Palle Mikkelborg, Jakob Bro, Marilyn Mazur | "Strands"

“When we walked out on stage it felt like a homecoming,” says guitarist Jakob Bro of Strands, this texturally spacious and emotionally charged live recording from Copenhagen, on which three of the defining protagonists of improvisation in Denmark, leading musicians from three generations of Danish jazz, come together. The concert, in February 2023, was particularly poignant since it marked a return to performance for trumpeter Palle Mikkelborg, who delivers characteristically thoughtful playing here, always in service of the group context.

Repertoire - primarily by Bro but also including Mikkelborg’s piece “Youth” as well as “Returnings," co-written by Palle and Jakob - is addressed in spontaneous and exploratory spirit. Material is gently transformed and reinvented as Marilyn Mazur’s subtle percussion language of blossoming gongs, bowed metals and rumbling drums blends with Bro’s drifting and rippling washes of sound. The music’s atmospheric qualities, as well its eruptive moments, are enhanced by the resonant acoustics of the Danish Radio Concert Hall.

Reviewing the concert for Nordic music magazine GAFFA, Ivan Rod wrote, “A little hour in the company of Mikkelborg, Mazur and Bro and the world had changed. Familiar frameworks had shifted through obvious moments of beauty and lingering calm."

Jakob Bro and Palle Mikkelborg, friends for many years, had long discussed possibilities of collaboration in diverse idioms. They began to play regularly together a decade ago. Improvisations with Jon Christensen and Thomas Morgan set some directions in motion that led eventually to the Returnings album of 2018. Marilyn Mazur took over the percussion role in 2020: “It seemed a natural extension of the music, which has continued to develop since then,” says Jakob. Of its constantly changing nature, he adds: "There is air in the music, great freedom and a shared desire to create something that cannot necessarily be explained, but felt."

“It’s a search for meaning,” says Mikkelborg of his life’s work as an improviser in Jørgen Leth and Andreas Koefed’s Jakob Bro documentary Music for Black Pigeons, a film currently touring the festivals. “Is there a meaning and if there is, can I be a part of it? And sometimes I’m reminded that there is.”

Marilyn Mazur (born in 1955) and Palle Mikkelborg (born 1941) have considerable musical history together. Marilyn’s contribution to Palle’s large-scale composition Aura, dedicated to and featuring Miles Davis, led to Mazur playing in Miles’s band in the mid-1980s.

Both Mazur and Mikkelborg have recorded often for ECM, Palle’s discography including five albums with Terje Rypdal, among them the late '70s classics Waves and Descendre. He can also be heard on recordings with Edward Vesala, Gary Peacock, Dino Saluzzi and Charlie Haden, and Shankar. Mazur has led ensembles on recordings including Small Labyrinths and Celestial Circle, and appeared on recordings with Jan Garbarek, Jon Balke, Eberhard Weber and Ketil Bjørnstad. Elixir, an album of percussion solos and duos with Jan Garbarek, followed 14 years as a member of the saxophonist’s group. Garbarek once compared Mazur’s playing to the movement of wind through trees, still a potent image for the fluidity and persuasive insistence of her sound.

Jakob Bro (born 1978) was first heard on ECM in the bands of Paul Motian and Tomasz Stanko on Garden of Eden and Dark Eyes. His albums as a leader have brought together improvisers of strikingly different background and experience. The scope of the music continues to widen, as evidenced on recent releases including Uma Elmo, a set of pellucid watercolours generated with Arve Henriksen and Jorge Rossy and the more outgoing Once Around The Room on which Bro and saxophonist Joe Lovano pay tribute to Paul Motian. Common to all these projects is Bro’s conviction that “the music has to breathe. It’s important that a kind of organic conversation is taking place.” Describing Uma Elmo for his Blue Moment blog, Richard Williams noted that Bro’s pieces can be “subtle in effect and gradual in momentum, but employing a surprisingly wide dynamic and emotional range. Exquisite but never effete, they invite the musicians to explore their individual instrumental vocabularies as part of a collective creation.”

TSUYOSHI YAMAMOTO Releases New Trio Album: A SHADE OF BLUE

Famed for his light touch, exquisite musical sensitivity, and hard-swinging approach to the piano, jazz master Tsuyoshi Yamamoto (山本 剛) has enjoyed a long and storied career that has yielded over 50 albums, seen him play alongside American jazz legends like Dizzy Gillespie and Elvin Jones and witnessed him take the stage at many world-renowned music events, including Switzerland’s iconic Montreux Jazz Festival.  

Now, at the age of 75, Niigata Japan -born Yamamoto, who has no desire to retire despite his advancing years, opens a new chapter by joining the talent roster of the rising high-end label evosound, which is releasing the keenly anticipated A Shade Of Blue, a ten-track album and impeccably shot concert performance that the pianist recorded with his trio live in Tokyo’s Gotanda Cultural Center Music Hall. The album was expertly recorded and mixed by the award-winning, Hideo Irimajiri 入交英雄.

A Shade Of Blue is Yamamoto’s love letter to the piano trio format. It reflects his deep appreciation for the music of Erroll Garner, Wynton Kelly, and Red Garland, three immensely gifted American pianists who had a profound influence on the Japanese musician’s approach to the piano.

The album, his debut for evosound, is a trio album comprising ten tracks recorded live in Tokyo’s Gotanda Culture Center Music Hall. Featuring some of Yamamoto’s favourite tunes, it is almost like a greatest hits compendium; a trip through his back catalogue that features songs made famous by Tokyo-based Three Blind Mice label in the 1970s, which played a key role in bringing high-quality audio value to the Japanese jazz scene.

The trio that Yamamoto assembled for A Shade Of Blue is highly experienced, with a combined age of 215 years; drummer Toshio Osumi (大隅 寿男) is 79 and has been the heartbeat of Yamamoto’s trio since 1974, while the 61-year-old bassist Hiroshi Kagawa (香川 裕史) is the youngest member of the band. Such is the musical empathy between them that together in concert, they breathe, think, and feel as if they were one person.

A Shade Of Blue begins with a lively original number, the Yamamoto-composed “Speed Ball Blues,” a tune he first recorded on his fourth TBM album, 1975’s live LP Blues For Tee.

It is followed by “Speak Low,” a jazz standard written in 1943 by the great German-Jewish composer Kurt Weill (of “Mack The Knife” fame) with lyrics by the American poet, Ogden Nash. Yamamoto made it the title track of his 1999 album for the Venus label and revives it here as a jaunty swinger propelled by Kagawa’s fast-walking bass line and Osuma’s fizzing drum work.

The trio moves away from a revered jazz standard to a much-loved pop classic with their deeply yearning reading of “The Way We Were,” which was a career-defining song for Barbra Streisand. The way Yamamoto caresses the melody is simply sublime, revealing the depth of his musical sensitivity. He previously recorded the tune as a member of Yama & Jiro’s Wave, a trio comprising Yamamoto with Akira Daiyoshi and Tetsujiro Obara on the 1975 album Girl Talk for the Three Blind Mice label.

Beginning with a lush piano intro that recalls the florid style of Erroll Garner, “Like Someone In Love,” has been recorded almost 500 times, by everyone from the Rat Pack boss Frank Sinatra to the Icelandic alt-pop queen Björk. Yamamoto transforms the tune into a sparkling swinger.

“Black Is The Color” is a deeply emotive song indelibly associated with the American singer and pianist Nina Simone, who made it a showstopper in her stage repertoire. Yamamoto recorded the song previously, on his 1999 trio album, Speak Low, and in this new version uses it as a vehicle to display his twinkling, upper-register piano melodies.

Neal Hefti and Bobby Troup’s ‘60 pop hit “Girl Talk” was popularized by singer Tony Bennett and has been in Yamamoto’s repertoire since 1975. The pianist infuses the piece with his distinctive musical personality while finding the perfect balance between flawless technique and deep feeling. 

“Midnight Sugar” was originally written by Yamamoto as the title track of a 1974 album for Three Blind Mice. The tune is a slow, simmering late-night groove that opens with Kagawa’s slow-walking bass line and allows the pianist to reveal his fluency in the rich vocabulary of the blues, the African-American music that is one of jazz’s most important foundation stones.     

Yamamoto first recorded the seductive “Last Tango In Paris,” which highlights his delicately spun right-hand piano filigrees, with Brazilian guitarist Marco Bosco in 2014 on the album Live At The Brazilian Embassy In Tokyo. The Gato Barbieri-written tune first appeared on the soundtrack of the controversial 1972 movie of the same name starring Marlon Brando. 

The Japanese pianist brings a refined sense of elegance and good taste to his interpretation of Erroll Garner’s much-loved ballad “Misty,” which he has recorded several times throughout his long career; he cut it first as the title track of his third album for Three Blind Mice. 

A Shade Of Blue closes with a hard-driving take on the jazz standard “Bye Bye Blackbird,” originally a 1926 hit for pop singer Gene Austin. The Yamamoto trio’s effervescent version ends A Shade Of Blue on a deeply satisfying high note.

Though he’s only five years away from his 80th birthday, Tsuyoshi Yamamoto shows with the stunning A Shade Of Blue that old age does not always equal decline, especially in the artistic sense. In fact, at 76, the Niigata Japan -born piano master displays a level of energy and creativity that would put someone half his age to shame. Above all else, his new album proves that like a well-preserved vintage wine, this Japanese master’s musicality and unique artistry just keep improving with time.

 The eagerly awaited follow-up to his acclaimed 2021 album, Blues For K, A Shade Of Blue captures Tsuyoshi Yamamoto leading a trio featuring bassist Hiroshi Kagawa and drummer Toshio Osumi, recorded playing live at Tokyo’s Gotanda Cultural Center Music Hall. A well-balanced blend of timeless jazz standards (“Misty”), memorable pop tunes (“The Way We Were”) and striking original material (“Speed Ball Blues”), A Shade Of Blue is a stunning showcase for the pianistic brilliance of 76-year-old Yamamoto, who sparkles on up-tempo swingers and achieves a deeply glowing luminosity on his incredible renditions of slow ballads.

The album is available on 180-gram double vinyl LP, SACD - Hybrid Multi-Channel and MQA-CD on the 27th October 2023, and later in the year on MQA-CD + Blu-ray (Dolby Atmos + Stereo) and on an impeccably shot 4K Ultra HD Blu-ray (Dolby Atmos / Auro /Stereo). The album will be made available on digital platforms on the 8th December 2023. The first single, “Speed Ball Blues” will be released digitally on the 27th October 2023, followed by the second single, “The Way We Were” released digitally on the 17th November 2023.

Hideo Irimajiri (Recording Engineer and Mixing Engineer) on the album: A Shade Of Blue was created as an immersive (3D audio) work. To capture this, we used eight microphones for the piano, three for the bass, twelve for the drums, and 16 for the whole tones.

The stereo and 5.1 channel products were mixed to incorporate the experience of the immersive recordings as much as possible so that when you listen to the album, it feels as realistic as possible - as if the Tsuyoshi Yamamoto Trio were performing right in front of you.

If you enjoy this immersive experience, try out the 3D audio on the Blu-ray, and turn your living room into a concert hall.

Born in 1948 on the Japanese island of Niigata, Yamamoto started playing the piano in elementary school. He was drawn to jazz after hearing the soundtrack to the 1959 French movie, Les Liaisons Dangereuses, which featured music by the renowned American hard bop group, Art Blakey & The Jazz Messengers. His professional career began in 1967 when he toured with Mickey Curtis, a noted Japanese actor and musician. In 1974, he began recording for Takeshi Fujii’s iconic Three Blind Mice label and via a series of acclaimed albums, quickly established himself as one of Japan’s leading jazz musicians. A highly respected international figure who has played with US jazz legends Dizzy Gillespie, Elvin Jones, and Carmen McRae, Yamamoto was the house pianist for many years at the Tokyo club Misty and was also the musical director for the popular Japanese TV talk show Ryu's Bar, which ran during the 1980s and ‘90s. 

Bass trombonist Jennifer Wharton's 'Grit & Grace' with Bonegasm

In a 2019 article, Forbes Magazine decreed that the two characteristics women need most to thrive in the business world are “grit and grace.” Bass trombonist Jennifer Wharton has exemplified those qualities in the music she’s made with her brass-forward band Bonegasm since its 2019 debut. How else to explain Wharton’s venture into improvising and bandleading after years in the classical world, big band sections and Broadway orchestra pits? Or her dedication to giving the oft-neglected trombone – and more to the point, her own bass trombone – its place in the spotlight? And not least, that she’s done so with a tricky balance of elegant arrangements, bold musicianship, and audacious wit?

On her third outing with Bonegasm, Grit & Grace (due out October 20, 2023 via Sunnyside), Wharton demonstrates both attributes brilliantly on a vibrant and thrilling collection of new music, played with rousing vigor by the stellar ensemble: Wharton on bass trombone, along with trombonists John Fedchock, Nate Mayland and Alan Ferber, pianist Michael Eckroth, bassist Evan Gregor, drummer Don Peretz and, on half the tracks, percussionist Samuel Torres.

“That Forbes article really resonated with me,” Wharton says. “Here I am, a woman playing a ‘man’s instrument’ in jazz, which I started relatively late. I was looking for a way to make music mean more to me, so when I discovered I could have something of my own it changed my whole outlook on music. I just decided to put on my big girl pants and do this.”

The album provides a showcase not only for the leader’s grit and grace, but for that of several women composers that Bonegasm commissioned to write for the album: Vanessa Perica, Miho Hazama, Carolina Calvache, Natalie Cressman and Nadje Noordhuis. Wharton herself joins their ranks, contributing her own compositions to the band’s book for the first time.

“Dare I say, ‘I'm a feminist’?” muses Wharton. “I didn't have any female role models coming up, so I'm trying to encourage young women. Then I looked at my band and realized it's me and a bunch of dudes – just like most other bands I'm in – so I decided the answer was to commission only female composers for the third album.”

Australian composer/conductor Vanessa Perica contributes the moving “In Our Darkest Hour,” a somber yet determined rumination on the political turmoil that swept the U.S. in 2020. The piece is driven by Wharton’s low moan of a melody, a sole lamenting voice that gains in strength and momentum as her compatriots join in. Grammy-nominated composer/conductor Miho Hazama’s “Norhala” draws from an obscure source: A. Merritt’s 1920 fantasy novel The Metal Monster. Norhala is a mysterious character who can control lightning and bring metal objects to life, vividly illustrated by Hazama’s stirring, heavy metal-inspired piece.

Colombian-born pianist Carolina Calvache depicts a period in which the composer was faced with several daunting decisions, its dense layers capturing the sense of overwhelming uncertainty. Singer, songwriter and trombonist Natalie Cressman offers a Brazilian-tinged anthem in keeping with the album’s themes of beauty and solidarity with “Menina Sozinha,” which translates as “girl on her own.” The album ends with Australian-born trumpeter Nadje Noordhuis’ rollicking “Coop’s Condiments,” an homage to the titular Creole restaurant in New Orleans that features Wharton on lead vocals. The bandleader had previously flexed her pipes on Bonegasm’s self-titled debut, albeit in more of a tongue-in-cheek fashion. “I’m not a singer,” Wharton protests. “But I am a giant ham.”

With Grit & Grace, Wharton’s own name can now be added to the ranks of those rising star composers. The album opens with her own “Be Normal,” arranged as a birthday gift by bandmate (and husband) John Fedchock. The title is a bit of self-admonition from the composer over her own frenetic energy, with a wink to a joke from Mel Brooks’ Young Frankenstein. “My whole life I’ve wished I didn't feel this constant need to be productive, but I guess my brain is just abnormal.”

Wharton’s first-ever composition, “Virtual Reality,” is a tense and frenetic piece featuring venturesome solos by Alan Ferber and the leader. “Mama’s Alright” is a tribute to the pioneering trombonist Melba Liston, who worked with Randy Weston, Dizzy Gillespie, Count Basie and other icons, but only recorded one album under her own name. Wharton builds on a fragment of Liston’s playing from that album to craft a rousing new piece fueled by Torres’ evocative percussion. The bandleader also arranged “Anita,” a hauntingly gorgeous Dick Oatts piece inspired by the death of a close friend’s daughter; and “La Bruja,” a sultry and venomous Mexican folk song provocatively performed by Salma Hayek in her biopic of painter Frida Kahlo.

It certainly took that unique combination of grit and grace for a band with the beauty, humor and boldness of Bonegasm, to exist. But those same elements prove to be essential ingredients for the band’s most spirited and vivifying album to date, a concoction both bracingly gritty and rapturously graceful.

Jennifer Wharton is a low brass specialist based in New York City. Though getting her start classically, Jen has planted deep roots in jazz and commercial music. She can usually be found honking out low notes in a Broadway pit, a recording studio, on stage or in a big band section. Jen is a member of multiple Grammy-nominated jazz orchestras, Darcy James Argue’s Secret Society, Alan Ferber Big Band, Remy LeBoeuf’s Assembly of Shadows, Generation Gap Jazz Orchestra and the Terraza Big Band. She has also performed or recorded with the Vanguard Jazz Orchestra, Dizzy Gillespie All Star Band, Woody Herman Orchestra, Ayn Inserto Jazz Orchestra, Jihye Lee Jazz Orchestra, Big Heart Machine, and with her favorite husband, trombonist/composer John Fedchock. She has released three albums with her trombone-forward band Bonegasm: a self-titled debut released in 2019, followed by Not a Novelty in 2021 and Grit & Grace in 2023.

Legendary Miles Davis’s Saxophonist Sam Morrison “Whatever : Anthology 1”

Sam Morrison is a multifaceted musician known for his mastery of the soprano and tenor saxophones, as well as his artistry on the alto and bass flutes. With a career that spans several decades, he has left an indelible mark on the world of jazz, collaborating with legendary artists and contributing to iconic recordings.

One of the standout moments in Sam’s career was his membership in the esteemed Miles Davis Band. His performance alongside Miles Davis at the 1975 Newport Jazz Festival, held that year at Avery Fisher Hall, garnered rave reviews from The New York Times. A portion of that historic concert's recording has recently been released in the Miles Davis bootleg series, “Volume 4: 1955-1975 Newport Jazz Festival.” Collectors and enthusiasts can also find bootleg recordings of concert and club performances featuring Sam Morrison with the Miles Davis Band, testifying to the lasting impact of his contributions.

Sam Morrison’s musical journey extends beyond his time with Miles Davis. He has collaborated with an array of jazz, rock, and blues luminaries, including Gil Evans, Al Foster, Buster Williams, Woody Shaw, Billy Hart, T-Bone Walker, Michael Shrieve, Michael Brecker, Masabumi Kikuchi, and Ryo Kawasaki. His presence has graced stages at major jazz festivals across Europe, such as Vienne, Nice, Paris, and Stockholm.

As a member of  “The Children on the Corner,” the Electric Miles reunion band featuring bass legend Michael Henderson and jazz tabla pioneer Badal Roy, Sam continues to explore new dimensions in jazz fusion. His musical education began at Columbia University in New York City, where he immersed himself in the vibrant jazz scene, frequenting legendary clubs like Slugs and the Village Vanguard. He also experienced the groundbreaking rock acts of the era at Fillmore East, further expanding his musical horizons.

Currently, Sam Morrison is actively working on a new trio album featuring Michael Shrieve, the original Santana drummer from Woodstock, and Patrick Gleeson, an electronic music and synth pioneer known for his collaborations with Herbie Hancock. Additionally, his forthcoming solo album is eagerly anticipated, with remixing by the legendary bassist, producer, and remixer Bill Laswell.

Sam Morrison’s contributions to the world of music continue to evolve and inspire. Blue Buddha is proud to have him as part of our roster of exceptional talent, and audiences can look forward to experiencing his innovative and genre-defying artistry in the years to come.

 

The self-titled debut album by Maiiah & Angels of Libra (soul / rhythm n blues)

The Angels Of Libra are a 10-piece soul outfit from Hamburg with a high affinity to analog recording techniques, 60s soul revue concepts and film scores.

Born out of a recording session in a house in Denmark in which producer & guitarist Dennis Rux, keyboard player Chris Haertel, bassist David Nesselhauf and drummer Lucas Kochbeck spent two weeks writing and recording instrumental songs onto a 1980s TASCAM 388 8-track tape recorder, the project was originally intended to be a soul revue featuring various singers throughout the record. 

A few years previously, Rux had met Nathan Johnston at Clouds Hill Studios in Hamburg while working on their own separate projects. In a search for new voices, Rux asked Johnston if he would like to feature as a vocalist on one of the songs from the Denmark recordings. As a challenge to his own songwriting abilities (with no instruction as to the lyrical content/vocal melodies and complete freedom of expression) Johnston accepted the offer and a few months later sent a demo to Rux of the newly titled track – “Angel Of Libra”. 

After hearing it, the band decided to name themselves after the song’s title.

The newly appointed Angels Of Libra made their debut in March 2021 with digital single “Kung Fu Noir”, a cinematic instrumental with mysterious vibes. Their first physical release however, came almost a year later, in February 2022, with double-sider 45 “Bless My Soul” / “Souvenir” on Légère Recordings, featuring music whiz Shawn Lee getting down over two modern soul steppers: A-side “Bless My Soul” is a dreamy funk track with a catchy hook, while the B side, “Souvenir” is a proper feel good soul number. 

In the meantime, the band enlisted Johnston to come to Rux’s ‘Yeah Yeah Yeah!’ studios in Hamburg to write and record a full length album, featuring 10 tracks of their own compositions reminiscent of Air, Khruangbin or Ennio Morricone. 

The first single off that album is the moody and seductive “Angel Of Libra” set for release on June 3rd 2022 with Berlin-based label Waterfall Records, soon to be followed by the full-length, and more surprises…. stay tuned!

SHORT STORIES, a new recording by pianist-composer DAVID LOPATO & GLOBAL COOLANT

Short Stories, the new recording by award-winning NY-based composer-pianist David Lopato is an eclectic assemblage of eight original compositions and one cover (Prince of Darkness by Wayne Shorter). The music spans 4 decades of writing and, like all of Lopato’s previous recordings, a wide range of musical genres and styles. It features a core quintet of incredible musicians with whom Lopato has worked for many years: Ed Neumeister on trombone, Lucas Pino on saxes and clarinets, Ratzo Harris on string bass and Michael Sarin on drum. The group is augmented by three of New York’s top percussionists: Rogerio Boccato, Keita Ogawa and Bobby Sanabria, and by newcomer Anson Jones on vocals.

The influences on Lopato’s music run far, wide and deep, from traditional jazz, blues and rock to avant-garde improvisation, and the musics of Africa, Brazil and Asia, most notably Indonesia, where Lopato lived for a year as a Fulbright scholar studying Javanese gamelan. His last recording, the South Asian-influenced Gendhing for a Spirit Rising, was cited as one of the top albums of 2017 by Downbeat Magazine, which described it as “unlike anything you are likely to hear this year (or any year). Unlike many experiments with musical fusion, Lopato’s music is the genuine article”.

While Gendhing is steeped in the musics of South Asia, the pieces in Short Stories are closer to home yet no less adventurous. Prince of Darkness, one of only two compositions in Lopato’s entire recorded output not written by him, is a nod to the late, great Wayne Shorter, revered by so many jazz composers. Another homage to a late, great musician is the pensive ballad For Chick, written in memory of Chick Corea. Stuttersteppin’ is a gnarly piece in swing time with open improvisation that is influenced by classical Indian raga and Through the Veil takes yet an entirely different turn. Inspired by the Tibetan Buddhist concept of the Bardo and the notion of the soul choosing its moment of birth, it is a long-form composition which intermingles modern jazz with avant-garde improvisation and includes a startling sprechstimme-like solo by Ed Neumeister. Nelson is another homage, an upbeat celebration written upon Nelson Mandela’s release from prison in 1990. Clarity is an atmospheric, straight-8 ballad and Papagayo a rollicking samba infused with a salsa-like solo section by the great Bobby Sanabria. New Orleans is present in Looking for Mr. Babar, with equal nods to dixieland and Randy Newman, one of Lopato’s favorite pop musicians. The Glass Ceiling is a largely notated lament written in the wee hours of Nov. 8, 2016, a profoundly somber moment for millions of Americans. Despite this wide diversity of styles, the album flows seamlessly from start to finish. The writing and playing are both filled with warmth, swing and intensity.

Contemporary jazz guitarist Slim Gambill reteams with hitmaker Adam Hawley on the single "Light This Candle"

Guitarist Slim Gambill’s solo recording career is about to blow up. Twenty years into his professional career that includes a long tenured sideman feature with multi-platinum, 7-time Grammy winners Lady A, the fretman’s own turn in the spotlight bodes to takeoff to another stratosphere when his new single, “Light This Candle,” begins collecting playlist adds on Monday (October 16). He wrote the Ludlow St. Records release with 12-time Billboard chart-topper Adam Hawley who produced the track.

“Light This Candle” is a slick and sleek Chic-styled, Nile Rodgers-riffing, dancefloor filling, disco and contemporary jazz mashup. Rocking his trademark twin braids, Gambill works out on a cool electric jazz guitar, playing dexterous lead and rhythm licks. Hawley decorates the energizing vibe and funky groove with rhythm guitar, Rhodes keyboards, synths and programming. Carnell Harrell enhances the instrumental bed with additional synth shading while the rhythm section comprised of Grammy-winning bassist Mel Brown and percussionist Ramon Yslas (David Sanborn, Jennifer Lopez, Christina Aguilera) is locked.

“The Daft Punk-y groove and the hook remind me of a rocket taking off in some crazy 1970s sci-fi disco fantasy,” laughed the Nashville-based Gambill, who then explained the true meaning of the song title.

“This single is coming out at a pivotal juncture for me. It’s my fifth release and I think my sound is unique to contemporary jazz. It’s been a gradual process, and every single has done better and better. It’s time to ‘Light This Candle!”  Let’s get this done! I feel like this track is the one that’s gonna take my music over the top, and everything is pointing in that direction, so it’s all systems go,” said Gambill who lensed a video accompanying the single that can be viewed at https://youtu.be/BEN1ui7YTF4.

“Light This Candle” is the second consecutive single from the Gambill-Hawley team. Although both are graduates of the guitar program at the USC Thornton School of Music, saxophone sensation Mindi Abair introduced them. Earlier this year, Gambill hit the charts hard with the Hawley produced “Heavyweight,” resulting in a top 20 hit on the Billboard and Mediabase charts.

On his collaborative chemistry with Hawley, Gambill said, “You really realize why Adam is who he is. His ideas never, ever hit me as, ‘Yeah, I would have done the same thing.’ It’s really quite the opposite. His ideas add a spark that I never would have thought of and that’s what makes for such a killer musical and co-writing relationship.” 

Born in Nebraska and raised in Colorado as Jason Gambill, Slim’s first passion was rock and roll and blues guitar, idolizing Jimi Hendrix and Stevie Ray Vaughan. At fifteen, he became mesmerized by George Benson’s music along with seminal jazz figures Freddie Hubbard, Wes Montgomery, Miles Davis and Mahavishnu Orchestra and his path was set…until he deviated by joining Lady A in their formative stages. Gambill became an integral part of the wild ride that rocketed them to global superstardom.

Gambill started his solo catalogue four years ago with the release of the flippantly titled “Fake Jazz & Theme Songs” followed a year later by his sophomore set, “LCD.” Over the last two years, he’s released a few jazz-R&B singles. Previewing his forthcoming album, “A Fine Vintage,” which is slated to arrive next spring, Gambill hopes “Light This Candle” will propel his career trajectory into another galaxy.

New music releases: Bob Marley & The Wailers / Catch A Fire 50th anniversary reissue, Fat Larry's Band, Reggae Funkyfied, and Ava Mendez & Devin Hoff Revels

Bob Marley & The Wailers / Catch A Fire 50th anniversary reissue

Bob Marley & The Wailers’ 1973 album Catch A Fire is being reissued on vinyl and CD for its 50th anniversary. The 3CD deluxe and 3LP vinyl + 12-inch packages contain the same audio which is the original studio album, a first official release for Live at The Paris Theatre, London and a Sessions disc which includes alternate/extended/instrumental versions of album tracks (including the two alternate versions of Stir It Up which were issued on a seven-inch single for this year’s Record Store Day. Three tracks performed at the Sundown Theatre in Edmonton, North London are appended to CD 3 and make up the content of the 12-inch single which comes with the vinyl box set. Both presentations feature booklets with new notes (by Chris Salewicz) and rare and unseen photos. They also feature both covers the original Zippo lighter on one side and Bob smoking his spliff on the other. A special D2C (Direct-to-Consumer) coloured vinyl edition is also available. Catch A Fire 50th anniversary will be released on 3 November 2023 via UMR/Island.

Fat Larry's Band - I Can Understand It

Fat Larry's Band was formed in Philadelphia in 1976 and fronted by drummer and vocalist Fat Larry James who also played drums in the iconic Philly soul bands The Delfonics and Blue Magic. Over the course of ten years, the group released nine albums and scored big with memorable hits such as "Act Like You Know," "Zoom" and "Lookin' For Love." The band did particularly well in the UK where "Zoom" reached number 2 on the UK singles chart in 1982. They also scored big in the UK with the hits "Center City," "Boogie Town" and "Looking For Love" - songs that attracted a large audience of funk and disco music fans around the globe. Unfortunately, the band folded in 1987 after the premature death of Fat Larry James from a heart attack at the age of 38. The most recent incarnation of the band includes hornman and original founding member Jimmy Lee, original vocalist Art Austin who has been with the band since 1979, and vocalists Dr. Salaam Love and Carl Gray. Recently, the band covered Bobby Womack's 1972 hit "I Can Understand It" and it became one of the stand-out tracks for their critically acclaimed "Memories" album. Recently, while working with legendary Philly soul music producer Butch Ingram, the band reworked the track, utilizing some additional musical performances and backing vocals, and remixed it into a more dynamic version for radio - and so, the resurgence of Fat Larry's Band rolls on...

Reggae Funkyfied (Various)

A killer collection of reggae remakes of famous soul and funk tunes – all served up from a later generation of the scene, which makes a nice change from some of the more ska and rocksteady collections of this nature! It's no secret that Jamaican music was initially given a strong inspiration from American soul – and even in this generation, when the Kingston scene had really found its own groove, other influences would still come into the music in a really great way – as you'll hear on these really cool reworkings of themes from Ohio Players, McFadden & Whitehead, Barry White, and others! The production of most of these cuts is great – different than some of the more disco-oriented material that would copy American work – more laidback, with some currents of lovers rock as well – and funky, but in a laidback way. Titles include "Midnight" by Willie Lindo, "Skin Tight" by Lloyd Charmers, "Strange Compulsion" by Sheila Hylton, "Moving On" by Leslie Butler, "Funky Rasta" by Ronnie Butler, "Crowded City" by The Messengers, "Chemistry Of Love" by Susan Cadogan, "Can't Stop Rasta Now" by Ras Midas, and "Deeper & Deeper" by Lloyd Charmers. ~ Dusty Groove

Ava Mendez & Devin Hoff Revels - Echolocation

A stunning set of punk jazz, and one that maybe hearkens back to key experiments of this nature from the 80s scene – particularly some of the more groundbreaking work on the New York downtown scene! Ava Mendoza plays electric guitar and Devi Hoff play electric bass – but the pair also work here with excellent tenor from James Brandon Lewis, whose presence really balances out the fuzzier electric energy in a great way – different lines, different sounds, and a balance that never has Lewis trying to match the guitars for ferocity, which is a real plus. The quartet also features great drums from Ches Smith – and titles include "The Stumble", "Interwhining", "Dyscalculia", "Babel 17", "New Ghosts", and "Ten Forward".  ~ Dusty Groove

Funkwrench Blues - Soundtrack For A Film Without Pictures

In his wide-ranging career, bassist, guitarist, arranger, composer, producer, and engineer Frank Swart has contributed to countless sessions covering a wide range of music, from rock and funk to psychedelic acid jazz. In recent times, under the Funkwrench Blues name, he has created and produced 146 singles (at the time of this writing) that have been released once every two weeks, featuring such major artists as Mike Stern, Charlie Hunter, John Medeski, Oz Noy, Fred Wesley, and the late Lucky Peterson. In addition, he has co-produced an extensive series of Folk/Americana seven-inch vinyl singles. Even with all of this activity, with the encouragement of his studio partner Brian Brinkerhoff, Swart decided to "follow his bliss" and make an adventurous modal jazz album.

“I always think about music in a cinematic way. Once we had amassed a full body of work, it was obvious to me that this was a soundtrack to a film without pictures; everything fit together. The pieces did not have permanent titles so I loosely nicked titles from Joseph Campbell’s Monomyth. The story starts with the character having an unremarkable lifestyle but then being called upon to experience a life-changing adventure and win an important battle before finally returning to share what he learned.”

The intriguing Soundtrack to A Film Without Pictures begins with the electronic groove of “The Life” which then bursts into a full funkfest, featuring Swart’s bass and guitar playing and Mars Volta's Thomas Pridgen’s virtuosic drumming, setting the introductory scene. Altoist Gary Bartz is featured on “The Call,” soaring above the rolling pensive background that is inspired by the jazz-rock fusion of the 1970s. Evan Hatfield’s sitar and Christopher Hoffman's cello create a discordant conversation on “The Refusal” which also features the crisp drumming of Whitefield Brothers' drummer/producer, Max Weissenfeldt. “The Meeting” includes a repetitive and forceful rhythm riff, admittedly inspired by Miles Davis’ Jack Johnson/Bitches Brew period, behind the fiery playing of the Fringe’s George Garzone on soprano. Warren Wolf’s vibes and Swart’s wah-wah effects and chordal bass co-star in ⅞ time on "The Crossing” while “The Test” has a Charles Mingus-ish theme played by a horn section that is worthy of a dramatic detective television show, including Chris West doing his best Eric Dolphy on bass clarinet.

The second half of the program begins with Bill Evans’ soprano showcased on the aggressive blues of “The Approach.” Idris Ackamoor’s tenor gives “The Ordeal” the anguish it needs including its nod to Mongo Santamaria’s "Afro Blue" in its closing. The thoughtful “The Reward,” features the emotionally rich contributions of cellist Mai Bloomfield and John Deaderick’s keyboard playing. “That track was inspired by Andrew Hill’s 'Illusion - Alternate Take'," Swart enthusiastically proclaims. “The Road Back” has jubilant ensembles, an eccentric and relentless groove, and passionate playing from Dave Liebman on soprano. “The Resurrection” is one of several pieces that feature fine contributions from Swart’s old friend and Junk/post junk trio bandmate saxophonist/flautist David “DR” Robbins, who co-wrote this piece along with “The Life”; Mike Clark’s juxtaposing swing and funk sections and the leader’s guitar are also important parts of the dynamic ensemble. The final section, “The Return,” is more peaceful and has Frank Swart’s bass featured along with Christopher Hoffman’s cello. As with any movie score, Soundtrack To A Film Without Pictures concludes with "The Credits."

It reimagines the electronic groove that introduced the album and then dissolves into a landscape of free sound consisting of Swart’s bowing and drumming, Hoffman this time on electric cello, and Robbins on flute.

Frank Swart remembers, “Because I had a clear sonic vision of what I wanted on this project, I did all of the bass and guitar work myself. After recording my parts, I was fortunate enough to get many of my favorite drummers including Derrek Phillips, Scott Amendola, Thomas Pridgen, Simone Pannozzo, Max Weissenfeldt, Mike Clark and a few others, telling them to simply be themselves. Due to the pandemic, many musicians who had previously been very busy were suddenly available, so I reached out to special guests who were featured on sections of the album.” Those include such greats as saxophonists Gary Bartz, George Garzone, Dave Liebman, and Bill Evans, and vibraphonist Warren Wolf.

Roger Eno announces "The Skies" Live Tour, New Album "the skies, they shift like chords"

New live dates have been announced for Roger Eno, who will be performing  in the US, UK and Europe in 2023/ 2024.  In this new live show, pieces from his upcoming DG sophomore album, the skies, they shift like chords (out on Friday), will be showcased for the first time, as well as highlights from his repertoire. These performances will feature both Roger playing solo piano, and also accompanied by his daughter, Cecily Eno on vocals, a string quintet and guitar and with an arresting backdrop of filmic visuals.

Returning after concerts last April including a sold out London live show at LSO St. Lukes, in November Roger will showcase his new show at the Kolarac foundation in Serbia. He will then go on to perform at the launch event of the much talked about new arts venue, the Fotografiska Museum in Berlin. With a stunning LED  backdrop, it will be a night to remember. Touring in 2024 begins in earnest at Vinterjazz, the winter edition of the Copenhagen Jazz Festival, before his exciting show at the Queen Elizabeth Hall, London, co-headlining with the rousing drone choir, NYX, who’s immersive performances combine electronics with extended vocal technique. This show will go on general sale on Wednesday 18th of October with a Southbank members pre-sale on Tuesday 17th. Roger will then head to the US to perform for the first time in over a decade, firstly at the well-regarded Big Ears Festival in Knoxville, Tennessee on the 21st of March and then shows to follow at LA’s Masonic Lodge on the 27th and Brooklyn’s National Sawdust on the 29th with the fantastic American Contemporary Music Ensemble.

Tomorrow also sees the release of a performance video for “Arms Open Wide”, taken from the forthcoming album, the skies, they shift like clouds. A track that showcases the simplicity of Roger Eno’s solo piano, its gentle yet grounded feel has the power to transport the listener rapidly to a reflective space. This poignant, beautifully captured piece was filmed at the Norwich Arts Centre and directed by Dave Meyer -  a trailer is available to view here and the full video will be available to view Friday here.

Following on from his acclaimed, delicately orchestrated DG solo debut, The Turning Year (2022) and ephemeral tracks such as “Above and Below”, which has streamed over 21 million times, the skies, they shift like chords will be issued digitally worldwide, and in physical formats on 13 October 2023 (US LP release date - 17th of November). 

On this new album Eno describes the world in a dozen musical watercolors based on spontaneous sketches, tracing an evocative and thought-provoking path through sound and silence. “Most of my pieces are snapshots of things that were experienced in the moment,” he says. “How do you describe the world, unless it’s in an instant? You can’t fix anything because everything is in flux, it’s changing and mutable.” 

FORTHCOMING LIVE DATES:

• 04 Nov 2023  - Zadužbina Ilije M. Kolarca/ Serbia  
• 22 Nov 2023 - Fotografiska Museum / Berlin  
• 14 Feb 2024 - Copenhagen Jazz Festival/ Copenhagen 
• 25 Feb 2024 - Queen Elizabeth Hall / London (co-headline - NYX choir) -
• 21 Mar 2024 - Big Ears festival/ Knoxville, TN  
• 27 Mar 2024 - Masonic Lodge/ Los Angeles  
• 29 Mar 2024 - National Sawdust / Brooklyn, NY  

New Christmas Releases: Steve Lawrence & Eydie Gorme, Chicago, Jose James, and Samara Joy

Steve Lawrence & Eydie Gorme - That Holiday Feeling!

Real Gone Music have proudly represented Steve Lawrence and Eydie Gorme’s GL label for over a decade. But now, they are very, very excited to announce that they are working with Steve and Eydie’s son David Lawrence and his wife Faye to overhaul their entire catalog of recordings, offering updated annotation and fresh remasterings straight from the original tapes! Last year, they inaugurated their reissue campaign with their classic 1964 holiday release…and now they are very proud to announce that they are bringing That Holiday Feeling! to vinyl (green vinyl, that is)! You get 12 holiday favorites including solo Steve (“The Christmas Song,” “Let Me Be the First to Wish You Merry Christmas”), solo Eydie (“White Christmas,” “What Are You Doing New Years Eve”) and the duo’s trademark duet renditions (e.g. “Sleigh Ride”).They've included a personal note from David Lawrence with liner notes by Joe Marchese. Even if you already own this Christmas classic, the sound on this new edition—remastered for vinyl by Eric Boulanger under David’s Lawrence supervision—will indeed spark that holiday feeling. Limited to 750 copies!

Chicago - Christmas Hits

Chicago is lighting up the holidays with a new collection that combines songs from all three of its beloved Christmas albums. The festive compilation shines a spotlight on Chicago's unmistakable sound across 13 yuletide favorites, including "Let It Snow! Let It Snow! Let It Snow," "All Over The World," "Wonderful Christmas Time" (featuring Dolly Parton), and "Winter Wonderland." The tracks originally appeared on Chicago XXV: The Christmas Album (1998 ), What's It Gonna Be, Santa?(2003), Chicago XXXIII: O Christmas Three (2011), and Chicago XXXVII: Chicago Christmas (2019). Earlier this year, Chicago XXV: The Christmas Album and What's It Gonna Be, Santa? were both certified gold by the Recording Industry Association of America (RIAA).

Jose James - Merry Christmas

Combining the jazz-crooner elegance of Frank Sinatra and Nat "King" Cole with the sophistication of Stevie Wonder and Donny Hathaway, Merry Christmas From José James raises the bar for the contemporary Christmas album. Covering 10 songs - including two originals by James and his partner Talia Billig - James breathes new life into much-loved holiday classics such as "The Christmas Song," "White Christmas" and "Let it Snow." Also included is a joyful rendition of John Coltrane's "My Favorite Things." featuring Marcus Strickland. Available on 180g black vinyl. Also includes: "This Christmas," "I've Got My Love To Keep Me Warm," "Have Yourself A Merry Little Christmas,"and others.

Samara Joy - A Joyful Holiday

2x GRAMMY WINNER Samara Joy’s first collection of holiday material! “A Joyful Holiday” releases on October 27th, featuring 2 previously available holiday singles plus 4 new never-before-heard tracks! This release includes holiday staples like "Have Yourself a Merry Little Christmas", "O Holy Night" plus “Twinkle Twinkle Little Me” featuring Sullivan Fortner. “The Christmas Song (Live)” features a duet with Samara and her father Antonio McLendon captured live in 2022.

Shuteen Erdenebaatar | "Rising Sun"

Motéma Music has released Rising Sun, the debut album by Munich-based pianist and composer Shuteen Erdenebaatar. At just 25, this rising star from Mongolia’s capital, Ulaanbaatar. Erdenebaatar is leading three world class ensembles and has accumulated an impressive array important prizes for young musicians on the European jazz scene including the Kurt Maas Jazz Award, the Music Scholarship of the City of Munich, the Young Munich Jazz Prize, the Biberach Jazz Prize and the BMW Young Artist Jazz Award. With the release of Rising Sun, Motéma proudly ushers this bright new talent onto the world stage, as backed by her impressive and dedicated young quartet.

The daughter of an opera director, Erdenebaatar was brought up surrounded by music - particularly classical. Accordingly, she studied classical piano and classical composition at the Music University of Ulaanbaatar before coming into contact with jazz through a program at the Goethe Institute. This “jazz lab” under the direction of Martin Zenker turned out to be a pivotal moment for the budding pianist-composer. "It was then that a whole new world opened up to me," she says. "Suddenly I had the freedom to play what I heard in my heart, not just what was written in the notes. With her bachelors degree in hand at only 20 years old, she yearned to explore the world of jazz, and eventually came to study at the conservatory in Munich. Mentored by Gregor Hübner, Christian Elsässer, Tizian Jost and Andreas Kissenbeck among others, Erdenebaatar earned two masters degrees (in Peformance and Composition), and most importantly was able to find and cultivate her own jazz voice.

That voice is undeniably present on Rising Sun. Whether on the lilting, lyrical opener “In A Time Warp” (released June 23 as an instant grat single ), the rhythmically challenging burner "Ups And Downs", the melancholic-dramatic solo piece "Summer Haze" or the climactic, nostalgia-fueled "Olden Days", Erdenebaatar’s singular approach stands front and center. The rest of Rising Sun includes the dramaturgically ingenious “An Answer From A Distant Hill” (carried by a beguiling flute melody); the powerful, blues-soaked title track, which takes cues from a Mongolian folk song; the touching ballad “Saudade;” and the surprising love song “I’m Glad I Got To Know You”, on which the rising pianist and her quartet really step on the gas.

Erdenebaatar’s classical foundation is unmistakable throughout, displayed by her technical brilliance, stylistic finesse, and thematic structure of her compositions. Enriched by expressive harmonies and rhythm variability, Erdenebaatar’s memorable melodies serve as a framework for her formidable band to stretch out. The quartet consists of a German cadre of fellow players from her university cohort, all now award-winning rising stars and bandleaders in their own right. Bassist Nils Kugelmann, whom Southern Germany’s leading daily paper The Süddeutsche Zeitung named “one of the best in his field”, is a rhythmically and melodically outstanding all-rounder, who also shines with moving arco work on Erdenebaatar’s “Saudade”. Drummer Valentin Renner is one of Germany’s busiest jazz drummers, currently the backbone of several notable jazz ensembles in the country. Finally, the creative and highly virtuosic Anton Mangold rounds out the ensemble on saxophones and flutes. The quartet’s charismatic interplay is a highlight of the album . "It helped me a lot to know everyone well. I already had in mind who was playing each part when I was composing,” Erdenebaatar shares.

The quartet recorded Rising Sun in MONTH, YEAR, soon after taking part in “Jazz Summer Week” at Munich’s Jazzclub Unterfahrt. During this week, the quartet had the opportunity to work out the program in front of an audience for five nights straight. Thus, unlike most of today’s youthful productions, the album was not created before, but rather following the live experience of the material, a difference that lends a powerful soulful connectivity to their already distinctive sound.

Rising Sun is a startlingly mature debut from a remarkable new talent. Shuteen Erdenebaatar’s signing to Motéma Music comes during their year-long, 20th anniversary celebration. "We have a small staff these days, and only put out a few albums a year, so, frankly, it's very rare that I have time to listen to unsolicited projects, but somehow Shuteen's email caught my eye. That she was Mongolian intrigued me and her beautiful smile led me to listen. Moved by what I heard, and seeing her many accomplishments, I recognized a contemporary jazz master on the rise.” Motéma is honored to introduce this debut, and also to work with Shuteen towards releases for her "Lightville" duo, and Chamber Jazz Orchestra albums which are in development,” shares Motéma founder and president Jana Herzen.

FlamenKora Bridges Traditional West African Music with Spanish Flamenco and American Jazz

Motéma Music, now celebrating its 20th year as one of the world’s premier jazz/world labels, will release FlamenKora, a self-titled debut album from a new trio that unites West African Mande music with authentic Spanish flamenco guitar and American and Euro jazz trumpet to create a transglobal collaboration unlike any other. FlamenKora features German-born, New York-based trumpeter Volker Goetze, Senegalese-born, Paris-based kora master and vocalist Ali Boulo Santo Cissoko, and the rising Madrid flamenco guitar sensation, Alejandro Moreno. 

FlamenKora first took root during Pandemic lock-down times, when renowned trumpet player and composer Volker Goetze immersed himself in writing sessions while studying virtually with the esteemed Madrid flamenco maestro Enrique Vargas (Les Paul, Paco De Lucia). Goetze had met Alejandro Moreno at the Theatro Flamenco Madrid in 2018 and the two later performed together in Salzburg, Austria during the “Zwischenräume” Festival (2020). “Studying deeply with Vargas, flamenco became an obsession,” Volker explains. In 2021, Volker struck up a collaboration with Ali Boulo Santo Cissoko and they recorded together as a duo in Paris (that fine album is slated for release on Motéma in 2024). It was during those Paris sessions that the trumpeter first explored incorporating flamenco scales and phrasing derived from the Arabic maqam tradition in his sound. Delighting in how well the Mande and Flamenco traditions effortlessly and beautifully danced together, Volker invited Alejandro to join the duo for a residency at the Jazz & The City festival (Salzburg), where they played to sold-out houses with ovations, and the programmers of the Budapest Music Center discovered the ensemble and booked them for a concert the following year. As the magic of their collaboration was clear, the group found time to record FlamenKora in Cologne in March of 2022.

Volker, who manages, produces and recorded the group, relates, “from touring the world for 12 years with kora master Ablaye Cissoko, recording our three duo albums and directing GRIOT (a film I produced about Ablaye’s life), I discovered so many subtleties in Mande music which I recently realized also includes some of the deepest African roots of flamenco.” He explains further that, “these music traditions have evolved separately for centuries until legendary artists Miles Davis, Paco De Lucia, and Chick Corea introduced the styles to American jazz. This debut is a very special moment for us as, through FlamenKora, we are having an opportunity to extend the work of these jazz masters. It’s the beginning of a grand new adventure.”

Volker’s decades-long investigation into Mande music via his film (GRIOT), his successful albums with Ablaye Cissoko (Sira, Amanki Dionti, Djalya), and via transposing West African Fulani Flute melodies to the trumpet along with his recent dive into flamenco, led him to look beyond the constructs of traditional music and develop a sound that’s entirely new with FlamenKora. The group pays respect to the origins of the 16th century kora, while fueling it with the fiery passion of flamenco, and refining it with the sophistication of jazz. At its core, FlamenKora is a sound of love, relaxation, and spirituality that is pure joy for listeners’ ears.“FlamenKora opens up possibilities for future generations,” says trio member Ali Boulo Santo Cissoko. “For Africa, Europe, the Americas…this is a new departure for the kora. Tradition remains, but we are free to explore and create.” Guitarist Alejandro Moreno adds, “FlamenKora has an original character. Ali’s voice and kora bring a strong energy charge while the warmth of the guitar and power of the trumpet create a great contrast that gracefully coalesces together.” The album drops May 19th. Tour dates t.b.a. Find further band bio information below.

Artist, composer and trumpeter Volker Goetze is renowned for his work bringing folkloric cultures into the jazz idiom. Goetze has extensively toured and recorded with Senegalese Griot and kora master Ablaye Cissoko and directed a feature-length documentary GRIOT about the life of Cissoko. GRIOT received rave reviews from The Globe and Mail UK (“Stunningly Beautiful”) and African News (“A Must-See Film”). Volker’s albums with Ablaye have garnered over 20 million streams worldwide and international acclaim with PRI “The World” naming Amanke Dionti “Best World Music Album (2012).” Volker also produced New York City's first Sound Sculpture Walk (Sonic Gates). (Find more info at volkergoetze.com)

Paris-based Mande Griot Ali Boulo Santo Cissoko is said to have been born “with the kora in his hands.” A native of Dakar, Senegal, he is a nephew of Soundioulou Cissokho “The King of the Kora.” Ali Boulo Santo's magical playing and singing have attracted collaborations with luminaries such as Tony Allen, Omar Sosa, Piers Faccini, Trilok Gurtu, and many others. He co-composed the musical “Kirikou and Karaba” with Youssou N’dour, Angélique Kijo, and Tété. Ali Boulo Santo is acclaimed for combining Mandingo music with Senegalese and Western influences.

Born in Madrid, Alejandro Moreno is a disciple of flamenco maestro Enrique Vargas. Alejandro began his professional career at the age of 16 in the various flamenco tablaos, colmaos, concert halls, and theaters of the Madrid capital. He collaborates with artists including Marco Flores, Manuel Reyes, Karen Lugo, Mariana Collado, Hugo López, Luis Peña, and Pedro Córdoba. Alejandro is currently among the most influential tablaos in Madrid such as Villa Rosa, Casa Patas, Las Carboneras, Torres Bermejas, and Teatro Flamenco de Madrid.

21st Annual Panama Jazz Festival | January 15-20, 2024

Featuring Billy Cobham, Danilo Perez, Alex Blake, Ron Savage, Bill Pierce, Global Jazz Womxn, Hijas del Jazz Orchestra; Berklee Global Jazz Institute 15 Anniversary with special guest Marion Hayden; Panamanian All Stars Trio with Billy Cobham on drums, Danilo Perez on piano and Alex Blake on bass.

In 2023, Panama Jazz Festival celebrated its 20th edition in a hybrid format. With over 40,000 people attending all events of the festival, the event was characterized by the sold-out outdoor show on the final day of the festival. Artistic Director Danilo Perez said, “It was a dream to see the central square of the city of knowledge, a place that was a USA military base during my childhood, completed packed this year. The Panama Jazz Festival 2023 commemoration ushered in a new era, and this coming year we must contemplate serving over 40,000 individuals, which is both a blessing and a challenge.” 

During this next edition, the Panama Jazz Festival will be honoring Panamanian jazz drummer Billy Cobham, who will be performing with his fusion group Spectrum 50; the trio with Danilo Perez on piano and Alex Blake on bass; and the Global Jazz Big Band composed of musicians from all over the world including Mike Rodriguez on trumpet, Brandon Wilkins on tenor sax, Marshall Gilkes on trombone, Gary Husband on keyboards, Cristian Galvez on bass, Rocco Zifarelli on guitar, directed by Guy Barker, and accompanied by distinguished Panamanian musicians including Carlos Agrazal, Luis Carlos Perez, and Samuel Batista.

“As a person born in Coco Solo Hospital in Colon, Panama,” Cobham says, “I never dreamed that I would have the opportunity to perform in front of my countrymen and women at 80 years of age. When I left Panama, I was 3 ½ years old; when I came back it was 2005. It is more than an honor for me to be presented in such a special place. Hopefully, for the time that I have left, I can contribute in some way. Not just playing at the jazz festival, which is a big plus for me, but to have a legacy that goes beyond the concert stage in the areas of education.”

Danilo Perez, who founded the festival in 2003 with his wife Patricia Zarate, says Cobham "is an essential figure in jazz history, and his influence can be evident in the work of today's most notable drummers. He is an important example of how, since its inception, Panama has been a hidden gem for jazz that must be included in its history. Because one of the many festival's contributions is to rescue and document our Panamanian Jazz history, it is with great pride and honor that we dedicate our XXI PJF edition to maestro Billy Cobham."

Other artists who will participate of the festival include the Ron Savage Trio with special guest Bill Pierce; Cuban drummer Calixto Oviedo; Global Jazz Womxn with Patricia Zarate (Panama/Chile), Lihi Haruhi (Israel), Zahili Zamora (Cuba), Ciara Moser (Austria), and Ivanna Cuesta (Dominican Republic) with special guests Afrodisiaco from Panama; the Brazilian duo Pablo Fagundes and Marcus Moraes, The Chilean band Orion Lion & Afroritual, Cuban violinist Tanmy Lopez, Guillermo Nojechowicz from Argentina, and distinguished national projects such as Hijas del Jazz Orchestra with special guest Director Sheila Del Bosque (Cuba) and panamanian singer Solinka.

A week of enriching concerts highlighting the great gala night held at the Anayansi Theater in Atlapa Convention Center on Wednesday, January 17, 2024. The same theater will present great live jazz performances on Thursday, January 18. Ateneo Theater, located in the City of Knowledge, will also present afternoon and night concerts; Villa Agustina, situated in the Old Quarter (Casco Antiguo), will hold night concerts and jam sessions every day of the week of the festival. 

The Panama Jazz Festival's signature educational events will happen at the City of Knowledge and will host distinguished institutions such as Berklee College of Music and the Berklee Global Jazz Institute, the New England Conservatory, New York Jazz Academy, and Conservatorio de Santiago de Chile, Cambridge Rindge and Latin High School and Zumix. The Berklee Global Jazz Institute will be celebrating 15 years with a special group lead by distinguished bassist from Detroit Marion Hayden. The festival will be celebrating the 12th Latin American Music Therapy Symposium, bringing together music therapists from Panama, Chile, the United States, Argentina, Uruguay, among other countries. Other important symposiums that will take place during the festival include the 3rd Symposium of Native Peoples and the 8th Symposium of the Culture and Music of Afro-Panamanians.

The 21st Panama Jazz Festival will have the City of Knowledge as its educational venue, and the official hotel will be the Marriot Panama Hotel. The festival will also feature hundreds of national and international musicians and many educational and artistic performances will also be streamed during the event on our social media.

 

Steve White’s (Style Council) jazz-funk supergroup TRIO VALORE 15th Anniv. Edition

Record Kicks presents the 15th anniversary edition of Return of the Iron Monkey, the legendary soul-jazz album from Trio Valore, the British supergroup that features Steve White (The Style Council) on drums, Damon Minchella (Ocean Colour Scene, Paul Weller, Richard Ashcroft) on bass and Seamus Beaghen (Madness, Desmond Dekker, Tom Jones) on Hammond organ. Originally released in October 2008, the album rapidly reached a cult status amongst mods, soul and rare groove fans and the vinyl has been sold out for a long time now. The 15th Anniversary reissue will be released on November 17th on limited edition Crystal Clear LP and digital deluxe edition with two bonus tracks: “Put Em Down (Muro Di Gomma mix)”, which originally appeared as B side of the “Rehab” 45, and a cover of Roy Budd’s classic “Get Carter”. 

Trio Valore has heavyweight roots in funk, jazz, soul and the modernist tradition combined with exemplary musicianship. Steve White joined The Style Council at the age of 17, and is considered by many to be the UK`s finest drummer of his generation, playing on 15 albums with the legendary Paul Weller. As a solo artist, Steve has released 4 albums. As a sideman, he’s been one of the founders of the Acid Jazz movement with Galliano and he played with The Young Disciples, JTQ and Working Week, through to New Orleans legend Dr John, the late great Ian Dury and Brit Pop icons Oasis. Recognized as the youngest musician to perform at Live Aid in Wembley in 1985, Steve has performed at Live 8 as well. Damon Minchella formed Brit Pop heroes Ocean Colour Scene, going on to sell over 3 million albums before leaving in 2004, has also been the first call bassist for Paul Weller for over 12 years. He has performed a with a whole host of other artists, including The Who, Dr John, Jimmy Page, Paul McCartney, Amy Winehouse and Carleen Anderson. Seamus Beaghen has played with a staggering list of artists including Iggy Pop, Morrissey, Supergrass, Babyshambles, Paul Weller, David Gray, Death In Vegas, Alabama 3, Madness, The Grid, Desmond Dekker, Barry Adamson and Tom Jones. 

Together as Trio Valore they sing a simple song, they preach a sermon of groove and carry the torch of a great legacy forward, aiming their music at the heart and the feet – a dance band in the old school style. The 12 tracks of Return of the Iron Monkey are full of floor-shaking Hammond grooves, heavy deep funk & super dancefloor mod-jazz tunes. Amongst the album’s highlights are the super hip versions of Amy Winehouse's “Rehab”, Jimi Hendrix's “Fire” and the Rolling Stones' “Paint It Black” alongside groovy original compositions such as the boogaloo soul number “Dam Square” or the dancefloor jazz album’s title track. 

The reissue of Trio Valore's album is part of Record Kicks’ 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown or Colemine Records under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label’s catalogue.

New music releases: Kenneth Jimenez, Mike Reed, Twospeak, and Joshua Moore

Kenneth Jimenez -  Sonnet To Silence

Brooklyn-based bassist/composer Kenneth Jimenez presents his new work 'Sonnet to Silence' on We Jazz Records, 17 November. Consisting of 7 original compositions by Jimenez performed by his quartet including pianist Angelica Sanchez, drummer Gerald Cleaver and saxophonist Hery Paz, 'Sonnet to Silence' echoes the original fire of New York free jazz while stepping into a terrain of its own, boldly forward-thinking. Jimenez, originally from Costa Rica, has a knack at composing pieces that breathe naturally and take fight on the wings provided by the first-rate quartet, joining scene stalwarts and newcomers together as a coherent unit. "Since I was a kid I’ve had this reoccurring dream of running towards the edge of a mountain and suddenly discovering myself flying down to the valley, feeling weightless and fearless", say Jimenez. "This record is the materialization of that dream. The uncompromising voices in the band and our shared desire to explore the unknown make this music live and breathe. It feels that the possibilities become endless when creating with these master improvisers, and the only thing that matters is to take that initial jump into the abyss."' As a whole, the album lets the band loose at times, while the music maintains its natural flow. With 'Sonnet to Silence', Kenneth Jimenez establishes himself as a composer and bandleader with remarkably strong presence.

Mike Reed - The Separatist Party

Chicago drummer, bandleader, composer Mike Reed shares new single and video “Floating With An Intimate Stranger” off of The Separatist Party, his new album out October 27th on Astral Spirits/We Jazz. Highlighting the strengths of the group Reed assembled for the record – cornetist Ben LaMar Gay, poet and spoken word artist Marvin Tate, and members of Bitchin Bajas (Rob Frye, Cooper Crain, and Dan Quinlivan) – “Floating With An Intimate Stranger” is a sleek mid-tempo groover that brings an orchestral depth harkening back to Sun Ra Arkestra’s Chicago days of the 1950’s. Reed explains how while the song’s video “is simply scenes from the road, the song is there to help you get outside of your own body. Sometimes you meditate, sometimes you need substances, and sometimes you share the most intimate thoughts and desires with complete strangers . . . they’re different ways to be free.” With influences ranging from jazz legends like Pharoah Sanders and Don Cherry to the motoric rhythms of krautrock, the musicians “surge through grimy post-rock or drift into ethereal, odd-metered, electrified airspaces with whiffs of Ethio-jazz” (New York Times). These world-spanning influences meld into a propulsive brew that speaks to the turbulence of the times we find ourselves in.rating vital live music venues Constellation and The Hungry Brain.

Twospeak - For Henry Moore

Twospeak are band leader and saxophonist Ronan Perrett’s bold and dynamic four-piece that draw inspiration equally from the world of contemporary London jazz, bands like The Bad Plus as well as the 1970’s Canterbury Scene of Soft Machine and Caravan, Hot Rats-era Zappa and Deerhoof-esque indie rock, putting this all together in a heady brew and sounding uniquely themselves. Second single 'For Henry Moore (Reclining Figure 1984)' is a charged, dissonant, energetic bomb of a tune. Brown’s flipped-out rhythm and De Souza’s razor sharp guitar drives the band rattling through changes and gear shifts as Perrett’s sax runs freely over the top. Imagine Lunch Money Life covering Trout Mask Replica and you might be somewhere close. Ronan says of the inspiration behind the song “For Henry Moore is based on a captivating sculpture of a large golden reclining figure, coincidentally created in 1984. It immediately captured my imagination as I saw it rising up and striding off to cause chaos.”Born in the contemporary jazz scene, the band features musicians from groups such as Waaju, Byron Wallen’s Four Corners, Caravela and Dizraeli. Fictions will be available on LP and digitally from None More Records on November 17.

Joshua Moshe - Inner Search 

Joshua Moshe (FKA Josh Kelly/JK GROUP) share his debut album 'Inner Search', under his own name on La Sape Records. Following a challenging recovery period after chemotherapy in late 2021, Joshua Moshe embarked on a transformative musical journey, shedding his band persona and embracing a solo identity. The culmination of this artistic exploration is his debut album ‘Inner Search’, recorded six months after completing treatment. For this project, Moshe assembled a rejuvenated lineup of incredible collaborators: Felix Bloxsom, Erica Tucceri, Angus Radley, Cazeuax O.S.L.O., Phil Noy, Niran Dasika, James Bowers, Javier Fredes, and Matthew Hayes, whilst maintaining a strong partnership with long-standing producer, Lewis Moody. 'Inner Search' showcases an eclectic blend of influences drawing inspiration from Late Modal Jazz (Pharaoh Sanders, Joe Henderson, John Coltrane), Afro-Cuban Music, Jewish Music, Garage, Broken Beat, Nu-Jazz, and Modern Jazz. Such breadth of influence signifies a departure from the traditional dancey-crossover style, evolving the JK GROUP sound into something truly distinctive and extraordinary.