Tuesday, August 22, 2023

Vancouver jazz outfit Malleus Trio to launch "On/Off"

Formed in 2007, Vancouver's Malleus Trio comprises drummer Ben Brown (of JUNO-winners Pugs and Crows), Dominic Conway (of the Mary Ancheta Quartet) on tenor saxophone,  and bassist Geordie Hart (founding member of the Boom Booms). Following their 2017 debut, the group has gone on to become a staple of the jazz festival circuit in Canada and it's not hard to see why. This summer saw them bringing their lean, intricate music to the Toronto, Medicine Hat, Calgary, Ottawa and Victoria Jazz Festivals, following a spring stint in Europe. Meanwhile, their 2019 tour in support of their second albumPlay Nice encompassed appearances at Vancouver, Edmonton, Winnipeg, Halifax and Saskatoon festivals, the last of which they shared the stage with the legendary Joshua Redman Quartet.

Their third album, On/Off offers a thorough exploration of this trio's vast musical range. Their core sound is singularly charismatic, springing from a driving, no-nonsense, rhythmic base, yet the group always seem poised to veer off in some surprising direction... and they do.  What they do remains firmly anchored in the jazz pantheon, yet welcomes both the assertive simplicity of rock, and the sonic curiosity of experimental forms. The absence of a chording instrument such as guitar or piano only serves to underline their specific blend of elements, streamlining their harmonic profile while also drawing attention to the vital role each member plays. Their pared-down instrumentation also gives their  rhythmic dimension additional presence, while providing space for them to cultivate unique approaches to counterpoint and interplay as a unit.There's no shortage of bold urgency to their playing, but they never stray needlessly into virtuosic machismo. Instead, they let their soulful melodies, sinewy grooves, idiosyncratic interaction, and textural detours speak for themselves. 

Malleus Trio's unorthodox yet accessible take on jazz is undoubtedly a result of the eclectic versatility of its membership. Over the past decade and half, bassist and composer Geordie Hart has applied his background in jazz to a wide variety of different scenarios including his own band the Boom Booms, who bring a widescreen sensibility to soul-pop, as well as appearances alongside noted artists Sarah McLachlan, Bryan Adams, Serena Ryder and Jessie Reyez. Saxophonist Dominic Conway is currently a member of numerous different outfits spanning the proggish jazz of We Just Stole A Car to the polymorphous funk of Coco Jafro. His various collaborations provide even more insight into his stylistic breadth; he has been heard alongside internationally-celebrated Vancouver improviser Peggy Lee, award-winning guitarist Steve Dawson and prominent Canadian rockers Arkells, among many others. Ben Brown is the sort of musician who continues to nurture his curiosity as a percussionist through inventive collaborations, such as his recent explorations of the "symbiotic instruments" conceived by composer Roxanne Nesbitt.  Brown has been heard at noted European venues for experimental music such as Bimhuis and Fylkingen while also contributing to the exploratory pop of Alicia Hansen and his band Pugs & Crows. He is also engaged in ongoing studies with revered artists such as Evelyn Glennie and Jim White (of Dirty Three and Xylouris White). The band's longstanding relationship affords them the trust and mutual familiarity to fuse and reconfigure this disparate assortment of artistic tendencies all the while maintaining a distinctive, economic-but-colourful collective aesthetic.

Monday, August 21, 2023

Alfredo Rodriguez Releases New Album, Coral Way

Globally acclaimed artist and pianist Alfredo Rodriguez has released his new album Coral Way via Mack Avenue Records. "I play what I live, and Coral Way is my new life,” states Rodriguez. “It is the name of the street on which, for the past 3 years, I have been composing this album, and now I’m excited that people from all over the world will finally get to hear it in an expansive way, with a full live band."

On Coral Way, listeners can expect to hear the Rodriguez they’ve known and loved for years, but with a new twist. The album embodies the collective sound of Miami, blending Latin pop, timba, salsa, bachata, tango, reggaeton, and bolero. It's a musical fusion that encompasses the diverse Latin community while celebrating individuality and fostering unity. It calls upon Rodriguez’s roots just as much as his newly-learned experiences, representing a new phase of life marked by his latest move from Los Angeles to Miami; the birth of his baby girl; and finally reuniting in the same city as his family, who now all live in Miami, following his departure from Cuba.

In his new home, Rodriguez took note of the limited cross-pollination and few collaborations that existed between mainstream Latin music and Latin jazz. Coral Way, which features guest vocalists Cimafunk and Alana Sinkëy, serves as the connective tissue between these worlds—an artistic statement for the diverse Latin community to be seen, be heard, and take pride in their history, while creating community through individuality.

Rodriguez's ability to "play stories" on the keys allows him to connect with his listeners on a deeply personal level. His albums, including The Invasion Parade, Tocororo, and Duologue, reflect his memories of Cuba, his experiences as an immigrant, and his journey of self-discovery through music. He’s been featured by All Things Considered, Downbeat, The New York Times, Los Angeles Times, and Wall Street Journal among many others, and performed for NPR Music’s Tiny Desk Concert.

Rodriguez continues to share his music along with his impactful message of perseverance and cross culturalization on an international tour, while sharing a variety of viral social media videos in which he plays well-known compositions in a Cuban timba style. See tour dates below.

Tour Dates:

  • August 18: Castelsardo, Italy @ Musica sulle Bocche Festival Jazz Internazionale
  • August 20: Makarska, Croatia @ Makarska Jazz Festival
  • September 19: St. Louis, Missouri @ City Winery
  • September 20: Chicago, Illinois @ Constellation
  • September 22: Des Moines, Iowa @ Civic Music Association
  • September 23: Madison, Wisconsin @ Stoughton Opera House
  • September 24: St. Paul, Minnesota @ Turf Club 
  • September 27: Boston, MA @ City Winery 
  • September 28: New York City, New York @ Sheen Center
  • October 1: Durham, North Carolina @ Carolina Theatre 
  • October 5: Cocoa Beach, Florida @ Heidi’s Jazz Club
  • October 6: Largo, Florida @ Central Park Performing Arts Center
  • October 7: Miami, Florida @ The Moss Center
  • October 11: Denver, Colorado @ Cervantes
  • October 13: Greeley, Colorado @ UNC Greeley
  • October 14: Beaver Creek, Colorado @ Vilar Performing Arts Center
  • November 3: Madrid, Spain @ Teatro Pavon 
  • November 4: Lausanne, Switzerland @ Paderewski Room Salle Paderewski
  • November 5: Valencia, Spain 
  • November 6: Kedzierzyn, Poland @ Kameleon Jazz Club
  • November 7: Poznań, Poland @ Blue Note Jazz Club
  • November 8: Lublin, Poland @ Teatr Stary w Lublinie
  • November 9: Warsaw, Poland @ Jassmine
  • November 10: Ełk, Poland @ Elk Cultural Center
  • November 11: Avignon, France @ La Scala 
  • November 15: Novi Sad, Serbia @ Novi Sad Jazz Festival
  • November 17: Eilat, Israel @ Red Sea Jazz Festival
  • November 19: Zaragoza, Spain @ Caixa Forum Zaragoza
  • November 24: Sevilla, Spain @ Caixa Forum Sevilla
  • November 26: Mumbai, India @ Mumbai Intl. Jazz Festival
  • February 1: West Palm Beach, Florida @ Kravis Center for the Performing Arts
  • February 2: Gainesville, Florida @ University of Florida at Phillips Center Upstage 
  • February 15: Rotterdam, Netherlands @ LantarenVenster
  • February 16: Amsterdam, Netherlands @ Bimhuis
  • February 17: Cologne, Germany @ Kölner Philharmonie
  • February 20: Stockholm, Sweden @ Fasching
  • February 24: Neuburg, Germany @ Birdland Jazz Club Neuburg
  • February 25: Straubing, Bayern Germany @ Hotel ASAM
  • February 26: Lugano, Switzerland @ Studio Foce
  • February 29: London, United Kingdom @ Ronnie Scott's 
  • March 1: Duisburg, Germany @ Lutherkirche Duissern
  • March 21: San Diego, California @ UCSD
  • March 22: Los Angeles, California @ UCLA

Pianist Todd Cochran Releases "From the Vault: Notes for the Future," a Narrative Exploration and Foray into Cochran’s Electronic Music Palette

Notes for the future are the “imagined sometime in the past” tropes of a storyteller. Freed from every day “isms” of convention and released from the symbolic containment of the vault, the music is an allegorical exploration in futurism. The stream running throughout the musical narrative is a speculative commentary about our human search for meaning, and we’re reminded that as a version of our ancestors’ vision, this quest never ends.

“From The Vault” is structured around a sequence of recurring themes and develops as an unfolding tour of references, hints, and clues. Moving from one perspective to another, we connect with how our planet is perpetually in a state of seeking solutions. Within the soundscape, without words, an underlying language is speaking. Nature evolves for the sum of us, not the few. We are in a continual state of becoming. We are connected. Love is passed along, as is happiness. Nevertheless, expressly for the listener, an implied sense of reasoning encourages us to feel free and let go of all things familiar. And then, “over there” in the distance, we get a passing glimpse of the sacred structure.

1.    PAINTED BY THE SUN

Mountain peaks, sea cliffs, oceans, opaque forests, desert savannas – and human faces colorized by the paintbrush of nature. The entirety of our planet is inhabited by intuitive human beings – all sun worshippers – collectively marking time in communal practices of decoding the mysteries of our existence.

2.    IN YOU I SEE ENDLESS MEMORIES

An imagined conversation between the sky and the wind.

3.    ISMS PRISMS

Not one thing, but all things… spontaneous change shuttles us through the cycles of life.

4.    TRANSPARENCIES

Being transparent is naturally imperfect and intensely human.

5.    WE MAKE TWO, TWO MAKE WE

Music is a language of interacting tones and colors through which one is able to experience the other; the abstract and the personal. The notion of two streams of thought merging into a unified idea makes for a wellspring of originality. At once distinctly different, yet in combination, resonating wildly.

6.    EYE DREAMING

“Within you, my love, I see endless mystery.”

7.    MOON GLOW

This duet of a middle-sized plucked string instrument and Balinese gong expresses energies I’ve experienced in Indonesia, where the nighttime sky sometimes seems so vast there appears to be an aura around the moon. 

8.    HYMN FOR THE HIDDEN PEOPLE

This is a tonal essay – an homage to the poor, the rebuked, scorned, unseen, and unheard. The music challenges our lack of compassion and moves us to feel the many who toil and struggle in silence, yet stay in the light, with hope and determination. 

9.    THE SPINNING CIRCLE

There are no simple explanations or a single equation that defines a circle. A circle has no beginning or end, there’s no start, finishing point, or conclusion. Only infinite revolutions rhythmically intertwined.

10. INSEPARABLE

Balance in our lives and the spaces we occupy is a dance of opposites. “Om” and “Amen” are the same thing.

Benjamin Koppel, Scott Colley, Brian Blade release 'Perspective'

KCB Collective is the name of an all-star trio, a working band that was founded 10 years ago, consisting of three of the most in-demand, versatile and top-class jazz musicians on the scene today. Between them they have worked with the who’s who in jazz, but this time they once again come together and via their long-lasting musical friendship they refine the potential of the classic jazz trio formation.

All three musicians write music for the trio and the album Perspective, which stretches from quiet, beautiful ballad-like jazz, to the more powerful, energetic, rock-influenced sub-genres.

Blade’s creativity blends perfectly with Colley’s strong improvisations and Koppel’s lyrical sax and the works are tied together by three virtuosos who have taken interplay and collective musical dialogue to a new level.

Benjamin Koppel is one of the most award-winning musicians of his generation. He has released more than 60 CDs as a band leader that include collaborations with artists like Jack DeJohnette, Paul Bley, Miroslav Vitous, Peter Erskine, Brian Blade and Phil Woods. In 2011, Koppel became a cultural knight of France, Chevalier des Arts et des Lettres, for his major contribution to French jazz via collaborations with Daniel Humair and many more.

Scott Colley is the bassist choice for such jazz legends as Herbie Hancock, Jim Hall, Andrew Hill and Michael Brecker. His remarkably empathetic skills, strong melodic sense and improvisational abilities can be heard in groups led by colleagues Chris Potter, John Scofield, Adam Rogers, Brian Blade, David Binney and Kenny Werner. Furthermore, Colley has a list of releases as a leader to his name. These feature musicians such as Bill Frisell, Mark Turner, Ralph Alessi and many more.

Brian Blade has established himself as one of the most important drummers of the 21st century. His exceptional abilities behind the drums have given Blade the opportunity to work with the who’s who of the jazz world and other rhythmic genres. To name a few, Blade has collaborated with Joni Mitchell, Bob Dylan, and Daniel Lanois. And in the jazz world he has been a regular member of both Wayne Shorter and Herbie Hancock’s bands. Lastly, Blade has been very successful with his own projects The Fellowship Band and Mama Rosa.




Hilario Durán and His Latin Jazz Big Band Releases the Title Track From "Cry Me A River," His First Big Band Album in 17 Years

Hilario Durán brings the full scope of his artistry, the depth of knowledge of musical genres in the perfect storm of big artistry on Cry Me A River. The nine works on this recording are born of Durán’s Afro-Caribbean cultural topography but are also informed by his gifts for bending tradition and infusing his arrangements with unfettered improvisation.

Through the course of the album the Grammy-nominated and Juno Award-winning Durán actively throws overboard melodic, harmonic, and structural hooks that have become expressively blunted through overuse, building big band charts that bloom in color and texture and atmospheric beauty.

“I have waited almost twenty years to record another big band album,” Durán says. “But there was plenty of preparation for this moment." He refers to the four radio broadcasts of his compositions and arrangements with the great WDR Big Band in Koln, Germany. “It was great to showcase my music and to ‘workshop’ some new arrangements... aspects of the craft I learned working with the Orquesta Cubana de Música Moderna in Habana which I inherited from Chucho Valdés... So much to be grateful for the gift of music... it seemed that the time is right for this new album, Cry Me A River,” Durán muses.

Durán integrates a myriad of genres into his singular style on the album – traversing innovations that have made his music uniquely breathtaking. He points to "Claudia," a song he arranged while he was touring as Musical Director with Valdés, and features Paquito D’Rivera on alto saxophone, as Dizzy Gillespie’s "Night in Tunisia." "Fantasia Impromptu" is a kind of jazz-meets classical, via Brazil and Cuba, featuring D’Rivera on clarinet. “It is our way of honoring the classics – in this case, Chopin,” Durán says.

Of the title song, "Cry Me A River," Durán says: “Elizabeth Rodríguez is just fantastic on violin. In her solo she plays deep in the Cuban tradition and follows that with an incredible improvisation! "Pacá por Juanito" is a tribute to guitarist, composer, arranger Juanito Márquez. "He is one of the greatest musicians of Cuba," Durán says. "I learned how to arrange for big band by studying his scores in my early years." Another original is "Mambo y Tumbao" “Here, I highlight both traditional forms (mambo) and the revolutionary innovators of Cuban music – the great Bebo Valdés, who invented the ‘batanga’ rhythm, and the influential bandleader Pérez Pradoa. And of course, 'I Remember Mingus' is a tribute to Charles Mingus, the great composer, bassist, and bandleader."

One name missing from the performance credits is Yailin Durán, the bandleader’s daughter. “She taught me all about hand-movements... everything I know about conducting,” Durán explains. “I owe the deepest gratitude to her for all my big band music... for Cry Me A River.”

Euge Groove Breaks Out Of Comfort Zone on New CD, includes Jr. Walker Tribute

“I’ve been home for the last twelve months free from touring to take care of my mind, body, and spirit” confesses one of Contemporary Jazz’s premier road warriors and hitmakers, Euge Groove. “I just turned 60 last November. I feel like I’m onto a new chapter. Not only musically, but spiritually.” August 25, 2023, Shanachie Entertainment will release Euge Groove’s thirteenth recording as a leader Comfort Zone. The number thirteen is a spiritual number and one that is often associated with change and rebirth. “The title Comfort Zone came about because I was anything but comfortable writing this album and I needed to get out of my comfort zone…writing songs in different keys then I’m used to, made me come up with different melodies and chord structures.” If you are wondering where Euge’s comfort zone lies, it is within his studio. “I could spend the rest of my life here. It has everything I need to feed myself.” Never one to rest on his laurels, the consummate hit-maker, celebrated saxophonist, composer and producer, has worked with everyone from Tina Turner, Eurythmics, Aaron Neville and Richard Marx, to Joe Cocker, Tower of Power, Huey Lewis and Luther Vandross. In an industry where artists are consistently put in a box and categorized, Euge Groove continues to let his heart lead professing, “Good music is good music, no matter what.” 

Comfort Zone Follows Euge Groove’s 2020 recording Sing My Song. The album grew out of collaborating with bassist Corney Mims and pianist Tracy Carter. “They both have been very instrumental in helping me shape the sound of my recordings over the last 15 years. It came to me to do some good old fashion writing sessions in my studio with them. We just sat down and whoever had an idea, they threw it out there.” Comfort Zone is an exhilarating set of ten originals that opens with the gorgeous composition “Measure for Measure,” reminding us of the beauty of the present. The bouncy and bluesy “Walkin’” is the perfect showcase for Euge’s ability to craft organic grooves that combine the best elements of jazz, R&B, funk and soul. The invitational and gospel-tinged “Let’s Hold Hands,” is a reminder of the many reasons why Euge Groove is such a dazzling master of melody. The track showcases the harmonica playing of Dino Soldo. “Melody has always been most important to me. Even with songs with lyrics, I hear the melody first,” shares the saxman. The Quiet Storm showstopper “Up Close” is reminiscent of Anita Baker’s “Sweet Love” while the album’s title cut, “Comfort Zone,” features all the creature comforts of Euge’s signature sound that have made him such a success at radio: unforgettable melodies, dance-inducing grooves, combustible percussive tracks and a special emphasis crisp clean production. “I am a bit of a tech geek,” confesses Euge. I love production. During the pandemic, I really got into doing production for others. Especially mastering. My wife wouldn’t let me buy a Porsche, so I bought an analog mastering rig. I just love it. I’ve mastered for Rick Braun, Vincent Ingala, Lindsey Webster, George Benson, Norman Brown, just to name a few.”

Euge Groove takes us to the “Crossroads” on Comfort Zone. Euge may be standing at the intersection but he’s all in with this hit-bound funky number. “Caminito,” meaning a little walkway or path, leads us to a decidedly blissful and serene place while the album’s first single, “Junior,” dares you to sit still with its soulful rhythmic groove and Euge’s big burly and zippy tenor. “I decided to go Junior Walker style on it. Hence, the title. I am a huge fan. Along with David Sanborn and Stanley Turrentine, Jr. Walker is a major influence on me."

One of the most beautiful moments on Comfort Zone happens on the song “Two Bridges.” While a bridge is meant to provide a safe passageway over a body of water or obstacle, Euge finds a direct route to a sweet and soulful place on this winning number. Euge Groove delivers a fitting closer to his new recording with his party anthem “Please Mr. Groove.” He shares, “The song is a loosely based cover of a dance club groove from the 80’s by the group One Way that featured a Vocoder hook saying, ‘Please Mr. Groove’. I had seen Richard Elliot play a sort of vocoder in a live set many times, so I asked him to give it a try, and he graciously accepted the challenge, and killed it! Though he plays it live, he’s never recorded it until now. Then, there is a breakdown section in the song that has this Maceo Parker kind of sax line. Nobody pays homage to Maceo like Candy Dulfer. No one! I reached out to her, whom I’ve hung with many times on the Smooth Jazz Cruises, and she graciously accepted. I owe those guys huge favors for the fun they brought to the song. And the song is fun. The original is just one chord the whole way through, so we added some other sections and turned it into a blast to play with.”

A graduate of the University of Miami's School of Music, Steven EUGEne GROoVE (Euge Groove!) was in Hagerstown, Maryland and grew up in a musical home. His mother played piano and taught the Cherub choir at Christ Lutheran Church, and he began his own musical pursuits at the age of seven, beginning with the piano and adding the saxophone at nine. But for Euge it was in elementary school where he discovered that music was his calling. “In fifth grade I thought I'd be in school band the rest of my life.” He later discovered two saxophonists who had a profound effect on his approach to playing. “One was French classical player Marcel Mule, who really defined what the sax was supposed to sound like for me and the other was David Sanborn. He took that sound and brought it into the mainstream world,” reminisces Euge Groove.  He explains, “I've listened to everyone from Grover (Washington Jr.) and (David) Sanborn to (Charlie) Parker and (John) Coltrane as well as (Michael) Brecker, (Stan) Getz, King Curtis, Junior Walker, Richard Elliott and Kirk Whalum. The thing is, the more mature we become the more those influences fuse into something new. I always listened to a lot of R&B growing up, fused that with Pop music, then with the Gospel music. Hopefully all these influences come through in my music and I am able to create my own unique expression.” With the release of Comfort Zone, Euge Groove further asserts himself as one of the most distinctive artists in Contemporary Jazz and assures us that he is in the zone. He also lets us in on a little secret - balance is the key to everything. “When I am not making music, I love driving the California coast. I’m very fortunate that I can be to the coast in about 15 minutes. It’s very Zen for me. Also, pizza. I love making pizza. I have a wood pizza oven in my backyard, and when I’m up to it, I get up early in the morning, make the dough, the sauce, and for dinner fire up the oven. I’ve got to be in the mood though. I get more requests in the house than I make. It’s like music for me; You can’t force it!”


Trumpeter PABLO MASIS Presents THOUGHT and MEMORY

In February 2015, trumpeter/composer Pablo Masis traveled from his home in New York City to Kabul, Afghanistan as a guest artist with the Afghanistan National Institute of Music for their Winter Academy. While there he gave individual and group lessons to the school’s brass students, taught a series of introductory jazz classes, performed in recitals, and assisted with outreach for Afghanistan’s only music school. His new recording (his fourth), Thought and Memory (BJUR 074), out on Brooklyn Jazz Underground Records on September 8, 2023, is a musical snapshot of these two vastly different cities, both of which have affected Masis greatly, altering and shaping his view of the world.

The first half of this recording consists of four compositions, performed by Masis and his rhythm section of Jeff McLaughlin (guitar), Jeff Koch (bass) and David Hawkins (drums). “I wrote these compositions as an embodiment of my experiences of living in New York City,” said Masis. “’Supercollider’” and ‘Anticipation’ are both meditations on life in such a vibrant city. ‘Signal Problems’ was inspired by the experience of waiting on a NYC subway train, stalled in between stations.” The title track, “Thought and Memory”, comes from melodies floating in an out of Masis head during long walks through some of NYC’s dark and moody streets.

The second half of this recording consists of a three movement suite Masis began working on while in Kabul, Afghanistan, in February 2015. Masis elaborates, “I was there as a guest of the Afghanistan National Institute of Music’s (ANIM) Winter Academy. Teachers were brought to the school to give lessons and classes for Afghanistan’s only western music school. During my time there I spent many contemplative hours in my hotel room. Travel was restricted to the school and approved outings, so in my downtime, and with the backdrop of the sights, sounds, culture and history of Kabul, I began writing the music that became the suite you hear on the album.”

The first movement, “An Unfamiliar Dawn”, captures Masis’ experience of a Kabul landscape and sunrise. Towards the end of the movement, the saxophone solo carries the suite into the second movement, representing the journey from the calm of the hotel down into the hustle and bustle of the city and the school. The second movement, “A Future Without Strife”, expresses the energy and excitement of the children at ANIM during the trumpeter’s time there. “Each student was enthusiastic and wanted to learn about Western music. Towards the end of the movement, the drum solo transports us into the third movement.” “Darul Aman”, represents Masis’ visit to Darul Aman Palace, on the outskirts of Kabul. He explains, “I wrote this movement as an elegy both for the palace, and the ending of my time in Afghanistan.”

Originally from Cleveland, Masis spent his childhood years in Northern Arizona on the Navajo Indian Reservation before moving to Billings, Montana. He studied classical trumpet with Robert Levy and received a Bachelor of Music degree from Lawrence University. Following a year of Graduate study in classical trumpet under Dennis Najoom at the University of Wisconsin, he moved to New Orleans and studied with Big Easy legends Terence Blanchard, Clyde Kerr Jr. and Ed Petersen, receiving a Masters Degree in Jazz Studies from the University of New Orleans. After two years in New Orleans, Masis moved to Omaha, Nebraska in 2004, where he was an active freelancer, performing across the Midwest. He attended the Betty Carter Jazz Ahead Residency at the Kennedy Center in 2007 and also participated in the Banff Centre Workshop in Jazz and Creative Music, led by Dave Douglas. 

Masis recorded his first album of original compositions in 2009, titled Half Past. That same year he made the pilgrimage to New York City, and quickly became an active freelancer and educator. He has performed at venues such as Joe’s Pub, The Blue Note, The Baryshnikov Arts Center, The Waldorf Astoria, Music Hall of Williamsburg, Irving Plaza, Littlefield, Shapeshifter Lab, and The Cornelia Street Cafe, among others. He has also performed with a variety of NYC-based ensembles including Kyle Saulnier’s Awakening Orchestra, Bobby Sanabria’s Multiverse Big Band, and the David White Jazz Orchestra.

In 2012 Masis released his second recording titled Intrinsic, and featuring Chad Lefkowitz-Brown, Alex Brown, Linda Oh and Jared Schonig. Hot on the heels of this release, Masis decided to pursue writing music for a more intimate ensemble, and went into the studio with new music and musicians Aidan Carrol and Jared Schonig to record Rubicon, released in June of 2014.

Masis has performed across the U.S. and Europe including NYC, Seattle, Portland, New Orleans, Washington D.C., Belgium, The Netherlands, and Poland. The trumpeter has presented concerts and masterclasses at Rocky Mountain College, South Dakota State University, and Southwestern Oklahoma State University. The artist currently lives in Brooklyn, where is he on the teaching faculty of the Brooklyn Conservatory of Music.

Upcoming Thought and Memory Tour Dates:

  • September 17 – The Soapbox Gallery, Brooklyn, NY
  • September 21 - Southwestern Oklahoma State University, Weatherford, OK
  • September 22 - University of Central Oklahoma Jazz Lab, Edmond, OK
  • September 23 - The Ship, Kansas City, MO
  • September 26 - Boiler Brewing Company, Lincoln, NE
  • September 27 - Vangarde Arts, Sioux City, IA
  • September 28 - R Wine Bar, Sioux Falls, SD
  • September 28 - Augustana University, Sioux Falls, SD
  • September 29 - South Dakota State University, Brookings, SD





Sunday, August 20, 2023

Output / Input – Forward Motion

Output/Input was formed by Melvin Lee Davis, an esteemed bassist, composer, producer, and arranger who also happens to be Musical Director for 10-time GRAMMY award-winning ‘Queen of Funk’, Chaka Khan, who he still regularly tours with. He has also recorded, toured and worked with legends of Soul and Jazz, including George Benson, Lee Ritenour, George Duke, Will Downing, Lalah Hathaway, Patti Austin, Ledisi, and Angie Stone among many others. Davis‘ musical pedigree is also in evidence as co-writer of ‘Soul Train’s A Comin’, the theme song for Don Cornelius’ legendary weekly television show ‘Soul Train’.

Lead vocalist Antonio McLendon has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features on ‘Someone I Used To Love, ‘Smilin’ Faces’, and ‘I’m In Love’, which received rotation plays at radio last year. ‘Smilin’ Faces‘ is a hit at UK Soul radio right now. ‘Here We Go Again’ is also still getting radio play and features the vocals of Audrey Wheeler-Downing, who has worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. ‘Doin’ Alright’ features vocals from O’Bryan, who Davis worked with extensively on his albums for Capitol. This is a re-recorded version with added horns and strings, co-written by Melvin, that originally appeared on the album of the same name in 1982. Also on vocals is Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele’s residency at Caesar’s Palace in Las Vegas.

Band co-founders, known as the Triple H Horns, comprising Nick Mead (trumpet), Jacob Shaw (saxophone) and Patrick Hayes (trombone), are an in-demand horn section for artists such as Christina Aguilera, as well as composers and producers worldwide. They initially met Melvin Lee Davis through their work with Chaka Khan. The ensemble is completed by members Jay Williams (drums), Adam Kovacs (percussion) Kanghyun Bu (guitar), Daeun Kim (keyboard), and Jesse Milliner (keyboard).

Marc Copland Quartet - Someday

As the pandemic winds down and music re-emerges, internationally renowned pianist Marc Copland has released his first quartet CD in several years, featuring some of the finest talents on the New York scene. Copland feels that this is one of his finest recordings ever, and after listening, we can see why!

By now Marc Copland needs no introduction. At 74 years, he’s arguably at the top of his game, making him one of the handful of jazz pianists playing at the highest level. Certainly John Abercrombie and Gary Peacock thought so; for over 30 years, they played in his bands, and he in theirs. Drew Gress, the other veteran in the band, has been omnipresent on the jazz scene for three decades. He covers the whole instrument with breath-taking virtuosity, and his understanding of time and harmony is perhaps unrivalled among his peers.

Copland and Gress, partners for many years, are joined by two outstanding younger talents. Robin Verheyen is a Belgian- American saxophonist who has been playing with Copland for nearly ten years. Says the pianist, “he really knows how to listen, and has his own sound and approach.” Copland, who has played and recorded over the years with the likes of Bob Berg, Michael Brecker, David Liebman, Joe Lovano, and James Moody, says simply, “Robin is my favourite tenor and soprano saxophonist.” Drummer Mark Ferber is no stranger to jazz listeners, having toured and recorded with Gary Peacock’s trio, Ralph Alessi’s quintet (including two albums for ECM), and countless other projects. He combines an effortless technical proficiency, killer swing, high intensity, and quiet sensitivity all in one package.

Copland’s unique sense of touch, lyricism and poetry at his instrument, his creation of unusual harmonies and lines, and his sense of swing are well documented. What’s perhaps less known, but shines brightly here, is how committed he is to the spontaneity of the moment. “That’s an approach John (Abercrombie), Gary (Peacock), and I all shared - when I played with either one, it was like we could read each other’s minds.” In this band, the level of spontaneous interaction and interplay between the musicians is remarkable. “I never come to the studio with all the tunes selected and prepared,” says the pianist. “I like to leave room for something to happen, and to encourage band members to participate in the decision making and shaping of the music. When everybody’s involved, you get this thing where the band sounds and feels like one living organism.”

Someday will be released worldwide on Friday, September 1st 2023 on InnerVoiceJazz.

New Music Releases from Gil Scott-Heron, Rubim de Toledo, Knoel Scott with Marshal Allen and Will Clements

Gil Scott-Heron - Legend In His Own Mind

An excellent double-length live set from Gil Scott Heron – recorded right in the middle of his classic years on Arista Records, and with an extended groove that shows just how great he could be in a concert setting! Many of these tracks are quite long, with both instrumental solos and a more freewheeling vibe from Gil – who seems to put even more power into the sorts of messages that always make his music so wonderful. The group features flute from Vernon James and tenor from Ron Holloway – and Gil himself plays plenty of great keyboards, including Fender Rhodes – which brings a very fluid vibe to his vocal presentation. Tracks include "We Almost Lost Detroit", "B Movie", "Better Days Ahead", "Washington DC", "Shut Em Down", "Winter In America", "Angola Louisiana", "Johannesburg", and a great 15 minute take on "The Bottle". - Dusty Groove

Rubim de Toledo - The Dip

Award-winning bassist, composer, and bandleader Rubim de Toledo continues to expand his fertile catalogue of original music with his exciting new release The Drip. On this beautiful new record, the Brazilian-Canadian musician delves deeper into his tropical roots, exploring sounds from Brazil, Cuba, the Caribbean, as well as Afrobeat, funk, and jazz music. De Toledo - a winner of multiple Western Canadian Music Awards (Jazz Artist of the Year 2018, Instrumental Artist of the Year 2021) - began his professional career in Edmonton, Alberta at the age of 17, performing with Albertan jazz legends Tommy Banks, PJ Perry and Clarence “Big” Miller. Since then, he has become a sought-after sideman and bandleader, releasing seven full-length recordings of original music and securing a position as one of Western Canada’s most celebrated musical artists. As a bassist, de Toledo has shared the stage with a long list of international jazz stars, including the likes of Mulgrew Miller, Terrell Stafford, Dick Oatts, Wycliffe Gordon, Peter Bernstein, Sean Jones, Jason Marsalis, Bob Mintzer, Ralph Bowen, and John Riley. For The Drip, Rubim has invited Edmonton-based songstress Karimah to join him as a collaborator on three songs alongside an all-star lineup of Western Canadian jazz stalwarts. The album features nine original world jazz pieces, each with its own unique story to tell. The Drip will be released worldwide on Friday, August 25th 2023.

Knoel Scott with Marshal Allen - CelestialK

A long-overdue debut as a leader from reedman Knoel Scott – a player most know for his work in the Sun Ra Arkestra, stepping out here in a magnificent quintet session that also features the great Marshal Allen from that famous ensemble! Scott plays alto and flute – often with a spiritual, modal vibe that's both in early Arkestra territory, and some of the modes that Yusef Lateef was expressing in his early years – matched with alto work from Allen, who also blows the very cool electronic wind instrument! The rest of the lineup features Charlie Stacey on piano, Chris Henderson on drums, and Mikele Montolli on bass – and titles include "Conversation With The Cosmos", "Makanda", "Blu Blues", "Celestial", and "Les Funambules".  - Dusty Groove

Will Clements - COMPASS

Vocalist Will Clements explores the themes of love through a queer lens on his third album, COMPASS. Having spent significant time in Montreal, Paraguay, and Vancouver, Clements brings influences from these cities into a new collection of compositions and arrangements, ranging from traditional swing music to South American-inspired sounds.The album’s stories have the common thread of being lost and found over a decade of maturing into adulthood. Clements was mentored through the songwriting process by Juno-nominated bassist Jodi Proznick; his originals, which comprise the majority of the album, weave through many moods and contain surprises while keeping root in mainstream vocal jazz. From its two lead singles – the optimistic standard “On a Clear Day” and a reworking of Amy Winehouse’s “Back to Black” – COMPASS presents Clements in collaboration with a diverse band of Canadian musicians. Clements, also an adept arranger, invites featured guests Allison Au on saxophone, Rachel Therrien on trumpet, and Atley King on vibraphone to unveil a cross-section of the country’s rising talents from the younger generation. The addition of guitarist Alvin Brendan, pianist Miles Black, and emerging drummer Todd Stewart from the Vancouver scene forms an ideal, inter-generational rhythm section.

Alyssa Giammaria – In Time

In Time is Toronto vocalist and composer Alyssa Giammaria’s first full length album of original music. Half of these pieces (Conversations, Dream Life, For Now) were written in 2016, when Giammaria was first beginning to seriously explore her interest in writing music, while the other half were written in the months leading up to the  album’s summer 2022 recording session (The Only Part, In Time, What Are the Words, Mend). The end result is a potent mix of old and new: a lively sonic blend of fresh, energetic songs alongside a selection of more thoughtful and patient pieces. In Time is a beautiful portrait of an up and coming young artist’s creative process in action. 

Recorded live off the floor at Toronto’s storied Canterbury Music Company in August 2022, In Time features Giammaria’s quintet, with additional accompaniment from vocalists Aoife Louise-Doyle and Stephanie Sloss on three pieces. The band is also a contrast of old and new for Giammaria: she has been singing with Louise-Doyle and Sloss for ten years, while her band is a more recent creation, assembled while they were studying together at The University of Toronto. The band does so much more than simply accompany Giammaria’s singing – they deftly interact with the melodic shapes and harmonic moods of the songs as much as they interact with each other. 

While Giammaria has gone through different stages throughout her compositional process, there is a consistent thread that runs through the album: each piece was written  first and foremost to draw out the meaning behind the lyrics. The band effectively uses each song’s rich compositional material as a launching pad for their improvisations, with each member leaving their own distinct creative mark. The vocal melodies on In Time vary from airy and agile to bright and powerful, and are all delivered most memorably by one of the most exciting young singers on the Canadian jazz scene. 

Saturday, August 19, 2023

New Music Releases from Olivia Maisel, Bellbird, François Bourassa Quartet and Andrew Rathbun

Olivia Maisel – A Moment in Time

Toulouse-born, Montreal-based vocalist Olivia Maisel’s debut album A Moment In Time is a reflection of decades of personal experience. Maisel chose the songs based on the story she wanted to tell: “A story of unity, a past we hold in common, a present we could experience together, and a future of hope and change.” Very early on in her process, Maisel created a storyboard for the album with the guidance of acclaimed, Grammy-nominated singer Kate McGarry. Those first steps set her on a path to create something truly personal. Maisel decided to tell her story using some of her favourite songs from the Great American Songbook, all while showcasing a few of her many different musical influences. The album evolved into a refuge and an outlet for her deepest feelings about her past. It stands as a tribute to relationships, love, loss, and life. For Maisel, the title of the album, A Moment in Time, is about learning to accept the present moment without needing to define it; acknowledging its existence, and letting it go. It is also a reminder that as time passes, feelings and perspectives inevitably change. Without giving too much away about her intentions behind the record, she hopes everyone will see a version of their own story here.

Bellbird – Root in Tandem

Bellbird’s debut album Root In Tandem is a culmination of several years of composing and music-making by tenor saxophonist Claire Devlin, alto saxophonist and bass clarinetist Allison Burik, bassist Eli Davidovici, and drummer Mili Hong. Recorded during the winter at a lakeside cottage in St Zenon, Quebec, the album represents a communion of four distinctive spirits putting all their creative weight into a shared artwork. The band is a collective, with each member contributing compositions for the album. While rooted in modern jazz, this music bears  influences from myriad musical styles, from moving folk melodies, to atonal counterpoint, to rock grooves that stretch the boundaries of the jazz medium. Moments of tension and collective improvisation in songs like Maybe I Won’t Go and Ten Dog are balanced by the catchy melodies of Bluff and If You Can’t Swim, Dance. The four members of Bellbird grew up in disparate situations, spanning three different countries and emerging from wildly different musical scenes. The quartet found each other in Montreal in 2021, and it took no time at all for them to realize that they’d found kindred musical spirits in each other. Capturing the ethos of the band, the music on Root In Tandem grows out of a mutual curiosity and creativity, with feelings of space and calm pierced by exhilarating solos and free improvisation, always keeping the listener on their toes. 

François Bourassa Quartet – Swirl: Live at Piccolo

Pianist François Bourassa—now with eleven albums of original music under his belt—has become an ambassador for Canada’s thriving jazz community at an international level. A paragon of both consistency and evolution, he continues to seek out new challenges for himself, his colleagues, and his growing community of listeners. After releasing his first solo piano album L’Impact du silence in 2021, Bourassa is back with Swirl, a new live quartet album that was released on July 7th, 2023. Bourassa’s talent was initially recognized by the Festival international de jazz de Montréal in 1985, kickstarting his trio’s recording and performance career throughout North America, Europe, and Asia. In 1996, Bourassa’s trio joined forces with saxophonist and flutist André Leroux. Bourassa’s eponymous quartet has been a staple of Montreal’s artistic landscape for 25 years. The band features founding bassist Guy Boisvert, saxophonist André Leroux, and drummer Guillaume Pilote, the most recent addition to the group. Swirl was recorded live at Studio Piccolo in Montreal on July 2nd and 3rd, 2022, capturing the energy and spontaneity that can only come from a live performance. The album features six original compositions by Bourassa, each showcasing the quartet’s versatility and passion for jazz. From the mesmerising motifs of Pooloop to the explosive coda of 15 Notre-Dame-de-Lorette, listeners can expect a rich and engaging musical journey. 

Andrew Rathbun – The Speed of Time

Saxophonist, composer, and Toronto native Andrew Rathbun has achieved a rare depth of lyricism and compositional intelligence in 20 years as a recording artist; Ben Ratliff of the New York Times described Rathbun as “an industrious saxophonist and imaginative composer-arranger.” Voted as a “Rising Star” in the 2018 and 2022 Downbeat Critics Polls, he has documented his stirring original music with a series acclaimed recordings, on the Challenge, Fresh Sound and Steeplechase labels, and has collaborated with musicians like Kenny Wheeler, Billy Hart, Ben Monder and Luciana Souza. His latest  Steeplechase recording The Speed of Timeis a compelling addition to an already impressive body of work. Reflecting on his newest recording, Rathbun remarked that “I’ve always been fascinated by how my perception of time can change, sometimes crawling at a snail’s pace, while at other times it races ahead with abandon. “The pieces on Speed of Time are all connected with how the world has unfolded over the past few years. They are not necessarily “pandemic pieces,” per se, but influenced by the strange fluctuations of my perception of time during that period and beyond. “I have been integrating more metric ideas into my writing, while maintaining a harmonic language that is evocative yet abstract. “These musicians are some of the most important players on the New York scene, and I feel very fortunate to have known and worked with them for such a long time. They brought all this music to life, and made vital contributions to this recording. Each one is a singular voice on their instrument and they all bring such creativity and spontaneity to everything that they play.”

James McGowan Ensemble – Reaching In

Reaching In is the first half of an extended story told through music, spoken-word program notes and visual art. It depicts a protagonist’s journey from struggles of isolation, low self-worth, social anxiety, addiction and loss, to finding peace, acceptance, belonging, and a sense of community. This multi-movement suite by composer and pianist James McGowan is created and performed in a fusion of classical and jazz styles, with other influences of free improvisation, hip hop and latin styles. Combining the Modasaurus jazz-fusion quartet with Despax string quartet at its core, several tunes also feature an enhanced ensemble with Petr Cancura and Mike Tremblay on tenor sax, Ed Lister on trumpet, and Mark Ferguson on trombone. 

Using powerful musical expression, tonal interconnections, recurring themes and several pervasive musical motifs, the 16-movement concept album conveys deep feelings and extra-musical meaning. Guided by the composer’s poetry, the omnipresent instrumental musical motifs acquire intentional signification as the pieces unfold. Like a soundtrack to an imaginary film, the music itself is a narrative voice. It invites the listening audience to experience the emotional richness of life even more fully through one’s own imagination and personal reflection. The CD cover/digital album art depicting An Nguyen’s painting of Reaching In,also contributes a visual dimension that adds meaningful metaphors to the overarching narrative. The poetry, art and music take us through a story of overcoming personal challenges to offer an uncertain, yet hopeful future. The album seeks to engage the listener with their mind, heart and soul.   

The continuation of this musical journey—and second half of the story—will be presented in the next album, Reaching Out to be released by the James McGowan Ensemble in 2024.

Will Bonness – Is This a Dream?

Is This a Dream?, the fourth album by pianist Will Bonness, takes listeners on an introspective journey through a range of emotions and mental states, using unique and varying combinations of instruments to set different moods. The cover art, inspired by the Rorschach inkblot test, along with the suggestive song titles, invites listeners to create their own story for each track. Through a combination of wordless vocals, clarinet, and arco bass, along with the familiar piano trio, each composition sets a distinct atmosphere and showcases Will’s musical voice.

Following up on the success of his JUNO-winning album Change of Plans, Bonness drew inspiration for the new album from his time in Toronto, where he met and collaborated with clarinetist Virginia MacDonald, bassist Daniel Fortin, and saxophonist Allison Au. Completing the ensemble are vocalist Jocelyn Gould and drummer Fabio Ragnelli, both of whom were featured on his previous record. Is This a Dreampresents a blend of original compositions by Will Bonness and covers by the great composers Hoagy Carmichael, Billy Strayhorn, Cole Porter, and Tom Harrell.

The winding, off-kilter rhythms and melodies of Round and Round are infused with Brazilian influences and feature a unique blend of bowed bass and clarinet. This contrasts  beautifully with the poignant pop-ballad arrangement of I Get Along Without You Very Well, featuring Jocelyn Gould on vocals. Bonness displays his virtuoso pianism on the exciting and complex samba Rapture, arranged for piano trio. Andrew Goodlett plays up in the bass’s high register on his arco intro to Reverie, and you could be forgiven for mistaking the bass for a cello! Odd Serenade features an odd yet singable melody with intricate counterpoint between the clarinet and vocals, as well as engaging solos by MacDonald and Bonness. The album concludes with a swinging rendition of Cole Porter’s Western classic Don’t Fence Me In, featuring an appearance by alto saxophonist Allison Au.

Is This a Dream, with its colorful harmonies, contrasting textures, diversity of genres, and virtuoso performances, has something for every jazz listener.

The Nimmons Tribute – Volume 2: Generational

Generational by The Nimmons Tribute is the second volume of a tribute project honouring the legacy of Canadian jazz legend Phil Nimmons (O.C., O. Ont.), who celebrates his 100th birthday in 2023. This album brings new life to vintage Nimmons compositions with brand new arrangements by Phil’s grandson, pianist, arranger and composer Sean Nimmons, who also contributes two beautiful new compositions of his own.

Generational features some of the finest musicians in Canada, including many JUNO Award winners. The Nimmons Tribute, led by Sean, is a group of Phil’s colleagues, former students, friends and family who have come together in a joyous celebration of Phil and his music. 

Phil Nimmons is a huge part of Canada’s cultural legacy. He is one of Canada’s pioneering composers, and one of a handful of musicians who helped solidly establish the country’s status in the jazz world. Phil also helped launch several major initiatives that continue to support Canadian contemporary music today.

Volume 2 – Generational builds on the band’s first album, while showing more of the range and diversity in Phil’s writing. This album is a more personal undertaking for Sean Nimmons. Generational is inspired by the interconnectedness of our collective human family tree. In music and life itself, we hear the echoing voices of those who have come before us.  By contributing our own voices to this dialogue, we join in an ongoing conversation that is united through our shared humanity, and further enriched by the unique quality of each new voice that joins in. Through careful listening and our own honest expression, we can honour our intergenerational similarities and differences, participating in the ever-evolving conversation of life. 

Friday, August 18, 2023

Laila Biali – Your Requests

Highly acclaimed musician Laila Biali is a force on the jazz scene in Canada and beyond. The JUNO Award-winner’s distinctive voice is typically on dazzling display in her original music. Now, after ten years recording her own material, Biali turns her attention to the Great American Songbook with Your Requests, her ninth album as bandleader. While showcasing her own impressive skill set, Biali gathers longtime collaborators for the outing: drummers Larnell Lewis (Snarky Puppy) and Ben Wittman along with bassist George Koller and tenor saxophonist Kelly Jefferson.

The shift back to more classic jazz material was inspired by Biali’s delight in fulfilling the song requests of her fans. When she asked her social media followers what tunes they’d like to hear her cover, more than 150 songs were submitted. Your Requests debuts the first collection of Biali’s dynamic and personal arrangements in response to her listeners, a “musical love letter.” 

Right from the first track, a smart and energetic take on Dixon & Henderson’s Bye Bye Blackbird, Biali’s arranging ethos and piano chops are in full force while Jefferson and Lewis trade blistering solos over Koller’s anchoring bass ostinato. Biali also teams up with several vocalists for enthralling duets. JUNO Award-winner Emilie-Claire Barlow features on an exhilarating take on Rodgers and Hammerstein’s My Favourite Things. Scat sensation and recent JUNO winner Caity Gyorgy charms on a lilting delivery of Pennies from Heaven, while Kurt Elling lends his bold and brilliant voice to My Funny Valentine. 

Biali also reinterprets the oft-playedBut Not For Me as a samba that showcases clarinet virtuoso Anat Cohen, Brazilian percussionist Maninho Costa, and Wittmanon drums. The final guest appearance belongs to harmonica master Grégoire Maret, featured on a lush delivery of Antônio Carlos Jobim’s Corcovado (Quiet Nights of Quiet Stars). For the final track, Biali takes a surprising turn with a fierce instrumental rendition of Jerome Kern’s All the Things You Are. The searing, cleverly reharmonized arrangement closes out the record, reminding listeners that if one wades into familiar waters, they best have something new to say.

SRG-ILS GROUP Proudly Launches New Sister Label, SRG JAZZ And Releases The SRG JAZZ Compilation Album

David Benoit
The SRG/ILS Group is excited to announce the launch of our new imprint, SRG Jazz! At its core Jazz has always been a multi-genre hybrid, and our foundation in Soul, R&B, Gospel, and Blues music has naturally led to this new endeavor.

SRG Jazz looks to continue the development of this innately American art form by partnering with musicians who want to fully participate in their careers and their recordings. We believe that artists must participate in the ownership of their own recordings so true partnerships can exist between creators and business.

With SRG/ILS’s long relationship with the Universal Music Group, SRG Jazz creates an international platform for artists to have their music heard and experienced.

The road to SRG Jazz started when the company signed Jazz saxophonist Mike Phillips and released his Hip Hop and R&B influenced album Pulling Off The Covers. In addition to the recent announcement of the signing of Jazz legend David Benoit, over the last three years there have been releases from Allen Hinds, Xavier Gordon, Damien Escobar, Jeff Bradshaw, and a new album from Mike Phillips.

In celebration of the debut of SRG Jazz they are releasing a compilation of the best tracks released by the label including Contemporary Jazz radio hits “City Lights” by Mike Phillips, “Taboo” by Damien Escobar, and “If You Want Me To Stay” by Xavier Gordon featuring Marcus Miller and Gerald Albright. Also included are classic tracks from Gino Vannelli, Take 6, and Eric Johnson.

SRG Jazz is a division of The SRG/ILS Group and The SoNo Recording Group partnered with Virgin Music (Universal Music Group) worldwide. CEO of both companies, Claude Villani, identified an opportunity within Jazz to not only work with some of the most talented musicians writing and performing today, but also to engage and challenge the genre. Principles involved are Claude Villani; CEO, Michael Cusanelli; General Manager, Mike Phillips; Senior Vice President, Bud Harner; Vice President of Promotion & A&R, Craig Davis Vice President of Radio Promotion, Jay Reason; Creative Director, Ra-Fael Blanco; Public Relations, Sydney Brown; Sales & Marketing, H “Bee” Boisseau; Project Manager, and Sander Shalinsky; Legal Counsel.

Duncan Hopkins – Who Are You? The Music of Kenny Wheeler

Who Are You? is British/Canadian bassist Duncan Hopkins’ seventh album as a leader. While his past recordings have consisted almost entirely of original material, his latest offering is a celebration of his mentor, the trumpeter and composer Kenny Wheeler (1930-2014.) 

The band employs two of Canada’s finest guitar players in Reg Schwager (C.M.) and Ted Quinlan, and is rounded out by Michel Lambert on drums and Hopkins on double bass. All four of these musicians worked with Ken Wheeler at some point in their careers, and know his music well. 

Most of the repertoire was sourced from Wheeler’s recordings, with the exception of the final three tracks: a suite by Hopkins himself, written at Wheeler’s suggestion. Hopkins had a hand written copy of a piece Wheeler wrote for a six guitar group from Buffalo, NY which had never been recorded. Scrawled on the first page was a message from Wheeler, written with his signature self-deprecating sense of humour: “This could be a part of the St. Catharines Suite, if it is any good.” Hopkins then took a piece of Wheeler’s from a 1976 CBC recording called Kitts – the nickname for the city they both grew up in, albeit forty years apart. He completed the suite with an original of his own called Montebello – the name of the park where Wheeler and Hopkins met at the end of Salina St. 

Hopkins has been working at the highest levels of jazz for almost thirty years. He has worked with luminaries including Norma Winstone, Bobo Stenson, Scott Hamilton, Houston Person, Warren Vache, Ed Bickert, Mark Murphy, Peter Appleyard, Bruce Barth, Bobby Watson, Jeremy Pelt, Byron Stripling, Dianna Krall, Kenny Wheeler, Sam Rivers, Harry Allen and Edward Simon to name but a few. He was the bassist for Rob McConnell and the Boss Brass for the final four years of the band, and was a member of the storied Canadian Jazz Quartet for twelve years. He can be seen on film in Where the Truth Lies featuring Kevin Bacon and Colin Firth. He can be heard on over fifty albums, numerous CBC, BBC and NPR recordings and has eight recordings as a leader or co-leader. He is a visiting professor of jazz at the Royal Academy of Music in London, U.K. and is a long standing tutor for the Global Music Foundation.

Mira Choquette – In Reel Time

“You had to be there,” the saying goes. But in the case ofIn Reel Time, the new album by Montreal vocalist Mira Choquette, you’ll feel like you were at the recording session even though you weren’t. The album has the intimate feeling of something happening in your living room. Or, more accurately, in someone else’s living room… because that’s where it was recorded. 

“We did everything live at my house in Toronto,” said bassist and producer Joshua Goldman. “All the musicians were in the same room, including Mira. The engineer, Timothy Doyle, was one room over.” Choquette said the entire session was spontaneous, noting that most of the songs on the album are first or second takes, recorded during three of the hottest days of the summer of 2022. That led to an interesting situation on the final day of recording…

“We did two days of everybody playing live,” said Goldman. “And then we decided to do some vocal overdubs, too. That day was even hotter, so Mira ended up doing all of her overdubs naked in the hallway.” Said Choquette: “I had to do [Stevie Wonder’s] Overjoyed, and there ain’t no way I can do Overjoyed with sweat beading down my back.”

Literal nakedness aside, the album also features real moments of emotional exposure. ”For me, half this album is a break-up album,” Choquette said. “We were recording a block away from what had been our house, my partner’s and mine. Ne me quitte pas was really hard to do, as I had also lost my father not long before the recording. So half the album is about loss and half the album is songs of joy and love. It was very real: the heat wave, the heartbreak, being a block away, just being in a weird place.”

The joy shines through on songs like Harry Belafonte’s Jump In The Line and a burning version of Cole Porter’s Just One Of Those Things, which features Farncombe’s piano to great effect, along with some first-class vocal improvisation from Choquette. There’s also an original called Love Crime, co-written by Choquette and Goldman, that recalls the slow-dragging swing of the Basie band. 

All in all, it’s an album that takes you on a ride, like the best records do. In Reel Time is proof that you don’t always have to be there. Sometimes, if you’re very lucky, “there” comes to you.

Thursday, August 17, 2023

The Artie Roth Quartet – Resonants

Resonants is the third release by the Artie Roth Quartet, featuring 10 new compositions by Toronto composer, bassist and bandleader Artie Roth. Formed in 2013, the group is completed by top Canadian improvisors Anthony Michelli, Mike Filice and Sam Dickinson.

A trailblazing 21st Century jazz concept album, Resonants bristles with the sound of sympathetically resonating objects recorded within the studio setting. Lyrical melodies, catchy bass lines, driving rhythms and soaring guitars weave a daring, experimental tapestry of genre crossing music, seamlessly blending elements of jazz, rock, funk, ambient and folk. 

Building on the critical acclaim of their debut and sophomore releases Currently Experiencing (2015) and Discern (2017), the quartet reunited with the Brooklyn-based Juno Award-winning, Grammy-nominated producer Roman Klun. Resonants was recorded in the fall of 2022 at Grant Avenue Studio, the erstwhile studio of legendary Canadian producer and musician Daniel Lanois.

Derived from an unorthodox combination of the two words “resonance” and “tenants”, the album’s title is a neologism alluding to our existence as individuals empathically inhabiting a complex, evolving social landscape. The compositions on this recording were penned during the pandemic, when the best and worst of the human condition seemed on full display, especially with respect to the aspirational notions of empathy, cooperation and the collective greater good. With a post pandemic reality now in sight, the music on Resonants is offered to listeners as a hopeful gesture towards a bright journey forward together.

Melissa Pipe Sextet – Of What Remains

Of What Remains is Montreal baritone saxophonist and bassoonist Melissa Pipe’s first release as a leader. It explores ideas around temporality: the shifting of time, form and being. The pieces form a whole, joining together fragmentation, symbiosis, distillation, evaporation, and transience, while looking at what is left behind, or what remains.

“The sextet’s instrumentation allows me to write in both traditional jazz ensemble configuration (trumpet and saxes with the rhythm section) and in a “chamber jazz” format,” says Pipe about choosing the unique instrumentation and writing for her sextet. “The additional colour, timbre and orchestration possibilities of the bassoon and the bass clarinet are particularly effective in infusing elements of classical and folkloric music into the pieces”. 

Her compositions here range from moody, atmospheric pieces to more traditional styles like a minor blues, but most tend to be on the darker, introspective side. “I write what I hear. Sometimes it starts with a bass line, a progression. Sometimes it’s a melody. The pieces on this album use a variety of jazz and classical compositional devices and techniques, but beyond the theoretical framework that I use to build its structures, harmonies, textures, etc. the most important thing for me is that it has to have soul. It has to be something my ear wants to hear. At times that can be something more modern, and at others something steeped in the jazz tradition: to me it goes beyond genres, it’s all about the soul of the thing.”

In addition to leading her own group, Pipe also performs regularly with jazz, hip hop, indie, and classical ensembles as a freelancer. She also had the honour of interviewing Yusef Lateef, whose playing and compositional style have greatly influenced her, for an article about his double reed playing which was published in The Double Reed, as well as on Lateef’s website. In 2014, she was invited to perform her arrangements of Charles Mingus pieces for bassoon quartet at the Jazz Standard in NYC alongside Michael Rabinowitz, Paul Hanson and Mark Ortwein, as part of the International Double Reed Society conference.

CARLOS: THE SANTANA JOURNEY GLOBAL PREMIERE

On September 23, 24 & 27, be among the first to see the new movie CARLOS, including an exclusive introduction featuring director Rudy Valdez and Carlos Santana.

At the age of 5, in his native Mexico, he learned to play the violin. At 8, he developed a lifelong love for the guitar. At 14, he honed those guitar virtuoso skills and his performance style working as a street musician, starting his own band long after, while still a teenager. And at 22 — just before his first album was released to acclaim — Carlos Santana became one of the major discoveries of Woodstock, anchoring the famous festival’s second afternoon on August 16, 1969.

A music industry legend for 50 years and a 10-time Grammy-winning global sensation, Santana continues to be one of the music world’s premiere artists, blending jazz, blues, and the Mariachi sound with a rock n’ roll spirituality and a sense of connection to music’s primal connection to our deepest emotions.

The electric documentary CARLOS utilizes new interviews with Santana and his family alongside extraordinary, never-before-seen archival footage — including home video recordings Santana himself made; concert footage; and behind- the-scenes moments — as two-time Emmy-winning director Rudy Valdez creates an intimate, rich documentary about a man whose sound casts a spell on fans who love — as one of Santana’s famous titles says— “how his rhythm goes.”

General theatrical release begins September 29.

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