Javon Jackson – “With Peter Bradley” Soundtrack and Original Score

Undersung in the art world despite a prolific 50-year career, abstract artist Peter Bradley has finally begun receiving his due acclaim. That continues with the release of the new documentary With Peter Bradley, which documents the artist’s dedicated daily practice. Bradley’s work is inextricably linked with his love of jazz, which provides the atmosphere and inspiration for all of his paintings. Saxophonist and composer Javon Jackson provides a score for the film that nods to some of Bradley’s favorite jazz icons – including Miles Davis, John Coltrane and Jackson’s former employer, Art Blakey – while vibrantly capturing the moods and personalities of the film and its subject.

“With Peter Bradley” Soundtrack and Original Score features Jackson’s quartet with pianist Jeremy Manasia, bassist David Williams and drummer Charles Goold along with guest trumpeter Greg Glassman. In addition to the film’s score, the album also includes four tracks recorded during the sessions for Jackson’s acclaimed 2022 release The Gospel According to Nikki Giovanni featuring the quartet, this time with drummer McClenty Hunter. 

Jackson was an ideal choice to compose the film’s score, not just for his direct ties to the jazz tradition that has fueled Bradley’s work and his gift for musical portraiture, but for his longtime friendship with the artist. “I’ve known Peter Bradley for many years,” Jackson recounts. “He was a friend of Art Blakey’s, so he would often come to see the band during my time with Art Blakey and the Jazz Messengers. Over the years we stayed in contact and I knew that he was an artist, but I didn't know to what degree.” 

Upon viewing the film and becoming acquainted with the magnitude of Bradley’s oeuvre, Jackson came to recognize not just a friend but also a kindred spirit. “He’s a jazz musician,” the saxophonist chuckled, “only his instrument is paint.”

Premiered at the 2023 Slamdance Film Festival, With Peter Bradley is an intimate portrait of the 79-year-old artist helmed by Bradley’s Saugerties, NY neighbor and filmmaker Alex  Rappoport. It traces the artist’s biography as the first Black art dealer on Madison Avenue, curator of the first integrated modern art show in America, and likely the first Black abstract artist represented by a major New York gallery. 

Despite those accolades, Bradley hadn’t been the subject of a major gallery show in decades, though he doggedly returned to his shipping container studio every day, working by the heat of a wood stove. Initial reviews since the film’s January premiere have been laudatory, with Film Threat calling it “documentary in its purest form… riveting.” 

Jackson’s soundtrack works thrillingly as an album of muscular hard bop and evocative ballads, as anyone familiar with the saxophonist’s storied career would expect. In conjunction with Rappoport’s images, the score reveals Jackson as a nuanced jazz portraitist, able to condense character or action into bold, swinging melody. The album opens with his melancholy theme for the painter himself, while “Edith Ramsey” is a tender depiction of Bradley’s adoptive mother. 

“I approached the film with an open mind,” Jackson explains succinctly. “I knew that Peter loves John Coltrane, Mingus, Clifford Brown and Max Roach – so there are hints of all of them. From there I just followed the mood of the piece and offered something based on my musical thoughts that would adhere to the scene.”

With Peter Bradley is Jackson’s first original score, fulfilling a longtime desire awakened when he composed a suite of music to accompany Alfred Hitchcock’s silent classic The Lodger, commissioned by the Syracuse International Film Festival in 2009. The remaining pieces were recorded at the spur of the moment during the sessions for The Gospel According to Nikki Giovanni, Jackson’s widely hailed collaboration with the renowned poet. Two originals – “Amy’s Theme,” dedicated to a close friend’s late wife, and “Brother G,” written for close friend Kenny Garrett – they include the classic standard “Never Let Me Go” and Dizzy Gillespie’s “That’s Earl Brother,” all of which fit the mood brilliantly and could yield future masterpieces as the soundtrack to Bradley’s ongoing creations.

Missouri-born tenor saxophonist Javon Jackson left his studies at Berklee College of Music in 1986 to join Art Blakey’s Jazz Messengers, where he later played alongside pianist Benny Green, trumpeter Philip Harper, trombonist Robin Eubanks and bassist Peter Washington. Jackson remained a fixture in the Jazz Messengers until Blakey’s passing in 1990. In 1991, Jackson made his recording debut with Me and Mr. Jones, featuring James Williams, Christian McBride, and master drummer Elvin Jones. He joined Jones’ group in 1992, appearing on the great drummer’s albums Youngblood and Going Home. Jackson’s 1994 Blue Note debut, When the Time Is Right, was a straight-ahead affair produced by iconic jazz vocalist and bandleader Betty Carter. His subsequent four Blue Note recordings featured wildly eclectic programs ranging from Caetano Veloso, Frank Zappa and Santana to Muddy Waters, Al Green and Serge Gainsbourg. For the Palmetto label he explored a blend of funk, jazz and soul with such stellar sidemen as organist Dr. Lonnie Smith, guitarists Mark Whitfield and David Gilmore, trombonist Fred Wesley and drummer Lenny White. In 2012, he launched his own Solid Jackson Records with Celebrating John Coltrane. His latest release for the label, The Gospel According to Nikki Giovanni, was a historic, gospel-tinged collaboration with the renowned African American poet, activist and educator.

 

Rising star pianist Noah Haidu’s newest is Standards, celebrates the 40th anniversary of the release that launched Keith Jarrett’s great Standards Trio and arrives on the heels of Haidu’s two recent acclaimed Sunnyside albums, most notably 2021’s SLOWLY: Song for Keith Jarrett. Featuring Haidu with bassists Buster Williams and Peter Washington, drummer Lewis Nash and guest saxophonist Steve Wilson, Standards is, in part, the soulmate to SLOWLY, which DownBeat called “a stunning and heartfelt tribute.” After Haidu, Buster Williams and Billy Hart recorded its last two songs – “But Beautiful” and “Georgia on My Mind” – Williams said, “Those two standards were beautiful, got any more?” 

The next step in the evolution of Standards happened not in the studio but on the road. After recording SLOWLY, Haidu felt drawn to the format used by Jarrett, DeJohnette, and Peacock for their Standards Trio. When Nash, a drummer who was already ubiquitous when Haidu was first falling in love with jazz in his teens, joined Haidu and Williams during their 2021 tour, the connection was electric. “When Buster, Lewis and I played for the first time we played a lot of standards and I could feel that there was something special happening that I wanted to document,” says Haidu. “It felt as though every song had emotional depth, every note we played mattered. The 40th anniversary of the most celebrated ensemble to play standards in my lifetime seemed like the perfect moment to make my own statement on this music.”

With Doctone, 2020’s tribute to the late, great Kenny Kirkland, and the subsequent SLOWLY, Haidu’s renown has grown rapidly: Larry Blumenfeld penned an in-depth feature about Haidu’s projects in the Wall Street Journal, and NPR cast its spotlight on the ascendant pianist with features on “Here and Now” and “All Songs Considered.” Three million streams in the last 18 months are testament to Haidu’s rapidly increasing fan base.

One of the benefits of Haidu’s growing international acclaim is his ever-expanding sense of artistic freedom which allowed him to take certain risks on Standards. “There’s something so vulnerable about playing in this context, where you’re completely exposed,” he says. “Of course, I love composing because you can create an entire world, your own language of sound. But with these old standards all you’ve got is your own musicality and the connection you have with the music and the players. That requires a willingness to let go and see where the song takes you, something that can’t be taught or practiced.”

Many of the tracks on Standards have been recorded by Jarrett’s trio with Peacock and DeJohnette. All are ‘standards’ except “Last Dance I” and “Last Dance II,” which Haidu named after a Jarrett recording and composed in tribute to the Standards Trio and their final concert at the New Jersey Performing Arts Center, which he attended. Haidu remembers that at one point Jarrett joked with the audience: “Don’t try this at home.” Thinking back to that night in 2014 Haidu reflects, “I believe I subconsciously took that as a challenge. Not to follow in their footsteps, but to build on my own voice with the trio and these songs.”

For Haidu, that evolving endeavor has led to his own impassioned approach to the piano trio. “The theme of lost love is the emotional center of so many of these songs such as ‘Skylark,’ ‘All the Way’ and ‘I Thought About You.’ That’s something I’ve been dealing with in music and life,” says Haidu. “There’ve been a few painful breakups in recent years and I lost my father with whom I was very close. That universal feeling of lost love comes into play on so many standards, especially on ballads. As I started incorporating that music into my repertoire fans would come up to me after the show and say, ‘Those ballads…wow!’”

Standards begins with “Old Folks” and “Just in Time,” both part of Jarrett/Peacock/ DeJohnnette’s oeuvre. Haidu’s trademarks of soulful touch and melodic imagination are on full display buoyed by Williams’ supple bass lines and Nash’s crisp, fluid drumming.  A deeply swinging version of “A Beautiful Friendship” follows. On a moving slow motion version of “All the Way” that depends as much on group interaction as the original melody, the trio seems to breathe as one.

“Someday My Prince Will Come” features Peter Washington in the bass chair. The trio’s forward momentum and clarity of tone drive this tune forward, along with Haidu and Washington’s sublime improvisations. On “You and the Night and the Music,” saxophonist Steve Wilson joins the trio with a freewheeling, rich-toned alto. Haidu’s solo builds on the energy of Wilson’s until Nash’s unaccompanied drums take the song, which was played by Jarrett at his Deerhead Inn concert, to its climax. The quartet’s hauntingly beautiful rendition of “Ana Maria,” composed by the legendary saxophonist Wayne Shorter, reflects the theme of loss. The piece was written for Shorter’s wife, who later passed away tragically with their niece Dalila on TWA flight 800. “With the loss of Ana Maria, Dalila and of Wayne himself, this song now embodies the narrative of loss in so many ways,” says Haidu.

On “Skylark,” Haidu’s exquisite right-hand melodies are accompanied by the precise yet delicate rhythm of his left hand. “I Thought About You” finds Haidu at his most propulsive and harmonically imaginative best, with the trio reveling in the joy of playing together. Haidu’s ”Last Dance I” and “Last Dance II” bring back the quartet for a moody and expressive 3/4 piece featuring soaring solos by Wilson and Haidu. The album ends with cascades of rhythm from Nash over a repeated ensemble refrain. 

Like Jarrett, Haidu started playing classical piano at a young age. Moving frequently as a result of his parents’ divorce, music became the one constant in his life. He became fascinated with blues, R&B and eventually jazz. “I’ve worked hard on my playing since I was six years old,” he says. “Besides Jarrett and Kenny Kirkland I’m inspired by bop, modal players, classical and gospel music.”

Haidu has truly lived in music for his whole adult life. having dropped out of the jazz program at Rutgers after two years to move to New York City and begin performing with the likes of Walter Perkins, Duane Eubanks, Essiet Essiet, and more recently Billy Hart, Steve Wilson, Carl Allen, Willie Jones III, Jon Irabagon, and Gary Thomas. Of his exemplary trio Haidu says simply, “We are seeking the deepest level of expression. It’s not about technique, tricks or trends. It’s all heart.”

 

Roni Ben-Hur | "Love Letters"

Love Letters is the new recording from guitarist Roni Ben-Hur and is yet another testament to support the fact that the guitarist is widely respected by his peers, and the press, as one of the jazz-elite. Emigrating to the States in 1985, Ben-Hur was one of the first Israeli jazz musicians to make his mark in New York City, preceding the many waves of talented Israeli artists to move to the Big Apple. Upon arriving, Ben-Hur almost immediately began studies at the Jazz Cultural Theater under the legendary pianist Barry Harris. There, the guitarist played with such bop stalwarts as bassist Walter Booker, drummer Leroy Williams, the “musician’s musician,” pianist Chris Anderson, and became an integral member of Harris’s band from 1991 to 2007. Ben-Hur has since amassed an impressive catalogue of highly-successful and acclaimed albums under his own leadership, including Signature (2005), Keepin' It Open (2007), Fortuna (2009), Smile (with Gene Bertoncini, 2008), Mojave (2011), Our Thing (2012), Alegria De Vivre (with Leny Andrade, 2015), Manhattan Style – Our Thing (2016), Introspection (with Harvie S, 2019), Samba Do Arraial (with Percio Sapia, 2020), Stories (2021) and Something For Kenny (2021). Ben-Hur is also the founder and director of the popular jazz program at New York’s Kaufman Center, and has conducted annual jazz camps in the U.S. and abroad since 2002, exposing thousands of students, hobbyists and aspiring professionals to the challenges, rewards and camaraderie, inherent in this music. 

Guitarist Russell Malone comments that, "Everything Roni does is beautiful. He has the magic touch.” The late, esteemed journalist Nat Hentoff of The Wall Street Journal praised Ben-Hur’s duet release, Smile, with Gene Bertoncini, as “a lyrically meditative dialogue.” With Love Letters, the latest masterpiece in his forty-plus year career of performing, composing, recording and teaching jazz, Ben-Hur gives us a musical mosaic that invites us to reconnect with what matters most in life. For Ben-Hur, what matters most are the intimate moments he and his band members create and share with each other and with audiences around the world.

While many of the compositions on Love Letters were written by giants such as Leonard Bernstein (“Lonely Town”), Benny Golson (“Fair Weather”), and Ben-Hur’s long-time mentor, the late, great Barry Harris (“To Dizzy with Love”), Ben-Hur once again showcases his formidable composing chops with four original compositions. The Quartet on Love Letters, Ben-Hur with trumpeter Ingrid Jensen, bassist Ugonna Okegwo and drummer Jason Tiemann, creates an irresistible atmosphere of musical harmony and loving connection.

Each of Ben-Hur’s compositions reflect an aspect of the love that has propelled the guitarist to ever greater heights in the life and in jazz. With “To Dizzy with Love,” he shares a memory of his friend Barry Harris with a buoyant rendition of a song they once played together at Birdland. In this interpretation we are treated to a joyous dance of swing and Caribbean rhythms.

On “Seul `a Paris” (alone in Paris), Ben-Hur’s wistful strings and Jensen’s muted trumpet speak of what it is like to fly solo in the “City of Love.”

With the composition, “Waiting for JH”, co-written with the late American pianist Chris Anderson, Ben-Hur sends a “love letter” to the late Jim Harrison, one of the genre’s most indomitable advocates and promoters, who worked tirelessly for a “who’s who” in jazz. 

The voice of the unspeakable is heard in “The House that Yosef Built,” a love letter to Ben-Hur’s father. The tune evokes a rush of memories about the hardships his parents faced in their escape from Tunisia in the aftermath of World War II. Guitar, bass and drum deftly lay a rhythmic foundation, and Jensen’s triumphant trumpet celebrates the family’s resilience and the sturdy house and home that Yosef Ben-Hur was determined to build for his family. 

Love Letters concludes with Ben-Hur’s soulful instrumental interpretation of the Victor Young classic, “Love Letters.” Speaking from his heart, his eloquent guitar offer a final expression of love for jazz music, his extended jazz family, and for people everywhere. The song and this sensuous album remind us of a timeless truth. In the words of lyricist, Edward Heyman, “Love letters straight from the heart keep us so near while apart.”

Portions of this press release borrow from the album’s liner notes, written by Terry Edmonds, a New York based freelance writer and poet. He was formerly chief speechwriter for President Bill Clinton.

Tour Dates:

• May 22: The Roni Ben-Hur Trio at The Zinc Bar, NYC
• May 24: Guest with Frank Vignola's Guitar Night at Birdland Theater
• May 31: WGBO Interview & Performance with Melissa Stylianou
• June 5-12 & 13-20: RBH Jazz Camps in the South of France
• July 21: The Roni Ben-Hur Trio at Maureen’s Jazz Cellar, Nyack, NY
• July 26: Sheila Jordan, Roni Ben-Hur and Harvie S at Pangea, NYC
• July 30-August 6: RBH Jazz Camp at UVM, Burlington, VT
• Aug 10: The Roni Ben-Hur Trio at Ornithology, Brooklyn, NY
• Aug 18-20: Joyce Moreno w/Special Guest Roni Ben-Hur @ Dizzy’s Club, JALC, NYC
• Aug 25 & 26: The Roni Ben-Hur Quintet plays the music of Barry Harris at The Jazz Forum, Tarrytown, NY
• Sept 6: The Roni Ben-Hur Quartet at Birdland Theater, NYC
• Sept 9: The Roni Ben-Hur Quartet at Kindred Spirits Arts Program, Milford, PA
• Sept 23: The Roni Ben-Hur Trio at Room 31, NYC
• Oct 3: The Roni Ben-Hur Trio at Chapel of the Holy Spirit, Sacred Heart University, Fairfield, CT
• Oct 6: The Roni Ben-Hur Trio at Scullers Jazz Club, Boston, MA

Louis Stewart & Noel Kelehan | "Some Other Blues"

The previously unreleased ‘Some Other Blues’ is regarded as a Holy Grail of Irish Jazz as it’s the only known studio recording of Louis Stewart and Noel Kelehan(pronounce “keel-a-han"). While Stewart was a local hero and internationally renowned guitarist, Kelehan was not well known as a jazz pianist outside of Ireland due to his TV-based composing, arranging and conducting, even though jazz was his first love.

Here we find Louis Stewart and Noel Kelehan, two giants of Irish jazz, in the kind of electrifying form that thrilled Irish jazz audiences in the 1960s, and 70s, in a programme of duets that scale the heights of swing, virtuosity, and interplay.

Guitar and piano duet albums are uncommon in jazz, with Bill Evans and Jim Hall’s probably the best known. As Louis and Noel were huge admirers of both, they may well have been an inspiration for ‘Some Other Blues’.

Both men were bone fide virtuosi, and there is a real sense of them revelling in their abilities, sparring with each other, and enjoying the excitement of the chase. While the omission of bass and drums opens many possibilities, it jettisons the safety net of the rhythm section.

Of the nine tunes, three of them – ‘You Stepped Out Of A Dream’, ‘Minority', and ‘I’ll Remember April’ are taken at blistering pace. And despite sometimes living on the edge of playable tempos, Louis and Noel don’t drop as much as a beat, even in the white heat of ‘I’ll Remember April’ with its extraordinary tempo of 285bpm. They each unleash lightning-fast solos, while playing through a set of chord substitutions that pile more chords on top of an already chord-rich piece.

The harmonic sophistication is a common feature of the album’s medium and fast tempo tunes, and the arrangements have Noel’s fingerprints all over them. His ability to jump backwards and forwards between keys, and the arrangement of Coltrane’s ‘Some Other Blues’, in which the first two choruses of both the guitar and piano solos feature two chords in every bar which constantly change key, is typical of Noel. 

Louis is a perfect partner to Noel’s harmonic daredevilry, with his flawless technique, effortlessly flowing melodies, and deep swing. Each man is the perfect foil for the other, provoking and challenging in a playful way. This is very clear on ‘Singin' In The Rain’, where Noel plays the melody in minimalistic octaves, while Louis provides an almost Freddie Green-esque strummed accompaniment, making for the album’s most mischievous take.

The album’s two ballads, Tadd Dameron’s classic ‘If You Could See Me Now’, and Noel’s own beautiful ‘I Only Have Time To Say I Love You’ reveal two masters capable of the kind of deep lyricism that the best ballad playing requires.

The album was recorded in Bray, just south of Dublin, in the same studio where Louis Stewart recorded his solo Out On His Own masterpiece just a few months earlier.  

Trombonist MICHAEL DAVIS Presents: OPEN CITY

Sometimes, a musician is described as someone who has, “played with everyone.” It usually means they’re a “musician’s musician,” have an enviable CV and have done quite a bit of high profile sideman work over many years. Trombonist/composer Michael Davis takes this narrative into the stratosphere, with a diverse and acclaimed career currently over the 40 year mark, and proceeding unimpeded, full-steam ahead. Davis is widely known as the trombonist for five world tours with the Rolling Stones, and touring and recording extensively with Frank Sinatra. Davis spent two amazing years with the Buddy Rich Big Band, and as testimony to his versatility and wide regard, the list of jazz and pop luminaries he has worked with includes: James Taylor, Michael Jackson, Bob Dylan, Aerosmith, Tony Bennett, Jay Z, Sarah Vaughan, Sting, Beck, Branford Marsalis, Peter Gabriel, Sheryl Crow, Lyle Lovett, Bob Mintzer, Paul Simon, David Sanborn, Terence Blanchard and scores of others. 

Michael Davis’ new recording is titled Open City. From the opening notes of “Hossland,” (with tremendous solos from Charles Pillow, Scott Wendholt and David Mann), waves of beauty, optimism, joy and hope surge from your speakers, potentially lifting you up, and washing away any worry, sorrow or pain . . . yes, it possesses a remarkably subtle potency, and, is in accord with the theme and aesthetic of this remarkable recording: Open City is a musical reflection on the inclusive, open nature of being a musician in post pandemic New York City. “The joy of being back performing live with other musicians, going into a studio to record our projects, sharing the challenges we all faced as performing artists and building back the business we all share so much passion for,” said Davis.

Open City marks Davis’ fourteenth album as a leader, and his sophomore recording fronting his acclaimed Hip-Bone Big Band. He has assembled a star-studded cast of New York City jazz and studio luminaries including Steve Wilson, David Mann, Andy Snitzer, Troy Roberts, Charles Pillow, Judy Lee, Mike Rodriguez, Scott Wendholt, Tony Kadleck, Marshall Gilkes, Ryan Keberle, Bill Reichenbach, Andy Ezrin, David Finck and Jared Schonig.

In addition to highlighting Davis’ rousing and dynamic sound as a player and writer, Open City showcases a unique family alliance with Davis’ eldest son Cole Davis penning three of the compositions (“Open City,” “Three and Out” & “Dark Horse”), and playing bass on four tracks, while Davis’ younger son Zaq Davis brings his talents to the trumpet section (on tracks 1, 4, 6, 7, 8). Cole Davis also co-produced the entire project with his dad and contributed the title track, which according to the older Davis, is, “definitely the strongest piece on the album.” 

Melody Gardot & Philippe Powell - Entre eux deux, The Paris Sessions

Following the celebrated success of 2022’s ‘Entre eux deux’, where  Melody Gardot joined forces with French-born, composer and pianist Philippe Powell (son of Baden Powell) for her first-ever studio album in duo, the pair are back with ‘Entre eux deux: The Paris Sessions’, which is an EP of four handpicked songs from the album, set with brand-new luscious string arrangements. 

There are four songs chosen for the EP by Powell and Gardot including the captivating ‘This Foolish Heart Could Love You’ described by Jazzwise as a “standard-in-the-making”, ‘Perhaps You’ll Wonder Why’, ‘Darling Fare Thee Well’  and ‘Samba Em Prelúdio’ a song that pays tribute to and revisits the legacy of Powell’s father (Brazilian composer/guitarist Baden Powell), proudly carrying the Franco-Brazilian torch lit so many years ago between celebrated artists Pierre Barouh, Vinicius de Moraes, and Baden Powell. The arrangements feel even more like “instant classics” thanks to the expertise of Alan Broadbent, renowned pianist, composer, and arranger, who has worked with some of the biggest names in jazz, including Charlie Haden, Diana Krall, and Natalie Cole. This stunning quartet lineup features members of the National Chamber Orchestra of Armenia (violinists Astghik Vardanyan and Gohar Papoyan and violist Astghik Gazhoyan) and Armenian-born musician and producer Artyom Manukyan on cello. The ensemble was also featured on Gardot’s most recent ‘Entre eux deux’ tour in 2022. 

"We're thrilled to be working with such an incredible team of musicians and collaborators," says Gardot. "We wanted to create something special for our fans to celebrate the one-year anniversary of ‘Entre eux deux’, and we couldn't be happier with the results. Press releases are boring. Just listen to it…"

Regarding the new collaboration, Powell explains, “In Paris, during the rehearsals the stunning musical encounter with these four incredible artists took place. They came from Yerevan, during a time when the Armenians were suffering the effects of a war that continues to this day. Yet, from the first notes played together, the songs we had written were suddenly reinvented with their hope, love, and strength. At each concert, this expression became deeper and the music was renewed. Through this recording, we had the chance to capture this musical communion. We hope it will touch your hearts...”

In addition to the release of her 6th studio album and first duo collaboration, 2022 saw Gardot receive the prestigious title of Chevalier in the Ordre des Arts et des Lettres, France’s highest cultural accolade, and undertake an extensive run of live dates, including five sold out shows in Paris. This year, from June stretching into early 2024, Melody embarks on a global tour including multiple runs in North America and Europe. Full tour dates and tickets are available here.

‘Entre eux deux’ shines a spotlight on both artists in their lane as composers and performers, showcasing Gardot’s mellifluous vocals and Powell’s consummate piano technique and a seemingly telepathic connection between two distinctive musical voices. Now with the addition of rich string arrangements, ‘Entre eux deux: The Paris Sessions’ further illuminates the duos breathtaking collaboration.

New Music Releases: Acantha Lang; Marc Jordan; Nick Green; Sultan Stevenson

Acantha Lang - Beautiful Dreams

Over the last few short years, rising Robert Randolph collaborator Acantha Lang has swiftly become one of modern soul music’s best- kept secrets — building a dedicated fanbase through her “Standing On The Shoulders Of…” Soul series (currently over 9 million views across socials) where she honors past Stax and soul legends with spirited reimaginings of jukebox classics. So far, she’s earned widespread praise across BBC Radio, has earned over 1 million streams (and counting), and has been playlisted on top Spotify playlists including earning a spot on Spotify’s Best Retro Songs of 2021 and Best Funk Songs of 2022 playlist all without a debut album – until now. On June 30th, Lang will release her debut album ‘Beautiful Dreams’ a record that’s destined to propel her from an undiscovered gem into the pantheon of modern soul greats. With Acantha’s takes on Stax- inspired funk with Southern blues, she tells highly personal tales atop spirited, shimmering grooves. Acantha’s storytelling style harkens to age- old blues traditions while grounding itself in contemporary themes, delivering head- on lyrical attacks on fake news (the tell- all “He Said/ She Said”), odes to motherly love in the wake of Katrina’s disaster (the gripping “Lois Lang”), and celebrations of Black strength and womanhood with confidence and pride.

Marc Jordan - Waiting For The Sun To Rise

The heartfelt emotional centerpiece of Marc Jordan’s new album Waiting for the Sun To Rise is “Rio Grande,” a sweeping anthem which artfully blends sociopolitical commentary about America’s loss of innocence with personal lovelorn yearning. Featuring trumpet great Randy Brecker, and piano by co-produce Lou Pomanti, the song was co-written with Steven MacKinnon from the Art of Time jazz ensemble. Lyrically the song addresses the view from an experienced age, marvelling at how time passes quickly while many things stay the same: multiple tragedies of modern life with its gun violence, environmental disaster, and a sense of impending doom over the lack of clear solutions. But throughout there’s always hints of optimism and nostalgia to keep us sustained through challenging rainy days with glimpses of brighter daylight ahead. It has been called his Magnum Opus and a triumph of a recording from a world-class artist performing at the peak of his skills. “Rio Grande” can be found on any streaming service and on the Waiting For The Sun To Rise a;bum. Marc Jordan is a JUNO Award and Genie Award winner, and in 2019 was JUNO-nominated for his last album Both Sides. He is married to singer-songwriter Amy Sky, and in 2022, the duo recorded an JUNO-Award nominated album of duets entitled He Sang She Sang. 

Nick Green - Green On The Scene

Altoist Nick Green is in a mighty sharp group here – one that's tight enough to match the Charlie Parker energy of the leadoff track, but which then moves into more soulful territory that really gives the whole record a wonderful vibe! The great Joe Magnarelli is on trumpet in the frontline, sounding great next to Green as both players really seem to have a way of elevating each other – and Jeb Patton's piano provides these rich currents that take the the whole thing back to the feel of an old Riverside Records or Blue Note date – thanks to crackling energy from Mike Karn on bass and the great Kenny Washington on drums. Green's definitely going to be a player to keep our ears out for in years to come – and titles include "All The Things You Are", "Horizons", "Cheatin", "Tear & A Smile", "Barry", "You Krane", and "A Handful Of Stars". ~ Dusty Groove

Sultan Stevenson - Faithful One

A really beautiful record from London pianist Sultan Stevenson – a set that seems to hearken back to the wonderful 70s territory of McCoy Tyner, especially in the way that Sultan can balance a sense of subtle majesty with an undeniable flow! Half the record features a core trio – with Jacob Gryn on bass and Joel Waters on drums – but the other half of the set also brings in some superb horn work that really rises the righteous power of the record – trumpet from Josh Short and tenor from Denys Baptiste, playing together with a richly spiritual vibe. Titles include "He Has Made Me Whole", "Faithful One", "Safe Passage", "Prayer", "Guilt By Association", and "Summer Was Our Holy Place".  ~ Dusty Groove

Kat Hawley | "Keep On, Keepin' On"

‘Twas the night before Valentine’s Day and a pair of lovers were toiling away in the recording studio. He, twelve-time Billboard chart-topping guitarist Adam Hawley, and she, R&B-jazz singer Kat Hawley, were at opposite ends of the room ruminating on what has kept their marriage and romance going fifteen years. As Adam composed and began constructing an instrumental groove, Kat riffed on the secret to their relationship, jotting down the affirmation “Keep on, keepin’ on” in her lyric book. She alternately sang and scatted until the right words emerged from her heart to tell the story. By the time dawn arrived on St. Valentine’s Day, Kat’s debut single was written. 

“Keep On, Keepin’ On” is a soulful and cultured midtempo groove that provides a lush rhythmic pocket for Kat Hawley to emote atop. Her voice oozes genuine warmth, sensuality and passion in her lead and layered backgrounds. There’s a sense of both confidence as well as emotional vulnerability in her expressive delivery, qualities that make the single feel authentically real. Adam Hawley plays guitar, keyboards and programming while co-writer Caleb Middleton fills the track with additional keyboards, key bass and programming around drummer Eric Valentine’s beats. There’s another prominent voice featured on the single: the tenor saxophone of veteran hitmaker Steve Cole.

“I wanted some serious vibes with this tune, and I think we got it. ‘Keep On, Keepin’ On’ is a burst of excitement for me. Feeling something in your soul, hearing things in your mind, streams of subconsciousness throughout your dreams to now being able to touch it is amazing,” said Kat Hawley who has sung on all four of her husband’s albums. 

Landing a powerhouse saxman like Cole for your first single is definitely a benefit of being married to Adam yet Kat takes nothing for granted, conveying gratitude for Cole’s contribution to the recording.

“Something that I still am reeling from is having the one and only Steve Cole featured on the single. He has always stood out to me as a player and an artist. I am grateful that he agreed to be part of this project and for doing such an incredible job with it as well. You never know what to expect when you hand something over to someone. You hope that they can grasp the emotion and the vibe, and that they respect your creation. I appreciate that he took his time over several days to really listen and grasp what needed to be done. His performance is simply perfect. The warmth, the gentle aggressiveness and, of course, his impeccable playing. To have Steve graciously play on my first solo release is truly an honor,” said Kat Hawley who tours performing with Adam Hawley all over the world at concerts, festivals and star-studded music cruises and has sung or recorded with Dave Koz, Marcus Anderson, Greg Manning, Julian Vaughn and Marqueal Jordan amongst many others.

Kat Hawley is working on an album with Adam Hawley at the helm and she jokes that it could be a test of their relationship.

“I think Adam gets extra brownie points for producing me. I know I am not the easiest client. At one point during the recording, mixing and mastering stages, he said to me, ‘You’ve already exceeded my standard limit of edits per song.’ I responded with, ‘Another thing I want to fix is...’ We get a lot of laughs from one another. His creativity, mastery of the art and disciplined work ethic is something that I admire and respect, as I, too, share integrity for the artform. I am deeply blessed to have a partner who can bring out the best of my craft and support me like no other.” 

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."