Yosef Gutman Levitt | "The World And Its People"

In an absorbing follow-up to Soul Song, his recent collaboration with guitar great Lionel Loueke (“a scintillating and sun-struck combination of ringing, gentle jazz and percussive African highlife that can only make you smile” — freq.org.uk), bassist and composer Yosef Gutman Levitt of Jerusalem is back with a new and invigorating release: The World and Its People, available from Levitt’s recently formed Soul Song imprint.

Leading a drum-less, chamber-jazz-newgrass foursome influenced in part by The Goat Rodeo Sessions (with Chris Thile, Yo-Yo Ma, Edgar Meyer and Stuart Duncan), Levitt draws from deep within his soul on a collection of beautiful melodies, in deeply felt renderings from all involved.

The tracks are Levitt originals cowritten and arranged by producer Gilad Ronen, with sterling contributions from Levitt’s close musical associates Tal Yahalom on nylon- and steel-string acoustic guitars, Omri Mor on piano and Yoed Nir on cello. Yahalom and Levitt have made two captivating duo albums, Tsuf Harim and Tal Yasis; Mor released his own Soul Song title earlier in 2023 called Melodies of Light and appeared with Levitt on the 2022 trio release Upside Down Mountain. “Everybody worked so hard in bringing creative ideas to this session,” Levit recalls of The World and Its People. “The music is very much inspired by our prior interactions—I feel excited about taking our conversation into different styles and opportunities to connect and communicate.”

The album was mixed by Richard King, whose Grammy-winning work on The Goat Rodeo Sessions has served as an inspiration to Levitt and his colleagues. “The musical color that those musicians bring to the world is something pure and delicate and honest and lovely and luscious and warm,” Levitt remarks of Goat Rodeo. “These are the qualities I wanted to surround myself with: creating a classical crossover, dipping into country, using tools of the language to bring a light, bouncy, folky aspect to the music that I typically play, which is improvised jazz.”

A religiously observant Jew, Levitt has endowed all his music with a sense of spiritual searching and depth, whether he is interpreting Hasidic nigunim on such releases as Ashreinu and Chabad Al Hazman or exploring original music with a jazz trio on Upside Down Mountain. On The World and Its People he focuses again on originals, animated by truths gleaned from Hasidic teachings. “All of my albums begin with a notion of spiritual development, a connection to God and those around me, and how to translate the various things that I’m working on, internally and externally, into melody and music.” He explains the album title as follows: “When we make a space for the world, and we make a space for its people, we infuse it with light and we make an impact—not just socially, but through being honest and open, doing what we’re meant to be doing.”

As on previous releases, Levitt imbues The World and Its People with the sound of upright bass as well as his unique five-string acoustic bass guitar (built by Harvey Citron, Steve Swallow’s luthier), on which he’s developed a signature voice: a warm, singing, bell-like high-register tone with a focus on simple, direct, expressive melodies. The solos and unison passages on the two advance singles, “Awakening” and the title track, cut through the ensemble with a singing legato that is emotionally rich, intense yet delicate. “It’s very precious music,” Levitt says. “It’s very alive when I listen to it—I feel a magical sense of life and humanity and relationships, and I hear the depth and excitement of the other players in the room.”

“Awakening” evokes not only Levitt’s writing process (waking up first thing and improvising melodies into a voice recorder), but also the inner meaning of the Aramaic phrases itaruta diletata and itaruta dile’eyla, “awakening from below” and “awakening from above.” “Awakening from below,” Levitt explains, “can mean making a space for hearing a friend, paying attention to the world around us, inviting the world around us in, which is the idea behind the album.”

Levitt launched the Soul Song label with a set of core principles and values in mind: “The goal is to create music, and to create a label that stimulates others to do the same—to make their soul song. To create music that’s intimate and honest, improvised, and Jewish if you will.

What makes Jewish music, to me, is a profound honesty, stripping away anything that’s not needed. That’s the work I want to do with the artists on this label—whether they’re Jewish or not is not important. What’s important is that the music is inspired by something higher. I want to work with artists who are interested in getting to that place.” Releases with eminent guitarists Gilad Hekselman and Ralph Towner are soon to follow.

Thee Sinseers – Sinseerly Yours

To say that Thee Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quinones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.

With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Flores on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, Thee Sinseers achieves their most fully realized sound to date.

All of the album’s stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist’s office, allowed the group to experiment with their sound like never before—this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.

Of course, the group has never been the type to shy away from their influences as they expertly toggle between ’60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes––all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on. ~ firstexperiencerecords.com

Quinones and bandmates have continued to apply what they’ve learned from their previous releases and their relentless touring schedule throughout the country. It’s clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

Kaidi Tatham | "Fusion Moves"

Reel People Music introduces a thrilling new series, Fusion Moves, aimed at breathing fresh vitality into its esteemed catalog of classic tracks. Leading the charge in this innovative venture is the exceptionally talented Kaidi Tatham, known for his work with Bugz In The Attic, Amy Winehouse, and Slum Village.

In the inaugural edition of Fusion Moves, Tatham takes the reins, infusing his signature style into a selection of beloved Reel People Music releases. His approach is immediately evident, with the opening track, Sebb Junior feat. Paula’s "All Of My Life," seamlessly blending organic beats, polished horns, and immersive keys. As Paula's vocals beautifully attest, magic unfolds with each note.

Further down the lineup, Tatham's magic touch revitalizes Reel People feat. Mica Paris’ "I Want To Thank You" with elegant funk and boogie bounce, while his reimagining of The Realm x Atjazz x Kelli Sae’s "On The Road" adds a carefree jazz-funk vibe, complete with sweet synth solos and guitar licks. Throughout the series, Tatham effortlessly glides between moods and movements, showcasing his versatility and creativity.

From the infectious groove of Sebb Junior feat. Muhsinah’s "Special" to the sultry swagger of AAries’ "Don’t Give It Up," each track receives Tatham’s expert treatment, elevating them to new heights while maintaining their soulful authenticity. With Fusion Moves, listeners can expect fresh twists on timeless classics, promising a journey filled with soulful resonance and musical innovation.

Stay tuned for more Fusion Moves releases in the months to come, as Reel People Music continues to reimagine quality songs with a soulful heart.

John Lurie | "Painting With John"

John Lurie has recently shared three songs from Painting With John, a forthcoming 56-track collection of music from his acclaimed HBO/MAX series of the same name. Set for release March 15, 2024 on his own label imprint, Strange & Beautiful Music, the soundtrack includes new material written exclusively for the series, as well as, classic recordings spanning his discography. The collection will be released on limited edition, two-LP, 180-gram vinyl and digital formats. 

In the penultimate episode of Painting With John, its creator, John Lurie, sat in a Manhattan recording studio, working out musical parts for the show's soundtrack. Although he occupies an enigmatic, multi-faceted, five-decade career characterized by the unexpected, even Lurie is surprised by the music extracted from the series.  

“After the illness started," says Lurie. "I didn’t think I’d ever be able to do this again." 


Go back a quarter-century or so. As an exotic saxophonist and composer whose pieces alternately recalled cracked-mirror reflections of Thelonious Monk, or Fela Kuti, or Raymond Chandler, Lurie led the vastly influential, downtown NYC jazz ensemble, The Lounge Lizards, through dazzling albums and tours across the globe. He scored indie films and Hollywood hits, collecting a Grammy nomination for Get Shorty along the way and releasing his own surreality-TV series, Fishing with John. Then, Lurie contracted an especially potent strain of Lyme disease that turned sound and light into elemental enemies. He put down his saxophone, stepped away from the camera, and retreated. He lived in isolation and painted. And then he got cancer. 

The sum total of Lurie’s brilliant and evolving third act—including a return to music and acting, his fascinating memoir, History Of Bones, and a resurgent career as an arrestingly original watercolor painter living on a Caribbean island—makes it all the more unlikely.  As well, it makes this double LP an astounding and comprehensive compilation epitomizing Lurie’s uniquely eclectic and provocative artistry; an immersive, captivating experience at its most affecting when listened to as a complete thought, from start to finish.

The 56-track set borrows from Lurie’s library of pre-existing creations ranging from indie soundtracks, Manny and Lo and African Swim, and the exhumed discography of Lurie’s fictive bluesman, Marvin Pontiac, and even back to The Lounge Lizards, as well as several new pieces written and performed to align with the show’s panorama of narratives.  The work rises from the seeds of the blues, exults in polyrhythmic exhales of African music, rides absurdist, elliptical chants, and drapes vignettes in greasy, funky noir. In every instance, the gathered ensembles, that include such luminaries as Steven Bernstein (trumpet), G. Calvin Weston (drums), Jane Scarpantoni (cello), Clark Gayton (trombone), Curtis Fowlkes (trombone), Doug Wieselman (guitar), Evan Lurie (piano), Smokey Hormel (guitar), Michael Blake (tenor saxophone) and Billy Martin (drums), unearth the music as much as perform it; hatching and solving the mystery in simultaneous solidarity.

It’s a journey; a travelogue of genre, style, and invention as fluid and evocative as the artist.  Pure of intent, and engaging at every turn, Painting With John is both companion and stand-alone, detailed soundtrack and joyous summary.

"This may be the last thing I do,” Lurie says. “I want it to be beautiful.”

Steph Richards | "Power Vibe"

Steph Richards has already made quite a name for herself in the worlds of avant garde music and creative jazz. She has recorded for Relative Pitch, Pi Recordings, Tzadik Records, Cantaloupe Records, Northern Spy Records, and more and worked with Laurie Anderson, Anthony Braxton, Ravi Coltrane and Henry Threadgill. Richards worked for years as co-producer of the FONT Music Festival, alongside fellow trumpeter Dave Douglas. Her records have been praised for displaying her evident virtuosity and inventiveness, the New York Times calling Richards “boldly inventive.” NPR’s Nate Chinen says Richards is “ingenious” and Downbeat insists that she is “the latest figure of note” in jazz and “a virtuoso of nonlinear trumpet playing.” All About Jazz cuts to the chase, saying simply, that Richards “kicks ass.” 

It’s an impressive history and litany of praise for a young trumpeter, but with her latest full-length for Northern Spy, Power Vibe, Richards pushes even further, marrying avant garde and cinematic moods with a kind of infectious and patently pleasing tunefulness. The addition of “sensory electronics” –– subtle but compelling textures and tactile rhythms which are physically triggered by drum-mounted sensors –– compels fascination here, interweaving a kind of aural hyper-lucidity throughout the record. Though boldly original, this music strides surefootedly alongside the work of contemporaries like Nicole Mitchell and the late jaimie branch. 

And Power Vibe is just as fascinating conceptually as it is aesthetically. The record –– as well as the eponymously named quartet –– is built around a series of musical cues that, when played, redirect all the players to move into a new structure. The trick is that any of the players can play one of these cues at any time, ensuring that the music unfolds in an even more radically democratic way than in totally open-ended improvised music performance. One might think of this as the “power vibe”: the power to redirect the entire band lies in the hands of each player, equally. It’s a cogent redistribution of power, one that Richards and the band clearly revel in, and it gives the music a sense of open structural possibility. 

But one might think of the power vibe as stemming from something else, something much more personal. About a year ahead of recording Power Vibe, Richards began to experience serious complications with her physical ability to play. Richards explains that she met threatening signs of muscular collapse, even terrifying hints of potential focal dystonia, a neurological condition that causes muscular freezing. As Richards puts it, “I had exhausted my setup and I had to hit the shed and fully remake my face.” Months of rigorous retraining, researching new techniques and studying with different teachers across the country led Richards to develop even stronger technical abilities than before the fatigue and collapse. “This record’s really important to me,” Richards says, “because it was my first time understanding this new face, this new technical ability and technique. It was a scary journey to get to that point, and it was a joy to overcome it. I can hear that joy in this music.” This, clearly, is another way in which Power Vibe lives up to its name: that joy in the power to play, at all, let alone with the level of skill that Richards wields, is evident in the sound.  

While Richards’ virtuosity and boundless creativity is clearly on display here, pianist Joshua White, whose playing sometimes veers into McCoy Tyner rapture, and drummers Gerald Cleaver and Max Jaffe do more than simply support. Again, there is a sense of commitment and soulfulness that is bolstered by the redistribution of power. And Stomu Takeishi’s acoustic and electric bass guitar playing helps to push these tunes headlong into realms of groove and infectious kinesis that make it what it is: remarkable. Certainly fans of Ron Miles’ or Wadada Leo Smith’s or Don Cherry’s adventurous and joyful playing and collaborating will find much to love in this work. But the vibe here belongs to Steph Richards.

Kenny Wollesen - LATRALA

For more than four decades, Kenny Wollesen's casually powerful drumming has become an intrinsic component of such robust downtown New York scenes as the Knitting Factory, Tonic, The Stone, Bar 55, and Nublu. He has also served as rhythmic centerpiece for projects with Bill Frisell, as well as Steven Bernstein's wild-style Sexmob, myriad John Zorn configurations, and many other Names You Would Recognize.

On his colorful and often kaleidoscopic new album LATRALA, however, Wollesen showcases his considerable compositional skill, inventive mallet-instrument chops, and career-long experimental tendencies by way of introducing a new quintet. LATRALA (think tra-la-la spelled sideways) is filled out by dynamic drummer Nasheet Waits, dramatic guitarist Tony Scherr, fluid bassist Christopher Thomas, and "surreal synths" builder Michael Coleman. Collectively, they play music rooted in Wollesen's jazz-saturated Santa Cruz youth. 

When a February 2022 gig at Zorn's experimental showcase The Stone was unexpectedly canceled due to Covid protocol, Wollesen seized the lemon juicer and booked the band into Shahzad Ismaili's famed Figure 8 studio in Brooklyn for the following two days. The session was engineered by Lily Wen and produced by Will Shore, a composer who plays vibes alongside Wollesen in utopian art-jazz group Užupis. 

"My other solo albums have been either duos or literally solo," says Wollesen. "This was more of a proper session. It actually worked out much better than simply doing the Stone show, because we got this amazing recording out of it." 

Playing together for the first time ever, LATRALA recorded nearly the entire album its first session together in a flurry of extraordinary first takes. "I love that energy, that first-time feeling," says Wollesen. "I'm a big believer in the early stages of creating something. It's really exciting! You don't know where you're going, but you're playing with incredible musicians so it somehow works." 

Some tracks reflect key people and places in Wollesen world. "Sam" was inspired by Kenny's downstairs neighbor, an intriguing Upper West Side character who hasn't crossed the New York City border in 95 years. A track steeped in low-key cool, "Johnny Garr" was the DJ name of Wollesen's charismatic stepfather, Jack Darrough, who went on to work the California rails alongside Jack Kerouac and introduced his son to Elllington, Davis, and Bechet. His jazz teachings eventually led Kenny to New York and his first gig, a 1986 date with bassist Stomu Takeishiat the Greenwich Village jazz mainstay celebrated in the hard-grooving "Fifty-Five." 

While the record reflects Wollesen's enthusiasm for the innovative vibraphone legacies of Bobby Hutcherson and Cal Tjader, it's more personal influence begins with the late "Big Don" McCaslin (1928-2020), the hardest working pianist-vibraphonist-bandleader in Santa Cruz and father of Wollesen's closest high school pal, contemporary saxophone star Donny McCaslin. Wollesen, then focusing on vibes, eventually started playing in the elder McCaslin's Latin-tinged combo, Warmth. Don "was a big vibes influence for sure," Wollesen says. "He was also the ultimate art hippie and a foundational figure in my life." 

LATRALA was built on the solid foundation of Wollesen's tunes and the quintet's collective experience as globe-trotting innovators. After its initial tracks were complete, Wollesen returned to the studio and overdubbed layers upon subtle layers of percussive and electronic detail with Will Shore. The album's nooks and crannies now contain multiple vibraphones, marimbas, bells, congas, and a lot of WollesonicTM percussion – especially the aurally distinctive "Rattlers" he created during his pandemic hiatus. "I went crazy for a while and built about two hundred of these things from different materials," he admits. 

Nonetheless, "the fundamental part of the song was still these raw and wild first takes." And as for it all being a grand one-shot deal, stay tuned. "My Stone residency was rescheduled to 2025," Wollesen concludes with a wry chuckle.

Hilary Gardner | "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.”

Micah Thomas | "Reveal"

The young pianist Micah Thomas was revealed to an international audience in 2020 with the release of his trio album Tide, his first recording as a leader, and with Omega by saxophonist Immanuel Wilkins quartet, which Thomas has been a part of since 2017. It seemed that Thomas had no time to lose.

His release of his new opus, Reveal, confirms not only his exceptional instrumental talents but he also draws on the history of modern jazz to nourish his innovative and powerfully organic conceptions of the age-old “piano-bass-drums” formula. Thomas is already standing out in a new generation of American jazz musicians determined to conjugate the tradition in a subjective present.

Born in Columbus, Ohio, 1997 into a family of different cultures – an American mother and Indian father – Thomas first took a seat at a keyboard when he was 2. Thomas quickly discovered he had a taste for jazz played by the likes of Miles Davis, John Coltrane and Thelonious Monk.

In high school he was noticed by the violinist Christian Howes, whose reputation was second to none, and Thomas began playing concerts with him, finally (at the age of 18) joining Howes and the teaching staff of the Creative Strings Workshop. Losing no momentum, he obtained a prestigious Jerome L. Greene scholarship to attend the Juilliard School, although he continued to play concerts in his native Ohio – notably alongside Joshua Redman and John Clayton, in the 2017 concert series that Byron Stripling’s Columbus Jazz Orchestra gave to celebrate the institution’s 45th anniversary.

The young local star saw his horizons widening considerably. He dived into the effervescence of the very demanding jazz scene in New York, and quickly drew the attention of his peers (and his elders) with the clarity and creativity of his style, as flamboyant as it was elegant... it was an aesthetic that proposed a syncretic, very contemporary vision of the tradition envisaged in all its forms. 

Thomas’ musicality flourished, and he passed from the resolutely hard bop vein on veteran drummer Billy Drummond’s 2022 album Valse Sinistre to the more sophisticated, modernist spheres of trumpeter Ambrose Akinmusire, bassist Harish Raghavan, or Norwegian guitarist Lage Lund — above all, from that moment, Thomas would multiply his collaborations with an increasing number of talents from his own generation, many of whom he first met while at Juilliard.

As a regular member of the quartet led by alto saxophonist Immanuel Wilkins – with which he recently recorded two major Blue Note albums (Omega in 2020, and The 7th Hand in 2022) – but also partnering with trumpeter Giveton Gelin's 2020 release True Design, or again with tenor saxophonist Walter Smith III (In Common 2), Thomas has not remained content to preserve a post-bop aesthetic that brings the Blue Note heritage brilliantly up to date: Thomas has been more than willing to venture into more wide-open contexts that belong to other traditions, as proven by his active, inspired contributions to the two albums Bhakti and O, Sun released by the young avant-garde saxophonist Zoh Amba. 

It is precisely that open-minded attitude, and Thomas' ability to appreciate the entire heritage of modern jazz and create its synthesis in a language so continuously personal and inventive, that we can find in a condensed form today inside Reveal, the young pianist’s third album as a leader. Together with bassist Dean Torrey and drummer Kayvon Gordon, his partners from his regular trio – and after his highly skilled incursion into music for solo piano for the label LP345-Records (his aptly titled Piano Solo received France’s “Grand Prix du Disque de l’Académie Charles Cros” in 2022) – today Thomas has picked up where his first record Tide left off, and he has done so with a blend of authority, naturalness and daring that is impressive for his age. Reveal is a sort of aesthetic manifesto that definitively lays down the bases for an “art of the trio” that is eminently singular and innovative.

Putting into practice an orchestral and decidedly collective conception of the trio formula founded on a generalized interactivity, the three musicians have here developed music that is at once astonishingly compact in its textures and in its polyrhythms – they fit precisely together in fluid gestures, as if this intense concentration of energies was generating inner spaces into which the clear, magnificently articulated, intelligently discontinuous song of the piano can dive with a sparkling virtuosity.

This is music that belongs to the lyrical, abstract tradition of piano jazz, a history dating back via Chick Corea to Thelonious Monk (“Troubled Mind” is a marvelous demonstration of it, one which updates those intuitions that Corea exposed in 1968 with “Now He Sings, Now He Sobs,” in the company of Miroslav Vitous and Roy Haynes). And at the same time, from one piece to another, it allows a glimpse of the more or less subliminal influences that have been handed down by great masters of modernity from Paul Bley to Brad Mehldau.

In this foundational record whose mastery of form is total, Thomas has allowed himself all kinds of daring without ever foundering into any kind of mannerism, and he even concludes his album – a form of apotheosis – with the hallucinatory, repetitive motifs of “Denardirn," a subtly experimental piece that truly opens up new horizons for us.

Singer Gene-o aka “Classic Twist” Releases “Holding Back The Years”

When renowned veteran R&B/jazz singer and songwriter Gene-o launched his genre-defying Classic Twist concept in 2023, the vision was twofold - to draw on his lifelong passions for pop and rock and later country to both write empowering anthem-like songs centered on and driven by our collective potential for change and put his own trademark, emotionally soul-searing “Gene-o” vocal spin on classic pop and rock songs from the 70’s and 80’s. His latest track – and the second lead single from Classic Twist’s highly anticipated upcoming debut album – is a stunning re-imagining of Simply Red’s “Holding Back the Years,” featuring explosive harmonies and a powerhouse solo by Marietta, GA based saxophonist J. Henry, a former winner of Showtime at The Apollo, who in recent years toured with the comedic legend Sinbad.

“Holding Back the Years” continues the momentum Gene-o has following the first two Classic Twist singles – the inspiring call to action song “Time for Change” and a special updated rendition of his earlier warmhearted solo holiday single “Just Like Christmas Before.” 

Penned by Simply Red lead singer Mick Hucknall and Neil Moss, the original version of “Holding Back the Years” – which hit #1 on the Billboard Hot 100 in July 1986 – has become so familiar via years of airplay on Adult Contemporary and urban/smooth jazz stations over the decades that its deeper meaning is easy to overlook. It reflects the troubled upbringing Hucknall had in his youth and the difficulty he had finding support from a stern father and a mother who wasn’t there often enough. The upbringing he had failed to offer him confidence or a sense of value, so he’s afraid to move forward with his life.

Hucknall, whose mother left the family when he was only three years old, once said the song is about the upheaval this event caused in his life: “It’s about that moment where you know you have to leave home and make your mark, but the outside world is scary. So you’re holding back the years.”  

Early in the recording process for Classic Twist, Gene-o wasn’t sure about highlighting “Holding Back the Years” as a potential single because it was one of his jazziest tracks. The other tunes he had recorded – Journey’s “Faithfully,” Kansas’ “Dust in the Wind,” Bread’s “Make It with You” – were from established rock bands and he thought the Simply Red tune was a bit of an outlier. But he now realizes its jazzy qualities along with the deep meaning of the song are facets of Classic Twist he wants people to embrace.

“The reason I gravitated to it in the first place was because it was a great song, very well known by music fans everywhere, and I felt I could do a great job creating a version of it in mystyle,” says Gene-o. “My original recording of it didn’t have the sax. A friend had introduced J. Henry and me but I never heard him perform until he came to San Diego and invited me to sit in with him at his gig at Humphrey’s Backstage Live. Later I let him hear my original version and we looked at each other and thought, ‘Why not try it with the sax?’ J’s brilliant playing on this newly recorded update, takes the song to the next level, and I’m very proud of it – and excited about letting people hear this amazing collaboration.”  

Though Gene-o appreciates the stories Mick Hucknall has toldabout the song’s inspiration, he also feels the lyrics will have a certain universal resonance for audiences today. “For me, the song is about how difficult life can be sometimes for everyone, and all it takes to survive is to just keep holding on, doing all you can to make changes and hope and pray for better days in our individual lives and collectively as humanity. Every song we do, from the originals to the retro pieces, will have a message connected to the concept of change.”  

The final lineup for Classic Twist's debut album is set to feature an array of exhilarating songs, including the dynamic pop-rock anthem "Sharing the Sky." This uplifting track encourages listeners to join Classic Twist on a journey to view the world through a lens of renewed vision and grand optimism. Additionally, "Loves Me for Me" brings a vibrant, soul-infused melody with a touch of classic rock essence. This heartfelt ode celebrates the transformative power of love in nurturing our greatest potential.

JOE CUBA SEXTET’S LONG-OUT-OF-PRINT CLASSIC VAGABUNDEANDO! (HANGIN’ OUT!)

Celebrated conguero, bandleader, and “Father of Latin Boogaloo,” Joe Cuba (1931—2009) was a foundational figure in New York’s Latin soul scene. A native of Harlem, the Puerto Rican artist (born Gilberto Miguel Calderón) learned to play the congas as a teenager while recovering from a broken leg. Before long, the young percussionist was booking gigs across the city and, in 1954, founded The Joe Cuba Sextet. Playing alongside such stars as Tito Puente, Machito, and Tito Rodríguez, Cuba and his bandmates quickly gained a following with their swaggering showmanship and stood out from their peers with their unique instrumentation choices—including adding a vibraphonist and doing away with horns (which was unheard of at the time).

The group also found a broad appeal with their blend of Spanish and English lyrics—performed, respectively, by timbalero/singer José “Cheo” Feliciano (who replaced Willie Torres in 1958) and crooner Jimmy Sabater, with backing by vibraphonist Tommy Berrios, bassist Jules Cordero, and pianist Nick Jiménez. The sextet’s enticing style served as the foundation for salsa music, as well as for boogaloo—a hugely popular movement that would take hold in the mid-late ‘60s, reflecting the melting pot of New York City with its blend of R&B, soul, and Afro-Cuban rhythms. While Cuba would widely be credited for the creation of boogaloo with his 1966 crossover hit, “Bang Bang,” he was laying the groundwork with Vagabundeando! (Hangin’ Out!), two years earlier. 

The 1964 album marked the band’s debut on Tico Records—one of the era’s most powerful players in the Latin market. As the label sought to reach a younger audience, amid the changing times, Cuba and his band were among a fresh line-up of talent poised for stardom. Vagabundeando! (Hangin’ Out!), produced by one of the most important jazz producers of all time, Teddy Reig, reflected the new era with a vibrant blend of Afro-Cuban rhythms, jazz, and soul, including such energetic dancefloor numbers as “Quinto Sabroso,” “Oye Bien,” and “Nina Nina,”—all performed in Spanish by Feliciano. Sabater also shines in English-language tracks like the soulful “I Need You” and the joyful “Trip to Mamboland.” Another highlight is the Feliciano-fronted “El Ratón,” a captivating ballad that remains one of the group’s most popular and enduring tracks—thanks in part to samples by such acts as Black Eyed Peas, plus high-profile interpolations by the likes of Santana and Willie Bobo, among others. 

In the album’s original liner notes, Tico’s Pancho Cristal writes, “‘Hangin’ Out’ is reserved for the young…. It means simply to stay out with the boys and have fun.” He continues, “Joe Cuba and his boys…do this with that youthful gusto and verve that marks all their appearances and performances.” Indeed, this energy would help Cuba build a massive following, as he scored hit after hit on the charts through the next decade and become one of the most successful Latin artists of his generation. Cuba, who continued to record until the late ‘90s, was a celebrated figure in New York throughout his life. In 1999, he was inducted into the International Latin Music Hall of Fame.

Expanded Reissue of Silver Conventions’ Eurodisco Classic 'Save Me'

Omnivore Recordings and Good Time Records are set to transport music enthusiasts back in time with an expanded reissue of Silver Convention's iconic debut, "Save Me," scheduled for release on March 29.

This reissue treats fans to five bonus tracks, including both commercial and promotional 12” mixes of renowned songs like the ever-popular "Fly Robin Fly." The packaging meticulously replicates the original international cover art, with the U.S. artwork featured inside. Accompanying the musical journey is a 12-page color booklet adorned with captivating photos and ephemera, complemented by Joe Marchese's insightful liner notes, delving into the project's origin and its transformation into a global hit record.

Silver Convention, named after songwriter Sylvester Levay's nickname "Silver," emerged from Munich, Germany, capturing the music scene's attention in 1975 with their rendition of "Save Me." This track, initially sold at MIDEM, the international music business conference, became the title piece of their debut album. Remarkably, the album soared to #1 on the Billboard R&B chart and #10 on the Pop chart, marking the world's introduction to "The Munich Sound," a precursor to the Eurodisco phenomenon.

Thesecond single from the album, the chart-topping "Fly Robin Fly," solidified Silver Convention's place in music history. Not only did it dominate the disco charts for three consecutive weeks, but it also repeated the feat on the pop charts the following month. The single achieved unparalleled success, selling over one million copies and earning the prestigious gold disc from R.I.A.A. in December 1975. To cap off its achievements, "Fly Robin Fly" secured the title of Best R&B Instrumental Performance at the 1976 Grammy Awards, becoming the band's signature song. Get ready to relive the magic of Silver Convention's groundbreaking debut with this meticulously curated reissue.

Yes! Trio | "Spring Sings"

Four years after the success of “Groove du Jour”, named best album of the year in 2019 by the French Academie du Jazz, Yes! Trio is finally back! Strengthened by their differences, these musicians, who never seemed predisposed to meet – a drummer, scion of the great African-American jazz family; a hippie bassist with Yemenite and Moroccan roots; a bon ton Bostonian with a Harvard degree pianist – united by thirty years of love of swing continue to embrace jazz with the same happiness, faithfulness to everything that makes them unique, from Duke Ellington to Motown to Yemen Blues.

Why do we like Yes! Trio so much? Perhaps because the group embodies in a contemporary way all that moves us in the history of jazz, revealing it vibrant today, rather than duplicating it. Or because the members of the trio are, on paper, so dissimilar that one likes to see in their long-lasting association (thirty years) an example of what the great Max Roach – one of Ali Jackson’s mentors – called “a very democratic musical form.” Maybe because these musicians write and arrange compositions that deeply touch our souls, to the point where we listen to them over and over again without ever tiring of their riches. Or because their long friendship nourishes their music, and in turn their music nourishes their friendship in an exemplary way. Maybe it’s due to the constitutive elements of the genre – swing, blues, interplay, improvisation, humor, risk, the feel for phrasing, sound, and so forth – which sparkles constantly, giving the listener the feeling that jazz continues to be full of new ideas. The answer is probably a mix of all these reasons, alongside many others. 

Yes! Trio is in many ways unique in the world of jazz, despite the countless piano-bass-drums trios that strive to assert their originality. Yes! Trio is unique, as are its three members, but this unit is also singular in the way in which these strong personalities articulate their presence in this format: truly equilateral, truly collaborative, truly integral. One only has to see the trio in action to realize how, during their interplay, none of the musicians play a predominant role over the others. One only has to hear them to recognize how much the responsibility of the music is fully shared. It could be said that Yes! Trio is not a trio, a provocation à la Magritte’s “Ceci n’est pas une pipe” (“This Is Not A Pipe.”) Yes! Trio is a group in the sense that each of the members brings to it his experience and expertise to create something sublime together. This isn’t a trio of a pianist expecting his companions to provide foundational support for his improvisations. This isn’t a trio of a bassist who makes his instrument the key center of a triangular configuration. Nor is it the trio of a drummer who would use the group as a background to show off his skills. Yes! Trio is the idea of a trio as a single entity. 

This ensemble, keep in mind, is composed of three musicians who had little chance of meeting one another and becoming friends. A drummer, Ali Jackson Jr., son of a jazzman converted to Islam, heir to an African-American family of musicians from Detroit essential to the history of jazz; spotted at the age of 12 by Wynton Marsalis himself as a future star drummer; trained by Oliver Jackson aka Bop’s Jr. (his uncle), Max Roach and Elvin Jones; and who was for over a decade the kingpin of the Jazz at Lincoln Center Orchestra, Wynton Marsalis’s flagship. An Israeli bassist, Omer Avital, with Moroccan and Yemenite ancestors, an idealist with hippie instincts who fell in love with bebop and moved to the United States but often returned to his native soil to assimilate the musical traditions of the Maghreb and the Near East, where he learned to play the oud and co-founded the group Yemen Blues. And a pianist from Boston, Aaron Goldberg, born into an intellectual Jewish family with scientist parents, who ended up devoting himself to jazz despite brilliant studies at Harvard University where he obtained diplomas in History of Science and Philosophy; an outspoken democrat with a very sharp mind. 

These three destinies converged at the beginning of the 1990s in a basement club, Smalls, which was for an entire generation of jazz musicians a true creative home. At the head of different groups, in particular a septet with four saxophones, Omer Avital was a mainstay at the club, performing there every week. Jackson brought his cymbals there many times; Goldberg would go there as often as he could during summers off from his prestigious university. Emblematic of a generation eager to play jazz, in contact both with fellow young players as well as the iconic creators of this music who were still alive, these three musicians created longstanding ties. Their trio is the result of countless encounters, of late-night jamming, of this like-minded community that keeps the flame of jazz alive by following in the footsteps of their elders and then extending the path. They continue to experience this passion, this love of swing, this thirst to play that have always driven them. More important than their differences, their attachment to jazz has forged their inner rhythms, and has been the backbone for the authority with which they play this music. An authority of masters, which stems as much from the lessons of the great elders as from their capacity to adapt to contemporary times. 

“Spring Sings” is a new illustration of this. The album (the third from the trio) highlights three musicians in perfect osmosis who breathe together, listen and complement one another, perform with subtlety this art of conversation that is at the heart of jazz. They invent this music, cherish it as much as they play with it. Their music is animated by the vital pulsation of swing, but sometimes breaks free from it to blend with Latin claves or explore odd meters. The precision of Ahmad Jamal’s architectures rubs shoulders with Chick Corea’s quicksilver mind; the shuffle of the Jazz Messengers’ “Blues March” resurfaces at the core of the drums with an irresistible drive; two great standards are a reminder of these musicians’ attachment to timeless melodies and their capacity to tirelessly remodel them; the Orient can be seen in the distance like an Ellingtonian rêverie, when it isn’t Claude Debussy’s harmonies that make a melody iridescent; the brushes caress a song with saudade accents; the bassist’s glissandos are the spiritedness of an peerless story-teller; a single repeated note on the piano (a lesson from Monk) is sometimes enough to captivate the listener; the tambourine is the signal that leads us towards the ultimate pleasures of an album that is never facile and never hesitates to be a happy experience.

How could someone not love Yes! Trio?

Chris Standring | "As We Think"

Renowned contemporary jazz guitarist Chris Standring draws inspiration from James Allen's "As a Man Thinketh," a book he read as a child in the United Kingdom. The transformative impact of positivity and optimism, sown during his early years, blossomed in his sixties when he married for the first time last year. This newfound happiness and optimism permeate Standring's nineteenth album, "As We Think," set to release on April 5 through Ultimate Vibe Recordings.

Reflecting on the influence of James Allen's book, Standring shares, "As We Think" seemed like the perfect title to encapsulate my positive mindset and where I stand in the universe right now. Marriage, a recent and profound influence on my life, resonates loudly throughout these recordings." With a musical style that blends retro jazz, seventies soul and funk, vintage R&B, and modern electronic nuances, Standring distinguishes himself from other contemporary jazz guitarists.

The album opens with a quartet configuration featuring bassist Andre Berry, drummer Chris Coleman, and Grammy-nominated percussionist Lenny Castro. Notably, "Chocolate Shake" introduces a talk box to Standring's repertoire. Departing from recent recordings, "As We Think" features horn arrangements by Grammy and Emmy winner Walter Murphy, evident in tracks like "Good Gracious" and the Earth, Wind & Fire-inspired "Come Closer."

Standring explores a variety of musical elements, including the funky and groovy "Alphabet Soup," highlighted by a slick black and white video. The guitarist reveals his love for ballads with "Bedtime Story" and experiments with reggae vibes in "This Life." Collaborating with label artist Terry Disley on "Monday Madness" and showcasing his creativity in "Swings and Roundabouts," Standring offers a diverse and captivating listening experience.

The album closes with the romantic "Too Good To Be True," a heartfelt serenade to Standring's new bride. Drawing on his extensive career, which includes seven Billboard No. 1 singles and collaborations with various artists, Standring infuses "As We Think" with joy, positivity, and a celebratory spirit. The guitarist is set to share this musical journey through concert dates scheduled until October.

After playing in the jazz and hip-hop band Solar System, Standring debuted as a solo artist with 1998’s “Velvet” album. A dozen years later, he scored his first of seven Billboard No. 1 singles with “Bossa Blue,” which also was Billboard’s contemporary jazz track of the year. Standring notched an additional four more Billboard No. 1 singles as a featured guest soloist on singles by Thom Rotella, Cindy Bradley, Rick Braun and Richard Elliot. Eager to explore the unconventional and unexpected, he’s challenged himself by recording a live album in London with an orchestra and a collection of standards culled from the great American songbook that he recorded at the famed Abbey Road Studios. Mixing things up literally last year, Standring issued a remixed set of his more sensual tracks titled “The Lovers Remix Collection.”

Norman Brown | "It Hits Different"

Norman Brown, the Grammy-winning guitarist and virtuoso, declares, "Music is a language; it speaks to the invisible part of us that moves the physical part of us." With over four decades of enthralling audiences globally, his jaw-dropping virtuosity and soul-stirring performances have left an indelible mark. George Benson hails him as "one of the greatest and most articulate guitarists out there." Norman Brown, a musician's musician, has collaborated with icons like George Benson, Dave Koz, Brian McKnight, and many others.

Norman Brown's fourteenth release, "It Hits Different," drops on March 29, 2024, under Shanachie Entertainment. This album, comprising eleven originals, seamlessly fuses Jazz, R&B, Pop, and Blues. Brown's intent was to make the music connect with his fans, the "Normantics," and indeed, it hits different from his previous works, revealing additional facets of his character. The lead single, "Anything," is steadily climbing the charts, offering buttery soul riffs, melodious tunes, and a feel-good groove.

"It Hits Different" features gems like "Asur," driven by Lil' John Roberts' funky drum grooves, and "Chicken Shack," a jubilant soul-jazz number inspired by Brown's memories of visiting his grandmother in the country. The sultry "To Forever" showcases Brown's laid-back groove and crisp R&B licks, harmonizing perfectly with singer James Champion. The title track encapsulates the feeling of finding the right person at the right time, featuring vocals by Wirlie Morris.

Connection is at the heart of Norman Brown's music. When performing, he taps into a higher frequency, where the guitar becomes an extension of himself. His joy is palpable, and he aims to pass it on to his fans, inspiring them to find the silver lining within themselves. Norman Brown's love affair with the guitar began at age eight, and he has enjoyed a rare longevity in his career. With a string of successful albums, including Grammy winners and critically acclaimed works, Brown's latest masterpiece, "It Hits Different," promises a fantastic voyage through diverse musical realms. Get ready to experience the unique magic of Norman Brown once again.

In 1992, Brown recorded the albums Just Between Us, the Gold selling and Soul Train award-winning After The Storm and Better Days Ahead. Having recorded a string of successful albums including 1999’s Celebration (in which he teamed up with Paul Brown), 2002’s Just Chillin’ (featuring vocalists Michael McDonald, Miki Howard, and Chanté Moore) scored a Grammy. The same year, Brown joined forces with saxophonist Kirk Whalum and trumpeter Rick Braun forming the group BWB, recording their debut album Groovin’. In 2013 they released Human Nature, a tribute album to Michael Jackson, which was followed by their third collaboration BWB in 2016. Brown continued a trail of critically heralded albums including West Coast Coolin’ (2004), Stay With Me (2007), Sending My Love (2010), and Grammy-nominated 24/7 with saxophonist Gerald Albright. 2017 saw the release of Norman Brown’s anticipated and well-received Shanachie debut, Let It Go. Brown’s recording The Highest Act Of Love followed in 2019, Heart To Heart in 2020 and Let’s Get Away in 2022 (all on Shanachie).

Pete Jolly | "Seasons"

Future Days Recordings, an imprint of acclaimed archival label Light in the Attic, proudly announces the long-awaited reissue of Pete Jolly’s 1970 masterpiece, Seasons, on vinyl for the first time in over 50 years. Sought after by crate-diggers, DJs, and jazz aficionados alike, as well as sampled by everyone from Jay Dee and Cypress Hill to Busta Rhymes, the album was far ahead of its time and a stylistic departure for Jolly, full of atmospheric grooves and soulful vignettes like “Springs,” “Leaves,” “Sand Storm,” and “Plummer Park.” Produced by Herb Alpert (who originally released the album on his label A&M Records), Seasons also features a who’s who of session musicians, including the Wrecking Crew’s Chuck Berghofer and Milt Holland, plus Emil Richards, Paul Humphrey, and John Pisano.

Due out March 29th, Seasons has been remastered from its original analog tapes by Kevin Gray at Cohearent Audio and pressed at RTI on two special color variants: clear amber and clear light green (both available exclusively at LightintheAttic.net). Rounding out the album are insightful new liner notes by music journalist Dave Segal (The Stranger, Pitchfork, Aquarium Drunkard), who interviewed Alpert and Berghofer about their memories of Jolly. 

Two-time GRAMMY®-nominee Pete Jolly (1932 – 2004) was a virtuosic multi-instrumentalist whose work on the piano, organ, and accordion, in particular, could be heard on classic West Coast jazz albums, as well as on countless TV and film scores–including M*A*S*H, Butch Cassidy and the Sundance Kid, and Clint Eastwood’s Charlie Parker biopic Bird, during which he faithfully recreated Bud Powell’s piano performances with the legendary horn player. 

Raised in Phoenix, AZ, Jolly (born Peter Ceragioli Jr.) was a prodigious musician who garnered local media attention as a child for his talents. At 20, he followed his friend and future Wrecking Crew guitarist Howard Roberts to Los Angeles, where he split his time between studio sessions and work with West Coast jazz icons like Shorty Rogers and Barney Kessel. By 1955, Jolly had recorded his debut as a leader, while nearly a decade later, he was spotted by legendary bandleader, producer, and record executive Herb Alpert, who signed the musician to his label A&M Records. “I was really struck by [Jolly's] amazing talent,” Alpert tells Segal. “His music really spoke to me.” Under A&M, Jolly released three albums: Herb Alpert Presents Pete Jolly (1968), Give A Damn (1969), and Seasons (1970). 

While his first two albums for A&M were traditional cool jazz and bop sessions, featuring a collection of standards and contemporary pop hits, Seasons was a stylistic 180 for the musician. Comprised of nearly all originals (aside from Rodgers & Hammerstein’s “Younger Than Springtime” and Roger Nichols’ “Seasons”), all but one song from the album was recorded in one marathon, four-hour improvisation. It was a testament to the talents of all the musicians involved, including Chuck Berghofer (bass), John Pisano (guitar), Milt Holland (percussion), Paul Humphrey (drums), and Emil Richards (percussion). Jolly, meanwhile, played a wealth of instruments, including a Wurlitzer electronic piano, accordion, musette, Sanovox accordion organ, and Hammond B-3 organ. At the helm was Alpert, serving as producer. 

“We literally improvised as we went along–using visual and musical communications between ourselves to let the tunes happen, breathe, and expand. It’s as simple as that,” wrote Jolly in the album’s original liner notes. “Then we edited down the four hours of tape, did a little overdubbing, and this album is the result.” 

Berghofer, who played with Jolly for nearly 40 years, marvels, “We’d never done anything like that before–or since. It was just made up as you go along. He’d start playing, and we’d just follow him.” He adds, “Instead of straight-ahead tunes, it was a whole other world.” 

Seasons was certainly far ahead of its time and, today, remains a wholly original gem. Electronic, yet organic. Freeform, yet brimming with complex melodic themes. Throughout the album, Jolly and his fellow musicians float between jazz and pop, as they paint evocative aural sceneries. From the dreamy opening bars of “Leaves” (starring Jolly on a delicate, reverb-heavy Fender Rhodes), it’s clear to listeners that they’re about to embark on a transcendent musical meditation. Decades later, the track would spark the imagination of acts like De La Soul, Cypress Hill, and Redman–all of whom reimagined “Leaves” in their own works. 

Another producer favorite is “Plummer Park,” a funky jam full of futuristic flourishes, courtesy of Jolly’s lightning-fast keyboard work. Offering equally delicious grooves is “Spring,” which was sampled by the likes of Nightmares On Wax and Ugly Duckling. Other highlights include the manic “Bees,” which Segal calls a “jazzy infiltration into Kingsley/Perrey-style synth madness,” and the dynamic “Sandstorm.” The band also delivers two covers: a cool-jazz take on Rodgers & Hammerstein’s “Younger than Springtime” (from the 1949 musical South Pacific) and a cheery rendition of Roger Nichols’ “Seasons” (later looped on Vast Aire’s “Look Mom No Hands”). Seasons closes with the cheeky “Pete Jolly,” which features a lengthy accordion intro by the bandleader himself. 

While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD. Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes.” 

Behind the frenzy for Seasons, however, stands the legacy of Pete Jolly, whose talents have never been forgotten by those who worked with him. “There was nobody like him,” shares Berghofer. “I learned so much from Pete… He was a guide to me. He made me much better than I ever would have been had I not met him. He could’ve been much more popular if he had [promoted] himself at all. He never tried to be some big deal.” Alpert adds, “His music spoke for him as an artist. He was one of my favorite jazz musicians, and I don’t think he got his fair due.” 

Jolly never released another album like Seasons but enjoyed a prolific career for the rest of his life. In Hollywood, he worked on hundreds of TV and film scores, including those for Quincy Jones (Roots), Jack Nitzsche (Heart Beat), and Tom Waits (One from the Heart), while he continued to record as a sideman and leader until his death–often with Berghofer. 

In closing, Segal writes, “With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit. If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.”

 

Daoud | "Good Boy"

Daoud's journey through the intricate tapestry of life has been both unconventional and awe-inspiring. His resilience in the face of adversity, including a period of homelessness in Scotland, reflects a profound commitment to his craft. Rather than succumb to the challenges he faced, Daoud found solace and purpose in the world of music, becoming a nomad who carried his trumpet across various landscapes, from seedy funeral parlors to vibrant club scenes. This nomadic existence not only shaped his worldview but also contributed to the unique and diverse influences that permeate his music.

The forthcoming album, "Good Boy," is a testament to Daoud's ability to channel life experiences into art. By choosing to record in a converted French cinema, the Alhambra studio in Rochefort, Daoud adds another layer of depth to his sonic explorations. The choice of venue is symbolic, serving as a canvas for the convergence of historical resonance and contemporary expression. The recording environment becomes an essential component of the album, infusing each track with a sense of place and time.

Daoud's debut not only captures the essence of his live performances but also underscores his dedication to pushing musical boundaries. The lead single, 'Non Peut-être,' serves as a compelling introduction to his boisterous sound, a fusion of groove-based compositions and an electric live atmosphere. With a nod to contemporary trumpet greats like Keyon Harrold and Theo Croker, Daoud's quintet embarks on a sonic exploration, creating compositions that defy genre constraints.

In his pursuit of musical authenticity, Daoud's approach is marked by an intense, sarcastic sound. Through "Good Boy," he seeks to challenge preconceived notions about serious music, offering a refreshing perspective that combines technical prowess with a touch of irreverence. The album becomes a celebration of the joy of creating art without the burden of self-seriousness, inviting listeners into a realm where every note is an expression of freedom and passion.

As Daoud prepares to release his debut, the anticipation builds not just for an album but for an immersive experience that transcends the boundaries of traditional jazz and explores the vast possibilities of sonic expression. "Good Boy" promises to be more than a collection of tracks; it is a testament to the transformative power of music and the boundless creativity of an artist who has truly lived his craft.

Andrea Wolper | "Wanderlust"

Although vocalist, composer, and arranger ANDREA WOLPER started her professional career singing jazz standards, her eclectic tastes and multidisciplinary talents have led her to forge her own path. Her newest recording, WANDERLUST, is an apt title for her peregrinations down the byways of improvisatory vocal jazz. The album comprises seven of Wolper’s original compositions and five reimagined songs by other jazz and pop artists.

WANDERLUST (Moonflower Music) is Wolper’s fourth album as a leader, and follows Parallel Lives (Jazzed Media, 2011), The Small Hours (VarisOne.Jazz 2005), and her self-titled debut, Andrea Wolper (1998). She has also appeared on recordings by other artists across jazz genres, from the straight-ahead Heavenly Big Band to free jazz icon William Parker.

Wolper is one of the singers covered in The Jazz Singers: The Ultimate Guide (Backbeat Books). “A singer who brings songs to life, whatever their source” (International Review of Music), Wolper is also known as “a terrific arranger” (GoodSound), and Cadence Magazine calls her songwriting "easily superior.” 

A New York City resident, Wolper enlisted some of the finest musicians the city has to offer, including longtime bandmates JOHN DI MARTINO (piano), KEN FILIANO (bass), and MICHAEL TA THOMPSON (drums), with CHARLIE BURNHAM (violin) and JEFF LEDERER (clarinet & flute); Lederer also co-produced the album. 

It has been 13 years since Wolper released her previous album, but that doesn’t mean she’s been idle; in fact, it means the opposite. In addition to performing regularly in many of New York’s top jazz clubs (the Blue Note, Dizzy’s Club Coca-Cola, Mezzrow, 55 Bar, Kitano, and others), she has toured in the U.S. and abroad, attended a number of artist’s residencies as a composer, and recorded and performed for other artists. She is also an accomplished writer whose journalism and poetry have appeared in numerous publications, a talented photographer, and a busy teacher of voice, songwriting, and jazz performance. 

Wolper was born and raised in Northern California, moving to New York to attend the prestigious Neighborhood Playhouse School of the Theatre. But music was always an important force in her life, and although she appeared on stage, the call of jazz was too strong. She began serious study of the music, eventually finding her way into the city’s jazz scene. “My entry point to jazz was singing standards, songs I’d heard growing up. Over time, though, I was exposed to so many different artists and ways of expressing the music, and before I knew it, I was writing songs, arranging, and exploring various approaches to improvisation.”

A few of Wolper’s originals on WANDERLUST tease the listener with literary references. On “Nevermore,” her smoky, bluesy voice and the dark sound of the voice/bass duo recreate the foreboding atmosphere of Edgar Allan Poe’s famous poem, “The Raven.” 

In the playfully titled “The Winter of Our Content,” a song that sounds much like an entry from the Great American Songbook, Wolper harkens back to her theatre days with a lyric that borrows from Shakespeare’s canon to pay fond tribute to a love that endures through life’s ups and downs. “Although at times we’re tempest tossed / The love we found we’ve never lost / For ‘neath that starry firmament / There hangs a tale most excellent / Of how we fell / The Winter of Our Content.” Poetry wonks may recognize a phrase from Rainier Maria Rilke’s Letters to a Young Poet in “The Nature of Life,” which Wolper wrote in Spring 2020. “There had been so much political upheaval, and then the pandemic shutdown happened. If I’ve learned anything in life, it’s that everything changes—good things, bad things, everything. Remembering that helped me stay centered.” As Wolper reminds us that “Tides wax and wane,” and “Dark night surrenders to daylight,” her ethereal singing and the track’s spare instrumentation of shruti box (played by Wolper), drums, and violin give the song a mystical, spontaneous feel.

Other Wolper originals include “Sobe E Desce” (Portuguese for “up and down”), set to a baião groove. Wolper sings the wordless melody doubled by Lederer’s flute, followed by a group joyride trading solos. On the album’s other wordless tune, “Eventide,” Wolper’s vocal plays a supporting role to Burnham’s violin and Filiano’s arco bass as the lead melodic voices. Wolper started writing the song while on an early evening walk during an artist’s residency in Nebraska, and the tune conveys the poignant feeling of a small town winding up its day. In “Still Life,” a duo with Di Martino, Wolper paints a picture of how everything is the same, yet nothing is the same when a loved one is no longer there. “Cisluna” is a freely improvised piece that Wolper, Di Martino, Filiano, and Thompson created on the spot. 

The album’s reimagined covers include the opening track, Ray Charles and Rick Ward’s “Light Out of Darkness.” Introduced by Charles in 1965, the song’s lyrics resonate powerfully today. Wolper turns country songwriter Wayne Carson’s “Dog Day Afternoon” into a jazz ballad featuring a beautiful violin solo by Burnham. “Been to Canaan” is a Carole King song that Wolper once again convincingly turns into a jazz tune, featuring Lederer on flute. Sting’s “I Burn for You” features violin, flute, and arco bass rubbing up against one another in an almost discordant way, enhancing the song’s enigmatic tension. Abbey Lincoln’s “The Music is the Magic” is given a sly treatment, and features a group solo for violin, clarinet, and voice. 

WANDERLUST is a showcase for Andrea Wolper’s adventurous, creative spirit, and the results are delightfully surprising whether she sings her own compositions or her imaginative re-workings of other artists’ compositions. Although she has been a working singer and songwriter for over 30 years, a mainstay of the New York City jazz scene, it is time for a wider audience to experience the originality of this singular artist.

Benny Barksdale Jr. | "That's The Way Of The World"

Benny Barksdale, Jr.'s musical journey commenced in his hometown of Baltimore, Maryland, where his affinity for the saxophone blossomed under the influence of his father, a skilled drummer. Nurturing his musical talents from a young age, Benny's trajectory took him from the Douglas High School band to various local groups. Eventually, he established his own band, a venture interrupted when duty called, and he enlisted in the US Army. His return from a tour in Vietnam marked a pivotal moment in his career.

Philadelphia soul legends, The Dells, recognized Benny's exceptional talent and enlisted him, propelling him into the realm of extensive studio work. His reputation as a gifted and reliable saxophonist flourished, leading to collaborations with musical luminaries such as Grover Washington, Jr., Evelyn "Champagne" King, Gloria Gaynor, Phyllis Hyman, jazz organist Jimmy McGriff, The Crests, The Manhattans, and Gary U.S. Bonds.

Benny's affiliation with the esteemed "Chops Horns" opened doors to a tour with Alicia Keys, culminating in appearances on the 2002 Grammy Awards Show and contributing to Alicia Keys' hit album, "Songs In A Minor - Collector's Edition," released in 2011. Currently residing in New Jersey, Benny found a creative haven in producer Butch Ingram's sessions at Society Hill Records. This collaboration led to the label releasing some of Barksdale's own impressive work.

"The Heart & Soul Of Benny Barksdale, Jr.," his full-length release, showcased his versatility and seasoned expertise across a dozen tracks. Renowned as one of the premier soloists in the soul jazz tradition, Benny's brilliance shines through, establishing him as a veteran in the music industry. A standout track from the album, his rendition of Earth, Wind & Fire's classic "That’s The Way Of The World," is presented here with a fresh remix by Ingram, complemented by stellar background vocals from Fillies Finazz, taking the track to new heights of musical excellence.

Atlanta – Hotbed Of 70s Soul – Various Artists

The GRC Records hub in Atlanta was a thriving source of incredible soul music. Unfortunately, due to the abrupt halt in operations caused by owner Michael Thevis' incarceration, much of this musical treasure trove remained unreleased.

However, the preserved tapes have revealed astonishingly high-quality discoveries, thanks in no small part to the presence of Sam Dees. Among the standouts is Miss Louistine's original rendition of 'Con Me,' a contender for Deep Soul Treasure status. Her interpretation of Dees' 'Extra Extra' exudes sheer joy in rediscovering a lost lover. 'Paperman,' a classic mid-70s Dees composition, finds its resonance in Wes Lewis's excellent rendition with Alpaca Phase III. Collaborating with GRC talent Joe Hinton, Dees contributed to the funkier 'Shouldn't I Be Given The Right To Be Wrong.' Hinton and Louvain Demps co-wrote 'Grant Me One More Day,' a beautiful track, while 'Depend On Me' is another gem.

A surprising revelation comes from Kenneth Wright, an elusive figure today, who crafted a reel of demo songs for GRC in the '70s. 'The Souls Of Black Folks' is a tour de force, featuring Wright's compelling vocals and an ethereal female vocal that elevates it to another level.

Detroit's Deep Velvet delivered the poignant ballad 'Is There Someone Else,' penned by Counts member Moses Davis, and their original recording of the uptempo 'I'm Tired Of Dreaming.' Joe Hinton and Marlin McNichols' composition, later issued as Pure Velvet on Osiris, adds to the musical journey.

The collection is rich with highlights, including two ballads from Lorraine Johnson, an unheard track, and an alternate version of 'Keep On Walking' by Detroit's the Steppers. Southern soul purveyor Joe Graham contributes two newfound songs, while Shirlean Fant's stellar performance on 'Sure Could Do With Some You,' a co-written piece, stands out.

The original version of Dee Dee McNeil and Dee Ervin's 'There'll Always Be Forever,' later a hit for Nancy Wilson, is beautifully sung by Lomita Johnson from the first Side Effect group.

Dorothy Norwood, King Hannibal, Jean Battle, Dee Ervin, and Dee Clark all offer excellent and historically significant tracks. Notably, a long-speculated unknown songwriter is revealed to be none other than Sam Dees.

Jo Harrop releases new single – Beautiful Fools – the first single from forthcoming album

Lateralize Records have announced the release of award-winning singer / songwriter Jo Harrop’s stunning new single, ‘Beautiful Fools’. 

Written by Harrop and Ian Barter (who worked as Amy Winehouse’s Musical Director), ‘Beautiful Fools’ is the first single from her hugely-anticipated new studio album, The Path Of A Tear, which was produced by the legendary Larry Klein (best-known for his groundbreaking work with a host of iconic artists including Joni Mitchell, Madeleine Peyroux and Herbie Hancock). 

“Beautiful Fools is not about superficial beauty, but soulful beauty from deep within,” Harrop explains. “It is a salute to all the folks who wear their hearts on their sleeves and don’t hold back in love. There are those who have light inside of them, the beautiful souls who keep on giving regardless of what life throws at them. This song is for them.” 

‘Beautiful Fools’ is an ear-watering slice of mid-70s soul with a subtle twist of jazz. Although, on paper, it initially sounds like a radical departure for Harrop, anyone who’s listened closely to her music won’t be too surprised. She may have built a reputation as one of the most distinctive voices in contemporary jazz, but Jo Harrop has soul running through her veins. 

The Path Of A Tear features some of the finest jazz musicians in the world including guitarist Anthony Wilson (Diana Krall, Madeleine Peyroux), drummer Victor Indrizzo (Willie Nelson, Alanis Morissette) and pianist and Hammond B-3 organist Jim Cox (Leonard Cohen, B.B King) alongside Larry Klein on bass. 

Recorded in September 2023 at The Village Studios in Los Angeles, The Path Of A Tear is due for release in June 2024, with a series of launch events scheduled to take place in London (Ronnie Scott’s), New York and Los Angeles. 

“Working with Larry Klein was something that had only been a dream for me for a long time. With such a history of iconic albums under his belt, I was extremely excited but also slightly nervous to be collaborating with him. The first time we met, he immediately made everything seem easy and natural, and he was so complimentary about my voice and my songwriting. Larry trusted me and the musicians to bring our magic to the songs and allowed all this incredible creativity to unfold. It was a surreal but wonderful experience.” 

Harrop cut her teeth as a session singer before establishing herself as one of the most unmistakable voices in jazz. Having signed to London-based jazz label, Lateralize Records, she released Weathering The Storm before bursting into the spotlight with a pair of critically-acclaimed, award-winning albums, The Heart Wants and When Winter Turns To Spring, her first collaboration with pianist Paul Edis.