Sunday, September 24, 2023

Mike Davis | "The New Wonders"

New York City has always had the most vibrant jazz scene in the world, and in the last few years that scene has been re-energized by a younger generation of jazz artists with a penchant for music of the 1920s and 30s. For the last 10 years, cornetist, arranger, and vocalist Mike Davis has been at the forefront of the traditional jazz movement.

Davis is a bandleader and an in-demand sideman. He is now releasing his first album, The New Wonders, which is also the name of the band he fronts. The album comprises 13 tunes that pay homage to the original, traditional music style but with a fresh sensibility. The album appears on Scott Asen’s Turtle Bay Records label. Asen is a fan of early jazz and created the label to give contemporary artists a platform to share their interpretations of the music with a wider audience.

Joining Davis on The New Wonders are some of the leading lights on the New York City traditional jazz scene, including Ricky Alexander (clarinet, alto sax, vocals), Joe McDonough (trombone, Jared Engel (banjo), Dalton Ridenhour (piano), Jay Rattman (bass sax, vocals), and Jay Lepley (drums, vocals). Davis named the band The New Wonders for the model of cornet played by Bix Beiderbecke, one of the most influential jazz musicians of the 1920s.

Both of Davis’s parents were in the Seattle Symphony, and he started studying the cornet at the age of nine. He performed in different school bands throughout high school, and his parents encouraged him to go to college if he wanted to pursue music as a career. So when he was 18 years old he left Seattle and enrolled in the Manhattan School of Music. The academic experience, however, did not live up to his expectations.

Davis wanted to work as a commercial musician, but he felt the music he was being taught swung between two opposite poles: it was either too complex with too many rules or too free without any rules at all. He appreciated the talent and innovativeness of modern jazz players, but the music itself did not resonate with him. It wasn’t until he heard old 78 rpm records that something clicked. He felt an ineluctable pull to play traditional jazz.

Davis set out to be a craftsman as well as an artist. He listened to and absorbed a lot of old records, studying the different personal styles each player brought to the recording. The music became part of his identity, and he even began dressing in the style of the period, right down to the bespoke suits and pencil mustache.

Mona’s Bar in Manhattan is a hub for traditional jazz musicians. Every Tuesday night, they host a late-night trad jazz jam session that lasts into the wee hours. Davis became a regular, meeting other like-minded musicians. He wrote down every tune he heard, looking for hidden gems and learning about each song. With precise technique and broad knowledge of traditional jazz, it did not take long for Davis to become a sought-after sideman. He has been a member of Terry Waldo’s Gotham City Band for 10 years and has worked with stalwarts like Emily Asher’s Garden Party, Glenn Crytzer, Baby Soda, Dan Levinson, and many other traditional jazz and swing bands. He also began fronting his own band, The New Wonders, with a rotating cast of musicians.

Although he has incorporated the styles of many musicians, he cites Red Nichols, Louis Armstrong, and Bix Beiderbecke as foundational influences. Davis says, “I was particularly taken with Bix Beiderbecke for his pure sound and ability to play extended solos that told a story, which was not the norm at the time. “

Davis does not try to imitate the past masters and merely re-create their recordings. Rather, he studies their techniques and incorporates them in his own improvisations. And he does not necessarily use, for example, a Beiderbecke technique in a song made famous by the cornet master. Instead, he may base his solo on a Louis Armstrong style or an approach he heard on a Paul Whiteman record. The tunes have the vibrance and feel of the originals but are re-imagined with Davis’s extensive music vocabulary.

Davis also sings on several tunes. The timbre of his voice sounds much like a singer in Ted Lewis’s band. Davis says, “When I sing, I really don’t try to sound like anyone in particular. It’s just a happy coincidence that my natural timbre hews so closely to vocal stylings of that period.”

Traditional jazz has mostly a light-hearted, danceable feel, and for THE NEW WONDERS, Davis mined tunes that were performed by famous bands, like “I’d Rather Cry Over You” by the Paul Whiteman Orchestra, “I’m More than Satisfied” by Bix Beiderbecke, “The Baltimore” by Frankie Trumbauer and His Orchestra, and “Jungle Crawl” by Tiny Parham, featuring an arrangement Davis wrote for a burlesque show.

Other tunes came from early cinema, like “Smile, Darn Ya, Smile!” from a 1931 Warner Bros. Merrie Melodies cartoon short, and "She's Funny That Way," which was composed for the short film Gems of MGM in 1929 for Marion Harris, and also recorded by Billie Holiday in 1953. As women began expressing themselves more freely in the 1920s, dancing the Charleston and smoking cigarettes, vamp songs, i.e., songs about naughty women, were popular, and Davis includes “Flamin’ Mamie” by the Coon-Sanders Original Nighthawk Orchestra and “Clorinda” by the Chicago Loopers. Davis and the band also perform two songs by The Goofus Five, “Poor Papa” and “I Need Lovin’.” The Goofus Five are not well- known today but were quite popular back then. The “goofus” was a saxophone-like instrument that was like a mouth-blown accordion.

As the old saw says, “Everything old is new again,” and that certainly holds true today with the renewed interest in music that was written and performed nearly 100 years ago. As evidenced on The New Wonders, talented musicians like Mike Davis and his band have put a fresh face on this cornerstone of American popular music.

The New Wonders will be released on September 22, 2023, on Turtle Bay Records.

Saturday, September 23, 2023

Arthur Kell Speculation Quarter | "Live At LunÀtico"

Arthur Kell's latest release, Speculation Quartet: Live at LunÀtico, out on Origin Records on November 17, 2023, is a homecoming for the bassist/composer. The project merges the artist's disparate pursuits, bringing his music full circle. Through Bar LunÀtico, Kell (a co-founder) has contributed greatly to the nurturing and sustaining of a vibrant music scene in modern-day Brooklyn. In turn, Kell’s involvement in the scene has helped to inform and develop his latest musical explorations. However, long before Kell's ubiquitous presence on LunÀtico's bandstand as a sideman for artists such as Kenny Wolleson, Roy Nathanson, Paul Bollenback, Matt Darriau or Avram Fefer, many of Kell's earliest gigs were in Bed-Stuy, playing at local bars and all-night joints such as Tiffany's, Brownie's, etc. 

Featuring two of the most revered guitarists on the scene, in NYC and beyond, Brad Shepik and Nate Radley and rising star Allan Mednard on drums, Speculation Quartet is about approaching, contemplating and interacting with the ever-present uncertainty and potential in life – hypothesizing about the inevitable risks we take with everything and everyone we encounter. The album’s melody-based compositions are inspired by Kell’s travels which have taken him far and wide, especially his four-month solo journey from Dakar, Senegal to the Indian Ocean. There are two explicit 12/8 cuts and hints of his work as a founding member of the late Thomas Chapin's Afro-Brazilian-flavored band, Spirits Rebellious, and the Arabic music groups of Brian Prunka. More indirectly, the rare two-guitar frontline recalls Joey Baron's Killer Joey, and Marc Johnson's Bass Desires. 

Rising from a modest storefront on a quiet residential street in Bed-Stuy, Brooklyn, in 2015, Bar LunÀtico has become an important and essential venue for live music in New York City. A treasured gig for musicians who thrive off of its tight intimate setting, it is an incubator and home for countless bands and genres. Anything from Haiti's Tiga Jean Baptiste, to Bill Frisell, to Duduka Da Fonseca, may grace the bandstand on any given night, weaving a musical tapestry which has included Wayne Tucker, Madeleine Peyroux, Julius Rodriguez, Dan Weiss, Secret Trio, Samir Langus, Leo Genovese, Yacouba Sissoko, Jorge Glem, Lau Noah, and the late great Henry Butler - to name but a few.

More on Arthur Kell: Kell has worked for a wide cross-section of influential bandleaders in New York City and around the world, including: Thomas Chapin, Matt Darriau, Kálmán Oláh, Guillermo Klein, Steve Cardenas, Paul Bollenback, Eri Yamamoto, Bruce Barth, Sam Newsome, Quintan Ana Wikso, Saul Rubin, Roy Nathanson, Claire Daly, Richard Julian, Philip Johnston, Denman Maroney, Shelley Hirsch, Danny Walsh and many others. He has recorded alongside Bernard Purdie and Matt Wilson. As a composer with his own quartet, Kell has played and toured extensively in New York City, the U.S. and Europe – performing at the Jazz Standard, Smalls, Copenhagen Jazz Festival, Madrid Jazz Festival, and a national broadcast for Deutschlandfunk radio in Germany. He has released five recordings of original music on various labels, including Origin Arts, Fresh Sound Records and Brooklyn Jazz Underground Records.

Kell’s band has seen several incarnations and has featured the likes of Brad Shepik, Loren Stillman, Nate Radley, Michael Blake, Federico Casagrande, Nir Felder, Mark Ferber, Ben Monder, Steve Cardenas, Donny McCaslin, Gerald Cleaver, Francesco Bearzatti, Jeff Boudreaux, Allan Mednard, Guilherme Monteiro, Adam Kolker, Bill McHenry, Allison Miller and Gadi Lehavi.

Arthur Kell is one of the owners and co-founders of Bar LunÀtico in Brooklyn, NY. He's a graduate of Oberlin Conservatory of Music and taught music at Swarnabhoomi Academy of Music in Tamil Nadu, India. He coordinated the environmental work of the New York Public Interest Research Group in NYC for ten years up until 1997. Kell has also traveled extensively in Africa, including a solo trip for four months from Dakar, Senegal to the Indian Ocean.

Jeff Lorber Fusion | "The Drop"

“I think it’s easy to write music but it’s hard to write great music,” confesses trailblazing and Grammy-winning keyboardist, composer and producer, Jeff Lorber.  “I am always looking for inspiration, and it doesn’t take much for me to drop whatever I’m doing to chase an idea for a new song if I hear something that inspires me.” A consummate musician, Lorber’s passion, technical wizardry, forward-thinking and earnest approach, and sheer musicianship, have inspired legions of musicians for over five decades. A groundbreaking Fender Rhodes pioneer along with Herbie Hancock, Joe Sample and Bob James, Jeff Lorber is also one of the most in-demand producers in Contemporary Jazz. September 22, 2023, Lorber will release his latest inspired work on Shanachie Entertainment, The Drop, an album of originals which unites him with an all-star cast including bassist and longtime Jeff Lorber Fusion members bassist Jimmy Haslip and drummer Gary Novak, guitarists Paul Jackson, Jr. (also a member of Jazz Funk Soul with Lorber and Everette Harp), Snarky Puppy's Marc Lettieri, bassist Cornelius Mims, drummer Gary Novak and saxophonist David Mann, among others. Lorber’s goal for his anticipated recording was simple. “I focus on making music that’s fun, exciting and fresh that I enjoy, and that I hope other people will feel uplifted and energized by when they listen to it,” shares Lorber, who is a big fan of audible and kindle books, with a keen interest in science fiction and detective books.

Jeff Lorber’s 30th album as a leader was truly a labor of love and adventure seeking opportunity. “I make it a point not to duplicate stuff that I’ve already done, but instead use each album I make as a chance to develop in new areas.” The Drop opens with the exhilarating title track and first single. Make no mistake Lorber and company came to play. thrilling opener feels like a live track rather than studio session. The soulful, bluesy, and head-nodding affair swings hard and Lorber’s keys leave nothing unsaid. It is as funky as it gets. Flanked by the hard-driving drums of Gary Novak, the horns of David Mann and Randal Clark and guitar of Paul Jackson Jr., the band locks in and does not let up. “‘The Drop’ was sort of a Rhodes improvisation over a Bb blues that I turned into a more organized production. I loved the spontaneous feeling of the demo, and I wanted to retain that. Randal Clark, a talented sax player from Utah that I’ve been collaborating with for a few years, is featured and did a great solo on the bridge. Dave Mann really came through with an exciting horn arrangement that added fat sophisticated harmonies to the funky melodies that were already there.” The tune “Altered State,” follows with a more contemplative vibe, showcasing a floating melody, modulating chords, and alternating rhythmic patterns. Lorber’s “New Mexico,” is a composition that he originally started some time ago but decided to resurrect for the album. “I have loads of stuff that I start and don’t finish. I’m always ‘mining’ my old Pro Tools sketches to see if I hear something that I like. I think the secret is always to be involved in music and to try and find things that have the potential to grow into something special.”

Dubbed the “Land of Enchantment,” Lorber does the southwestern state proud with an anthem that lives up to its wonder and beauty. The Drop also features the buoyant, melodically pleasing and pulsating “On The Bus.” “This song is very lyrical and makes great driving music,” explains Lorber. “Even though it’s not stylistically similar, it reminds me of Pat Metheny’s early group material, which had a very open, picturesque sound. It reminds me of passing through a wonderful natural landscape. I think this one will be a lot of fun to play live!”

The R&B infused “Hang Tight,” is a stunning number that begs for lyrics and makes you want to sing. Lorber’s down home soloing and Jimmy Haslip’s bluesy riffs, will have you yearning for more. “Liberty is an up-tempo hard-driving number, jet fueled by drummer Gary Novak. “Gary is a superb player and it’s always a thrill to have him come by and overdub drums,” shares Lorber. “Usually, he comes over and in two hours he’s put drums on five or six songs, sometimes more. When I write demos the first person to add anything is Gary. Music production is like building a house and when you have a strong foundation like Gary’s drum tracks to build on, you’re always in great shape.” The title “Liberty” is also a reminder that Lorber was born in Cheltenham, Pennsylvania but grew up in the City of Brotherly Love, a fertile ground of Jazz and R&B and the birthplace or one-time home to such luminaries as Lee Morgan, John Coltrane, Stanley Clarke, Grover Washington Jr., Jimmy Heath, McCoy Tyner, and the Brecker Brothers, among others. “I’ve gotten the opportunity to know Randy Brecker well and play with him. However, I never met the Brecker’s when I was growing up in Philly,” recalls Lorber. “They were already famous in our town when they were in high school because of their outstanding talent. But there was a musician that lived across the street that was friends with them. It was pianist Marc Cohen. He changed his name to Marc Copeland. He’s a great player and I really love his records. At that time, Marc was an alto player and I played with his group for a little while. I remember going over to his place and there were Blue Note albums like Horace Silver’s “Song for My Father” and Lee Morgan’s “The Sidewinder,” lying around. I knew immediately that the music these guys were studying was exactly what I needed to know more about. It was an important opportunity for me to learn from Marc and the other musicians about the exciting jazz music from the 50’s that I might not have heard any other way.” Equally as important as Lorber’s jazz roots, is his deep connection to the blues. “I also somehow met some musicians that lived further out in the country who were into blues. I was introduced to Eric Clapton, John Mayall, and the Butterfield Blues band. I still feel like blues is an important part of my musical personality.”

Another highlight on The Drop is the ultimate jam, “Keep On Moving.” The band’s synergy is electrifying. Guitarist Mark Lettieri of Snarky Puppy, plays lead and rhythm guitar and is featured on seven of the album’s tracks including the song “Mindshare.” “Mark Lettieri’s playing is unique and adds a fresh voice that blends well with my music both as a soloist and rhythm section player. I was impressed at the way his guitar work elevated the tracks.” They say you can’t dance to jazz, but I dare you to sit still on “Reception.” It’s a serious groove that has all the ingredients to get you on the dance floor. The Drop closes with the show-stopping “Tail Lights.” You can rest assured that you will get a lot of mileage out of The Drop, as the uplifting set is likely stay on repeat.

“I started taking piano lessons when I was four. I think my first attempt to write songs happened as a result of learning some TV themes, like Henry Mancini’s Mr. Lucky and Peter Gunn, as well as other jazzy themes I heard growing up in the 60’s,” recalls Lorber. His fascination with composition continued into High School, where he was allowed to do an independent study project on music composition. By the time he entered Berklee College Of Music in l970, he had a strong compositional foundation to continue to build upon. Jeff Lorber Fusion came to life in the 70s while Lorber was at Berklee. A true clinician, Lorber has made it a point to study the long line of modern jazz pianists since 1945. “Herbie Hancock and Chick Corea have been major influences, but I had to go back and try to figure out who they listened to and were inspired by,” says Lorber. “Some of these icons that come to mind are Bill Evans, Thelonious Monk, McCoy Tyner and Bud Powell.”

He adds, “I’m also a huge fan of all of the pianists who played with Miles Davis such as Red Garland, Wynton Kelly, Tommy Flanagan and Horace Silver.”

In 1977 Jeff Lorber Fusion released their self-titled debut. Their 1980 album Wizard Island made the introduction of a then little-known Kenny G. The ensemble quickly gained traction and became one of the most popular jazz acts, touring nonstop. In 1982 Lorber made his solo debut with It’s A Fact. He scored his first Grammy nomination in 1985 for his radio hit “Pacific Coast Highway” from his album Step By Step. In the 90s Lorber released a successful string of projects including West Side Stories (1994), State of Grace (1996) and Midnight (1998). During this time Lorber also stayed busy producing Michael Franks, Richard Elliot, Gerald Albright, and Rick Braun, among others. The prolific pianist continued to add to his accolades with his shining recordings Kickin’ It (2001), Philly Style (2003), Flipside (2005), He Had A Hat (2007, Grammy nominated) and Heard That (2008), Now Is The Time (2010, Grammy nominated), Galaxy (2012, Grammy nominated) Hacienda (2013, Grammy nominated) and Step It Up (2015). Impact followed in 2018 and the same year Lorber snagged a Grammy for his recording Prototype. He released recording Eleven with Mike Stern in 2019 and Space-Time in 2021. Lorber is also a member of the Shanachie jazz super-group Jazz Funk Soul which featured late revered guitarist Chuck Loeb and saxophonist Everette Harp. He appears on the Jazz Funk Soul albums More Serious Business (Grammy nominated) as well as Life and Times and Forecast which features guitarist Paul Jackson Jr. alongside Lorber and Harp.

Jeff Lorber has endured his own battle with Polycystic Kidney Disease (PKD) and has made it a mission to work with the PKD Foundation to raise awareness. “I was very lucky that my wife donated her kidney,” shares the pianist. “I’m very grateful for that. My sister underwent a transplant in recent years and is doing well. There are some solutions that are being worked on but like many genetic based diseases it could be a long time before there is significant progress. People should know that there are 800,000 people in the US with PKD and two million worldwide. It’s a huge problem that unfortunately doesn’t get a lot of publicity.”

With the release of The Drop, Jeff Lorber hopes to impart something positive to his fans. He concludes, “The main thing is to have that spirit of fun, that lifts your spirits and takes you away to another place.” Take the journey with Jeff Lorber Fusion – you’ll be happy you did!

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." 

Friday, September 22, 2023

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.

Thursday, September 21, 2023

"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.”


Wednesday, September 20, 2023

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.

 

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