Randall Bramblett | Paradise Breakdow

Randall Bramblett is happy to announce the unveiling of his latest single "Round and 'Round The Sun" off his wildly anticipated album, Paradise Breakdown, released via Strolling Bones Records. 

For decades, Bramblett explored the deep corners and outer orbits of American roots music, creating a southern sound that's every bit as eclectic as its maker. That sound reaches a new milestone with Bramblett's thirteenth record, Paradise Breakdown. In discussing his work, Randall says, "My songs are vignettes about everyday joy and pain that came to me over the last few years. An awareness of mortality and the fragility of life has settled in me, and all these songs have grown from those feelings. All the players brought their brilliant skills and love for this music into the sessions. The songs grew from my basement demos into beautiful pieces of a big, years-long puzzle. We called this record Paradise Breakdown because it has the feel of beauty and hope running up against pain and loss."

About the new single, "Round and 'Round The Sun," Bramblett said, "I overheard someone talking about a spiritual experience they had while driving.  Their car filled up with light. This story evolved into a song about the possibilities of seeing a world full of beauty and peace. Maybe it's much sweeter than we knew."

Teaming up with legendary instrumentalists like Tom Bukovac, Steve Mackey, Nick Johnson, and producer/drummer Gerry Hansen, Bramblett cooked up his melting pot of urban swamp-soul and modern roots music in an East Nashville studio. Once those sessions wrapped up, he returned to Athens, Georgia, to finish the record with Seth Hendershot, A.J. Adams, Tom Ryan, and Nick Johnson. The result is a mix of organic performances and electronic textures: an album built for roadhouse dance floors, dark, lonely corners, and the long ride from past to present.

Bramblett is no stranger to accolades; The New York Times declared: "Bettye Levette's Grammy-nominated album contains a set of songs by Randall Bramblett. LaVette sings about humankind as a flawed creation — "You gotta stop and wonder/Baby, why were you born?"— over a sputtering, tumbling Afrobeat groove, anchored like Fela's music by a burly baritone saxophone. Every rasp and break in her voice sounds like one more obstacle overcome." Associated Press concurs, "Imagine a world where musicians play concerts: These songs would have folks on their feet," and Rolling Stone effuses, "Randall Bramblett is one of the South's most lyrical and literate songwriters.

Bonnie Raitt opened her Grammy-winning album Slipstream with his composition "Used to Rule the World" in 2012. The Blind Boys of Alabama covered his song "Almost Home" on their own Grammy-nominated record several years later. Blues legend  Bettye LaVette took things a step further, recording 11 different Bramblett compositions on her 2024 Grammy-nominated record LaVette! , dubbing him "the best writer that I have heard in the last 30 years.".

Paradise Breakdown offers more than the soulful, sobering reflections of a road warrior willing to look at the blacktop stretching out behind him; it's also a snapshot of a man still in motion.

 

Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol.

The acclaimed Miles Davis “Bootleg Series” has spanned years as early as 1955, and as late as 1985, but it has not yet touched 1963 or 1964 – a pivotal period in Miles’ musical evolution and the auspicious beginnings of the Second Great Quintet – until now. Today, Columbia Records and Legacy Recordings, the catalog division of Sony Music Entertainment, announce the newest box set in the Miles Bootleg Series out November 8th — Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 which includes all the music made at the 1963 Festival Mondial Du Jazz in Antibes (July 26-28 of that year) and the 1964 Paris Jazz Festival (October 1). The 1963 recordings feature George Coleman, Herbie Hancock, Ron Carter and Tony Williams – while the 1964 recordings feature Wayne Shorter’s arrival on tenor saxophone as the final member of the Second Great Quintet.

Miles In France will arrive November 8th as a 6 CD and 8 LP set with more than four hours of previously unreleased music and new liner notes by journalist Marcus J. Moore. A 2LP break-out set, of just the 1964 recordings, pressed on French flag-inspired blue-white-red vinyl will also be available. The release will also be available digitally in its entirety on DSPs. 

Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 Arrives November 8th via Columbia/Legacy Recordings

Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 Arrives November 8th via Columbia/Legacy Recordings

Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 Arrives November 8th via Columbia/Legacy Recordings

Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 was produced by the multi-GRAMMY winning team of Steve Berkowitz, Richard Seidel and Michael Cuscuna (marking one of the last productions for Cuscuna, who passed away earlier this year) and mastered by multi-GRAMMY winning Sony Music engineer Vic Anesini at Battery Studios in NYC.

France was important to Miles on both a professional and personal level, quickly becoming his preferred live market. He played in France more times than any other country outside the U.S. and recorded there frequently. His history in the country goes back as far as 1949 – when he appeared at the Festival International De Jazz at just 22 years old – and as late as July 1991, for a concert in Nice just two months before he passed.

In the early 1960s, Miles came to France having altered the course of jazz. His 1959 landmark album Kind of Blue eschewed hard bop for a modal style that allowed room for a freer type of improvisation – an overcast slow-burner evoking ease and tension. But when compared with the studio version of Kind of Blue, the music coming out of the Quintet in Antibes and Paris had very little room for space and silence. The highs were dramatic and the lows were filled with powerful phrasing – adding fresh perspective to this landmark album in all of jazz.

Miles officially hired the rhythm section of Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums in the Spring of 1963, and they went into the studio in May of that year with George Coleman on tenor saxophone to record the second half of the Seven Steps To Heaven album. Two months later they arrived in Europe, and Downbeat deemed their performances at the 1963 Festival Mondial Du Jazz to be: “superb… [Davis] was in clean, decisive form and at his lyrical best…”

Ron Carter recalls the experience in the new liner notes, adding, “I had never played with anyone like that, of course, and certainly not for this extended period of time. It was just stunning to hear him play like this, play with that intensity, play with that tempo, play with that direction night in and night out and not turn it on to the band and say, ‘Stop that.’ He allowed us to do whatever the chemist allowed his proteges in the lab to do. Take these chemicals I’m giving you guys and see what we come up with. Just call the fire department if necessary.”

Miles would return to the U.S. with a new sense of musical purpose, spurred on by the bands he took to France, reveling in the stages they played. By the time Miles recorded E.S.P. with the Second Great Quintet in 1965, he proved that – despite whatever physical and spiritual challenges he may have endured – he was the barometer by which jazz moved and evolved. Some 60 years removed from these recordings, and more than 30 since his passing, Miles is still the summit and pinnacle, the essence of audacity, the monument of all monuments.

Out Of/Into | Motion 1

The history of Blue Note Records is characterized by a harmonious blend of tradition and innovation. Over the past 85 years, the label has celebrated jazz's rich past while championing its vibrant future, from the rise of hard bop to its commitment to nurturing emerging talent. The all-star collective Out Of/Into, which began as the Blue Note Quintet to mark the label’s anniversary, perfectly embodies this ethos. Featuring pianist Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, drummer Kendrick Scott, and bassist Matt Brewer, the group showcases cutting-edge music while honoring Blue Note’s storied legacy. As Ross succinctly puts it, “The collective keeps the Blue Note legacy alive by being unapologetically true to ourselves.”

On December 6, Out Of/Into will release their debut album, Motion I, featuring seven original compositions by the band members, including the striking lead track “Ofafrii.” This album was recorded during their extensive 2024 tour, where the group honed these improvisational pieces across nearly 40 performances in some of the country’s premier concert halls.

“With so much time on the road, we really aimed to push our boundaries,” says Wilkins. Clayton adds, “We challenged each other to dig deeper night after night. Over two months, the music evolved in every direction—growing both tighter and looser. There was an incredible amount of talent and creativity on that stage.”

Out Of/Into represents five of the most influential voices in contemporary jazz and is the latest chapter in Blue Note’s tradition of assembling all-star ensembles. Throughout its history, the label has formed groups like Out of the Blue, Superblue, New Directions, the Blue Note 7, and the Blue Note All-Stars, featuring trailblazers like Kenny Garrett, Roy Hargrove, and Robert Glasper. Each of these ensembles encapsulated their respective Blue Note era, proving that the label's “golden age” is not confined to a single period but is a continuous evolution of excellence and innovation.

The name “Out Of/Into” reflects this ongoing journey, emphasizing the balance between honoring the past and forging new paths. As Scott explains, “‘Out Of/Into’ signifies the evolution of the Blue Note story and our unique sound.”

Tanya Wills | She

Stepping back into the realm of dating can be an intriguing or irksome conundrum for those who have recently separated, split up, or divorced. With the commitment to your former partner now just a memory, some simply appreciate the joys of dating from afar. That is to say not dating at all. It's this idea that planted the creative kernel for Toronto-area jazz/blues singer Tanya Wills' latest Latin-infused single "That's Love" from her new album She, out now. 

Wills says "That's Love," the follow up single to "Someone To Love," was inspired in part by the culmination of her own marriage and wondering how difficult navigating dating waters nowadays could be. She knew it might not be for her at this time but realized it could be the germ of a fine song. 

The single opens with Latin sonic flavors that could recall Santana's classic "Oye Como Va." From there Wills relays the huge series of questions running sporadically through a person's mind. Is this date going good or not so good? Is there a connection? Will it last? What am I even doing here with this person? 

Guitarist Bill Bridges provides some breezy instrumental work in the bridge as drummer Kevin Coady and bassist Ron Johnston are locked into the airy yet sensuous groove. The narrative In some respects recalls the classic Latin song "Quizás, Quizás, Quizás," better known in English circles as "Perhaps, Perhaps, Perhaps" made famous by Doris Day, Bing Crosby and Nat King Cole. 

"'That's Love' is from a slightly different outlook on love," Wills says. "I was reflecting on how grateful I am to NOT be in the dating game, and how it could cause one to develop a bit of a cynical attitude toward the 'relationship.' I have several friends who are finding themselves newly single again, and they have stories about their experiences in having to dive into the dating pool." 

Because this might really be love...or isn't

And you might have givin' me your heart...or didn't

Flip a coin, douse the flame, turn the page, or change the game

Roll the dice, it's all the same

That's love 

The single is one of the songs from Wills' forthcoming album She set for an Oct. 4 release. Wills, who performs in the Wintergarten Orchestra in Toronto as well as leading the Tanya Wills Quartet, says the material was written over a 15-year period. Wills worked with her quartet as well as Jordan Klapman and Rob Korb. Unfortunately, the album's recording at Toronto's Inception Sound studio was shelved due to the pandemic. But Wills and her bandmates kept working on it by sending files and ideas back and forth through the internet. A second phase of recording post-pandemic at Toronto's Revolution Recording completed She.

Now with her latest single "That's Love," Tanya Wills should see a huge boost to her career with this lovely Latin-tinged nugget. In short, and to steal a lyric from the single, "That's Love" should be on a loop and leave you ten feet off the ground.

VISIONS JAZZ ENSEMBLE | ACROSS THE FIELD

Although Indiana isn’t usually the first place that comes to mind when considering the finest jazz players in the country, The Visions Jazz Ensemble and their debut album, ACROSS THE FIELD, should make jazz fans take notice. The band comprises Indiana University graduates and is spearheaded by trumpeter SAM BUTLER and tenor saxophonist GARRETT FASIG, both of whom are individually making a name for themselves around the Midwest and beyond. 

Butler is also a composer, arranger and educator based in Indianapolis. He has performed with various ensembles including the Buselli-Wallarab Jazz Orchestra, Sean Dobbins and the Modern Jazz Messengers. He was the winner of the 2023 International Trumpet Guild Jazz Solo Competition, and his debut album Folklore (2023) received positive reviews. JazzWeekly said, “Butler has a sweet bopping tone to his horn, similar to that of vintage players like Kenny Dorham and Blue Mitchell.” He is a recent graduate of the Master’s program at IU, where he was an Associate Instructor.

Fasig is also a composer, arranger, and educator. He has written and recorded music with the Brent Wallarab Jazz Ensemble, John Raymond Ensemble, Greg Ward Large Ensemble, and the Plummer Jazz Quintet. He has also performed alongside world-class musicians, including Walter Smith III, Oliver Nelson Jr., Dayna Stephens, and Steve Houghton.

They are joined on this recording by other IU graduates NICK RECKTENWALD (trumpet), JEFF PARKER (trombone, bass trumpet), DAN VENTURA (piano), JACOB SMITH (bass), FRANCIS BASSETT-DILLEY (drums), and special guest WYCLIFFE GORDON on trombone on one track.

On ACROSS THE FIELD, Butler and Fasig did a yeoman’s task of turning college fight songs into hip jazz tunes with a modern edge. Before work on the album started, the Indiana Entertainment Foundation conceived and commissioned the idea for a live show. Working in conjunction with The Timeless Music Project, which presents live music performances around Indianapolis, Butler and Fasig came to the attention of the Project by Brent Wallarab, an Associate Professor of Jazz Studies at IU and a strong supporter of Butler and Fasig. The two jumped at the chance with each of them choosing and arranging six songs. 

Butler and Fasig chose songs they had some connection to and thought were amenable to modern jazz treatments. They kept the melodies somewhat front and center but provided fresh takes on each tune. The show premiered in October of 2023 at the SILO Club in Indianapolis and was such a hit, that the Entertainment Foundation asked them to record an album of the music. 

Around this time, Wycliffe Gordon had been in town performing with his band and had also enjoyed their music. When he agreed to record one tune, Butler and Fasig jointly arranged “Hot Time in the Old Town Tonight,” the fight song of Florida A&M University, Gordon’s alma mater.

Many of these songs, which were written at least 100 years ago, are based on marches that influenced early New Orleans street music. Butler explains, “A lot of these songs are not that far from the origins of early jazz. We all have a concept of modern marching bands, but once we dug into the music, we started to find a lot of commonalities. It’s more closely related than we thought.” 

The album opens with “Tiger Rag,” arranged by Butler. It was written and first recorded by the Original Dixieland Jazz Band in 1917. Butler took inspiration from Louisiana State University’s arrangement, using a traditional second-line feel and adding a twist of modern harmony and odd phrasing. The second half features classic NOLA-style backgrounds and a solo break during Butler’s solo. 

Other Butler arrangements include “Rocky Top.” The University of Tennessee chose the Osborne Brothers tune for the halftime show of a football game against Alabama. Butler’s twist on the tune features Dan Ventura on piano and Jeff Parker on bass trumpet. “Glory, Glory,” the classic fight song from the University of Georgia, features solos by Parker on trombone and Butler on trumpet. The University of Southern California’s “Fight On” uses multiple musical inspirations, including their “war march” opening that unwinds into a Lee Morgan “Sidewinder” groove and blues form, with solos from Fasig and Recktenwald leading into a big marching band-style finish. The groove of Georgia Tech’s “Ramblin’ Wreck” has a jazz march that lends itself to the classic pairing of muted-trumpet and flute. The whimsical tune features solos from Recktenwald on trumpet and Smith on bass. Butler transforms Notre Dame’s “Victory March” into a waltz featuring solos from Fasig on tenor saxophone and Ventura on piano. 

Fasig’s arrangement of the Naval Academy’s “Anchors Aweigh” turns this classic, traditional march into a lively straight-ahead jazz tune. At the band’s first show, the audience sang along to Indiana University’s “Indiana Our Indiana,” featuring Recktenwald on trumpet. “Across the Field,” a spirited march from Ohio State University, takes a reflective and winding harmonic journey while creatively reimagining the iconic “dogfight” section of this melody. Purdue University’s “Hail Purdue” features some soulful playing by Fasig, who also re-imagines University of Michigan’s “The Victors” as an up-tempo, modal jazz tune. Fasig arranged “On Wisconsin” as a swinging version of the original march, playing the melody in a minor key rather than major.

Butler and Fasig co-arranged “Hot Time in the Old Town Tonight,” from Florida A&M, featuring Wycliffe Gordon on trombone. The arrangement combines aspects of Theodore Metz’s original song, Louis Armstrong’s 1964 arrangement, and a Horace Silver-inspired form and backgrounds.

Although the melodies on ACROSS THE FIELD will be familiar to many, Butler’s and Fasig’s clever, hip jazz arrangements played by musicians with top shelf improvisatory chops make this project truly unique.  

Geneva Renee | Your Tender Kiss

Summer love never sounded more sensual than Geneva Renée’s new single heating up playlists nationwide. The soul-jazz singer-songwriter wrote the Red Mile Music single with David P. Stevens who produced the song featuring saxophonist Marqueal Jordan.

“Your Tender Kiss” was conceived after a sit down in Stevens’ Los Angeles studio. The organic connection between Renée and her producer inspired Stevens to compose the initial track. 

“When Geneva came to the studio that day, her conversation and total vibe gave me an indescribable feeling. The song came to me after that conversation. As she and I began to collaborate, this sensual but tender masterpiece was born. I believe the song resonates with people because of the passionate place it was born from,” said Stevens, who has architected multiple Billboard top ten singles as a writer, producer and artist. 

The next day, Renée returned to the studio, excited to enter the vocal booth to croon the sultry tune set to an R&B groove with a sophisticated adult contemporary meets cool jazz nuance. 

"I was instantly captivated by the intoxicating melody and ambience, reminiscent of the Sade era that I missed so much. While we were in the studio, David encouraged me to channel my emotions by thinking of that one special guy—the one who never said, 'I love you,' but his kiss spoke volumes. When I was alone, I’d always wonder how this man felt about me; but every moment we spent together, my body would instantly respond to his touch, and I knew that our chemistry ran deeper than three words could ever express. In those moments, I was convinced our love was real,” said the Washington, DC-based Renée, a mezzo-soprano blessed with a three-octave voice. 

Instead of writing a vocal bridge to the song, Stevens suggested bringing in Jordan for a saxophone solo. 

“Once I heard ‘Your Tender Kiss,’ I was immediately taken to that place of high desire and tension when you are feeling someone, the chemistry and attraction is mutual, and you cannot wait to kiss them. Geneva's performance takes you there. She has a phenomenal tone that emotes sensuality and she gives everything to a song. I wanted to bring my emotional intensity to the song in a supportive way,” said Jordan, who launched his solo recording career after a lengthy tenure flanking superstar R&B/jazz instrumentalist Brian Culbertson. 

Renée, Stevens and Jordan teamed up to lens a romantic video for “Your Tender Kiss,” which can be viewed at https://www.youtube.com/watch?v=anCib1Cc94g. 

 “For the video, I envisioned a relatable scene for most busy women. You arrive home after work to relax with soothing music creating the atmosphere. The romantic twist was adding a handsome love interest to surprise me with a bubble bath and sparkling wine. As I dip into the steamy water, take a sip of the rosé, and close my eyes, I’m transported by the sexy saxophone solo as the perfect finishing touch to a tender night of passion,” Renée describes. 

A native of Oxnard, California, Renée attended Howard University where she earned a master’s degree and a doctorate. Elements of classical, jazz, soul, gospel, and pop inform her recordings. Noted R&B producer Dinky Bingham (Patti Labelle, Lionel Richie, New Edition) produced her 2012 debut album, “Beautiful Wonder,” which was led by the empowering single “She Presses On.” Bingham also produced her sophomore release, “Brand New Day,” a 2021 EP. She has shared the stage with Beyonce, Mariah Carey, Shakira, Diana Ross, Maysa Leak and Vanessa Williams, and has performed at internationally televised events honoring Presidents Barack Obama and Bill Clinton. Renée has graced such prestigious and diverse venues as the Kennedy Center, Rehoboth Beach Jazz Festival, Blues Alley, The Birchmere, and UniverSoul Circus.     

 

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.”