Behn Gillece

Pierre L. Chambers - Shining Moments

Although vocalist and poet Pierre L. Chambers began performing nearly 40 years ago, he has never recorded a solo album. He had been thinking about recording an album, and an encounter with Cathy Segal Garcia at a performance was the spark he needed to set the project in motion. Chambers’ debut album, Shining Moments, is a collection of modern jazz classics in a range of styles, interspersed with a couple of his poems recited to improvised music. Whether singing a ballad or a bebop or swing tune, or reciting his poetry, Chambers’ warm baritone voice renders a song with heartfelt honesty. Chambers’ love of jazz is in his DNA. His father, bassist Paul Chambers, was one of the most iconic jazz musicians of the 20th century, but it was his mother, Annie Chambers, who instilled in him his love of jazz. Chambers dedicates Shining Moments to his parents and the influence they had on his artistry. Chambers has a resonant, soulful voice that cuts right to the emotional center of a song. His emotive renditions of classic jazz tunes reveal an artist who is not only well-versed in the language of jazz but a poet who is sensitive to the affective nuances of language. A pamphlet with three of his poems accompanies the CD package. Shining Moments is an auspicious debut for an artist who has been flying under the radar for far too long.

Walter Smith III - Return To Casual

The Blue Note debut of tenorist Walter Smith III – a player who's been making great music for almost 20 years on record, yet who really seems to push himself even more here! The album seems to mark a new chapter in Smith's music, and one that also really has a distinct voice on the tenor as well – a mode that's pointed and personal, yet sometimes understated too – at a level that has Walter's role in the rest of the group's sound as important to his individual presence as a soloist. The group sparkles with work from Taylor Eigsti on piano, Matt Stevens on guitar, Harish Ragavan on bass, and Kendrick Scott on drums – and Ambrose Akinmusire guests on trumpet on one key track too. But throughout, the vision is that of Smith – not just for his own horn, but that of the whole group – as they move through tunes that include "Shine", "Contra", "Lamplight", "Mother Stands For Comfort", and "Pup Pow".  ~ Dusty Groove

Karl Berger & Kirk Knuffke - Heart Is A Melody

The cornet work of Kirk Knuffke is always a treat, and Kirk is one of our favorite players in the world of brass in recent years – but it sounds especially nice here in the company of the great Karl Berger – who adds in vibes, Fender Rhodes, and even a bit of melodica – all in ways that really seem to bring out some new energy and different phrasing in Knuffke's horn! Both musicians have a distinct presence on their own, but really unite here with sympathetic vibrations that are great – not their first time together, but maybe their best pairing on record so far – working here in a quartet with Jay Anderson on bass and Matt Wilson on drums. The title track is a remake of the Pharoah Sanders tune of the same name, and the group also served up a nice version of Don Cherry's "Ganesh" – alongside originals that include "Why Not", "Noble Heart", "Ornette", "Gentle Giant", and "Before Or Since". ~ Dusty Groove

Behn Gillece - Between The Bars

Cascading vibes from Behn Gillece – easily one of our favorite contemporary players on his instrument, and a musician who always seems to find a great way to resonate with his bandmates on a session! This date has Gillece mixing his warmly chromatic sound with great contributions from Art Hirahara on piano and Fender Rhodes, Diego Rivera on tenor, Altin Sencalar on trombone, and Patrick Cornelius on alto, soprano, and bass clarinet – musicians who don't all crowd in at once, but are nicely spaced in ways that really help shape the sound of the record when they appear. Rhythm is from Peter Slavov on bass and Vinnie Sperrazza on drums – and the record is filled with great original tunes from Behn – including "Between The Bars", "Mindful Moments", "Roamers", "It's Like Magic", "Due Up Next", "Thinking Cap", "Celestial Lullaby", and "Horizons". ~ Dusty Groove

Pat Metheny | "Dream Box"

Legendary American jazz guitarist, composer and improviser Pat Metheny announces his newest album, Dream Box, on the BMG Modern Recordings label on June 16. The album is available now for pre-order on CD, vinyl or digital formats. Comprising nine “found tracks” for “quiet electric guitar,” Metheny describes it as "a unique recording for me; it is essentially a compilation of solo tracks recorded across a few years that I only discovered while listening on tour.” Two singles will be released in advance of the full album: “From the Mountains” out now, and “Ole & Gard” on May 12. 

Despite a catalogue of 50 recordings that have won 20 Grammys in twelve different categories, Metheny’s “complex and restlessly curious musical sensibility” (The Guardian) continues to lead him in new directions. As he says in the liner notes, he “live[s] on output, with little or no time for input,” but on tour that formula changes: traveling frees up hours, even if on a bus or in a hotel room. It was thus while on tour that he began rummaging through these recordings. He explains:

“I was surprised to find this program emerging as a coherent whole. I found that I had unintentionally gotten to a destination I had not planned for. … These nine tracks were my favorites and added up to something unique for me. I never played anything more than once. These are really moments in time, and in fact, I have almost no memory of having recorded most of them. They just kind of showed up. Every track but one reflects a method of recording that began for me on the piece ‘Unity Village’ way back on Bright Size Life; an initial harmonic part with a second track of melodic and improvisational material.”

Measured in terms of influence, Metheny’s catalogue is in a class by itself. New Chautauqua from 1979 almost single-handedly defined an era of instrumental steel-stringed Americana that spawned legions of imitators. Zero Tolerance For Silence pushed the boundaries of modern music-making once again, and was a companion piece to the Grammy-winning disc Secret Story. The Orchestrion Project – for which Metheny wrote the music and built a series of instruments to be controlled by his guitar, recording the results both in the studio and in a live concert – was so new in conception and execution that even a decade-plus later, it stands apart from any previous ideas of what a solo performer might achieve alone onstage.

Against those projects there has been yet another stream of development: two back-to-back Grammy-winning solo baritone guitar recordings, One Quiet Night and What's It All About, the predecessors to Dream Box. Not only do they shine as pure solo guitar recordings, they introduced an entirely new tuning system that allowed Metheny to create an almost orchestral range from bass to soprano within the realm of a simple steel 6-string guitar.

The title Dream Box has multiple meanings. “Box” is jazz slang for a hollow-body guitar, and Dream Box documents many different guitar sounds. But “Dream” is the key here, as in the dreaming of Metheny’s singular imagination and a “dream logic” that is hard to pin down but absolutely coherent. In his own words: “Dreams in their broadest sense make up the vibe with this set. Music exists for me in an elusive state, often at its best when discovered apart from any particular intention.”

Meanwhile, Metheny has a host of tour dates lined up in the U.S. and Europe with his Side-Eye Trio (visit Pat’s website for details).  Launched in 2016 as a platform for up-and-coming players, this iteration features pianist Chris Fishman and drummer Joe Dyson. The Side-Eye tour begins in June and moves to Europe in July.  Beginning in September, Pat launches a fall tour in support of Dream Box with destinations throughout the U.S.

Pat Metheny was born in Lee's Summit, MO on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility -a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to redefine the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument.

Metheny's versatility is nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. Metheny’s body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces and even the robotic instruments of his Orchestrion project, while always sidestepping the limits of any one genre.

As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument. Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool. He also has been instrumental in the development of several new kinds of guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez’s PM series jazz guitars, and a variety of other custom instruments.

It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for (Still Life) Talking, Letter from Home, and Secret Story. He has also won 20 Grammy Awards spread out over a variety of different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition at one point winning seven consecutive Grammies for seven consecutive albums. In 2015 he was inducted into the Downbeat Hall of Fame, becoming only the fourth guitarist to be included (along with Django Reinhardt, Charlie Christian and Wes Montgomery) and it’s youngest member. Metheny has spent much of his life on tour, often doing more than 100 shows a year since becoming a bandleader in the 70’s. At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions.  

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