Roy Ayers Ubiquity: Tear To A Smile / Mystic Voyage / Everybody Loves The Sunshine / Vibrations / Lifeline

Features five classic Roy Ayers Ubiquity albums in a 3 CD Digipack. Including ‘A Tear To A Smile’, ‘Mystic Voyage’, ‘Everybody Loves The Sunshine’, ‘Vibrations’ and ‘Lifeline’. Full of Roy Ayers classics plus three bonus tracks.

This retrospective spotlights a prolific purple patch in Ayers’ career, focusing on the mid-to- late 1970s when he took the vibraphone into the pop mainstream via a series of commercially successful albums for Polydor Records.

Roy’s Band, which had previously been known as the Roy Ayers Quartet - a name that Ayers thought was too “square” and described as “a drag” - morphed into a much larger ensemble called Roy Ayers Ubiquity. Ayers said: “At that time, in 1970 when I joined Polydor, my manager, said ‘Roy, you should name the group Ubiquity.’ I said what does that mean? ‘Ubiquity means a state of being everywhere at the same time.’ I said, ‘That’s fate because if everyone has one of my albums I will be everywhere.’ I thought it was great so I started using that name.”

Key Tracks on this package are ‘Running Away’ which is not only featured as the album version, but also as an the 12” extended mix bonus track, ‘Evolution’, ‘Het, Uh What You Say Come On’, ‘The Third Eye’, ‘Tongue Power’, ‘Domelo (Give It To Me)’, ‘Searching’ and ‘The Golden Rod’.

Vice President and President elect Kamala Harris recently described ‘Everybody Loves The Sunshine’ as one of her favourite albums of all time.

Roy Ayers announced his retirement from touring in 2023, the five albums in this box set capture him at his peak. They remind us that in his prime, his music was an irresistible force, providing spiritual nourishment for the soul as well as irresistible dance grooves for the feet.

The package includes fabulous sleeve notes by Charles Waring (MOJO, Record Collector and uDiscover Music).

Get it here.

Matt Slocum | Lion Dance

After six acclaimed recordings, “Matt Slocum has emerged as one of the great young jazz drummers in New York City, and therefore all of jazz,” (The Minneapolis Star Tribune), and “an inveterate swinger with a brisk, highly interactive touch and a penchant for melodicism . . . also a thoughtful composer who sets up his team like a savvy point guard running an offense (Bill Milkowski, JazzTimes), and with his new recording, Lion Dance (out on Sunnyside Records on November 1, 2024), Matt Slocum engages in deeply swinging dialogues with two modern-day masters, long-time collaborators and friends, Walter Smith III on tenor saxophone, and Larry Grenadier on bass. The album was produced by Jerome Sabbagh and recorded live to two-track analog tape by James Farber.

“I’ve always wanted to do a sax trio record,” Slocum says. “I feel it’s a benchmark for drummers – for saxophonists, too. I spent a lot of time in the practice shed, because Walter and Larry are so high-level, but you can prepare specifically for it only so much because you don’t know how they’ll interpret the music. You need to reach a place where you feel open creatively and can go in different directions without impediments to the flow.” About the composing process, he added, “writing for sax trio makes me explore new compositional directions. For starters, the whole notion of hearing a chord not vertically, but horizontally – spread out over time – is a complete game changer.” He elaborates, “My aim was to write and arrange bespoke music for Smith and Grenadier. To make very specific choices that would create musical frameworks full of possibility; to bring out some sides of their musical personalities that I really love . . . and also, music that we could sink our teeth into as a trio, with a high-level of interaction.”

Slocum navigates this telepathic trio (let’s hope to hear more from them in the future) through five original pieces whose subtle challenges enhance freedom of expression, and three jazz and American Songbook standards (“What Is There To Say” by Vernon Duke, “This Is All I Ask” by Gordon Jenkins and “We See” by Thelonious Monk). Slocum’s musical partnership and friendship with Smith goes back over twenty years, and this is his fourth appearance on a Slocum-led project. The composer/drummer has also known and played with Grenadier for quite some time, with the bassist appearing on Slocum’s 2019 release, Sanctuary, and on With Love and Sadness in 2022. All three of these musicians possess beautifully rich sounds (to say the very least), and wide open hearts and ears, which explains much of the album’s appeal. Slocum explains that, “this record is as much about ensemble chemistry and interaction as the music itself.”

Regarding the title track, Slocum said of the lyrical melody that transpires primarily in 9/4, “I write mixed meters to serve the music’s natural flow and not for some perceived hipness factor. Rhythms in nature aren’t always symmetrical or in groups of four. In my imagination, the primary section represents lions dancing playfully. The transition to the relative minor key during the bridge eventually signals a more solemn gathering of the lions before a new section of their dance during the coda.”

It all adds up to the latest brilliant chapter in Slocum’s career, which seems to go from strength to strength, drawing from a bottomless well of ideas and inspiration. Lion Dance is on par with, and enters the canon of, equilateral triangle oriented recordings by such 21st century avatars of the genre as Fly Trio, a long-standing unit with Grenadier, Mark Turner, and Jeff Ballard; Smith’s own “TWIO” outing with bassist Harish Raghavan and Eric Harland; the Bill Stewart Trio with Grenadier and Smith; and the Kendrick Scott Trio with Smith and Reuben Rogers.

Slocum’s first inspirations were Max Roach (on Clifford Brown’s Study In Brown, and with Buddy Rich on Rich Vs Roach), Philly Joe Jones (on Cookin’ With The Miles Davis Quintet), and Roy Haynes (on the albums Thelonious In Action, Chick Corea’s Now He Sings, Now He Sobs, and Haynes’ We Three). Through prolific sideman work over many years, and leading his own band with six must-hear albums (visit www.MattSlocumJazz.com to explore his discography), Slocum has distilled these, and many other, influences, into what made these artists legends to begin with; individuality. Slocum has been on his own path for years, unconcerned with anything outside of cultivating, composing and performing music which represents his own artistic esthetic; music which resonates with, and stimulates his fellow musicians; and music that finds music lovers yearning to hear master musicians in their prime. He has accomplished all of this and more with his new recording, Lion Dance.

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Black Friday Releases: Max Roach, Joe Bataan, Norma Jean, Angelo Badalmenti, Isaac Hayes, and more!

Craft Recordings has announced its lineup of exclusive releases for RSD Black Friday, taking place on November 29 at participating independent retailers. This year’s diverse array of limited-edition offerings spans a multitude of genres and eras, beginning with a 180-gram mono pressing of Max Roach’s 1958 hard-bop classic, Deeds, Not Words. The rollout continues with Joe Bataan’s best-selling 1968 Latin soul masterpiece, Riot!, followed by Isaac Hayes’ supremely funky 1974 Truck Turner soundtrack, reissued on vinyl for the first time in decades as part of Varèse Sarabande’s Reel Cult series.

Craft is also celebrating the 30th anniversary of Born Jamericans’ cult-favorite 1994 debut, Kids from Foreign, while Wrongdoing—the acclaimed 2013 album from metalcore pioneers Norma Jean—arrives on vinyl for the first time since its initial release. Also making its vinyl debut is Music for Film and Television, which highlights the remarkable career of film composer and longtime David Lynch collaborator Angelo Badalamenti.

New titles include The Soul and Songs of Young Curtis Mayfield: The Spirit of Chicago, a 2-LP retrospective of the legendary singer, songwriter and producer’s foundational work from the late ’50s to mid-’60s, as well as the latest installment from the popular Jazz Dispensary series, The Golden Hour.

Various Artists – The Soul and Songs of Young Curtis Mayfield: The Spirit of Chicago (2-LP; Black Vinyl)

One of the greatest singers, songwriters and producers of his generation, Rock and Roll Hall of Famer and GRAMMY® Lifetime Achievement Award winner Curtis Mayfield (1942–1999) left a lasting mark on American music with his influential brand of socially conscious soul music. Celebrated for his civil rights anthems with the Impressions and his groundbreaking solo albums, like Curtis (1970), Back to the World (1973) and the iconic Super Fly soundtrack (1972), the Chicago native first established his career in the city’s rich gospel and soul scene during the late ’50s and early ’60s.

Spanning 1958–1965, The Soul and Songs of Young Curtis Mayfield: Spirit of Chicago chronicles this period of rapid growth, focusing on the young artist’s foundational work behind the scenes as a songwriter and producer, as well as his early years with the Impressions (which he joined in 1958, serving as lead vocalist from 1960–70). In addition to a selection of tracks from the celebrated soul and doo-wop group—including Mayfield-penned classics like “Senorita I Love You” and “Young Lover”—the collection highlights Mayfield’s extensive work as a writer. His collaborations include hits with former Impressions frontman Jerry Butler, such as “He Will Break Your Heart,” “I’m a Telling You” and “Find Another Girl,” as well as tracks with Gene Chandler and future Earth, Wind & Fire co-founder Wade Flemons.

Released exclusively on vinyl for Black Friday, the 27-track collection features newly remastered audio from the original analog tapes by GRAMMY-winning engineer Paul Blakemore, while new liner notes by noted rock historian Jim Miller offer additional context. The 2-LP set is limited to just 2,800 copies worldwide.

Born Jamericans – Kids from Foreign (1-LP; Black Vinyl)

While Washington D.C.’s Born Jamericans were short-lived as a group, they earned a cult following in the mid-’90s with their influential blend of dancehall reggae and hip-hop. The American-born duo, who drew inspiration from their shared Jamaican heritage, balanced the smooth-as-silk vocals of singer Mr. Notch (Norman Howell) with the gritty ragga of rapper Edley Shine (Horace Payne) to create a musical fusion that was utterly fresh at the time.

Signing with the tastemakers at Delicious Vinyl (home to the likes of Young MC and Tone Loc), the duo paired up with legendary producer Chucky Thompson, one of the famous “Hitmen” of the ’90s, who crafted mega hits for stars like Usher, Mariah Carey, Nas, Mary J. Blige and beyond. The result was their irresistible 1994 debut, Kids from Foreign, featuring such popular tracks as “Warning Sign,” “Cease & Seckle” and “Boom Shak A-Tack,” which hit the Billboard Hot 100 and peaked at No.15 on the Rap chart. The album, meanwhile, broke the Billboard 200 and was named one of the highest-selling reggae albums of the year. While Kids from Foreign launched Born Jamericans’ career, the duo would only release one more album, 1997’s Yardcore, before going their separate ways.

Returning to vinyl for the first time in 25 years and limited to just 2,400 copies worldwide, this 30th anniversary reissue of Kids from Foreign is pressed on classic black vinyl and cut from its original analog tapes by Phillip Rodriguez at Elysian Mastering.Norma Jean – Wrongdoers (1-LP; Fire Eyes Vinyl).

Norma Jean – Wrongdoers (1-LP; Fire Eyes Vinyl)

For more than 20 years, metalcore pioneers Norma Jean have dominated the scene with their cathartic and unbridled brand of rock. Borrowing from Marilyn Monroe’s birth name, the Atlanta five-piece debuted in 2001 and built a cult following over the decade through best-selling titles like The Anti Mother (2008) and the highly acclaimed Meridional (2010).

Their influential sixth album, 2013’s Wrongdoers, built upon that momentum and found the band—including longtime frontman Cory Brandan—pushing themselves farther than ever before. Experimenting with an array of live instrumentation (including strings, piano and organs), the band delivered some of their finest and most dynamic songs to date, including the anthemic title track, the blistering “If You Got It at Five, You Got It at Fifty” and the enduring hit, “Sword in Mouth, Fire Eyes.”

In addition to becoming an immediate best-seller—breaking the Billboard 200’s Top 40 and landing in the Top 10 of Billboard’s Rock, Indie and Hard Rock Albums charts—Wrongdoers also received high marks from a wide array of outlets, including AllMusic, Metal Hammer and AbsolutePunk, which raved, “Wrongdoers grabs you by the throat from the start, and when it finally releases its grip you can’t help but go back for more.” Alternative Press, meanwhile, simply proclaimed it a “masterpiece.”

Marking the first vinyl reissue of Wrongdoers, this exclusive edition is limited to 2,750 copies worldwide and pressed on Fire Eyes–colored wax. The LP also features a printed inner sleeve, plus an insert with track lyrics.

Various Artists – Jazz Dispensary: The Golden Hour (1-LP; Golden Wave Swirl Vinyl)

Welcome to The Golden Hour: The latest stash of sizzlers presented by Jazz Dispensary that immerses listeners in a lush soundscape, where sunbaked sands and cool ocean breezes blend seamlessly to create one dank groove blast.

The curated collection opens with “Web,” an energizing, yet laid-back cut off pianist Hampton Hawes’ 1974 LP, Northern Windows. The recording, led by the great David Axelrod, features drums and bass by legendary session players Spider Webb and Carol Kaye, respectively. Next is “Soul Talk-1970,” off organist Johnny “Hammond” Smith’s 1970 LP, Black Feeling!, followed by Sonny Rollins’ funky “Newkleus.” The track, which appeared on the saxophonist’s 1975 album, Nucleus, was composed by frequently sampled R&B star James Mtume, who also delivers a heady dose of standout guitar licks. Cornetist Nat Adderley closes out the set with the hard bop–infused “Fortune’s Child,” off his 1978 album, A Little New York Midtown Music.

The breeze picks up on side B with “Cántaro,” a bold and sultry number (penned by Axelrod) off saxophonist Gene Ammons’ 1974 LP, Brasswind, followed by Vince Guaraldi’s “Little Birdie,” a hip 1973 cue for Peanuts sidekick Woodstock (and featuring a rare vocal performance by the best-selling pianist/composer). Drummer Chico Hamilton chills down the vibes with “Gengis,” a soulful and languid instrumental off his 1973 collab with Little Feat, The Master. Rounding out the album is “Suite for Albeniz,” a seductive Eastern-influenced selection from Philly fusion pioneers Catalyst, off 1976’s A Tear and a Smile.

Limited to just 6,200 units worldwide, The Golden Hour is pressed on a dreamy blue-and-gold Golden Wave Swirl vinyl and housed in a jacket designed by acclaimed visual artist Kamil Czapiga, who used microscopic cameras to film special color inks as they reacted to songs from the album.

Joe Bataan – Riot! (1-LP; 180-Gram Black Vinyl)

The “King of Latin Soul,” Joe Bataan, epitomized the melting pot of New York City, both musically and culturally. Born Bataan Nitollano in 1942 to an African American mother and Filipino father, the Spanish Harlem-raised singer and pianist formed his first band, Joe Bataan and the Latin Swingers, in 1965. Blending mambo and pop, tinged with R&B and Latin jazz, with lyrics in English and Spanish, the group was instrumental in establishing an authentic Latin soul sound that would explode in popularity in the late ’60s. In 1966, the group signed with Fania Records and launched their career with the popular Gypsy Woman the following year. But it was their sophomore effort, 1968’s Riot! that would be their strongest seller—as well as the highest-selling Latin title of the year.

Recorded against a backdrop of political and social unrest, the aptly titled album captures the full spectrum of heightened emotions: from the anger and frustration amid the war to the empowerment and joy of youth culture. Working under the direction of the great Johnny Pacheco, Bataan and Louie Gonzalez trade vocal duties in English and Spanish, respectively, as they lead the Latin Swingers through their signature “salsoul,” featuring soulful crooning, R&B, doo-wop, Latin rhythms and a powerful horn section. Among Riot!’s most enduring highlights are the ballads “Ordinary Guy” and “What Good Is a Castle,” as well as the electrifying salsa classics “Muñeca” and “Pa’ Monte” and the soulful “It’s a Good Feeling (Riot).”

Limited to 2,100 copies worldwide, this reissue has been mastered from the original analog tapes by Clint Holley and Dave Polster at Well Made Music and pressed on 180-gram black vinyl.

Max Roach – Deeds, Not Words (Mono; 1-LP; 180-Gram Vinyl) 

One of the most influential drummers of all time, Max Roach (1924–2007) forever changed the modern musical landscape with his free-flowing and melodic approach to rhythm. Although the GRAMMY® Lifetime Achievement Award winner is most associated with his foundational ties to bebop, his unique phrasing would influence multiple generations of jazz and rock drummers, while he would change the public’s perception of percussion with a variety of awe-inspiring solo performances and recordings. Roach’s pioneering spirit also extended beyond the studio, as he founded one of the first artist-owned labels (Debut Records) alongside Charles Mingus in 1953.

By the late ’50s, when he recorded Deeds, Not Words for Riverside Records, Roach was testing the boundaries of the hard-bop sound that he helped create. The 1958 set finds Roach leading his innovative quintet (trumpeter Booker Little, tenor saxophonist George Coleman, bassist Art Davis and tubist Ray Draper) through several originals—including the title track and “Jodie’s Cha-Cha” (both penned by frequent collaborator Bill Lee)—as well as a handful of standards (“You Stepped Out of a Dream,” “It’s You or No One”). The biggest highlight, however, might just be Roach’s sublime solo drum composition, “Conversation.”

Now, jazz fans can enjoy the original mono mix of this essential title. Limited to 3,100 copies worldwide, this special edition features all-analog mastering by Kevin Gray at Cohearent Audio, 180-gram black vinyl pressed at Fidelity Pressing and a Stoughton tip-on jacket, replicating the album’s original design.

Isaac Hayes – Truck Turner (Original Motion Picture Soundtrack / Reel Cult) 

GRAMMY®- and Academy Award®-winning singer, songwriter, producer and actor Isaac Hayes (1942–2008) was a revolutionary force in soul music, who shaped the sound of the genre both behind the scenes as well as in front of the microphone. A larger-than-life figure, Hayes began his career as a songwriter at Stax Records, where he penned hit after hit (alongside David Porter) for stars like Sam & Dave, Carla Thomas and Johnnie Taylor. In the late ’60s, Hayes embarked on a solo career, during which he released such groundbreaking albums as Hot Buttered Soul, Black Moses and the chart-topping Shaft soundtrack, which made him the first Black composer to win Oscars® for Best Original Song (“Theme from Shaft”) and Best Original Score.

That success opened up a plethora of opportunities for Hayes in Hollywood, including a chance to score and star in 1974’s Truck Turner. Directed by Jonathan Kaplan, the film finds Hayes playing the titular role of a retired footballer-turned-bounty hunter who gets himself mixed up in a pimp turf war. Soundtracking the action film’s badass scenes are Hayes’ supremely funky cues, including “Breakthrough” and the dramatic “Pursuit of the Pimpmobile.” While largely instrumental, the score also showcases Hayes’ signature baritone vocals on a handful of tracks, including the attention-grabbing Main Title theme and the sultry ballad “You’re in My Arms Again.”

Limited to just 3,100 copies worldwide, this reissue—presented by Varèse Sarabande’s Reel Cult series—marks the return of Truck Turner to vinyl for the first time in 20 years. The 2-LP set was cut from its original analog tapes by Jeff Powell at Take Out Vinyl and pressed on 180-gram Translucent Purple wax. Rounding out the package is a handsome tip-on jacket. Can you dig it? Yes, you can. 

Angelo Badalamenti – Music for Film and Television (1-LP; Translucent Red Vinyl)

GRAMMY®-winning composer Angelo Badalamenti (1937–2022) was one of modern cinema’s most celebrated composers, whose six-decade-long career found him working with many of the industry’s biggest names, including Joel Schumacher, Jane Campion and Danny Boyle. But the Brooklyn-born Badalamenti was best known for his creative partnership with David Lynch, which began with 1986’s Blue Velvet. Through projects like Wild at Heart (1990), Mulholland Drive (2001) and, most famously, the legendary Twin Peaks TV series, Badalamenti was always able to channel Lynch’s unique vision through his haunting and hypnotic scores.

Varèse Sarabande celebrates Badalamenti’s enduring legacy through the first-ever vinyl release of Music for Film and Television. Showcasing key highlights from the composer’s rich catalog of work, the nine-track collection includes such popular selections as the main title themes from Mulholland Drive and Blue Velvet, plus the cult-favorite “Laura Palmer’s Theme”/ “Main Title Theme (Falling)” from Twin Peaks, which Rolling Stone once praised as the “most influential soundtrack in TV history.”

The album also showcases Badalamenti’s scores for such high-profile projects as 1990’s The Comfort of Strangers (dir. Paul Schrader), 1995’s Marc Caro / Jean-Pierre Jeunet–directed The City of Lost Children (including “Who Will Take My Dreams Away” featuring Marianne Faithfull) and Jeunet’s Academy Award®-nominated film A Very Long Engagement (2004).

Limited to just 2,800 copies worldwide, this new LP release of Music for Film and Television is pressed on translucent red vinyl and features brand-new artwork by acclaimed illustrator Brianna Ashby, who depicts the maestro with iconic prop items from the beloved projects he scored. 

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D.D. Jackson – Poetry Project

Poetry Project represents an exciting new chapter in the Canadian-born, New York-area based, Juno and multi-Emmy-winning jazz pianist/composer/producer D.D. Jackson’s extremely varied musical career. In his youth, the prodigious Jackson was already performing with orchestras by the age of 13, followed later by the classical music rigors of Indiana University, and then a pivot to jazz and NYC – first at the prestigious Manhattan School of Music for his Masters (as a student of legendary jazz pianist Jaki Byard), and then as a student of  the great Don Pullen (the two of them both alumni of the historic bands of Charles Mingus). Pullen subsequently introduced him to a litany of jazz legends with whom he would go on to play, record, and tour the world, from David Murray (with whom Jackson was first “discovered” at his debut at the Montreal Jazz Festival), to Billy Bang and (later) even Questlove and The Roots.

After a prolific output of 13 CD’s as leader or co-leader featuring largely original material (on Canada’s Justin Time and two albums on the major label BMG), Jackson made a sharp pivot as he settled down with family and launched what ultimately became a multi-Emmy-winning career writing for television (including for such renowned children’s shows as The Wonder Pets, Peg + Cat, and Sesame Street), while also earning accolades as an award-winning professor at such institutes as Brooklyn College, the Harlem School of the Arts, and NYU.

The spark to return to his jazz performing/composing roots came in 2021 during the shelter-in-place times of the pandemic, when Canada’s former Poet Laureate George Elliott Clarke (with whom Jackson had previously composed two jazz-influenced operas) commissioned Jackson to write a song (“Self-Composed”) based upon a poem Clarke had written for his daughter. George would go on to send D.D. a set of 13 curated poem collections over the ensuing months from a diverse set of Canadian poets, from which Jackson would choose the ideal poem from each to bring to life in song. The response to the resulting song collection was so electric that Jackson was compelled to apply for – and ultimately received – a Canada Council Concept to Realization Grant to record what has now become this Poetry Project.

Featuring 5 Juno-winning performers (including Jackson himself and vocalists Laila Biali and Sammy Jackson), Snarky Puppy drummer Larnell Lewis, and other cream-of-the-crop Canadian talent from soprano saxophonist Jane Bunnett to bassists Rich Brown and George Koller, and augmented by everything from string quartet to full orchestra, Poetry Project is a culminating, summarizing event, a synthesis of all that Jackson has learned on his multi-faceted journey, and also an exciting promise of what’s to come.

Instrumentalists:

• D.D. Jackson – Bosendorfer piano, Rhodes, Wurlitzer and organ
• Larnell Lewis – drums (tracks 1, 2, 3, 4, 7, 9, 10, 12)
• George Koller – acoustic bass (1, 3, 9, 10)
• Rich Brown – el. bass (2, 4, 7, 12)
• Tom Fleming – guitars (2, 7, 12)
• Jane Bunnett – soprano sax (1)
• Kelly Jefferson – tenor sax (7)
• Curtis Stewart – violin (10)
• String Quartet (6) with: Camille Vogley-Howes – 1st vln; Lana Auerbach – 2nd vln; Kayla Williams – viola, & Raffi Boden – cello
• The Czech National Symphony Orchestra (13), and more.

Vocalists:

• Laila Biali (track 1)
• Sammy Jackson (2, 9)
• Yoon Sun Choi (3, 10)
• Ethan Cronin (4)
• John Lindsay-Botten (5, 8)
• D.D. Jackson (6, 13)
• Dean Bowman (7, 12)
• Raina Sokolov-Gonzalez (11)

Lyrics: Canadian poets Bruce Meyer (track 1), Giovanna Riccio (2, 13), Micheline Maylor (3), Luciano Iacobelli (4), Irving Layton (5), Libby Scheier (6), George Elliott Clarke (7, 8), Ayesha Chatterjee (9), Choucri Paul Zemokhol (11), Al Moritz (12), and Chinese poet Yin Xiaoyuan (10).

https://amzn.to/48f4Scm

Bryn Roberts – Aloft

Aloft is the vibrant trio debut from pianist and composer Bryn Roberts on Elastic Recordings. After a long career as a sideman in the jazz world (Seamus Blake, Will Vinson, Alan Ferber, Jon Gordon, Caity Gyorgy), and as a collaborator with several singer-songwriters (Rosanne Cash, Shawn Colvin, Dar Williams), Bryn Roberts has assembled his dream trio. Bassist Matt Penman and drummer Quincy Davis join Roberts on Aloft, a collection of five sparkling originals and novel takes on two standards.

With five acclaimed releases as a leader with quintets, quartets, and most recently in duo format with guitarist Lage Lund, Roberts waited for just the right music, and just the right group, to make a meaningful contribution to the trio tradition. “Matt and Quincy would without a doubt bring this music to life with their originality, experience, and ability,” Roberts says, “and I felt I had acquired the maturity and perspective as a player and composer to add something new to the conversation.”

Roberts met bassist Matt Penman at one of the first informal sessions he played after moving to New York. Penman has toured and recorded as a member of groups led by Kurt Rosenwinkel, Joe Lovano, Joshua Redman, John Scofield, and was also a member of the SF Jazz Collective for many years. On Aloft, he brings his beautiful sound, agile accompaniment, and great beat. Drummer Quincy Davis and Roberts joined a quartet led by saxophonist Jon Gordon and made an album at the storied Rudy Van Gelder Studio. Davis has also performed with a who’s who of jazz luminaries, including Tom Harrell, Steve Nelson, Aaron Diehl and Gretchen Parlato. Adept at shaping new music, Davis brings his propulsive sense of swing to Aloft, along with his fiery inspiration.

Aloft was recorded in Brooklyn, a place Roberts called home for fifteen years, and stands as a testament to long working relationships and friendships with other musicians. The album features Roberts’ take on two standards, a relaxed walking ballad version of Kurt Weill’s My Ship, and a contemporary take on You Do Something To Me by Cole Porter.

In performances of Roberts’ originals and the re-worked standards, the strong chemistry and interplay of the trio is on display, and there is ample room to hear the gifts of each player featured throughout the tight, well-paced album.

“Bryn Roberts has poise, elegance, a beautiful touch and a natural melodic flow. His musical imagination always tells a story and his delivery is organic and unforced. I love to hear him play.” 

–Pianist Bill Charlap

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Jake Noble – Letting Go of a Dream

Jake Noble is a bassist and composer based in New Orleans, where he is well known as both a bandleader and in-demand sideman. His debut album Letting Go of a Dream was initially conceived as a platform to honor his greatest musical influences: Bill Evans, Charlie Haden, and Kenny Garrett. Early on in the writing process though, a more complete vision for the album began to emerge. “As I began writing this music, I realized that I wanted to convey the story of my own journey of self-discovery in the midst of our overwhelmingly digitized society.” 

Each piece on the album represents a step forward on the journey towards self-acceptance. What Could Have Been – inspired by the Bill Evans composition Time Remembered – conveys a sense of vulnerability with its broken time feel and unexpected  harmonic cadences. Acceptance of the Journey is the most involved composition on the album, featuring several stylistic changes throughout the piece. This song is about dealing with the sudden changes life sometimes throws your way when you least expect it. “I like to think about how we go about living our lives with everything going according to plan and then – bam – all of a sudden something or someone comes into our life and changes its trajectory in a single moment.” Noble wrote Farewell to the Kid from Spring with an intimate bass and piano duo in mind. “This piece is about longing for simpler times in the Arkansas wilderness, away from my current noisy city life.” Throughout the tune the chemistry between Noble and Collins is apparent, as they conjure a dream-like state together.

Letting Go of a Dream represents the next stage of Noble’s search for authenticity as both a bassist and composer. Itis an exciting musical statement by a fine up and coming New Orleans musician.

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Paul Tobey – It’s Time

Jazz pianist Paul Tobey makes a comeback after a 20-year hiatus from performing. Severe tendonitis injuries to his forearms put an end to Paul’s touring career. These injuries forced Tobey to table an 8-record deal with the New York label Arkadia Jazz just after his first release earned him a Juno nomination (Canadian Grammy) for Best Traditional Jazz Album in 2004.

Esteemed in the jazz community, Tobey made his mark internationally, appearing on stages like the Festival International de Jazz de Montreal, Yokohama Jazz Festival, and Carnegie Hall, to name but a few. He’s recorded with the  “who’s who” of Canadian jazz players – many familiar names appear on his previous 6 albums.

It’s been a two-decade road to recovery! And Paul chose to return with a solo album titled It’s Time. This album was recorded on his beloved 7-foot grand piano, a German Ibach.  Recorded in his home studio in Niagara-on-the-Lake, it is also from this studio that Paul ‘Livestreams’ on his YouTube channel called “JazzMentl”. His videos have already garnered over 60 thousand watch hours & 1 million views in 24 months. He’s attracted a jazz community of over 14 thousand jazz musicians from around the world.

Paul has been the recipient of numerous awards, including Jazz Album of the Year, Pianist of the Year, and the IAJE Award for Service to Jazz Education. His creative endeavors have also been financially supported by several Canadian government organizations such as Canada Council for the Arts, The Foundation to Assist Canadian Talent on Record, Ontario Arts Council, and Canadian Heritage for composing, touring, recording and international development.

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Sahara von Hattenberger – IQ84

Fans of Japanese literature may recognize the title of Montreal cellist Sahara von Hattenberger’s new album as having been borrowed from acclaimed author Haruki Murakami’s most famous fantasy novel, 1Q84. The story begins in 1984 and follows a young woman named Aomame as she travels to a parallel universe – one almost identical to our own, except for a few eerie differences. She calls this parallel reality 1Q84 (‘Q’ is pronounced Kyuu, the same way that the number 9 is pronounced in Japanese.)

The year 1984 also sees the completion of composer Claude Bolling’s Suite for Cello and Jazz Piano Trio – and whether it was his intention or not, this new music acted as an antidote for the angst of the era. Massive inflation, the AIDS epidemic, financial unrest, an overwhelming fear and obsession with technology – these all loomed large in the zeitgeist. Von Hattenberger’s bold re-imagining of this famous crossover suite maintains the same sense of overwhelming joy and wit as the original. The Bolling Suite – over an hour in length, in 6 movements— is what comprises the first CD of this ambitious double album.

The second disc represents the 1Q84 of this project. Composed in the ‘alternate reality ‘of 2024, where we’re experiencing an entirely different pandemic, inflation is as high as it was 40 years ago, and the threat of AI is suddenly omnipresent. (It shouldn’t be surprising that mullets have come back into fashion…) 2024 feels a lot like 1984 – reminding us of Aomame’s parallel reality in Murakami’s tale. In that spirit, the record’s second disc is a beautiful collection of newly commissioned pieces that pay homage to the original Bolling suite. Both halves of this record will evoke pure joy for everyone who listens. This album is a welcome respite from the  pressing darkness we often find ourselves in today.

• Sahara von Hattenberger – Cello
• Joanne Kang – Piano
• Adrian Vedady – Bass
• Jim Doxas – Drums

https://amzn.to/48f4Scm

Jenny Scheinman | All Species Parade

On October 11, adored violinist and composer Jenny Scheinman releases her ninth studio album, All Species Parade. Today, she shares the third and final single in advance of the collection's release, the hard-charging and rambunctious "Shutdown Stomp."

Jenny spent 13 years as an integral part of the NYC downtown jazz scene before moving back to Humboldt County, California where she was raised. Upon returning, Jenny was reawakened to the extraordinary biodiversity of life in the region known as "The Lost Coast." This inspired her to write the All Species Parade's sprawling 72 minutes of music that stretches out over ten tracks with an ensemble that features guitarists Bill Frisell, Julian Lage and Nels Cline, pianist Carmen Staaf, bassist Tony Scherr and drummer Kenny Wollesen.

Having worked in jazz and improvised music with Jason Moran, Brian Blade, Allison Miller and Marc Ribot among numerous others, Jenny has also toured and recorded with songwriting giants such as Lucinda Williams, Bruce Cockburn, Rodney Crowell, Lou Reed, Ani DiFranco, Robbie Fulks and most recently Joni Mitchell. She is featured on the original cast recording of Anais Mitchell’s hit musical Hadestown, and has composed several feature length movie scores, including the forthcoming film, Avenue Of The Giants.

As for today's single release, "Shutdown Stomp," Jenny explains: "The impact humans have on other creatures and our disregard for their native habitats has always been troubling. When the pandemic hit, it placed humans in the mix of all other species as a menace to our own existence. We're driving ourselves into extinction. The energy of the song is really a plea to stomp out this behavior and take action to do better caring for all living things on the planet.

Tour Dates

• September 27 - Chicago, IL - The Green Mill
• September 28 - Chicago, IL - The Green Mill
• October 4th - Detroit, MI - The Detroit Institute Of Arts
• October 9 - Santa Cruz, CA - Kuumbwa Jazz
• October 10 - San Francisco, CA - Mr. Tipples
• October 11 - San Francisco, CA - Mr. Tipples
• October 12 - San Francisco, CA - Mr. Tipples​
• October 14 @ 2 - Palo Alto, CA - Mitchell Park Bowl
• October 15 - Arcata, CA - Arcata Playhouse
• October 16 - Arcata, CA - Arcata Playhouse
• October 17 - Eugene, OR - The Shedd
• October 18 - Portland, OR - Blue Butler Studios
• October 19 - Seattle, WA - The Royal Room (Earshot Jazz Festival)
• October 20 - Seattle, WA - The Royal Room (Earshot Jazz Festival)
• October 21 - Vancouver, BC - Capilano University
• October 23 - San Diego, CA - Dizzy’s
• October 24 - Los Angeles, CA - 2220 Arts & Archives​ (Angel City Jazz Festival)
• March 28 - Knoxville, TN - Big Ears Festival
• March 29 - Knoxville, TN - Big Ears Festival

https://amzn.to/48f4Scm

McCoy Tyner & Joe Henderson | Forces Of Nature: Live At Slugs

Blue Note has announced the Nov. 22 release of Forces of Nature: Live at Slugs’, a never-before-issued live recording of jazz legends McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost NYC jazz shrine, Slugs' Saloon, in 1966. The release was produced by Zev Feldman, Jack DeJohnette, and Lydia DeJohnette, and is available for pre-order now as 2-LP and 2-CD sets on the Blue Note Store.

Forces of Nature includes an elaborate booklet with rare photos by Francis Wolff, Raymond Ross, and Robert Polillo; plus liner notes by esteemed author and critic Nate Chinen, and interviews and statements with DeJohnette, Jason Moran, Joe Lovano, Joshua Redman, Christian McBride, Nasheet Waits, and Terri Lyne Carrington. Originally recorded by the legendary engineer Orville O’Brien — who recorded classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers, Charles Tolliver’s Music Inc. and Alice Coltrane's Journey to Satchidananda — the tape has been in DeJohnette's personal archives for nearly 60 years. The 2-LP 180g vinyl set is transferred from the original tape reel and mastered by Matthew Lutthans at The Mastering Lab.

Tyner and Henderson had been forging a strong musical bond on Blue Note through the mid-60s with Tyner appearing on Henderson’s 1963 debut Page One as well as his 1964 albums In ‘N Out and Inner Urge, while Henderson would appear on Tyner’s own Blue Note debut The Real McCoy in 1967. The Slugs set list included two Henderson compositions that were originally recorded on his Blue Note albums: a blistering half-hour exploration of “In ‘N Out” and a joyous romp through “Isotope” which is available to stream or download today.

Get it here.

Renee Rosnes | Crossing Paths

Some paths meet at a single crossroads then move on along their predetermined journeys. Others crisscross again and again, each juncture altering their directions and destinations until the two become indelibly intertwined.

The latter has been the case for the renowned pianist and composer Renee Rosnes and her lifelong love of Brazilian music. The two converge with stunning results on Crossing Paths, Rosnes’ new release for Smoke Sessions Records, instantly marking a highlight of her already remarkable career.

The album, due out December 6, 2024, finds a stellar band exploring masterpieces from the songbooks of Brazil’s most revered composers, entrancingly melding the beguiling rhythms of bossa nova, frevo, samba, afoxé, and other styles with Rosnes’ visionary approach to modern jazz. The pianist is joined by a phenomenal band mixing American jazz masters (saxophonist Chris Potter, trombonist Steve Davis, bassist John Patitucci and drummer Adam Cruz) with contemporary Brazilian voices (guitarist Chico Pinheiro, percussionist Rogério Boccato and vocalist Maucha Adnet) and the classical flutist Shelley Brown, who is a longtime member of the Canadian Opera Company Orchestra and the National Ballet of Canada Orchestra.

Thrillingly, the album is graced by special guest appearances from legendary artists and composers Edu Lobo and Joyce Moreno, who perform their own classic songs. Both provide a direct link from Rosnes’ contemporary interpretations to “the second generation” post Bossa Nova era, granting this gorgeous new album the imprimatur of some of the music’s pioneering artists.

Like most North American listeners, Rosnes’ path first crossed that of the great Brazilian composers through the immortal songs of Antônio Carlos Jobim, soon followed by Native Dancer, Wayne Shorter’s classic 1975 collaboration with Milton Nascimento. Her passion was truly ignited in her late teens when she discovered the iconic singer Elis Regina, who became a superstar in her native Brazil before her tragic death at the age of 36.

“I love her music,” Rosnes marvels. “Hearing Elis sing made an instant and indelible impact on me. Several of the songs and composers on this recording, I initially discovered through her recordings.”

While Crossing Paths is the first project that Rosnes has wholly dedicated to Brazilian music, it’s far from her only exploration of the songbook. Her adoration of the music can be traced throughout her career. Her Juno Award-winning 1996 Blue Note album Ancestors opened with Edu Lobo’s “Upa Neguinho,” and 1999s Art & Soul included Egberto Gismonti’s “Sanfona.” Jobim’s catalogue is represented by “Modinha” on Manhattan Rain (2012) and by “Double Rainbow” on her 2010 two-piano outing with husband Bill Charlap, Double Portrait.

Rosnes’ most extensive opportunity delving into the repertoire came in 1998 when she was enlisted by Joyce Moreno (also known by the one-word sobriquet Joyce) for the singer-guitarist’s 1998 tribute album, Astronauta: Canções de Elis [Songs of Elis]. For that outing, she split piano duties with the late, great Mulgrew Miller and was thrilled to record the Jobim classic “Waters of March” with bossa nova titan Dori Caymmi sharing vocal duties.

“I was honored to have been a part of Joyce’s special tribute to Elis,” Rosnes recalls.

Moreno, now 76, returns the favor on Crossing Paths to sing a mesmerizing rendition of her song “Essa Mulher,” originally recorded as the title track of a 1979 Elis Regina album and a year later by Moreno herself on Feminina. The first verse unfolds as a graceful, delicate piano/voice duet before the band enters gently, highlighted by Davis’ sensitive trombone accompaniment.

The album’s other special guest, Edu Lobo, joins for two of his own gems. His relationship with Rosnes began when she received an Instagram message from the singer-songwriter praising her recording of “Upa Neguinho.” A digital pen pal friendship was struck up, bearing fruit on his pair of striking vocals on “Pra Dizer Adeus” and “Casa Forte.” Rosnes’ own voice can also be heard on “Pra Dizer Adeus” as she sings along in unison with her improvised piano solo. At 81, Lobo’s voice is only enriched by age, vividly conveying the songs’ emotional complexity despite language barriers.

Crossing Paths opens with a spirited take on Gismonti’s “Frevo,” with Rosnes, Pinheiro, and Brown as the fluid frontline. Brown is one of Rosnes’ oldest friends, dating back to their days as roommates at the University of Toronto. The session offered Rosnes her first opportunity to play with Pinheiro, surprisingly given how magically their two voices combine on their exhilarating duet inventions here, which follow a virtuosic turn by Patitucci on electric bass.

“There’s a wildly compelling athleticism to Egberto Gismonti’s music,” says Rosnes. “Whether listening to it or playing it, you get pulled into a strong vortex of energy.”

Caetano Veloso’s “Trilhos Urbanos” is a Brazilian anthem depicting the bustling streetcars of his Bahia hometown, Santo Amaro, here fueling lively solos by Davis, Pinheiro, and the leader. While she could have opted for any number of familiar Jobim melodies for the date, Rosnes chose the more obscure “Canta, Canta Mais.” The song is stirringly rendered by the Rio-born contralto Maucha Adnet, who spent ten years singing with Antonio Carlos Jobim and his Nova Banda. Adnet invited the band to join her with vocals, in keeping with the lyric (which translates as, “Sing, Sing More”). The album concludes with a return to Jobim for “Caminhos Cruzados,” which translates to “Crossing Paths” featuring a second intoxicating Adnet vocal and a poignant piano solo.

“There’s a certain vulnerability to Maucha’s voice,” Rosnes says. “Even though I’m not conversant in Portuguese, it’s easy to hear that she is a gifted storyteller. There is a beautiful humanity and spirituality coming through the lyric.”

Chris Potter joins the ensemble for three tracks. Lobo’s classic “Casa Forte” features a sprightly soprano solo leading directly into Rosnes dancing across the keys. Gilberto Gil’s “Amor Até O Fim” finds his muscular tenor sparring with Rosnes’ grooving Rhodes, while Milton Nascimento’s “Estórias da Floresta” reprises the tenor/Rhodes combo over an evocative rhythm forest conjured by Cruz and Boccato. The piece comes from Nascimento’s 1990 album Txai, which was inspired by the composer’s desire to bring more attention to the plight of the Amazon rain forest and its indigenous people.

The song’s environmental concerns resonate with Rosnes’ own, which she’s expressed on albums like her 2018 Smoke Sessions release Beloved of the Sky.

While Crossing Paths could be seen as a departure for Rosnes, it arrives as the culmination of a long-held dream, realized brilliantly. “This project was sparked in my mind about three decades ago,” she says. “I’ve always been passionate about the music of Brazil, and finally, the time felt right to embark on it. With this band, I knew I was with players who hold great respect and love for this music, and that together we could make these songs come alive in the way I had imagined.”

https://amzn.to/48f4Scm

Gabriel Mark Hasselbach | Count Your Lucky Stars

Juno Award-winning and multiple horn player Gabriel Mark Hasselbach has a long-established gratitude practice. As he prepares to release his second album since June, he’s feeling grateful about this prolific summer that will see the release of his fifteenth album, “Count Your Lucky Stars,” which he wrote and produced with Lew Laing Jr. (Paul Brown, Richard Elliot, Norman Brown). 

“Count Your Lucky Stars” is a 13-song aural exploration through contemporary jazz rhythms, grooves and melodies. Showcasing his lyrically expressive horn play, Hasselbach wields multiple horns on every track throughout the project, finding the variety empowers him to uniquely color, shade and texturize each song.    

“I mix my flute and my muted trumpet and my flugelhorn in a lot of different combinations. And I really like the balance of those textures. It provides different sonic colors to me, so it’s something that I’ve gravitated to and just by nature have developed,” Hasselbach recently told the Jazziz podcast. 

The album opener, “SunSeeker,” is the first single from the new album and the cut spotlighting saxophonist Marion Meadows began collecting radio and Spotify playlist adds last week, including SiriusXM’s Watercolors. Both artists lived in Hawaii for many years. Hasselbach paints the picture of the song’s inspiration. 

“The song title explains our journey to the islands, a magical place full of hope and love. Tradewinds create breezes that keep you cool, allowing the sun to gently burnish you,” said Hasselbach who will make his Catalina JazzTrax Festival debut on October 17.     

The uplifting title track is next and sprang from a daily affirmation that Hasselbach repeated. 

“I spent the last twenty years or so doing the personal development work to reach my potential and higher self, and part of that exercise was a daily affirmation that started out as wishful thinking and became my reality along the way. A 'thank you' goes a long way in daily interactions, but even more so when you thank the Universe or Higher Power for the good things you have - mentally, emotionally, physically and spiritually - rather than the things you don't have.”

Hasselbach’s positive mindset permeates “Positive Space,” a chill tune about the need for quiet, safe spaces free from toxic people.

“We all need places that nourish us, happy places free from toxic relationships. That is the key to a balanced and happy life, so I thought a musical expression of that reality was worth exploring,” said Hasselbach.

Juno and American Music Award-winning singer-guitarist Alfie Zappacosta plies his distinctive voice to “We Are,” continuing Hasselbach’s careerlong tradition of including at least one vocal track on every album. Pianist Miles Black is featured on “Force of Habit,” a slick percussive groove constructed by Laing Jr. and bassist Glenn Riley. Laing Jr.’s deft beats anchor “Funky Lew,” one of two duo tracks on the album performed by Hasselbach and Laing Jr. Eddie Bullen guests on “Written in the Stars,” issuing a poetic piano solo. 

The tempo rachets up to dance floor on “Show of Hands,” which Hasselbach said was written to pay homage to those who step up to serve society.  

“This is an inspirational and aspirational track that is meant to promote community spirit and giving. The world needs more uplifting and civic minded people who don't always put themselves first. In a way, this song is an anthem for the good guys!” enthused Hasselbach.

From club vibe to romance, Hasselbach serenades on “Paris Solstice,” recreating the ambiance from when he proposed to his wife atop the Eiffel Tower.

“After a couple of French 75s and some cheese nibbles, the fading light of the summer's eve bathed us in a golden glow as we were basking in the joy following the ‘Yes!’” recalled Hasselbach.

“Just A Little Fling” is the only song on the set that is flute driven. Andrew Jacob Scott’s articulate electric jazz guitar features on “State of Play.” The atmospheric “That Being Said” ventures into exotic romance created by Andre Frappier’s rhythmic Latin guitar and Steve Alaniz’s sensual sax. 

“Work the Magic” celebrates the magic of momentum, which began for Hasselbach last month when he released a retrospective collection of 18 vocal tracks taken from his 14 albums. “The Vocalists” features Michael Bublé, Dee Daniels and an accomplished assortment of popular Canadian vocalists as well as Hasselbach crooning himself. The vocal album is made up of straight-ahead jazz, R&B, blues and adult contemporary pop selections.  

This summer isn’t the first time that the fruitful Hasselbach has dropped two albums around the same time. His previous two projects, the contemporary jazz “Tongue & Groove” and straight-ahead “MidCentury Modern Vol.3,” both streeted in 2022. “Tongue & Groove” scored a Contemporary Album of the Year nomination at the inaugural Jazz Music Awards while “MidCentury Modern Vol.3” enjoyed a 17-week run on the JazzWeek chart.

A Denver native who has made Vancouver his home, Hasselbach is the rare jazz musician who is equally at home in contemporary, straight-ahead and traditional New Orleans jazz settings. He’s amassed eleven Billboard top 30 singles, and his extensive collection of honors and awards includes several Junos (Canada’s Grammy equivalent). Reflecting his resume  of projects in all hues of jazz, Hasselbach has recorded with a diverse array of Grammy winners and Billboard chart-toppers including Jeff Lorber, Paul Brown, Paul Hardcastle, Bob Baldwin, Marc Antoine, Greg Manning, Darren Rahn, Warren Hill, Rob Tardik, Bob James, Chuck Loeb, Larry Coryell, Ernie Watts and Bob Mintzer. He’s performed around the world at some of the most prestigious jazz festivals including Montreux, North Sea and JVC. 

https://amzn.to/48f4Scm

Isaiah Collier & The Chosen Few | The World Is On Fire

Just months after his last-full length release of The Almighty, The World is On Fire will be released on October 18th via Division 81 Records. Joined by Julian Davis Reid on piano, Jeremiah Hunt on bass, and Michael Ode on drums, the album is the final body of work with his quartet, The Chosen Few, marking the closing chapter of the group’s eight-year journey. Following Collier’s acclaimed 2021 release Cosmic Transitions which explored navigating lessons learned from interpersonal relationships during Retrograde and earned a five-star Downbeat review, The Almighty delved into the relationship between the everyday person and the Divine Source. Now, The World is On Fire takes an outward look into society and reverberates with the zeitgeist of today’s uproarious socio-political landscape.

The World is On Fire is Collier’s observation journal reflecting on the tumultuous period from before the pandemic to the present day. The title itself wields his lens on vile acts committed by those in power addressing themes of economic upheaval, systemic racism, and the relentless fight for justice. The potency of Collier’s compositions is reinforced by utilizing harrowing real-life news clips throughout the album that radiate the urgency, somberness, and turmoil during this time in history as the album as a whole serves as a requiem for countless lives lost and injustices that remain unacknowledged. It pays tribute to individuals like Sandra Bland, Ahmaud Arbery, Breonna Taylor, George Floyd, and Sonya Massey, among many others, whose stories have often been overshadowed.

“This project is a sonic exploration, blending sounds, consciousness, and activism to raise awareness about the pressing issues of our time,” says Collier, “Through my music, I strive to capture and personify the profound impact of the challenges we face.”

With projects that include the vocal-driven, funk, and R&B-slanted Parallel Universe that released their debut record via direct-to-disc label Night Dreamer in 2023; the free jazz-leaning saxophone & drums duo I AM; collaborations with Devon Turnbull’s (aka OJAS) hi-fi listening rooms; and finalizing his interdisciplinary arts suite The Story of 400 Years that details 400 Years of the African diaspora (first commissioned and debuted at Hyde Park Jazz Festival in 2019), Collier has plenty of irons in the fire with no intent to slow down any time soon.

“This 8 year journey with The Chosen Few is coming to an end. It’s almost ironic given the circumstances of the times. In the past eight years I have experienced two extreme presidents that have changed the world for me. Just as they have changed policy, so has my music. I can’t say it is a bittersweet thing for I have had this project since I had graduated High school. In an ironic sense I feel like I’m graduating again but into a new musical exploration and perspective. I have given as much as I can to this concept of sound that I can. I thank my musical ancestors John Coltrane, Wayne Shorter, Pharoah Sanders, and many more for being my muse in addition to being a vessel and conduit for their impact. Now I’m finding a new muse in sound and look forward to sharing with you all. For change is inevitable and I pose this question to the world: ‘What’s the point in doing something if you are not going to change it?,’” Collier says of his evolution.

As The Chosen Few prepare for their curtain call, The World is On Fire is a final offering that is more than a collection of songs—it’s a passionate plea for awareness, understanding, and change. Through the journey of sound and reflection, Collier urges us all to play a role in crafting a more just and equitable world.

“The record addresses the uncertainty of our future—both individually and collectively. We stand on the precipice of an unknown journey, and my goal is to find inspiration and insight into where we might be headed. This journey encompasses mental, spiritual, physical, and emotional transformation, driven by a burning passion to foster a better world.”

ISAIAH COLLIER 2024 TOUR DATES

• September 26: Constellation - Chicago, IL 
• October 10-13: Jazz Showcase - Chicago, IL
• October 18: All Blues - New York City, NY 
• October 19: Kente Art Alliance - Pittsburgh, PA
• October 30: Blues Alley - Washington D.C.
• November 9: Soka Performing Arts Center - Aliso Viejo, CA

https://amzn.to/48f4Scm

Samara Joy | Portrait

"I’m still speechless,” says Samara Joy, reflecting on her 2023 Grammy win for Best New Artist. When the Bronx-raised jazz vocalist, 24, tries to place herself back in that historic moment today, she feels nothing but gratitude.

At the same time, Joy understood then that she couldn’t let the award define her. She still had a lifetime of music to explore, a tight-knit crew of extraordinary collaborators to guide, and a passion for songwriting to nurture. So Joy did what any committed, eternally curious jazz musician would do: She hit the road. For her and her band, a seemingly endless run of sold-out tour dates became a nightly opportunity to reach new creative heights. “I just got back to work, doing what, in essence, got me the Grammy in the first place,” she says. 

Joy’s new Verve Records release, Portrait, is the proper follow-up to Linger Awhile, her 2022 breakthrough LP, and it represents the next phase in her continuing artistic evolution — unbound by expectations. 

Portrait documents the immersive, seemingly telepathic rapport she’s developed with her touring band, which includes musicians she learned the jazz craft alongside while earning her undergraduate degree; in fact, it wasn’t until college that Joy began to pursue jazz singing. On the strength of that cozy dynamic — on the road, "I'm among friends, which explains personal chemistry that translates to our live performances,” Joy says. The vocalist offers an album that both honors jazz heritage while staking out bold, singular territory. Whatever a rote, singer-with-sidemen record is, Portrait is not. 

Joy co-produced Portrait with fellow multiple Grammy winner Brian Lynch, a trumpeter and musical director who has been Eddie Palmieri’s most vital late-career collaborator and was a member of the final lineup of Art Blakey’s Jazz Messengers. The album was tracked in streamlined sessions — just two or three takes of each tune — at one of jazz’s most hallowed sites, Van Gelder Studio. “With this kind of band,” Joy says, “we play very close together on stage,” so the singer and Lynch recreated that vibe in the studio. The band recorded all together in that same fantastic room, feeding off each other’s energy as they would at a fiery live show. “It was the perfect place to capture this sound in its entirety,” Joy says.

Lynch, Joy raves, allowed her and the band to remain “in the driver’s seat, acting as our very supportive co-pilot.” The singer and her co-producer bonded over Abbey Lincoln’s 1961 LP Straight Ahead, on which the daring singer becomes brilliantly enmeshed in a band comprising Max Roach, Booker Little, Eric Dolphy, Coleman Hawkins, Julian Priester and other greats. That recording, Joy says, “showed me what my role could be, and opened my ears to what was possible.”

As on that vocal-jazz touchstone, Joy is best heard here as an integral part of an egalitarian octet featuring trumpeter Jason Charos, saxophonists David Mason and Kendric McCallister, trombonist Donavan Austin, pianist Connor Rohrer, bassist Felix Moseholm and drummer Evan Sherman. She soars above and out front, of course, but also functions as a pure instrument and a source of support and interplay. “I’m often the fifth voice,” she says, “the fifth horn. I just love the sound of this band. Hopefully, when people hear it they’ll realize that I’m a musician too.” 

Highlighting Joy’s generous, all-for-one strategy as a leader — an influence she gleaned from Art Blakey and Max Roach — Portrait boasts a uniquely synergistic approach to arranging. "I enjoy collaborating with fresh musical voices,” Joy says of her band, “because it not only helps all involved grow but helps to expand how musicians and audiences alike hear this music and what's to come. So I wanted to put these creative minds in one place to expand the music and, as a result, each other.” Joy took the ever-evolving highlights from her concert songbook and gave them to individual band members to arrange, based on each player’s gifts and personality. 

Portrait is also Joy’s most profound expression yet of her prowess as a songwriter — particularly as a lyricist of absolute poetic precision. It’s an inspired, surprising program that serves as a reminder of how the vocal-jazz repertoire can still break new ground while nodding to jazz history. On “Reincarnation of a Lovebird (Pursuit of a Dream),” Joy weds Charles Mingus’ tender tribute to Charlie Parker to her own mediation on, as she describes it, “love so strong that it’s surreal.” “Peace of Mind/Dreams Come True” matches Joy’s first original song and saxophonist Kendric McCallister, which unpacks the anxieties Joy felt in her post-Grammy moment, with the gratitude and cosmic optimism of Sun Ra. “Now and Then (In Remembrance Of…)” features Joy’s affecting words atop music by the late, great bebop sage Barry Harris, with whom Joy and McCallister studied. “It’s for Barry,” Joy says, “but it’s also for everybody in my life who is no longer here and yet I want to keep thinking of them, keep them present.”

Still, as might be expected given Joy’s track record with classic tunes, some of Portrait’s most impressive moments are the standards: Jason Charos’ arrangements of “You Stepped Out of a Dream” and “No More Blues” (an exuberant palate cleanser on which Joy sings Jon Hendricks’ lyrics); McCallister’s take on “Autumn Nocturne”; David Mason’s “Day by Day.” Donavan Austin’s original “A Fool in Love (Is Called a Clown)” is so delightfully sentimental it might as well be a standard.  

Throughout, Joy sounds divine, evoking her jazz idols while tapping into her rich background in a family of gospel and R&B renown. Or as Joy puts it simply, “I’m grateful to have so many tools at my disposal.”

Ultimately, though, Portrait is a masterwork that unspools the story of an ensemble — a band that coalesced as friends and student musicians and has continued developing through jazz stardom. “It’s just everything that I could have ever dreamed of in a band,” Joy says. “I hope we stay together for years to come. I really do.”

A native of the Bronx, Samara Joy became entranced by classic R&B as a child and cut her teeth as a singer in her church’s gospel choir. And while her family history is deeply musical — her grandparents helmed the Philadelphia gospel group the Savettes, and her father, the musician and songwriter Antonio McLendon, has produced, composed and arranged his own astounding original work — she didn’t delve into the jazz tradition until college at SUNY Purchase. During her studies there she won the 2019 Sarah Vaughan International Jazz Vocal Competition, which introduced her to the larger jazz scene as a rising star to watch. She was heard, by audiences and critics alike, as a masterful interpreter of jazz standards and a rightful heiress of the sound, technique and charisma that defined her jazz heroines — including Vaughan, Betty Carter, Abbey Lincoln and Carmen McRae.

Joy released her self-titled debut on the Whirlwind label in 2021, followed a year later by Linger Awhile, her breakout Verve debut, of which DownBeat said, “With this beautiful recording, a silky-voiced star is born.” The album earned her a Grammy for Best Jazz Vocal Album in addition to a headline-making win for Best New Artist. A deluxe edition of the album was released, as well as the EP A Joyful Holiday. Her new Verve album, Portrait, which Joy co-produced with the veteran trumpeter/bandleader and multi-Grammy winner Brian Lynch, showcases the intimate, soulful chemistry she’s developed with her touring band. Portrait also spotlights her burgeoning gifts as a lyricist, in ingenious arrangements that meld her thoughtful words with music by Charles Mingus, Sun Ra and her late mentor Barry Harris. 

Discover here.

Lisa Hilton | Lucky All Along

In her liner notes for her latest release entitled Lucky All Along (Ruby Slippers Productions 1030) out November 29, 2024, the acclaimed pianist/composer/band leader Lisa Hilton shares that the music is “Inspired by the history of cool jazz as well as the art of Impressionism.” Instead of paint, her compositional tools include “different harmonic palettes and rhythmic textures such as blues, swing, improvisation, free jazz, polyrhythms, bop, ragtime, early rock, the Latin tinge and traditional riffs.” Hilton hails from California, where many cool jazz creators previously lived for a period. These musicians include some of the most iconic jazz artists of all time: Miles Davis (1926-1991), Chet Baker (1929-1988), Stan Getz (1927-1991), as well as pianist Bill Evans (1920-1980). These “cool” and very expressive artists favored a moody style of playing with innovative harmonic explorations versus the more energetic “hot," or free jazz styles. 

Hilton also mentions being inspired by impressionist artists, including Dutch painter Vincent Van Gogh (1853-1890), the French painter George Seurat (1859-1891), and French plein-air painter Claude Monet (1840-1926), who were searching for new ways to express what they saw and felt through their art. This same spirit has fueled explorations in a variety of musical directions on Hilton’s outstanding new quartet release. 

Percolating with ideas, the nine original compositions and three cover tunes are intimate, enthralling, and laced throughout with rich blue tones, and swinging with Hilton's expressive touch on the piano. Lucky All Along gracefully shares the spotlight with quartet mates Igmar Thomas on trumpet, Luques Curtis on bass, and Rudy Royston on drums and percussion. 

Thomas’s virtuosity is stunning on Hilton’s tracks And Some Blues…, Prophesies and Predictions as well as the iconic All Blues by Miles Davis from his 1959 album Kind Of Blue, but blends well with Hilton’s round piano tones and bluesy solos. Curtis creates powerful and at times almost boisterous solos on these tracks too, delivering a steady stream of energy. Melodicism takes center stage on Hollywood Moment, reminiscent of some of Bill Evans’ pianism and Starry, Starry Eyes, which Hilton notes was inspired by impressionist painter Vincent Van Gogh. Royston’s creative moves delight throughout but imbue the Latin tinge tunes Little Beach Mornings and Escapist Fantasy with charm and mastery. Big Sur View allows us to hear Hilton’s solo piano clarity and expression in an Americana composition with classical touches. The titular Lucky All Along, has a countrified vibe, with a touch of ragtime. 

Hilton’s notes she chose two cover tunes because “I think jazz should reflect our times today and great composers of this generation too." See You Again, was co-written by singer/songwriter/producer Charlie Puth, whom Hilton met when he was still a student at Berklee College of Music. This touching tune was inspired by the loss of Puth’s friend in a motorcycle accident and radiates with Thomas’s improvisations and Royston’s steady support. Hilton added Puth’s solo piano intro to the finale of this track. 

The intimate Snow On The Beach, co-written by Taylor Swift, Lana Del Rey, and Jack Antonoff, is the last track on the album. Subtlety is the approach to this expressive song, that hints at holding onto rare and fleeting moments, bringing an impressionistic ending to this superb album. 

Brimming with ideas, hope and beauty, bursting with rhythm at times and creating impressionistic moods throughout, Lucky All Along has something for everyone - from those that are jazz curious to straight-ahead jazz fans, and beyond.

The music of Lisa Hilton draws on classic American jazz greats such as Duke Ellington, Thelonious Monk, Dizzy Gillespie, Horace Silver, and Count Basie, as well as blues heroes Muddy Waters and Robert Johnson. She is a prolific composer who records and performs with many of today's jazz luminaries. Her thirty albums regularly sit at the top of the Jazz Week and other radio/streaming charts for the last two decades, drawing millions of plays on streaming services and appearing regularly as an Amazon #1 New Jazz Release. Hilton has performed at venues such as Carnegie Hall, The Smithsonian Institution, UCLA's Royce Theatre, San Francisco Jazz, and Chicago's historic Green Mill.

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Janis Siegel & Yaron Gershovsky | The Colors of My Life: A Cy Coleman Songbook

When The Manhattan Transfer performed its final concert at Los Angeles’ Walt Disney Concert Hall last December, the event brought to a close one of the most storied chapters in vocal jazz history. Several months later, founding member Janis Siegel described her mindset as, “a kind of mourning,” while pianist and longtime musical director Yaron Gershovsky admitted to a deep sense of sadness.

Not that the pair was at a loss for the next step on their musical journeys. Over drinks at the bar following a Transfer concert several years earlier, Siegel and Gershovsky discovered that both had worked with the revered songwriter Cy Coleman – Gershovsky as the vocal arranger for the Tony Award-winning Broadway musical City of Angels, Siegel as part of the all-star vocal ensemble for Coleman’s final collaboration with lyricists Alan and Marilyn Bergman at the Kennedy Center. 

That conversation soon evolved into a full-fledged project: The Colors of My Life: A Cy Coleman Songbook, available now from the Club44 label, features the duo’s spirited interpretations of ten favorite Coleman compositions, pairing Siegel’s unmistakable voice with Gershovsky’s inventive music and vocal arrangements. The album boasts an elite roster of musicians including bassists David Finck and Boris Kozlov, drummer Cliff Almond, guest vocalist Aubrey Johnson, and The Crosby Street String Quartet. 

Despite the timing, The Colors of My Life was never intended to open a new chapter in either musician’s career; it just so happened to arrive at an ideal moment of reflection, as both suddenly had time to pause and think back over their multi-hued trajectories. Its release marks the first songbook album of Siegel’s diverse and prolific career, the first collection in her rich discography devoted to the work of a single composer.

Ten-time Grammy winner Siegel has long enjoyed an acclaimed solo career in parallel with her work with the Manhattan Transfer, including collaborations with pianists Fred Hersch, Edsel Gomez, Cedar Walton, Gil Goldstein, John di Martino, Addison Frei, and fellow vocalists including her former Transfer bandmate Laurel Massé, Lauren Kinhan of New York Voices, Bobby McFerrin, and Bob Dorough.

Gershovsky is a highly accomplished, internationally recognized and award-winning pianist, arranger, composer and producer who has recorded and performed with such artists as Wayne Shorter, Pharoah Sanders, Lonnie Smith, Steve Gadd, Take 6 and the Count Basie Orchestra. His Broadway credits include vocal arranging for the Tony Award-nominated musicals Swing and City of Angels, and serving as keyboardist for Broadway megahits Les Miserables and The Phantom of the Opera. He has been the pianist and musical director for Manhattan Transfer since 1979.

The personal connection that both collaborators shared with the urbane and jazz-inflected Coleman inevitably helped shape the album’s artistic vision. “There was definitely a resonance in visualizing how Cy might like what we were doing,” Siegel said. “He was always a third, silent partner in this endeavor.”

“Many times as I was toying around with my arrangements or reharmonizations,” Gershovsky added, “I was imagining Cy sitting at the piano next to me, listening and commenting about my choices. The challenge was always to put our personal stamp on the music, with all respect and deference to the music, just to make it a little fresher or more daring.”

Siegel credits the songwriter’s roots as a jazz pianist for the allure of his musical ideas. “I love the sophistication of his harmonic sense and the way his melodies fit with the chords,” she explained. “That's borne out by the types of artists that have covered his tunes: Blossom Dearie, Mabel Mercer, Frank Sinatra, Tony Bennett, Mark Murphy – singers that want that kind of sophistication and musicality.” 

The repertoire on The Colors of My Life ranges from familiar standards to more obscure material. The former proved the most daunting for the veteran arranger – how does one put a fresh spin on a song as oft-performed as “Witchcraft,” for instance? Gershovsky’s answer was to return to the lyric, which in Coleman’s case are provided by such wordsmiths as Carolyn Leigh, David Zippel, Peggy Lee, Joseph McCarthy, Michael Stewart, and the Bergmans.

The finger-snapping swing of “Witchcraft” thus becomes an entrancing spell cast by Gershovsky’s mesmerizing piano, while “The Best Is Yet To Come” gilds the song’s optimism with the steely determination so necessary for bringing hopes to fruition. Opening track “I’ve Got Your Number” is playful and sultry, Siegel playing the temptress as a cat toying with an enamored mouse. 

Sourced from City of Angels, “With Every Breath I Take” is, appropriately enough, breathtakingly beautiful, as is the melancholy “Being Without You,” which Siegel took note of during that Kennedy Center workshop and always knew she’d return to. “I’m Gonna Laugh You Right Out of My Life” is given a contemporary pop gloss with electric piano, shimmering synths, and Transfer-style vocal harmonies. 

The title track is given the hipster elegance of a Henry Mancini arrangement, while the instrumental “Playboy’s Theme” spotlights Gershovsky with a Neal Hefti-style buoyancy and Aubrey Johnson joining Siegel to weave more lush vocal tapestries. The co-collaborators pair off for two voice-and-piano duets: the last-call bop of “That’s My Style” and the wistful “Why Try to Change Me Now.” With this vibrant new collection, Siegel and Gershovsky add several bold and graceful new colors to their already kaleidoscopic collaboration. 

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