Thursday, February 27, 2014

MINDI ABAIR NEW RELEASE - WILD HEART - FEATURES STAR STUDDED MUSICIANS

Mindi Abair is one of the most dynamic performers on the music scene today.  In addition to her acclaimed solo work, she was the featured saxophonist on the 2011 and 2012 seasons of American Idol, jammed with Paul Shaffer on the Late Show with David Letterman and joined rock legends Aerosmith for their 2012 summer tour. More recently, Abair received a 2014 GRAMMY® nomination in the Best Pop Instrumental Album category for Summer Horns, a #1 recording with her friends Dave Koz, Gerald Albright and Richard Elliot, four of the most pre-eminent saxophonists in contemporary music.  

In a career that spans seven solo albums and countless collaborations in the studio and live on stage, Abair has made her mark on a broad stretch of the musical landscape that includes jazz, pop, rock, R&B, soul, funk and more. The powerhouse saxophonist/vocalist has made scores of friends along the way and earned the respect of top-shelf artists representing every one of the aforementioned genres.

Several of those friends join her on Wild Heart, her new album that includes guest performances by – and songwriting collaborations with – Gregg Allman, Joe Perry, Booker T. Jones, Keb’ Mo’, Trombone Shorty, Max Weinberg, Waddy Wachtel and others. Produced by Abair and the illustrious Los Angeles production trio The Decoders (Adam Berg, Itai Shapira and Todd Simon), Wild Heart is set for release on May 27, 2014, on Heads Up, a division of Concord Music Group.

“I’ve had all these friends in rock ’n’ roll and pop for so many years. I’ve been a part of their music and careers, but I never quite knew how they could fit into my career.” Abair says. “I’ve worked hard to write songs that had more of an organic spirit about them – a little more rock and roll, a little more soul, and a lot more abandon.”

By enlisting colleagues in rock and pop circles in the making of Wild Heart, Abair has created something that stretches her beyond the contemporary instrumental groove that has characterized some of her earlier recordings.

Wild Heart is all that and more. The 11-song set opens with the upbeat “Amazing Game,” a track co-written by Abair and GRAMMY®-winning songwriter Jim Peterik, a pop/rock veteran who penned the Ides of March hit single “Vehicle” in 1970, and later Survivor’s “Eye of the Tiger” in 1982. “Amazing Game” also features swaggering horn lines courtesy of Trombone Shorty, the New Orleans native whose past alliances have included Lenny Kravitz and Aerosmith.

“Amazing Game” is the first of two songs on which Peterik and Abair share writing credits. The second is “Train,” a thumping track that showcases Abair’s powerful vocals alongside her solid saxophone work. “Jim and I have written so many songs together and I’ve recorded with The Ides of March and on his records. It’s an honor to put our songs on my record for the first time. We had such a blast writing them.”

The scorching instrumental “Kick Ass” features rock icon Joe Perry, guitarist and co-founder of Aerosmith. “I wrote this song with my friend Matthew Hager, and while we were demoing it I was fresh off the Aerosmith tour and picturing Joe Perry rocking the guitar part while walking down the runway towards 50,000 fans with the wind in his hair. I had to call him to see if he would play on it.” Perry heard the song and joined Mindi in the studio the next week to record it. “What a high to play back and forth in the studio with one of my favorite guitarists of all time. When Matthew heard it, he just about fell off his chair!”

“I’ll Be Your Home” is a swampy ballad that features Keb’ Mo’ in a vocal duet with Abair (Keb’ also plays guitar and tambourine on the track). Abair says, “Keb’ and I have been playing on each others records for many years. We started playing together in LA clubs when maybe eight people would come to see us. We were nobody at the time. So it’s been fun to watch his career take off in the years since and be a part of each other’s lives and music. He’s one of my favorite human beings and musicians, and he adds a lot of home to this song.”

“The Shakedown,” a throwback to the beginnings of rock ’n’ roll when the saxophone was an integral part of the sound, features guitarist and co-writer Waddy Wachtel, along with drummer Max Weinberg, the anchor of Bruce Springsteen’s E Street Band for nearly four decades. Abair established a connection with Weinberg shortly after the death of E Street saxophonist Clarence Clemons in 2011. A few tour dates with Weinberg – including a benefit concert that included an appearance by Springsteen – played a huge role in the genesis of Wild Heart. “Max means every note he plays,” says Abair. “Playing Clarence Clemons’ parts with him and Bruce made me delve deeper inside myself – just go for broke and let everything out. I wanted that abandon for my record.”

The understated and slinky “Addicted to You” features keyboardist Booker T. Jones, leader of the highly influential Booker T. and the MGs, the de facto house band for the Stax label during their heyday in the ‘60s and early ‘70s. “Booker is such a hero of mine,” says Abair. “Here’s a guy who really invented a sound and changed the world. I wanted the chance to write with him – I just knew we could create magic. I knew we would write something meaningful, and this song absolutely haunts me.”

The set closes with “Just Say When,” a heartfelt ballad that harkens back to keyboardist and co-author Gregg Allman’s roots with the Allman Brothers. “It was actually Gregg’s idea to write something together,” says Abair. “I went to his house for three days to write with him, and we bonded so much and delved deep to come up with this song. I played with him last year and felt this electricity singing and playing with him. He’s all heart and vibe. What a gift to have him write, play and sing on this record.”


Wild Heart is, in many respects, Abair’s culmination of many years of collaborating in the studio and/or onstage with some of the most prominent figures in contemporary popular music. “People look at me a bit funny when they see the extreme diversity of artists I’ve toured or recorded with – Teena Marie, Aerosmith, Duran Duran, Lee Ritenour, Keb’ Mo’ and The Backstreet Boys. I always went with my heart, and it’s been quite an adventure musically. No title accurately described the music from this record to me, so I decided to title it after myself, a Wild Heart that’s had a great time letting go and letting this record take shape organically with people I love. I hope people have as much fun listening as I’ve had making this music.”


Wednesday, February 26, 2014

GEORGE MICHAEL'S SYMPHONICA, FIRST RELEASE IN SEVEN YEARS; PRODUCED BY PHIL RAMONE

Global superstar George Michael will release his first album in seven years when Symphonica, arrives in stores March 18th on Island Records in the U.S. The album, produced by the legendary Phil Ramone, and George Michael, was recorded during the wildly successful 2011-12 'Symphonica' tour of the UK and Europe.  The first single released to support the album will be the dramatic ballad "Let Her Down Easy."

A studio version of "Let Her Down Easy" is the subject of a provocative new video directed by Vaughan Arnell, one of the UK's most innovative music video directors. To view the "Let Her Down Easy" video, go to: www.vevo.com/watch/george-michael/let-her-down-easy/GBUV71400065.

The universally acclaimed 'Symphonica' tour found George performing a selection of songs from a remarkable career which has spanned over 30 years, as well as covering some of his favorite songs.  Such beloved signatures as "A Different Corner," "Praying For Time" and "One More Try" blossom in their concert setting, alongside such intriguing gems as "John And Elvis Are Dead" and the gorgeous "Through."  George breathes new life into the swing era standard "My Baby Just Cares For Me" and the Oscar-nominated "Wild Is The Wind," popularized by a host of artists from Johnny Mathis to David Bowie.

The 'Symphonica' tour made history in September 2012 when George became the first contemporary pop artist to play the prestigious Palais Garnier Opera House in Paris.  A television special documenting that historic concert performance will air worldwide.  It will be seen in the U.S. on Sunday, April 13th on AXS TV at 8 p.m. ET (5 p.m. PT).

During a career which began in 1959, 14-time Grammy Award®-winner Phil Ramone produced legendary artists including Tony Bennett, Ray Charles, Bob Dylan, Aretha Franklin, Billy Joel, Paul McCartney, Luciano Pavarotti, Paul Simon, Frank Sinatra, Barbra Streisand, and Stevie Wonder, among many others.  Ramone and George Michael enjoyed a magical working relationship, prior to Symphonica they worked on George's 1999 album, Songs From The Last Century.  Symphonica was the final work of Phil Ramone, who died in March 2013, at age 79.

George Michael has been a pop music superstar for over 30 years.  He has sold over 115 million records from the earliest days of the much-loved Wham! in the 1980s, through a solo career which has transformed him from teen idol to icon, via a succession of superlative albums and groundbreaking tours.  After his 1987 debut solo album Faith sold over 25 million copies, George went on to craft a substantial body of work.  Along the way, he has worked with such greats as Stevie Wonder, Elton John, Aretha Franklin, and Beyonce.

TRACKLISTING FOR SYMPHONICA:
1. Through (Live)
2. My Baby Just Cares For Me (Live)
3. A Different Corner (Live)
4. Praying For Time (Live)
5. Let Her Down Easy (Live)
6. The First Time Ever I Saw Your Face (Live)
7. Feeling Good (Live)
8. John and Elvis Are Dead (Live)
9.  One More Try (Live)
10. Cowboys and Angels (Live)
11. Idol (Live)
12. Brother Can You Spare a Dime (Live)
13. Wild is the Wind (Live)
14. You've Changed (Live)
15. I Remember You (Live) - digital pre-order bonus track


DEBUT ALBUM "LONGING" FROM ANNA DANES SET FOR RELEASE MARCH 25

Debut album, “Longing,” from the vocalist who found refuge in song after running from Communism and a heartbreaking marriage, will be released March 25.

As a child, Anna Danes escaped Communist Poland and as an adult, she found the strength to move on from an unhappy marriage. Both times, she found solace by singing. Love songs in particular soothed her dampened spirit while she idyllically longed for freedom and romance. Lacking support and encouragement for her artistic pursuits, Danes, armed with the Great American Songbook, found empowerment in a San Diego-area recording studio where she worked with producer Larry B. White, three-time Grammy-winning engineer-mixer Steve Churchyard and an ensemble of noted session players to record “Longing,” her debut album that will be released March 25 on DLG Recordings.

In the late 1970s, Danes fled Poland with her parents. After being turned away by Sweden, they immigrated to Ottawa, Canada where the young girl suddenly forced to learn English felt alone and isolated. She sang in a Polish church and it brought a sense of comfort and belonging. Flash forward: after giving up a successful law practice to move to California to be with her future husband, Danes found herself in a marriage that had lost its shine and stifled her creative endeavors. As her self-confidence began to wane, she rediscovered singing and started to come alive. The recording project was liberating and a life-altering experience, but in order to fully embrace the freedom she found in song, she had to dissolve the relationship for good. Perhaps the most emotionally-charged performance on “Longing” appears on the disc’s closing number, “I Wish You Love.” While recording the poignant farewell, tears streamed down Danes’ face as she sang, symbolically saying goodbye while wishing her now ex-husband love.

“Recording the album was monumental for my re-birth. I was so lost, living in a lonely marriage where ‘something was missing,’ but I am back now thanks to the music. Singing revived me and brought hope back into my heart,” said Danes, whose classic vocal timbre possesses warmth, fullness, familiarity and charm delivered in an easy manner with conversational phrasing. “I chose each and every song (for the album) that fit my style and voice, but subconsciously they show that I was missing love. I was ‘lost and lonely’ like (Antonio Carlos) Jobim says in ‘Quiet Nights of Quiet Stars Corcovado,’ which I recorded for the album.”

“Longing” showcases Danes in lush acoustic vocal jazz settings surrounded by White’s piano, upright bass (Bob Magnusson and Rob Thorsen), horns (John Rekevics and Scott Hecker), guitar (Mark Chosak), drums (Kevin Koch), percussion (Monette Marino) and the Heart Strings Quartet.  White freshly arranged ten standards including Jobim’s “Meditation,” Cole Porter’s “It’s All Right With Me,” Edith Piaf’s “La Vie En Rose,” Ray Noble’s “The Very Thought of You” and more modern material such as George Harrison’s “Something” and Charles Fox & Norman Gimbel’s “Killing Me Softly.” The session includes a pair of originals, “Sweet Valentine” and “The Sun Won’t Shine Today,” composed by White with lyrics by Margaret White. 

With the sad days behind her, a radiant Danes appears glowingly on the cover of “Longing” gazing out at sea with a slight smile on her face. She is excited about the future again and what it may have in store. Living in North San Diego County with her young daughter, Danes exudes enthusiasm when discussing her unexpected new career as a jazz singer. She plans to continue singing - both on record and performing live – while keeping her heart open for love. For more information, please visit www.AnnaDanes.com.

Danes’ “Longing” contains the following songs:
“Splendor in the Grass”
“Meditation”
“Something”
“Sweet Valentine”
“Killing Me Softly”
“The Sun Won’t Shine Today”
“The Very Thought of You”
“La Vie En Rose”
“Quiet Nights of Quiet Stars Corcovado”
“It’s All Right With Me”
“Dream A Little Dream of Me”
“I Wish You Love”

  

Tuesday, February 25, 2014

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.


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 


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 "Å And 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.

 

Friday, February 21, 2014

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

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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 trioÅ Fox's original compositions are episodic, rigorously arranged, and generally eschew the usual song forms employed in mainstream jazz."


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

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. 

@sergiomendes 


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