Kamasi Washington | Fearless Movement

Kamasi Washington calls Fearless Movement his dance album. “It’s not literal,” Washington says. “Dance is movement and expression, and in a way it’s the same thing as music—expressing your spirit through your body. That’s what this album is pushing.” Dance as an embodied form of expression signals a shift in focus for Washington. Where previous albums dealt with cosmic ideas and existential concepts, Fearless Movement focuses in on the everyday, an exploration of life on earth. This change in scope is due in large part to the birth of Washington’s first child a few years ago. “Being a father means the horizon of your life all of a sudden shows up,” says Washington. “My mortality became more apparent to me, but also my immortality—realizing that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making.” 

The album features Washington’s daughter—who wrote the melody to “Asha The First” during some of her first experimentations on the piano—as well as a host of collaborators new and old. André 3000 appears on flute, George Clinton lends his voice, as do BJ The Chicago Kid, Inglewood rapper D-Smoke and Taj and Ras Austin of Coast Contra, the twin sons of West Coast legend Ras Kass. Washington further enlisted lifelong friends and collaborators Thundercat, Terrace Martin, Patrice Quinn, Brandon Coleman, DJ Battlecat and more. 

The album also features “The Garden Path,” a song Washington performed for the first time ever, making his late-night television debut, on “The Tonight Show Starring Jimmy Fallon.” Kamasi Washington is a multi-instrumentalist, composer and bandleader born and raised in Los Angeles. His three bodies of work to date—The Epic; Harmony of Difference, an EP originally commissioned for the 2017 Whitney Biennial; and Heaven and Earth—are among the most acclaimed of this century.

As Told To G/D Thyself, his short film companion to Heaven and Earth, debuted at the 2019 Sundance Film Festival to widespread acclaim. In 2020, Washington scored the Michelle Obama documentary Becoming, earning Emmy and Grammy nominations for his work. Also in 2020, Washington co-founded the supergroup Dinner Party with long-time friends and collaborators Terrace Martin, Robert Glasper and 9th Wonder—their EP Dinner Party (Dessert) was subsequently nominated for a Grammy for Best Progressive R&B Album. In 2021, he contributed a cover of Metallica’s “My Friend of Misery” to the band’s Metallica Blacklist covers project. Washington has toured the world over and collaborated and shared stages with Kendrick Lamar, Florence + the Machine, Herbie Hancock and many more.

Christian de Mesones | You Only Live Twice

A lifetime ago, Christian de Mesones was a New York City cabbie and heavy metal bassist who had a voracious appetite for the seedy decadence the Big Apple’s music scene was known for in the 1980s. Determined to change his life, de Mesones did a complete one-eighty, got clean and changed his musical muse to jazz funk. Dedicating his “second life” to pursuing his newfound passion for contemporary jazz and deep soul grooves spiced with Latin rhythms, de Mesones will release his second album, “You Only Live Twice,” on April 12 on the That 555 Lyfe label. Christopher Valentine produced nine of the album’s ten tracks, all but one of which are original songs written or cowritten by de Mesones.

de Mesones’s turnaround began decades ago, but it wasn’t until March of 2020 that he finally assembled his solo debut album, “They Call Me Big New York,” just as Covid-19 put the world on lockdown. Three singles from the set, “Big Tall Wish,” “Spirit” and “Latin Jive Redux,” landed on three national charts. However, pandemic restrictions limited de Mesones’s opportunities to promote the project and grow his brand.

A year later, de Mesones released a sultry Latin-tinged cut titled “Hispanica.” A British DJ sent the song to two-time Grammy-winning keyboardist Bob James, who agreed to play piano on the track. The single went to No. 1 on the Billboard chart, de Mesones’s first.

“I have always believed in the power of composition. One song can change the world. In my case, one of my own compositions forever changed mine. Before releasing ‘Hispanica’ as a single, I felt it was my strongest composition to date. It was featured on my previous album as a vocal track, and on the advice of my radio promoter, it was reimagined as an instrumental. I immediately knew I wanted a piano for the melody. Having the legendary Bob James play on it was a fairytale come true. It has become one of the most meaningful experiences of my career,” said de Mesones.

de Mesones dropped the follow-up single, “In His Vision,” in 2022. He wrote the rousing tune on which his bass takes on lyrically expressive qualities and gets a boost from saxophonist Eddie Baccus Jr.’s impassioned play. 

“This song written for and inspired by my father-in-law was a challenge for me. I wanted to play the melody and do it justice. It had to have that Wayman Tisdale vibe, so last minute before the recording, I changed to piccolo gauge strings, giving me the sound I envisioned. Eddie Baccus Jr.’s sax put the song over the top, giving it exactly what I thought it needed,” explained de Mesones.

A movie buff, de Mesones is a big James Bond fan and the secret agent’s presence is felt twice on the album, including on the title track, which was released as a single last year. The production and arrangements are sprawling on the track “You Only Live Twice,” layered with majestic horn section parts and a dreamy vocal chorus. 

“The album’s title track holds multiple meanings for me. Putting aside my love for the classic James Bond film with this title, it perfectly represents my second album release as a solo artist as well as the album artwork featuring my custom double neck bass. This song was composed many years ago and has come to fruition at a time when I have found true love and real purpose in my life. I believe in second chances, and love is definitely sweeter the second time around,” said de Mesones who is married to his producer’s sister, Jennifer Valentine.

A fourth single prefaced the album with the release of “Don Pedro” last year. Written in memory of his late father, the contemplative ballad is as beautiful as it is emotional. Two-time Grammy-winning vocalist David Blamires provides a haunting wordless caress throughout the track led by Jaared Arosemena’s soprano sax.

“My personal favorite track on the album captures the essence of my father who was a larger-than-life figure to me when I was a child. As I grew older, we had our difficulties, as many sons and fathers do, but I was blessed to be able to mend our relationship in his later years. Through the completion and release of this song, which I toiled over for years, I found a way to keep his spirit alive and with me everywhere I go,” de Mesones shared.

For the other Bond-connected song on the album, de Mesones reinterprets five-time Academy Award winner John Barry’s “Capsule In Space,” setting it to a funky Latin modern-day groove. Michael “Arch” Thompson’s spiraling flute work adds a floating sensation.

“I love the orchestration and composing skills of John Barry and loved using this music to accompany the visuals for my live shows. This song is a bit sentimental, too, as it conjures memories of growing up in Brooklyn and my father and grandmother taking me to see James Bond movies. Creating an urban take on this masterpiece was a lot of fun,” de Mesones shared. 

Other tracks on the album are the seductive jazz funk prowl of “Sexy Beast”; the mighty five-bass attack “Throb!” on which de Mesones formed a brotherhood of bassists with Bill Dickens, Brendan Rothwell, Andrew Gouche and Vail Johnson on this revamped track that originally appeared on his debut disc; “Arrival,” an exciting, exuberant and explosive space jam that de Mesones plans to use to open his concerts; the sensual “Stay,” an R&B single illumined by Nes Powers’s distinctive voice; and “Sweetnight,” which de Mesones converted from a vocal tune into an instrumental. 

“‘Sweetnight’ went through more changes than any other song in my entire repertoire. This instrumental version represents what I hear when I close my eyes and imagine a world where love rules all things,” de Mesones described. 

Brooklyn-born and bred, de Mesones relocated to a sleepy town in Virginia as he rebuilt his life. He made his concert debut at the Capital Jazz Festival near Washington, DC in 2006 and has persevered ever since to get to the next level. “You Only Live Twice” is a big album on multiple levels. Valentine’s elaborate production and crafty arrangements give the project a grand sound design. de Mesones’s rubbery basslines, dynamic rhythms and equanimity when it comes to sharing the spotlight with an accomplished collective of first-call musicians in service to the song has equipped him with a next-level album meriting a major breakthrough.

“After my days of living a lifestyle of excess, now being surrounded by such loving, supportive friends, family, and fans feels like a rebirth. And my life is so much sweeter the second time around. From sex, drugs, and rock and roll to smooth grooves and funky Latin soul, my feet are now on solid ground. And I’m here to tell you, it's true: your best life is not in the rear-view mirror.”  

de Mesones’s “You Only Live Twice” album contains the following songs: 

1. “You Only Live Twice”
2. “Sexy Beast” with Bill McGee and Rob Maletick
3. “Throb!” (Bass Godz Remix) featuring Bill Dickens, Brendan Rothwell, Andrew Gouche and Vail Johnson
4. “Arrival”
5. “Stay” (Big New York Remix) featuring Nes Powers
6. “Sweetnight”
7. “Capsule In Space”
8. “In His Vision” featuring Eddie Baccus Jr.
9. “Hispanica” featuring Bob James
10. “Don Pedro” featuring Jaared Arosemena

 

Stephen Philip Harvey Octet | "Elemental (Live)"

Saxophonist, composer, bandleader, and educator Stephen Philip Harvey leads various ensembles with a drive to explore a vast array of avenues in improvisation and composition, including his wonderful Stephen Philip Harvey Octet (SPH8), heard on the studio album Elemental, and now on the live recording of this music, Elemental (Live). 

To culminate and celebrate the release tour for the studio album, the SPH8 recorded their performance in support of Elemental at Radio Artifact in Cincinnati on June 23, 2023. This exciting evening generated two separate recordings that are slated for release on Harvey’s imprint, Hidden Cinema Records. Elemental (Live) will be released on May 3, 2024, and its companion recording, Live at Radio Artifact, will be released on August 23, 2024, with dynamic arrangements of tunes by Wayne Shorter and Tim Green, and additional original compositions from this rising-star composer and bandleader.

The music on Elemental (Live) is inspired by the elements of water, air, earth, and fire. Fusing modern harmonies, driving vamps, and myriad textures, Harvey brings these forces of nature through his fertile composer’s imagination, to an aural landscape. Harvey, working from a broad palette, also brilliantly displays his practice of weaving together his eclectic musical history into his compositions, fusing jazz and classical elements with pop, funk, hip-hop, rock, and Gospel. It all makes for a rich tapestry of sound unique to the SPH8, as heard on this recording. 

Elemental (Live) follows up five releases, all worthy of one’s time and ears: Suite Childhood (2016, Self-Released), Smash! (2022, Next Level/Outside In Music), Elemental (2023), a recent quintet release, Sphinx (2023), and Library Card (2024) (the latter three recordings were released on Harvey’s label, Hidden Cinema Records).

As a musician and bandleader, Stephen has toured throughout the Mid-Atlantic and Midwest regions of the United States. He leads a diverse array of ensembles, including his chordless trio SPH+2, his electric quintet, Sphinx, his mid-sized jazz combo, the Stephen Philip Harvey Octet (SPH8), and his large ensemble the Stephen Philip Harvey Jazz Orchestra (SPHJO). As a prolific composer and arranger, Harvey has worked with a diverse array of musicians and instrumentations; composing for solo instrument to wind ensemble, jazz combo to large ensembles. His compositions have been performed by ensembles at universities throughout the USA. As an educator, Stephen has held instructional positions at all levels of education in diverse areas of music education. He currently holds positions at Wicomico High School, Salisbury University, and Youngstown State University. Harvey is an alumnus of Youngstown State University ('16, MM – Jazz Studies) and Seton Hill University ('14, BM – Music Education). Stephen Philip Harvey endorses P. Mauriat Saxophones (www.pmauriatmusic.com). 

The Stephen Philip Harvey Octet (SPH8) is a collective of eight musicians from the Mid-Atlantic and Midwest of the United States, playing the original compositions and arrangements of Stephen Philip Harvey. The ensemble was revived post-pandemic with new compositions and this new line-up of musicians. Boasting their own individual touring histories, the ensemble harnesses their combined musical talents to bring a bold voice to Harvey’s writing. With a rotating roster of dynamic musicians, SPH8 showcases the remarkable musicianship located throughout these regions.

Alison Burns & Martin Taylor | "Songs For Nature"

In an era of global environmental upheaval, the redemptive power of music carves out a sanctuary of solace, a theme resonating deeply in Alison Burns and Martin Taylor’s latest album, 'Songs for Nature'. More than just a collection of timeless jazz standards, ‘Songs for Nature’ acts as a musical love letter to the natural world and the composers, lyricists, and musicians it has inspired.

Alison Burns brings a smoky, sultry, and understated delivery that seems tailor-made for the intimate embrace of a dimly lit jazz club, yet has enthralled everyone from exuberant music festival attendees to British royalty. Her acclaimed albums 'Kissing Bug' and '1:AM' captured the essence of jazz divas like Julie London and Ella Fitzgerald but with a modern sensibility that resonates globally, underscoring her unique ability to marry the spirit of a bygone jazz age with a contemporary and wide-reaching appeal. This musical blend has taken her on four worldwide tours, enchanting audiences in cities from San Francisco to Shanghai, London to Los Angeles, and solidifying her reputation as a modern-day torchbearer of the vocal jazz tradition.

Martin Taylor, described by Pat Metheny as one of the most spectacular solo guitar players in the history of the instrument, co-pilots this journey. Taylor, a virtuoso whose fingers dance over strings with a finesse that's both heart-stopping and profound, ensures that 'Songs for Nature' is imbued with the touch of a master craftsman. With a career that includes collaborations ranging from Jeff Beck and Stephane Grappelli to Bill Wyman and Jamie Cullum, Taylor's guitar playing weaves a rich tapestry of sound that perfectly complements Burns' vocal artistry.

This duo’s collaborative alchemy is on full display across tracks like 'Nature Boy', ‘Lullaby of the Leaves’ and 'The Gentle Rain.' Together they have crafted a soundtrack that is as evocative of the earth’s wonders as it is of human emotion. Recorded amidst the pristine beauty of New York’s Catskill Mountains, each song resonates with the care and intention that only true reverence for nature can inspire.

The album’s first single ‘Nature Boy’ demonstrates Alison Burns’ gift, rare in all but the best jazz singers, to truly connect with a lyric. The result is that she can stir emotions in the listener that are reminiscent of being immersed in nature; from awe and wonder to peace and tranquility, from joy and melancholy, from the highest highs to the lowest lows. Meanwhile on the single ‘Lullaby of the Leaves’ we hear why Martin Taylor remains in a class of his own amongst guitarists. He is renowned for his fingerstyle technique, which allows him to play melody, bass, and harmony simultaneously, creating a rich, full sound that is often compared to the complexity of a full orchestra. His playing is marked by smooth, fluid lines, intricate chord voicings, and a keen sense of improvisation. Taylor's ability to blend melody with complex harmonies and his impeccable timing make the tracks sound both elegant and captivating.

Alison and Martin are not just musicians at the height of their powers; they are also sonic naturalists, and this album is their field recording, capturing not the sounds of the wild, but the emotions it stirs within us.

Engineered by John Valesio (Norah Jones), Grammy-Award winner Dave O’Donnell (Jason Mraz, Kurt Elling, Sheryl Crow), Cicely Balston (David Bowie, Nick Cave) and produced by James Taylor, 'Songs for Nature' promises an auditory experience as lush and layered as the ecosystems it seeks to honor.

In these times, when every action towards environmental conservation counts, Alison and Martin offer 'Songs for Nature' as a rallying cry — a cry that echoes with love, harmony, and the hope that their music will inspire a gentler, kinder, more sustainable interaction with our planet.

The Staple Singers New Live Album 'Africa 80'

Omnivore Recordings has announced a new live record from The Staple Singers, Africa 80, which features performances from their first ever tour in Africa. The album will be released on CD and Digital on May 10. 

The Staple Singers emerged into the public consciousness in the early 1950s and over the course of their influential career, transformed how listeners experienced Gospel music. During the Civil Rights movement, Roebuck “Pops” Staples discovered that their music could both enlighten and inspire a new generation. Signing with Stax Records, they began to rule not only the Gospel charts, but the Pop and R&B ones as well, with hits like “I’ll Take You There” (which topped both the Pop & R&B charts), “Respect Yourself,” “Touch A Hand, Make A Friend,” and more. After Stax closed, they moved to Curtis Mayfield’s Curtom Records and 1975 saw them hit #1 on both the Pop and R&B Charts again with “Let’s Do It Again.” Three additional albums for Warner Bros. closed out the decade. [Expanded editions of Let’s Do It Again (1975), Pass It On (1976), Family Tree (1977), and Unlock Your Mind (1978) are available from Omnivore Recordings].

An international tour sponsored by the U.S. Government found the Staples performing across the continent of Africa in 1980. The set included recent and classic hits like “Let’s Do It Again,” “Respect Yourself,” standards “Will The Circle Be Unbroken,” “Come Go With Me,” and choice covers like “Ease On Down The Road” from The Wiz, and the Bacharach/David classic, “A House Is Not A Home.” 

Now, with Restoration and Mastering from multiple Grammy-winning Engineer, Michael Graves, Africa 80 presents a look into this ever-evolving musical and National treasure. New liner notes from Tim Dillinger-Curenton contextualize the band’s story, legacy, and detail the tour and recording. Africa 80 delivers a snapshot of this powerful group on tour for the first time on the African continent.

Africa 80 tracklist:

1. Introduction

2. Ease On Down The Road

3. Let’s Do It Again

4. Respect Yourself

5. Come Go With Me

6. Why Am I Treated So Bad

7. A House Is Not A Home

8. Will The Circle Be Unbroken

9. He’s Alright

10. Touch A Hand, Make A Friend

11. Touch A Hand, Make A Friend (Reprise)

Nicholas Brust - Daybreak

Heralded as one of the premiere saxophonists of his generation, Boston-based Nicholas Brust has established his voice, both as an instrumentalist and a composer, in the world of modern instrumental music. He has found his niche as a bandleader and composer, taking advantage of the numerous textures and combinations available in small-group improvised music, evident on his new recording, Daybreak, featuring Brust with guitarist Lage Lund, pianist Julia Chen, bassist Rick Rosato and drummer Gary Kerkezou. 

Daybreak is the follow up recording to Brust’s debut full-length album, Frozen in Time, released on Fresh Sound in 2020. The album has received international critical acclaim from All About Jazz, Jazz Journal UK, Modern Jazz Today, Rootstime Music, and the Jazz Quad, among many others. Marc Philiips of Part-Time Audophile exclaimed, “It’s as if one of your favorite movie stars from long ago suddenly started telling you about all the secrets of the universe.” 

Nicholas Brust has a crystalline sound, imbued with a life force, vitality and exuberance that is addictive. As Dan Bilawsky stated in All About Jazz, "this leader's skills and solid intuition move beyond his writing and performing, as his personnel choices also reflect excellent taste." Indeed, his band is in lockstep with him throughout every tune on Daybreak, making for an elevated listening experience. Brust and his music sound at once completely familiar and brand new; in the tradition, while breaking new ground. He is influenced by the likes of Pat Metheny, Brian Blade, George Coleman, Robert Glasper, Kurt Rosenwinkel, Kenny Garrett, and Roy Hargrove, among others, and he seems to have taken the best qualities of these stalwarts and forged them into his own elements. “Not only does Brust impress with his versatile playing, but he reveals a flair for composition that sufficiently nods to tradition without the usual predictable patterns, finding a nice balance with more modern jazz sensibilities. He delivers a colorful well-conceived debut that already has us anticipating his next recording,” said Jim Hines in Making A Scene. 

About the music on Daybreak with Nicholas Brust:

“Absence of You,” is about the necessary development of artistic independence and its accompanying isolation. “It is both crucial and challenging for artists to balance the isolation of practicing with time spent with others.”

“Diamonds and Clubs,” is a continuation of a suite that Brust started with “Hearts and Spades,” released on, Frozen in Time. “Both pieces begin with a bowed bass introduction, and this one reminds me of a glimmering diamond.”

“Mind’s Eye”: This composition, “plays with similar melodies in two different keys, as though one is being remembered slightly differently than the original.”

“For Wisdom” is a tribute to Roy Hargrove and the inspiration his music and presence on the NYC jazz scene had on Brust as a musician.

“To Carry the Torch” reflects on the, “complex circumstances and responsibilities each generation inherits from the previous one, and the care we take when we ourselves pass them along.”

“Suspense in Blue” is Brust honoring the importance of the blues. “It has connected just about every genre of music (and subgenres of jazz) for generations and continues to be relevant today.”

"Daybreak,” the title track, was the guiding force for the album’s concept. The melody, encompassing two octaves, was inspired by the possibilities of a new day. “You can hear the sun coming out with a burst of energy, followed by the day’s first shadows. It’s ultimately about making the most of the opportunities that each day brings us. On a more personal note, It is about things coming anew, from the birth of my son to the reemergence of live music in a post-Covid world.”

“In This Moment”: “Spending time with loved ones has only become more precious as I’ve gotten older, and the birth of my son this past year sharpened that feeling. This song is meant to encapsulate the feeling of the fleeting, priceless time spent with the ones you love.”

“The Tempest”: Brust’s attempt to capture the structure of a storm in song - the foreboding, the destruction, and the peace of the aftermath.

“Ballad of a Sea Porpoise”: “The piano and guitar combination, without saxophone, reminds me of being underwater. Writing this song, I wanted the listener to imagine living their whole life submerged.”

“A Midsummer Night” is a contrafact written over the changes of “You Stepped Out of a Dream” by Nacio Herb Brown and is also a reference to Shakespeare. “The rhythms of the melody are meant to reference Shakespeare’s twisting, turning plots.”ly acclaimed musicians, including Gilad Hekselman, The Peter Silver Big Band (sharing the stage with Roy Hargrove, Jimmy Owens, Steve Wilson and others), guitarist Ben Eunson, Kristina Koller (appearing in her Quintet at the 2020 NYC Winter Jazz Fest), and many others. The saxophonist/composer is currently on faculty at New England Conservatory, in addition to maintaining his own private studio.

Nicholas released an EP of original music entitled Brooklyn Folk Songs in January 2015, which, “showcases a set of original compositions that infuse sturdy melodies with a rich, contemporary harmonic palette...like the borough for which it’s named - encompasses a variety of moods along with its own unique accent” (David Kastin). Since then Brust has continued to showcase his compositional and improvisational talents both on his previous recording Frozen In Time (Fresh Sound, 2020), and in a series of videos that can be found on his YouTube channel. Brust has a Master of Music in jazz performance from New England Conservatory as well as a Bachelor of Music in jazz studies and music education from the Eastman School of Music.

Kenny Garrett & Svoy - Who Killed AI?

Grammy Award-winning saxophonist Kenny Garrett and acclaimed producer Svoy have announced the release of their highly anticipated album "Who Killed AI." Known for their innovative approach to jazz and electrifying performances, Garrett and Svoy once again push the boundaries of the genre with this latest collaboration.

"Who Killed AI" delves into themes of artificial intelligence, technology, and the human experience in the modern age. Through their masterful compositions and virtuosic performances, Garrett and Svoy explore the intersection of humanity and technology, inviting listeners on a thought-provoking sonic journey.

The album features an all-star ensemble, including pianist Vernell Brown Jr., bassist Corcoran Holt, drummer Ronald Bruner Jr., and percussionist Rudy Bird. Together, they create a dynamic and immersive musical landscape that captivates audiences from start to finish.

Garrett and Svoy's signature blend of traditional jazz with contemporary influences shines throughout "Who Killed AI." From the infectious grooves of "Electric Dreams" to the introspective melodies of "Ghost in the Machine," each track offers a glimpse into their unparalleled musical vision.

Reflecting on the album, Garrett says, "I wanted to explore the impact of artificial intelligence on our society and the existential questions it raises. 'Who Killed AI' is a reflection of our complex relationship with technology and the profound ways it shapes our lives."

In addition to his groundbreaking work as a recording artist, Kenny Garrett has established himself as one of the most influential saxophonists of his generation. With over 20 albums to his name and collaborations with jazz luminaries such as Miles Davis, Freddie Hubbard, and Herbie Hancock, Garrett's impact on the genre is undeniable.

Svoy, a critically acclaimed producer and multi-instrumentalist, brings his unique musical perspective to "Who Killed AI," contributing to the album's innovative sound and compelling narrative.

"Who Killed AI" is now available on all major streaming platforms and digital music stores. To learn more about Kenny Garrett, Svoy, and their music, visit their official website at www.kennygarrettmusic.com and www.svoy.com.

Kenny Garrett is a Grammy Award-winning saxophonist known for his innovative approach to jazz and electrifying performances. With over 20 albums to his name and collaborations with jazz legends Miles Davis, Freddie Hubbard, and Herbie Hancock, Garrett has established himself as one of the most influential saxophonists of his generation. Born in Detroit, Michigan, Garrett began playing saxophone at an early age and quickly gained recognition for his extraordinary talent. Throughout his career, he has received numerous accolades, including multiple Grammy Awards and DownBeat Magazine's Critic's Choice for "Best Alto Saxophonist." Garrett's latest album, "Who Killed AI," explores themes of artificial intelligence and technology in the modern age, showcasing his unparalleled musical vision and creativity.

Svoy is a critically acclaimed producer and multi-instrumentalist known for his innovative approach to music production and composition. With a diverse background spanning jazz, classical, and electronic music, Svoy brings a unique musical perspective to every project he undertakes. His collaborations with artists across genres have garnered widespread acclaim, solidifying his reputation as one of the most versatile and forward-thinking producers in the industry.

Melissa Aldana - Ehoes Of The Inner Prophet

On April 5, 2024, Melissa Aldana released her latest album, "Echoes Of The Inner Prophet," marking a significant progression from her acclaimed Blue Note Records debut, "12 Stars," released in 2022. This album encapsulates a fascinating paradox, as Aldana delves into introspection while celebrating collaboration and community.

Aldana describes "Echoes Of The Inner Prophet" as a reflection of her personal journey, emphasizing an introspective viewpoint that connects with her inner self. The album explores themes of maturation and self-discovery, revealing both strengths and vulnerabilities. It is a testament to Aldana's growth as an artist and her willingness to embrace change and uncertainty.

The album also highlights the evolution of Aldana's quintet, featuring Lage Lund on guitar and effects, Fabian Almazan on piano and effects, Pablo Menares on bass, and Kush Abadey on drums. Together, they have honed their collective insight through extensive touring and travel, establishing themselves as one of the most dynamic working groups in jazz today.

Aldana's partnership with Lund is particularly noteworthy, as he serves as her arranger and co-producer. Their collaboration reflects a rare trust and openness, contributing to the album's depth and authenticity. Additionally, "Echoes Of The Inner Prophet" includes heartfelt dedications to influential figures in Aldana's musical journey.

The title track pays homage to Wayne Shorter, the late modern-jazz pioneer who played a pivotal role in Aldana's career. Winning the Thelonious Monk International Jazz Saxophone Competition in 2013, with Shorter on the judging panel, marked a significant turning point for Aldana. His influence permeates the album, inspiring Aldana's writing and improvisation with constant surprises and a highly listenable allure.

Another track, "Cone of Silence," is dedicated to recording engineer James Farber, who played a crucial role in capturing Aldana's sound. His expertise and understanding of her musical vision allowed Aldana to focus solely on the music-making process, resulting in a seamless collaboration.

Throughout the album, Aldana and Lund showcase their musical chemistry, combining post-production ingenuity with intricate arrangements. Lund's contributions add depth and dimension to the compositions, creating a rich tapestry of sound that captivates listeners.

Overall, "Echoes Of The Inner Prophet" presents small-group jazz at its finest, brimming with engaging dualities and intellectually rigorous compositions. Aldana's masterful improvisation, coupled with the ensemble's dynamic performances, creates a captivating listening experience that resonates with both depth and intensity.

As Aldana continues to explore new musical territories, her Blue Note heritage remains a guiding influence. Drawing inspiration from iconic recordings and legendary musicians, she remains committed to her craft, constantly evolving and pushing the boundaries of contemporary jazz.

In essence, "Echoes Of The Inner Prophet" is a testament to Melissa Aldana's artistic vision and unwavering dedication to her craft, solidifying her status as one of the most compelling voices in modern jazz.

UK Duo Edy Forey Releases its Audacious Urban-Jazz Debut

One can’t help but admire the honest audacity of these lyrics. This song “Take Your Time” is from Culture Today, Edy Forey’s poetic urban-jazz debut album set for release on April 5 on So Soul Records. The UK-based duo enters the music scene with the clarity of self-knowledge, even if that knowledge comes from divergent artistic experiences. 

Vocalist Edy Szewy and keyboardist Guilhem Forey believe music is sacred and musicians matter greatly. For this reason, several guest artists joined them on this record, including founding members of Snarky Puppy bassist Michael League and saxophonist Bob Reynolds. Also, Sharay Reed, of the Funk Apostles, Femi Koleoso of the Ezra Collective and others provided significant contributions. Additionally, Bob Power whose distinguished resume includes Me'Shell N'degéocello, The Roots, D'Angelo, and Erykah Badu and many others mixed and mastered the duo’s entire album. 

Szewy and Forey are as different as they are alike. Szewy was born in Poland to an American father and a Polish mother. Her parents separated early, but her dad would send her CDs from America that you couldn’t find locally. By the time she moved to one of the cultural centers of Europe, Edinburgh Scotland, she had absorbed the very American grooves of TLC and En Vogue, enthralled with the songwriting and production skills of the likes of D’Angelo and Lauryn Hill, imagining that one day she could do it too. 

Conversely, Forey, born in Paris and raised in Nantes, France was a child musical prodigy. Bach spiritually and emotionally pulled him in at the age of three—so much so that this classical music was almost scary to his immature mind. But by the time his grandfather introduced him to American icon Ray Charles and British guitarist Eric Clapton, everyone who heard him play realized he was a gifted pianist. At age 11, his mom walked him into a rehearsal hall for his first jazz piano lessons. So taken was the teacher on this introductory audition, he flung his door open and quickly recruited a bassist and drummer to join in. It was the talented adolescent’s first jam session. By 16, Forey was leading a jazz trio. 

The pair’s teen years were marked by Szewy discovering the melancholy soul side of African American artists like Marvin Gaye, Donny Hathaway, and the Jacksons. In contrast, Forey dived headfirst into jazz, discovering and studying Herbie Hancock and George Duke. With headphones on, Forey would often fall asleep to Chick Corea’s Akoustic Band album. The duo’s influences were expanding–greatly.  

As young adults, both found themselves mingling in the Edinburgh student circuit. While Forey was new to the city and the music scene, Szewy was studying at the prestigious Edinburgh College of Art - the fruit of which is the album’s cover. At the same time, she was leading a six-piece neo soul band. The two met when Forey filled in for Szewy’s keyboardist. Gradually, their kinship was born.

By the same token, they openly admit to having had pervasive parental challenges. Those challenges created in both feelings of being an ‘outsider.’ As teenagers, they atypically didn’t gravitate to the surrounding fads. A sensibility of non-conformity took root for both, and in time they would discover that this sensibility would anchor their creative union.

Forey was blown away by what he says was, “Edy’s pure artistry.” Similarly, Szewy says, “By far Forey was the best musician I knew in Edinburgh.” Still, initially Forey wasn’t so convinced of becoming a group. He was deep into the spiritual magic of jazz, immersing himself with the work of master organist/pianist/gospel artist Corey Henry. He played in jazz trios but beyond that, his solitary musical world was just that–solitary. Forey says, “I love jazz because it has something to say musically. And sometimes I have to isolate to hear what it is trying to say to me.” Despite that, he couldn’t ignore that Szewy was a visionary and her sky-is-the-limit attitude won him over. Forey put all his other musical endeavors aside and their musical alliance was born. 

When they started composing what would become the genesis of their debut album, they kept this activity private. The duo did not showcase their music to family nor friends. Working together and remotely via WhatsApp, they embraced a style of discreet collaboration that would come in handy during the pandemic. 

As much as the pair are very modern songwriters using very modern tools, their collaborative style was reminiscent of the great songwriting teams of the past where the free spirit of exchange and pushback reaped excellent results. Their sessions were vibrant. Szewy would challenge Forey’s chord choices at the same time Forey would challenge Szewy’s lyrical and production choices. Back and forth they hashed it out, examining their creative energies and impulses all the while persisting in the magic of spontaneity, which is at the heart of their urban-jazz album.

 “We have a very symbiotic creative bond,” Szewy says. “We complement each other's style. Basically, we're both in each other's business.” Forey adds, “We wanted to have a pure approach to it. We didn’t want to focus on perceived outcomes. We wanted to faithful to our original inspiration that we feel comes from above.” 

That quest to fulfill their artistic calling is all over their album Culture Today. The duo has crafted a series of songs that showcase high musicality and themes of personal depth. Whether it’s the Orwellian-vibed, “Eerie Feary” or the critique against celebrity worship in “The System,” it’s clear that the original bonds of non-conformity that brought Szewy and Forey together are still very much intact. 

Equally important are several songs that reach for something more transcendent. They include a poignant yet lighthearted petition to the divine in “The Fire,” while the songs “Your Soul” and “Agape” attempt to pierce the coarse, low-level of bumping and grinding to reveal the more eloquent and elevated feelings of love. This makes Culture Today an album you want to put on, lay back and let it absorb into your spirit, song by song.

MAX LIGHT – CHAOTIC NEUTRAL

Brooklyn based guitarist/composer, Max Light, took 2nd place in the prestigious 2019 Herbie Hancock Institute of Jazz International Guitar Competition (judged by Pat Metheny, John Scofield, Lionel Loueke, etc.) His sophomore recording as a leader, Henceforth (released in 2023), was heralded by The New York City Jazz Record, as “Stunning,” and declared Light as, “one of the most promising young guitarists to arrive on the scene in recent years.” JazzTrail added that, “Max Light is a talented instrumentalist and composer to follow closely, and this well-planned album doesn’t disappoint.” His debut recording, Herplusme (released in 2020), garnered a four star review from UKVibe, who stated, “Herplusme gives the guitarist an excellent platform to showcase his talents and with superb interaction and support from Honor and Willson. The trio work intuitively well together . . .”. Most recently, Light and pianist Julian Shore released Duo, in the summer of 2023, and embarked on a successful tour of Japan. 

Max Light has performed and recorded with Noah Preminger, Christian Sands, Donny McCaslin, Jeremy Dutton, Kaisa Maensivu, Jason Palmer, Jon Gordon, John Ellis, Dan Weiss, Colin Stranahan, and Kevin Sun, among many others. Along with DownBeat Magazine “Rising Star” tenor saxophonist Noah Preminger, Light released Songs We Love in March 2022. Light also appeared on Preminger’s 2019 album, Genuinity, and the saxophonist’s 2020 album, Contemptment. Light was also featured on the subsequent tour of Europe in the Fall of ‘21. The guitarist has appeared on trumpeter Jason Palmer’s seminal 2018 recording, Live at Wally’s Jazz Club: Volume 1-2, and more recently on Yong Lee’s 2021 album, Touch, alongside Walter Smith III. Light is also featured on bassist/composer Kaisa Mäensivu’s recent recording on Greenleaf Music, Taking Shape, and Christian Sands’ Christmas Stories. He also appeared on Kevin Sun’s 2021 release, <3 Bird. 

A CV of this nature doesn’t come together by chance; Max Light, in accordance with his surname, is in fact a beacon on the NYC and global scenes. Not one that warns however, but one that beckons. He is to many of his collaborators and cohorts, “a deep inspiration and ever-warming bonfire in the often challenging journeys of art and life” (as stated by saxophonist Kevin Sun in the album’s liner notes). As a bandleader, exemplified on his new recording, Chaotic Neutral (dropping April 26, 2024 on AGS Recordings), Light also displays the type of leadership that unearths and inspires performances of the highest level from his bandmates. 

Chaotic Neutral is a declaration of Light’s artistic vision, encompassing improvisations that routinely and expertly seek and find peaks, complex harmonic structures and Light’s wonderful melodies. It is modernist jazz in full acknowledgment of its influences, while asserting Light’s penchant for 21st century harmony (“Is It True,” also a highlight for Julian Shore), and rhythmic adventurousness (“Brown Bear”). The album opens with the exuberant urgency and potency of “Pathos.” Then it becomes clear within seconds of “Vals Quartzite” that Light is intent on raising the artistic bar, searching for the zenith of expression, precision, mastery, and beauty. In spite of the technical aspects of playing the guitar that must be dealt with, Light’s fluidity and relentless spontaneity is heard throughout Chaotic Neutral, with his bandmates, pianist Julian Shore, bassist Walter Stinson, drummer Steven Crammer and Caleb Curtis (on Stritch on several tracks) in absolute lockstep with him. Stinson shines on “Times Had,” as does Crammer with a ferocious solo. ‘Wash” is a meditative ballad, featuring Caleb Curtis on Stritch, whose playing shines with Light’s expressions as perfectly as the moon and the stars.

On Chaotic Neutral we hear an artist seemingly at the peak of his powers, and yet still at the start of his creative ascent. It is thrilling to hear his artistry now, and wonder at what the future holds. Chaotic Neutral closes with “Things,” which brilliantly tests the elasticity of a well-worn standard, and exemplifies much of what Max Light is as a guitarist/composer; a towering edifice of talent built on a rock-solid foundation.

Something Else! Featuring Vincent Herring | 'Soul Jazz|"

When soul jazz was born in the late 1950s/early 1960s, it provided a pathway for the funky, window-rattling grooves of contemporary soul and R&B to infuse the muscular hard bop of the day. For the generation that grew up in that era, soul jazz is the soundtrack of their lives – not to mention an absolute blast to play. 

The new supergroup Something Else! brings together a superb septet that matches impeccable virtuosity with a bottomless feel for this music. Spearheaded by alto saxophone great Vincent Herring, the band’s debut release features trumpeter Jeremy Pelt, tenor saxophonist Wayne Escoffery, guitarist Paul Bollenback, pianist David Kikoski, bassist Essiet Essiet, and drummer Otis Brown III. 

Under the no-nonsense title of Soul Jazz, due out June 7 via Smoke Sessions Records, the album features groove-centric tunes from such masters as Horace Silver, Herbie Hancock, Roy Hargrove, Donald Byrd, Stanley Turrentine, Eddie Harris, Pee Wee Ellis, and John Coltrane, played with infectious vitality by this unparalleled dream band.

The approach to jazz that these stellar musicians take always comes with its fair share of soul, no matter the stylistic twists and turns it may take. But with Something Else! they places the soul firmly the spotlight, refreshing this classic material with a thrilling, vibrant joy that is electrifying conveyed directly into the listener’s body. Soul Jazz comes with an unspoken challenge not to move. 

“This project represents the music that we love, music that just feels great,” Herring says. “Everybody in the band grew up on soul jazz, where the feeling was paramount. The music of the day was soul and R&B – that’s what my parents played on the stereo when they were in the car or when they would have gatherings. So I think it’s a feeling that we were all craving in our own music.” 

Herring found that electrifying feeling missing in much of the music he was hearing from his students at William Paterson University and the Manhattan School of Music, which inspired him to put out the call to his most gifted compatriots. Herring had learned first-hand from masters of feeling, swing and groove – an invaluable bandstand education forged alongside the legendary likes of Freddie Hubbard, Dizzy Gillespie, Art Blakey, Jack DeJohnette, Horace Silver, Carla Bley, Lionel Hampton and others, as well as integral collaborations with fellow torchbearers like Steve Turre, Carl Allen, Eric Alexander, Jon Faddis, Wynton Marsalis and James Carter. 

The band’s name, of course, is borrowed from Somethin’ Else, the classic 1958 Cannonball Adderley album. Adderley and his brother Nat can both be counted among the architects of soul jazz, and Herring enjoyed deep ties to both – he toured and recorded for nearly a decade with Nat Adderley following his brother’s death, and went on to form the Cannonball Adderley Legacy Band with drummer Louis Hayes. 

The Adderleys are not among the composers included on Soul Jazz, however – unless you count a sly quote of Nat’s immortal “Work Song” during the drum solo on Turrentine’s “Too Blue” – and Something Else! can just as readily be taken as a descriptor of the music, a phrase along the lines of “out of this world” that hails the surprises and thrills contained herein. 

The album kicks in at full throttle with Horace Silver’s bristling anthem “Filthy McNasty,” played here with a breakneck propulsion driven by the take-no-prisoners pocket of Essiet and Brown. Herring, Pelt, Escoffery, Kikoski and Brown all squeeze fiery solos into the track’s less than five-minute length, wasting not a single note (though burning through plenty of them) and revealing from the get-go that they mean business. 

This music represents the members’ musical roots, and Herring chose his collaborators – and a rotating cast that has also included the likes of James Carter and Randy Brecker – from a pool of shared experience. “This is about having a feeling for what's going on,” he explains. “The first person that came to mind was Jeremy Pelt. This music is Jeremy – this is exactly how he grew up. While the spectrum of music that he plays is wide, this is at the core of what he does. The same goes for everybody in the band.” 

Just listen to the way that the blues seeps from Kikoski’s keyboard in the opening moments of “Too Blue,” as the band slides into a gritty, slinky groove. Bollenback’s guitar slithers through that wide-hipped feel before ceding space to high-and-low turns from the saxes. Eddie Harris’ “Mean Greens” provides the opportunity for a lurching shuffle, punctuated by Kikoski’s piquant jabs and the precision licks of the frontline, while Pee Wee Ellis’ “The Chicken” is pure funk bliss buoyed by Essiet’s double-wide bassline. 

Herbie Hancock’s “Driftin’” floats on an airy, floating rhythm that is spacious yet exacting rhythmic swing that the soloists all revel in. The mood turns dark and languorous for Donald Byrd’s unhurried “Slow Drag,” then crackles with the handclap-fueled stroll of Roy Hargrove’s classic “Strasbourg/St. Denis.” CD and digital editions of the album feature an unexpected bonus track: John Coltrane’s “Naima” is a timeless ballad not typically associated with the soul jazz movement, but Herring’s transformative version fits perfectly. 

Herring insists that Something Else! wasn’t formed with the intention of educating that younger generation on how thrilling the music can feel – but if he can lead by example, he says, all the better. 

“This is just meant to be great music that feels good, played by the very best musicians. If it is enlightening to some people, which I'm sure it will be, then that's fine with me.” 

It’s hard to imagine that this session won’t enlighten listeners, even those well versed in the soul jazz genre that grew out of hard bop in the mid-1950s, as the influence of the era’s R&B and soul hitmakers infused the music with a funky, raucous groove. Something Else! not only stocks the date with some of the prime examples of the genre’s music, but attacks these songs with a vigor and passion that breathes dynamic new life into an already lively style.

 

R&B/Jazz keyboardist Jeff Logan releases "Indigo"

Growth requires work and can be uncomfortable and painful. R&B/Jazz keyboardist Jeff Logan wrote a very personal album chronicling his transformation that was produced by two-time Grammy winner Paul Brown (Boney James, Norman Brown, Al Jarreau, Bob James). “Indigo” releases this Friday (April 12). 

“Indigo” is an intimate instrumental album comprised of songs inspired by Logan’s life. He uses his gift for composing emotional and evocative melodies to share moving stories, introspective moments, pained heartbreaks and disappointments, and provide hope and optimism.

The new album is Logan’s first since his 2011 debut, “Black Tie Affair,” and over that time, he went through a painful divorce, was distanced from his daughters, and logged innumerable high-stress hours serving as the Chief of Population Management for Prince George's County, Maryland Department of Corrections. He found solace by writing and recording music, amassing over four hundred songs. “Indigo” is the first collection culled from that catalogue.

“Indigo” marks the first time that Logan used an outside producer and additional musicians. Brown brought in his first-call session aces - Shane Theriot (bass, drums, guitar and keyboards), Gorden Campbell (drums), Roberto Vally (bass), multi-horn man Ron King and saxophonist Greg Vail - to bring Logan’s songs to life.

Throughout the album, Logan emotes via his rhythmic keyboards and piano poetry. The album is a mix of soul grooves, funky contemporary jazz and soothing adult pop harmonies.  

Ceu | "Novela"

Regarded as the most influential Brazilian artist of her generation, Céu returns once again to the spotlight with her newest single “Gerando Na Alta” featuring the London based French/Senegal singer, anaiis. On the new single anaiis and Céu exchange impressions about sisterhood. The new single is the debut from the upcoming album Novela due out on April 26th! “Gerando Na Alta'' featuring anaiis is out now and available everywhere you stream music.

In the early 2000s, Céu lived in NYC’s Lower East Side and it was there that she discovered her passion as a songwriter. The emerging artist immersed herself in the MC street performer culture of the neighborhood, which was a mix of black and Puerto Rican artists. She created and honed what was to become her signature voice and a boldness that had not yet been heard in Brazilian music. From this time she wrote and released her debut album, "Céu" (2005). This album catapulted Céu into the mainstream and garnered critical accolades, resulting in nominations for both the GRAMMY Awards and the Latin GRAMMY Awards, charting on various charts worldwide and on Billboard, and becoming one of the best-selling Brazilian albums in the history of the United States. This boldness continues to shape her distinctive path, earning her prestigious awards and, just as importantly, recognition from audiences who strongly connect with her.

In 2023, Céu returned to the USA, this time to the West Coast, where she conceived Novela (Urban Jungle/ONErpm), her sixth album due out on digital platforms this April 26th. Céu recorded with Adrian Younge at his renowned Linear Labs Studio in Los Angeles. She worked alongside her long-time collaborator, São Paulo-born artist, musician and producer from Pernambuco, Pupillo. Pupillo’s credits include former drummer of Nação Zumbi, co-responsible for Céu’s releases "Tropix" (2016) and "APKÁ!" (2019), and winner of three Latin Grammy Awards, and a producer for Gal Costa and Erasmo Carlos. She also worked with the multi-instrumentalist and arranger Adrian Younge, who is most known for albums such as "Something About April" (2011), and for projects with Snoop Dogg, Kendrick Lamar, The Delfonics, and Wu Tang Clan, as well as co-directing the multimedia initiative Jazz Is Dead.

As is customary in Adrian's work, the album was captured live, without the technological gadgets of today, recorded on tape, which demands total presence. Although it may seem like an old-fashioned approach that harkens back to the beginnings of character-forming record recordings, interestingly, it is a futuristic experience that, according to Céu, requires a lot of emotional intelligence and no artificiality. "Nothing vintage," she assures. In the studio, the band consisted of Pupillo (on percussion, programming, and drums), Younge (on keyboards, guitar, bass - in "Reescreve" -, arrangements, and conducting strings and winds), and Lucas Martins (on bass - in virtually all tracks -, guitar, and co-authorship of three of the 12 tracks on the album).

Novela is a compilation of 12 songs woven together with captivating collaborations and featured artists. "Dawned in your lucky color/ Chant your mantra and go/ Singing/ Living is for the brave," sings Céu on the new song "Raiou," which opens Novela. On the album opener, Céu is joined by the esteemed MC and songwriter, LadyBug Mecca, from Digable Planets, whose parents are from Brazil. In "Gerando na alta," it's the turn of anaiis, a Franco-Senegalese singer and songwriter, based in London, England, to exchange impressions about sisterhood. Loren Oden and Jensine Benitez are the featured signers on "Into my Novela," which is also a collaboration between Céu and Lucas Martins. It is a play on the title and talks about the teledrama of everyday life, where there are no TV cameras recording actions, nor predefined scripts. "I am the protagonist of my Novela/ So good, yeah baby/ I want to learn how you want me/ To love you," sings Céu.

Within Céu’s Novela talented players contributed to the storylines held within the songs. Frankie Reyes, an American DJ and producer of Puerto Rican descent, adds to the harmony of the track "Buá Buá," wherein Céu owns the melody and lyrics as she sings: "Cry all the tears that one day/ You refused to cry/ Cry because you recognize/ That you won't find one of these." Hervé Salters, a French artist and leader of General Elektriks, co-producer of "Tropix," appears on "High na Cachú," whose verses by Céu say: "Cold sweet water makes me reborn/ While the stone calls me back to sit/ Retaining all the heat it kept from the sun/ I settle like a flower pollinating." Marcos Valle, a national treasure from Rio de Janeiro, co-wrote "Reescreve" with the São Paulo-born artist, Céu, which, at the end of the affectionate session, questions the perspective of colonizers in Brazilian history textbooks. "What was there/ I never believed in/ Every page I read/ Just made me more sleepy/ Since the peoples who were silenced/ The embers came to burn/ The truth comes to light/ It's too much material to work with." "Corpo e colo," the only track by outside collaborators, emerged from a collaboration between Nando Reis and Kleber Lucas. Recently, the acclaimed gospel artist and pastor of Igreja Batista Soul in Rio expressed his joy on social media, celebrating the upcoming release. "Another beautiful piece on the way. A wonderful partnership with my brother Nando Reis. I've just heard a preview of him singing, and I'm absolutely thrilled," he remarked.

On Novela Céu spins ancient technologies, healing, creamy harmonies, boleros, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides into a tapestry of sounds and story. The stunning new album showcases Céu's fearlessness and dedication to her craft, highlighting the complexity and beauty of her creative work. It also continues to push the envelope by adding new influences that elevate her ongoing commitment to representing the diversity of Brazilian music. 

Novela is due out on April 26th and will be available everywhere you stream music.

Céu's music has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival (CA), North Sea Jazz (NL), Coachella (USA), Roskilde (DK), Rock in Rio (BRA), and Lollapalooza (BRA). Notable performances include memorable appearances in Havana (Cuba) and Beirut (Lebanon). Renowned for her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil, and Emicida, Céu stands among the few Brazilian artists to grace the stage of BBC’s Later…with Jools Holland. 

Céu is widely regarded as one of the most influential Brazilian artists of her generation.  And she continues to enchant audiences in her native Brazil and touring worldwide, including a US tour kicking off this May.

𝒩𝑜𝓋𝑒𝓁𝒶 𝓉𝑜𝓊𝓇

• May 8 - Miami, FL - US
• May 10 - Orlando, FL - US
• May 12 - Atlanta, GA - US
• May 14 - Boston, MA - US
• May 15 - New York, NY - US
• May 17 - Montreal, QC - CAN
• May 20 - Toronto, ON – CAN
• May 21 - Chicago, IL - US
• May 22 - Minneapolis, MN - US
• June 22 – Porto Alegre  - BR 
• July 12 - Rio de Janeiro - BR
• July 17 – London - UK
• July 19 – Paris - FR
• July 20 - Châlons-en-Champagne - FR
• July 22 – Marciac – FR
• July 24 – Berlin - DE
• July 27 – Ribeira - ES
• August 16 - Brasília – BR

Trumpeter Etienne Charles Debuts as a Big Band Leader with "Creole Orchestra," featuring Rene Marie

Etienne Charles presents himself to the jazz world as an accomplished large-ensemble arranger with Creole Orchestra, set for a June 14 release on his own Culture Shock imprint. The album is the premiere of the titular band, 22 musicians strong and specializing in executing the Trinbagonian trumpeter’s elaborate charts.

Long hailed for his work as a trumpeter, composer, and improviser, as well as for his deep knowledge of rhythms from his native Trinidad & Tobago and around the Eastern Caribbean, Charles has mostly worked with small combos over his nearly 20-year career. He had written only a few pieces for large ensemble when vocalist Rene Marie tasked him with arranging for a full set of big band tunes to take on the road. 

That was “baptism by fire,” Charles recalls. “Okay, now I’m a big band writer.” And, as Creole Orchestra makes clear, he is a shrewd and inventive one. It’s not just anyone who can orchestrate both the classic swing anthem “Stompin’ at the Savoy” and Bell Biv Devoe’s new jack swing hit “Poison” with equal flair and crispness. Those are just two of the many dimensions Charles explores on the album. 

Marie herself is a featured guest, taking the vocal spotlight for four of the 13 tracks—including “I Wanna Be Evil,” Eartha Kitt’s theme song that was the centerpiece of Marie and Charles’s first collaboration (her 2013 album of the same name), as well as the jazz standard “Centerpiece” and two of her own originals. Rapper Brandon Rose and turntablist DJ Logic appear together on “Poison,” connecting Charles’s arrangement with the song’s hip-hop roots. 

The ensemble and its various soloists put in exemplary work as well. Lead trumpeter Jumaane Smith and trombonist Michael Dease both give standout performances on Monty Alexander’s reggae-spiced “Think Twice”; bassist Ben Williams wows with his soulful improv on the hard-swinging “Night Train”; while Charles, alto saxophonist Godwin Louis, and pianist Sullivan Fortner illuminate the leader’s calypso “Douens.” 

The real stars of Creole Orchestra, of course, are Charles’s sterling charts. “In many musical situations the Arranger has become the ghost,” he writes in the album notes. “One of the first working on a project and many times the last to be recognized.” No more.

Etienne Charles was born July 24, 1983 in Port-of-Spain, the capital city of the island nation of Trinidad & Tobago. Carrying the torch of Caribbean musical traditions in all their eclectic facets is, itself, a family tradition for the Charleses. Etienne’s father, Francis, was both a member of the Trinidadian steel band Phase II Pan Groove and the owner of a colossal record collection, and Etienne thus grew up soaking in music. He learned to play trumpet as a boy, and by high school he, too, was a member of Phase II Pan Groove. 

But jazz had gotten Etienne’s attention, and he moved to the United States in 2002 to matriculate at Florida State University—where he found his way to the celebrated pianist and educator Marcus Roberts, who became his mentor. He quickly gained not only a mastery of the jazz tradition, but the recognition to prove it. Charles placed second at the 2005 International Trumpet Guild Jazz Competition in Bangkok, Thailand, then took first place a year later at the U.S. National Trumpet Competition in Fairfax, Virginia. He was also awarded a full scholarship to The Juilliard School of Music, where he earned both a master’s degree and an entrée into the cutthroat New York jazz scene.

Charles not only survived but thrived in that scene, recording and performing with artists ranging from Maria Schneider to Wynton Marsalis to Rene Marie. He also made a striking impression as a leader, injecting his encyclopedic knowledge of Caribbean music and rhythms into an improvised jazz context. He recorded his debut album Culture Shock in 2006 and followed it with nine more, of which Creole Orchestra is the latest. 

Etienne Charles will be appearing at Berklee College of Music, Boston, 4/11; California State University East Bay, Hayward, 4/12; Wortham Center, Houston, 4/19 (world premiere of "Earth Tones"); Omaha (NE) Performing Arts, 4/26; The Townhouse, Los Angeles, CA, 5/2; Mt. Hood Jazz Festival, Portland, OR, 5/4; Le Taquin, Toulouse, France, 5/11-15; Spoleto Festival, Charleston, SC (w/ Terri Lyne Carrington New Standards), 5/26; SFJAZZ Center, San Francisco (w/ Rene Marie), 6/10; Dizzy’s, NYC, 6/14-16; Fête de la Musique, North Beach Bandshell, Miami Beach, FL, 6/21; Caramoor Festival, Katonah, NY (w/ Rene Marie), 7/18; Carlyle Room, Washington, DC, 7/26; Riverside Center for the Arts, Fredericksburg, VA, 7/27; JAS Cafe, Aspen, CO, 8/10; Missy Lane’s Assembly Room, Durham, NC, 10/11-12. 

Bobby Broom's New Album Features Ben Paterson & Drummer Kobie Watkins | "Jamalot"

Acclaimed guitarist Bobby Broom makes a welcome return to one of his longtime favorite formats—the jazz organ trio—with Jamalot, a live album and the second by his Organi-Sation, to be released May 24 on Steele Records. While the trio (which also features organist Ben Paterson and drummer Kobie Watkins) debuted on record with 2018’s Soul Fingers, they have been a working band for much longer; the new release features performances going back 10 years. 

Actually, Broom’s infatuation with the Hammond organ goes back to his youth. It first bore professional fruit in his twenties, when he joined the band of the legendary Charles Earland. A decade later, in the 1990s, he founded the Deep Blue Organ Trio, which continued working into the 2010s. “I thought after the Deep Blue Organ Trio that I would never feel anything quite like that in terms of chemistry,” Broom says. “And boy was I wrong. It was really incredible to me how much this new group jelled, and the level of music that we were able to play.” 

Even a cursory listen to Jamalot’s eight familiar jazz and pop tunes is enough to confirm the rapport he describes. The opener, Stevie Wonder’s “Superstition,” offers up a reservoir of groove so rich it might take even Wonder by surprise. If anything, that’s even more true of the Kurt Weill standard “Speak Low”: Already simmering from the start, the band quickly escalates to a frenetic boil. When they slow things down on “Tennessee Waltz,” the result is a smooth current of soul that the listener can ride blissfully across the song. Even one of the most well-worn staples of the organ repertoire, “House of the Rising Sun,” unearths new, funky realms for the musicians to explore.

And explore they do. As irresistible as their grooving interplay is, it’s rivaled by the exciting improvisations the three musicians unleash. Broom drenches The Beatles’ “Long and Winding Road” in the mud of the Mississippi Delta; Paterson discovers a heretofore unknown gospel stratum in Eric Clapton’s “Layla”; and Watkins threatens to turn “The Jitterbug Waltz” into a wild frenzy of rhythm and ecstasy. On Jamalot, Broom’s long-enduring love for the organ combo is palpable—and, better still, co

Bobby Broom was born January 18, 1961, in New York City. From as early as he can recall, he loved music: just music, style and label notwithstanding. But in his early teen years, the Herbie Hancock and Grover Washington records he heard on the radio had put a new kind of hook into him; the deejays called them “jazz.” By the time he was 16, Broom was attending New York’s prestigious High School of Music and Art and gigging with pianist Al Haig; at 21, he was touring with Sonny Rollins. 

By that time, Broom had also signed with GRP Records and recorded 1981’s Clean Sweep, which (along with 1984’s Livin’ for the Beat) was a crossover jazz success. But rather than settle into a comfortable career in the emerging genre of “smooth jazz,” Broom took the road less traveled: He left the New York scene behind and established himself in Chicago. 

In the 1990s Broom formed the Deep Blue Organ Trio and recorded two quartet records before deciding to make a guitar-bass-drums trio his primary outlet. He solidified a lineup with bassist Dennis Carroll and drummer Kobie Watkins with 2006’s Song and Dance. But a chance to go on tour in 2014 with Steely Dan, coupled with the passionate advocacy of his then-drummer Makaya McCraven, brought Broom back to the soulful Hammond organ sound he loved.

Thus it was that the Organi-Sation was born, with Broom enlisting noted organist Ben Paterson (r.) and Watkins (l.) to develop the band’s joyful sound. After four intensive years, that sound was finally documented on 2018’s Soul Fingers. The live compilation Jamalot, however, demonstrates that the trio’s empathy and deep pocket were present from the very start.

Madeleine Peyroux | "Let's Walk"

Acclaimed jazz singer, songwriter and interpreter Madeleine Peyroux will release Let’s Walk, her first album in six years, on June 28th. The new songs present sides of the artist only touched on in the past. The collection is her most diverse, intimate and bold work as she shares thoughtful and revealing views on personal and societal concerns. Peyroux offers hope through understanding and community by using one of our most unifying means, music.

Let’s Walk is Peyroux’s ninth album and the first in which she co-wrote every song with longtime collaborator Jon Herington. As evidenced from her new single “Please Come On Inside”, Peyroux has empathy and wisdom to impart. While many of us have lost a connection or a relationship with someone close due to these polarizing and divisive times, Peyroux offers a way back through compassion and kindness.

Stylistically, Let’s Walk may be Peyroux’s most varied yet cohesive collection thus far. She incorporates elements of jazz, folk, gospel blues, Americana, chamber pop, Latin rhythms and a little playful humor into the mix. The songs are interwoven around contemplative, observational and confessional narratives, making it the deepest and most substantive album of her illustrious catalog.

The title track was inspired by the mass mobilization of everyday people standing up and unifying for civil rights around the world in 2020. The stunning “How I Wish” is soul-searching awakening in response to the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery. On “Nothing Personal,” she addresses sexual assault – both her own, and countless others, with her aching and poignant vocals.

As much depth and soul searching as Let’s Walk presents, there is a lighter side as well. The playful “Me and the Mosquito” features a Caribbean-infused rhythm and vocal as Peyroux tackles the ever-elusive pest that will not let her sleep at night. She closes the album with a humorous, while somewhat serious advisory, via the tongue-in-cheek, speedy spoken-word track “Take Care”, inspired by the dub poet and activist Linton Kwesi Johnson.

Let’s Walk finds Madeleine Peyroux in the most freely creative place of her celebrated career. With eight albums and worldwide acclaim, she refuses to stand still as she arrives at a new artistic and creative plateau. True artists always continue to move forward, much like the album title suggests.