NEW RELEASES: NENEH CHERRY - BLANK PROJECT; BEST OF INVICTUS / HOTWAX VOL. 1 - KILLER SHOTS; PATTI LABELLE - RELEASED

NENEH CHERRY - BLANK PROJECT

Neneh Cherry's Blank Project is her first solo album in 16 years - a collaboration with RocketNumberNine, produced by Four Tet, and featuring a guest appearance by Robyn. While her energy and demeanor may not have changed since the days of Rip Rig + Panic, musically, Blank Project is a departure from anything Neneh has previously done and was initially written as a means of working through personal tragedy. What stands out upon first listen is the album's sparseness: loose drums and a few synthesizers are the only accompaniment to Neneh's wildly poetic, soul-flooded and raw vocals. Featuring combined elements of beat poetry, avant-electronica and beautiful vocal melodies, it's a record that uses simple ideas to create something entirely original. 

Neneh will perform at Rough Trade East in London on Tuesday evening 2/25, as well as a sold out London show at Concrete on Wednesday 2/26. ~ giantstep

A killer batch of 70s soul – all pulled from the vaults of Invictus/Hot Wax Records! The tunes here represent a great evolution of Detroit Soul in the second decade – a shift of the energy of the Holland-Dozier-Holland team away from Motown music, and into a headier realm with a host of new artists. Yet there's also a tight core of dancefloor grooving on most numbers – those tight rhythms mixed with impeccable production that the trio first brought to soul in the 60s. Some tunes here are familiar, others are nicely obscure – and really make for a nice sense of variety in the set – a list of titles that includes "Can't Get Enough Of You" by Tyrone Edwards, "Ace In The Hole" by Honey Cone, "Love & Liberty" by Laura Lee, "That's Love" by The Hi-Lite, "VIP" by Scherrie Payne, "Hey There Lonely Girl" by Ty Hunter, "Love Machine (part 1)" by McKinley Jackon & The Politicians, and "Frightened Girl" by The Silent Majority. ~ Dusty Groove

PATTI LABELLE - RELEASED

A real standout in the early solo years of Patti Labelle – and a great set that reunites the singer with New Orleans legend Allen Toussaint – who'd previously worked some magic with Patti and the Labelle trio! Toussaint really grounds Patti's vocals wonderfully – giving them a solid footing that moves past the pop and disco of previous records, but which also doesn't just resort to New Orleans cliches, either. Either Toussaint or Labelle wrote most of the songs on the record – and together, they find a fresh batch of material that really helps establish the singers as one of the greatest female voices in soul. The whole album's a classic – well-balanced between mellow and upbeat numbers – and titles include "Find The Love", "Get Ready", "Give It Up", "Release", "I Don't Go Shopping", "Ain't That Enough", and "Don't Make Your Angel Cry". CD features a bonus track – "Release (The Tension) (12" disco mix)". ~ Dusty Groove

CHICK COREA SOLO PIANO AT THE TOWN HALL

Blue Note Entertainment Group has announced a the Chick Corea Solo Piano at The Town Hall on Thursday, April 10, 2014, with one show at 8:00PM. Corea will perform in support of his forthcoming solo piano album, Portraits (set for release on Stretch/Concord Records in 2014). This New York performance is part of Corea's rare worldwide 2014 solo piano tour.

When the legendary artist Chick Corea recorded Piano Improvisations on the ECM label in 1971, he was the first jazz pianist of his era to release such a recording. This groundbreaking album literally opened the floodgates to a new genre of solo piano that continues strong today.

In 2014, Corea will release a new solo album and embark upon a world tour with a presentation that is as fresh and innovative as ever. With the simplest expression of his artistry - only 88 keys at his disposal - Corea reinvents himself for each show, exploring every inch of his musical world, with a perfect balance of in-the-moment improvisation, Corea-classics, jazz standards, classical renderings and the inimitable suite of "Children's Songs."

The album title, Portraits, derives from something Corea occasionally includes in his solo shows - when the spirit moves him. The artist asks for volunteers from the audience, sits them down one at a time next to the piano and proceeds to paint a musical "portrait" unique to each individual. It's uncanny how the personality of the person is captured in Corea's improvisations. His solo shows are a pure distillation of one of the most remarkable careers in jazz: moving and profound, in the pure Chick Corea spirit of play.

Corea's legendary career "is among the most kaleidoscopic in jazz," says The New York Times. That drive to explore has propelled collaborations with masters such as Miles Davis, Herbie Hancock, and Gary Burton, has won him 20 GRAMMY® awards and a NEA Jazz Master fellowship, among many other accolades.

chickcorea.com

NICKY SCHRIRE RELEASES SIX-SONG EP - TO THE SPRING

New York-based singer-songwriter Nicky Schrire has created a small oasis of intimacy with To The Spring, a six-song, digital-only EP to be released March 11th, 2014. The half-hour EP is the follow-up to Space and Time, Schrire's full-length release from last fall. That album, her second, saw Schrire juxtapose her own wistful, winsome originals with classics by Irving Berlin and the Gershwins, the Beatles and Massive Attack. To The Spring sees Schrire focus on her original songs, with rising-star pianist Fabian Almazan and bassist Desmond White alongside. An All About Jazz review of Space and Time speaks to virtues that are equally as present on To The Spring, with the critic saying of Schrire's voice: "Think of Ivory soap: clean and unscented by anything artificial. It's genuine. The same can be said of her composing: She is not looking to show off with technical fireworks; she's showing grace, class and a certain élan."

Schrire produced and arranged To The Spring, along with composing all the music and lyrics. She wrote the six songs fairly quickly over the space of seven or so weeks, and then helmed a single after-hours recording session for them with Almazan and White. The entire process emphasized immediacy and spontaneity, as Schrire recalls: "We recorded all the songs in that one Sunday evening. The limited canvas we had in terms of time could've been restricting, but it was actually inspiring - we had to be incredibly focused, and we really had to react to each other with clarity of intention and execution. The experience reiterated that making a record isn't life or death - it's creating music, it's play. That sense of play was vital to making the songs come to life in the studio."

Trained as a jazz singer by some of the best (including Peter Eldridge and Theo Bleckmann), Schrire actually grew up playing saxophone in big bands. But her albums as a vocalist - including her debut, Freedom Flight, which All About Jazz called one of the best albums of 2012 - have seen her combining the virtues of both the jazz and singer-songwriter genres. "What I love most about jazz isn't a swinging groove or a bebop head - it's the improvisatory nature of the music and the taking of chances, particularly when you're collaborating and connecting with other musicians."

Schrire worked with Fabian Almazan on her previous release, Space and Time, which saw her alternating songs in duet with three different pianists (with Gerald Clayton and Gil Goldstein also on the record).

"I love the way Fabian interprets my songs," she says. "His musical influences really vary from mine.

He not only pushes me harmonically and rhythmically; he's naturally on guard for clichés and helps the music veer away from any sentimentality." As for Desmond White on bass, Schrire adds: "He has just released his own album that mixes jazz with singer-songwriter music so I knew we shared genre-blending tendencies. Des also realizes that less is more, which is a mantra I've taken to heart. And as a soloist, he has a great feel for melody, something that's always important to me."

The subjects of the songs on To The Spring range from missing someone on the road (inspired by a movie about Jeff Buckley) and the connection Schrire has with her father (and a William Carlos Williams poem) to the natural rhythm of life with four seasons in New York (as opposed to basically just summer and winter in the singer's native South Africa) and aspects of love (both romantic and humanistic). The songs fly by, yet the half-hour of music has resonance, too. "With just six songs, it's more like a novella than the novel of a full album - an EP might be ideal for these attention-challenged times," Schrire says with a smile. "A recording is always just a snapshot in time, but with it being my first release of all original songs, To The Spring also feels like the bravest thing I've done."

Nicky Schrire was born in London to South African parents and then raised in South Africa after age 5. She grew up with music-loving parents, with her father playing James Taylor and Crosby, Stills, Nash & Young records at home and rocking out to Blood, Sweat & Tears in the car. Her mother favored classical music from Mozart sonatas to Rachmaninoff concertos, and she bought her daughter VHS tapes of such musicals as The Sound of Music, Hello, Dolly! and My Fair Lady, which Schrire watched endlessly as a little girl. She started playing classical piano at age 8 and then tenor saxophone at 11. Hearing Ella Fitzgerald Sings the Verve Songbooks was a galvanizing experience as a preteen - and she listened to the album so much that she can sing even the instrumental fills and interludes to this day. At the University of Cape Town, instrumental studies were her initial emphasis, as she played tenor, baritone and soprano saxophones and clarinet in big bands - an experience that developed her arranger's ear. Eventually, though, Schrire focused on her love of singing, and she moved to New York to earn her Masters Degree at the Manhattan School of Music, studying with Peter Eldridge, Theo Bleckmann and Dave Liebman.

Schrire has sang at venues from New York's 92nd Street Y, Kitano and 55 Bar to Scullers Jazz Club in Boston and the Blue Whale in Los Angeles, as well as clubs and concert halls in London, Dublin, Lithuania, Poland and her native South Africa. She has released two full-length albums, Freedom Flight (2012) and Space and Time (2013), as well as the upcoming EP, To The Spring. All About Jazz said of this singer: "In the crowded world of jazz vocals, it helps to have a distinctive voice or a distinctive repertoire. Schrire scores on both counts."

 To The Spring

1. "Traveler"

2. "Your Love"

3. "To The Spring"

4. "Fall Apart"

5. "Father"

6. "Give It Away"

All songs written and arranged by Nicky Schrire / Produced by Nicky Schrire / Recorded by Kahil Nayton at the Bunker Studio, Brooklyn / Mixed by Dave Darlington at Bass Hit, NY / Mastered by Nathan James at Vault Mastering, A 

www.youtube.com/nickyschrire 

www.nickyschrire.com

ELLEN ROWE QUINTET - COURAGE MUSIC

A personal triumph for a gifted pianist, composer and arranger at a new peak of creativity, Ellen Rowe's Courage Music (February 23rd, PKO Records) is also renewed confirmation that inspired and vital jazz continues to spring from artistic outposts beyond those of a select handful of America's major cities.  Based in Ann Arbor, where she is Professor and Chair of the Department of Jazz and Contemporary Improvisation at the University of Michigan's School of Music, Rowe has performed with Kenny Wheeler, John Clayton and Tom Harrell, among others, and has also had her arrangements performed by the Vanguard Jazz Orchestra, the Frankfurt Jazz Orchestra and the BBC Jazz Orchestra, as well as by Bob Brookmeyer, Marian McPartland and the Diva big band. The fourth of Rowe's acclaimed recordings as a leader, Courage Music spotlights the dexterity of Rowe's longtime ensemble - augmented here by the trumpeter and flugelhornist Ingrid Jensen - as well as Rowe's skills as an adroit composer and arranger.

The album is expertly balanced by extended compositions that highlight Rowe's mastery of form and textural color with concise performances that reveal the inventiveness and fluidity of the leader's piano work and the invaluable contributions of guest trumpeter Jensen and the top notch local players who make up Rowe's quartet -- the saxophonist and clarinetist Andrew Bishop, the bassist Kurt Krahnke and the drummer Pete Siers. Rowe met Jensen (who also makes a key appearance on Rowe's 2009 Wishing Well album) at a Banff Jazz Workshop in 1990.  "There was even less opportunity for woman jazz musicians back then, " Rowe says, "We bonded there as players and friends, and over the years she has come to give classes at the University of Michigan. When it came to recording, I sensed that Ingrid would sound great with Andrew - and she does. Using two horns opened up sonic possibilities for me as a composer. With Courage Music, I've tried to investigate longer forms and to make use of my growing harmonic pallet. I love the sound that the group, with Ingrid, lends to my compositions. I can put the music in their hands and let it go."

Inspired by both personal achievements and the cherished memories of departed loved ones, Rowe's own compositions, including the romping "The Circle of Life," the ambitious two-part "Golindrinas de los Horcones/Summit Dog," the extended "ŠAnd Miles To Go" (featuring the University of Michigan's Chamber Jazz Ensemble), and the touching ballad "Gentle Spirit," (highlighting guest trombonist Paul Ferguson) form the album's core. Rowe also tips her hat to the jazz tradition with a heartfelt (if ingeniously reharmonized) rendition of the Cole Porter standard, "All of You" and "Leaves," an Ingrid Jensen composition that reworks the durable chestnut, "Autumn Leaves." No matter the origin of the compositions, what comes through most clearly in each performance is the selfless role that the leader takes.  Never overtly grabbing the spotlight with extended solos, Rowe allows the beauty and effortless swing of her succinct playing to make its own profound statement within the overall context of a work. Her distinctive abilities as a composer, arranger and bandleader remain ever in balance with that of her identity as an outstanding piano stylist.

Born in Connecticut, Rowe studied with famed pianist and pedagogue John Mehegan before entering Eastman School of Music where she continued studies with Bill Dobbins and Rayburn Wright. Rowe is now a Full Professor at the University of Michigan's School of Music, Theatre & Dance and director of the University of Michigan Jazz Ensemble. An avid athlete and sportswoman, Rowe has scaled Aconcagua, the 22,481-foot peak in the Argentine Andes, the highest mountain range in the Americas.

http://www.ellenrowe.com/

 

SAX ICON AND LEGEND DAVE LIEBMAN JOINS MACHINE MASS ON NEW RELEASE "INTI"

Machine Mass feat. Dave Liebman pairs the legendary saxophonist (Miles Davis, Elvin Jones...) with longtime collaborator drummer Tony Bianco (Elton Dean, Paul Dunmall, Evan Parker, douBt) and guitarist Michel Delville (The Wrong Object, douBt, Comicoperando). Graced by Dave Liebman’s extraordinary phrasing and improvising skills, “INTI” combines free improvisation with tight rhythmic structures, post-Bitches Brew time signatures with ambient episodes, spreading across different musical and spiritual realities, both playfully and intensely. The band ventures into the fiery electro-jazz territories explored by Bianco and Delville’s recent Machine Mass Trio, which also showcased both musicians’ capacity to listen closely and improvise over unpredictable chord, rhythm and time changes while handling live electronics and computer loops.

Recorded live in the studio with no overdubs (in just one afternoon, no less!), this monumental session bears witness to three seasoned musicians in top form – producing music that is fresh, challenging, profound and moving. Rules are acknowledged and rules are discarded, and the resulting sonic bouillabaisse,Inti, signals some truly exciting new directions for progressive jazz.

“This is truly a unique musical environment that I recorded with these two wonderful musicians. Shall I use the word 'post' everything? There's some 'On The Corner' here, some punk rock, some techno stuff, etc., etc. The resulting bouillabaisse is extraordinary and novel ... challenging music and definitely cutting edge.”  - Dave Liebman

“...this disc is a throwback to the mid-seventies before the term 'fusion' was used and abused. Hence, this is jazz-rock at its best. Refreshing and exciting! Another gem from Moonjune treasure chest.” - Bruce Lee Gallanter, DownTown Music Gallery

Musicians:

“Dave Liebman is one of the most creative jazz saxophonists on the planet” (John Fordham, The Guardian, London) “...the most breathtaking sweep of emotions that might be heard on soprano saxophone for some time to come.” (All About Jazz)

"Michel Delville’s fantastic guitar leads build (once again) to the far corners of the universe” (Dick Metcalf, Rotcod Zzaj) “... quite stunning whether soloing or filling out the spaces between” (Duncan Heining, Jazzwise Magazine, UK)

“Tony Bianco allies grace and power, propelling both sessions with unflinching stamina” (Francois Couture, All Music Guide)

TRACKS:

1. Inti (7:27)

2. Centipede (4:41)

3. Lloyd (6:24)

4. In a Silent Way (6:29)

5. A Sight (6:37)

6. Utoma (6:09)

7. The Secret Place (4:33)

8. Elisabeth (12:46)

9. Voice (4:53)

PERSONNEL:

MICHEL DELVILLE guitar, Roland GR09, electronics

TONY BIANCO drums, loops, percussion

DAVE LIEBMAN soprano & tenor saxophone, wooden flute

with SABA TEWELDE vocals (on Track 7)

PRODUCTION: Recorded at Red Rock Recording Studios, Saylorsburg, PA (USA), October 10, 2012.

Produced by Machine Mass./ Executive Producer: Leonardo Pavkovic. / Liner notes: John Kelman

. 

DEAN RUDLAND PRESENTS LET'S BOOGALOO VOL 6 - EXPLOSIVE DEEP FUNK, NORTHERN SOUL AND DANCEFLOOR JAZZ EN EL BARRIO

After 4 years in the making finally a new chapter of RK's premier collection Let's BOOGALOO sees the light. This time legendary compiler Dean Rudland, who is responsible of dozens of wicked compilations on BGP, Kent and Blue Note, digs deep into - mythical NYC latin boogaloo producer - Bobby Marin's catalogue to bring you an explosive collection of (northern) soul, deep funk and latin jazz tunes from Spanish Harlem aka El Barrio. Bobby Marin has been one of the main contributors and a leading figure behind the latin Boogaloo movement in the mid 60s in New York producing and working close together with stars such us Joe Cuba, Eddie Palmieri, Machito, Riccardo Marrero, not to mention his own combo the legendary Latin Blues Band, recently sampled by DJ Premier as the hook to Christina Aguilera's 'Ain't No Other Man'. "

As Rudland reckons "Bobby is part of a crowd that have sometimes been overlooked because they weren't central to the Fania Records story, but the music they produced told a truer story of what was going on on the streets of New York than the internationalist world view that was propagated by that label's owner Jerry Massuci" So expect to find here the real stuff,an all killers no fillers selection of rare and impossible to find latin boogaloo singles from Bobby's vaults, including some previously unreleased tracks taken directly from master tapes such us Richie's Theme byRichie & the PS 54 Schooly. A bright sampler of the golden age of the one of the most Infectious music genre ever recorded. Compilation comes with extensive liner notes by Mr.Rudland, for instance did you know that's Bobby's older brother Richie is the responsible for producing Manny Corchado's boogaloo stormer Pow Wow? ... essential collection, play it loud!

DANNY FOX TRIO - WIDE EYED

Hot Cup Records announces the April 8, 2014 release of Wide Eyed, the sophomore album by the NYC-based Danny Fox Trio. Since their critically acclaimed 2011 debut, The One Constant (Songlines), the group has continued to push the boundaries of the classic piano trio format.  Wide Eyed ups the ante in the band's quest to create uniquely personal, genre-defying original music.  Falling somewhere between jazz and chamber music, the album's eleven pieces are replete with sonic surprises: quirky rhythms, jaunty yet catchy melodies, haunting harmonies, and out-of-the-box arrangements that showcase the capabilities of each member of the group, all while maintaining tuneful melodies.

Formed in 2008, the Danny Fox Trio, featuring pianist Danny Fox, bassist Chris van Voorst van Beest, and drummer Max Goldman, is a true working band.  Whether holed up in a Queens basement rehearsing or touring around the country crammed into a sedan, the trio has spent countless hours developing a rapport that's immediately palpable in their music. This chemistry not only contributes to the precision of their performances, but allows each member to feel confident enough to take musical risks. This contrast between cohesive, cogent ensemble execution and the excitement of spontaneous improvisation adds an energy that is sorely lacking in much of today's music, regardless of genre.

Though rooted in jazz, the three versatile musicians are also active in chamber music, bluegrass, afrobeat, electro, and New Orleans funk, thereby giving the band a sound that is all-encompassing yet strikingly individual.  Drawing on influences as varied as Ellington, Bartok, The Meters, and Bernard Herrmann, the music can switch gears at any moment yet remains cohesive thanks to strong motivic development and rigorous arrangements that challenge the traditional roles of the piano trio instruments. Having committed these intricate and challenging compositions to memory and performed them scores of times, the influence and esthetic of rock bands is readily appreciated.

The trio explores a wide range of novel techniques to eschew standard forms and roles. The piano, typically both the lead melodic and harmonic voice, rarely performs these two roles simultaneously.  Instead, Fox opts for textures that feature the abilities of his band mates and explore the more extreme ranges of the piano.  In addition to fulfilling the traditional role as rhythmic anchor, bassist Chris van Voorst van Beest provides melodies, counterpoint, and coloristic arco effects adeptly. Drummer Max Goldman employs traditional drumbeats effectively, but often opts for a more orchestral approach, mimicking symphonic playing.  The compositions themselves feature extensive melodic and motivic development, sometimes hovering around a theme that is only a few notes long, and sometimes building phrases over time to great emotional heights.

The eleven pieces on Wide Eyed navigate through a vast array of grooves, harmonies, time signatures, tempo shifts, free improvisations, and dynamics while always remaining grounded in the thematic material, giving the music a seamlessness and cohesion such that it is both challenging and highly listenable.

The album opens with the insistent bass groove of Sterling, which the trio unfolds in unexpected ways: from the slippery, danceable odd meter rhythm of the opening melody to the introspective rubato bass melody and jagged drum punctuations that follow.  The song exemplifies the motivic style of composition as the opening six-note theme is modified through new harmonies, tempi, and instrumentation to spin out sections of varied moods.  This theme is sometimes front and center and other times lurking, as when the left hand of the piano plays a fast version of it under dense minor chords.  Bonkers, written by Fox while going mad from practicing music for a circus, is a meeting of Prokofiev-like melody, African rhythm, and free improvisation.  

All Tolled, an epic piece spun out of a pencil accidentally tapping a rhythm on a desk, shows the trio's range from ferocious bombast to tender lullaby and spotlights the group's creative use of their instruments, as in the introduction where the piano plays on the extreme high and low registers as a background for the bass melody. Throughout, Goldman displays his well-rounded approach to the drum kit, sometimes laying down specific beats and other times mimicking orchestral percussion.  The bluegrass-inspired Drone shows the trio's playful side and the influence of Fox's second instrument: banjo. 

The subdued title track Wide Eyed opens with a moody cinematic simmer before piano/bass counterpoint explores rich harmonic dissonances. Confederates is a sinister march with ecstatic jolts, followed by Short Al in Brooklyn, a deceivingly tricky rhythmic proposition disguised as a light-hearted swinger, written for a famous NYC sports talk radio caller.  Patriot Daze and Punches show Fox's heavy classical influence, using both hands to equal effect, and the trio's adept use of dynamics.  Funhouse Memory filters funk through a funhouse mirror with off-kilter rhythms and spooky chords.  The wildly-phrased canon seems to come out of nowhere but derives simply from the first theme stated in the piece.  The album closes with the chamber-like Tumble Quiet, written against the backdrop of a faint clothes dryer in a quiet house, which floats from ethereal chords toward thumping tribal grooves before reaching a plaintive calm.  The bass moves seamlessly between contrapuntal melodies and earthy bassline ostinatos.

Wide Eyed is about inhabiting a state of wonder and surprise about the world around us.  It's about searching for possibility and embracing new ideas all while taking inspiration from what you've already taken in.

Pianist Danny Fox was born in New York City where he became immersed in the jazz scene from an early age.  In high school, Danny was selected as a Presidential Scholar in the Arts and went on to attend Harvard University during which time he became active in the Boston music scene.  Upon moving back to New York, Danny began intensive classical studies with concert pianist John Kamitsuka.  He formed the Danny Fox Trio in 2008 as a vehicle for his original compositions and since then the working group has performed steadily around NYC and the US, releasing the critically acclaimed debut The One Constant (Songlines) in 2011.  Called a "pianist of diverse accomplishment" (NY Times), Danny has established himself as a versatile musician active in a wide variety of settings from chamber groups and pit orchestras to big bands, dance troupes, and choirs.  He performs with bassist Kermit Driscoll and multireedist Sam Sadigursky, and recently co-founded a New Orleans repertory band with drummer Dan Rieser.  Fox is also in the vanguard of the burgeoning Queens creative music scene, performing frequently in concerts and festivals organized by the Queens Jazz Overground. 

Born in Pownal, Maine, bassist Chris van Voorst van Beest has been an in-demand presence on the New York music scene since moving to Brooklyn in 2005.  He has performed with such noted jazz artists as Kurt Rosenwinkel, Joe Lovano, Chris Potter, and Rudy Linka, with whom he recently toured the Czech Republic.  Versatile in a variety of musical settings, he performs and records with numerous rock, afrobeat, and folk/bluegrass projects, as well as Off-Broadway productions, including the acclaimed interactive theatre show "Sleep No More." Chris is also involved in the burgeoning NYC contemporary classical scene, through which he has worked with artists such as Gabriel Kahane and Rob Moose.  In addition to his busy schedule as a bassist, Chris is active as a composer: He recently completed his Master's degree in Composition from City College, where he studied with Pulitzer-Prize winning composer David Del Tredici, and is developing a diverse repertoire of compositions for chamber ensembles of various sizes and instrumentation. In 2009 Chris was awarded a grant to compose the original score for the children's book "The Lamplighter," featuring narration by noted folk artist Sam Amidon.

Born in Rochester, NY, drummer Max Goldman was fortunate to study under local greats Jeff Lewis, Steve Curry and Rich Thompson.  He moved to New York City in 2001, attending NYU and the New School, where he studied with Tony Moreno, Gerald Cleaver and Kenny Washington.  Since graduating in 2006, Max has been an active musician based in Brooklyn's fertile creative scene. He spends much of his time touring Europe, South America, the US, and Canada with a diverse lineup of artists.  In addition to the Danny Fox Trio, Max has performed and recorded with Becca Stevens, Tim Berne, The Elan Mehler Group, Old Time Musketry, Midnight Magic, Nomi Ruiz, and Eleanor Friedberger.   He has been called "a seriously propulsive force" by the Chicago Reader, and his drumming has been described as "beautifully melodic, even pianistic" by the New York Jazz Review.

John Schaefer of WNYC's New Sounds says the Danny Fox Trio is "changing the sound and expectation of a jazz piano trio."  And Peter Margasak writes in the Chicago Reader: "The group certainly doesn't operate like a typical jazz piano trioŠFox's original compositions are episodic, rigorously arranged, and generally eschew the usual song forms employed in mainstream jazz."

Funhouse Memory: https://soundcloud.com/bk-music-pr/funhouse-memory-danny-fox-trio

Watch their video here: http://www.youtube.com/watch?v=Ya5q8O5bhrk&feature=youtu.be

CD Release Tour:

o Wed. April 30 - Cliff Bell's, Detroit, MI

o Thurs. May 1 - Merriman's Playhouse, South Bend, IN

o Fri. May 2 - Constellation, Chicago, IL

o Sat. May 3 - Jazz Estate, Milwaukee, WI

o Sun. May 4, House Concert - Music on a Mission, Lorain, OH

o Wed. May 7th -Boxer's, Huntingdon, PA

o Fri. May 9- Subculture, NYC

o Sun. May 18th- Bop Shop, Rochester, NY

 http://www.dannyfoxmusic.com/

MATT SLOCUM - BLACK ELK'S DREAM - FEATURING WALTER SMITH III, DAYNA STEPENS, GERALD CLAYTON, MASSIMO BIOLCATI

Black Elk's Dream, drummer/composer Matt Slocum's most adventurous and visceral recording to date, features eleven new original works as well as Pat Metheny's "Is This America?". Inspired by the visionary Native American leader Black Elk and the book Black Elk Speaks, Slocum composed and arranged the project for an innovative cast of longtime friends and creative associates including saxophonists Walter Smith III & Dayna Stephens, pianist Gerald Clayton and bassist Massimo Biolcati. On this outing, his third as a leader, Slocum and the ensemble expand significantly upon the artistic promise and chemistry displayed on their acclaimed recordings After the Storm (2011) and Portraits (2010).

Black Elk's Dream highlights a distinctive passion for flowing mixed meters, lyrical melodies and unconventional harmonic and improvisational structures. A somewhat unique aspect of Slocum's approach to composition is the way he tailors each piece specifically to the unique voices and strengths of the artists for whom he is writing. He is the recipient of composition grants and commissions from the American Music Center, the Puffin Foundation, New Music USA and Meet the Composer, and his ensembles have recently been featured at many of the premier festivals and venues throughout North America and Europe. JazzTimes describes Slocum as "a thoughtful composer who sets up his team like a savvy point guard running an offense." His writing draws inspiration from a wide range of sources, both within and outside of the jazz idiom. On this project one can hear the influence of Wayne Shorter, Dave Holland, Paul Motian, Billy Strayhorn and Maurice Ravel, yet Slocum's musical language remains largely non-derivative.

A major component of the recording is reflecting the duality of the intense spiritual beauty of Black Elk's great vision and the darkly challenging struggles the Oglala Lakota faced in their efforts to bring the vision to physical reality. After opening in the relative future with "Pine Ridge" and "Ghost Dance", Black Elk's Dream traces the evolution of that vision from its inception. Slocum creates a thematically connected body of work throughout the album, enhancing the arc and flow by revisiting and developing variations on the title track through the piano interludes "A Dream Revisited" and "End of A Dream". 

Slocum noted, "It's become increasingly important to me to have a storyline, whether real or imagined, on which to base compositions. I think the directness and imaginative beauty of John Neihardt's Black Elk Speaks opened some new possibilities to explore in terms of mood and color as well as harmonic and rhythmic frameworks. It took about two years to get the music to a point where it was ready to be recorded, but the struggle was beneficial in the sense that it encouraged me to keep building. While writing I started to hear elements of both Walter and Dayna's playing in the music. Even though I generally prefer consistent personnel throughout a recording, in this situation I feel that having both of them enhances the mood and flow of the music."

The record begins with a haunting view from above through a lyrical reflection on "Pine Ridge". The quartet's compelling chemistry and organic approach are immediately evident as they navigate through rubato passages mixed with hazily implied time. Slocum notes, "This was the first tune and first take of the sessions. I like the sense of elasticity and the spontaneity that Walter, Gerald and Massimo bring to this track."

"Ghost Dance" juxtaposes a floating saxophone melody with a trance-like groove filled with flowing mixed meters and anticipations. The track builds throughout Smith's evocative improvisation to the driving, explosive piano trio interaction during Clayton's and Slocum's inventive solos. The drummer/composer explains, "normally I write melodies first, but in this case I started by experimenting with grooves for a bass line. I don't really think of songs in terms of bar lines or beats per measure until I need to write them out. Then I'll record myself playing the song and listen back to transcribe what the meters and rhythms are."

"Yerazel", an Armenian word that means "to dream", highlights Dayna Stephens's warm, dark sound in the lower register of the saxophone as well as the trio's musical depth and sensitivity. "In this piece the element of dreaming is meant in a more passive sense, whereas the title track uses the word dream synonymously with vision. I tried to create a floating, somewhat mysterious, mood of innocence and beauty to reflect the period of Black Elk's youth after he had received his great vision, but before he fully understood its meaning and significance," explained Slocum.

"Prelude" and "Black Elk's Dream", both part of the same composition, form the main theme of the recording. Slocum ventures into more extended and through-composed territory with this work, balancing and reintroducing multiple themes throughout the richly textured musical landscape.

Smith and Slocum's masterful duo dialogue at the beginning of "A Blues" is a highlight of the album. "Given B.B. King's description of the blues as "an expression of anger against shame and humiliation", and given all of the broken promises and inhumane treatment that the Oglala Lakota endured courtesy of our government, I felt that the inclusion of a blues in this project was merited. Plus it would be borderline criminal to be in the studio with Walter and not record a blues," said Slocum.

"Is This America?"- "This is one of my all-time favorite Pat Metheny compositions. It's my understanding that he wrote it in response to Hurricane Katrina, but the mood, intentions and sentiment also seem very appropriate for this project. The song is genius in its simplicity and lyrical beauty. I kept all of the original harmony and made just a few minor changes to the arrangement," explained Slocum.

The interlude "A Dream Revisited" showcases Gerald Clayton's refined touch on a variation based on the closing section of the title track.

"Black Hills", the only quintet track on the recording, features Stephens and Smith improvising beautifully together as they build gradually from a meditative dialogue to a powerfully evocative peak. Slocum describes "Black Hills" as "the emotional climax and turning point of the recording", noting that, "this piece could be considered a musical response to the massacre at Wounded Knee."

He characterizes the tune "Days of Peace" (and its placement in the track order) as "intended to create the illusion of a daydream- a mood of playfulness and warmth through a flashback to a brighter time before everything became seemingly lost and broken. "A Disappearing Path" and "End of a Dream" are meant to reflect some of the sadness and resignation in the closing lines of Black Elk Speaks while also paying tribute to the beauty of the lost dream."

Hailed as "one of America's pre-eminent young jazz drummers" (OC Weekly), Matt Slocum has also earned a reputation as a distinctive, inventive and lyrical composer. Slocum is the recent recipient of composition grants and commissions from the American Music Center, New Music USA, the Puffin Foundation and Meet the Composer. His ensembles have been featured throughout North America and Europe at venues such as Jazz at Lincoln Center, Yoshi's, the Blue Note, Earshot Jazz Festival, Saratoga Jazz Festival, Twin Cities Jazz Festival and the Soka International Jazz Festival among others. Frequently referred to as a "musical" drummer, Slocum possesses a uniquely personal voice on the instrument and is a propulsive, melodic and dynamic accompanist and soloist. He has performed and/or recorded with artists such as Seamus Blake, Alan Broadbent, Steve Cardenas, Gerald Clayton, Taylor Eigsti, Aaron Goldberg, Jon Irabagon, Larry Koonse, Wynton Marsalis, Lage Lund, Linda Oh, Alan Pasqua, Jerome Sabbagh, Jaleel Shaw, Walter Smith III, Anthony Wilson, Sam Yahel and the Dallas Symphony Orchestra.

Born in St. Paul, Minnesota and raised in western Wisconsin, Slocum began musical studies on piano before switching to percussion at age 11. While in high school he was introduced to jazz through recordings featuring Max Roach and Philly Joe Jones. He received a full scholarship to attend the University of Southern California where he studied with Peter Erskine. After graduating in 2004, Slocum spent three years in California before making the move to New York in fall 2007. His debut recording Portraits was released in January 2010. The New York City Jazz Record raved, "With this excellent premiere, Slocum steps out of the box as the full package," while All Music Guide wrote, "This auspicious debut should put Matt Slocum's name firmly on the jazz map." After the Storm, a more introspective trio recording, was released in October 2011 and received high marks from DownBeat Magazine, JazzTimes, The Los Angeles Times and Jazzwise among others. After the Storm was one of 15 recordings by American composers to receive a New Music USA recording grant in 2011.

Upcoming Tour Dates

April 3- Dazzle Jazz, Denver, CO

April 4- Dizzy's, San Diego, CA

April 5- The Jazzschool, Berkeley, CA

April 6- JB's Jazz, Sacramento, CA

April 7- Soho, Santa Barbara, CA

April 8- CAP Theater, Los Angeles, CA

April 9 & 10- Landmark Center, St. Paul, MN

April 24- The Kitano, New York, NY

NEW RELEASES: ED ROBINSON - ON COVERS; JEREMY PELT - FACE FORWARD, JEREMY; GREG WITT - JAZZ BLUES

ED ROBINSON - ON COVERS

In his sixth album titled “On Covers,” Ed Robinson shows his talent and creative abilities in covering some of the most  legendary hits from the past two decades. This musical endeavor has taken Ed Robinson on a nostalgic journey through time that brings the listener with him. In this album, Ed Robinson has taken hits from the genres of Rock and Roll, R&B, Country as well as many others, and put his own Reggae vibe into all of the rhythms and lyrics. As an added feature, this album included a remixed and remastered version of his 1992 award winning cover tune, ‘Knockin on Heaven’s Door.’ “On Covers,” has been released on the Push Broom Gang Productions label and distributed by Zojak World Wide, this album brings together a superstar team of new and classic talent, along with Chris Fischer of Critical1 Studios whose mixing and mastering expertise created the incredible reggae we crave. Together with E2recordings, musicians Adam Tese`, Lou Lomangino, and David Nesdall collaborate with Ed Robinson to create an authentic blend of Rock and Roll, R & B, and Country with Reggae Music. Critics are saying this is one of the best.

JEREMY PELT - FACE FORWARD, JEREMY

Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins. Also featured are vocalists Fabiana Masili and Milton Suggs, along with Rhodes keyboardist Frank LoCrasto and a handful of string players. This is a languid, atmospheric album that touches upon impressionistic, modal post-bop, soulful contemporary R&B, and groove-oriented '70s-style fusion. Tracks like "Princess Charlie" hang on a wordless vocal melody from Masili (mirrored by Pelt and Coss) that leads into adventurous improvisations from Pelt, Coss, and Bryant. "Rastros," once again showcasing Masili, is an Asian and Brazilian-inflected ballad punctuated by delicate harp lines, with Pelt on a beautiful, muted solo. Elsewhere, cuts like "Stars Are Free" sound like something along the lines of '70s Miles Davis, and "The Secret Code" features a frenetic jungle/drum'n'bass-influenced intro from Hawkins. Ultimately, Pelt's Face Forward, Jeremy is a high-minded, well-crafted mix of cutting-edge acoustic and electric jazz that gently turns your ears toward the future of jazz, while never asking you to let go of the music's past. ~ Matt Collar Liner Note Author / cduniverse

GREG WITT - JAZZ BLUES

Greg Witt's first album, "Smooth Jazz Rock" was released in 2008 debuting his sound of clean jazz 'riffs' with a rock influence. A native of Midland, Texas, guitarist Greg Witt first surfaced as a member of the Odessa College Big Band in Odessa, Texas in the mid-1990's. "When I performed with the Big Band, I learned to land on my feet and perform jazz charts on the spot." Greg has also performed on stage with Smooth Jazz Saxophone artist Tom Braxton. "Tom and I traded 'riffs'. It was fun!" His style on his album "Jazz Blues" reflects the 'old' and the 'new', the 'Jazz' and the 'Blues'. "Although my style echoes the jazz standards from the past, it always melds styles of modern 'rock' & 'blues'. On tracks like "A Street" and "Just Groovin", you can hear his 'rock' influence. Tunes like "Jazz Blues" , "Diamond Lil", and "Cookin!" really capture the swing sound of the big band era. "You can also hear my Texas swingin' blues style on those tracts. Stevie Ray Vaughan was a huge influence of mine". The tract "Blue Valentine" is an up-tempo ballad with Beatles like changes and a style not unlike George Benson. Jazz, Blues, old or new, Greg Witt's CD "Jazz Blues" is a hit! ~ cduniverse

SONY MUSIC/OKEH RECORDS SIGNS SERGIO MENDES; NEW ALBUM COMING MAY 2014

The internationally successful producer, composer, keyboardist and vocalist, Sergio Mendes, has signed with the Sony Music Masterworks imprint OKeh Records.

The new recording featuring eclectic and upbeat Brazilian rhythms will feature guest vocalists John Legend, Janelle Monae among others. The album will be available in May in advance of the 2014 World Cup.

One of the most successful Brazilian artists of all time, Mendes has recorded more than 35 albums and has won 3 Grammy® Awards.

In 2012, Mendes received his first Oscar nomination in the music category for "Real In Rio" from the animated, 3-D feature film Rio.  In addition to being the executive music producer for the blockbuster film, he also contributed five songs to the movie. Sergio Mendes will again provide the music for the upcoming animated feature sequel Rio 2 coming in April. Sony Classical will release the score for the film composed by John Powell on April 7th.

"Sergio is a music legend and we are proud at OKeh that he chose the label for the next chapter in his astonishing career," said Wulf Muller, who oversees A&R for OKeh Records.

Bogdan Roscic, President of Sony Music Masterworks, said: "2014 will be an exciting year for Brazil and Brazilian music - and Sergio Mendes' new album will be one of the records of the year. Everybody at Sony Music Masterworks looks forward to working with this true icon to deliver another outstanding contribution to one of the greatest catalogs in the business."

Sony Music Masterworks comprises the Masterworks, Sony Classical, OKeh, Portrait, Masterworks Broadway and Flying Buddha imprints. 

www.sergiomendesmusic.com 

@sergiomendes 

facebook.com/Sergio-mendes  

GUITARIST BLAKE AARON DELIVERS COOL ELECTRIC JAZZ WITH A RETRO '70s DISCO GROOVE ON "GROOVE-O-MATIC"

Guitarist Blake Aaron is still tucked away in the recording studio tinkering on his forthcoming fifth album, “Soul Stories,” yet he’s already topped the charts with a single from the session. Aaron’s cool electric jazz guitar dances to a retro ‘70s disco groove aided by big vibrant horn blasts on “Groove-O-Matic,” which has spent the last nine weeks at No. 1 on the Groove Jazz Music chart and entered the Billboard Smooth Jazz Songs Top 5. 

“Groove-O-Matic” is the second single to hit the charts from the album slated for release this summer on Innervision Records. Jazz crooner Spencer Day was featured on “You’re The One For Me,” which reigned in the Top 10 for 20 weeks. The first album Aaron has produced on his own, “Soul Stories” is a collection of soulful jazz, funk and Latin grooves and includes an appearance by urban jazz saxophone star Najee.

  

"’Soul Stories’ is literally the musical story of my soul. It's been a long-time coming and spans the journey of my marriage and the birth of my two children. It's my first CD that is entirely self-produced, my biggest radio and commercial success to date and has been nicknamed our ‘Third Child.’ I'm very proud of the record and look forward to performing it live,” said Aaron, who will perform tracks from the disc with his band and special guests this Saturday night at Spaghettini in Seal Beach, Calif.

Aaron headlines the San Antonio Summer Arts Jazz Festival on June 1 and is presently lining up summer dates in support of “Soul Sessions.”

Hailed by the Los Angeles Times as “a genius on the guitar,” Aaron pours passion and precision into his fretwork. Emerging from the studio where he was an in-demand session player and stepping out of the shadows after being a long-time sideman, Aaron launched his solo career with 2001’s “With Every Touch” containing appearances by contemporary jazz stalwarts Eric Marienthal and David Benoit. Singles from the debut album as well as from subsequent releases – “Bringin’ It Back,” “Desire” and “A Romantic Christmas” – have always been favorably received at radio and charted well nationally. Since 2008, Aaron has hosted the internationally syndicated “The Blake Aaron Radio Show” that he describes as an “artist to artist show” on which he jams live on the weekly program with guests that have included Anita Baker, Kenny Loggins, Brian Culbertson, Boney James, Peter White, Rick Braun, Mindi Abair, Earl Klugh, Lee Ritenour, Nathan East, Paul Jackson Jr., Jackiem Joyner and Jessy J. His resume includes playing on and composing music and theme songs for films and popular television series such as “MAD TV,” “The Ben Stiller Show,” “Super Dave Osborne” and “The Jamie Kennedy Experiment.” Additional information is available at 

www.BlakeAaron.com.     

“Soul Stories” contains the following songs:

“Groove-O-Matic”

“Encantadora”

“You’re The One For Me”

“Wes Side Story”

“You’re My Miracle”

“Sara Smile”

“Europa”

“Soul Stories”

BLUE NOTE JAZZ CLUB ANNOUNCES MARCH 2014 ARTIST SCHEDULE

Blue Note Jazz Club, one of the world's most iconic jazz and blues venues based in Greenwich Village, is proud to announce an impressive schedule of acts for March 2014.

Highlights include: the U.S. premiere of Volcán, a Latin jazz supergroup featuring Gonzalo Rubalcaba, Jose Armando Gola, Horacio 'El Negro' Hernandez and Giovanni Hidalgo; Donald Harrison, Ron Carter and Billy Cobham Trio; Lou Donaldson; Spyro Gyra; Larry Carlton Group and Kyle Eastwood Group double feature; Omar Hakim; and the 4th Annual James Moody Scholarship for Newark Youth Benefit Concert, among others.

  

MARCH 2014 ARTIST SCHEDULE

Saturday, March 1

Bill Evans Soulgrass with Special Guests

Saxophonist Bill Evans kicks off Blue Note Jazz Club's March schedule, closing out a three-night run with his group, Soulgrass (that began on February 27). Described by NPR as "a supergroup of virtuoso musicians," Soulgrass' engagement at Blue Note showcased a number of special guests; this final night will feature Blues Traveler's John Popper as well as Marco Benevento. With more than 20-years under his belt as a solo artist, Evans and his Soulgrass project are known for exploring a variety of musical settings that go well beyond the confines of traditional jazz, including rock, hip-hop, jam, fusion, reggae, Brazilian and funk.

  

Sunday, March 2

Boogaloo Sunday with Lou Donaldson

NEA Jazz Master Lou Donaldson will perform at Blue Note for a special one-night, Sunday engagement featuring his working Quartet - with whom he has toured the world, playing festivals and clubs for over two decades. The saxophonist played an absolutely invaluable role in the creation and building of the classic Blue Note Record Label, as well as the assembly and musical development of Art Blakey's Jazz Messengers bands that originally featured legends such as Clifford Brown, Horace Silver, Gene Ramey, and Hank Mobley, among others. As The Wall Street Journal wrote, "Few musicians today can claim to have changed the direction of jazz. Lou Donaldson did so twice."

Monday, March 3

Kenny Werner & Janis Mann - CD Release

Pianist Kenny Werner returns to Blue Note for a special performance with vocalist Janis Mann, in support of their recent album, Celestial Anomaly (2013). Hailed by Andy Gilbert of the San Jose Mercury News as "a stellar 2013 album," the project features innovative and challenging interpretations of jazz and pop standards. A Guggenheim Fellowship Award winner, Werner is a world-class pianist, composer and educator. His prolific output of compositions, recordings, and publications continue to impact audiences around the world. As Quincy Jones said of Werner, "Perfection, 360 degrees of soul and science in one human being. My kind of musician." Mann was described by the San Jose Mercury News as "a brilliant but underexposed Los Angeles jazz singer." Her approach is in the manner of Carmen McRae, Betty Carter, and Shirley Horn, yet with a sound all her own.

Tuesday - Sunday, March 4 - 9

Donald Harrison, Ron Carter & Billy Cobham Trio

The hard-swinging trio of saxophonist Donald Harrison, bassist Ron Carter, and drummer Billy Cobham first demonstrated its strong chemistry and affinity for standards on its 2004 recording, Heroes. In April 2005, Blue Note Jazz Club's own Half Note Records captured the trio live during a week-long series of shows at Blue Note, producing the album, New York Cool (2005). Half Note recorded the trio in action at the club again several years later, releasing the album, This is Jazz (2011). AllMusic.com's Thom Jurek called the outing "the finest offering by this trio to date." This week, the band looks build on its recent musical achievements with another hotly-anticipated residency. This also marks Carter's third appearance at Blue Note over the past two months, performing with his Quartet (February 4-9) and with Roy Haynes (February 25 & 26). 

Monday, March 10

Ozmosis Records Presents: The Omar Hakim Experience - CD Release

Widely acclaimed for his versatility, technological prowess and groove, Omar Hakim is one of the most successful drummers and session men of the past 40 years. Hakim has collaborated with dozens of prominent artists including Daft Punk, George Benson, Lionel Richie, Chaka Khan, Anita Baker, Bobby McFerrin, John Scofield, Urban Knights, Bruce Springsteen, Michael Jackson, Celine Dion, Jewel, J-Lo, D'Angelo, Mariah Carey, and Madonna to name a few, and has left his imprint on hundreds of recordings, including several under his own name. He appears in support of his new album, titled We Are One. The performance will feature guitarist Chieli Minucci, harmonist Grégoire Maret, saxophonist/flautist Bob Franceschini, keyboardist Scott Tibbs, keyboardist Rachel Z, and bassist Jerry Brooks.

Tuesday - Sunday, March 11 - 16

Spyro Gyra

As Spyro Gyra contemplates upcoming milestones in its storied career, it's tempting to fall back on the Grateful Dead lyric, "What a long strange trip it's been," to describe the band's journey. During its career, the band has performed over five thousand shows, released 29 albums (not counting "Best Of" compilations), and sold over 10 million albums, while also achieving one Platinum and two Gold releases. As the band celebrates 35 years since its first release and looks forward to celebrating its 40th anniversary in 2014, it slows little sign of slowing down, gaining GRAMMY® nominations for each of its last four albums.

  

Monday, March 17

Gordon Chambers

Award-winning singer-songwriter and record producer Gordon Chambers has written for over 60 recording artists, including household names Aretha Franklin, Queen Latifah, Usher, Brandy, Gladys Knight, Chaka Khan, and Marc Anthony. He is best known for his 1994 GRAMMY®-winning hit, "I Apologize," for Anita Baker and his 1995 No. 1 GRAMMY®-nominated smash "If You Love Me" for the trio Brownstone (which was later featured as the theme song of the film Living Out Loud). More recently, he's penned tunes for superstars like The Isley Brothers, Yolanda Adams, Patti LaBelle & Ron Isley, Whitney Houston & Bobby Brown, Angie Stone, and Beyoncé.

Tuesday - Sunday, March 18 - 23

Volcán: Gonzalo Rubalcaba, Jose Armando Gola, Horacio 'El Negro' Hernandez and Giovanni Hidalgo

Volcán, a modern Latin jazz all-star group featuring the prodigious talents of pianist Gonzalo Rubalcaba, bassist Jose Armando Gola, drummer Horacio 'El Negro' Hernandez and percussionist Giovanni Hidalgo, is proud to make its official U.S. debut at Blue Note Jazz Club. The group is the product of years of friendship, respect and a diverse and rich musical heritage. With over 150 albums among them as leaders and sidemen, these highly revered musicians have joined forces to our delight.

Monday, March 24

Anna Saeki

Named as one of the "100 Most Respected Japanese People in the World" in Japanese News Week, vocalist Anna Saeki is proud to make her Blue Note Jazz Club debut. Born in Hokkaido, Japan, Saeki made her debut in 1987 as a tango singer after being crowned Miss Sapporo. Soon afterward, she traveled to Argentina to record her first album. Since then, she has received critical acclaim on TV, radio and in various magazines. She was responsible for the boom of Latin music in Japan in the 1990s/2000s and was also the vocalist for the band "Orquesta del Sol." She is an active performer in Japan, the U.S. & Europe as well as many other major cities and countries around the world. She is now considered a top artist in the Tango world.

Tuesday - Sunday, March 25 - 30

Larry Carlton Group + Kyle Eastwood Group

Blue Note Jazz Club is proud to present a double feature comprised of the Larry Carlton Group and Kyle Eastwood Group. Carlton is one of the world's most revered guitarists, having released many solo albums as well as having played on a multitude of the best selling albums of the modern music era.  He is nicknamed "Kid Charlemagne" for his solo on the Steely Dan Royal Scam album (ranked by Rolling Stone magazine as one of the top three guitar solos of all time). A 19-time GRAMMY® nominee, four-time GRAMMY® winner, and all-time guitar great, Carlton has performed on more than 100 Gold or Platinum albums. Kyle Eastwood's bass playing and composing encompasses his life shared between Los Angeles and France. His latest record, Songs From The Chateau, is his fifth record as a leader and is focused on his true love; France. The band performs true and honest music that is both reflective and beautiful. 

Monday, March 31

4th Annual James Moody Scholarship for Newark Youth Benefit Concert

When legendary saxophonist, flutist and vocalist James Moody passed away on December 10, 2010 at 85 years old, the world lost an incredible musician and human being. On March 31, a legion of musicians will assemble at Blue Note Jazz Club, marking the fourth benefit and tribute concert in Moody's honor. The lineup includes: NEA Jazz Master Paquito D'Rivera (clarinet), music director Renee Rosnes (piano), James Carter (tenor sax), Antonio Hart (alto sax), Gary Smulyan (bari sax), Frank Greene (trumpet), Greg Gisbert (trumpet), Bill Charlap (piano), Todd Coolman (bass), Adam Nussbaum (drums), and Alexis Cole (vocals). All ticket proceeds will got to Moody's foundation, the CFNJ James Moody Jazz Scholarship Fund for Newark Youth. A limited number of VIP tickets are available. Don't miss the chance to be part of a tribute to master musician James Moody, whose music will continue to live on through the countless fans and musicians he inspired.

LATE NIGHT GROOVE SERIES

Blue Note Jazz Club proudly presents its Late Night Groove Series, which showcases New York's up-and-coming jazz, soul, hip-hop, R&B and funk artists. Shows are on Friday and Saturday nights. Doors open at midnight and shows begin at 12:30AM. Tickets are $10 in advance and $15 day-of-show, unless otherwise noted. The upcoming schedule features:

March 1 - Darren Lyons Group

March 7 - Sérgio Galvão Group

March 8 - (718) - CD RELEASE SHOW

March 14 - Al MacDowell's "Just Ornette" Quartet

March 15 - Outer Bridge Ensemble

March 21 - Akashic Record

March 22 - Jesse Fischer

March 28 - Manner Effect

March 29 - Colin Cannon Quartet

SUNDAY BRUNCH SERIES

Sunday Brunch at Blue Note Jazz Club is $29.50 per person and includes a live performance, brunch and cocktail. Each performer is scheduled for two shows, at 11:30AM and 1:30PM. The upcoming schedule features:

March 2 - Rich Perry's NYU Jazz Ensemble

"East Meets West Brunch Series"

Sunday Brunches Spotlighting Japanese Jazz Artists & Culture

March 9 - Masami Ishikawa

March 16 - Erika Matsuo

March 23 - Yoko Miwa Trio

March 30 - Nobuki Takamen Trio

Blue Note Jazz Club, based in the heart of Greenwich Village, is a New York City cultural institution and one of the premier jazz clubs in the world. Jazz is undoubtedly America's music, and while Blue Note strives to celebrate the music's great history, the club is a place where progression and innovation - the foundation of jazz - are encouraged and practiced on a nightly basis. Blue Note is open for concerts 365 days a year. Location: 131 W. 3rd Street, between 6th Ave and MacDougal St., New York City.

www.bluenote.net