Dan Zinn | Two Worlds

Tenor saxophonist Dann Zinn named Two Roads—his sixth album, released on Ridgeway Records—for the words of poet Robert Frost’s “The Road Not Taken.” Like the poem’s narrator, Zinn stares down a fork in the road, faced with a choice that will make all the difference. Backing him on this expedition through eight distinctive original compositions is an incendiary, innovative quartet that features Rachel Z on piano, Jeff Denson on bass, and Omar Hakim on drums, with percussionist Brian Rice guesting as well. 

The dilemma Zinn encountered was the result of an accident that damaged his right hand, endangering his ability to play the saxophone (and permanently derailed his flute playing). While the music on Two Roads was recorded before the accident, it provides an enthralling portrait of what was at stake—fork in the road—to continue on this path or another. After seriously considering whether to end his musical career, Zinn decided to persevere. It wasn’t easy—he had to completely rebuild his saxophone to accommodate the loss of motion in his fingers—but ultimately, here he is, with an offering that underscores that fateful choice.

The music is also a bold stylistic move. It explores the wide swath of musical styles that have informed Zinn’s unmistakably original voice as both a composer and a player. The range of ideas is remarkable, encompassing the Nordic folk-jazz of Jan Garbarek (who shares Zinn’s Norwegian heritage), American jazz, East Bay funk, gospel, and electronically processed atmospheres. 

Many of these elements show themselves individually—from the unabashed post-bop opener “Yarak,” to the rollicking, churchy “Pros and Cons,” to the eerie soundscapes that bookend “A Revolution of One.” Yet Two Roads’s deeper revelation is of the leader’s brilliance as a synthesist. Seamless blends like “The Sound of Ice Melting,” with its hard-driving, funky aggression balanced by the longing folklike melody; the pounding Latin rhythms and evocative wordless vocal (courtesy of Jeff Denson) on “Two Words”; or the quirky, grooving, not-at-all punk “East Bay Punk” could have come from nobody but Dann Zinn.

Dann Zinn was born January 4, 1958 in Castro Valley, California. He picked up the violin at the age of eight, switched to saxophone at nine, and took off down the jazz rabbit hole. On the way, however, he also encountered rock and roll; the hard-edged funk of Earth, Wind & Fire and Tower of Power (studying with the latter’s Lenny Pickett); and Irish flutist James Galway, among many others, creating a unique and diverse wellspring of ideas from which Zinn would draw throughout his life. 

After high school—and a supplementary education at San Francisco’s legendary Keystone Korner jazz club—Zinn went to Los Angeles, becoming involved in that city’s intensive music scene, then onward to the East Coast, where he spent some time in New York and played in a Boston-based rock band throughout the early and mid-1980s. 

He returned to the Bay Area to study at what is now Cal State East Bay, where he transitioned from student to teacher, and eventually became the school’s director of jazz studies. He has also been on faculty at University of California at Berkeley and the California Jazz Conservatory, directed the SFJAZZ High School All-Stars, given private lessons, and authored the six-volume textbook Zinn and the Art of Saxophone: a remarkable and accomplished career for an educator. 

In the meantime, however, his career as a saxophonist, composer, and improviser hasn’t slowed down a bit. Zinn has worked with the likes of Joe Henderson, Freddie Hubbard, Terri Lyne Carrington, Mike and Leni Stern, Cuong Vu, Peter Erskine, Taylor Eigsti, Allison Miller, and Derrick Hodge, to name just a few. As a leader in his own right, Zinn has recorded six albums, beginning with his 2003 debut Ten Songs and continuing through to his latest effort, Two Roads. 

“In the tradition of the great Duke Ellington,” says Zinn, “I have written this music for these exact musicians—music to be reflective and contemplative of the times we have lived, and are living through. Rachel, Omar, and Jeff exceeded all expectations and are brilliant. Two Roads is about choices—taking a road less traveled and finding that, at the end of one journey, another begins. Two Roads is both a culmination and a beginning, coming from a life well lived, and looking forward to what comes next.” 

Hyson Green | Electric Soul Sessions

Hyson Green, the dynamic duo of brothers David and Roy Osborne, is thrilled to announce the release of their latest album, Electric Soul Sessions. This follows their successful instrumental jazz/blues/funk album, Tongue Tied, and marks an exciting evolution in their musical journey.

Born and raised in the East Midlands of England, the brothers’ music encapsulates a rich tapestry of influences from Nottingham, London, and Los Angeles. Their unique sound blends elements of the Brum Beat, the Leicester Beat, and the Trent Beat, infused with the soulful vibe of the legendary Dungeon Club in Nottingham. This diverse background allows them to create a fresh yet nostalgic listening experience.

Electric Soul Sessions showcases the Osbornes' songwriting prowess and musicianship, drawing inspiration from blue-eyed English and American soul artists. Fans of Boz Scaggs, Jess Roden, Delaney and Bonnie, Robert Palmer, Hall and Oates, Frankie Miller, Steely Dan, Chic, Chicago house, and Horace Silver will find echoes of these influences throughout the album. The brothers evoke a time when songs were crafted with heartfelt experience and a genuine love for music.

Their self-penned tracks harken back to an era when horns, high school bands, and harmonies reigned supreme on the airwaves. In a musical landscape that often overlooks these sounds, Hyson Green’s music offers a refreshing return to the melodies we all cherish but rarely hear today. Electric Soul Sessions is the culmination of David and Roy's shared vision, delivering contemporary sounds that promise to stand the test of time. The album is now available for your listening pleasure—experience the magic for yourself!

Lex French | In The World's First Summer

New Zealand-Canadian jazz trumpeter Lex French has release dhis debut album, In the World’s First Summer, out now via Justin Time/Nettwerk. Traces of Miles Davis can be heard throughout the eight-song release, as French cites the seminal jazz trumpeter among his many inspirations. He also takes cues from poetry and paintings that add to the album’s artful nature. Listen to In the World’s First Summer on all digital retailers.

Lex explains in his own words: “In the World’s First Summer is a setting of James K. Baxter’s poem On the Death of Her Body, while Colour Grid is inspired by Paul Klee’s painting New Harmony. Falling Up was a tune that floated around in my head for about 5 years before I figured out how to write it down and keep the spirit of the song intact.  A number of the other pieces–Nana, Going Home, V’la L’bon Vent–are arrangements of folk songs from different traditions, while Huancavelica is a new composition inspired by such a tune. My arrangements of these songs are attempts to make sense of this music that reaches through time, and still manages to tell our stories. Bye Bye Blackbird brings us back to Miles and the end of his first quintet with John Coltrane… check out the version on Live from the Olympia and you’ll see the first glimmerings of his second quintet off in the distance, the same glimmering light that reached through time from 1967 to 1999, grabbed hold of me and never let go.” 

https://lexfrench.ffm.to/intheworldsfirstsummer 

‘In the World’s First Summer’ marks the debut recording of New Zealand-Canadian jazz trumpet player Lex French on the Justin Time label.  Hailed by Radio Canada jazz critic Stanley Pean as “an extraordinary trumpeter”, he is fast becoming a bright star on the Canadian jazz scene, and is a highly in-demand composer and arranger. 

This project takes inspiration from Miles Davis’s seminal second quintet in its approach, a group that has influenced so many musicians over the last 50 years. “When I was about 16 years old, in 1998 or ’99, I bought a copy of Miles Davis’1967 album, Miles Smiles,” says French, “and was immediately captivated. Ever since that first listen, I’ve wanted to lead a group that followed in the footsteps of Miles’s seminal second quintet. His quintet was a band that prioritised communication and improvisation, embraced lush and open harmonic soundscapes, and above all, placed the spirit of spontaneity at the center of everything. In order to play with such spontaneity and open lines of communication, it is important that each musician in the group is an exceptional musician in their own right. François Bourassa (piano), Morgan Moore (bass), and Jim Doxas (drums) are all improvising musicians of the highest order who can bring their individual and personal approaches to the music but also function as members of the group in order to create a whole that is great than the sum of its parts.”

Acclaimed pianist, composer, and bandleader Emmet Cohen has made a significant impact on the global jazz scene, captivating audiences with his dynamic performances and innovative projects. His sold-out shows around the world showcase not only his exceptional talent but also his commitment to the genre, blending traditional jazz elements with contemporary influences to create a unique sound that resonates with both seasoned listeners and newcomers alike.

Cohen is also the creator and host of "Live From Emmet’s Place," a groundbreaking online jazz show that has been recognized by The Guardian as “the most highly watched regular online jazz show in the world.” This platform has allowed him to connect with jazz enthusiasts and emerging musicians, fostering an environment where creativity thrives. Through this show, he has brought together a diverse array of artists, highlighting their talents and contributing to a sense of community within the jazz world. 

A defining aspect of Cohen's musical journey is his friendship with jazz legend Michael Funmi Ononaiye, affectionately known as the iconic Vibe Provider. Since 2012, this relationship has profoundly influenced Cohen's artistic direction, enriching his work and inspiring him to explore new musical landscapes. Funmi's mentorship and unwavering support have been instrumental in shaping Cohen’s voice as an artist.

In his latest project, Vibe Provider, Cohen presents a masterful blend of original compositions and cherished classics, all dedicated to his friend and mentor, Funmi. This album features an all-star ensemble, including Bruce Harris on trumpet, Tivon Pennicott on tenor saxophone, Frank Lacy on trombone, Cecily Petrarca on koshkah, Philip Norris on bass, and Joe Farnsworth and Kyle Poole on drums, with Poole also serving as producer. Each musician contributes their unique artistry, creating a rich tapestry of sound that pays homage to the spirit of collaboration in jazz.

Emmet Cohen is a celebrated figure in the jazz community, known for his artistry and innovative spirit. A graduate of the Manhattan School of Music, he has quickly established himself as a leading voice in contemporary jazz. Cohen's performances are characterized by his remarkable technical skill and heartfelt improvisation, making him a sought-after collaborator and bandleader. His dedication to mentorship extends beyond the stage; he actively engages with young musicians through workshops and educational programs, ensuring that the legacy of this rich genre lives on. By creating opportunities for others, Cohen not only uplifts his peers but also helps to nurture the future of jazz. His commitment to musical excellence and community connection makes him a vital force in the world of jazz today.

The Town Hall Presents: THE MARIA SCHNEIDER ORCHESTRA - 30th Anniversary Celebration -- Sat. Nov 23 at 8pm

The big band is jazz’s symphony orchestra, a powerful instrument offering a broad palette of colors, textures, and rhythmic and tonal possibilities. Few have written for it better this century than composer, arranger, and bandleader Maria Schneider. Well-designed, expressive, and substantial, Schneider’s work often blurs distinctions between music genres and styles. It has earned her a shelf full of critics’ prizes, the distinction of being named an “NEA Jazz Master,” seven GRAMMY Awards, primarily in jazz but also in classical, and for her collaboration with the late British singer and songwriter David Bowie (a GRAMMY for Best Arrangement, Instruments, and Vocals for her work on "Sue (Or in a Season of Crime)".

Her orchestra’s 2020 release, Data Lords, was a Pulitzer Finalist.

Remarkably, she has done it while navigating the trying economics of jazz. In an era when keeping together a trio is a challenge, Schneider has been able to hold on to her 18-piece orchestra and, in the process, turn it into a one-of-a-kind instrument.

To honor the extraordinary career of this Minnesota native, The Town Hall will present The Maria Schneider Orchestra - 30th Anniversary Celebration on Saturday, November 23rd.

For Schneider, “it just felt like a time of reflection.”

“My first recording came out 30 years ago,” she says. “And this year, we produced Decades, a three-LP box set retrospective, with extensive liner notes that I wrote that look back with a keen view of what was going on — hindsight is always 20/20, as they say.”

“I’m feeling a change. I don't know what's next,” she continues. “And I've felt that this is almost like an era. Maybe it also has to do with losing both my parents, and so it's about everything that culminates in this music: the support of family, my upbringing, and where I came from. This chapter is closed, and it felt right to look at it and highlight so many people who made the band what it is now – the many people who inspired the music I write.”

https://youtu.be/uhl1ZvTPrCk?si=BN6naNPIpgTc-9AB

The concert will open with “Evanescence,” written in memory of her mentor, Gil Evans. It was her first commission and the title track of her first album. “That piece holds a lot of significance for me,” she notes. “It’s the foundation.”

The other works “will represent different periods of my work and the influences from those periods: nature, art, my battle with big data companies,” she says. “I always give a little background before we play a piece because so much of the music comes directly from my life. Growing up in rural Minnesota certainly gave me a pastoral side that I will represent at this concert. I’ve never been one to write music based mostly on simply trying to create music. Life experience has been largely the driver.”

Her writing shows a distinct way of musical storytelling, lyrical and direct, and the subject matter can stretch from bird watching to her battles with Big Tech.

Consider pieces in the program such as “Sputnik,” which won a GRAMMY Award for Best Instrumental Composition, and “Don’t Be Evil,” which mocks Google. Both tracks are from her GRAMMY-winning Data Lords. The recording is a powerful, sharply articulated expression of her position as a critic of data collection practices and what those practices have done to society. Schneider has not only been very vocal and written about her concerns but has also testified before Congress.

“American Crow,” a new, unrecorded piece in the program, further illustrates her approach.

“It speaks to political polarization,” notes Schneider. “It's a piece that expresses my deep concern and sadness that the effects of big data are so extreme that we’re no longer capable of listening to each other anymore. It’s perfect to express this through jazz, the ultimate listening art. The piece reflects on a time when people could disagree yet still speak to each other, listen to each other, and still even love one another. The improviser listens and responds to a rather pastoral theme reflective of a past I remember, but then the piece devolves into where we are today, everyone spewing at each other from their own echo chamber. It ends with a longing to find our way back. “

Schneider grew up in Windom, a small town in Southwest Minnesota (population 4,798 according to the 2020 census), and studied with Evelyn Butler, a stride, boogie-woogie, and classical pianist from Chicago. She describes her as an “extraordinary world-class musician” who moved to Windom for family reasons. Her approach to teaching opened a broad, generous view of music to Schneider. “It was like, ‘OK, let's play this Cole Porter song, and here's how you dress it up. OK. Let's now work on the “Bach Two-Part Invention.’ So I grew up with both things integrated into my own life.”

A self-described “lousy piano player,” Schneider “almost quit music” while in college because, as a classical composition student with a love of melody and harmony, she was coming into a classical music world infatuated with atonality. “But at my school, there was a big band, and my classical teacher said, ‘You know, your music sounds so influenced by jazz, and you're listening to many jazz composers, why don't you write something for the big band?’ And I did — and never stopped since,” she says, laughing.

Matt Booth | Sun Prints

Bassist and composer MATT BOOTH is releasing SUN PRINTS, his first album of all original music. The music is freewheeling and varied but stays true to the contemporary jazz tradition. Rather than create an album focused on his bass playing, Booth wanted the recording to showcase his compositions and a unified ensemble sound.

A ubiquitous performer on the New Orleans jazz scene, Booth found a great deal of success both as a leader and sideman. He has released numerous albums as a co-leader of several groups. His compositions are texturally rich and dynamic, occasionally

crossing over to the avant-garde but driven by melody and propulsive grooves. Booth plays both upright and electric bass on the album.

The musicians on SUN PRINTS are more than up to the task of playing Booth’s inventive and dynamic compositions. Although the music is complex, Booth’s melodic sense makes it accessible to the average listener. The album unfolds in a way that keeps the audience guessing, and the detailed production will reward multiple listens. SUN PRINTS is a superb representation of Matt Booth’s playing and compositional skills are deserving of a wider audience.

Though recently relocated to Durham NC (15 minutes from me!!!), Booth has lived in New Orleans and brought on board several top musicians from the area. Trumpeter STEVE LANDS has performed with many jazz and pop bands, including the Preservation Hall Jazz Band, Swiss pianist and composer Florian Favre, PJ Morton, Maroon 5, and in big bands with the Marsalis family. OSCAR ROSSIGNOLI, on piano and keyboard, has collaborated on a wide range of projects with artists such as John Boutté, Jason Marsalis, Joe Dyson, Dee Dee Bridgewater, and Alexey Marti, among many others. Drummer PETER VARNADO, a native of New Orleans, has performed with some of the biggest names in the industry as well as local legends, like Ellis Marsalis, Nicholas Payton, Chief Xian aTunde Adjuah, and The Jordan Family. Saxophonist SAM TAYLOR, now a resident of Chicago continuing his music studies at DePaul University, has performed with jazz artists such as Marcus Roberts, Jason Marsalis, and Roland Guerin.  Special note should be made of co-producer BRIAN SEEGER – this is the third project he has worked on of Booth’s, and his efforts both in the studio and in post-production are invaluable.

Rick Braun | It's Christmas

In the cozy confines of his Southern California “backyard” concert venue, contemporary jazz trumpeter Rick Braun played an intimate four-night stand at Spaghettini last Thanksgiving weekend to launch into the Christmas spirit. The holiday cheer experienced at those sold-out shows, and the music he selected, arranged and performed at the concerts have spread from the boutiquey Seal Beach enclave to seed the global release of “It’s Christmas,” a ten-track collection produced by Braun releasing October 11 from Brauntosoarus Music.

Braun worked closely on the arrangements for the Spaghettini setlist with Grammy nominated composer, producer and keyboardist Philippe Saisse, who plays Rhodes and Hammond B3 organ on the album’s first single, “Deck Those Halls,” a bluesy funk frolic that sets the tone for the festivities ahead. 

“We wanted to do something interesting with a traditional Christmas carol, so we changed up the chorus to include some descending blues chords and added the horn section along with  Tony Pulizzi’s funky guitar part and Jamey Tate's Steely Dan-like shuffle on drums. Picture the Saturday Night Live house band laying it down on a traditional Christmas carol at 2am and that pretty much sums it up,” described Braun about the single that will be serviced to radio stations in November.  

Braun crafted a clever arrangement for “The Coventry Torch Song,” seamlessly blending the English Elizabethan “The Coventry Carol” and the 17th century French “Bring a Torch, Jaenette, Isabella.” In the studio, he layered tracks of his trumpet, flugelhorn and valve trombone, adding John Dickson’s regal French horn to the mélange of culture and beauty. 

“I had so much fun doing this arrangement that includes multiple modulations, full orchestration, and even a little piccolo trumpet playing from yours truly. If I had to play someone one track from the project, this would be it. I love the sound of a brass group and orchestra, and I had so much fun exploring the harmonic possibilities of these two well-loved songs. To me, the antiphonal brass ending of this piece is the quintessential sound of Christmas,” said Braun, who will return to Spaghettini for a five-night extended stand this Thanksgiving weekend (November 29-December 2) during which he will showcase special guest stars guitarist Peter White, saxophonist Richard Elliot and pianist Keiko Matsui on different nights. 

Braun and Saisse’s sterling arrangement of the classic “The Christmas Song” is poignant and exquisitely decorated by a four-chair string section, David Finck’s supple upright bass, and Joe La Barbera’s gentle drumming. Saisse’s elegant grand piano illumines Braun’s flugelhorn lead.   

“When we recorded this song, we knew we had something special. It’s a magical musical take of one of the most beautiful Christmas songs ever written. Whenever I want to just close my eyes and feel the spirit of Christmas in the most classic of ways, I put this track on. I envision the flugelhorn taking the place of Frank Sinatra or Nat King Cole as that old-school vocal over top of a beautiful arrangement,” Braun said. 

“Do You Hear The Angels” is a medley of four Christmas chestnuts – “Do You Hear What I Hear?,” “Angels We Have Heard on High,” “Oh Come All Ye Faithful,” and “Deck the Halls” – imaginatively arranged by Braun. Accompanied by bassist Darryl Williams and drummer Gregg Bissonette, Braun forms his own brass section on the track that grew beyond his initial vision. 

Braun said, “I had no idea this was going to turn into a full-on orchestral Christmas Disney extravaganza complete with timpani when I started it, but it quickly grew and grew and grew into exactly that. Many years ago, I learned to orchestrate, and it's been a long time since I've used that skill. But I enjoyed dusting off the rust and digging into all the modulations and color changes that make up this medley. I picture this version being performed by the LA Philharmonic at Disney Hall or as the opening theme for a Christmas movie.” 

The mood shifts to steamy and sensual on a mashup of “We Three Kings” and “Good King Wenceslas.” Braun explains, “This track is a sultry, smooth, funky musical journey

traveling across a moonlit desert following a beautiful star. All is cool and calm on the journey, thanks to Nate Phillips’ probing bass. This song pairs nicely with a glass of cabernet at the end of Christmas Day.” 

During the pandemic, Braun began playing with a group of fellow brass men and wine lovers, calling themselves the Pinot Noir Brass. Together, they released a Christmas album last year,  “Pinot Noir Brass Christmas.” The ensemble – Braun (trumpet), Jeff Bunnell (trumpet), Dickson (French horn), Doug Tornquist (tuba), and Nick Lane (trombone) - reunites on “God Rest Ye Merry Gents” deftly arranged by Lane. 

“Christmas is a season where the overuse of brass is not only tolerated but encouraged. And there is a heaping helping of brass on this track,” laughed Braun. 

For something completely different, Braun croons a finger-popping “White Christmas” in a doo-wop setting accented by a wawa trumpet to add even more character and flair to the track colorfully seasoned with dashes of New Orleans and Gypsy jazz, the latter courtesy of Craig Sharmat’s guitar. Braun derived inspiration from a number of legendary sources on this one. 

“From The Drifters to one of my all-time trumpet-playing heroes, Louis Armstrong, this  version of ‘White Christmas’ is a bit tongue in cheek. I patterned my vocal performance after the great Dean Martin, and I chose to break out the plunger for my trumpet solo to create that old-school wawa sound,” explained Braun. 

The title track is the first of two new songs Braun wrote for the album. He sings in storyteller manner with a full and grateful heart recalling Christmases spent with his family. Braun paints the picture. 

“Picture that scene in ‘The Christmas Story’ when Ralphie and Randy have gone to bed and Mom and Dad are enjoying a glass of wine by the fire. Snow is falling and the Christmas tree fills the room with a warm glow as the soft sound of music fills the background. Another Christmas well spent with family celebrating a wonderful holiday together. This song didn't start out as a vocal but as I was writing it, lyrics started coming to mind. It is the story of our 27-year marriage with our two kids and all the holidays we've celebrated together while looking forward to many more,” said Braun who is flanked by Williams and drummer Eric Valentine. 

Whistling through the opening, “Santa Clause is Coming to Town” references the Tim Allen Christmas movie, “The Santa Clause.” While that may make you think it’s a whimsical tune, Braun’s version is a serious straight-ahead jazz number bopping like John Coltrane’s “Giant Steps” with elastic acoustic bass work from Luca Allemano. 

“I wrote this song using some of the changes from that great John Coltrane classic. It starts off with me whistling the melody and quickly modulates keys to trumpet taking over. The song continually modulates throughout, and it was my goal to just keep an old simple song as interesting as possible with different textures and key centers. The ending is a tip of my hat to the great Vince Guaraldi,” shared Braun. 

The “It’s Christmas” album concludes with a second Braun composition, “Christmas Eve Waltz,” on which he duets with himself on flugelhorn and piano while handling all the instrumentation, including the string arrangement. 

“I have written several songs over the course of my career that feature flugelhorn and piano almost exclusively. Those two instruments playing together create such a beautiful sound. On this one, I added an intimate string section and wanted to leave everyone with a quiet moment and a gorgeous melody to take with you throughout the Christmas season. It felt like the right way to close the record,” said Braun. 

Thirty years ago, Braun released his first holiday themed set, “Christmas Present.” A dozen years ago, he issued a second Christmas disc, the big band jazz vocal album “Swingin’ In The Snow.” He summarized “It’s Christmas” by saying that the project is “a high spirited, genre-transcendent holiday collection that explores an expansive range of styles.”  

An Allentown, PA native who has long been based in the Los Angeles area, Braun spent many years touring and recording with pop-rock royalty, including Rod Stewart, Sade, Tina Turner, Natalie Cole, Tom Petty, Glenn Frey and War. He debuted as a solo artist with 1992’s “Intimate Secrets,” and quickly became a core contemporary jazz artist and a seminal smooth icon. To date, he’s amassed thirty Billboard No. 1 hits as an artist and a producer for other genre giants such as White, David Benoit, Marc Antoine, Jeff Golub and Elliot, the latter with whom Braun formed RnR, spawning a hit-filled album and a powerhouse touring combo. Braun teamed with superstar saxman Boney James for an album of duets, “Shake It Up,” propelled by the fan favorite “Grazin’ in the Grass.”  

Braun’s “It’s Christmas” album contains the following songs:

• “Deck Those Halls”
• “The Coventry Torch Song”
• “The Christmas Song”
• “Do You Hear The Angels”
• “The Good Kings”
• “God Rest Ye Merry Gents” featuring the Pinot Noir Brass
• “White Christmas”
• “It’s Christmas”
• “The Santa Clause”
• “Christmas Eve Waltz”

 

Herb Alpert To Reform Iconic Tijuana Brass Band For 2025 US Tour Dates

Legendary musician, artist, record label executive, and philanthropist Herb Alpert has announced he will reform his iconic Tijuana Brass Band for the first time in over 40 years for a string of US tour dates in 2025. With an all-new lineup, Herb Alpert & The Tijuana Brass & Other Delights will commemorate the 60th anniversary of his historic album Whipped Cream & Other Delights performing hits like “The Lonely Bull,” “Spanish Flea,” “Taste of Honey” and “This Guy’s In Love With You.” The tour will also include a once-in-a-lifetime performance at Jazz at Lincoln Center’s Rose Theater on March 31st celebrating Alpert’s landmark 90th birthday. See below for the full list of tour dates with many more to be announced throughout the year. 

Herb Alpert & The Tijuana Brass & Other Delights Tour Dates:

• 02/11 - Ft. Lauderdale, FL @ Broward Center for the Performing Arts
• 02/12 - Sarasota, FL @ Van Wezel Performing Arts Hall
• 02/13 - Orlando, FL @ Dr Phillips Center Steinmetz Hall
• 02/15 - Augusta, GA @ Miller Theater
• 02/16 - Lexington, KY @ Lexington Opera House
• 03/25 - Detroit, MI @ Masonic Cathedral Theatre
• 03/26 - Akron, OH @ Goodyear Theater
• 03/28 - Buffalo, NY @ Buffalo State Performing Arts Center
• 03/29 - Boston, MA @ Shubert Wang Theatre
• 03/31 - New York, NY @ Jazz at Lincoln Center - Rose Theater

Earlier this fall, Herb Alpert marked another extraordinary milestone in his storied six-decade music career with the release of his 50th studio album titled 50. The album also commemorates another significant landmark as it celebrates 50 years of marriage to his wife, collaborator, and touring partner, Lani Hall; their golden anniversary. 50 debuted at #4 on the Billboard Contemporary Jazz Chart, #17 on the Billboard Jazz Chart, and #1 on the Current Contemporary Jazz Albums chart and has continued to claim the top spot for three weeks in a row and counting. 

Alpert recently sat down with The New York Times at his home in Malibu and discussed 50, his iconic career, his marriage to Lani, touring, and his work as an artist/sculptor. Of the new album, they raved “The sound he got from his instrument - clean in tone, tidy in arrangement and joyous in character - also speaks of consistency. From the first note of the opening track, ‘Dancing Down 50th Street,’ his playing evokes the brisk and flirty mood of his ‘60s hits, from ‘A Taste of Honey’ to ‘Spanish Flea,’ a sound that represents midcentury modern culture as eloquently as an Eames chair or an Ossie Clark frock.” 50 also earned critical acclaim from NPR, Billboard, Associated Press, Paste, and Stereogum who raved “The legendary trumpeter Herb Alpert has had one hell of a life in music…He’s still going now. Amazing.” 

For almost three-quarters-of-a-century, Alpert has always had the rare gift of being able to reach the greatest possible group of people through inhabiting an inimitable artistic voice. He has maintained and reshaped his sound through constant practice, recording, and performing (he continues to tour internationally, playing dozens of shows every year). With his eye invariably set on the future, Alpert is already turning over ideas for multiple upcoming albums. The sentiment crystalizes how one of popular music’s truest originals continues to find ways to connect and reconnect with himself and his audience. It is through his love of artistic kernels of inspiration—a couple of bars, a chord, a suggestive brushstroke—that seem to cut across time. 

To support 50, Alpert and Hall will be playing the following shows in December.

 Herb Alpert & Lani Hall Tour Dates:

• 12/10 - Nashville, TN @ Country Music Hall of Fame and Museum’s CMA Theater
• 12/11 - Chattanooga, TN @ Walker Theatre
• 12/13 - Atlanta, GA @ Buckhead Theatre
• 12/14 - Metairie, LA @ Jefferson Performing Arts Center
• 12/15 - Houston, TX @ Cullen Auditorium

Alpert’s extraordinary musicianship has earned him 9 GRAMMY® Awards (the latest from his 2014 album Steppin’ Out), 15 Gold albums, 14 Platinum albums and has sold over 72 million records. Herb Alpert & The Tijuana Brass propelled his sound into the pop music limelight, at one point outselling the Beatles two to one. Alpert has a Grammy Lifetime Achievement Award, was inducted into the Rock and Roll Hall of Fame in 2006, and was awarded the National Medal of Arts by Barack Obama in 2013. Alpert also has a second career as an abstract expressionist painter and sculptor with group and solo exhibitions around the United States and Europe. 

As an industry leader, Alpert’s commitment to artists with personal vision guided A&M Records (with partner Jerry Moss) from a Hollywood garage operation into one of the most successful independent record labels in music history, with stars including Janet Jackson, Quincy Jones, Cat Stevens, The Carpenters, Carole King, Sheryl Crow, Peter Frampton, The Police and scores of others. 

Through the Herb Alpert Foundation, Herb and Lani have dedicated their lives to philanthropy, funding programs that help bring creativity to young students and keep creativity alive for all the arts, for artists young and old, including jazz education and programs that teach compassion and well-being. May 2022 marked the 28th anniversary of the Herb Alpert Award in the Arts celebrating 140 awardees over the past 28 years. 2021 also brought the opening of the newly remodeled Harlem School of the Arts at the Herb Alpert Center, funded entirely by Herb and Lani Alpert. During the pandemic, the foundation dramatically increased its emergency funding to artists in need through organizations such as Chrysalis, the Jazz Foundation, the Good People’s Fund and Artists Relief.

Blue Magic Stop To Start – The Atco & WMOT Recordings 1973 to 1977 (6CD set)

A massive legacy of music, brought together in one great little package – all of which shows just how much the group Blue Magic evolved in the span of just a few short years! At their start, the group were right up there with some of the best east coast sweet soul acts – like The Stylistics and Delfonics, and also shared a similar high-soaring lead singer in the wonderful Ted Wizard Mills, who gives Blue Magic a stunning sound that's very much their own! And as the years progressed, they also picked up a great talent for stepping up their groove, but all without ever losing the sense of soul that made them so great – working with giants from the Sigma Sound scene, like Norman Harris, Bobby Eli, and Vince Montana – and also getting some production help from the great Skip Scarborough as well! All the top-shelf talent really keeps things strong through this amazing run of records – albums presented here with new remastering, with 74 tracks in all, including bonus material as well! 

The package features the full albums Blue Magic, Magic Of The Blue, Thirteen Blue Magic Lane, Mystic Dragons, Message From The Magic, and the Live album done with Major Harris and Margie Joseph – presented here with all the Blue Magic tracks, including duets with Joseph. Bonus tracks include "Freak N Stein (single edit)", "I Waited (single edit)", "Grateful", "Stop & Get A Hold Of Yourself (single edit)", "You & Me (with Margie Joseph)", "Magic Of The Blue (vocal)", "Look Me Up (Tom Moulton ext rmx)", "Three Ring Circus (single edit)", "Guess Who", "Where Have You Been", "Sideshow (Mike Maurro ext magic rmx)", "Just Don't Want To Be Lonely (single edit)", and "Welcome To The Club (UK single edit)"

Blue Magic emerged in the early 1970s from Philadelphia, a city renowned for its rich musical heritage. The group was formed by a quartet of talented vocalists: Ted "Wizard" Mills, Vernon "Blue" Magic, Jimmy "Jump" McCulloch, and Keith "Sweet" Beaton. Their unique blend of smooth harmonies and soul-infused melodies quickly garnered attention in the burgeoning Philadelphia soul scene.

In 1974, Blue Magic released their self-titled debut album, which featured the hit single "Sideshow." The song, characterized by its lush arrangements and heartfelt lyrics, climbed the charts, reaching the top of the R&B charts and solidifying the group’s place in soul music history. The success of "Sideshow" was followed by other popular tracks, including "Blue Magic," and their sophomore album, "The Magic of Blue Magic," further established them as key figures in the genre.

Blue Magic’s sound is defined by their sophisticated vocal arrangements, often likened to the smooth, lush productions of Philadelphia soul. Their music often incorporates elements of funk and R&B, with lyrics that explore themes of love, heartbreak, and resilience. The group’s style influenced many artists in the soul and R&B genres, paving the way for future vocal groups.

Despite their early success, Blue Magic faced challenges throughout the late 1970s and early 1980s, including changes in lineup and shifts in the music industry. The original members went through various changes, leading to a fluctuating lineup, yet they continued to perform and record, adapting their sound to fit the evolving musical landscape.

Blue Magic's impact on soul music endures, with their songs being sampled and covered by numerous artists over the years. They remain a beloved act among soul music enthusiasts. The group has seen various reunions and performances, celebrating their classic hits and contributing to the revival of interest in 1970s soul music.

In the 2000s, Blue Magic continued to tour and release new music, keeping their legacy alive. They remain a testament to the rich tapestry of Philadelphia soul, with their enduring melodies and harmonies resonating with both longtime fans and new listeners alike.With a career spanning decades, Blue Magic remains a significant part of the soul music narrative, celebrated for their contributions and timeless classics.

Keith Jarrett/Gary Peacock/Paul Motian | The Old Country: More From The Deer Head Inn

Keith Jarrett’s recordings from the Deer Head Inn have a special place among his recordings devoted to explorations of jazz standards and the American songbook. And The Old Country is a document of particular historical significance, from several perspectives.

The Deer Head Inn, situated in Pennsylvania’s Delaware Water Gap Region, has presented live music continuously since 1950, making it one of the US’s oldest jazz clubs. In 1961, the club gave Jarrett, then 16 years old, his first gig as leader of a piano trio. When owners Bob and Fay Lehr retired, handing the reins over to their daughter Dona and son-in-law Christopher Solliday, Jarrett offered to play there again, to honour the club’s ongoing commitment to jazz.

On September 16, 1992, Jarrett, joined by Gary Peacock and Paul Motian, played to a packed house. There had been no promotion, but news of the event had spread by word of mouth. The Deer Head is an intimate venue and the Allentown Morning Call paper subsequently reported that, “of the 130 people inside the club, 30 had to stand. On the porch outside, another 50 or 60 people stood.”

The spontaneously organized performance marked the only occasion on which Jarrett, Peacock and Motian played as a trio. Peacock, at the time, was a dedicated member of the Standards trio completed by Jack DeJohnette. Motian had been drummer of Jarrett’s ‘American quartet’ (refer to The Survivors Suite and Eyes of the Heart), but hadn’t worked with Jarrett since that group’s dissolution. “Not only had I not played piano at the Deer Head for 30 years, but I hadn’t played with Paul Motian for 16 years. So it was like a reunion and a jam session at the same time”, wrote Jarrett in the liner notes to At The Deer Head Inn, the initial selection of material issued from this gig, in 1994.

Old friendships underlined the Deer Head project. The recording was initiated by Bill Goodwin, who had played drums on Gary Burton & Keith Jarrett (Atlantic) in 1970, before joining the Phil Woods Quartet, regulars at the Deer Head for many years. Goodwin proposed a documentary recording for Jarrett’s personal reference, but on listening Jarrett recognized “that this had to be released.... I think you can hear on this tape what jazz is all about.”

When At The Deer Head Inn was issued in 1994, the press agreed. “The music has the dash and the unabashed lyricism of Keith Jarrett’s best work,” wrote Stereophile. Gramophone, meanwhile, spoke of “spellbinding” playing, and the Los Angeles Times hailed “a compendium of grace.”

Thirty years later, it was time to revisit the material. Keith Jarrett and Manfred Eicher selected the eight previously unreleased pieces that comprise The Old Country, a second volume from the Deer Head performance.

Repertoire includes a double helping of Cole Porter with “Everything I Love” and “All of You,” Thelonious Monk’s “Straight No Chaser,” Jule Styne’s “I Fall In Love Too Easily,” Frank Churchill’s “Someday My Prince Will Come,” Gershwin’s “How Long Has This Been Going On,” Victor Young’s “Golden Earrings” and Nat Adderley’s “The Old Country.”

Chicago-based trio Twin Talk's new 'TWIN TALK LIVE'

Shifting Paradigm Records is proud to announce the release of Chicago experimental jazz trio Twin Talk’s fourth studio album Twin Talk Live. The long-running band features tenor saxophonist Dustin Laurenzi, bassist/singer Katie Ernst, and drummer Andrew Green. Twin Talk Live is out now!

Since forming in 2012, Twin Talk has steadily drifted from the conventions of the saxophone trio. Saxophonist Dustin Laurenzi, bassist-singer Katie Ernst, and drummer Andrew Green have spent their time on the band stage together making their music elastic, spontaneous, and open, embracing new inspirations without stifling the improvisational heart of their work. While all three musicians are active members in the city’s bustling jazz community, each playing in numerous working bands, they’ve found a true collective voice as Twin Talk. They use live performances as opportunities to stretch—expanding on composed material and ditching set lists in favor of calling tunes on the fly.

Throughout popular culture, twins display a unique telepathy: Intuitively knowing each other’s thoughts, experiencing each other’s pain. Like an identical or fraternal pair, collaborative Chicago jazz trio Twin Talk has a staggering ability to converse quickly and lyrically. The band’s fourth album, Twin Talk Live, exemplifies all of these traits.

“Our album title Twin Talk Live is cheeky, since it's not a live record in the traditional sense,” explains bassist/singer Katie Ernst, “Rather than isolating each song for an ‘ideal’ take, we recorded rounds of mini sets to capture the spirit of our band in live performance. The resulting sound is freer, more improvised, mirroring the vibe of our live shows.”

The environment with its detailed acoustics adds another level of immediacy throughout all nine pieces. Ernst, tenor saxophonist Dustin Laurenzi and drummer Andrew Green provide each other with the right framework and spaces for explorations and combinations as all of their unexpected turns remain deeply melodic.

Building up quietly and maintaining a cool dynamic range, Twin Talk’s subtlety demands and rewards close attention. That includes the way Ernst makes minimal shifts in her bass vamps that direct Laurenzi’s lines and Green’s patterns on such pieces as “Always Left” and “Tricks.” Each member of the trio’s often muted movements give way to their multiple strengths. On “Nine,” Ernst’s voice that delivers compelling feelings without words or raising up the volume. Laurenzi conveys boundless imagination through his flights on “Ulerian” (a tribute to their Chicago colleague, bassist Matt Ulery). Green kicks up the energy of “Keep It Heated” while avoiding overt bombast.

They move beautifully as a unit, with bells and chimes adding a sense of haunting eeriness with Ernst’s arco lines blending with Laurenzi’s upper register on “North.” For the album’s closer, “Shorty,” Laurenzi, Ernst and Green’s flights sound guided by this entire album’s unfailingly upbeat mood. It’s the ideal encapsulation of Twin Talk’s spirit.

Twin Talk celebrates the new release with Chicago performances at the Hyde Park Jazz Festival on September 28 and Constellation on October 4, followed by a Midwest tour.

Tracy Yang Jazz Orchestra | OR

From the opening notes of OR, composer Tracy Yang spreads her wings and flies high and fast. She asserts her brilliance and rightfully declares that she (an award and grant-winning artist) can dazzle you with a singular musical alloy of emotional resonance and intellectual depth. Produced by Yang and Darcy James Argue, and featuring a powerhouse ensemble of first-call NYC artists, OR released on Brooklyn Jazz Underground Records.

Tracy Yang, originally from Taiwan, has established herself as a composer, musician, and cross-disciplinary artist in NYC over the past decade. Recognized with the Charlie Parker Jazz Composition Prize, she's also been honored with grants from respected institutions like New Music USA, New York Foundation for the Arts, and Pathways to Jazz. She has collaborated with esteemed ensembles such as The Army Jazz Ambassadors, BMI/New York Jazz Orchestra, SWOJO (Seattle Women’s Jazz Orchestra), and the Taipei Jazz Orchestra. In addition to her musical accomplishments, Yang's expertise extends to the dance world, where she collaborates with renowned dance institutions, counting among them Martha Graham, ABT, Paul Taylor, Limón, Mark Morris and Juilliard School, to name a few.

To pursue music, Yang not only left her home country, but also left behind her beloved field of medicine. She followed her heart and embarked on her pursuit of becoming a jazz composer. The compositions on OR are the result of Yang putting together the puzzle of her existence, her dreams, her journeys and experiences; no less than her very life and being is reflected, redefined, and re-patched into images, feelings, and inner-thoughts expressed in music.

The title track, "OR" portrays Yang's enthusiasm for her background in medical science, and the composition itself unfolds as a narrative of an imaginary surgical procedure in an operating room; "Sea of Clouds" and "Sea Swell" are from her Scene Taiwan Collection, leading the audience to travel around the magnificent landscape of Taiwan, and for the composer to reflect on her culture; "Melting Arctic" shows concern for the ecological environment. "A Step to My Dream," the earliest jazz orchestra original she has written, is about the challenging journey she experienced while pursuing her dream of becoming a jazz composer and meaningfully marking the beginning of the journey. The creation of the “MMXXI suite - I. Uncertainty, II. Healing, III. Reunited" was a real-time reflection of the situation in the world and Yang’s emotional state in 2021 to 2022, and the timeless connection it has to human experiences in various scenarios.

On working with renowned composer/arranger/bandleader Darcy James Argue, Yang said, “I am fortunate to have gained insight into Darcy's producing style while working as a production assistant on Erica Seguine and Jihye Lee's past project. When Darcy sensed that I had lost faith in recording my own big band record, he simply said that I have to do it and he would be glad to produce it for me. I don't think that came out lightly from Darcy, and I simply held on to that faithfulness during the challenging phases. His high standard in many things, particularly producing a big band album, has consistently inspired me to follow his lead. Known for his clarity and meticulous attention to detail, he speaks like he writes – precise yet artistic. I deeply appreciate his respectful and witty communication with musicians. Without Darcy's faithful support and guidance, OR most likely wouldn't exist in its current form.”  

Yang’s large ensemble recording, OR, marks a profound milestone in her journey over the past ten years in NYC, which she called, “the most beautiful and meaningful chapter of my life.” We can celebrate that with the artist through this wonderful recording.

Peter Bernstein | Better Angels

Downbeat magazine has called Peter Bernstein “a guitarist so good he often sounds like two guitarists in a duet… [reflecting] a mastery that is elegant, mellow and gently swinging.” That mastery is reflected in the staggering roster of giants with whom Bernstein has performed, from legends like Sonny Rollins, Lou Donaldson, Jim Hall, David “Fathead” Newman and Dr. Lonnie Smith, to peers including Christian McBride, Joshua Redman, Nicholas Payton and Diana Krall.

So when Bernstein decides to convene an all-star quartet, he has an unparalleled list of names to call on. Not that the esteem in which his collaborators is held is ever the driving motive in Bernstein’s mind – as always, the understated guitarist is simply driven to make the best music possible. He’s done exactly that on his brilliant new album Better Angels, which brings together the extraordinary multi-generational quartet of Bernstein, pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster.

Though recording together for the first time, the connections between the band members run deep, resulting in striking interplay that can’t help but thrive on the chemistry generated by the various connections, combined with the high-wire energy derived from delving into the unknown. Due out September 27, 2024, on Smoke Sessions Records, Better Angels features striking and incisive musicianship on both thoughtfully selected standards and bold original compositions. 

“Since this was our first time playing together, I wanted to play some things that are common ground for everybody,” Bernstein explains. “But I also wanted to document some new tunes while they’re still fresh. Hear these guys react to music that's new – and then reacting to their reactions – is really the fun of it for me.”

While their careers have traversed quite different paths and playing together has become a cherished rarity due to their mutual status among the most in-demand artists of their generation, Bernstein and Mehldau enjoy a personal and professional relationship that stretches back to their earliest days as students at the New School in New York City. Along with bassist John Webber, they began playing quartet dates with one of their teachers, drum giant Jimmy Cobb. That band recorded Bernstein’s 1994 debut for Criss Cross, Somethin’s Burnin’, as well as their follow-up 20 years later, 2014’s The Original Mob, also on Smoke Sessions.

Thirty years later, Better Angels brings that friendship full circle in a way. Foster is a generation younger than Cobb, but both are legendary drummers who have graced recordings by many of the music’s most iconic figures – Miles Davis chief among them. There’s also a family connection, as Cobb’s widow Eleana and Foster’s wife Bonnie are sisters.

Although Bernstein, Mehldau, and Archer have all had opportunities to work with Foster in the past, recording with the living legend was an obvious draw for all three. “Al is a complete master of interpretation and the orchestral power of the drums,” Bernstein exults. “When you play with someone like Al, you realize how many choices go into a drummer’s sound.”

Archer provided the final piece of the puzzle. He first played with Bernstein on an impromptu duo gig at Mezzrow and has become a frequent collaborator of late. “I love Vicente’s whole concept and approach to the bass,” Bernstein says. “He can really stretch the music out and also ground it when necessary. That’s really the job of the bass, to create harmonic and rhythmic tension in the band, and he’s a subtle master at that.”

The album opens with “Perpetual Pendulum,” revisiting the title track from Bernstein’s last Smoke Sessions outing, the thirteenth by his collaborative trio Larry Goldings and Bill Stewart. Since that 2022 release, he’s made minor alterations to the tune, opening up the solo section and leaving space for airy interactions between his guitar and Mehldau’s evocative chords.

The brisk “Ditty for Dewey” and the enchanting ballad “Hazel Eyes” are both dedications from Bernstein to his family, who may also have been on his mind as he christened the album’s title track, “Better Angels,” both suggesting a characterization for his children and a hope for their futures.

The band also offers intriguing takes on two standards. Typically languorous, “You Go to My Head” is approached with a mid-tempo groove, emphasizing the vibrant melody in a way that compels a forceful solo from Mehldau and an intricately filigreed turn by Bernstein that weaves gracefully around Archer’s robust bass line. Foster is given the spotlight to introduce Duke Jordan’s smoldering “No Problem,” which he embellishes throughout with ingeniously shifting rhythms.

“A standard like that is just asking you to create something on it,” Bernstein says. “Those are the tunes that are great to play with Al because he always makes them fresh.”

Bernstein closes out each half of the album (or each side if you’re listening to the LP) with a brief solo statement – a wistful “Born to Be Blue” and, concluding the album, a noir-tinged reflection on J.J. Johnson’s “Lament.”

“Let's see what happens when we put these elements together,” was the spirit of the session as expressed by Bernstein, the thrill of experimentation still evident in his voice long after the date was so successfully completed. “It’s always a learning experience.”

Dario Acosta Teich | Tierra Infinita

Dario Acosta Teich, the esteemed cultural ambassador and New York-based Argentine guitarist and composer, announces his new album with the debut single “Kachariy.” Blends and fusions are a theme heard on the new single and throughout the album, Dario comments, “the new music embraces the infinite possibilities that lie in folk and jazz and to invite a sense of freedom and liberation. I see these songs like rivers that flow through time, each carrying with it the essence of Argentine folklore and also connecting generations past, present, and future through the fusion of new jazz and traditional Argentine folk.” “Kachariy” features an ensemble of sikus players, the Andean pan flute, giving more color as the song sits between contemporary and traditional sounds.  

Dario comments, “Kachariy means “to let go” in Quechua, an indigenous Andean language family, and is intended as a powerful message of liberation, an invitation to stop labeling genres, traditions, locations and cultures and start a conversation between all these. On this album I hope to inspire people to learn more about the endless wealth in South American music and to offer a music style that can be part of many worlds and music communities/scenes at the same time.” “Kachariy” is due out August 30th and will be available everywhere you stream music!

Dario Acosta Teich, raised in a musical family in northern Argentina, honed his skills at the conservatory in Tucumán and later as an Associate Professor of Folk Music at the University of La Plata in Buenos Aires. He earned a master’s in jazz performance from the Jerusalem Academy of Music and Dance, leading to a diverse career in jazz, composition, and collaboration with icons like William Parker and Mike Stern. Dario has performed at major festivals in 16 countries, produced numerous albums, and released five of his own, including the Mercedes Sosa Award -nominated and award-winning “Acostango” (2023), “FOLKLORE” (2022) and “Alien” (2021). He is a cultural ambassador whose rendition of “Libertango” became a symbol of Argentina’s cultural vitality, playing at embassies worldwide. He also leads educational programs with the U.S. Department of Educational and Cultural Affairs and African Regional Services, bridging cultures across Argentina, Mauritania, Guatemala, Angola and Honduras.

Dario Acosta Teich is known to create rich and profound textures through genre blurring and blends of jazz and Latin American music. With the debut single, and all through the new album, Dario’s deep connection to his cultural roots are on full display while pushing genre boundaries into new, uncharted territories. “Tierra Infinita,” says Dario, “bridges these musical cultures, inviting listeners on a journey of discovery and connection. My hope is that in listening to this music, no matter where we come from, listeners find common ground (Tierra) and a way to take flight (Infinita) to the beauty and power of timeless melody.” He is set to release his highly anticipated album, “Tierra Infinita,” on September 13, 2024.  

Inspired by the many meanings of the word “Tierra” in Spanish – land, earth, homeland – Dario’s album delves into the connection between these concepts, he explains, “The music in “Tierra Infinita” is  the connection between all of these meanings and also a conversation between generations. That’s the infinite part. Folk music doesn’t have a beginning or end; each generation and iteration of this music is adding something, moving the music forward and continuing its legacy.”

“Tierra Infinita’s” creation was marked by a whirlwind of inspiration, with most of the music being composed in just one week. Dario flew to Argentina, rehearsed with his ensemble for two days, performed a live show, and recorded the entire album live the following day at Doctor F Studio (Buenos Aires). Dario shares “Recording in Buenos Aires was essential for me. There’s a unique vibe in the city that fuels my creativity. The dynamics of working with Argentine musicians are different, and it’s incredibly inspiring to blend these experiences with those of musicians from other parts of the world.”  

The album features some of the most recognized names in jazz and folk music, including Hernán Jacinto on piano, U.S.-based band members Fernando Huergo on bass and Yulia Musayelyan on flute who joined Dario in Argentina to record on the album. Pipi Piazzolla, one of Argentina’s top jazz drummers and the grandson of tango legend Astor Piazzolla, was a particular highlight for Dario. “Astor Piazzolla has always been one of my greatest influences, and working with his grandson was a profound honor,” Dario says.

The new album also offers esteemed guest appearances by Colombian singer-songwriter Marta Gómez, Argentine harmonica virtuoso Franco Luciani, and vocalists Eleanor Dubinsky and Timna Comedi. Guests were able to record at their home studios adding more “Tierra Infinita” connections to cities including NYC, Barcelona, Buenos Aires and Dario’s hometown, Tucumán. Mastering was handled by Alan Silverman (Norah Jones, Chaka Khan, Arturo O’Farrill).

Although the new album came together quickly, Dario mused on the songs for some time. He explains, “Every time I work on an album I try to tell a story by highlighting different folk genres and regions of Argentina as well as creating a different mood or feeling on each track. Leading up to my compositional process, I spend months collecting small ideas, recording them right away and then letting them go for a while. Then when I want to work on a new album I come back to these drafts and start to develop them into actual songs. I love the concept of albums, I see them as a whole story from beginning to end.” He continues, “Each track on the new album is an interpretation of an Argentine folk tradition that has been passed down to me, my community and generation. My compositions are my contribution to the evolution and transformation of this culture.”

The song “Pétalo Del Sur” exemplifies this process and sentiment, evolving from an instrumental track into a vocal piece with the talents of Colombian singer Marta Gómez (Latin Grammy and Latin Billboard Music Award winner) and Tucuman poet Dardo Solórzano. On “Low Tide” Dario plays with the traditional South American 6/8 – 3/4 groove adapted into a different time signature and inspired by the landscapes of Cape Cod, MA, where he spent much of 2020-2022. “Danza De La Tierra” (Earth Dance) was inspired by CHAYA, a folk genre from the province La Rioja. Dario adds, “Chaya is not only a music genre but also a ceremony in which people celebrate and honor mother earth by singing, dancing and thanking her for the fruits of her harvest and the blessing of the rain. For this piece I wanted to generate the feeling of celebration and gratitude and also the image of many people playing at the same time – chaos interacting with calm and beauty.” “Chacarera Infinita” is based on the chacarera groove, a folk genre from the North West of the country. 

With “Milonga Hermética” Dario pays homage to the Brazilian avant-garde composer Hermeto Pascoal with an inspired Milonga. He comments, “Hermeto Pascoal is one of my biggest musical inspirations. He took Brazilian folk music to another level by using it as raw material or a platform for experimentation. The Argentine milonga and Brazilian choro are musical genres with roots in the 19th century that reflect a fusion of European and African influences in their respective countries. To write this piece I tried to imagine how Hermeto Pascoal would write a milonga.”

In support of the album, Dario will be performing a few select dates including album release shows at Morningside Music Studio in Arlington, MA on September 8, 2024, City Winery (Loft) in New York City on September 22, 2024 and The Kennedy Center’s Millennium Stage in Washington, DC on October 11th, 2024. He will also work with university students in the music department at Southern Illinois University Edwardsville (SIUE) in an educational and performance engagement October 18th, 2024. Dario’s release shows will showcase the dynamic interplay between composition and improvisation that defines Dario’s live performances. Special guests include the Argentinian drummer Franco Pinna, who is known for his self-created hybrid drum kit that features traditional Argentine percussion including a bombo and other indigenous drums. Legendary Brazilian cellist Jaques Morelenbaum (Jobim, Caetano Veloso) will join Dario for the City Winery show.

 

The Love King of R&B and Soul, Raheem DeVaughn Takes the Helm of the Legendary Original Quiet Storm at WHUR 96.3

What do you get when you combine R&B’s “Love King” with DC’s top-rated “Love Show?” The ultimate “Quiet Storm.” 96.3 WHUR proudly announces that beginning Thursday, October 17th, Grammy Award-winning National Recording Artist Raheem DeVaughn will be the new host of the legendary “Original Quiet Storm.” Tune in weekdays from 7:30 p.m. to 12 a.m. for an unforgettable musical experience.

The announcement comes as WHUR prepares to celebrate nearly 50 years of the iconic program, made popular by the late legendary Melvin Lindsey. Since 1976, the “Original Quiet Storm” on WHUR has guided listeners on a nightly journey of soulful slow jams and romantic melodies. “We are thrilled to launch this new chapter of the ‘Original Quiet Storm’ with one of the most talented creative artists in R&B, proudly representing Washington,” said Al Payne, Senior Director of Programming for WHUR.

Raheem DeVaughn is no stranger to radio. He has been hosting his own self-titled podcast since 2012. This evolution will further highlight his engaging hosting abilities and provide an opportunity for artists to connect with listeners in a unique and authentic way.  “I’m humbled and extremely excited about my partnership with the WHUR family.  The ‘Original Quiet Storm’ is a legacy brand and to be hand chosen as the new voice and face is an honor and a dream come true,” said DeVaughn.  

Working as the executive producer of the show will be WHUR Assistant Program and Music Director Traci LaTrelle. “I couldn’t be more excited to welcome Raheem DeVaughn. His soulful voice and deep connections to the DMV and R&B will bring a fresh intimate energy to the show, perfectly capturing the essence of the “Original Quiet Storm.”

WHUR's new fall weekday lineup is now set. Start your day with “The Steve Harvey Morning Show” from 6 a.m. to 10 a.m., followed by “Sunni and the City” from 10 a.m. to 3 p.m. In the afternoon, tune in to the “Nina & Joe Show” with Joe Clair and Nina Brown from 3 p.m. to 7 p.m. Then, catch “The Daily Drum” with Harold Fisher from 7 p.m. to 7:30 p.m. Finally, unwind to “The Original Quiet Storm” hosted by “The Love King” Raheem DeVaughn from 7:30 p.m. to midnight.

Raheem DeVaughn, a Grammy award winner, four-time Grammy-nominated singer/songwriter and CEO of DeVaughn Enterprises, is a revered figure in contemporary R&B and soul music. Known as “The Love King,” Raheem has built a lasting career with his rich, soulful vocals and heartfelt lyrics. His journey began with his Jive Records debut, The Love Experience (2005), but he achieved major success with his sophomore release, Love Behind the Melody (2008), which topped the Billboard R&B/Hip-Hop Album chart and earned two Grammy nominations.

Over the years, Raheem has continued to evolve, producing a steady flow of hits, including Just Right and Don’t Come Easy. His passion for R&B is evident in albums like Decade of a Love King (2018) and Love Reunion (2019), along with his latest projects, Fall In Love and Summer of Love in 2023.

As an independent artist, Raheem has maintained creative control, fostering talent through his brand, New Era Soul Records, while contributing to the culture of R&B. His dedication to keeping the genre alive, while pushing boundaries, has earned him numerous accolades, including BET Awards and an NAACP Image Award nomination. “R&B and soul music is alive and well,” Raheem declares, and he continues to prove it with every release. His addition as host of this iconic show will further serve as an advocacy and exposure for his peers and supporters.

The Greyboy Allstars: Grab Bag 2007-2023

Influencial West Coast Boogaloo revivalists, The Greyboy Allstars have announced their eighth studio album, Grab Bag: 2007-2023. For this latest offering, the quintet featuring saxophonist Karl Denson, keyboardist Robert Walter, guitarist Elgin Park aka Michael Andrews, bassist Chris Stillwell and drummer Aaron Redfield, gather nine previously unreleased recordings from over the past decade and a half of the quintet’s illustrious 30-year history. While these stellar cuts were initially deemed stylistic and sonic outcasts resulting in their exclusion from previous albums, here they seamlessly come together to highlight the more experimental side of the band's ever-evolving sound and vision. Due November 22 on the band's own Knowledge Room Recordings, today they share the collection's first two singles: the silky dreamscape "Suadela" (listen/share) and the raucous, party starter, "Slip The Grip (listen/share)."

​"We are always trying to move outside of the basic parameters of the initial soul jazz construct that we based the group on when we first started 30 years ago. We know those basic ingredients will be the staples and what we pepper in there will break through the boundaries, however subtle," explains Park. "Be it synths, or slowing down, relaxing the grooves, opposing genres, mixing folk and funk or ‘60s boogaloo and new wave. We embrace that we are in the modern world and have access to everything that has come before us. The point is to have fun creating music that makes us laugh and dance." ​

Born in San Diego as the “Allstars” of DJ Greyboy’s underground label Greyboy Records, the five musicians offered living, breathing interpretations of his rare groove, crate-digging discoveries. Flash forward thirty years later and GBA have grown into legitimate "Allstars" in modern music. Away from GBA, Michael Andrews is a notable composer of scores for film and television, ranging from Donnie Darko to Freaks & Geeks to his most recent work on the upcoming animated documentary Piece by Piece that tells the life story of singer and producer Pharrell Williams through LEGO pieces. Robert Walter has been jumping between tours with Pink Floyd’s Roger Waters, and Phish’s Mike Gordon, among others, while leading his own 20th Congress. Karl Denson divides time between his touring juggernaut Tiny Universe, as well as the jazz-based KD3 trio, while handling saxophone duties on tour with no less than The Rolling Stones. And then there’s the liquid cool of GBA’s rhythm section: bassist Chris Stillwell and drummer Aaron Redfield, a formidable, first call rhythm section on pop and hip-hop sessions, including credits on recordings by Sia, Elton John, CeeLo, and Charli XCX.

​In December of 2023, when GBA’s recording sessions focused on new material ran out of time as various members were called back to their other "Allstar" jobs, they’d take advantage of the pause to dig into a generous back catalog of songs that hadn’t been previously issued. Many of the tunes were too experimental or didn’t quite fit within the context of the albums for which they were originally recorded, yet had still gone onto become staples of their live shows.

​"We were deep into recording a set of brand new music, but we had to pause because Robert had to leave for a tour with Roger Waters and Karl had limited time due to his obligation with The Rolling Stones," says Park. "We knew we had these tunes in the vault that we loved and have always wanted to release and this seemed to be the perfect time. We also wound up including two tracks, 'Suadela' and 'Pixie Stick,' from those latest recording sessions, so it’s actually representative up to the present."​

​"It made sense to go back into our archive and put out some of our favorites from the past several years," continues Walter. "A lot of these songs on Grab Bag are more experimental and representative of the edges of what we would normally do stylistically. I think it shows our range in a great way."​

While Grab Bag: 2007-2023 could suggest a random assortment of miscellaneous tracks, taken in its totality this latest collection instead redraws the boundaries and redefines the terms of The Greyboy Allstars iconic and influential brand of West Coast Boogaloo.

Ben Kono Group | Voyages

Grammy® Award winner, Ben Kono, an acclaimed woodwind artist and composer, reveals his third recording as a leader, Voyages, to be released November 15, 2024. Featuring Kono’s core jazz quintet joined by a string quartet well-versed in jazz and classical genres, this long-form suite is an immigration story that pays tribute to his Japanese-American forebears. “I was inspired by my grandfather’s memoirs in his book entitled ‘Setsuri No Jinsei’ (Human Life and Divine Providence). He (Juhei Caleb Kono) came to this country alone in 1911 at the age of thirteen and lived through a much different time. There was prejudice, the Great Depression, and of course Japanese internment during the Second World War. I was fascinated by his account and I realized how important to our identity as a Japanese American family his story was, and I thought, what better way to honor his contributions, and the contributions of my father’s generation, than to create an album inspired by their hard work which paved the way for our lives.” Kono, drawing inspiration from the writings of his grandfather, composed a suite which traces his journey as a child to the United States, his poignant struggles with culture and wartime politics, and his ultimate path to citizenship. Voyages stands as a tribute to the countless immigrants who paved the way for later generations, celebrating their enduring spirit and resilience.

Voyages opens with four evocative vignettes, each reflecting the text of his muse and offering a deeply personal narrative through music. The journey begins with Yobiyose (The Calling), a moody, rhythmic piece opening with strings and percussion that evoke the vast Pacific waves as Juhei embarks on a journey to unknown shores. The tension and mystery of the sea are beautifully captured, setting the tone for the album's exploration of identity and belonging. On Bata Kusai!!, Kono draws inspiration from Japanese work-songs to express Juhei's bewilderment at the strange foods and culture in his new country, and his dogged pursuit of success through hard work. This track is highlighted by the brilliant improvisation of Sara Caswell on violin, adding a dynamic and playful element to the narrative. Belong serves as an anthem for the newly displaced, originally composed to honor Kono's grandmother, Hisako Nara Kono. This poignant piece features Kono's virtuosity on the English horn and tenor saxophone and the emotional depth of this composition speaks to the experience of finding one's place in a foreign land. Across the Pond is a tribute to Kono's English mother, Barbara. Inspired by her love of Ralph Vaughn Williams' orchestral works, this piece reflects the influence of Western classical music on Kono's compositions and his conservatory training on the flute. It is a heartfelt homage to the first-generation immigrant in his family, blending chamber music and folk song with personal storytelling.

The next four pieces on the album are part of an expansive long-form composition titled Generations Suite. Each piece within this suite is dedicated to a specific generation of Japanese Americans: Issei, Nisei, Sansei, and Yonsei, representing the four generations of the Kono family who have made America their home. The suite begins with a string quartet that introduces the foundational melodic material, derived from a traditional Japanese scale. This motif serves as the thematic core, reappearing throughout the four movements and evolving into new and distinct forms with each iteration, reflecting the unique experiences of each generation. The suite culminates in a powerful and uplifting tour de force, showcasing the ensemble's virtuosic capabilities and pushing the boundaries of what this talented group can express.

The stellar ensemble of musicians participating in this project represents the vanguard of creative improvisation in New York City. Keyboardist Mike Holober, guitarist Pete McCann, drummer Jared Schonig, bassist Matt Clohesy, and Ben Kono himself, showcase an immense range of styles, effortlessly traversing the realms of jazz, post-rock, post-classical, and world music. Joining them are violinists Sara Caswell and Meg Okura, both award-winning jazz improvisers and classical virtuosos, violist Lois Martin and cellist Jody Redhage Ferber, who have graced stages worldwide with artists like Esperanza Spalding. “As always when I write, I tend to think of who will play the music first, and then write to those strengths. So it such a joy to work with these amazing musicians. All are not only amazing improvisors and conservatory-trained musicians, but are also composers and leaders in their own right. So it’s great to have such a deep well of experience and creativity to help shape my own ideas.”

Ben Kono's new album is a testament to the power of music to bridge cultures and generations. Throughout this monumental work, he offers listeners a unique glimpse into his family's history and his own artistic journey. The album will be available on November 15th, 2024 and promises to be a compelling addition to Kono's discography.

Ben Kono, a Vermont native, moved to New York City in 1999 and has since established himself as a versatile woodwind artist and as an emerging voice as a composer and improvisor. His talents have been featured on recordings and performances with jazz greats like Bob Berg, Michael and Randy Brecker, Wynton Marsalis, Christian McBride, and David Liebman, and he has performed alongside jazz luminaries such as Chris Potter, Donny McCaslin, Ingrid Jensen and Bill Stewart. He has also collaborated with composers such as Darcy James Argue, Miho Hazama, Remy Le Boeuf, Mike Holober and Ted Nash, as well as superstars Patti Austin, Hugh Jackman, and Natalie Cole.

A seasoned performer in big bands, Kono has toured with the Tommy Dorsey Orchestra, the Jazz Ambassadors of the U.S. Army Field Band, and the prestigious University of North Texas One O’Clock Lab Band.. He is a member of the John Hollenbeck Large Ensemble, the BMI Jazz Composers Orchestra, the Ed Palermo Big Band, the Jihye Lee Jazz Orchestra, and the Gotham Jazz Orchestra. Kono has also held positions in numerous Broadway productions, including an eleven-year tenure with Jersey Boys, and has performed at Carnegie Hall with the Philadelphia Orchestra, The New York Pops, and the St. Luke's Chamber Orchestra. In 2013 and 2018, he received commissions from Chamber Music America to compose for his own ensemble, The Ben Kono Group, leading to the release of two recordings and numerous performances and clinics across the United States. In 2023, his first opera, Fractured Mosaics, premiered with Whitesnake Projects, addressing anti-Asian violence in the U.S.

A Grammy® Award winner, Kono has appeared on over a hundred recordings. As a dedicated educator, he has taught at the University of North Texas, Morgan State University, Queens College, and the City College of New York and is a teaching artist for the New York Pops Orchestra. Ben Kono resides with his family in the picturesque river town of Nyack, NY, where he enjoys spending his free time sailing on the Hudson estuary.