NEW RELEASES: POPS STAPLES - DON'T LOSE THIS; ABDULLAH IBRAHIM - THE SONG IS MY STORY; RAHEEM DEVAUGHN - LOVE SEX PASSION

POPS STAPLES - DON'T LOSE THIS

The last material ever recorded by the legendary Pops Staples – raw, rootsy tracks that are surprisingly great overall – even when augmented by Jeff Tweedy and Mavis Staples! Pops recorded these tracks in the late 90s, and Mavis held the tapes for years – thinking that they were great, but needed a little something extra to be fully realized. So, with just a bit of effort, Tweedy added in a bit of guitar and bass, plus some other light rhythms – and called in Mavis and other members of the Staple Singers to just provide some slight added backing vocals – in a way that never dampens Pops' lead at all. We were honestly quite suspicious of the project, but find we really like it a lot – maybe even more than some of Mavis' revival recordings in recent years. Titles include "Better Home", "The Lady's Letter", "Gotta Serve Somebody", "Sweet Home", "Somebody Was Watching", and "Love On My Side".  ~ Dusty Groove

ABDULLAH IBRAHIM - THE SONG IS MY STORY

Sublime solo piano from Abdullah Ibrahim – and a set that also features a bit of solo saxophone as well! The performance was recorded in an Italian concert hall with a wonderfully resonant sound – and the material is half compositions by Ibrahim, and half improvisations that have a very poetic feel! There's a quality here that's more introspective than some of Abdullah's other material – dark and moody at times, and set free from some of his more rhythmic conceptions overall – although never entirely free jazz, and certainly never avant at all. The package features a DVD of the performance as well as a CD – and titles include "Marinska", "The Song Is My Story", "Threshold", "Celestial Bird Dance", "For Coltrane", "Kalahari Pleiades", and "Just Arrived". (DVD is NTSC, Region 0.)  ~ Dusty Groove

RAHEEM DEVAUGHN - LOVE SEX PASSION

Always-great work from Raheem DeVaughn – an artist who seems to spin out records with effortless ease, but always makes music that sounds totally wonderful! There's a flurry of song snippets and sound at the start of this one – almost as if Raheem's shuffling through his emotive memory bank, before launching into the rock-solid tracks that build the album together – all with a warm, seductive style that never promises to be anything it's not – and which is stated by DeVaughn proudly in the album's title! Heck, you've gotta love a record that's marketed with a warning – "Opening this CD will cause the population to spike" – and when it comes from Raheem, we might well believe it. Titles include "Black Ice Cream", "Father Rock Lovin", "Countdown To Love", "When You Love Somebody", "Miss Your Sex", "Strip", and "Never Never Land".  ~ Dusty Groove

Benny Sharoni's Latest CD Slant Signature Showcases the Masterful Tenor Saxophonist's Brilliance

Benny Sharoni, a take-charge tenor saxophonist with a powerful tone reminiscent of Sonny Rollins, unites a deep respect for the jazz masters of the past with a keen imagination all his own. Slant Signature, Sharoni's second CD, is a purposeful statement from a constantly searching artist, an inspired outing that takes the reedman's soulful, sophisticated brand of jazz to new heights.

Sharoni honed his sound like the greats of old: on the bandstand and on his own terms. The consistent hallmark of Sharoni's playing is the deep warmth and beauty of his tone and his lyrical phrasing. " A close friend said that I always go for the pretty notes," he says. "Of course, everyone has a different idea about what a pretty note is."

Sharoni's playing isn't the only focus of Slant Signature.  He's accompanied by his longtime quartet featuring pianist Joe Barbato, bassist Todd Baker, and drummer Steve Langone, plus special guests trumpeter Jim Rotondi and guitarist Mike Mele. The band reinforces the music's immediacy and beauty, drawing in listeners with a profound joie de vivre while tackling Sharoni's five tangy originals.  They also put their distinctive stamp on the Lee Morgan classic "Ceora," Freddie Hubbard's "Down Under" and Ray Bryant's "Tonk."  "They have musical instincts that reflect my own sensibilities" Sharoni says. "That's huge."

It's been several years since Sharoni's debut CD, Eternal Elixir (2010, Papaya), garnered rave reviews. Yet these have not been idle years for the Boston-area composer-saxophonist. "A jazz musician never feels like he's mastered anything," Sharoni says, "but I felt like over the last five years of hard work, exploration and composing that the time was right to embark on this project. This album is a great milestone for me. I feel like I'm at my next level of freedom and creativity."

It's always been an unlikely route for Sharoni, the Israeli-born son of Chilean and Yemeni immigrants, but he's forged his own path successfully. He enrolled at Berklee College but left after one semester, too free-spirited to thrive while there. He continued his jazz education, studying privately with Jerry Bergonzi and George Garzone, playing gigs with the likes of Joshua Redman, Danilo Perez, Kenny Garrett and Larry Coryell, imbibing influences and carving out his own sound.

His playing can be gruff and virile, as it is on "Subterranean Samba."  He can also play a melody with a gentle caress, as he does on Lee Morgan's "Ceora." The sensual appeal of his sound is matched by a searching intelligence, so that his music is always smart and emotionally honest without being pretentious. Listen to "Bitter Drops" to hear how Sharoni's burly sound anchors his probing lines in a bedrock of blues. On "Slant Signature," he sounds relaxed and in control as his elegant phrases flow smoothly over the galloping tempo. And there's a compelling logic to his solos on "Minor City" and "The Bodega" that grabs listeners and takes them along for the ride.

The band, too, fits Sharoni's vision with a deep intuitive level of communication and solos at once relaxed, yet urgent and focused. "Subterranean Samba" and "The Bodega" are good places to hear how tight the band is, how readily they lock into a groove, and how well they support each other. Pianist Joe Barbato mines the New Orleans piano tradition for a rhythmic, bluesy solo on "Bitter Drops" and gets down to some serious gospel soul jazz testifying on Ray Bryant's "Tonk." Bassist Todd Baker lays down a rock solid foundation for the band, no matter whether the music is unfolding with blistering energy in "Minor City" or at the leisurely tempo of "Ceora." Drummer Steve Langone is a model of versatility, handling Brazilian, New Orleans, Latin, and swinging jazz rhythms with equal finesse.

Even trumpeter Jim Rotondi, who is playing with Sharoni for the first time, sounds like a regular band member on "Tonk," "Down Under," and "The Bodega," on which his tasteful melodicism and swing find a welcoming home. The album's other special guest, guitarist Mike Mele, who also appeared on Sharoni's acclaimed first album, provides a title track highlight in a solo that nicely balances long, flowing bop lines and blues inflections.

Born and raised in Israel on a kibbutz near the Gaza Strip, Benny Sharoni grew up in a home full of music. His multiethnic ancestry meant Sharoni heard music from his parents' respective homelands of Chile and Yemen as a child. As a teenager, he studied classical flute, but fell in love with jazz when he heard Sonny Rollins. In 1986, after a traumatic stint in the Israeli army, Sharoni moved to Boston to attend Berklee College of Music. He soon began leading his own bands and has appeared with Joshua Redman, Danilo Perez, Kenny Garrett, and Larry Coryell. He now performs and tours regularly with his band throughout the East Coast, Canada, Europe and Asia. Eternal Elixir, Sharoni's first CD as leader, "mixes the vitality of a spiritual journey with the intelligence of an academic lesson, to come up with an intoxicating cocktail of brains and brawn," according to Jordan Richardson in All About Jazz.

For Sharoni, the bottom line is that the music moves and inspires people. "This record is 99 percent heart," he says. "The band is so full of heart and joy and intensity and everybody's mission was make the most beautiful music they could."

http://bennysharoni.com/

 

JEREMY SISKIND - HOUSEWARMING

The Housewarming Project is a jazz trio that moves with the grace of a chamber ensemble and sings with the soul of the singer-songwriter movement. The trio is led by award-winning pianist Jeremy Siskind (winner of the 2012 Nottingham International Jazz Piano Competition, and second place winner of the 2011 Montreux Solo Piano Competition), who - armed with a Master's in English Literature from Columbia University - began writing music and lyrics inspired by poets such as Jorge Luis Borges, Seamus Heaney, and Derek Walcott. The first collection of songs, which deal with love and loss, horror and heartbreak, are movingly delivered by vocalist Nancy Harms and colored by woodwind master Lucas Pino on the 2012 Brooklyn Jazz Underground Records release, Finger-Songwriter. 

Finger-Songwriter was hailed in ecstatic terms as "one of the most remarkable recordings I've heard in a very long time" (MinnPost), "One of the best albums I've heard all year" (emusic.com), "the most exciting musical project I've heard in a long time" (Jazz Police), and "winsome . . . literate and spry" (The New York Times). Emusic.com placed it in its top 100 albums of the year (of any genre), and independent blog www.birdistheworm.com named the CD the fifth best jazz disc of 2012. 

With Siskind in the lead, the band started touring in 2012, primarily performing in-home concerts. From the summer of 2012 to 2014, the band played nearly 70 in-home concerts in 18 states, making new friends and converting unsuspecting audiences into new jazz fans. The music is ideal for in-home concertizing - as Harms ushers listeners into the trio's world with her innate story-telling abilities, Pino colors the music with whispering tenor work, mournful clarinet, and murmuring bass clarinet, and Siskind sonically rounds out the music with sparkling, Debussian harmony. 

By 2013, Siskind's songs caught the attention of some of the world's great jazz vocalists, such as Kendra Shank, Peter Eldridge, and Kurt Elling, who all joined the trio in the studio to record Housewarming, an album that features nine new Siskind compositions, as well as four covers, "Whispering Grass" by the Inkspots, the standards "Moonlight in Vermont" and "I Could Have Danced All Night", and a tune by singer-songwriter Adem called "Everything You Need". 

Themes of domesticity reverberate throughout the album, which reflects on what it means to have a place where you belong, a theme that Siskind grapples with often. He explains, "two-and-a-half years ago I suddenly picked up my belongings and moved from New York to Kalamazoo, Michigan to pursue a job offer. Since then, as the Chair of the Piano Department at Western Michigan University (since 2014), I've been floating between the two - very different - places, with my heart truly in New York, and all of my stuff in Michigan. Housewarming also serves as homage to Norma Winstone's album Somewhere Called Home, as Winstone's group is a major influence and kind of the "parent group" for Siskind and his trio. 

www.jeremysiskind.com 

 

DUTCH SAXOPHONIST MARIKE VAN DIJK RELEASES THE STEREOGRAPHY PROJECT

Dutch saxophonist/composer Marike van Dijk began playing jazz as a precocious 14 year old. She went on to study at the Rotterdam Conservatory from which she graduated (cum laude) in 2006. She continued her studies at the Amsterdam Conservatory, obtaining her master's degree in jazz performance (cum laude). In 2009 Marike was nominated for the prestigious Dutch "Deloitte jazz award" and the "Amersfoort jazz talent award". JazzNL, a foundation for promoting young Dutch jazz talent, selected her as an "artist deserving wider recognition". Prior to moving to the Big Apple, van Dijk toured Europe extensively, performing at prestigious festivals and venues with her quintet, and the European Jazz Orchestra, among others. In May 2013 she obtained her second masters degree, this time from New York University, for which she was awarded a full scholarship by the Dutch government. In 2014 van Dijk was awarded a sizeable (and quite competitive) composition grant from the Dutch Performing Arts Fund for composing for large ensembles, and she is currently a member of the BMI Jazz Composers Workshop, led by Jim McNeely. The Brooklyn-based artist's debut album Patches of Blue was released in 2010, and she now offers the brilliant follow up, The Stereography Project on BJURecords.

The Stereography Project is a twelve-piece jazz group with string quartet led by van Dijk. This New York based group features young, creative, musically-powerfully individuals, all deeply rooted in the jazz tradition, and like van Dijk, committed to furthering that tradition: Marike van Dijk (saxes/compositions), Ben van Gelder on bass clarinet/alto sax (Monk Competition semi-finalist), Alan Ferber on trombone (Grammy Nominee), Anna Webber on flute/tenor sax (Charlie parker award winner), Lucas Pino on clarinet/tenor sax (DownBeat Magazine award winner), and Sita Chay/Eli Speirs (violin), Eric Lemmon (viola), Amanda Gookin (vocals), Manuel Schmiedel (piano), Rick Rosato (bass), Mark Schilders (drums), Defne Sahin & Ruben Samama (vocals), Dan Pratt (conductor), John Davis (recording and mixing), Scott Hull (mastering) 

Van Dijk's compositions mix contemporary classical music with jazz and improvisation. All compositions were inspired by images and music van Dijk experienced throughout her childhood in The Netherlands as well as her life in New York City; contrasting her experiences of spacious views of fields, forests and lakes with the ever changing, but non-stop energy, of New York City. Van Dijk's highly narrative, compelling style of composing is best described as, "film music without the film".

www.marikevandijk.com

 

TRUMPETER ALEX NORRIS DELIVER HIS IMPECCABLE, RICH SOUND ON NEW RELEASE - EXTENSION DEADLINE

Trumpeter/composer Alex Norris, who grew up in Columbia, MD, received a scholarship to the Peabody Conservatory of Music, graduating in 1990. Two short years later found Norris taking NYC by storm, working with the Vanguard Jazz Orchestra, Toshiko Akiyoshi's Jazz Orchestra, and Maria Schneider's Band. From 1994-1998 Norris was a member of Betty Carter's Jazz Ahead, becoming musical director in 1998, sadly the final year of Carter's life. Norris has also performed and recorded extensively in the bands led by Lonnie Plaxico, Jason Lindner, and Ralph Irizarry. 

Norris has also worked with many noted jazz artists, such as Slide Hampton, Joshua Redman, Brad Mehldau, Chris Potter, Carl Allen, John Patitucci, Mulgrew Miller, Brian Blade, and legends of the Afro-Cuban jazz scene as well, having worked with Andy and Jerry González, Manny Oquendo, Paquito D'Rivera and Chico O'Farrill. In addition to performing all over the world with his own group, Norris is currently a first-call sideman for many artists, including Ron Carter's Great Big Band, the Mingus Big Band, Alan Ferber's Big Band, Kyle Eastwood, Helen Sung, Miguel Zenon, Amina Figarova, and many other jazz and Latin jazz artists. Norris appears on over 80 CDs as a sideman; several of them for labels such as Blue Note, Verve, Impulse!, Steeplechase, and Sunnyside. 

Alex Norris now proudly announces the release of his second recording as a leader, Extension Deadline, featuring The Alex Norris Organ Quartet, with long-time musical cohort George Colligan on Hammond A-100 organ; old friend, inspiration and colleague, Gary Thomas on tenor saxophone (Thomas is head of Jazz Studies at the Peabody Conservatory of Music where Norris is proud to be an adjunct Professor); and one of NYC's premier jazz drummers, Rudy Royston. Extension Deadline is the long-awaited, much-anticipated, follow-up recording to Norris' first recording, A New Beginning. 

About the music on Extension Deadline: The title track has a double meaning, as it was composed during tax filing season, during which Norris filed for an extension, and simultaneously, the trumpeter came to the conclusion that he had put off releasing his follow-up release long enough, and that if put off much longer, it may never happen. "Night Watchman" was inspired by the view at night outside Norris' Manhattan Plaza apartment. "What Happened Here?","is a dedication to anytime a relationship of any kind goes suddenly wrong. We are left bewildered and speechless, and we don't know what to do", said Norris. "San Jose" was composed in 2004 after performances that summer at the San Jose Jazz Festival with three Latin jazz bands that have been a deeply meaningful part of Norris' life, Manny Oquendo Y Libre, Timbalaye and Rumba Club. "One of my favorite songs is Bobby Hutcherson classic 3/4 tune, 'Little B's Poem.' I thought it would sound nice at a slower tempo", explained Norris. "Where Angels Fear" was written in 2007. The title is borrowed from the poem Essay on Criticism by Alexander Pope, Norris' namesake -"Fools rush in where angels fear to tread." "'Optimism' is one of my favorite George Colligan originals, and I'm happy that he agreed to having it recorded on this project", said Norris. "Red Flag" has a very angular melody (you might even say alarming, hence the title!). This song is an up- tempo burner, and it features some brilliant trading with Rudy Royston. In conclusion Norris states that, "I'm very pleased with the musical story this recording tells. Thank you for listening!"

www.alexpopenorris.com

 

Boz Scaggs Set To Unveil New Studio Album 'A Fool To Care'

Another spellbinding album in a prolific career, this new collection of songs boasts Scaggs' pioneering blend of rock, soul, jazz and R&B taken to new heights A Fool To Care is the follow-up to the critically acclaimed 2013 album Memphis, which Rolling Stone described as 'sublime' and hit the #1 spot on the Billboard Blues Chart and the Top 20 on the Billboard 200.

A Fool To Care showcases the patchwork of influences and innovations that make up a Boz Scaggs album…and sees Scaggs letting loose and having some fun. You can hear that sense of fun, as well as his ability and willingness to wander in any musical direction throughout these twelve tracks. The inspirational heart of the album lies in the sounds of Texas, Louisiana and Oklahoma that played such a vital role in shaping Scaggs' musical sensibility, but they venture forth boldly from there. Scaggs brings a sly drawl to a funky workout like Li'l Millet and the Creoles' "Rich Woman" and an elegant delicacy to the Impressions' "I'm So Proud." He easily negotiates the Latin flavoring of "Last Tango on 16th Street" and "I Want to See You," both written by San Francisco bluesman (and longtime Scaggs compatriot) Jack Walroth. Horns, strings, soulful background vocalists and guests like guitarist Reggie Young and steel guitarist Paul Franklin lift the album into the stratosphere.

Produced by Steve Jordan (Stevie Nicks, Bob Dylan, John Mayer) and recorded over four days at Blackbird Studio in Nashville, A Fool To Care features two very special guests – Bonnie Raitt contributes slide guitar and sassy vocals on the original song "Hell To Pay" and Lucinda Williams trades vocal lines with Scaggs as a kind of prayer for deliverance on The Band's "Whispering Pines." The core band joining Boz on A Fool To Care is Willie Weeks (bass), Ray Parker Jr. (guitars), Jim Cox (keyboard) and Steve Jordan (drums).

Raised in Texas with an abiding respect for a wide spectrum of American roots music, William Royce "Boz" Scaggs began a long and storied career in 1965 with the release of his first solo recording Boz. After cutting his teeth playing with Steve Miller and honing his rock and R&B chops with the likes of the Muscle Shoals Rhythm Section and Duane Allman, Scaggs achieved multi-platinum success with Silk Degrees in 1976. He has continued on a lauded and multi-genre musical journey to the present day. With a trademark voice, a rich catalogue and many accolades, Scaggs continues to establish himself as one of music's most creative and original artists.

A Fool To Care Tracklisting:

1.Rich Woman

2.I'm A Fool To Care

3.Hell To Pay

4.Small Town Talk

5.Last Tango on 16th Street

6.There's A Storm A' Comin'

7.I'm So Proud

8.I Want To See You

9.High Blood Pressure

10.Full Of Fire

11.Love Don't Love Nobody

12.Whispering Pines

Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY® Salute Airs Monday, Feb. 16, 9 P.M. on CBS

Surprising the audience with a captivating finale performance, Stevie Wonder received multiple standing ovations singing some of his all-time classics, including "Superstition" and "You Are The Sunshine Of My Life," at the taping for "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY® Salute." An impressive superstar cast of 19 artists saluted Wonder with songs from his stellar songbook in front of a sold-out audience at Nokia Theatre L.A. LIVE. The all-star lineup for the historic event featured performances by Babyface, The Band Perry, Tony Bennett, Beyoncé, Andrea Bocelli, Gary Clark Jr., Ariana Grande, Jennifer Hudson, India.Arie, Lady Gaga, John Legend, Annie Lennox, Janelle Monáe, Aisha Morris, NE-YO, Jill Scott, Ed Sheeran, Ryan Tedder, and Pharrell Williams. Two-time GRAMMY winner LL COOL J hosts this very special tribute, with appearances by Jason Derulo, Jamie Foxx, Tyler Perry, Craig Robinson, and Maya Rudolph. Recorded live, the tribute concert, paying homage to Wonder's iconic career in a two-hour special, will be presented by The Recording Academy®, AEG Ehrlich Ventures and CBS, and broadcast in HDTV and 5.1 surround sound on the CBS Television Network on Monday, Feb. 16 from 9 – 11 p.m. ET/PT.

“I encourage all of us as artists to write songs about love. Love is the key, and you've given me love, and I thank you for it.”

A 25-time GRAMMY winner, Wonder is the only artist to have received Album Of The Year honors in three out of four consecutive years with Innervisions (1973), Fulfillingness' First Finale (1974), and Songs In The Key Of Life (1976).

"We must, without question, let the world know that love is king and queen," said Wonder, thanking fellow artists and fans from the stage before launching into a medley of his hits. "I encourage all of us as artists to write songs about love. Love is the key, and you've given me love, and I thank you for it."

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" is produced by AEG Ehrlich Ventures, LLC. Ken Ehrlich is the executive producer, Leon Knoles is director, and David Wild and Ken Ehrlich are writers. Greg Phillinganes is music director.

Following is a list of performances:

Beyoncé -  "Fingertips" 

Beyoncé & Ed Sheeran -"Master Blaster (Jammin')" 

Beyoncé, Gary Clark Jr. & Ed Sheeran - "Higher Ground" 

Tony Bennett - "For Once In My Life" 

John Legend -"I Believe (When I Fall In Love It Will Be Forever)" 

Annie Lennox - "My Cherie Amour" 

Lady Gaga - "I Wish" 

Andrea Bocelli - "I Just Called To Say I Love You" 

Babyface & Ariana Grande - "Signed, Sealed, Delivered I'm Yours" 

The Band Perry - "You Haven't Done Nothin" 

Ed Sheeran - "I Was Made To Love Her" 

India.Arie, Janelle Monáe & Jill Scott - "As" 

Pharrell Williams & Ryan Tedder - "Don't You Worry 'Bout A Thing" 

Jennifer Hudson - "All In Love Is Fair" 

Aisha Morris & NE-YO - "Isn't She Lovely" 

Stevie Wonder -  "Contusion," "Sir Duke," "You Are The Sunshine Of My Life," "Ribbon In The Sky" "Overjoyed," "Superstition" 

Stevie Wonder & Ensemble - "Happy Birthday," "Another Star"  

NEW RELEASES: IDRIS MUHAMMED – TURN THIS MUTHA OUT; REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE 3; JAQUES MORELENBAUM CELLO SAMBA TRIO - SAUDADE DO FUTURO - FUTURO DA SAUDADE

IDRIS MUHAMMED – TURN THIS MUTHA OUT

A great late 70s chapter in the career of funky drummer Idris Muhammad – moving into very different territory here than his early soul jazz with Lou Donaldson, and even his earliest solo material too! David Matthews arranged the tracks, and he's given them a slick but soulful sound, with lots of spacey fusion elements, and a nice funky soul vibe that's a bit similar to some of Larry Mizell's work – stretched out in this great mix of grooves and deeper jazzier elements – even at a level that's hipper than Matthews' usual material from the time. Idris is at the core on percussion – and the lineup also includes Jeremy Steig on flute, Eric Gale on guitar, Randy Brecker on trumpet, and Wilbur Bascomb on bass – and titles include the seminal "Could Heaven Ever Be Like This", plus "Cambay Bolongo", "Tasty Cakes", "Crab Apple", "Moon Hymn", and "Say What".  ~ Dusty Groove

REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE 3 (VARIOUS ARTISTS)

A set that's heavy on classic cuts from the 70s, but throws in a few contemporary numbers too – all in this wonderful blend of music that's got a wicked mellow groove all the way through! The style is a bit modern soul, but more in that smooth 70s mellow style we love so much – lots of midtempo rhythms, less disco inflections, and plenty of room for amazing lead vocals that really send the tunes home with a hell of a lot of warmth and soul! Familiar cuts mix with lesser-known gems we'd totally missed – and titles include "Getaway" by Walter Thomas, "All I Want Is You" by Convertion, "I Need You More Than Ever" by The Montclairs, "Keep On Pushing Love" by Al Green, "Work To Do" by The Main Ingredient, "Don't Walk Away" by General Johnson, "You Got It" by Roy G Hemmings, "The Walk" by Jesse Gomez & TCB, "If Loving You Is All I Have To Do" by Anna Brooks, "Corazon" by LTG Exchange, "Mercy Mercy Me/Inner City Blues/What's Going On" by The Shirelles, "Love Knocked You Down" by The Nights, and "Just To Be With You" by The O'Jays.  ~ Dusty Groove

JAQUES MORELENBAUM CELLO SAMBA TRIO - SAUDADE DO FUTURO - FUTURO DA SAUDADE

A beautiful record that's exactly what's promised in the group's name – a samba trio that's heavy on cello – played by the great Jaques Morelenbaum, who we know from so many other great records! The style's a bit bossa jazz, but has a very different feel – as the use of the cello really brings out the bluer, more melancholy moments in the tunes – as Jacques bows his instrument with a great sense of expressiveness alongside acoustic guitar and percussion. Titles include "Eu Vim Da Bahia", "Coracoa Vagabundo", "Outra Vez", "Ar Livre", "Voce E Eu", "Maracatuesday", and "Tim Tim Por Tim Tim". ~ Dusty Groove

Karla Harris Sings The Dave & Iola Brubeck Songbook // First-Ever Studio Recording Featuring the Vocal Songbook of Dave and Iola Brubeck

In her Summit Records debut, Karla Harris Sings the Dave and Iola Brubeck Songbook,

vocalist Karla Harris brings something rarely heard in a Brubeck tribute: Lyrics. This new release is the first-ever studio recording featuring the vocal songbook of Dave Brubeck's music with lyrics written by the person who had an especially close insight into the iconic jazz pianist's music - his wife of 70 years, Iola Brubeck. 

Harris, a marvelous singer who gained a strong presence on the Pacific NW jazzscape after living for years in Portland, is poised to enter the national stage with this contemporary, respectful and musically innovative tribute. Not since a 1961 live recording of the Dave Brubeck Quartet with guest vocalist Carmen McRae has there been an album of vocal versions of this music, and no one has ever gone into the studio to record and release the Brubeck Songbook as a dedicated vocal project.

The project is the brainchild of Los Angeles-based producer, arranger and pianist Ted Howe, whose previous recordings include chart-topping tributes to Gershwin, Elton John and Ellington. Howe, a lifelong Brubeck fan who remembers the first time he heard the pianist in 1954 ("his playing floored me," he recalls) cites Brubeck as a major inspiration in his own career, and has long wanted to produce a vocal tribute of the composer's music.

Impressed with Harris after working with her at a 2013 concert he produced in Atlanta, Howe approached the singer with the idea.

"I loved the concept immediately. It was intriguing, to say the least," Harris says. "I had no idea words existed for so many of the songs Dave Brubeck composed or that Iola wrote so many of those lyrics. They've really gone largely undiscovered."

Work got off the ground when Howe, through the Brubeck estate, received a copy of a rare, out-of-print Dave Brubeck songbook published more than 30 years ago - a copy provided by Iola herself in early 2014 for this project, shortly before her passing.

"It felt like we were uncovering hidden treasure," Harris says of looking through the music for the first time. "There was as an opening verse to 'Strange Meadowlark,' for example, that we didn't know even existed. And there was Iola's name listed as lyricist on tune after tune, making it clear this songbook belonged to them both. Her words were sophisticated, filled with imagery and emotion; they changed my experience of some of these songs. I wanted to sing them very much."

Included among the 11 tracks on Karla Harris Sings the Dave and Iola Brubeck Songbook are several Brubeck classics along with a few less-known standouts, as well as some tunes from "The Real Ambassadors," a musical the couple wrote together in 1962.

Lyrics led the way as Howe created arrangements, opening some unexpected approaches in the process. For example, "In Your Own Sweet Way," traditionally played as a bright swing tune, here becomes something plaintive, taking its cue from Iola's surprisingly melancholy lyrics. "Take Five" melds a haunting new vamp with the classic Desmond progression to bring out what Harris calls "some frustrated longing" in those lyrics written by Iola and Dave.

The arrangements on Karla Harris Sings the Dave and Iola Brubeck Songbook are dynamic and a complement to Harris' singing, which is luminous and compelling throughout. She is joined by a group of masterful musicians who shine, collectively and individually - fitting for a tribute to a composer famous for instrumental hits. Howe, deft and fluid at the piano, is joined in the rhythm section by two players well known to contemporary jazz listeners - Modern Drummer Hall of Fame inductee Dave Weckl and internationally acclaimed bassist Tom Kennedy. The twin engine of Weckl and Kennedy, who have played together on various projects and tours for decades, powers beautifully and seamlessly the diverse feels among the tracks. Rounding out the group is L.A. session veteran Bob Sheppard adding alto sax to three of the 11 tracks with mesmerizing Desmond-esque flavor.

Throughout the recording, producer-arranger Howe honors Dave Brubeck's legacy. "This project was my way of saying thank you musically for his impact and for his influence on my own playing," Howe says. "I incorporated, in my own way, innovations Brubeck is associated with, such as polyrhythms, bi-tonalities and varied time signatures and styles, within a vehicle for Karla." 

The result is a modern tribute that completely showcases Dave Brubeck's music hand-in-hand with the incredible lyrics of Iola Brubeck through the voice of newcomer Karla Harris.

Upcoming Karla Harris Performances:

February 26 / Portland Jazz Festival / Portland, OR

February 28 / Portland Jazz Festival / Portland, OR

March 6 / Sarasota Jazz Festival / Sarasota, FL

March 8 / The Palladium / St. Petersburg, FL

April 10-11 / The Jazz Corner / Hilton Head, SC

June 12 / Callanwolde Fine Arts Center / Atlanta, GA

www.KarlaHarris.com

VAN MORRISON & CHAKA KHAN TO HEADLINE LOVE SUPREME 2015

Yes you read that right, we’re very proud to reveal that two icons will take to the stage at Glynde Place this summer as part of Love Supreme 2015.

Queen of Soul Chaka Khan will top the bill on Saturday night and the legendary Van Morrison will close proceedings on Sunday night.

The Big Top this year will play host to revered South African trumpeter, flugelhornist, cornetist and singer Hugh Masekela and a very special collaboration between international jazz giants Joshua Redman & The Bad Plus. Also headlining are Terence Blanchard, who will be bringing his new E-Collective project to Love Supreme.

Also appearing are  vocal royalty in the form of five time Grammy winner Dianne Reeves (including the 2015 Grammy for Best Jazz Vocal Album) and Candi Staton alongside performances from Ginger Baker Jazz Confusion, Submotion Orchestra, Blue Note star Ambrose Akimusire, Hiatus Kaiyote, Mercury Prize nominees Gogo Penguin, powerhouse vocalist Rag ‘n’ Bone Man, up and coming soul star Jarrod Lawson and Bill Laurance Project (led by one of the founding members of LS favourites Snarky Puppy).

There will also be a wealth of cutting edge new and established talent both from the UK and internationally with Get the Blessing, Theo Croker, Kneebody, Joe Stilgoe, Gabby Young & Other Animals, Hackney Colliery Big Band, Dylan Howe’s Subterraneans, Christine Tobin, Partisans, Blue Eyed Hawk, Elliot Galvin Trio, The Vampires and Shiver and with many more to come.

R&B vocal band DW3 goes retro on their sophomore album, “Vintage Truth,” due March 17, with guests Dave Koz, Brian Culbertson, Paul Brown, Greg Adams and Elan Trotman

At the untimely passing of the drummer Steely Dan’s Walter Becker described as having perfect timing, Ricky Lawson was only four songs into producing the sophomore album by R&B vocal group DW3. Lawson, who had an extraordinary GRAMMY®-winning career collaborating with Michael Jackson, Eric Clapton, Phil Collins, Whitney Houston and Steely Dan, had been a member of the band for more than two years and the tracks are his last recordings. Over a year later, DW3’s “Vintage Truth,” dedicated to Lawson, is finally finished and scheduled for release March 17 on the Woodward Avenue Records label. 

Despite being rocked by the unexpected loss that occurred two days before Christmas 2013, DW3 knew that Lawson would want the groove to continue. He not only was a member of the outfit fronted by brothers Billy & Eric Mondragon and Damon Reel, but he mentored them as well. He believed that the GRAMMY®-nominated vocalists who are a perennial draw on the jazz festival and cruise circuit is at their dynamic best in live settings thus the record’s core tracks were laid down in the studio live. DW3 maintained that template when finishing the album, which they produced themselves with one cut, the collection’s first single - a seductively soulful take on The Eagles’ “I Can’t Tell You Why” - produced by hit-maker Paul Brown.          

“We titled the album ‘Vintage Truth’ because of the way we approached the recording process, like a live jam session where the core musicians - the guitarist, bassist, keyboardist and drummer - were in the room playing at the same time. We rehearsed each song twice, then went in the studio and pressed record. Our previous recordings featured a lot of drum programming, but this project has all live drums,” said Eric Mondragon. “Another vintage element we added that we absolutely love is the live horns – so much so that we recently added a horn section to our lineup so that we could perform these songs properly onstage.”

  

The twelve-tracker “Vintage Truth” offers a blend of originals and fan favorites that the group has performed on stage for years such as Stevie Wonder’s “Overjoyed,” Luther Vandross’s “So Amazing” and The Mamas & The Papas’ “California Dreamin’,” the last of which won the California Lottery Powerball song contest for their trademark three-part harmonies spawning a popular video (http://bit.ly/1vDOe1D). Making instrumental contributions to the disc were contemporary jazz chart-toppers Dave Koz, Brian Culbertson, Greg Adams, Elan Trotman and Brown.   

Four years ago, the Los Angeles born and raised DW3 issued its debut set, “On The Floor,” which peaked at No. 16 on the Billboard contemporary jazz albums chart in the U.S. while it went all the way to No. 1 on the United Kingdom’s soul chart driven by the sophisticated neo soul single “I Got You” highlighted by a sultry sax solo from multiple GRAMMY® nominee Gerald Albright. DW3’s three vocalists were 2014 GRAMMY® nominees for singing background on the Summer Horns album, an ensemble comprised of saxophone superstars Koz, Albright, Mindi Abair and Richard Elliot. Ever since DW3 served as the resident party band on the inaugural sailing of The Smooth Jazz Cruise in 2004, they’ve been part of the sold-out cruise. In addition to performing at premier festivals across the nation, the funksters maintain a long-running weekly residency at SoCal hotspot Spaghettini and serve as the house band for L.A. radio station 94.7 The Wave’s Sunday Brunch held at the same venue.

"Vintage Truth" contains the following songs:

 "Let The Music" (featuring Brian Culbertson)

 "Tribute (Right On)”

 "I Can't Tell You Why"

 "Hold Me" (featuring Greg Adams)

 "Dance With Me"

 "Overjoyed"

 "California Dreamin’"

 "When You Cry" (featuring Dave Koz)

 "She Keeps Running"

 "Square One"

 "So Amazing"

 "At The Club" (featuring Elan Trotman)

www.DW3music.com    

Introducing Slow Eastbound Train from Norweigan Tuba player / composer Daniel Herskedal

A tuba playing jazz musician might have the right to describe his sound as unique – after all, tuba soloists in jazz are as rare as hen’s teeth. But when we describe Norwegian tuba player and composer Daniel Herskedal
as unique, we’re not referring to his choice of horn. In the last few years this young musician has proved he has the facility, vision and musicianship to push the boundaries of his instrument, technically and sonically, further than anyone has done so. The result , as demonstrated by his new album ‘Slow Eastbound Train’, is a spellbind- ing and mesmerising sound worthy of a vast international audience.

In Norwegian musicians Eyolf Dale (piano) and Helge Andreas Norbakken (percussion) as well as the Trond- heim Soloists, Norway’s most celebrated string orchestra, Daniel has the perfect vehicle to demonstrate his facility as both instrumentalist and composer. And ‘Slow Eastbound Train’ is a sublimely beautiful and melodic album full of diverse influences and unique soundscapes that entirely fulfils both Daniel’s promise and the full potential of this group.

Based in Copenhagen, Herskedal first came to our attention with the release of his superb album ‘Neck of the Woods’, a duo with saxophonist Marius Neset, in which his technical brilliance and combination of diverse influences firmly established his reputation on the European jazz scene as a world class musician and one to watch. Since then he has toured extensively throughout Europe with Django Bates, Trondheim Jazz Orchestra as well his own projects City Stories, Listen, Dagane and Magic Pocket.

Beneath the melodic, sublime, elegant themes that make up the pieces on ‘Slow Eastbound Train’ there’s a rhythmical energy in the string writing as well as the virtuosity of his tuba playing that gives the album its wonderfully varied and vibrant feel. This is the sound of a master arranger and musical thinker at work.

However we describe Daniel Herskedal, his work and his virtuosity, there’s no doubting that a major artist has arrived. It’s rare to find an artist with fresh ideas, the technical facility to push boundaries and the maturity
to understand how to express this in the all-important listening experience, but with Daniel we are seeing the emergence of just such a one, We can only sit back and admire the result: a beautifully executed album that will continue to inspire and move us long into the future.

~ Edition Records

Slowly Rolling Camera set to release Limited Edition EP INTO THE SHADOW

Formed in Cardiff in 2013 Slowly Rolling Camera brought together four wildly talented musicians from diverse backgrounds. The result was a captivating hybrid of these influences: trip hop, jazz, soul, electronic music fused into a new and unique soundscape. The product was their eponymous album, released on Edition Records in February 2014 and received ecstatically by press (including UK’s Guardian and Germany’s Stern Magazine) and audiences alike.

Live, they’ve proved a phenomenon, wowing audiences from Cardiff to Hamburg and at high profile festivals including Umea Jazz Festival (SE), Love Supreme (UK), London Jazz Festival (UK) and Reeperbahn Festival (DE).

SRC have spent 2014 honing their music on the road and have recently returned to the studio to record a bold and striking four track EP, Into The Shadow, for release on 26th January 2015. Into The Shadow is more cohesive and sees the band further develop their sound, integrating lush electronic soundscapes, emotive melodies, shifts in dynamic and pace. With Elliot Bennett’s virtuosic, robust groove and Robert’s exemplary production techniques, it provides the perfect setting for the captivating, soulful voice of Dionne Bennett to impressively mould he lyrics around the musical arrangement.

In order to capture the spirit and energy of the band the EP was written and recorded in only three months. Employing the creative spirit and boundless energies of Mancunian master guitarist Stuart McCallum (Cinematic Orchestra), Bristol based Ben Waghorn on sax and Aidan Thorne, Cardiff’s top double bassist, Slowly Rolling Camera’s new recording has a big sound and big ambitions to match.

The suite-like opener River’s End, a song about asking for forgiveness, introduces a powerful and emotive ambience from the off. The title track, with its gloriously empowering crescendo and sweet sound of Dave Stapleton’s string arrangements, remarks on how the power of love can transform loneliness. Anne leads us through hope to regret with a beautifully raw and emotive stripped down arrangement featuring Fender Rhodes and Bennett’s intimate vocal set against a wall of strings and choral voices. The final track, Riga, forms a satisfying conclusion, its odd time signatures, shifting patterns, beats, grooves and moods defining everything that’s great about this band: bold, brave, experimental but with deep soul.

These four tracks confirm that SRC’s promise is no transient thing and indicates progression on a steep curve. ‘Into The Shadow’ continues to push the musical boundaries and there can only be excitement at where this young, immensely talented outfit can go next. But they remain rooted, however vaunting the ambition. As the band say: “If it moves you, it’s just good music”.

~ Edition Records

British violinist Thomas Gould to release major new album "Live In Riga"

‘Live in Riga’ is the major new album from the celebrated 31 year old British violinist Thomas Gould.  Recorded live in concert with Sinfonietta Riga on April 11th 2014 at the Great Guild Hall in Riga, Latvia, it confirms Gould’s enormous potential as one of the most inventive and colourful instrumentalists of his generation.  Gould is no ordinary classical musician but one of a new generation who refuse to be defined by a single genre.  He has developed impressive jazz credentials, but it is in this environment as soloist/director of classical repertoire where he really excels.  The Times recently described Gould as “intent on becoming the Nigel Kennedy of his generation”.  Gould, however, is incomparably his own musician.  Bold and courageous enough to forge his own path and follow his singular vision, he steps outside the footsteps of the greats.

‘Live in Riga’ is a defining album for Gould, his first disc of a three-album deal with forward-thinking British jazz and classical record label Edition Classics.  Over the last decade he has been in demand as a soloist with major orchestras worldwide, including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra and LA Phil New Music Group.  He is also much in demand as a leader/director, working with Britten Sinfonia, Aurora Orchestra, Mahler Chamber Orchestra and the Australian Chamber Orchestra’s ACO2, but it’s when he brings these disciplines together that the magic happens.  As Gould explains, “It means that everyone plays in a more engaged way. There is a group commitment to making it work, so the process is much more collaborative than when working with conductor.”

Sinfonietta Riga is an orchestra with a story to tell.  Formed in 2006, their vision is as bold as Gould’s.  Equally happy to play in concert dress or T-shirts they are intent on building new audiences for the music while reaching for the highest artistic standards.  Their collaboration is a perfect match and a unique experience for both the orchestra and for Gould.  This live concert recording bears witness to this special musical symbiosis.

To release an album featuring Beethoven’s Violin Concerto and Vaughan Williams’s The Lark Ascending is a bold decision.  As two cornerstones of the violin repertoire, there are plenty of performances to compare, but Gould’s versions demonstrate a brilliance of tone and colour that demands attention.  His flexibility and breadth of musical interests is fully evident.  Gould’s playing has the clarity you would expect from any major performer but radiates a freedom in its expression as though improvised with an immediate elegance and poise.

For Gould it’s all about achieving the right balance.  Whether it’s jazz or classical, written or improvised, as soloist or director, Gould is right in the eye of the storm.  If the dark clouds gathering in the wider music world imply that the days of the single-minded virtuoso are coming to an end; if to succeed in that brave new world we need to attract more diversity and brighter colours, then in Thomas Gould we may have found the lightning conductor to spark a new generation.

~ Edition Records

Clarinetist-Saxophonist Anat Cohen Sings and Swings as She Explores a Glowing World of Music on "Luminosa"

Onstage or on record, the music of Anat Cohen positively glows - with virtuosity, with charisma, with the sheer joy of creation - and never more brightly than on her seventh album as a bandleader, Luminosa. To be released by Anzic Records on March 3, 2015, Luminosa sees the clarinetist-saxophonist play singing, dancing originals, interpret Brazilian classics by the likes of Milton Nascimento, and even re-imagine electronica as acoustica with an ingenious arrangement of a Flying Lotus tune. Members from Anat's touring quartet - keyboardist Jason Lindner, bassist Joe Martin and drummer Daniel Freedman - appear on the album, as do guest guitarists Romero Lubambo and Gilad Hekselman, percussionist Gilmar Gomes and the Brazilian players of her new band Choro Aventuroso. Anat - born and raised into a musical family in Tel Aviv, Israel, and a resident of New York City since 1999 - has been named the top clarinetist in both the readers and critics polls in DownBeat, the jazz bible, for multiple years running. And her fluency in the jazz tradition is utterly at one with her flair for Brazilian music. As the Brazilian Press has declared: "Anat is an Israeli who seems like a Brazilian when she plays samba." A true citizen of the world, Anat speaks a universal language through her horn. 

About the album, Anat says: "The sound of Luminosa reflects my musical life in New York City. I flow between modern and traditional jazz, between samba and choro - all maybe in a week's time." She recorded the album at Avatar Studios in Manhattan, producing the album with Lindner and Oded Lev-Ari (her longtime friend and label partner, who arranged and produced her acclaimed 2007 album Noir for the Anzic Orchestra). Oded says: "The goal in the studio was to create an atmosphere where it was like a session in Anat's living room, with people dropping by - her quartet is there, some choro guys show up, Romero comes by to play guitar, Jason brings in an electronica tune. It was like a party where everyone felt free to interact, have fun and create." 

Luminosa kicks off with "Lilia," the first of the album's three songs associated with Brazilian icon Milton Nascimento. In 2013, Anat led her quartet in a full evening of Nascimento at Columbia University's Miller Theatre, including his compositions "Lilia" and "Cais" and his interpretation of Edu Lobo's "Beatriz," all on Luminosa. "I first heard Nascimento's Clube da Esquina album in the '90s when I was at school in Boston - just the sound of his voice drew me in," she says. "I adore the expressiveness of his singing, and his songs are like short stories. He's from Minas Gerais, where they have a sound that's distinct from Rio or Bahia, less traditional - the harmonies go to different, unexpected places. I play 'Cais' and 'Beatriz' on bass clarinet, which mirrors his vocal range. " 

With her original "In the Spirit of Baden," Anat pays tribute to another Brazilian musical hero: guitarist-composer Baden Powell. "Every year, the Choro Club in Brasilia pays homage to a different composer, and last year when I played there, it was Baden Powell," she explains. "His music is very melodic and danceable, so I wrote something in that spirit." Guitarist Romero Lubambo, from Rio de Janeiro, is a key guest on this track and several others, including his own Bach-meets-baião piece "Bachiao."

Choro - the irrepressible urban popular music style born in Brazil - has long been a passion of Anat's, with the genre inspiring her return to the clarinet as a student after years of focusing on saxophone. She recorded the 2007 album Nosso Tempo for Anzic as a key member of the Choro Ensemble, and she has headlined shows in New York with the Choro Ensemble and her new band Choro Aventuroso, with Vitor Gonçalves (accordion), Cesar Garabini (seven-string guitar) and Sergio Krakowski (Pandeiro). Teamed with those players on Luminosa, she interprets K-Ximbinho's "Ternura" ("Tenderness") and Severino Araujo's "Espinha de Bacalhau" ("Spine of the Codfish"), pieces by two top clarinetists. 

"Choro is fabulous music," Anat enthuses. "Like early jazz, it often features the clarinet. It's very challenging for the player - choro players are masters of their instruments. Choro means 'cry,' and the interpretation and personalization of melodies is the point, as in jazz. Expressing the soul of a melody is the holy grail in choro. There's also a constant conversation in choro groups, an ensemble polyphony that's complex. But there should also be a lightness to it, a feel-good grooviness. That's a challenge and thrill to achieve. Whether it's choro or samba, Brazilian music makes me feel alive and full of emotions. In this day and age, jazz can sometimes feel like it belongs to the musicians. But when I first went to Brazil, I immediately felt that music there belonged to the people. I like that." 

The album's left-of-center inclusion is its reimagining of "Putty Boy Strut," the catchy number by electronica innovator Flying Lotus. "Jason brought that tune in - he's always introducing me to new sounds," Anat explains. "The original was just so non-acoustic that at first it was, like, 'What do we do with this?' But there's something not only grooving about it, but also kind of humorous. It was really fun to imitate electronic music with acoustic instruments instead of the other way around, as it usually is. Jason is so good at translating grooves and sounds that now it feels like it was written for us." 

Another of Anat's originals on Luminosa is the pensive ballad "Ima" ("mother" in Hebrew). "I've lived so much of my life now away from home," she says. "I was thinking of my mom when I wrote this piece, missing her." The emotional flipside is her infectious "Happy Song." Anat explains: "When I write, I tend toward minor-key themes, so I challenged myself to compose something upbeat, with major chords. And I'm happy with it!" The album's closing original and jazziest number is "The Wein Machine," featuring Anat on tenor sax (as well as up-and-coming Israeli guitarist Gilad Hekselman). It's a tribute to George Wein, indefatigable impresario of the Newport Jazz Festival. Anat was first invited by Wein to play the Newport Jazz Festival in 2007; last year, she was music director of the Newport Jazz Festival Now 60! all-star band that toured the U.S. for the festival's 60th anniversary. "The tune's title comes from the sign that's on the golf cart George drives around the festival grounds," she explains. "He's 89, but never stops - he loves jazz and keeps opening the door for young artists, searching for honesty in the music. He's inspirational." 

Oded Lev-Ari, who has known Anat since they were at school in Tel Aviv together, sees Luminosa as a key album in her evolution. "Anat has always been a versatile musician, able to bounce between multiple aesthetics. Her familiarity with the styles she plays goes deep, though - she doesn't only play Brazilian music, for instance, she also speaks Portuguese. So whether it's choro or traditional jazz, her relationship with the art is cultural, with reverence for the history of the music. These various styles have often been a bit segregated in terms of Anat's recorded output, but this album is different. This is not Anat's 'Brazilian Album.' To me, it is Anat's 'Anat Album.' Beyond being an extraordinary instrumentalist, she is able to communicate pure emotion to the listener. That's what is front and center on this album." 

For her part, Anat sums up the album this way: "The title Luminosa is Portuguese for luminous - something shining, especially in the dark. To me, music is a luminous experience. Whenever I'm immersed in it, life lights up for me, no matter what else is going on. Whether it's performing a concert with my quartet or sitting in with my peers, enjoying musical conversations at home with my brothers or hanging and playing choro with my friends - sharing moments in that bright space of music are the happiest times."

Whether playing clarinet or saxophone, Anat has delighted the most knowing of jazz sages: Nat Hentoff praised her "bursting sound and infectious beat," Dan Morgenstern her "gutsy, swinging" style, Ira Gitler her "liquid dexterity and authentic feeling," and Gary Giddins her musicality "that bristles with invention." 

As a leader, Anat launched her Anzic discography with 2005's Place & Time, a quartet/quintet session named one of the year's best debuts by All About Jazz. Her two ambitious releases of 2007 - Noir (presenting Anat with a jazz orchestra) and Poetica (a chamber-jazz feature for her clarinet) - led The New York Times to call her "one of the brightest, most original young instrumentalists in jazz." Notes from the Village, released in 2008, was a showcase for her multi-reed virtuosity mostly in a quartet setting. In 2009, she became the first Israeli to headline at The Village Vanguard, the setting for the most hallowed live recordings in jazz history; the occasion yielded the 2010 release Clarinetwork: Live at the Village Vanguard, which captured Anat leading a hard-swinging band with all-stars Benny Green, Peter Washington and Lewis Nash. In its review of Anat's 2012 album as a leader - the wide-ranging Claroscuro - All About Jazz declared: "She's one of a kind." 

Anat has also recorded four acclaimed albums as part of the 3 Cohens Sextet with her brothers, saxophonist Yuval and trumpeter Avishai: 2003's One, 2007's Braid, 2011's Family and 2013's Tightrope. The 3 Cohens band has twice headlined for a week at The Village Vanguard along with playing Carnegie Hall. The three siblings were featured on the cover of the January 2012 issue of DownBeat, and in its review of Tightrope, the Financial Times marveled over the album's "emotional sweep." 

ANAT COHEN: Luminosa

1. "Lilia" (Milton Nascimento)             

2. "Putty Boy Strut" (Steven Ellison a/k/a Flying Lotus)

3. "Ima" (Anat Cohen)              

4. "Bachiao" (Romero Lubambo)              

5. "Cais" (Milton Nascimento & Rolando Bastos)

6. "Happy Song" (Anat Cohen)

7. "In the Spirit of Baden" (Anat Cohen) 

8. "Ternura" (K-Ximbinho)          

9. "Espinha de Bacalhau" (Severino Araujo)

10. "Beatriz" (Edu Lobo & Chico Buarque) 

11. "The Wein Machine" (Anat Cohen)

Anat Cohen: clarinet, bass clarinet, tenor saxophone

Jason Lindner: piano, Wurlitzer electric piano, analog synthesizer

Joe Martin: bass

Daniel Freedman: drums

Gilmar Gomes: percussion (1, 2, 4, 5, 7)

Romero Lubambo: guitar (4, 5, 7, 10)

Gilad Hekselman: guitar (11)

Choro Aventuroso - Vitor Gonçalves: accordion; Cesar Garabini: seven-string guitar; Sergio Krakowski: Pandeiro (8, 9)

UPCOMING APPEARANCES:

FEB 21: Nordstrom Recital Hall, Seattle, WA

FEB 22: Kirkland Performance Center, Kirkland, WA

FEB 27: Troy Music Hall, Troy, NY

FEB 28: Longwood Square, Kennett Square, PA 

MARCH 1: Shea Center for the Performing Arts, Wayne, NJ 

MARCH 2: Johnson Theatre, Durham, NH 

MARCH 4-8: The Jazz Standard, New York, NY

MARCH 18: The Rex Hotel, Toronto, Canada 

MARCH 19-20: Dazzle, Denver, CO

MARCH 21: Musical Instrument Museum, Phoenix, AZ 

MARCH 22: Sculpture Garden at The Jewish Community Center, Tucson, AZ

MARCH 23: The Auditorium at TSRI 

 MARCH 25: Kuumbwa Jazz Center, Santa Cruz, CA 

MARCH 28: Sante Fe College Fine Arts Hall, Gainseville, FL

APRIL 9: Cliff Bell's, Detroit, MI

APRIL 10: City Winery, Chicago, IL

APRIL 11: Orpheum Theatre, Galesburg, IL 

APRIL 12: Dakota Jazz Club, Minneapolis, MN

 APRIL 16-17 & 19: Dizzy's Club Coca-Cola

APRIL 18: "We Always Swing" Jazz Series House Show, Columbia, MO

APRIL 25: Centrum, Port Townsend, WA

 MAY 15: Sanders Theatre, Cambridge, MA

MAY 22: Sendesaal, Frankfurt, Germany 

MAY 23: Funkhaus Halberg, Saarbrucken, Germany

www.anatcohen.com