NEW RELEASES - KOUDEDE, DAVE REMPIS /JOSHUA ABRAMS / AVREEAYL RA, THE REMPIS / DAISY DUO

KOUDEDE - GUITARS FROOM AGADEZ VOL. 7

A sweet EP of guitar-laden grooves from Koudede – a Mali musician we've really grown to love from this excellent series! The record's got the strongest punch of any work we've heard from Koudede so far – a growing sense of pride that not only informs the bold rhythms at the bottom, but also the sharpness of his own lead guitar lines and vocals – so powerful and anthemic you can almost get the politics in his music, even if you don't understand the language. Titles include "Adounia", "Taghlamt", "Ewellan", and "Tamidit". ~ Dusty Groove 

DAVE REMPIS / JOSHUA ABRAMS / AVREEAYL RA - APHELION

A trio of tracks by a tremendous trio – the wonderfully spiritual combo of Dave Rempis on saxes, Avreeayl Ra on percussion, and Josh Abrams on bass, small harp, and guimbri! Abrams' presence is really felt here – and his growth towards even more soulful styles in recent years seems to bring Ra's music into great focus, and give Rempis a sensitivity that goes even beyond some of his best recent material in other settings. The music is always focused with a cosmic sort of energy – often relatively free, but never too loose – and driven by a shared spirit between the players that really holds the whole thing together. Titles include "Ruah", "Soria", and "Saqiya". ~ Dusty Groove.

DAVE REMPIS / TIM DAISY (THE REMPIS / DAISY DUO) - SECOND SPRING

An amazing showcase for the reed talents of musician Dave Rempis – working here on alto, tenor, and baritone sax – alongside some powerful drum work from Tim Daisy! The duets are great – unbridled, but still with a sense of structure that really shows Rempis' careful execution of his talents – a way of laying out these long, expressive lines on the different instruments – often with a sense of spirit that takes us back to Dolphy at his most out, the best ESP power trios, and some of the high points of the New York loft jazz scene. Titles include "Numbers Lost", "Three Flags", "For R Barry", "Impasto", and "Gerosten & Gesalten". ~ Dusty Groove

CHERYL BARNES - LISTEN TO THIS

"Listen To This," the debut CD from eclectically-trained Jazz vocalist Cheryl Barnes, is set for release on February 19, 2014, via Barnes & Cabasso Music.  Highlighting 12 tracks steeped in Jazz and Blues, 'Listen To This" was produced by music industry veteran Rahn Coleman, recorded at Mystic Knight Recording Studios in Los Angeles and features a stellar list of sideman including Brandon Fields on sax, John Hammond on piano, and Ricky Minor on bass with orchestration by John Beasley.

Known principally as a Jazz singer, Cheryl's versatility encompasses many musical genres.  Singing in four different languages, Cheryl has performed around the world (including shows with Wynton Marsalis, J.J. Johnson, Quincy Jones, and a guest member spot with the Clara Ward Gospel Singers, and she has recorded with the likes of Skip Scarborough, Azar Lawrence. Billy Mitchell, and Cathy Segal-Garcia.  Her 16 years of Operatic training have brought her to the stage as a featured soloist with the Denver Symphony Orchestra in Wisconsin, and she has toured extensively in South America, nurturing her love for Samba, Bossa-Nova, Salsa and the riches of Latins and Afro-Cuban music.

A sought-after vocal clinician conducting numerous workshops  and clinics across the U.S., Barnes is also a founding member of the Jazz Vocal Coalition and retains an esteemed musical presence in Los Angeles, having been heard on stages ranging from the Los Angeles County Museum of Art's prestigious Friday Jazz Series to the Hollywood Bowl to the House of Blues.

Barnes' varied background makes itself apparent in the choice of songs which she has selected to sing on "Listen To This." From Mark Winkler and Marilyn Harris' lovely portrayal of a veteran Jazz singer with an extraordinary life in "Afternoon In Harlem" to the spirited, party-like jazz vibe of the title track "Listen To This" (written by Barnes' husband-arranger, musician, and physician Phillip Cabasso), to Barnes' own powerful interpretation of Joni Mitchell's 'Come In From The Cold."

Barnes' album is amply reflective of her deep-rooted musical training as well as her love of infusing different musical styles within her chosen material.  But what sets this project apart is Cheryl's incredible voice, which imbues each word she sings with a beauty and clarity all its' own, taking the listener along on an extraordinary journey as th story of each song unfolds.

"After years of touring and working with a multitide of artists, I've decided now is the time to focus my energies on my own CD," said Barnes, "It's been a long time in the making and I'm very proud of both the music and the breadth of the songs and musicians on this album." 

www.cherylbarnes.com

NEW RELEASES - CHUCK BERRY-ONE DOZEN BERRYS, MIGHTY MIGHTY-SEE THE LIGHT, DARIO CARNOVALE-PORTRAITS

CHUCK BERRY - ONE DOZEN BERRYS

One dozen "berrys", all of them great – the fresh fruits of the labors of a young Chuck Berry – heard here at his raw, early best! The sound here is stunning – a version of Chuck that gets way past any oldies cliches – and which reminds us that at the start, his music was coming from the same Chess Records fount as Bo Diddley's riffing guitar and Muddy Waters' Chicago blues! The tunes all work together perfectly – and the familiar numbers fit in perfectly with overlooked gems that really make the album great – especially when Chuck's guitar is really given a chance to step out and solo. Titles include "La Juanda", "Sweet Little Sixteen", "It Don't Take But A Few Minutes", "Rock & Roll Music", and "Low Feeling". CD features an insane 14 bonus tracks – including "21", "Vacation Time", "Beautiful Delilah", "21 Blues", and lots of alternate and different takes of other tunes too! ~ Dusty Groove.

MIGHTY MIGHTY - SEE THE LIGHT

A great debut from an ultra-jazzy combo from the Finnish scene – one with the same sort of fire and crackle as the best groups on the Ricky Tick label! The tracks have a blend of 60s hardbop with some later soulful elements – and leader Kari Setala's got a mighty great touch on both piano and keyboards – the former used in these strongly modal ways at points, the latter with even more deft touches on some of the record's more 70s funk-styled selections! Other instrumentation features trumpet, tenor, bass, drums, and percussion – and almost all tracks are originals with a mighty fresh sound. Titles include "Backyard Boogie", "Dark Sun", "Seventh Sign", "Time's Up", "See The Light", and "Simba". ~ Dusty Groove.

DARIO CARNOVALE - PORTRAITS

Wonderfully cascading piano work from Dario Carnovale – a player who's working here in a grand piano, which gives the record a really rich sound that's perfect for Dario's command of the keys! Most of the record is solo, although two tracks feature a drummer – but Carnovale creates a sound that's often as full as a trio performance, given his deft handling of melody, and inherently rhythmic style – even at mellower moments. Titles include "Seven Steps", "Giant Steps", "Miriam & Sara", "Aforisma #2", and "La Flamme De Scriabin".~ Dusty Groove

 

NATALIE CRESSMAN - TURN THE SEA

Raised in an eclectic musical household, Natalie Cressman has only continued to diversify and expand her musical universe. Still in her early 20s, the trombonist, composer, and vocalist has assimilated the full range of her sonic influences into a startlingly mature, strikingly original voice that melds the sophistication of modern jazz with captivating storytelling and intoxicating melodies reminiscent of indie rock's most distinctive songwriters. 

Cressman has spent much of the last three years touring the jam band circuit with Phish's Trey Anastasio, while also performing with jazz luminaries Nicholas Payton, Wycliffe Gordon, and Peter Apfelbaum. Those varied experiences are reflected on her gorgeous second release, Turn the Sea. Anastasio calls the album "a beacon of light in an increasingly cold and mechanized era of music. Natalie is standing on the precipice of an incredible life in music, and if this album is any indication of where she's headed, then I'll be listening every step of the way." 

Inspired in part by those bandleaders' boundary-blurring approaches, Turn the Sea reveals a sound that's utterly uncategorizable but instantly accessible, one that belies but is also a product of Cressman's youth. "I want to make music that my own generation can respond to," Cressman says. "I would really love for anyone to listen to my music and find something to relate to. I don't want to shut people out by being overly sophisticated and esoteric, even though everything I write is jazz-based and more dynamic and spontaneous than a lot of the music that is wildly popular."

The disc features a stellar eight-piece band, largely culled from Cressman's Bay Area peers: trumpeter Ivan Rosenberg, flutist and clarinetist Steven Lugerner, saxophonist James Casey, keyboardist Samora Pinderhughes, guitarist Gabe Schneider, bassist Jonathan Stein, and drummer Michael Mitchell join the bandleader, who sings and plays trombone. The two talents, she says, are intimately related. "I think the fact that I sing influences and affects the way I play the trombone and vice versa. The voice in my head that I write with and play with and sing with is the same, but the medium is different."

Cressman was raised in San Francisco by parents who guaranteed she would be constantly surrounded by music. Her mother, Sandy Cressman, is a jazz vocalist who immersed herself deeply into the traditions of Brazilian music; her father, Jeff Cressman, is a recording engineer, trombonist, and longtime member of Santana. Natalie quite naturally began studying trombone with her father, but set out to be a dancer rather than a musician. She was an aspiring ballet dancer until her junior year of high school, when an injury set her on a different path.

Once she set her sights on a career in music, her parents provided not only role models but active assistance, helping to provide her with some of her earliest opportunities. "Seeing how inspired and passionate my parents were about what they were doing lit a fire in me once I decided to go for music," Cressman recalls.

Her parents provided entrée to a number of enviable opportunities, but Cressman's own prodigious gifts continued to merit her presence in any number of high-profile settings. She soon found herself playing salsa with Uruguayan percussionist Edgardo Cambon e Orquesta Candela, Latin Jazz with Pete Escovedo's Latin Jazz Orchestra, world music with Jai Uttal and the Pagan Love Orchestra, and globally-inspired avant-garde jazz with multi-instrumentalist Peter Apfelbaum, a family friend who became a key mentor. Cressman continues to work with Apfelbaum in his ensembles, The New York Hieroglyphics and Sparkler.

Cressman switched coasts in 2009 to study at the Manhattan School of Music, and the following year was enlisted by jam band pioneer Trey Anastasio for his touring band. "I first met Natalie when she was 18, and I was instantly floored by how melodically and naturally she played and sang," Anastasio says. "Natalie is the rarest of musicians. Born into a musical family and raised in a home filled with the sounds of Brazilian music, jazz and Afro-Cuban rhythms, she is seeping with innate musicality. Musicality is in her DNA."

Following her jazz-oriented debut, Unfolding, with the more song-based Turn the Sea was at least partially a result of her tenure with Anastasio, Cressman says. "Trey always wants to include the audience, but he doesn't dumb down his music to do it. I find myself between two worlds with the music that I'm writing; it's not bread and butter jazz but it's not wholly anything else either."

It would be equally difficult to pinpoint Cressman's music, and at the same time equally hard to resist its allure. The album's title track marries her silken voice and lyrical trombone with a surging rhythm evocative of waves crashing and receding; "Fortune's Fool" is a melancholy love song propelled by a somber, Middle Eastern-inflected pulse; "New Moon" sets enigmatic lyrics to a soulful, flute and Rhodes-driven groove which segues into a soaring chorus that draws on West African rhythms.

Lyrically, Cressman hopes to connect with listeners by dealing with universal subjects, while offering her own unique twist. "It's interesting how many different ways you can write about love," she says. "I like to put on different characters when I compose, because I feel like my own life is often too ordinary to write only autobiographical songs. Sometimes I use snippets of other people's stories to create a new character and write from their perspective."

The album also features songs by two of Cressman's inspirations, reconfigured for her ensemble and voice. Norwegian singer-songwriter Hanne Hukkelberg provides "Do Not As I Do," while "Blindsided" is a song by indie favorite Bon Iver. The latter maintains the ethereal mood conjured by the original. "He gets a lot of mileage out of not too much," Cressman says of Bon Iver singer-songwriter Justin Vernon. "I'm trying to discover how little I can write and still have it mean as much as possible."

The album ends with a remix of opening track "Turn the Sea," courtesy of the band's bassist in his electronica-producer guise of JNTHN STEIN. The track hints at yet more future directions for the adventurous Cressman, while making literal the song's message of risk-taking. "It's a good bookend," she says, "coming back to where you began but in a totally different place."

Upcoming Natalie Cressman Tour Dates:

March 20 / Church of Boston / Boston, MA

March 21 / Nectar's / Burlington, VT

March 30 / Joe's Pub  / New York, NY

Natalie Cressman·  Turn The Sea / Cressman Music ·  Release Date: March 11, 2014

NatalieCressman.com

HELEN SUNG - ANTHEM FOR A NEW DAY

Pianist/composer Helen Sung has an announcement to make. In fact, declaration might be a more appropriate word. The artist’s musical statement can be heard at the center, literally and figuratively, of her Concord Jazz debut and her sixth album overall. Anthem for a New Day, a ten-song set that positions her at the forefront of a talented and diverse sextet, is set for release January 28, 2014, on Concord Jazz.

“I have been working on and ‘trying on’ different approaches in jazz music,” says Sung, who made the leap from classical to jazz piano in college and began performing in and around Boston and New York before releasing her first album in 2003. “With my previous albums, I was searching, experimenting – not that that ever ends. But this is the first project where I feel the most comfortable with who I am as an artist, where I am as an artist, what I’m doing as an artist. It brings the different pieces of my experience together in a way that’s organic and authentic. That kind of clarity is very exciting.”

Exciting enough for Sung to fly her colors with a sense of conviction that hadn’t existed previously. “When I hear the word ‘anthem,’ I think of flags or banners,” she says. “This album is my way of planting my flag in the ground. The journey continues, but at this point, I feel a confidence unlike before.”

Some of that confidence evident on Anthem for a New Day comes not just from Sung’s own diverse experience but from the talented crew backing her on this project: saxophonist Seamus Blake, trumpeter Ingrid Jensen, bassist Reuben Rogers, drummer Obed Calvaire, and percussionist Samuel Torres (saxophonist John Ellis also lends his bass clarinet on a tune). In addition, guest artists Regina Carter (violin) and Paquito D’Rivera (clarinet) make outstanding appearances.

Sung also shook things up a bit with her own instrumentation. “Along with the piano, I played Rhodes as well, which I haven’t done on my previous albums,” she says. “Classical and jazz are the two primary genres I’ve been immersed in since I started playing music as a child. Early on, I played classical concertos and sonatas with their diverse and grand textures; then when I started jazz, in my quest to really swing, I found myself primarily just playing single lines in my right hand while playing chords with my left. Now I feel like it’s all starting to come together – in my playing, my improvisation, my writing, and with my arranging. All of this makes for an album that’s much bigger in terms of the sonic space it occupies.”

She stakes out that territory early on with “Brother Thelonious,” an effervescent opening track with an interesting origin. Sung originally wrote it as the commissioned “theme song” for a Belgian ale of the same name, crafted by the small North Coast Brewing Company located in Fort Bragg, California. “The owners are jazz fanatics, and I got to meet one of them through a connection with the Thelonious Monk Institute of Jazz Performance [Sung is a graduate of the program’s inaugural class when it was housed at the New England Conservatory of Music in Boston]. I had recorded an earlier version of the song for them, but then I revamped it a bit and recorded a stronger version this time, and it became the lead-off track for the album. North Coast is a fabulous outfit. They do so much good – not just for jazz but for a variety of causes.”

The lively “Armando’s Rhumba,” a Chick Corea composition, gets plenty of Latin mileage with a minimum of instrumentation. It’s just piano and clarinet – courtesy of Sung and D’Rivera – along with some very organic percussion techniques. “I was excited to contribute some non-piano musical material on this album!” says Sung. “After first laying down the instrumental tracks (clarinet, piano, and cajon), Samuel, Obed, and I then overdubbed the handclaps and foot stomps. It was so fun to work on this piece!”

“Hidden,” a composition by Sung, derives much of its melancholy sensibility from Regina Carter’s stirring violin as well as Ingrid Jensen’s cascading trumpet lines – two voices that establish themselves early in the track. Further in, Sung’s solo work on Rhodes adds a shimmering layer to the entire piece.

Sung indulges her occasionally ironic sense of arrangement in a rendition of “It Don’t Mean a Thing (If It Ain’t Got That Swing)” that includes occasional nods to her classical roots. While the title – and the original intent – of the Duke Ellington classic may have been all about swing, “my arrangement has hardly any swing sections in it,” says Sung. “It was intended to be tongue-in-cheek in that sense. Whether playing live or recording, I’ve always tried to present something familiar in unexpected ways.”

The title track gets under way with a quiet interlude, then segues into a rousing interplay between Rhodes, saxophone, trumpet, and the rhythm section of bassist Reuben Rogers and drummer Obed Calvaire. The result is everything an anthem is supposed to be – energized, unabashed and daring. And in this case, it’s one artist’s declaration of creative identity.

Anthem for a New Day includes a unique reading of Monk’s “Epistrophy” that resulted from a tug-of-war between planning and spontaneity. “I’ve been working on ‘Epistrophy’ for a while and it actually started out as a totally different arrangement,” says Sung. “What a luxury to have musicians who can hang with my tendency to tinker, and that’s kind of what happened in the studio with ‘Epistrophy.’ More than once, we would try something, after which I’d say, ‘No, that’s not it.’ And the band would say, ‘Are you sure?’ Finally we did this take, and I said, ‘That’s it!’ It was awesome to see everyone really ‘get’ the arrangement.”

A solo piano rendition of “Equipoise” closes the album on a note that’s reflective and full of promise. “In some respects,” says Sung, “this album is my way of saying, ‘This is me, take it or leave it,’ instead of something more tentative like, ‘Okay, let me work on it a little more.’ Not that I don’t want to keep growing and developing, but I’m happy to be in a place where I’m more confident about the kind of artist I am becoming. I can’t believe how rare that feeling has been in my experience. That this coincides with the opportunity to release the album on Concord Records is a great blessing, and I’m excited to share it with the world: this is a new chapter, a new day, and I invite you to join me in the celebration of this album and music!”

PIANIST/COMPOSER ARUAN ORTIZ LIVE AT THE 2014 NYC WINTER JAZZFEST

Jazz pianist/composer Aruán Ortiz, "the latest Cuban wunderkind to arrive in the United States" (John Murph, BETJazz.com), hit the ground running when he arrived on the American jazz scene in 2003. A classically trained violist and pianist, this Santiago de Cuba native's sound is as marked by the influence of the contemporary classical composers such as Schoenberg, Ravel, and Copland, as it is by traditional Afro-Cuban sounds and jazz masters such as Bud Powell, Monk, Andrew Hill and Muhal Richard Abrams. A major testament to his massive talent, since setting foot in the States, Ortiz was quickly called upon to perform and record with artists such as Terri Lyne Carrington, Greg Osby, Cindy Blackman, Esperanza Spalding, Gary Thomas, Wayne Krantz, Rashied Ali, Stefon Harris, Horacio "el negro" Hernández, Giovanni Hidalgo, Lionel Loueke, Jane Bunnett, Jerry Bergonzi and others.  

Ortiz is currently featured on his own albums, "Orbiting" ("On Orbiting, the erudite Ortiz has smashed every preconception of Latin pianists and his penchant for innovative expression succeeds in surpassing the output of his musical contemporaries." - All About Jazz.com), and "Santiarican Blues Suite" on Sunnyside Records ("Ortiz's pen shines in a new light, the music lyrical, dramatic, creating suspense." 4 1/2 stars - DownBeat Magazine), plus, Steve Turre's newest recording, "Woody's Delight", the new Wallace Roney album, "Home" (both on HighNote, 2012), "Textures and Pulsations" with fellow pianist Bob Gluck, and The Aruan Ortiz/Michael Janisch Quintet, "Banned In London", featuring Greg Osby.  The NYJAZZ Quartet releases its newest album, "Blue Divide" (Zoho Music, 2014), on January 14th, featuring Aruan Ortiz, Rob Derke, Carlo de Rosa & Eric McPherson.

www.Aruan-Ortiz.com

 

8TH INTERNATIONAL JAZZ FESTIVAL OF PORT-AU-PRINCE HAITI FEATURES INTERNATIONAL ROSTER INCLUDING CLAUDE CARRE, JAMES GERMAIN, LUCK MERVIL, MISHY WIDMAIER & OTHERS

Each year since 2007, the capital city of Port-au-Prince hosts the International Jazz Festival to a growing and diverse public. Located in the Greater Antilles, Haiti benefits from a mild January Caribbean climate during this one-week spectacular event.

The Port-au-Prince International Jazz Festival offers an unprecedented cultural assembly in Haiti each year to a local and international audience as a non-profit event in partnership with the Ministry of Culture & Communication, the Ministry of Tourism, ten embassies, and major private and public institutions throughout the country.

Musicians from around the world participate in this common celebration of jazz in Port-au-Prince. These musicians come from the United States, France, Brazil, Mexico, Chili, Germany, Spain, Switzerland, Canada, the Dominican Republic, and of course, from Haiti and its Diaspora.

Past editions of the Festival have feature Henri Texier and Mino Cinelu from France, Annie Poulin and Brandy Disterheft of Canada, Nono Garcia of Spain, the Sacbe Group of Mexico, and Aaron Goldberg from the US. Despite some challenges the tourism industry faces in Haiti, the Festival's organizers host their musical guests in conditions comparable to many other international jazz festivals.

Every country brings its own touch, flavor, and identity to the Port-au-Prince International Jazz Festival, giving the event a universal dimension that only jazz can offer its fans. Haiti also brings its own color: kreyòl jazz, a rising movement in the international jazz scene. Pauline Jean, Beethova Obas, Meddy Gerveille de la Réunion, Reginald Policard, Turgot Theodat, Buyu Ambroise and Mushy Widmaier have been the ambassadors of kreyòl jazz during past editions.

For eight days, Port-au-Prince swings with jazz rhythms. The Festival participants pour into historic public spaces of the capital, such as the historic Sugar Cane Park with its gardens and vestiges from the colonial era, the gardens of the prestigious Karibe Hotel, and the FOKAL Cultural Center located in the heart of Port-au-Prince. For the after hours jam sessions, festival-goers fill the most attractive restaurants of Pétion-Ville, the nightlife neighborhood of the capital.

To achieve its mission to promote music and especially jazz around the country, the Fondation Haiti Jazz - the Festival's primary organizers - offers free music training workshops to young, local musicians in collaboration with the participating international music professionals.

Haiti is open for business and ready to receive jazz fans from around the world under the tropical sun.

Claude Carre

Claude Carré was born in Port-au-Prince. Being a traditional jazz guitarist, a researcher and a music teacher, Professor Carré is a passionate advocate of Jazz in Haiti. A few years ago, he created the "Haiti Jazz Club" where he inducts and teaches young musicians to jazz techniques. Co-founder of the Natif Jazz Trio in 1998, he's also written "Les Musiques d'Haïti", an essay on music. Finally, Claude Carré regularly lends his talent to foreign musicians invited to Haiti.

James Germain

During years, James German offered ¬a universe in the confluence of his afro-Caribbean roots. Born in Port-au-Prince, he grew on the hill of Saint-Antoine, a working-class district of the capital. James sings with a melancholic voice, airs of traditional voodoo songs blended with touches of opera or even gospel, by reinventing codes. Haiti, its songs and voodoo, are at the center of its work... His inspiration takes from classical to afro music, thus a unique world at the crossroad of several worlds. After a third album " Kréol Mandingue ", produced in Mali, James prepares a new album which shows its deep roots of Haitian culture and its force always renewed to impose its voice in the world.

Luck Mervil

In Quebec, the Caribbean, Europe; on stage, in song, on the big screen...writer, composer, actor and host Luck Mervil is undeniably one of the French-speaking world's most recognizable artists.Born in Haiti, Mervil started singing at the age of four. He grew up in New York and in Quebec, where he founded RudeLuck, a rap-reggae fusion group that earned many nominations, awards, radio hits, successful tours, and invitations to Francophone festivals in Canada and Europe. The album Pour le meilleur et pour le pire has sold more than 250,000 copies. Mervil recently launched TI PEYI A, a strikingly authentic and disturbingly sensitive new album blending various Creole styles in order to portray life, love and daily struggles in his birthplace.

Reginald Policard

Réginald Policard is a Haitian pianist who started playing when he was 12. His experience includes various styles such as Kompa, Jazz, Latin Jazz, Fusion, etc... He is a founding member and director of the famous band Caribbean Sextet with which he took part to the New Orleans Jazz Festival. Réginald Policard has also recorded fourteen solo albums. On August the 15th 2013, Boarding Pass, taken from his album Detour was among the Top 10 of Spotlight on Jazz.

Willerm Delisfort

"When words are not enough ... it is his music that speaks. "The pianist and composer Willerm Delisfort is a messenger of life, using music as a tool. His style extends from Jazz to Gospel or R & B. His versatility has allowed him to become a musician very in demand by Jazz, Rap, Soul or Fusion artists, among which Fareed Haque, Calvin Newborne, Corey Wilkes, Ernest Dawkins, T-Pain and many others.

X-Key

This group from Cap Haitian sounds like a typical "Root & Jazz-Fusion" band. All the emotion of Haitian Folk Rhythms is brought to life thanks to the combination of Haitian traditional drums and rhythms with a touch of Jazz, Funk and Rock. In 2012, X-Key took part in the 6th edition of the Port-au-Prince International Jazz Festival. Their much awaited first album is programmed to be released in 2014.

Mushy Widmaier

Mushy Widmaier is a "modern jazz" piano player, but one with a certain undertone of both Haitian folklore and European art music - but all of it as ingredients of a digested and unified whole sounding unmistakably as Him. Mushy is capable of fitting in with groups of almost any stylistic observance, and takes a most active and creative part in the proceedings. He seems to master a vast repertory, whether jazz standards, Haitian folk songs, popular dance music or originals.

Josue Alexis

Josué Alexis is a young pianist, born in Port-au-Prince. He begins practicing the piano at a very young age, exploring the classic repertoire under the supervision of teachers such as Joseph Pierre, Loubert V. Leopold and Serge Villedrouin. In 2003, he obtains a distinction prize in the national competition of piano and music theory. Self-taught in jazz music, he followed with interest the workshops of the previous editions of the Festival International de Jazz de Port-au-Prince. Currently he collaborates actively with singer and guitarist Hans Peters, and drummer John Bern Thomas. He will perform accompanied by Hermand Duverne (bass), Gessoit Pierre-Louis (Saxophone) and John Bern Thomas. Alexis is one of the great hopes of the new generation of Haitians jazz pianists.

Nadege Bellande

Born in California, Nadège Bellande Robertson began playing the piano and violin as a child, but found her true talent as a vocalist. In 1994, she moved to Haiti, and established herself quickly. In 2002, she created the band N'Didgenous with Gregory Vorbe. Nadège has also collaborated with Jean Pierre Grasset, Joel and Mushy Widmaier, Strings, and performed with Boukman Eksperyans, RAM, Belo, Fabrice Rouzier, The Fugees, The Marleys, and the Lynn University Philharmonic

CHARLIE PEACOCK - LEMONADE

LEMONADE - pianist, composer, record producer and Grammy Award Winner Charlie Peacock’s collection of twelve solo piano improvisations is an unexpected, yet winsome next musical step after his much-admired 2012 Folk-Americana release, No Man’s Land. Paste Magazine’s Holly Gleason proclaimed No Man’s Land “a cocktail of Dust Bowl feels, Cajun beats and shuffles, raw banjos and fiddles, steel guitars that pool, and spacious arrangements. This is music of red dirt and high humidity, different worlds that share the same sort of soul.”

It’s no stretch that the producer behind the music described above, and that of Folk/Americana darlings The Civil Wars and Holly Williams, would share the same sort of soul found in solo piano improvisation. For Peacock, it’s all one soulful musical world. The producer/pianist did in fact produce three of Entertainment Weekly’s Ten Best Country Albums of 2013. However, he’s also the same musician that has recorded and performed with such top tier jazz improvisers as Ravi Coltrane, James Genus, Bela Fleck, Marc Ribot, Jeff Coffin, Joey Baron and Kurt Rosenwinkel. Perhaps all of this is why Electronic Musician wrote: “Charlie Peacock's life is like a game of musical chairs: he is constantly changing seats and trading places.”

“I was raised by a California-born, improvising trumpet playing father whose grandfather was a Louisiana fiddler. Maybe that explains a little of my ability to move fluidly between several varieties of American music, whether it’s rooted in Hank Williams or Miles Davis.”

LEMONADE is Peacock’s third recording in the jazz (beyond jazz) genre. His first, Love Press Ex-Curio (2005) was followed by Arc of the Circle (2008), a duet recording with saxophonist Jeff Coffin. Each recording reached Top 5 on the CMJ Jazz Chart and both provide plenty of clues to Peacock’s unique piano approach, now fully revealed on LEMONADE.

“There’s no hiding that I’ve been affected by Keith Jarrett’s seminal solo piano improvisations, Facing You from 1972. I’m proud to be of the generation of musicians that grew up on that amazing record. Andrew Hill’s Point of Departure was also essential listening. I spent a day with Andrew in the late 70s and that was life changing. Even with the obvious influences, I’ve tried to do something a little different with the left hand by outlining chords in 5ths and 6ths and avoiding the jazz pedagogy voicings we all learned back in the day. Because I usually produce much simpler, less harmonically dense music, it’s helped me be content with harmony that floats seamlessly between simplicity and complexity, and maybe sounds a little less like a particular time in history. That’s what I hope for.”

Charlie Peacock’s production of The Civil Wars’ Barton Hollow garnered two Grammy Awards in 2011 and was Gold certified. The eponymously titled The Civil Wars (2013) debuted at #1 on the Billboard Pop Chart, has sold over 300,000 copies and is Grammy nominated. Peacock’s production of Holly Williams and The Lone Bellow were also singled out in 2013 as commercially and critically significant. With this sort of commercial momentum why choose to make an improvisational record now'

“I’ve never been one to put too much stock in commercial peaks. Thankfully I’ve had several, but I’ve always been after a lasting career – one that never peaks – just gets better. Artists I admire, like Louis Armstrong, Duke Ellington, Johnny Cash, Willie Nelson, and Herbie Hancock have that kind of career story – basically a life of making music rooted in America, and that’s a music I know and love.”

As The Nashville Scene put it, Charlie is a “Producer - renaissance man” and proudly makes Nashville his home. Or does he' One journalist, after hearing a Charlie Peacock piano solo from a previous recording doubted this in print: “Are we sure Charlie lives in Nashville'” Not only does he live in Nashville, he remains as Keyboard magazine says, “one of the most respected musicians in Nashville.”

“There’s a reason Nashville is called Music City. It’s about the music first here, and improvisation, whether it’s jazz, bluegrass, or rock related, is absolutely central to the music created in our city – a city full of world-class improvisers. My solo piano record and playing is hardly an anomaly. It’s simply my version of what friends Jerry Douglas, Vince Gill, and Andy Leftwich do in their own sphere of influence. I had my pivotal experience with Keith Jarrett when I was seventeen. I’m hoping my record will spark imaginations and remind people that this is what musicians do – the music is inside us, and when we improvise, we are composing on the spot, real-time. I’m just doing my small part to tell that story, keep it alive. And if people dig what I do, I hope they will check out some serious mastery in pianists like Vijay Ayer, Uri Caine, and Brad Mehldau.”

Short Bio: Charlie Peacock is a Grammy Award-winning, multi-format performer, composer, and record producer. Peacock's current production credits include AAA and Americana successes such as The Lone Bellow, Holly Williams, Ben Rector, Brett Dennen and "Misery Chain" for Soundgarden frontman Chris Cornell featuring Joy Williams, from the soundtrack to the film, 12 Years A Slave.

Charlie Peacock - LEMONADE 
Twenty Ten Music - Release: January 7th, 2014

PALMIRA GUITAR COCKTAIL - THE GUITAR EDITIONS

The band Palmira Guitar Cocktail, which is focused on guitar music of certain genres, introduces a new release of the album series called "Smooth Jazz Casino". The volume 2 of this album series presents smooth jazz and latin jazz again with a bouquet of world music sounding. Cool and relaxed tunes besides funky grooves and extraordinary guitar play. While listening there's a breeze of Brazil and samba as well as the impression of a side trip to Africa. Smooth jazz sounds to lean back and enjoy in your living room, music to accompany a cozy dinner or or while enjoying a glass of wine sitting by the open fire ...

The band Palmira Guitar Cocktail, which is focused on guitar music of certain genres, introduces a new album series called "Smooth Jazz Casino". The volume 1 of this album series presents mainly smooth jazz and latin jazz with a bouquet of Spanish and Hispanic air. Cool and relaxed tunes besides funky grooves and extraordinary guitar play. While listening there's a breeze of Brazil and samba as well as the impression of a side trip to Andalusia with flamenco & Co. Smooth jazz sounds to lean back and enjoy in your living room, music to accompany a cozy dinner or a sundowner on your terrace.

FRANK SINATRA'S - SINATRA WITH LOVE, FEATURES CLASSICS FROM CAPITAL AND REPRISE CATALOGS

With Valentine’s Day quickly approaching, set the perfect mood for this special night with the romantic styling of “The Chairman of the Board.” On January 28, 2014, Universal Music Enterprises (UMe) will release Sinatra, With Love, a 16-track collection of Sinatra’s romantic classics from his Capitol and Reprise catalogs. This is Universal’s second release under the newly launched “Signature Sinatra” imprint, a deal uniting Sinatra's classic Capitol and signature Reprise recordings.

Sinatra, With Love features timeless ballads and swingin' standards including Cole Porter classics “From This Moment On,” “I Love You,” and “Just One Of Those Things.” “Ol’ Blue Eyes” continues to keep the romance flowing as he puts his signature touch on the Gershwin classic “Love Is Here To Stay,” as well as “It Could Happen To You,” “Nice ‘N’ Easy,” “The Look Of Love,” “Moonlight Becomes You,” “(Love Is) A Tender Trap,” and “The Way You Look Tonight,” all arranged by the legendary Nelson Riddle. Also featured are treasured renditions of “My Foolish Heart,” “It Had To Be You (featured in When Harry Met Sally),” the Johnny Mercer-penned “Something’s Gotta Give,” with an arrangement by Billy May, and “Wave,” written by Sinatra’s long-time collaborator Antonio Carlos Jobim.

Frank Sinatra began the golden age in which American popular music became a universal language and this extraordinary creative genius is its most articulate spokesman worldwide. Throughout his 60-year career, "Ol' Blue Eyes" performed on more than 1,400 recordings, was awarded 31 gold, nine platinum, three double-platinum and one triple platinum album by the Recording Industry Association of America. He was also awarded Lifetime Achievement Awards from the Grammys, The Screen Actors Guild, The Kennedy Center and the National Association for the Advancement of Colored People (NAACP), as well as the Presidential Medal of Freedom and the Congressional Gold Medal. His contribution to our life and times extends far beyond his music, to embrace an exuberance, a zest for life, a sense of style and a glorious self-confidence that define, for all time, what it meant to be young at heart and have the world on a string. His spirit and vision continue to be defined by the wisdom and insight from the legacy of work he left behind.

   

TRACKLISTING: 

1. Moonlight Becomes You / 2. Love Is Here To Stay / 3. Just One Of Those Things / 4. Misty / 5. Nice ‘N’ Easy / 6. It Could Happen To You / 7. The Way You Look Tonight / 8. Love Looks So Well On You / 9. (Love Is) The Tender Trap / 10. I Love You / 11. The Look Of Love / 12. Something's Gotta Give / 13. From This Moment On / 14. Wave / 15. It Had To Be You / 16. My Foolish Heart 

  

      

LAUREN KINHAN - CIRCLE IN A SQUARE

Acclaimed vocalist Lauren Kinhan celebrates the release of her new CD Circle In A Square on Sunday, January 19 at Arts Garage, 180 NE 1st Street, Delray Beach, FL. She performs with pianist Martin Bejerano, bassist Paul Shewchuk, drummer Mike Piolet and saxophonist Mark Small. 2 sets beginning at 7:00 p.m. Tickets: $25 general admission, $30 reserved seat, $35 premium seat. Go to http://artsgarage.org or call 561-450-6357 for more information.

The CD release show is the second in a string of dates for Kinhan who also performs January 7 in NYC; January 23 in Bowling Green, OH; January 24 in Kent, OH; January 25 in Maumee, OH; January 30 in Studio City, CA; February 2 in Cannon Beach, OR; February 3 in Portland, OR; and February 5 in Denver, CO.

While Lauren Kinhan is best known for her ongoing two-decade tenure in the internationally renowned New York Voices, she has steadily established herself as a powerful composer in her own right. Following up on her acclaimed 2010 album Avalon, she offers an emotionally incisive and melodically enticing set of new songs on Circle In a Square, which is slated for release on January 7, 2014 on Dotted i Records. Long recognized as a poised and penetrating musical interpreter, Kinhan focuses on telling her own stories with songs seasoned by life and the contributions of some of jazz's most evocative improvisers.

Working with ace pianist/keyboardist Andy Ezrin, veteran bassists Will Lee or David Finck interchangeably and the supremely supple drummer Ben Wittman, whose credits include Don Byron, Laurie Anderson and Paul Simon, Kinhan maintains the core rhythm section throughout the project. Without a trace of fussiness, she treats each track as a finely etched entity unto itself, bringing together just the right combination of elements.

"Twenty-five years ago I up and moved from my cozy Columbus Avenue apartment in Boston and departed for the mystery and magic of Gotham. Those were ambitious days, full of hard knocks, slinging beers as a waitress, gigging and discovering my musical path. Fast forward to today: I wanted to mark this milestone with a body of work that incorporates all the things I've learned along the way," says Kinhan, who produced the album with Elliot Scheiner, a studio maestro with 24 Grammy Award nominations and seven Grammys.

"I've always enjoyed the collaborative writing process," she says, "but this time I wanted to shape each song as much as possible from my own head, capturing my personal harmonic and lyrical palette and crafting the overall musical statement. Elliot created an environment conducive for everyone doing their best work."

With credits that range from Steely Dan, Sting, and Paul Simon to B.B. King, Chaka Khan, and Van Morrison, Scheiner is an expert at capturing an artist's sonic nuances. With Kinhan, he was particularly struck by the consistent quality of her compositions. "Beyond how effortlessly and beautifully Lauren sings, I was blown away by what a great songwriter she is," Scheiner says. "Her songs will be considered standards in the future."

Kicking off with the title track, Kinhan lays her cards on the table, celebrating music's power to transport us to a particular time and place in our life. In the first of several keenly incisive solos throughout the album, trumpeter Randy Brecker tips his hat to the Beatles' "Penny Lane" and then distills the mood of pleasurable longing in a series of graceful phrases. Saxophonist Ada Rovatti contributed to the music, coming up with the aggressive groove. Kinhan's heady lyric invoking Newton's Third Law of Motion (For every action there is an equal and opposite reaction) is beautifully balanced by the story of her husband's love of his record collection.

On an album filled with gems, "Another Hill to Climb" stands out with a lovely string arrangement by Rob Mounsey featuring a quartet led by the wondrous Sara Caswell. A gospel-tinged ballad that brings to mind early Donny Hathaway, the song speaks to the need for perseverance in the face of life's inevitable vicissitudes. The piece closes with a striking string voicing, which seems to lead naturally into "Chasing the Sun," the album's only wordless piece. The soaring melody showcases Kinhan's bold, lustrous voice, which finds a perfect foil in the poetic guitar of Brazilian master Romero Lubambo.

Lubambo also plays a key role in the epic, emotionally wrenching "To Live and Die," a cri de coeur that delves into the turmoil of getting lost and the sense of loss afflicting those left behind. In another piece of savvy sequencing, she follows with the buoyantly grooving "Pocketful of Harlem," which kicks off with Wittman's wildly inventive drum solo. Kinhan beautifully evokes the challenges inherent in long relationships on "We're Not Going Anywhere Today," a poignant piece with a gorgeous lament of a solo by Ezrin, one of the under sung masters of New York's music scene. "The trust between all of us to play this slow and undulating dance is what it's all about," Kinhan says.

She's at her most playful on the voluptuously sensual tango "Chaussure's Complex," an erotic tableau defined by Gary Versace's agile accordion. The album closes with a sublime ballad, "The Deep Within," a poem by Kinhan about the soul's resilience set to a numinous melody by Kinhan and fellow New York Voice Peter Eldridge (who contributes to the recording on piano). "I love singing this song," Kinhan says. "The sweet motivic melody breathes from performance to performance, centering and reminding, like a lullaby that summons the spirit. Peter and I have collaborated over the years, and this song is something truly special."

Kinhan is something of a magnet for adventurous vocalists. She's performed with New York Voices since 1992, and is deep into the ensemble's 25th anniversary celebration, which they've marked with the release of three projects, the DVD/CD New York Voices Live at the Java Jazz Festival, and the CDs New York Voices Live with the WDR Big Band and Let it Snow, a holiday album. She's a charter member of the supergroup Moss with fellow vocal explorers Luciana Souza, Kate McGarry, Theo Bleckmann and Peter Eldridge, which released an acclaimed eponymous CD in 2008 on Sunnyside.

More recently she teamed up with The Manhattan Transfer's Janis Siegel, and former, founding Transferer Laurel Massé in JaLaLa, an uproariously skilled and entertaining trio that released the Johnny Mercer tribute That Old Mercer Magic in 2009 on Dare Records. And she joined a stellar cast of singers on an ambitious Bobby McFerrin choral project - VOCAbuLarieS - a collection of his original songs set for multiple voices arranged by Roger Treece, a project released on Decca in 2010.

Raised in a jazz-steeped household, Kinhan became enamored with the signature singer/songwriters of the 1970s like Joni Mitchell and Carole King. While studying at Berklee College of Music she started composing and thinking about how to merge these two passions - jazz and the singer/songwriter narrative. Working as a studio singer and songwriter in New York City, she caught the ear of avant garde patriarch Ornette Coleman, who gave her strong encouragement. He ended up hiring her for his celebrated 1997 album Sound Museum, Three Women, which features her searing vocals on his tune "Don't You Know By Now." Lauren joined him on his historic retrospective at Lincoln Center with Billy Higgins, Charlie Haden, and Geri Allen, where she sang his song and one of her own compositions.

The year 2000 marked another creative leap for Kinhan. She collaborated with the Japanese guitarist Jiro Yoshida on Guitar and the Moon, an album of jazz standards featuring bassist Eddie Gomez, pianist Andy Ezrin and drummer Ben Wittman (Circle In a Square reunited her with Yoshida, who collaborated on the music of the funky, bebopping "Bear Walk" where Brecker makes another stunning appearance). The same year she also released her debut solo project, Hardly Blinking, an impressive program of original songs produced by the legendary Phil Ramone, along with Frank Filipetti, and Rob Mounsey.

In the decade between Hardly Blinking and her second album, Avalon, Kinhan started a family, and her new music was powerfully informed by that wonderful life-changing event. Combining her sophisticated harmonic vocabulary and love of pop music craftsmanship she created a smart, bracingly contemporary sound marked by scintillating wordplay and felicitous melodies. With Circle In a Square she continues to hone music that's tradition savvy but utterly of the moment. Rooted in jazz's improvisational imperative, Kinhan knows that you best celebrate the music by remaking it in your own image.

"Think of me as a horn player who sings a lyric or a dancer filling a phrase, a reedy voice that's lived in, adventurous and unapologetic," Kinhan says. "It all circles around living in the moment, telling a story and letting conventions be undressed and re-outfitted."

http://laurenkinhan.com/

YVONNICK PRENE & PADAM SWING - WONDERFUL WORLD

Brooklyn based quartet, Padam Swing are set to release their forthcoming album, Wonderful World, a triumphant effort that sees the group, as fronted by chromatic harmonicist, Yvonnick Prene, blend gorgeously layered textures of traditional gypsy jazz with licks of contemporary and modern groove.

Inspired by the musical genius of Django Reinhardt heard echoing through the streets of Paris during the 30's and 40's, Padam Swing continue an esteemed tradition with Wonderful World, while breathing a new light on modern jazz through experimentation of rapid tempos and bold key changes.

It's a staggering achievement from the four pieces, comprised of Scott Tixier (violin), Michael Valeanu (guitar) and Lorin Cohen (bass), and lead by Yvonnick Prene, whose foundations in jazz were laid at an early age. "As a child I was often alone in my apartment in the suburbs of Paris - my parents were working late," remembers Prene, who grew up listening to his father's CD collection (think Rolling Stones, Muddy Water, Sonny Boy Williamson). "When I was 7, there was a guitar with broken strings and a plastic toy harmonica in the apartment, and I couldn't use the guitar so I took the harmonica and started to bring it to school."

Prene's career officially began in Paris at 17. Since then, Prene has gone onto garner attention and gain prestigious awards for his outstanding showmanship, both as harmonica performer and composer. In 2007, Prene was named as a finalist in the "Trophées du Sunside" competition in Paris alongside his band, and was invited to participate in the prestigious Betty Carter Jazz Ahead Residency Program in Washington D.C, 2011.

His distinction continued to elevate Prene amongst his peers in North America, and was the first harmonica player selected to audition for the distinguished Thelonious Monk Institute in Los Angeles, performing in front of jazz legends Herbie Hancock, Wayne Shorter, Jimmy Heat, Kenny Burrell and James Newton. Following his audition, doors continued to open for Prene, and he was awarded multiple full-tuition scholarships at The City College of New York, (MICEFA 2007), Columbia University (Alliance Program, 2008) and at the New School for Jazz and Contemporary Music (Merit-Based Scholarship, 2009). It was here are the New School that Prene had the opportunity to study with the masterful Lee Konitz, Reggie Washington, John Patittuci, Peter Bernstein, Charles Persip, Kevin Hays, Charles Tolliver, Ben Street, Jerome Sabbagh, and Aaron Goldberg.

After gaining his Masters in Music and Research at Sorbonne University in 2011, and a Bachelor of Art from the New School, Yvonne signed to Danish label, Steeple Chase Records, through which he released his stunning debut album, "Jour de Fete," and saw Prene tour in almost every corner of the globe across Europe, North America and The Caribbean.

Wonderful World takes listeners on an ethereal journey, with original gypsy bossa tracks composed by Prene himself including the playful, "The Swimmer," to Johnny Green's exuberant "Coquette," and the glittering "Duke Ellington's Sound Of Love" composed by Charlie Mingus. It's truly a modern masterpiece by some of the most talented contemporary musicians in the jazz world.

htp://www.yvonnickprene.com

http://padamswing.com

SUMMERSTAGE/CHARLIE PARKER JAZZ FESTIVAL SHOWCASE FEATURING THE REVIVE BIG BAND W/SPECIAL GUESTS BILAL & DR. LONNIE SMITH

City Parks Foundation, in partnership with the Winter Jazzfest is pleased to announce the SummerStage/Charlie Parker Jazz Festival Showcase, a special event taking place at Le Poisson Rouge on Thursday, January 9, 2014. The Winter Jazzfest turns 10 years old in 2014 and in celebration of this milestone, Winter Jazzfest is expanding to five nights from January 7th through January 11th. As a part of this expansion, Le Poisson Rouge will host a preview of artists that will perform as part of the 2014 SummerStage/Charlie Parker Jazz Festival lineup. This evening will feature The Revive Big Band, featuring special guests Bilal, and Dr. Lonnie Smith.

The Revive Big Band

The musical styles, experience, and tastes of Revive’s members vary widely, but their collective mission is the same. “We’re carrying on, within the tradition of big bands, what would be relevant today,” bandleader Igmar Thomas says. “[We're] modifying the message and making it translatable, accessible to the people, so that they have something relevant to grasp on to. It represents that little bridge.” Revive’s repertoire is an authentic gumbo, featuring original compositions by Thomas, as well as epic orchestrations of selected productions from different producers and notable Hip-Hop songs combined with the original sampled jazz record, all re-imagined and arranged into original works for a big band. “Our voice is one that has a foot deeply placed in the jazz roots and the tradition of that, à la Dizzy Gillespie and Count Basie – but also, another foot deeply invested in 2013, and so on. That’s the direction: Dizzy, Dilla, and us,” declares Thomas.

http://igmarthomas.blogspot.com

Bilal

A classically trained vocal veteran, Bilal released his debut album 1st Born Second in 2001, which boasted the popular single “Soul Sista.” The follow-up, Love for Sale (2006), was shelved but leaked entirely online yet was well received to fans and music critics and has become an underground classic. In the following years, Bilal has collaborated and performed with some of the industry’s most prominent artists including, Beyonce (Fighting Temptations), Common (Like Water for Chocolate, Electric Circus, Be, Finding Forever), Jay-Z (American Gangster), Erykah Badu (New Amerykah Part One, New Amerykah Part Two), Robert Glasper (All Matter), Boney James (Better With Time), Musiq (Soulstar) and The Roots among others. He also covered Radiohead’s “High & Dry” for the 2006 Radiohead tribute, Exit Music: Songs With Radio Heads. Bilal also appears in Dave Chappelle’s Block Party.

Dr. Lonnie Smith

Dr. Lonnie Smith is an unparalleled musician, composer, performer and recording artist. An authentic master and guru of the Hammond B-3 organ for over five decades, he has been featured on over seventy albums, and has recorded and performed with a virtual “Who’s Who” of the greatest Jazz, Blues and R&B giants in the industry. Consequently, he has often been hailed as a “Legend,” a “Living Musical Icon,” and as the most creative Jazz organist by a slew of music publications. Jazz Times magazine describes him as “a riddle wrapped in an enigma wrapped in a turban!” Always ahead of the curve, it is no surprise Dr. Smith’s fan-base is truly worldwide.

Ticket and Show Information

Tickets are required. Tickets are $15 in advance/$18 day of show

Doors open at 7:00PM

Concert begins at 8:00PM

For more event information, including group ticket sales, please visit Le Poisson Rouge’s website at:

http://www.lepoissonrouge.com/lpr_events/wjf10-summerstage-showcase-january-9th-2013/