Samuel Torres | A Dance For Birds

With a New Jazz Works Grant from Chamber Music America in his pocket (Torres holding the distinction of being a three-time recipient of the award), Latin Grammy-Award winning percussionist and composer from Bogota, Colombia, Samuel Torres has brought a long-time musical vision to life with his latest tour-de-force, A Dance For Birds. 

A Dance for Birds, to be released on May 24, is a nine movement suite composed by Samuel Torres, and expertly interpreted by his Latin Chamber Ensemble, featuring the Bergamot String Quartet. The suite of music tells a story of migration with the congas (the bird) as the narrator. Torres brings Afro-Latin rhythms, jazz and classical music together into a new realm, defying musical stereotypes and expanding the horizons of what chamber/classical music can be, and what Latin and jazz can be. Apparently, the sky is the limit for birds, and for Samuel Torres. 

A Dance for Birds was commissioned by Chamber Music America through the New Jazz Works Grant and premiered at Lincoln Center in September of 2023. The recording pays homage to Cuban rumba, American Jazz, Colombia’s Currulao and Cumbia, and contemporary classical music. It fosters a dialogue between the congas and the chamber ensemble, representing the shared African heritage between the Americas while dancing with European traditions. The suite is a reflection on traditions and cultural celebrations, emphasizing the strength derived from unity and collaborative expression while expanding into new musical landscapes. 

This symphonic journey, encapsulated in A Dance for Birds, resonates as a reflection of the migrant's story, immigration, and the associated struggles. Yet, in its essence, the interpretation of this musical narrative remains subjective. As Torres stated, "I want listeners to feel the joy of unity amidst the complexities of migration. Let the music take you on a journey, and discover the message that resonates with your own soul."

More on the music on A Dance For Birds:

In the hands of Samuel Torres, a much-sought after collaborator who has worked with the likes of Yo Yo Ma, Paquito D’Rivera, Chick Corea, Tito Puente, Lila Downs, Angelique Kidjo, Marc Anthony, Rubén Blades, Cecile McLorin Salvant, Bridget Kibbey, and his country’s own international superstar, Shakira, the Congas are taken on profound journey in sound, encapsulated in the initial movement of A Dance For Birds, “From Stillness.” The subsequent movement, "Horizons Take Wings," (featuring Troy Roberts) pays homage to the Cuban Rumba, a heartfelt tribute resonating with the rhythmic vitality of Cuban heritage. "Conversations," (featuring Alex Norris), delves into struggles and disagreements, grounded in the Currulao Rhythm from the Pacific Coast of Colombia. This movement initiates a compelling dialogue between the congas and the drum set (featuring Jimmy Macbride), symbolically representing the African heritage bridging the two Americas. 

"Attraction" (featuring Ricky Rodriguez), is a harmonious tribute to the love songs of the Americas, intricately weaving European musical influences from the 19th century into a dreamscape of love beyond reality. "Expanding Spaces" (featuring Ahmed Alom) encapsulates the contemporary urban melting pot experience, as if György Ligeti met Tito Puente, evoking a rich interplay of tension and expectations. 

"The Song," inspired by Torres' exploration of the Caribbean coast and indigenous communities, mirrors the sounds of the natural surroundings through the Cumbia and Bullerengue tradition. The melody traces its origins to the bird sounds of the Tayrona (Colombia's National Park in Santa Marta), drawing parallels with Olivier Messiaen's early piano works that transcribed bird calls/songs. Here, Torres initiates a dialogue between the bird songs of Tayrona and Messiaen birds, symbolizing the migration of hand drums, particularly the congas, from Africa, across the Americas. 

"Shall We Fly," a tribute to personal family traditions, embracing influences from European traditions, incorporating the Andean Bambuco alongside the unmistakable sounds of Maracas Llaneras from the plains of Colombia and Venezuela. Melodic nods to family traditions and "classical" string quartets intertwine, creating a harmonious blend. 

"The Gathering," as its name says, is a call from the main bird, the congas, to the others to unite in a sound meditation, inspired by Pauline Oliveros' Deep Listening experience. 

The movement titled "Strength in Unison" emerges as a celebration and dance choreography, inspired by the music of the carnival of Barranquilla. This movement becomes a jubilant manifestation of unity across diverse cultures and traditions. Torres, through this composition, accentuates the strength found in collective collaboration.

Rose Brunello | Senseless Acts Of Love

Rosa Brunello's new album, ‘Senseless Acts Of Love’ on Domanda Music, is a beautiful testament to the power of music. The album brings together an incredible fusion of talent from jazz and experimental music; collaborating with brilliant artists such as Yazz Ahmed, Tamar Osborn, Maurice Louca, Marco Frattini, Enrico Terragnoli, and Luca Tapino, Brunello takes us on a journey through love and exploration.

‘Senseless Acts Of Love’ encourages listeners to embrace a more conscious and sustainable approach to exploration. It inspires us to connect deeply with the world we inhabit and appreciate the diverse cultures that coexist within it. This album captures the essence of unity, with collective improvisations and serendipitous moments of sonic synchronization.

The concepts of synchronicity and collectivity come together, promoting global connection, musical harmony, and simultaneously human harmony. The album highlights the importance of empathy, compassion, and shared experiences. The music aims to evoke a sense of unity, with collective improvisations and moments of both perfect and accidental simultaneity. Furthermore, the record incorporates the concept of slow travel, encouraging listeners to embrace a more mindful and sustainable approach to exploration. It seeks to inspire savoring the journey itself, appreciating the colors, shadows, and lights that accompany the path, painting a picture of train journeys, nocturnal dreams, and long sea voyages, emphasizing the beauty and meaning of contemplating intermediate moments and appreciating the connection between different places, cultures, and languages. Following the flow of things that resonate within us, doing what feels right, embracing one's own singularity while considering collectivity, lies at the heart of this album. Creating outside the box, composing twisted and oblique musical structures means thinking for oneself. But the ultimate goal is to celebrate our individuality using empathy. This is also the motto of Domanda Music. Empathy is the tool through which the individuality of musicians, and therefore of the world, is celebrated, because everyone is given a free voice.

Rosa recounts, "In recent years, I began to travel a lot for work, to places increasingly far from home, and having to fly frequently. I often wondered what I could do to be more sustainable. It’s a topic I find myself discussing with people who are particularly sensitive to climate change. What if I resumed another way of traveling, slowly savoring the journey in all its lights, shadows and colors? Maybe with a night train: falling asleep at night and waking up in the morning at destination, connecting two cities through a dreamlike experience. Or maybe by boat, on a journey that takes you to distant ports. This way you really have time to understand what you leave behind and what you are heading towards, enjoying the journey and what's in between.

In May 2022, I released my fifth album as a leader, "Sounds Like Freedom," with Los Angeles record label Domanda Music. It was recorded in September 2021 in Verona, Italy with Yazz Ahmed, Maurice Louca, and Marco Frattini, some of my favorite musicians with whom I have had the pleasure of working recently. From the studio session, we immediately felt a great connection musically and personally. Every concert after that was pure magic, co-creating different ideas each time, yet maintaining the structure of the album along with moments of improvisation. Since then, I felt the necessity of expanding the musical family by including in the group English composer and saxophonist Tamar Osborn and Italian guitarist Enrico Terragnoli. Tamar and Enrico entered the project as if they had always been part of it, interpreting the music with their unique and creative voices. The lineup for Sounds Like Freedom thus began to change shape, becoming an extended musical family. There was a natural desire to return to the studio to record a new musical chapter, by expanding the horn section to trumpet and flugelhorn, flute and baritone sax and trombone with the addition of trombonist and composer Luca Tapino, already a guest on the first album. We went into the recording studio in March 2023: two intense and wonderful days, full of beautiful music and joy. We wanted to maintain the idea that had accompanied us from the beginning, namely recording collective improvisations and some original compositions, with the direction of Tommaso Cappellato who joined us from Los Angeles for the artistic production."

Jane Scheckter | I'll Take Romance

JANE SCHECKTER is a mainstay on the New York City music scene. A Bistro Award winner and a five-time MAC award nominee, she has been wowing audiences with her velvet voice at major New York venues, including Birdland, Birdland Theater, the Metropolitan Room, the Iridium and Lincoln Center Jazz at Rose Hall. Stephen Holden of The New York Times wrote of her “bright, clear voice with a brassy edge and a luscious, rounded vibrato, meticulous phrasing, a sultry lower register...and she swings!” Scheckter is now releasing her fifth album, I’LL TAKE ROMANCE, a collection of 17 tunes from the Great American Songbook and beyond.

 Scheckter always attracts some of the top musicians from both coasts to join her on stage and on her recordings. On her previous album, Easy to Remember, she is accompanied by Tedd Firth, Jay Leonhart, Peter Grant, Bucky Pizzarelli, Warren Vaché, Harry Allen, Aaron Weinstein and guest artists Tony DeSare and Gil Chimes. For VI’LL TAKE ROMANCE, she once again brought on board her old friend, TEDD FIRTH, as the musical director, pianist and arranger, bass player JAY LEONHART, and drummer PETER GRANT, as well as renowned cornetist and flugelhorn player WARREN VACHÉ. She also sings a duet with the young vocalist and rising star, NICOLAS KING. 

A native of Springfield, MA, Scheckter showed her musical talent early in life, singing and playing the piano from age five, and adding the violin at nine. She began performing on stage at various venues in New England with her father, a harmonica player who headlined theaters across the country. She has been singing ever since. Her first two albums, featuring Mike Renzi, Jay Leonhart and Grady Tate, I've Got My Standards (DRG) and Double Standards (Doxie), elicited raves from the critics. Downbeat Magazine praised her "Ella-styled artistry," and the New York Daily News cheered "a brilliant star." Her third album, In Times Like These, drew praise from Rex Reed, who wrote, "Great CD, beautifully performed. Jane Scheckter has done a marvelous job of demonstrating, once again, that all is not lost if we can still find love and hope...in times like these." 

Scheckter is a multi-talented artist. She is not only a talented singer, but she is also an accomplished fashion designer and theater performer. Although her heart was in music, her parents persuaded her to have a career to fall back on, so she attended Pratt Institute, where she majored in design and starred in most of the campus’ theatrical show. 

After graduating, she immediately found work as a fashion designer on Seventh Avenue and in Milan, Hong Kong, and New Delhi. Her designs were featured in the leading fashion magazines and modeled by the likes of Lauren Hutton. She started singing in New York clubs at night while holding down her design job by day.   

She would take long lunch hours to rehearse with her accompanist, an up-and-coming pianist named Barry Manilow, who played and sang backup on her early demo records. Scheckter sang backup on Could It Be Magic, Manilow’s debut album. 

Scheckter also appeared in "Taking Off," Milos Forman’s first U.S. film, along with other unknowns, Carly Simon and Kathy Bates. But singing remained her first love, and despite her burgeoning career as a fashion designer, she said goodbye to the fashion world and concentrated solely on music. 

It did not take long for her to find her footing in the music world with appearances in New York and Los Angeles. She also toured the world as one-third of Tuxedo Junction, the vocal trio that had the number one disco album in 1978. She made guest appearances on American Bandstand, Dinah Shore, Midnight Special, Disco Fever, and the Jerry Lewis telethon from Las Vegas. 

These days, Scheckter sings regularly in New England, Paris (Le Bilboquet, La Villa, Café Laurent) and on the Cote d’Azur, where she launched and performed for two years at the Majestic Hotel’s Cannes Jazz in July series, is a frequent performer at the Royal Jazz Lounge in Antibes, and Vegaluna, Cannes, and was featured for two years at the National Fête de la Musique celebrations in Valbonne and Biot. 

I’LL TAKE ROMANCE comprises smart, cosmopolitan love songs that have been covered by many artists over the years. But Scheckter breathes new life into these chestnuts with her warm voice and conversational style, creating the perfect confluence of sophistication and emotional depth. 

Scheckter infuses every song with swing, whether it is a ballad like “Isn’t It a Pity” or the lovely vocal/piano duets “If Love Were All” and “What Are You Doing the Rest of Your Life,” or gentle mid-tempo swingers like “A Beautiful Friendship,” featuring Vache’s distinctive cornet, or “Love I Hear,” from Stephen Sondheim’s score from A Funny Thing Happened on the Way to the Forum, featuring a scat solo by bassist Leonhart. She also includes one song with all original lyrics. Her old friend, Mickey Leonard, who passed away in 2015, wrote an instrumental tune called “A Song for Bill Evans.” During the pandemic, Scheckter asked Roger Shore, a New York-based lyricist, to write words to the song about people who pass through our life and change it forever. Scheckter also contributed lyrics to the song, which she renamed “Looking Back.” 

Rather than choose songs that are world-weary or filled with unrealized longing, Scheckter, who has been married for over 40 years, chose songs that reflect the maturity and insight garnered from a long, happy marriage. With Scheckter’s subtly sultry voice backed by superb musicians, I’LL TAKE ROMANCE shows that some love songs, like love itself, have a timeless quality. 

Sonny Rollins | Freedom Weaver: The 1959 European Tour Recording

Resonance Records, the award-winning home of archival jazz treasures, will proudly present a new, fully authorized live collection by tenor master Sonny Rollins, Freedom Weaver: The 1959 European Tour Recordings, as a limited edition four-LP set released for on Record Store Day, April 20. 

Never before issued as a legitimate release, these much-bootlegged sides—which feature Rollins, at the height of his early powers, with bassist Henry Grimes and drummers Pete La Roca, Kenny Clarke, and Joe Harris—will subsequently reach stores as a three-CD set and digital download edition on April 26. 

This stunning package captured at Rollins’s concerts and radio and TV appearances in Sweden, Switzerland, Holland, Germany, and France in March 1959 succeeds Resonance’s first fully authorized music drawn from the Dutch Jazz Archive (NJA), 2020’s Rollins in Holland, a widely praised collection of 1967 live dates.

The LP edition of Freedom Weaver was mastered for 180-gram vinyl by Bernie Grundman. The deluxe booklet for both configurations will include detailed notes by the Grammy-winning writer Bob Blumenthal; a new interview with Rollins; thoughtful tributes from fellow tenorists Branford Marsalis, Joe Lovano, James Carter, James Brandon Lewis, and the late Peter Brötzmann; and rare photographs by Ed van der Elsken, Jean Pierre Leloir, Bob Parent, and others.

Resonance co-president and producer Zev Feldman says of the forthcoming set, “In the spring of 2022, I spoke to Sonny about the possibility of releasing what I regard as very important recordings which have only been available until now as unauthorized releases: these masterpieces recorded during Sonny’s European tour in 1959. It’s a crime that Mr. Rollins has never been paid for bootleggers’ exploitations of his work. With this release, we at Resonance are taking another step to ameliorate the wrongs committed by those who would misappropriate the creative output of this magnificent artist.”

The famously exacting Rollins told Feldman, “Listening to older recordings of myself years after they were made, I tend to be self-critical. I’m always trying to get better. But on these recordings, I was in a good mood, and some of the places we played I hadn’t been to before. I was uplifted because I was appreciated there. Everything seemed to be happy within the groups and in the performances. It was all very positive and I’m actually very happy that Resonance has gotten together with me to put them out. I think they add to who I am and what I’ve done.” 

In a 1961 letter quoted in Aidan Levy’s monumental 2022 biography Saxophone Colossus, Rollins said of his European experience, “This tour proved to be most educational in several ways. For not only did I realize for the first time (and firsthand) the genuine respect and admiration with which jazz is received, but I also learned an important biological lesson: That…there is a true brotherhood of all people!” 

In his notes, jazz scholar Blumenthal views the ’59 shows as a culminating event for the artist: “It was not until the spring of 1957…that he attempted an entire session with just bass and drums in support. The resulting Contemporary Records album Way Out West, promoted as an all-star conclave of Rollins and perennial poll winners Ray Brown and Shelly Manne, became an instant classic, but it was no fluke. Rollins reveled in the harmonic freedom afforded by the absence of a comping piano or guitar, and in the months that followed produced two additional trio masterpieces, A Night at the Village Vanguard on Blue Note (primarily with Wilbur Ware and Elvin Jones) and Freedom Suite on Riverside (with Oscar Pettiford and Max Roach). This unintended triptych…defined what came to be Rollins’s preferred working format, the one he chose to employ when he made his first European tour in February and March of 1959.”

Rollins’s deep impact on succeeding generations of saxophonists is delineated in the interviews conducted by Feldman expressly for Freedom Weaver.

Marsalis says, “I was about 24 the first time I actually HEARD Sonny; HEARD what he was playing. At that time, I was figuring out who I wanted to model my playing after, and Sonny led me to thinking more in sonic terms, rather than harmonic terms. I tried to sound like Sonny, as much as I could. I listened to Sonny religiously for eight or nine months.”

“For me, Sonny was his own style,” says Lovano. “It was like the Sonny Rollins School of playing. And he played with so much love of the music that he was exploring and, in a way, channeling. He was channeling ideas that were fueled by the music that he loved and that he listened to. And also, by players he absorbed in his young life coming up—Coleman Hawkins and Charlie Parker and singers and the blues. He developed a way of playing that combined of a lot of elements.

Carter says of the master’s all-encompassing style, “I could hear Trane. I could hear Hawkins and Bird in his playing simultaneously. It was like an apparition that would just shift around and morph at certain times. There were rapid passages. You could hear Bird and Hawk, and then sometimes when he’s getting jagged or whatever, you could hear an exaggerated version of Hawk and Bird. It would just come out and then all of a sudden go back, then come back out as a Bird apparition and then a Hawk apparition, and they would come together. It was just continuous. Just listening to him head-on was a revelation in and of itself: here’s somebody who really coalesces, has all the tradition together and was still building upon it and had inexhaustible ideas.” 

The new millennium star Lewis notes, “Sonny Rollins is a motivic genius. He’s a jazz equivalent of Bach, really. He can develop anything. For me, you could take any little fragment of Sonny’s and turn it into your own composition.” 

In an interview held just eight months before his death, the German free jazz giant Brötzmann offered deep gratitude to his masterful forebear: “I always said to my colleagues here, ‘Man, Rollins is my man.’As an artist, you have to find your own way, your own language, your own way of moving through the world. Sonny Rollins’s example served as a great inspiration, a teacher for me to propel me to develop my own stuff, my own language. I looked to Sonny for that inspiration.”

Madeleine Peyroux | Let's Walk

Singer and songwriter Madeleine Peyroux has released a touching video for her new track “Showman Dan,” which appears on her forthcoming album Let’s Walk (out June 28th on Thirty Tigers).

Peyroux wrote the song in honor of her longtime friend and mentor Daniel William Fitzgerald, aka Showman Dan, who passed away in 2017. The video features performance footage, joyful home movies and personal photos honoring the charismatic and giving entertainer. The moving tribute shows Showman Dan through years performing all over and collaborating with up-and-coming musicians, including a young, yet-to-be-discovered Peyroux. 

From 1975 until his death, Dan toured across the US and Europe as the leader of the Lost Wandering Blues and Jazz Band. They performed just about everywhere and anywhere, including the streets, public squares, the underground, small theatres, jazz clubs and even the private homes of royalty. Dan had a profound impact on Peyroux as an artist and as a human being, which cannot be overstated. 

“There’s so much living to discover in the telling of a life and so many ways to tell a life story, but here are just a few simple facts about Danny,” says Peyroux. “He was not ‘famous,’ though he has thousands of friends all over the world who still mourn him. And he was not a ‘musician,’ though he taught hundreds of people how to play music. He was not much of a father to his only son, though he is known as the godfather of buskers to many, including me. We met in Paris, France in 1989. He lived on a barge outside of the city, full of hats and coats, art pieces made from found objects, a pump organ, guitars, espresso pots, a dentist chair, lamps made from the bottom halves of mannequins, a portrait of Big Maybelle, photos of friends, and of course people: everyone was welcome to stay on the boat if they needed to. I was homeless and penniless and difficult and a child and arrogant and a budding alcoholic. He took me in. He gave me a job and a home and a second family. He sang and taught the music of Bessie Smith, Jimmy Reed, Fats Waller, Billie Holiday, and so many others.” She concludes, “Danny was my friend, my teacher, and oftentimes, my father. He would challenge the rebel in me with, ‘Who are you supposed to be?’ If he were to ask me now, I’d say, “I’m yours.” 

Madeleine Peyroux Tour Dates

• April 20-21 – St. Louis, MO – City Winery
• April 24 – Minneapolis, MN – The Parkway Theater
• April 26 – Iowa City, IA – Englert Theater
• April 27-28 – Chicago, IL – City Winery
• May 1 – Kent, OH – Kent Stage
• May 2 – Columbus, OH – Cbus
• May 4 – Easton, MD – Avalon Theater
• May 5 – Alexandria, VA – The Birchmere
• May 7 – Ridgefield, CT – The Ridgefield Playhouse
• May 10-11 – New York, NY – Sony Hall
• May 12 – Philadelphia, PA – Zellerbach Theatre
• May 14 – Homer, NY – Center for the Arts Homer
• May 16 – Northampton, MA – BOMBYX Center for Arts & Equity
• May 17 – Boston, MA – The Wilbur
• May 18 – Patchogue, NY – Patchogue Theater

Emiliano Lasansky | The Optimist

Emiliano Lasansky’s melodies have the potential to simultaneously serve as vehicles to memories and past experiences, and to evoke optimistic anticipation for the future. Lasansky elaborates, “my work attempts to unify elements of the past and present in exciting and unexpected new ways. I also strive for my work to be accessible to a wide audience with hidden layers of subtlety for those that desire to take a closer look.”

 

The title track, “The Optimist,” mirrors life, presenting the soloist with trials and tribulations challenges, and rewards, with sections of challenging chords, creating harmonic adversity for the soloist, followed by open sections where the soloist can improvise freely and celebrate. This composition also reflects a core part of Lasansky’s identity. “L.P.’s Tune” pays tribute to Lasansky’s father who passed away in 2020. It celebrates his life, his unwavering support of the young musician’s endeavors and pursuits, and the deep love of music he passed on to his son.

 

“Dependence” is a modern jazz gem that leaves you with the feeling one might have after spending time with a dear friend. It is about the positive aspects of the word, the essence of reliance, celebrating the diverse elements that shape our identities. This is reflected in the energetic solos that sparkle with the warmth of friendly banter and camaraderie amongst the musicians. In 2017 & 2018 Lasansky attended the Betty Carter Jazz Ahead Program, led by preeminent pianist, Jason Moran, who left a big impression on Lasansky, which led to “Follow The Thread.” Lasansky explains, “Jason said something to the effect of ‘get out there and do your thing. If you get lost, turn around and grab onto the thread of what music has come before you and then turn back around and follow that thread into the future.’ When I was writing music for this project, I knew I wanted to write something in a slow three and many of the things I was coming up with just fell short. Jason’s words kept rolling through my mind coupled with how an idea that one needs to be fearless and authentic to truly speak their mind. I ended up going back and checking out tons of recordings by my favorite artists and a picture started to come together for the song.”

 

Other highlights on The Optimist include “Fountain Of Youth,” which began with a assignment from none other than Herbie Hancock himself, to compose music based on experiencing, and being inspired by your environment. “Young Corn” (featuring vocalist Genevieve Artadi) draws inspiration from a Grant Wood painting of the same title. “In 2018 I went to see the Grant Wood retrospective at the Whitney Museum in NYC. Wood is an artist who is from near where I grew up in Iowa and lived around the corner from where my father grew up. Many of his paintings depict the rolling hills and prairie scenes of my home state Iowa. I was inspired when I saw painted scenes from where I grew up and imagined what music might accompany some of those images. This inspired me to write ‘Young Corn.’ The song takes on the character of open, expansive prairies, drawing sonic influence from composers like Aaron Copland, Maria Schneider and Pat Metheny (two of whom are from areas near me in the Midwest). The lyrics tell the story of being sure- footed in one’s pursuit of happiness and are meant to evoke a sense of honesty and optimism,” explains Lasansky.

 

With The Optimist we find ourselves under the spell of a fully-fledged, modern day composer making great strides, and frankly, hitting it over the wall on his first at-bat. We can enjoy his wonderful, emotive melodies, and his ensemble elevating each composition to works of art, which remind us of the greatness and love in all of us, the joyful and sorrowful times of our lives, and the importance of having excitement and optimism for our future.

Jazz Ensemble Of Memphis | Playing In The Yard

The storied musical city of Memphis, Tennessee presents its delegation to the rising generation of cutting-edge jazz artists with Playing in the Yard, the debut recording by the Jazz Ensemble of Memphis, hitting April 5 on Memphis International Records. An answer record to the revelatory 1959 album Down Home Reunion: Young Men from Memphis, the new album comprises a summit of five of the city’s freshest jazz talents, here playing together for the first time. (Playing in the Yard is available on CD as well as blue vinyl.) 

The original album was a milestone for the Bluff City. It introduces the larger jazz world to the best and brightest of Memphis jazz musicians, many of whom would become world-renowned figures in their own rights: Booker Little, George Coleman, Frank Strozier, Jamil Nasser, and Phineas Newborn, among others. But if those players were young—Little, the baby of the assemblage, was almost 21—the new Jazz Ensemble of Memphis is younger still. Drummer Kurtis Gray and trumpeter Martin Carodine Jr. were 17 and 19, respectively, at the time of recording; tenor saxophonist Charles Pender II is at 26 the band’s elder statesman, with 25-year-old keyboardist/vibraphonist DeAnte Payne and 21-year-old bassist Liam O’Dell rounding out the lineup. In addition to their first time playing together, Playing in the Yard documents the young artists’ first time in a recording studio.

But their youth is deceptive. Each of the musicians plays with a finesse and perception beyond his years. If their age shows through, it’s only in their seemingly boundless energy and enthusiasm. “There’s a lot of joy in the recording,” adds David Less, the producer who spearheaded the project. “They’re playing for the love of the music and that comes through every note.”

Both the love and the sophistication are heard throughout the album, whether in Pender’s gravitas-filled solo on “When You Wish Upon a Star,” the lowdown blues of Payne’s vibes on “The Crawl,” or Carodine’s old-soul trumpet voice on “Things Ain’t What They Used to Be.” Yet there’s still plenty of room for exuberance, perhaps best captured in the sinuous reinterpretation of the classic “A Night in Tunisia,” on which everyone but the bassist contributes a sly solo, and the funky Sonny Rollins–penned title track, where Payne (on Fender Rhodes), O’Dell, and Pender each submit improvisations stacked with exclamation points. Their enjoyment is contagious, their music brimful of exciting promise. Special guest Jim Spake, a Memphis saxophone mainstay, is heard on soprano sax on the title track.

The Jazz Ensemble of Memphis is the fruit of a conversation between father and son Johnny and Jeff Phillips (nephew and great-nephew of Sun Records’ legendary founder Sam Phillips) and veteran music entrepreneur, critic, and producer David Less. The talk centered on the 1959 United Artists album Down Home Reunion: Young Men from Memphis, which had in its time broken some of the city’s hottest young jazz players to a national audience. The Phillipses commissioned Less—the former owner of and current producer for Memphis International Records, now owned by Jeff Phillips—to organize and produce a recording session that would serve as simultaneously a sequel and an update to the original album.

A keen observer (and discerning ear) of the local scene, Less rounded up a remarkable quintet of gifted players between the ages of 17 and 26. They included University of Memphis alumni Charles Pender II (tenor saxophone) and Liam O’Dell (bass); Martin Carodine Jr. (trumpet), a Memphian currently studying at the University of Miami; and two young Memphis natives and residents, Deante Payne (keyboards, vibraphone) and Kurtis Gray (drums). While the five had never played together, says Less, “It’s amazing how well they melded as a band.” 

The fire and polish of Playing in the Yard bears witness to that melding. “These kids are bringing that excellence to fore,” says saxophonist and Memphian Kirk Whalum in the album’s liner notes, “with that unmistakable Memphis seasoning which sets them apart, and in the rarefied air of other Memphis giants.”

New Music: Russell Thompkins, Jr., Lenny Williams, Alex Harris, Richard 'Dimples' Fields

Russell Thompkins, Jr. - Riding Solo

SoulMusic Records-Digital in association with Platinum Garage Recordings is very excited to present “Riding Solo,” a brand new album by the iconic Russell Thompkins, Jr.  whose distinctive vocal style graced such classic hits as” You Are Everything”, “Betcha By Golly Wow”and “People Make The World Go ‘Round” as the original lead singer of The Stylistics.  With primary production by Preston Glass and three tracks produced by The Steals Brothers & McKinley Jackson, “Riding Solo” is a powerful addition to Russell’s musical legacy. Songs include "Little Green Apples," "Could It Be I'm Falling In Love," among others.

Lenny Williams - Chill

Vocalist Lenny Williams joined Tower of Power in 1972 after releasing singles as a solo artist on Fantasy, Galaxy, and Atco Records. His first release with the band was their self-titled, third album, which went Gold. After two albums with the group, Williams returned to his solo career - releasing albums through to the end of the 1970's on Warner Bros. Motown, ABC and MCA Records. Material from those albums became a hotbed for sampling decades later by Kanye West, Mobb Deep, Scarface, Young Jeezy, and others. In 1986, Williams was recruited by award winning producer Preston Glass to sing lead vocals on a track by jazz artist Kenny G. The track, 'Don't Make Me Wait for Love', hit #15 on the pop charts, and the album, 'Duotones', went on to sell over five million copies in the US. Lenny would reconnect with Duotones producer Preston Glass in 1994 for a new album - 'Chill'.

Alex Harris - Back To Us

The timing couldn’t be better for the emergence of an exciting new soul star and Alex Harris delivers the goods with heart stopping emotion, a powerful voice and radiant good looks leading to rave reviews. From Sharon Jones & The Dap Kings to Durand Jones & The Indications and Leon Bridges, classic soul music has been a growing part of the contemporary music landscape. Alex’s debut album, ‘Back To Us’, is an impressive mix of original tunes and astute covers recorded with soulful funksters Monophonics in Nashville. Highlights include stunning versions of Otis Redding’s “I’ve Got Dreams To Remember” and Solomon Burke’s “Cry To Me,” Kevin Welch’s “Millionaire” and Alex’s co-written originals “Falling For You” and “Something’s Gotta Change.

Richard 'Dimples' Fields - The Albums 1980-1985

This package kicks off with ‘Dimples’ the first album he recorded after being signed to Boardwalk by Neil Bogart, who had previously run Casablanca Records, the home of Donna Summer and Parliament among others. Bogart had a lot of faith in his talent after spotting him on American Bandstand and his industry clout positioned Dimples to attract a wide, mainstream audience far beyond his previous cult independent LPs. The standout that looms large on ‘Dimples’ is ‘She’s Got Papers on Me’ which sounds much like a stock soul ballad of the day: lush and pretty, with swooning background vocals and a sincere lead, but Dimples isn’t serenading a love, instead, he’s complaining that he’d rather be with his mistress than with his wife who, unfortunately, holds that pesky marriage license (the “papers” in question). Ironically, it was never released as a single. ‘Dimples’ was followed with the ‘Mr Looks So Good’ album, the lead cut ‘If It Ain’t One Thing It’s Another’ was his breakthrough track, reaching #1 on the R&B Chart and cracking the Top 50 on the Billboard chart. The ‘Give Everybody Some’ album followed featuring the singles ‘People Treat You Funky (When Ya Ain’t Got No Money)’ and ‘Don’t Ever Stop Chasing Your Dreams’. After leaving Boardwalk, Dimples signed with RCA and recorded the album “MMM…” the label put its weight behind the glossy, uptempo, and double infidelity-themed ‘Your Wife Is Cheatin’ on Us’ which peaked at #32 in the R&B chart. On the follow up album ‘Dark Gable’ Fields simply became Dimples for the standout cut ‘Shake ‘Em Down’. Sadly Richard “Dimples” Fields died in January 2000 following a stroke.

New Music: Thom Bell, Kirk Whalum, Red Hot & Ra (Meshell Ndegeocello), and Josh Johnson

Thom Bell – Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983 – Various Artists

Thom Bell, along with Kenny Gamble and Leon Huff, was part of the holy trinity of Philly soul. Reaching an apogee in the early to mid-70s with records for the Delfonics (‘Didn’t I Blow Your Mind This Time’), Stylistics (‘Betcha By Golly, Wow’), the Detroit Spinners (‘The Rubberband Man’), and Dionne Warwick (‘Then Came You’), Bell was the classically trained arranger who introduced the celeste, the French horn and the harpsichord to soul music. This is the sequel to “Ready Or Not”, Ace’s first acclaimed compilation of the late Thom Bell’s productions and arrangements. Put together by Saint Etienne’s Bob Stanley, “Didn’t I Blow Your Mind?” combines some of Bell’s biggest and best loved 70s hits with rarities and 80s quiet storm classics such as Deniece Williams’ ‘Silly’ and Phyllis Hymans seductive ‘Let Somebody Love You’. Elton John lines up alongside soul legends like Lou Rawls and Eloise Laws. This collection will appeal to Northern Soul collectors as well as pulling in lovers of smooth 70s and 80s soul. Bob Stanley’s sleeve-notes – with a rare interview with Bell himself – and a wealth of rare photos are icing on the cake. Bell’s unique and instantly identifiable Philly sound has proved timeless.

Kirk Whalum - Epic Cool

Saxophone icon Kirk Whalum blasts off with his highly-anticipated new album Epic Cool, an electrifying collection of original grooves. Teaming up with producer Greg Manning (Keb’ Mo’, Herb Alpert, 2x GRAMMY® nominee, composer/collaborator on 10 #1 Billboard hits), Whalum focuses on his songwriting to craft an album that’s passionate and spirited on a monumental scale, but with his trademark soul. From danceable hits like “Bah-De-Yah!” to melodic, sultry jams (Whalum calls “Pillow Talk” the strongest song he’s written in 20 years), Epic Cool weaves a musical story that has wide, cross-genre appeal. Get ready to groove, because Epic Cool is anything but ordinary.

Red Hot & Ra (Meshell Ndegeocello) -  Magic City

Maybe the coolest album so far in the Red Hot series – even amidst the unique Sun Ra subgroup – as the album's the brainchild of Meshell Ndegeocello, and comes together with all the complex soulfulness of her own recent albums! Back in the 90s, Meshell was a great but more mainstream soul artist – and over the years, she's developed into a really fascinating talent – one able to reach out with a complex blend of jazz, funk, and soul elements – woven into patterns that are always very much her own – a musical legacy that the great Sun Ra might have appreciated! Ndegeocello leads a very diverse lineup here – playing bass and keyboards, and singing a bit – next to other players who include longtime Arkestra giant Marshall Allen on alto and EWI, plus Immanuel Wilkins on alto, Christopher Bruce on guitar, Darius Jones on saxes, Daniel Mintseris on keyboards, and Justin Hicks, Pink Siifu, Kenita Miller, Nio Levon, and Hanna Benn on vocals. The album channels Ra's spirit through territory that's very much Meshell's own – and titles include "Yet Differently Not Mars Hall", "El Soul The Companion Traveler", "The World Of Shadow", "Reproductive Manatees/Sunny Said Up", "Bedlam Blues", "#9 Venus The Living Myth", and "Departure Guide Of The 7 Sisters".  ~ Dusty Groove

Josh Johnson - Unusual Object

A solo record, but one that's got the sound of more things at once than you might expect – as saxophonist Josh Johnson has this great way of processing the sound from his horns, then layering them with samples and other elements too – but all in a way that's never gimmicky, and really retains the jazz energy at the core! Johnson is already a great saxophonist in a conventional setting, with a sense of tone that's wonderful – and here, he carves out a space that's all his own – with a sense of uniqueness and post-jazz creativity that resonates with some of the hippest recent experiments on the London and Chicago scenes! Titles include "Marvis", "Deep Dark", "Quince", "Telling You", "Jeanette", "Reddish", "Local City Of Industry", and "Free Mechanical".  © 1996-2024, Dusty Groove, Inc.

THE MARLEY BROTHERS UNITE FOR ‘THE LEGACY TOUR’

The Marley Brothers – Ziggy, Stephen, Julian, Ky-Mani and Damian – announce The Marley Brothers: The Legacy Tour, their 22-date run produced by Live Nation which historically marks their first outing together in two decades. The tour will commence on September 5, 2024 at Festival Lawn at Deer Lake Park in Vancouver, BC then continues across the U.S. and Canada through the fall. 

Bob Marley's music endures as a beacon of strength, hope, and unity, attracting a growing global fanbase. For over three decades, his sons have each established themselves as renowned solo artists and collectively boast an impressive count of 22 GRAMMY® Awards, with Julian securing 2024's win for "Best Reggae Album.” 

Now reunited on The Marley Brothers: The Legacy Tour, they'll honor their father's worldwide impact by performing both individual hits and classic Bob Marley songs during a momentous year for the genre. As the world nears what would have been Bob Marley's 80th birthday in 2025, there's no greater homage than experiencing his music live through his sons, who carry on his enduring influence across popular culture. 

VIP PACKAGES:  The tour will also offer a variety of immersive VIP packages and experiences for fans to take their concert experience to the next level. Fans can also purchase VIP Packages, which may include premium tickets, invitation to the pre-show soundcheck with the Marley Brothers’ band, access to the pre-show VIP lounge, specially designed VIP gift item and more.  

Additionally, on April 20th, Bob Marley: One Love will expand its screenings, inviting audiences to celebrate alongside one of the most influential icons of all time. Coming off the heels of a worldwide record-breaking theatrical run and the 40th anniversary of Marley's revolutionary album, Legend, this tour further underscores his enduring impact on the cultural landscape.

THE 2024 LEGACY TOUR DATES:

• 9.05 | Vancouver, BC | Festival Lawn at Deer Lake Park
• 9.06 | Ridgefield, WA | RV Inn Style Resorts Amphitheater
• 9.08 | Auburn, WA | White River Amphitheatre
• 9.10 | Concord, CA | Toyota Pavilion at Concord
• 9.11 | Chula Vista, CA | North Island Credit Union Amphitheatre
• 9.12 | Phoenix, AZ | Talking Stick Resort Amphitheatre
• 9.13 | Albuquerque, NM | Isleta Amphitheater
• 9.15 | Austin, TX | Germania Insurance Amphitheater
• 9.16 | Dallas, TX | Dos Equis Pavilion
• 9.18 | Cincinnati, OH | Riverbend Music Center
• 9.19 | Clarkston, MI | Pine Knob Music Theatre
• 9.22 | Queens, NY | Forest Hills Stadium
• 9.23 | Holmdel, NJ | PNC Bank Arts Center
• 9.25 | Bridgeport, CT | Hartford HealthCare Amphitheater
• 9.26 | Mansfield, MA | Xfinity Center
• 9.27 | Bristow, VA | Jiffy Lube Live
• 9.29 | Toronto, ON | Budweiser Stage
• 9.30 | Laval, QC | Place Bell
• 10.02 | Wilmington, NC | Live Oak Bank Pavilion
• 10.03 | Atlanta, GA | Lakewood Amphitheatre
• 10.04 | Tampa, FL | MIDFLORIDA Credit Union Amp
• 10.05 | Miami, FL | FPL Solar Amphitheatre 

Ziggy Marley is an eight-time Grammy winner, Emmy winner, musician, producer, activist and humanitarian who has cultivated a legendary career for close to 40 years. The eldest son of Bob and Rita Marley, Ziggy has hewed his own path as a musical pioneer, infusing the reggae genre with funk, blues, rock and other elements through mindful songcraft. Equal parts master storyteller and motivational guide, he deftly explores issues from environmental awareness to self-empowerment, social injustice to political inequity, while returning again and again to the transformative power of love. And over the past 15 years with his own companies, Tuff Gong Worldwide and Ishti Music, Marley has complete control of his masters and publishing; alongside his charity URGE – benefiting the well-being of children in Jamaica, Africa and North America.

Stephen “Ragga” Marley is a world-renowned singer, songwriter, and producer whose work has earned no fewer than eight Grammy Awards. Born into a musical family, Stephen is the child of reggae legends Bob Marley and Rita Marley. He began singing professionally at 6, touring the world with his elder siblings Ziggy, Sharon, and Cedella in The Melody Makers. In 2008, he released his first solo album, Mind Control, which won the Grammy Award for Best Reggae Album. His subsequent solo albums include Mind Control Acoustic, Revelation Part I: The Root of Life, and Revelation Part II: The Fruit of Life. Stephen’s first new full-length album in more than seven years, Old Soul, was released on September 15 via Tuff Gong Collective/UMe/Ghetto Youths International. The new album is a departure from his previous Reggae repertoire, showcasing more of his bluesy, acoustic soul side, as evidenced by the first single, “Old Soul.” Stephen is also an acclaimed producer, working closely with his brother Damian “Jr. Gong” Marley on the massive crossover hit Welcome To Jamrock. In addition, Stephen continues to champion charitable endeavors centered in Jamaica as a co-founder of the Ghetto Youths Foundation, along with his brothers Damian and Julian Marley. In 2017, Stephen established Kaya Fest, the annual music festival, which features special guests and rare family performances, all with the larger purpose of raising awareness around the benefits of cannabis, guided by the mantra “Education Before Recreation.”

Julian Marley, born in London, England on June 4, 1975, to Bob Marley and Lucy Pounder, embraced a musical upbringing, mastering various instruments as a self-taught musician. Mentored by reggae greats in Jamaica, he released his debut album "Lion in the Morning" in 1996, followed by international tours. He contributed to Lauryn Hill's Grammy-winning album and collaborated on a Stevie Wonder tribute. His sophomore album, "A Time and Place," showcased a fusion of reggae and jazz. Julian spearheaded the 'Africa Unite' performances and performed at the 2008 Olympic Games. His Grammy-nominated album "Awake" in 2009 garnered acclaim, winning 'Best Album of the Year' at the IRAWMAs. Julian, deeply rooted in Rastafarianism like his father, remains committed to spiritual and global messages in his music, embodying a conscious movement in reggae.

Ky-Mani Marley, son of reggae legend Bob Marley and Anita Belnavis, is a Grammy-nominated artist who burst onto the scene with his 1996 debut album "Like Father Like Son," blending reggae with hip-hop. Born in Falmouth, Jamaica, he has a diverse discography including "Many More Roads" (2001), "Maestro" (2015), and a collaboration with Gentleman titled "Conversations." Beyond music, Ky-Mani has showcased his acting skills in films like "Shottas" (2002) and "One Love" (2003). With his soulful voice and powerful lyrics, he upholds the Marley legacy while forging his own distinctive path in entertainment.

Multi-Grammy winning talent, Damian "Jr. Gong" Marley is a highly acclaimed Jamaican singer, songwriter and producer. He is the youngest son of the revered legend, Bob Marley. His musical style fuses reggae with elements of dancehall, hip-hop, R&B, and rock, crafting a fresh and modern sound that is uniquely his own. Damian was the first ever Reggae artist to win a GRAMMY AWARD® outside of the Reggae category. The acclaimed 2005 breakthrough disc, Welcome To Jamrock, won a GRAMMY AWARD® for Best Reggae Album, with the New York Times naming the track “the best reggae song of the decade.” In 2010, Marley teamed up with Nas and brother Stephen Marley for his Distant Relatives project, and went on to partner with Skrillex for their groundbreaking track “Make It Bun Dem,” which Rolling Stone called “a monster mash-up of dubstep and dancehall.” Which went platinum with over 1 Million copies sold in the United States alone. Following the track’s success, the reggae superstar released his fourth studio album, Stony Hill, resulting in his third GRAMMY AWARD® for Best Reggae Album. In September of 2022, Marley produced the studio album, The Kalling, for Kabaka Pyramid which won Best Reggae Album at the 65th Annual GRAMMY AWARDS®. Most recently, “Jr. Gong” released his rendition of the famed George Harrison track, ‘My Sweet Lord.’. The track got the stamp-of-approval by George’s beloved wife, Olivia, as well as the George Harrison Estate. Damian is the co-founder of the renowned Welcome To Jamrock Reggae Cruise, which is gearing up for its 9th annual.

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.