Jared Schonig - Two Takes Vol. 1: Quintet & Vol. 2: Big Band

In the music of drummer/composer Jared Schonig there is a life-force, a vibrant affirmation that there are numerous great reasons to get out of bed in the morning and embrace it all. His music percolates with sincere optimism for the future, enthusiasm for the present and reverence and erudition of the past. The music on Schonig’s intrepid debut recording(s) as a leader, Two Takes Vol. 1: Quintet & Vol. 2: Big Band, is meticulously-crafted, played with the freedom, abandon, joy and excellence that only top New York City players seem to truly capture simultaneously. With this debut as a leader we experience a musician who dreams big, makes those dreams come true, and thrives as a percussive force in many dimensions: primal and raw, shimmering and playful, pounding and exhilarating, tumultuous and brutal, complex, unpredictable and exhilarating. And, with these recordings, Schonig now joins the growing fellowship of drummers fronting their own bands, from Brian Blade to Johnathan Blake to Tyshawn Sorey, and many others. 

Perhaps most importantly, the music on this adventurous two-CD offering rings true to the person who created it. Its captivating, mighty fabric is woven with Schonig’s experience as a drummer for touring and studio projects across multiple genres, working with Nicholas Payton, Dr. Lonnie Smith, Donny McCaslin, Tim Hagans, Fred Hersch, Wycliffe Gordon, Tom Harrell, Joe Locke, Ernie Watts, Kurt Elling, as co-leader of the critically-acclaimed trio, The Wee Trio (which released five albums over its eight year existence), and many others. The Grammy-award winning drummer formerly held the drum chair for the revival of the Tony, Grammy and Emmy-award winning Broadway musical, "The Color Purple,” and currently holds the drum chair, and is co-orchestrator, for the Broadway hit, “Moulin Rouge.”

Two Takes Vol. 1: Quintet, features eight Schonig compositions, interspersed with three “Drum Interludes.” The Quintet features none other than Marquis Hill on trumpet, Godwin Louis on alto saxophone, Luis Perdomo on piano and Matt Clohesy on bass – a family of players who display a wonderful simpatico throughout the album. Schonig first met and played with Marquis Hill on a Laurence Hobgood Quintet Tour with Ernie Watts, before Hill won the Monk Competition. Schonig elaborates that, “I truly loved how he played and he reminded me of Freddie with his lines and feel. He ended up moving to NYC, living really close to me, so we were trying to make something happen and it finally did. My favorite trumpet player playing today!” Schonig started playing with Godwin Louis at St. Peters Church with Ike Sturm, and, “we really loved the experience,” said Schonig. “When we were on a Melissa Stylianou gig at the 55 Bar the magic really happened and I knew I had to have him for my record. He and Marquis had never played together and they just sounded so beautiful and amazing.” Pianist Luis Perdomo was a favorite of Schonig’s from checking him out on Miguel Zenon’s recordings. “The first time we played together was also at the Jazz Church at St. Peters. We had a bunch of fun, and then The Wee Trio ended up inviting him to be a guest at one of our shows at Birdland. He really learned and internalized our music and sounded amazing, so I knew he would be a great fit for my music,” said Schonig. Bassist Matt Clohesy and Schonig go way back as he was one of the first bass players the drummer played with when moving to NYC. “We have been on countless gigs, tours and recordings together. He’s a great player and a great dude. I also just love his sound and percussiveness on the bass. I think we have a great hookup and approach a lot of music in a similar way. He was a no-brainer for my debut recording,” Schonig says. The Jared Schonig Quintet is such a thrill to experience, and will hopefully stay together for a long time, for the listener’s benefit!

Two Takes Vol. 2: Big Band – in an audacious creative endeavor, Schonig enlists eight of themost acclaimed big band arrangers/composers working today (whom Schonig has musical relationships and friendships with) – Alan Ferber, Jim McNeely, Mike Holober, Miho Hazama, Darcy James Argue, John Daversa, Laurence Hobgood and Brian Krock – to exercise free reign with his Vol. 1 compositions. The two all-star big bands performing the pieces are comprised of a “who’s who” of jazz artists on the scene. “My idea for the two records to be released together stemmed from the fact that a few people suggested that my music would be perfect in a big band context. I figured a few would, but never imagined that eight different tunes could work. My love for large ensemble and big band music goes deep to early high school when I started listening to jazz. A lot of these arrangers were initially heroes to me and then became colleagues and ‘bosses’ long before this project. The arrangements of my music sound like pieces of music from the arranger’s pen while staying faithful to my original ideas. They are all artists of the highest nature; this process only magnifies it. I wanted to involve as many people as I could in this familial setting. Longtime musical associates from college, more recent collaborations with great artists; the whole nine yards,” said Schonig. For more information on the arrangers please contact Red Cat Publicity.

The NYC scene is chock-a-block with outstanding improvisors, dozens who Schonig has close ties with, so what’s a composer/bandleader to do with such a surfeit of amazing artists? Two different big bands! Schonig explains, “I have a connection with so many bass players but wanted to include some of my closest friends and rhythmic partners in Matt Clohesy, Ike Sturm, and my Wee Trio bandmate Dan Loomis. I had two different pianists, Dave Cook, and Adam Birnbaum, both of whom I have played a great deal with in many contexts. They both contributed so much to this project. Nir Felder is the lone guitarist on the record, and he is featured on a few tracks. He plays so amazingly on some many tunes whether soloing or comping and is such a unique voice on the instrument. I have a lot of saxophonist friends who I wanted to include, so there are nine!, including the great Donny McCaslin whom I’ve played with a bunch here in NYC, Troy Roberts who I first met playing with Kurt Elling, the great lead alto players Dave Pietro and Jon Gordon, wonderful soloist and doublers Ben Kono and Charles Pillow, tenor men Quinson Nachoff and Jason Rigby who take burning solos on Sabotage and Climb, respectively, and the lone low-reed member, Carl Maraghi. For trumpets I knew I had to have Tony Kadleck on lead, one of my favorite musicians and people. We’ve played countless gigs together from his own big band to a Broadway show with Patti Lupone. The great Scott Wendholdt, Brian Pareschi and Jonathan Powell contribute some fantastic solos and Jon Owens plays some great lead and in the section as well. The great Mike Davis plays lead trombone throughout, and the lone trombone solo on the record is from the amazing Marshall Gilkes. Keith O’Quinn, Alan Ferber, and Jeff Nelson on bass trombone round out the section. Astonishingly, there was only one rehearsal for each band prior to heading into the studio. Schonig said, “What we came up with was beyond my expectations. I get goose bumps hearing what the arrangers and musicians have done with my original charts.”

White Out - My most recorded composition, this burner was written the first time I was in a crazy blizzard in New York City. The rhythmic pattern which initially tricks the listener was something I heard in my head walking around while clapping and singing groups of 5. Climb - One of my newer compositions written for the last Wee Trio record featuring Fabian Almazan. The title represents the climb to the top that we all inevitably face in daily life. NUTS - A really old tune that hadn’t really been played since college. I decided to dig this up as I always loved playing this in college. It was always a fun and difficult challenge for everyone. Written during a time when I was listening to a lot of Herbie Hancock. Eight Twenty - A dedication to my beautiful wife and mother of our child, Eight Twenty is the day we got married. I wanted to write a beautiful melody reminiscent of her and the way Marquis and Godwin interpret the melody is perfect. Sabotage - Sabotage was written for the Wee Trio’s live recording at Jazz At The Bistro in St. Louis, and was done when the trio noticed their mic cables had been cut the night before the 2nd day of recording. A favorite to play, it was also recorded by one of Marquis’ idols, Nicholas Payton. Tig Mack - My tribute to the Pacific Ocean, specifically Santa Monica, where I grew up going to the beach. The hope is that is captures both the waves and stillness of Mother Earth’s seas. Sound Evidence - Initially a trio composition that was written in Los Angeles on my mother’s piano on a tour one year. I was hearing a pattern that seemed like it was missing a beat, and it actually was, so it turned out to be an odd meter pattern which is fun to play over. Gibbs St.- My homage to the Eastman School of Music in downtown Rochester, NY. I hope to encapsulate all the feelings and experiences one has in college, especially in an intensive and competitive musical environment. An oldie, but a goodie.

Matt Slocum | "With Love And Sadness"

With Love and Sadness, available on Sunnyside Records on March 18, 2022, was designed, recorded, mixed, and mastered as an all-analog experience (although it is also available on CD and as a high-resolution digital download for listeners who prefer those formats). The music was composed as a single work rather than as individual “tunes,” and the narrative arc is structured as a continuous whole with subplots shaped around and within the two sides of the LP. The result is as remarkable and rare as a fogbow, or a lenticular cloud; it is in accordance with Slocum’s overall aesthetic and his penchant for conveying beauty to the world, and a culmination of an immense talent (as a drummer and composer) and massive erudition. As Thomas Conrad wrote in JazzTimes Magazine (on Slocum’s Black Elk’s Dream), “A meticulous, deeply realized work, remarkable not only for its coherence as a single arc but also for its evolving, authentic poignancy...This dreamlike, lyrical, fervent, floating music is capable of erupting in joy or pain.” 

Matt Slocum is a conjurer of emotions; lament, longing, contemplation, sadness, but also joy, hope and inspiration. After five acclaimed recordings of predominantly original music, “Slocum has emerged as one of the great young jazz drummers in New York City, and therefore all of jazz,” says The Minneapolis Star Tribune. “Slocum clearly places empathy and ensemble eloquence over solo fireworks, with sublime results.” While Slocum’s music carries much emotion and meaning, it also pulls from the listener’s own thoughts and feelings. As Ken Micallef reported in DownBeat Magazine, “like Wayne Shorter’s classic Blue Note albums, Black Elk’s Dream seems to ask questions, leaving the answers open to individual interpretation.” That is one of the gifts great artists bestow on us – to stimulate the willing into a greater awareness and inspired musing. 

The structure of With Love and Sadness emerged during a trip to the Maine wilderness where Slocum reflected on the seemingly increasing depths of systemic racism in America and the possibilities for change. In his liner notes for the recording, Slocum writes, “As a result of pandemic-related closures, it was the first time my wife and I had traveled in many months. It felt like a new perspective, at least early in the journey. The shape of this composition outlines the evolution of my reflections throughout the course of that trip. The primary theme is introduced in the prelude and developed throughout the suite. Although the work journeys from B minor in the opening two movements to eventually reach D major in the final movement, most of the piece follows a sonic trajectory moving away from optimism, but clinging to a kind of blind hope and beauty (real or imagined) in our collective potential for change. The final movement, a rearrangement and development of the main theme, is inspired by Pat Metheny’s “Is This America?” It’s my understanding that Mr. Metheny composed that song as a musical response to the aftermath of Hurricane Katrina. Fifteen years later, I’m not sure that we’ve made a great deal of progress as a society.”

With Love and Sadness features Grammy-nominated pianist Taylor Eigsti, an important voice in the world of creative music and a musician whose “range of expression is not limited by illusory stylistic boundaries,” says Slocum; first-call bassist Larry Grenadier, who also appears on Slocum’s previous album, Sanctuary (Grenadier is a modern-day giant known for his 25-year association with the Brad Mehldau Trio, as well as consequential engagements with Pat Metheny, Paul Motian, Charles Lloyd, Joshua Redman, and Mark Turner); and saxophonist Walter Smith III, a modern master who is equally at home in a variety of musical settings – from performing with the Roy Haynes Quartet to co-leading an ensemble with Matthew Stevens and Joel Ross. Slocum writes, “There are shapes in Walter’s playing that I don’t hear anywhere else, and his dynamic range and depth of interaction with the rhythm section fill his music with mood, personality, and possibility.” Credit must also be given to the legendary recording and mixing engineer, James Farber, who, on an all-analog project such as this, is as much a part of the ensemble as the musicians. “Like great jazz musicians, James always brings his own identifiable sound to each project. He creates an inviting and inspiring sonic environment that allows the musical connection, as well as the balance within and between the instruments, to happen naturally in the recording studio,” states Slocum. 

Recorded by James Farber at Sear Sound, New York, NY / 30 June 2021.

Recorded to 2 inch ATR analog tape at 30 IPS on a 24 track Studer A827. 

Mixed by James Farber at Studio Mozart, Little Falls, NJ / 6-7 July 2021 / Mixed from the multitrack 2 inch analog tape using a Studer A827 to 1/2 inch ATR analog tape at 30 IPS on a Studer A80. 

Mastering and cutting by Bernie Grundman at Bernie Grundman Mastering, Hollywood, CA.

Master lacquer cut directly from the analog tape using a custom Studer and an all-tube system.

The Jazz Defenders | "Live Slow" feat. Herbal T

Bristol's soul-jazz brothers The Jazz Defenders hit us with a brand new single on November 26th via Haggis Records, another taster from their forthcoming second album "King Phoenix" which drops in February 2022 from the same label. The quintet, led by keyboard maestro George Cooper from the UK funk kings The Haggis Horns, deliver a new bumping hip-hop/jazz jam called "Live Slow" featuring guest MC Herbal T, from the USA.

The original music burns bright in a mid-late 1960's soul-jazz style made popular by the likes of Ramsey Lewis and Herbie Hancock. Funky backbeat, in-the-pocket bassline, snappy and sharp brass, soul claps, and infectious piano vamping from that man Cooper. Then a third way in, guest MC Herbal T jumps on the mic and flips it into a hip-hop/jazz gem with some classy old-school bars that fit perfectly with the funky soul-jazz instrumental vibe. A great collaboration that references those golden era 90's hip-hop x jazz experiments by bands like Guru's Jazzmatazz and US3. With a nice upbeat tempo, this is definitely one for the b-boy/b-girl jams and cyphers worldwide.

The Jazz Defenders have slowly been building their reputation as a great jazz unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019. The right heads were turned and when their new single dropped in summer 2021, The Jazz Defenders finally got the respect they rightly deserved. The double A-side vinyl single "The Big Man/Love's Vestige" got some heavy support on the radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis.

Chieli Minucci | "Someone's Singing"

When the COVID-19 lockdown began in March 2020, Chieli Minucci had his wings clipped, abruptly pulling the plug amidst the three-time Emmy-winning and GRAMMY nominated musician-composer’s concert tour in support of his band Special EFX’s newly released album “All Stars.” As stress and uncertainty mounted, Minucci, like the rest of us, yearned for escape, peace and tranquility. His mind drifted back to when he was a teenager watching local talent play folk and classical guitar-based music in Greenwich Village’s legendary Folk City nightclub. He found the music performed at those shows to be soothing and mesmerizing. Those cherished recollections inspired Minucci to write and record his first acoustic guitar-based album, “Someone’s Singing.”

Recording most of the twelve-track set in his New York City home studio proved to be calming and healing for Minucci, who wrote or co-wrote ten songs for the collection, some culled from his songbook from decades ago. Minucci produced, arranged and performed using his collection of acoustic guitars in addition to playing percussion, including a kalimba (African thumb piano). His nimble fretwork throughout is heartfelt, meditative, communicative, somber and sublime.

“I’ve been eager to share some of my more-gentle, understated playing and writing for some time now. For me, this project has a ‘spiritual’ quality: quite peaceful and even a bit folky. The concept for ‘Someone’s Singing’ was simple: keep it pristine and placid. I've been a longtime fan of acoustic guitar music, particularly folk and classical pieces,” said Minucci who took the album title from the lyrics of the opening track, an instrumental variation of the traditional “Kumbaya.” 

“Someone’s Singing” is an album consisting of acoustic guitar etchings, a sparsely produced set featuring minimal accompaniment on three selections. Jerry Brooks’ probing, elastic basslines instill “New Faith,” an intimate and intricate song originally recorded in 1996. Fretless bassist Fernando Saunders brings structure to “Your Spirit,” an ethereal interlude preceding “Memories of Mother,” an emotional passage memorializing Minucci’s mother, Catherine. To him, she represented family honor and love, inspiring his silent pledge made upon her passing to facilitate peace and harmony in his own family, a goal he continues to strive towards in all relationships. Minucci’s late Special EFX partner, George Jinda, added his distinctive percussion to “Free Again,” an exquisite piece adorned by Steve Skinner’s evocative strings.

“‘Free Again’ is the last composition I wrote with the great percussionist George Jinda. His unique approach to rhythm was always a perfect match to my acoustic guitar style. Although the first section of this piece was written separately, the percussive part was completely improvised as we recorded it. Music is amazing like that, and in so many other ways,” said Minucci.

The official release of “Someone’s Singing” begins a prolific year for Minucci who will release Special EFX’s 40th anniversary album, “Twenty Twenty 2,” an elaborate production recorded with an army of collaborating musicians, on April 15 with a supporting concert itinerary that kicks off in mid-March.

“‘Someone's Singing’ stands in striking contrast to what I've been doing with Special EFX for all these years,” said Minucci, a busy band leader, film and television composer who has been releasing solo albums since the mid-nineties.

Minucci is a ten-time Emmy nominee who has written music for the small screen (“The Guiding Light,” “Dancing With The Stars,” “American Idol” and the “Good Morning America” theme), silver screen (“Bowfinger”, “Legally Blonde” and “Panic”), radio (Bloomberg Radio theme), and stage (live productions of “Peter Pan,” “Dora the Explorer” and “Thomas the Tank Engine”).” Beyond his band and solo projects, Minucci’s gifted guitarwork has afforded him extraordinary opportunities to record or perform with iconic artists including Celine Dion, Lou Reed, Lionel Richie, Jennifer Lopez, Jewel, Mark Anthony, Michael Bolton and Eartha Kitt as well as his contemporary jazz colleagues Kirk Whalum, Jeff Lorber, Norman Brown, Mindi Abair, Rick Braun, Marion Meadows, Omar Hakim and many others. 

 

Finnish Ambient/Jazz Duo Tapani Rinne & Juha Mäki-Patola Announce Open

Hush Hush Records is proud to present a bold new exploration within their cinematic, atmospheric, and genre-free sonic universe with Open, a collaborative album between veteran Finnish musicians Tapani Rinne and Juha Mäki-Patola. An organic melding of each musician’s distinctive style that yields their own unique shared language, Open reveals a cohesive meditative thread through ambient, jazz, and neo-classical music, paving the way for a refreshingly cool and sophisticated Nordic sound. 

Tapani and Juha were strangers prior to connecting online in February, yet they’ve both been active players within the Finnish music community for decades. Tapani’s illustrious career as a saxophonist, clarinetist, and composer has been an evolving path of collaborative works, solo releases, and an array of commissioned work dating back to the mid-1980s. He was featured prominently on legendary Finnish jazz drummer/composer Edward Vesala’s critically acclaimed 1987 album Lumi for ECM Records, and the following year he co-founded RinneRadio, a pioneering Finnish outfit that forged a thrilling experimental intersection between jazz and techno. An integral and prolific member of the Finnish music scene since these formative beginnings, Tapani has played with numerous bands and released a handful of ambient-leaning solo albums too, most recently unveiling the dreamy and ominous Foghornia in 2020. Regardless of the project, Tapani’s trusty melodic reed work has long been characterized by an evocative range, intuitive pulse, and collaborative spirit. It is this consistent communal curiosity that opened the doors for this album, as he was happy to join forces with emerging solo composer Juha Mäki-Patola upon a simple invitation via Instagram to work together on new material. 

Although his discography may not run as deep as Tapani’s, Juha has been active in the Finnish music community for over a decade. Originally serving as a member of several bands and working as a producer, musician, and engineer for both local and international artists from various genres, Juha took this multifaceted experience to steer the vision for the type of music he desired to compose and produce under his own name. Inspired by the great neo-classical composers of this era such as Jóhann Jóhannsson, Nils Frahm, and Max Richter, as well as iconic artists such as Brian Eno, Philip Glass, Ryuichi Sakamoto, and Alva Noto, Juha began to create introspective and reflective instrumental pieces that sought a specific calmness. Receiving early support during this journey from Seattle-based KEXP DJ Alex Ruder, Juha made his solo debut in September 2020 with the full-length album Breath, released on Alex’s independent label Hush Hush Records. Juha quickly followed up Breath with the complimentary 3-track EP Waves in February 2021, also released on Hush Hush Records.

Open was written quickly during a 3-month creative burst in early 2021. Working remotely from their respective home studios in Helsinki, the two artists eagerly traded ideas back-and-forth to find a warm, immersive, and transportive shared sonic vision. Tapani’s rich saxophone and clarinet melodies blend seamlessly into Juha’s complimentary guitar, piano, organ, and synthesizer compositions. Sometimes Tapani’s contributions joyfully dance around in the foreground, elsewhere they provide a deep, subtle, cavernous accompaniment to Juha’s lush arrangements. Opening track “Brevity” introduces their combined palette in welcoming fashion, Tapani’s dueling melodies interweaving gently within Juha’s twinkling minimal foundation before swelling alongside additional layers of piano. Lead single “Open Pt. 1” provides the album’s most upfront and immediate moment, Tapani’s exploratory saxophone melodies dominating the spotlight to glide atop a meditative piano motif. Penultimate track “Fall” serves as another early single off the album, its undulating pulse finding beauty in its restraint and spotlighting the duo’s atmospheric strengths. “Hover” eases the listener towards a gracious finale, Tapani and Juha having a playful dialogue with rich organ chords laying the groundwork for Tapani’s whimsical saxophone. 

Over its 10-song run through cerebral jazz, glacial ambient, and cinematic neo-classical styles, Open introduces a delightful new shade into both artist’s repertoires as well as Hush Hush’s amorphous catalog. Stylistically reminiscent of Floating Points and Pharaoh Sanders’ instant 2021 classic Promises, Open distinguishes itself with an expansive and contemplative aesthetic informed by Finland’s icy climate and long winters, as well as the atmospheric nature of the Nordic experimental jazz scene. Boasting a rich painterly sound that beautifully blends ambient, jazz, and neo-classical into their own unique expression, Tapani and Juha seamlessly fuse their talents to create a hypnotic debut collaborative record.

Music Releases: Donald Byrd, The Bar-Kays, The Three Degrees, U Roy

Donald Byrd - Love Has Come Around: The Elektra Records Anthology 1978-1982

Jazz trumpeter Donald Byrd’s critically acclaimed career and life have assured the Detroit native his rightful place as one of the most respected musicians of the 20th century. Having successfully transitioned to Jazz Fusion in the 1970s under the guidance of the Mizell brothers, creating four albums on Blue Note records including the highly influential Places and Spaces, Byrd continued to explore the fertile possibilities of Fusion with four more albums recorded for Elektra Records between 1978 and 1982. 1978s Thank You… For F.U.M.L (Funking Up My Life), 1979s Donald Byrd & 125th Street N.Y.C. , produced by Byrd, and the two Isaac Hayes produced albums Love Byrd and Words, Sounds, Colors and Shapes from 1981 and 1982 respectively are fully represented over a two-disc anthology package from BBR. Tracks produced by Byrd include the up-tempo jazz-funk-disco tracks ‘Thank You For Funking Up My Life,’ ‘Loving You,’ ‘Have You Heard The News,’ ‘Pretty Baby’ and ‘People Suppose To Be Free’ alongside the deeper jazz-fusion cuts of ‘Sunning In Your Loveshine,’ ‘Your Love Is My Ecstasy,’ ‘Gold The Moon, White The Sun’ and ‘Loving You,’ which reached #74 on the Billboard R&B chart early in 1979. The Isaac Hayes produced tracks include ‘Love Has Come Around,’ (Byrd’s biggest R&B hit at #15), the dancefloor work outs ‘Sexy Dancer,’ (R&B #38) ‘Star Trippin’’ and ‘I Love Your Love’. The rich Hayes’ influenced ballads ‘I Feel Like Loving You Today’ and ‘Falling’ sit with the deeper jazz-fusion compositions ‘Butterfly,’ ‘I’ll Always Love You,’ ‘So Much In Love,’ ‘Forbidden Love’ and ‘Everyday.’ Big Break Records is proud to present Donald Byrd & 125th Street N.Y.C, Love Has Come Around: The Elektra Records Anthology 1978-1982. Featuring comprehensive liner notes and rare photos across a sixteen page booklet housed in a super-jewel CD case, Love Has Come Around is an essential addition to any Jazz Fusion, Funk, and Disco fan’s collection.

The Bar-Kays - Too Hot To Sleep / Flying High On Your Love

Includes two consecutively released albums marking the second coming of The Bar-Kays in 1976 and 1977. Featuring the Southern Funk classic ‘Too Hot To Stop’, which was closely followed 12 months later by the masterful ‘Flying High On Your Love’. Featuring the band’s first lead vocalist Larry Dodson and his unique vocals plus James Alexander’s cranked to the max bass as the new Bar-Kays sound, with no other pretensions than aiming straight for the dance floor via a series of funk workouts that set the template for many of the groups that followed during the late ‘70s. The original group’s first single ‘Soul Finger’ had become an instant classic and international hit which is still popular today. Stax’s top artist, Otis Redding chose the band to be his regular road musicians a decision that ended in tragedy on December 10th 1967 when Redding, King, Caldwell, Jones and Cunningham all perished when their private plane crashed. Only Ben Cauley survived and James Alexander had not boarded the flight.Despite this tragedy Cauley and Alexander with Allen Jones helped reform the group which culminated in their work with Isaac Hayes on his pioneering 1969 album, ‘Hot Buttered Soul’.

The Three Degrees - The Three Degrees, Expanded Edition

Re-issue of The Three Degrees’ classic Philadelphia International Records’ debut which made quite an impact upon its release in 1974. Honed on the classic Philadelphia sound with MFSB providing the instrumentation, it includes the huge hits ‘When Will I See You Again’ ‘Dirty Ol’ Man’ and ‘Year Of Decision’ plus MFSB featuring The Three Degrees singles cuts and a Tom Moulton Disco remix of ‘Dirty Ol’ Man’. Having been R&B hit makers for years, The Three Degrees were no strangers to the American Soul Chart but the pairing of the group with Philadelphia’s Gamble And Huff took them to an iconic level of appreciation. The Top 20 album spawned the now classic UK #1 ‘When Will I See You Again’ and the top 20 hit ‘Year Of Decision’. Also featured was their Philly debut single ‘Dirty Ol’ Man’ which topped the charts in the Netherlands, staving off the threat of Demis Roussos in the process! Track Listing: Dirty Ol’ Man;Can’t You See What You Are Doing To Me; A Woman Needs A Good Man; 4 When Will I See You Again; I Didn’t Know; I Like Being A Woman; If And When; Year Of Decision; plus bonus tracks: TSOP (The Sound Of Philadelphia) – MSFB Featuring The Three Degrees (Single Version); Love Is The Message – MFSB Featuring The Three Degrees (Single Version); and Dirty Ol’ Man (Tom Moulton Disco Remix).

U Roy - Version Galore (2CD Edition)

Although largely unreported by the mainstream popular press, 17 February 2021 witnessed the passing of a true great of popular music: Asman Euwart Beckford. Under his stage name of U Roy, Beckford revolutionised the Jamaican music industry and in so doing also heavily influenced the development of hip hop, jungle and grime. In 1970, the immense popularity of his ground-breaking 7” singles for Treasure Isle boss, Duke Reid popularised DJ recordings, and sparked an explosion of similarly-styled discs, performed by a plethora of established and wanna-be toasters. Over the next year or two, U Roy continued to record high quality works for Reid, who gathered many of the DJ’s most popular sides on two best-selling long-players, ‘Version Galore’ and the eponymously titled ‘U Roy’, issued in 1971 and 1993, respectively. In tribute to the man and his music, both of these seminal collections have finally been brought together, along with the remainder of his Treasure Isle singles and a number of rare alternate takes. These historic recordings, which forever changed the sound of reggae, demonstrate the inimitable style that resulted in U Roy becoming the world’s first DJ superstar.

Ilhan Ersahin, Dave Harrington, Kenny Wollesen | "Invite Your Eye"

The record really encapsulates the feeling of late night jazz; an after hours jam session between close collaborators and friends that unfolds with almost telepathic effortlessness. And though it may appear as though this album is the result of improvisation, it is in fact a mixture of studio based compositions with raw improvisation taken apart and reconstructed with dubbing and editing. Producer and musician Dave Harrington says "It was the first project I really threw myself into when I first moved to Los Angeles and so was informed in large part by my first experiences here, my nostalgia for New York, and also the imagined Los Angeles of the mind that I try to live in: a place where the psychedelic can be both inspiring and sinister, and where possibility and reality are in constant competition and conversation."

With drummer Kenny Wollesen (Tom Waits, John Zorn, Norah Jones) and Dave Harrington (of electronic duo Darkside) guitar/bass/electronics, New York-based Swedish/Turkish saxophonist, composer, club-label owner Ilhan Ersahin captures the vibe of impromptu, cross-pollinating, and heavily grooving late-night jam sessions at Nublu, his “East Village Club where everything goes” (New York Times).

The telepathy and intuition that flows between these three musicians is one that has developed over many years of playing together in different combinations, and on a permanent regular basis at NYC's Nublu, searching and creating together in the moment. What they have come up with has evolved steadily over that time and its current form can be heard to brilliant effect on their new album "Invite Your Eye" which is due out on March 4th following three advance singles.

The exploratory instrumental space-jazz these gentlemen purvey has many antecedents and influences but perhaps it's best not to cite names and instead let the music speak for itself. This sound and approach comes as naturally to them as breathing, hence the album title which is also the title of the first single.

"Invite Your Eye" and "Even As You Smile" are the other two teasers set to follow right after the title track before the album as a whole arrives to provide a fuller picture of the magic these three sonic wizards have in store for you.

These Memories – Rare Soul Gems – Various Artists

Memories of the rare soul scene are manifold but this timeless collection goes right to the heart and soul of the scene and is perhaps best summed up by the emotive title track “These Memories” by Almeta Lattimore.

You really don’t need any other reason to buy this album, but how about Corey Blake’s collector’s-piece “How Can I Go On Without You”, which has evaded compilation for over twenty years. Equally rare is Billy Harner’s “I Got It From Heaven”, recorded and produced in 1976 by ‘Sound Gems’ label boss Frank Fioravanti. It was discovered, soon after release, by Richard Searling and covered-up as Bobby Hutton for exclusive plays on his Saturday/Sunday DJ sets at Wigan Casino. ‘Sound Gems’ also provides us with another dance floor anthem: “You’re My Main Squeeze” by Crystal Motion.

Side One ends with another Richard Searling cover-up courtesy of Motown’s country & western-tinged “Can’t Stop A Man In Love” by Reuben Howell (aka Sandy Linzer). Richard selected this very track to end his last ever All-Nighter DJ set at the Kings Hall, Stoke-on-Trent, Sunday 22nd September 2019. What a record!

Side Two is no slouch either, kicking off with our title track, followed by the first ever independent release of Daybreak’s in-demand “I Need Love”. Eddie Owen (aka Eddie Billups) delivers his 1977 reinvention of the anthemic “Shake Off That Dream” while Tom Moulton works his magic on Love Committee’s “Tired Of Being Your Fool”. We end with our second visit to Motown for the wonderful – unreleased – “My Baby Moves Me” by Brenda Holloway. ~ www.firstexperiencerecords.com

Oan Kim | "Oan Kim & The Dirty Jazz"

Fusing together his different musical influences, Oan Kim takes us on a journey of stylistic exploration with his new album Oan Kim & The Dirty Jazz. The former Film Noir and Chinese Army members’ new direction is  jazzier and more experimental, whilst nodding to his past so far in contemporary classical music and electro rock. Oan explains ‘ It was a deliberate decision to give the jazz saxophone a front position on what would otherwise be an indie music album’.

Writing, recording and producing the record in his home studio in Paris, the multifaceted musician and filmmaker’s DIY approach allowed the tracks to evolve freely ‘without ever knowing where they would take me, operating almost in a vacuum of space and time gave me a lot of freedom’.

‘Pop music will never have that miraculous improvised flair of a good jazz solo, while jazz rarely has the enthralling efficacy of pop music. But who said music had to be as polarized as politics? So I wanted to bring together the best of both worlds.’

From the memorable motifs of ‘Agony’ to the atmospheric noisy sound beds heard in ‘Smoking Gun’, and free flowing jazz saxophone of ‘Quintet’,  Oan’s music feels assured yet honest,  imaginative, boldly creative and daring. Also contributing to the album are acclaimed French jazz musicians Edward Perraud, featuring on "The Judge" and "Wong Kar Why," and Nicolas Folmer playing trumpet on "Quintet," "Symphony for The Lost At Sea," and "Fuzzy Landscape."

Throughout the album, Kim takes influence from a range of artists including but not limited to Kurt Vile, Stravinsky, and James Holden, whilst taking note from classic jazz artists such as Miles Davis. On his style, Kim explains he puts himself ‘somewhere between Pharoah Sanders and Radiohead’.

Such influences can be heard throughout the album, with an array of different sounds and styles established. ‘Agony’, inspired by Cold War Kids, features a catchy ostinato with the piano neatly interplaying throughout. Further along the album tracks such as Thelonious are more atmospheric, with intricate details and noises, and an emotive ambience with delicate vocals to match. The track, titled referring to his son's second name (a homage to the great Thelonious Monk) is described by Kim as ‘like a lullaby’. 

Having also worked as a photographer and filmmaker, receiving awards such as Swiss Life 4 Hands Award, Silver Horn of the Krakow Film Festival, Emerging Documentary Filmmaker at DMZ festival and more, Kim also takes inspiration from films throughout the album. Reflecting on his writing process, he explains ‘Hitchcock used to say: once you're finished with the screenplay you can write the dialogues. I feel the same way about songwriting. Themes of each song come out of the music itself towards the end of the song writing process’.

With a visually driven imagination, film references to Wong Kar Wai, Fight Club, and Naked Lunch emerge on the album. The first two singles from the project Wong Kar Why and Mambo also followed with music videos directed and filmed by himself. The video for Wong Kar Why? A documentary short described as a chronicle of a romance, features candid shots of his wife Katherine that have been taken between 2016 to 2021 in various locations including Paris, Seoul, New York and Marseille, described by Kim as a ‘video of a portrait of the person I met and fell in love with over the years’. 

A melting pot of sounds and influences, Oan Kim & The Dirty Jazz is sure to set Oan Kim as one of the most exciting talents to emerge on the jazz scene. 

Cultural cousins Haiti and New Orleans are reunited on Lakou Mizik’s latest album HaitiaNola

With the recent announcement that Lakou Mizki will be appearing at the 2022 New Orleans Jazz Fest, we thought we would feature the most recent album, HaitaNola,(released in 2019)

Cultural cousins Haiti and New Orleans are reunited on Lakou Mizik’s latest album HaitiaNola Guests include Trombone Shorty, Tank from Tank & The Bangas, Win Butler & Régine Chassagne of Arcade Fire, Jon Cleary, Preservation Hall Jazz Band, Cyril Neville, Leyla McCalla, The Soul Rebels, Lost Bayou Ramblers, 79rs Gang, Raja Kassis (Antibalas), and Anders Osborne, and other veterans of the New Orleans music scene. HaitiaNola was recorded in Haiti and New Orleans. 

HaitiaNola is a once-in-a-lifetime album that brings together Haitian roots revival collective Lakou Mizik and an incredible line-up of guest artists from the New Orleans music scene. The project was inspired by the historical, cultural and spiritual connections between the people and music of New Orleans and Haiti. Mardi Gras and Kanaval traditions mix together like long-lost family members throughout the 14-track album, which was the result of a series of recording sessions in the Big Easy and Haiti. Presided over by GRAMMY-winning New Orleans producer Eric Heigle (Lost Bayou Ramblers, Arcade Fire, The Soul Rebels), guest artists on HaitiaNola include Trombone Shorty, Tank from Tank & The Bangas, Win Butler & Régine Chassagne of Arcade Fire, Preservation Hall Jazz Band, Cyril Neville, Jon Cleary, Leyla McCalla, The Soul Rebels, Lost Bayou Ramblers, 79rs Gang, Raja Kassis (Antibalas), and Anders Osborne, among others. These unique collaborations helped shape the album’s gritty, funk-fueled energy - sometimes mystical and always carefree.

Born out of the tragedy of the 2010 earthquake, the members of Lakou Mizik first came together with the goal of promoting positive connections to Haiti through music and culture at a time when international media was filled with negative stories and imagery from the country. They furthered their mission with a celebrated 2016 debut album, Wa Di Yo, and multiple international tours.

The seed for HaitiaNola (Haiti & NOLA & Hispaniola = HaitiaNola) was planted in 2017 when the band was invited to play the legendary New Orleans Jazz & Heritage Festival. It was an eye-opening pilgrimage to the mythical music city and the band members immediately felt a connection. The music, the food, the architecture all reminded them of home.

For those familiar with the history of Haiti and New Orleans, this makes a lot of sense. The Caribbean country and the Crescent City have deep historical connections. In 1791, Haitian slaves began rising up against their French masters and earned their freedom in 1804 after years of bloody rebellion. Thousands of refugees consisting of French colonists, freed people of color and slaves fled the turmoil of the revolution and ended up in the nearest French territory: New Orleans. This influx doubled the city’s population and forever changed its ethnic and cultural identity. To this day, Haitian influences can be felt from the rhythms of the Mardi Gras parades to the swampy grooves of funk.

A year later Lakou Mizik was invited back to Jazz Fest for the second time (a rare honor) but this time the focus was on the album and musical collaborations. New Orleans producer Eric Heigle, fresh off a GRAMMY win with his band Lost Bayou Ramblers and a role in the production of indie rock supergroup Arcade Fire’s latest album, signed on to produce the project. Barebones tracks were written prior to the recording sessions and Heigle would become an essential contributor, artistic director and manager of the occasionally chaotic creative process. Even though he had to pick up some Haitian Kreyòl along the way, music provided a common language.

Arcade Fire’s Win Butler and Régine Chassagne, who offered to let the band use their private recording studio in New Orleans and who participated in the recording, are longtime advocates of Haitian culture. Régine is the daughter of Haitian immigrants and Win and Régine, along with Preservation Hall Jazz Band director Ben Jaffe, co-founded the Krewe du Kanaval, a Mardis Gras krewe that celebrates the shared connections between Haiti and New Orleans. “Wherever I go in New Orleans I feel Haiti,” says Chassagne. “The music I hear, the food I taste, the colors, the movement, the spirit of the city.” Jaffe also gave Lakou Mizik additional time at the Preservation Hall’s private recording studio. According to Jaffe, ““There would be no New Orleans music without Haiti. It’s been one of the most important influences on New Orleans going back 200 years.”

Even amidst the bustle of Jazz Fest, many in the New Orleans music community embraced the project and graciously made time in their hectic schedules to come jam with Lakou Mizik. The legendary Preservation Hall Jazz Band added their timeless touch; master pianist Jon Cleary tickled New Orleans-style riffs over the band’s Haitian Vodou prayers; Lost Bayou Ramblers added heavy Cajun grit; Haitian-American singer songwriter Leyla McCalla brought spine-tingling cello playing; guitar maestro Raja Kassis (Antibalas) sprinkled his six-string magic all over the tracks; and The Soul Rebels brass band blew the roof off the studio.

Soon after the NOLA sessions, Eric Heigle and Jon Cleary traveled to Haiti to record with Lakou Mizik at the Artists Institute in Jacmel. Over the next few months additional sessions allowed for more guests to jump in. Iconic figures Cyril Neville, Trombone Shorty and Anders Osborne, rising star Tarriona “Tank” Ball (Tank and the Bangas), NOLA institution King James (from the Special Men), even Win & Régine from Arcade Fire helped create the unique, culture-melding sound of this album.

The result of this collaborative gumbo is the album HaitiaNola, a sweaty celebration that manages to connect not only the rhythms and sounds of the two places but also the gritty energy, the unmistakable mysticism and the carefree Mardi Gras incantation of laissez les bon temps roulez (let the good times roll) that persists in both countries.

In Haitian Kreyòl the word lakou carries multiple meanings. It can mean the backyard, a gathering place where people come to sing and dance, to debate or share a meal. It also means “home” or “where you are from,” which in Haiti is a place filled by the ancestral spirits of all the others that were born there. With HaitiaNola, Lakou Mizik expands their lakou, to take in their cultural cousins and actual descendants in New Orleans. With music to lift them up, these two places have pushed through unimaginable tragedy in recent years. HaitiaNola celebrates this defiantly joyous spirit and the rhythmic roots that have connected them for more than two centuries.

New Orleans Jazz & Heritage Festival | 2022 Full Line Up

The New Orleans Jazz & Heritage Festival presented by Shell is scheduled for April 29 – May 8.

Artists scheduled to appear at the 2022 Jazz Fest include:

The Who, Stevie Nicks, Foo Fighters, Jimmy Buffett and The Coral Reefer Band, Luke Combs, Lionel Richie, The Black Crowes, Willie Nelson & Family, Erykah Badu, The Avett Brothers, Norah Jones, Lauren Daigle, Ludacris, Billy Strings, Nelly, Jason Isbell and The 400 Unit, Elvis Costello & The Imposters, Death Cab for Cutie, Ziggy Marley: Songs of Bob Marley, Trombone Shorty & Orleans Avenue, The Revivalists, Lukas Nelson & POTR, Randy Newman, Melissa Etheridge, Boz Scaggs, Kool & the Gang, Third World, CeeLo Green As…”Soul Brotha #100” (A James Brown Tribute), Irma Thomas, Big Freedia, Preservation Hall Jazz Band, Tank and The Bangas, PJ Morton, Ivan Neville's Dumpstaphunk, Buddy Guy, José Feliciano, Chris Isaak, Rickie Lee Jones, Ricky Skaggs, Asleep at the Wheel, David Sanborn, Playing for Change Band, Bettye LaVette, Gilberto Santa Rosa, Samantha Fish, Cyril Neville, Maze featuring Frankie Beverly, The Radiators, Galactic featuring Anjelika ‘Jelly’ Joseph, Kermit Ruffins and The BBQ Swingers, Shovels & Rope, Rory Block, George Porter Jr. & Runnin' Pardners, Tribute to Art and Charles Neville with the funky Meters and Ivan Neville & The Neville Brothers Band featuring Cyril Neville, Terence Blanchard featuring The E-Collective & Turtle Island Quartet, Leo Nocentelli: Another Side, Southside Johnny and The Asbury Jukes, Tribute to Dr. John, The War and Treaty, The Soul Rebels, Doug Kershaw, The Legendary Count Basie Orchestra, Big Chief Monk Boudreaux & The Golden Eagles, Rebirth Brass Band, Jon Cleary & the Absolute Monster Gentlemen, Martha Redbone Roots Project, The Dirty Dozen Brass Band's Tribute to Dave Bartholomew, Leyla McCalla, Boyfriend, Walter Wolfman Washington & the Roadmasters, Hurray for Riff Raff, Nathan & the Zydeco Cha Chas, Dwayne Dopsie & the Zydeco Hellraisers, Mia X, Cimafunk (of Cuba), Nicholas Payton, Bombino (of Niger), The Campbell Brothers, The Newport All-Stars Celebrate George Wein, Arturo Sandoval, Seratones, Ranky Tanky, Hot 8 Brass Band, John Boutté, Dottie Peoples, Las Cafeteras, Lost Bayou Ramblers, The New Orleans Jazz Orchestra's Tribute to Allen Toussaint, Cha Wa, Chris Thomas King, New Orleans Nightcrawlers, Lena Prima, Royal Teeth, Ronnie LaMarque, Sweet Crude, David Shaw, Original Pinettes Brass Band, Kenny Neal, Lakou Mizik (of Haiti,) Tuba Skinny, Tribute to Bessie Smith, Jimmy Hall, Northside Skull & Bone Gang, Kathy Taylor, Tribute to Lil Buck Sinegal, Le'Andria Johnson, Kurt Carr & The Kurt Carr Singers, Dr. Michael White & the Original Liberty Jazz Band with Thais Clark and Maynard Chatters, Original New Orleans Lady Buckjumpers SA&PC, Trumpet Mafia, Charlie Gabriel and Friends, William Prince, Antonio Sanchez and Bad Hombre, Don Vappie & the Creole Jazz Serenaders, Wendell Brunious All Stars, Dumaine Street Gang and Family Ties SA&PCs, 79rs Gang Music Group, Sisters of Unity and Devastation SA&PCs, Wild Red Flame and Mohawk Hunters Mardi Gras Indians, plus hundreds more artists scheduled to appear.

Music Releases: Spontaneous Groovin' Combustion, Tom Sochas, Kirk Lightsey, John William, Flautist

Spontaneous Groovin' Combustion - All's Well

In early 2021, Spontaneous Groovin’ Combustion – the intensely funky ensemble led by veteran composer, producer, and saxophonist Warren A. Keller, released their self-titled debut album featuring four previously released hit singles. The first offering from their second album is the supremely uplifting, joyful jam, “All’s Well” – produced by fellow genre hitmaker Blake Aaron, which delivers exactly the hopeful message that our weary ears need to hear. While it’s a total group effort featuring Keller’s always emotional, punch-filled sax playing, and the lively drumming of Tony Moore – the spirited track is a dynamic showcase for guest bassist Brendan Rothwell, who carries the high-octane melodic flow, before engaging in some colorful conversation with Keller, leaving us with the feeling that all is indeed well! ~ www.smoothjazz.com

Tom Sochas - Prologue

Building on the success of a solo EP released in early 2021, Franco-American jazz pianist Tom Sochas, previously known for his work with London staple Phoenician Blinds, is back with his debut album 'The Sorcerer', on Khumbu Records. The album, set to be released on April 15th 2022 introduces Tom’s new trio with greek bassist Thodoris Ziarkas and british drummer Olly Sarkar. The record is very much an ode to story telling, to ancient myths and tales, something we tend to return to when in need of guidance. Though rooted in age-old folklore, ‘The Sorcerer’ presents itself as a present-day reimagining of a classic character. In a world of much uncertainty it takes no effort to envisage the various reasons why humanity must be held accountable. As the story unfolds, it becomes apparent that the wall between folkoric sorcery and our palpable predicament is in fact a rather transparent veil. ‘Prologue’ is the first single taken from the album. “This track to me was all about setting the scene before the story starts.” says Tom. “We enter a very bi-polar world where a seemingly peaceful melody quickly gives way to an increasingly angry and scattered motif. Though it does resolve musically in the end, it still leaves an open question as to how this tension / theme will unfold throughout the record. This is the exposition, the moment in which the Sorcerer comes to life.”

Kirk Lightsey - Coltrane Revisited @ Bird's Eye

The music of John Coltrane, but served up here with a very different voice – that of tenorist Gabor Bolla, whose captured here at an early point in his career, with a sound that's more than bold enough for the material – but also very much all his own! Kirk Lightsey leads the group, and works with a sense of majesty that seems greater than we've heard in years – and Bolla rises strongly to the challenge of these Coltrane classics, alongside bassist Milan Nikolic and drummer Bernd Reiter! Lightsey also contributes one of his own tunes – the great "Habiba", known from an earlier South African recording – a cut that, along with the playing, helps the set sound very different than a simple rehash of Coltrane modes. Other titles include "Like Sonny", "Soultrane", and "Pursuance". ~ Dusty Groove.

John William, Flautist - Tomorrow's Yesterday

Tomorrow's Yesterday, the cleverly, philosophically titled second album by veteran Atlanta-based flautist and performer John William, is an exquisite, surprise filled journey that finds the artist and his crew of well-known musicians – including its producer DJ Burn One - impactfully fusing atmospheric tranquility, spirited jazz melodies and harmonies as well as hip, edgy neo-soul and rap/hip-hop energy. Though William’s stated aim is to create a “body of work that represents peace, calm and tranquility” via his flute virtuosity, his seductive grooves are plentiful, whether he’s musing about the fall season, driving fast and slow through his hometown, seducing with a hypnotic jazz lounge flow, evoking mystery or vibrantly blending funk and laid-back vibes. It’s the perfect soundtrack to chill for real! ~ www.smoothjazz.com

Featured Music Releases: James Bowman III, Jazz Holdouts, The Sax Therapist, Jeffery Smith

James Bowman III - A Brighter Day Chapter 1

A true “overcomer” who as a jazz and gospel musician has drummed for the likes of Brian McKnight, Mervyn Warren and Eric Essix, James Bowman III uses his other great gift – his silky, soothing crooner voice – to point us to better times ahead on Brighter Day, Chapter 11, an impactful, deeply spiritual EP which by its very title promises more to come. Drawing on his passions for both genres, he wrote these three tracks as thoughtful reflections in response to the sociopolitical divisions and illness in the world. Bowman’s choice to think and sing positivity offers hope and musical healing. ~ www.smoothjazz.com

Jazz Holdouts -  April And May

Following their 2018 album Summer Nights, and an array of popular individual tracks these past few years, the all-star ensemble Jazz Holdouts literally holds nothing back on the title track from their forthcoming album, April And Many. A sultry yet bold new single, a hypnotic and exotica-tinged jazz vibe offering a seductive invitation to celebrate the burgeoning joys of spring. The free-flowing atmospheric coolness of the tune is driven by the creative sonic invention of veteran saxophonist Louis Cortelezzi and adventurous keyboardist Alan Palanker with dynamic rhythmic support by guitar great Michael Thompson and bassist John Siegler. ~ www.smoothjazz.com

The Sax Therapist - Sax Therapy For Your Mind, Body & Soul

A long-awaited complement to Horace Silver’s iconic jazz classic “Song for My Father” - veteran Chicago saxophonist Traysee J Leonard (aka The Sax Therapist) lifts all our spirits and celebrates moms everywhere, every day with “Song For My Mother,” a soaring, high octane, light funk single driven by Leonard’s singular  horn voice and sizzling horn textures. Collaborating with producer Chieli Minucci of Special EFX – who adds a powerhouse electric guitar solo – the jazz and gospel influenced artist also pays personal homage to his mother, who sadly passed away at an early age. ~ www.smoothjazz.com

Jeffery Smith - Smooth Grooves, Vol. 2

Now in his fourth decade of recording popular romantic, spirited, funky and fluid George Benson and Wes Montgomery-influenced guitar magic, Dallas based artist, composer, producer Jeffery Smith graces us with the cool, mostly laid back perfectly titled Smooth Grooves, Vol. 2, the highly anticipated follow-up to his 2013 jam Smooth Grooves, Vol. 1. While the strings and the groove dominate, Smith – who launched his career in the 80’ backing R&B icons the likes of Lakeside, Midnight Star, Zapp & Roger, and Millie Jackson – is also an impressive balladeer whose silky vocal tracks beautifully complement his adventurous up-tempo, danceable tracks. ~ www.smoothjazz.com  

The new album by Hamburg Spinners (Hammond jazz/ mod-jazz)

Welcome to the Hamburg of the Hamburg Spinners! This is not the boring giant village we all know. It looks something like this: one half a Soho/London scene from the early 1950s, the other half a Broadway/NYC pedestrian scene circa 1961.

A city like in a comic strip, but in black and white. Adults wearing Macintosh raincoats and smoking, everyone is over 21. There’s music in a restaurant on Pinnasberg, right in front of the harbor: driving, swinging R&B, hard, but also melodic. Keeping a straight face and wearing sunglasses even though it is night, a group of existentialist students from the local art school gather around a pinball machine. Members of the British Occupation Forces sit at the bar, smoking their beloved Senior Service cigarettes. That smells like trouble!

They’re all here to listen to a new beat. On the small stage with a mighty Hammond B3: Carsten M. & The HGs, insiders know them as the Hamburg Spinners! Organ, guitar, bass and drums: the foursome doesn’t need to make an effort to be cool and hot at the same time. The Exis and the British agree. In front of the stage, on the tiny dance floor, Eddie Constantine and Elke Sommer twist, strut, shake and dance the blues.

Wouldn’t that be a perfect setting for the Hamburg Spinners‘ sound? But their debut album “Skorpion Im Stifel” does not only fit into this magical monochromatic world. Carsten ‘Erobique’ Meyer (Hammond B3), Dennis Rux (guitar), David Nesselhauf (bass) and Lucas Kochbeck (drums) managed to write the score for our favorite film that is yet to be shot (set in New York, shot in Spain and in the Bavaria Studios, an Italian-German co-production) as well as the perfect background music for an exciting game of Rummy Cup between your own four walls. Friends of the Remo Four, Ennio Morricone, Jimmy Smith and Stax Records will be spinning on the turntables as they prepare to go out into a crackling Friday night, snap one last look in the mirror and think: “I look good! And if one or the other Hamburg Spinners song is playing in the discotheque later, I’ll see you out on the floor!”

Eddie and Elke leave the bar at dawn. Through the fog, you can make out the soon to be iconic Köhlbrand Bridge, which is still under construction. From the fish market, a sleepy young man walks towards them with a pig on a dog leash. A ‘Hamburg-Süd’ cargo ship arriving from Baltimore slowly moves into the port, with a big box packed with the latest 7inch vinyl singles from distant America on board. A drunken night owl leans against a lantern and thinks: “Is that a scorpion in my boots? Would make a change!”.

Hamburg Spinners‘ debut album “Skorpion Im Stiefel” was recorded live and on analogue equipment at Yeah! Yeah! Yeah! Studios in Hamburg and produced by Dennis Rux. Expect to swing, sway and get carried away by the band’s groovin’ sound!

 

The Super 20 | "The Good Life"

The Super 20 is the curation of longtime New York hornsman, Lee Hamilton, bringing together an all-original cast of roadshow vagabonds. Created by a crew that has recorded, produced or performed with artists such as Sierra Leone’s Refugee Allstars, Chicago Jazz Underground, Joan as Police Woman, Jeff Parker, Debo Band, and Slightly Stoopid, The Super 20 invokes the classic 70’s horn sounds of legendary bands such as Don Drummond & The Skatelites, Rico Rodriguez, The Crusaders, and Fela Kuti. Fusing those influences with modern sounds a la Thievery Corporation & Quantic, The Super 20 stands firm with its own voice that demands to be heard now. 

“The Good Life” is an optimistic horn-driven track that evokes inspiration from reggae and afrobeat legends past and present. It summons emotions that are hopeful as well as tense and push forward towards the greater unknown reveling in the journey as a whole. Hamilton cites thePaulo Coelho book ‘The Alchemist’ as inspiration as well. The song channels influence by reggae greats like Rico Rodriguez and Tommy McCook as well curational expertise drawn from modern staples in the circuit like Quantic. It is the perfect introduction of a new project that savors every moment along the way from the beginning to the very end. 

Hamilton collaborated with renowned producer and engineer, Craig Welsch (10 ft Ganja Plant) at Rear Window Studio on the group’s debut album ‘Winds of Wareika.’ He wanted to record these ideas in a fashion that wasn’t constrained by the boundaries of genre or being aimed at a particular demographic. Craig was a crucial piece of the puzzle to capture these individual ideas into a form that is palatable and makes you want to listen. The two started collaborating in the early days of John Brown’s Body with Hamilton forming the horn section and Welsh serving as the band’s sound engineer. They share a common idea of what “feels good” about creating music as Welsch is a master of his craft when it comes to putting those feeling to tape.

Quentin Angus | "The State Of Things"

Guitarist and composer Quentin Angus is back with a wonderfully unique album (his fourth as a leader), The State of Things (available March 18, 2022 on Outside In Music), a pristine recording that truly reflects Angus’ life experiences, including becoming a father, embarking on a Professorship (at BMCC), the challenges and rewards of living and working in NYC, observing the political, social and environmental turmoil of America and beyond, and much more. 

Because of this album being comprised of a cohesive book of music with eight chapters, and utilizing elements of rock, pop and R&B (such as forms with very little improvisation, songs with strong, catchy melodies that could be considered a 'chorus', and very little swing), it was imperative for Angus to assemble the right musicians, and did he ever hit the mark! It’s hard to imagine a better drummer for the music on The State of Things than Nate Smith, who delivers a colossal groove at every turn. His feel, pocket and taste reaches another plateau on these compositions. Vocalist/lyricist Michael Mayo is a talent deserving wider recognition, which this album should certainly help with. His crystalline delivery is joyous to behold and truly brings these songs to life, while his improvisations reveal a communicative and compelling soloist within. Pianist Can Olgun’s parts on the album, and his many solo trades with Angus, are so near perfect that you could take them for granted. But, to achieve the level of artistic maturity and skill required to deliver such a performance is a monumental task. Bassist Desmond White . . . words won’t do him justice, so the best bet is to go listen to the album! The fearless leader and architect of this album, Quentin Angus, more than lives up to such high praise as, "Lord of the strings" – Michael Dwyer, The Age, "The Future of Jazz Composition" – Paul Williams (ASCAP), and "Exuberant, richly melodic and smartly arranged" – Richard Kamins, Culture Creature. 

 Highlights on the album include the compelling, thought-provoking title track, “The State of Things,” a strong statement (and the reason the album is named for it), meant to convey a somber story about the many predicaments and plights of the world, but also offer a more positive outlook, and ultimately to look forward to a more desirable future. The melancholy instrumental melody played by Angus and White, accompanied by a rapid-fire series of news clippings (addressing gun violence, race and gender inequalities, climate-change, political corruption, Covid-19 and more), is meant to make the listener feel uneasy and eventually overwhelmed, until suddenly the song releases into a propulsive groove in seven, with vocals and lyrics by Mayo: "As this world, ever turns. Fear, closed minds, as it burns. Can we hold, our hearts, to the sky? And make room, for our, human rise? We holding hands can inspire, Change in a land, bathed in fire. In our own, kind of way, we are whole. As long as we know, hope." Following a solo by pianist Olgun, the melancholy melody is reprised for an outro, again accompanied by a deluge of news clippings, but of a more hopeful, positive nature, covering topics such as renewable energy, new technologies, ultimately building towards a world of abundance and access for all.  

“New York Muster” is a composition about grinding it out in NYC. Beginning his journey in Eden Valley, a small South Australian country town with a population of only 200, Angus has been based in the world's Mecca for the arts, the Big Apple, since 2010. Angus elaborated, “NYC is the city of dreams, a hotbed for artistic expression, melting pot for cultural exchange, and arguably the best place for jazz in the world. While I acknowledge how wonderful it can be, it is also terrifying as the city can chew you up and spit you out if you are not lucky, and just being good at your craft does not guarantee a fruitful career. And though there are millions of people in NYC, it can also be a very lonely place at times.” Fast forward to now, and Angus is firmly entrenched in the City’s jazz scene, with the bonus of a solid career as a professor for the City University of New York. He has released many albums, toured around the world, and has a house and a family of his own. However, he’s never forgotten the New York City hustle, the struggle, hard work and persistence it took to reach this point, and “New York Muster” is a tribute to that progression. 

Peppered throughout the album are three melodic gems known the world over, arranged by Angus to great effect; “Pure Imagination,” “Somewhere Over The Rainbow,” and “What A Wonderful World.” These are songs that Angus has felt a connection with for a significant amount of time. The guitarist fell in love with “Pure Imagination” and “Somewhere Over the Rainbow” as a kid after seeing "Charlie and the Chocolate Factory," and "The Sound of Music." He has also listened to “What a Wonderful World” for more than twenty years (mainly Louis Armstrong's iconic versions). “Rather than simply covering the songs, I have tried to arrange them in a way to provide interest for the listener, including changing “Pure Imagination” to 3/4, adding a bass line 'riff' to “Somewhere Over the Rainbow,” and reharmonizing “What a Wonderful World” says Angus. 

Quentin Angus has received national and international recognition for both his guitar playing and composing, including an APRA Art Music Award for 'Excellence in Jazz' (2012), subsequent nominations in 2013 ('Excellence in Jazz') and 2014 ('Work of the Year'), winning three ASCAP 'Young Jazz Composer Awards' (2012/2013/2015), five Downbeat Magazine Awards in the 'Composition' (2011/2012/2014) and 'Soloist' (2012/2014) categories, and being named the Channel 9 'Young Achiever of the Year' (Arts Category/2013). 

Angus has been leaving audiences in awe around the world with performances in Holland, Belgium, Romania, Switzerland, Turkey, New Zealand, Australia and the United States. This includes appearances at the Montreux International Jazz Festival (Switzerland), Melbourne International Jazz Festival (Australia), and Jazz Hoeilaart Festival (Belgium), along with the release of three critically acclaimed albums as a band leader, In Stride (2017), called, “Eclectic, dynamic and lyrical” – Dragon Jazz, Perception (2013), described as, "A truly special and essential recording" – Jazz Inside Magazine (Eric Harabadian), and Retrieval Structure (2011), hailed as, "fresh, sophisticated, vibrant and formidable" – Edward Blanco, All About Jazz. 

Angus holds a PhD (Doctor of Philosophy), awarded with a 'Dean's Commendation', a Master of Music Degree (Jazz Performance) under the tutelage of jazz great John Abercrombie, awarded 'Summa Cum Laude', and a Bachelor of Music Degree (Jazz Performance). Angus' is the author of five original transcription books of Gilad Hekselman improvisations: 'Splitlife' (2012), 'Words Unspoken' (2012), 'Hearts Wide Open' (2012), 'This Just In' (2013), and 'Homes' (2015). He has also been published by PickUpMusic, Jazz Lessons Videos, MelBay, Jazz Heaven, and the NZMiC music journal along with conducting presentations of his academic research at music conferences across Australasia including the 2020 Music Business symposium for JEN (Jazz Education Network). 

Angus has performed and recorded with jazz luminaries Nate Smith, Ari Hoenig, Kevin Hays, Jon Gordon, Shai Maestro, Colin Stranahan, Linda Oh, Rogerio Boccatto, Jo Lawry, Elliot Mason, and Will Vinson. As part of his formal academic education, he has received instruction from Jason Moran, John Riley, Todd Coolman, Hal Galper, Jonathan Kreisberg, Randy Johnston, Pat Martino, Adam Rodgers, and Carmen Lundy.

Quentin Angus – The State of Things: 1 – Broken Bones – by Quentin Angus (lyrics by Michael Mayo), 2 – Pure Imagination – by Leslie Bricusse & Anthony Newley, 3 – The State of Things – by Quentin Angus (lyrics by Michael Mayo), 4 – Enigma – by Quentin Angus, 5 – Somewhere Over the Rainbow – Harold Arlen, 6 – New York Muster – by Quentin Angus (lyrics Michael Mayo), 7 – What a Wonderful World – Bob Thiele & George David Weiss, 8 – New Beginnings – by Quentin Angus (lyrics by Natalie Deitz.) 

Ron Jackson | "Standards And My Songs"

Coming out of the pandemic lockdown, distinctive and versatile jazz guitarist Ron Jackson re-emerges boldly with his latest solo album, Standards and My Songs, released on his own Roni Music label. The album spotlights Jackson's clean-burning, clean-toned guitar voice mostly in trio format with Willie Jones III and Ben Wolfe (drums and bass, respectively), and serves as a bookend sequel to his pre-pandemic 2019 outing, Standards and Other Songs, with a critical difference.

“It is a sequel,” Jackson states. “On the earlier album, I played standards, some pop songs and even a Drake song that I adapted to jazz. This one is, standards and my songs. I took a couple of hits like soft rock tune ‘Brandy’ and R&B tune ‘Secret Garden’ by Quincy Jones, and adapted them to jazz.”

Song choice is key to the success of the new album’s portrait of Jackson's broad musical aesthetic, with a program opening with a jazz-flavored arrangement of the 1972 Looking Glass hit “Brandy (You’re a Fine Girl)” (one of two album tracks with cameos by organist Brian Ho) and, to close, a gorgeous solo version of the standard “Time After Time.” The latter showcases Jackson’s unique skill on the 7-string guitar, which the guitarist has been focusing on for a decade and is one of the instrument’s prime jazz proponents. Between those repertoire extremes comes a menu of diverse original tunes, creative new arrangements of Charlie Parker's “Moose the Mooche”—spiced up with a jazz/hip hop groove--and a 5/4 take on the standard “This Nearly Was Mine,” and more, adapted to and by Jackson's special touch.

As heard through his warm, unaffected hollow-body guitar sound, Jackson’s seminal influences include Wes Montgomery and George Benson, but he has listened to and studied with a range of other important guitarists on the jazz scene. Two of those lineage points—Bucky Pizzarelli and Pat Martino—passed away in the past two years and are paid tribute to on Jackson’s album. “This Nearly was Mine” nods respectfully to Pizzarelli, who strongly encouraged Jackson to take up the 7-string ten years ago.

Jackson’s radiant ballad “For Pat” pays homage to Martino, and is loosely modeled after Martino’s own ballad “Country Road.” Martino, Jackson comments, “taught me a lot and has obviously influenced some of my lines. There are so many things I learned from Pat, things I continue to work on.” 

As for the “My Songs” portion of program, Jackson was careful to sample the diversity of his interests when deciding on originals, from the calypso “Roundabout” (featuring trombonist Clark Gayton)—linking to Jackson’s past work with such St. Thomas-born artists as Ron Blake and Reuben Rogers-–to what he cites as the “Freddie Hubbard-inspired” tune “From Dusk to Dawn.” He leans into a post-bebop energy on his “Walk Fast,” and makes a soulful turn on “She is Love,” co-written with his wife, Michelle Etwaroo.

Looking back at his work, Jackson, whose vast resumé makes him a respected and well-traveled veteran in the jazz universe, asserts “I feel that it’s the best album I’ve done so far. I had to figure out a way to put the music together and there was a lot of pressure. I thought seriously about what tunes I wanted to put on there, a mixture in which half of it was my originals. I am very happy with the end result.”

Jackson points out, “my goal would be to have other guitarists pick up the instrument and for the listener, to be more aware of it.” This effort is shown on an album cover design that boldly states “7 STRING JAZZ GUITAR,” which draws your attention to the low “A” string of the Eastman guitar that he’s holding.  

Since the 1991 release of his debut album A Guitar Thing, featuring Benny Green, Cecil Brooks III and Lonnie Plaxico, Jackson has steadily built a robust reputation as a sideman and solo artist, whose new Standards and My Songs is his ninth title as a leader on his independent label Roni Music. Born in 1964 in the Philippines, though mostly raised just outside of Boston, Jackson started out as a rocker, but fell deep into the jazz realm under the influence of such legends as George Benson, Wes Montgomery and Pat Metheny.

After studies at Berklee School of Music, Jackson lived and worked in Paris before moving to New York City and launching his high-profile jazz career, playing on dozens of albums (such as Ron Blake, Hal Singer, T.K. Blue) and working with such artists as Oliver Lake, Dee Dee Bridgewater, Gary Bartz and Randy Weston. His diverse musical life also includes various facets of education—as teacher and published educator--playing on Broadway and other modes of gigging, while carving out his evolving and expanding solo artist persona.