NEW RELEASES: LAURA DREYER – VIDA. ARTE. AMOR.; DAN MASTROIANNI – TEARS AND WHISPERS; MEGA JAWNS – TEN LETTERS FROM HOME

LAURA DREYER – VIDA. ARTE. AMOR.

Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision." In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.

  

DAN MASTROIANNI – TEARS AND WHISPERS

Recorded in 1984, Mastroianni recorded his album with banks of keyboards, and a few musician buddies. The ‘experimental’ nature of the album shines through on nearly every track. This was new technology, and it sometimes sounds like Mastroianni was finding out exactly what each machine could do, as he did it! He also provided the edgy vocals, making for a very idiosyncratic artist/writer/producer album. Many of you will now know the brilliant uptempo boogie of Just One Touch (which was featured on BBE’s own Americana 2 compilation last year) but whatever you are expecting from this ultra-rare private press, you are likely to be surprised. Style, tempos and moods changes throughout, the only constant being Dan Mastroianni’s harmonic adventurousness, and primitive, expansive synth sounds that never quite let up. You can tell he was having fun making the album, and was coming from a place all of his own, though one might guess he’d listened to a fair amount of Weather Report, Yellow Magic Orchestra, George Duke and funk/boogie before he committed himself to wax. Some highlights: You and I is in floaty mid-tempo soul mode and features some fine soloing from Dan. Lead On is blue-eyed boogie, bringing to mind the likes of David Bendeth; Million and One is nothing short of trippy with its manic bassline and swelling synth chords. Blame It On Love has enough changes of direction for three tracks, and again showcases what a good player Dan was when he soloes. Shine could conceivably get the two-step vote. And look out throughout for some noteworthy playing from Dan’s brother on reeds. As Dan says, this album was a ‘fusion’ concept in every sense: a fusion of man and machine, of ‘carbon and silicon’, mind and matter… it was recorded as a labour of love, and now, three decades later, it’s time for the rest of the world to share the love! ~ bbemusic

MEGA JAWNS – TEN LETTERS FROM HOME

Mega Jawns were born on March 10th 2014 in a basement studio deep beneath the frozen streets of West Philadelphia. The product of a chance meeting between two veteran producers, both named Will. Their debut LP ‘Ten Letters From Home’ was written, recorded and mixed within seven days of the pair first shaking hands and is due to be released later this year on BBE. Philly keyboard player, vocalist and producer Will Brock has been a journeyman on the international soul & jazz scene for many years, touring and performing alongside the Stylistics, Miles Jaye & Marion Meadows others. Equally at home in the studio as behind the piano, Will has seen releases on King Street Records & recorded with Stephanie Cooke & King Britt as one half of production outfit Soul Dhamma. UK producer & DJ Will Sumsuch has been a stalwart of the European deep house scene for over a decade, playing shows from Brighton to Barcelona, Hoxton to Helsinki. His unique brand of deep-thinking electronic production has found favour with discerning DJs the world over, among them Ben Watt, Osunlade, Justin Martin & Jody Wisternoff.  The duo initially worked together on Sumsuch’s single ‘Simpatico’, which was released on his own label Colour and Pitch in 2013, garnering support from legendary house vocalist Robert Owens among many others. Following the release, Sumsuch decided to hop on the plane to connect in person, and maybe make a couple of tracks too. The pair joked about making an LP, but neither really thought it would happen in a week…  The resulting music can only be described as the joyous sound of two talented musicians and producers working together in unison, completing each other’s sentences. With the full weight of Philly soul tradition underpinned by unmistakably restrained European electronica, this record captures a character that neither performer could have summoned up alone. “Spirits were with us in the studio that week” says Brock and for once, the usually jovial Sumsuch simply nods solemnly. Joy is a taster from the the album, due to be supported in the clubs by John Morales, Louie Vega, Boddhi Satva and Kerri Chandler. ~ bbemusic

NEW RELEASES: PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME; THE GRITS – MAKE A SOUND; OMAR - STOP WAR MAKE LOVE

PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME

One of the most highly sought after guitarists in jazz for both live performance and recording, Paul Bollenback may be best known for his ongoing, decades-long association with Joey DeFrancesco. In addition to his work with the celebrated organist, Bollenback has recorded and shared the stage with Houston Person, Geoffrey Keezer, Jeff "Tain" Watts, Joe Locke, Terri-Lyne Carrington, Gary Smulyan, Buster Williams and Mike LeDonne, among many others. Bollenback has been rated a Rising Star in the DownBeat Critics Poll in 2013 and 2014; he also earned a Grammy nomination for his production on DeFrancesco's album Never Can Say Goodbye. Bollenback's latest album as a bandleader, Portraits in Space and Time (September 23, 2014, Mayimba Music) captures the guitarist in an intimate trio session with Joseph Lepore on bass and Sao Paolo's Rogerio Boccato on drums and percussion.  This new collection of fourteen original compositions reflects the group's eclectic influences, imbued throughout with a warmly tropical flair that attests to the chemistry between the musicians. "As a group, we move organically, like a conversation," Bollenback explains. "One tune will leap into another...we did sets of three or four tunes without any break. We weren't really trying to go tune by tune: we were trying to recreate a live performance in the studio."

THE GRITS – MAKE A SOUND

Following their well-received debut album for Freestyle and a bunch of singles on a variety of labels (Mocambo, Music With Soul, Fraternity, Hamhock), The Grits have beefed up their indeed ‘gritty’ raw funk with fuller instrumentation and explored the possibilities suggested by a move further in a psychedelic direction. Their music brings to mind an array of influences: think Dick Hyman’s moog albums with the eastern vibes of an Anandar Shankar, and maybe a touch of the Small Faces, and you’re getting warm. They cite The BBC Radiophonic Workshop (where the aforementioned Derbyshire shook up the musical and social establishment), Funkadelic, Os Mutantes, Pierre Henry, and even Stockhausen as artists that have shaped their sound.  Singer Sophie Alder-McKean, with her distinctively English voice providing vivid contrast to all the sweaty funk comes to the fore on (I’d Walk A) Funky Mile, Just A Little Bit and Yeah, No. Black Sambuca is in the tradition of early 70’s sitar-funk, culminating in some experimental Moog madness, and we almost get into dub territory as the track breaks down. Heel and Toe sounds like Afrobeat organ atop hip-hop drums, and references James Brown’s immortal advice to Bootsy Collins, ‘You gotta get to the heel and toe, or else you’re gonna blow!’ for the funk cognoscenti. Six Pack is slow grinding psychedelic-funk complete with spoken/shouted vocals provided by Brazilian DJ Joel Stones and a girlie chorus. Let Me Know is also pure ‘60s beat business with its catchy hook, plus some stinging guitar work and an exciting percussion and bass breakdown. Make A Sound (Like James Brown) is another pure funk groove, with the horns to the fore and some wicked percussion/bass/drums interplay, mutating into psychedelic electronics, while Skin and Bone could be a long-lost psych-funk curiousity of the early ‘70s, complete with a very ‘punk’ chorus and a really wild guitar outro! It seems The Grits never play it totally straight… ~ bbemusic

OMAR - STOP WAR MAKE LOVE

Omar Lyefook, legendary singer, songwriter, actor and MBE is never a man to mince his words. On 2013's album 'The Man', he vented his frustration at mankind's willingness to wage war on itself in an explicit lyric version of this track. Such an important & sadly topical message should be heard by the widest audience possible, and so we present the radio friendly version re titled Stop War, Make Love. Lyrical message aside - this track is also musically super heavy, a funking Fender Rhodes hook line, squelchy synthesiser sounds, deep dish drums and massive horns all lock together this airtight uptempo groove that's a perfect combination of music and message. Grammy award winning producer The Scratch Professer retwists of Stop War, Make Love and Omars' evergreen classic There's Nothing Like This, will whet your musical tastebuds for the forthcoming full length Scratch Professer reworking of The Man album. As a producer, DJ, remixer, and who also just happens to be Omars' brother and long term co-producer, he puts his unmistakable stamp on Omar's music.

Owen Howard - Drum Lore Vol. 2 - More Lore

Owen Howard, originally from Edmonton, Canada, has performed and recorded with the likes of Joe Lovano, Kenny Werner, Tom Harrell, Kenny Wheeler, John Abercrombie, Dave Liebman, George Garzone, Dave Holland, Eddie Henderson, Sheila Jordan, Jay Clayton and many others. He has appeared on over forty recordings to date, including five under his own name, and has toured extensively throughout Europe, the United States and Canada. With more than twenty years of successfully leading his own bands, Howard is clearly an artist successfully following in the footsteps of legendary drummers/bandleaders such as Tony Williams, Peter Erskine, Billy Hart, Jack DeJohnette, Paul Motian, Al Foster, Shelly Manne and others.

Now with the release of his seventh CD, Drum Lore Vol. 2 - More Lore, the follow up to the critically-acclaimed, 2011 Juno Award Nominated, Drum Lore (on BJURecords), Howard continues to celebrate and interpret music composed by drummers, and also feature more of his own compelling compositions. Where Vol. 1 was conceived as a studio recording of sorts, with each piece featuring a different configuration and concept, the second installment of the Drum Lore project gives the listener a taste of what the group sounds like in its working quintet format, featuring Adam Kolker (soprano & tenor saxophones, bass clarinet), John O'Gallagher (alto saxophone), Frank Carlberg (piano), Johannes Weidenmueller (bass) and the leader Owen Howard (drums).

Drum Lore Vol. 2 offers up seldom heard originals by Philly Joe Jones and Joe Chambers, as well as popular works by Victor Lewis, Paul Motian and Tony Williams. The remainder of the recording is comprised of recent original compositions by the leader. Highlights include, "Hey, It's Me You're Talkin' To", one of Victor Lewis' most well known compositions; Joe Chambers' "Ungano" (from the Bobby Hutcherson Blue Note album, Medina); "Haiku", a composition that Howard composed at the piano in about ten minutes. "After stating the 5-7-5-syllable form, the soloists are free to interpret at will. It's quite different each time we perform it", said Howard; "Like Buttah","my take on rhythm changes, which incidentally pays homage to Sonny Rollins' 'Oleo' (which was a butter substitute back in the day)"; and "Got To Take Another Chance", "a fun little piece by Philly Joe Jones that is based on the chord changes of 'Take The 'A' Train'. I extracted the horn riff and ending bit from the Max Roach/Clifford Brown version of 'A Train' (from the record, A Study in Brown). I love Max's train ending on that cut. Straight up fun!," said Howard; "Mumbo Jumbo" by the late great Paul Motian, and "Pee Wee" by the legendary Tony Williams.

The birth of Drum Lore took place at a summer jazz workshop where Howard was one of the several "artists-in-residence". The drummer explains further, "As we were getting ready for a discourse on the finer points of our various approaches to composition, one of the participants said to me. 'Owen, why are you here? You're a drummer, and this is a composition class? Well, how does one answer a comment like that? Rather than being offended, I took it upon myself to dispel this myth that drummers can't, or don't, compose." The brilliant result was Drum Lore (released in 2010 on BJURecords), a recording of great stylistic diversity, dedicated to exploring compositions exclusively by many of the revered drummers of our time. As Joe Lovano has stated, "some of the hippest bandleaders and composers in jazz, have come from the drum chair"; so many that Howard now offers Drum Lore Vol. 2, and has at least several more CDs worth of music composed by drummers that he'd like to record, so be on the lookout for the possibility of "Drum Lore, Vol. 3" in the future.

www.BJURecords.com

Frank Kimbrough's Quartet spotlights the audacious pianist and composer and his handpicked band mates: Steve Wilson, Lewis Nash and Jay Anderson

A genuine artist follows the strict demands of his muse rather than any set of conventional expectations. If, thirty-plus years into his celebrated career, the pianist and composer Frank Kimbrough decided to record his first album featuring the traditional jazz instrumentation of piano, horn, bass, and drums, there had to be a good reason. Quartet (Palmetto Records, PM2173), featuring alto and soprano saxophonist Steve Wilson, drummer Lewis Nash and bassist Jay Anderson, proves that for a relentlessly creative musician such as Kimbrough, following one's instincts offers up the best results.

Despite the surface familiarity of its ensemble format, Quartet (Kimbrough's 12th album as a leader and 7th for Palmetto) displays the pianist and his handpicked team at their most adventurous, creating music that revels in improvisational freedom while making fruitful use of the still profitable tools of the jazz tradition. Seven characteristically personal Kimbrough originals share space with exceptional reinterpretations of Kurt Weill's "Trouble Man," Rodgers and Hart's "It Never Entered My Mind" and John Lewis's  "Afternoon In Paris."

The exemplary balance of introspective lyricism and spiky, open form improvising that has marked Kimbrough's musical approach in his acclaimed work with, among many others, Maria Schneider, Ben Allison, Ted Nash and Noah Preminger, lends Quartet its distinguishing yin/yang atmosphere of ease and daring. "The Call," "Blue Smoke," "Kudzu,"  "Herbivore" and "Ode" slip, slide and swing, evading strict time and rigid harmonic forms, inspiring telepathic group interplay and biting solos, while the original ballads "November" and "Beginning" offer stunningly unpredictable melodic statements from Kimbrough and Wilson and sensitively prodding support from Nash and Anderson. And while "It Never Entered My Mind" and "Trouble Man" demonstrate that Kimbrough and company admire the exquisite compositional architecture of the masters, the quartet's take on "Afternoon In Paris" offers up a loose and stimulating deconstruction of John Lewis's standard. As Kimbrough devotees might note, "Ode" previously appeared on his Lullabluebye album, while "Beginning" debuted on Play, which featured the iconic drummer Paul Motian. "Herbivore" was written in the 1990s for Kimbrough's Noumena band but went unheard until this recording.

Kimbrough's exceptional playing throughout Quartet fully demonstrates the maturity of a seasoned musician who, having fully assimilated such signal influences as Paul Bley, Andrew Hill and Shirley Horn, is able to express himself organically in his own, now distinctive, instrumental voice. "As I've grown over the years, I find that I want to move listeners, not impress them," Kimbrough states. "By now the piano is who I am. I don't want technique to be a liability - I want to be able to convey what's in the moment. To be honest, to be vulnerable in my playing is what I'm most interested in."

"I chose the musicians on this recording because I trust their judgment. From the first note they play you can feel the depth, the lyricism, the respect for musical space they all have. Between us there's over two hundred years of experience - you have to trust that. I've found as a leader that the more freedom you give players to be themselves, the more of themselves they will put into the music."

The roots of Quartet extend back to the late 1970s when Kimbrough and Nash met as students at Arizona State University. Three decades passed until Kimbrough and the now-omnipresent drummer reunited as players in Ryan Truesdell's Gil Evans Project. Steve Wilson and Jay Anderson - both men A-list jazz figures - also participated as members of that ensemble, continuing associations with Kimbrough that included working together in the acclaimed Maria Schneider Orchestra. As a linchpin in the pianist's various trios, Anderson has been a close associate of Kimbrough for over twenty years.

Frank Kimbrough has recorded twelve albums as a leader and has co-led recordings with duet partner Joe Locke and with the Herbie Nichols Project. He has appeared on over sixty-five albums with other artists, including Maria Schneider's 2013 Grammy-winning Winter Morning Walks. Kimbrough has been on the faculty of the Juilliard School of Music since 2008.

http://home.earthlink.net/~fkimbrough/

Saxophonist Nir Naaman Releases "Independence" / The breakthrough debut features George Cables, Gregory Hutchinson and Marcus Printup

An artistic tradition is no longer valid when it fails to inspire burgeoning artists. Judging from Independence, the debut album by saxophonist Nir Naaman, the jazz tradition is still very much alive and capable of inspiring exciting new creations. A forthright instrumentalist and composer who draws from the wellsprings of Postwar jazz styles, Naaman has carved out his own distinctive voice on tenor, alto and soprano saxophones, and devises tunes that are as shrewd as they are inviting to hear. 

Employing such first rate musicians as the iconic pianist George Cables, the drummer Gregory Hutchinson, the bassist Dezron Douglas and the trumpeter Marcus Printup, Naaman demonstrates that seeds extracted from bebop, hard bop and Coltrane-inspired sources continue to yield succulent fruit. As the album titles states, Naaman, after working with celebrated artists including Eddie Marshall, Terri Lynne Carrington, Joanne Brackeen, Dave Samuels and Winard Harper, is ready to stake his own claim as a maturing musician. Born and raised in Israel, Naaman is now living and working in the country from which the music he's enraptured with was itself born.

Although Independence does feature a pair of evocative readings of standards - a spirited group turn on "The Very Thought Of You" and an expressive duet between the leader and Cables on "Polka Dots and Moonbeams" - the other eight tunes are Naaman originals. This finely crafted work displays Naaman's sure hand as a composer, and, as each piece was specially crafted to feature a different horn, allows the listener to bask in his individuality and confidence as a multifarious player. As befits a saxophonist attuned to the majestic tones of such masters as John Coltrane, Dexter Gordon and Joe Henderson, Naaman exhibits his command of the tenor horn on "Ohali Blues," "Polka Dots and Moonbeams" and "Independence," each a shining example of his surity and brio in work of varying tempos and moods. Of particular interest is another tenor feature, "Eshal Elohai/ Shalom Shabazi," an adaptation of Yemenite Jewish songs that Naaman has been familiar with since he was a child.

As George Cables (who, in addition to his superb keyboard contributions, also acted as the album's producer) states in his liner notes, " One of the most important things about jazz is that it is a living music which offers an open invitation for musicians to incorporate their own musical and cultural influences, whatever they may be. Nir's inclusion of  "Eshal Elohai," which is part of his tradition is a fantastic case in point." And, as Naaman points out, the contributions of Cables, Hutchinson and Douglas - each finding a way into the Middle Eastern idiom through his own idiomatic instrumental voice - adds yet more varied and personal flavor to the polyglot performance.

Naaman's ace may be his ability to wield two other horns with equal dexterity and individuality. His fine soprano work can be heard on two of his most lyrical pieces, "Winter Sun" and Dream," while his creative and commanding work on alto is exhibited on  "Fall," "Dilemma" and "The Very Thought Of You." The album concludes with another spotlighted alto performance, "New Orleans Twist," Naaman's jaunty second line groove salute to the spiritual birthplace of jazz. Throughout the album, the featured saxophonist receives rousing and sensitive support from all involved. (In addition to Cables, Hutchinson, Douglas and Printup, Naaman is joined by the pianist Roy Assaf and the drummer Ulysses Owens Jr. on a handful of performances.)

"Making this album gave me a chance to explore different sides of my musical personality," Naaman states. "I wanted to explore different moods and textures, yet never lose the overall coherence of the project. Working with these great musicians gave me that chance."

Born and raised in Israel where he served as a lead alto saxophonist in the Israeli Air Force Band, Naaman moved to the U.S. in 2004 and went on to graduate from the Berklee College of Music, furthering his studies at Purchase College where he received a master's degree in Jazz Studies. In the spring of 2010, Naaman took part in the Betty Carter Jazz Ahead program at the Kennedy Center For the Arts in Washington, D.C. where his mentors included Dr. Billy Taylor, Nathan Davis, Curtis Fuller and George Cables. Naaman has performed throughout the United States, Europe, Israel and Japan with various ensembles. He leads a New York-based quartet and splits his time between New York City and Boston where he is enrolled in the Doctor of Musical Arts program at New England Conservatory.

www.nirnaaman.com

Branford Marsalis To Release "In My Solitude: Live at Grace Cathedral" Available October 21

Branford Marsalis continues to prove that there is no context too large or small to contain his gifts. A reigning master of the jazz quartet format, dedicated champion of the duo setting, in-demand soloist of classical ensembles both chamber and orchestral, and session-enhancing special guest on an array of rock, roots and pop performances over the course of his career, his ever-broadening creativity and instrumental command have created the profile of a multi-dimensional musician with few peers among contemporary performers.

One setting notably absent from Marsalis' resume until now has been the unaccompanied solo concert. This most daunting of formats poses particular challenges that were met with his signature blend of serious intent, technical rigor and emotional directness when Marsalis brought his soprano, alto and tenor saxophones to Grace Cathedral on October 5, 2012. This San Francisco landmark, the site of Duke Ellington's Sacred Concerts in the Sixties and, since 1983, home to recitals at the centerpiece of the annual San Francisco Jazz Festival, proved an ideal setting for a program spanning early and post-bop jazz, baroque and contemporary classical music and spontaneous improvisation. The results can be heard on In My Solitude: Live at Grace Cathedral, the new album that Marsalis is releasing on his Marsalis Music via OKeh Records imprint on October 21, 2014.

As might be expected from someone with such a refined appreciation of musical excellence, Marsalis prepared by listening to solo recordings by a range of preferred artists, including Sonny Rollins, Steve Lacy and Sam Newsome from the jazz world as well as Anner Blysma, Angela Hewitt and Arno Bornkamp among classical players. He also committed himself to a program that transcended blatant displays of virtuosity. "From my time playing r&b and rock and roll, I can listen like a casual listener," he notes, "but the challenge for 80% of any audience, for any kind of music, is hearing melody and improvisation based on melody. Playing a lot of notes can be impressive at first, but will quickly make every song sound similar. So everything I played at Grace Cathedral was based on songs with great melodies, not being too `notey,' and utilizing the feeling in the room."

Getting the most out of the moment may be illustrated most clearly on "Improvisation No. 3," where Marsalis' tenor saxophone engages in conversation with a passing siren, while each of the 11 tracks reflects his appreciation of the vast cathedral space. "Every room has a sound of its own," Marsalis emphasizes. "There's a difference between playing in the Village Vanguard, and Alice Tully Hall in Lincoln Center, and Royal Festival Hall in London; and there is definitely a difference playing in Grace Cathedral, with its seven-second delay. Playing solo interludes in other rooms where my quartet performs was not going to prepare me. I had to hear that Grace

Cathedral sound in my head."

The melodies Marsalis chose for inspiration include two of his own, "The Moment I Recall Your Face" and "Blues for One," Hoagy Carmichael's uberstandard "Stardust," Steve Lacy's "Who Needs It?", a movement from a baroque sonata by Carl Philipp Emanuel Bach, and "I'm So Glad We Had This Time Together," the closing theme of Carol Burnett's classic television show. One of the biggest challenges and clearest signs of Marsalis's evolving mastery is his interpretation on alto saxophone of "MAI," a through-composed piece by Japan's Ryo Noda that tests the mettle of the most accomplished recital-hall saxophonists. "This is a great piece, with multiphonics and other fingerings not typical for the saxophone, that captures the spirit of the shakuhachi, the bamboo flute on which a purely Japanese form of music has been created. While I was in Japan recently, a friend gave me a tour of sorts in which I heard the instrument played in a variety of settings, which helped me to appreciate that patience, rather than getting to the point as quickly as possible, is everything. I wanted to honor the original intent of Noda's music, and I knew that the audience would relate to the sound of the piece in Grace Cathedral."

Marsalis also determined to balance the program with four improvisations, each of which sustains the mood of deep feeling and melodic coherence. "Musical spontaneity, like spontaneity in any language, has to be within a context to be meaningful," he emphasizes, "and the more music you know, the more spontaneous you can be. So I went out on stage with spaces intentionally left in the program, where I could create improvisations clearly based both on what I had just played and the feeling of the room and the audience."

Regardless of its starting point, each track confirms that, whether playing soprano, alto or tenor saxophone, Marsalis possesses one of the warmest, most direct and expressive sounds of any instrumentalist. "My main concern has been eliminating any shakes in my tone, and classical practice helps a lot with that," he says, "but otherwise I don't think about creating something people will think of as my sound. When it's time to play the gig, I just let it happen."

"Playing a solo concert is just hard," Marsalis admits. "After a gig, I'm usually happy to spend time with friends, but after the Grace Cathedral concert I just wanted to go to sleep. After all, if I have an off night with my band, Joey [Calderazzo], Eric [Revis] and Justin [Faulkner] will pick up the slack. But this was just me."

Yet no reinforcements were required. In My Solitude: Live at Grace Cathedral is both intensely introspective and accessible without compromise, a singular achievement in the singular career of Branford Marsalis.

Branford Marsalis has stayed the course. From his early acclaim as a saxophonist bringing new energy and new audiences to the jazz art, he has refined and expanded his talents and his horizons as a musician, composer, bandleader and educator - a 21st Century mainstay of artistic excellence.

Growing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey's legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression.

Branford has not confined his music to the quartet context. In addition to guest turns with a legion of giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins, he has excelled in duets with several major pianists, including his boyhood friend Harry Connick, Jr. and the longtime pianist in his quartet, Joey Calderazzo. Branford's first solo concert, at San Francisco's Grace Cathedral, is documented on his latest recording, In My Solitude. Branford has also shared his knowledge as an educator, forming extended teaching relationships at Michigan State, San Francisco State and North Carolina Central Universities and conducting workshops at sites throughout the United States and the world.

Classical music inhabits a growing portion of Branford's musical universe. With a repertoire including works by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughn Williams, Villa-Lobos and Sally Beamish, Branford is frequently heard with leading symphony orchestras including those in Chicago, Detroit, Dusseldorf and North Carolina as well as the New York Philharmonic. He also served as Creative Director for the Cincinnati Symphony's Ascent series in 2012-13.

Broadway has also welcomed Branford's contributions. His initial effort, original music for a revival of August Wilson's Fences, garnered a Drama Desk Award for Outstanding Music in a Play and a Tony nomination for Best Original Score Written for the Theater. Branford also provided music for The Mountaintop, starring Samuel L. Jackson and Angela Bassett, and served as musical curator for the 2014 revival of A Raisin in the Sun.

Some might gauge Branford Marsalis's success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, however, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

Upcoming Branford Marsalis Tour Dates: all dates are with the Philadelphia Chamber Orchestra unless otherwise noted

September 27 / SUNY Purchase Concert Hall (with Quartet) / Purchase, NY

October 4 / Meany Hall @ University of Washington / Seattle, WA

October 5 / Mount Baker Theatre / Bellingham, WA

October 8 / Van Duzer Theatre at Humboldt State / Arcata, CA

October 9 / Laxson Auditorium at CA State University / Chico, CA

October 11 & 12 / Three Stages at Folson Lake College / Folsom, CA

October 15 / Sidney Harman Hall / San Luis Obispo, CA

October 16 / Wallis Annenberg Center for the Performing Arts / Beverly Hills, CA

October 17 / Sherwood Auditorium / San Diego, CA

October 18 / UNLV Performing Arts Center / Las Vegas, CA

October 19 / Scottsdale Center for the Performing Arts / Scottsdale, CA

October 21 / Oxford Performing Arts Center / Oxford, AL

October 22 / Legacy Hall at River Center for the Arts / Columbus, GA

October 23 / Charleston Music Hall / Charleston, SC

October 24 / Dale F. Halton Theater / Charlotte, NC

October 25 / Virginia Tech center for the Arts / Blacksburg, VA

October 26 / Otis A. Singletary Center for the Arts / Lexington, KY

October 28 / Osterhout Concert Theater / Binghamton, NY

November 1 / Kean University / Hillside, NJ

November 2 / State Theatre Regional Arts Center / New Brunswick, NJ

December 31 / Terrace Theater @ Kennedy Center (with Quartet) / Washington, DC

Bette Midler Announces New Album "It's The Girls" Scheduled For Release In November

Grammy Award winning singer and legendary performer Bette Midler returns to the studio to release ‘It’s The Girls!’, a stunning new album that pays tribute to girl groups through the ages. ‘It’s The Girls!’ is a jaunty and celebratory collection of some of the greatest harmonies performed by girl groups such as The Ronettes, The Boswell Sisters, The Andrew Sisters, The Chiffons as well as Motown acts like Martha Reeves and The Vandellas, and The Marvelettes, among others. The album is due out on Warner Bros. Records November 4th, 2014 and East West Records / Warner Music UK on November 17th, 2014.

“A long time ago I fell in love with voices in harmony,” said Midler. “In particular, the sound of female voices singing together. There were so many great girl groups in those days, I still listen as avidly as I ever did. This record is a small attempt to honor them for all the joy they brought to me and the world.”‘It’s The Girls!’ reunites Bette Midler with long-time collaborator and Award-winning composer Marc Shaiman who produced the album. ‘It’s The Girls!’ features 15 songs that span time from The Andrews Sisters’ original performance of Bei Mir Bist Du Schön in 1937 to R&B group TLC’s 1994 hit song, Waterfalls. On the title track, Midler offers a brilliant rendition of The Boswell Sisters (known for their unpredictable harmonies and key changes) tempo-shifting pop classic It’s The Girl. The album effortlessly showcases Midler’s distinctive and versatile vocal range while honoring timeless classic melodic harmonies.

One of the world's best-loved and most versatile entertainers, Bette Midler has garnered accolades in all quarters of show business. She's earned four Grammy Awards including Song of the Year (1989: Wind Beneath My Wings; 1990: From A Distance) and Record of the Year (1989: Wind Beneath My Wings); two Academy Award nominations, three Emmy Awards, one Tony Award, three Golden Globe Awards, and nine American Comedy Awards. Bette Midler has recorded 13 studio albums and has gone on to sell over 30 million albums worldwide.

Details for Bette Midler’s forthcoming tour will be announced soon.

The songs on the album ‘It’s The Girls!’ are as follows:

01 / BE MY BABY Originally performed by The Ronettes

02 / ONE FINE DAY Originally performed by The Chiffons

03 / BEI MIR BIST DU SCHÖN Originally performed by The Andrews Sisters

All Vocals by Bette Midler

04 / BABY IT'S YOU Originally performed by The Shirelles

All Vocals by Bette Midler

05 / TELL HIM Originally performed by The Exciters

06 / HE'S SURE THE BOY I LOVE (duet with Darlene Love) Originally performed by The Crystals

07 / MR. SANDMAN Originally performed by The Chordettes

08 / COME AND GET THESE MEMORIES Originally performed by Martha & The Vandellas

09 / TOO MANY FISH IN THE SEA Originally performed by The Marvelettes

10 / TEACH ME TONIGHT Originally performed by The DeCastro Sisters

11 / WATERFALLS Originally performed by TLC

12 / YOU CAN'T HURRY LOVE Originally performed by The Supremes

13 / GIVE HIM A GREAT BIG KISS Originally performed by The Shangri-Las

14 / WILL YOU STILL LOVE ME TOMORROW Originally performed by The Shirelles

15 / IT'S THE GIRL Originally performed by The Boswell Sisters

All Vocals by Bette Midler

NEW RELEASES: WALDO – LOVE DON’T GROW ON TREES; ALI CAMPBELL - SILHOUETTE; FREDDY COLE - SINGING THE BLUES

WALDO – LOVE DON’T GROW ON TREES

Waldo was a studio band put together by super producers, Willie Lester & Rodney Browne. The duo produced for R&B greats such as Bobby Thurston, Gayle Adamas, Khemistry, The Modulations, Al Johnson, Esther Williams, Evelyn King, Sharron Redd to name a few. The super producers only recorded this one magical album which was disappointing that they released any more gems. Love Don t Grow On Trees is a mixture of uptempo funky grooves with a couple of delicious soulful mid tempo tracks that showcase the producers natural talents, not forgetting a tight and infectious production. Love Don t Grow On Trees for quite simply, the music speaks for itself. This timeless album sounds as good now as it did back in the day. Enjoy the magic! Overall Sun Goddess is a great title for jazz lovers or anyone who wants to slip back down memory lane and relax in the mid 70 s. Go ahead and put those platforms, bell bottoms, sunglasses and apple caps!! ~ Amazon

ALI CAMPBELL - SILHOUETTE

Silhouette is the new album from Ali Campbell, the legendary voice of UB40, reunited with Astro & Mickey. Recorded in London's renowned RAK Studios, the album is an inspired mix of freshly-minted new songs and sparkling, reggae-fied cover versions of classics by The Beatles, Bob Dylan, The Chi-Lites, and others. The title track, Silhouette, was originally a 1957 hit for American doo-wop group The Rays, though this new, yearning take owes more to an early 1970s version by the crown prince of reggae, the late Dennis Brown.  As founding members of UB40, Ali, Mickey, and Astro helped to define reggae music for a generation. The iconic Birmingham reggae troupe topped the UK singles chart on three occasions, and sold 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe. Campbell left the band in 2008, after 29 years, and has since released four reggae-themed solo collections with Mickey, who left UB40 soon after Ali, joining him on keys. Astro remained with the band until November 2013, when he left to team up again with Ali and Mickey.  Ali's voice remains as strong as ever: rich, melodic, and instantly recognizable. He s a genius in the way he can work a set of lyrics around a great melody, says Mickey. Any song he sings could easily be a UB40 tune. ~ Amazon

FREDDY COLE - SINGING THE  BLUES

In Singing the Blues, Freddy Cole pays tribute to the people, places and performing spaces that shaped his life and career. Revisiting some of brother Nat's forays into the blues, Cole also offers a few surprises such as "The Ballad of the Sad Young Men" and Steve Allen's "An Old Piano Plays the Blues." You can always expect something fresh and unique from master song stylist Freddy Cole even when you thought you already knew everything about the blues.  Includes: Muddy Water Blues, This Time I'm Gone For Good, Another Way To Feel,  Goin' Down Slow, Meet Me At No Special Place, All We Need Is a Place, My Mother Told Me,  Singing the Blues, The Ballad of the Sad Young Men, Pretending, and  An Old Piano Plays the Blues. ~ Amazon

AHMAD JAMAL - THE COMPLETE COLLECTION 16 ALBUM SERIES 1951-1962

American jazz pianist and composer Ahmed Jamal was born in July 1930. He began playing at the age of three, at seven he started lessons and at 14 he was playing professionally. At this point he was already recognized as a ""coming great"" by no less a talent than Art Tatum. Jamal began touring with George Hudson's Orchestra after graduating from High School in 1948 before moving to Chicago in 1950. He made his first records as 78 RPM discs in 1951 for the Okeh label with The Three Strings (later called the Ahmad Jamal Trio) alongside guitarist Ray Crawford and a succession of bassists. The Three Strings arranged an extended engagement at Chicago's Blue Note, but leapt to fame after performing at the Embers in New York where John Hammond saw the band play and signed them to Okeh. Jamal subsequently recorded for Parrot(1953-55) and Epic(1955) using the piano-guitar-bass lineup. The trio's sound changed significantly when Crawford was replaced with drummer Vernel Fournier in 1957, and the trio released the live album But Not for Me which stayed on the ten best-selling charts for 108 weeks and included Jamal's well known song ""Poinciana"". This four disc compilation brings together all the music Ahmad Jamal released during his first seven years as a recording artist, covering the period 1951 - 1958. Including the sides he made for Okeh, his one album for Parrott, his earliest albums for Epic and several records made for Chess offshoot Argo. Trained in both traditional jazz and European classical style, Ahmad Jamal has been praised as one of the greatest jazz innovators. Following bebop greats like Parker and Gillespie, Jamal entered the world of jazz at a time when speed and virtuosic improvisation were central to the success of jazz musicians as artists. Jamal, however, took steps in the direction of a new movement, later coined ""cool jazz"". He emphasized space and time in his musical compositions and interpretations instead of focusing on the blinding speed of bebop. 

Ahmad Jamal was able to tour North Africa at the start of 1959 following the success of his Live at the Pershing: But Not For Me album, a trip he had wanted to make since converting to Islam in his early 20s. Born of Baptist parents, he was only introduced to Islam while touring Detroit in the 1950s. On returning to the USA his wealth also allowed him to purchase a restaurant and club called The Alhambra in Chicago. The club however lasted for a little more than a year. Much of Jamal's output between the years of 1959 and 1962 were recorded live at a variety of clubs and venues in Chicago and other US cities. One of his stand-out records from this period was the marvelous collection titled 'Ahmed Jamal's Alhambra', released in 1961 and containing performances recorded at his own club that same year, shortly before it closed. The album went on to be one of the trios most successful records. The follow up, another live set this time recorded in San Francisco, 'Ahmad Jamal at The Blackhawk', was equally well received and included his version of Irving Berlin's The Best Thing For You which became a live favorite thereafter. In 1962 The Three Strings disbanded and Jamal moved to New York City where, at the age of 32, he took a three year hiatus. He resumed touring in 1964 when he began playing with bassist Jamil Nasser with whom he performed and recorded until 1972. Now in his eighties, Ahmad Jamal has continued to play numerous tours and release numerous recordings. His most recently released album is Saturday Morning from 2012. This collection contains all of this jazz legend's recorded output as released between 1959 and 1962, featuring both live and studio recordings it is the perfect accompaniment to this label's earlier release 'The Complete Collection 1951 - 1958'. Together these compilations provide the most complete set of recordings by Ahmad Jamal yet to emerge, containing as they do every track released during the first decade of this true master's career. ~ Amazon

RY COODER - THE SOUNDTRACK COLLECTION

Rhino presents a retrospective boxed set with seven CDs that focus on Cooder s work in the Eighties and early Nineties: The Long Riders, Alamo Bay, Paris, Texas, Blue City, Crossroads, Johnny Handsome and Trespass. RY COODER: SOUNDTRACKS will be available on September 29th. A digital version will also be available. The music is presented in a clamshell box that features new artwork by Tornado Design, the group behind the distinctive look found on several of Cooder s recent studio albums, as well as Rhino s 2008 anthology, The UFO Has Landed. After Cooder worked on soundtracks for Watermelon Man and Performance (starring Mick Jagger), he began producing soundtracks on his own. He started in 1980 with The Long Riders. It was the first of many soundtracks that Cooder would record for the film s director, Walter Hill. Many of them are included in this set: Crossroads, Johnny Handsome, Trespass, and Blue City, a film Hill produced. Cooder enjoyed a prolific two-year period between 1985-86 when he reeled off more than half of the soundtracks in this collection, including Alamo Bay, Blue City, Crossroads, and Paris, Texas, the Wim Wenders film that won the prestigious Palme d Or in 1984 at the Cannes Film Festival.  The soundtracks vary widely in terms of style, even as the group of musicians who performed on them remained remarkably consistent. In fact, some combination of drummer Jim Keltner, Memphis legend Jim Dickinson, guitarist David Lindley, and composer Van Dyke Parks can be heard on every soundtrack included in this set. In addition to those core musicians, the albums also boasts some fantastic guest performances by Cesar Rosas and David Hidalgo of Los Lobos on Alamo Bay, keyboardist Benmont Tench of the Heartbreakers on Blue City, and harmonica player Sonny Terry on Crossroads. ~ Amazon

NEW RELEASES - ANNIE LENNOX – NOSTALGIA; TONY MONACO – FURRY SLIPPERS; EYDIE GORME - TONIGHT I'LL SAY A PRAYER / IT WAS A GOOD TIME

ANNIE LENNOX – NOSTALGIA

On Nostalgia, Annie Lennox pays tribute to some of the greatest artists of the 20th century – including Hoagy Carmichael, Duke Ellington, George Gershwin, Billie Holiday and Screamin’ Jay Hawkins – and interprets compositions that have moved her, stripping them down to their emotional and musical core and making them her own. This beautiful deluxe package (created by Lennox herself and exclusive to Amazon) includes a 36-page bound book with photos and detailed notes on the songs created and lyrics as well as a DVD that features Annie discussing the album and a video of Lennox performing “I Put A Spell On You” live. "To have been given the opportunity to record these classic, timeless songs on such a significant label as Blue Note, representing 75 years of legendary jazz history, is truly a privilege for me," said Annie Lennox. ~ Amazon

TONY MONACO – FURRY SLIPPERS

The monster of the B3 is back with his ninth recording! Heralded as one of the best B3 players in the world, the incredible Tony Monaco presents a recording of all-new music, this time joined by critically acclaimed guitarist Fareed Haque! First studio recording in over two years. Features the great Fareed Haque on guitar. Also features the mesmerizing piano of Asako Itoh. Voted Best World Guitarist by readers of Guitar Player magazine, Fareed helps establish this as the most unique Tony Monaco recording yet. ~ Amazon

EYDIE GORME - TONIGHT I'LL SAY A PRAYER / IT WAS A GOOD TIME

This twofer captures the end of one era for Eydie, and the beginning of another, as 1970 s Tonight I ll Say a Prayer was the last album she recorded for RCA, and 1971 s It Was a Good Time was the first she recorded for MGM! Tonight pairs Eydie with her favorite arranger, Don Costa, for a smartly chosen set of songs by Jimmy Webb, Paul Williams and Roger Nichols, Burt Bacharach and Hal David and Charles Aznavour among others. Good Time, meanwhile, is exactly that: Eydie interprets more contemporary fare like Bread s if, Carole King and Gerry Goffin s Goin Back, and James Taylor s Fire and Rain with great skill and sensitivity, and Mr. Costa once again arranges. Two gorgeous pop albums from the late, great Eydie Gorme. ~ Amazon

DUTCH TRUMPET SENSATION ERIC VLOEIMANS RETURNS TO THE U.S. WITH OLIVER'S CINEMA

Trumpeter Eric Vloeimans, one of the stars of the vibrant and highly creative Dutch jazz scene, has been described as having ".... a melodic style evocative of late-period Miles Davis." (Nate Chinen, New York Times).  He returns to the US with his new project Oliver's Cinema, a trio featuring Belgian accordionist Tuur Florizoone and German cellist Jörg Brinkmann. The trio formed when Vloeimans "decided to tackle his aversion to the accordion" and found his way to Florizoone. After a series of duo concerts in 2012, Vloeimans added cellist Brinkmann. They did their first trio gig after only two hours of rehearsal and it was such a success that the new group was formed. Oliver's Cinema (an anagram of Vloeimans' name) released a self-titled debut CD in 2013, music written for film as well as music with a cinematic quality, ranging from Ennio Morricone soundtracks to new compositions for imaginary films.

He's colorful, versatile, engaging, friendlyŠ.and one hell of a trumpet player. Eric Vloeimans (Huizen, b. 1963) is is regarded as one of Europe's best performers with an extraordinary talent for playing original music with outstanding quality. Not bound by one particular style, he has managed to create an evocative, harmonic language of his own. His writing is fresh and creative, with feeling and respect for tradition, having mastered the complete range of the trumpet, from the energy laden high notes to the soft, velvety, almost wooden sounds. Is that a siren? A clarinet? A flute? A shakuhache?  No, it's Eric Vloeimans.

His talent and expressive power have won him many awards, among which four Edisons, the Elly Ameling Prize of the City of Rotterdam, the Boy Edgar Prize and the prestigious Bird Award of the North Sea Jazz Festival. Eric has been active in a wide variety of ensembles all over the years. His current bands are "Oliver's Cinema" with accordeonist Tuur Florizoone and cellist Jörg Brinkmann. The music is cinematic and evocative, leading listeners into a voyage of active imagination and reminiscence.  Plus, it's fun.

Vloeimans turns on the heat with electronic special effects in his electric band "Gatecrash."  Featuring Jeroen van Vliet on Fender Rhodes and keyboards, Gulli Gudmundsson on bass, and Jasper van Hulten on drums, Gatecrash is a darling of many jazz and pop festivals worldwide.

Vloeimans also performs and has recorded with the Holland Baroque Society, the reed quintet

Calefax, and in duo with classical pianist Florian Weber, with clarinetist Kinan Azmeh, with flamenco guitarist Eric Vaarzon Morel, with the Dutch Royal Marine Band, with the Matangi String Quartet, and many others - he is a complete musical animal. Lately he's been a popular soloist with symphony orchestras such as the Limburg Symphony Orchestra and the Rotterdam Philharmonic.  He performed and recorded his own trumpet concerto "Evensong" with the Netherlands Symphony Orchestra in 2012. In 2013 he was named musical director of the National Youth Jazz Orchestra. He has also ventured into film music, writing (with Fons Merkies) and performing the music for the feature film "Majesteit" (premiered in September 2010), as well as for the award-winning animation "Audition" (with Martin Fondse), and for the documentary "Enkeltje Hemel"  (2014).

Eric has released some 23 albums on the Challenge label, and has performed all over Europe, Indonesia, China, the Middle East, North America, South Africa and Japan. He's always been influenced by his travels and encounters, and one can hear this in many of his compositions.

Eric Vloeimans plays from the heart - his warmth and easygoing nature has endeared him to audiences of all ages and backgrounds.  His music needs no translation, it comes from beyond and goes straight to the heart.

Vloeimans is returning to the U.S.or a 13-city tour, October 10 - 25, with Oliver's Cinema featuring Vloeimans with accordionist Tuur Florizoone and cellist Jörg Brinkmann. 

Tour Dates::

October 10 @ Moody's Bistro, Truckee, CA

October 11 @ House Concert at Chez Robert, Soquel, CA

October 13 @ Duende, Oakland, CA

October 14 @ Calvary Presbyterian Church, Portland, OR

October 15 @ Earshot Jazz Festival, Seattle, WA

October 16 @ Outpost Performance Space, Albuquerque, NM

October 17 @ UCCS Centennial Hall, Colorado Springs, CO

October 19 @ The Promontory,  Chicago, IL

October 20 @ Blue Note, NewYork, NY

October 21 @ Hallwalls, Buffalo, NY

October 23 @ Caspe Terrace, Waukee, IA

October 24 @ Brooks Hall, University of Virginia, Charlottesville, VA

October 25 @ Miami Dade County Auditorium, Miami, FL

NEW RELEASES: MAHAVISHNU ORCHESTRA – BEYOND NOTHINGNESS & ETERNITY / VISIONS OF THE EMERALD BEYOND; BIG BOSS MAN – LAST FAMILY ON EARTH; BALLISTER - BOTH ENDS

MAHAVISHNU ORCHESTRA – BEYOND NOTHINGNESS & ETERNITY / VISIONS OF THE EMERALD BEYOND

A pair of 70s classics from this mighty fusion ensemble – back to back in a single collection! First up is Between Nothingness & Eternity – and although there's a pretty big space between nothingness & eternity – but Mahavishnu Orchestra manage to fill most of it up with their hard-jamming approach! The style here is a bit different than the group's initial albums – as the record's a live one, and features some very long tracks that stretch out with possibly a bit more spiritual influence than before – still rockish at times, but also with freer floating energy as well. Billy Cobham's drums are worth the price of admission alone – and other group members include the mighty John McLaughlin on guitar and Jan Hammer on electric piano, synth, and moog. Titles include the "Thrilogy" suite, plus "Sister Andrea" and "Dreams". Visions Of The Emerald Beyond is very spacey work from Mahavishnu Orchestra – a set that continues the change in sound explored by the second incarnation of the group – one that's much more spacious than the first! The group here is somewhat large, but often comes off with a good sense of leanness at times – less of the notes-on-notes jams of rockish fusion, and more stretched-out spiritual modes, mixed with a slight dose of funk at just the right moments! John McLaughlin's in the lead on guitar, and other players include Gayle Moran on keyboards, Jean-Luc Ponty on electric violin, and Narada Michael Waldon on drums, percussion, clavinet, and vocals. Titles include "Eternity's Breath", "Lile's Dance", "Can't Stand Your Funk", "Earth Ship", "Be Happy", "Opus 1", and "Pegasus".  ~, Dusty Groove

BIG BOSS MAN - LAST FAMILY ON EARTH

Maybe the coolest record we've ever heard from this mod British combo – a set that gets way past the easy retro references of previous albums, and goes for a vibe that's quite complicated, but still pretty darn groovy! The set's got the look and feel of the best jazzy soundtracks of the 60s – and these guys bring in a nice range of styles to match – from jaunty groovers to more complicated sonic explorations – served up on a blend of Hammond, Fender Rhodes, mellotron, timbales, tablas, electric sitar, and more – all with a feel that's maybe somewhere in the best territory of Roy Budd during his Get Carter years! The whole thing's wonderful – a great evolution from before – and titles include "Trans Adonis", "Theme From Last Man On Earth", "Aardvark", "Blow Your Own", "Hail Caesar", and "Changing Faces" – and although most of the set is instrumental, three tracks feature some guest vocals too.  ~ Dusty Groove

BALLISTER – BOTH ENDS

Maybe one of the most vibrant musical performances ever from the Ballister trio – for reasons that are recorded in the notes on the album – a stunning collaboration between Dave Rempis on alto and tenor, Fred Lonberg-Holm on cello and electronics, and Paal Nilssen-Love on drums and percussion! The players have a great way of swinging between sound and space – really letting things out to create the right sort of suspense, then bounding back in with the sort of bold energy that really feeds their fire – almost with a sensitivity that's surprising, given the situation! The album features one long live performance – divided up into "Front" and "Back" passages. (Yellow vinyl pressing, too!)  ~ Dusty Groove

EZRA WEISS SEXTET RELEASES NEW LIVE ALBUM BEFORE YOU KNOW IT [LIVE IN PORTLAND]

With his new album, Ezra Weiss demonstrates why he was listed as a Rising Star Arranger in the 2012 and 2013 DownBeat Critics Polls, reaffirming his status as one of today's preeminent young jazz pianists and composers.  With an all-star band that includes some of today's top young talent, the Ezra Weiss Sextet plays modern, original compositions and arrangements, all deeply rooted in jazz tradition, with emotional energy and artistic drive.  In this band, trumpeter Farnell Newton (Jill Scott, Bootsy Collins), alto saxophonist John Nastos (Diane Schurr, Chuck Israels), tenor saxophonist Devin Phillips (Wynton Marsalis, Los Hombres Calientes), bassist Jon Shaw (Blue Cranes, Javier Nero), and drummer Christopher Brown (Roy Hargrove, Benny Golson) join forces to bring Weiss' heartfelt and imaginative compositions to life.

The album, Ezra Weiss Sextet: Before You Know It [Live in Portland], out September 9 on the Roark Records label, is his seventh album as a leader, but marks Weiss' first venture into live recording.  "I wanted to bring the energy of our live shows to the album, so that you could listen to it and feel like you were sitting there at the club."  Beautifully recorded by Rick Gordon and artfully mixed by Katsuhiko Naito, this album perfectly achieves Weiss' goal.

Weiss has earned wide critical acclaim for his previous CDs: 5 A. M. Strut (2003), Persephone (2005), Get Happy (2007), Alice in Wonderland (2009), The Shirley Horn Suite (2011), and Our Path To This Moment (2012).

Perhaps more than any other composer of his generation, Ezra Weiss consistently writes memorable melodies, which he creatively brings to the forefront with his thoughtful orchestration.  While his sextet obviously pays homage to Horace Silver and Art Blakey's bands, Weiss brings the spaciousness of Shirley Horn and the structural development of Maria Schneider to his music.  These influences clearly emerge on the opening track, "Winter Machine," winner of the 2006 ASCAP Young Jazz Composer Award.  "There's a lot that stands out for me about this performance of 'Winter Machine,'" says Weiss.  "Chris Brown's modern take on the drumming, Farnell Newton's heavy blues, and especially John Nastos' alto sound - it's so virtuosic and still so musical."

The sextet then takes off on "The Crusher," a fast burner that brings to mind both the intensity of Woody Shaw and the dynamic excitement of Charles Mingus.  Then in a sudden change of pace, the band follows this with "Don't Need No Ticket," a soulful ballad that takes its title from a Curtis Mayfield lyric.  Perhaps this slow funk is the arena where this band stands out the most, bringing together the sensitivity of the Stylistics with the intensity of John Coltrane.

Again changing things up, the sextet jumps into their modern take on the classic Gershwin "A Foggy Day."  Weiss' arranging skills are obvious here, as he completely reimagines this great standard.  And in this live setting, the band is able to stretch out, everyone finding new directions for improvisational exploration.  The band continues with "Jessie's Song," a 7-minute masterpiece written for Weiss' wife. The ensemble playing here is truly extraordinary, showcasing the group's dynamics, intonation, and collective phrasing.

"The Five A.M. Strut" was originally recorded on Weiss' debut album of the same name.  While that studio version was only four minutes long, this performance is over fifteen minutes.  Again, the live setting allows the band to stretch out on the solos, making everyone's personalities shine through.  For instance, Devin Phillips' New Orleans background comes out loud and clear.  "This was the first tune I wrote when I moved to Portland," says Weiss.  "I had a gig that started at two in the morning.  This tune is about playing a gig like that, and then somehow having to figure out how to get home."

"Alabama" was originally composed by John Coltrane after the 1963 bombing of the 16th Street Baptist Church in Birmingham in which four girls were killed.  Weiss says, "After the shootings at Sandy Hook, I was looking for some healing music to help me cope.  I thought about John Coltrane, and then thought of 'Alabama,' and suddenly felt very scared to listen to it.  That's when I decided I needed to arrange it."  This arrangement, which treats Coltrane's melody as a canon and features an extended solo by Devin Phillips, is dedicated to the victims of the Sandy Hook shooting.

The band closes out the set with "Before You Know It," a soulful piece Weiss wrote for his first son before he was born.  Again, the sextet shines on this funky ballad with beautiful solos by all of the horn players.

By the end of the album, we feel as though we've been there in the club, taken on an epic journey with these stellar musicians.

Recently listed in the 2012 and 2013 DownBeat Critics Polls and three-time winner of the ASCAP Young Jazz Composer Award, composer/pianist Ezra Weiss has led bands in many of the country's greatest clubs including Dizzy's Club Coca-Coca in NYC, the Triple Door in Seattle, and Catalina's in Los Angeles.  He holds a bachelor's degree in Jazz Composition from the Oberlin Conservatory and a master's degree in Jazz Piano from Queens College.  His recordings include The Five A.M. Strut, Persephone, Get Happy, Alice in Wonderland, The Shirley Horn Suite, and Our Path To This Moment, all of which have garnered significant international acclaim from press and radio. While living in New York, Weiss worked as arranger and pianist for legendary drummer Billy Hart. He currently lives with his wife and two sons in Portland, Oregon, where he teaches at Portland State University.

www.ezraweiss.com

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