Hard-Bop Supergroup One for All Returns with Big George, its First Release in Seven Years

Called “New York’s premier hard-bop supergroup” by JazzTimes, One for All has evolved over the course of its quarter-century history from a sextet of young torchbearers to an assemblage of the music’s most revered traditionalists. Just how in-demand these six artists have become can be traced by the span of time that elapses between albums. 2016’s The Third Decade followed its predecessor by five years; seven years of that decade have now passed before the band’s long-awaited follow-up, Big George.

Due out March 15, 2024 from Smoke Sessions Records, Big George is One for All’s 17th release and once again features the unparalleled line-up of tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. This time around the group has invited a very special guest for the proceedings – tenor sax legend George Coleman. The date will also be released in a special six-track vinyl edition.

While the title of Big George is a nod to Coleman, the session is not a “tribute album” in the traditional sense. The tip of the hat is more an acknowledgment of the giants who still walk among us – a list that has grown distressingly (if inevitably) shorter over the sextet’s 27-year lifetime. Coleman is a living legend with an emphasis on the “living,” and his vital presence on three of the album’s nine tracks is less about paying homage than an opportunity to breathe fire alongside one of the greatest to ever do it.

Big George is also One for All’s second release for Smoke Sessions, a natural fit for the band given the role that Smoke Jazz Club has played in its history. One for All largely honed its sound on the stage at Augie’s, the club that formerly occupied the space now known as Smoke. The renowned club has remained a home for the band – and for Coleman, who traditionally celebrates his birthday on its stage every March.

The album’s release date comes one week after Coleman celebrates his 89th birthday on March 8. The Memphis native grew up amidst a stunning group of future trailblazers, including Charles Lloyd, Hank Crawford, Booker Little and Smoke patron saint Harold Mabern. After serving apprenticeships with icons like Ray Charles and B.B. King, Coleman went on to play with many of jazz’ most influential names, including Max Roach, Charles Mingus, Slide Hampton, Chet Baker, Ahmad Jamal, Elvin Jones, and a notable stint in the Miles Davis Quintet.

“Everybody in the band has known [George] for some 30 years, and he has always been supportive of the One for All cast,” says Davis. “I think it was long overdue and just the perfect time to do this.” Alexander adds, “I thought it was spectacular. His appearance makes it a little different from one of our typical dates because we crafted some head arrangements in the studio around what he was doing. That is a component that hasn’t really been shown on our recordings thus far.”

That sentiment is typical of all six members of One for All, and exemplifies how they’ve maintained such a vigorous and spirited vitality for all these years. While they may champion a style in keeping with the jazz mainstream, they are no less adventurous artists, always on the search for a new challenge. Add to that the intangible chemistry that sparks on those increasingly rare occasions when the full band comes together, and the results are always special.

“There’s so much musical history with this group of musicians that it always feels good to play together,” says Davis. “There’s always going to be that great, deep feeling for the music.”

Big George kicks off with Alexander’s “Chainsaw,” its muscular call-and-response between Hazeltine and the horns evoking classics like Miles Davis’ “So What.” The title, a reference to The Texas Chainsaw Massacre that can also be sung to the melody’s two-note pattern, suggests the tune’s jagged edges and the sharp-honed solos that it conjures.

Davis contributed two tunes to the album. “Cove Island Breeze” paints a picture of a favorite beach of the trombonist’s, I the unlikely locale of Stamford, Connecticut – one of those pandemic-era discoveries that proved so essential during that trying time. Hazeltine’s stutter-step groove sets the tone for “Edgerly,” named for a street around the corner from Boston’s Berklee College of Music that the composer calls “a beehive” for the buzz of activity involving student and faculty musicians. It also offers a winking reference to the keen edge of the tune, a tightrope nimbly walked by all three horns and the pianist in turn before it explodes into Farnsworth’s ricocheting turn.

The drummer’s bossa bounce lays a softer foundation for Hazeltine’s “In the Lead,” which he wrote as a brisk vehicle for the stellar three-horn frontline. With the best seat in the house on any given night, Hazeltine is an ardent admirer of his bandmates. ““I consider that horn section to be the best currently, and certainly one of the best in history. I can’t think of three guys who played better together other than maybe Curtis Fuller, Wayne Shorter, and Freddie Hubbard.”

How do you make such an esteemed horn section even better? Add the soulful, rotund voice of George Coleman. The sax icon makes his entrance on Rotondi’s “Oscar Winner,” with its echoes of Oliver Nelson’s “Yearnin’” and the taut swing of the Oscar Peterson Trio. Two standards follow, of the kind that Coleman has explored for decades on concert stages around the world. “My Foolish Heart” is rendered with as gorgeous a statement of its familiar melody as has ever graced its countless recordings, while “This I Dig of You” reprises the Hank Mobley favorite with plenty of space for a thrilling round of solos.

“The Nearness of You” is essayed by the core sextet at a gentle pace set by Farnsworth’s delicate brushes and Webber’s cushioning bassline, the horns weaving around one another in a gorgeous display of melodicism. Finally, Rotondi’s “Leemo” takes its cue from Lee Morgan’s groove-forward classics with a swaggering funk send-off.

As journalist C. Andrew Hovan charts in his engaging liner notes, much has changed in the world and in the music since One for All first joined forces in early 1997. One thing that can always be counted on is this band’s passion and vivacity, and the welcome that will undoubtedly greet each long-awaited reunion.

Marlon Simon and the Nagual Spirits | "On Different Paths"

Drummer, percussionist and composer Marlon Simon has traveled myriad different paths over the course of his nearly four-decade career. There is the personal journey that has led him from a small town in his native Venezuela to pursuing jazz in Philadelphia, New York, and now his current home in Katy, Texas, a small city near Houston. Then there are the parallel musical paths in which he’s excelled – playing straight-ahead swing with pianist Hilton Ruiz, traditional Afro-Cuban rhythms with the Fort Apache Band and Chucho Valdes, Latin jazz grooves with Dave Valentin, and progressive jazz propulsion with Bobby Watson.

With On Different Paths, his seventh and most ambitious album to date, Simon merges those disparate trajectories into a single new pathway that stretches far off into a hybrid future. Due out January 26, 2024 via Truth Revolution Records, On Different Paths is Simon’s fifth outing with his eclectic band The Nagual Spirits and one that vaults forward from the venturesome fusion of pan-Latin jazz and classical influences on its predecessor, 2007’s In Case You Missed It.

The album, funded in part by Simon’s 2022 Guggenheim Fellowship, features the percussionist’s acclaimed younger brothers, pianist Edward Simon and trumpeter Michael Simon, along with bassist Boris Kozlov, trumpeter Alex Norris, saxophonist Peter Brainin, and percussionist Roberto Quintero. They’re supplemented on several tracks by bassoonist Monica Ellis and French horn player Kevin Newton, expanding the group into a chamber ensemble.

“I think with this record I’ve finally found the authentic voice for this band,” says Simon. “In the past, although the Nagual Spirits has explored a lot of different territory, I’ve always played strictly authentic Latin jazz with a touch of Venezuelan folkloric rhythms. For On Different Paths, I took elements from a number of countries, rhythms and traditions and blended them into a mixture that’s specific to this band.”

To take just one example, the vibrant title track commingles elements of Venezuelan joropo, Brazilian samba, and Cuban 6/8 rhythms in the intricate weave of drums and congas underneath the forward-looking modern jazz harmonies. It’s a bracing, invigorating sound that evokes a captivating solo turn from Edward Simon, but the rich tapestry of cross-cultural sounds is as philosophically as it is musically driven.

“The isolation that we all went through during the pandemic made me start to meditate on a different way to live,” Simon explains in somber tones, a spate of recent shootings in his adopted home of Texas weighing heavily on his mind. “On top of Covid we were seeing so much violence, with racism, police brutality and mass shootings. “I wanted to express through this music that we really need to find a different path as a society.”

The expanded scope of Simon’s compositional vision for the Nagual Spirits can be heard from the album’s opening moments, as “Searching” kicks off the proceedings with a Baroque fanfare that gives way to a moody meld of stealthy Latin groove and lush classical hues. “Walking” is a briskly swinging piece whose palette is boldly enriched by the full array of horns, drawing a bright and probing solo from Norris and a bout of constrained combustibility by the leader.

The sharp-angled melody of “Above Thought” blossoms with Simon’s layered harmonies, while the deceptively conservative title of “Straight Ahead” is a proposition, not a definition, suggesting a multi-cultural standard for future traditions – one version of which is vividly realized on “Un Canto Llanero,” as Venezuelan merengue evolves into joropo, the whole enveloped in a gorgeous orchestration.

The presence of brothers Edward and Michael spotlights the centrality of family to Simon’s life and music, a core value illustrated through several pieces throughout On Different Paths. The impassioned ballad “Missing Them” is a dedication to the Simons’ late parents, father Hadsy Simon and mother Daisy Morillo, while “Pa” is dedicated specifically to Hadsy, who passed away on August 17th, 2017. The date of his death provides the title for the album’s closing track, which blends Venezuelan folkloric rhythms and progressive jazz harmonies to pay homage to a man who Simon cites as not just a father but a mentor and an indefatigable supporter for his children.

“He dedicated his life to his children,” says Simon (in addition to the three musician brothers, the family also includes their sister Heidy, a speech and language therapist based in Curaçao). “He worked his entire life to give us a better life.”

Of course, Simon’s family has expanded over the years to include the members of the Nagual Spirits, which has been together since 1996, and the many musicians who have mentored and collaborated with the percussionist. That includes the late, great Andy Gonzalez, bassist and co-founder of the legendary Conjunto Libre and Fort Apache Band and whose innovative approach to Latin jazz provided a foundational path for Simon to follow. The drummer repays that debt with the lively “Rumba Pa Andy.”

Finally, “Variations on Ericka’s Theme” revives a piece originally recorded by the Nagual Spirits on 2000’s Rumba a la Patato and, in an arrangement with strings, on In Case You Missed It; as well as by Edward on his album La Bikina. The heartfelt song was inspired by the 1999 death of Marlon’s daughter; its reprisal here is dedicated to Roberto Quintero’s daughter Kimberly, who died in 2020.

Marlon Simon stands at a crossroads with On Different Paths. The stellar music represents the meeting place of multiple journeys: musical, emotional, personal and cultural. At the same time, they lead away down promising new paths – destination unknown, but guided by Simon’s stunning vision, surely routes to creative discovery.

ALICE COLTRANE - THE CARNEGIE HALL CONCERT

Alice Coltrane performed at Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an all-star group of musicians, Coltrane delivered a captivating set which will now be available in full for the very first time. On March 22, Alice Coltrane - The Carnegie Hall Concert (Impulse!), will finally bring the full recording of Coltrane’s Carnegie Hall performance to fans worldwide. 

The captivating performance, held four years after John Coltrane’s untimely passing and recorded by Impulse! for eventual release, marks Alice’s first performance as a leader at Carnegie Hall.  The concert arrived at a pivotal moment in both Coltrane’s career and her spiritual journey: she had just released her fourth solo album, Journey in Satchidananda, and had deepened her spiritual quest over a five-week trip to India. Her band that night added two members of Satchidananda's circle — Kumar Kramer and Tulsi Reynolds, playing harmonium and tamboura, respectively — to a large jazz ensemble comprising two saxophonists (Pharoah Sanders and Archie Shepp), two bassists (Jimmy Garrison and Cecil McBee) and two drummers (Ed Blackwell and Clifford Jarvis).  

Her set included two transcendental tunes from Journey in Satchidananda, followed by two compositions by John Coltrane and served as a sign of things to come, a chronicle of an artist during a musical and spiritual emergence.

This year Impulse! and Verve Label Group have partnered with The John & Alice Coltrane Home to launch the “Year of Alice,” a year-long celebration of Alice Coltrane’s profound work.

At the center of the celebration are Coltrane’s groundbreaking recordings for Impulse!, and the label will be working in tandem with The John & Alice Coltrane Home for varied activations throughout the year. To kick off the year-long celebration there will be special night of performers and speakers that include Ravi Coltrane, Michelle Coltrane, Brandee Younger and more at the legendary Birdland on February 22.

Tracklist:

1. Journey in Satchidananda

2. Shiva-Loka

3. Africa

Brian Bromberg | "Lafaro"

While Tucson-born, Los Angeles-based Brian Bromberg has been equally conversant and downright virtuosic on both electric and upright basses, he sticks strictly to the latter on his latest offering, LaFaro. A tribute to the legendary jazz bassist whose revolutionary contributions to the classic Bill Evans Trio still reverberate to this day, Bromberg’s 28th as a leader shows him in an unadulterated swinging trio setting in the company of pianist Tom Zink and drummer Charles Ruggiero. LaFaro will be released on April 5 in CD, LP and digital formats on Bromberg’s own Be Squared Productions label. 

Following sideman stints with pianist/vibraphonist Victor Feldman and pianist Hampton Hawes, trumpeter Chet Baker and bandleader Stan Kenton, Scott LaFaro joined the Bill Evans Trio in 1959 and for the next two years broke new ground on the instrument, developing a counter-melodic style of accompaniment rather than playing traditional walking basslines. And his virtuosity as a soloist unmatched by any of his contemporaries. Evans, LaFaro, and drummer Paul Motian were committed to the idea of three equal voices in the trio, working together for a singular musical idea and often without any musician explicitly keeping time. Perhaps their most famous recordings were two albums recorded in June of 1961 — Sunday at the Village Vanguard and Waltz for Debby. LaFaro died tragically in an automobile accident a month later, on July 5, 1961, in Seneca, New York at the tender age of 25. 

Bromberg’s heartfelt homage to the legendary bassist includes swinging interpretations of three Miles Davis classics (“Solar,” “Milestones,” “Nardis”) along with a bossa flavored reading of the Evans classic “Waltz for Debby” and a tender rendering of the beautiful ballad that Evans co-wrote with Miles Davis, “Blue in Green,” all showcasing his own considerable skills as a melodic improviser and unparalleled timekeeper on the upright bass. The trio also tackles LaFaro’s intricate “Gloria’s Step” and Johnny Carisi’s “Israel,” while Bromberg carries the melody and solos in lyrical fashion on the gentle ballad “My Foolish Heart.” 

The bassist delivers a virtuosic performance on an unaccompanied rendition of “Danny Boy,” an old English tune set to the traditional Irish melody of “Londonderry Air” and a number often played by the Bill Evans Trio. And for sheer burn, you can’t beat the trio’s uptempo swinging rendition of Cole Porter’s “What Is This Thing Called Love?” The lone original on LaFaro is “Scotty’s Song,” which opens with some extended blues-drenched solo bass before the trio heads into mellow Wes Montgomery territory, with Bromberg himself exhibiting some nice octaves, chord melody playing and facile single note soloing on his piccolo electric bass.

In his liner notes to LaFaro, Bromberg wrote: “I hope you can appreciate the spirit in this recording and the respect I have for Scott LaFaro’s enormous contribution to jazz bass playing and jazz music in general. Thank you, Scotty, for paving the way and opening the door for the rest of us who have dedicated our lives to being a jazz bassist.”

An in-demand L.A. session musician and valued sideman to everyone from Stan Getz to Dave Grusin, Billy Cobham, Michael Bublé, Diana Krall and countless others, Bromberg’s solo career began in 1986 with the release of his smooth jazz debut, A New Day. Subsequent releases had him embracing his straight-ahead jazz roots (1991’s It's About Time: The Acoustic Project, with special guests Freddie Hubbard and Ernie Watts) while further exploring the electric bass in a more contemporary realm (1993’s Brian Bromberg, featuring an all-star cast of Everette Harp, Ivan Lins, Jeff Lorber, Lee Ritenour and Kirk Whalum). His first acoustic jazz trio recording came in 2002 with Wood and that same year he released the audacious Jaco, a tribute to legendary electric bassist Jaco Pastorius as a commemoration of his 50th birthday. Other albums like 2005’s rock-fueled Metal, 2006’s Wood II, 2007’s Grammy-nominated Downright Upright, 2007’s bossa nova tribute, In the Spirit of Jobim, 2009’s funky Is What It Is and 2010’s shred-heavy Bromberg Plays Hendrix further showcased the bassist’s remarkable versatility and sheer command of his instruments. He continued that eclectic streak with his 2011 solo bass outing, Hands, 2012’s wide-ranging Compared To That, 2015’s classically-informed A Bass Odyssey, 2016’s swinging Full Circle, 2018’s smooth jazz-oriented Thicker Than Water, 2020’s nostalgic holiday album Celebrate Me Home, his 2021 pandemic paean, A Little Driving Music, and 2023’s soulful and alluring The Magic of Moonlight.

Soul Sugar Featuring Leo Carmichael - The Makings Of You

Although he’s too modest to admit it, Guillaume ‘Gee’ Metenier is fast becoming France’s answer to legendary soul, jazz, funk and reggae organists such as Jimmy McGriff, Booker T, Jimmy Smith, Jackie Mittoo and his mentor, Dr Lonnie Smith. Metenier has provided mesmerising keys-work for countless bands, producers and solo artists since the 90s, but these days he’s best known for his fluid reggae-soul fusion collective, Soul Sugar, his solo work as Booker Gee, and the record label he founded, GEE Recordings.

Metenier started playing Hammond organ way back in the 1980s, performing and recording with Fafafa and Balaya & The Bafuga before becoming an in-demand session musician. During the 1990s he worked alongside Patrick Bylebyl in downtempo and deep house duo Seven Dub and featured on a string of albums by art rock outfit Tanger.

Towards the end of the decade Metenier met French trip-hip pioneer Jean-Yves Prieur AKA Kid Loco; since then, he’s been Prieur’s go-to keys man and featured on four of his albums and numerous remixes. Metenier continued to rack up sideman credits throughout the noughties – including a contribution to Johnny Halliday’s 2002 album A La Vie, A La Mort – before he decided to reach out to legendary jazz-funk organist Dr Lonnie Smith in 2006.

It was a decision that changed Metenier’s life. He flew to Florida to learn from the master, returning on numerous occasions to build on what he’d been taught. The two organists struck up a firm friendship and during the latter stages of the last decade Metenier toured extensively with Smith as his road manager.

It was a desire to put what he’d learned from Smith into action that inspired Metenier to form Soul Sugar, then an organ trio inspired by soul-jazz sounds of the 1960s and ’70s, in 2008. Debut album Nothing But The Truth, produced by Jean-Yves Prieur under his Kid Loco guise, followed on British label Freestyle Records in 2009.

Since then, Metenier has produced all of the Soul Sugar releases himself, sometimes in collaboration with regular studio buddies and guest producers, using the project to explore a wider variety of musical influences, most notably jazz-funk, deep funk, reggae and dub. Sophomore Soul Sugar album Chase The Light came out in 2017 featured guest spots from vocalists Courtney John and Leonardo Carmichael, with follow-up singles – including a string of reggae style covers of soul classics – sporting guest spots from the likes of Dennis Bovell and guitarist Thomas Naim (previously of Tom & Joyce and now a solo artist in his own right).

The latest Soul Sugar album, Excursions in Soul, Reggae, Funk and Dub is scheduled to drop in Summer 2021 and continues in this vein, with Metenier’s masterful Hammond B3 motifs featuring on a scintillating range of vocal and instrumental cuts created in collaboration with singer Leo Carmichael, Sly & Robbie, Blundetto, Roberto Sanchez AKA Lone Ark and Slikk Tim.

In parallel to his work as Soul Sugar, our man Metenier has also released numerous singles as Booker Gee, including fizzing funk cut “Popcorn”, dub-funk special “Out In The Rain” (both with Slikk Tim AKA Gary Gritness) and the dub-wise Lone Ark hook-up “Rootikal Showcase”. He’s also established another all-star outfit for German imprint Mocambo Records called Pigalle Connection, a break-dance-friendly funk outfit whose rotating cast of musicians includes Shawn Lee, Dr Lonnie Smith and Bjorn Wagner of The Mighty Mocambos.

In the years ahead, Metenier will surely cement his reputation as one of Europe’s premier organists, while also continuing to develop his trademark blends of soul, funk, jazz-funk, dub and reggae.

PSA Featuring Guitarist Pritesh Walia, Keyboardist Sharik Hasan and Drummer Avery Logan

In the pulsating heart of the Boston jazz scene, a musical alchemy transpires whenever Pritesh Walia's guitar, Sharik Hasan's keys/organ/synths, and Avery Logan's drumsticks collide. The result? A spellbinding trio, known collectively as PSA, poised to redefine the boundaries of the traditional organ trio. The genesis of this musical union reads like a serendipitous tale — Walia, Hasan and Logan naturally gravitated towards each other, driven by an insatiable passion for jazz and a shared ambition to breathe new life into the classic organ trio format. 

Their collaborative process is the stuff of legend. Almost daily, one of them would bring a musical fragment to the table, a tantalizing kernel of inspiration. What ensued was a collective workshop where each member contributed his unique perspective, refining and sculpting the music until it resonated with the collective essence of PSA. It's this organic, iterative approach that sets PSA apart, allowing their music to organically evolve into a genre-defying sonic experience. 

In anticipation of their self-titled debut album, available Feb 23, PSA beckons listeners into a realm where tradition and innovation dance in harmonious tandem. Far more than a mere collection of tracks, this album is a manifesto — a bold declaration of intent to contemporize the organ trio while paying a respectful homage to its roots. 

"Cliff Dunes" and "Onward," standout tracks from the forthcoming record, serve as sonic testimonials to PSA's reverence for the classic swing and blues compositions that define the traditional organ trio sound. These compositions are not mere recreations; they are heartfelt tributes, weaving the soulful essence of blues into the very fabric of PSA's musical identity. 

"Circle Around," the pièce de résistance, unveils a modernist perspective on the organ trio. Infused with electronic sounds, groove-laden beats, and a modern jazz approach, this track is a bold step into uncharted territory. Synthesizers and other production elements lend a contemporary flair, adding layers of complexity and depth to the traditional organ trio sound. 

Individually, Walia, Hasan, and Logan are virtuosos. Walia's guitar work is a kaleidoscope of textures, Hasan's keys and synths are a testament to his mastery of sonic landscapes, and Logans rhythmic precision on drums provides the heartbeat of PSA's music. Together, they forge a symbiotic connection that transcends the boundaries of genre, creating a musical experience that is at once technically impressive and artistically expressive.

This is not just an album; it's an invitation — a beckoning to embark on a captivating journey where tradition meets innovation, where the spirit of jazz thrives in exciting new ways. Each composition is a carefully crafted testament to PSA's modern sensibilities, a snapshot of their deep-seated passion for jazz and an unwavering commitment to push the genre's boundaries. 

PSA is not just another jazz trio. These three musicians are visionaries, architects of a sonic revolution, and their self-titled album is their magnum opus. Join Walia, Hasan, and Logan as they redefine the very possibilities of jazz, offering readers an exclusive pass into the intersection of tradition and modernity. PSA promises an immersive experience, a celebration of the evolution of a genre, ensuring that the spirit of jazz remains vibrant and transformative in the hands of these maestros.

UB40 IS BACK WITH A NEW ALBUM, “UB45”

"UB45” is a 14-song celebration of the past, present, and future of the band. The collection includes new recordings alongside several classic UB40 songs reimagined to celebrate the anniversary of the formation of the group way back in 1978.

The first single from the new album, “Gimme Some Kinda Sign” breathes new life into the 60’s classic originally recorded by Brenton Woods. Combining the band’s insouciant grooves, a breezy melody and trademark effervescence, “Gimme Some Kind a Sign” is a bona fide triumph. Lead vocalist Matt Doyle suggested it to Robin Campbell, unaware that it had been sitting on his wish list since the Labour of Love (1983) album days four decades ago.

“Gimme Some Kinda Sign” is the first single from the band’s upcoming album “UB45”. The album releases globally on Friday April 19th, via the SRG-ILS label imprint. 

“UB45” is also a featured release on Record Store Day (April 20) in the United States and United Kingdom. This exclusive pressing on bright yellow vinyl also includes a 12-page booklet with exclusives photos and full liner notes from the band.

UB40 is supporting the new album with a massive world-wide tour which includes 21 dates in North America. Maxi Priest, Inner Circle, Third World and Big Mountain to join on select dates. https://ub40.global/tour/

• July 2 New York, NY
• July 3 Boston, MA
• July 5 Ledyard, CT
• July 6 Charlestown, WV
• July 7 Selbyville, DE
• July 10 Bergen, NJ
• July 11 Niagra Falls, ON
• July 12 Flint, MI
• July 13 Davenport, IA
• July 19 Park City, UT
• July 21 Tacoma, WA
• July 25 Saratoga, CA
• July 26 Cabazon, CA
• July 27 Primm, NV
• Aug 2 Santa Ynez, CA
• Aug 3 Chandler, AZ
• Aug 5 Santa Fe, NM
• Aug 8 Clearwater, FL
• Aug 9 Pompano, FL
• Aug 10 St Augustine, FL
• Aug 11 Melbourne, FL

UB40 is one of the most successful and influential British groups of all time, with more than 100 million albums sold, and more than 50 charting singles in the UK, including their trademark global #1 hits “Red Red Wine” and “(I Can’t Help) Falling in Love With You”; and U.S. Top 10s “Here I Am (Come and Take Me)” and “The Way You Do The Things You Do.” The reggae/pop legends set the stage this summer for their highly anticipated 45th Anniversary celebration this year, along with the release of their new, forthcoming 45th Anniversary album featuring new songs and reworked classics, both titled UB45. The nine-piece ensemble’s UB45 tour, which includes on select dates, Maxi Priest, Inner Circle, Third World and Big Mountain.

“For more than 40 years, we’ve been one of the hardest working touring bands in pop music,” says guitarist/vocalist and UB40 co-founder Robin Campbell, who along with Jimmy Brown (drums), Earl Falconer (bass, vocals) and Norman Hassan (percussion, trombone, vocals), have been the core of the band for its entire ever-evolving history. “We aim to have a party every show. As much as we’ve enjoyed our Zoom chats these past few years, there’s no substitute for the relationship and synergy we have with our audiences live.”

Lead singer Matt Doyle joined the band in 2021 when he was a member of the popular Birmingham reggae band KIOKO – taking over for Duncan Campbell, UB40’s lead singer since 2008 who retired after suffering a stroke. UB40 first got wind of the magic Doyle brings to the stage as a singer and performer when KIOKO opened for them in 2018 at The Royal Albert Hall and supported UB40 on their subsequent UK and European tours. Says Campbell, “Watching Matt standing there in the middle of the stage like a rabbit in headlights, full of shock and awe that he’s playing with a band he loved growing up, is simply fantastic.”

For Doyle, naturally, it’s beyond a dream to be in those proverbial headlights. “Everyone has been so warm and welcoming,” he says, “and I’ve received so many beautiful wishes from fans from around the world, saying I’m the perfect guy for the job and they can’t wait to see me perform. Not only is it amazing being with the band singing these incredible songs I grew up with, but it’s also a blast sitting in a room just listening to these guys with so much worldwide touring experience tell their stories. KIOKO were doing very well, and I’m grateful for my time with them which allowed me to find my voice and hone my craft. But joining UB40 is like jumping on a ladder and climbing straight to the top floor.”

In addition to Doyle, Campbell, Brown, Falconer and Hassan, UB40’s current lineup includes long time members Martin Meredith (saxophone/WX7/keyboards), Laurence Parry (trumpet/ flugel/trombone),Tony Mullings (keyboards), and Ian Thompson (saxophone) plus permanent guest emcee Gilly G.

One of the oft-asked questions when it comes to UB40 lore is how these young British born lads became multi-continent icons playing reggae-based pop. Though the Campbell brothers (Robin, Duncan and original lead singer Ali) were sons of famed Scottish folk singer Ian Campbell, they chose not to follow in his footsteps but play the reggae music that the major swell of Jamaican immigrants brought to Birmingham in the late 60s and 70s. In their multi-cultural hometown, the band members were also surrounded by Indian film music, including Bhangra and pop/Bollywood scores. The music they created – featuring insightful sociopolitical lyrics, tight reggae rhythms, dubby instrumental passages, sax solos and Jamaican scat vibes – became a quick favorite of a young, mainly blue collar and student crowd. Their music offered more depth than that of the many punk and ska and reggae influenced bands on the popular 2Tone label of the time.

Finding their footing as a band during an era of skyrocketing unemployment during the early days of Thatcherism (a term referencing the conservative policies and political philosophy of Prime Minister Margaret Thatcher), the band was purposely named for the UK government’s Unemployed Benefit, Form 40 (which was incorporated in the cover artwork of their #2 UK debut album Signing Off), and their fourth UK Top Ten hit “One in Ten” (1981), written about UK’s record number of unemployed, formed part of the soundtrack accompanying the race riots erupting in places like Brixton, Handsworth and St. Paul’s in Bristol – hard pressed, inner city areas with large immigrant communities that had found themselves on the frontline in resisting the right wing policies of Margaret Thatcher’s government.

Aside from their ability to capture the Zeitgeist of the era they launched in, one of the keys to breaking UB40 to mainstream success was their association with Chrissie Hynde, who saw them perform in a small venue and invited them on a six week tour with her fast-rising band the Pretenders just before the release of UB40’s double sided debut single “King/Food For Thought.” The exposure helped lift the track to #4 on the UK singles chart. By the time they finished the Pretenders tour, UB40 was selling out as headliners of the same venues.

Catapulted from bars to large theaters overnight, UB40 quickly became an unstoppable force, spending more time on the UK charts – and the “Top of the Pops” – in the 80s than any other UK band. Their later duets with Hynde were hugely successful; their 1985 cover of “I Got You Babe” hit #1 and “Breakfast in Bed” (1987) reached #6. Their inimitable re-imaginings of classic pop, R&B and reggae songs – including the Jackson 5’s “Maybe Tomorrow,” Jimmy Cliff’s “Many Rivers to Cross,” “Please Don’t Make Me Cry,” The Chi-Lites’ “Homely Girl,” “Kingston Town,” The Manhattans’ “Kiss and Say Goodbye” and of course, Neil Diamond’s “Red Red Wine” and the Elvis originated “(I Can’t Help) Falling In Love With You” – launched them to global superstardom.

Yet as Robin Campbell points out, it’s important to note, “We’ve only done a few albums of covers and close to 20 of original material. I can see how the popularity of the covers makes people think that’s all we do, but there’s so much more to our band.” Equally responsible for building their legend at home in the UK were their self-penned 80’s hits “Food For Thought,” “1 In 10,” “If It Happens Again,” “Don’t Break My Heart,” “Sing Our Own Song” and “Rat in Mi Kitchen,” and “Higher Ground” in the 90s. Of the 12 gold and platinum studio albums they scored in the 80s and 90s, the biggest selling were their #1s Labour of Love (1983), Promises and Lies (1993) and Labour of Love II (1989). In 1987, their classic compilation The Best of UB40 – Volume 1 went six-times platinum in the UK. The band’s popularity has continued into the 2010s and 2020s with their well-received studio albums Labour of Love IV (2010), Getting Over the Storm (2013), For the Many (2019) and the collaboration album Bigga Baggariddim. In 2021, UB40 embarked on their first post-pandemic national U.S. tour, and released their new single, “Champion,” part of an all-star album celebrating the XXII Commonwealth Games which took place in the band’s hometown of Birmingham.

“We continue to make albums for the simple reason that we love doing it and we’re forever inspired by the reactions of our multiple generations of fans,” says Campbell. “Playing ‘Red Red Wine’ and having thousands of people sing back to us every night is fantastic, but we never want to become a cabaret act or do a Vegas residency where we only play decades-old hits for nostalgia’s sake. There’s always an incredible buzz when we present new material and get the stamp of approval from the audience.”

John Dokes | "Our Day"

With inspiration from his stylistic ancestors Nat King Cole and Joe Williams, John Dokes brings new life to the deep-souled world of baritone jazz vocals on his elegant new album, Our Day, on his Swing Theory Entertainment imprint. 

In delivering a distinctive post-pandemic outing of classic songs embodied with hopeful passion, Dokes—once a champion Lindy Hop dancer—also promises that his new endeavor is “an album that will make you move.” 

Our Day features songs associated with Cole (such as the smooth low-toned “Almost Like Being in Love,” the delightful Rodgers and Hart gem, “This Can’t Be Love,” the Latin-vibed “L.O.V.E.” that elicits dancing), two vocalese numbers (Jon Hendricks’ take on one-time Jazz Messenger composer Bobby Timmons’ “Moanin’,” Mark Murphy’s swinging run through Freddie Hubbard’s “Red Clay”), the full-energy pop vibe on Billy Ocean’s hit “Suddenly,” and the calming Michel Legrand tune “I Will Wait for You” made famous from the Frank Sinatra songbook. 

“Even though I grew up with hip-hop, I made a transition to something that I could do for a longer time in my life,” Dokes says. “I switched to swing. I came to singing later in my life, but I gravitated to the music I was most passionate about—the eras of the ‘40s, ‘50s, early ‘60s. I started picking songs that really moved me. Over the years, I’m still learning how to get the best of my voice so I’m going deeper which shows me more of who I am.” 

Dokes’ last two albums were quintet affairs. For Our Day, he convened a nonet that includes members of the New York-based George Gee Swing Orchestra where Dokes launched his career as a vocalist. (He documented that with his debut album, John Dokes Sings, George Gee Swings.) Key to the album’s success is the arranging of Gee’s musical director trombonist David Gibson. “David is a great arranger,” Dokes says. “He provides layers for the nonet where everyone has a chance to shine on solos as he fills up the space with his lines.” 

Originally, Dokes was in the midst of fashioning a trilogy of quintet recordings (2017’s Forever Reasons and 2019’s True Love on Ian Hendrickson-Smith’s Rondette Jazz label). While the third album is still in the works, a couple of events intervened. “I got derailed,” Dokes says. “First, our drummer Lawrence Leathers died after True Love came out. I moved to Chicago with my wife and two children. Then there was the pandemic that changed how I was looking at the future. I had to restart my brain. I decided to work on some of my material that had never been recorded. I contacted George Gee and he was working on his nonet’s Christmas album in May 2023, so we combined that with David arranging my album. It was a back-to-back operation of small big bands.” 

The nonet comprises saxophonists Anthony Nelson Jr. and Michael Hashim, multi-reeds player Patience Higgins, trumpeters Freddie Hendrix and Andy Gravish, Gibson on trombone. pianist Steve Einerson, bassist Malik McLaurine and drummer Chris Latona. 

A native of Little Rock, Arkansas who grew up living in Oakland, California, Dokes never dreamed of becoming a professional singer even though he was fascinated by black-and-white reruns of Nat Cole’s short-lived 15-minute network television show that ran on NBC in 1956. “I watched them nonstop before I ever thought about singing,“ Dokes says. “But there was his elegance, his smoothness, his ease. That resonated with me. And it informed how I approach my singing today. I don’t dive into a lot of vocal acrobatics - but like some of my favorite acrobatic and non-acrobatic singers I like to lean in and tell the story to connect with my audience.” 

His father was steeped in music while Dokes was growing up. He played Nat King Cole albums in the house, and he was in an R&B band in the Bay Area in the ‘70s that often opened for soul/R&B stars of the day like The Whispers and The Stylistics.  

He moved to New York and became a regular at swing dance shows including dates by the George Gee Swing Orchestra. One of his dance partners was the legendary Lindy Hopper, cabaret star, alto sax player Dawn Hampton, the cousin of jazz hero Lionel Hampton and sister of legendary trombonist and composer Slide Hampton. She told him that she really liked his voice when he was dancing. “If Dawn likes my voice, I’m going to surprise her one night and sing a couple of songs with George’s band. George only knew me as a dancer. He saw my potential and asked me to join the band. That built my confidence and gave me the path to get better.”  

Now, with his fourth album, Dokes has fully arrived. There’s not a dull moment on Our Day. He opens with “Our Day Will Come.” “It’s a love song,” Dokes says, “but it’s also an opening from the past. Now is our time. Now is our day. It’s really a song about us as a band coming back together.”  

Even though the classic tune “Moanin’” with its bluesy tone and plaintive lyrics is far from hopeful, Dokes says that there’s a truth to the song that attracts him. “It’s an outlier from the rest of the songs, but I was having fun with it by taking on his character,” he says. “In some ways it reminds me of the pandemic, especially with the lines, ‘I’m so tired of paying these dues.’ He’s saying, I’m over this.” 

On “Red Clay,” Dokes’ vocal delivery shifts. “Yes, my voice is definitely different,” he says. “David’s arrangement really swings. Any time you dive into vocalese, it takes you to a different place. It pushes your voice.” As for Legrand’s “I Will Wait for You,” Dokes says, “I love the ease with the song. It’s the best song for someone to sit back and relax into the weekend.” 

After the flirtatious Nat-hit “Don’t Blame Me” comes the Rodgers & Hart beauty, “This Can’t Be Love,” about overcoming doubt. The end song, Bernard Ighner’s “Everything Must Change” from Quincy Jones’s 1974 Body Heat album, is the perfect thematic close to an assured recording. “My father used to sing this song,” Dokes says. “David takes this to a different place stylistically with a subtle funk arrangement. It changes but the message is still the same. Hopeful? Yes. I’m hoping we can figure out a way to fully come out of the pandemic as well as solve the general social climate we’re in.”  

Indeed, in Dokes' special 10-song showcase, Our Day, has arrived just in time.

2024 TOUR DATES

• April 28: Swing 46, NYC. Pre-release performance at with George Gee Swing Orchestra 
• May 10: Winters Jazz Club, Chicago. Official Chicago release event with Nonet. Including David Gibson, Freddie Hendrix, Malik McLaurine from New York and Chicago jazz all stars - Marquees Carrol, Lenard Simpson, Scott Burns, Ben Paterson, Ted Hogarth, Greg Artry
• May 16: Mezzrow, NYC. With Quartet
• May 17: Monks Jazz Club, Austin, TX. With Nonet featuring Mike Sailors
• June: San Francisco TBD
• July 7: Birdland, NYC. With George Gee Swing Orchestra

New Music From: Steve Lawrence & Eydie Gorme, Willie Morris, Joel Ross, Fahrenheit 702

Steve Lawrence & Eydie Gore - The Original Hits

Add up the years that Steve Lawrence and Eydie Gorme spent actively recording and between them you end up at a figure over 110. So how do you boil all that down to a single CD? Well, at Real Gone Music, they know that sometimes you just gotta have the hits. So, that’s what they have done with this 20-track CD; packed it to the gills with their hit-making highlights both solo and together. The result: the single most concentrated dose of Steve and Eydie hit power ever assembled into a single collection! One thing will become very, very certain as you listen to The Original Hits: no matter what the genre, be it pop, Latin, rock and roll or The Great American Songbook, this dynamic duo—who, by the way, were recently the subject of a wonderful TV special from TJ Lubinsky's My Music series on Public Television —display their vocal mastery. Includes such gems as Steve’s “Party Doll,” “Go Away, Little Girl,” “Footsteps,” and “Portrait of My Love,” Eydie’s “You Need Hands,” “Sabor A Mi,” “Blame It on the Bossa Nova,” and “Tonight I’ll Say a Prayer,” and their duets “I Want to Stay Here,” “I Can’t Stop Talking About You,” and “We Can Make It Together” with The Osmonds. Assembled, like their other Steve and Eydie releases, with the assistance of their son David Lawrence, The Original Hits features rare photos and liner notes by Billboard writer Paul Grein. Consider this the tasty appetizer before the multi-course meal they are preparing to serve from the Steve and Eydie catalog in the months to come.

Willie Morris - Attentive Listening

We love the work of saxophonist Willie Morris – one of the freshest talents to hit the Posi-Tone label in recent years, and an artist who really seems to take off with this album! Willie blows tenor throughout, and the set's got this unexpected depth, especially on his original compositions – while also sharing some of the solid swing that we love from the label's other releases – thanks to rhythm work from Jon Davis on piano, Boris Kozlov on bass, and Rudy Royston on drums and percussion. There's a mix of fresh ideas, solid soul, and modern currents that almost echoes some of the late 60s work of Jackie McLean – maybe underscored by the excellent alto work of Patrick Cornelius, whose horn is a perfect counterpart for Morris' tenor. Titles include "Delusion Of Understanding", "Terminal Lucidity", "To Worlds Unknown", "Leaving Paradise", and "The Imitation Game".  ~ Dusty Groove

Joel Ross - nublues

Vibraphonist Joel Ross, in his 4th Blue Note album "nublues," brings forth a captivating exploration of ballads and blues. This collection, a testament to the ingenuity of one of the most creative modern jazz groups, features an ensemble of exceptional talent. Immanuel Wilkins on alto saxophone, Jeremy Corren on piano, Kanoa Mendenhall on bass, Jeremy Dutton on drums, and the special guest appearance of flutist Gabrielle Garo collectively infuse a distinctive energy into every note. Ross's compositions, both melodic and soulful, offer a contemporary perspective on the blues genre. The band's seamless navigation through the blues-imbued musical landscape transcends mere homage, creating a sonic journey that resonates with emotional depth. The inclusion of pieces by jazz legends John Coltrane ("Equinox" and "Central Park West") and Thelonious Monk ("Evidence") further enriches the album, paying homage to the trailblazers who have left an indelible mark on the jazz landscape. "nublues" stands as a testament to Joel Ross's ability to blend tradition with innovation, creating an immersive experience for jazz enthusiasts and newcomers alike.

Fahrenheit 702 - Gettin' In The Game, Vol. 1

Fahrenheit 702 ignites a sultry and high-energy party atmosphere with their debut, "GETTING IN THE GAME, Vol. 1!" The album is not only a musical triumph but also marks the triumphant return of producer, bassist, and group founder Greg Radford to the music industry after a nearly decade-long hiatus. Drawing inspiration from the vibrant city of Las Vegas, the album is an embodiment of the lively themes of The Strip, creating the perfect soundtrack for a night filled with fun and success. At the heart of this Smooth Jazz collective are the core members – Greg Radford, the dynamic power vocalist Diane 'Dedae' Patrise' Spann, and the skilled saxophonist Keith Marlo. The ensemble's lineup is further elevated by the Grammy & Emmy Award-winning Singer and Trumpeter Skip Martin, along with the talents of keyboardist Mike Clark, bassist Walter Jones, guitarists Michael Henegan and James 'JD' Davis. Ronnie Foster on organ and John Wedemeyer on guitar inject bluesy excitement into the eclectic blend of urban jazz, Prince-like funk, and Brazilian coolness that defines the album's sonic landscape. "GETTING IN THE GAME, Vol. 1!" promises a musical journey that captures the essence of a jubilant night out, making it a must-listen for enthusiasts of contemporary jazz and beyond.

Joe Taylor | "Westside Chill"

Like his sound and style, guitarist Joe Taylor’s inspiration balances big city grit and hustle with gentle and slow downhome charm. His sixth album, “Westside Chill,” captures his ardor and appreciation for both primary influences in his musical muse as well as in his lifestyle. Taylor wrote all ten songs on the new Moonwatcher Music release produced by four-time Grammy winner Steve Rosenthal and the collection marks the guitar slinger’s first contemporary jazz outing in seventeen years. The haunting nocturnal title track is collecting Spotify playlist adds and is moving up the radio singles chart.

For decades, Taylor split his time between living in New York City and escaping to the coast in the South Carolina Lowcountry. Now he spends most of his time nestled in by the water in the Lowcountry, his rural coastal surroundings informing the material he wrote for “Westside Chill.” Equally present is the New York City metropolis’s influence on the setlist. Taylor is joined on the album by jazz pianist Jeff Franzel, bassists Woody Lingle and Brian Stanley (Bryan Adams), drummer Steve Holley (Paul McCartney & Wings), percussionist Blair Shotts, and flutist John Ragusa.

Opening the record with the title cut that he wrote with Franzel, Taylor said, “This melody came to me on a quiet late-night walk home up Broadway on the Westside of New York City, feeling that chill wind blowing off the Hudson, seeing the streetlights in the snow.”

Decades ago, Taylor used to see the late bass legend Jaco Pastorius playing hoops in a Big Apple playground. Written with Lingle, who is featured prominently on “Jaco’s Court,” the track evokes those vivid memories and concludes with the sounds of a present-day basketball game played on that court.

“Back in the day, I would pass by this court, and there would be Jaco (Pastorius), in the twilight, playing a pickup game, perhaps before his gig at Seventh Ave. South or some other Village haunt. I go by there occasionally these days, and it feels like something of him still lingers,” recalled Taylor.

Taylor remembers another late icon, Glen Campbell, on “Mr. Campbell,” a soothing melodic and congenial tribute befitting the singer-songwriter country-pop crossover star.

“Menemsha Fog” showcases Taylor in a jazz trio configuration flanked by Holley and Stanley, playing his cool electric guitar in a dark, misty, tension-riddled soundscape.

“I used to run my old wooden trawler up Long Island Sound, from Greenport to Menemsha Harbor in Martha’s Vineyard every summer. Often, upon approaching the Menemsha Bight, the fog would roll in, making everything quiet and spooky, ‘til I heard that always welcome sound of bell buoy No. 1 at the mouth of the Bight,” Taylor said in his colorful Southern drawl. 

Taylor lets his imagination loose on “Twenty-Two Rivers,” a vocal tune featuring Jordan Trotter as the female protagonist on this unnerving straight-ahead jazz prowl. 

“In the grand old tradition of murder ballads, this tune is a story about a girl in New York City. Weary of being abused, she does away with her abuser, taking all his money and his vintage convertible, and makes her escape. It’s said that there are twenty-two major river systems across the continental U.S., and she must cross them all as she journeys west,” said Taylor who penned the song with Franzel.

“She’s The Moon” is an ode capturing the radiantly glowing spirit of Taylor’s wife, Stacey. Taylor played a McGill Resonator guitar, a rare instrument that was made for the late guitar great Chet Atkins.

“I was a member of Chet’s Saturday morning breakfast club in Nashville a few years before he passed, and the guitar came to me from its builder, Paul McGill. It is my single favorite and most cherished instrument,” said Taylor.

“Available Light” moves at a relaxing pace, written about a photographer friend who “is always seeking that magic, elusive available light.” Referencing the intro to Earth, Wind & Fire’s “Shining Star” is how Taylor opens the vibey “The Cooper and the Thief.” 

“A wine cooper is the fellow that makes the cask. A wine thief is the tool used to ‘steal’ wine from the barrel to test the wine throughout the winemaking process. This song is my unabashed attempt to curry favor with my favorite vintner: Cooper & Thief,” Taylor admitted with a sly smile.

Taylor’s instrumental storytelling tells the tale of seeing a bobcat in the wild from his boat on “The Cut.”

“Stacey and I were aboard the boat one evening heading home through the Ashepoo Coosaw Cutoff when we spied, up ahead, a rather large bobcat, casually swimming across the cut, stepping out on the other side and giving us a nonchalant stare as we passed. Cool,” shared Taylor.

Dedicated to his friend, Captain Baldwin, the album closes with “The Waterman,” a soulful, bluesy rhythmic cruise. Taylor explains, “There is a long tradition of shrimpers, oystermen and others who pull a living from the saltwater down here in the Lowcountry where I now live. They’re up before dawn and out on the salt all day.”

"Westside Chill” is Taylor’s first album since 2015’s “Sugardust in the Devil Wind” and his first contemporary jazz project since 2007’s “Accidental Sugar.” In the interim, he’s played, written, produced, recorded and performed in a variety of settings spanning rock, pop, blues, country, classical and Celtic music along with signing and developing artists for his Moonwatcher Music label.

Taylor debuted as a solo artist in 1988 with the ProJazz label release “Mystery Walk,” eventually signing with RCA/Victor to release “Spellbound” in 1995. His contemporary jazz recordings maintained a consistent presence on the Billboard charts. As a session player and producer, Taylor has collaborated with an eclectic list of artists – from Dave Koz and Donna Summer to Nile Rodgers, Al B. Sure! and Andrew Lloyd-Webber. Crafting music for television and film, his credits include “Stephen King's Golden Years,” Discovery Channel's “SpyTek” with Roger Moore, ABC Television's “Turning Point” and A&E's “Spies.”

 

Patrick Bradley | "Road Trippin'

The kids are grown, living on their own, and there’s a fifth wheel parked in the driveaway. Relishing the freedom to hit the road to explore and take in nature is the inspiration for jazz fusion keyboardist Patrick Bradley’s new single, “Road Trippin’, which will begin collecting radio playlist adds and Spotify spins on March 11. Bradley wrote the song with 26-time Billboard chart-topper Darren Rahn, a multiple Grammy nominated producer, songwriter and saxophonist. Rahn produced the single previewing Bradley’s “Gratitude” album, which is slated to arrive later this year from the Patrick’s Song Factory label.   

Beyond their shared musical connection, Bradley and Rahn are bonded by their devotion to their Christian faith. Blessed with a grateful heart, Bradley is thoroughly enjoying this chapter in his life after having raised two children. He and his wife of forty years, Lisa, decided to get the fifth wheel so they could travel freely and easily, enabling them to spend more time on their own in serene scenic outdoor settings. You can hear the sense of adventure on the rousing groove anchored by Rahn and Grammy-winning bassist Mel Brown on “Road Trippin’.” One can almost see the fifth wheel motoring along the open road against a majestic backdrop as Bradley’s piano issues melodic flourishes. Rahn texturizes the track with energizing harmonies via his Wurlitzer, synths and programming. Further embellishments come in the form of Joel Del Rosario’s funky guitar riffs, which are dispensed liberally throughout the cut. 

“The inspiration of the song is really celebrating the freedom and the joys of a road trip. Ever since Lisa and I purchased the fifth wheel a couple of years ago, we’ve been enjoying the outdoors. We’re grateful to have the opportunity at this time in our lives when we have both the freedom and the means available to get out there. For us, it’s about exploring new destinations and visiting cherished places while enjoying the beauty of God’s creation,” said the Southern California-based Bradley, who will perform on July 28 at Spaghettini south of Los Angeles.

“Road Trippin’” provides a glimpse into what’s in store on Bradley’s upcoming sixth album, “Gratitude.” It’s his first outing since 2021’s “Exhale” album, which spawned four Billboard top 20 singles, including the title track that went No. 1 and the top 10 single, “Completely Yours.” Rahn was a big part of that project as was Grammy-winning jazz fusion keyboardist Jeff Lorber, a longtime collaborator who cowrote and produced two songs on the album after producing several of Bradley’s earlier albums. Bradley debuted in 2006 with the “Come Rain or Shine” album. Over the years, he’s collaborated with Grammy nominated saxophonists Dave Koz and Eric Marienthal, Billboard hitmakers Rick Braun and Adam Hawley, and legendary guitarist Paul Jackson Jr. (Michael Jackson, Natalie Cole, Luther Vandross, George Benson). 

                                                                                                    

Eric Hilton | "Sound Vagabond"

Montserrat EricHouse Music and trip-hop pioneer Eric Hilton are excited to announce the release of Sound Vagabond, a 14-track travelogue by one of the godfathers of downtempo electronic music. Having spent decades merging diverse global genres into a singular music vision, Sound Vagabond is perhaps the ultimate iteration of this ethos — each track an audio picture postcard of a place, real or imagined. “Some memories of the places I've been are very clear. Others are distant, nostalgic echos,” Hilton says of his latest showcase. “This record started modestly with some basic ideas, but after writing the first eight tracks, I knew I had a travelogue.” 

Available for pre-order, Hilton offers the singles “Midnight Milan,” “Closer” and “Poppy Fields” from Sound Vagabond in the form of three 7” colored vinyl releases that feature an unreleased B-side on each. 

The dynamic contrasts in Eric Hilton’s music make his latest full-length album, Sound Vagabond, a rewarding listen, with muscular, rhythmic grooves propelling elegantly crafted sonic landscapes. Hilton’s hybridization of music influences and experiences is nowhere more evident than the album’s title track. "Sound Vagabond" locks into a vintage trip-hop groove, while flutes and Northern African flavors drift in and out. It’s difficult to identify a specific geographic or ethnological fingerprint of these sounds — and the others on the album — because everything Hilton assimilates goes through his “filter" and comes out as his own thing.

The destinations on this sonic travelogue are diverse. “Cerro Allegre” was inspired by Hilton’s visit to Valparaíso, Chile, a city he likens to a Latin San Francisco with stunning vistas. “The Violet Hour” is a breathy, Stan Getz meets space-age bachelor pad jaunt that recalls a distinctive Chicago cocktail bar. "Mumbai Hustle” is reconstituted Bollywood by way of Detroit — tough but fun, like a club where you need to know the secret password to get in. “Petra” breathes haunted echoes of Jordan through the speakers, while “Endless Affair” and “Poppy Fields” have 1960s cinematic overtones. 

And while every journey enriches the traveler, time spent on unfamiliar ground often brings self-reflection. Hilton explores these themes on two of the record’s strongest tracks (“The Mirror Inside” and “The Grand Intro”). “Those two songs are more self-focused than the rest of the album,” he says. “‘The Mirror Inside’ is about the feeling of creating a different vibrational experience, turning things back on yourself, which is very much where I am when making a record by myself. ‘The Grand Intro’ is tongue-in-cheek – it’s the kind of song I’d like to be playing when I enter a room; it’s got swagger and élan, but it’s also laid back.” 

Hilton, who has used sampling in his music since the early days of Thievery Corporation, didn’t go digging into crates to create crunchy, 12-bit vinyl samples for this record, but instead turned to public domain sample libraries. “This record is like a sound collage, with 60% samples and 40% live instruments. Sampling off old vinyl records is great, but there are obvious licensing and clearance headaches. Public sample libraries are a fantastic resource; you dig through a lot of hilarious garbage, but I’m astounded by the nuggets you can find. You can find specific instruments in any given key, and then the challenge is chopping them up, recontextualizing and integrating them with the track you’re making.” 

The end result is music where the samples don’t call attention to themselves or distract from the carefully curated mood in any way. Sound Vagabond’s closer, “Lumi,” feels like the beginning of a long journey home, and is a perfect way to close out the album. Get your musical passport stamped.

Curtis Taylor | "Taylor Made"

Although trumpeter CURTIS TAYLOR has performed with some of the top names in jazz and has been a sideman on two dozen recordings as well as recording two EPs as a leader, he has been flying under the radar far too long. But that may well change with his debut full-length album, TAYLOR MADE, a showcase for his considerable playing, writing, and arranging talents. TAYLOR MADE follows #Hashtagged (2017) and Snapshot (2019), recorded live at the World Stage in Los Angeles 

Taylor’s core group of musicians are from the Midwest, including MARCUS ELLIOT (tenor sax), THERON BROWN (piano), JONATHON MUIR-COTTON (acoustic and electric bass) and ALEX WHITE (drums). San Diego-based percussionist DAVID CASTAÑEDA joins the group on the second track. 

The Ohio native made a name for himself early on in his career when he performed on Gregory Porter’s Grammy-winning 2013 CD, Liquid Spirit. He also appeared on Porter’s debut CD, Water, and in his documentary, Don’t Forget Your Music. Taylor has extensive performing and recording credits that include Patrice Rushen, Billy Childs, Gary Novak, Bob Sheppard, Ed Motta, Marvin "Smitty' Smith, Rodney Whitaker, Antonio Hart, and gospel luminaries Karen Clark-Sheard, Kierra Sheard and the Singletons. Taylor’s stint with jazz pianist Cyrus Chestnut included a notable concert performance at the Kennedy Center, which was recorded for NPR’s JazzSet with Dee Dee Bridgewater, an appearance at the Spoleto Jazz Festival, and a week-long engagement at Dizzy’s Club in NYC. Taylor also toured extensively around Europe and the U.S. with saxophonist James Carter’s quintet. 

Although Taylor is a superb trumpet player, in his youth he aspired to learn the saxophone. However, financial constraints led his mother to steer him to the trumpet. Taylor relates, “We had just moved to Bedford, Ohio, and money was tight. My mother told me ‘You're going to play the trumpet.’ At the time, the cost of a saxophone was around 3,000 dollars, while a trumpet was only 300 dollars, making it a more feasible option.” From that point on, Taylor committed himself to mastering the trumpet and never looked back. 

At the age of 11, Taylor experienced the loss of his father. Fortunately, during this time, caring and generous music teachers became his mentors. A couple of years later, the school’s band director, Shawn Nichols, saw Taylor’s potential and encouraged him to get involved in the jazz ensemble. He also took Taylor to several concerts around the city where he got his first real taste of jazz. One night after seeing a great concert featuring trumpeters Jon Faddis and Steve Enos, Taylor was so inspired that he decided, at the age of thirteen, that he wanted a career in music. Taylor continued his music education throughout high school and went on to receive a BA in Jazz Studies at Michigan State University in 2007. He then received a master's degree at Rutgers University, where had studied with the late William "Prof" Fielder, a legendary educator who taught many jazz notables like Wynton Marsalis, Terence Blanchard, and Sean Jones, among others. After graduating, he spent time in New York trying to kick off his career when he got a call from Kamau Kenyatta, Gregory Porter’s producer. Taylor had met Kenyatta several years earlier at a jam session in Detroit, and Kenyatta invited Taylor to come out to San Diego to play on Porter’s debut album, Water. He subsequently tapped Taylor’s talents to play on Porter’s sophomore release, Liquid Spirit, along with other projects he produced.

Taylor liked Southern California, especially the mild winters, and decided to relocate there. He quickly became a sought-after performer in the SoCal jazz scene as well as a guest lecturer at Cal State San Marcos. Taylor has performed with his quartet across the US at many top venues and festivals, most recently at Font Festival (2020), Detroit Jazz Festival (2020), Los Angeles County Museum of Art (2021), Bechtler Museum of Modern Art (2021) and the Blue Llama Jazz Club (2021). Taylor moved back to the Midwest in 2021 to become a lecturer at the University of Iowa’s Jazz department, where he teaches jazz history, jazz theory and directs the JRE Big Band. 

Taylor’s compositions swing but all have a fresh, modern perspective. His playing is a fluid blend of soul, blues, gospel, and bebop with expressive, lyrical solos. For TAYLOR MADE, he carefully selected songs that he had crafted over the years and perfected through numerous captivating performances. 

Taylor opens the album with “Kham’s Dilemma,” a tribute to his son Khamari, who was born in 2018. The title was inspired by Wynton Marsalis’ popular “Delfeayo’s Dilemma.” “After the Rain” is a happy, upbeat tune. Taylor recalls, “I wrote this song during a visit to my mother’s house. I sat at the piano and this melody started to come to me while it was raining. I was having trouble coming up with the bridge of the song, which I finally finished right after the rain ended, so I decided to call the song ‘After the Rain.’” The tune is very popular in Taylor’s live performances, and he often uses it to close his shows. 

Taylor set out to represent the feeling of nervous energy with “Heightened Awareness,” a driving composition with a post-bop attitude featuring smoking solos by Taylor, Elliot, and Brown. “For Her” was inspired by a past relationship with a woman who was a dancer. Written in 3/4 time, Taylor wanted to capture the expression of a dancer’s graceful, elegant movements. 

“Indomitable” is about the will to prevail, which is represented with recurring musical figures that create an undercurrent that keeps pulling you back in. Taylor revisited and expanded “Hashtagged,” initially recorded on his EPs #Hashtagged and Snapshot. The 7/4 meter composition was inspired by Robert Glasper’s “Jelly's Da Beener.” Taylor closes the album with “Journey,” a number with a Maiden Voyage vibe written during a transitional period of his life. 

Although Taylor is teaching at the School of Music at the University of Iowa, he maintains a busy touring schedule. Admired by his numerous fans who have been lucky enough to hear him play live, with the wide release of TAYLOR MADE, jazz enthusiasts across the country will be able to enjoy his hip, soulful, contemporary originals.

Jean Carne | "Give It Up"

Renowned for her extraordinary five-octave vocal range and innate improvisational prowess, Jean Carne stands as a paragon among the finest singers of our era. Initially recognized in the jazz realm for her unique vocal stylings, Carne seamlessly transitioned into one of the nation's most gifted R&B performers. From the early 1970s to the 1990s, her consistent string of hits, including the chart-topping R&B hit "Closer Than Close" in 1986, has garnered a global following captivated by her musical prowess.

Closely aligned with the Philly Soul sound, Jean Carne's association with Gamble & Huff's Philly International label solidified her status as the genre's most sophisticated voice. Throughout her illustrious career, Carne collaborated with eminent soul and jazz artists, producers, and songwriters, including Dizzy Gillespie, Norman Connors, The Temptations, Glenn Jones, and Phyllis Hyman, showcasing her versatility and depth.

With an unyielding commitment to musical excellence, Carne's talent and creativity remain undiminished, consistently delivering quality albums for over four decades. Her distinctive voice continues to captivate audiences worldwide. In recent years, Jean Carne has collaborated with iconic soul producer Butch Ingram, releasing critically acclaimed singles and full-length albums that showcase her enduring artistry.

One such gem from her collaboration with Butch Ingram is the Ingram-penned "Give It Up," the title track of her lauded album. This release features the stellar saxophone work of Don "Juan" Ward, adding an extra layer of brilliance to Carne's soulful delivery. As a bonus, this single release includes a previously unreleased instrumental version, providing listeners with a unique perspective on the musical artistry of Jean Carne.

In essence, Jean Carne's journey through the realms of jazz and R&B has left an indelible mark on the music industry. Her ability to seamlessly traverse genres, coupled with an unwavering commitment to excellence, ensures that her legacy continues to inspire and enchant music enthusiasts across generations.

Mark Watkins & His Celebrated Saxophone Quartet | "FOUR + Six"

Watkins envelops his long-running saxophone quartet in lush, billowing textures on FOUR + Six, the band’s deliriously tuneful sixth album, set for a March 29 release on Jazz Hang Records. Watkins augments the core quartet of himself (soprano and tenor saxes), Sandon Mayhew (tenor sax), Ray Smith (alto sax), and Jon Gudmundson (baritone sax) with Corey Christiansen (guitar); a three-piece rhythm section of Justin Nielsen (piano), Braun Khan (bass), and Kobie Watkins (no relation, drums); and the esteemed Gardner brothers, Derrick (trumpet) and Vincent (trombone). 

While the saxophone quartet FOUR goes back more than 20 years, the roots of this particular collaboration lie in the turbulent year of 2020, when Derrick Gardner was forced to cancel a performance at the Brigham Young University-Idaho (where Watkins has been director of jazz studies since 1999) annual jazz festival. With the reinstatement of the festival in 2022 and the re-inviting of Derrick Gardner—as well as his trombonist brother and drummer Watkins—Watkins took the opportunity to formulate this build-out of the original FOUR. 

“I love composing for a cappella saxophone quartet but have often been intrigued by the possibility of including a trumpet, a trombone, and a rhythm section in my compositions,” writes Watkins in the album’s liner notes. “These instruments add color and variety to the quartet without creating the weight of a big band.” 

The broadened sonic palette of FOUR + Six demands a broad stylistic palette too, and on this Watkins delivers. The album’s seven tracks (all Watkins originals) include the New Orleans pastiche “On Any Given Day in Summer,” the angular post-bop “The Executioner Is Looking Away,” the gentle ballad “Against My Desire to Imagine,” and the Third Stream–inspired “Today, Yesterday, Tomorrow and Forever.”

But a recording packed with so many superb musicians can’t simply be a composer’s vehicle, and FOUR + Six’s soloists appropriately shine. Christiansen, Nielsen, Mayhew, and Vincent Gardner each take a bravura turn on the terse Latin “Shouldn’a Did That,” while the brothers find themselves featured in “Without Another Word” (which also includes solos by Khan and Mark Watkins on soprano). “There’s so much talent in this band,” Watkins notes. “We were able to go off in all kinds of directions.” Which, of course, was FOUR + Six’s intention all along.

Mark Watkins was born May 29, 1961 in St. Louis, Missouri, and grew up on classical, country, and rock & roll records as the family moved from place to place across the country. Partially blind since birth (and today fully blind), he struggled with the disability and attendant prejudice both in and out of school—but not enough to keep him away from the music he loved.

Watkins earned a bachelor’s degree in saxophone performance from Brigham Young University in 1988, followed by a doctorate in woodwind performance from Indiana University. Though his concentration in both cases was in classical music, at IU Watkins encountered the legendary jazz educator David Baker, with whom he studied to earn a minor in jazz studies.

Originally, Watkins’s vision of a saxophone quartet was a classical ensemble, which he realized while teaching at North Dakota State University in the late ’90s. But when a colleague suggested that they investigate some jazz tunes, the Hard-Bop Saxophone Quartet was born. 

Watkins has been a jazz musician ever since, taking the job of director of Jazz Studies at BYU-I in 2001, and remaining there until 2022. At the university’s seat of Rexburg, Idaho, he created the sax quartet FOUR, who recorded their debut album With Friends Like These in 2006. Five other albums followed, of which FOUR + Six is the latest. 

In addition to his performance, Watkins is an accomplished scholar of his instrument and the author of many books on the subject. One of these, 2018’s From the Inside Out: An In-Depth Resource for the Development of Saxophone Sound, has been widely hailed as a landmark and comprehensive study of the human physiology behind playing the saxophone. 

Charles McPherson | "Reverence"

Never mind Webster’s – how does Charles McPherson define reverence? “To me, it means deep respect and admiration,” explains the legendary saxophonist, who chose the word as the title for his breathtaking new album, Reverence.

“There’s a nostalgic element to it, but you can certainly revere somebody that's here right now as much as you can have reverence for the past. It definitely describes everything that I feel about the musicians I’ve worked closely with throughout my life, all of whom I respect musically and artistically.”

On his first release for Smoke Sessions Records, due out April 26th, McPherson certainly reveals why he’s been held in such reverence for the last 64 years. The album captures a scintillating live performance from Smoke Jazz Club, where McPherson is joined by his remarkable current group featuring trumpeter Terell Stafford, pianist Jeb Patton, bassist David Wong, and drummer Billy Drummond. The set is a showcase for McPherson’s gifts as both composer and soloist and bridges his deep and far-reaching exploration of the full jazz spectrum.

Reverence kicks off a yearlong series of live recordings celebrating the 25th anniversary of Smoke Jazz Club and the tenth anniversary of its record label, Smoke Sessions. McPherson’s preference for recording live was a major factor in launching this series. After an inspiring, post-pandemic week performing at the recently renovated and reopened Smoke back in November 2022, McPherson knew he wanted to capture that same atmosphere and energy on his next recording, so the decision to skip the studio and record live was a relatively easy one.

“It’s a perfectly sized, well-run club,” he says. “It’s just big enough to have some room for listening but just small enough to still have a personal intimacy. That’s the ideal combination. And both the label and the club are obviously run by people who love the music and are willing to take a chance on artists who are creative and believe in what they're doing.”

Born in Joplin, Missouri, McPherson spent his formative years in the rich jazz city of Detroit, where he was mentored by the late Barry Harris. His closest childhood friend was the future trumpeter Lonnie Hillyer; the two later played together with the iconic Charles Mingus, with whom McPherson would tour and record for more than a decade. McPherson and Hillyer lived just blocks from the famed Blue Bird Inn, a renowned jazz club where the house band included Harris, Pepper Adams, Paul Chambers, and Elvin Jones.

Reverence was born shortly after Barry Harris passed away in late 2021. Harris was a pivotal figure for McPherson, not just as a musician but as a person. In light of his recent passing, Reverence is particularly dedicated to his memory. “Barry was my mentor and my teacher for a long time,” McPherson recalls. “I owe a lot to him. He always told me that there was more to this music than just playing the horn – you actually have to know how to think to be able to do this well. In order to be hip in Detroit at that time you had to know about Bird, but you had to know about Schopenhauer, Miró, Gerald Massey, and Immanuel Kant as well. That opened a lot of doors for me.”

McPherson didn’t set out to undertake an explicit tribute project – there are no Harris compositions in the repertoire, and only the final track, “Ode to Barry,” was penned in homage to the great pianist and educator. But McPherson did set out with the high regard in which he holds Harris in mind and entered into the recording with a sense of reverence both for his longtime mentor and collaborator, as well as for the younger musicians whom he enlisted for the session.

“I really like the language of bebop, which allows for a broad range of expression,” he explains. “But I'm not a civilized bebopper – I'm a wild bebopper, and I might go anywhere from that jumping-off spot. I’m 84 years old now, so the core remains the language of bebop, but I do it in today’s world with today’s players.”

Reverence reconvenes the ensemble that recorded McPherson’s previous album, Jazz Dance Suites, and has cohered into a stellar working group over the last few years. Realizing that the quintet consistently achieved a unique chemistry during live gigs, he determined to make his next release a live album, a nod to the respect and, yes, reverence with which he esteems his current collaborators.

“I chose these players because they represent how I feel about jazz,” McPherson says. “The term ‘jazz’ covers a pretty broad umbrella, and there are a lot of different ways to play what we call jazz, even within the same style. So, when I hire younger players, I hire players who honor and care about the same things that I care about. The members of this band definitely understand the language of bebop, but they’re flexible and can go to a lot of other places as well.”

The album opens with the simmering “Surge,” which bristles with the tidal forces implied by the name and summons keenly focused solos from Stafford, McPherson, and Patton. “Dynamic Duo” winks at McPherson’s boyhood love of comic books as it spotlights the chemistry between Patton and Wong, who have worked together in Patton’s bands as well as with the Heath Brothers. “Blues for Lonnie in Three” has a playful nature, ideal for the lifelong friendship that McPherson shared with Hillyer.

“Ode to Barry” closes the album as a show of respect to Harris, painting a musical portrait of his unique personality. “Barry was an interesting figure because he was very smart and intelligent, but slightly melancholy,” McPherson describes. “There’s a mix of emotions that comes up when I think of him. He was a pensive, thoughtful person with a lot of depth, so I tried to capture his basic emotional makeup with the harmonic coloring of this tune.”

The set is rounded out by a pair of familiar standards: “Come Rain or Come Shine,” the Harold Arlen classic, showcasing the warm tenderness of McPherson’s ballad playing in a quartet setting; and the yearning, nostalgic “Old Folks,” led by a wistful Stafford outing. McPherson chose both tunes, he said, simply because “I consider them beautiful and sophisticated. These tunes are written for adults, not for 12-year-olds.”

The title of Reverence may be intended to reflect the way that McPherson feels towards his late bandmates; it also vividly captures the deep respect felt towards the master saxophonist by his current bandmates – not to mention generations of jazz fans. More than six decades into a remarkable career, few command and deserve our reverence quite like Charles McPherson.