Vince Guaraldi's Soundtrack for "A Charlie Brown Thanksgiving" Available for the First Time Ever in 50 Years

Lee Mendelson Film Productions (LMFP) is thrilled to announce the release - for the first time ever – the complete Vince Guaraldi soundtrack to A Charlie Brown Thanksgiving, the timeless 10th animated Peanuts® special, from writer and creator Charles Schulz, director Bill Melendez and Phil Roman and producers Melendez and Lee Mendelson. Originally airing on November 20, 1973 on CBS-TV, the special has been broadcast or streamed every year for the last 50 years, and is currently available for streaming on Apple TV+.

The album includes the original recordings that comprise the thirteen song cues of the Special, plus another nine bonus or alternative tracks that have never been released or heard before.

Guaraldi lovingly created the soundtrack for the eclectic, big meal and family gathering, while also bolstering the hijinks of Snoopy and his new friend Woodstock as they “helped” Charlie Brown get ready for the party. The album also includes one of the few songs where composer Guaraldi also sang the lyrics he wrote to Little Birdie.

The recording features Guaraldi (piano, keyboards, guitar, vocals), Seward McCain (electric bass), Mike Clark (drums), Tom Harrell (trumpet and brass arrangements), and Chuck Bennett (trombone). The soundtrack was produced by Sean and Jason Mendelson, re-mixed by Terry Carleton at Bones and Knives, and restored and mastered/re-mastered by Vinson Hudson.

The album will available on CD, vinyl and digital. The CD has a 6-page insert. Both the LP and CD will have liner notes that give a track-by-track analysis by Sean Mendelson, musician, record producer and son of Peanuts® producer Lee Mendelson. Both versions have stills from the special and some images of the original track assignments for each instrument.

“Avid Guaraldi fans have long selected this Emmy® Award-winning TV special as their favorite, which is no surprise; the show is wall-to-wall music, bouncing between acoustic and electric keyboards, going silent only during Linus’ gentle sermon about the first Thanksgiving (a speech almost as eloquent as the one he delivers in A Charlie Brown Christmas). That sequence aside, Guaraldi was allowed to stretch and supply longer cues, each one starting as the previous one fades. The show boasts three new tunes, starting with a lyrical title theme constructed from acoustic piano filigrees that evoke the keyboard cascades in 'Skating.' An impudent cue titled 'Is It James or Charlie?' adds a bit of James Brown sass to the mix, and the standout newcomer is Guaraldi’s vocal on 'Little Birdie,' played at length when Snoopy — tasked with setting up the outdoor dining arrangements — wrestles with a basketball net, a garage door, a ping-pong table and an impressively sentient folding chair. Returning cues include one of Guaraldi’s best arrangements of 'Linus and Lucy,' with brass adding a spirited counterpoint to the primary theme, and also shading a new four-chord climb at the end of each verse's fourth measure: heard while Snoopy orchestrates the Thanksgiving 'dinner' of buttered toast, popcorn, pretzels, jellybeans and ice cream parfaits. The finger-snapping track pops up, here called 'Charlie Brown Blues.' The final returning tune, 'Peppermint Patty,' gets a quiet, leisurely arrangement on electric keyboard: perfectly echoing the girl’s coquettish side, notably when she flirts with Charlie Brown over the phone, while inviting herself — and Marcie and Franklin — to a party that doesn’t yet exist. The show’s final reprise of the title theme introduces a sparkling brass counterpoint: a terrific conclusion to a half-hour of solid combo jazz. What’s not to love?” — Derrick Bang, Peanuts® historian and author of Vince Guaraldi at the Piano.

"These great new, remastered recordings feature outtakes of Vince Guaraldi working out the piano voicings right on the spot in the studio. It is fascinating to me to be a fly on the wall for these historic sessions featuring drummer Mike Clark (who played on Herbie Hancock’s Thrust) and bassist Seward McCain on bass. It’s especially notable that Vince on this recording is making heavy use of The Fender Rhodes electric piano thereby keeping up with the times. These tracks are also much funkier and groove oriented than their predecessors which were more straight ahead. This is a very enjoyable and historic recording that is for anyone that likes jazz and Charlie Brown.” — David Benoit, Grammy-nominated jazz composer and recording artist (and Guaraldi torchbearer).

Chicago trio Hearsay announce brilliant, genre-defying "Glossolalia," forthcoming new album

Everything is in place here. Experimental / improvising trio Hearsay's new full-length, Glossolalia is unequivocally far out –– free rhythms and atonality are hallmarks of the recording. But interwoven with drums and cello are Allen Moore's profoundly physical turntablist acrobatics, Moore's contributions are the result of a radical process of casting records by hand, often incorporating found objects and materials and then "overlaying the ghostly sounds of the hand-cast records with echoes of voices from the Black Diaspora (friends, family, and prominent Black figures) and samples of Black soul, jazz and hip-hop." Here, chopped up soul singing voices blast in and interweave with Bill Harris's deeply intuitive drumming and Ishmael Ali's profound tone-texture-melody explorations. This music is out there but it is intriguing, inviting, and deeply pleasing –– perhaps even to a surprising degree. 

Expanding on the adventurous techniques that manifested their self-titled debut album, Chicago improvising trio, Hearsay returns with Glossolalia.

Comprised of visionary experimental sound artist Allen Moore, versatile cellist / guitarist / composer Ishmael Ali, and dynamic drummer Bill Harris, Hearsay cultivates a distinct and captivating aesthetic that traverses ethereal dimensions, gradually morphing rhythmic tapestries, and electrifying improvised soundscapes that bounce off of free jazz and textural noise music to land on a kind of wild and bounding avant-groove music that is as pleasing as it is avant-garde.

Their music elicits a mesmerizing blend of textures, as if conjured from another dimension, leaving listeners both spellbound and invigorated. Fractured but soulful blasts of uncanny soul emerge from Allen Moore's breathtaking, adventurous turntablist experiments to dance against –– and eventually with –– Bill Harris's propulsive drumming and Ishmael Ali's electrifying pursuits: he seems to discover melodies on his cello as much as create them. 

Glossolalia is a testament to the boundless creativity that emerged during their fruitful recording sessions. Pushing the boundaries of experimental music even further, this latest offering embraces a vast sonic palette, seamlessly interweaving timbres, grooves, and a compelling interplay that defies categorization but evokes familiarity and wonder. The results are difficult to categorize but will be well-loved by fans of contemporary sonic adventurers like Valentina Magaletti and Maria Chavez or fellow Chicagoan, the late jaimie branch's work in Anteloper, as well as those who turn regularly to the rich and wild depths of the ESP-Disk discography or that of the AACM.

Ben Rosenblum Nebula Project | "A Thousand Pebbles"

In the expansive universe of the Ben Rosenblum Nebula Project, musical traditions collide and commingle, ignite and recombine, coalescing into strikingly expressive new forms. A pianist, accordionist and composer whose music flows from his boundless curiosity and gift for forging passionate creative alliances, Rosenblum has carved out a singular niche on the New York scene exploring a far-flung array of rhythms and sounds in compositions guided by deeply etched narratives. Released  via One Trick Dog, A Thousand Pebbles is his 4th album as a leader, and it represents a major creative leap from the Nebula Project’s highly regarded 2020 debut Kites & Strings.  

A Thousand Pebbles showcases some of the most imaginative players on the contemporary New York scene with a brilliant constellation of improvisers who are also esteemed band leaders, composers and educators. Like its predecessor, the album includes trumpeter Wayne Tucker, guitarist Rafael Rosa, reed expert Jasper Dutz, bassist Marty Jaffe, and drummer Ben Zweig along with new addition Xavier Del Castillo on tenor sax and flute. 

The band is uniquely suited for the cohesive musical storytelling the Nebula Project is all about. “I’m lucky in that regard,” says Rosenblum.  “I’ve known these guys for a while, and I’ve come to understand their musical personalities. I’m writing for these musicians specifically, in a way that makes it really hard to sub when they’re not available. They’re personally invested in this project.”  

Ben Rosenblum’s music reflects his disparate musical passions, which encompass Bulgarian vocal polyphony, Northern Brazilian party music, Afro-Caribbean rhythms, and traditional Irish music. He introduces his wide-open aesthetic on the opening track “Catamaran,” a sprightly, inviting expedition that traverses open seas before arriving unexpectedly at a Celtic redoubt. The accordion-driven slip jig section was inspired by a lesson with Irish accordion virtuoso Jimmy Keane, and Rosenblum’s regular attendance at Monday night Irish song sessions at the Landmark Tavern in Hell’s Kitchen.  

Rosenblum wrote the first part of the piece in Croatia while accompanying the innovative vocalist Astrid Kuljanic, and the tune evokes the hopes and dreams of people traveling to a new home. Says Rosenblum, “The horns are the inner monologues of three different people, and I’m sort of panning the metaphorical camera from one to the other. Each horn player has a really different approach to the same harmony.” 

A cinematic sensibility also suffuses “Bulgares,” a swirling theme inspired by Rosenblum’s love of the all-woman Bulgarian vocal ensemble Les Voix Mysteres des Bulgares. The piece hurtles along in 11 with Dutz’s clarinet bringing out the reedy quality of the accordion as he and Rosenblum play the theme in unison. A startlingly beautiful arco bass statement opens “The Bell from Europe,” an elegiac theme inspired by a Weldon Kees poem and Croatian church bells, and something of a meditation on the search for meaning after the slaughter of two world wars. Rosenblum is just as deft at up-close-and-personal themes, as with “Lilian,” a film noir study centering on an alluring femme fatale portrayed with forlorn elegance by Dutz’s bass clarinet.  

The album’s centerpiece is the titular four-part suite, an extended sojourn that draws partly on Rosenblum’s memories of attending synagogue during high holidays. The stately, hymn-like, trumpet-driven introduction quickly gives way to the briskly swinging “Road to Recollection,” a vivifying piece of prog-rock hard bop. With a series of jump cut transitions, the suite evokes the Wayne Shorter multiverse with “The Gathering” and ends back in the pews with “Living Streams,” a sumptuous setting based on the chord changes for Psalm 23. “I think of the suite more as a reflection on childhood than a spiritual journey,” says Rosenblum, “trying to understand these huge forces and concepts, trying to find your own meaning in all these different traditions.” 

Rosenblum closes the album with two disparate tracks. He reimagines the oft-overlooked bossa nova standard “Song of the Sabia” by transplanting Jobim’s sublime, saudade-soaked melody to the dry hinterlands of northern Brazil, setting the song to a propulsive forró groove. “Implicit Attitude,” a contrafact of the Miles Davis/Gil Evans tune “Boplicity,” Is the album’s most straight-ahead piece, infused with an unadulterated shot of swing, a Lennie Tristano vibe for trumpet and sax and guitar. 

In many ways Rosenblum’s global aesthetic reflects his cosmopolitan upbringing in New York City. A Gotham native born on March 29, 1993, he earned a BA from Columbia University while studying piano at Juilliard with Bruce Barth and Frank Kimbrough. By high school he’d met his first mentor, esteemed Israeli-born pianist Roy Assaf, who connected him with drum maestro Winard Harper. Harper was just starting a new jam session in Jersey City to bring jazz back into his home community. With a small budget, “Winard got young musicians like me for the house band, and that ended up being an incredible experience.” Assaf also introduced Rosenblum to veteran vocalist Deborah Davis, who took him under her wing and taught him the art of vocal accompaniment. Davis recommended Rosenblum to bassist Curtis Lundy, who became another invaluable mentor, providing “tough love in a way that was great for my development,” he says. 

Showcasing a dazzling cross section of New York talent, Nebula Project is an ideal forum for the knowledge Rosenblum has gleaned over the years. With his telegraphic lyricism, Wayne Tucker delivers crackling work throughout. The trumpeter has made a name for himself as a bandleader, songwriter, and accompanist for vocal stars such as Kurt Elling, Dee Dee Bridgewater and Cyrille Aimee. Along with Jasper Dutz (who recently took over the lead alto chair in Arturo O'Farrill's Afro-Latin Jazz Alliance), Xavier Del Castillo and Puerto Rican guitarist Rafael Rosa, the group boasts a frontline bristling with rising stars. 

The band is built upon Rosenblum’s working trio with Marty Jaffe and Ben Zweig, who Rosenblum has toured with for several years. “They’re willing to be as adventurous musically as I want to be,” he says. “The two of them have such a deep knowledge of traditional jazz and hard bop and how to swing, but they’re willing to spend the hours to learn about, say, Brazilian music in a deep way.” 

Best known as a highly adaptable pianist, Rosenblum started to focus on the accordion about seven years ago. He studied with Brazilian master Vitor Gonçalves, and the dearth of jazz accordion players meant that “I started getting opportunities I wasn’t ready for at the time,” he says, like touring around Europe with New York-based Croatian jazz vocalist Astrid Kuljanic. “The accordion introduced me to all kinds of international styles – South American, klezmer, Romanian, and Irish music.” 

His engagement with the accordion accelerated during the pandemic, which wiped away indoor gigs for many months. “And all of a sudden all these other gigs started happening,” he says. “I was practicing the accordion a lot during the pandemic, and found myself in a lot more accordion settings, playing forró with Nêgah Santos and Punjabi folk songs and ghazals with Kiran Ahluwalia. I just played a bunch of traditional Turkish music with oud and kamancheh. It’s opened up so many worlds in such a crazy way.” 

The Nebula Project captures the inspiration that Rosenblum has gleaned from some of those worlds as A Thousand Pebbles exemplifies jazz’s singular power to absorb far-flung influences. It’s a joyous ride.   

www.benrosenblummusic.com

 

Ted Kooshian | "Hubub!"

What’s all the Hubub!, bub? It’s the riotous and gleeful new album from pianist and keyboardist Ted Kooshian! Having spent his last several albums exploring the unusual repertoire of classic TV and cartoon themes, on his fifth album Kooshian focuses primarily on his own eclectic compositions for the first time since his acclaimed 2004 debut, Clockwork.

 While the tunes on Hubub! forgo the raucous takes on the I Dream of Jeannie or Underdog themes, the offbeat sensibility that led Kooshian to such unexpected material is fully intact on his own pieces. As is his enthusiastic love for pop culture, here represented by evocative dedications to actors Steve McQueen and William Shatner.

Not that his nostalgia for the Saturday morning and prime time fare of his childhood was ever the sole source for Kooshian’s spirited sound. Throughout his last three releases, the familiar music of Captain Kangaroo and Baretta sat side by side with Kooshian’s own witty writing, jazz classics from such heroes as Wayne Shorter and Duke Ellington, and rock/pop favorites by Led Zeppelin or The Police. All of those influences merge through the pianist’s own pen on Hubub!, with vigorously swinging jazz, memorably infectious pop melodies and a quirky, inviting sense of playfulness.

Which makes sense given that Kooshian was discovering those formative influences all at the same time as he grew up in the Bay Area. “In the seventh grade there was a new, young band director at our junior high school, who wanted to start a jazz band,” Kooshian recalls. “He played an Oscar Peterson record for me, and it completely turned me around. I immediately thought, ‘Man, this is what I want to do.’ That same band director was really into Star Trek, which I already loved. So he helped me dive further into Star Trek and [legendary stop-motion effects master] Ray Harryhausen and the Marx Brothers in addition to jazz.”

Kooshian has assembled an ideal band for the occasion to help him achieve his unique mixture of influences and approaches. Hubub! features longtime compatriot Jeff Lederer on tenor saxophone, who has appeared on every one of Kooshian’s releases to date; veteran trumpeter John Bailey; bassist Dick Sarpola, another longtime collaborator who filled the same chair on Clockwork; and drummer Greg Joseph. Percussionist David Silliman, a friend since college who appeared on Kooshian’s most recent release, Clowns Will Be Arriving, guests on both “McQueen” and “Shatner.”

The album opens with the title track, which has been in Kooshian’s book for nearly three decades. It was written in 1992 upon the composer’s return to the hectic lifestyle of New York City following a brief respite at his sister’s home in the Boston suburbs. The piece, featuring bold solo turns from Bailey (at his brassiest) and Lederer (low down and funky), vibrantly conveys the frantic kineticism of navigating the traffic and crowds of the Big Apple.

“Wandelen” presents a far more serene and blissful landscape. Kooshian’s wife had gone to Holland as a foreign exchange student, and the couple reunited with her former hosts over the course of several recent summers, each time visiting a different Dutch island. “Wandelen” translates as “walking,” a favorite pastime of Kooshian’s in general and amidst the gorgeous vistas of those sites. The smallest of the Dutch North Sea islands, and the first that Kooshian visited, was “Schiermonnikoog,” inspiring the buoyant tune of the same name.

Opening with a striking, jagged piano solo, “Sparkplug – She Came to Play” is named for Kooshian’s beloved 11-year-old dog. “She's getting a little older now,” he says, “but she's still got tons of energy. She still acts like a puppy, though she's starting to slow down a little.” The album’s sole non-original is Kooshian’s atypically jaunty arrangement of Leonard Bernstein’s “Somewhere,” from West Side Story. The pianist has had experience playing a more traditional version of the tune on a European tour of the show in the early 1990s. The heartfelt “Hymn for Her” was co-written by Kooshian and vocalist Judy Barnett, and features vocalist Jim Mola along with Katie Jacoby on violin and Summer Boggess on cello. Jacoby, a fellow alumnus of the Ed Palermo Big Band (of which Kooshian has been a primary member for nearly 30 years), also tours with rock icons The Who and is featured on “McQueen,” an ode to the late action hero and epitome of cool.

“Bullitt is my all-time favorite movie,” Kooshian explains. “I love The Great Escape and The Magnificent Seven as well, but I always come back to Bullitt. I probably watch it a couple times a year – and I watch the chase scene about once a month. I'm a big fan.”

“Tornetto” is a portmanteau of “tornado” and “Ornette,” and the name perfectly suits the angular whirlwind of a tune. “Desert Island Tracks” not only conjures the ocean breeze and swaying palms of a deserted isle, but is Kooshian’s bid to land on some fan’s list of can’t-live-without favorites (he has his own playlist of a few dozen favorite tunes, just in case of shipwreck). “Space Train” returns to the interstellar terrain previously visited by Kooshian’s cosmic Standard Orbit Quartet.

Which brings us to “Shatner,” an ode to one of Kooshian’s lifelong heroes and star of his favorite show, the original Star Trek. “I'm a huge fan and have been since the sixties,” he says. “I saw his show on Broadway twice and saw him at a Star Trek convention once. Hopefully he’ll like this tune that I dedicated to him.”

Born in San Jose, California, pianist/keyboardist Ted Kooshian grew up in the Bay Area and started playing piano in the 2nd grade. He moved to New York City in 1987 and since then has worked with Aretha Franklin, Chuck Berry, Edgar Winter, Marvin Hamlisch, Sarah Brightman, Blood, Sweat, and Tears, and Il Divo. On Broadway he’s performed with such hit shows as Mamma Mia, The Lion King, Aida, Come Fly Away, Dirty Rotten Scoundrels and Spamalot. He has performed at the Detroit Jazz Festival, the Syracuse Jazz Festival, the Sun Valley Jazz Festival, and the Clifford Brown Jazz Festival, as well as festivals in Germany, Estonia, Lithuania, and Latvia. In addition to leading his own groups and projects, Kooshian has been a member of the Ed Palermo Big Band since 1994. Since 2012 he has played solo piano five nights a week at Center Bar, one floor below Jazz at Lincoln Center in the Time/Warner Building.

Allegra Levy | "Songs For You And Me"

Award-winning jazz singer/songwriter Allegra Levy brings her distinctive brand of sweet, swinging elegance straight to the hearts of young and old alike with her first album for children and families, Songs for You and Me, to be released on April 7, 2023.

Named a Top 10 Rising Star among jazz vocalists in DownBeat’s 2021 Critics’ Poll, Allegra Levy is that rare jazz songbird who pens her own tunes. Songs for You and Me offers families a jewel-box collection of sparkling songs that fit right in with the music Allegra loved while growing up: Raffi, Cat Stevens, Joni Mitchell, Ella Fitzgerald, and more. “This album was written for everyone,” Allegra notes, “because the little kid in us still just wants to sing along.”

“Coming from a degree in jazz vocal performance from New England Conservatory, the last place I thought I’d end up was recording children’s music … until I became a mom,” adds Allegra. “During the pandemic and once Stella Plum was born, my listening demographic shifted from the city’s crowded, dingy basement clubs to a bright and beaming audience of one. Yet simple melodies have always been my truest form of self-expression,” she observes, “and they have never flowed more naturally than when I’m with my daughter. I didn’t want to ‘dumb’ anything down for a learning child, but I tried to keep things accessible and singable.”

Long involved in activism and human rights, Allegra Levy was shocked, when working for a preschool music program at a Manhattan private school, to discover that some classic children’s songs harken back to the days of Jim Crow. “We don’t always know the history of every children’s song, which is why I feel it’s so important to create a new generation of music,” says Allegra. “I wrote these tunes and lyrics with a goal of contributing to a new sound for today’s world, which values diversity, equity, and inclusion.”

Kicking off Songs for You and Me is “Hello Song,” a joyful, multilingual greeting between friends, conceived as a kind of modern-day “It’s a Small World.” Allegra’s daughter, Stella, whose ancestry is a mix of Hong Kong Chinese, German, and Ashkenazi Jewish, is growing up speaking English, Spanish, and Cantonese. Allegra wants children like Stella to see themselves reflected in song. After inviting friends from all around the world to contribute their uniquely rich heritage, Allegra was overwhelmed with responses, including greetings in Farsi, Hebrew, Vietnamese, French, Mandarin, Zulu, Polish, Japanese, and Korean. Allegra says, “There were too many to even use! This really solidified my feeling that music can be a vehicle for peace and change.”

Other highlights include the unbeatably catchy food song, “Noodles!,” which grew out of a sorely trying day in Allegra’s life as a young mom, when it felt like everything she attempted was just wrong. To cope, she sat down at the keyboard, laughed at herself and the situation, and wrote this swinging number. On “Stella for Star,” Allegra’s vocals float like magic, complemented by Katie Seiler’s stellar whistling, beautiful single-string guitar picking from Andrew Baird, and pianistic contributions from Jason Yeager, defining the word “perfection.” 

A native of West Hartford, Connecticut now based in New York, Allegra Levy has been dubbed a “double-barreled talent” and “unquestionably one to watch” by JazzTimes magazine. Allegra is known not only for her richly sweet yet swinging alto voice, but also for writing catchy, emotive songs grounded in tradition, with a nod to the progressive. She has appeared at most of the top clubs in New York City, including The Jazz Standard, Birdland Theater, Zinc Bar, The Bitter End, Cornelia Street Café, and The Blue Note. From 2014 to 2015, Allegra also served as artist in residence at the world-famous Blue Bar in the Hong Kong Four Seasons Hotel. 

“Fresh … exotic… and far beyond the ordinary,” wrote Ben Ratliff in The New York Times of Allegra Levy’s 2014 autobiographical debut album, Lonely City. From Lonely City’s plaintive title track to Allegra’s critically acclaimed 2017 follow-up release, Cities Between Us, and beyond, Allegra Levy has penned a lyrical collection of harmonically adventurous-yet-familiar originals steeped in the spirit of the Great American Songbook. 

Allegra’s third album, 2018’s Looking at the Moon, was named an Editor’s Pick in both DownBeat Magazine and JazzTimes. In 2020, she released a fourth album, Lose My Number: Allegra Levy Sings John McNeil, to rave reviews. Lose My Number features Allegra’s own lyrics set to the tunes of renowned jazz trumpeter John McNeil. The New Yorker called it “a showcase for Levy’s… agile vocalizing and her gift for sculpting words, and for McNeil’s far too neglected abilities as a melodic architect.” Marc Myers of JazzWax enthused, “As I listened to Lose My Number, I flipped. Allegra’s voice was wonderfully hip, the song melodies were unknown but sophisticated and savvy, the lyrics were superb and smart, and she was backed by three women. If ever an album dismissed the notion that female jazz artists don’t measure up to their male counterparts, this one scatters that myth to the wind. Lose My Number is among my favorite jazz vocal albums of the year.”

Allegra Levy’s career continues to accumulate accolades. In addition to being featured in the 2021 DownBeat Critics’ Poll as a Top 10 Rising Star Jazz Vocalist, Allegra won the 2020 John Lennon Songwriting Contest’s “Stuck at Home” edition for “Wash My Hands” (a children’s song to encourage healthy habits during the Covid pandemic), as well as first place in the 2019 Great American Song Contest’s Adult Contemporary Music Category for her original pop tune, “Waste My Time.” Also in 2019, Allegra’s composition, “Man in the Moon,” from the short film Astronaut Hour – for which she wrote the entire score – won Best Original Song in the International Independent Film Awards competition. Allegra is also proud of her work with the Women in Jazz Organization, for which she serves on the leadership team. She lives in Manhattan with her husband, JP, their daughter, Stella Plum, and their dog, Luna.

Songs for You and Me will be available on all streaming services, Amazon, and www.allegralevy.com beginning on Stella Plum’s second birthday, April 7, 2023.

 

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Album Details: Songs for You and Me

Label: Little Moon Records

Release Date: April 7, 2023

Run time: 34 minutes

Kim Waters | "That Special Touch"

Chart-Topping Saxman Kim Waters Celebrates 35 Yrs of Recording w/25th Solo album

In a world where we are all multi-tasking, overbooked and moving at maximum speed, the intimate quiet moments and thoughtful gestures from the ones we love, are what makes life worth living. The hit-making and chart-topping saxophonist Kim Waters, dubbed “Simply one of the planet’s best saxophonists” by JazzTimes Magazine, offers the perfect oasis from life’s frenetic pace on his 25th recording That Special Touch. Known for crafting irresistible melodies, insatiable grooves and undeniable hooks, Waters’ signature sound combines the best elements of Jazz, R&B, Blues and Pop. The saxophonist has made it a trademark to harness the spirit of love in all of his recordings. “I think that everybody needs love. It’s something for certain that in today's world, we need more of and if we had more of it, the world would be a better place,” explains Waters. “A lot of artists that I have admired have made their careers off of love like Babyface, Barry White and Marvin Gaye. You can't go wrong with love.”  

That Special Touch opens with the album’s first single, the elegant and jubilant “Joy Dance.” Waters’ agile and emotive horn seduces with his flawless tone and smooth melodic flow. The winning number calls to mind Lionel Richie’s timeless “Love Will Find A Way.” The funky and trippy club vibe of “House Call” hypnotizes with its pulsating groove and bluesy edge.  Although the album features mostly originals, Waters reimagines two well-known songs. He delivers his own stunning take on Adele’s #1 anthem “Easy On Me.”  “This Adele song is such a great tune and when I first heard it, I immediately thought to myself that it is the perfect song for the saxophone. It’s simple but yet it catches you right off the top.”  Waters also reinvents R&B singer Joe’s “If I Were Your Man,” featuring singer Raynard Gibson. “I have met Joe and I have been a fan of his forever,” confesses Waters. “I wanted to put my spin one of his songs and this one was perfect.”

“Making this album was a bit different this time around,” shares Waters. I recorded at my home in Alpharetta, GA and instead of going straight into the studio, I did all of the writing at the piano downstairs in my piano lounge. Once I had composed all the songs, I went upstairs to my real studio to record.” The album’s title track is a special in more ways than one. Not only is it a standout on the album but it also joins Waters with one of his greatest loves, one of his twin daughters, pianist Kayla Waters.  “I never persuaded Kayla to go into music. She took on the piano when she was 11 months old and by the time she was five or six, I was like ‘Wait a minute, she's got something here!,” reflects Kim. “It is absolutely amazing to have the opportunity to perform with my daughter in concerts and then have the chance to play a duet with her on this record. It was incredible to watch her do the piano parts. She is so critical about everything she does which I appreciate. It's a great attribute that will be useful throughout her career and give her longevity.” That Special Touch also features “Get Your Groove On.” As the title suggests, it is a straight-up dance number reminiscent of the New Jack Swing Era  a la “Groove Me’ and “Don’t Be Cruel.”  The original “Listen To Your Heart,” is a gorgeous danceable uplifting number while the scintillating “Morning Sunrise” is a shimmering meditative beauty. “The Flamenco-tinged “Breathless” shines a light on Waters inviting soprano while “Pathway to Love” is the perfect closer for Kim Waters’ loving offering to his devoted fans.

With a career that has spanned close to four decades, the indefatigable Kim Waters is still inspired. “I have been recording for 35 years and I love it.  It's my passion and it is all that I've ever done. There are so many great young guns coming along that I have to stay at the top of my game! I am blessed that I was trained on the straight ahead side of things which gave me a great foundation.” Waters’ keen harmonic sense, tasteful and soulful phrasing and fluid melodic sensibilities have made him one the premiere architects of Contemporary Jazz. The Maryland born Renaissance man was inspired early on in his career by such Jazz luminaries as Duke Ellington, Herbie Hancock, George Duke, George Benson, Grover Washington Jr., and Cannonball Adderley. Waters picked up his first instrument, the violin, at the age of eight.  "That didn't go over well with the fellas," says Waters, who later found his calling on the alto and soprano saxophones at 13. Shortly afterwards he began playing in a band with his brothers, James (who he still performs with) and Eric, and his old friend, pianist Cyrus Chestnut. Over the years, Kim Waters has been called on to perform with or open shows for the best including Al Green, Isaac Hayes, Phyllis Hyman, Teddy Riley and Guy, and Gerald Albright to name a few.  

Kim Waters exudes a knowing confidence and cool calm. When the suave and debonair saxophonist is not making music, he enjoys riding his electric bikes and walking three to four miles a day. He says it is a spiritual thing. “It helps me clear my head and it gives me a chance to talk with myself and keep my mind off the music which is a really hard thing to do when you are always thinking about it!” Waters has learned a thing or two about life from his grandmother that keeps his life and music in focus. “My grandmother used to always say that getting upset and stressing about things won't change anything. I have learned that you just have to stay even keel and let things work themselves out.” Kim Waters’ steadfast approach has carried him to the top of the charts more than a few times and into the hearts of music fans all around the world. “My fans, friends and family inspire me to be the best I can be. It makes me smile when I hear and see people happy because of my music!!! That's what it’s all about,” concludes Waters. 

Steve Turre | "Generations"

Trombonist and composer Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters – Art Blakey, Rahsaan Roland Kirk, Woody Shaw, and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of fresh blood while paying tribute to the elders who have helped shape his sound. 

Set for release on September 16 via Smoke Sessions Records, Generations features literal second-generation players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the core band includes young pianist Isaiah J. Thompson and the more tenured Corcoran Holt on bass, who has been working with Turre for more than a decade. 

Over the course of the album this stellar group is joined by the likes of saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez. 

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.” 

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career, ranging from burning modal jazz to tender ballads, sophisticated swing to reggae grooves to Latin rhythms, and of course, at the root of everything is the blues. “The blues don't never get old,” Turre declares. “I like playing the blues. To me, it's quintessential to American music.” 

The most straightforward blues on the album comes in the form of “Blue Smoke,” a tip of the horn to Turre’s home label for his past four releases and its namesake club, where he’s a regular performer. The tune pairs the trombonist with guitar great Ed Cherry, a fellow alumnus of the Dizzy Gillespie band. 

The album opens with the searing “Planting the Ceed,” an homage to Cedar Walton. “He’s one of my heroes,” Turre says of the great pianist, who was a member of Art Blakey’s Jazz Messengers when Turre joined the band in 1973. The tune is highlighted by a bold and serpentine tenor solo by Modeste. “I didn't set out to write a tune for Cedar, but it made me feel a similar kind of feeling that I used to get when I played with Cedar. And he planted the seed in me when I was young and started playing with him.” 

An even earlier influence was Duke Ellington, the honoree of the elegant “Dinner with Duke.” Turre had the opportunity to see the iconic bandleader in concert when he was in the fourth grade. “My parents took me to Oakland Auditorium to see Duke in 1957, when I had just started playing the trombone,” he recalls, still marveling at the experience. “He had Johnny Hodges, Clark Terry and Britt Woodman in the band, Coleman Hawkins was the guest soloist, and Ella Fitzgerald was a guest vocalist. I didn't know what they were doing, but it blew my mind. That was it. I said, ‘Man, I'm gonna do that.’ It just made me feel good.” 

For “Don D.,” a tribute to the legendary Skatalites trombonist Don Drummond, Turre convened a reggae summit meeting with guitarist Andy Bassford, bassist Derrick Barnett, drummer Karl Wright and keyboardist Trevor Watkis. The searching “Pharoah’s Dance” is a joint tribute to saxophone titan Pharoah Sanders and the genius pianist McCoy Tyner, both of whom have been collaborators with the trombonist over the years. Roney’s bristling solo is buoyed by Pedrito Martinez’s rollicking percussion. 

The album’s sole standard is a simmering rendition of the classic “Smoke Gets in Your Eyes,” Turre showcasing the supple grace of his playing on the wistful melody. “I'd never heard a trombone play that song,” Turre says. “But I didn't want to do it the same way everybody else does it so I put a little bit of African 6 [6/8 rhythm] to it, which is where swing comes from. That gives it a very tranquil mood. It's more relaxed than the hard-hitting tunes, so it's a nice release of tension.” 

“Flower Power” shines the spotlight on Turre’s famed conch shell virtuosity on a mesmerizing, elusive new piece. “It’s kind of a dreamy journey,” Turre describes with a grin. “You start out on your first steps with the bass, you go on a musical journey, and then your last steps end with the bass. I told the horn players, ‘I'm gonna play for a while, both with the trombone and later with the shells, then you join me and we'll make it a conversation.’ It was completely spontaneous and it's totally different every time. That's the thrill of discovery.” 

The Latin-influenced “Good People” is a tune that Turre has had in his book for years and finally decided to record. It’s enlivened by the presence of the brilliant percussionist Pedrito Martinez. “Sweet Dreams” is a gentle ballad graced by Orion’s feather-light brushwork, a breathtakingly eloquent bass solo as only the mighty Buster Williams can provide and an intimate and soaring turn from the always masterful James Carter on tenor.

 “Resistance” brings the album to a vigorous conclusion with a determined composition penned at the time of the tumultuous 2016 election, though it’s taken on a broader and more urgent meaning in the years since. “It's tough times,” Turre says. “This song is about resisting all the negative forces that we must encounter in the world today.” 

The generations of remarkable musicians joining forces on Generations prove that the music’s bloodline remains strong. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead.” 

Julia Hülsmann Quartet | "The Next Door"

The follow-up to 2019’s Not Far From Here sees Julia Hülsmann reconvening with the same line-up as last time, in Studios La Buissonne, and entering into intense interplay with a band that has been extensively worked-in on the road. The Guardian called the quartet’s debut “a standout, for understated reinvention of the familiar and cool virtuosity” and spoke of “clever, thoughtful, inquisitively contemporary jazzmaking." These virtues have been further refined and new idioms added to the blend on the quartet’s second stance, with each member – tenor saxophonist Uli Kempendorff, Heinrich Köbberling on drums, Marc Muellbauer on bass and Julia – contributing original material to The Next Door. 

“Since the last album we’ve been on the road a whole lot," Julia notes. “We’ve had time to further develop our rapport as a quartet and, as a result, our interplay has become even more intuitive.” Even when most live-activity was intermittently shut down, Julia and her quartet participated in alternative performance projects and spent many weeks vigorously rehearsing new material. The fruit of their labour, presented on this album, is as multi-facetted as it is uncompromising, with a strong emphasis on an intimate ensemble sound. Flashes of jazz’ tradition, somewhere between '60s modal customs and post-bop swing, pull through The Next Door like a guiding light, but it’s how the group subsequently transforms these notions and makes them their own that stands out. 

“Empty Hands," the album’s pensive opener, is a blank canvas, gradually filled in with tender key strokes, searching melodies and delicate accompaniment. As Julia, who wrote the song, explains: “When your hands are full, you have to juggle everything back and forth, you’ve too much to deal with simultaneously. Empty hands, on the other hand, are like a clean slate – you have all the possibilities in the world to do what you please”. “Made of Wood” contrasts this impressionist design with an earthy tone, set in a modal frame and propelled forward by straight-ahead swing: “Time and again I feel like writing something solid, conciliatory in a way. This piece refers to my inner foundation, which I associate with something made of wood, something comforting.” 

The pianist’s brief duo exposition in exchange with saxophonist Uli Kempendorff on “Jetzt Noch Nicht” – later reprised as a variation with all members of the group – is a moody theme with a twisty melody, inviting the players’ most expressive playing. On Julia’s “Fluid” the band presents a tight, spirited unit in a mesmerizing performance of a smooth, steadily crescendoing arc: “This piece is based around the thick, layered piano sound that’s introduced after a couple of bars. Melodies can crystallize over this fluid tapestry and flow on in waves. Water is an important element to me, which frequently appears in my images.”  

Uli’s warm tone complements Julia’s trio with exceptional warmth, entering into a natural symbiosis with the piano’s subtle action, and his own piece, “Open Up," is among the set’s highlights: “When writing ‘Open Up’ I was exclusively focused on the melody’s forward-motion. The line dancingly weaves its way through three octaves. The bass part is notated and creates a counterpoint, while piano and drums are free to interject, comment and mingle at will. There’s much room for free interpretation and alteration throughout.” 

Marc Muellbauer’s compositional contributions go through various pulsations – “Polychrome” being a rubato exercise built around a, mostly, diatonic melody that wants to escape its tonal framework. “Wasp at the Window” on the other hand finds the group conspiring in an extensive workout in nine-time with an ostinato bending and bulging to the quartet’s beat. Again different by design, Marc wrote the bossa nova “Valdemossa” with composer Frédéric Chopin in mind: “It is based on the harmony of Chopin’s well-known Prelude No.4 in E Minor, from his cycle of 24 Preludes, op.28. I wrote a new melody expanding the harmony’s chromatic suggestions and exploiting its ambiguity in modulating into two other, far removed keys. It is named after the beautiful place in Mallorca where Chopin wrote his piece…” 

With a playful and slightly deconstructed inclination, drummer Heinrich Köbberling’s first original in the programme, “Lightcap," initially suggests the sketch-like framework of a Paul Motian tune. Actually, the piece is inspired by Köbberling’s early trio endeavours in the '90s with saxophonist Lisa Parrott and bassist Chris Lightcap, giving the song its name. The drummer’s other composition is “Post Post Post” – a subtle group improvisation with a veiled melody that has occupied the drummer for several years. 

It has become customary for Julia’s records to highlight revamps of known songs from the pop world and with Prince’s “Sometimes it Snows in April” the quartet uncovers another neat treat. The piece’s catchy melody, immediate harmonic hook and laid-back groove are thoughtfully explored by the entire band, with Julia’s gentle touch at the centre of attention.  

The Next Door, recorded at Studios La Buissonne in the South of France in March 2022, is issued as the quartet embarks on a European tour, with concerts in Germany, Switzerland, Austria and Norway.

New Music: Mark De Clive-Lowe & Friends, Kabir Sehgal/Amaan Ali Bangash/Ayaan Ali Bangash, Robert Diak, Antonio Adolfo

Mark De Clive-Lowe & Friends - Freedom: Celebrating The Music Of Pharoah Sanders

A wonderful set, one that's even better than you might expect – and a record that really marks the shift in Mark De Clive-Lowe from club music to jazz – a format that he carries off beautifully here in the company of some very like-minded musicians! The setting is a live one – and the double-length set builds with the kind of organic energy that really lives up to the legacy of Pharoah Sanders, especially his Impulse Records material – but also has a quality that's nicely individual, too – so that the tunes aren't just aping an older spiritual jazz sound, but instead showing how its legacy has really transformed creation on the contemporary LA scene! The group is small, and in addition to work from Mark on piano, Fender Rhodes, and live effects, the set also features Teodross Avery on tenor, Corbin Jones on bass, Tommaso Cappellato on drums, and the great Carlos Nino on percussion – plus excellent vocals from Dwight Trible on a number of titles too. Tracks include "Elevation", "Colors", "You've Got To Have Freedom", "Upper Egypt", "Love Is Everywhere", "Mansions World", "Memories Of Lee Morgan", "Greeting To Saud", and "The Creator Has A Master Plan". ~ Dusty Groove

Kabir Sehgal, Amaan Ali Bangash, Ayaan Ali Bangash - Sand and Foam: Music Inspired by Kahlil Gibran

The forthcoming remarkable release from multi Grammy winner Kabir Sehgal & master sarodists Amaan Ali Bangash and Ayaan Ali Bangash. The creators fused East and West artistic traditions. They turned to the eclectic works of Kahlil Gibran, the Lebanese writer and painter, for inspiration. The album and almost all tracks are named after Gibran's works. The eight tracks are an unfolding fusion of classical Indian music, with jazz harmonies, trap drums, and neo-synths. Special guest appearances by Claudia Acuna (vocals), Latin Grammy nominee; Tivon Pennicott (sax); Caliph (rap), Oran Etkins (saxophone), Malini Aswathi (vocals), Sudha Raghunanthan (vocals).

Robert Diak - Small Bridges

Small Bridges is the uncompromising new album from drummer, producer, and composer Robert Diack. After his debut, Lost Villages - an extremely focused concept album about a series of flooded townships in Southern Ontario - Diack wanted to explore a broader swath of genre and texture for his hour-long sophomore release. Small Bridges escorts the listener through a wide variety of expansive musical spaces shaped by impressive genre bending production techniques. Drawing inspiration from contemporary and traditional jazz, post-rock, fusion, and country music, Diack weaves his way deftly through this album, making clear his broad artistic vision. “I’m reminded of how Phillip Glass speaks of the intimate nature of the piano in his composition Opening from his album Glassworks” says Diack in reference to the opening track of the album. The attention to sonic detail is immediately clear: this album is truly a Hi-Fi fanatic’s dream. This initially inviting flow of Hollow hides where the song leads: it’s truly a tour-de-force of exuberant musicianship from a strong cast of some of Canada’s best young talent. The album’s sound is defined by layers of guitars contrasted with intimate piano, interspersed with complicated moments of layered meters, all packaged with an extremely focused attention to production detail and audio fidelity. Written entirely in his cramped, overpriced New York apartment, Small Bridges is a reflection of Diack’s experience uprooting countries, moving from Canada to study in the USA. This music was composed during an intense period of culture shock and isolation, and was recorded while he was in Canada for the release of Lost Villages. Small Bridges clearly demonstrates the deliberate line that runs through Diack’s entire body of work - not only in terms of the ensemble's sound, but with regards to the album’s visual appearance as well. This compelling new record is a brilliant showcase of young Canadian talent, featuring cutting edge improvisation and production.

Antonio Adolfo - Octet And Originals

With over two dozen albums as a leader and multiple Latin Grammy and Grammy nominations, pianist, arranger, composer, and bandleader Antonio Adolfo is an internationally recognized Latin jazz star. More than 200 of his original compositions have been covered by artists like Sergio Mendes, Earl Klugh, Herb Alpert, Stevie Wonder, and Dionne Warwick.  Although he often includes his own compositions on his recordings, Adolfo has now recorded an album that comprises only his original music. Octet And Originals is a brilliant showcase for the writing talents of an artist about whom jazz critic Travis Rogers has said, “Let me say it from the top, I can't get enough of Antonio Adolfo. Every album, every song he has ever released is a treasure. Not only is Antonio a brilliant composer and pianist, he is also an arranger without peer.”  A few of the tunes on Octet And Originals were originally conceived with lyrics; however, Adolfo rearranged them as instrumentals for this album. His arrangements touch on a panoply of Brazilian musical styles, including samba, baiao, bossa, partido alto, quadrilha, toada, calango, maracatu and more. Although rooted in Brazilian music, Adolfo’s elegant reharmonizations transform his compositions into jazz. Antonio Adolfo is a Brazilian jazz master. Influenced by bebop, soul and West Coast jazz yet firmly rooted in the rhythmic, danceable styles of Brazil, Adolfo’s music has a polished opulence that is uniquely his own. The music on Octet And Originals is romantic, swinging, and toe-tapping with frequent unexpected turns that consistently keep the music fresh.

Judy Whitmore |"It Could Happen To You"

The follow-up to her highly lauded 2020 debut album Can’t We Be Friends, “It Could Happen To You” marks a new era musically for Whitmore with a bold departure from the more traditional arrangements of its predecessors, unfolding in a more free-flowing sound imbued with the improvisational spirit and exploratory musicianship of jazz - a feat she achieves with both dazzling ingenuity and extraordinary grace. Produced by John Sawoski (a composer, orchestrator, and musical director who also helmed the production of Can’t We Be Friends,) the track came to life at the legendary Capitol Studios in Los Angeles (where her story began as a singer in college) in a series of sessions with Grammy® Award-nominated recording engineer Steve Genewick (Barbra Streisand, Burt Bacharach). With more music on the way, Whitmore stays true to her exquisite gift as a song interpreter, brightening each track with her warmly nuanced vocal style and radiant personality. 

No matter what mood she’s inhabiting, each track she sings spotlights the innate musicality Whitmore first discovered as a little girl growing up in Studio City, California. Named after Judy Garland (a friend of her grandfather, who played violin in the MGM Studio Orchestra,) Judy’s first foray into the music business by singing in a Mamas & the Papas-inspired band formed by Capitol Records. Although she’d begun to cultivate a promising career in music, Whitmore’s life soon led her in entirely different directions. After marrying young and having two children, like so many, Judy had to put her dreams on hold. From there, her family moved to Aspen, Colorado, where their closest neighbors were Annie and John Denver who coaxed Judy into confronting her fear of flying by inviting her to board their private plane, Windstar One. Not long after that first flight, Whitmore was determined to conquer her fear and earned her commercial pilot’s license and later began working search-and-rescue missions in the Rocky Mountains—an experience that ultimately inspired her debut novel Come Fly with Me, a 2013 romantic-adventure title that hit #1 on the Amazon Kindle Bestseller List.

Also working as a theater producer and a clinical psychologist, despite having achieved tremendous success in such disparate fields, Whitmore still felt that something was undeniably missing in her life. Once again demonstrating her boundless determination, in 2014 she took her first step toward realizing her deepest lifelong dream by co-founding Act Three (a cabaret group whose journey to Carnegie Hall was chronicled in the award-winning documentary film Once Upon a Dream). A truly unstoppable creative force, within several years, she’d struck out on her own and started performing solo shows around Southern California and also joined the board of directors for the Pacific Symphony, and currently serves on the executive committee for the world-renowned orchestra. This fall, Whitmore is gearing up for a series of live shows in support of her music by her brother and a 15-piece band. In her live performances and recorded material alike, Whitmore hopes to instill listeners with a profound love for the timeless music that endlessly inspires her. “When people hear my new music, I’d love for them to feel a deeper appreciation for these compositions and the era they came from,” she says. “The Great American Songbook is a body of work that’s stood the test of time, and all of its songs deserve to be heard the way the composers intended. So when I create an album like this one, I feel like I’m doing my part to keep this beautiful music alive.”

 

 

Russ Hewitt | "Chasing Horizons"

With his musical background rooted in rock, Russ Hewitt’s fluid guitar work sets him apart. His album Chasing Horizons is a watershed project for Nuevo Flamenco.

Russ Hewitt impressed the fans world over with his debut recording Bajo El Sol (2008) and has been diligently honing his craft. With his strong follow up Alma Vieja (2011) and his last recording Cielo Nocturno (2016), is a continuation of this artists development as a virtuoso. Chasing Horizons continues to exceed all expectations. 

This album is an experience, a 10-track journey through samba, montuno, milonga, fatback, rumba Flamenco, guajira, and four-on-the-floor grooves. It begins with his breezy and steady, fluid and melodic “Allende”. Close your eyes as you just might hear the rustling of palm leaves as you sit on your mental warm sandy beach of choice. With a total of four tracks with Hewitt in the spotlight, he is equal to the task of making this album so inviting more so than anything he has done in the past. Check out the radiant “Luminous” or later in the album the brooding moody “Serein”.  

But it would be silly to talk all things Russ when he was kind enough to invite others to the musical banquet where they graciously accepted. First up is the appearance of Nuno Bettencourt, best known for his axeslinger work in the unique rock band Extreme. However, here Nuno trades in his electric strings for nylon ones and Hewitt goes toe to toe with Nuno on the title track. With a rumba flamenco number in 7/8 time signature the composition certainly has an underlying attitude and bite. Add the equally impressive “Vivir Libre” featuring former Megadeth guitarist Marty Friedman to a montuno rhythm, and you have the one-two punch of impressive collaborations. 

The smoother mid paced “Amor Perdido” featuring the Bucharest All-Star Orchestra is perfectly sequenced for a timely change of pace and mood. Meanwhile, we transition to “Sunset Samba” featuring Jorge Strunz who brings to mind the heady days of Deodato. This is later followed with the toe tapping sway of “Cubalia Café” featuring Hewitt and Ardeshir Farah where there is magic in this magnificent merger of musical styles. 

Russ Hewitt leaves us with his most unique and impressive collaboration to date by concluding the album with Tri Nguyen. This is where East merges with West featuring Nguyen’s Vietnamese zither work (sounds like a hybrid of an Indian sitar and Japanese coda) fusing with Hewitt’s sublime guitar work. It is this very unique collaboration that reflects an artist willing to take chances seeking growth in his compositional capabilities. Chasing Horizons shows an artist intentional in his convictions and sphere of creativity. 

Chasing Horizon street date August 19, 2022.

Paul Brown | "Promised Land"

Some say that there is a boundary line to art but few true artists and visionaries conform to that notion. It is no surprise that two-time Grammy-winning guitarist and producer extraordinaire Paul Brown cites both Jerry Garcia and Wes Montgomery as founding influences. Brown, who has amassed 75 #1 Contemporary Jazz radio hits and who has engineered for R&B divas Aretha Franklin and Diana Ross, is somewhat of a free-spirited musical chameleon who comes by it honestly. "I grew up listening to rock and blues and my parents were jazz musicians, so I heard a lot of that music in the house," reflects Brown. "I have always loved soul music and have worked as a producer with many greats like Luther Vandross, Al Jarreau and George Benson." July 15, 2022 Shanachie Entertainment will release Paul Brown's second recording for the label, Promised Land. "The music is very free and open," confides the guitar wizard who took advantage of the downtime the pandemic presented. "There wasn’t the normal pressure to make 'hit' songs. Instead it was more of a 'let’s take this time we’ve been more or less forced into and write and record some great music." Brown's relaxed and organic approach resulted in one of his strongest and most authentic recordings to date. The ten-track uplifting and jubilant sonic journey unites Brown with an all-star Contemporary Jazz line up including labelmates Marion Meadows and Euge Groove, as well as Shane Theriot, Jeff Carruthers and others. Danny Weiss, Shanachie Entertainment’s Vice President of Jazz A&R states, "Before launching his career as an artist, Paul Brown absolutely dominated the Contemporary Jazz format as its premier producer. Now, amazingly, he has achieved great heights as a solo artist as well. We're honored to be associated with him!"

Promised Land opens with the insatiable and soulful groove of "Secret Sauce," the album's first single. The inviting track is a sumptuous mix of Brown's bluesy chops and crisp guitar lines, flanked by the Memphis-styled and swinging horns of Greg Vail and Ron King. Brown admits that the funky ditty provided ample fun for him to play over. The show-stopping "Hey Dude" pairs Brown with Shane Theriot who plays bass, keys and rhythm guitar. The duo let it all hang out as they concoct a winning trifecta of country-grit, rock-edge and down-home blues. Brown describes "Hey Dude" as a “smooth Beatles type homage.” Brown collaborates with Joe Wolfe on the scintillating and percussive "Wolfpack," while the ballad "Elegance," co-written with Jeff Carruthers, creates a moment of serenity, offering a gorgeous and melodious affair that shines a light on Brown's effortless, tasteful and flawless soloing. It is almost as if Brown is singing through his hypnotic guitar lines. "I do approach solos and basic melodies from a singing perspective," admits the Sherman Oaks- based guitarist. “Since my folks were both singers I guess it was inevitable. I like quirky singers like Ry Cooder and Bob Dylan, much to the dismay of my parents," chuckles the guitarist, adding that he is also a Sinatra fan. Paul puts his own vocal chops to the test on the album's title track written by Shane Theriot. "Shane is one of the best musicians that I have ever known. We've collaborated on many projects and have become great friends. He lives in New Orleans and he decided to rent my guest house about two years ago. He wrote "Promised Land” about the change in life that would occur if he did move to LA. It’s not only about the geographical place but also the mental state one has to get into to change directions in your life so dramatically. We are all evolving as musicians and people. I was lucky enough to be born and raised here in LA, the promised land of creativity."

Two highlights on Promised Land join Paul Brown with two of his Shanachie brothers, saxophonists Marion Meadows and Euge Grove. Meadows' agile and fluid soprano dances with Brown's buttery smooth riffs on the relentless groove of "Don't Stop" which also features Lew Laing on bass, keys and drums. Brown and Euge Groove have created numerous hits with one another as Brown has produced a total of eight albums for the saxophonist. This time around Brown's wizardry is in full effect on the R&B-laced and dance-inducing "7 and 7." Their telepathic call and response and joyous interplay is an album highlight. The Latin-tinged "Yo Tengo" find Brown on vocals and guitar for this festive, percussive and super-charged fiesta. Brown and company beckons us to "Da Spot" for the feel-good romp, where everything sounds just right. The soulful affair raises the roof as the horns of Ron King and Greg Vail have an unforgettable musical conversation with Brown’s spirited riffs answering back to perfect effect. Promised Land comes to a finale with Brown’s blues drenched collaboration with Shane Theriot entitled “Round and Round.” After all is said and done Promised Land delivers on every front. 

“Music is my spirituality and has been my entire life. Everyday I’m either writing, playing, recording or performing and I’m still loving it,” confesses Paul Brown. Born in Los Angeles to musician parents who sang with Mel Tormé, Frank Sinatra and Elvis Presley, among others, Brown started playing drums at age five and picked up his first guitar two years later. His influences are as far reaching as Wes Montgomery, Peter Gabriel and Johnny “Guitar” Watson. Brown has been a foundational artist in Contemporary Jazz from since the late 80s. As accomplished as Brown is center stage as a guitarist, he is equally revered for his Midas touch as a producer. Brown’s inaugural recording for Shanachie was Love You Found Me in 2010 followed by Soul Searchin’ with Larry Carlton in 2021. Promised Land is Paul Brown’s 12th album as a leader.  Brown plays a mix of guitars on Promised Land including his Stratocaster and his beloved Gibson L5. "The guitar that really changed things for me as an artist is the Gibson L5," explains Brown. "I got it in 1993. I started recording melodies to songs I was writing for other artists and they started to sound like a solo artist all of a sudden in 2004. That guitar turned out to be my soul mate!"

Paul Brown has managed to take us to the mountaintop to see the Promised Land, but for Paul there are still many more miles to log. "I love music and enjoy helping other artists recording and building their careers…there’s rhythm and melody to everything in life. It's cool identifying and finding those rhythms and melodies," concludes Brown. "In the end I just try to be positive. Like my Mom always told me, “Reach for the stars!"

Keisha Martin | "I Can't Forget You"

A bold and spirited take in Reggae music, Keisha Martin’s newest track is a striking blend of song writing and rhythms. Titled “I Can’t Forget You”, the heartening new single was written and produced by two-time Grammy Award-nominated Grammy winner recording artists amd multi instrumentalist Maurice Gregory and is slated for release on July 29th, 2022.

An intense, exciting, and inviting new track, “I Can’t Forget You” represents a flavorful twist in the artist discography. A hip multi instumentalist, Keisha Martin is not known to shy away from unbridled self-expression, using her musical talents to create a soulful and passionate composition for her audiences.

Establishing her own spirited, passionate and thoroughly heartfelt presence, the dedicated singer-songwriter’s music allows listeners to live free and vicariously. “I Can’t Forget You” emanates a unique energy, soul, and sound- characteristic of the rising, phenomenal reggae artist.

The eclectic artist has graced the Reggae and Soul genre with several hip songs such as: “Rocksteady”, “Who Could It Be”, “Real Life Superwoman” “So Good” and her latest track titled “I Can’t Forget You”  which she only recently unveiled.

Passionate about earnestly creating mediums of entertainment, Keisha Martin continues to surprise audiences with her adaptive skills and experimental techniques, while also excelling in whichever spotlight she desires. Like several contemporary talented artists, Keisha began her singing career at a young age in the church choir. With time, the artist embellished her craft as both a singer and songwriter and took the bold step of venturing out in unexplored endeavors.

Keisha’s many accolades include featuring on the theme song of the TLC network reality TV show “Starter Wives Confidential”. She has also graced the stage with artists such as Black Uhuru, Mykal Rose, Melisa Morgan, Gerald Alston, Marcia Griffiths, Ken Booth Dean Frazier, Shaggy, Gyptian, Taurus Riley, Kymani Marley, and several others.

Don’t forget to feel the vibes and check out her latest track “So Good” on her official music platforms! The talented artist can be reached out through her social media platforms as well.

Based in New York City, Keisha Martin hails from the beautiful and idyllic island sanctuary of Jamaica. Keisha is a successful singer and songwriter, who has also showcased her incredible talents as an actress, dancerm and philanthropist. She has worked alongside Jamaican actor Cleve “chu chu” Warren and has also had the honor of working with world-renowned producers on various artistic projects, including Todd Terry, Robert Livingston (Big Yard) Dee Nucka and Self Maurice Gregory .

However, more than simply entertainment, the dynamic artist remains devoted to her goals of giving back to society and never forgetting where she comes from. As the founder of “Artist Alliance for Education”, Keisha hosts an annual event in New York City called “Tools 4 School”, donating school supplies for underprivileged children in Jamaica and feeds the homeless.

Jazz Funk Soul (Everette Harp, Jeff Lorber & Paul Jackson Jr.) | "Forecast"

Omne trium perfectum- everything that comes in threes is perfect. When it comes to the trio Jazz Funk Soul (JFS), this statement rings true. Saxophonist Everette Harp, keyboardist Jeff Lorber and guitarist Paul Jackson Jr. are the perfect union of balance and harmony, the right ebb and flow of laid back cool and gritty-driving intensity and the complete package of musical wonder. The towering giants of Contemporary Jazz, who have collaborated with icons like Quincy Jones, Aretha Franklin and B.B. King, are like cosmic rays, emitting unlimited musical possibilities. Each member is a dazzling virtuoso, accomplished bandleader, composer, and producer in their own right. “We each bring our own interpretations of Contemporary and Mainstream Jazz together in a way that allows us to break the bonds of the normal approach to Smooth Jazz.  By using our years of collective vocabulary we freely express ourselves musically using everything we have at our disposal,” shares Harp. “Plus we can leap tall diminished chords in a single bound!” Taking giant steps are what Jazz Funk Soul is used to. The dynamic three-some are responsible for selling millions of albums and scoring more than 50 #1 Smooth Jazz radio hits! Jazz Funk Soul's new and fourth recording, Forecast, (Shanachie Entertainment, August 5, 2022) is a shining example of their magnetic chemistry and inspired performances. At the core of the trio’s allure is their genuine camaraderie, which is anchored by each member’s passion to create. "All of us love music, especially Jazz, not to mention Funk and Soul!" exclaims Lorber. Our unique talents compliment each other. Paul is well known as an ace session player and one of the finest rhythm guitarists in the world, and Everette is a force of nature with the saxophone. I enjoy comping behind and supporting these guys, and also tossing in some of my blues and be-bop licks when I solo." Harp says, "The respect I have for Jeff and Paul is immense. Their accomplishments would be enough for 10 musician’s lifetimes.” Jackson adds, “JFS is a threefold convergence of hard work, experience over time, and the blessing of the Lord. Jeff and Everette are arguably two of the best soloists with whom I’ve ever worked.”

The original incarnation of Jazz Funk Soul commenced in 2014. Everette Harp, Jeff Lorber and Chuck Loeb formed the band with the mission of recreating on record the spontaneity and explosive chemistry of their live shows. In 2017, the Jazz world was shook by the untimely passing of Chuck Loeb. “Chuck was an important part of the start of JFS. He was certainly the JAZZ in Jazz Funk Soul," reflects Everette. "The spirit and joy he brought into his play was infectious. Each time we played together I felt like I had to bring it! There were no coasting nights. He’d smoke you if you didn’t bring it. He was incredible and set a wonderful precedent for us to continue." Lorber adds, "I feel very lucky to have had the chance to know and collaborate with Chuck. He was a really sweet guy who was fun to hang out with. As a musician, he had prodigious talent as a jazz guitarist, improviser, composer and producer. I think everyone who got to know Chuck really misses him. Jackson shares, “I was able to tour with Chuck in a guitar trio (along with Chieli Minucci). I used to love it when it was his turn to play one of his songs. The chance to “duel” with Chuck and learn from him was an experience that I will never forget. Chuck is a world-class musician, composer and producer and he’s even nicer than he is talented. I would not have joined JFS if I did not feel I could honor his legacy. I hope I am making him proud.” In a tasteful and fitting way Jazz Funk Soul pays homage to Chuck on Forecast with the memorable "CLS (for Chuck Samuel Loeb)."

When three visionaries unite, there is bound to be forward momentum. Paul Jackson Jr. shares, “One of my longtime hobbies is lake fishing. You must cast your line out ‘forward’ into the water if you’re gonna catch anything. For me, Forecast is JFS casting our musical net into the world to “catch” music listeners everywhere. And, I think we have the right “bait” for the job!!!” Forecast started to take shape just as the pandemic hit and the world as we knew it changed. "It was a little bit weird, but being stuck at home made really focusing on this project a lot easier," recalls Lorber. "There were a lot fewer distractions, no decompressing from the treadmill of coming back from the road and changing gears to working in the studio." A lot of time, love and nurturing went into creating the music. Harp shares the vision for the album's title stating, "Forecast alludes to the continuing progress of the group in defining its sound, direction, and place in the genre as it exists today. We also want to force the musical dialogue in the direction of our musical forefathers where the history of jazz still plays an integral part of the future of contemporary jazz. As much as we are physically able to, we want to get out there and share what knowledge we have with younger musicians and pass it on."

The invigorating ten-track set on Forecast opens with the finger-poppin' and snappy Lorber original "Hustle" showcasing the keys phenom on Hammond B3, Rhodes, piano and clav. The Grammy-winning Lorber is a creature of habit sharing, "I get up at 4 AM everyday to practice, write and record. I really like that time of the morning. It’s nice and quiet and it’s easy to concentrate. Unfortunately my two cats are used to my schedule, so my first job every day is to feed those guys!"  The tight unison ensemble interplay on "Hustle," which is the album's first single, is punctuated by the addition of drummer Gary Novak, bassist MonoNeon and saxophonist David Mann. Everette Harp's enchanting R&B ballad "Keep Holding On" highlights his mesmerizing alto while the conversation between Harp, Lorber and Jackson offer a glimpse into the ensembles telepathic interplay and playful spirit. The foot-stomping and turbo-charged "Funkin' In AZ" shifts gears and puts the pedal to the medal for a searing performance of funk at its best. The moment that bass line drops you can tell there is heavy weather ahead! "The working title was DS, which stands for David Sanborn," explains Harp. "I spent so many years trying to sound like David growing up in clubs playing, then when I started developing my own sound I didn’t want people saying I sounded like him. I finally got to a point where I was recognized for my sound and interpretation on the alto saxophone. I wanted to express my gratitude to David for the gift of direction he gave so many of us. That gift allowed us to branch off of that tree, and forge our own sounds and directions. So in doing this homage I was able to get together with Marcus Miller on bass, and Ray Bardani to mix, and try to recreate a sound they were so indelibly a part of on all of those successful Sanborn records.”

All the perfect elements align for the delightful and bluesy title track. On this Jeff Lorber original the temperature is just right, there's enough atmospheric pressure to keep the track swinging, sufficient wind to create the perfect synergy within the ensemble, low humidity and no clouds - just straight smooth sailing. “’Forecast’ represents the forward thinking and exploration musically that we are striving for,” says Lorber. The nexus of what makes Jazz Funk Soul work comes down to their mutual admiration for one another. “We started out as just a group focused on playing live shows together," explains Lorber. "Four albums later, I think we’ve proved that we’re a real band, hopefully with a bright future ahead of us too. Paul and I have been good friends and studio buddies ever since I moved to L.A. in 1980, and it’s been rewarding to also get to know Everette these last few years, both live and recording-wise.” "Bouncing Back" brings a feeling of optimism and renewal. When Harp launches into his solo it's as if the storm has cleared, the skies have opened and there are nothing but blue skies. The back and forth between Lorber and Harp catapults the track to another dimension. Another highlight on Forecast is Paul Jackson Jr.’s sizzling “Fish Grease.” The soul-jazz Crusaders vibe meets Memphis underground groove shows off the guitarist's technical ferocity and nasty blues infused chops. Jackson even plays the Dobro on this number, a rarity in smooth Jazz but so fitting for this bluesy ditty. JFS creates the meanest of grooves that will leave you smiling with your head nodding. It is hard not to fall in love with the up-tempo and intoxicating "Count Me In." The inviting swing of this track is undeniable. The pensive and pulsating flow of "When The Time Comes" offers a moment of serenity on Forecast while "Hidden in Plain Sight" opens our ears to the genius that is Jazz Funk Soul as they seamlessly fuse technical virtuosity with overflowing emotion and freedom in the groove. Lorber says, "There’s certainly enough negativity in the world, so I like to think listening to our record will be a little oasis of fun and positive vibes, that you can bob your head to.” 

Pianist, composer and producer Jeff Lorber has been a guiding light on the Contemporary Jazz scene for over four decades. Along with maestros Chick Corea, Herbie Hancock, Joe Sample and Bob James, Lorber is a groundbreaking Fender Rhodes pioneer. Having produced for everyone from Dave Koz to Kenny G, Lorber's long running acclaimed ensemble, Jeff Lorber Fusion, scored a Grammy for their album Protoype in 2015 for ‘Best Contemporary Instrumental’ album. Lorber who is a fan of science fiction and thrillers released his most recent solo effort Space-Time in 2021. A consummate musician, the Berklee College of Music alum states, "It's really important to challenge yourself to be better on all musical levels. You have to review what you’re doing and see what you can do to make it better. Good is not good enough, it has to be great."

"I love golf! I love golf! Oh, then there’s golf! Did I mention I love golf?!," declares Grammy nominated saxman Everette Harp. "I also like having a nice meal and watching a good movie with my wife. Relaxing on the patio and enjoying the golden years!" Harp seems to have discovered the fountain of youth despite having been one of the premiere architects of Contemporary Jazz since the early ‘90s. His soulful and trademark blend of Jazz, R&B, Funk and Pop have made him a favorite among fans, fellow musicians and critics alike. His impressive career that has allowed him to collaborate with everyone from Aretha Franklin, Chaka Khan, Anita Baker, Luther Vandross and Patti Labelle to George Duke, Herbie Hancock, Billy Joel and Kenny Loggins. He has left an indelible imprint on the scene with his own unique, muscular and soulful approach. His work on TV has brought his saxophone into the homes of millions who have heard him playing the theme songs for such popular TV shows as Entertainment Tonight and Soul Train. He also holds the distinction of being a former member of the posse on the first Arsenio Hall Show. Harp also hosted the radio program Smooth Jazz Odyssey with Everette Harp for a stint on WLOQ in Orlando, FL, which was the #1 show in the market during its four year run. His most recent solo release is First Love (2009).  Always striving to evolve Harp confides, "I’m am almost never happy with my playing. There are times I feel I’m close, but just didn’t quite get there. I find if I’m able to free myself from what I think I’m suppose to play and let the moments happen instead of forcing it, that’s when I feel I’m closest to being the musician I want to be." 

Los Angeles native Paul Jackson, Jr. launched his solo career in the late 80s. Jackson’s distinctive musical style and technical prowess have made him a favorite among live audiences. First call for numerous musicians, the Grammy-winning guitarist has recorded with an impressive roster of musicians including Quincy Jones, Barbra Streisand, Whitney Houston, Patti LaBelle, Michael Jackson and Bob James, among many others. “Many people ask the question, how do I master my instrument. I inform them that there’s no such thing as a ‘master’. Because there is so much to learn stylistically and historically, you will never learn it all,” explains Jackson. “Plus, music is ever changing and growing. I tell them ‘the day you think you’ve mastered your instrument, you should quit. You have put a dam where God put a channel.’ Paul Jackson Jr. has lent his prolific guitar work to several film scores including Get On Up, Zootopia and The Color Purple. The guitarist is also featured on Daft Punk’s CD Random Access Memories, which scored five Grammys in 2014. A man of many talents, Jackson is a big fan of vintage cars and trains dogs, sometimes participating in protection (police dog) training. Paul Jackson Jr.’s latest solo CD is Stompin’ Willie Presents More Stories (2016), which pays homage to dear friend and music icon George Duke. Jackson has made mentorship a mission in his life. He leads a monthly Bible study group and participates in a mentorship program for boys ages eight to eighteen.

"The name Jazz Funk Soul screams diversity," declares Everette Harp. "I think the fact that we’ve each been studio musicians and have played on many styles of records, allows our music to have a freedom of expression that can go from high energy to jazzy, funky, bluesy, soulful and emotional. I hope listeners feel this and enjoy the journey." You've got your invitation. Take the journey - as the Forecast assures the coast is clear and all is looking and sounding great!