New York Chanteuse Melissa Stylianou - Backed by an All-Star Band - Sings Favorite Jazz Standards and More on the Stylish, Spontaneous No Regrets

The fifth album from singer Melissa Stylianou - No Regrets (to be released Oct. 28, 2014, Anzic Records) - is all about the joy of spontaneity and making the most of the moment. The Canadian-born, New York-based vocalist recorded a set of jazz standards and other favorites in a live-to-two-track, noon-to-night studio session - old-school - backed by an ultra-simpatico trio of New York all-stars: pianist Bruce Barth, double-bassist Linda Oh and drummer Matt Wilson, with stylish guest spots by clarinetist Anat Cohen and alto saxophonist Billy Drewes. The New Yorker has described Stylianou as "an unmannered and affecting jazz singer with a taste for choice material," and past albums have seen her put a personal spin on songs from Björk and Joanna Newsom to Johnny Cash to Tom Waits, not to mention her own lovely original compositions. Jazz standards have been a part of the mix, too, but No Regrets - intimately produced by Oded Lev-Ari - sees Stylianou delve into vintage material like never before. She sings songs by likes of the Gershwins, Jerome Kern and Duke Ellington, along with a Billie Holiday tune, a vocal twist on Thelonious Monk, the indigo-hued chestnut "A Nightingale Can Sing the Blues" and, as a left-field inclusion, a folk setting of Yeats, "Down by the Salley Gardens." This beautiful album once again underscores why DownBeat Magazine has called her a "sophisticated storyteller" and an "original." 

Stylianou - a 38-year-old Brooklyn resident initially schooled in acting - has been turning heads since the turn-of-the-century, her skills as a performer honed over a five-year Friday-night residency at the Rex Hotel jazz club in her native Toronto and, more recently, in an ongoing multi-year run at the 55 Bar in New York's West Village. Reviewing Stylianou's Silent Movie, her previous Anzic album, JazzTimes declared that she had advanced to "the forefront of contemporary vocalists, rivaling the storytelling élan of Joni Mitchell and Carly Simon." With No Regrets, Stylianou builds on her varied New York experiences while revisiting the repertoire she learned and loved in her early Canadian club days. 

"This album, both the material and the way we recorded it, are very different from my previous four - it's like coming full circle for me," Stylianou explains. "Singing jazz standards in clubs was how I really learned to be a singer, since I studied acting instead of going to music school. Spontaneity and a sense of play were the rule in that environment, and I absorbed the style naturally. 'Remind Me,' 'I'll Never Be the Same Again,' 'Polka Dots and Moonbeams' and 'Humming to Myself' are songs I've been in love with ever since those days - they're inside my voice, inside me. Even 'Down by the Salley Gardens' comes from my days in Canada. We're lovers of Irish culture up there, and I learned the tune during tipsy singalongs on St. Patrick's Day. I did it on this album as just a duo with Matt Wilson on drums. It's very elemental, highlighting its merits as a lovely story in song." 

No Regrets is the sound of Stylianou letting go and "having the most fun I've ever had in a recording studio," she says. "I tend to be an over-thinker in my personal life, but I'm drawn to living in the moment when it comes to music. The title No Regrets refers to that sense of leaping in, being fully yourself and taking risks without second-guessing. Oded Lev-Ari, who also produced Silent Movie, is so good at fostering a sense of spontaneity and ease in the studio, even when you're recording live with no overdubs and doing the whole album in a day. He manages to be both hands-on and hands-off. The session felt so free, with everyone giving so generously of themselves to the songs and to the moment. Everybody approached the music seriously - but without taking ourselves too seriously. There was a blend of humor and urgency, as if we were playing a really great gig in the studio."

The virtuoso rhythm section supporting Stylianou throughout No Regrets - pianist Bruce Barth, bassist Linda Oh and drummer Matt Wilson - had never played together as a trio before, coming together specifically for the singer. Characteristically, Wilson's participation helped set the high-spirited tone. "Matt's good vibes are famous - he approaches music with a sense of play, as something fun," Stylianou says. "More than that, he listens so hard that he inspires everyone else to do the same. Working with Matt is like working with a magician - he makes incredible things happen that you'd never expect."

Regarding Bruce Barth, Stylianou enthuses: "I've had a musical crush on Bruce for a long time. The man swings so hard, and he's great with on-the-spot arrangements, like for 'Remind Me.' Plus, playing with him is so easy and joyful because he's an incredible accompanist who genuinely loves singers and songs." New to Stylianou, bassist Linda Oh was Lev-Ari's suggestion for the session - a happy introduction. "I was so impressed with Linda's musicality and her beautiful sound, as well as how much she put into the music," the singer says. "Her long solo intro for 'I Wish I Knew' is wonderfully personal." 

The guest horn players brought further personalized virtuosity to several tracks, with clarinetist Anat Cohen soloing on "Somebody's on My Mind" and "I'll Never Be the Same" and saxophonist Billy Drewes on "I Got It Bad (and That Ain't Good)" and "A Nightingale Sings the Blues." Stylianou says: "Anat was a key part of the sound of Silent Movie and to have her back was a treat. She's a kindred spirit with Matt - this seriously playful, or playfully serious, musician. Her sheer pleasure in making music spurs everyone around her to go for it. On the spur of the moment, Oded suggested having 'Somebody's on My Mind' be just clarinet, bass and voice - and I think it turned out special that way." As for Drewes, the singer says: "Billy brings a distinctive edge on alto, contributing so much soul and feeling." 

Stylianou will present No Regrets on December 2 at an album-release show at New York City's Jazz Standard, with Bruce Barth, Linda Oh and Matt Wilson reprising their roles from the recording - as will Billy Drewes. Stylianou's fellow singers in the vocal group Duchess - Amy Cervini and Hilary Gardner (with whom she has a new album in the can) - will add more color. Prior to the Manhattan show, Stylianou will celebrate the release of No Regrets in Canada with three nights at Toronto's Jazz Bistro, Nov. 20-22. The band for the Canadian shows will be pianist Jamie Reynolds, bassist Andrew Downing and Matt Wilson on drums. 

"I'm so looking forward to performing the songs of No Regrets live with these musicians," Stylianou says. "I gave myself permission to let go while making this album - because I've found that the emotions of the songs come through best that way. I hope listeners feel something of the freedom and fun that we experienced making it."  

Melissa Stylianou: No Regrets

1. "Nice Work If You Can Get It" (George & Ira Gershwin)

2. "Remind Me" (Jerome Kern, Dorothy Fields, arr. Bruce Barth)

3. "I Got It Bad (and That Ain't Good)" (Duke Ellington, Paul Francis Webster)

4. "Humming to Myself" (Sammy Fain, Herb Magidson, Monty Siegel)

5. "I Wish I Knew" (Mack Gordon, Harry Warren)

6. "Somebody's on My Mind" (Arthur Herzog Jr., Billie Holiday)

7. "Down by the Salley Gardens" (William Butler Yeats, traditional)

8. "A Nightingale Can Sing the Blues" (Dick Charles, Larry Marks)

9. "I'll Never Be the Same" (Matt Malneck, Gus Kahn, Frank Signorelli)

10. "Polka Dots and Moonbeams" (Jimmy Van Heusen, Johnny Burke)

11. "I Mean You" (Thelonious Monk, Jon Hendricks)

Melissa Stylianou, voice

Bruce Barth, piano

Linda Oh, double-bass 

Matt Wilson, drums

Anat Cohen, clarinet (6, 9)

Billy Drewes, alto saxophone (3, 8)

Produced by Oded Lev-Ari

Recorded by James Farber at Sear Sound, NYC

Mastered by Mark Wilder at Battery Studios, NYC

www.melissastylianou.com

www.AnzicRecords.com

      

DRUMMER BEN BAILEY RELEASES DEBUT ALBUM "A BIRD IN THE HAND"

Atlanta-based jazz drummer Ben Bailey is releasing his debut album, A Bird in the Hand, on October 21. Produced by jazz legend Duffy Jackson, A Bird in the Hand features both hidden big band treasures and classics performed with a new twist. The Nashville Big Band, a group of all-star studio musicians based in Nashville, join Ben for the eight song collection. The album is a long time coming for Bailey, who has been an avid jazz artist and performer for 31 years.

"As a drummer, I've been a fan of Duffy since I saw a concert of his as a kid," says Ben. "We became friends a few years ago and when he invited me to come to Nashville and record an album, it was an opportunity of a lifetime for me."

Not only did Duffy extend the invitation, he rolled up his sleeves to produce the record. Prior to the recording sessions, Duffy and Ben selected rare songs as well as classics that could be presented with new tempos and grooves to illustrate Ben’s musicianship. For track and album highlights, please click here.

CJ Boggs, live sound engineer for Taylor Swift, engineered the sessions which were held at the Nashville Musicians Association Union. Unlike many of today’s isolated instrument recordings, all of the musicians on Bird in the Hand were in one large room and each song was recorded in one or two takes.

The album will be released worldwide on Ben's website (www.benbaileymusic.com), CD Baby and iTunes on October 21. The CD release event will be held in Atlanta at Cafe 290 on October 20.

Jazz drummer Ben Bailey has performed and recorded with such artists as Houston Person, Rodney Jones, Freddie Hubbard, Dave Hungate, The Four Freshmen and Big Mike Geier.

Ben has toured globally in Europe and Asia. In addition, he has been featured in some of the top jazz clubs in New York and Atlanta, maintaining an active schedule of live performances, studio sessions and appearances on TV and radio stations.

Ben graduated from Berklee College of Music and currently resides in Atlanta.

www.benbaileymusic.com.

 

PIANIST PETER ZAK TO RELEASE "THE DISCIPLE" FEATURING BASSIST PETER WASHINGTON & DRUMMER WILLIE JONES III

For his tenth CD in as many years, all for the Danish SteepleChase label, pianist Peter Zak continues his brilliant series of jazz trio explorations, this time in the company of bassist Peter Washington and drummer Willie Jones III. The new disc, The Disciple, will be released October 21. 

"The fact that the piano is the lead instrument in terms of playing the melody appeals to me," Zak says of the trio format. "There's that, and the hookup between the ride cymbal and the bass doesn't get any better than that. The reason I play jazz is basically for that feel."

  

Washington, who's on board for his fourth consecutive Zak session, "is one of the best musicians I've ever played with," says the pianist. "He really knows how to break up the time and to really find the groove when it needs to be found. He hears everything that's happening immediately."

  

Zak's association with Jones dates to 1998 when both were sidemen on trumpeter Ryan Kisor's The Usual Suspects CD. "He's got a lot of energy but he's not bombastic," Zak says of the much-in-demand drummer. "I just like his sensibility about swinging."

Zak is a stylistic disciple of some of the greatest jazz pianists of the bop and post-bop eras. He salutes six of them on The Disciple with personalized interpretations of compositions by Chick Corea ("The Loop"), Elmo Hope ("Barfly"), Horace Silver ("Nutville"), Herbie Hancock ("Requiem"), Hampton Hawes ("Jackie"), and Thelonious Monk ("Criss Cross"), along with three originals and one by the Russian classical composer and pianist Alexander Scriabin.

He hadn't initially planned a CD of tunes made up entirely of tunes by piano players. It just turned out that way, as did the fact the set opens and closes with waltzes: Corea's "The Loop" and his own "The Disciple." His decisions must have been subconscious, as he has long shown himself to be master of programming music who often selects great yet little-known songs for his recordings and live performances. "I want to do things that are off the beaten track, something that hasn't been done a lot," he explains.

Peter ZakPeter Zak, 49, was born in Los Angeles and grew up in Columbus and Kent, Ohio, then moved with his family at age 16 to Oakland. At the University of California, Berkeley, where he majored in history, he studied with Susan Muscarella (founder/director of Berkeley's Jazzschool, now the California Jazz Conservatory).

Zak played on an extracurricular basis in combo and big band settings, with the UC Jazz Ensembles. He also freelanced in bands with noted bassist Herbie Lewis, who had recorded with one of Zak's major influences, McCoy Tyner, as well as Jackie McLean and local hero Bobby Hutcherson. Following his graduation from UC Berkeley, Zak played clubs, concerts, and festivals with such notables as saxophonists Frank Morgan and John Handy.

Since moving to New York in 1989, Zak has enjoyed ongoing recording and performing associations with saxophonists Walt Weiskopf, Jim Snidero, and Stephen Riley; trumpeter Ryan Kisor; and guitarist Tom Guarna. Zak has accompanied such name artists as George Coleman, Billy Hart, Jon Hendricks, Etta Jones, Jimmy Cobb, Scott Hamilton, and Junior Cook. He's been on the faculty in the Jazz and Contemporary Music College of the New School since 1995 and currently teaches an ensemble class there.

Zak has recorded steadily as a leader since making his debut, in 2005, with The Peter Zak Trio, a trio date with Paul Gill and Al Foster. That same year, he was the recipient of a $10,000 commission from the Doris Duke Foundation to compose and perform a new work for his trio. 

In his notes to The Disciple, Zak describes the composition process as something "by turns challenging, intriguing, frustrating, and finally rewarding" and discusses the value of standard jazz repertoire "as springboards to improvisation and collective interaction. . . . You still need that foundational element that's built on a basis of collective knowledge among the performers, and oftentimes the audience. Only then do we stand a chance for that deep groove, and for imagination to truly take flight." 

Peter Zak and his trio (Paul Gill, bass, and Joe Farnsworth, drums) plus guest soloist Peter Bernstein will be performing a CD release show for The Disciple at Smoke, 2751 Broadway, New York City, on Wednesday 10/22. Sets are at 7:00, 9:00, and 10:30 pm.

peterzakmusic.com

Earth, Wind & Fire Celebrate the Season with Holiday, their First-Ever Holiday Album

Legacy Recordings has announced the release of Holiday, the first-ever holiday album from the legendary Earth, Wind & Fire on Tuesday, October 21. Holiday is a spirited celebration of the holiday season, bringing together brand new recordings of  seasonal standards ("Winter Wonderland," "The Little Drummer Boy," "Sleigh Ride," "Jingle Bell Rock"), beloved carols ("Joy to the World," "Oh Come All Ye Faithful," "What Child Is This?," "Away in a Manger," "The First Noel"), a traditional Japanese winter song ("Snow"), a modern day Christmas song ("Every Day Is Like Christmas") and future Earth, Wind & Fire classics: "Happy Seasons" (inspired by "Happy Feelin'), and "December" (inspired by "September") featuring original vocals from Maurice White.

Lead vocalist and Earth, Wind & Fire co-founder Philip Bailey says, "This album is the band's first and only holiday music project. We are very proud to offer it as a labor of love to all of our fans and soon to be. Enjoy and happy holidays from our families to all of yours."

"The Holiday album was a joy to record, it is a celebration of tradition, love and spirituality, some of the elements of Earth, Wind & Fire. From our families to yours, we wish you a happy holiday," said EWF's co-founder Verdine White.

Produced by Philip Bailey and Myron McKinley (the band's Musical Director), Holiday is Earth, Wind & Fire's 21st studio album and second for Legacy Recordings.  Now, Then & Forever, the group's first new album for the label and first new studio material since 2005, debuted at #11 on the Billboard 200 upon its release in September 2013, marking the band's highest-charting album since Raise! hit #5 in 1981.

Earth, Wind & Fire - Holiday

1. Joy to the World

2. Happy Seasons

3. Oh Come All Ye Faithful

4. Winter Wonderland

5. What Child Is This?

6. Away In a Manger

7. The Little Drummer Boy

8. Every Day Is Like Christmas

9. The First Noel

10. Sleigh Ride

11. Snow

12. Jingle Bell Rock

13. December

www.earthwindandfire.com

www.facebook.com/earthwindandfire

www.legacyrecordings.com

Tony Bennett And Lady Gaga's Cheek To Cheek At No. 1 On The Billboard 200, Jazz Album And Traditional Jazz Album Charts

Tony Bennett and Lady Gaga's widely acclaimed jazz album, Cheek To Cheek, debuted at no. 1 this week on the Billboard 200 Album and hits #1 on the Jazz Album and Traditional Jazz Album Charts. Released September 23rd on Streamline, Columbia, and Interscope Records, Cheek To Cheek has received extensive widespread critical praise around the world, including such leading publications as USA TODAY ("an epic musical mashup"), ROLLING STONE ("Gaga has real chemistry with Bennett"), PEOPLE ("An unlikely pairing results in beautiful music on this album of jazz standards. [Gaga] is a revelation."), THE TIMES OF LONDON ("crooning nirvana") and the CHICAGO SUN-TIMES ("A musical match made in jazz/standards heaven.")

With the release of Cheek to Cheek, Bennett breaks his own record, set in 2011 when DUETS II debuted at #1 at the age of 85.  Now at 88, Bennett remains the oldest artist in music industry history to have an album on the #1 spot on the Billboard charts. Cheek To Cheek marks Lady Gaga's third consecutive #1 album release in just over three years; this is the second time in Bennett's career that he has had an album debut at #1 in both Billboard's Pop and Jazz Album charts.  Two tracks released prior to the album, the Cole Porter classic "Anything Goes", and the Jimmy McHugh and Dorothy Fields standard "I Can't Give You Anything But Love", both debuted at  #1 on Billboard's Digital Jazz charts. 

Cheek To Cheek features classic jazz standards sung by Lady Gaga and Tony Bennett in a combination of vocal duets and solo performances.  Each song was handpicked by the artists, and the album features classic selections from the Great American Songbook including "Anything Goes," "It Don't Mean A Thing (If It Ain't Got That Swing)," "Sophisticated Lady,"  "Lush Life," and the record's title track, "Cheek To Cheek." Recorded in New York City, the record took over a year to complete and features jazz musicians associated with both artists including members of Bennett's quartet, Mike Renzi, Gray Sargent, Harold Jones and Marshall Wood as well pianist Tom Lanier.  Jazz trumpeter Brian Newman, a long-time friend and colleague of Lady Gaga appears on the album as well with his NYC based jazz quintet. Jazz soloists on selected tracks include tenor saxophonist Joe Lovano, trumpeter George Rabbai and flutist Paul Horn, who passed away in July.

 

NEW RELEASES: DEODATO – O SOM DOS CATEDRATICOS; SLY'S STONE FLOWER 1969-70 - I'M JUST LIKE YOU; MARK DE CLIVE-LOWE - CHURCH

DEODATO – O SOM DOS CATEDRATICOS

Killer early work from Eumir Deodato – all done in an organ-heavy groove that's quite similar to Walter Wanderley's best from the time! Deodato handled all the arrangements, and although his organ and piano are at the front of the mix, the group's nicely large too – with additional instrumentation that includes trombone from Raul De Souza, guitar from Neco and Geraldo Vespar, drums from Dom Um Romao, percussion from Rubens Bassini, and some additional sax and trumpet as well. The sound is clean and lean – and most rhythms are in a jazz samba or bossa mode, with a keen focus on Deodato's great keyboard lines. Titles include "Os Grilos", "Muito A Vontade", "Imenso Amor", "Gente (Chup, Chup, I Got Away)", "Tempinho Bom", and "Ainda Mais Lindo". Very cool, with a groovy bossa sound all the way through! Includes one bonus track – a mono version of "Os Grilos".  ~, Dusty Groove

SLY'S STONE FLOWER 1969-70 - I'M JUST LIKE YOU

An incredible snapshot of the funky soul genius of Sly Stone in an early transitional period – featuring all the known recordings of his short-lived Stone Flower label and production house from 1969-1970! Sly was a rising star at this point, and while the Stone Flower Productions name had been established already for Sly & The Family Stone's work-to-date, there was a brief period when he and manager David Kapralik set out make Stone Flower an official management and production house – and recorded some great tunes with female vocal trio Little Sister, funky soul singer and harmonica player Joe Hicks and funk rock sexet 6ix – as well as some gems sung by Sly himself. Sly & The Family Stone were soon to take off in a really huge way, his business relationship with Kapalik was becoming strained, and other factors behind-the-scenes made it impossible for Stone Flower Productions to really take root, but this brief period is fantastic. We're so glad it's been dug up and collected here! The cuts are primarily written and produced by Sly Stone – with Sly out front on "Just Like A Baby", "Africa", "Spirit" and "Scared" – and other great tracks include "You're The One" and "Somebody's Watching You" by Little Sister, "Home Sweet Home (Part 2)" and "I'm Going Home (Part 1)" by Joe Hicks, "Trying To Make You Feel Good", "You Can, We Can" by 6ix and more. 18 tracks in all – with a nice booklet of notes by Alec Palao, and an interview with the elusive Sly Stone himself!  ~ Dusty Groove

Mark De Clive-Lowe takes us to church – with a set that's easily his most soulful, spiritual record ever! The album's got a lot more acoustic elements than usual – plenty of jazz elements on tenor, flute, trumpet, and percussion – mixed with Mark's own great Fender Rhodes and other keyboards – some of which shift the sound of the acoustic instruments in the process! The shift is a bit like that taken by Jimi Tenor with his own music in recent years, but the overall sound is still very much in the soaring, cosmic territory we've always loved from Mark – but there's also a much deeper connection to the planet as well. Wonderful throughout – a great step forward for an artist we already love so much – and titles include "Sketch For Miguel", "Now Or Never", "Nova Roda", "The Mission", "Distractions", "Mason's Galaxy", "Imam", and "Sun Up Sun Down".  ~ Dusty Groove

Saxophonist JIMMY GREENE Releases Beautiful Life - Featuring Special Guests Including Kenny Barron, Javier Colon, Kurt Elling, and Pat Metheny, Among Others

Jimmy Greene's new release, Beautiful Life on Mack Avenue Records, is a celebration of the life of his 6-year-old daughter, Ana Márquez-Greene, whose life was tragically taken, along with 19 other children and 6 educators, on December 14, 2012 at Sandy Hook Elementary School in Newtown, Connecticut.

"I want the music to reflect the way that Ana lived," Greene says. He fulfills that mandate with an intense, cohesive, genre-spanning program-juxtaposing the hardcore instrumental jazz for which he is best known with traditional spirituals, contemporary Christian music, standard ballads and three original songs framing his own lyrics. Animating the repertoire is a gold-standard rhythm section (Renee Rosnes, piano; Christian McBride, bass; Lewis Nash, drums), augmented at various points by guitarists Pat Metheny and Jonathan DuBose, Jr.; pianists Kenny Barron and Cyrus Chestnut; vocalists Kurt Elling, Javier Colon and Latanya Farrell; spoken word from Tony® Award-winning actress Anika Noni Rose; a 13-piece string ensemble from the Hartford Symphony Orchestra; as well as an accomplished children's choir.

  

Greene himself is one of the most respected saxophonists of his generation since graduating from Hartt School of Music in 1997. He composed or arranged every selection and plays tenor and soprano saxophones as well as flute with customary authority, melodic focus and abiding soulfulness. 

"In the days after my daughter was killed, playing and writing music wasn't even a thought," the 39-year-old saxophonist says. "I was very much in shock, grieving deeply and trying to just function coherently. Family and friends surrounded us and held us up, and we received 10,000 communications-emails, texts, Facebook messages, voice calls, letters-from people around the world. The community of musicians was front and center for that support. When I called, they responded, 'Whatever you need, just say the word, and I'll be there.'"

In late January 2013, Greene, feeling that "I needed to get back to some sense of routine," resumed a regimen of practice and composition. Soon thereafter, Norman Chesky, the co-owner of Chesky Records and HDtracks, reached out with an extraordinary offer. 

"An intense amount of media attention was focused on my family and all of us in Newtown, so I was fairly guarded whenever communicating with someone for the first time," Greene relates. "But Norman offered to donate the production of a recording that I could do whenever I was ready, and to give me complete ownership. I was humbled and honored by his generosity, and began to devote my energies to the project."

Greene decided to weave lyrics and singers into the flow for the first time on one of his recordings. "Ana loved to sing and listen to singers, and had a wonderful singing voice," he explains. "So an album dedicated to her memory needed to have singers and songs that were important to her and me and my family." 

Beautiful Life opens with a recording of Ana singing the traditional "Saludos" ("Greetings") at a Christmas celebration (parranda) in Puerto Rico with her mother Nelba Márquez-Greene's family-and her father playing in the background-a year before her death. Greene segues to a section in which he and guitarist Pat Metheny perform "Come Thou Almighty King" before concluding with another family recording of Ana singing the hymn to her brother Isaiah's piano accompaniment.

The wistful "Last Summer," a quartet feature, evokes Greene's impressions of the photograph of his children-captured from the rear with their arms around each other's shoulders in the family's backyard in Winnipeg, Canada, where Greene taught at the University of Manitoba between 2009 and 2012-that appears on the cover of Beautiful Life.

The mellow tenor voice of Javier Colon, Greene's one-time classmate at Hartt who won the 2011 edition of NBC's The Voice, delivers Greene's lyric for "When I Come Home" supported by the quartet, Greene's signifying tenor saxophone and the strings.

Greene initially recorded "Ana's Way" instrumentally as "Ana Grace" on the 2009 recording Mission Statement. Complementing Grammy® Award-winner Kurt Elling's characteristically penetrating, graceful interpretation is the Linden Christian School Early Years Choir, comprising classmates of Ana and Isaiah in Winnipeg; solos by Greene and Rosnes distill the oceanic emotions of the lyric. "It was brutal seeing Ana's friends again, without Ana there amongst them," Greene says. "But we got through it somehow, and I think the results are very touching." 

Iconic pianist Kenny Barron joins Greene for conversational readings of the Broadway songs "Where Is Love?" from Oliver and "Maybe" from Annie, the latter featuring Greene's pure-toned soprano saxophone. "Kenny, Christian and Lewis were the rhythm section for the 1996 Thelonious Monk Competition, where I was named first runner-up," Greene recalls. "They made me feel welcomed and comfortable, that I could do this for my life, and so I wanted them involved." 

"My daughter loved Annie, and would sing 'Maybe' a cappella with great pitch and rhythm in the back of the car when we were driving around," Greene recalls. He includes "Where Is Love" in homage to Jackie McLean, his primary musical mentor, who showed Greene, then 15, the melody at their first meeting at Hartford's Artists Collective. 

The penultimate track of Beautiful Life, titled "Prayer," is Greene's musical setting of the text of the "Lord's Prayer." Cyrus Chestnut accompanies Greene's devotional tenor saxophone; illuminating the message is Latanya Farrell (who Greene met while attending Hartt), whose powerful contralto enchanted Ana as a toddler. 

Ana became a fan of Anika Noni Rose-a high school classmate of Greene's in Bloomfield, Connecticut-after hearing her inhabit the role of Princess Tiana in the animated film The Princess and the Frog. Rose's recitation of Greene's optimistic soliloquy "Little Voices" precedes another appearance by the Linden Children's Choir. 

"Many people have asked what they can do to help, and this is my answer," Greene says. "Let's remember what happened at Sandy Hook. We can each hold up our end of the bargain, which is to somehow learn to love ourselves, and then see past ourselves and love our neighbor. That's pretty simple, but if we all did it, I think our existence would be different." 

A portion of the proceeds from Beautiful Life will be donated to the following charities in Ana's name:

The Ana Grace Project of Klingberg Family Centers - initiated by Greene's wife Nelba, a licensed Marriage and Family Therapist, to promote love, community and connection for every child and family through partnerships with schools, mental health providers, community organizations and faith leaders.

The Artists Collective - where generations of children and families in Greater Hartford have gained access to world-class training in the arts.

A native of Hartford, CT, saxophonist, composer, and educator Jimmy Greene has emerged as a positive presence in the jazz world. His 9 solo recordings, released on various labels including RCA Victor, Sunnyside, and Criss Cross, have been met with much critical acclaim. In addition to his recordings and appearances as a leader, Greene appears on over 70 albums as a sideman, and has toured and/or recorded with Horace Silver, Tom Harrell, Freddie Hubbard, Harry Connick, Jr., Avishai Cohen, Kenny Barron, Lewis Nash, Steve Turre, the New Jazz Composers Octet and the Carnegie Hall Jazz Band, among many others. 

Greene is Assistant Professor of Music and Co-Coordinator of Jazz Studies at Western Connecticut State University in Danbury, CT. Previously, he served as Assistant Professor of Jazz Saxophone at the University of Manitoba (2009-2012). Greene was selected to receive the 2013 Governor's Arts Award in Connecticut, as well as grants and honors as a composer from ASCAP/IAJE (2006), Chamber Music America (2004), the State of Connecticut (2004) and the City of Hartford (2009).

JimmyGreene.com

Blue Note Records’ 75th Anniversary Celebrations Continue With Commemorative ‘Blue Note: Uncompromising Expression’ 5-CD Singles Box Set & Hardbound Book to Be Released November 4

Blue Note Records’ 75th anniversary celebrations continue in full swing. In addition to fall releases from Jason Moran, Otis Brown III, and Kandace Springs, as well as the continuation of the label’s successful vinyl reissue series, Blue Note/UMe will release a new label-spanning 5-CD singles box set as a companion piece to a new hardcover book, both titled Blue Note: Uncompromising Expression. The book and 75-track singles collection are both available now for preorder ahead of their November 4 release.

The Blue Note: Uncompromising Expression singles box opens with the label’s very first artist, pianist Meade “Lux” Lewis, and closes seventy five years later with the beautifully progressive sounds of Derrick Hodge. A sweeping overview of one of the world’s most diverse and celebrated Jazz catalogs, the 75-track collection also features singles by Jazz greats Art Blakey, Donald Byrd, John Coltrane, Norah Jones, Thelonious Monk, Cassandra Wilson, and many more. Curated by Jazz expert and author of the Uncompromising Expression book, Richard Havers, each of the collection’s discs covers a specific era of the label’s evolution, from boogie to bop, soul jazz to the roots revival of the 1990s, and 21st Century trailblazers including Robert Glasper and Gregory Porter. The new collection is presented in a beautiful slipcase with a 48-page booklet including a complete discography of its 75 featured singles.

Disc 1: From Boogie To Bop 1939 – 1953 

Disc 2: Messengers, Preachers and Hard Bop 1953 – 1958

Disc 3: Struttin’, Moanin’ and Somethin’ Else 1958 – 1960

Disc 4: Bossa, Blues and Hits 1961 – 1965 

Disc 5: Can You Dig It? 1953 - 2014

Authored by Richard Havers, the new Blue Note: Uncompromising Expression book is the first official illustrated history of Blue Note Records. Commemorating the storied label’s 75th anniversary, the 400-page hardcover book includes forewords by Wayne Shorter, Robert Glasper, and Blue Note President Don Was. The book details Blue Note’s impact on popular culture and celebrates more than seven decades of extraordinary music, as well as the label’s ongoing commitment to “Uncompromising Expression,” the tenet first set forth by Blue Note’s founder, Alfred Lion, a German immigrant who came to America to pursue his dreams and his love of music.

Tracing the evolution of jazz from the boogie woogie and hot jazz of the 1930s, through bebop, hard-bop, the avant-garde and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Featuring classic album artwork, unseen contact sheets, rare ephemera from the Blue Note Archives, commentary from some of the biggest names in jazz today, and feature reviews of seventy-five key albums, this is the definitive book on the legendary label.

NEW RELEASES: JUNGLE FIRE - TROPICOSO; DAVE & ANSEL COLLINS - DOUBLE UP!; ELIZABETH SHEPHERD - SIGNAL

JUNGLE FIRE - TROPICOSO

A heady sound from Jungle Fire – a group who seem to be equal parts 70s Afro Funk and Latin – with percussion that rivals the best of the latter, and horns and guitar that match the best of the former! The group's got a super-sharp approach, but one that's never slick or commercial either – just really well-crafted instrumentation in a mostly vocal-free setting – which allows for plenty of great moments from the individual members, especially some of the reed players! The group have kind of snuck into our world through a handful of 7" singles, but they've really got our attention with this full length set – a record that includes the tracks "Firewalker", "Tropicoso", "Culebro", "La Mano", "Village Hustle", "Chalupa", "Snake Pit", and "Comencemos". (Includes bonus download, too!)  ~ Dusty Groove

DAVE & ANSEL COLLINS - DOUBLE UP!

Wonderful work from the team of Dave and Ansell Collins – a key act in helping Jamaican music transition from rocksteady to reggae at the start of the 70s – and a duo who had a surprising impact in the US, thanks to their funky style of work! Ansell handles all the keyboards – including acoustic piano produced with an echoey sound, and some great Hammond too – and Dave doesn't always sing so much as shout – in ways that are a bit like calls from a DJ in a set, but which also clearly have some James Brown inspiration too – but more in the way that James might shout and urge on his band. Their music here is heavy on soulful elements from America, but also has some plenty trippy early dub styles too – and tracks include "Sexy Dream", "Hot Sauce", "007", "Liquidator Shuffle", "Johnny Dollar", "Great Shocks Of Mighty", "Girl Of My Dreams", and "Mister Talkative".  ~ Dusty Groove

ELIZABETH SHEPHERD - SIGNAL

Some of the greatest sounds we've heard from Elizabeth Shepherd in years – a record that really returns the singer to her funky roots and soulful styles! There's a stripped-down vibe to the record we really love – mostly just Fender Rhodes from Shepherd, alongside her vocals – mixed with relatively loose, spontaneous work from a small group of rhythm players – who, like Elizabeth, are all stepped strongly in jazz, but find a way of making the music come across at a more funk-based level! The lyrics are wonderful, as always – a bit less singer-songwriter than some recent years, in a good way – and titles include "Baby Steps", "I Gave", "Willow", "What's Happening", "The Signal", and "Lion's Den".  ~ Dusty Groove

NEW RELEASES: PRINCE & 3RDEYEGIRL - PLECTRUMELECTRUM; FELA KUTI 7-LP BOX SET; VADOU GAME - APIAFO

PRINCE & 3RDEYEGIRL - PLECTRUMELECTRUM

One of a pair of Prince records released on the same day – and this one that finds him in a lean, hard-hitting funk rock mode that we always love from him – and deservedly sharing credit with his 3rdeyegirl group. It's honestly a lot of fun to hear Prince having this much fun himself, in a small combo psych-rock-soul guitar mode – letting his Hendrix and Maggot Brain-era Funkadelic imflunces fly, and recalling his his own trailblazing 80s style. The 3rdeyegirl trio of Donna Grantis, Hannah "Ford" Welton and Ida Nielson more sharp indeed. Nice stuff! Titles include "Wow", "Pretzelbodylogic", "Aintturninaround", "Plectrumelectrum", "Whitecaps", "Fixurlifeup", "Boytrouble", "Stopthistrain", "Anotherlove", "Tictactoe", Marz" and "Funkinroll".~ Dusty Groove

FELA KUTI  - LONDON SCENE / SHAKARA /AFRODISIAC /GENTLEMEN / UPSIDE DOWN / ZOMBIE / ITT (7-LP BOX SET)

A stunning set of work from the legendary Fela Kuti – seven full albums, served up in an ultra-limited box set – all hand-chosen by the equally legendary Brian Eno! Eno was a key supporter of Afro Funk in the 70s, and it's no surprise that just about every record here is one of Fela's standout classics – albums that include his excellent early UK recordings on London Scene, through Nigerian classics that include Shakara, Afrodisiac, Gentlemen, Upside Down, and Zombie – as well as the massively political, album-length jam of ITT (International Thief Thief)! Every album comes with the original record art too – and the set's one of the heaviest funk packages you could ever hope to find. ~ Dusty Groove

VADOU GAME - APIAFO

A cool contemporary group with roots in Tojo – hotbed of African voodoo culture, which is a strong inspiration on their sound! The music takes an older style of voodoo chants, and fuses it onto a more funk-based approach – one that draws on inspirations from 70s west African funk, but in a way that's more subtle than most of the other contemporary groups – a mode that still uses horns, but really strips down the sound a lot, so that the hypnotic vocal passages really take center stage! The production is great – very much in a vintage mode – and these guys are way than just another Afro Funk group, and have instead really stumbled onto something fresh and vital. Titles include "Wrong Road", "Ata Calling", "No Problem", "Dangerous Bees", "No Way To Go", "I Need A Job", and "Meva".  ~ Dusty Groove

JAMES BROWN REISSUES: HOT PANTS, THERE IT IS, IT'S A BRAND NEW DAY - LET A MAN COME ON, BODYHEAT, SLAUGHTER'S BIG RIP-OFF

JAMES BROWN – HOT PANTS

James Brown really opens up on this early 70s classic – really showing the world the amazing groove he was crafting with his band – who were let loose to jam in the studio, spinning out some really long grooves – which were then cut down to make this sweet little record! The title cut was a big single for James at the time, but it's presented here in its full 9 minute version – a monstrous jam that's equal to anything on the Payback record, or the JBs albums too – and the album also includes the long two-part take of "Escapism", and another funky gem – "Blues & Pants", which snaps along for a solid 9 minutes too! The album's filled with heavy funk, and the longer tracks allow for plenty of instrumental flourishes from Fred, Maceo, and the other JBs – and honestly, the record is more of a People Records session than a Polydor record from James. Includes a monster of a bonus track: the 19+ minute complete take of "Escape-ism". ~ Dusty Groove

JAMES BROWN – THERE IT IS

Raw power and righteous energy from James Brown – a set that still has all the best funk elements of his longer-form albums of the time, but which also packs an even stronger political message too! The vibe of the record is clear from the image on the cover – the most powerful since Payback – and James is even more focused in the lyrics, which bite harder than some of his other commentary of the period – while still allowing the JBs plenty of room to serve up some heavy funk in the process! Titles include the classics "Public Enemy #1" and "King Heroin", both hard soul political tracks – and the funkier side of The Godfather is represented by the killer cuts "Talkin Loud & Sayin Nothing" and James own version of "I Need Help" (which was also recorded by Bobby Byrd). The album also includes a great duet with Vicki Anderson on "Who Am I", the excellent title cut "There It Is", and a surprisingly nice version of "Never Can Say Goodbye" – as well as the single "I'm A Greedy Man". ~ Dusty Groove

JAMES BROWN – IT’S A NEW DAY – LET A MAN COME IN

Further genius from James Brown at the start of the 70s – a record that's starting to show some of the more open-ended grooves he'd explore with the JBs on their own albums – longer, stretched-out tracks that are way more than simple funk and soul! There's a sense of freewheeling energy here that's totally great – dynamic, powerful calls from James at the top of most tunes – and incredibly sharp work on horns and rhythm from the band – cutting grooves and turning lines like no other combo in the business, all with a great mix of deep soul and hard funk! The album features the 7 minute killer version of "Let a Man Come In & Do The Popcorn", plus "World (parts 1 & 2)", "It's A New Day (parts 1 & 2)", "Give It Up or Turn It Loose", "If I Ruled The World", "The Man In The Glass (part 1)", and "I'm Not Demanding (part 1)". A treasure trove of funk and soul! ~ Dusty Groove

JAMES BROWN – BODYHEAT

An enduring classic from James Brown – quite possibly the strongest of his late 70s albums, and a record that nicely balances the harder funk of the early part of the decade with a more sophisticated style that almost gets slightly jazzy at times! The vocals are planted strongly at the top of most tunes – really calling out the shots and directing the rhythms – even though they seem tight enough to keep snapping along on their own – and also noteworthy are some of the mellower numbers on the set, which are almost more compelling than some of the groovers! Titles include "Bodyheat", "What The World Needs Now", "Don't Tell It", "Kiss In 77", "Woman", "Wake Up And Give", and "I'm Satisfied". ~ Dusty Groove

JAMES BROWN – SLAUGHTER’S BIG RIP-OFF

Easily one of the funkiest albums that James Brown ever recorded – and one of his few entries into the blacksploitation genre of the 70s! James really outdid himself for this one – working at a hard burning pace that had the JBs cooking up some killer funk for just about every number in the set – and which also has James himself stepping out vocally for a few key tracks. The album features the massive groover "People Get Up and Drive Your Funky Soul" – a slamming track that beats nearly every number in the JB 70s catalog – plus other cuts that include "To My Brother", "Brother Rapp", "Sexy Sexy Sexy", "Slaughter Theme", "Transmogrification", "King Slaughter", and "How Long Can I Keep It Up". ~ Dusty Groove

7th Annual Sunny Isles Beach Jazz Fest Returns With Weekend Celebration This November

The 7th Annual Sunny Isles Beach Jazz Fest returns to Florida's Riviera this November in a weekend celebrating the soulful sounds of jazz music.  Taking place from Friday, Nov. 14 to Sunday, Nov. 16, the event is being produced by the City of Sunny Isles Beach in partnership with the Sunny Isles Beach Tourism and Marketing Council to benefit Joshua's Heart Foundation.

"We are excited to host Jazz Fest 2014," said Sunny Isles Beach Mayor Norman Edelcup.  "This music festival weekend isn't only about extraordinary jazz.  It's an opportunity to experience all that Sunny Isles Beach has to offer.  Spend the day soaking in the sun on our white sand beach, discovering a new adventure, shopping or enjoying a spa day and then stroll over to the park on Saturday night for a cool jazz concert under the stars."

Expected to attract more than 2,000 festival goers, this year's Jazz Fest will celebrate the theme "What a Wonderful World," befitting Sunny Isles Beach where residents and guests alike enjoy world class weather, services, amenities and cultural activities.  The festival opens on Friday, Nov. 14 with a dinner event at Acqualina Resort & Spa on the Beach, located at 17875 Collins Avenue.

The main event takes place on Saturday evening at Heritage Park, 19200 Collins Avenue, featuring local jazz artists like Leon Foster Thomas, a unique force in modern jazz labeled as "the next big thing on his instrument" by All About Jazz, accompanied by the Melton Mustafa Orchestra. Other featured artists include LeNard Rutledge, named Best Jazz Artist by the Miami New Times, and celebrated vocalists Brenda Alford and Rochelle Lightfoot.

On Sunday, Trump International Beach Resort, located at 18001 Collins Avenue, will host a Jazz Brunch pairing a menu of savory Southern cuisine with soulful jazz to close the weekend festivities.

Visitors and residents alike are invited to enjoy one of Miami's most vibrant music festivals, with a jam-packed weekend of live music, culinary experiences and white sand beaches to enjoy.

The 7th Annual Sunny Isles Beach Jazz Fest is made possible with the support of the Miami-Dade County Tourist Development Council, the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

The event will benefit the Joshua's Heart Foundation, which aims to empower those in need and to improve their quality of life. This non-profit organization provides items of basic necessity, including food and water. The foundation also engages and educates communities at home and abroad about how to take steps towards fighting hunger and poverty on a global scale.

Sunny Isles Beach is ideally positioned to take advantage of everything South Florida has to offer. This eclectic destination nestled between Miami and Ft. Lauderdale is part laid-back coastal city, and part luxury resort and shopping mecca. Whether visitors are looking for a warm-weather holiday centered around golf or tennis, a family vacation with great activities for the kids, or an extraordinary and romantic wedding or honeymoon destination, look no further than Sunny Isles Beach.

www.sunnyislesbeachjazz.com

Saxophonist Frank Catalano and Drummer Jimmy Chamberlin Pay Tribute to John Coltrane on Love Supreme Collective

Love Supreme Collective is the Ropeadope debut by Billboard chart-topping saxophonist Frank Catalano and longtime Smashing Pumpkins drummer Jimmy Chamberlin. Chicago-based Catalano and Chamberlin met in 1999 at the former Boulevard Cafe in Chicago's Logan Square neighborhood during a jam session that Catalano was hosting. On that night, the jam included John Medeski, DJ Logic, Steve Kimock, Les Claypool and Sugar Blue. Catalano and Chamberlin started playing together soon after for fun, mostly at each other's houses with the exception of a few Jimmy Chamberlin Complex performances. 

"I have been a fan and friend of Frank's for fifteen years and I am happy we are making music together," Chamberlin says. This collaboration has enabled Chamberlin to reconnect with his jazz roots. Fans of Chamberlin's drumming will be delighted to hear him in this context, as he demonstrates an inspired range of depth in his playing. "Jimmy is my favorite drummer and I think of him like he's my big brother," Catalano says. "We played together at the Green Mill in Chicago recently and I still have the music running through my body. It was so special, words can't properly express my feelings." 

While Catalano has nothing but joy and positive feelings for the music on Love Supreme Collective, this inspired album has its genesis in difficult circumstances. In 2011, Catalano sustained serious injuries after his car was hit by a drunk driver. He cites John Coltrane's A Love Supreme as the spiritual anchor during his difficult recovery. Catalano wanted to make a recording that embodied the love, thanks, and praise of A Love Supreme without copying it. Catalano was fortunate to have worked with A Love Supreme's legendary drummer, Elvin Jones, who Chamberlin cites as one of his biggest influences. As such, the passion felt for the material on this recording is easily apparent. 

For this project, Chamberlin enlisted his keyboardist from the Jimmy Chamberlin Complex, Adam Benjamin (Kneebody), and Catalano rounded up PolCat members Percy Jones (Brand X, Soft Machine) and Chris Poland (Megadeth) for the bass and guitar work, respectively. 

"This recording is about crafting emotions and feelings," Catalano says. "The way the guys set the tone and mood for each song is pretty unreal. Love Supreme Collective resembles a through composed contemporary classical piece with four movements." 

At Catalano's request, Ropeadope is selling the recording on iTunes as an "all or nothing," album, because, as Catalano says, "I didn't want this work separated and fragmented. While I am very proud of my recordings for the Savoy and Delmark labels, this is the first time I used my classical composition training to frame the work of a recording. This freed me to keep Coltrane, Von Freeman and other spiritual energy near my heart and under my fingers." 

Catalano is at a stage of his career as an established veteran in the Chicago jazz scene where he often hears questions regarding the direction of his music and career: What is important? What are you working to achieve? Are you happy with your situation? What are you going after? With Love Supreme Collective, Catalano chooses to answer these questions through his music. "It is easy to say words," he says, "but to express these emotions, thoughts, feelings in an instrumental album is something else. 'Psalm for John' is probably the most special on a personal level. A psalm can help inculcate belief in divine providence into one's consciousness. Percy Jones and I are bending our bass and soprano sax notes together at the same time, without discussing it, playing off each other, as if our minds are being fed this info. We did not filter or limit the music in any way.  It was a very powerful and spiritual experience. I want to thank everyone who is reading these words and checking out the music!" 

Upcoming Frank Catalano Performances with Jimmy Chamberlin:

October 26 / Iridium Jazz Club / New York, NY

November 14 / Mayne Stage / Chicago, IL

December 18 - 20 / Andy's Jazz Club / Chicago, IL

Upcoming Frank Catalano Sextet Performances:

October 10 & 11 / Andy's Jazz Club / Chicago, IL

October 31 - November 1 / Earshot Jazz Festival / Seattle, WA

November 28 & 29 / Andy's Jazz Club / Chicago, IL

Vocalist Hilary Gardner Delivers Her Debut Recording The Great City

Acclaimed vocalist Hilary Gardner grew up in Alaska, infatuated with New York City.  Her striking recording debut, The Great City, available on Anzic Records, is Gardner's love letter to her adopted hometown, great metropolises everywhere, and the big dreams they represent. The Great City is graceful, intimate and sophisticated, recalling classic records by Peggy Lee, Julie London, and Ella Fitzgerald. The album's program of songs is refreshingly broad, featuring songs both urban and urbane by composers such as Leonard Cohen, Vernon Duke, Joni Mitchell, Tom Waits, and Nellie McKay, among others. "I wanted to acknowledge the breadth of musical influences in my life while still making a cohesive musical statement," Hilary said. Elaborating on the title track, Hilary added, "I first heard this song sung by a very young Shirley Horn, and it immediately solidified and clarified what this album was going to be about. Funnily (appropriately!) enough, I was on the subway listening on headphones when this song came on for the first time. I had already been picking songs for the album, but as soon as I heard the first 'A' section of 'The Great City,' I knew I'd found the title track and thematic centerpiece of my record."

The Great City was recorded at Systems Two in Brooklyn under the guidance of Grammy-winning producer Eli Wolf, and features musical accompaniment and solos by friends and NYC jazz mainstays, Ehud Asherie (piano), Randy Napoleon (guitar), Elias Bailey (bass), Jerome Jennings (drums), Jason Marshall (saxophone), Tatum Greenblatt (trumpet) and Jon Cowherd (organ).

Hilary opens the recording with the beautifully melancholy, "No One After You", which Hilary first heard on Anjani's Blue Alert during an insomnia filled summer living in Spanish Harlem. "I immediately felt drawn to 'No One After You' because it evoked such strong memories of that time in my life: living uptown and waiting tables while trying to make this music thing happen, getting my heart broken, etc.," said Hilary. In 2010, Hilary was chosen by the Frank Sinatra estate to appear as the live, onstage singer in Tony-award winner Twyla Tharp's Come Fly Away.  Backed by a 19-piece big band, Hilary sang solos and duets with Frank Sinatra's voice in a performance hailed by critics as "wonderful" (Huffington Post), "elegant" (USA Today), and "terrific" (The New York Observer). So in a way Frank Sinatra gave Hilary Gardner her first big break, and "Brooklyn Bridge" (Sinatra premiered this Cahn/Styne song in the 1947 film, It Happened In Brooklyn), is Hilary's nod to Ol' Blue Eyes. "Aside from the fact that I immediately fell in love with the charm and sweetness of this song, I also knew I had to tip my proverbial hat to Frank Sinatra on my record." Hilary's bittersweet rendition of "Autumn In New York" is both luxurious and filled with longing. She reinvigorates Vernon Duke's classic standard with understated elegance. "The line, '. . . looking down on the city I hate and adore . . .' gave me goose bumps the first time I heard it, because it's so true. I love how urbane this whole lyric is, and it was really important to me that we recorded both full choruses so the entire lyric would be heard. Vernon Duke! He wrote the music and lyrics for this song in 1937, and I think it's the most elegant summation of the complexity of loving this city. I was so inspired by Billie Holiday's recording of this song, which is stop-you-in-your-tracks perfection. Her interpretation is so incredibly deep and subtle," said Hilary.

Other highlights on The Great City include Hilary's version of "Drunk On The Moon," the late-night ballad by Tom Waits (who Hilary fell in love with at age 12), evoking the original's snapshot of blue smoke curling around neon signs and the beauty of the urban underbelly. "This song is how the city feels after a long night, coming home after a very late gig," commented Hilary; "Sweetheart", inspired by Dan Hicks, and featuring Tatum Greenblatt on trumpet, who Hilary met while playing with Valery Ponomarev's big band together (along with Jason Marshall and Jerome Jennings); "You Came a Long Way From St. Louis" and "(Ah, the Apple Trees) When the World Was Young", both inspired by Anita O'Day; "This Little Town Is Paris," which represents Hilary's knack for finding relatively unknown gems that deserve to be heard. "The composer, Milton Schwartz, is a total mystery! I searched for any information about him, and came up with bupkis. Not even Jonathan Schwartz (legendary WNYC DJ, no relation) had any info. But what a little gem of a tune. A beautiful melody, a charming lyric . . . this is one of my favorite moments on the record," said Hilary.

The album concludes with poise and poignancy on "Manhattan Avenue."  Here, supported by Ehud Asherie's virtuosic piano accompaniment, Hilary interprets the gritty, contemporary lyric with sophisticated intimacy.  The simple grace of the song's arrangement is a tribute to the telepathic interplay between Teddy Wilson and Billie Holiday. That juxtaposition of sensibilities, timeless musicality melded with an in-the-now sentiment, poetically sums up The Great City. "We knew right away that 'Manhattan Avenue' would close the album, especially with the last line: Oh, but dreams come true/on Manhattan Avenue.  That's really the message of the album," Hilary says. "This city is complicated, frustrating, and magical, and dreams do come true here. They certainly have for me."

Hilary Gardner performs as a leader throughout New York City, appearing regularly at Birdland, Café Carlyle, Symphony Space, and Jazz at Kitano.  She is a frequent soloist with symphonies throughout the United States and has appeared with Connecticut's Ridgefield Symphony, the Minnesota Orchestra, and New York's Rochester Philharmonic. Multi-platinum recording artist Moby featured Hilary prominently on his 2009 release, Wait For Me (Mute Records/EMI). Most recently Hilary has been touring with the new vocal super-group Duchess, featuring fellow vocalists, and Anzic label-mates Amy Cervini and Melissa Stylianou. The group has just kicked off a three month residency at The 55 Bar, and will be releasing their debut album in early 2015, on Anzic Records.

Hilary Gardner - Upcoming Appearances: 

Oct 5 @ Birdland, NYC, CD Release Celebration for The Great City 

Featuring Hilary Gardner (vocals), Ehud Asherie (piano), Elias Bailey (bass), Jerome Jennings (drums), Jason Marshall (saxophone)

Oct 2 & 15  and Nov 6 & 19

Duchess Residency @ The 55 Bar, NYC

Featuring Amy Cervini, Melissa Stylianou & Hilary Gardner

Oct 9, sets at 8 & 10 PM

Duchess @ Snug Harbor, New Orleans, LA

With special guests Evan Christopher, Brian Seeger and others!

www.HilaryGardner.com