Saxophonist Jared Sims Celebrates Return to West Virginia From Boston With New Quintet Session "Change of Address"

Jared Sims Change of Address After two decades in New England, where multi-reed virtuoso Jared Sims made his mark as an instrumentalist, bandleader, educator, and all-around musical provocateur, Sims celebrates his return to West Virginia with Change of Address, his fifth album as a leader. On the new CD, which will be released April 14 by Ropeadope Records, Sims sticks to his favorite instrument -- the baritone sax -- in the company of an airtight, organ-dappled quintet.

Change of Address commemorates Sims's homecoming to his alma mater, West Virginia University in Morgantown, which has named him Director of its Jazz Studies Department 20 years after he earned his own jazz studies degree there.

The music on the album is notable for instilling the jazz-soul tradition with an up-to-the-minute sensibility and is deftly interpreted by the leader, joined by an intriguing collection of players for whom he wrote its tunes, Ellington-style. They include the wife-and-husband team of organist Nina Ott and bassist Chris Lopes (a longtime crony of guitarist Jeff Parker), and a pair of young Boston-area veterans in guitarist Steve Fell and drummer Jared Seabrook (older brother of guitar provocateur Brandon).

Among the highlights on Change of Address are "Ghost Guest 1979," which showcases a full range of textural effects from Fell and seamless interaction between bass and Hammond B-3; the sprightly, wide-open "Lights and Colors"; and "Forest Hills," inspired by the Boston neighborhood in which he lived.

Jared Sims Sims (b. 1974) started playing the baritone in the fifth grade in his hometown of Staunton, Virginia, but only became dedicated to this most colossal of saxes after bringing a tenor to a class at the New England Conservatory (NEC) and having his instructor chide him he would never be great on it because he would be following in the footsteps of too many legends.

Far from taking offense, Sims took his teacher's words to heart. "There are a lot of gold standards on tenor," he says. "I was trying to find a way to move past those influences. Playing the baritone felt really natural to me. I felt like I could do something personal and interesting with it." A compelling example of this is Sims's "Seeds of Shihab," a tribute to baritone great Sahib Shihab, which like the other tracks on Change of Address luxuriates in the brawny, bottom-rich sound of the instrument.

Sims attended his first jazz concert, by Michael Brecker, in tenth grade, and saw the World Saxophone Quartet perform the following year. His fascination with the saxophone went "over the top" after he spoke with members of the WSQ following the show.

At WVU, he had a strong saxophone teacher in David Hastings, who schooled him in traditional styles. At NEC, where he played clarinet in addition to baritone, alto, and tenor, he tried to catch up to all the kinds of music he hadn't been exposed to, including Third Stream, under the wing of distinguished faculty members Gunther Schuller, George Russell, and Ran Blake.

Sims went on to study for his doctorate in classical music performance at Boston University, where his lecture recital was on the modern Italian composer Luciano Berio and his solo Sequenza pieces. He also did research work on Igor Stravinsky, Charles Ives, and American popular music.

While in Boston, where he earned a reputation as a "saxophone colossus," Sims roomed for four years with standout baritone saxophonist Charlie Kohlhase, a cog in Either/Orchestra, who turned him onto Shihab. One of his mentors at NEC was Allan Chase, with whom he continues to play in a band, Blow-up!, dedicated to the music of bebop baritone legend Serge Chaloff (they recorded in March 2017). He also played in numerous Boston-based bands including the Afro-Latin group Mango Blue (in which he continues to perform); the organ funk outfit Akashic Record; Blueprint Project with guitarist Eric Hofbauer, and the jazz-rock quartet Miracle Orchestra. The list of artists he has collaborated is an eclectic one and ranges from the late Bob Brookmeyer, Han Bennink, Matt Wilson, Dave Liebman, and Anat Cohen to the Temptations, 10,000 Maniacs, and Oasis's Noel Gallagher.

Sims made his recording debut as a leader with the trio effort Acoustic Shadows (2009). He followed it with another three-man outing Convergence (2011), the collective quartet album The New Stablemates (2012), and Layers (2016), on which he overdubs himself playing saxophones, clarinets, and flute on tunes by Ellington, Monk, and Mingus.

Jared Sims will celebrate the release of Change of Address at the following engagements: 4/14 James Street Gastropub, Pittsburgh; 4/27 The Bitter End, NYC; 4/28 Third Life Studio, Boston (with same personnel as the CD). 

Joey DeFrancesco & The People Make Mack Avenue Records Debut with First Ever Quartet Album, Project Freedom

 When jazz aficionados think of Joey DeFrancesco--and they often do--they ponder his matchless talents as a modern-day avatar of the Hammond B3 organ and the Philadelphia history he shares with his principle instrument. Organ-based blues and jazz started in Philly and DeFrancesco is the first to tell you so.

DeFrancesco is adored for his buoyant, moody sense of swing and balladry as a composer and as a player. That's a bluesy, blustery sensibility shared with the men in his family: saxophonist/grandfather Joseph DeFrancesco, and his father--organist "Papa" John DeFrancesco. Jazz lovers also dig DeFrancesco's second instrument, the trumpet, and the inspiration gleaned from his first big boss, Miles Davis--with whom DeFrancesco gigged when the organist was in his late teens.

"All that--that's what's been expected of me, all of which makes me proud, but there's so much more," says DeFrancesco on the day he flew back to Philadelphia from his current home base of Phoenix. DeFrancesco stopped by the City of Brotherly Love to receive a star on the Philadelphia Music Walk of Fame alongside local giants such as Coltrane, Dizzy and Nina Simone.

So for Joey DeFrancesco's Project Freedom--his debut for the Mack Avenue Records label--DeFrancesco adds several feathers to his cap including those of world traveling storyteller, quartet leader, freedom fighter, peace maker, spiritual healer and genre-busting composer and cover artist. "All of my albums mean a lot to me," he says. "Project Freedom though--this one means just a little bit more."

Quick to mention the influence of Philadelphia in every note that he plays--"that's where all my initial inspiration comes from," he explains--DeFrancesco looks beyond worshipping at the altar of Hammond B3 priests such as Jimmy Smith and Jimmy McGriff on Project Freedom. "It was never JUST organ and it was never JUST jazz for me," says DeFrancesco of a personal past that figures into new songs, such as the space-funk of the title track or what he calls the "free soul" of Sam Cooke's emotional "A Change Is Gonna Come."

Stylistically, DeFrancesco has long believed that his approach to playing and composing comes from the saxophone. "It's that sense of breathing that affects everything," explains DeFrancesco.

An homage to John Lennon opens Project Freedom with a gorgeous snippet of "Imagine" (Prelude) with a soaring tribute to J. Rosamond Johnson's uplifting composition, "Lift Every Voice and Sing" rounding out the purifying package. Mostly though, it's DeFrancesco's existence as a spiritual being--walking in the footsteps of humanity's inherent goodness--that is at the heart of Project Freedom. "There are notes and rhythms, sure, but it is how you live your life that is most crucial," he says. "It's how you play AND present yourself."

Being a frequent flyer with a globe-hopping world touring schedule has given DeFrancesco insight into differing--but not opposing--viewpoints that he longed to espouse through music. "I always thought that as touring musicians, we were spreading peace. No matter what happens in the world, we keep playing. In a lot of the so-called forbidden places too. When we're there, through war and conflict, problems melt away through music. We're playing for these people, hanging out with them, and we all come together and we're grooving with each other because of the music. That is true freedom. Music is true freedom."

Featured This Week: Vocalist, Gordon Michaels with his new single “They Call It Stormy Monday”

Gordon Michaels is a versatile artist who can lean from show tunes to jazz, pop, R&B, gospel and even country.  His latest single “They Call it Stormy Monday” is a soulful rendition of this well known standard.

Entertainment has been in the bones of Gordon Michaels from a very early age, from his church's children's choir through his high school years.  It seems that this foundation honed his personal expression developing his passion for performing.  After attending New York City’s Music and Arts High School Michaels was afforded the opportunity to appear in the movie “Fame” as well as the soundtrack recording.  This experience led him to a scholarship to the Boston Conservatory of Music for Opera where he discovered his passion for musical theatre and achieved a BFA.

Gordon’s versatility in shuffling genres with ease was the precursor to his musical prominence and was a driving force that managed to create opportunities worldwide with known singers; Patti Labelle, Jennifer Holiday, James Taylor, Aerosmith, Rod Steward, Cissy Houston, Keith Lockhart, Tramine & Edward Hawkins, Natalie Cole and a performance for Pope John Paul II.

Musical theatre is an avenue of expression that is close to his heart.  He is known for successfully producing small dinner shows and cabaret events in local establishments in the Boston area.  Gordon inspires his audiences with not only theater productions but offers his expertise to private functions, charity and corporate events choosing from any of the six cabaret shows in his musical repertoire.  His shows consist of “Unforgettable - A tribute to Nat King Cole”, “I’m Misbehaving - Fats Waller Song I Never Get To Sing”,  “Music of our great soul brothers”, “Journey through the decades”, “Black on Broadway” and “Listen to my heart” each with a definition of expression all their own.

  

“His darkly rich, soulful baritone and gregarious way with audiences earn this guy a gold star.” ~ John Hoglund, Backstage, Bistro Bits

  

Gospel music is a genre that runs through his veins whereby creating and hosting the popular Gospel Brunch at the original House of Blues in Cambridge, MA.

Gordon’s notable achievement was receiving the recognition of David Foster, when he became the Boston winner of the David Foster/Name Drop Singing Contest in 2009.  In addition to first place in the Encore Silver Note Sing Off and the Best Male Vocalist for Jazz and Gospel by the Boston Music Awards.  

“He has such a big personality when he gets up there.  He’s much more than a voice”, says Charles Nazarian, Chairman of the Independent Christian Church in Cape Ann.” ~ Gaily McCarthy, Staff Writer, Gloucester Daily Times.

“Michaels simply radiated confidence, authority and joy of performance.” ~ Bryan VanCampen, The Ithaca Times.

“When Gordon reached out to me to let me know he was interested in performing on jazz stages worldwide, I immediately went to hear his music.  I heard a very versatile artist that could fall into any musical setting and find his own authentic expression.  Not only is he an actor, he is one that can truly ‘tell a story in song’ and capture the heart of his audience” says Jaijai Jackson of The Jazz Network Worldwide.  

Gordon is a complete southern gentleman at heart and knows how to entertain leaving his audience wanting more.

Be sure to catch Gordon’s feature on The Jazz Network Worldwide this week at http://www.thejazznetworkworldwide.com.  Go to http://www.gordonmichaels.com  to learn more and to purchase his new single “They call it stormy Monday”.                             

 

Vocalist SOFIA REI Pays Tribute to Legendary Chilean Artist Violeta Parra on New Album, El Gavilán Featuring Guitarist Marc Ribot

"As the Argentine singer Sofía Rei led her multinational band, the passion and clarity with which she assayed a tricky mix of South American rhythms and jazz-inflected harmonies made clear why she has been embraced by New York City audiences from Carnegie Hall to the hippest downtown haunts." - The New York Times

Paying tribute to an exceptional artist demands an exceptional work of art.

Chilean singer, songwriter, folklorist, social activist, poet, and visual artist Violeta Parra would have celebrated her 100th birthday this year. In her new recording, El Gavilán, vocalist, songwriter and producer Sofia Rei celebrates her legacy by approaching her music with the imagination and daring that characterize Parra's work.

Recorded as a duo with guitarist Marc Ribot and featuring guitarist Angel Parra, Violeta's grandson, on one song, Sofía re-imagines Parra's music in a contemporary setting.  It is, in essence, the classic folk voice-and-guitar format, but framed here by both, electronics and traditional instruments. Besides providing all vocals and the sound sculpting, Sofia also plays caja vidalera, a hand-held single head drum from Argentina's northwest, and charango, a small, five double string guitar from the Andean region of South America. The results - spacious and almost minimalist, the vocals layered with loops and pedal effects - illuminate Parra´s work from unexpected angles.

"When I decided to do a tribute to Violeta, my first questions were 'Which Violeta are we celebrating and for what? What do we want to achieve by it?,' "reflects Sofia. "Her lyrics have a new force today. But there is much more to Violeta than great songs such as 'Gracias a La Vida," or 'Volver a los 17.' Violeta was an innovator. Beyond the music and the words, it's her concept, her ideas. She not only worked at preserving traditional Chilean songs, styles and rhythms [as a folklorist], but then made a great synthesis of it all and that became the New Song movement. She invented a new tradition. To have a tribute that would recreate what she already did so well 50 years ago didn't make sense. It seemed to me a better idea to celebrate her spirit, take chances and create something new."

The set includes classics such as "Casamiento de Negros," "La Lavandera," "Maldigo del Alto Cielo" and "Run Run se fue pa'l Norte," but its heart is Parra's little-known masterpiece, "El Gavilán," an ambitious work originally intended for ballet, vocalist, choir and indigenous instruments. It´s an astounding piece, written in the late 50s, before her best-known songs, and in it, Parra mixes elements of Chilean folk tradition and 20th Century classical music. It´s a remarkable piece for a self-taught musician, and especially so for one who, up to then, had worked in the folk idiom.

"There is little known about this piece except for a famous radio interview in 1960 in which she talks about 'El Gavilán' and sings and plays its first movement, " says Sofia. "And in this interview she also talks about the idea of the gavilán (the sparrow hawk) representing the idea of the masculine, of the oppressor and connects it with capitalism. The other main character is a hen, representing the feminine, the oppressed, the betrayed. And what she does musically, singing and playing is remarkable."

Born in Argentina, Sofia started her career as a member of the Children's Choir at the Teatro Colón, the La Scala of Buenos Aires, at age 9. She was classically trained at the National Conservatory and later became part of the avant-garde vocal scene. In 2001, she moved to Boston to study jazz and improvised music at the New England Conservatory where she received her Master's Degree. She moved to New York in 2005 and since she has released three critically acclaimed albums under her own name. Two of those recordings earned an Independent Music Award for Best Album.

She met Ribot, an eclectic and adventurous guitarist who proved a key contributor in El Gavilán, as members of The Song Project, premiered during John Zorn´s 60th Birthday celebration. Ribot became intrigued by Sofia's re-imagining of Parra's music, especially in the ambitious "El Gavilán," and their chance collaboration grew into a duo.   

  

"He asked me for translations of all the lyrics and dove right in," says Sofia. "Marc is a politically engaged musician and I believe Violeta's work spoke to him not only musically but because of its social and political message."

"I´ve always thought I owed myself a Violeta Parra record, but done like this, differently," says  Sofia, who was a child when she first heard Violeta's songs but only interpreted by Mercedes Sosa. "It took many years until I actually heard Violeta herself in a recording.  I find that there's a sort of revisionist view of her, a pink version, almost naïve - and that is not Violeta. Violeta was a very strong, intense woman."

Her personal life in shambles, Parra, as an artist, folklorist and social activist, found herself "alone in a quixotic struggle," as Sofia puts it. Violeta Parra died by her own hand in her performing tent in La Reina, an area outside Santiago, on February 1967, months short of her 50th birthday.

The closing track, "Run Run se fue pa'l Norte," was written by Parra for her companion of five years, the Swiss musician Gilbert Favre, nicknamed Run Run, who left her to start a new life in Bolivia. Sofia's subtle arrangement sets it to a landó, a Peruvian rhythm. The cloud of sound, at times luminous and ominous, is by guitarist Angel Parra, Violeta's grandson and a member of the Chilean rock group Los Tres, who has "his own contemporary approach to Violeta's music" says Sofia.

"'Run Run' is a long song and the opening verse closes with the line  "... y cuenta una aventura que paso a deletrear ..." (And speaks of an adventure that I now begin to spell out ... ) " and that's where we left it," explains Sofia. "It's like a point where Violeta ends and her legend begins. It was the perfect line in which to end the album."

  

SOFIA REI - EL GAVILÁN SHOWS

April 29: Subrosa NYC ft. Marc Ribot - New York, NY

April 30: Atlanta Jazz Festival - Atlanta, GA

May 26: Arts Garage - Delray Beach, FL

May 27-29: Spoleto Festival - Charleston, SC

Tenor Saxophonist Michael Pedicin To Release "As It Should Be: Ballads 2"

Michael Pedicin As It Should Be With the April 21 release of As It Should Be: Ballads 2, tenor and soprano saxophonist Michael Pedicin continues to spread the message of acceptance and justice he eloquently shared on his critically acclaimed 2011 album Ballads ... searching for peace. "I'm one of those diehard '60s kids that grew up concerned about peace and togetherness," Pedicin explains. "I think about that every day of my life. We're all one."

In addition to covers of John Coltrane's "Crescent" and Paul Simon's "Bridge Over Troubled Water," the album, his 14th as a leader, features eight ballads by longtime collaborator guitarist Johnnie Valentino. Pedicin and Valentino are joined on the recording by Frank Strauss on keyboards, bassist Mike Boone, drummer Justin Faulkner (of Branford Marsalis's band), and percussionist Alex Acuña. With the exception of Acuña, all are either from, still live in, or have roots in Philadelphia.

Ballads showcasing the exquisitely lyrical aspects of Pedicin's playing are the focus of the album, but several songs were treated to somewhat brighter grooves than had been originally intended after the musicians got to the recording studio, particularly "From Afar," which was double-timed at a bossa-nova-like clip by Faulkner and Acuña.

Michael Pedicin in the studio

L. to r.: Mike Boone, bass; Frank Strauss, piano; Michael Pedicin, tenor and soprano saxophones; Vic Stevens, engineer; Johnnie Valentino, guitar; Justin Faulkner, drums.

A second-generation saxophonist, Michael Pedicin is the son of alto saxophonist and singer Mike Pedicin, a hugely popular entertainer and bandleader in the Philadelphia area for more than six decades until his retirement at age 80. When the younger Pedicin was 13, his father took him to the Harlem Club in Atlantic City to hear and meet the bluesy jazz saxophonist Willis "Gator Tail" Jackson, who became his hero on the horn. Then he heard records by John Coltrane and Cannonball Adderley, and he knew what he wanted to do for the rest of his life: play the saxophone.

Michael Pedicin Pedicin studied theory with guitarist Dennis Sandole and saxophone with Philadelphia Orchestra clarinetist Mike Guerra, both of whom had once taught Coltrane, as well as with onetime Woody Herman saxophonist Buddy Savitt. While attending Philadelphia's University of the Arts (UArts), where he majored in composition, he began competing at -- and winning -- collegiate jazz festivals around the country.

Switching from alto to tenor as his main instrument at age 20, Pedicin supported himself throughout the 1970s as a member of the horn section at Philadelphia's Sigma Sound Studios. Working for producers Kenny Gamble, Leon Huff, and Thom Bell, he played on countless sessions by the likes of the Spinners, O'Jays, and Lou Rawls even as he continued to tour with Maynard Ferguson, the O'Jays, Rawls, Stevie Wonder, and David Bowie. Michael Pedicin Jr., his first album, was released in 1980 on Gamble & Huff's Philadelphia International label.

From 1976 to 1981 Pedicin taught at UArts, and during much of the '80s, he juggled teaching duties at Philadelphia's Temple University and two years of touring with Dave Brubeck. Besides leading his own quintet, he toured from 2003 to 2006 with Pat Martino and in early 2011 with the Dave Brubeck Quartet with Darius Brubeck filling in for his ailing father.

Pedicin also continued his non-musical education, earning a Ph.D in Psychology from the Philadelphia College of Osteopathic Medicine/International University for Graduate Studies in 2002. The shingle above his office in Linwood, NJ, reads "Dr. Michael Pedicino" as he recently changed his last name back to the one taken away from his grandfather in 1906 when he arrived at Ellis Island from Foggia, Italy. While Pedicin has no plans to change his name in the world of music, he is in the process of obtaining dual American-Italian citizenship.

The new album is just the latest chapter in this master musician's ongoing quest to help make Philadelphia's sobriquet as the City of Brotherly Love a reality for human beings of all races, ethnicities, and nationalities through sweet melodies and gentle improvisations. "My goal with this CD," Pedicin explains, "was to create some pretty and accessible jazz in ballad form. This is not about revolutionizing the art form we so love, but providing a soft and relaxing platform on which to enjoy it."

Michael Pedicin will celebrate the release of As It Should Be: Ballads 2 at the following engagements: 4/16 Smalls, NYC; 4/22 Exit Zero Jazz Festival, Cape May, NJ (for which Pedicin is Artist in Residence); 5/12 Trumpets, Montclair, NJ; and 5/13 Chris' Jazz Café, Philadelphia. Personnel is the same as on the new CD, minus Alex Acuña and with drummer Anwar Marshall subbing for Justin Faulkner.

 

Newport Jazz Festival® Announces Fourth Wave of Artists

Top left - Branford Marsalis Quartet; Bottom left - Jimmy Greene; Right - Bokanté f. Michael League & Malika Tirolien

Presenting a healthy dose of straight-ahead jazz, world music, turntable magic and visit from Broadway, Producer/Founder George Wein and Artistic Director Christian McBride announce the fourth wave of artists for the 2017 Newport Jazz Festival® presented by Natixis Global Asset Management, which takes place at Fort Adams State Park and the International Tennis Hall of Fame at the Newport Casino August 4 - 6.  Tickets are available at www.newportjazz.org

The fourth wave of artists includes:

Friday, August 4

-       Leslie Odom, Jr.

-       Amir ElSaffar's Rivers of Sound Orchestra

-       Jimmy Greene Quartet w. Kevin Hays, Ben Williams & Otis Brown III

-      George Burton Quintet w. Tim Warfield, Jason Palmer, Pablo Menares & Wayne Smith Jr.

Saturday, August 5

-       Branford Marsalis Quartet

-   Jazz 100: The Music of Dizzy, Mongo & Monk f. Danilo Perez, Chris Potter, Avishai Cohen, Josh Roseman, Roman Diaz, Ben Street & Adam Cruz

-       DJ Logic's Project Logic

-       Benny Golson Quartet w. Mike LeDonne, Buster Williams & Carl Allen

-       Gilad Hekselman, solo guitar

-       JoAnne Brackeen, solo piano

-       Peter Evans, solo trumpet

Sunday, August 6

-       Tim Berne's Snakeoil

-       Bokanté f. Michael League & Malika Tirolien

-       Theo Croker

-       Cyrus Chestnut Trio

-       Marilyn Crispell, solo piano

-       Orrin Evans, solo piano

Highlighting some of the 2017 artists, George Wein said, "The veterans of the fifties are fast disappearing. Benny Golson is still with us. I have a fond memory of Benny giving me a personal, handwritten transcription of his song 'Whisper Not,' which he says was written while playing Storyville back in that first decade of the latter half of the 20th century."

Christian McBride, added, "I am humbled to have had the opportunity to work with the legendary Benny Golson when I was teenager. He used me in his band when I first moved to New York and he took me to Europe in the Fall of 1990. There's a lot going on at Newport, but I urge everyone to save some time to hear this living jazz titan."

The members of the Marsalis family have often found a spot on the Newport stages, and this year's roster features the oldest of pianist Ellis Marsalis' sons, Branford. "Branford Marsalis is one of my favorite people," said Wein, "In addition to the quality of his music, he brings a joy and spirit to the festival that reaches everyone with whom he comes in contact."

McBride agrees, "Branford is like a big brother to me. He has always been one of my favorite musicians, and I think of him as family. I've known him since I was teenager, and I've learned a lot from him. He is well-schooled and is one of the most informed, most intelligent musicians I know."

The festival welcomes saxophonist Jimmy Greene in his Newport debut as a leader. Wein says, "Jimmy Greene, who has lived with a tragedy that few of us can imagine, is known for his hardcore saxophone sound, which I'm looking forward to hearing. In Newport, he will share music from his two albums that honor the life of his daughter, who was one of the youth killed in Sandy Hook, Connecticut. The fact that he continues to play and pay homage to her life is a tribute to the strength of the music that is in his soul."

Also making his Newport debut as a leader is trumpeter Theo Croker. "It'll be nice to see Theo, whose grandfather, Doc Cheatham, was a close personal friend with whom I had the pleasure of playing many times."

Amir ElSaffar returns to Newport, this time with his Rivers of Sound Orchestra. "Don't miss this one if you want to have an experience that will enhance your musical enjoyment," urged Wein.

Just crossing the bridge onto Aquidneck Island is a great reason for a celebration, but 2017 pays tribute to the 100th birthdays of four giants who shared plenty of music and memories at the Newport Jazz Festival. Jazz 100: The Music of Dizzy, Mongo & Monk featuring Danilo Perez, Chris Potter, Avishai Cohen, Josh Roseman, Roman Diaz, Ben Street & Adam Cruz will be one of the world's biggest and baddest birthday parties ever.

Christian said, "When you think of all of the jazz greats who would be celebrating their 100th birthday this year, you can't help but get into party mode. This is a fantastic group. Whatever they do will be creatively stimulating and totally interesting."

One of Broadway's brightest stars will showcase his jazz chops at this year's festival. "Hamilton is the Broadway show of the century," said Wein, "and we're looking forward to the Newport debut of Leslie Odom, Jr."

McBride chimed in, "It's sort of funny to think that so many people on this year's jazz festival have Philadelphia connections, and Leslie is another one. He went to the same high school as Joey DeFrancesco, Questlove and I, although he was there a decade after us. I worked with Leslie about six months ago and I was overjoyed to see how incredibly talented he is. To see his versatility on stage in Hamilton and then experience him as a really good jazz singer is unbelievable. He could be in the mold of a Sammy Davis, Jr., an artist who could do it all.  I can't wait to see Leslie's star rise even higher than it has been over the last couple of years."

The partial Newport Jazz Festival lineup, including all four waves, features:

Friday, August 4

-       Béla Fleck & The Flecktones

-       Maceo Parker

-       Cécile McLorin Salvant

-       Naturally 7

-       Leslie Odom, Jr.                                                    

-       Joey DeFrancesco + The People

-       Vijay Iyer & Wadada Leo Smith

-       Amir ElSaffar's Rivers of Sound Orchestra

-   Christian Sands Quartet w. Gilad Hekselman, Yasushi Nakamura & Jerome Jennings

-    One for All: Jim Rotondi, Steve Davis, Eric Alexander, David Hazeltine, John Webber & Joe Farnsworth

-       Evan Christopher Clarinet Road & New Orleans Brass

-       Rodriguez Brothers

-       Jimmy Greene Quartet w. Kevin Hays, Ben Williams & Otis Brown III

-      George Burton Quintet w. Tim Warfield, Jason Palmer, Pablo Menares & Wayne Smith Jr.

Saturday, August 5

-       Snarky Puppy

-       Branford Marsalis Quartet

-       Rhiannon Giddens

-       Christian McBride Big Band w. Special Guests

-       Geri Allen, Terri Lyne Carrington, Esperanza Spalding

-       Jazz 100: The Music of Dizzy, Mongo & Monk f. Danilo Perez, Chris Potter,

Avishai Cohen, Josh Roseman, Roman Diaz, Ben Street & Adam Cruz

-       Henry Threadgill Zooid

-       Vijay Iyer Sextet

-       Antonio Sanchez & Migration

-       DJ Logic's Project Logic

-       Benny Golson Quartet w. Mike LeDonne, Buster Williams & Carl Allen

-       Uri Caine Trio w. Mark Helias & Clarence Penn

-       Dominick Farinacci

-       Gilad Hekselman, solo guitar

-       JoAnne Brackeen, solo piano

-       David Torkanowksy, solo piano

-       Peter Evans, solo trumpet

Sunday, August 6

-       The Roots

-       Andra Day

-       Maria Schneider Orchestra

-       Hudson: Jack DeJohnette, John Scofield, John Medeski & Larry Grenadier

-       Philadelphia Experiment: Questlove, Christian McBride, Uri Caine

-       Jason Moran: Fats Waller Dance Party

-       Tim Berne's Snakeoil

-       Bokanté f. Michael League & Malika Tirolien

-       Theo Croker

-       Cyrus Chestnut Trio

-     Sean Jones Quintet w. Brian Hogans, Orrin Evans, Luques Curtis & Obed Calvaire

-       Cyrille Aimée

-       John Medeski, solo piano

-       Marilyn Crispell, solo piano

-       Orrin Evans, solo piano

Newport Jazz Festival's official travel partner, WBGO Jazz 88.3FM is offering Day Trips and an exclusive Weekend Package for festival fans. For more information, sign up for WBGO's Newport List at http://eepurl.com/cxssCj.

Chicago Saxophonist Chris Greene Continues to Explore New Musical Territories On "Boundary Issues"

Chris Green Quartet Boundary Issues Saxophonist Chris Greene, a fixture on the Chicago scene dedicated to transcending the stylistic and structural borders of jazz, continues to discover new musical territory on his new CD Boundary Issues. Set for April 14 release on Single Malt Recordings, the album is Greene's eighth with the long-standing quartet he formed in 2005 featuring pianist Damian Espinosa, bassist Marc Piane, and, since 2011, drummer Steve Corley.

Joining the core quartet as guests on several tracks are saxophonist Marqueal Jordan, known for his work with smooth jazz star Brian Culbertson; percussionist JoVia Armstrong, who's played with Nicole Mitchell's Black Earth Ensemble and JC Brooks & The Uptown Sound; guitarist Isaiah Sharkey, a member of D'Angelo's band; and vocalist Julio Davis (aka DJ WLS). Greene's eclectic song selection, inventive arrangements, and choice of guests not normally associated with jazz perfectly coalesce to present a portrait of an artist unafraid to take the road less traveled, push the envelope, and explore the frontiers of jazz.

In addition to three originals, Boundary Issues includes creative covers of works by Horace Silver ("Nica's Dream"), Kenny Kirkland ("Dienda"), Yellowjackets ("Summer Song"), and Billy Strayhorn ("Day Dream"). As his previous treatments of songs by artists as diverse as Madonna, Coltrane, Sting, Mingus, and lounge music king Martin Denny attest, Greene's naming his latest album Boundary Issues could be viewed as a tongue-in-cheek self-diagnosis. "I have a hard time staying in place," he confides. "I don't know my place, I guess, which is why I'm always stepping outside so-called boundaries. With the music I like, I just can't help thinking, what would it sound like if I did this, or this?" A case in point is his spacious reggae version of Horace Silver's "Nica's Dream." "I thought the biggest tribute to him would be to do something different," says Greene. "The idea to cover that classic as a reggae tune came to me while I was listening to music in the shower. It was like, why not?"

Chris Greene Born in 1973 in Evanston, Illinois, Chris Greene was exposed to a lot of music at home but only a smattering of jazz. His mother blasted Motown at her monthly card parties while his father played a lot of funk, soul, and disco; he absorbed all manner of pop styles watching MTV. Taking up the sax at age 10, he began studying it seriously when he was 16, "playing the hell out of a blues pentatonic scale," he recalls. He mainly played alto in the well-regarded Evanston High School Wind & Jazz Ensemble, as well as with local bands including a rock unit called Truth. "They were into Sting and I was eager to be their Branford [Marsalis]," he says. He would eventually play acid jazz with bands like Liquid Soul and Ted Sirota's Heavyweight Dub Band.

Greene studied at Indiana University with the late David Baker and the current jazz studies department chair Thomas Walsh. "It was a great experience for me," he says. "I was a kid with a lot of natural talent, but with a lack of discipline. I learned how to practice, how to break things down, how to solve problems."

Upon his return to Chicago, he continued his education by reaching out to established artists including Steve Coleman. "He was hard-headed in his determination to play music his way," he says. "It was a huge eye-opener for me how he put things together." Greene also got a major boost from Coleman's legendary mentor, Chicago tenor legend Von Freeman, at one of his famous jam sessions: "He didn't know me from Adam, but he was very encouraging. He said, 'Hey, I hear what you're trying to do. Keep at it.' That meant so much."

In 2005, Greene formed his current quartet. Whether the group is hugging tradition or engaging in experimentation, it radiates a deep sense of well-being. With each release, Greene has moved steadily from funk mildly seasoned with jazz to uncompromising jazz boasting subtle funk touches. As witness the title of the quartet's 2012 album, A Group Effort, Greene prizes the band's ability to think and feel as one, to "leave fingerprints on each other's playing."

The Chris Greene Quartet will be celebrating the release of Boundary Issues at the following Midwest engagements: 4/21 Constellation, Chicago; 4/28 Gibraltar, Milwaukee; 5/1 La Principal, Evanston, IL; 5/20 Winter's, Chicago; 5/30 Promontory, Chicago; 6/9-10 Pete Miller's, Evanston, IL; 6/17 Noce Jazz, Des Moines; 6/18 Custer St. Festival of the Arts, Evanston; 7/5 Jazzin' at the Shedd (concert series at Shedd Aquarium, Chicago).

 

NEW RELEASES: JACO PASTORIOUS: TRUTH, LIBERTY & SOUL; LEE - 2 + 2 = 5; GERARDO FRISINA - BLUE LATIN

JACO PASTORIOUS: TRUTH, LIBERTY & SOUL

Resonance Records presents another previously unreleased gem in association with NPR Music. Truth, Liberty & Soul is the first official release of the complete Jaco Pastorius Word of Mouth big band's legendary 1982 concert at Avery Fisher Hall in NYC, including over 40 minutes that was never aired on the original NPR Jazz Alive! broadcast.  Includes an extensive 100-pg book featuring rare photos, essays by acclaimed jazz writer Bill Milkowski (author of Jaco: The Extraordinary and Tragic Life of Jaco Pastorius) and producer Zev Feldman, the original recording engineer Paul Blakemore, as well as interviews with Metallica bassist Robert Trujillo, who produced the award-winning documentary JACO (2014), Jaco's son John Pastorius, and musicians - drummer Peter Erskine, saxophonist Bob Mintzer, trumpeter Randy Brecker, bassist Victor Wooten and more!

LEE - 2 + 2 = 5

Lee may not know his math, but he sure knows how to give us some great music – both back when he was working as the Square Egg, and now when he's out under his own name too! The man's a one man force in underground soul – a very creative songwriter and sharp-edged producer who's always out to make music that's a cut above the rest, and which doesn't fall into some of the easier labels and categories of the current soul underground! This time around, there's a vocal chorus working with Lee on some of the tracks – which creates an uplifting vibe and positivity that's even a bit different from his previous records. The album's got a good structure overall – with interludes balanced between the fuller tracks – and a sense of timing between the moods that really makes the whole thing work well together. Titles include "Drowning", "Extranjero", "More Than You Know", "Where Are You", "Drive", "Heroes", and "2 + 2 = 5". ~ Dusty Groove

GERARDO FRISINA - BLUE LATIN

A great small combo set from percussionist Gerardo Frisina – a set that feels as if it's got some programming in the rhythms, a bit like some of his earlier singles – but which also features a fair bit of live jazz instrumentation too! The album's got a sound that really fits the color of the title – tunes that are upbeat, but nicely chromatic too – thanks to some excellent piano lines, balanced alongside trumpet, tenor, and flute – plus some warm acoustic basslines, and a bit of Fender Rhodes as well! As always with Frisina, even when the rhythms are programmed, they're never too stiff – as the man draws more inspiration from classic Latin sounds than most of his producer contemporaries, and really knows how to make things sound great. Titles include "Mulata", "Blue Latin", "Incanto", "Baracoa", "Naquela Base", and "Olympia (part 2)".  ~ Dusty Groove

Newly Discovered Thelonious Monk Album Set For Release

As 2017 marks Thelonious Monk's centennial, there's word that Sam Records/Saga has a newly discovered Monk studio album titled Thelonious Monk: Les Liaisons Dangereuses 1960.  It's the never-before released soundtrack to the Roger Vadim film Les Liaisons Dangereuses 1960 and contains solo, trio and quartet performances of classic Monk tunes heard in the film.

Monk was at the height of his powers when he entered Nola Penthouse Studios in New York City on July 27, 1959 to record several of his best-known compositions for use as the predominant soundtrack of the film. Never before had Monk recorded music to be used in a film.

Monk biographer Robin D.G. Kelley notes: "It is not too much to suggest that Monk transformed what would have been an edgy but relative standard narrative film into avant-garde cinema."

The recording – featuring Monk's 1959 all-star working band of Charlie Rouse, Sam Jones and Art Taylor, plus special guest French saxophonist Barney Wilen – will be available:

– As a 2 LP limited edition deluxe box set on Record Store Day, April 22, 2017

– The CD and digital version will be available on May 19, 2017

As T.S. Monk says:   "This is a marvelous release. Thelonious is at his best, with a wonderful array of his best friends, including Charlie Rouse, Sam Jones, and Art Taylor! And there are new tunes too! If you love Monk, you'll surely love this original soundtrack to the award winning French cinema classic Les Liaisons Dangereuses. The entire Monk family is delighted to partner with Sam Records/Saga to make this release possible."

The project includes a 50-page booklet with original artwork by Jerome Witz, essays by acclaimed jazz writers Robin D.G. Kelley, Brian Priestley and Alain Tercinet, as well as a complete discography compiled by Daniel Richard, plus never-before-published color and black-and-white photographs and memorabilia from the recording session. Deluxe 2LP 180-gram vinyl set transferred and mastered from the original session tapes by Francois Le Xuan at Studio 101, with lacquers cut by Benjamin Joubert at Biduloscope Mastering and pressed by Pallas in Germany.

Producer Zev Feldman writes:

"In December of 2014 I was visiting Paris and received a very charming introductory email out of the blue from the head of Sam Records, Mr. Fred Thomas explaining that he and his friend, Mr. Francois Le Xuan of Saga Jazz (producer of the acclaimed 'Jazz In Paris' series) had located master tapes of a previously unissued studio session of Thelonious Monk made in 1959 by a French producer (the one and only Marcel Romano: Miles Davis' "Ascenseur pour l'échafaud.") I was obviously extremely intrigued, and I believe my eyeballs literally left my face upon reading the news. Are you kidding me?! A STUDIO album?!! This was an extraordinary find and I wanted to know more.

"We would met up several days later at le Café de l'Olympia over coffee where we got to know each other and discussed this extraordinary find. Fred and Francois were looking for a partner and needed someone who knew the Monk family and was a fellow kindred spirit who shared a passion to present this find in a presentation worthy of a giant. I was honored they were familiar with my work and thought I would be a good fit and collaborator. As we spoke at the cafe, it became clear, we were all three guys cut from the same cloth who loved jazz, an international language in itself.

"Over the next two years, we worked with the Thelonious Monk estate and set out to assemble the cast of voices/words (and photos) to bring together and tell the story of this amazing event in Thelonious Monk's recorded legacy. It just might be one of the greatest journeys and highlights of my life. I'd like to thank the Thelonious Monk Estate for making this project possible, especially T.S. Monk and Gale Monk. I'd also like to thank the rest of the Monk team including Thelonious Monk's grandchildren, Sierre Monk & Thelonious Monk IV, plus Team Monk's Denise Pruitt-Grant, & Julion St. Hill. Finally, I'd like to thank my co-producers Fred Thomas & Francois Le Xuan for inviting me on this journey which I will never forget. And thanks to all of you for supporting this music."

BILL EVANS ANOTHER TIME: THE HILVERSUM CONCERT / Newly Discovered Album by Bill Evans featuring Eddie Gomez and Jack DeJohnette

Resonance Records has announced the release of Bill Evans - Another Time: The Hilversum Concert, a spectacular never-before-heard live recording by the Bill Evans Trio featuring bassist Eddie Gomez and drummer Jack DeJohnette recorded in Hilversum, Holland, by the Netherlands Radio Union (NRU) in the summer of 1968. Another Time is Resonance's first follow-up release to the widely celebrated Bill Evans Trio album, Some Other Time: The Lost Session from the Black Forest. Resonance is pleased once again to release this entirely new Bill Evans discovery in full cooperation with the Bill Evans Estate and Eddie Gomez and Jack DeJohnette and Universal Music Group, the parent company of Verve Records, the label Evans was signed to in 1968.

Bill Evans - Another Time: The Hilversum Concert, recorded on June 22, 1968, just two days after Some Other Time, provides a fitting counterpoint to that remarkable album. Interestingly, these two recordings were made one day on either side of the summer solstice and they each seem to embody attributes of their respective seasons. Where Some Other Time, recorded at the legendary MPS studios in Villingen, Germany, is imbued with an introspective, vernal beauty, Another Time was recorded as a live concert, and is a recording remarkable not only for the three musicians' ebullience, freedom and summer-infused heat; but notable also for its exceptional recording quality utilizing the then state of the art recording techniques of the NRU. Producer Zev Feldman and Executive Producer, George Klabin, regard Another Time as the best-sounding Bill Evans album on Resonance; perhaps one of Evans's best-sounding live records ever.

The configuration of this special edition of the Bill Evans Trio - featuring

Jack DeJohnette newly introduced as a co-equal counterpart to Evans and the redoubtable Eddie Gomez - was not widely recorded before Some Other Time. Indeed, before Resonance released Some Other Time, only one previous aural document existed memorializing this version of the trio, which had a life-span of only six months: a live recording made at the Montreux Festival, a concert that was held roughly a week before Some Other Time and Another Time were recorded.

Marc Myers, a Wall Street Journal contributor, music columnist, and Anatomy of a Song author, writes that Another Time "is a frighteningly flawless and dynamic work by Evans." In his essay for 2016's Some Other Time, Myers noted that the trio with Jack DeJohnette represented a new model for Evans, observing "During the musical discourse between Mr. DeJohnette and Evans, we hear clearly the sound that Evans wanted on drums going forward." Dutch jazz authority Bert Vuijsje cited Brian Priestly's notes from the Montreux album, noting that DeJohnette is, "above all, a listening drummer . . . much more extroverted than Evans's previous [drummers]." And Jack DeJohnette's view of this album is sunny: "All of the tracks on this album are really cool. I liked what was happening there."

On revisiting this concert after nearly 49 years, Eddie Gomez also liked what he heard. He noted, among other things, that he "loved the way Bill plays the melodies. His exposition of melodies is really fabulous and very touching . . . I like the way he plays 'Very Early' and 'Who Can I Turn To?' and 'Turn Out the Stars.' Those are just beautiful melodies and the way he plays them, he sings them out. Very few pianists can sing like that. So I like those songs just for the way he plays the melody. That always touches me and it's very emotional to hear him play those songs."

The history of this release is somewhat unusual; more unusual than is the case with most of Resonance's other releases. Our story begins in October of 2016, when Feldman received an email from Marc Myers, founder of the JazzWax.com blog. The email said Myers had received a note from a Dutch reader who said he had heard a previously unknown Bill Evans concert recording made in the Netherlands. Myers put Feldman together with the reader. Upon receiving the recording from the reader, Feldman listened closely to it with George Klabin and knew right away this was something special. Feldman proceeded to reach out to one of his "boots on the ground," the well-known Dutch jazz writer, Bert Vuijsje, to investigate further. Based on Vuijsje's, and his colleague Frank Jochemsen's (jazz journalist and producer on various Dutch jazz productions) intelligence, Feldman felt compelled to travel to the Netherlands and meet with Bert and Frank to move things along.

Feldman and the team immediately set to work to fast track this project starting, as usual, with obtaining all necessary rights; something we do with all the recordings we issue. Fortunately, we were quickly able to consummate deals with all of the parties holding rights in the recordings. However, we were thrown a curve when, unbeknownst to us, another company also had the music and had plans to issue it, but who had not obtained the rights from the rights-holders. Of course, they could not have obtained those rights because Resonance already had them. Nevertheless, we at Resonance felt the urgency to release this recording, a high-resolution transfer from the original tape, as soon as possible before any unauthorized illicit release could see the light of day and cause confusion in the marketplace.

This project had something of an international espionage quality to it, as we follow an American jazz investigator on an international mission to find a lost tape, wherein he discovers it's possibly fallen into the wrong hands, which leads to heated discussions, exchanges and ultimatums. As producer Feldman explains, "We were literally racing against the clock to put this out before it became bootlegged. We've never rushed a project through all the channels as fast as this one. It was a very stressful exercise, and emotions were running high. I was locked up in hotel rooms day and night, going back and forth with my European colleagues and my Resonance team in LA. It's all about respecting and protecting the intellectual property, and honoring the musicians and the others involved in creating this recording - in this case protecting the legacy of Bill Evans and rights of Eddie Gomez and Jack DeJohnette. But make no bones about it, if you see this recording on another label besides Resonance, it is an unauthorized bootleg!"

Once again, consistent with our mission to honor the traditions of great American music, Resonance Records has pulled out all the stops in creating this release. The deluxe CD package includes an extensive book, presented in a beautifully designed digipak by Burton Yount, with an extraordinary cover image by noted British photographer David Redfern. Also featured in the package are rare photos by Chuck Stewart, Jan Persson, Lee Tanner and others, as well as essays by Resonance producer Zev Feldman and acclaimed Dutch jazz writer Bert Vuijsje, a profile of concert producer Joop de Roo by Vuijsje, plus interviews with Bill Evans Trio members Eddie Gomez and Jack DeJohnette and an interview with noted jazz pianist Steve Kuhn. The images included in the album package are based on exhaustive research and include rare images of the actual recording venue. The limited-edition, hand-numbered LP pressing on 180-gram black vinyl will be released on Record Store Day, April 22, 2017. The LP version has been mastered by the legendary engineer Bernie Grundman at

Bernie Grundman Mastering and pressed at Record Technology, Inc. (RTI).

Track Listing:

1.     You're Gonna Hear from Me (4:30)

2.     Very Early (5:14)

3.     Who Can I Turn To? (5:36)

4.     Alfie (5:29)

5.     Embraceable You (5:05)

6.     Emily (4:22)

7.     Nardis (8:34)

8.     Turn Out the Stars (4:53)

9.     Five (2:26)

Afro-beat Band Big Mean Sound Machine Releases Fourth Album Runnin’ For The Ghost

In a time when people need to come together more than ever, Big Mean Sound Machine is spreading positivity through communal dance by creating music that moves people of all ages and backgrounds. On April 7th, the ten piece band breaks new sonic ground and creates a unique flavor of instrumental music with their fourth full-length studio album, Runnin’ for the Ghost, co-released by Peace & Rhythm and Blank Slate Records; pre-orders available on Bandcamp.

While on tour, Big Mean opened a new chapter when the band had the honor of meeting and playing with master drummer Tony Allen (pioneer and co-creator of afrobeat with Fela Kuti and the Africa 70). His dream of seeing afrobeat music spread globally to become bigger than any one person or any one group motivated Big Mean to carry the torch of original dance music into the 21st century. Though traditional afrobeat has had a major influence on Big Mean Sound Machine, the music on Runnin’ for the Ghost reaches far beyond tradition and pushes the band’s sound in new ways through the mixing and blending of many genres, keeping with the spirit that inspired Allen and Kuti to create their own style in the first place.

On Runnin’ for the Ghost, Big Mean continues to harness their collective creativity as the majority of the conception, arrangement and production came from within the band. Bassist and band leader Angelo Peters led the charge in producing the new record while recruiting Matt Saccuccimorano (of Big Mean's previous release Contraband) to engineer the first live studio session. Later, Peters engineered and mixed the rest of the album at Big Mean Studios with additional recording and production from bandmates Dan Barker, Andrew Klein and Lucas Ashby. Big Mean’s synth wizard Dana Billings added the final touches in mastering the album, completing the process.

To push forward into new creative territory, while recording Runnin’ for the Ghost the band tried a different approach than usual by learning, arranging and recording certain tracks in a single day, crafting the music spontaneously in the studio.  This new collaborative approach shines through on the standout track “Van Chatter.”  The song delves into the realm of West African Highlife and Central African Soukous with articulate and fast moving guitar sounds alongside a call and response horn melody, creating a lively conversation between tradition and innovation.

Another highlight is the lead single, “Seeing The Bigger Picture,” which incorporates Afro-Cuban percussion patterns and a driving, melodic bass groove that support an uplifting horn melody and a swirling analog synthesizer solo. Each band member’s unique musical voice serves as a thread in a seamlessly intertwined fabric of sound, creating an anthem for Big Mean’s mission to move people.  It premiered on Live for Live Music and kicked off the band’s successful, fan-driven #JoinTheMachine Kickstarter campaign. The premiere of the music video for “Seeing The Bigger Picture” will coincide with the album release.

Big Mean Sound Machine has toured relentlessly for the past three years, often with only a few days off between runs. They recently wrapped up an East Coast Tour that included a week long residency in Miami as part of the Grassroots Festival of Music and Dance. The band is currently on tour in support of the new album.

Track List:

Return of the March

Seeing The Bigger Picture

Van Chatter

Runnin’ for the Ghost

Hired Gun

Burning Van

Kang’s Lament

Triple Bacon

The G

Sahara Cell Phones

Another Grain of Sand

www.bigmeansoundmachine.com

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