Chris Standring | "The Lovers Remix Collection"

Guitarist Chris Standring wanted to do something special to commemorate his 25th anniversary as a solo recording artist. While his contemporary jazz-based catalogue is comprised of a variety of tones, tempos and textures - from instrumental pop and improvisational jazz to soul powered funk and romantic ballads - the requests that he receives most from fans conveys their ardent affection for his chill grooves, seeding the concept for “The Lovers Remix Collection.” On the set arriving on Friday (June 9) from Ultimate Vibe Recordings, Standring revisits ten songs from his original songbook along with one new track, a bluesy, country twang meets electronic jazz version of Peter Green’s “Albatross,” a personal favorite from when he was growing up in England.

Standring plays electric or nylon string guitar on the collection, exhibiting alacritous dexterity, impassioned precision and virtuoso technique while reimagining some of his most popular tunes, putting a completely different spin on lesser-known numbers, and applying fresh varnish to the mix on a few selections that, with time and distance from when they were originally recorded, “deserved a different take.” Known for imbuing a retro 1970s nuance to his recordings, “The Lovers Remix Collection” sounds futuristic and state of the art, has a mesmerizing vibey feel and a chill jazz ambiance. And yes, the project definitely has a visceral sensual allure.

“When I conceived this project, I wanted it to be the ultimate make out music for a romantic occasion. But don't let me put ideas in your head. I just make the music,” laughed the Los Angeles-based Standring who remixed the album entirely on his own.

Ahead of the album’s street date, radio was recently serviced the single “Liquid Soul,” a pensive exploration inward that originally appeared on Standring’s 2008 “Love & Paragraphs” album.

“This is probably my most popular song from my entire career and was never a single. I played all the instruments on the original version. This song has a very hypnotic, dreamy quality that people have responded to. I do like to take people on a journey through music and this song is a good example of that,” said Standring who will be playing shows in support of the new record in major cities, including Los Angeles, Washington, Atlanta, Charlotte, Lexington, Nashville, Denver and Oakland.

Another one of Standring’s most requested songs is “Kaleidoscope,” which he composed with Rodney Lee in 2006 for the “Soul Express” album. It takes on an entirely new dimension on “The Lovers Remix Collection.”

“I wanted to take people on a journey with this remix along the lines of Quincy Jones' ‘Secret Garden.’ This song is so simple but has a melody that sticks with you,” said Standring.

One of the qualities inherent in a remix project is second chances: an opportunity to get a redo. That’s how Standring describes the new version of “Moon Child.”

“I got the most email about this song from people who heard it on the ‘Sunlight’ album. I always felt it didn't quite get the production love it deserved on the original, so I decided to remix it. It became the first song to inspire the whole ‘Lovers Remix’ album concept,” Standring reflects.

Ruminating  and meditative, “Contemplation” originally appeared on the 2010 “Blue Bolero” album. Now refreshed, the updated version exudes different qualities. 

Standring explains, “I am a huge lover of space in music, and I think this song is a great example of that in my songwriting style. I'm also fond of harmonic surprises in a song that might seem different from other composers in this genre. This is one of those dreamy sequences that can take the listener through a range of emotions - from sadness and hope to evoking mystery and finally, beauty and resolution.”

Pulled from his tenth album, the aptly titled “Ten,” Standring says that “Another Train” might be his favorite tune on the new album. It showcases his lyrically expressive fretwork on a nylon acoustic guitar.

“It has a very melancholic sound that is snuggly, cozy and warm. It's a very romantic song with a lot of space between each musical phrase letting the music breathe nicely. I think the melody evokes such loneliness, which is strange as I'm not a lonely person. However, and perhaps this new collection confirms it, but I may be an old romantic,” admits Standring. 

Brian Simpson | "Soul Connection"

“Every performance and recording presents an opportunity to bring happiness to a world of listeners. Music has an unparalleled ability to make a difference in our lives. I continue to appreciate how it can inspire people through good and bad times and never take for granted the opportunity I have been given to play a small role in someone's life,” reflects Brian Simpson. The celebrated and genre-bending pianist, composer and producer has long reigned as a guiding light on the Contemporary Jazz scene. Revered for his Midas touch, Simpson’s trademark sound is known for soul-stirring love songs, hit-making party anthems and emotive and captivating melodies. June 16, 2023, Brian Simpson makes a Soul Connection on his eleventh album as a leader and eighth for Shanachie Entertainment. The anticipated recording is the perfect amalgamation of influences that are close to Simpson’s heart: Jazz, R&B, Funk, Blues and Soul and a healthy dose of optimism. His eloquent touch, sophisticated harmonic sensibility and bluesy overtones shine on each of the album's ten tracks.

Brian Simpson’s title choice for his new recording was driven by his intentions. He explains, “I named it Soul Connection because that is always my goal in making music, to create a sonic message of love that can hopefully touch the soul.” The inspired, majestic and feel-good title track opens the album with its percolating groove, funky changes and sailing melody. Simpson’s invitation to become one with the band is hard to resist. Bassist Alex Al lays down the funky bottom while the rocksteady drumming of Michael White and percussive fuel of Ramon Yslas, help Simpson lock in and create a joyful affair. “Out Of The Blue,” is a scintillating R&B number which shines a spotlight on Simpson’s remarkable ability to craft dazzling melodies that linger in your mind and settle in your heart. Saxophonist Steve Alaniz blends to beautiful effect with Simpson’s soulful and hypnotic playing. The pianist confides, “I'm following in the footsteps of those that laid the foundation of contemporary jazz music. Fusing jazz and R&B are just what contemporary jazz is all about." Simpson transports us to a stunning city on the Mediterranean Sea for the Latin-tinged “Barcelona,” conjuring its allure, beauty and mystique alongside guitarists Yarone Levy and Ray Fuller. The meditative flow of “Meadow Breeze” is the perfect oasis from the hectic and frenetic pace of life. Simpson’s legato piano lines almost sing through each note, leading us to a place of serenity. A master at orchestrating moods, Simpson kicks it up a notch on the R&B flavored and groove heavy “See You Again,” the lone vocal on the album featuring Will Gaines. 

“I feel that I have refined the ‘Brian Simpson sound’ on this project,” says Simpson. “I can only hope that my fans take part in the joy and passion that went into its conception and production.” Soul Connection features nine originals and one reinvention of Alexander Borodin, George Forrest, and Robert Wright’s classic “Stranger In Paradise” from the 1953 musical Kismet. Simpson’s romantic and utterly pleasing version is a delight from beginning to end. If midnight is the bewitching hour, Simpson works a little magic of his own on “Midnight Mood,” a sultry and ethereal number. Saxophonist Steve Alaniz and guitarist Yarone Levy help to transform this rendezvous under the moonlit stars into an unforgettable meeting.

"I have figured out that there is no simple way to write a good song," explains Simpson. "You have to take time crafting every element. I will often write one melody for a song then try to come up with something completely different, then let a day go by before listening again, in order to get an objective opinion on which one to use. I often make changes at the last minute, so it's a process of refinement that isn't over until it's over!" The luminescent and dance-inducing “Until The Break Of Down” is an unstoppable up-tempo swinger, emitting nothing but good vibes. As much fun as it is to listen to, you can tell it’s even more fun for the band to play as the ensemble lets loose and trade choruses. The emotive “Through the Tears,” shines a light on Simpson’s ability to craft unforgettable melodies and elicit deep emotion through his playing and compositional prowess. As all good things must come to an end, Simpson and company send us on our way with the memorable Gospel-tinged “Going Home,” which brims with beauty and hope. Lucky for us this is not goodbye, just press repeat and Simpson’s got your soundtrack and Soul Connection for any day and any mood.

Brian Simpson has always been a working jazz musician. He has toured with some of the greats of recent jazz history, including George Duke, Stanley Clarke, Larry Carlton, George Howard, Billy Cobham, and Gerald Albright. Brian has been the musical director for jazz saxophonist Dave Koz for close to 20 years, and for close to a decade the Musical Director of the ambitious and highly popular “The Smooth Jazz Cruise." Simpson's breakthrough as a solo artist began in 2005 with the #1 radio hit "It's All Good." The title track of It's All Good proved instantly and joyfully prophetic, as it hit #1 on the Radio & Records Smooth Jazz Airplay chart and remained in the Top 5 for four months. His follow-up single, "Saturday Cool," went Top 15. In 2007 Simpson released Above the Clouds, which delivered the memorable radio hits "What Cha Gonna Do?" (Top 10) and "Juicy" (Top 15). In 2010 Simpson released South Beach whose title track snagged a #1 slot on the charts. Just What You Need followed in 2013 featuring the Antônio Carlos Jobim/Vinicius de Moraes classic "The Girl From Ipanema" which hit #1 on the charts and "Emerald City," a top 3 hit. 2015's Out Of A Dream featured the Top Ten single "Skywatcher,” while 2016 saw the release of Persuasion which showcased the top 10 single "Wonderland." Something About You was released in 2018, highlighting the Top 5 single “Morning Samba” and in 2021Simpson joined forces with Steve Oliver for the dynamic collaboration Unified. With the release of Soul Connection, Brian Simpson is poised to further endear himself to his devoted international following. He concludes, "I have what I consider the greatest job in the world. I feel like I have much more music to make, and I can hardly wait to make it."

Philip Lassiter Teams up with Durand Bernarr & Candy Dulfer on New Single "Repent"

In his final single release leading up to his ‘Raw in Amsterdam’ album, Phillip Lassiter pulls out all the stops by enlisting rising vocalist Durand Bernarr and global saxophone sensation Candy Dulfer as guest artists to bolster his 15-piece ensemble in “Repent.” ‘Raw in Amsterdam’ is currently available for pre-order and will be available on June 30th to coincide with Lassiter’s main stage performance at the prestigious North Sea Jazz Festival in Rotterdam, Netherlands.

As an established fan favorite from Lassiter's 2021 studio release ‘Live in Love,’ "Repent" finds Bernarr putting a dazzling James Brown-esque personal touch on the lyrics originally recorded by mainstay LA vocalist Mackenzie. Filled with swaggering horn lines and energetic vocal chants, the tight-knit ensemble is displayed before launching into dexterous solos by Lassiter and Dulfer. Bernarr is hot off the heels of an NPR Tiny Desk Performance and was named as one of 2019’s “Artists to Know” by Billboard. His loud and proud stage presence complements Lassiter’s composition and arrangement abilities have landed him gigs that include serving as Prince and New Power Generation’s horn arranger & section leader as well as credits working with Kirk Franklin, Ariana Grande, Timbaland, Roberta Flack, and more.

Lassiter is coming off the heels of a robust European tour that included key plays at FinEst Funk Festival (Tallinn, Estonia) and Vossa Jazz Festival (Vossa, Norway), and more. He will continue to tour throughout Europe ahead of a coveted main stage performance with a 23-piece ensemble at North Sea Jazz Festival in Rotterdam.

Performance dates are here:

• June 2 - Jazztage Görlitz - Görlitz, Germany
• July 8 - North Sea Jazz Festival - Rotterdam, Netherlands
• August 16 - Deva Jazzfestival - Deva, Romania
• August 21 - Q4 - Rheinfelden, Switzerland
• August 31 - Brunnenhof - Trier, Germany

 

Nicola Conte presents his new album Umoja

Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte proudly presents his new album Umoja. A joyous exultation across ten tracks, the music taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric. 

Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track. “Searching for an unadulterated, spontaneous, almost improvised feeling”, Nicola made sure that the few overdubs were also transferred to tape in order to retain the colour and warmth of the analog sound. “Very little post production or editing has been added, so what you hear is largely what happened in those magical live sessions”.

Umoja will be released on the 30th June via Far Out Recordings on double vinyl LP, CD and digital. The vinyl release has been cut at 45RPM for, super-loud, high definition sound.

Shawn Raiford - Leave The Door Open

The four-time Grammy-winning hit “Leave the Door Open” is a song about opportunity and R&B-jazz saxophonist Shawn Raiford is keeping himself open to the opportunities that music presents to him “at this stage in my life.” Teaming with Grammy-winning producer Derek “DOA” Allen (Lionel Richie, Janet Jackson, Tyrese), Raiford pours his soulful intentions into an instrumental version of the throwback-styled classic, which was released as a single and began collecting playlist adds on Monday. It’s the second track issued from Raiford’s sophomore album, “The Next Step,” scheduled for release early next year and is being produced by Allen.   

You’ve got to go big if you’re going to take on a song destined to become a standard and Raiford delivers on his sax-powered version of “Leave the Door Open.” The Sacramento-based musician is an all-in kind of man hence he brings everything he’s got to reimagining the Silk Sonic smash about being open to possibilities. Having dropped his 2020 debut album, “Man With A Horn,” in his fifties, Raiford interprets the song from his perspective, bringing heart and emotion to his horn play.

“At this stage in my life, I need to leave the door open for a lot of things. To me, it’s for my musical journey. I’m leaving the door open for music - the possibilities it may create, and the opportunities music may present for me to touch, uplift and inspire people. I’m so grateful to be doing what I’m doing with my music career at my age. It’s a young person’s game, but it’s never too late. That’s part of my message. You’re never too old;  it’s never too late to start. I bring my life’s experiences to my music and performances. That’s what makes it authentic,” said Raiford, who released the single that will soon be accompanied by a vintage video capturing the fun and spirit of Bruno Mars and Anderson.Paak’s Silk Sonic collaboration.

An award-winning entertainer with The Shawn Raiford Experience, Raiford invited his core band members into the recording studio to track “Leave the Door Open.” Keyboardist Javance Butler, guitarist Vincent Cole Dutcher, bassist Michael “Tiny” Lindsey and drummer Jonathan Frazier set the foundation to which keyboardist Ivan Johnson and saxophonist Andre Delano provide additional melodic fills.

“I decided to do ‘Leave the Door Open’ because I really fell in love with the song. It’s just one of those catchy songs that’s going to be around for a long time. It really had the world, including myself, playing it over and over and over again. I figured that a lot of people would love to hear that song,” said Raiford, who calls himself a huge Bruno Mars fan and was impressed by Anderson.Paak’s performance on NPR’s Tiny Desk Concerts.

Another tune close to Raiford’s heart is a love song to his Northern California hometown, “Vallejo.” He plans to drop a single in the fall named for the village.

“I love that village (Vallejo) and I still surround myself with that village as my team and my producer, Derek “DOA” Allen, are from that village,” said Raiford, who has been opening shows this year for R&B singer, songwriter, producer and multi-instrumentalist Chuckii Booker and has opened for or performed with Teddy Riley, Yolanda Adams, Freddie Jackson, Pete Escovedo, Eric Darius and Jeff Ryan. 

New Music Releases - The Fusion Syndicate: Bootsy Collins & Brian Blade - Oh No & Roy Ayers - Alexis Evans - Meshell Ndegeocello

The Fusion Syndicate: Bootsy Collins & Brian Blade - The Bottle

In 2012, the world of fusion rock/jazz was shook by the introduction of a new supergroup of unparalleled musical virtuosos who came together under one umbrella for a blockbuster studio album. Both the group and its debut album were called simply The Fusion Syndicate, and it featured some of the biggest names in fusion including members of Mahavishnu Orchestra, Yellowjackets, Brand X, Soft Machine, and Spyro Gyra PLUS Yes, Dream Theater, King Crimson, Tool, Porcupine Tree, Hawkwind and more! Now a new single is released today with the first new recording from The Fusion Syndicate in over 10 years! That new single, “The Bottle,” is unique in several ways. For starters, it is the Fusion Syndicate’s first ever cover song, a trippy, groovy version of jazz poet Gil Scott-Heron’s 1973 dramatic story of alcohol abuse in the inner city. Second, the track is the first to incorporate R&B and soul music flavors into the band’s repertoire driven by a stellar vocal from intergalactic superstar Bootsy Collins. In addition, joining Collins is multi-instrumentalist Brian Jackson, who was a member of Gil Scott-Heron’s band and performed on the original recording of “The Bottle.” Here, Jackson recreates the vibe 1970s soul jazz while bringing a modern flair that perfectly suits The Fusion Syndicate’s style.

Oh No & Roy Ayers - Good Vibes/Bad Vibes

An incredible pairing of talents – and a record that proves once again that the vibes of Roy Ayers are maybe one of the most powerfully soulful forces in the universe. It's no surprise that Roy's catalogue have formed the building blocks of key hip hop tracks over the years – and year, Ayers serves up vibes alongside fresh production from Oh No – in a set of all instrumental tracks that are overflowing with sweet vibes from the master, plus a blinding array of beats, samples, and other great production elements! Tracks are short and to the point, yet still deliver plenty – and titles include "Another Two 4", "Ice Cold Coolers", "Penthouse Elevators", "Intended Mayhem", "Short Tempers", "Dead Ringers", "Unbeautiful", "Leeches" and "Problems & Solvers". 

Alexis Evans - Yours Truly

"Yours Truly" is the the new album by Bordeaux-based singer-songwriter Alexis Evans. Produced and mixed by Louis-Marin Renaud, "Yours Truly" is the artist's third studio album and it sees the light 4 years after his previous LP "I've Come A Long Way", defined "Soul album of The Year" by Rolling Stone France. "Yours Truly" consists of 12 brilliantly soulful cuts that take direct inspiration from 60's & 70's classic soul music adding a sound that is firmly rooted in the new millennium. Alexis Evans, songwriter with a timeless style based in Bordeaux, France, found the love of music and learnt to play guitar thanks to his father, an English musician. His inspirations range from Marvin Gaye and Sam Cooke to David Bowie. At the age of 17 he debuted with his first project "Jumping to the Westside", with which he was awarded the "Cognac Blues Passion" prize and flew to the "International Blues Challenge" in Memphis, Tennessee, where he impressed the American audience even though he was still a teenager. Mr. Evans has built a household name in the scene as the "enfant prodige of soul" starting with his first album, released in 2015, and consolidated his reputation with his second long play "I've Come a Long Way", released in 2019 on Record Kicks. Rolling Stone France described it as "The Soul album of the year", while Blues & Soul Magazine and BBC 6 defined him as "One of the most exciting additions to the international Soul Scene". Following the release of the album, Alexis toured in France and Europe extensively, stopped only in 2020 by the Pandemic. Thanks to the forced break, Alexis started to lay down the new album, and he's now ready to present the fruit of his hard work: "Yours Truly".

Meshell Ndegeocello - The Omnichord Real Book

GRAMMY-winning multi-instrumentalist, singer, and songwriter Meshell Ndegeocello makes her Blue Note Records debut with the June 16 release of The Omnichord Real Book, a visionary and deeply jazz-influenced album that marks the start of a new chapter in her trailblazing career. The lead single “Virgo,” is the mind-altering 8-minute centerpiece of the album which features Meshell on vocals, key bass, and keyboards, Younger on harp, Rodriguez on Farfisa organ, Chris Bruce on guitar, Jebin Bruni on keyboards, drums by Abe Rounds, Deantoni Parks, and Andrya Ambro, and additional vocals by Kenita Miller and Marsha DeBoe. “This album is about the way we see old things in new ways,” Meshell explains. “Everything moved so quickly when my parents died. Changed my view of everything and myself in the blink of an eye. As I sifted through the remains of their life together, I found my first Real Book, the one my father gave me. I took their records, the ones I grew up hearing, learning, remembering. My mother gifted me with her ache, I carry the melancholy that defined her experience and, in turn, my experience of this thing called life calls me to disappear into my imagination and to hear the music.”

Pianist Joe Alterman Pays Tribute to His Mentor and Friend Les McCann on "Big Mo & Little Joe"

The first time that the two pianists met, Les McCann didn’t bother to formally greet Joe Alterman. The then wheelchair-bound McCann simply approached the stage of New York’s legendary Blue Note, where the younger pianist was in the middle of his soundcheck, and said, “Play me some blues, boy.”

The results were greeted with a simple, “Amen,” and with that began an unlikely friendship that has now spanned more than a decade. The pair are separated in age by more than half a century; McCann is confined to a medical rehab facility in Los Angeles, while Alterman left New York City to return to his native Atlanta, Georgia six years ago. But since their paths first crossed back in 2012, according to Alterman, “barely a day has passed that we haven't chatted.”

That tightknit relationship provides the deeply emotional core of Joe Alterman Plays Les McCann: Big Mo & Little Joe. Due out August 11, 2023, the album is a loving tribute from Alterman to his mentor and friend. The eleven-song set includes material from the full span of McCann’s storied career, from the robust acoustic swing of his Les McCann Ltd. trio to the gritty funk of his partnership with tenor great Eddie Harris, to his pioneering yet undersung electric years, which presaged the jam band movement and garnered admirers from Frank Zappa to A Tribe Called Quest.

“I love every era of Les' career,” Alterman says. “I have a soft spot for the early Les McCann Ltd. albums, when he was playing piano and swinging his ass off. But I chose my favorite songs from every era. I don’t think a lot of people know how great a composer or pianist Les was.”

The strength of McCann’s compositions is evidenced by the fact that Alterman was able to adapt pieces from across the spectrum of the elder pianist’s career to the acoustic trio format. On Big Mo & Little Joe, Alterman leads his Atlanta-based trio with bassist Kevin Smith and drummer Justin Chesarek, both of whom have also grown close with McCann over the years. Rarely do the three perform anywhere in the country when McCann is not virtually present via Alterman’s smartphone.

Notably absent from the setlist for Big Mo & Little Joe is “Compared To What,” the Gene McDaniels protest song that was a massive hit for McCann and Eddie Harris in 1969. Alterman was determined to highlight the equally powerful and catchy songs that flowed from McCann’s pen but have gone relatively unrecognized. McCann’s partnership with the tenor great is instead represented by the wistful “Samia,” which the trio builds from a gentle whisper to a joyful celebration.

The album kicks off with the rollicking, gospel-rooted “Gone On and Get That Church,” originally released on 1960’s Les McCann Ltd. in San Francisco. The same album yielded the swaggering blues “Big Jim,” an ode to McCann’s father. “I love the way that Les develops each chorus of a blues,” Alterman marvels. “It's hypnotic to me – like Oscar Peterson but dirtier.”

The tender, sultry ballad “Dorene Don’t Cry” and the soulful “Beaux J. Pooboo” (McCann’s less-than-complimentary caricature of Sheriff Pooboo graces the album’s liner notes) also both stem from the Les McCann Ltd. years. “Could Be” and “The Stragler,” meanwhile, were both recorded with the Gerald Wilson Orchestra in 1964, shortly before the pianist began his explorations of the Fender Rhodes.

The steely “Someday We’ll Meet Again” leaps ahead to 1974’s Another Beginning, while the stomping, sanctified “Ruby Jubilation” dates from 1977’s Music Lets Me Be. In both cases Alterman’s treatment strips away the very of-their-period production of McCann’s originals to reveal brilliant tunes as rooted in the blues, gospel and soul as anything that the Ltd. trio ever recorded. The same applies to the lovely “It’s You,” which McCann recorded on his little-known 2003 release Vibrations, with his own offbeat vocal.

The album concludes with “Don’t Forget To Love Yourself,” a song that the two pianists composed together and was originally recorded for Alterman’s 2020 release The Upside of Down. Originally intended to fulfill McCann’s longheld dream to compose a replacement for the state song of his native Kentucky, he sang the melody to Alterman over the phone. When he heard the younger composer’s harmonic and melodic embellishments, McCann decided that “My Old Kentucky Home” would have to stay in place a little longer, and that the pair instead had a gorgeous ballad on their hands.

Of the title, Alterman explains, “Before he went into the hospital, Les’ voicemail used to say, ‘Give me time to get to the phone, but don't forget to love yourself.’ That really sums up our relationship. Les believes that everything in life can be boiled down to either love or fear, and he's always encouraging me to love myself. It’s a very emotional and spiritual song for me.”

Despite McCann’s physical frailty, his mind – and his ears – remain sharp. He’ll no doubt appreciate his young friend’s heartfelt tribute. As he writes in his liner notes, “[Joe’s] music is from the soul. It’s real and it makes you feel joyous and happy… Knowing him is one of the great moments in my life and I’m so thankful. He makes me smile every day.”

While Alterman's friendship with McCann spanned more than a decade, Alterman was also close with pianist Ahmad Jamal, who died on April 16. Alterman wrote some special memories of Jamal on his website as well as a poignant tribute to his friend and pianist Ramsey Lewis, who died in 2022.

2023 Upcoming Tour Dates

• June 2 - Poli Club - Waterbury, CT - Litchfield JazzFest Presents: Joe Alterman Quartet Feat. Ken Peplowski
• June 3 - Scullers Jazz Club - Boston, MA - Jonathan Karrant & The Joe Alterman Trio Feat. Houston Person
• June 15 - The Smith Center - Las Vegas, NV - w/Jonathan Karrant
• July 15 - Middle C Jazz Club - Charlotte, NC - 7:00PM & 9:15PM - Karla Harris & The Joe Alterman Trio
• August 10 - Eddie’s Attic - Atlanta, GA - 7PM - Joe Alterman Trio | Album Release Show!
• October 12 - Eddie’s Attic - Atlanta, GA - 7PM - Joe Alterman Trio
• October 21 - Winters Jazz Club - Chicago, IL - 7:30 & 9:30PM - Joe Alterman Trio
• December 1 - Spivey Hall - Atlanta, GA - Joe Alterman Trio

Jazz Vocalist Douyé Breathes New Life into the Great American Songbook on "The Golden Sèkèrè"

The Great American Songbook offers delightful lyrics and delicious melodies that have been recorded and performed by a plethora of singers. While some jazz vocalists since the ‘90s strayed from that straight-ahead path by covering pop tunes of the day and writing their own compositions, the standards have continued to serve as the vocal’s bedrock of jazz over the past decades. However, the repetition sometimes takes the surprise out of the depth of the songs. Often an album of standards performed by the best vocal talent can sound predictable. 

Enter the extraordinary Lagos, Nigeria-born, Los Angeles-based jazz vocalist Douyé who breathes new life into the tried-and-true standards on The Golden Sèkèrè—her fifth album named after the beaded percussion instrument unique to her homeland. She blends her polyrhythmic African heritage with the lyricism of the Western jazz world to create an astonishing fourteen song collection of sublime beauty and percussive festivity. It stands tall as a special font of creative innovation.

While all the standards she renders on The Golden Sèkèrè are familiar, it is impossible that one has ever heard them in this soundscape. With her exquisite dark-roasted voice, Douyé ranges her delivery from horn-packed, percussion-driven big bands to more intimate settings that are spiced by talking drums and sekèrès. In the making of The Golden Sèkèrè, Douyé was inspired by Fela Sowande, a Nigerian musical virtuoso and recognized classical composer who blended Nigerian musical sounds with classical music. In addition to her Nigerian-steeped support team featuring arrangers Bada Ken Okulolo, Tosin Aribisala, Zem Audu; Guitarist Dokun Oke and Percussionist Najite Agindotan contributed their musical skills to this project. Douyé enlists an impressive guest list, including trumpeter Sean Jones, who appropriately lights a fire on Rodgers and Hart’s “My Funny Valentine,” most recognized by Miles Davis. He embraces Douyé’s voice with sensitivity. “Sean has that touch,” she says.

Douyé also invites the majestic guitarist Lionel Loueke (born in Benin, neighbor to Nigeria) to the fore on the love song “Fly Me to the Moon” and the romantic ballad “I’m Confessing That I Love You” where he follows her swooning vocals as a complement to the percussive undergirding. “Lionel’s gift is his openness in catering to my intent on this album,” Douyé says. “Being an African, he understood what I was envisioning.”

Bass legend Buster Williams swings in on “Devil May Care,” largely a duet with Douyé that serves as one of many highlights in the album. It’s lightly spiced by African percussion. She sought him out because she admired his work and attitude. “Plus, he recorded with one of my teachers, Sarah Vaughan,” Douyé says. “When he asked me what I was looking for, I told him that I wanted to blend the Nigerian sounds into the standard sound. He was intrigued and mesmerized by such an innovative idea.

In choosing the songs for the collection, Douyé says, “Every song has its own spirit and these songs spoke to me. I’m spiritually inclined.

She opens the album with a swinging take on Ray Nobel’s classic bebop standard, “Cherokee.” With her 11-piece band, Douyé starts the party with ebullience. “I wanted to introduce the talking drum right away,” she says. “This song introduces how we are going straight into Africa, ushering the world into talking drums and sèkèrè.” Along the way she celebrates the blend on such tunes as the Kurt Weill gem “Speak Low,” the tempo-changing “Key Largo” and two originals with a full percussion feast from the Duke Ellington songbook: the swinging “It Don’t Mean a Thing” and the dramatic and playful “Azure” fully bringing to light the heraldic blue color.

The inspiration for starting The Golden Sèkèrè project was her affection to Cole Porter’s “I’ve Got You Under My Skin,” which appears twice on the album. To bring more of the rich Nigerian culture into the festive version of the song, she cites the influence of Nigerian superstar Fela Kuti. She grew up listening to him as her father played his music every day. “It was a blessing and a privilege to take a crack at this song with Fela in mind,” she says. “While Cole Porter wrote this tune, Frank Sinatra, another one of my teachers, is the inspiration of this song. He holds the spirit of this song, and I needed his blessing.”  

Douyé visited Sinatra’s burial site at the Desert Memorial Park in Cathedral City near Palm Springs to pay respect. The song kept coming back to her mind. “On my way driving back to L.A., I was singing it and trying to figure out how I add my own flare to the tune,” she says. “Then while taking a shower, the beats came to me. I sent them to Bata Ken Okulolo and I expressed my interest in completing this song with a big band. It was not going to be done like Frank, but it would offer an experience to the world to see the song in a different light.” With a 15-piece band, the song is a plethora of exuberance. 

Douyé returns to the song for the album’s quieter, soulful finale. “It’s Palm Wine Music,” she says. “The African groove of percussion is about relaxing, lounging and listening.” It’s the perfect end to showcasing the rich Nigerian culture meeting the beauty of Western culture through a captivating jazz journey.

Douyé made this album to celebrate her heritage in culture and sounds. The Golden Sèkèrè is also a loving tribute to Douyé’s father Landy Youduba. Even though she started her career recording R&B music, she never forgot her father insisting that she sing jazz. In her album liner notes, she writes about her father’s blessings when he told her, “Omo mi, you should never forget that you came from a background that is rich in culture. I want to encourage you to create an album that celebrates your talent and heritage. I know that God is with you every step of the way."

Jazz Is Dead Releases New Album With Afrobeat Drummer Tony Allen

Record label, Jazz Is Dead, co-founded by Adrian Younge and Ali Shaheed Muhammad, is set to release Tony Allen JID018 on July 7, 2023.

The genius that is Tony Allen departed this mortal world in April of 2020, but not without leaving an unmatched legacy that crossed oceans and borders, bridging cultures and forging a sound that changed music. As the drummer for Fela Kuti’s revolutionary Africa 70, Allen’s polyrhythmic drumming defined Afrobeat, combining American jazz and Nigerian highlife to animate one of the most iconic performers of all time. Over the course of Allen’s tenure with the group, and later as a solo artist, he would continue to relentlessly innovate, incorporating new sounds and working with scores of contemporaries. His contributions as an artist and cultural ambassador left an indelible impact on every genre of popular music, from techno to jazz to rock and hip-hop. Allen’s music stands as an ongoing testament to the interconnected musical relationships and dialogues across the African diaspora, and their lasting influence on how we listen.

Younge says Tony Allen JID018 is a very, very special album. "First of all, to be able to work with somebody that helped pioneer the sound of a new genre, a genre that is kind of sort of an international style of funk, which is Afrobeat; it's Black American music going back to it’s birthplace, Africa," Younge says. "Tony Allen represents that foundation. When I got the chance to work with this legend, I wanted to create an album that harkened back to the dawn of this music. This album focuses on early to mid-'70s African funk. I wanted to pull a lot of that out of Tony."

While Allen was in the studio, Younge asked the drummer to make random beats and sometimes Younge might say, "get more crazy here." "Like on 'Makoko,' I wanted to do something that felt more like jazz and Afrobeat were coming together in a unique way," Younge adds, "I asked myself, 'How would that sound? And that's what we did there."

Aside from traditional Yoruba Juju music, Allen was enamored with jazz, particularly the recordings of Art Blakey, Max Roach, and Elvin Jones, musicians who had begun to experiment with West African rhythms and musical concepts. At the time, Nigeria’s immensely popular Igbo highlife music was incorporating influences from jazz formulating what became known as Afro-jazz, connecting the American genre back to its roots.

These early cross-cultural dialogues pushed Allen to develop a drumming style that fused highlife and jazz. In the mid-1960s, Allen met Fela Kuti, and the two formed the group Koola Lobitos, which would later grow to become the legendary Africa 70 band. Nigerian audiences did not immediately take to this new sound, but following a trip to the United States, Kuti was exposed to James Brown and the Black Panthers. Allen began to incorporate the sounds of Black American funk and soul. By the 1970s, the group morphed their influences into Afrobeat, the sound of post-colonial Africa, making music that was concerned with economic and political liberation and Pan-Africanism.

The nearly 30 records which Allen appeared on with Africa 70 contain some of the most innovative drumming of all time. Throughout his time with Fela Kuti and Africa 70, Allen introduced the world not only to Afrobeat, but to an entirely new way of conceptualizing rhythm.

In his post-Fela career, Allen moved to Paris and continued to be a vanguard. He experimented with dub, electro, and hip-hop. He was a willing mentor, collaborating with several generations of musicians inspired by his vernacular. French pop artists, such as Sebastien Tellier, Air, and Charlotte Gainsbourg, called upon Allen to help shape some of their most well-known work, such as Tellier’s song “La Ritournelle” and Gainbourg’s album 5:55. His collaborations with Damon Albarn of Blur and Gorillaz formed the bands The Good, the Bad, and the Queen and Rocket Juice and the Moon, where rock stars like Paul Simonon and Flea were eager to enter conversation with a musician Brian Eno once called “perhaps the greatest drummer who has ever lived."

On some of his last recordings, Allen returned to his love of jazz, while reminding listeners of the ongoing influence and legacy of the diaspora. Recording with Blue Note, he released a tribute to his hero Art Blakey, along with an album of original material and collaborating with the South African trumpeter Hugh Masekela. In 2018, Allen and techno pioneer Jeff Mills released Tomorrow Comes the Harvest, an EP that fused Afrobeat, jazz, and techno. On 2021’s aptly titled posthumous recording There Is No End, Allen worked with hip-hop artists such as Danny Brown and UK grime star Skepta. Allen remained a constant innovator, absorbing sounds that had derived from West African music and conversing with new generations, passing on the ideals of Pan-Africanism. For Younge, it is no small honor to share new music recorded with Allen.

"I've always loved Afrobeat and wanted to make an Afrobeat album," Younge says, "and this is my first foray into the genre. I had the honor of working with arguably the person that developed the rhythm for the entire genre, which is Tony Allen. The sad thing is that he never got a chance to hear the finished album, so I hope that in heaven he's bobbing his head to what everybody else is bobbing their heads to, which is the sound of Tony Allen."

Hazelrigg Brothers Present SYNCHRONICITY: An interpretation of the album by THE POLICE

Perfectly expressing the political and social temper of the early 1980s, the original landmark album, Synchronicity, was a near-constant soundtrack to George and Geoff Hazelrigg’s upbringing, and a huge influence on their artistic future. Hazelrigg Brothers celebrates the 40th anniversary of this classic album with Synchronicity: An interpretation of the album by The Police, an audiophile experience full of the fire, power and dynamics that have become their trademark. The album was recorded in one room using two stereo microphones, captured in DSD. 

The origins of this recording go back forty years to Princeton, NJ with two precocious kids tuning into MTV and discovering a whole world of music. The opening notes and images of The Police’s “Every Breath You Take” captivated their young minds, and they were entranced by the videos for “Synchronicity II” and “Wrapped Around Your Finger.”

“There were a ton of videos that we saw on MTV, but those had such major influence. That shapes your brain when you’re a kid. That record is in our blood,” said Geoff. George added, “Synchronicity I is punk as f*ck! It's so exciting when you hear that riff in the intro. Also, that is the bit of music that Geoff used to test VLCs in the first years of Hazelrigg Industries.” On that note, outside of playing music, the brothers’ “day job” is Hazelrigg Industries www.HazelriggIndustries.com, as designers and manufacturers of high-end studio recording gear used by top producers, engineers and artists around the world.

The Hazelrigg Brothers did an arrangement of “Synchronicity II” for a recording they made in the nineties, so the idea for this album had been marinating for a while. George elaborates, “We've been on this kick with The Police for a long time. We worked on the arrangement for “Miss Gradenko” for years. It went through dozens of iterations before we wound up with what we have on this record.”

This album was born out of love for Synchronicity, arguably The Police’s crowning achievement, and a desire to commemorate and celebrate the album’s fortieth anniversary. “I remember being in high school and having that record on nonstop; I had it in my Walkman forever,” said Geoff. Getting right to point, George added, “I think so many of the songs on the record really resonate, I mean, they’re all so good,” a sentiment most of us can wholeheartedly agree with.

Kayla Waters | "Presence"

Kayla Waters, the stunningly beautiful Maryland native who has shared the stage with everyone from Stevie Wonder, Patrice Rushen, Regina Belle, Maysa, and Avery*Sunshine, has emerged as a heroine of sorts in the male dominated Contemporary Jazz world over the past couple years. Kayla, who performed with Marsha Ambrosius and Corinne Bailey Rae, among others on BET’s Black Girls Rock, has garnered four #1 Billboard hits with her songs “I Am,” “Zephyr,” “Full Bloom” and “Open Portals” and managed to make Billboard history. Kayla’s song “Full Bloom” stayed at #1 on the Jazz charts for six consecutive weeks, making her the first female pianist/composer to hold that spot for so long. Grounded in her purpose, nothing fazes Kayla, “I show love and humility everywhere I go, it’s infectious!” shares the daughter of celebrated chart-topping saxophonist and one of the premiere architects of Smooth Urban Jazz (and now labelmate), Kim Waters. “I’ve been blessed to be able to stand my own ground and inhabit space as a thriving artist in this arena! The main focus should be less about gender and more about the music – always the music.” Kayla’s unique signature elixir of jazz, classical and soul is a divine combination of all the elements that inspire her. “Music is vibration, vibration is movement, movement is evolution and evolution is life, therefore; music is life,” philosophizes Kayla, whose name serendipitously means “keeper of the keys.” 

On July 7, 2023 Shanachie Entertainment will release Kayla Waters’ label debut, Presence, a  collection of deeply personal originals inspired by her faith and nature. “I love painting musical portraits with my music and my titles reflect the musical content of each piece. As a nature lover, I’m drawn to the beauty of the earth, it’s elements and fuse that into my writing.” Danny Weiss, VP of Jazz A&R at Shanachie Entertainment, says, “Life is beautiful when you listen to Kayla's music. You're enveloped in a world of warmth, positivity, and beauty, and if you're lucky enough to meet her, you'll understand why!”

 The ten-track excursion on Presence, shines a light on Kayla’s elegant and feathery touch, judicious use of space and dynamics, thoughtful phrasing and dazzling harmonic subtleties. Virtually all of the producing, programming and production on the album was done by Kayla and her Dad Kim Waters. Presence opens ceremoniously with the soothing and ebullient “Abundance.” Kayla’s sailing piano lines delight and draw you near with her sweet touch and languid melody, setting the tone for an intimate spiritual journey that lies at sea. “The abundance or overflow of blessings I have been experiencing is a direct result of my obedience towards my faith,” shares the pianist, who counts George Duke, Keith Jarrett, Frederic Chopin, Maurice Ravel and Wolfgang Amadeus Mozart, as among some of her primary piano influences. 

If water is the source of life and a touchstone for renewal, Kayla provides ample inspiration with her jubilant and free flowing beauty “Waterkisses,” produced by Chris “Big Dog” Davis (Kim Burrell, George Clinton, Will Downing, Najee). Presence also features the breezy and ear-catching “Acoustic Wind,” and the funky and rhythmic joy of the free-spirited and dance-inducing “Undulation” (the album’s lead single) The ethereal, impressionistic, and cinematic “At The Well,” is an album highlight with a melody that lingers long after the song concludes. “This is a reflective piece that encourages one to ponder and look within,” explains the introspective pianist. “It’s my hope for listeners to feel as though they are peering into a lake or pond and see their reflection in the water.” 

Presence invites listeners to embark on some astral traveling with Kayla Waters’ luminous and percussive nighttime groove, “Murky Moon.” As she waxes and wanes with her mellifluous flow, she lures us into her orbit to witness the sonic beauty. “Pianissimos” (produced by Chris “Big Dog” Davis) demonstrates Kayla’s ability to craft anthems that enrapture you with her nimble touch, rolling melodies and uplifting soundscapes. Kayla transports us to serenity with her gorgeous R&B inflected “Salt N’ Soak,” which transitions into the ebb and flow of “Oceanz of Love.” The ten-track excursion concludes with the worshipful and meditative title track, as Kayla gingerly plays tender notes underscoring the presence of God’s harmony.

“It’s my passion-purpose to compose meaningful music that shares God’s love through notes of healing, joy, optimism and peace,” confides Kayla, who has become a growing attraction and crowd favorite on the international jazz festival and cruise circuit. “God has blessed me with a unique ability to masterfully weave in and out of different ‘musicals keys’ to compose each song that flows through my fingertips. I embrace my calling, there’s depth and purpose behind it all.” The classically trained pianist who started formal lessons at six, is a twin and grew up in a jazz household and her parents recognized her innate passion for music before she could even walk. She admits to her father’s profound influence both personally and musically. “My Dad is a wonderful father, inspiration and honestly my best friend! It is an honor and a privilege to be his daughter,” exclaims Kayla who is an avid coffee lover, traveler and home interior design fanatic. “I’ve seen my Dad sustain in the music industry for close to 35 years and that is an immense blessing. His tenacity, endurance, and ability to prevail through any circumstance with grace is very inspiring and commendable. My Dad’s musical prowess is unmatched—he is truly a MASTER at melodies, music composition and music production. Such an honor to work collaboratively with him on every album I’ve released!” 

Kayla Waters made her recording debut, Apogee, in 2017 and catapulted to the top of the Billboard Jazz chart with her single “I Am.” Both the single and album hit Billboard’s yearend charts, underscoring her remarkable breakout year. Her sophomore album, Coevolve, followed a year later, and featured two Billboard #1 hits “Zephyr” and “Full Bloom.” The dynamic young artist once again topped the charts in 2021 with her single “Open Portals.” With the release of Presence, Kayla Waters further ensconces her position as one to watch. She concludes, “This album is my heartfelt offering of life-giving pieces, created to replenish the hearts of humanity. Water is a key element of nourishment; and as one listens to this work, an undercurrent of oceanic motifs are harmonically woven in. It is my hope that all will peacefully bask in the Presence of this spiritually rich journey.”

 

Italian cinematic outfit Calibro 35 presents the new album NOUVELLES AVENTURES

Italian cult cinematic combo Calibro 35 are back with their new studio album NOUVELLES AVENTURES, now available on digital platforms via Virgin Music Italy/Record Kicks. For the international market, the album will also be released on a limited edition crystal clear vinyl and out on June 30th. 

After last year’s Scacco Al Maestro, the 2 tribute-albums dedicated to “il maestro” Ennio Morricone, followed by the Calibro 35 plays Morricone tour and the releasing of the ost of TV drama series Blanca, Calibro 35 are back with NOUVELLES AVENTURES, a new studio album of original material. NOUVELLES AVENTURES was recorded in Naples at Auditorium Novecento, the former Phonotype Records, one of the most legendary and fascinating Italian recording studios. The new LP sees the group making full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

“After a couple of intense and stimulating years playing Morricone and writing music for the TV drama Blanca”, Calibro 35 recounted, “we had a great desire to make new inspired music. To do so, we left home and we shut ourselves up in the splendid space-time capsule that is the Auditorium Novecento studio. The result is a series of musical voyages in which we concentrated all our artistic and human experiences. As in Verne's imaginary and extraordinary journeys, we explored distant places where we had never been before. We then happened to return to more familiar shores and discover them with new eyes without realizing it. We borrowed the title NOUVELLES AVENTURES from György Ligeti, precisely because after fifteen years of building ourselves, we are ready for new adventures”.

Calibro 35 will play at Primavera Sound Festival in Barcelona (Spain) on May 29th, Primavera Sound Festival in Madrid (Spain) on June 6th, OFF Festival in Krakow (Poland) on August 6th and Vodafone Festival in Parades de Coura (Portugal) on August 16th, as well as some shows and festivals around Italy.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton (“One Shot One Kill” feat. Snoop Dogg), Jay Z (“Picasso Baby”), The Child of Lov & Damon Albarn (“One Day”) and Demigodz (“The Summer Of Sam”). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré.

Samara Joy : Linger Awhile - Deluxe Edition

Samara Joy is releasing Linger Awhile (Deluxe Edition) an expanded version of her GRAMMY-winning album Linger Awhile featuring never-before-heard b-sides and alternate arrangements, and Linger Awhile Longer, a D2C Exclusive LP with bonus material. Both editions include brand new music plus fan-favorites like “Guess Who I Saw Today” and “Can’t Get Out Of This Mood,” which Samara performed at the GRAMMY Premiere Ceremony earlier this year before taking home awards for Best New Artist and Best Jazz Vocal Album. While reinvigorating beloved songs and standards for a fresh audience with her timeless, irresistible sound, the 23-year-old is quickly making the case to join the likes of Sarah, Ella, and Billie as the next mononymous singing sensation recorded by the venerable Verve Records.  

Since Samara’s GRAMMY wins, Linger Awhile has reached #1 on Amazon Best Sellers, Billboard Jazz, Pandora Trendsetters, iTunes and Amazon’s digital-music and CD-sales, and more. Samara has garnered over 2 billion views on TikTok, and her tour dates all over the world are selling out, including highly-anticipated headline shows at NYC’s Village Vanguard that kicked off this week. Simultaneously, outlets like Vulture are declaring “jazz is back, baby” and notable artists like Sam Smith (https://www.instagram.com/p/Cpifz6rIvEk/?hl=en) are calling her “my favourite female voice right now.” Jimmy Fallon said “unbelievable… she is my jam!” before Samara’s late night TV debut performance on The Tonight Show. Other recent TV appearances include the TODAY Show, MSNBC, Kelly Clarkson, Jennifer Hudson, and Drew Barrymore. 

The album was recorded at Sear Sound in New York City by Chris Allen and produced by Matt Pierson, Linger Awhile features Pasquale Grasso (guitar), Ben Paterson (piano), David Wong (double bass), and Kenny Washington (drums). The tracklist is comprised of treasured songs by George Gershwin (“Someone To Watch Over Me”) and Thelonious Monk (“Round Midnight”), and also includes Samara’s original lyrics on Fats Navarro’s “Nostalgia (The Day I knew).” While paying homage to those who came before her, Samara is introducing a new audience to standards several times older than she is with her “one of a kind voice” and “ageless talent” (CBS Mornings).

Brooke Alford | "Heaven On Earth"

Luminously striking a power pose on the cover of her “Heaven on Earth” album, urban-jazz violinist Brooke Alford’s five-year process in writing and recording her second full-length collection has been an honest, emotional and raw journey through traumatic loss and unexpected difficulties. When pushing through is the only option, the album is about overcoming no matter the circumstances thus the music on the nine-song set is an empowering and invigorating listen reflecting “The Artist of the Violin’s” enlightenment, growth and personal development through her lived experiences.

Although she released her debut album, “Expressions,” in 2007 followed by “The Viosocalist” EP in 2012, the Atlanta-based Alford had never gone after radio airplay until she teamed with seminal urban-jazz keyboardist Bob Baldwin to produce the single “Closer” in 2018. At the time, she didn’t know the sensual R&B groove with reggae percussion inflections on which she and Baldwin sing the chorus would be the inception of an album project. The single fulfilled her objective of getting radio spins, earning a spot in the top fifty. A remixed version appears on the album that opens with another Baldwin collaboration – the optimistic single, “Heaven on Earth,” illumined by Alford’s exquisite violin play – to bookend the album.

The next year, Alford’s father was diagnosed with cancer, shifting her focus from music to family. Then the pandemic hit, further stifling her artistic output. Her father did succumb to the disease in 2020, leaving the family devastated. Through prayer and reflection, Alford had a realization. Instead of mourning, she decided to shine, determined to honor her father by creating a legacy of hope, inspiration and upliftment.

“2020 by far was the toughest year of my life, yet the most rewarding. I saw a very dark side of life when my father perished from the illness. While transition is very sad and hurtful, I found this experience with my dad to be bittersweet. It takes ‘loss’ in order to ‘gain.’ It is a difficult life lesson. My dad inspired me to just ‘go for it’ and shine bright like a diamond in my music career and life. His legacy will continue to evolve and live through me and my future linage,” said Alford who will remember her father during an album release concert on Father’s Day (June 18) at City Winery in Atlanta.

Taking her father’s cue, Alford wrote “SHINE” with George Freeman. The funky mid-tempo single dropped in 2021.      

Moving on with her life as the world emerged from the pandemic last spring, Alford and Freeman wrote and released the festive “New Day” featuring the keyboardist’s elegant solo buttressed by impassioned violin play.

“Last year was a significant one. A newness had occurred. With the world recovering from the pandemic, it was time to celebrate coming into a fresh season, a ‘new day.’ Writing the melody felt so natural and the creation flowed like water through my fingers. I sent the melody to George (Freeman), and he perfectly matched the energy in the production. The organ that he added to the song gave such a soulful rock and classic feel, just like a fresh Sunday sunrise,” described Alford.

In August 2022, the rousing “On The Move” became the third Alford and Freeman creation to release as a single. It’s a slick and soulful contemporary jazz energizer. Alford said the song is about the certainty found in life’s constant forward motion. 

“Coming off of ‘New Day,’ I wanted to create an upbeat, celebratory tune with lots of strings on the track and several other high-energy musical elements. George sent me his take and he hit the nail on the head on the first go ‘round. As the song began to develop with the versus and bridge, viola parts and arrangements and more percussive instruments were added to fill out the track. It was definitely a fun tune to make,” said Alford who has opened for The Whispers, Mint Condition, Peabo Bryson, Najee, Will Downing, Marion Meadows, Paul Taylor, Marcus Johnson, India.Arie and Tony! Toni! Toné!, and shared the stage with Julian Vaughn, Alex Bugnon, Chubb Rock and reggae superstar Beres Hammond.

At that point, Alford knew she had an album taking shape, one that derived inspiration from the discomfort she had endured and captured her positivity and enthusiastic spirit. As she planned the recording sessions and plotted the release with her team, more unanticipated setbacks forced her to shelve the project for a time.

After regaining her footing yet again, the resilient Alford resumed work on “Heaven on Earth,” which consists of eight of her originals and a completely reimagined version of Michael Jackson’s “I Just Can’t Stop Loving You.” The cover tune has roots dating back to a 2017 recording date with friends Justin C. Gilbert and Anthony Parrish. Alford experimented by placing her classical violin amidst hip hop beats, cuts and scratches, and a rap.    

“It was pure synergy. Although the energy was right in the studio, the recording process came to a halt because of life happenings and changes. Last fall, Justin and I said simultaneously that we should finish working on the track. The song transformed from simply Rhodes keyboards, percussion and violin to what is heard on the track today. I invited two of my favorite artists in hip-hop, James ‘DJ Jsmoove’ Hayes and emcee Mully Man, to take the production to even greater heights,” said Alford.

On “Feeling Love,” a sophisticated and seductive R&B-jazz dalliance, Alford teamed with crooner Kelley Andre to cowrite and produce the song. His rich baritone voice provides the male counterpart to Alford’s feminine energy presented in the form of lush strings and expressive violin.

Alford tapped Grammy nominee Reggie Hines to cowrite and produce a pair of tunes with her. On the ambient “Wanting More,” she records for the first time playing an electric violin, creating a yearning and desirous sound as the track’s tempo and intensity builds to a crescendo. Alford says her performance pays homage to one of her primary influences, the late violinist Noel Pointer. The second collaboration, “Cascade to the Congo,” is an eclectic amalgam of sounds, styles and textures driven by a throbbing Euro house beat and Hines’ saxophone wails.  

“After we laid down ‘the’ take for ‘Wanting More,’ I was ready for us to create a contrasting tune that was upbeat, had natural sounding percussive instruments, a dance groove, and a violin-saxophone duet. We had to navigate our way to the synergy of this track since there are so many approaches to take based on the elements I wanted in the track. Once we found our groove, we FOUND it,” Alford emphasized.

“Life is a beautiful dance, and ‘Cascade to the Congo’ transcends all age groups, ethnicities, backgrounds, and so much more. The song captures the ethos of the entire album. It is all about getting up, dancing, and celebrating self-love and those special moments with loved ones. This track reminds me that this is such an amazing time to be alive, that one can genuinely experience ‘Heaven on Earth.’”

Vahagn Stepanyan | "A New Chapter"

A year-and-a-half after moving his family from Armenia to Los Angeles to realize his dream, keyboardist Vahagn Stepanyan surrounded himself with Grammy-winning and world-class musicians, producers and engineers to record his second album, the aptly titled “A New Chapter.” Stepanyan composed and arranged eight songs for the jazz fusion collection releasing May 19.

Stepanyan produced “A New Chapter” with Kitt Wakeley, who earlier this year won the Grammy for Best Classical Compendium for “An Adaption Story” to which Stepanyan contributed to engineering and playing keyboards.             

In the intervening years between those early piano lessons and recording “A New Chapter,” featuring performances by eleven-time Grammy-winning trumpeter Philip Lassiter (Prince, Ariana Grande), Grammy nominated guitarists Greg Howe and Mark Lettieri (Snarky Puppy); platinum-selling saxophonist Dave Koz, bassist Ida Nielsen (Prince) and powerhouse drummer Eric Moore amongst other accomplished players, Stepanyan was classically trained in composition and learned the art of production. He began selling songs to Armenian artists and started playing in jazz clubs in his native land but learned hard-earned music business lessons by getting paid only four dollars if he was paid at all. 

Stepanyan was gifted with a saxophone that he promptly sold to buy a computer so he could learn how to arrange songs. During a 2009 visit to the US, he was encouraged by the reaction to his masterful keyboard capabilities. Four years later, difficult circumstances left him without even a keyboard to practice on.

Undaunted, Stepanyan continued to believe and worked tenaciously, step by step, never losing sight of his goals. Today, he is an award-winning music producer, arranger, songwriter, film and television composer and keyboardist who crafted an album destined to elevate him to elite status in contemporary jazz.

The first single released from “A New Chapter” is “Synergy,” which dropped last month and is accompanied by a teaser video that premiered in Times Square on April 25. The track is constructed of a complex rhythm, Moore’s aggressive and astute drumming, Lettieri’s piercing electric guitar, and rich layers of opulent horns that feature Koz playing soprano sax in a completely different context from which he is best known. Stepanyan adds melodic vocalization to the rocket ship ride that is “Without Limits,” granting the ensemble the autonomy to create free from restrictions. Anthony Crawford’s stratospheric bass solo leaps to the fore on an exploration featuring Lettieri’s fretwork.

Nielsen’s dexterous bass is given star status on “Motion,” which packs powerful horn section blasts, a scorching and gauzy electric rock guitar solo by Roy Ziv, and Stepanyan’s otherworldly synthesizer expositions. Howe and Lassiter topline “Gravity,” floating above the intricate swatches of multiple guitars and horns. Throughout “A New Chapter,” Moore’s knockout drumming dominates in impressive fashion, but he’s officially featured on “So Good,” which is illumined by Stepanyan’s imaginative keyboards and a screaming guitar solo by Feodor Dosumov and Melvin Lee Davis’s (Chaka Kahn, Lee Ritenour, George Benson, Gerald Albright) elastic basslines. Brazilian drummer Cleverson Silva and Venezuelan bassist Isai Romero add Latin flavor to the playful “Toy.” Silva remains to play on the explosive “Revolution,” this time in the company of Dosumov’s shredding guitar and Wojtek Pilichowski’s frenetic bass. Closing with a solo piece that was recorded in one take, Stepanyan exquisitely conveys the emotions of the challenges he’s faced in recent years on “Hold My Hand,” a contemplative, poetic and cinematic beauty.

Stepanyan began writing “A New Chapter” while traveling through Arizona and into Utah where he visited Hanksville, a place described as “Mars on Earth,” the baren, mountainous backdrop that appears on the album cover.  

“It symbolizes the transition from one period of my life to another – a new chapter where you have to create, filling in the colors of life through your own imagination. This is a new chapter for me, and I don’t know where it will take me as an artist. But I do believe that in this new chapter, the best is yet to come,” said Stepanyan, who recently won two awards from the Akademia Music Awards for Best Jazz Songs for “Synergy” and “Motion.” “Motion” also won a Global Music Awards silver medal and garnered a nomination from the Hollywood Independent Music Awards in the Jazz (Fusion/Bebop) category.

Knowing that the process of recording “A New Chapter” would be transformational, Stepanyan documented the sessions in a five-part video series along with a teaser video that encapsulates the short documentary series. Each episode takes viewers into the recording studio and captures the musicians talking about crafting the album. As much as Stepanyan oozes respect and reverence for the virtuoso musicians highlighted on the project, they reflect back just as much admiration and accolades upon the keyboardist-pianist’s prodigious skills.

Although Stepanyan’s early training was in classical music, his muse has been jazz and gospel while incorporating world beat and global music nuances. He produced and collaborated on three volumes of the multicultural “The Ethnos Project” that were released in 2013, 2015 and 2018, truly international compilations that include up to fourteen languages. As a solo artist, Stepanyan debuted in 2015 with “Moonlight,” an offering of jazz, R&B and funk that he produced. Amongst the talents from the US, Armenia, Brazil, Thailand, Israel and Germany that performed on the album were Billboard chart-topping guitarist Adam Hawley, six-time Grammy-nominated saxophonist Eric Marienthal, bassists Crawford and Davis, and drummer Silva. In 2020, Stepanyan collaborated with Grammy-winning gospel singer Percy Bady.

“I still have goals to reach. Mostly, I want people to recognize me not only as a jazz musician but as someone who writes and produces pop, R&B, soul, lo-fi, funk and gospel music as well as film soundtracks. If you have a dream, set your goals and go for it without any excuses. Never give up. Believe in yourself. Keep focused on your passion, work hard and invest in your future.”

Marie Ginocchio | "Wonderland"

Shortly after jazz piano legend Chick Corea passed away a couple of years ago, an introspective teenage pianist began composing solo piano music after listening to his 1978 album “The Mad Hatter.” Although Marie Ginocchio had only been playing piano for four years at the time, the student of the Chick Corea Academy exhibited prodigious composition and performing skills as well as imaginative timing, harmony and phrasing, which caught the ear of Corea’s longtime guitarist Frank Gambale, an acknowledged innovator and virtuoso in his own right. 

Each one of the nine piano sketches encompassing improvisational jazz and neo classical music that comprise the collection is accompanied by a colorful drawing made by Ginocchio, who also created the album cover image.

Entry into Chick Corea’s academy program was a seventeenth birthday gift from Ginocchio’s parents in 2020. She found that Corea’s teaching philosophy suited her because of his belief that artistic freedom trumped music theory or process. Ginocchio derived additional influence from jazz pianists Makoto Ozone and Hiromi Uehara as well as from composer Béla Bartók. She is particularly allured to shifting time signatures and tempos along with dissonant harmonies. Corea passed away a year into her studies, but by then, Gambale and Academy staffers recognized that Ginocchio was exceptional and convinced her to start recording.

“She’s a Chick Corea reincarnation in a female form. I’m really going out of my way to help get her exposure that she really deserves. She’s absolutely amazing and brilliant, and I don’t say that lightly. As someone who has been independent, overlooked and misunderstood for most of my career, I understand what she’s facing, and I don’t want her to lose her spirit. The world needs these bright sparks to counter balance,” said Gambale.

In search of ideas for the project, Ginocchio recalled growing up listening to “The Mad Hatter.” With “Alice in Wonderland” as the underlying motif, she eagerly ventured down the rabbit hole, crafting over fifty minutes of music for “Wonderland.”  

On the set, the now nineteen-year-old college student displays extraordinary technique, remarkable dexterity and dazzling speed that she deploys to tell mesmerizing piano tales. Ginocchio’s masterful finger work crafts hues, coloring and shading to illustrate her cerebral, contemplative and scholarly compositions that were written and committed to memory before being tracked in a recording studio near her parents’ home in Springfield, Missouri.   

Listeners enter “Wonderland” with the precise and pondering “Alice in Analysis.” Ginocchio explains, “I wanted to use lots of lines and patterns in this song emulating how there are many thoughts happening in someone's head.”

The Bartok-influenced “Curiouser and Curiouser” gets its title from the classic story.

“I really wanted a song that would be very chaotic and strange, like how some of Bartok's compositions were. I’ve always loved Bartok and his ideas, so really this song was me trying to emulate him and the energy of his compositions.”

“Cheshire Cat” is Ginocchio’s attempt to capture the character’s personality. 

“Who’d Ever Think to Look for Me Here?” is slower and methodical, which Ginocchio intended to “balance out the rest of the songs on the album.” The title quotes Alice when she was lost in Tulgey Wood and references elements from one of Corea’s compositions, “Where Have I Known You Before.”  

“I used lots of jumping rhythms as well as complex lines. This character had more of a mysterious but also spunky and weird way of presenting himself, so I tried to make the song emulate that.”

Finding musical inspiration from compositions by Ozone and Corea, the upbeat and melodic “Where People Walk Upside Down” is taken from a quote by Alice in the story. Ginocchio brings “The March Hare” to life by writing a chaotic and energetic piece.

“I used a lot of rhythmic elements along with strange chords, transitions and odd time signatures to emulate those qualities.”

Spawned from another Alice quote, Ginocchio said that she didn’t have a specific idea for “What If I Should Fall” and randomly hit a rhythm and set of notes that she liked.

“From there, I went with the flow of what I originally made up in the beginning but tried to make this song slower and more moving emotionally with the periods of silence and chords.”

Ginocchio animates the odd characters lurking in the woods on the mysterious and bizarre “Into Tulgey Wood.”

“I tried to experiment more with some different rhythms and patterns. I wanted to work more with overlapping my hands for rhythms, so I tried to implement that in this song.”

Closing the adventure, “In the Shadow of the Queen” has a lot of moving pieces that revisit some of the elements we’ve heard earlier on the recording such as slowing the tempo to a deliberate cadence adjacent to a more frenzied section.

Ginocchio’s first instrument was clarinet, and she also plays guitar. Her breakthrough on piano came from learning to play via YouTube tutorials. That led to taking lessons from classical and jazz teachers and listening to classical music as well as to jazz piano recordings by Vince Guaraldi, Oscar Peterson and Bill Evans. But she quickly grew tired of regimented lessons, instead preferring to perform, create and explore her own forms of musical expression.

The ideas for Ginocchio to sketch the album cover and do an illustration for each song on “Wonderland” sprang from Corea’s own passion for sketching. Last year, Corea’s “Children Songs” series inspired Ginocchio to write shorter pieces that she labels minuets and have been shared on social media.

Ginocchio occasionally plays local shows and intends to do some virtual concerts, but she prefers focusing on composing new projects. She plans to experiment by recording in a band setting and adding electronic instruments and keyboards to her works. Along with working on more piano recordings, she plans to compose music pairing acoustic guitar and piano. But for now, Ginocchio’s playground is “Wonderland,” and she hopes listeners will embark on the enchanting escapade with her.