VOXMANA Releases New Music -- Natalia Clavier (Thievery Corporation) and Andrei Matorin

VOXMANA, the brand new musical project from Natalia Clavier (Thievery Corporation) and Andrei Matorin is excited to announce “La Marea” out now on Mixto Records!  The new single will be released with a music video and available everywhere you stream music.

The duo first connected through New York City’s underground music scene. Merging their diverse heritages, with Natalia from Argentina and Andrei from Brazil, VOXMANA’s sound includes musical blends of electronic, world, jazz, blues, Argentine folklore, and Brazilian MPB. This sonic remedy of music invites a celebration of life on the dance floor and embarks on a transformative journey with irresistible rhythms. 

On VOXMANA’s newest single “La Marea” the duo captured an improvised musical tapestry of sonic textures that unfolded during a live performance on the shores of Tulum. Inspired by the vastness of the ocean that lay before them, the lyrics took shape, and speak of the ebb and flow of tides and the boundless expanse that lies beyond.

VOXMANA comments, “The song is a spiritual odyssey, urging us to let go of our ego's constraints and connect with a larger, universal consciousness. It invites us to embrace transformation, as we journey through time and space, exploring the realms of expansion. It is an invitation to free ourselves through movement and a profound celebration of life's essence when we surrender to its flow.”

Accompanying “La Marea” release is a powerful music video. It was filmed while the duo were performing at an educational and empowering retreat for at-risk youth from LA called Beyond Boundaries. They were inspired by surrounding landscapes and used the backdrop of the breathtaking lands of Boulder Mountain, Utah. The new video beautifully displays the rugged beauty of Utah's rocky terrain and the vastness of the landscape juxtaposed against the smallness of human existence. This lends to an intricate narrative around the themes of expansion and surrender, as it follows two souls on a transformative journey, discovering a world beyond their known reality. Through the mesmerizing imagery, the video is an odyssey inviting the viewer to celebrate the essence of life, through letting go.

Andrei Matorin and Natalia Clavier have captivated global audiences, weaving immersive, boundary-defying soundscapes rooted in classical and jazz conventions infused with modern flair. Clavier, an Argentine vocalist, songwriter, and DJ, possesses three solo albums and contributed to Thievery Corporation as a lead singer. Matorin, hailing from Brazil, excels as a virtuoso violinist, composer, and producer, performing as a soloist at esteemed venues like Carnegie Hall, Lincoln Center, and TEDx. A Summa Cum Laude graduate from Berklee College of Music, he radiates his talent.

Los Angeles Jazz Venue Sam First Launches Sam First Records with New Albums by Justin Kauflin, Josh Nelson, Joe La Barbera, and Rachel Eckroth

Since opening in 2017, Sam First has become Los Angeles’ leading jazz club for world-class modern, eclectic, and straight-ahead jazz in an intimate setting, and all within walking distance of Los Angeles International Airport. 

“The largely original music at Sam First is performed at such a high level to an intimate crowd on a nightly basis that we decided to record select live performances, capturing them with great acoustic quality, and to distribute them to a larger audience,” says Paul Solomon owner of Sam First, and grandson of the club’s namesake. “And the jazz scene in LA overall is so strong now that it just seems right to record it for posterity” adds Solomon.

With the guidance of some of LA’s top audio engineers, Sam First artistic director David Robaire set about outfitting Sam First with state-of-the-art analog to digital recording gear and began documenting the current, thriving LA jazz scene. Sam First Records, the result of Solomon and Robaire’s collaboration, is the new home for high fidelity recordings of select live performances at Sam First. These shows are by artists whose music embodies the grounded and progressive musicality as well as the vibe and spirit of jazz and Sam First.

Sam First Records is featuring new 180-gram vinyl albums by pianists Justin Kauflin and Josh Nelson and will release the next album with legendary drummer Joe La Barbera on August 4. Pianist Rachel Eckroth's Humanoid will be available in October and Jeff Babko, Tim Lefebvre and Mark Guiliana’s Clam City will follow in November.

Sam First Records is powered by ArtistShare. The label has adapted ArtistShare's "fan-funding" platform in which Sam First is able to provide fans and super fans alike with the opportunity to join its projects through experience-based sales offers. These offers range from high-res digital download of the project audio and 180-gram vinyl LPs to a private lesson with the artist, and even a private concert at Sam First.

Justin Kauflin Trio | Live at Sam First

At 37 years young, Justin Kauflin has already produced eight albums as a leader, has appeared on at least 25 additional albums as sideman or guest artist and has recorded 48 original compositions for albums and film. It’s no surprise that Justin is both a Quincy Jones Artist and Yamaha artist. While a student at William Paterson University in New Jersey, Justin not only had the great fortune of studying with piano icons Mulgrew Miller and Harold Mabern, but was also taken under the wings of legendary trumpeter, Clark Terry, who subsequently asked Justin to join his band. Justin's relationship with Mr. Terry was chronicled for five years to create the award-winning film, Keep On Keepin' On, a documentary that even made the Oscar's Short List. Clark Terry is also responsible for having introduced Justin to one of his first students, legendary producer and music icon, Quincy Jones, who quickly signed Justin for management with the Quincy Jones Agency and has since been an integral figure in Justin’s musical journey. Live at Sam First features bassist David Robaire and drummer Mark Ferber.

Josh Nelson | LA Stories: Live at Sam First

Born and raised in Southern California, pianist/composer/bandleader Josh Nelson has performed and recorded with many of the world's most respected musicians including Kurt Elling, Natalie Cole, Benny Golson and John Clayton. Nelson is also widely viewed as one of the most sought-after bandleaders on the west coast with seven critically acclaimed records under his own name. LA Stories: Live at Sam First honors the lesser told stories of Los Angeles history and documents a wide range of his music written specifically for, and performed alongside, long-time collaborators including modern saxophone icon Walter Smith III, guitarist Larry Koonse, bassist Luca Alemanno, drummer Dan Schnelle and special guest vocalist Gaby Moreno. Recorded live at Sam First on February 18 and 19, 2022.

Joe La Barbera Quintet | World Travelers 

Drummer Joe La Barbera’s energetic touch and masterful soloing has established him as not only a giant in, but a living master of the music. La Barbera is best known for his recordings and live performances with the trio of pianist Bill Evans in the final years of Evans' career. Additionally, over the course of his career, La Barbera has been the choice drummer for jazz greats Woody Herman, Tony Bennett, Chuck Mangione and Joe Farrell among several others. Today, La Barbera remains one of the most in-demand drummers on the west coast, and is a regular on the Sam First stage. On World Travelers, recorded live at Sam First, La Barbera is joined by 30-plus year quintet members — tenor saxophonist Bob Sheppard, trumpeter Clay Jenkins, pianist Bill Cunliffe and the most recent addition to the band, bassist Jonathan Richards.

Rachel Eckroth | Humanoid 

After appearing as a leader or co-leader on twenty albums, pianist and vocalist Rachel Eckroth still finds herself wanting to explore that innate sense of musical identity without boundaries. She felt her live album Humanoid would be the perfect opportunity for that. She assembled a band of like-minded collaborators — guitarist Andrew Renfroe, bassist Billy Mohler and drummer Tina Raymond — and recorded two wonderful nights of live performance at Sam First, using the venue's state-of-the-art analog recording setup. "I chose music that’s less about the art of the composition and more about the arc of the improvised sections, allowing the band to communicate with more space and breath," she says. "Now, I’d like to bring you into the conversation and invite you to become a part of the process as we move this beautifully recorded new album into all its stages of production, and eventually, to your stereos via digital download and 180-gram vinyl LPs." 

Patrick Shiroishi announces solo album 'I Was Too Young To Hear Silence'

Los Angeles-based composer and multi-instrumentalist Patrick Shiroishi has quickly emerged as one of today's most protean saxophonists. He is a member of the American hardcore band The Armed, a part of the ambient-jazz quartet Fuubutsushi, and a collaborator with the experimental classical ensemble Wild Up. In the past year alone, Shiroishi has made guest appearances on releases by Agriculture, Algiers, By Storm (Injury Reserve), Chepang, Jaye Jayle & Bonnie Prince Billy, Xiu Xiu, among many others.

Following this impressive run of collaborations, Shiroishi today announced his new solo album, I Was Too Young To Hear Silence, set for release on November 10 with American Dreams. While his previous works were meditations on family, IWTYTHS marks a shift as Shiroishi turns his focus inward. Drawing from the Onkyo music movement, Shiroishi uses his saxophone in a reverberant environment to ask "who am I?" and allow space for any answers to emerge.

The album's lead single "how will we get back to life again?" captures a beautiful moment during this honest and compelling dialogue, accompanied by a music video by Nancy Kwon.

A single saxophone, a glockenspiel, two microphones, a zoom recorder. These are the materials Patrick Shiroishi brought down with him late one night into the cavernous parking structure below a hot pot restaurant in Monterey Park. It was around 1:30AM; the spot was not too far from where Shiroishi grew up, a blank slate shown to him by his dear friend, Noah Klein. A vacant space for a new kind of collaboration—between saxophone and silence, between noise and reverberation, between negative space and self.

In a single, improvised take, Shiroishi recorded his third solo LP,  I was too young to hear silence. The record plays like a stripped-down ode to its star instrument. Solo saxophone dazzles and cascades through tangible air, each note hugged and trailed by a lush, natural reverb. Each silence, of which there are many, feels deliberate, sustained, honored.

There is an intentional arc to I was too young to hear silence. The first track, “stand still like a hummingbird,” opens with fourteen seconds of quiet before horn emerges, cautious and patient. Breathy, staccato punches of saxophone cut through the air, backdropped by audible gushes of running water. The sound of someone in the distance cleaning up at the end of a long night.

In describing the record, Shiroishi brings up Ma, the Japanese concept of negative space, or space in between.                                  . Ma refers to the notion of negative space as a positive entity, rather than an absence of something else. The pauses between notes are not empty vacuums void of substance, but rather are full and present, valid contributions to a balanced composition. “The title [I was too young to hear silence] kind of refers to when I was younger…I would fill all the space with as many notes and as loud of volume as I could,” Shiroishi explains. “Not saying that there’s any wrong way to play, but for me, after a while, I was confused with what I was trying to say.” There is a confidence to silence, an assuredness to pausing. Silence leaves room for contemplation after each note. Nothing is hidden. “This is an honest record,” he says.

The next few tracks expand sonically, building gradually in volume and intensity. Shaky horn wails on “tule lake blues” reach higher and higher, moving through tones from low hearty sobs to impossibly high creaks, sustained in their yearning. Crescendos build generously before gifting the listener, once again, with a moment for reflection.

In preparing for the album, Shiroishi delved deeply into the world of Japanese free improvised, solo saxophone records. “There's this one I found by Masayoshi Urabe, he recorded this fifty-minute or hour-long solo saxophone thing. I downloaded it, and I was skipping through it to see what it was like, and every time I clicked, it was just nothing. It was silence. And I was like…did I download the wrong thing? And then, eventually, I had time to sit and listen to it. And that really opened things up.”

In “rain, after running away”, a twinkling minimal glockenspiel line emerges from the rest. The sound is refreshing, like drops of clear water. “I love the sound of the glockenspiel,” Patrick explains. Plus, “it's kind of easy to play with one hand while I'm playing the sax with the other.”

 “hunting the eye of his own storm,” the penultimate track, features five minutes of quick-moving, exuberant saxophone arpeggios, a breathless climax to the spacious arc of the album. “I like a payoff at the end of things. I love a slow burn, for better or for worse.” Shiroishi admits. “It's like, alright, thanks for bearing with me…here's the exclamation point.” ! This time, the bars of unending noise feel like a song of triumph. The exclamation continues into the final track, “if only heaven would give me another ten years.” Full, melodic horn lines overlap and dance until they reach their end, quieting down into nearly inaudible whispers, like distant echoes traveling through the night. No longer is Patrick Shiroishi too young to hear silence. And neither are we.

I was too young to hear silence is released in companion with the second edition of Tangled. The publication, which collects stories, poems, and other forms of written word by Asian-American artists and musicians will be available alongside the record, out November 10th on American Dreams Records.

Michael Peter Olsen | "Narrative Of A Nervous System"

Today composer and Grammy-nominated songwriter, Michael Peter Olsen released "Terms Of Desertion," the second single from his upcoming album Narrative Of A Nervous System. The song is a masterful exploration of the complex emotions surrounding the end of a relationship. Using only electric cello sounds, Olsen creates a soundscape that is both cheerful and melancholic, with swelling chords and bittersweet melodies that perfectly capture the vacillating feelings of reminiscence and loss. The song comes with a dreamy visualizer of collaged footage made by Olsen himself. 

Narrative Of A Nervous System, out October 27th, 2023 via Hand Drawn Dracula, is the follow-up to Michael Peter Olsen's electric cello-based full-length Yearning Flow, described as "evocative, experimental, and emotional" by American Songwriter. On his upcoming album, Olsen continues to stretch the limits of the electric cello, subverting expectations of what the instrument can be. 

As the music industry continuously evolves, pushing boundaries and challenging conventions, artists like Michael Peter Olsen emerge to redefine the very essence of their chosen instruments. With an impressive career spanning nearly three decades, Olsen has had mainstream exposure through collaborations with renowned artists like Drake, Ed Sheeran, and Arcade Fire and developed multifaceted talents as a player, producer, composer, and Grammy-nominated songwriter. However, it is his electric cello-based solo project, which debuted in a grimy basement club in Berlin in 2019, and his 2021 full-length Yearning Flow that truly showcased his desire to subvert expectations of what a cello can be. On his upcoming LP Narrative Of A Nervous System, set to be released October 27th, 2023 via Hand Drawn Dracula records, Olsen continues his exploration of post-modernist styles, digging deeper through the possibilities of what the cello can do in the 21st century. 

Growing up in a British Columbia suburb, Olsen was immersed in classical music due to his parents' careers as musicians. Despite dedicating over 15 years to studying and performing classical pieces, he confesses, "I never really felt very connected to that music, not that it didn't have its moments. It was a way to get out of the suburbs for me." Though it “continually made me feel like I wasn’t good enough, it also served as a social gateway to kids I could relate to, so I kept at it.” His suburban escape was complete when he started music at the University of Toronto and fell into the soon-to-be world-renowned Canadian indie rock scene of the mid-1990s and early 2000s, playing in bands like Hidden Cameras, Jim Guthrie, Constantines, and Arcade Fire.

"As soon as I started playing in bands, I wanted to use the instrument differently," Olsen reflects, emphasizing his desire to break away from conventional cello playing. “However, at the time, there were limited examples to draw inspiration from.” Undeterred, he embarked on a journey of sonic exploration, seeking to deconstruct and redefine the cello's role in contemporary music.

With the release of his second full-length Narrative Of A Nervous System, Olsen taps into the prevailing sense of disconnection in modern society, accentuated by the recent pandemic. The record delves into the increasing divisions between the mind and body, metaphorically capturing the struggles many individuals face with their mental health. Olsen aims to bridge this disconnect through his music and accompanying art and videos, creating a powerful fusion of sonic and visual elements.

While the album is instrumental and conceptually driven, Olsen remains committed to making the music accessible and relatable. Compared to his previous work, Narrative Of A Nervous System features shorter, more melodic instrumental pieces. Olsen's vision is further realized by including special guests Owen Pallet, Màiri Chaimbeul, alaska B, and Zoon, each representing older music traditions. Celtic, European, North American Indigenous, and Traditional Chinese are explored and stretched, offering a modern perspective on ancient intuitively based traditions.

“My production style has always been about Real vs. Fake, presenting the apparent reality of something, revealing it to be false, and then presenting the actual reality as pure fantasy. I love the simulacrum concept, that the copy is more real than real.” Olsen weaves these subversive elements into the album's sound, challenging listeners' expectations as to what they are hearing while still maintaining an immersive musical experience.

While Michael Peter Olsen dismantles the preconceived notions surrounding the cello, he continues to create evocative, emotional music. With its release on October 27th, 2023, Narrative Of A Nervous System invites listeners to explore the disconnections between mind and body and offers a transformative musical journey that resonates with both the modern world and ancient traditions.

IMG Artists Presents: When You Wish Upon a Star – A Jazz Tribute to 100 Years of Disney

Celebrating Disney's 100th anniversary, IMG Artists brings you When You Wish Upon a Star – A Jazz Tribute to 100 Years of Disney. With musical direction by Sean Mason and the newly created house band of The National Jazz Museum in Harlem, the tour will also feature vocalists Kim Nalley and Sasha Dobson. 

The touring show is led by the talented and esteemed Sean Mason, one of the premier talents of his generation. Mason has been called by NPR’s Youngbloods series “a musician on the rise,” and has performed and toured with jazz legends including Branford Marsalis, Wynton Marsalis, and Herlin Riley. The tour embarks as the Julliard graduate rolls out his upcoming debut album "The Southern Suite" with a new single “Closure.” Featuring his adventurous, close-knit quintet, The Southern Suite looks back at the Charlotte-born musician’s roots from the vantage of Mason’s current position at the heart of the NYC scene.

Joining Mason is philanthropist and singer Kim Nalley who has been awarded “Most influential African American in the Bay Area,” and has performed with greats like Rhoda Scott, David "Fathead" Newman, Houston Person, James Williams, Michael Tilson Thomas and the San Francisco Symphony. With her 3 ½ octave range, audiences will be mesmerized by her stunning performance. Joining Kim Nalley on vocals is Sasha Dobson, a critically acclaimed performer who has performed all over the world. She is one-third of the hit trio Puss n’ Boots with Catherine Popper and Norah Jones. Together with band members Ahmad Johnson on drums, Corentin Le Hir on bass, Alicyn Yaffee on guitar and Anthony Hervey on trumpet, the celebrated musicians will bring the jazz arrangements of Disney’s popular soundtracks to the stage. 

As documented through the vast collection of animated feature film soundtracks, Disney has always had an affinity for Jazz. In 2009, Disney released an album’s worth of reimagined songs based on their soundtrack catalog. With full carte blanche and over 600 songs to choose from, the album features the who’s who of contemporary jazz stars and up-and-comers. The outcome presented is arranged in styles from straight ahead to experimentals on “Disney Jazz Volume 1: Everybody Wants to Be a Cat.” Today, this new generation of emerging talent performs live the touring version titled, When You Wish Upon a Star – A Jazz Tribute to 100 Years of Disney.

Although not associated with Disney, the touring concert will perform songs that feature fan favorites from iconic movies like Snow White to Lady and the Tramp, Mary Poppins and Toy Story to The Jungle Book. The reimagined songs have been arranged and recorded by Disney music fans such as Louis Armstrong, Miles Davis, Dave Brubeck, Dianne Reeves to Alfredo Rodriguez and many more. “Someday My Prince Will Come,” “He's a Tramp,” “Everybody Wants to be a Cat” and “The Bare Necessities'' are just a few of the iconic songs which will be celebrated as we look back on the impact of jazz on 100 years of Disney magic!

Touring Band Personnel

• Sean Mason, Piano / Bandleader
• Kim Nalley, Vocalist
• Sasha Dobson, Vocalist
• Ahmad Johnson, Drums
• Corentin Le Hir, Bass
• Alicyn Yaffee, Guitar
• Anthony Hervey, Trumpet

Tour Dates

• Sept. 29, 2023 –Livermore Valley Performing Arts Center, Livermore, CA
• Sept. 30, 2023 – Grand Theatre Center for the Arts, Tracy, CA
• Oct. 1, 2023 – Santa Clarita Performing Arts Center at College of the Canyons, Santa Clarita, CA
• Oct. 3, 2023 – Brigham Young University Performing Arts Series, Provo, UT
• Oct. 4, 2023 – College of Southern Idaho, Twin Falls, ID
• Oct. 6, 2023 – CU Presents - University of Colorado Boulder, Boulder, CO
• Oct. 7, 2023 – SF Jazz, San Francisco, CA
• Oct. 8, 2023 – Carpenter Performing Arts Center at CSU Long Beach, Long Beach, CA
• Oct. 10, 2023 – Numerica Performing Arts Center, Wenatchee, WA
• Oct. 12, 2023 – Pepperdine University, Smothers Theatre, Malibu, CA
• Oct. 14, 2023 – Fox Tucson Theatre, Tucson, AZ
• Oct. 15, 2023 – Chandler Center for the Arts, Chandler, AZ
• Oct. 17, 2023 – Traverse City Opera House, Traverse City, MI
• Oct. 18, 2023 – Michigan State University, Wharton Center, Pasant Theatre, East Lansing, MI
• Oct. 19, 2023 – Indiana University, Bloomington, IN
• Oct. 20, 2023 – Bloomington Center for the Performing Arts, Bloomington, IL
• Oct. 21, 2023 – College of DuPage McAninch Arts Center, Glen Ellyn, IL
• Oct. 22, 2023 – Door Community Auditorium, Fish Creek, WI
• Oct. 24, 2023 – The Grand Theater, Wausau, WI
• Oct. 27, 2023 – Millersville University, The Ware Center, Millersville, PA
• Oct. 28, 2023 – Corning Museum of Glass, Corning, NY
• Nov. 1, 2023 – Newberry Opera House, Newberry, SC
• Nov. 2, 2023 – Wortham Center for the Performing Arts, Asheville, NC
• Nov. 4, 2023 – Alden Theatre at McLean Community Center, McLean, VA
• Nov. 5, 2023 – Maryland Hall for the Creative Arts, Annapolis, MD
• Nov. 9, 2023 – Corsicana Palace Theatre, Corsicana, TX
• Nov. 10, 2023 – Charles W. Eisemann Center for Performing Arts, Richardson, TX
• Nov. 11, 2023 – Geiger Performing Arts Center, Spring, TX
• Nov. 13, 2023 – Nicholls State University, Thibodaux, LA
• Nov. 14, 2023 – Heymann Center, Lafayette, LA
• Nov. 15, 2023 – Manship Theatre, Baton Rouge, LA
• Nov. 17, 2023 – New Jersey Performing Arts Center, Victoria Theatre, Newark, NJ
• Nov. 18, 2023 – Ocean County College, Grunin Center for the Arts, Toms River, NJ
• Nov. 19, 2023 – Weinberg Center for the Arts, Frederick, MD

Singer & Songwriter Defne Şahin Sets Emily Dickinson to Melody on New Album HOPE

"This is my letter to the world, that never wrote to me" – With these poignant lines from the esteemed American poet Emily Dickinson, Defne Sahin introduces her new album "Hope". Beginning with these words of longing, “Hope” serves as an intimate dialogue between Defne Sahin and Emily Dickinson, that opens up to her audience and the world at large.

Few artists bridge as many worlds as the renowned singer and composer Defne Sahin, who effortlessly merges poetry and music, language and song, as well as different places and emotions. With "Hope," the Berlin-born artist of Turkish origin, continues to develop her cosmopolitan sound drawing from her experience of living between New York, Berlin, and Istanbul. Inspired by the poems of Dickinson, “Hope” is an exceptional album which offers an intimate look into the highs and lows of life. It offers deep insights into human existence in all its complexity.

Over the course of two years, Sahin dedicated herself to shaping a fresh and personal sound for the album. Initially, in the isolation imposed by the pandemic, where she came to empathize with how Dickinson created her own works withdrawn from society. Later, she recorded the ten captivating pieces of the album with her band members Johannes von Ballestrem, Keisuke Matsuno, Simon Jermyn, and Martin Krümmling. The album creates a unique genre-bending musical landscape in which the lyrics and melodies shape the compositions – ultimately, pushing and expanding Sahin's musical identity, which is rooted in jazz, pop and Turkish music.

Poetry has always played a key role in the musician's compositions: on her debut album "Yasamak" (2011), she set the poetry of Turkish dissident Nâzim Hikmet to music, while on her album "Unravel" (2016), she included poems by William Shakespeare and Emily Dickinson in addition to her own lyrics. Sahin is no stranger to performing on big stages such as Carnegie Hall in New York, the Jazzfest Berlin, and the Istanbul Jazz Festival. In her numerous collaborations with, amongst others, Guillermo Klein, Anthony Braxton, Jay Clayton, and Shai Maestro, she gracefully navigates varied musical styles, while each of her albums opens up a new sonic world.

With "Hope", Sahin not only set her poems to music, but also wrote lyrics that reflect Dickinson's poetry of life and death, love and longing, fear and hope. Dickinson’s life story and writing inspired Sahin to create a dialogue between the two artists on the album. Sahin is fascinated by Dickinson's dedication to writing even though only a few of her poems were published during her lifetime. Due to her own experiences of discrimination, Sahin also identifies with the hurdles Dickinson had to overcome as a woman in the 19th century. She characterizes her creative process with Dickinson's works as an "imaginary collaboration," drawing personal parallels with Dickinson's timeless themes of loneliness, hope, and love, and weaving these threads into a modern and lyrical song cycle. Sahin worked on the compositions with her mentor, the multiple Grammy-nominated singer and composer Becca Stevens, who, along with Joni Mitchell and Laura Mvula, also served as a major source of inspiration for the album.

"Hope is the thing with feathers," a well-known poem by Dickinson, is set in a unique musical context – embedded in recurring loops and closely intertwined harmonies, Sahin's soulful singing beautifully intertwines the poem with her musical world. Through Sahin's eclectic and warm vocals, Dickinson's poems are cast in a new light, awakened and resonant. In "Moyra's Light," a fragile ballad for piano and voice, the musician processes complex experiences of loss and death - much like Dickinson, this allows her to engage with collective emotions from a personal perspective. In other pieces like "Let go," Sahin addresses the simultaneous but contradictory desires for freedom and closeness.

The album concludes with "Blessing from a Lioness," which comes as a clear call to not give up on hope but to hold onto one's dreams, and to listen to one's inner self. Therefore, the album symbolizes more than just hope. As an odyssey through universal phenomena such as fear, courage, and longing, "Hope" creates an incomparable fusion of poetry and music that embraces its listeners like a soundtrack to life.

"RIVER MAN" by Genevieve Marentette

Canadian jazz songstress Genevieve “Gigi” Marentette releases her interpretation of Nick Drake’s "River Man" - the first single from a series of songs from 1969 that she will be sharing over the next year. 

Genevieve first heard the song on Nick Drake’s Five Leaves Left in her early teens, and it became one of her sonic sanctuaries. 

When Gigi was 15, she experienced unfathomable loss. Her 17-year-old step-sibling and beloved friend Emily passed away. Emily was a teenage punk poetess who, as an older sister, influenced her very positively. But Emily grappled with intense existential crises, and darkness eventually consumed her. She died of an intentional overdose of Halcion, a medication that is no longer prescribed as an antidepressant.

That year was the most challenging year of Gigi’s young life. Consumed by crippling grief and her own existential questions, going to school and musical creativity were beyond her grasp. She spent most of her time listening to music alone in her bedroom. Nick Drake was a refuge, and it wasn’t until years later that Gigi discovered he had passed away so similarly from an overdose of his anti-depressant medication.

“I now sing "River Man" for you at the intersection of heartache and relief. An elegy to the lost loves of our lives - my dear sibling and best friend Emily, and all the untimely separations we experience. 'Oh, how they come and go.' Nick sang of life's transience. Indeed.”

Gigi’s interpretation features Eric St-Laurent on guitar, George Koller on bass, Ben Wittman on drums, and Rob Christian on sax. As jazz musicians, every time they play is unique, and this is what they laid down one lovely day live off the floor at Canterbury Studios in Toronto with Jeremy Darby on the console. The song was mixed and mastered by saxophonist and co-producer Rob Christian, who also joins Gigi on her vocalise. 

In her upcoming project, Gigi pays homage to the transformative spirit of 1969, inspired by discussions with her mentor and dear friend, David Clayton-Thomas. This project promises to capture the zeitgeist of an era when musicians were warriors for social justice and peace.

Genevieve “Gigi” Marentette is a fixture in the Toronto music community. She was born in Leamington, Ontario, known affectionately as Tomato Town. Her father is a farmer, and her mother is a musician and social activist. As a child, Genevieve bounced around the north and south of Ontario - living communally and creatively. That upbringing helped nurture her free-spirited soul - full of saudade - and also her love of community - full of duende.   Genevieve spent her formative teen years in Detroit, where her family roots go back 265 years. She credits her unique artistry to her mom, @lindagirard and Detroit's rich musical history. After completing a college jazz diploma in Toronto, she travelled and performed extensively in Asia and Europe. Genevieve, or Gigi as her peeps call her, calls Toronto her home. Gigi has worked with Marc Houle, Theo Parrish, Recloose, David Clayton-Thomas, Jane Siberry and others. 

With a voice that transcends genres and a stage presence that enchants audiences worldwide, Gigi Marentette's artistry is authentic and passionate. Her journey continues to unfold, and her interpretations of timeless classics, like Nick Drake's "River Man," carry the weight of experience and the joy of creative liberation. Gigi's music is a testament to the eternal power of the human spirit, forever yearning for connection through melody and emotion.

Craft Recordings celebrates centennial of Wes Montgomery and Riverside Records’ 70th anniv. with 'The Complete Full House Recordings'

Craft Recordings honors the inimitable Wes Montgomery on his centennial with an expanded edition of his classic 1962 LP, Full House. Captured at Berkeley, CA’s Tsubo coffee house, the album marks the influential jazz guitarist’s sole live session for Riverside Records and features stellar performances by all, including tenor saxophonist Johnny Griffin, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. Presented as The Complete Full House Recordings, this brand-new collection has been remastered from the original analog tapes by Joe Tarantino, with lacquers cut by Kevin Gray at Cohearent Audio. Pressed on 180-gram vinyl at Germany’s Optimal Media, the 3-LP set is housed in a gatefold jacket, complete with new liner notes by journalist and author Bill Milkowski (Downbeat, Jazziz, Guitar Player).

Set for release on November 10th and available for pre-order today, The Complete Full House Recordings can also be found on 2-CD as well as in 24/192 hi-res and standard digital. Rounding out all formats is a variety of alternate takes and outtakes, including two previously unreleased performances: an alternate take of Montgomery’s “S.O.S.” as well as the complete unedited master take of “Full House,” featuring Montgomery’s originally played (and previously replaced) guitar solo restored.

One of jazz music’s most influential and innovative guitarists, Wes Montgomery (1923–1968) was revered for his warm, soulful tone and his unique approach to his instrument. Eschewing the standard guitar picks, the self-taught musician opted to pluck the guitar strings with the side of his thumb, while his extensive use of parallel octaves contributed to his distinctive sound. It was a technique that would not only be adopted by other jazz artists but also by many of the rising rock guitarists of the day.

Born and raised in Indianapolis, Montgomery got his big break with Lionel Hampton, joining the legendary vibraphonist’s big band in 1948 before partnering with his brothers, vibraphonist/pianist Buddy and bassist Monk, with whom he performed as The Mastersounds or The Montgomery Brothers. At the end of the decade, the guitarist embarked on his prolific career as a leader, signing to the legendary jazz label, Riverside Records, and releasing his debut, A Dynamic New Sound: Guitar/Organ/Drums, in 1959. Yet, while Montgomery certainly wowed his contemporaries in the studio, it was often felt that the musician was at his best during club performances. And so, in 1962, Riverside’s founder and producer, Orrin Keepnews, sought to capture that magic, booking an evening at Berkeley’s Tsubo coffee house (a short-lived jazz hotspot that would soon become the storied folk and blues club Jabberwock). Recorded in front of an audience, the set would be a hybrid of a recording session and a concert, allowing the band to perform multiple takes of each tune.

Taking place on June 25, 1962, the session paired Montgomery with Chicago tenor saxophonist Johnny “The Little Giant” Griffin, alongside the Wynton Kelly Trio (pianist Kelly, bassist Paul Chambers and drummer Jimmy Cobb—all three of whom made up Miles Davis’ celebrated rhythm section). On the program was a variety of bop, blues and ballads. In his liner notes, Milkowski writes, “Full House captures Wes at the top of his game as he electrifies the audience of students, jazz fans and hipsters with his inventive and inherently melodic improvisations, propelled by the superbly swinging rhythm section.” Both Montgomery and Griffin, he adds, offer powerhouse performances, with “a take-no-prisoners approach on the individual solos.”

The original, six-track album (released in November 1962) opens with the sprightly Montgomery original “Full House.” The waltz-time tune showcases the guitarist’s use of octaves, which he sprinkles throughout. Milkowski praises, “The vocabulary is refreshingly modern, full of surprising filigrees and inventive harmonic implications as the piece evolves. Wes . . . play[s] cat-and-mouse with his own facile single-note lines before going all-in on the parallel octaves.” Griffin, meanwhile, brings “pungent tones, hip phrasing, and a kind of inherent swagger that reflects his own bad-ass persona. By the five-minute mark, the Little Giant is pouring it on, nonchalantly double-timing the pulse while digging deep for blue notes.”

The quintet slows things down with a straightforward reading of the Lerner/Lowe standard “I’ve Grown Accustomed to Her Face” (from the 1956 musical My Fair Lady), before picking the pace back up with Dizzy Gillespie’s “Blue ’N’ Boogie.” Kelly’s rhythm section shines particularly bright in this bop classic, keeping the nearly 10-minute-long performance moving as Montgomery and Griffin strut their stuff. Then, they return to another Montgomery original—the Latin-tinged “Cariba”—in which they deliver several standout solos, including those by Kelly and Chambers, before reimagining the Harold Arlen/Johnny Mercer ballad “Come Rain or Come Shine,” with a jaunty swing, led by Cobb’s tight brushwork on the drums.

The original album closes with Montgomery’s energetic “S.O.S.,” several takes of which are featured in The Complete Full House Recordings, including the previously unreleased “S.O.S. (Take 1).” Milkowski notes that “this take is brimming with energy.” Another version, “S.O.S. (Take 2)” (originally released on The Alternative Wes Montgomery), finds the group tackling the challenging piece with ease and features a particularly outstanding solo from Griffin.

Also included in The Complete Full House Recordings is a previously unreleased take of the title track. The original album version of “Full House” was, in fact, a composite of two takes in which Montgomery’s guitar solo was edited in. Now, for the first time, listeners can hear the complete unedited master take, with Montgomery’s originally played (and previously replaced) guitar solo restored. The collection also compiles alternate takes (all previously released on either Wes Montgomery: The Complete Riverside Recordings or The Alternative Wes Montgomery) of “Cariba,” “Come Rain or Come Shine” and “Blue ’N’ Boogie,” as well as two renditions of Mel Tormé’s ballad “Born to Be Blue.” Both takes, which do not feature Griffin, showcase the phenomenal interplay between Montgomery and Kelly’s trio—first with a subdued approach and then with a more energetic attack.

Praised by Downbeat as catching “Montgomery at the blazing top of his form,” Full House secured Montgomery’s place as a bona fide jazz star and has long been considered an essential title from his all-too-brief career. Following his time at Riverside, Montgomery would turn his focus primarily to pop-oriented music and found significant crossover success with instrumental covers of the era’s biggest hits—several of which earned him GRAMMY® Awards.

Montgomery, who passed away unexpectedly in 1968, not only left behind a beloved canon of music but also an impact that continues to reverberate. “Wes Montgomery forever changed the language of the guitar,” writes Milkowski. “Generations of guitarists who followed in his wake were swept away by the warmth of his tone, the freedom and fluidity of his ideas, and the persistent swing in his unerring time feel.” Among his immediate disciples were contemporaries like Joe Pass, Pat Martino and George Benson. In the following decades, stars like John Scofield, Pat Metheny and Lee Ritenour continued the through line, while rising guitarists like Randy Napoleon, Tim Fitzgerald and Mimi Fox keep Montgomery’s legacy alive today.

Steve Davis | "Steve Davis Meets Hank Jones, Volume 1"

In June 2008, trombonist Steve Davis, pianist Hank Jones, and bassist Peter Washington recorded this poetic, interactive, impeccably executed, never-before-released recital, entitled Steve Davis Meets Hank Jones, Volume 1, scheduled for a November 24, 2023 release via Smoke Sessions Records. Jones, who had undergone quadruple bypass heart surgery at the end of 2006, was a month shy of 90. Not only is it one of Jones’ final sessions, but it’s one of the finest of his extraordinary career, as the two Boomers, whose cumulative ages circa 2008 did not match Jones’ four-score and ten, comport themselves not as acolytes, but assured peers and fellow practitioners inscribing their voices coequally upon the proceedings.

Jones’ advanced age and recently endured infirmities are indiscernible as the trio addresses choice cuts from jazz and American Songbooks, conducting erudite, swinging three-way conversations, along with three duos – “But Beautiful,” “Polka Dots and Moonbeams” and “We’ll Be Together Again” – by Davis and grandmaster Jones.

“It was one of the greatest musical experiences of my life,” says Davis of his sixth Smoke Sessions release as a leader. “The music is filled with little choices, moments where you could go this way or that. Wherever I wanted to go, Hank was there, ready to give support, to take you somewhere. It was the essence of jazz – that thing that happens between us when we play and create and speak the language in real time. On a pre-date rehearsal he developed three different routes through one passage of a couple of measures. It was unbelievable to watch how much joy he was getting out of music, even at 89 years old.”  

The idea gestated in the aftermath of Davis’s initial recording with Jones, a fall 2007 album titled Eloquence. “As I thanked him, he said, ‘Why, Stevie, we had so much fun, I think perhaps we ought to do it again.’ I said, ‘Twist my arm.’ My wanted it to be like Hank and Peter playing duo at Bradley’s (the legendary Greenwich Village piano saloon where Jones played regularly until the early 1990s), with me sitting in.”

Neither Davis nor Washington were strangers to interacting on a bandstand with the great masters of jazz expression. Both apprenticed with Art Blakey and the Jazz Messengers during the ’80s, and they played together on 7 dates by the collective group One for All (represented on Smoke Sessions with the 2016 release The Third Decade, their 16th), and on individual dates led by its component members Eric Alexander, David Hazeltine, Joe Farnsworth and Davis himself. Davis’s post-Messengers CV included five years with Jackie McLean, his mentor at Hartt School of Music, three years with Chick Corea’s Origin Band, a couple of decades with various Dizzy Gillespie all-star configurations, and – counting this epochal date – 21 albums as a leader, including five for Smoke Sessions.

Most visible these days alongside Kenny Washington in the Bill Charlap Trio, Washington famously spent the 1990s alongside Lewis Nash in the Tommy Flanagan Trio, and did dozens of dates with Jones during the decades preceding his own first recording with the maestro.

Famously the older brother of iconic trumpeter-composer-arranger Thad Jones and world historical drummer Elvin Jones, Hank Jones was himself a key signpost in the evolution of jazz vocabulary, admired by his peer group since he arrived in New York in 1944 for a gig with trumpeter-blues singer Hot Lips Page at the Onyx Club on 52nd Street. There he applied himself to absorbing bop avatars Bud Powell, Al Haig, and Thelonious Monk, who once invited Jones to his apartment after closing time and played for him, as Jones transcribed the notes, a new composition called “Monk’s Mood.” He was a first-caller on 52nd Street by 1946, when he began a long association with Coleman Hawkins, as well as jobs with Billy Eckstine, Andy Kirk, and John Kirby. Jones began touring with Jazz at the Philharmonic the following year, sharing piano duties with Oscar Peterson, who credits him as a seminal influence. He accompanied Ella Fitzgerald from 1948 to 1953, and spent the remainder of the ’50s freelancing, making definitive trio and solo albums for Savoy, and recording as a sideman with artists as diverse as Hawkins, Charlie Parker, Lester Young, John Coltrane, Miles Davis, Artie Shaw, Sonny Stitt, Cannonball Adderley, Benny Goodman, and his younger brothers.

From 1959 to 1975, Jones was a staff pianist at CBS, playing on Captain Kangaroo, The Ed Sullivan Show, The Jackie Gleason Show, and any other entity that required his services. He retired in 1975, and launched the final efflorescent phase of his career as a solo artist, which he conducted with unabated energy until the aforementioned involuntary hiatus.

“Hank embodied the history of jazz, and distilled it into his concept,” Davis says. “You hear him play stride piano, the blues, the American Songbook, swing, bebop. You hear the French Impressionists, Chopin. You hear what influenced pianists like Herbie Hancock or Bill Evans or McCoy Tyner, the pianists we regard as those who’ve led us into the future. Hank could go any way you want. He was so incredibly melodic and harmonically sophisticated, with a wonderful touch. He controlled everything he wanted to play. You can’t think of a time where Hank played something he didn’t mean.”

Jones described his approach in an article for Jazziz that ran around the time of this date: “Do what you think, play whatever you play. Make it understandable, but don’t sacrifice anything that is individualistic to your style. I consider myself a creative player. I like to play things I haven’t done before, paint musical pictures, so to speak. If you play somebody else’s musical ideas, how can you identify yourself? As you grow older, you try to develop a consciousness, an identity, so that when someone hears you, hopefully they can say, ‘Oh, that’s Hank Jones’ or whoever you happen to be.”

New Music Releases: Record Kicks Cinematic Nuggets, Robohands, Quincy Jones, The Faithful Brothers

Record Kicks Cinematic Nuggets

Record Kicks presents "Cinematic Nuggets", a new installment of its digital compilation collection dedicated to the cinematic funk sound of the Milan-based record label. Through deep psychedelic grooves, afro-jazz-funk and B-movie inspired badass tunes, the eleven instrumental tracks on the compilation dig deep into the label's catalogue and offer you a new journey into a groovy psychedelic funk world. In the compilation you'll find the very best of the label's roster: from cinematic funk kings Calibro 35 to The Diasonics, Whatitdo Archive Group and Alexander Korostinsky and the latest signings Electric Circus and Moonbrew & Apollo Negri just to name a few. Quite on set, rolling and… Action! Side by side with similar outfits like Daptone, Truth And Soul or Timmion, under its motto "The explosive sound from Today's scene", Milan-based independent label Record Kicks has been pitching the contemporary funk & soul scene since 2003. With over 200 releases under the belt, RK has released bands from all over the globe and earned the support of VIP fans such as Kenny Dope, Jamie Cullum, Craig Charles and, last but not least, Jay-Z, thanks to whom the label received a Grammy nomination for HOV's use of Hannah Williams' "Late Nights And Heartbreak" as backdrop for his "4:44" in 2018.

Robohands - Moments

‘Moments’ is the first single off the upcoming LP ‘Palms’, the 5th studio album from London based instrumentalist and producer Andy Baxter. Featuring the harp, played by Rachel Horton, ‘Moments’ is an ode to early 60s jazz sounds with synth melody top line and double bass part sitting casually behind the beat. Influences come from the music of Dorothy Ashby and Alice Coltrane. ‘Robohands' is the experimental solo/collaborative project of London based composer/ instrumentalist Andy Baxter. Originally a side project to explore drumming techniques, ‘Robohands’ evolved into a more composition based endeavour with his records often featuring large arrangements and also solo instrument performances. Having recorded four studio albums to date, ‘Palms’ (2023, Bastard Jazz Recordings) is the fifth in a series of seven Robohands LPs. Having supported Grammy Award winning musician Terrence Blanchard at the Camden Jazz Cafe, his project has also headlined multiple venues in London, Brighton and Lisbon. Sonically making reference to late 1950s sounds through to late 1980s and early 1990s sounds, each album has differed in direction, with the latest album emulating saturated analog tape recordings of the late 60s and 70s, with an added subtle modern layer of glitch FX and pitch control experimentation in places. Fresh off of the relase of EP ‘Giallo’ (2022), Baxter again takes on drums, guitar, bass, keys and also mixing duties for the latest LP, which comprises of seventeen tracks, and is released in October 2023.

Quincy Jones - Integrale Quincy Jones 1957 to 1962 – Soul Bossa Nova 

The early years of Quincy Jones, summed up in all their greatness – material from a time years before Quincy became a superstar in the world of soundtracks and soul, yet was already breaking new ground in the field of large ensemble jazz! Q had a special spark, right from the start – and you'll definitely hear that here, in a succession of albums and bonus material that highlight his uniquely swinging, soulful sense of arrangement – and his great ear for individual musicians, at a level that makes the groups here really work as all-star lineups, filled with musicians who often recorded as leaders on their own, but came together in tight formation under Jones' leadership. The set features a few bonus tracks recorded in Sweden in the late 50s – plus the full albums Birth Of A Band, Go West Man, This Is How I Feel About Jazz, Great Wide World Of Quincy Jones, I Dig Dancers, Around The World, Quintessence, and Big Band Bossa Nova – all served up in a big box with 78 tracks in all – and full notes in French and English! ~ Dusty Groove

The Faithful Brothers – The Faithful Brothers

“It’s so difficult to produce the feel and the excitement of the classic northern sound, but The Faithful Brothers were born to do it and they do it so well.” Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio 6 Music. Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you’re a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv’s own unique blend of classic Northern Soul 45s and early 1960s R&B sounds. Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Sons of an Israeli diplomat, they travelled abroad extensively as children, in the 1960s and 1970s, discovering the wonderful world of rare soul music on the way. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul, that has recorded two albums for the London based label Acid Jazz Records, and toured Europe numerous times. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. There the biological Neeman/Faithful brothers would be joined by some of the members of MONC and a few more musical brothers from Tel Aviv to create new, original soul and R&B music. With a nod to the Northern Soul slogan “Keep The Faith”, the name seemed too perfect to waste. The fact that the Neeman brothers were collectors, and not musicians, did not bother a man of vision like Yashiv. One day, he sent Johnnie some lyrics he wrote, asking him to compose music for it. Well, Johnnie called Bin, and they met in Johnnie’s record room. With Johnnie playing some of the few chords he knew on his dusty old acoustic guitar, out came Teenage Frost, the first-ever musical composition of the Neeman brothers, recorded by MONC. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together. The Faithful Brothers – now an eight-piece band, complete with a mighty brass section – release their first album “The Faithful Brothers”.

Léon Phal - Stress Killer

Saxophonist Léon Phal presents his second full length album, his first for Heavenly Sweetness. Picking up from his self released debut ‘Dust From Stars’ in 2021, this new LP entitled ‘Stress Killer’ delves even deeper into the area between nightclub and jazz club culture.

As a graduate of Geneva’s Haute École de Musique, he’s a key artist within the much spoken about French new jazz scene. With a notoriety that goes beyond the borders of Europe, this Franco-Swiss musician paves his own path in his own way, alongside his faithful quintet of: Arthur Alard (Drums), Rémi Bouyssière (Double Bass), Gauthier Toux (Keyboards) and Zacharie Ksykowski's (Trumpet).

Over its 10 tracks ‘Stress Killer‘s perhaps the most major and remarkable point is that no machines or electronics were used in its creation. Despite its sonic shelving so close to the nightclub sounds, it is made using traditional jazz instrumentation. 

Embracing ideas and desires to make people dance by approaching jazz as club music, the first single from the album 'Fuck Yeah' highlights that goal perfectly. With its nods to the techno pioneers of Detroit, the deep house of Chicago and drawing from Leon’s previous collaborations with Laurent Garnier. 

Across this record tracks are arranged in a club music style, builds and drops that use breaks, climbs and loops -  immediately making you think, "Fuck Yeah".  

The saxophone remains the ringleader and master of ceremonies across the album, fusing jazz codes with detailed electronic etiquette, notes and ideas speak to the bodies of dancers and club goers, making you want to move. 

On the J Dilla inspired ‘Idylla’, we have the first feature on the album, coming in from Heavenly Sweetness / Pura Vida label mate, K.O.G.  A behind the beat groove allows K.O.G’s spoken word to sit over Gaultier’s keys, intertwining beautifully together with the rest of the track. 

More mellower and reflective moments are to be found courtesy of ‘Balanced Action’, showing just how great Leon’s sax lines sound doubled with Zacherie’s trumpet.

A second vocal feature as Cameroonian born, Los Angeles based, Lorine Chia, she adds a sultry yet affirmative performance on ‘Something Inside’ 

Then over onto side two, title track ‘Stress Killer’ does just that with its uplifting and playful hook. Feet get tapping and necks get snapping as Arthur’s snare drives the track towards an almost psychedelic ending, Gaultier showing off some synth sonics that could melt minds.

Only once does Léon look back into the rear-view mirror, towards the masters who explored the saxophone like no other. An interpretation of John Coltrane’s ‘Naima’, features deep rhodes tones before the unmistakable sax and trumpet melody arrive. 

Album closer, ‘Clarity’ rounds off the record beautifully with a nostalgic yet familiar, hope filled chord progression, allowing the rest of the band to fill the spaces so tastefully.

A record that has really captured all energies, be them eyes down on  dark nightclub dance floors or squeezed into sweaty basement jazz clubs. The sound of Léon’s album may sometimes resemble that of machines, but it always retains its humanity.

 

Ruiqi Wang - Subduing the Silence

Ruiqi Wang's debut album is a singular, intimate amalgam of improvisation song.

Subduing the Silence by Ruiqi Wang (pronounced "ray-chee") is one of those striking debuts that might just seem to have materialized out of the clear blue. Slated for release on celebrated Montréal musician Ayelet Rose Gottlieb's new imprint Orchard of Pomegranates, it weaves spacious, abstract vocal jazz, contemporary chamber music and even elements of Chinese traditions into an unusual, seamless whole. This succinct album provides an impressive document of this gifted young vocalist, composer and improviser and her singular musical imagination.

The disc opens with one of three renditions of "Xiang Leng Jin Ni," an ancient Chinese song with a text by 11th century female poet Qingzhao Li. Awash in the delicate turbulence of Mili Hong's drums, Wang's delivery is expressive yet restrained. Anchored by the minimalist thrum of Summer Kodama's bass, "A Letter to L" begins in dim patter, before Stephanie Urquhart offers a luminous arpeggiated chord. This gesture ushers in a soft cloud of string harmonics (courtesy of special guests, Boston's Craft Ensemble) that simply hovers for a moment, holding the music in suspension. The voice then leads an ensemble-wide blossoming with a languid wordless melody that tucks itself into the lush string arrangement as the composition opens up. The piece covers an intriguing array of material over the course of its peculiar and sumptuous unfolding, neatly encapsulating the gentle ardour that underpins Wang's writing.

Clocking in at just shy of a minute, "Vibrating" is the first of several short instrumental interludes interspersed throughout the album, each of showcasing the insightful musicianship and broad sonic vocabulary of her core ensemble. The energy shifts on "A Descent of Lillies" as the band locks into a vigorous groove that supports angular melodic figures and freeform extemporization from Wang and her bandmates. Following the lyrical interlude "Shimmering," she sings "Xiang Leng Jin Ni" again, this time totally unaccompanied. The dream-like vignette "I Am A Tree" anticipates elegant ballad "Dream of the Pines"—arguably the familiar sounding piece in the collection. Its unfettered beauty steers the album toward a temporary place of repose alongside the bowed-bass led interlude "Deep Stillness."  For the final arrangement of the "Xiang Leng Jin Ni," listeners get a taste of Wang's formidable ear for instrumental colour as she weaves a detailed tapestry of swooping ornaments for the Craft Ensemble, the track's only performers. For the album's closer, she sets a text by Argentinian poet Alejandra Pizarnik, initially singing across a string arrangement that faintly echoes the previous cut before Hong, Urquhart and Kodama join the fray.

Subduing the Silence ambitiously packs a wealth of ideas into its 36 minutes without ever losing its sharp focus. Wang's nimble singing and deft, thoughtful arrangements—enlivened by the sensitivity and versatility of her all-female cast of collaborators—display a maturity and vision that eludes even some seasoned musicians.

Born and raised in Hangzhou, China, Ruiqi Wang moved to Tio'tia:ke/Montréal in 2017 where she studied in McGill University's Jazz Performance program while immersing herself in the vibrant local scene performing in venues such as the Upstairs Jazz Club, Ursa, MAI/SON MTL, and Le Basement. Wang's mentors encompass a diverse array of respected artists that includes the likes of Ranee Lee, Camille Thurman, Ayelet Rose Gottlieb, John Hollenbeck, and Meredith Monk. Alongside the latter's voice and movement workshops, she also nurtured her curiosity through studying frameworks such as the Deep Listening® practices established by trailblazing composer Pauline Oliveros. In addition to the double quartet heard on this album, Wang's current projects include the Ruiqi Wang Chamber Ensemble, which features her singing alongside piano, bass, drums, flute, oboe, clarinet, bassoon, bass clarinet, and string quartet. She also collaborates with August McKinney (piano, modular synthesizer) under the moniker Soft Weathers, an outfit that has moved from interpreting standards toward more exploratory terrain by way of incorporating electronics and free improvisation. Wang is currently embarking upon a Masters degree in Jazz Composition at the Bern Academy of the Arts in Switzerland under the direction of lauded musicians such as Django Bates, Andreas Schaerer and Ralph Alessi.

 

Conrad Herwig’s album “The Latin Side of Mingus”

New York jazz artist Conrad Herwig has recorded 26 albums as a leader, receiving four GRAMMY®-nominations for his own projects. His latest CD release is The Latin Side of Mingus (Savant; 2022). This albums marks 25+ years of the "Latin Side . . ." series, and is a follow-up project to The “Latin Side of …” tributes to Horace Silver (Savant; 2020), Joe Henderson (Half Note; 2014), Herbie Hancock (Half Note; 2010) Wayne Shorter (Half Note; 2008), Miles Davis (Half Note; 2004), and John Coltrane (Astor Place; 1996). These exciting and individualized projects feature an array of special guests including Randy Brecker, Ruben Blades, Michel Camilo, Joe Lovano, Eddie Palmieri, Paquito D’Rivera, Dave Valentin and many of the hottest players on the international scene. 

Herwig is equally facile in a non-Latin arena. He has been voted #1 Jazz Trombonist in DownBeat Magazine “Jazz Critic’s Poll” and nominated for “Trombonist of the Year” by the Jazz Journalists Association on numerous occasions.  In constant demand as a sideman, Herwig has performed with Joe Henderson, Horace Silver, McCoy Tyner, and Joe Lovano (featured as a soloist on Lovano’s GRAMMY® Award winning 52nd St. Themes CD). In the Afro-Caribbean genre he has toured with legends such as Eddie Palmieri, Tito Puente, Paquito D'Rivera, and Michel Camilo. He is a longtime member of the the Mingus Big Band (where he has served as musical director and arranger including on the 2011 GRAMMY- winning “Live at the Jazz Standard”). In other big band settings Herwig has also performed and recorded with Clark Terry, Buddy Rich, Frank Sinatra, Miles Davis & Quincy Jones, and the Gil Evans Orchestra. All told Herwig has appeared on more than 200+ albums in what is now a 40 year career. 

 In 2006 Herwig received the Paul Acket Award (formerly the “Bird Award”). The prize, presented at the North Sea Jazz Festival, is intended for an artist who, according to the international jury, deserves the attention of a broader audience. Herwig is also a recipient of performance and teaching grants from the National Endowment for the Arts. Conrad was elected to the Board of Advisors of the International Trombone Association and has taught at Mason Gross School of the Arts in the prestigious jazz program at Rutgers University in New Brunswick, N.J. where he currently serves as Artistic Director and Chair of Jazz Studies.

Resavoir Announces "Resavoir" LP

Resavoir - the collaborative project led by Chicago producer/composer Will Miller - announces a new album. Their second self-titled LP Resavoir will be released by International Anthem on November 3rd, 2023. The album’s lead single “Sunday Morning,” which features Elton Aura and Whitney is out today, along with a stop motion video created by Nik Arthur.

Written and produced over three years beginning in April 2020, the eleven effervescent songs of the new Resavoir feature a vibrant cast of collaborators from the Chicago music community, including Akenya, Matt Gold, Eddie Burns, Lane Beckstrom, Jeremy Cunningham, Irvin Pierce, Macie Stewart, Peter Manheim, Elton Aura, Whitney (indie band that Miller has been a regular member of since 2016) and more. 

The core songs of Resavoir are ear-pleasing but deeply-layered studio constructions, demonstrating the astute production-craft that Miller’s sharpened over recent work with Knox Fortune and SZA (on top of his already-lengthy resume that includes work with Mac Miller, Chance the Rapper, Saba and Lil Wayne). Other pieces were built from free, group improvisations recorded in the empty lot next to Miller’s Humboldt Park apartment during the pandemic. And others are delightfully fleeting vignettes, compositionally elegant but only slightly more polished than demos, reflecting his intent on capturing the moment of discovery and embracing what gives music its vulnerable, human qualities. All together, the new Resavoir corralls a broad diversity of sound, inter-weaving modern-day soul-jazz, bedroom beats, synth serenades and twilight sonatas into a subtly radiant symphony.

The album’s lead single “Sunday Morning” draws inspiration from a rainbow peaking through the clouds on a misty May afternoon, when Miller was tinkering with the jazz standard “Here’s That Rainy Day.” But “Sunday Morning” is far from it – stylistically it’s much more buttery indie R&B than classic jazz ballad, and leans much less on Miller’s trumpet than it does on Elton Aura’s sumptuous vocals and verses. Miller recalls: “I had wanted to work with Elton for a while so I invited him over to the studio. I was playing him a few different things before landing on this one, which I sort of knew he would want to write to right away. He wrote and recorded his verse that day.” The track culminates with a dreamy outro section featuring Miller’s longtime bandmates from Whitney. Miller adds: “Literally the day after I had Elton at the studio, Julien (from Whitney) sent me a voice memo of himself humming a melody over the exact same song… even though it had been over a year since I shared it with him. To me that was too crazy of a coincidence to overlook, so I invited Max and Julien over to finish writing to that melody, and the three of us crafted the outro section together.”

“Sunday Morning” also comes with an incredible stop motion video by Nik Arthur. About his work, Arthur says: “A water droplet mimics the movements of hard working hydrangea pollinators. Each droplet was placed carefully with a syringe and a lot of patience.”

Grammy-nominated Chandrika Tandon Releases Ammu's Treasures, a Collection of Classic Songs and Soothing Chants

A three-volume omnibus of 35 songs and 21 chants, Ammu's Treasures invites its listeners to reminisce or make new memories with traditional folk tunes and familiar popular songs and poems, which were a part of Chandrika's childhood years. These songs speak of faraway places, in different genres and languages, with varied arrangements. They are meant for quiet times, happy times, and anytime. This treasury of music also includes ancient Vedic chants set to Indian scales, aimed to soothe and relax.

Adding their incredible artistry to complex arrangements, Ammu's Treasures features many maestros, including Cyro Baptista, Martin Bejerano, Purbayan Chatterjee, Rakesh Chaurasia, Béla Fleck, Eugene Friesen, Maeve Gilchrist, Jamey Haddad, Bobby Keyes, Howard Levy, Romero Lubambo, Marcus Rojas, Dave Schroeder, Michael Ward-Bergeman, Kenny Werner, the Czech National Symphony Orchestra, Teese Gohl, Mirek Vana, John Kiehl, Scott Cannizzaro, and more. Marc Lumer and Bob Spang contributed their talents to beautiful accompanying lyric videos.

Ammu's Treasures is a hug for the world, a message of Love, Light, Laughter for all ages.

A concert in Prague was recently held, in partnership with Kroky Dobra, who created a children’s choir of 35 Ukrainian children. Together with Chandrika, the choir performed songs from Ammu’s Treasures for a 200 person audience at Lobkowicz Castle in June 2023.

The event was full of heartwarming moments and was a true celebration of love between families and new friends. The children in the choir practiced for a month in advance, forming a connection to Ammu and the songs, illustrating beautiful drawings and crafting thoughtful messages for Chandrika. Countless hugs were given and received.

Samara Joy Returns with Self-Produced Fan Favorite: Tight

Two-time GRAMMY-winner Samara Joy has returned with her new self-produced single “Tight.” Featuring Joy with her working band (pianist Luther Allison, bassist Mikey Migliore and drummer Evan Sherman), the track was recorded at the legendary Electric Lady Studios in NYC. Originally written by Betty Carter and a true showcase of Joy’s incredible range, “Tight” has been a fan favorite during Joy’s onstage sets. Fittingly, the music video for the single incorporates both her live performances and in-studio recording session.

The release of “Tight” continues a whirlwind year that saw Joy take home the auspicious Best New Artist and Best Jazz Vocal Album awards at this year’s GRAMMY’s. Joy also released the deluxe edition of her album Linger Awhile, which includes brand new music plus fan favorites like “Guess Who I Saw Today” and “Can’t Get Out Of This Mood.”

Since Joy’s breakout GRAMMY wins, Linger Awhile has reached #1 on Amazon Best Sellers, Billboard Jazz, Pandora Trendsetters, iTunes and Amazon’s digital-music and CD sales, and more. Joy has garnered over 1 million followers on social media, and her tour dates all over the world have rapidly sold out.

With her GRAMMY-Award winning and chart-topping album, Linger Awhile, 23-year-old Samara Joy makes her case to join the likes of Sarah, Ella, and Billie as the next mononymous jazz singing sensation recorded by the venerable Verve Records. Her voice, rich and velvety yet precociously refined, has already earned her legions of fans in addition to millions of likes on TikTok — cementing her status as perhaps the first Gen Z jazz singing star. 

Kuma - Honey & Groat

When Betty Davis presented Sly Stone's funky hippies to her dear Miles, when Herbie Hancock discovered the Fender Rhodes and the Moog synthesiser, when the CTI/Kudu label came up with the smooth jazz of Grover Washington or Bob James, when Gilles Peterson and the acid-jazz period revived the links that unite the various facets of African-American music, on each of these occasions opinion was divided between orthodoxy and hedonism. How do you reconcile "serious" music and simple pleasure? Ever since jazz took its bop and free turn, each generation solved this eternal equation in its own way.

Trained in the theoretical rigours of classical music and jazz, experts on their instruments, and brought up on hip-hop culture, techno and house club scenes, Matthieu Llodra and Arthur Donnot - composers of KUMA – love to challenge their musical boundaries. With the help of multi-talented sound engineer Valentin Liechti, they intentionally turned away from the live sound towards a more controlled production style, both in terms of the writing and the recording.

Maxence Sibille’s drums and Fabien Iannone’s bass, in all sobriety, display a range of sounds and grooves blurring the perception between playing and programming, acoustic and electronic.

Themes turn into loops, in a jazz form of writing that metabolised the sampling culture. Just like the musicians in the ‘70s and ‘80s who melted Afro-american art music with pop trends, Llodra and Donnot belong to this generation that naturally reinvents a kind of smooth jazz from the XXIst century.

The elegant harmonies of a brass section (‘Trois Petits Beussekeu’, ‘Feux-gris’), Léo Chambet’s warm voice (‘Der Küss) and Cyril Moulas' mesmerising guitar (‘Tardigrada’) make this somewhat restrained yet generous album complete.

Listening to ‘Honey & Groat’, sweetness and elegance are evident from the start. The themes come and they go, not like a rendez-vous, these collective checkmarks that classical jazz imposes on the ego of the soloists, rather like the hooks on instrumental electro tracks. An anchor for the listener, a chorus, between ostinato and ritornello, a motif transformed to fit the moment.