WOODY SHAW: THE COMPLETE MUSE SESSIONS

Mosaic Records is set to release Woody Shaw: The Complete Muse Sessions on June 4, 2013. Through a wide variety of styles, personnel, repertoire, and forms of instrumentation, this 7-CD limited edition box set presents a complete narrative of iconic trumpeter Woody Shaw's musical and artistic growth over a 13-year period with Muse Records, from 1974 to 1987, after having moved from San Francisco to New York.

Shaw's arrival at Muse marks a significant turning point in his career, showing early growth from a composer and trumpeter into a bandleader and artistic director. This era also serves as an awakening in his sense of leadership both within the broader scope of jazz and concerning the presentation of his original music.

"This was the era when Woody stepped up and became a leader," states Michael Cuscuna, Mosaic Records founder and producer. "The core of these sessions is the Woody Shaw Concert Ensemble, an expanded group with four horns and one or two percussionists. I loved this setting because it brought out Woody's incredible talents as a composer and arranger with a distinctive harmonic sense."

The box set, which includes nine albums over seven discs, is divided into three parts, each relaying an important segment during this era of Shaw's career. The first set (The Moontrane, 1974; Love Dance, 1975; The Woody Shaw Concert Ensemble Live at the Berliner Jazztage, 1976) groups Shaw's concert ensemble, which features multiple horns and, in some cases, percussion. The second group of recordings (Cassandranite, 1965; Little Red's Fantasy, 1976; Iron Men, 1977) feature the trumpeter's chosen collaborators as a quintet. The third group (Setting Standards, 1985; Solid, 1986; Imagination, 1987) includes recordings done for Muse Records following his tenure with Columbia. This final group in particular exhibits great maturity and refinement from Shaw, exhibiting his innovative approach to the standard repertoire and to more traditional elements of the music.

CHRISTIAN MCBRIDE TRIO - OUT HERE

With Out Here, premier bassist Christian McBride's fifth recording on Mack Avenue Records, McBride introduces his latest working group: a trio, fully embracing (at the soon-to-be age of 41) his role as standard-bearer and mentor. Pianist Christian Sands and drummer Ulysses Owens, Jr. - both younger, emerging artists - have been performing with McBride's smallest group for about three years, honing their trio conception to a fine point of expressive depth and nuance with select performances around the world.

"It's a pretty diversified trio," says McBride descriptively. "The real core foundation is hardcore swingin,' blues and the American Songbook. Part of that is because Christian [Sands] is so well-rounded and willing to go to so many places, that I can't help but want to swing hard with him and Ulysses." McBride, however, thought he'd never helm a jazz trio.

When he hit the jazz scene like a comet at age 17, McBride's huge, woodsy sound and precocious agility invited comparisons to the legendary bassist Ray Brown. The late jazz bassist was not only renowned for performing on classic jazz dates with modern greats from the 1940s onward, but also for his central role in trios led by Oscar Peterson as well as his own stellar trio ensembles afterward. Once McBride recorded with Brown as a member of the early '90s group Superbass, the association was bound to stick. He loved Brown as a mentor and father figure, but avoided leading a trio because of the inevitable comparisons.

Helming a trio was the furthest thing from McBride's mind - until an Inside Straight appearance in 2009 became a trio date due of the absence of saxophonist Steve Wilson and vibraphonist Warren Wolf. But instead of calling for replacements for two members of Inside Straight, he opted for expedience and played the gig with pianist Peter Martin and drummer Ulysses Owens, Jr..

Out Here is McBride's 11th recording as a leader. Since the early 1990s he has recorded on over 300 dates as a sideman. Aside from relatively recent travels with Pat Metheny; Chick Corea, Roy Haynes, John McLaughlin and Kenny Garrett; the Monterey Jazz Festival on Tour - 55th Anniversary; and residencies and artistic leadership roles with organizations ranging from New York's 92nd St. Y and Jazz House Kids to NJPAC, McBride has toured consistently for several years with his own quintet, Inside Straight. He also fronts the Christian McBride Big Band, whose Mack Avenue recording, The Good Feeling, won the GRAMMY® Award for Best Large Jazz Ensemble Album in 2012 - his third GRAMMY® win overall.

Owens has been a mainstay in McBride's groups of late. He has regularly subbed for Carl Allen in Inside Straight and is the drummer for the Big Band. "Ulysses and I have a closely formed musical relationship, where we know one another's time and feel very well," McBride says. "I think he's picking up the tradition after Lewis Nash. I love his combination of technique and artistry."

McBride had his eye out for Sands ever since hearing him on Marian McPartland's National Public Radio "Piano Jazz" program. "I knew he was a student of Dr. Billy Taylor's. But when I heard him he floored me. It was amazing hearing an 18-year-old really dealing with the tradition. He had his technique together, and all his tempos - ballads, medium, bebop. Plus he played the blues and could get esoteric too. I thought: finally, a young player who has all of the language. It was such a relief."

Considering the tendency of many young players to focus on complex rhythms, baroque technique, and being different for the sake of difference, hearing these three gentlemen explore jazz fundamentals with such wonder, drive and sensitivity serves as a welcome antidote. "My trio seems to be an anomaly these days," says McBride. "I find myself, when listening to young guys on the scene, it's very musically clever, but I'm not feeling that kind of soul satisfaction that I felt at one time. There was a time when the young guys took pride in paying tribute to the masters but still keeping their own identity and remaining within their own generation."

With Sands and Owens, McBride exhales with relief since they play the full spectrum of the music at will. Out Here opens with "Ham Hocks and Cabbage," a flowing, feel-good, down-home blues with intro by Sands and melody by McBride. Oscar Peterson's "Hallelujah Time" is a praise song to the divine taken up-tempo, with rejoicing solo turns by McBride on bow; and Sands, who trades eights with Owens before the trio closes with panache. An even faster tempo emboldens their reenactment of the Ahmad Jamal trio arrangement of "Cherokee," alternating a waltz tempo with jet-speed precision rarely attempted since the glory days of bebop. Owens especially shines here, demonstrating a range of brush and stick work worthy of envy.

Wistful memories inspirit "I Guess I'll Have To Forget," originally recorded on McBride's Sci-Fi date in 2000. On that recording, McBride says the song had "all these detours and side roads to it. I brought it back this time for some variety, to break up the mood and atmosphere. The way the song is played now is actually the way I originally wrote it: very simple, something that a vocalist could write lyrics to."

Dr. Billy Taylor's "Easy Walker" is taken at what McBride calls a "grown-folks tempo," what with a deep-in-the-pocket, no-rush flair and the luxuriant insouciance of swing. "My Favorite Things" is performed in 5/4, and is the most experimental number. "We let our imaginations run wild," he says. "It's a song that everybody knows so we wanted to do something different so folks won't tune out."

Tuning out is no option on other standards present. "Most of the standards that inspire me come from Frank Sinatra," admits McBride, regarding "East of the Sun, (and West of the Moon)." He adds Ella Fitzgerald, Nat King Cole and Carmen McCrae to the array of vocal lights he turned to when he "really started listening to singers. They understood the beauty of simplicity; they sing the story the way the writer intended. They don't put their own artistic expression before the story."

Sinatra's version of "I Have Dreamed" from The Rat Pack: Live at the Sands recording in 1963 was the longing spark for his heartfelt, bowed interpretation of a memorable song from The King and I. The closing number, "Who's Making Love," features McBride's tributes to Johnnie Taylor and, humorously, to Robert Wilson of The Gap Band. It's also the trio's nod to McBride's roots in soul and R&B. "My bone marrow is soul music. I never had to learn how to play soul music or R&B as I did for jazz and classical music."

McBride's talent and mark on the music scene transcend genre, so he's no longer under Ray Brown's shadow. And on this recording, his trio hits a jazz sweet spot. For listeners of Out Here, the result is music for the soul.

Upcoming Christian McBride Appearances:

Christian McBride + Inside Straight:
June 20 / The Int'l Festival of Arts & Ideas - Elm Street Stage / New Haven, CT
June 21 / Xerox Rochester Int'l Jazz Festival / Rochester, NY
Dec 27 / Teatro Duse via Cartolleria, 42 / Bologna, Italy
Dec 28, 2013 - Jan 1, 2014 / Umbria Jazz Winter  Teatro Mancinelli Corso Cavour, 122 / Orvieto, Italy

Christian McBride Big Band:
Aug 31 / Curacao North Sea Jazz Festival- Celia WTC / Netherlands Antilles
Nov 9 / 2nd Annual James Moody Democracy for Jazz Festival / Newark, NJ
Jan 7-12, 2014 / Village Vanguard / New York, NY
Janu 21 / University of Texas - Austin Bass Concert Hall / Austin, TX

Christian McBride Trio:
May 23 & 24 / 92nd Street Y - Kauffmann Concert Hall / New York, NY
May 30 / Venue 505 / Sydney, Australia
June 1 - 3 / Melbourne International Jazz Festival / Melbourne, Australia
Oct 22 - 27 / Dizzy's Club Coca-Cola / New York, NY
Oct 30 / Festival Miami at Frost School of Music / Coral Gables, FL
Jan 14-19, 2014 / Village Vanguard / New York, NY
Feb 19 - 22 / Jazz at the Bistro / St. Louis, MO
Feb 23 / Murray's / Columbia, MO
Mar 5 & 6 / Fort Lewis College - Community Concert Hall / Durango, CO
Mar 7 & 8 / Dazzle Restaurant & Lounge / Denver, CO

Special Appearances:
* Sept 6 / University of Maryland - Clarice Smith Performing Arts Center - Dekelboum Concert Hall / College Park, MD
Monterey Jazz Festival On Tour: 55th Anniversary - Various Dates / Various Venues / Various Cities
^ Chick Corea And The Vigil - Various Dates / Various Venues / Various Cities
*= Christian McBride's The Movement Revisited with Big Band and Choir.
^ = Indicates Christian McBride on select dates only.

Christian McBride Trio· Out Here will be release on Mack Avenue Records on August 6, 2013. McBriddes other recent release Christian McBride + Inside Straight: People Music, is out now.

ANTHONY GOMES ...BEFORE THE BEGINNING

With his latest album, "...Before The Beginning", Anthony Gomes offers a powerful collection of unplugged compositions, promising to be the artist's most compelling work to date. "On this CD I wanted to show that there is more to our music than loud, ripping guitars. By stripping everything down, we could feature the voice and songs. I wanted to capture the spirit of the old field hollers and get back to where the music came from," says Gomes, "We only used acoustic instruments - drums, piano, acoustic guitars and acoustic bass. The most powerful of all the acoustic instruments is the human voice. When you put the harmonies in there, it's just soul shaking."

Born in Toronto, Canada to a Portuguese father and a French-Canadian mother, Gomes began playing guitar in his early teens and was drawn to the blues sounds of B.B. King, Buddy Guy, Eric Clapton and Jimi Hendrix. While he honed his skills in the blues bars at night, Gomes earned a master's degree from the University of Toronto focusing on the racial evolution of blues music. He relocated to Chicago in the late '90s to learn from the blues masters. During his brief stint as a sideman for Magic Slim and the Teardrops, Gomes put together his own group and won the first annual Buddy Guy's Legends "Best Unsigned Blues Band" competition in 1998. Later that year, Gomes released his debut CD, "Blues in Technicolor", which introduced him as a guitar-slinger loaded with impressive firepower.

On 2002's "Unity", he accomplished the album's title with a heavy mix of styles leading Bandit Blues Radio to name it one of the Top 30 Essential Blues CDs of all time. Gomes was elevated to the top of the blues field just one year later when BluesWax Magazine named him “Artist of the Year,” an award he would claim for several years in a row due to his endless commitment and touring. "Music Is the Medicine" (2006) peaked at number four on the Billboard Top Blues Albums chart, only to be outdone by 2008's "LIVE" debuting at number one. Last year, Gomes received critical acclaim for his release of "Up 2 Zero". The album claimed “Best Blues CD of 2012” (A1 Blues.com) and “Best Blues Rock CD of 2012” (Blues Underground Network). Art Tipaldi, Editor of Blues Revue, declared Gomes “at the forefront of modern blues.” Anthony recently climbed to the number one position on Reverbnation’s Global Blues Chart.

Instead of following up with more of the same, Gomes boldly steps back to deliver an acoustic recording showcasing his vocals, songwriting, and acoustic guitar work. “I feel like this is my most soulful release to date. The album has a lot of weight to it. The theme is the cycle and circle of life.” The disc opens with the title track, “…Before The Beginning,” a stirring field holler equally rooted in the gospel tradition as it is the blues. Gomes follows with the upbeat “Blues Is Good” and the powerful first single “Lady Soul”. “The song was written about Aretha Franklin and how her music helped me get through some tough times. She really has been a light when the world can sometimes get dark,” says Gomes. The album includes the haunting slow blues of “Rescue Me,” the inspiring “Love Is Everything,” and the ominous “Sinner’s Song.”

The CD features another first for the singer-songwriter – his first recorded duet. “I wrote this song called "Let’s Fall in Love" and I thought it would work best as a duet. My favorite singer is Minnie Murphy from Nashville, and I thought she’d be perfect for the song. I am delighted she agreed to sing on the CD.” With the exception of three co-writes, Gomes penned the album in its entirety; a gesture he feels gives his listeners a direct line to himself as an artist. The most personal tracks on the CD are “Golden Wings” and “Beautiful Goodbye.” The former was inspired by Gomes’ survival of a massive vehicle fire while on tour this past fall, and the latter chronicles the last conversation between the bluesman and his grandmother. “My grandmother took sick when we were on the road in the middle of Montana. There was no way I could get to an airport quick enough to fly and see her. We talked on the phone and when we said good-bye we both knew it would be last time we’d speak. The world stood still for a moment.”

Releasing an acoustic album is a gutsy move for Gomes who is seen in the music community as a high energy blues rocker. The artist, however, believes that the source of the blues comes from the same place, regardless of presentation. “Musically, most people try to look ahead for inspiration, seeking out the latest cutting edge soundscape. I seem to go in the opposite direction. In awakening the sounds of Muddy Waters or Robert Johnson, I hear the future of the blues tradition. This time, we went way back. This album is so yesterday, that it’s today.”

http://www.airplaydirect.com/music/bands/41786/index.php

TREVOR ANDERIES - SHADES OF TRUTH

Shades of Truth is the debut album from L.A. based drummer/composer Trevor Anderies is a reflection of this artist's musical and spiritual journeys. In bringing together his closest colleagues, a deep sense of trust and comfort is created while they weave through each of these nine unique compositions. This album purposefully and naturally blurs lines of genre, taking influence from avant-garde, hard-bop, classical, soul, and the blues, seeking to create an exciting sound all its own. Producing a deep sense of spirituality, the music gives listeners an honest look into an artist whose main intention is to use music as a healing force, and to encourage listeners to reach deeper into their own lives to find the hidden gems within themselves. Shades of Truth promises to introduce drummer/composer Trevor Anderies as an exceptional drummer and composer who will be on our radar for years to come.

On Shades of Truth Anderies surrounds himself with musicians who are collaborators, bandmates (in the band Slumgum), players that are near and dear to his musical heart, and artists that have admirable resumes: vocalist Dwight Trible (Pharaoh Sanders, Billy Higgins, Horace Tapscott's Pan African Peoples' Arkestra, Charles Lloyd, Billy Childs, Kenny Burrell, Kenny Garrett, Steve Turre, Harold Land, Harry Belafonte, Patrice Rushen, Babatunde Lea, Ernie Watts, Kahlil El Zabar, as well as contemporary soul artists like LA Reid and DJ Rogers); tenor saxophonist Jonathan Armstrong (Slumgum, Vinny Golia, Bennie Maupin, Butch Morris, Hugh Ragin); alto saxophonist and flutist Gavin Templeton (Vinny Golia, Charlie Haden, Joshua White, Nels Cline, Joe La Barbera, Larry Koonse, Darek Oles, Butch Morris, Peter Epstein, daKAH Hip Hop Orchestra, The Temptations, Wayne Newton); bass clarinetist Brian Walsh (Peter Maxwell Davies, Bobby Bradford, Nels Cline, Larry Koonse, Muhal Richard Abrams, the Henry Mancini Orchestra, the Riverside Philharmonic); pianist Rory Cowal (Slumgum, Hugh Ragin, Bennie Maupin, Butch Morris, Premasoul); trumpeter Daniel Rosenboom (Vinny Golia, Los Angeles Philharmonic New Music Group, Southwest Chamber Music, Long Beach Opera, Wadada Leo Smith, Miroslav Tadic, Markus Stockhausen); and bassist David Tranchina (Slumgum, Hugh Ragin, Bennie Maupin, Nate Wood, Bobby Watson, Mike Barone, Butch Morris, Vinny Golia, Larry Koonse, Joe La Barbera).

Attainment - while composing this piece Anderies was contemplating accomplishment and the beauty of life's circular motion: "when we achieve one thing, doors are opened that lead to new struggle. After struggling we attain something, each time becoming a little wiser," he explained.

Shades of Truth - "I wrote this song specifically for my collaboration with Dwight Trible on the album. The vibe and lyrics of the piece take on the spirit and mission I sense when I listen to Dwight. The lyrics speak to my belief in both a seeking spirit as well as self empowerment as a means of being true to oneself", said Anderies.

Thunder - This piece dates back to a time when Anderies' writing was influenced by the music of John and Alice Coltrane, as well as Pharaoh Sanders. Recently, when the drummer reconnected with this music, his decision to write lyrics for the piece revealed a new meaning. He explains, "as long as I can remember, I have been obsessed with the sound and energy of thunder. I remember one storm in particular on a day when I was back home in Denver visiting my old drum teacher. We sat outside watching the lightning and feeling the roar of the thunder as it vibrated through our beings, and I was fascinated by its power, strength, confidence, and grace. Many cultures recognize this energy in their folklore; the Greeks worship Thor while the Yoruba praise Shango. Though we cannot become thunder, we can access the energy and spirit it represents in our own lives."

Vermillion - Inspired byAnderies' love of Beethoven's string quartets. While all of the tracks on the album include members of the collaborative group Slumgum, this is the only piece that features the band itself.

Three-Four vs. Six-Eight Four-Four Ways - This piece was written by pianist Hasaan Ibn Ali and recorded in 1964 with Art Davis and Max Roach. The album, made up entirely of unique compositions by Hasaan, is the only recorded documentation of a brilliant artist who fell into obscurity. "Needless to say this record has been very influential on my development and I was just dying to play some music from it!"

Aren't You So Lovely - "This composition has personal meaning for me. Written no more than two weeks before the recording date, it coincided with a lack of faith and confidence in myself, followed by the realization that I was bigger than the problems I was facing. At the time, I had put my energy into getting to know someone who eventually pushed me away. When I wrote this song I was toying with the way my emotions took turns between "Aren't you so Lovely" (with the perspective of an admirer) and "Aren't you so Lovely?" (having a hint of sarcasm). The music took on a much deeper meaning when on my first performance of the piece I accidentally called it "Aren't You So Lonely." Fortunately for me, a very special person (my current girlfriend) must have caught on to that. I couldn't be happier that she did. The tune has now returned to "Aren't You So Lovely", from the perspective of a happy admirer."

Clear Eyes of the Moon - This title, and some of the lyrics, were taken from a poem by the Buddhist philosopher, Daisaku Ikeda, which reflects on the symbiosis of the vastness of the universe with the vastness of our lives.

Lenny - Originally written for a collaboration that Slumgum did with a chamber ensemble. The lyrics apply to the idea of loss, expressing the idea of life and death, and the mystery, confusion, and expansiveness that they represent.

Wild Ox Moan - "This resonates with me in a different way each time I hear it. It was written by Vera Hall and recorded for the Library of Congress in the 1930s. Hall was the wife of a coal miner in Alabama, and eventually gained national exposure with the help of Alan Lomax. To me, the song speaks to the humanity in all of us. We all need each other to live in this world; the relationships and the bonds of trust we cultivate in our daily lives ultimately lay the foundations for the types of lives we choose to live."

More on Trevor Anderies: Resolve, innovation and passion define Anderies' musical direction. Based in Los Angeles, he performs locally and on the national scene with many groups including Slumgum, the Walsh Set Trio and the Nigerian Talking Drum ensemble. He received his Bachelor's degree in Jazz Studies at the California Institute of the Arts where he studied drum set with Joe La Barbera and Ewe music from Ghanaian master drummer Alfred Ladzekpo. Among Anderies' other mentors are Paul Romaine, Bennie Maupin, Darek Oles, Alfonso Johnson, and Vinny Golia. He has had the opportunity to perform with a wide array of artists, most notably: Dwight Trible, Bennie Maupin, Ron Miles, Larry Coryell, Slumgum, Darek Oles, Ron Miles, Greg Gisbert, Nestor Torres, Eric Gunnison, Hugh Ragin, Charlie Haden's Liberation Music Orchestra, Vinny Golia, Francis Awe, Alfred Ladzekpo, and others.

BOB JAMES / DAVID SANBORN - QUARTETTE HUMAINE, TOUR DATES ANNOUNCED

Bob James and alto saxophonist David Sanborn's new album, Quartette Humaine is the first collaboration between the two musicians since their 1986 Platinum-selling, GRAMMY® Award-winning album, Double Vision. Despite Double Vision's commercial success, James/Sanborn never toured. With Quartette Humaine, the pair will tour for the first time, embarking on a 23-city North American run (tour dates listed below). The tour kicks off at Town Hall in New York on June 6.

It's a poignant coincidence that the recording sessions occurred a week after the death of the iconic pianist composer Dave Brubeck, who the protagonists were thinking of as they gestated Quartette Humaine. On their second go-round, the old masters eschew the pop and R&B production values that mark large chunks of their respective discographies, and offer instead an all-acoustic, straight-ahead jazz quartet recital consisting of four new compositions by James (one directly inspired by Brubeck's famed "Blue Rondo à la Turk"), three pieces by Sanborn, and two James-arranged covers. Propelled by legendary drummer Steve Gadd and 21st century bass giant James Genus, the proceedings are reflective, swinging, chock-a-block with unfailingly melodic improvising and beautiful tonalities

Bob James & David Sanborn - Quartette Humaine North American Tour:
June 6 / Town Hall / New York, NY
June 8 / Fraze Pavillon / Kettering, OH
June 9 / Capital Jazz Fest / Columbia, MD
June 14 / Rotary Amphitheatre / Fresno, CA
June 15 / Thornton Winery / Temecula, CA
June 16 / Playboy Jazz Festival / Los Angeles, CA
June 17 / SFJAZZ Center / San Francisco, CA
June 19 / Schermerhorn Symphony Center / Nashville, TN
June 20 / Jazziz Night Life / Boca Raton, FL
June 21 / Plaza Live / Orlando, FL
June 22 / Palladium Theater / St. Petersburg, FL
June 24 / Ottawa Jazz Fest / Ottawa, ON
June 25 / Toronto Jazz Fest / Toronto, CA
June 26 / Chene Park / Detroit, MI
June 27 / Rochester Jazz Fest / Rochester, NY
June 28 / Keswick Theatre / Glenside, PA
June 29 / Freihofer's Saratoga Jazz Fest / Saratoga, NY
June 30 / Hampton Jazz Fest / Hampton, VA
August 24 / Mountain View Plaza / Snoqualmie, WA
August 25 / Esther Short Park / Vancouver, WA
October 24 / St. Cecilia Music Center / Grand Rapids, MI
October 25 / Manchester's Craftsman's Guild / Pittsburgh, PA
October 27 / The State Theater / New Brunswick, NJ

STEVE LINDEMAN WITH BYU SYNTHESIS - THE DAY AFTER YESTERDAY

Steve Lindeman's distinctive approach to modern big band composing is on ample display on his impressive debut CD, The Day After Yesterday, to be released by Jazz Hang Records on June 11. The Brigham Young University professor's originals are performed by BYU's Synthesis under the direction of Ray Smith, who also produced the album.

Nearly all of the compositions on the stylistically far-reaching disc had their genesis in Lindeman's participation, from 2008 through 2011, in the BMI Jazz Composers Workshop. Commuting to New York from his Salt Lake City home twice a month during that three-year span, Lindeman impressed Workshop Director Jim McNeely with his steely commitment -- and the depth of his talent. "It's been a pleasure to know Steve and see him develop into a jazz composer with a unique voice," says McNeely.
Offbeat sonorities and unusual instrumental combinations, episodic shifts, extended silences, and overdubbed vocal choruses are all part of Lindeman's approach, which loses nothing in the way of swinging urgency or harmonic sweetness in embracing what Oliver Nelson called "the abstract truth."

"I'm not a fan of traditional big band music -- it doesn't speak to me," said Lindeman, a late bloomer at 58 whose music reflects an early love for rock artists such as the Beatles, the Doors, and Stevie Wonder, as well as jazz-rock pioneer Chick Corea, whose use of the Fender Rhodes electric piano "opened a door" for him as a keyboardist and composer.

In McNeely, distinguished pianist and composer-in-residence with the Vanguard Orchestra, Lindeman found a kindred spirit. "He was always encouraging experimentation, thinking outside the box, challenging the status quo, while respecting and tipping our hat to the lineage of Gil Evans, Manny Albam, and Bob Brookmeyer," Lindeman said. The rich diversity of sounds at the BMI Workshop "pushed me in a new direction."

Synthesis, recipients of DownBeat magazine's "Top University Jazz Big Band in the Country" award in 2013, have performed extensively on festival and concert hall stages around the world and since 2006 have recorded several albums under their own name, most recently Flyin' High (2011).

CD producer Dr. Ray Smith has been Professor of Saxophone in the Brigham Young University School of Music for over 30 years; he is also the school's Director of Jazz Studies. A member of the BYU faculty jazz quintet Q'd Up (as is Lindeman) and the Utah Saxophone Quartet, Smith is a multi-reed virtuoso who appears as a guest soloist on The Day After Yesterday.

Steve Lindeman grew up in Columbus, Indiana (50 minutes south of Indianapolis) and earned his undergraduate degree at Indiana University, where his teachers included David Baker. He acquired a master's in music theory from Queens College and a Ph.D. in theory and history from Rutgers. Before joining the music faculty at BYU in 1996, Lindeman lived on the East Coast for 20 years, "surviving" musically as a freelance pianist while studying with such distinguished artists as Ronnie Mathews, Kenny Barron, Barry Harris, and Israeli Tamir Hendelman. He started out composing for small ensembles, and thanks to BYU, which funded his trips to the BMI Workshop as well as the recording of The Day After Yesterday, he has attained his dream of becoming a full-fledged jazz large ensemble artist.

Lindeman's musical outlook has been strongly shaped by the Salt Lake City lifestyle and the natural beauty that surrounds him there. "The pace of life is much slower here than in New York," he said. "Looking across the salt flats, which I've done a lot with all my commuting, you can't help but absorb the pastoral quality of life out here. That is certainly reflected in my compositions -- in the sustained chords, for example, and the long silences and rests."

Steve Lindeman and Synthesis will be performing a CD release concert on Saturday 6/15, 7:30 pm, at the Varsity Theatre, Wilkinson Center, Brigham Young University in Provo. Lindeman will be appearing with Synthesis on Hammond B-3 organ, and conducting part of the concert.

www.stevelindemanmusic.com

KATHY YOLANDA RICE / PHILIP MICHAEL THOMAS - FLESH OF MY FLESH

Kathy Yolanda Rice's newest single, "Flesh Of My Flesh", drops May 21st, and features an R&B/gospel duet with the internationally renowned television, film, and Broadway star Philip Michael Thomas. While Thomas is most widely recognized for his roles as Ricardo Tubbs in Miami Vice and Stix in the movie Sparkle (Irene Cara), he is also a talented composer, multi-instrumentalist, and vocalist. Kathy Yolanda Rice and Philip Michael Thomas tell a wonderful love story in this powerful duet. Their voices create a magical blend that beckons the listener to make an emotional connection to each romantic note in this beautiful love song. Accompanied by Kelvin Wooten’s Cool Jazz/Gospel/R&B track, their unique sound excites the soul and spirit! This anointed love song will cause you to fall in love over and over again, renew your vows, and keep your commitment to your significant other!

Rice's single, "Love Is Like a Sunny Day", released February 22nd on the Paintbrush Records label, is still climbing the charts. The song garnered spots on five CD Baby Charts after its release, and is still one of the top rated singles in the Jazz/Cool Jazz category. It is also finding success overseas, moving up from the 9th position to the 7th on the May 12th UK Soul Chart. "Love Is Like a Sunny Day" was co-written with Gary Swann and produced by the musical heavyweight and Grammy nominated Kelvin Wooten, who has generated hits for Anthony Hamilton, Jill Scott, Erykah Badu, and Kelly Price.

Rice is far from a novice in the music industry, having composed and produced her 10 track debut album, "After All These Years" in 2004. Born and raised in the cosmopolitan city of Huntsville, Alabama, her talent was recognized early. She began studying piano at age 6, and followed up with formal voice training at age 12. Rice received her B.S. in Music Education from Alabama A&M University. After establishing her own label in 2004, she continued to compose and record. Rice embarked on several high profile projects and collaborations in 2012. In February, she joined a lineup of prestigious women musicians on the Bobby Pin Diaries movie soundtrack, featuring her up tempo tune, "I've Gotta Find a Love". In August, Rice was the lyric soprano for the recording of the Walter Hawkins remake of "Jesus Christ Is the Way", by Nuove Mystique, which was later released by Warner Music Group. She was also a featured artist on the Women in Jazz: South Florida Volume III compilation CD, which was released in December 2012.

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BOB MOVER - MY HEART TELLS ME

Bob Mover has attracted generations of listeners with his versatility, emotional depth and technical command on alto, tenor and soprano saxophones. Through his sideman stints with such legends as Chet Baker, Charles Mingus and Jaki Byard, and his work as a leader since the mid-'70s, Mover has attained the highest level of individuality and authority on his instruments - not just mastering the saxophone lineage but also claiming a place of honor within it.

Born in Boston, Mover relocated to Florida at age 12 and took up the horn the following year. At the age of 13, Mover came under the influence of Ira Sullivan, who he remains close friends with to this day. After leaving high school at the age of 17 to pursue his career, Mover bypassed a more traditional route of attending a music conservatory or arts-focused school. Instead, he studied with highly regarded jazz veterans such as Phil Woods, Al Cohn, and Richie Kamuca. While still a teenager, Mover had already sat in at the old Half Note in New York with the likes of Roy Eldridge, James Moody, and Zoot Sims, and others. In recent years Mover has also cultivated a sound and style as a vocalist, as heard on his 2008 release It Amazes Me... Following up that strong effort on his new two-disc release My Heart Tells Me, Mover divides his time between two different but closely related aesthetics.

Disc one showcases Mover singing a set of deeply soulful yet unaffected standards (the one instrumental is Cole Porter's "Get Out of Town"). Disc two is wholly instrumental (save for the Kenny Dorham ballad "Fair Weather"), with trumpet and occasional second tenor added, and the tunes are mainly Mover's own. This vocal/instrumental set follows in the spirit of Mover's one-time cohort, Chet Baker.

"I consider myself a musician who sings, as opposed to a singer," says Mover. "On my previous record I sang about six out of 11 tunes, but in a performance I'll sing only two or three tunes in a set. I find that singing opens my heart chakra - I'm even more connected to the music by actually conveying the lyrics."

Mover's singing, with its unique mix of passion and restraint, brings out the beauty in this songbook material from Porter, Ray Noble, Harry Warren, Michel Legrand, Dietz & Schwartz and more. "I don't feel the need to embellish a lot vocally," says Mover. "I can do that on the horn, but one thing I can't make it do is pronounce words."

A highlight of disc one is the title track, "My Heart Tells Me," from the 1943 film Sweet Rosie O'Grady starring Betty Grable. "I was made aware of this song by my friend [pianist] Tony Castellano - we'd play with Ira Sullivan as a trio and we'd go through 50-60 songs in maybe five or six hours. Tony found this and he showed it to me."

Two pieces, "Gone With the Wind" and "You've Changed," feature Mover in a compelling duo setting with the great Kenny Barron. "Everything's always there with Kenny," Mover says. "You can always rely on him to play great and help everyone else play great. The first time I heard him live was in 1964. My mom took us out to the Village Gate and we heard him with Dizzy Gillespie. I was impressed because he was only 19 or 20, and I was 12 or 13. He was still kind of in my same generation."

"Penthouse Serenade (When We're Alone)," by Will Jason & Val Burton, is a contemplative song about love in New York City. Mover originally called his dear friend Sonny Rollins suggesting that he play it, and recalls singing it on the phone together, and Rollins saying, "Nice song, and nice sentiment. Why don't you play it." Mover took up the challenge, opening with a vibrant cadenza, somewhat reminiscent of Rollins, before the ballad tempo kicks in. "It's a humble song," he remarks. "I like the idea of thanking something bigger than you for being as happy as you are."

The one vocal number on disc two is "Fair Weather" by hard bop trumpet legend Kenny Dorham. "There are love songs, but occasionally there are 'life' songs. This one captures KD's approach to life, that the human race could achieve a certain idealistic state of being," explains Mover. Mover spent much of the summer of '69 learning from Dorham, as well as pianist Wynton Kelly, saxophonist Charles Davis, and vocalist Evelyn Blakey. "KD and Wynton used to show me turnarounds and 'passing' changes, how there were chords that weren't on the sheet music and how they could be put in. I learned in 40 minutes what would have taken three years at a university. KD didn't live long enough for me to really thank him. Putting this song in the world now is my way of trying to do that."

The presence of trumpeter Josh Evans on disc two signals a different, more band-oriented direction. "I heard Josh in Washington Square Park when I was pushing my daughter on the swing," Mover says. "I heard a trumpet from the other end of the park and I wanted to see who this guy was. I could hear Art Farmer and Don Cherry and everything in between, but Josh told me his biggest influence was Jackie McLean, having grown up in Hartford and having known Jackie since he was in his early teens."

Three tracks on disc two, "Fair Weather," "Survival of the Sickest" and "Sweet Basil," feature Mover and Evans with second tenor saxophonist Steve Hall, creating a more expansive horn-section sound. "Steve's a unique player and a very creative and dedicated guy, so I wanted to give him some space and hopefully let the world know him a little better."

"Sweet Basil," based on "Cherokee" and first recorded for the 1979 Vanguard LP Bob Mover (also featuring Barron on piano), is named for the long-defunct Greenwich Village jazz club where Mover played regularly in the '70s. "Survival of the Sickest" is inspired by harmonic nuances learned at the feet of the great Jaki Byard. "Chet's Chum," as Mover explains, "is a line that I wrote based on 'Sweet & Lovely,' there's an airiness about the tune that brings memories of Chet to me." And "Dee's Dilemma," though written by the late Mal Waldron, "is a tune that I learned with Chet," Mover continues. "Both of these tunes have a counterpoint element in the blowing, which is something that Chet liked to do and still hasn't been overused in jazz."

Tying all the music together on bass is Bob Cranshaw. "Bob is the complete bassist. He has the right space between the notes, he hears all the changes, he can feel your lines heading in a certain way and knows where the musical gravity is going to land," explains Mover. "Drummers Steve Williams and Victor Lewis are both players of deep swing and rare sensitivity. Williams and Cranshaw, having worked with so many singers, both know a lot of the lyrics. So when you're singing, you really feel that they're breathing with you."

From beginning to end on My Heart Tells Me, Mover invites us to breathe with him as well. In the words of Chuck Berg, writing in DownBeat magazine, "Mover's music rings with a profundity that speaks to both heart and mind."

Release date: June 11, 2013

NEW RELEASES - SOUL SEARCHIN': FINDING GOLD IN MEMPHIS, MASHA KUTSKOVA, GRAND SLAM FEATURING 'MUDBONE' COOPER

SOUL SEARCHIN': FINDING GOLD IN MEMPHIS 1968-1979 (VARIOUS ARTISTS)

 More than a decade's worth of music from the legendary Hi Records – and a great little set that goes way past the hits – and uncovers some overlooked singles from the legendary Memphis label! The cuts were chosen by Jaffa – who makes this Backbeats series look so great – and he's definitely got a great eye for an obscure single, especially the sort that shows us that Hi was even still great right around the fringes! Titles include "Pour On The Loving" by Jean Plum, "You Brought The Sun Back Into My Life" by Quiet Elegance with Dan Greer, "Back Into Your Heart" by Majik, "Happy" by Al Green, "Love Makes The World Go Round" by Willie Walker, "Mama Said" by Quiet Elegance, "Still Around" by James Fry, "Stepchild" by Veniece, "Ain't That Sharing My Love" by The Melodics, "I'm Gonna Stay" by Jean Plum, "What Made You Change Your Mind" by Eddie McGee, "It's You That I Need" by The Duncan Sisters, "Slidin In & Out" by The Memphians, "Love Trap" by Bobby McClure, "You Gotta Have Love" by OV Wright, and "Where's Your Love Been" by Donna Rhodes. ~ Dusty Groove

MASHA KUTSKOVA - WEATHER CHANGE

"Weather Change" is the name for debut album of Masha Kutskova. Instrumental music written by her and presented in this release is a multiform fusion with tight grooves, melodic lines and bright solos.
As Masha says, her music has "no particular style, and is addressed to all who are willing to accept it". There is a bit of jazz, funk and even felt the approach to rock, or rather to say, fusion. The album will be clear to anyone who loves beautiful and high-quality music, which, meanwhile, have a difficult character and meaning. ~ Fancy Music

GRAND SLAM FEATURING 'MUDBONE' COOPER - WHO'S COOKING?

Grand Slam take plenty of inspiration from the P-Funk universe – and as proof of that fact, they've got Gary Mudbone Cooper on vocals for a few tracks on this sweet little set – a record that definitely offers up a 21st Century evolution of the original P-Funk groove! The combo are heavy on basslines and keyboards – often used with that best slinky style that the George Clinton groups hit at the end of the 70s – and occasionally touched by some modern rhythms, although overall the group have a very live funky mode! Vocals are often layered together nicely, and sometimes vocoded too – as a few cuts echo that early 80s shift to more electric funk, particularly from the Zapp generation. Lige Curry sings lead on a few other numbers – and titles include "Long Term Ticket", "You Can't Nickname The Truth", "Camp Down", "Elemelemel", "Streets Of Harlem", and "The Fog". ~ Dusty Groove

KERBSIDE COLLECTION - MIND THE CURB

“A gritty rhythm section of old school drums and Fender or upright bass, alongside funky Hammond and Rhodes, with some sweet George Benson-ish jazz guitar licks on top.” From the quiet tropical suburban back streets of Australia's 3rd largest city (Brisbane) comes a young all instrumental ensemble called Kerbside Collection, creating a mixture of some forgotten rare groove sounds – good times instrumental jazz funk with a touch of soul.

The sound of Ravi Welsh (Guitar), Jason “Paprika” Bell (Drum & percussion), Chris Poulsen (Hammond & Fender Rhodes) and Jeremy O’Connor (Fender “P” & double bass) harks back to the 60s and 70s Californian West Coast music of artists such as Wes Montgomery, George Benson, Chico Hamilton, Joe Sample and The Crusaders, whilst tipping its’ hat to today’s contemporaries keeping the ‘feel’ alive (Soulive, Bobby Hughes, James Taylor Quartet, Eddie Roberts & The New Mastersounds, The Menahan Street Band, The Stance Brothers, Frootful etc).

In May 2011, directly after devastating floods freakishly ripped through their hometown of Brisbane, the ensemble went to record their debut album “Mind The Curb” in Melbourne with Jake Mason (Cookin' On 3 Burners). 8 songs were recorded/mixed/pre-mastered in 4 days, on vintage, analogue gear and onto warm tape. The songs were tracked the old classic way - all members in one room playing together, with instruments bleeding into other instrument mics and amps (and no 'click'!) to capture a full and lively sound from the players. In November (later that same year) they released a self funded, limited edition 7” featuring their gritty 'b-boy' funk version of Dizzy Gillespie's “ A Night in Tunisia”, and “Jelly Belly”, a snappy jazz funk kicker generating worldwide support

After searching around for a home, “Mind the Curb” is now being released on Légère Recordings. As well as the “A Night in Tunisia” rework, tracks include a grittier jazz funk interpretation of a George Benson rarity (“P Park”), a little skankin' jazz/reggae number called “Red Stripe” (think Jackie Mittoo x Earnest Ranglin, also out as a limited edition 7inch single), a frenetic uptempo JBs style shaker (“Cat Whip”), a cool jazz dance cover of a Coltrane classic (“Impressions”), and even a low slung soul jazz number (“41 Bernhard”) featuring the sweet sounds of Anton Delecca from The Bamboos on flute.

BRAZILIAN SINGER MARISA MONTE ANNOUNCES FIRST U.S. TOUR DATES IN 7 YEARS

Following the 2012 release of O Que Você Quer Saber de Verdade, the acclaimed singer Marisa Monte has announced Verdade Uma Ilusão, her seventh international tour that will bring her to the U.S. for the first time since 2006. Recognized as one of the great Brazilian singers of our time with three Latin Grammys and more than 12 million records sold around the world, Marisa is renowned for creating a bridge between traditional and contemporary pop music. Her latest tour, which has already been seen by more than 200,000 people in 14 cities in Brazil last year, will now cross the Atlantic Ocean for a season in Europe before returning to the U.S. to perform at The Fillmore Miami Beach on June 23 and NYC’s Beacon Theatre on June 26.

“I believe in the show not only as a listening experience, but as a multi-sensorial one, in which the visuals support the music and enhance the meaning of the songs”, explains Monte. “We had to take advantage of the rare privilege of being surrounded by exceptional musicians. All of them are super-sensitive and we experimented constantly until we had arrived at the solution, which worked best and served the songs. We reconstituted old arrangements and created other new ones”, she disclosed.

The line-up of musicians include Marisa’s inseparable partners Dadi (acoustic and electric guitar and ukulele) and Carlos Trilha (keyboards, backing vocals and programming), while the band also features a string quartet and the participation of the power-trio Nação Zumbi, one of the groups responsible for the revitalization of Brazilian music in the last 15 years; Pupillo (drums and cocktail drums), Lúcio Maia (electric and acoustic guitar, and sitar), and Dengue (bass). Marisa herself plays the ukelele, acoustic and electric guitar.

~ www.marisamonte.com.br/en
~ Blue Note Records

TERENCE BLANCHARD ANNOUNCES TOUR DATES

Accompanying the release of Magnetic, Terence Blanchard’s stunning new album set for release May 28 on Blue Note Records, will be an unprecedented schedule of worldwide tour dates kicking off with a five-night run at The Jazz Standard in New York City on May 29 and hitting cities across the United States, Europe, Tokyo, South Africa and Brazil. The tour will feature Terence, Brice Winston on Sax, Fabian Almazan on piano, Robert Hurst III on bass, Jeff "Tain" Watts on drums and Lionel Loueke on guitar and will take-in such cities as New York, Los Angeles, San Francisco, Santa Fe, Denver, The Newport Jazz Festival, Boston, Washington D.C., London, Paris, the Czech Republic, Tokyo, Johannesburg and the Choro Festival in Brazil. A complete list of dates can be seen at www.terenceblanchard.com.

Magnetic, the new album, features ten original songs written by Blanchard or a member of his quintet: saxophonist Brice Winston, pianist Fabian Almazan, bassist Joshua Crumbly, and drummer Kendrick Scott. Magnetic also showcases special guest appearances from bass legend Ron Carter, as well as label-mates saxophonist Ravi Coltrane and guitarist Lionel Loueke. Magnetic is yet another genre-defying chapter in this innovative musician and film composer's life - only to be followed June 15 by the World Premiere of Champion, an “Opera in Jazz.”

Magnetic is Blanchard’s first album since the critically-acclaimed 2009 album, Choices, and marks Blanchard’s return to Blue Note, which last released A Tale of God’s Will, his Grammy-winning triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. Magnetic was produced by Blanchard, Robin Burgess and Frank Wolf and recorded at Avatar Studios in New York City. The vast array of approaches undertaken by the ensemble throughout the album is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder”; the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”

On June 15th, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the boxing champion Emile Griffith. Continuing their individual traditions of commissioning music that showcases the talents of the world’s best contemporary composers, Opera Theatre of Saint Louis and Jazz St. Louis have joined forces in the development of Champion, featuring a powerhouse team of writers and performers. With music by Blanchard and libretto by the Pulitzer Prize-Winning Playwright Michael Cristofer, Champion blends the uniquely American tradition of jazz with the dramatic power of opera. The opera will star Denyce Graves, Arthur Woodley, Robert Orth, Aubrey Allicock, and Meredith Arwady. Directed by Opera Theatre of Saint Louis Artistic Director James Robinson and conducted by George Manahan, Champion will receive its world premiere June 15-30 as part of Opera Theatre’s 2013 Festival Season. Champion follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.

~ Blue Note Records

ROBIN MCKELLE & THE FLYTONES - SOUL FLOWER

OKeh will release vocalist Robin McKelle's label debut, Soul Flower, as a digital-only release on June 11, 2013. The project, which consists of a contemporary blend of soul and rhythm & blues and mostly original tracks, debuts her new working group, Robin McKelle & The Flytones.

While McKelle is best known for her previous jazz and solo work, including placing third at the 2004 Thelonious Monk International Jazz Vocals Competition, this project is the fruit of McKelle's long exposure to gospel, soul and blues. "It's the record I've always dreamed of making," reflects McKelle, who went into the studio with the aim of avoiding today's retro tendencies. "I love that music so much that I couldn't see myself doing something 'in the style of...' I grew up listening to Nina Simone and Gladys Knight. I sang their classics and what I enjoy most today is building my own repertoire in that same soulful vein."

McKelle insisted on recognizing her associates on this album, even down to the cover credit: Robin McKelle & The Flytones. This collective achievement with writers Sam Barsh and Derek Nievergelt (whom also plays bass on the album) is a soulful joint effort, which delivers a fresh and cohesive sound.

The project's collaborative nature also includes joint ventures: two duets, two encounters overflowing with emotion. On the first, she teams up with a soul veteran who, after a long absence, has returned to the limelight over the last few years: Lee Fields. "When I was involved in jazz, there was all this revival - Raphael Saadiq, Sharon Jones, I was aching to join in. Among all the artists was one I admired more than anyone, especially after My World. Fields has great presence and sincerity, so in the studio when we covered the Bee Gees' 'To Love Somebody,' I felt such a thrill. His voice was so powerful it covered mine."

Another high point on the album is "Love's Work," an original number sung with Gregory Porter, a rising star of vocal jazz whose reputation has spread beyond the jazz world. "I saw him at a club in New York. He has an impressive voice and a real sensitivity too," explains McKelle. Their duet is an unusual exercise; the aim wasn't just to record a performance, but to build up a genuine connection for the space of a few minutes to tell a story. "That story is about a couple's relationship when they have to stand firm and keep going when things get bad."

Throughout the album, McKelle's voice unfailingly and expertly masters new dynamic and fragile tones. "Don't Give Up" is deliberately measured, like a classic blues number. A Wurlitzer and lazy organ accompany the singer's amorous lament. On the very catchy "Change" - a gospel shuffle brought to the boil by drums and organ - her sincerity and commitment take us back to the sixties heyday of the protest song. Backed by Benjamin Stivers' keyboards, the vocalist's pen dips lucidly into the ink of today's gloomy news on "So It Goes." The singer shows great insight when it comes to affairs of the heart also, as on "Tell You One Thing" brims with Ray Charles-style orchestrations and backing vocals. The piano and guitar solos are reminiscent of the musician's jazz backgrounds. "Fairytale Ending" has a vintage, very northern-soul flavor reminiscent of the legendary productions heard back in the sixties in clubs in the North of England: a blend of Motown and Stax. McKelle ends the session on a glamorous jazz note, with a cover of "I'm A Fool To Want You."

During her singing career, McKelle has been through more than one renaissance. She came to the public eye with a first album called Introducing Robin McKelle (2006), followed by Modern Antique (2008) - two big-band swing sessions. Another turning point came at the start of 2010, with Mess Around, breaking with a certain classicism and exploring themes borrowed from different songwriters - Leonard Cohen, Doc Pomus, Willie Dixon and The Beatles - but especially marking a new aesthetic approach in the form of a return to roots for the native of Rochester, New York.

Influenced by her mother, a member of the church choir, the youngMcKelle began to show her talent in R&B groups from the age of fifteen. After taking up the piano and French horn, she studied jazz at the University of Miami before attending and graduating from the Berklee College of Music in Boston. Moving to the west coast, she regularly performed as a backing singer with Michael McDonald and Bebe Winans. She subsequently went back to the Berklee College Of Music as a teacher and entered the Thelonious Monk competition in Washington, winning third place in 2004.

Ultimately, McKelle enters a new chapter in her eventful history without looking back. "From time to time, I think about it, but it's all a long way off now. I feel as if I'm beginning something new with Soul Flower and I'm looking forward to winning the public over on stage." Indeed, when she performs live, Robin McKelle's singing talent takes on a whole new dimension.

BRIAN CULBERTSON'S NAPA VALLEY JAZZ GETAWAY

Idyllic Napa Valley will serve as the beatific backdrop for a festival of wine and jazz next month when the second Napa Valley Jazz Getaway takes place June 5-9 featuring a luminous lineup of performers topped by the event’s Founder & Artistic Director Brian Culbertson (www.brianculbertson.me). The soulful hit-making multi-instrumentalist will be joined by Grammy winners Take 6, Ray Parker Jr., Norman Brown and Kirk Whalum united with Rick Braun as BWB, funksters Larry Graham & Graham Central Station, saxophonists Eric Darius and Michael Lington, guitarist Nick Colionne, R&B vocalist Selina Albright, keyboardist Cecil Ramirez, party band DW3 and special guest comedian Sinbad. With this much talent on display, it’s no wonder that the VIP and Silver ticket packages sold out months ago.

Over 1,200 festival goers from all over the nation will flock to California wine country for concerts at the Napa Valley Opera House and Lincoln Theater while more intimate shows will be held at several wineries including Silver Oak and Chimney Rock. VIPs will be treated to a solo piano performance by Culbertson staged in the wine cave at Miner Family Winery, which was one of the most buzzed about shows at last year’s inaugural event.

The Napa Valley Jazz Getaway is a not-to-be-missed interactive lifestyle experience at which fans can share their passion for wine and jazz with the musicians while dining, during wine receptions and tastings, at autograph sessions, at a golf tournament at Silverado Resort & Spa, and at casual post-concert hangs at the Westin Verasa Napa. Prior to the June 8th concert, a silent auction and wine reception will be held in support of music education to benefit The GRAMMY Foundation at which many of the winery partners will provide complimentary pourings.

One of the brightest stars in the contemporary jazz galaxy, award-winning musician, songwriter and producer Culbertson is a consistent chart-topper with a catalogue that spans 13 solo albums along with hits that he wrote and produced for other marquee artists. Known for distilling a soul-splashed vintage of shimmering jazz, funk grooves and sophisticated R&B-pop, creating the Napa Valley Jazz Getaway has enabled the dynamic artist to prove his mettle as a lifestyle curator. Culbertson is a consummate entertainer who has a hot new band and a slamming show that is certain to get and keep people on their feet each time they hit the stage in Napa. 

GREGORY PORTER SIGNS WITH BLUE NOTE; MAJOR LABEL DEBUT DUE OUT THIS FALL

Blue Note Records and Universal Music Classics & Jazz have announced the signing of the phenomenal jazz and soul singer/songwriter Gregory Porter. Porter has been in the studio with his working band and producer Brian Bacchus recording his third album and major label debut, which will be released worldwide on Blue Note Records this Fall.

Raised in California, Porter’s mother was a minister, and he cites the Bakersfield Southern Gospel sound, as well as his mother’s Nat King Cole record collection, as fundamental influences on his own sound. Porter began singing in small jazz clubs in San Diego while attending San Diego State University on a football scholarship, where he played outside linebacker. Eventually it was music that Porter chose to pursue full-time at the encouragement of local musicians including his mentor Kamau Kenyatta.

Kenyatta invited Porter to visit him in the studio in Los Angeles, where he was producing the flutist Hubert Laws' album Remembers the Unforgettable Nat King Cole. When Laws overheard Porter singing along while he was tracking the Charlie Chaplin song "Smile," the flutist was so impressed with the young singer that he decided to include Porter on the album.

Another fortunate twist of fate was the presence in the studio that day of Laws' sister, Eloise, a singer who was soon to join the cast of a new musical theater production It Ain't Nothin' But the Blues. Porter had minimal theatrical experience but was cast in one of the show’s lead roles when the play opened in Denver, and he eventually followed it to Off-Broadway and then Broadway, where The New York Times, in its 1999 rave review, mentioned Porter among the show's "powerhouse line up of singers.” It Ain't Nothin' But the Blues went on to earn both Tony and Drama Desk Award nominations that year.

Porter eventually put down roots in Brooklyn, and in 2010 released his debut album Water (Motéma Music), which earned a GRAMMY nomination for Best Jazz Vocal Album. His sophomore album Be Good (Motéma Music) followed in 2012 and earned him his second GRAMMY nomination for Best Traditional R&B Performance.

The Huffington Post has declared Porter "the brilliant new voice of jazz," adding that he is also "heavily steeped in the passion, delivery and emotion of the best classic soul men." In a 2011 live review, The New York Times wrote that “his sturdy baritone and sure projection make him a natural belter, but he knows how to sidle up to a melody, working quietly with tension and release.” Watch NPR Music’s Field Recordings session at the New York Transit Museum with Porter performing “Be Good (Lion’s Song).”

~ Blue Note Records

JASON MILES & COMPANY SHINE BRIGHT WITH 'GLOBAL NOIZE: SLY REIMAGINED - THE MUSIC OF SLY AND THE FAMILY STONE'

The music of Sly and The Family Stone was long considered to be way ahead of its time when they first came onto the scene back in the late 60s.  Over the years, Sly Stone has stood in the background, but yet his music has always persisted. I've often thought about how Sly's music would sound if it were given a more contemporary twist.  Well now it's finally happened and nobody is more capable or qualified to take on a project like this than the Grammy-winning Miles. His groundbreaking synth programming for Miles Davis’ ‘80s masterpieces Tutu, Music from Siesta and Amandla; along with his contributions to a genre-crossing array of artists – including Luther Vandross, Aretha Franklin, Michael Jackson, Ruben Blades, David Sanborn, Whitney Houston, Grover Washington Jr., The Crusaders, Chaka Khan and so many others – have led to a variety of legacy-based dedications to Marvin Gaye, Ivan Lins, Vandross, Grover…and now Sly.

When Sly and The Family Stone hit the scene back in the late ‘60s, the world – socially, culturally and politically – was in a state of upheaval. And their music perfectly evangelized the moment. Today, we stand dangerously at the edge of a similar precipice – and that message of celebratory potential and jubilant clarity is sorely needed. With that concept squarely implanted in his mind’s eye, visionary conceptualist, producer, arranger, composer and keyboard wizard Jason Miles has created the extraordinary Sly Reimagined on the Zoho Roots label. With his groundbreaking, genre-defying borderless mothership Global Noize providing the vehicle, Miles takes on eight classic Sly Stone journeys into the wilds of a reality nearly half a century beyond their point of inception.

Reimagined is the ideal description as the music on this CD doesn’t simply pay homage, but also defines the timelessness of the music by translating it to the forefront of musical thinking here in 2013. Global Noize – with its triumvirate of Miles, turntable master DJ Logic and vocalist Falu – is accompanied on this recording by an astonishing array of nearly two dozen musical powerhouses, including Nona Hendryx, Roberta Flack, Jay Rodriguez, Amanda Ruzza and the original Family Stone drummer Greg Errico.

The nine vocalists and seventeen instrumentalists are woven masterfully into the musical context of each piece – no contrivance, no excess, no aural gymnastics, just extraordinary musicianship, impeccable tastefulness and a relentless sense of groove. The musicians weave in and out, emerging at the always appropriate moment and then sinking back into the perfect mix. There is a visceral sense of ensemble playing, as live and cohesive as the 1968 concert performance at the Fillmore East where Jason first experienced Sly and The Family Stone, becoming forever connected to its unique musical expression. But while that group never could have existed without the foundation of James Brown, vocal groups from the Orioles through the Temptations, jubilant jazz of Louis Jordan through Mingus and Sun Ra, and all strains of Gospel and Blues, Sly Reimagined shows the influences of the post-Sly environment of P-Funk, Prince and the many explorers stimulated by Sly and The Family Stone. All cross-bred with the borderless context of the here and now at its richest.

Two songs are given dual treatments. It’s a Family Affair – both with Roberta Flack on lead vocals – receives a Groove Vibe Version and the Falu Mumbai Mix. The former a deeply grooved percussive blend with horns, voices, rhythm and DJ Logic all circling around in an infectious round-robin; the latter sparer, leaner, meaner and tinged with Eastern harmonic and rhythmic flavors that offer testimony to the sub-title. Nona Hendryx sings lead on both versions of The Same Thing. The straight-up version is an extremely funky excursion with a dark gurgle of baritone sax (courtesy Jay Rodriguez) all swaggering, staggering and lurching forward like a super-hip drunk on a fervent mission for The Funk. The Mulholland Drive Mix plows similar ground, but coupling a deep bass groove with a strong spicing of the classic tenor/organ combo tradition.

The Big Horn tenor style – this time in the hands of Ron Holloway – is also featured on Fun with a raucous solo that evokes the irresistible sound of Gene Ammons and Arnett Cobb. Surrounding it is a vividly syncopated groove kick, a passionately soulful vocal by Maya Azucena, DJ Logic’s turntable magic, a chanting chorus and lots of undiluted fun.

Maya’s vocals also take the lead on two other pieces. You Can Make It If You Try, a richly layered celebration with a distinct P-Funk feel, the funky trumpet of Ingrid Jensen, and Rodriguez updating Jr. Walker into the 21st Century. On Stand, a proudly upright and emphatic take on the anthem, Maya soars over a chorus of vocalists chanting it out in Funkadelicized Gospel jubilation. She also provides playful and expressive support for Nona Hendryx’s lead on In Time, an easy-grooved percussive jaunt stoked by rich synthesizer textures.

Global Noize regular Falu is up front on the brilliant Thank You For Talking To Me Africa – with a side trip to India via her Carnatic vocal approach. An ultra-thick body built on a saxophone choir (arrangement and all saxes by Jeff Coffin), sets a tantalizing groove that oozes like a lava flow and just keeps digging deeper and deeper and deeper into the darkest lustre of pure funk. Falu’s exotic, sinuous style is also ideal for Dreams, an appropriately ethereal and evocative soundscape built upon a pastiche of electronica that closes out this remarkable album in a most palpably emotional manner.

The presence of Jason Miles is at the core of every element of this truly remarkable album. Not only does the concept flow stem from the heart and soul of his remarkable musical vision; but also the keyboards, synthesizer and programming that comprise his instruments of aural expression permeate every moment of this music, holding it together and binding all of the parts into a most singular sensibility. Sly Reimagined is an album that can be experienced for its sheer joy, or dug into more deeply for in unlimited depth of artistic expression.

www.jasonmilesmusic.com
www.zohomusic.com

AVIDYA & THE KLESHAS - TREE OF SERIES

Like their name’s derivation, Avidya & The Kleshas’ sound is wrapped in a shroud of mystery and cannot be confined to one box. Fusing vocalist Stephanie Carlin’s jazz background with her penchant for the impassioned voice of Jeff Buckley, outspokenness of Ani DiFranco, quirky funk of Frank Zappa, and multifaceted soundscapes of John Frusciante, Avidya & The Kleshas formulate music that leads listeners in unexpected directions. Buddhist texts describe Avidya and four other Kleshas as the fog in our consciousness, the mental states that cloud the mind, i.e why we suffer. Translated from Sanskrit, this incapacity to see something for what it really is defines “avidya,” which is the root klesha in all of us; it is the source of four other mental states of discomfort. Avidya & The Kleshas’ genre is not easily pigeonholed, as they are a band defined by an outside-of-0the-box approach to music-making.

Avidya & The Kleshas evolved out of a fortuitous meeting of solo artist, Stephanie Carlin, and her band-to-be. After graduating with a BFA in Jazz Performance, releasing a solo EP, The Agony and Ecstasy of,” and moving to Brooklyn in 2008, Carlin sought out a band to back her for a gig, and Craigslist bestowed upon her, Wes Reid (percussion) and Russ Flynn (bass). Though the three parted ways temporarily, the universe reunited them a year later to form the lush sounds of Avidya & The Kleshas, along with Xander Naylor (electric guitar) and Javi Santiago (piano/keys).

Currently slated for a June release, Avidya & The Kleshas’ Trees of Series, spawned out of the love and generous support of fans with a successful Kickstarter campaign in 2011, is record for refined taste. Not for the faint of thought, the LP is an innovative listening experience, fraught with poetic lyrics and eleven tracks that take on ever-changing shapes. Complex rhythms and swelling instrumentation back Carlin’s shining voice on single, “Mother and God.” Similes expand with growing passionate stanzas and freewheeling choruses that ebb and flow with varying time signatures and the push-pull of piano lines. Submerging the record’s route into a new mood, highlight track, “Body of Lead” floats on trickling, ethereal synth arpeggios, gentle cross-sticking clicks, and soothing vocals that immerse the listener into a trance-like calm. Trees of Series intertwines eclectic musical backgrounds, encouraging a community of diverse music lovers to interconnect, and generates anticipation for Avidya & The Kleshas’ next path.

www.avidyaandthekleshas.com

NEW RELEASES - THE REAL SOUND OF CHICAGO & BEYOND - UNDERGROUND DISCO & BOOGIE, SYREETA, PHYLLIS HYMAN

THE REAL SOUND OF CHICAGO & BEYOND - UNDERGROUND DISCO & BOOGIE (VARIOUS ARTISTS)

Chicago. A place celebrated the world over for the talent of its musicians spanning across countless genres of music. You name it---Soul, Funk, Rock, Jazz, Blues, etc. In modern times, Chicago’s Dance floors have had a worldwide reputation for House music; it’s a sound that has pretty much reached to areas all across the globe. Yet, in the early developmental stages of the Chicago Dance era (mid-late 1970’s to early 1980’s), there were scores of musicians recording Dance music, hoping to be the next mainstream success story. As it goes, for the artists in this compilation---it didn’t quite turn out that way. Budget problems, the politics of the time, being told, “I don’t like it”, or simply having the door slammed in their face, is what many of these artists were faced with instead. Nevertheless, it cannot be denied that the musicianship that these artists possessed by far equals---even defined---the infinite status of what today’s market calls “Good Music”. Tracks include -Hot Pepper - Cancion Ritual; Kenny Wells - What You Got Left For Love (Mr Peabody Re-Edit); SpaceArk - Do What You Can Do (Mr Peabody Re-Edit); and Judy Clayton - Loves Gonna Find You (Mr Peabody Re-Edit) ~ bbemusic.com

SYREETA - SYREETA

One of Syreeta's deepest albums ever – proud, bold, and wonderfully righteous throughout – filled with a sense of message and purpose that was quite rare for Motown at the start of the 80s! Syreeta's really tapped back into that wonderful energy that made her so great when first working with Stevie Wonder – a warm, jazzy glow that suits her unique vocals perfectly – and which is shaped to perfection here by producers Richard Perry, Hal Davis, and Jerry Peters! The album's got a few funky groovers that are definitely Motown circa 1980, but its best moments are the mellower ones – which hit a Minnie Riperton-like quality that's mighty nice. Sheree Brown sings with Syreeta on a few cuts – and titles include "Blame It On The Sun", "Let Me Be The One", "Love Fire", "Here's My Love", and "You Bring Out The Love In Me" – plus "Please Stay" and "One More Time For Love", both duets with Billy Preston. ~ Dusty Groove  

PHYLLIS HYMAN - GODDESS OF LOVE

The last Arista album from Phyllis Hyman – and a set that really sums up all the genius she expressed at the label! Some tunes are upbeat and catchy – the kind of tracks that had Hyman reaching a much wider audience in the early 80s – while others are more sophisticated and mellow, the kind of all-woman tunes that made Phyllis a genre-defining artist that so many others tried to match in years to come! These latter tracks are our favorites, and are still the type that Hyman can do better than anyone else – couched here in perfect production for the mode by Thom Bell and Narada Michael Walden. Titles include "Why Did You Turn Me On", "Your Move My Heart", "Falling", "Riding The Tiger", "Goddess Of Love", "Just Twenty Five Miles To Anywhere", "Just Me & You", "We Should Be Lovers", and "Let Somebody Love You". CD features the bonus tracks "Riding The Tiger (dance version)", "Riding The Tiger (single version)", and "Riding The Tiger (inst)". ~ Dusty Groove

NEW RELEASES - IVAN LINS / SWR BAND, LOL COXHILL & MICHEL DONEDA, PJ MORTON

IVAN LINS / SWR BAND - CORNUCOPIA

A sublime setting for the vocals of the great Ivan Lins – wrapped up here in some really inventive arrangements from the SWR Big Band, who bring an energy to the album we haven't heard from Lins in years! Ivan's vocals take on this soaring, fluid quality that reminds us why we first fell in love with his music so many years ago – a transcendent quality that's really let loose the more the band seems to energize their rhythms and horn charts – almost scatting at times, given the jazzy vibe of the whole record! Arranger Ralf Schmid really makes magic on the record – and the album also features work from Paula Morelenbaum on guest vocals, and a bit of vocals from a South African choir. Tracks include "Samba De Vision", "Missing Miles", "Guantanamineira", "Roda Baiana", "Trem Bom", and "Awa Yio".  ~ Dusty Groove

LOL COXHILL & MICHEL DONEDA - SITTING ON YOUR STAIRS

Sublime soprano sax duets from the team of Lol Coxhill and Michel Doneda – both playing at a level that's almost more about sound overall than just notes and music – that great ear for textures and shapes that have made us love Coxhill's work since the 70s! The tracks are mostly long, and clearly improvised – very well-recorded live performances that really capture the subtle sounds and lower-end moments, then burst into bright colors when more tunefull passages appear. Doneda really echoes the inherent warmth of Coxhill's horn – and the set features four duets, plus a solo track each from Lol and Michel. ~ Dusty Groove

PJ MORTON -NEW ORLEANS

A great step forward for PJ Morton – an artist we've followed right from his start in the Neo Soul underground, and one who still sounds great here in the context of a much bigger label! The album's sure to get PJ plenty of exposure, yet it's still put together with that nicely crackling sort of energy that's always made his music so great – a mode that's sometimes a bit more funky than some of his male soul contemporaries, but in a way that's never gimmicky – and instead underscores all the earnest, honest vibe he brings to his lyrics. And Morton really maintains that slightly raspy quality in his vocals – a mode of singing that echoes classic eras without ever copying their style at all. The set features guest appearances from Stevie Wonder and Busta Rhymes – and titles include "Only One", "Never Get Over You", "Hard Enough", "Heavy", "Work It Out", "Trade It All", "First Sight",a nd "Motions". ~ Dusty Groove

VIEUX FARKA TOURE - NEW ALBUM 'MON PAYS' AND TOUR DATES ANNOUNCED

Vieux Farka Touré's beautiful latest album was recorded as an homage to his homeland. Being that his native Mali has been splintered by territorial fighting between Tuareg and Islamic rebels since January 2012, his new album, Mon Pays, is devoted to reminding the world about the beauty and culture of his homeland.

‘For me it is a statement for the world that this land is for the sons and daughters of Mali, not for Al Qaeda or any militants. This land is for peace and beauty, rich culture and tolerance.This is our heritage, what we must always fight to protect in any way that we can. For me, that means making music that reminds the world of who we are.’

Translating as ‘My Nation,’ this predominantly acoustic undertaking had been planned before the invasions began. Inspired by his work with Israeli pianist and vocalist Idan Raichel, Touré initially went into a Bamako studio to honor the acoustic blues tradition of Northern and Southern Mali. Since that time, Mon Pays transformed into an artifact of cultural preservation.

Two songs on the project -Future’ and ‘Peace’ feature Sidiki Diabate’s kora leading an emotional charge complemented by Touré’s spectacular guitar work. Both tracks represent an important generational "passing of the torch" as Sidiki’s father, Toumani is considered one of the greatest living kora masters and was a close friend of Vieux’s father Ali. Their two records together, In the Heart of the Moon and Ali and Toumani, were awarded Grammies. At the 2011 ceremonies, Vieux accepted the prestigious award for his father, who had recently passed from bone cancer.

Mon Pays is the most mature and lovely record yet from one of this generation's most exciting artists to come out of Mali and one of world music's true rising stars.

UPCOMING VIEUX FARKA TOURÉ DATES
June 15, 2013 / Takin’ It to the Streets (Marquette Park) Chicago, IL 
June 16, 2013 / Clearwater’s Great Hudson River Revival Croton-on-Hudson, NY 
June 19, 2013 / The Dirty Bourbon Albuquerque, NM 
June 20, 2013 / Arroyo Seco Live Arroyo Seco, NM 
June 21, 2013 / eTown Hall Boulder, CO 
June 23, 2013 / Performance Works Vancouver, BC, Canada 
June 24, 2013 / Sugar Nightclub Victoria, BC, Canada
June 25, 2013 / Dimitriou’s Jazz Alley Seattle, WA 
June 26, 2013 / Dimitriou’s Jazz Alley Seattle, WA 
June 27, 2013 / The Wild Buffalo Bellingham, WA 
June 28, 2013 / Mississippi Studios Portland, OR
June 30, 2013 / Harbourfront Centre Toronto, ON, Canada 
Jul 1, 2013 / Zaphod Beeblebrox Ottawa, ON, Canada 
Jul 3, 2013 / Club Soda Montreal, QC, Canada 
Jul 5, 2013 / Iron Horse Northampton, MA 
Jul 6, 2013 / Higher Ground South Burlington, VT 
Jul 9, 2013 / Cedar Cultural Center Minneapolis, MN 
Jul 10, 2013 / Vaudeville Mews Des Moines, IA 
Jul 11, 2013 ' La Fete de Marquette Madison, WI
Jul 13, 2013 / Yoshis San Francisco, CA 
Jul 14, 2013 / California WorldFest Grass Valley, CA 
Aug 2, 2013 / Pickathon Happy Valley, OR 
Aug 3, 2013 / Pickathon Happy Valley, OR 
Aug 4, 2013 / Crestone Music Festival Crestone, CO 
Aug 6, 2013 / Walnut Room Denver, CO 
Aug 7, 2013 / JAS Cafe Downstairs At The Nell Aspen, CO

~ Six Degrees Records