Jazz Vibist Jason Marsalis Joins the Yamaha Artist Roster

A son of pianist and educator Ellis Marsalis and his wife Dolores, Jason began sitting in with his father’s jazz group at a young age, and eventually became a steady member of the band. He attended the New Orleans Center for the Creative Arts High School and continued to develop his skills by playing gigs with his father and brothers, Wynton, Branford and Delfeayo. Marsalis’s touring career bloomed after high school when he performed with jazz pianist Marcus Roberts. Despite his heavy tour schedule, Marsalis attended Loyola University in New Orleans and studied composition with Roger Dickerson.

“Jason continues to inspire people worldwide with his mastery as an artist and an educator,” said John Wittmann, director of Artist Relations and Education, Yamaha Artist Services Indianapolis. “With his exceptional skill on jazz vibraphone and international exposure, we look forward to a long, fruitful relationship.”

Marsalis has recorded, performed, or toured with a wide variety of artists, including Joe Henderson, Lionel Hampton, Casa Samba, Dr. Michael White, Ellis Marsalis, Thelonious Monk, Aretha Franklin, Christian Fabien and his own Latin-jazz group Los Hombres Calientes, among others. Marsalis and the entire Marsalis family received the National Endowment for the Arts Jazz Masters award in 2009, and appeared at the White House and the Kennedy Center in tributes to his father Ellis.

"Yamaha has always been reliable with instruments and the vibraphone is no exception to this,” said Marsalis, who performs with Yamaha’s three octave Gold Professional Gold Tour Vibraphone model, YV-3710 with a matte finish. “The instrument has a great, warm sound and is very comfortable to play.”

For more information, please visit http://4wrd.it/yamahaartists. 

NEW RELEASES - TONY PERKINS -TONY PERKINS (WITH BONUS TRACKS); PAUL BRUSGER – WAITING FOR NEXT TIME; BALLISTER – BOTH ENDS

TONY PERKINS – TONY PERKINS (WITH BONUS TRACKS)

A really wonderful first album from Anthony Perkins – cut years before he shocked the screen in Psycho, at a time when he was arguably more committed to his role as a singer! Perkins is surprisingly great throughout – with a mellow, masculine approach that's a bit like Matt Dennis at the time – never overdone, but with just the right sort of inflections to really personalize the music. Tony never tries to belt it out of the park, and that's what we really like about the record – in that he's a much more honest, understated singer – a nice contrast to some of the more emotive talents on the charts at the time. Marty Paich provides the backing – in a great jazzy style that's similar to his work with Mel Torme – and titles include "April Fool", "Hit The Road To Dreamland", "How Long Has This Been Going On", "But Beautiful", "I Wish I Knew", "Accidents Will Happen", and "Better Luck Next Time". CD features 7 more bonus tracks too – including "If You Were The Only Girl", "If You'll Be Mine", "Melody For Lovers", "Fool In Love", and "A Little Love Can Go A Long Long Way". ~ Dusty Groove

PAUL BRUSGER – WAITING FOR NEXT TIME

Bassist Paul Brusger heads up this quartet, but the group's got strong contributions on all its four corners – tremendous baritone work from Gary Smulyan, who's becoming one of our favorite contemporary players on the instrument – plus soulful piano from Mike Ledonne, and just the right sort of swing from the great Louis Hayes! The players come together with a freshness that's noteworthy – really standing apart from even their other recent recordings – quite possibly due to the fact that every tune on the set (save one) is an original composition by Brusger, a writer with a really old school way of balancing lyricism and soul – a compositional strength that almost takes us back to Horace Silver or Duke Pearson. Titles include "In A Minor Funk", "When Will You Ever Learn", "All But One", "Bringin Home The Silver", "Waiting For The Next Trane", and "Andrea's Delight". ~ Dusty Groove

BALLISTER – BOTH ENDS

Maybe one of the most vibrant musical performances ever from the Ballister trio – for reasons that are recorded in the notes on the album – a stunning collaboration between Dave Rempis on alto and tenor, Fred Lonberg-Holm on cello and electronics, and Paal Nilssen-Love on drums and percussion! The players have a great way of swinging between sound and space – really letting things out to create the right sort of suspense, then bounding back in with the sort of bold energy that really feeds their fire – almost with a sensitivity that's surprising, given the situation! The album features one long live performance – divided up into "Front" and "Back" passages. (Yellow vinyl pressing, too!)  ~ Dusty Groove

NEW RELEASES: JAMES BROWN – SUPER BAD; THE BAR-KAYS – TOO HOT TO STOP; NORTHERN SOUL - THE SOUNDTRACK (COMPILATION)

JAMES BROWN – SUPER BAD

Super Bad is right! This is hard-hitting funky James – from the badass cover right down to the extended tracks on the record, which point the way towards the hard live jamming of the classic Payback years! Everything wonderful is in place on the set – from the band's grooves at the bottom to James' on-fire vocals on the top – heard beautifully on the extended 10 minute version of the title cut "Super Bad" – which rolls through parts 1, 2, and 3 of the song! The album also includes another 10 minute funky cut – "Giving Out of Juice" – plus the classic "A Man Has to Go Back to the Crossroads", and three mellower ballads, but even they end up sounding kind of hip!  ~ Dusty Groove

THE BAR-KAYS – TOO HOT TO STOP

A pivotal album from The Bar-Kays – a key post-Stax set, but one that's still very firmly grounded in Memphis funk! The groove definitely shows a bit more polish than before – the same sort of shift the Ohio Players made after moving to Mercury Records – but as with the Players at their best, there's still plenty of sharp edges and deeply funky moments on the record – and if anything, the shift has really given The Bar-Kays a way to evolve their sound past some of the heavier modes of the early days, without losing any of the appeal of their groove! Some cuts have some great keyboards – almost producing a spacey funk feel at points – and titles include "Too Hot To Stop (part 1)", "You're So Sexy", "Cozy", "Spellbound", "Whitehouseorgy", and the nice mellow track "Summer Of Our Love".  ~ Dusty Groove

NORTHERN SOUL - THE SOUNDTRACK (COMPILATION)

A stunner of a soul set – put together to support the film on England's Northern Soul scene! The package is worth it for the music alone – a massive 54 tracks that stand together as one of the sweetest Northern Soul collections we've seen in years – a really great choice of material that mixes classics from the scene with the sort of newly-discovered gems that have really kept the scene going for far longer than anyone might have expected back in the 60s and 70s. All work here is of late 60s vintage, and titles include "I Gotta Find Me Somebody" by The Vel Vets, "Crying Over You" by Duke Browner, "Exus Trek" by Luther Ingram Orchestra, "Your Autumn Of Tomorrow" by The Crow, "Come On Train" by Don Thomas, "It Really Hurts Me Girl" by The Carstairs, "I Was Born To Love You" by Herbert Hunter, "She'll Come Running Back" by Mel Britt, "Little Love Affair" by Patrinelle Staten, and "You Don't Love Me" by Epitome Of Sound. And if that's not enough, the set also includes a bonus DVD – with an interview with Elaine Constantine, director of the film – plus an audio interview with legendary Northern Soul DJ Richard Sterling, and a slide show of his most cherished relics from the scene in the 70s. ~ Dusty Groove

NEW RELEASES: GIL SCOTT-HERON - FREE WILL; SONNY ROLLINS - AFTER THE BRIDGE; SAM DEES - TAKE ONE

GIL SCOTT-HERON - FREE WILL

A really tremendous album from the legendary Gil Scott-Heron – and a set that stands as one of his greatest statements from the 70s! The record is a wonderful example of Gil's work in two different styles – sweet mellow jazzy soul, and harder heavier protest poetry – the latter from his roots as a writer in touch with the streets, and the former part of a brilliant new direction that he was taking on the Flying Dutchman label. Side one features classic jazzy tracks recorded with Brian Jackson – like "Free Will", "The Middle Of Your Days", "Speed Kills", and "Did You Hear What They Said?". Side two moves over to a much sparer sound – and has Gil reciting some of his poetry with very heavy percussion, and a very righteous approach. The wisdom and knowledge of those pieces is a perfect example of the kinds of issues that were haunting black America in the early 70s – especially on the tracks "No Knock", "The King Alfred Plan", and "Sex Education: Ghetto Style". CD features 11 stunning bonus tracks – alternates of songs on the album, and some very cool "breakdown" tracks as well!  ~  Dusty Groove

SONNY ROLLINS - AFTER THE BRIDGE

Rare work from the RCA years of Sonny Rollins – all recorded during the time of his groundbreaking albums for the label in the early 60s, but never issued until this much later Japanese package! The title is quite apt – as the whole set really shows the development that Rollins brought to his music in the years after his classic album The Bridge – that open, freely expressive sound that took his already-great approach to tenor and really pushed it into something new – a bold, fresh style for the 60s that was full of power and freedom, but which took a very different direction than the music of John Coltrane or Archie Shepp. Music runs from bop standards to more thoughtful compositions – and even in the mellow moments, Rollins is really mindblowing – working in small group settings with players who include Herbie Hancock on piano, Jim Hall on guitar, Thad Jones on cornet, and either Ron Carter or David Izenzon on bass. Titles include "Afternoon In Paris", "Now's The Time", "I Remember Clifford", "Django", "When You Wish Upon A Star", "Travelin Light", and "Four". ~ Dusty Groove 

SAM DEES - TAKE ONE: ORIGIN OF TWELVE 70s SOUL MASTERPIECES

Sam Dees was one of the greatest unsung talents in 70s soul music – an important writer, arranger, and general background talent who helped so many other singers hit the heights – but who hardly ever issued much work under his own name! Apart from key singles and an important album on Atlantic, the recorded legacy of Dees isn't what it should be – given his impact on music, especially deep soul – but fortunately, sets like this have come along to correct that lack! As part of Sam's creative process, he would often record songs first on his own – not as rough demo tracks, but as surprisingly well done studio versions to illustrate the material – tracks that were often better than later versions of his tunes, and most of the other commercial soul on the market. This sweet set brings together 12 of those tracks – private recordings from Sam, of songs he'd later give to singers like Loletta Holloway, Ben E King, and others – an essential record from the great Dees, pressed up on super-heavy vinyl! Titles include the previously unissued "Married But Not To Each Other" – plus "Good Guys Don't Always Win", "Who Are You Gonna Love", "Con Me", "Only Lonely People", "False Alarms", "Standing In The Wings Of A Heartache", "The World Don't Owe You Nothing", and "Black Tattler". ~ Dusty Groove

Indie Soul Artist Gina Carey To Release Her Second Single From Upcoming Album “The Soulful Collection of Gina Carey” October 1st

It’s been 3 months since the release of Gina Carey’s first single “Through the Waters”, and now Gico Music is proud to announce the second single from her upcoming CD, “ The Soulful Collection of Gina Carey”, “Eyes of a Child” on October 1st .

Gina Carey’s “Eyes of a Child” is a smooth soulful mid tempo ballad loaded with intense emotion and deep powerful lyrics. “Eyes of a Child” talks about the importance of not losing the ability to pursue ones lifelong dreams, and challenges listeners to see life once again through the eyes of a child.

 “Eyes of a Child” was both written and produced by Gina Carey. Her husband, Recording Artist / Guitarist John Carey, contributed live bass and guitar. The single was recorded in Palm Desert California at the Gico Music Production Studios.

Throughout Gina Carey’s singing career, she has recorded 10 independently released CD’s including her latest two singles “Through the Waters” and “Eyes of a Child”.  Both singles “Through the Waters” and “Eyes of a Child” are following the footsteps of her 2011 CD release “Melodic”. Melodic” made its way to the #1 spot on the UK Soul Charts.

Gina Carey’s two latest singles, “Through the Waters” and “Eyes of a Child “seem to be trending the same manner as “Melodic”. Her first single “Through the Waters” from her upcoming CD “The Soulful Collection of Gina Carey” has already landed the #4 spot on the UK’s Danceteria’s Phatt 50 Charts and, although Gina Carey’s new single “Eyes of a Child” has not yet been released, it is also gaining superlative reviews and generous portions of Radio support.

“The Soulful Collection of Gina Carey” along with her two latest singles” will be released in March of 2015, however, “Eyes of a Child” will be available for digital download on October 1, 2014. “Through the Waters” is currently available.

Check out "Eyes of a Child on Youtube:

https://www.youtube.com/watch?v=xmaWYorF-ow

http://www.ginacarey.net

Jazz Crooner Lourdes Duque Baron Releases Debut Single From Her Second Album

Classic jazz is not unfamiliar to Lourdes Duque Baron as her first album entitled “Feeling Good At Any Age” contained classic cover songs with a contemporary twist. But her debut single from her new upcoming EP My Spring In Paris is a first glimpse at her original music talent. Teaming up again with producer Andrew Lane, who also produced Baron’s last album and who also frequently collaborates with jazz music royalty Ron Ellington Shy, Baron winds up with a mellow, whimsical single that recalls the passionate late-night European sophistication of traditional jazz mixed with a contemporary sound. Listen to My Spring In Paris here.

“My Spring In Paris” is a song Lane co-wrote a few years back with artist Maya Tremblay and shelved until the right music artist came along to record it. He chose this song for Baron because of “her worldliness and her deep vocal sound.” Lane also happened to compose the arrangement. It's not just the sound, it's the emotion and feel of the song…very '60s standards like Frank Sinatra’s “We Just Couldn’t Say Goodbye" or Burt Bacharach's "Walk on By", classic and romantic jazz songs.

If any music could be called accessible it's this, with its warm intimacy and classic good taste. Baron’s look and sound has been referred to as ‘timeless.’ This new single is a masterpiece and could very well prove to be so. After all, some things are timeless for a reason; they need no updating, only replicating. Time will tell. "My Spring In Paris" is now available on iTunes, Amazon and MTV.

Lourdes Duque Baron's other projects include her two bestselling books "Scripted In Heaven" and "I Called Myself Cassandra," as well as her upcoming feature film in development, an adaptation of her book "Scripted In Heaven."

SOUL-JAZZ TRUMPETER JOEY SOMMERVILLE RELEASES "OVERNIGHT SENSATION" FEATURING EARL KLUGH, JEFF LORBER AND OTHERS

Behind every musical overnight sensation are years of toiling away in rehearsal halls, recording studios and sweaty nightclubs meticulously honing one’s craft. In trumpeter Joey Sommerville’s case, it’s more than two decades of writing, recording and touring to cultivate his following and establish his presence on the national scene. On October 28, the award-winning soul-jazz musician, songwriter and producer will release a new collection of songs that he’s been working on as far back as 1993 that will comprise his fifth album, “Overnight Sensation,” slated for release on his Jayvox imprint. The title track will crank up the party when it is serviced to radio stations for airplay at the end of this month. 

  

Sommerville’s forte is serving as an impresario of fun and funky frolics and pretty harmonies that touch the heart. He wrote or co-wrote nine of the disc’s ten tracks and produced the entire session sharing production duties on two cuts with fusion icon Jeff Lorber. Like a ringmaster who skillfully unifies the eclectic acts of a three-ring circus, the trumpeter who also plays flugelhorn, piano, keyboards, synth bass and drum programming on the record has scripted a colorful collection of short stories with his horn serving as the common thread binding gripping chapters in contemporary and straight-ahead jazz, R&B, hip hop and rock.

“In this era of singles downloads, I still believe in the concept of albums and a cohesive body of music,” said the Atlanta, Georgia-based Sommerville, who will perform at an album launch gig there on October 30 at the Suite Food Lounge. “I’ve always wanted to record these songs and I really like them, but they didn’t fit on previous projects. They were all inspired by real life experiences thus they have meaning. The long journey that is a music career is a marathon, not a sprint, and the timing finally came around for these songs to be recorded for the first time. Surprisingly, they fit together despite being written over a long period of time and the variety in their sound and style.”

Sommerville’s trumpet seduces on the sensuous “Desire” highlighted by gossamer guitar from legend Earl Klugh. Venturing in a divergent tangent, Sommerville tosses a bone to Jeff Bradshaw on a raucous and imaginative take on “Caravan,” a scintillating thrill ride that Duke Ellington never would have seen coming. “Red Cups Up” is a playful party anthem while Sommerville surprises when he steps to the mic on the stunner “I Just Wanna Be With You” on which his husky voice quivers and cracks with raw emotion while crooning an autobiographic story of romance to his wife. A spiraling Lorber groove, “The Next Big Thing” is a tightly-wound R&B-jazz-funk mélange illumined by Sommerville’s trumpet and quirky synth along with a touch of sax from Elan Trotman. The elegiac “Rebecca of Birmingham” was penned years ago after Sommerville’s grandmother passed and is graced by a stirring blues-jazz guitar eulogy from Eric Essix. “Karma” induces reflection during the straight-ahead jazz exercise after which Sommerville closes the album with the throwback R&B instrumental “Forever” followed by the boisterous “The Passport Life.”                   

A spotlight soloist on the Grammy-nominated and Juno Award-winning album “Alegria” by Cirque du Soleil, Sommerville’s 2007 release “Like You Mean It” won the American Society of Young Musician’s All That Jazz Award in 2009. His trumpet artistry was featured on Hidden Beach Recordings’ “Unwrapped Volume 4” and he’s written and produced a Top 20 single for Bob Baldwin and an album by Rhonda Smith that features performances by Prince, Sheila E. and gospel icon Fred Hammond. Sommerville is a high-octane performer who is a regular at festivals and on music cruises. Outside of music, he can be heard voicing spots for BMW, Coke, Ford, the U.S. Army and more. 

The songs contained on the “Overnight Sensation” album are:

“Overnight Sensation”

“Desire”

“Caravan”

“Red Cups Up”

“I Just Wanna Be With You”

“The Next Big Thing”

“Rebecca of Birmingham”

“Karma”

“Forever”

“The Passport Life”

www.JoeySommerville.com 

 

NEW RELEASES: CHRIS BYARS - THE MUSIC OF DUKE JORDAN; MICHAEL COCHRANE - DISCOVERY; BERNARD PURDIE - PURDIE GOOD!

CHRIS BYARS - THE MUSIC OF DUKE JORDAN

The music of Duke Jordan, but in a really fresh setting – handled here by altoist Chris Byars, who's brought together a compelling lineup for the set! Many of these tracks are numbers you'll either know as bop standards, or from Jordan's trio recordings – but the approach here is quite inventive, and makes the record way more than just a tribute – in the creative style of Byars' previous projects dedicated to Gigi Gryce or Lucky Thompson. Chris opens up the tunes with instrumentation that includes bass clarinet from Stefano Doglioni, trombone from John Mosca, and guitar from Pasquale Grasso – as well as vocals from singer Yaala Ballin, who composed lyrics for two Jordan tracks – "If I Did Would You" and "Lesson In Love" – which are nestled nicely next to instrumentals that include "Jordanish", "Undecided Lady", "There's A Star For You", "Glad I Met Pat", and "The Bullet". ~ Dusty Groove

MICHAEL COCHRANE - DISCOVERY

Wonderfully warm work from the great Michael Cochrane – a pianist we always love, and who also seems to be playing a bit of Fender Rhodes on this album too! The instrument's not credited on the back, but turns up in an excellent version of Denny Zeitlin's "Quiet Now" – which is handled by Cochrane with just the right sort of space and tone to really open up the composition – in a way that's very different from the bolder, more soulful tones the pianist uses throughout the rest of the album. As always with a record from Michael, the original tunes are some of the best – and include "Discovery", "MC's Bossa", "Erie Blues", and "Fantasy" – all the kind of numbers that always have us digging for his records whenever we get the chance. Other tunes include "Oblivion", "Yesterdays", and "Visitation" – and the trio includes Daryl Johns on bass and Steve Johns on drums.  ~ Dusty Groove

BERNARD PURDIE - PURDIE GOOD!

Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". ~ Dusty Groove

NEW RELEASES: DEXTER GORDON - THREE CLASSIC ALBUMS PLUS; CARMEN MCRAE - BOOK OF BALLADS; BARRY MANILOW - MY DREAM DUETS

DEXTER GORDON - THREE CLASSIC ALBUMS PLUS

Avid's Three Classic Albums Plus places tenor sax player Dexter Gordon's two Bethlehem-led dates from 1955 -- Daddy Plays the Horn and Dexter Blows Hot and Cool -- in the company of his 1960 comeback The Resurgence of Dexter Gordon (on which he appears on most, but not all of the tracks) as well as six of seven cuts from Stan Levey's excellent Bethlehem session, This Time the Drum's on Me, which is also from 1955. The liner notes from the original albums and complete session attributions are provided in the booklet. Prospective buyers should consider a couple of things before dropping money: first, the "remastered sound" in this budget package is not from analog source tapes, but either from LPs or perhaps even MP3s since there are audible clicks. Secondly, given that the U.K.'s copyright laws are different from Gordon's American ones, these are in the former's public domain, and there is no financial remuneration to the artist's estate. It's true that the music is great and this is certainly inexpensive, but the adage "you get what you pay for" also applies. Those who wish to investigate Gordon's early dates as a leader would be well advised to seek out the American recordings first. They contain much better sound and royalties actually get paid. ~ Thom Jurek

CARMEN MCRAE - BOOK OF BALLADS

Carmen McRae's book of ballads is a great set of standards – performed by a core trio that features Don Abney on piano, over larger backings by Frank Hunter! The set's a treasure from Carmen's early years – and is filled with dusky renditions of tunes that are familiar, but which have a very different feeling here – thanks to McRae's sense of care and space with the material – one that almost brings a personal, reflective quality to the whole thing. Titles include "He Was Too Good To Me", "By Myself", "My Romance", "When I Fall In Love", and "Please Be Kind".  ~ Dusty Groove

BARRY MANILOW - MY DREAM DUETS

For his Verve Music debut My Dream Duets, Manilow demonstrates that he is a fan celebrating his own musical heroes who have inspired him through the years. From cherished idols like Andy Williams, Sammy Davis Jr, Dusty Springfield, Mama Cass, Jimmy Durante, Marilyn Monroe, Frankie Lyman, Judy Garland and Louis Armstrong to contemporary icons like Whitney Houston and John Denver. Barry has joined together with them in his recording studio, emerging with a collection of remarkable duet classics. Here’s the official description of Barry Manilow's My Dream Duets is as follows: "For his Verve Music debut My Dream Duets, Manilow demonstrates that he is a fan celebrating his own musical heroes who have inspired him through the years. From cherished idols like Judy Garland and Louis Armstrong to contemporary icons like Whitney Houston and John Denver. Barry has joined together with them in his recording studio, emerging with a collection of remarkable duet classics. Although the extraordinary guest artists on My Dream Duetss are no longer with us, Manilow's mission is to ensure their immortal voices live on to excite and entertain all generations of music lovers." Barry Manilow's My Dream Duets will be released on October 28.

DIANA KRALL CANCELS FALL TOUR DATES DUE TO ILLNESS, RELEASE DATE FOR NEW ALBUM “WALLFLOWER” PUSHED TO FEBRUARY 3, 2015

Due to ongoing complications brought on by a case of pneumonia, five-time Grammy© Award-winning jazz pianist and singer Diana Krall has been forced to postpone her scheduled album release, and US Fall Tour. Diana Krall’s new studio album “Wallflower” (Verve Records) was due for North American release on October 21st and the US leg of her “Wallflower World Tour” was to kick off in Phoenix, AZ on November 7th. “Wallflower” is now set for release on Verve Records on February 3, 2015.

Diana’s condition has become much more chronic than first anticipated, and she is unable to travel or engage in any promotional or touring activities for at least another 6 weeks to 2 months.

Mrs. Krall is extremely disappointed to have to announce this today, but also realizes that, upon advice of her doctors, this is the only course of action available to her at this time to ensure a full recovery.

“I’m deeply saddened that I will have to postpone the release of my new album ‘Wallflower” and the “Wallflower U.S Fall Tour” until next year. I’ve been battling a severe case of pneumonia and am under doctor’s orders to rest for the next few months in order to regain my strength and good health.

Performing is both a privilege and a joy for me. When I go out on stage I want to be able to give it everything. Taking this time to rest and recuperate will allow me to do that. It is frustrating to be so close to the record release and have to delay but I am very proud of this record and want to be able to give you all my very best when we finally present this music to you. Thank you so much for your understanding.” – Diana Krall

New tour dates for the “Wallflower World Tour” will be announced in the coming weeks. Please stay tuned for further information or visit www.dianakrall.com

~ Verve Records

GUITARISTS ERIC JOHNSON AND MIKE STERN JOIN FORCES ON NEW RELEASE - ECLECTIC

Two bona fide guitar heroes in their respective fields – Eric Johnson in the rock realm and Mike Stern in the jazz world – go toe-to-toe on Eclectic, a scintillating musical showcase that brings together their disparate influences in one potent package. Guitar aficionados of all stripes will stand slack-jawed hearing these formidable six-stringers exchanging high octane licks on Stern’s funky “Roll With It” and Johnson’s cruising pop anthem “Hullabaloo” (a kind of answer to his catchy GRAMMY®-winning rock instrumental “Cliffs of Dover” from the platinum-selling 1990 album Ah Via Musicom). 

The two dip into a jazzy bag on Eric’s “Tidal” (a tribute to his own personal guitar hero, Wes Montgomery) and on Mike’s surging modal romp “Remember” (patterned after John Coltrane’s “Impressions” with some allusions to Jimi Hendrix’s “Third Stone From the Sun”). More fretboard flights ensue on Johnson’s jazzy “Benny Man’s Blues” (a kind of ode to Benny Goodman and Charlie Christian) and on Stern’s dark, slow-grooving “You Never Know.” And it is somehow fitting that these two sons of Jimi close out this six-string extravaganza with a scorching rendition of the famous Hendrix blues, “Red House,” with each of them trading vocal choruses. 

“It was my singing debut,” says Stern. “I sang the first verse and Eric sang the second verse, then he sings the first two lines of the third verse and I sing the last two lines of the third verse.” (Stern also sneaks in a quote from Jimi’s “Third Stone From the Sun” on a smoking rendition of “Dry Ice,” an Electromagnets tune which Eric revived for this session). Sterns sums up the project by saying, “This whole record, even though we did it in the studio, was really recorded live. A couple of things were fixed but there was that spontaneous quality which is what we were looking for and I definitely think that's what we got. I really dig the way this record came out. It has a lot of energy and a lot of musicality.”

Recorded at Johnson’s studio in his native Austin, Texas, Eclectic, scheduled for release on October 28, 2014 on Heads Up International, a division of Concord Music Group, is anchored by the flexible rhythm tandem of drummer Anton Fig (a longstanding member in the Paul Shaffer-led house band of Late Night With David Letterman) and Johnson’s regular bassist Chris Maresh, who also contributes the open-ended Bitches Brew flavored “Bigfoot.” Special guests on this three-day session include Austin’s resident soul man Malford Milligan, who sings with gravelly-voiced gusto on the opening “Roll With It.” 

“He’s just awesome,” says Johnson. “Malford’s got so much vibe it doesn’t matter what he sings. He just puts magic on everything.” Mike’s wife Leni Stern also provides vocals and plays n’goni (an African stringed instrument) on intros to “Bigfoot” and “Wherever You Go.” Christopher Cross (the GRAMMY® Award-winning songwriter of “Sailin’,” “Ride Like the Wind” and “Arthur’s Theme (Best That You Can Do)” as well as a fellow Texan and longtime friend of Johnson’s) sings backup vocals on the bridge to Stern’s beautiful “Wishing Well” with Mike singing the verses. Guy Forsyth lends some blues harp to “Red House.” And Johnson’s catchy “Hullabaloo” is punched up by the horn section of saxophonist John Mills, trombonist Mike Mordecai and trumpeter Andrew Johnson.

Not only have the two guitarists admired each other’s playing for years (Eric heard Mike back in the ’80s with Miles Davis, and Mike first heard Eric when his hit “Cliffs of Dover” caught on big back in 1990), they came to have a greater appreciation of each other’s songwriting abilities during the course of the Eclectic sessions. “I’ve been aware of Mike for years and I was familiar with some of his playing,” says Eric, “but I wasn’t as deeply familiar with his songwriting. As we began working together, I started going through all his songs and I was just blown away by some of the ballads. His tunes ‘Wishing Well’ and ‘Sometimes’ are beautiful. And his tune ‘Wherever You Go’ is one of my favorites on the record. I think that’s another thing we have in common: we both get turned on by and really enjoy a good song. If there’s some kind of viable composition that’s put together in a way that emotes to people, we’re both real fans of that and that’s why it’s exhilarating to do it. We’re both interested and sensitive about songwriting and composition, and consequently since we’re also so passionate about playing guitar I think we try to figure out how to do it in a way that serves the composition. So I think what comes out of that is just a little bit of a tension and a little bit of care and concern about what the other person is playing. I’m constantly thinking, ‘How can I voice what I’m playing to fit what Mike is playing? How can we make it work in a musical way?’” And they strike a rare accord throughout Eclectic.

The seeds for this extraordinary six-string summit meeting were planted in 2009 when Johnson played on two tracks from Stern’s GRAMMY®-nominated album Big Neighborhood. As Stern recalls, “At that session, which we also did down in Austin, I remember us saying, ‘One of these days we should do a record together,’ but I never thought that would happen. And then we played a gig together at the Blue Note in New York, and it kind of went from there.” Johnson and Stern’s week-long engagement at the Blue Note in August 2013 was preceded by two warm-up nights at the Regattabar in Boston, where they further explored their musical chemistry together. “It was really fun for me because we have different priorities in our playing,” says Stern. “I’m more of a jazz player, of course...that’s my priority and I love that stuff. But I also love rock and blues-rock and straight blues and Motown. That’s how I came up. I started off listening to Jimi Hendrix, Smokey Robinson, Aretha Franklin and the Jackson Five, and of course, lots of blues. 

Those were my roots. And then I got more into jazz when I was about 17. I fell in love with it. And ever since then my priority has been with my jazz playing. But I have that other stuff that comes out in my music. And it always has. For Eric, jazz has never has been his total priority, although Wes Montgomery is his favorite cat. So he has a lot of that sensibility in his playing. And as we started playing together we discovered that we really had so much in common. So it was definitely fun.”

Stern was ecstatic about getting an insider’s look at Johnson’s unique six-string vocabulary. “The way this cat plays! I’m just beginning to figure out what the hell he’s doing. He does these pedal steel kind of licks on guitar and such beautiful orchestration. He picks some notes with his right hand using his fingers and pick together. He plays a lot with his fingers and pick, and some of the runs that he uses...the lines that he plays are very harmonically sophisticated. He can play piano, so there’s some pianistic stuff that happens with his comping. And he’s got Travis picking down. Plus, he’s a singer, so that influences his phrasing on guitar. Everything he plays is really cool and beautiful. It’s just very much Eric Johnson. He’s got his own style and it’s amazing! And more than that, he’s just a very soulful cat. He plays with a lot of heart and soul. And I love that!”

Adds Johnson, “I was mentioning to Mike when we did this recording that it was one of my favorite double guitar situations that I’ve ever done, because a lot of times you do two guitar things and it’s hard for it to fit together in a very musical, cohesive way. It can get kind of busy, where you cover each other up. But through dynamics and listening to each other and thinking about the way we voice chords and support each other, I think this collaboration lent itself to being more in a musical kind of way, which has been a real nice experience for me.”
With Johnson’s warm-toned distortion licks, smooth intervallic leaps up the fretboard and his occasional audacious wah-wah licks blending organically with Stern’s fiery be-bop and blues-based vocabulary, Eclectic is chockfull of thrilling fretboard fusillades, tempered with some uncannily lyrical six-string work by two of the most esteemed players of their generation. For music aficionados, this collaboration is a match made in heaven.

BROOKLYN-BASED JAZZ QUINTET SKETCHES RELEASES VOLUME TWO

Started in 2011, Sketches is a Brooklyn-based collective jazz quintet in which each member writes music based on another member's musical idea. Inherent in each piece is the challenge of blending two distinct musical personalities, yet with an ensemble of strong composers and sensitive performers, the results have been as engaging as they are unpredictable. Scott Yanow commented in Jazz Inside Magazine that, "these five musicians all have compatible styles and listen closely to each other, two qualities that give Sketches its own group sound . . . With consistently fine solos (pianist Cherner is particularly inventive) and worthy themes, Volume One is an excellent start for Sketches." 

On Volume Two, Sketches continues its investigation and exploration of their unique collaborative compositional process. The music on the band's sophomore album is a result of the growth that they have experienced while touring and performing music from their debut, appearing not only in New York City, but also performing in Washington D.C, Baltimore, Portland, and Boston. Volume Two reflects a deepening understanding between the band mates, building upon the critically-acclaimed music they offered on Volume One. As with the music from Volume One, each member shared a sketch from his notebook (e.g. any musical fragment, a collection of fragments, an incomplete tune) and another member used that as the basis for a new composition. The band then rehearsed and developed the compositions further. In this process, no tune is deemed complete until the band plays the composition and each improviser finds a way of coloring the pre-written material. Although the compositions start as "sketches", they are forged into complete compositions with ample room for improvisation. The band recorded all of the music on Volume Two in one day, a big indicator of the band's brilliance as ensemble players, and the unmitigated virtuosity they posses on their respective instruments. 

The compositions on Volume Two reflect a very personal tone and approach. The highlights include Ravitz's "Hail from Plainville" (based on a sketch by Jeremy Udden), a tribute to Udden's personality and his compositional approach - a rare ability to combine jazz and folk music in a seamless way - that Ravitz admires. On Holman's "Y&H"(based on a sketch by Ravitz), the use of "power chords" are a tip of the hat to Holman's angst-loving teenage years. Ravitz's sketch inspired Holman to create a simple, open-form composition that has a passionate grunge feel but also pays tribute to the drummer's Middle-Eastern sensibility (Ravitz originally titled his sketch "Y&H" as a dedication to Israeli-born musician Yaron Herman). Bassist Martin Nevin's "Dyson Ritual" (based on a sketch by Udden), is meant to evoke a tribal ritual with the opening theme summoning the members of the tribe and a call to the forces that the ritual honors. Cherner's "Caught In The Storm" (based on a sketch by Holman) depicts the drama and volatility of either an internal, or actual, storm. Cherner was drawn to the harmony that resulted from the various permutations of the pitch set and the rhythm that Holman's sketch included. The band enters gradually as the storm brews, crackles with dissonance, finds moments of lyricism, gains momentum, and eventually dies down. In the coda, the listener is left with the tranquil space that's left in the storm's wake." Throughout Volume Two, the band delivers, "impressive post bop material, with rich and intelligent arrangements and a clever mix of melody and improvisation . . . You'll like these guys!" - George Harris, JazzWeekly.

  

More on Sketches: The members of Sketches are leaders of their own bands, and in-demand sideman as well, having performed and/or recorded with Lee Konitz, Joe Lovano, Fred Hersch, Darcy James Argue's Secret Society, Steve Lacy, John Hollenbeck, George Garzone, Aaron Goldberg, Aaron Parks, & Esperanza Spalding, among countless others. The artists have also garnered multiple accolades from the Young Jazz Composer Awards, the BMI Foundation's Charlie Parker Jazz Composition Prize/Manny Albam Commission, as well as both national and international performance competitions. United in Sketches, these five musicians become a formidable force of creativity.

NEW RELEASES: LAURA DREYER – VIDA. ARTE. AMOR.; DAN MASTROIANNI – TEARS AND WHISPERS; MEGA JAWNS – TEN LETTERS FROM HOME

LAURA DREYER – VIDA. ARTE. AMOR.

Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision." In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.

  

DAN MASTROIANNI – TEARS AND WHISPERS

Recorded in 1984, Mastroianni recorded his album with banks of keyboards, and a few musician buddies. The ‘experimental’ nature of the album shines through on nearly every track. This was new technology, and it sometimes sounds like Mastroianni was finding out exactly what each machine could do, as he did it! He also provided the edgy vocals, making for a very idiosyncratic artist/writer/producer album. Many of you will now know the brilliant uptempo boogie of Just One Touch (which was featured on BBE’s own Americana 2 compilation last year) but whatever you are expecting from this ultra-rare private press, you are likely to be surprised. Style, tempos and moods changes throughout, the only constant being Dan Mastroianni’s harmonic adventurousness, and primitive, expansive synth sounds that never quite let up. You can tell he was having fun making the album, and was coming from a place all of his own, though one might guess he’d listened to a fair amount of Weather Report, Yellow Magic Orchestra, George Duke and funk/boogie before he committed himself to wax. Some highlights: You and I is in floaty mid-tempo soul mode and features some fine soloing from Dan. Lead On is blue-eyed boogie, bringing to mind the likes of David Bendeth; Million and One is nothing short of trippy with its manic bassline and swelling synth chords. Blame It On Love has enough changes of direction for three tracks, and again showcases what a good player Dan was when he soloes. Shine could conceivably get the two-step vote. And look out throughout for some noteworthy playing from Dan’s brother on reeds. As Dan says, this album was a ‘fusion’ concept in every sense: a fusion of man and machine, of ‘carbon and silicon’, mind and matter… it was recorded as a labour of love, and now, three decades later, it’s time for the rest of the world to share the love! ~ bbemusic

MEGA JAWNS – TEN LETTERS FROM HOME

Mega Jawns were born on March 10th 2014 in a basement studio deep beneath the frozen streets of West Philadelphia. The product of a chance meeting between two veteran producers, both named Will. Their debut LP ‘Ten Letters From Home’ was written, recorded and mixed within seven days of the pair first shaking hands and is due to be released later this year on BBE. Philly keyboard player, vocalist and producer Will Brock has been a journeyman on the international soul & jazz scene for many years, touring and performing alongside the Stylistics, Miles Jaye & Marion Meadows others. Equally at home in the studio as behind the piano, Will has seen releases on King Street Records & recorded with Stephanie Cooke & King Britt as one half of production outfit Soul Dhamma. UK producer & DJ Will Sumsuch has been a stalwart of the European deep house scene for over a decade, playing shows from Brighton to Barcelona, Hoxton to Helsinki. His unique brand of deep-thinking electronic production has found favour with discerning DJs the world over, among them Ben Watt, Osunlade, Justin Martin & Jody Wisternoff.  The duo initially worked together on Sumsuch’s single ‘Simpatico’, which was released on his own label Colour and Pitch in 2013, garnering support from legendary house vocalist Robert Owens among many others. Following the release, Sumsuch decided to hop on the plane to connect in person, and maybe make a couple of tracks too. The pair joked about making an LP, but neither really thought it would happen in a week…  The resulting music can only be described as the joyous sound of two talented musicians and producers working together in unison, completing each other’s sentences. With the full weight of Philly soul tradition underpinned by unmistakably restrained European electronica, this record captures a character that neither performer could have summoned up alone. “Spirits were with us in the studio that week” says Brock and for once, the usually jovial Sumsuch simply nods solemnly. Joy is a taster from the the album, due to be supported in the clubs by John Morales, Louie Vega, Boddhi Satva and Kerri Chandler. ~ bbemusic

NEW RELEASES: PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME; THE GRITS – MAKE A SOUND; OMAR - STOP WAR MAKE LOVE

PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME

One of the most highly sought after guitarists in jazz for both live performance and recording, Paul Bollenback may be best known for his ongoing, decades-long association with Joey DeFrancesco. In addition to his work with the celebrated organist, Bollenback has recorded and shared the stage with Houston Person, Geoffrey Keezer, Jeff "Tain" Watts, Joe Locke, Terri-Lyne Carrington, Gary Smulyan, Buster Williams and Mike LeDonne, among many others. Bollenback has been rated a Rising Star in the DownBeat Critics Poll in 2013 and 2014; he also earned a Grammy nomination for his production on DeFrancesco's album Never Can Say Goodbye. Bollenback's latest album as a bandleader, Portraits in Space and Time (September 23, 2014, Mayimba Music) captures the guitarist in an intimate trio session with Joseph Lepore on bass and Sao Paolo's Rogerio Boccato on drums and percussion.  This new collection of fourteen original compositions reflects the group's eclectic influences, imbued throughout with a warmly tropical flair that attests to the chemistry between the musicians. "As a group, we move organically, like a conversation," Bollenback explains. "One tune will leap into another...we did sets of three or four tunes without any break. We weren't really trying to go tune by tune: we were trying to recreate a live performance in the studio."

THE GRITS – MAKE A SOUND

Following their well-received debut album for Freestyle and a bunch of singles on a variety of labels (Mocambo, Music With Soul, Fraternity, Hamhock), The Grits have beefed up their indeed ‘gritty’ raw funk with fuller instrumentation and explored the possibilities suggested by a move further in a psychedelic direction. Their music brings to mind an array of influences: think Dick Hyman’s moog albums with the eastern vibes of an Anandar Shankar, and maybe a touch of the Small Faces, and you’re getting warm. They cite The BBC Radiophonic Workshop (where the aforementioned Derbyshire shook up the musical and social establishment), Funkadelic, Os Mutantes, Pierre Henry, and even Stockhausen as artists that have shaped their sound.  Singer Sophie Alder-McKean, with her distinctively English voice providing vivid contrast to all the sweaty funk comes to the fore on (I’d Walk A) Funky Mile, Just A Little Bit and Yeah, No. Black Sambuca is in the tradition of early 70’s sitar-funk, culminating in some experimental Moog madness, and we almost get into dub territory as the track breaks down. Heel and Toe sounds like Afrobeat organ atop hip-hop drums, and references James Brown’s immortal advice to Bootsy Collins, ‘You gotta get to the heel and toe, or else you’re gonna blow!’ for the funk cognoscenti. Six Pack is slow grinding psychedelic-funk complete with spoken/shouted vocals provided by Brazilian DJ Joel Stones and a girlie chorus. Let Me Know is also pure ‘60s beat business with its catchy hook, plus some stinging guitar work and an exciting percussion and bass breakdown. Make A Sound (Like James Brown) is another pure funk groove, with the horns to the fore and some wicked percussion/bass/drums interplay, mutating into psychedelic electronics, while Skin and Bone could be a long-lost psych-funk curiousity of the early ‘70s, complete with a very ‘punk’ chorus and a really wild guitar outro! It seems The Grits never play it totally straight… ~ bbemusic

OMAR - STOP WAR MAKE LOVE

Omar Lyefook, legendary singer, songwriter, actor and MBE is never a man to mince his words. On 2013's album 'The Man', he vented his frustration at mankind's willingness to wage war on itself in an explicit lyric version of this track. Such an important & sadly topical message should be heard by the widest audience possible, and so we present the radio friendly version re titled Stop War, Make Love. Lyrical message aside - this track is also musically super heavy, a funking Fender Rhodes hook line, squelchy synthesiser sounds, deep dish drums and massive horns all lock together this airtight uptempo groove that's a perfect combination of music and message. Grammy award winning producer The Scratch Professer retwists of Stop War, Make Love and Omars' evergreen classic There's Nothing Like This, will whet your musical tastebuds for the forthcoming full length Scratch Professer reworking of The Man album. As a producer, DJ, remixer, and who also just happens to be Omars' brother and long term co-producer, he puts his unmistakable stamp on Omar's music.

Owen Howard - Drum Lore Vol. 2 - More Lore

Owen Howard, originally from Edmonton, Canada, has performed and recorded with the likes of Joe Lovano, Kenny Werner, Tom Harrell, Kenny Wheeler, John Abercrombie, Dave Liebman, George Garzone, Dave Holland, Eddie Henderson, Sheila Jordan, Jay Clayton and many others. He has appeared on over forty recordings to date, including five under his own name, and has toured extensively throughout Europe, the United States and Canada. With more than twenty years of successfully leading his own bands, Howard is clearly an artist successfully following in the footsteps of legendary drummers/bandleaders such as Tony Williams, Peter Erskine, Billy Hart, Jack DeJohnette, Paul Motian, Al Foster, Shelly Manne and others.

Now with the release of his seventh CD, Drum Lore Vol. 2 - More Lore, the follow up to the critically-acclaimed, 2011 Juno Award Nominated, Drum Lore (on BJURecords), Howard continues to celebrate and interpret music composed by drummers, and also feature more of his own compelling compositions. Where Vol. 1 was conceived as a studio recording of sorts, with each piece featuring a different configuration and concept, the second installment of the Drum Lore project gives the listener a taste of what the group sounds like in its working quintet format, featuring Adam Kolker (soprano & tenor saxophones, bass clarinet), John O'Gallagher (alto saxophone), Frank Carlberg (piano), Johannes Weidenmueller (bass) and the leader Owen Howard (drums).

Drum Lore Vol. 2 offers up seldom heard originals by Philly Joe Jones and Joe Chambers, as well as popular works by Victor Lewis, Paul Motian and Tony Williams. The remainder of the recording is comprised of recent original compositions by the leader. Highlights include, "Hey, It's Me You're Talkin' To", one of Victor Lewis' most well known compositions; Joe Chambers' "Ungano" (from the Bobby Hutcherson Blue Note album, Medina); "Haiku", a composition that Howard composed at the piano in about ten minutes. "After stating the 5-7-5-syllable form, the soloists are free to interpret at will. It's quite different each time we perform it", said Howard; "Like Buttah","my take on rhythm changes, which incidentally pays homage to Sonny Rollins' 'Oleo' (which was a butter substitute back in the day)"; and "Got To Take Another Chance", "a fun little piece by Philly Joe Jones that is based on the chord changes of 'Take The 'A' Train'. I extracted the horn riff and ending bit from the Max Roach/Clifford Brown version of 'A Train' (from the record, A Study in Brown). I love Max's train ending on that cut. Straight up fun!," said Howard; "Mumbo Jumbo" by the late great Paul Motian, and "Pee Wee" by the legendary Tony Williams.

The birth of Drum Lore took place at a summer jazz workshop where Howard was one of the several "artists-in-residence". The drummer explains further, "As we were getting ready for a discourse on the finer points of our various approaches to composition, one of the participants said to me. 'Owen, why are you here? You're a drummer, and this is a composition class? Well, how does one answer a comment like that? Rather than being offended, I took it upon myself to dispel this myth that drummers can't, or don't, compose." The brilliant result was Drum Lore (released in 2010 on BJURecords), a recording of great stylistic diversity, dedicated to exploring compositions exclusively by many of the revered drummers of our time. As Joe Lovano has stated, "some of the hippest bandleaders and composers in jazz, have come from the drum chair"; so many that Howard now offers Drum Lore Vol. 2, and has at least several more CDs worth of music composed by drummers that he'd like to record, so be on the lookout for the possibility of "Drum Lore, Vol. 3" in the future.

www.BJURecords.com

Frank Kimbrough's Quartet spotlights the audacious pianist and composer and his handpicked band mates: Steve Wilson, Lewis Nash and Jay Anderson

A genuine artist follows the strict demands of his muse rather than any set of conventional expectations. If, thirty-plus years into his celebrated career, the pianist and composer Frank Kimbrough decided to record his first album featuring the traditional jazz instrumentation of piano, horn, bass, and drums, there had to be a good reason. Quartet (Palmetto Records, PM2173), featuring alto and soprano saxophonist Steve Wilson, drummer Lewis Nash and bassist Jay Anderson, proves that for a relentlessly creative musician such as Kimbrough, following one's instincts offers up the best results.

Despite the surface familiarity of its ensemble format, Quartet (Kimbrough's 12th album as a leader and 7th for Palmetto) displays the pianist and his handpicked team at their most adventurous, creating music that revels in improvisational freedom while making fruitful use of the still profitable tools of the jazz tradition. Seven characteristically personal Kimbrough originals share space with exceptional reinterpretations of Kurt Weill's "Trouble Man," Rodgers and Hart's "It Never Entered My Mind" and John Lewis's  "Afternoon In Paris."

The exemplary balance of introspective lyricism and spiky, open form improvising that has marked Kimbrough's musical approach in his acclaimed work with, among many others, Maria Schneider, Ben Allison, Ted Nash and Noah Preminger, lends Quartet its distinguishing yin/yang atmosphere of ease and daring. "The Call," "Blue Smoke," "Kudzu,"  "Herbivore" and "Ode" slip, slide and swing, evading strict time and rigid harmonic forms, inspiring telepathic group interplay and biting solos, while the original ballads "November" and "Beginning" offer stunningly unpredictable melodic statements from Kimbrough and Wilson and sensitively prodding support from Nash and Anderson. And while "It Never Entered My Mind" and "Trouble Man" demonstrate that Kimbrough and company admire the exquisite compositional architecture of the masters, the quartet's take on "Afternoon In Paris" offers up a loose and stimulating deconstruction of John Lewis's standard. As Kimbrough devotees might note, "Ode" previously appeared on his Lullabluebye album, while "Beginning" debuted on Play, which featured the iconic drummer Paul Motian. "Herbivore" was written in the 1990s for Kimbrough's Noumena band but went unheard until this recording.

Kimbrough's exceptional playing throughout Quartet fully demonstrates the maturity of a seasoned musician who, having fully assimilated such signal influences as Paul Bley, Andrew Hill and Shirley Horn, is able to express himself organically in his own, now distinctive, instrumental voice. "As I've grown over the years, I find that I want to move listeners, not impress them," Kimbrough states. "By now the piano is who I am. I don't want technique to be a liability - I want to be able to convey what's in the moment. To be honest, to be vulnerable in my playing is what I'm most interested in."

"I chose the musicians on this recording because I trust their judgment. From the first note they play you can feel the depth, the lyricism, the respect for musical space they all have. Between us there's over two hundred years of experience - you have to trust that. I've found as a leader that the more freedom you give players to be themselves, the more of themselves they will put into the music."

The roots of Quartet extend back to the late 1970s when Kimbrough and Nash met as students at Arizona State University. Three decades passed until Kimbrough and the now-omnipresent drummer reunited as players in Ryan Truesdell's Gil Evans Project. Steve Wilson and Jay Anderson - both men A-list jazz figures - also participated as members of that ensemble, continuing associations with Kimbrough that included working together in the acclaimed Maria Schneider Orchestra. As a linchpin in the pianist's various trios, Anderson has been a close associate of Kimbrough for over twenty years.

Frank Kimbrough has recorded twelve albums as a leader and has co-led recordings with duet partner Joe Locke and with the Herbie Nichols Project. He has appeared on over sixty-five albums with other artists, including Maria Schneider's 2013 Grammy-winning Winter Morning Walks. Kimbrough has been on the faculty of the Juilliard School of Music since 2008.

http://home.earthlink.net/~fkimbrough/