Vocalist Hilary Gardner releases "On the Trail with The Lonesome Pines"

Alaska-raised, New York City-based vocalist Hilary Gardner’s new album, On the Trail with The Lonesome Pines, transports listeners to the nostalgic heart of the American West. The music paints soundscapes of the archetypal cowboy’s life on the trail—of pale dawns, purple hills, and the high lonesome feeling of camping out beneath a vast, star-filled sky. The seeds for the project were sown during the early months of the pandemic, when Gardner, from the confines of her Brooklyn apartment, found herself dreaming of wide-open spaces.

Gardner’s jazz bona fides belie her rustic upbringing: she grew up in rural Alaska surrounded by vintage country music, and her first gigs as a teenager were performing Patsy Cline tunes in dive bars. “I learned so much about singing from Patsy Cline,” Gardner says. “She was a powerful musical storyteller, she was in total command of her instrument, and her time was great—Patsy could really swing.” Since moving to New York City in 2003, Gardner has released three albums as a leader; played Frank Sinatra’s vocal counterpart in Twyla Tharp’s hit Broadway production, Come Fly Away; and is a founding member of the award-winning close harmony trio Duchess, with whom she has released three full-length albums and a holiday EP, performed live (including at Monterey Jazz Festival), and earned Vocal Group of the Year in the 2021 and 2022 JJA awards.

In a return to her roots, Gardner began delving into repertoire from the “singing cowboy” era of the 1930s-40s, discovering a treasure trove of material ranging from atmospheric ballads tinged with melancholy to swing with a sense of humor. “I love seeking out ‘hidden gem’ tunes—songs that, for whatever reason, didn’t become as well known as they should have,” she says. “These ‘trail songs’ have been neglected for decades because they can’t be easily classified as jazz or country or pop or Americana—they're a combination of all those genres, and they inhabit a sonic landscape uniquely their own, too.”

Guided by her belief that no corner of the Great American Songbook should go unexplored, Gardner teamed up with Justin Poindexter (guitars, vocals), Noah Garabedian (bass), and Aaron Thurston (drums), and The Lonesome Pines were born. “The first time we all played together, it was magic,” she recalls. “Musical chemistry is this wonderfully intangible, unpredictable thing, and when the stars align, it’s such a gift. The songs came to life organically as we explored the music as a band.” 

After sold-out shows at iconic Greenwich Village venues 55 bar and Mezzrow, the quartet convened at Figure 8 Recording in Brooklyn, with Grammy-winning producer Eli Wolf (Norah Jones, Willie Nelson, Cassandra Wilson) at the helm. “In addition to being a first-rate producer with incredible ears, Eli is my husband, and we love working together,” says Gardner.

The album opens with the loping, lap-steel inflected “Along the Navajo Trail,” a 1945 composition that Gardner says “encompasses everything this project is about: the freedom to roam and the wistfulness that plays at the edges of solitude. I love the song’s metaphor of nature-as-music: I love to lie and listen to the music / when the wind is strummin’ a sagebrush guitar.” 

“One of the things I love most about this material is that the lines between genres were blurrier back then,” says Gardner. “Many of these songs were written not only by singing cowboys, but also by composers and lyricists that we now associate with jazz standards. It wasn’t unusual for a song to debut in a Western film starring Roy Rogers or Gene Autry, only to be recorded later by a big band or the original hip cowboy, Bing Crosby.”

The tender ballad “Silver on the Sage” is one such example, combining the musical architecture of jazz with an unmistakably Western lyric, in which a cowboy serenades his herd of dogies (motherless calves), exhorting them to sleep and dream of “a range far away.” Originally recorded in 1938 by Crosby, the song was written by Leo Robin and Ralph Rainger, co-composers of the jazz standards “Easy Living” and “Thanks for the Memory.” Gardner’s version features Poindexter's filigree mandolin stylings and warm vocal harmonies.

The rollicking “Jingle Jangle Jingle (I Got Spurs)” was written by Frank Loesser (best known for writing the hit musical Guys and Dolls as well as a host of beloved standards), and Joseph J. Lilley, a revered orchestrator and composer for Paramount Pictures. “Justin, Noah, and Aaron really cook on this tune,” says Gardner. “You can hear the smile in my voice.”

“Under Fiesta Stars,” written in 1941 by Gene Autry and Fred Rose, features Thurston’s tasteful brushwork and atmospheric accordion accompaniment by special guest Sasha Papernik. Gardner and Poindexter’s plaintive harmonies sing of a love found—and lost—south of the border: The night spoke of splendor / the lanterns were low / I had to surrender / the thrill seemed to grow / The music was playing / we danced until dawn / My thoughts began straying / And then he was gone. 

The Southwest mecca of Santa Fe features prominently on the album. “I’ve spent some time in New Mexico and was gobsmacked by the beauty and grandeur of the scenery,” says Gardner. “You can’t help but fall in love with the place—it’s no wonder so many great songs have been written about Santa Fe.” The foursome put a sweetly sentimental spin on the seldom-heard “Lights of Old Santa Fe,” first performed by Roy Rogers and Dale Evans in the eponymous 1944 film. “Along the Santa Fe Trail,” with its easygoing swing feel, is a musical love letter to both a sweetheart and New Mexico vistas. “Cow Cow Boogie” celebrates a cattle-herding cowboy “out on the plains, down near Santa Fe'' who possesses a “knocked-out Western accent with a Harlem touch.”

While most of the album’s twelve tracks were new discoveries for Gardner, one song was an old friend. She first encountered Johnny Mercer’s 1936 tongue-in-cheek paean to urban cowboys, “I’m an Old Cowhand (From the Rio Grande),” on Dan Hicks and His Hot Licks’ 1972 release, Striking It Rich, which her parents owned on vinyl. “When I heard the Hot Licks’ version of ‘Cowhand’ I was probably about ten years old,” says Gardner. “I didn’t know—or even think about—whether I was listening to jazz or country or pop music. I just dug it—I still do. Our version was recorded in one take at the end of a long recording session, so it’s got a relaxed, late-night vibe.”

Lovelorn cowboys have their say, too: the band reimagines Jimmy Wakely’s “Song of the Sierras,” adding stacked vocal harmonies, dynamic percussion, and high-energy electric and lap-steel guitar solos. “Call of the Canyon,” a Billy Hill song made famous by Frank Sinatra in 1942 with the Tommy Dorsey band, features Garabedian’s supportive bass and a graceful acoustic guitar solo by Poindexter. And Gardner’s elegant vocal infuses the pensive campfire soliloquy, “Cowboy Serenade (While I’m Smokin’ My Last Cigarette),'' juxtaposing the song’s lush melody with the quintessential cowboy call of “Yippee-ki-yay.” 

The album closes with “Twilight on the Trail,” a 1936 composition that’s been interpreted by Bing Crosby, Nat “King” Cole, Sam Cooke, and Dean Martin, among others. “A lot of these songs celebrate saddling up and wandering,” says Gardner, “but ‘Twilight on the Trail’ embraces the idea of sunset—a contemplation of peaceful rest for the night or, as in the final A section, for eternity: When it’s twilight on the trail / and my voice is still / please plant this heart of mine / underneath the lonesome pine on the hill.”

On the Trail with The Lonesome Pines evokes all the romantic mythology of the American West. Says Gardner, “These songs remind us that the answers to many of life’s big questions can be found in contemplative solitude, the beauty of the natural world, and the arms of a loved one.”

New Music Releases: Rod Stewart & Jools Holland; Losi Deloatch; Rubim de Toldeo; and Andrea Superstein

Rod Stewart With Jools Holland - Swing Fever

Sir Rod Stewart and Jools Holland with his Rhythm & Blues Orchestra present the exquisite Swing Fever – a 13-track sparkling salute to the timeless songs of the big band years, reignited by two true giants of their craft – out on Friday 23rd February 2024 on Warner Music. For the first time, Britain's new partners in swing have united on record to share their peerless dexterity on a tribute to such truly great songs as Ain't Misbehavin', Frankie And Johnny, Sentimental Journey and Lullaby Of Broadway – recorded at Jools' own studio in Greenwich. The first track to be released is a superb working of show tunes Almost Being In Love – written by Frederick Loewe, and made famous by Frank Sinatra and Nat King Cole. Other tracks include: Oh Marie; Pennies From Heaven; Night Train; Love Is The Sweetest Thing; Them There Eyes; Good Rockin' Tonight; Walkin' My Baby Back Home; Almost Like Being In Love; and Tennessee Waltz.

Lois Deloatch - Love Always

Vocalist and songwriter Lois Deloatch marks thirty years in music with her new recording, Love Always. Recognized internationally for her rich contralto voice, thought-provoking lyrics, and distinctive blend of jazz, folk, blues, and spirituals, Deloatch has shared the stage with Ellis Marsalis, Arturo Sandoval, and Dr. Billy Taylor, among other luminaries. Her limited-edition release, Hymn to Freedom: Homage to Oscar Peterson, was selected as one of the Top 10 CDs of 2008 by JazzTimes Magazine’s music critic Owen Cordle. With this, her sixth recording as leader, Deloatch says, “I’m offering music I hope will resonate, inspire and unify. I want listeners to feel our connectedness and shared humanity.” Music reviewer, Joe Vanderford, says, “Deloatch’s voice is thick and wide. She and the rhythm section signed a pact to be equal partners. She is a vocalist cast as an instrumentalist, another improviser contributing to the whole.” Love Always was produced by and features pianist Ernest Turner, along with bassist John Brown and drummer Donovan Cheatham. The title track and Deloatch’s other original compositions, “Occasional Brilliance,” “Souls Remember,” “Forty First Cousins,” “In My Bones,” and “Friendly Fire” reflect her rural, Southern upbringing and expansive world view, while “Where We Find Ourselves offers listeners a textured, contemplative gem. Exuberant renditions of “Amazing Grace” and “Lift Every Voice and Sing” round out this bold, stellar collection of music.

Rubim de Toledo – The Drip

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

Andrea Superstein – Oh Mother

Oh Mother was inspired by Vancouver vocalist and composer Andrea Superstein’s own experience as a mother. Between the trauma of birthing a baby and all of the physical changes a mother goes through, coupled with balancing a job, feeling out your new role and your place within the world: contrary to popular belief, mothering can be a very isolating experience.  These dark times spurred a lot of questions that Superstein started asking. She wanted to know if the struggles she endured were universal: were they a sign of the times or just hers alone? Superstein interviewed close to 100 mothers to get at the root of motherhood. What were the common experiences, and why were people so afraid or unable to speak their truth? Based on these conversations she wrote music: some songs are one person’s story, others are of the collective consciousness. Some a stark look at loss, others describe the heart-exploding feeling a parent can have towards their child. The album represents how all of these opposing feelings can coexist and shines a true light on the complicated, delicate, beautiful, traumatic and messy journey that is motherhood. As a singer “redefining jazz,” Andrea is one of the most versatile voices in music today. Oh Mother is an ambitious tour de force highlighting her ever growing creativity and sensitivity as a songwriter and arranger.  Expect powerful vocals, evoking the gentle and the strong, lithely navigating the colours of the emotional spectrum

Craft Recordings Reissues: Cannnonball Adderley & Bill Evans’ Know What I Mean?, Art Blakey & the Jazz Messengers’ Caravan, and Ron Carter’s Where?

Craft Recordings announces the latest batch of reissues for the acclaimed Original Jazz Classics series, championed by both collectors and critics. The latest reissues include Cannonball Adderley & Bill Evans’ Know What I Mean?, Art Blakey & the Jazz Messengers’ Caravan and Ron Carter’s Where?,

These new reissues feature lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio, 180-gram vinyl pressed at RTI and tip-on jackets, replicating the original artwork. All titles will also be released digitally in 192/24 HD audio. Original Jazz Classics was created in 1982 (under Fantasy Records) and relaunched in 2023. Since its inception, the audiophile series has reissued 850+ jazz albums, drawing from its unmatched jazz catalog, which had grown to include thousands of acclaimed titles from Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary, Jazzland and Pablo.

Craft Recordings will continue to expand on its Original Jazz Classics series this year, granting collectors the opportunity to add audiophile reissues of even more out-of-print titles to their vinyl collections.

Since OJC was relaunched last year, releases in the series have received critical acclaim. Speaking to the reissue of Bill Evans’ Sunday at the Village Vanguard, PopMatters raved, “The bright, inventive performances are captured perfectly in these new vinyl releases, and listening to them is an exciting, riveting, and perhaps bittersweet experience, as they caught a unique, influential group of musicians at their peak,” and Clash declared the reissue to be “a must-have.” Discussing Mal Waldron’s Mal/2, Analog Planet said, “even better than those hard-to-find originals from the 1950s. . . . trust me, you’ll want this.” On Bill Evans’ Waltz for Debby, Tracking Angle shared in a perfect score review, “The best-sounding of all the pressings . . . the whole line will be worth watching and buying quickly before they sell out,” and All About Jazz echoed, “Without hyperbole, it can be stated that this is the best sounding version yet of a beloved album.

Cannonball Adderly & Bill Evans – Know What I Mean? (Available March 1, 2024)

2024 kicks off with the reissue of Cannonball Adderley & Bill Evans’ Know What I Mean? dropping on March 1. Adderley and Evans were famed for being part of the Miles Davis Sextet. But they also worked together on a series of albums, with Know What I Mean? from 1960 being their last and most meaningful collaboration. Cannonball—his nickname a twist on “cannibal,” a nod to his healthy appetite—was so compelling as an alto sax that many considered him the next Charlie Parker. Meanwhile, Davis once commented that Evans’ piano abilities were a “quiet fire . . . like crystal notes or sparkling water cascading down from some clear waterfall.”

Together, marveled AllMusic, their output on Know What I Mean? is nothing short of “marvelous,” adding, “It’s hard to imagine any fan of mainstream jazz not finding much to love.” (Not surprisingly, both are DownBeat Jazz Hall of Famers.) Critics have been hard-pressed to pick a standout here, but you won’t regret starting with the feather-light “Waltz for Debby” and the dexterous, upbeat Gershwin cover, “Who Cares?”

Art Blakey & the Jazz Messengers – Caravan (Available March 1, 2024)

Also releasing on March 1 is the long-awaited rerelease of Art Blakey & the Jazz Messengers’ Caravan. “Slick, fluid, professional . . . This is the kind of reissue that gives jazz a good name,” the BBC once gushed about this 1963 album. As a bandleader for four decades, Blakey was a drummer’s drummer, adored for his pioneering solos, many referencing African rhythms. The Pittsburgh native, recognized by the Smithsonian, would go on to mentor everyone from Lee Morgan to Wynton Marsalis.

Caravan opens with one such percussive drive in its title track (a Duke Ellington co-write) and spreads out from there to spectacular effect. Greedy listeners won’t regret bee-lining to the nuanced yet invigorating “This Is for Albert,” where Blakey’s drums entwine effortlessly with Cedar Walton’s keys. The song contrasts satisfyingly with the balladic, honeyed song that precedes it, “In the Wee Small Hours of the Morning,” previously popularized by Frank Sinatra.

Ron Carter – Where? (Available March 29, 2024)

Following on March 29 is a reissue of Ron Carter’s Where?, recorded in 1961. Carter’s discography is a sprawling one: The three-time GRAMMY® winner is famously the most recorded jazz bassist of all time. And for good reason. The Michigan native started out playing with Thelonious Monk, went on to join Herbie Hancock in the Miles Davis Quintet and was even sampled by A Tribe Called Quest on their seminal album The Low End Theory.

Where? is a collection of unpredictable, almost cerebral tracks, such as the explosive “Rally,” and in contrast, the twangy, minimal “Bass Duet.” (“Carter’s skill is undeniable,” notes AllMusic.) His work here with Eric Dolphy—his buddy from Chico Hamilton’s group—on sax, flute and clarinet delivers on cuts such as the sprightly, levitating “Saucer Eyes.” Where? is Carter’s debut album as a band leader and presages the visionary musician’s long and influential career.

London Afrobeat Collective - Freedom

London Afrobeat Collective is a 9-piece afro-funk noise bomb that is fast becoming a household name in every European town who claims to know anything about a good party. Their live show can be a truly extraordinary experience for the audience who is ready to let go and surrender to the unstoppable force of the groove, and people leave feeling they’ve run a marathon and had a spiritual awakening at the same time. The band is a guaranteed party-starter – any stage, anywhere, delivering afrolicious party music born of their truly global DNA.

At the heart of LAC is a tight, funky, rhythm section, beating as hard and as fast as the music demands. Bassist John Matthews, guitarists Alex Farrell and Alex Szyjanowicz, conga player Lee Crisp and drummer Giuliano Osella form a powerful quintet. With such a strong and savvy rhythm section in place, the horns — Andy Watts on trumpet, Edmund Swinburn and Klibens Michelet on tenor and baritone saxophones — need to be confident and assertive. Collectively and individually, they are. As a section, the trio bursts out with immediately catchy riffs: the occasional solos are crisp and melodic. Vocalist Juanita Euka has a strong personality and an equally strong voice. They enable her to stamp her authority on the songs, delivering the strident and direct lyrics with conviction and with a vocal power that heightens the impact of the music laid down by her bandmates.

Collectively, LAC has risen the ranks to become a regular feature at many of the major UK festivals such as Glastonbury, Bestival, Cheltenham Jazz Festival, Secret Garden Party, Boomtown Fair, Green Man, Standon Calling, Wilderness, Shambala, as well as festivals and clubs across Europe. They even made it to Africa, having garnered a participation at Felabration, Nigeria’s annual festival to celebrate the legacy of Fela Kuti – the pinnacle of LAC’s 2015 tour there being a landmark performance at the New Africa Shrine in Lagos State to over 10,000 people.

But London Afrobeat Collective are not just an incredible live show. The band released their self-titled debut album in 2012, which they produced and published independently. The band was still very much in the building process and only beginning to realize there was some potential. Fast forward to 2015 and follow-up “Food Chain” is released, once again entirely self-produced. Full of dancefloor-filling beats and politically-aware lyrics, this album put London Afrobeat Collective firmly on the global musical map as a formation to look out for. “Food Chain” received widespread radio support on stations such as BBC 6 Music, Radio X and BBC Radio 2, as well as glowing reviews in The Sunday Times, London Evening Standard, Blues & Soul and Songlines Magazine to name just a few.

In 2019 the band celebrated 10 years of existence by releasing their third album “Humans“, which channels the energy of their incendiary live show and captures the wide range of influences that make up their unique sound. Bringing Fela Kuti, Parliament-Funkadelic and Frank Zappa into the 21st century is their mission, and one that will keep them writing and developing their sound for many years yet!

Bill Anschell | "Improbable Solutions"

Pianist Bill Anschell’s new album (his tenth over a 40 year career), Improbable Solutions, reaffirms that, one, the jazz scene in the U.S. is a coast-to-coast affair (with the music flourishing in great hands, East, West and in between), and two, that adventurous, restless, uber-creative artists, like Anschell, often make sudden turns and bestow upon their fans, old and new, a stylistic departure, a creative rare-bird, that has the potential to surprise and delight.

Improbable Solutions is just that sort of work, an unexpected turn for a (usually) straight-ahead jazz pianist, albeit one who has traversed many trails during his life entrenched in jazz. In essence, the album is piano trio, aided and abetted by multiple layers of electronics, creating unique soundscapes. Anschell explains, “jazz trio plus electronic sound design is the best description that comes to mind. It’s different from other jazz projects that incorporate electronics in that I spent a lot of time adding multiple effects in post-production. Although not usually in the listener’s face, there are often ten or more effects in a given song, closely fitted to the trio’s notes.”

The album is also a return to the synth-driven progressive rock and electronic sounds that captivated Anschell in his youth. He explains, “I grew up listening to pop music – especially The Beatles – and first taught myself piano by figuring out how to play those songs by ear. Then in high school, when I heard synth-driven progressive rock for the first time, I suffered what felt like a musical epiphany. That led me to study analog electronic music at Oberlin, where I also played piano and Mini Moog in a rock band. Finally, at 19, I had my first actual piano lessons; the focus happened to be jazz, and I never looked back – until just a few years ago. Forty years into a jazz career, I returned to electronic sounds and began looking for new ways to combine them with acoustic jazz. And, that is what this project is really about; incorporating electronic sounds which never mimic acoustic instruments. Challenging myself to make them belong in the more traditional context of piano, bass and drums.”

That challenge and the process of creating Improbable Solutions were long and personal for Anschell, as he had no model for how to put it all together. The pianist/composer’s previous recording took three hours to record, and Improbable Solutions took three-and-a-half years. He began by composing over twenty electro-acoustic pieces. He then brought the music to life electronically, programming the bass, drums, and all the other sounds; from there he was able to pick the pieces he was to move ahead with. “Eventually, in a two-day live studio session, Chris Symer and Jose Martinez replaced all the bass and drum parts-for the better-and I replaced some of the keyboard parts with acoustic piano. Then the prolonged final stage: I mixed the project myself so I could adjust the electronic parts to the new acoustic tracks-replacing some electronic sounds, refining others. None of the electronic sounds came straight out of the box; I enjoyed getting into their innards and surgically tweaking them to fit the songs. It was all seemingly endless, until I forced myself to declare an ending. I'm lucky to have worked with great guest artists: Brian Monroney on guitar, Jeff Busch on percussion, and, on the final track, KJ Sawka on drums. Creating this music has been an extended journey, and very much DIY!”

Seattle native Bill Anschell returned to the Emerald City in 2002 after spending 25 years studying, composing, and performing across the country and around the world. Anschell left Seattle after high school, studying for two years at Oberlin College (Ohio), then transferring to Wesleyan University (Connecticut), where he graduated Phi Beta Kappa with a degree in Music. At Wesleyan, Anschell worked closely with saxophone great Bill Barron. He also studied semi-privately with South Indian mridangum master T Ranganathan, kindling a passion for rhythmic experimentation that has driven Anschell’s music ever since.

After leading the life of a jazz vagabond for several years, Anschell settled in Atlanta in 1989. He was initially drawn there by the opportunity to serve as Jazz Coordinator for the Southern Arts Federation (SAF). Firing up SAF’s jazz department virtually from scratch, Anschell launched a host of high-profile programs, published a book on grant-writing, and created JazzSouth, a syndicated radio show heard on more than 200 stations around the world. At night he dove headlong into the city’s thriving jazz scene, working as a sideman with various groups and leading his own trio.

By 1992, Anschell’s performing itinerary had grown to the point where it demanded his full attention. He left the SAF post, continuing to produce JazzSouth out of his home while focusing on playing and composing. Over the next ten years, Anschell ascended the jazz ranks in Atlanta, leading his trio at major festivals and becoming a first-call accompanist for visiting jazz greats. His trio’s highlights included the 1996 Summer Olympic Games, the Montreux Atlanta Festival and four extensive tours of South America. During the same period, Anschell enjoyed a lengthy association with vocalist Nnenna Freelon, including several world tours. Anschell’s piano work and arrangements were featured throughout Freelon’s 1996 Concord release Shaking Free, which was nominated for a Grammy as the year’s best jazz vocal recording. Anschell has also performed and/or recorded with countless jazz greats including Ernestine Anderson, Ron Carter, Russell Malone, Matt Wilson, Tierney Sutton, Julian Priester, Kevin Mahogany, and Wes Anderson.”

Anschell’s own CDs have earned critical acclaim and widespread exposure, with several making Jazzweek’s national “Top 50” chart for radio airplay. Anschell’s 1998 release, a different note all together, was selected by United Press International (UPI) as one of the “10 Best” jazz releases of the year. His 2006 CD, More to the Ear than Meets the Eye, was chosen by numerous critics and radio stations across the country for their “10 Best of 2006” lists. His 2009 duo CD of spontaneous improvisations with saxophonist Brent Jensen was described by Cadence as “startlingly beautiful, surprising, and powerful…a transforming experience.” And his 2011 solo piano release, Figments, was called “magical” in Thomas Conrad’s JazzTimes review. His 2013 CD, Impulses, took him into new territory, featuring twelve tracks of original electronica. Most recently, his 2017 release, Rumbler, earned four stars in DownBeat, along with rave reviews in JazzTimes and on allaboutjazz.com.

 

In 2001, Anschell was selected by the American Composers Forum for its Composer-in-the-Schools program; his residency included a commissioned piece for chamber orchestra. Since 2003, his original compositions have received widespread cable and network exposure, with more than 70 placements including NBC’s The West Wing, NCIS: LA, HBO’s acclaimed series The Wire, HBO’s Bessie Smith biopic, Bessie, and Paramount’s Yellowstone.

In 2008, Anschell's Atlanta trio reunited for a fifth South American tour, visiting the Colombian cities of Medellin, Pereira and Manizales; in 2012 the trio made its fourth visit to Peru, and in 2014 its third trip to Paraguay.

As a Seattleite, Anschell had the honor of playing a weekly gig with Northwest jazz legend Floyd Standifer for the two years before Standifer’s passing. In 2013, he played several concerts with the Seattle Symphony.

In 2005, Anschell received a Golden Ear Award as the “Northwest Jazz Instrumentalist of the Year,” and in 2006 his trio was named the “Northwest Acoustic Jazz Ensemble of the year.” In 2010 and 2011 Anschell was again was named “Northwest Jazz Instrumentalist of the Year,” in 2011 his CD Figments was named “Northwest Jazz Recording of the Year”; and in 2016 he was inducted into the Seattle Jazz Hall of Fame. Most recently, Anschell’s trio once again was named “Northwest Acoustic Jazz Ensemble of the Year” in 2022.

In addition to working in jazz music, Anschell creates and records electronic music pieces from his home studio. In 2019, he composed and recorded the score for “Forgotten Prison,” a podcast series produced by NPR affiliate KNKX.

Anschell is also well known as a jazz humorist, writing jazz vignettes and a monthly jazz etiquette column. His satirical essay, “Careers in Jazz,” is the all-time most-read piece on leading jazz website Allaboutjazz with more than 400,000 hits, was prominently featured in a Wall Street Journal story on jazz audiences, and has been posted in translation on websites around the world. In 2014 he was a winner of the inaugural Paul Desmond Award, Allaboutjazz’s celebration of the funniest jazz artists.

John Korbel | "Falling Feels Like Flying"

Jazz is a genre deeply rooted in American culture and John Korbel has emerged as a fresh and vibrant voice. His upcoming album, Falling Feels Like Flying, is a blending of the timeless appeal of Michael Bublé with the sophisticated songwriting reminiscent of legends like Sting, Donald Fagen, and Al Jarreau. Set to release on January 19th, 2024, this album encapsulates a journey that transcends genre boundaries, offering a rich and varied listening experience.

The creation of this album began in April 2022 with the track “First Christmas Loving You.” This marked the start of a creative synergy between Korbel and Mark Falchook, an accomplished session keyboardist and producer. Falchook’s previous collaborations with jazz greats like Bob James and Patti Austin brought a unique depth to the project. The recording sessions, held in a studio owned by a former Disney employee in Orlando, were nothing short of magical, often described as “lightning in a bottle.”

Orlando’s unexpected jazz culture, fueled by talented musicians from Disney, Cirque du Soleil, and Universal Studios, played a crucial role in shaping the album’s sound. This unique environment allowed Korbel to discover his producer and the gifted studio musicians who added a fascinating new dimension to his music.

The ten-track album explores themes like contemporary long-distance romance and flying, showcasing Korbel’s dedication to a classic recording process, including the use of a live drummer. His musical journey, which began in Philadelphia, is marked by a lifelong dedication to the arts, highlighted by performances at events like the 2002 International Song of Peace in Tipperary, Ireland, and opening for renowned acts including Jay Leno and Blood Sweat & Tears.

Korbel’s return to music in 2017, after a two-decade hiatus, signifies his commitment and passion. His 2020 single, “Bourbon Street Taps,” gained significant traction, laying the groundwork for this ambitious album. Falling Feels Like Flying is a collection of songs with a narrative that showcases Korbel’s ability to weave stories through music, highlighted by his unique blend of jazz-pop that appeals to a broad audience.

As the release date approaches, there is a growing sense of excitement and anticipation. John Korbel, along with the exceptional talent he’s surrounded himself with, is set to bring a new flavor to the jazz genre, inviting listeners to experience the transformative power of music. This album, a culmination of perseverance, collaboration, and sheer musicality, is poised to become a landmark in the jazz world, echoing the sentiment that indeed, sometimes, falling does feel like flying.

Jim Self & John Chiodini | "Touch And Go"

JIM SELF is one of the busiest jazz musicians in Los Angeles. Besides being a prolific recording artist, the tuba master is also an in-demand studio musician. He has worked for all the major Hollywood studios since 1974, performing in over 1500motion pictures and hundreds of television shows and records. A favorite of John Williams, Self’s solos have been featured on Williams’ scores to Jurassic Park, Home Alone, Home Alone 2: Lost in New York, and Hook. He was also the “Voice of the Mothership” in Spielberg’s Close Encounters of the Third Kind. 

Self is now releasing TOUCH AND GO, his 21st album. It follows MY AMERICA 2: Destinations (2023), about which JW Vibe said, “Perhaps a listen or two to the wondrous songs, dynamic mashups and fresh, hipster, sometimes rockin’, often lush and frequently swinging arrangements will serve as a reminder of our common goals and heritage and love for timeless American music.” 

On his latest release, Self once again teams up with guitarist JOHN CHIODINI. The two masters have produced three duo jazz albums together and another with the David Angel Jazz Ensemble. Like Self, Chiodini has an extensive resume. Besides his many movie and TV credits, he was a member of the Boston Pops Orchestra under Arthur Fiedler and performed and recorded with a Who’s Who of top jazz artists like Peggy Lee, Buddy DeFranco, Maynard Ferguson, Carl Andersen, Louis Bellson, and Tony Bennett, to name just a few. Each of Self’s recordings have featured different kinds of bands, usually either classical or jazz. For TOUCH AND GO, The Jim Self & John Chiodini Quintet also includes top Los Angeles musicians, including RON STOUT (trumpet), KEN WILD (bass), and KENDALL KAY (drums). Self says, “When Chiodini and I talked about who we wanted for this quintet recording, we chose Ron, Ken and Kendall because of their great jazz playing, impeccable time and (most of all) for their cooperative and friendly manner.” 

Like many of Self’s song and CD titles, he took the title TOUCH AND GO from his 30+ years as a small plane pilot. It is a term that pilots use for practicing take offs and landings where, after touching down, you immediately take off and “go around” the pattern again. 

As always, Self and Chiodini chose songs they knew would work well for a quintet. They enjoy the collaborative aspect of playing jazz, and all the players contributed suggestions, arrangements, or compositions to the project. Self and Chiodini also wrote two originals each. 

The album opens with the title tune, “Touch And Go,” written by Self. It is an exciting, high-energy tune with a 3/4-6/8 hemiola groove. The melody is played on the trumpet and Fluba, which is a tuba-sized flugelhorn invented by Self. Lou Rovner wrote a clever arrangement for Fats Waller’s “Ain’t Misbehavin’.” The quirky arrangement features 7/4 bars and quotes from“ Tiptoe Through the Tulips.” 

Stout wrote the 8th note/quasi-Latin arrangement for Benny Carter’s “Only Trust Your Heart.” It features an intimate trio setting with tuba, flugelhorn, and guitar. Chiodini wrote “Amber.” The tune is given a post-bop treatment with a funky blues feel and showcases Chiodini’s dense, altered dominant chords.  

Self has recorded other Clare Fischer tunes, and “Ornathardy” had been on his bucket list to record for many years. He finally found the perfect band to record it. Self had often worked with Fischer in the studios and knew he was famous for his complicated jazz writing. Trombonist Joey Sellers, who is also a jazz writer of complicated music, arranged the tune and created a very cool loping jazz waltz version with interesting counter melodies. 

Wild wrote a swinging samba arrangement for J.J. Johnson’s “Lament.” The tune has special resonance for Self, who toured Japan with Mel Torme and the Marty Paich Decktette in 1989. Self relates, “The opening act was the J.J. Johnson Quintet followed by the Ray Brown Trio. Itis my understanding that, on the day of the final concert in Tokyo, J.J.’s wife had just died back in the U.S. He came out and played a beautiful solo trombone ballad version of “Lament” in her memory. It was a very heartfelt and poignant moment.” 

Stout suggested “Susanne” by drummer Kevin Tullius, played as a duo with Self and Chiodini. Self says, “John is the perfect accompanist for me. He always knows how to make me sound good. It’s no wonder so many great vocalists have chosen him for their records.” “Prolepsis” was written by David Angel and arranged by Joey Sellers. A dear friend of Self and Chiodini, they love Angel’s contrapuntal writing and wanted to record one of his originals with this quintet. “Prolepisis,” which is Greek and means knowing something is going to happen before it does, has a kind of “Night in Tunisia” format with a Latin A section and swing bridge. 

“Triangles,” another Self composition, is a medium jazz waltz inspired by a composition he recorded on his Basset Hound Blues album. Self wrote a stretto-like repeat of the head for Stout and himself. Chiodini says, “It has a great 3/4 feel. Jim’s writing is a lesson in composition--melodic lines, counterpoint, and fugues. Hearing it in the context of a jazz waltz is wonderful. And it is being played so effortlessly by Jim and Ron.” 

Benny Golson’s “Whisper Not” is another tune arranged by Joey Sellers. Although most everyone plays it fast, the band plays this well-travelled song in a relaxed manner. Chiodini’s “Restless” is a laid-back slow blues with the feel of a smoky Noir dive bar back in the 1940s. Chiodini’s complicated “guitar-esque” chords with the chorus effect create a “spacey” feeling. The band closes the album with “Dig” by Miles Davis. A bebop jazz standard, tuba and bass play the head in unison with drums in the first half, with the trumpet and guitar added in the second half.

And, of course, all Basset Hound Records end with Stanley the Basset Hound’s mournful howls.

The tuba is most often used in concert by brass and military bands. However, Self elevates the instrument by playing it with great sensitivity and soulfulness. But as the swinging, hip arrangements and original writing on TOUCH AND GO so deftly demonstrate, this entire band - Self, Chiodini, Stout, Wild, and Kay - are all masters of their instruments. 

Eric Roberson | "Here For You"

HERE FOR YOU," is the latest gem released from soul crooner ERIC ROBERSON. The beautiful song was written by Eric Roberson and Jairus "JMo" Mozee and produced by Eric Roberson, Brett Baker, Smurf and Jairus “JMo” Mozee. “Here For You, was inspired by the fact that everything already exists. Nothing is new, but that doesn’t mean it can’t be authentic to us. Love is not new. The words I love you have been said a trillion times. Yet, if our hearts are in the right place, those words can feel like they’ve never been said before. So it’s more about realizing what is authentically “Here For You," mentions Eric.

"HERE FOR YOU," is the latest installment of Eric Roberson continuously releasing new music for his fans. This beautiful ballad joins the previous released songs of the series; "Things Meant For Me", "I Apologize", and "Just Don't Hold It In." This February, music lovers abroad will be treated to an official new single from one of the genres most prolific songwriters, Eric Roberson, as he prepares for the release of the beautifully written, "YOU".

Also in February, Eric Roberson will kick-off his "30th Anniversary Tour" starring Eric Roberson. The tour will kick-off in Pittsburgh, PA, on February 10th, followed by Eric's return to The Kennedy Center with "An Evening of Love," on Valentine's Day. For additional tour dates, visit EricRobersonMusic.com.

Whether over the course of his seventeen beloved LPs (2001’s The Esoteric Movement to 2022’s Lessons) or through songwriting/production/vocal collaborations with the likes of Jill Scott, Dwele, Musiq Soulchild, Vivian Green, DJ Jazzy Jeff, DJ Spinna and others, fine-tuned R&B music ears have come to recognize and make a somewhat spiritual connection with his everyday relatable, multi-influenced vibe which mirrors their own lives and experiences. “It’s R&B and soul music, but I’m a hip-hop dude,” Eric replies, of his influences as it relates to his music’s appeal.

Indeed, nothing less than heartfelt gratitude for the blessing of being able to continue releasing music through his very own Blue Erro Soul Entertainment, as well as accolades which have included two successive Grammy nominations for “Best Urban/Alternative Performance” (for “A Tale of two” in 2010; “Still” in 2011), a BET J Virtual Award for “Underground Artist of the Year” (2008), being distinguished as the first independent artist to be nominated for a BET Award in 2007 and sold-out tours throughout the world is what makes Eric Roberson, "The Soul Man himself".

As a GRAMMY Award-nominee, Singer, Songwriter, Producer and Howard University alum, Eric Roberson continues to break boundaries as an independent artist in an industry dominated by major labels, manufactured sounds and mainstream radio. Eric has achieved major milestones in his career, from being a successful songwriter and producer for notable artists such as Jill Scott, Musiq Soulchild, Dwele, Vivian Green and countless others, to headlining sold out tours across the country.

Eric is celebrating over twenty years as an independent artist, creating “Honest Music” since 2001, which has afforded him the artistic freedom that isn’t typically offered in the mainstream music industry.

In 2020, Eric used this unprecedented time of solitude from the world to immerse himself creatively. With this, he created a powerful album, entitled “Hear from Here”, a musical cry out to its listeners who longed for a sound of hope. Roberson describes “Hear from Here” as an “act of service” to his devoted fans. In 2022, Mr. Soul himself, released his 17th studio album, "Lessons" to rave reviews. The album has gone to become a fan-favorite around the world. He later recorded the TOP 20 Billboard R&B song, "Lessons" (Remix) featuring Anthony Hamilton, Raheem DeVaughn and Kevin Ross to instant success. This superstar collaboration led to a surprise performance appearance at Verzuz battle featuring Anthony Hamilton and Musiq Soulchild, which left soul-music aficionados wanting more. He also recently released his first book, "LESSONS" (100 Thoughts on Life & Love).

Eric is a former Professor at the legendary Berklee College of Music in Boston. When asked about the position he stated that, “It was an opportunity that I couldn’t refuse. I truly believe that at all times we are teachers and students. I not only love teaching the students but learning from them as well.”

In 2017, Eric created “The Process”, a forum in which he invites fans to navigate through his creative experience. It allows fans to listen and comment to unreleased songs, thereby being a part of the “process” of making music. “We are losing so much of the culture that went with listening to music. Letting the fans watch us create the albums was our way of bringing some of the old music culture back.” says Eric.

JUN IIDA - EVERGREEN

JUN IIDA’s (Joon Ee-da) debut CD, EVERGREEN, is a showcase for his modern, edgy originals and imaginative re-workings of other compositions off the beaten path. The trumpet and flugelhorn player has lived in Seattle, St. Louis, Pittsburgh, Cleveland, and Los Angeles, and recently relocated to New York City. Iida has internalized the different styles of music from each region, making his approach to composing and arranging appealing and unexpected with his subtle amalgamation of contemporary jazz, blues, pop, hip-hop, soul, and classical music.

Iida also absorbed music from his Japanese heritage. His mother, a semi-professional koto (Japanese harp) player, had a profound influence on his love of music. He was born in St. Louis, where he spent the first ten years of his life. Iida says, “My mother was always playing music around the house. She loved all types of music, especially classical, and I spent my formative years listening to Brahms, Tchaikovsky, and Mendelssohn. My parents immigrated here from Japan, and my mother wanted to make sure we didn’t lose our culture and language, so she also taught us Japanese folk and children’s songs. But I also listened to jazz, blues, soul, rock 'n' roll, and hip-hop, which were all prevalent in St. Louis when I was very young.”

Iida began studying the piano when he was five years old and subsequently started playing the trumpet when he was nine after listening to his mother’s Louis Armstrong album, Hello Dolly! When he was 10 years old, his family moved to Pittsburgh, which had its own thriving jazz culture as well as many iconic clubs that featured alternative rock and hip-hop. Although Iida was mainly attracted to jazz, his interests encompassed a wide range of styles, and he performed in several classical orchestras and wind ensembles throughout his high school and college years.

Iida studied classical music at the Cleveland Institute of Music and jazz at Case Western Reserve University, where he also studied aerospace engineering. After graduating, Iida moved to Los Angeles in 2015 for an engineering job while actively pursuing his music. Los Angeles is home to some of the finest jazz musicians in the country, and Iida started to hone his chops performing at several notable jazz clubs, theaters, and festivals as a sideman and with his own sextet. One of the most important connections he made while living in Los Angeles was with JOSH NELSON, the esteemed pianist and arranger who was a big influence on Iida’s development as a jazz artist.

Iida had made so many friends in L.A. that he decided to come down from Seattle to record EVERGREEN at a popular Glendale studio. Nelson, who plays piano and co-produced the album, was a major consideration for his decision. Also joining Iida are L.A.-based musicians MASAMI KUROKI (guitar) and JONATHAN RICHARDS (bass). Seattle-based drummer XAVIER LECOUTURIER and acclaimed New York vocalist AUBREY JOHNSON are also on the album.

Iida had a unique idea for the vocals on EVERGREEN, as he wanted them to fill the role of a second horn. He met Johnson in Seattle at a gig and was very impressed with her vocal abilities. She vocalizes on all the compositions and sings Japanese lyrics convincingly on two songs.

“Akatombo,” (Red Dragonfly) is a popular song that Iida’s mother taught him. The nostalgic tune is written in the voice of someone recalling being carried on the back of his caretaker when he was just an infant. Iida’s emotive trumpet solo and Johnson’s lilting voice are highlights. “Shiki No Uta” (Song of the Seasons) is a Japanese pop tune made popular by experimental record producer Nujabes. The melancholy tune about a lover who comes in and out of the singer’s life features Johnson tripling her vocals. The song has a distinctly Japanese melody that Iida arranged in a jazz style with hints of hip-hop.

“Gooey Butter Cake” is an Iida original. The straight-ahead, upbeat, toe-tapping composition pays homage to a sweet treat that is popular in St. Louis. Iida chose to open the album with this song since his musical journey began in St. Louis. The other Iida originals include “Evergreen,” the title track. The composition is an homage to Seattle and the Pacific Northwest. “Forgotten Memories” deals with the loss of memories as one ages and finding acceptance through new experiences.

Iida wrote “My Anguish in Solidarity” as a reaction to the incidences of police violence against Black Americans. The composition is written almost as a sonata with sections that employ odd meters, with Nelson on piano and Fender Rhodes. “Song for Luke” is a sad ballad that Iida wrote for a friend who passed away at a young age from brain cancer. Johnson captures the melancholic nature fof the song with her breathy, gentle vocals. Iida used shifting tone centers and odd meters to capture the mellow time between the heat and passions of summer and the cold and dark of winter in “Holding on to Autumn.”

Iida also re-imagines Sonny Rollins’ and Elmo Hope’s “Bellarosa” with Johnson doubling with Iida on the melody. “Love Theme from Spartacus,” the theme song from the movie, features a charming and disarming duet by Iida and Nelson.

EVERGREEN is a unique modern jazz album that sounds like no other. Although his Japanese heritage shines through on many tunes, as does his eclectic musical tastes and influences, Iida is firmly rooted in the jazz idiom. With its outstanding musicianship and fresh, progressive arrangements, EVERGREEN is a stellar debut for composer and trumpeter Jun Iida.

Will Downing – Soul Rising

They say a man’s “soul” is his spiritual essence.  Life’s twists and turns can lift that soul high into the sky or send it crashing to the ground below.  Unfortunately, 2023 started with the latter for Will Downing, following the unexpected and soul-crushing loss of daughter Aron Siobhan Downing in January.  As a father, he was devastated…heartbroken.  As an artist, he sought solace and comfort through his craft…facing the hurt head-on and exploring multiple themes of love to begin the healing. Persevering through the pain Downing is poised to finish the year with his soul rising…literally!  The Prince of Sophisticated Soul is ready to share his 7- song masterclass in triumph over tragedy, Soul Rising!

Celebrating an insane 35 years in the “bizness” and 27 Albums to his credit Will Downing will not be stopped!  Flexing on his international appeal, the lead single “What Part of My Love” shot to the top of the UK Soul Chart Top 30 and parked there.  Those who no longer listen to new releases as the collective work it was intended to be, should make an exception in this case.  Although not a “concept” album, the pieces of Soul Rising fit together beautifully as a single statement and should be enjoyed as such.  We all know the about the smoothness, but there’s a brand-new kind of…dare I say…”Funkiness”, that I think is here to stay!

You (and your speakers, Headphones) etc….. will feel the difference right off the jump, with the lead-off cut, “Closer to Me”, when that bass and drum starts hitting a little differently.  The familiar writing and production tandem of Downing and guitarist Randy Bowland, turn the heat up a bit from their usual formula.  With keyboardist Mike Logan Sr. and background vocalist Ms. Monet rounding out the groove, I dare you not to move somethin’!

House of Love, another Downing/Bowland collab, gives me “Maze” vibes, however unintended, but that’s never a bad thing!  To the extent over the last 4 decades, these two surviving entities may have directly or indirectly influenced each other, I’ll welcome that musical baby into the fold every time with open arms and ears.

Make no mistake…Will Downing didn’t forget the “smooth” that made the Man the Myth the Legend!  Nor did he abandon his world-famous knack for what he affectionately calls “interpretations” of classic hits. He plucked an absolute diamond of a gem from arguably one of the finest early 70’s albums, The Stylistics, Round Two, and their hauntingly enchanting, “You’re As Right As Rain”!  If you’ve ever “slow-dragged” with a blue light in the basement, you will be transported to afros, platforms, bell-bottoms and Brut cologne…if you know you know, but I digress. In addition to assists from long-time collaborator Ronnie Foster, Downing recruits the sweet trumpet of solo Artist and one half of 90’s duo Imprompt2, Johnny Britt to seal vibe.

Soul Rising then takes a solemn turn to the heart and very “Soul” of this release.  Downing, maybe for his own well-being, had to stare his tragedy down squarely and turn art into therapy.  “Till We Meet Again”, serves as a father’s sweet hand-off to God to care for his angel Siobhan, until they’re joined again divinely as father and daughter in heavenly reward.  An unimaginable undertaking for a parent attempting to channel pain into art.  The song is introduced by the actual last New Year’s Day last voicemail exchanged by Downing and Siobhan, which contain no hint of the drama to unfold just 10 days later.  Downing makes the song a true family affair, with daughter Aja and wife Audrey Wheeler Downing lending their supportive voices. A passionately moving albeit gut-wrenching tribute, but well done.

Given that dynamic, it’s understandable that the final three tracks all lean into a theme of “Love”.  Starting with the aforementioned smash, “What Part of My Love”, but pivoting back to that new “funk” vibe with “Love You Right”, this time with Hubert Eaves IV joining the revival.  An intentional sequence I would think, to lift and restore the spirit of Soul Rising!

I think the final cut, “Love of A Lifetime”, as a message, speaks simultaneously of what we seek in both a personal relationship and the love of a father to a child.  Maybe that wasn’t the intent, but given the circumstances, I heard both.  Love is love!

Family…,Will Downing dug deep for this one. Even down to the Album cover a original piece of artwork by Frank Morrison.  Realize, recognize and appreciate a real man, a real artist and a real father with his Soul Rising!

Julie Kelly | "Freedom Jazz Dance"

JULIE KELLY is one of the most acclaimed vocalists on the West Coast jazz scene. The veteran singer is now releasing her ninth album, FREEDOM JAZZ DANCE, an eclectic collection of 11 lesser done tunes including jazz, pop, and Brazilian standards, as well as one original. FREEDOM JAZZ DANCE follows her 2014 release Happy to Be. All About Jazz says, “Her supple and well-trained pipes can match wits with horns, effortlessly traveling the curves and contours of this music, but she never fails to also pay great attention to the meaning of lyrics and the emotional direction of a song.”

Kelly is known for being one of the hippest song stylists on the scene. She does not need vocal gymnastics to draw you in. With her naturally laid-back feel and great phrasing, she can swing like a horn or plumb the emotive depths of a ballad. She also has a special affinity for Brazilian music.

Kelly grew up in the San Francisco Bay Area, where she and her twin sister Kate learned to love music when they sang in choirs in Catholic school. The two of them formed a folk singing act in the 1960s and spent several years playing in coffee shops and hootenannies, which were popular at the time. They performed as the opening act for Peter, Paul and Mary and eventually caught the attention of young Bill Graham, the legendary rock impresario who was at the very beginning of his career. Graham liked their act and invited them to sing at the Fillmore Auditorium

The late 1960s and early 70s were heady times, when young people were exploring new avenues of expression and often took to the road, seeking new experiences and alternative lifestyles. In 1971, with just a few dollars in her pocket, Kelly packed a backpack and took her guitar to pursue new adventures in South America. Her adventures began when she and a friend flew down to Mexico City. From there she took buses and boats down the Amazon, visiting several countries before landing in Rio de Janeiro.

Kelly spent a remarkable year in Brazil. She landed a regular gig at a café, where they wanted an American singer to sing American songs. Carlos Lyra, the great singer and composer, heard her sing and befriended her. Lyra brought her home to meet his family and introduced her to legendary musicians like Milton Nascimento and Luis Eca. When she returned from Brazil, she had not yet shaken her wanderlust and wound up in New York City, where she immersed herself in the city’s vibrant music scene, where she heard great artists like Jim Hall, Ron Carter, and Kenny Burrell.

She returned to the San Francisco Bay area in 1980 and decided to dedicate herself fulltime to a music career. She became a member of John Handy's World Music Ensemble, one of the earliest world music groups. The ensemble featured acts like an African dancer and a koto player. Kelly played guitar and sang Brazilian music.

Kelly moved to Los Angeles in 1980 and soon began her recording career, releasing her debut record, We're on Our Way, on Pausa Records. She has been a favorite with many of the top Los Angeles musicians and has worked with luminaries such as Benny Green, Nat Adderley, Ray Brown, John Clayton, Ross Tompkins, Bobby Ojeda, Gary Foster, Alan Broadbent, among many others. Leonard Feather included her in his “Encyclopedia of Jazz.”

For FREEDOM JAZZ DANCE, Kelly brought on board some of the leading lights of the younger generation of Southern California jazz artists, including pianist JOSH NELSON, who arranged all but one of the songs, guitarist LARRY KOONSE, bassist LUCA ALEMANNO, drummer DAN SCHNELLE, percussionist AARON SERFATY, saxophonist and flutist DANNY JANKLOW, and guitarist ANDREW SYNOWIEC, who plays on one number. The album was co-produced by Nelson and Kelly’s old friend, BARBARA BRIGHTON, who also produced Kelly’s previous album, Happy to Be.

Kelly opens the album with “Sunday in New York,” her homage to the time she spent in the city. It was a significant time of her life, which she honors with her painting of Central Park that graces the back cover. Kelly loves the feel and message of Gregory Porter’s “Take Me to the Alley.” It makes her think of Pope Francis, who, in his early days as head of the church used to go down to the subway in Rome to mingle with the common people.

Kelly learned some Brazilian Portuguese during her stay in Rio and often sings Brazilian songs in their original language. She sings two numbers in Portuguese, “A Ra” (The Frog), a spritely tune that is quite is popular in Brazil, and Edu Lobo’s “Ponteio.” She also sings “Al Otro Lado del Rio” (The Other Side of the River) in Spanish. The song is from the soundtrack of the 2004 film “The Motorcycle Diaries,” and received the Academy Award for Best Original Song.

Kelly wrote two arrangements for FREEDOM JAZZ DANCE, including the title track, “Freedom Jazz Dance,” on which she recites the poetry of Jon Hendricks, and a sweetly gentle version of Gordon Lightfoot’s “In the Early Morning Rain,” accompanied by Larry Koonse and Andrew Synowiec on guitar. Kelly was attracted to the vulnerability and tenderness of Sting’s ballad, “A Practical Arrangement,” and co-wrote “River People” with Brazilian-American singer Catina DeLuna to honor her experiences on the Amazon River.

Kelly can really swing, as evidenced on the Bob Dorough and Fran Landesman tune, “Nothing Like You.” “Funny How Time Slips Away/Hello Like Before” is a mashup of songs by Bill Withers and Willie Nelson. She introduces the song with a few bars from the Withers’ song because she felt that it enhanced the story of the song.

Julie Kelly is known for her refined musical sensibilities and impeccable taste in choosing songs that cross musical genres. With its hip arrangements, top-notch musicians, and, of course, Kelly’s velvety tones, FREEDOM JAZZ DANCE is another beguiling project from the seasoned and esteemed vocalist.

NYC Based Soul-Jazz Singer-Violinist Alexvndria to Release Debut EP Hopeless Romantic

In an unexpected artistic evolution, Alexvndria, once solely a classical violinist, has embarked on a transformative journey into becoming a singer-songwriter. In her debut EP Hopeless Romantic, she seamlessly blends her classical roots with a fresh and contemporary musical perspective.

Growing up in the Midwest, Alexvndria (born Alexandria Hill) had a humble beginning with music. Taking up the violin in her school music program, she fell in love with the instrument before having any access to private lessons or in-depth music education. It wasn’t until high school when Alexvndria found an afterschool program dedicated to classical chamber music that she found her calling: music performance. Struck with a passion to share music on stage, Alexvndria went on to study violin performance in college conservatories. Alexvndria’s musical studies were quite different from the music she creates today, but it’s clear that her classical and orchestral education holds deep roots in the way she imagines sound. 

During her time as a member of the Civic Orchestra of Chicago she would sometimes take musical phrases from rehearsal and practice writing songs to them at home. However, it wasn’t until the pandemic lockdown of 2020 that Alexvndria had to find other ways to make music. She found that singing gave her a form of expression she couldn’t achieve on the violin. She was then compelled to learn songwriting in order to fully realize this new creative outlet. After 2 years of practice, Alexvndria felt confident enough to start releasing music 

Set to release February 9, 2024, Hopeless Romantic will feature 5 tracks covering subjects like situationships, lust, unrequited love, and fulfilling love. In a gradient of simple sounds growing in complexity, Alexvndria incorporates orchestral moments reflecting her experiences from the symphony hall to the recording studio. Her cover of “He Loves Me”, by Jill Scott, was inspired by her appreciation for Neo Soul. “Neo Soul deeply influenced my expectations of romance, so it felt fitting to pick a song from the genre that portrays a good and healthy love.” With a full orchestra and jazz trio, Alexandria brought on Matt Jones to arrange a lush, orchestral interpretation of the song.

Employing elements of classical, jazz, soul, and R&B, this entire work is a musical journal entry on Alexvndria’s experience with love. Her most personal song “Stay” represents a relationship in which one waits too long for their partner to say I love you for the first time. Alexvndria sings “Will you say you love me? Will you stay forevermore? I know I gave my heart too soon, but don’t leave me wanting more. This feeling I keep inside can only live alone for so long, and when I look into your eyes they tell me you don’t want to go.” These words dig deep into the experience of knowing one may have to walk away from someone who isn’t ready for love.

The writing process of this project was a collage of artistic involvement. “Twilight” and “Stay” were produced by Chucky Kim who added a wide range of electronic and keyboard instruments. “Epigraph” came about after working on the track “Twilight”. “The electric bass solo was stuck in my head all day. Before I knew it, I was calling up a friend to improvise over it and recorded the whole song in my living room.” Her other song “Silly Me” was written and recorded while on tour with The Broadway Sinfonietta. Finding a studio along the way, all string members and drummer contributed to the arrangement of the song. 

Recorded in a span of 4 months across 6 cities, the process of creating Hopeless Romantic has given Alexvndria the confidence to move forward as a singer-songwriter with proof she is capable of creating her own artwork.

Smokey Robinson's 26th Studio Album: GASMS

GRAMMY-winning singer-songwriter and Motown legend Smokey Robinson released his twenty-sixth studio album, GASMS, via TLR Music Group/ ADA Worldwide. The new nine-track album is Smokey’s first solo album in nearly a decade, featuring all new original songs written over the last five years. The first two singles off the album “If We Don’t Have Each Other” and “How You Make Me Feel” are timeless, R&B Smokey Robinson sounds, which appropriately set the stage for the rest of the eye-popping and “‘gasmic” tracks off the global superstar’s new record.

In celebration of GASMS release, Smokey appeared on the TODAY Show on April 27 with two performances including his lead single from Gasms “If We Don’t Have Each Other” and his 1981 classic “Being With You,” watch the performances here and here

One of the greatest living musical icons of our time, Smokey Robinson’s storied 60+ year career has had an indelible impact on the music industry with over 4,000 songs in his legendary catalog. Further solidifying his place within music history, the Rock N Roll Hall of Fame and Songwriters Hall of Famer was most recently honored alongside fellow Motown legend Berry Gordy as the 2023 “Persons Of The Year” at the Recording Academy’s annual MusiCares event.

Acclaimed singer-songwriter Smokey Robinson's career spans over four decades of hits. He has received numerous awards, including the GRAMMY Living Legend Award, NARAS Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors, and the National Medal of Arts Award from the President of the United States. He has also been inducted into the Rock 'n' Roll Hall of Fame and the Songwriters' Hall of Fame.

Born and raised in Detroit, Michigan, Robinson founded The Miracles while still in high school. The group was Berry Gordy's first vocal group, and it was at Robinson's suggestion that Gordy started the Motown Record dynasty. Their single of Robinson's "Shop Around" became Motown's first #1 hit on the R&B singles chart. In the years following, Robinson continued to pen hits for the group, including "You've Really Got a Hold on Me," "Ooo Baby Baby," "The Tracks of My Tears," "Going to a Go-Go," "More Love," "Tears of a Clown" (co-written with Stevie Wonder), and "I Second That Emotion."

The Miracles dominated the R&B scene throughout the 1960s and early 70s, and Robinson became Vice President of Motown Records, serving as in-house producer, talent scout, and songwriter.

In addition to writing hits for the Miracles, Robinson wrote and produced hits for other Motown greats, including The Temptations, Mary Wells, Brenda Holloway, Marvin Gaye, and others. "The Way You Do the Things You Do," "My Girl," "Get Ready," "You Beat Me to the Punch," "Don't Mess with Bill," "Ain't That Peculiar," and "My Guy" are just a few of his songwriting triumphs during those years. He later turned to a solo career where he continued his tradition of chart-topping hits with "Just to See Her," "Quiet Storm," "Cruisin'," and "Being with You," among others.

He remained Vice President of Motown records until the sale of the company, shaping the label's success with friend and mentor Berry Gordy. Following his tenure at Motown, he continued his impressive touring career and released several successful solo albums. Recently, Robinson was singer/co-writer on the certified gold track "Make It Better" from Anderson Paak's album Ventura and Rita Wilson's Now and Forever: Duets album joining "Where Is The Love." His latest single, "If We Don't Have Each Other," is the first song off his highly anticipated new studio album set for release in Spring 2023 via TLR Music Group/ ADA.

Throughout his 60-year music career, Robinson has accumulated more than 4,000 songs to his credit and continues to thrill sold-out audiences worldwide with his high tenor voice, impeccable timing, and profound sense of lyric and style.

Innervision Records celebrates another successful Billboard chart year

Innervision Records’s depth and consistency won the boutique label the honor of being Billboard’s No. 3 Smooth Jazz Label of the Year for the fifth consecutive year, which was made possible by having four different artists land five Billboard top ten singles in 2023.

After scoring Billboard’s Smooth Jazz Song of the Year in 2022 with “SHINE!,” flutist Kim Scott continued her winning ways in 2023 by issuing two Billboard top ten singles: “Magic City Streets” and “Off The Top.” Innervision Records opened the year at No. 1 on the Billboard singles chart courtesy of saxophonist Will Donato’s “Good On You.” A pair of the Southern California-based label’s guitarists went top ten last year with Blake Aaron crushing it with “Crush” and JJ Sansaverino cruising up the chart with “Ride With Me.” 

“We are so proud of Innervision Records earning the No. 3 Smooth Jazz Label of the Year at Billboard for five consecutive years. Innervision is truly the most artist-friendly record label around with a business model that has stood the test of time. Our artists are like family and our team is dedicated to ensuring the success of each and every one of our artists,” said Innervision Records’ A&R and radio promotions executive Adam Leibovitz.

Aaron, one of the first artists inked to Innervision Records when the label launched 26 years ago, will kick off the 2024 release slate on Friday (January 5) with “She’s the One.” The tune produced by Billboard hitmaker Adam Hawley and written by Aaron, Hawley and Carnell Harrell is the latest single culled from Aaron’s “Love and Rhythm” album, which drops on April 19. It’s a romantic groove buoyed by lush melodies and bodes to become the third Billboard No. 1 single from Aaron’s forthcoming collection.  

“As soon as I heard this beautiful track from Adam Hawley and Carnell Harrell, it immediately inspired me to write a captivating and infectious guitar melody, which I sang into my iPhone and later became the single, ‘She’s the One.’ It’s the second single to come from an old-school recording session that I did with Adam (Hawley) when we locked ourselves in the studio and vowed not to emerge until we finished two new songs,” said Aaron.  

For the eleventh year, Innervision Records will proudly highlight their roster at their After NAMM JAMM held at Spaghettini south of Los Angeles on January 28, the closing night of the NAMM Convention. Among the label’s artists scheduled to take the stage to perform are Aaron, Sansaverino, Donato, Erin Stevenson, Tom Braxton, Dean James, Keith Andrew, Rick Habana, Charles A. Kelly, Aysha and Dean Grech. 

2024 promises to be another dominant year for Innervision Records with new albums coming from Aaron, Scott (“Livin’ It Up”), Stevenson (“UnderCover Girl”) and Cal Harris Jr. (“Bridges”). 

Innervision Records’ general manager Steve Belkin said, “At Innervision Records, we are very grateful for the continued growth and success this 'artist family label’ has experienced over the last two-and-a-half decades and look forward to reaching new heights in 2024 with a record number of exciting, new releases and lots of great music from our outstanding and talented roster."

 

Simon Denizart | "35 Years Of Mistakes"

Montreal--via-France jazz pianist and composer Simon Denizart unveils a reflective new song “35 Years of Mistakes,” out now on Nettwerk / Justin Time Records. The tender piano ballad is enveloped in a flourish of melancholic string arrangements as Denizart grapples with his up and down journey as an artist. Listen to “35 Years of Mistakes” on all digital retailers. 

“35 Years of Mistakes tells the story of an existence made up of ups and downs, unfortunate choices and moments of grace. It's an emotional musical journey that invites listeners to reflect on the power of resilience, the beauty of imperfection and the strength of perseverance,” explains Denizart.

“35 Years of Mistakes” follows the frenetic “Music Box” and lively “9-4,” (All About Jazz Song of the Day) signaling more new music from the jazz piano virtuoso.

Originally from Créteil, France, jazz pianist and composer Simon Denizart now calls Montréal, Québec Canada home. He arrived in 2011 and quickly made a name for himself as one of the city’s top players. With a nod to world music, his style and repertoire can be soft, sensitive and energizing with subtle and accessible melodies. His first three releases (labels 270 Sessions and Laborie Jazz) were all nominated for ADISQ Awards (Québec Grammy®) in the Album of the Year category, jazz.  Selected for the 2014 Rimouski Festival's next generation competition, he won the audience prize which enabled him to travel and perform throughout Québec. He received significant praise and recognition from CBC/SRC having been chosen as one of their rising stars with the Radio Canada Revelation Award which highlights and encourages the next generation of emerging artists.

Recently signed to Justin Time Records world wide – Simon’s next venture proves to be his most innovative yet with influences borrowed from jazz, classical and electronic music. Always sensitive to developing new sounds and sonorities with the piano, Simon offers solid melodic and rhythmic playing.

Simon tours frequently and has performed in Germany, the Czech Republic, Poland and his native country France.  Stay tuned for more music and tour dates in 2024…

Reza Khan | "Mystical"

The element of the unknown is inherent when artists come together to collaborate. World jazz guitarist Reza Khan is intrigued by that mystery, seeing magic in the creative process and finding the results to be mystical. Putting his eager  curiosity and desire to experiment into practice, he invited a handful of Grammy-recognized musicians and Billboard hitmakers to join him and producer, songwriter and horn player David Mann on a collaborative recording adventure. The resultant collection, “Mystical,” will arrive on March 8.    

Khan has a lengthy history of collaborating with Mann, who as a saxophonist, flutist and woodwinds player has worked with superstars - from Tony Bennett and Lady Gaga to Sting, James Taylor, Paul Simon, Madonna, Billy Joel, The Eagles and Tower of Power along with seminal jazzers Jeff Lorber, Chuck Loeb, Michael Franks, Dave Koz and The Rippingtons. Mann was Khan’s first call to cowrite and produce the album when he conceived the project. On Khan’s six albums, he had never before turned the producer’s duties completely over to anyone, but he trusted Mann to helm “Mystical” after having had a really positive experience on his previous outing, 2021’s “Imaginary Road.”

“David Mann and I have a great musical chemistry and share a vision of creating music that is innovative and eclectic. David played saxophone, flute, keyboards, and percussion on some of the tracks, adding his signature touch of groove and melody to the songs,” said Khan, who will celebrate the album release with a concert date at New York City’s Blue Note Jazz Club on March 23.

With Mann aboard, Khan decided to do something else he never did before: begin composing music for the album with specific featured artists in mind – even before asking if they would be willing to guest on the album. Khan’s leap of faith paid off when every single one of them - two-time Grammy winner Bob James, Grammy winner Lorber, three-time Grammy winner Jimmy Haslip, Grammy nominees Keiko Matsui and Philippe Saisse, and Billboard chart-topper Nils Jiptner - eagerly accepted the invitation to collaborate with the guitarist on “Mystical” based on the lofty standards of musicianship, songwriting and production exhibited on Khan’s well-crafted contemporary jazz, fusion, world music and new age albums.

“‘Mystical’ is a collection of ten original songs that display musical versatility and creativity. The album is also the result of my collaboration with some of the most talented and renowned musicians in the jazz and world music scene. Each of these musicians has contributed their own style and flair to the songs, creating a musical synergy that is both captivating and inspiring,” said the Bangladesh-born, New York City-based Khan about the album made up of seven new songs and three reimagined tunes culled from his catalogue.

Lorber’s fusion-y keyboards and mini-Moog feature on the album opener, “Falcon.” Khan’s nylon and electric guitars soar majestically on the track that gets a power boost from Mann’s horn section.

“The song is inspired by the falcon, a symbol of freedom, courage, and vision, setting the tone of the record with a bird’s eye view of the album,” explained Khan.

The enchanting title track possesses atmospheric qualities with Mann’s mid-tune soprano saxophone flight adding humanlike emotion to the lush, ethereal arrangement. Wielding his acoustic and electric guitars, Khan pays tribute to the “mystical and spiritual aspects of music, and how it can connect us to a higher reality.”   

The first single, “Language of Love,” initially appeared on Khan’s 2011 “Simple Plan” album. His electric guitar and Mann’s tenor sax provide the parlance on the updated version, which is bolstered by James’s ardent piano poetry and bassist Brendan Rothwell’s plunging rhythm pockets.

“Bob James adds his signature touch of elegance and sophistication to the song about the universal language of love, and how it can overcome any barriers and differences. In this case, it depicts the foreplay between the piano, guitars and the sax,” said Khan.  

"Catalina’s Dream” is a romantic tryst brought into focus by Khan’s exotic nylon guitar riffs and rhythms. Saisse’s storming piano solo erupts fancifully amidst the cascading playground of horns deployed with precision by Mann.    

Vocalist Jennifer Grimm sang “Bahia’s Mama” on Khan’s 2009 debut album, “Painted Diaries.” Her voice track remains on the lively remake that pays homage to Khan’s love of Brazilian jazz. He uses his nimble nylon guitar play and the sensual qualities of Grimm’s voice to relish in the joy and romance of Brazilian music and culture.    

Mann wrote the initial ideas for “Rising,” a motivational tune about rising above challenges and difficulties while striving for dreams and goals. He asked Khan to write additional passages while incorporating an electric guitar solo that engages Mann’s tenor sax in empowering banter.

The positivity continues on “Look at the Bright Side,” which beams energetically via the duet between Jiptner’s electric guitar and Khan’s nylon guitar affirmations. Khan and Jiptner’s previous collaboration, “Drop of Faith,” became Khan’s first Billboard top ten single, which appeared on Khan’s 2019 album, “Next Train Home.”

Matsui’s appearance on the album is quite personal to Khan, who has another career, that of a program manager for the United Nations. While getting caught in a dangerous sandstorm on the drive from Kuwait City to the Iraqi border, he listened to the Japanese pianist’s music to soothe his nerves. Matsui lends her distinctive blend of contemporary jazz, world fusion, classical and Asian music to “Strum.”

Providing another bolt of optimism, “Positivity” is a rousing, life-affirming tune enriched by a trio of solo voices: Khan’s jubilant electric guitar, Mann’s sunny soprano sax and lyrical basslines etched by Mark Egan (Pat Metheny Group, Gil Evans Orchestra). 

Khan plays acoustic guitar to close the collection with a serene stroll amidst swatches of sweeping orchestral strings crafted by Mann on “Whispering Trees.” Khan said, “Whispering trees is a metaphor for the secrets and wisdom of nature, and how they can calm and heal us.”

Throughout “Mystical,” Khan’s agile guitarwork shines while collaborating with legends and icons, chart-topping soloists, and esteemed first-call session musicians. Collaborating on the compelling compositions that make up the setlist that are vividly realized through Mann’s production palette bodes to elevate Khan’s stature with his global brand of contemporary jazz meets world music.      

“‘Mystical’ is a musical journey taking the listener to various places and exploring a variety of moods and emotions. The album is a testament to my musical vision that plays out in an aural theater. It is an album that will take you on a musical adventure, making you feel and think along the way.”