Acclaimed vocalist Chris McNulty celebrates the life of her son on breathtaking new Palmetto Records CD - ETERNAL

Recorded in the wake of Hurricane Sandy's destruction and dedicated to McNulty's late son Sam, Eternal is a gorgeous set that comes from the pain of loss, but equally from a place of hope and faith.

The Australian McNulty is joined by her trio of pianist John Di Martino, bassist Ugonna Okegwo and drummer Gregory Hutchinson along with a chamber orchestra under the direction of arranger Steve Newcomb featuring some of New York's finest talent. In addition, Australian trumpeter-flugelist Matthew Jodrill, bassoonist Ben Wendel, and guitarist Paul Bollenback added glistening solos.he best,

Vocalist Chris McNulty contends that she never sings a song unless she can connect with it personally and make it truly her own. The selection of repertoire for her seventh CD, Eternal, carried an even more deeply personal requirement, however: celebrating the life of McNulty's cherished son Sam, who passed away in 2011. The gorgeously heartfelt and emotionally moving album, to be released March 24, 2015 on Palmetto Records, is a sublime love letter expressing the ineradicable bond between mother and child, with an exquisite blend of jazz quintet and chamber ensemble.

To craft the lush and poignant sound of Eternal, McNulty worked closely with two gifted collaborators: orchestrator Steve Newcomb, who created the album's stunning arrangements for chamber ensemble; and pianist John Di Martino, who last worked with McNulty on her 2005 release Dance Delicioso. The stellar trio with Di Martino on piano, bassist Ugonna Okegwo and drummer Gregory Hutchinson provides sensitive support for the singer's eloquent vocals. Jazz combo and chamber orchestra meld beautifully and seamlessly throughout, focused wholly on enhancing the profound feeling of McNulty's vocals. And present throughout is the spirit of Sam McNulty (aka hip-hop artist-composer Chap One), whose life, and the impact that it made on that of his mother, is vividly illustrated.

"There are lots of ways that I can honor Sam," McNulty says. "I looked through thousands of tunes to find things that spoke to me about life in general and life after Sam, about how I was unraveling inside, and that I thought could speak to him or about him without it becoming a morose, sad story. I think the music has lots of brightness and joy in it, too. I'm a musician first, so the songs have to speak to me musically, melodically, emotionally and lyrically as they always would. I just chose the songs that made the most sense for telling Sam's story."

Adding to the emotionally arduous process of assembling material for Eternal was the fact that McNulty was poring over songbooks in the immediate aftermath of Hurricane Sandy, when she was left without electricity, heat, or running water for eight days. So she sat in front of the fireplace with dozens of songbooks strewn about the floor around her, searching for lyrics and melodies that spoke to her by the glow of candlelight.

The first song that she found was the one that ended up opening the album, Steve Kuhn's "The Saga of Harrison Crabfeathers." At first simply curious about the eccentric title, she was immediately struck by how perfectly Sherrill Craig's opening lines seemed to capture her own emotional state:

Late this night she waits alone / She tries to accept the truth

The pain is intense / Her heart is so sore and bruised

Wishing that the sadness had not come for its claim so soon

One life is so short, so many things left to say and do

Crying softly for the one who cannot be here

Through the rain she sees a face laughing in happy play

The face of a child, the child on a sunny day

"It was extraordinary, because I was completely unaware of that song," McNulty recalls. "The further I got into it the more profoundly blown away I was, but I wasn't expecting to go to the piano and hear such a beautiful melody."

She immediately determined to record the song, though she almost lost it as mysteriously as she'd found it. Returning to her songbooks the next morning, she couldn't find it again no matter how many indexes she searched. "I was beginning to think I must have dreamt it," she says. As it turned out, the song was real but accidentally not included in the book's index, but after a week of searching through page after page McNulty managed to stumble across it a second time.

Another powerful moment comes via "What Are You Doing the Rest of Your Life?" In McNulty's interpretation the oft-recorded love song becomes a lament and a eulogy, carrying a promise to never let go of her son's spirit. Sam himself is drawn through a composite portrait: compared to a precious flower via Billy Strayhorn's "A Flower is a Lovesome Thing," depicted as a "strange, enchanted boy" in Eden Ahbez's perennial "Nature Boy." McNulty grapples with life following loss with the poignant "Where is Love" and "Boulevard of Broken Dreams."

Along with these resonant standards, McNulty contributes her own tribute to Sam with the album's sole original, "You Are There." Accompanied by the spare, understated colors contributed by Newcomb and Di Martino, McNulty sings the impassioned lyric directly to her son, ending with the key message, "You will always be there." As she explains, "I'm speaking to Sam and I'm also reflecting on different memories: being on subways with him as a little boy, seeing him with his friends as a young man growing up, how many girls loved him. It's all in there."

Newcomb's elegant arrangements are born of a friendship that began in 2008, when he met McNulty while both were performing at a festival in their native Australia. They've discussed working together on a project ever since, and Eternal offered the ideal circumstances. "Steve is a brilliantly creative musician and a very hard worker," McNulty says.

 McNulty was reunited with Di Martino on one of her first evenings out in New York City following Sam's passing. Unaware that the pianist was performing that night, she was reminded of his virtuosity on the bandstand - and of his humanity when he approached her after the set. "He walked over and put his arms around me and didn't say a word," she recalls. "That had a profound impact. A lot of people don't know what to say or do, and sometimes it's better not to say anything. It struck me that he handled it so gracefully, and it showed what a sensitive human being he is."

Since her emergence on the international jazz scene in 1991, Chris McNulty has been hailed by musicians, peers and critics alike as a jazz vocalist-composer with a unique vision, boundless creative energy and a distinctive style. Her recordings and performances have garnered 4 and 5 star reviews in publications including DownBeat, The Irish Times, Jazz Wise, Jazz Journal and JazzTimes, among many others. In May 2013, McNulty won the prestigious Australian Bell Award (the equivalent of a US Grammy) for Best Vocal Jazz Album for The Song That Sings You Here. She has collaborated, recorded and performed with some of the finest musicians on the jazz scene today and performed at major international festivals around the world.

www.chrismcnulty.com

Akory, the new album from Razia Said, features guest appearances by some of Madagascar’s top musicians

After years of living abroad, Razia Said returned to Madagascar in 2007 to discover her country’s landscape ravaged by illegal logging, slash-and-burn agriculture and the impact of climate change. That trip inspired the production of her first album, the critically-acclaimed Zebu Nation, which was released by Cumbancha Discovery in 2010. The songs on her new album, Akory, address Razia’s life experiences as well as Madagascar’s struggles to cope with an ever-deteriorating political situation, the destruction of the country’s bio-diverse forests and the daily challenges faced by its inhabitants.

Akory, which means “What Now?” in the Malagasy language, was produced on four continents over the last four years and sees Razia diving even more deeply into her Malagasy roots. Featuring a more stripped-down approach than her debut album, Akory is full of upbeat songs with vibrant melodies and soulful collaborations with a number of Madagascar’s top musicians. Razia has released Akory in Europe in November 2014 and in the United States in February 2015. She will launch it independently with her own label WAKE UP MUSIC.

Singer, songwriter and environmental activist Razia Said spent her childhood in the vanilla-growing region of Madagascar’s northeast coast, surrounded by the infectious rhythms of local salegy music. Her life journey has taken her from Madagascar to Gabon, France, Indonesia and her current base of New York City, but Madagascar has always been her spiritual home and main source of inspiration.

“Malagasy music is very rich,” says Razia. “Everywhere in Madagascar you can hear guitar, accordion and local instruments played in the most remote villages.” Razia describes her band’s sound as very endemic to Madagascar drawing on the country’s intricate and unique rhythms that inspire awe and fascination worldwide. As one of the few crossover musicians from Madagascar, Razia takes it upon herself to spread messages of environmentalism and social action by blending her country’s traditional music with a contemporary Western twist. Keeping her focus on the connection between the environmental destruction and political dismay in the country she calls home, Razia delivers an album full of soul, energy, and urgency that reaches into her most private thoughts and emotions.

Razia grew up listening to her uncle play guitar in her hometown of Antalaha. When she turned 11, she moved to Gabon, West Africa and later to France where she graduated from school with a PhD. After several years of working in a different field, Razia returned to the stage. Finally finding a home in New York, Razia attended Guitar classes at the New School University and began writing and recording her original songs.

Since the release of Zebu Nation, Razia has toured worldwide, spreading messages of environmentalism and social action in her native language, Malagasy. In 2011, Razia returned to the rainforest where she spent her youth and created a festival named “Mifohaza Masoala – Wake Up Masoala.” Concerts were performed in and around the threatened Masoala rainforest, gathering more than 20,000 people and mobilizing the entire environmental community of the region. Pulling off such an event in Razia’s hometown, where most people made a living from illegally harvested rosewood, was a risky business. But a connection was forged with the villagers living on the edge of the Masoala. People came from the most remote part of the forest, some walking for days to attend the event. 20,000 new trees were planted as the villages and the people of Razia’s hometown Antalaha joined the protest.Razia immediately set about organizing an international extension to her festival. She changed the name to “Wake Up Madagascar” and raised funds to create a tour across the USA and Canada in the summers of 2012 and 2014. The same musicians that performed alongside her in the Masoala were now bringing their music and mes- sage to North America. The show, which featured Razia alongside Jaojoby, Charles Kely and Saramba was ecstati- cally received. Its mission was to raise awareness for her devastated country and introduce the largest assortment of Malagasy music ever seen in North America. Wake up Madagascar appeared at major venues such as Joe’s Pub in New York City, Nuits d’Afrique in Montreal, Levitt Pavilion in Los Angeles and many other venues.

It was during this busy time on the road that Razia started putting together the elements she needed to craft her second album. The songs on Akory are performed in Malagasy, French and English. Razia has been joined by some of the leading names of Malagasy music, including guitar virtuoso D’Gary, legendary accordionist Regis Gizavo, valiha phenom Rajery, and nimble-fingered guitarist Teta. Razia presents rhythms from the four corners of Madagascar, including showcase performances on traditional instruments such as marovany (a wooden box zither), valiha (a zither made of a bamboo tube and plucked metal strings) and lukanga (a three stringed fiddle). Guitar lines ripple through the album and the powerful harmonies chant out an irresistible call to action. Whether it’s to dance or protest, laugh or despair, Razia takes us on another unforgettable journey across a paradise in danger of being lost forever.

Recording for Akory started in May 2011 in the renowned Studio Mars in Antananarivo with ace Malagasy engineer and producer Bivy. Razia arrived from New York with twelve new songs and began working with her friend and internationally acclaimed valiha master Rajery to adapt them into Malagasy musical forms. Razia was keen to work with as many Malagasy legends as she could on this album. The super group she put together made up of Bivy (guitar), Do (drums), Johnny (bass), Daniel (marovany), Teta (guitar), and Petit (percussion) worked solidly for days, rehearsing intensively in the studio. The magic soon came together as the intricate 6/8 rhythms took shape and transformed the original songs into an urgent, passionate wave of sound. Razia was then joined in the studio by her regular guitar player Charles Kely, drummer Jimmy, Rajery himself on valiha, Surgi on lukanga, and the guitarist D’Gary who co-wrote the song “Gny Lalagna (The Way)” with Razia. Razia took the tracks to Paris where Engineer Nir Graff, producer Jamie Ambler and Malagasy bass player, singer and vocal coach David Rajaonary supervised further recordings in New York, including 4 tracks with drummer Harvey Wirht, bassist Michael Olatuja and percussionist Samuel Torres. Godfrey Diamond mixed the album in Brooklyn and the album was mastered by the famous Leon Zervos at Studios 301 in Australia. With work on the album having taken place in Madagascar, Paris, New York and Australia, Akory is a truly international effort.

On the album’s opening track, “Taranaka Afara (Our Future),” Razia sings succinctly, “a tree is a living thing, born to protect and nourish every being. Let’s hold its real value high and respect nature instead of destroying it for gain. ” On “Zanako (My Child)”, Razia calls for the nation to cherish its children. “Madagascar has forgotten its children. They are the path to our hearts and the guides to our future; we would all be lost without them.”

Razia is not afraid to challenge her country’s inept political leaders, and on the rousing “Baraingo (Chasing Our Tails), she asserts “Our leaders seem lost and out of touch. They cannot choose which direction to go. “One day left the next day it’s right. Where are they leading us?”

The songs also address more personal stories, such as memories of her late stepfather’s fascination with butterflies, which she fondly recalls collecting with him in the forests of Gabon in the song “Papillon (Butterfly).”

Razia remembers her childhood fear when hiding under her grandmother’s iron bed during a powerful cyclone in “Akory Tsikaby (How Will We Survive), which also serves as a potent metaphor for the dire situation in Madagascar today. On Akory’s closing track, Razia ends with a bang on the upbeat “Nifankahita (It Was Meant To Be)”, singing “There is magic in a true love story. Things happen because it was written in the stars long ago. The beauty of destiny as we stumble into love.”

While Razia confronts some difficult topics on Akory, the closing track offers a positive message of hope that love will save the day in the end. While the album does not pretend to answer the question raised by its title, it argues that we can change our current path and work together towards a more positive future.

New Orleans-born pianist Nick Sanders showcases unique voice on second CD, You Are A Creature

Pianist Nick Sanders christened his second CD, You Are a Creature, with a head-scratcher of a title, but his virtuosity and vision couldn't be more clear on the music within. Throughout the album's concise but idea-packed thirteen tracks, Sanders continues to hone and evolve his distinctive voice as an instrumentalist and composer as well as the unique collective identity of his trio with bassist Henry Fraser and drummer Connor Baker. Due out February 17 on Sunnyside Records, You Are a Creature offers further evidence of a major new voice on the modern jazz scene.

As for that title and the attention-grabbing cover image of a sideshow-poster contortionist, both ultimately relate to Sanders' original perspective on human nature, an ability to see everyday behavior from a fresh angle that comes through in the often-surprising twists and turns of his music. "A lot of times I'll just look at someone and realize that some of the things that we do are so strange," he explains. "And the music is very reflective of those different experiences that people go through in their lives. I think that life in and of itself can be like a sideshow."

Sanders' individual approach and the strikingly singular language developed by the trio have commanded the attention of no less discerning a stylist than pianist Fred Hersch, who not only encouraged Sanders to record his 2013 debut, Nameless Neighbors, but offered his services as the album's producer. Hersch returned to that role on You Are a Creature, offering insightful direction but also upping everyone's game simply by his commanding presence in the studio.

"When you know that Fred Hersch is watching and listening to everything you're doing, you have a tendency to deliver at your utmost capabilities," Sanders describes. "But the best thing about it is just having someone so knowledgeable, who has been in the game for so long, there to give you feedback. It's huge, to know that there's someone with great ears who has my back. He really understands my music and had a lot of interesting arrangement ideas, which we could take or leave without any judgment on his part. There was no ego. We work really well together."

It helped immeasurably that Sanders brought such a wealth of material into the studio with him. The tunes can all be traced back to personal experiences and relationships in the pianist's life, which imbue the complex and multi-faceted compositions with a strong emotional core. From the insistent and aptly-named opener, "Let's Start," through the dissonant musings of "Wheelchair" and the off-kilter carousel of "Round You Go," to the stark, shimmering lurch of "Day Zombie," each piece is memorable and intricately constructed while allowing for an intimate and spontaneous three-way conversation among the trio, all within the relatively tight constraints of pieces that rarely exceed the five-and-a-half minute mark.

"In this day and age, people's attention spans aren't very long," Sanders says. "Because it's a trio, it's really more about interacting and having a group sound as opposed to just having people soloing. It also allows me to show different aspects of my compositional worldview."

That worldview was honed by a number of foundational influences, none of which are overpoweringly obvious but each of which has contributed to Sanders' one-of-a-kind sound. There's his hometown, New Orleans, with its rich jazz heritage; there's his training in classical music; his upbringing hearing and singing hymns in church; the musical influence of his drummer father and the presence of Latin music via his Cuban mother; and his studies with some of modern jazz's most renowned artists, including Fred Hersch, Jason Moran, Alvin Batiste, and Danilo Pérez. A final, more unusual, influence that Sanders cites, one reflective of his generation, is that of video games. While video games may not seem to have much to do with jazz piano beyond the use of hand-eye coordination, their combination of the cinematic and the interactive is immediately evocative of Sanders' music.

All of those influences converged when Sanders joined with Fraser and Baker while all three were students at the New England Conservatory, where Sanders completed his Master's degree in 2012. The trio quickly realized that they possessed a special alchemy together, one that was soon recognized by listeners. You Are a Creature showcases their continued maturation, offering a carnival's worth of delights and surprises.

  

www.nicksandersmusic.com

Jazz Collective ‘Sasha’s Bloc’, Featuring Guest Vocalist Jane Monheit Sets Heart on Fire Album Release for March 17, 2015

With the upcoming release of their second album, Heart On Fire, due out March 17, 2015, jazz collective Sasha’s Bloc aims to solidify their growing presence on the U.S. music scene with an original album that hearkens back to the Big Jazz Band sound of the 1920’s, 30’s and 40’s, and to a performance style that evokes such seminal acts as Duke Ellington, Fats Waller, Count Basie, Scott Joplin, Ella Fitzgerald and more.

An intriguing ensemble founded in 2012, Sasha’s Bloc is an amalgam of varied artists, nationalities and experiences, all fueled by bassist and songwriter Alex Gershman to deliver a sound that is consistently big, boisterous, full of spirit and rich in everything that makes jazz linger as an American phenomenon. On Heart On Fire, Gershman is honored to have Grammy-nominated vocalist Jane Monheit perform on multiple tracks. Listen to audio samples, here

The group has built a name for itself in recent years via multiple sold out concerts at the key Jazz Clubs in Los Angeles, including Catalina Bar and Grill, Vibrato and Vitello’s. Gershman’s goal, via the group’s successful performances and now on Heart On Fire, is to create a signature sound for Sasha’s Bloc that he describes as “fresh, well-developed and above all lyrically progressive.” Citing Fats Waller, Scott Joplin and Duke Ellington as primary examples, Gershman comments, “My hope is that the Sasha’s Bloc will help bring these great American cultural achievements to modern life and contemporary audiences.”

The group’s core nonet is comprised of Nora Rothman, vocal; Brandon Fields, saxophone; Alex Budman, saxophone, clarinet; Kye Palmer, trumpet, Bob McChesney, trombone; Kevin Winnard, drums; Steve Cotter, guitar; Andy Langham, piano. Guest artists on the upcoming album include: Jane Monheit, vocal; Alvin Chea, vocal; Patrick Tuzzolino, vocal; Princess Fortier, vocal; Glynis Leflore vocal; Octavia Pace vocal; James Lum, banjo; Jason Fabus, accordion; Marc T. Bolin, Tuba. Gershman plays upright bass and electric bass.

Each track on the album is an Alex Gershman original, written with the goal of evoking this aforementioned, distinctive era in the evolution of jazz. Gershman collaborates with Bob McChesney on songs 1 and 10, and with Bob Garad on song 4. Music arrangements are by Elliot Deitch, with vocal arrangements by Bob Garad. The CD is produced by Joe Diblasi, with sound by Mauricio Gurrero, and package design by Yana Bannikova.

Gershman guides us through his inspirations for the varied tracks:

1. Lonely Day in Paris - Dedicated to Frank Sinatra, his style and musical feel. I wrote it because of my profound admiration of that time in the history of American Pop.

2. Feels like Jazz - Cabaret song in the style of 1920s and 30s music traditions. The girl in the club is flipping through names of the guys she’s dealt with, and after some time they all look and feel the same. However, she gets up and manages to perform, again and again.

3. Anything is Possible - Dixie style, New Orleans brass song. This song is about trusting yourself and your abilities, to achieve all the goals in life that you wish for, and making it clear that nobody has the right to stay in your way.

4. Black and Blue - This is a song I wrote originally for a musical I’ve been developing. The main character, Ruby, was harassed by three guys outside the bar where she’d just finished performing. She comes home, seeking some comfort from her friend and mentor, who sings her this song.

5. Breakfast - I think that this is my favorite tune on the CD. Also written in the tradition of the New Orleans big band sound. We added accordion to make the tango portion more authentic, and Tuba for the horn section. Life is beautiful and joyful. We just refuse to see it and enjoy every moment of living. Start with breakfast... that’s the idea!

6. Take a Chance – Highlighted by a classical swing instrumental interlude.

7. Heart on Fire - Slow ballad about passionate love, and life that is empty without somebody you care for.

8. Angel – The search for angel never stops, and it is good to keep looking.

9. Duke – Our tribute to the great Duke Ellington.

10. Sunday Blues - Classic jazz blues of 1930s style with banjo, horns and great piano and vocal parts.

11. Manhattan – Inspired by the great city.

With a big-band sound that recalls the vibe of New Orleans’ Preservation Hall Jazz Band infused with the Blues, a hint of Gypsy Jazz, contemporary jazz and swing, Sasha’s Bloc have been playing to sold out shows across Southern California for the past two+ years and have developed a loyal following across the country.

Formed in 2012 by bassist Alexander Gershman, who hails from Moscow, Sasha’s Bloc is an eclectic mix of musicians focused on the revival of the jazz culture of the 1920’s and 30’s, combined with the adaptation of modern jazz original compositions.

La Dolce Vita: The Music of Italian Cinema with the New York Philharmonic Featuring Joshua Bell, Renee Fleming and Josh Groban on THIRTEEN's Great Performances Friday, February 27 at 9 p.m. on PBS

Dawning in the dark aftermath of World War II, the fertile mid-century decades of Italian cinema delighted international movie audiences with an eclectic mix of movie classics from groundbreaking directors including Frederico Fellini, Luchino Visconti, Sergio Leone and many more.  A major component of Italian cinema's enduring popularity continues to be a lush selection of sweeping film scores by composers like Nino Rota and Ennio Morricone. 

Featuring Josh Groban, Renée Fleming and Joshua Bell, Great Performances partners with the New York Philharmonic and music director Alan Gilbert for a concert of memorable movie themes with music from Amarcord, Cinema Paradiso, Il Postino, and more.

La Dolce Vita: The Music of Italian Cinema will air on THIRTEEN'S Great Performances Friday, February 27, 2015 at 9 p.m. (Check local listings.)

"There's so much great music written for film, and to hear it played live by the New York Philharmonic is an amazing experience," Music Director Alan Gilbert said. "The best film music is expressive and dramatic, which are the qualities that you look for all the time in music. The chance to make it come alive and paint pictures for the audiences is something I relish and love."

Presented in collaboration with Sugarmusic, the concert – taped in September -- includes video projection combining animated graphics and film clips designed by visual artist Giuseppe Ragazzini, under the direction of Giampiero Solari, and historical footage from Istituto Luce Cinecittà.

The program features suites and famous songs, many newly arranged and orchestrated by music consultant William Ross, from Academy Award–winning films including Federico Fellini's 8½ and La Dolce Vita; Sergio Leone's Once Upon a Time in the West; and Giuseppe Tornatore's Cinema Paradiso. For the program's creation, Sugarmusic made available its catalog of more than 2,000 Italian film sound tracks.

Together, Joshua Bell and Josh Groban previously performed and recorded the title song from Cinema Paradiso as well as Mi Mancherai from Luis Bacalov's Academy Award–winning score to Michael Radford's Il Postino. Ms. Fleming is featured in the Sony album We All Love Ennio Morricone, and has appeared on numerous sound tracks, including Steven Spielberg's adaptation of Hergé's The Adventures of Tintin as a comical Italian opera diva, Immortal Beloved, The Lord of the Rings: The Return of the King, Closer, and Rise of the Guardians.

The musical program follows below:

ROTA/Arr. and Orch. W. Ross                                 

Theme from Amarcord

Stelvio CIPRIANI/Arr. and Orch. W. Ross                         

Suite from The Anonymous Venetian

ROTA/Arr. and Orch. W. Ross                                  |

Suite from La Dolce Vita

Ennio MORRICONE/Arr. and Orch. W. Ross   

"Your Love" from Once Upon a Time in the West

ROTA/Orch. F. Gurian                                                                 

Valzer del Commiato from The Leopard

Ennio MORRICONE/Arr. and Orch. W. Ross   

"Non Penso a Te" from Incontro

Luis BACALOV/Arr. and Orch. W. Ross                               

Suite from City of Women

TROVAJOLI/Arr. and Orch. W. Ross                     

Suite from Profumo di Donna

ORTOLANI & OLIVIERO/Arr. and Orch. W. Ross

Theme from Mondo cane

ROTA/Arr. and Orch. W. Ross                                 

Suite from Juliet of the Spirits

Andrea and Ennio MORRICONE/                                          

"Se" from Cinema Paradiso

Arr. and Orch. W. Ross

ROTA/Arr. and Orch. W. Ross                                 

Suite from 8½

Luis BACALOV/Arr. and Orch. W. Ross                                

"Mi Mancherai" from Il Postino

A production of THIRTEEN Productions LLC for WNET, La Dolce Vita: The Music of Italian Cinema is directed for television by David Horn and produced by Mitch Owgang and Richard R. Schilling. For Great Performances, Bill O'Donnell is series producer and David Horn is executive producer. Great Performances is funded by the Anne Ray Charitable Trust, the Irene Diamond Fund, the Anna-Maria and Stephen Kellen Arts Fund, The LuEsther T. Mertz Charitable Trust, Rosalind P. Walter, The Agnes Varis Trust, The Starr Foundation, the Philip and Janice Levin Foundation, the Kate W. Cassidy Foundation, and PBS.  

NEW RELEASES: ANTONIO JACKSON – STEPPIN’ OUT; MICHELLE WALKER – SLOW DOWN; INNERVISION RADIO GOLD VOLUME 1

ANTONIO JACKSON – STEPPIN’ OUT

Hope you like a little thump in your jazz. This self-produced album by saxophonist, Antonio Jackson has saxophone written all over it. Antonio steps into the cutting edge of production by turning funky tidbits and suggestions into big original compositions to give the listener a collection of funky but jazzy grooves and melodies. It's bass heavy with an inspirational and spiritual perspective. Known for his engaging live performances, this saxophonist makes it a point to capture that same feel on the melodies and improvisation by using the first recording take on most of the tunes in order to stay true to the initial energy of the songs. Antonio is at first a jazz musician, but keeps it simple and in the pocket in order to drive the groove. While the album is heavily produced, the recording is raw, uncut and sincere. If you like that 'live album' feel then you will appreciate this one. ~ CD Universe

MICHELLE WALKER – SLOW DOWN

Her arrangements of straight-ahead standards and contemporary pop tunes blend genres effortlessly and with a fresh level of originality that is solidifying her own distinctive sound. Dave Nathan at AllAboutJazz.com says, Walker demonstrates an extraordinary degree of musicality. Michelle is often compared to Cassandra Wilson, Nina Simone and Betty Carter in style and tone. Based in New York City, Michelle Walker is a versatile singer blessed with a beautifully distinctive voice. This charismatic jazz vocalist uses an artful blend of blues, bebop, swing and soul that provides a musical playground for her and her band mates. With playful rhythmic expressiveness, Walker brings a level of sophisticated musicality to her lyrical phrasing that reveals her appreciation for mentor Mark Murphy. Yet, it is in her live performances where you hear the influences of Carter, Simone and Wilson. All seem to have provided her with a musical foundation but her study of them does not seem to have skewed her journey to find a singular voice. ~ Amazon

INNERVISION RADIO GOLD VOLUME 1 (VARIOUS ARTISTS)

Innervision Records has packaged together a specially priced sampler of previously released radio chart hits from the Innervision catalog including tracks by Will Donato - Funkability; Blake Aaron - Bumpin' On The Wes Side; Bona Fide - Mitch Mitch; Jack Prybylski - Down To It; Craig Sharmat - A Day In Paris; Patrick Yandall - My Lady; JJ Sansaverino - Gravy Train; Dee Brown - Natural Love; Phillip "Doc" Martin, Chip Shearin - Truth Be Told;  and Aysha - Stay With Me.

NEW RELEASES: JAS MILLER – THAT’S JUST FAN FUNKING TASTIC; DR. DAVE - CAREFREE; JEFF CASCARO - THE SOUL SESSIONS

JAS MILLER – THAT’S JUST FAN FUNKING TASTIC

Smooth, grooving and new contemporary jazz from one of the genre's most fun and funking recording artists. Jas' composition, production & guitar work have been called excellent by some of the industry's foremost critics, and are featured throughout this new exciting release, along with many stellar guest performers. Includes: Coco Giallo, Cheaper By the Dozen, Just Now, Isola Di Chill, Reiki, Wiggle Room, and That's Just Fan Funking Tastic. ~ CD Universe

DR. DAVE - CAREFREE

Don't Worry, Be Happy is the latest single by Dr. Dave® from his newest album Carefree. Dr. Dave® features his distinctive guitar artistry on Carefree - the 11 track CD with special guests Cecil McBee Jr., Kevin Flournoy, Rob Whitlock, Ronnie Stewart, Duncan Moore, Kevin Koch, Tommy Aros, Bill Harris, John Rekevics, Steve Wilcox, Hank Easton and Mike Harris. This album was recorded at Signature Sound Recording Studio in Southern California.

JEFF CASCARO - THE SOUL SESSIONS

Jeff Cascaro revitalised Soul Jazz in Germany. His albums "Soul of a Singer" (2006), "Mother and Brother" (2008) and "The Other Man" (2012) sustainably changed the musical scene. Catchy songs following the tradition of Curtis Mayfield, Wilson Pickett or Marvin Gaye are in vogue again. However Soul Music originates in the vinyl era. So label manager Rüdiger Herzog personally compiled one terrific 180 gr double vinyl ablum out of Cascaros three records. Classics like Holler, Roots, Soul of a Singer complemented with cover versions and ballads show Jeff Cascaros creativity in all its facets.

Reggie Quinerly's INVICTUS; Features Warren Wolf, Vibraphone; Yotam Silberstein, Guitar; Christian Sands, Piano; & Co-Producer/Bassist Alan Hampton

Reggie Quinerly Invictus Drummer/composer Reggie Quinerly made an indelible impression on the jazz world with his 2012 debut recording, Music Inspired by Freedmantown, a soulful and serious-minded tribute to the historic African-American neighborhood in Houston where he grew up. For his second CD, Invictus, which will be released by the drummer's Redefinition Music label on March 17, Quinerly takes inspiration -- and the CD's title -- from the 1875 poem by William Ernest Henley ("I am the master of my fate / I am the captain of my soul"). 

"Many of today's artists face great uncertainty," Quinerly observes in the new CD's notes, ". . . and while critics, musicians and fans continue to debate the commercial sustainability of an entire industry, I firmly believe its sustainability rests solely within us creators: no matter who is (or isn't) listening, we must persevere, we must create and we must document, because only that which is documented lives on." 

Invictus demonstrates with its very different musical demands just how much Quinerly has developed into a balanced yet ever-evolving artist. The album surrounds him with a brilliant young cast: vibraphonist Warren Wolf, regarded as one of the most exciting players on the instrument in years; prodigious pianist Christian Sands; rising guitarist Yotam Silberstein; and lyrical bassist Alan Hampton. One of the wonders of Invictus is how much freedom the compositions allow these ravishing soloists while staying inside its textural designs. 

Reggie Quinerly Quinerly had this particular instrumentation in mind from the start, crafting compositions that took into account the sonorities and lyrical abilities of each player. Wolf is showcased on the album opener "Tavares," dedicated to Horace Silver and "rooted in tradition with a certain earthiness." Bassist Hampton, Quinerly's high school classmate and "one of my favorite musicians to work with," is the soloist on the melodic "Nimzo Indian," named for the chess strategy. Guitarist Silverstein is featured on the ballad "Variation 24," and Sands on the solo piano piece "Kunst Überlebt" (Art Survives). On Reggie's arrangement of "My Blue Heaven," the disc's only nonoriginal, the leader tips his hat to another musical influence, the illustrious pianist and composer Mary Lou Williams.

"As a composer, the melodies you write are like parts of your identity, like your name," says Quinerly. "If a melody is not done right, if the notes are not played properly, it's like mispronouncing your name. but all the musicians on this project pay special attention to properly interpreting the intended themes."

Reggie Quinerly, 34, was born and raised in Houston's Fourth Ward -- once known as Freedmantown -- and attended the High School for the Performing and Visual Arts, where his classmates included Mike Moreno, Robert Glasper, Eric Harland, Jason Moran, and Alan Hampton. After graduation he headed for New York City, enrolling at the Mannes School of Music at New School University and studying there with Jimmy Cobb, Lewis Nash, and Kenny Washington. He earned a B.A. from Mannes and later an M.A. from Juilliard, both in Jazz Studies.

Noted as "a drummer and composer of swinging disposition" (Nate Chinen, New York Times), Quinerly has worked with such notable musicians as Von Freeman, Vincent Herring, John Hicks, Joe Lovano, Branford Marsalis, Christian McBride, Wynton Marsalis, and Greg Osby. With saxophonist Marcus Strickland, he also played and lectured in New York City schools as part of Lincoln Center's Jazz in the Schools program. He frequently collaborates with vocalist/pianist Enoch Smith Jr., who appeared on Quinerly's first project.

The first CD release show for Invictus will take place on Wednesday 3/25 at Smoke, 2751 Broadway, New York City, when Quinerly will lead a quartet comprised of Jaleel Shaw, alto saxophone; Lawrence Fields, piano; and Alan Hampton, bass. Additional dates are in the works.

www.reggiequinerly.com

Newport Jazz Festival® Adds Jack DeJohnette: Made in Chicago to 2015 Lineup

Celebrating music made in Chicago and one of the world's premier backup singers, George Wein is pleased to announce the addition of Jack DeJohnette: Made in Chicago to the lineup of the 2015 Newport Jazz Festival® presented by Natixis Global Asset Management July 31 - August 2. "One of the joys of producing the Newport Jazz Festival since 1954 is the privilege of having been involved with just about every era and style of jazz. One notable example is the Association for the Advancement of Creative Musicians (AACM). Jack DeJohnette has put together some of his colleagues from this Chicago-born organization, and we're pleased that they will make a stop at this year's festival," said Wein.

With Made in Chicago, Jack DeJohnette celebrates a reunion with old friends. More than 50 years ago, Jack, saxophonist Roscoe Mitchell and saxophonist/flutist Henry Threadgill were all classmates at Wilson Junior College on Chicago's Southside. Shortly thereafter, Jack joined pianist/clarinetist Muhal Richard Abrams' Experimental Band and his two friends soon followed. When Abrams' co-founded the Association for the Advancement of Creative Musicians (AACM) in 1965, DeJohnette, Mitchell and Threadgill became involved from the outset, presenting concerts and contributing to each other's work under the AACM umbrella. Invited by the Chicago Jazz Festival to present a program of his own choosing, DeJohnette brought his old colleagues, plus bassist Larry Gray, together for a concert at Millennium Park in 2013. A live album was recorded at that concert and was released in January as the AACM begins its 50th anniversary year, making both a powerful contemporary statement and a reminder of the diverse and innovative music introduced by the organization. A frequent performer at the Newport Jazz Festival, Jack DeJohnette featuring Made in Chicago will make its festival debut on Saturday, August 1. For more information on Made in Chicago, visit www.jackdejohnette.com.

The 2015 edition of America's first annual jazz festival will feature Chris Botti, Cassandra Wilson, Jamie Cullum, Snarky Puppy, Maria Schneider, Arturo Sandoval, Kenny Garrett, Billy Childs, Arturo O'Farrill, Fred Hersch, Cecile McLorin Salvant, Jon Batiste, Kneebody, Hiromi, Michel Camilo, Jon Faddis, James Carter, Christian McBride, Bill Frisell, Mike Stern/Bill Evans Band, Ambrose Akinmusire, Tom Harrell, Pat Martino, Matana Roberts, John Hollenbeck and the much-anticipated return of Dr. John, who had to bow out last year due to illness.

Tickets are available now at www.newportjazzfest.org and locally at the Newport Visitors Center, 23 America's Cup Avenue.

Natixis Global Asset Management (Better Thinking for Modern Markets®) is the Presenting Sponsor of the 2015 Newport Jazz Festival and sponsors programs that help enrich the lives of individuals and preserve the cultural experience for future generations through music. Additional support comes from Alex and Ani, LLC, which offers Eco-friendly, positive energy products that adorn the body, enlighten the mind, and empower the spirit, designed by Carolyn Rafaelian and made in America. Doris Duke Charitable Foundation, Ed Bradley Family Foundation, North Coast Brewing Co., NPR Music and WBGO Jazz 88.3FM. The Preferred Hotels of the Festival are Hotel Viking, Marriott Newport and The Newport Harbor Hotel and Marina. Media supporters are DownBeat and JazzTimes magazines. The Newport Festivals Foundation was founded by George Wein in 2010 to build and continue the legacies of the famed Newport Jazz Festival® and Newport Folk Festival®. Under the auspices of the Foundation, the Newport Jazz Festival presents performers who respect and honor jazz music traditions, and at the same time reflect the changes in today's musical trends. Through the establishment of partnerships with local high schools and colleges/universities, the Foundation will present programs to educate young people about jazz music as presented at the annual festivals. For more information, please visit www.newportfestivalsfoundation.org.

Audio Fidelity To Release Jazz Legend Grover Washington, Jr.'s Double-Grammy Award Winning Album “Winelight” on 5.1 Hybrid SACD

Jazz aficionados and high end audio enthusiasts alike are excited about the forthcoming release of jazz legend Grover Washington, Jr.'s “Winelight” album on 5.1 Hybrid SACD from Audio Fidelity in association with ETrain Records. With “Winelight”, Grover Washington, Jr. produced a magical collection of jazz and soul with a touch of pop. He set the standard for the smooth jazz genre - the band is tight, the solos terrific and the arrangements understated and tasteful. The 1980 double-Grammy award winning album was Washington's most successful album and remains one of the smooth jazz masterpieces.

Top to bottom “Winelight” is superb, masterfully recorded and perhaps best-known for the hit “Just the Two of Us” sung by Bill Withers, but it is the five instrumental tracks that find Grover Washington, Jr. (on soprano, alto, and tenor) really stretching out. He was joined by percussionist (and producer) Ralph MacDonald and also the incomparable Steve Gadd (drums) and Eric Gale (guitar).

Grover Washington, Jr., had long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. The music world lost a great musician when the late Grover Washington Jr. passed away in 1999. Fortunately, he left so many classic albums to cherish and “Winelight” is one of those time-honored works that must be included in any worthy music collection.

Tracks:

Winelight

Let It Flow (For “Dr. J”)

In the Name of Love

Take Me There

Just the Two of Us

Make Me a Memory (Sad Samba)

Album and Surround Sound Remix Produced by Ralph MacDonald

Surround Sound Remix Engineered & Mixed by Elliot Scheiner

Stereo mix mastered for this release by Kevin Gray at Cohearent Audio

Newport Jazz Festival® Adds Ms. Lisa Fischer and Grand Baton to 2015 Lineup

Celebrating music made in Chicago and one of the world's premier backup singers, George Wein has announced the addition Ms. Lisa Fischer and Grand Baton to the lineup of the 2015 Newport Jazz Festival® presented by Natixis Global Asset Management July 31 - August 2. "One of the joys of producing the Newport Jazz Festival since 1954 is the privilege of having been involved with just about every era and style of jazz.  

Lisa Fischer has made some stellar colleagues and friends over the years. While on tour with the Rolling Stones, Sting, Nine Inch Nails or Chris Botti, with whom she performed at the festival in 2010, her name is not on the marquee; but she says she "loves every minute" of watching her bandmates shine out front. At Newport on Saturday, August 1, she will make her festival debut as a leader, putting her own spin on some of the songs that she loves and has sung with her well-known employers. It's no wonder that she was selected to join many other leading session and backup singers, including Darlene Love, Merry Clayton, Judith Hill and Táta Vega, in Morgan Neville's Oscar-winning 2013 documentary Twenty Feet from Stardom. Fischer also has toured and recorded with Tina Turner, Chaka Khan, Beyoncé, Dionne Warwick, Dolly Parton, Bobby McFerrin, Alicia Keyes, Lou Reed, Aretha Franklin, John Scofield, George Benson and Laurie Anderson as well as with her long-time employer and mentor, the late Luther Vandross. Although she had not led her own band before Grand Baton, Lisa is remembered and respected for her 1991 Grammy-winning song, How Can I Ease the Pain, from her album "So Intense." 

For more information on Lisa Fischer, visit www.lisafischermusic.com.

The 2015 edition of America's first annual jazz festival will feature Chris Botti, Cassandra Wilson, Jamie Cullum, Snarky Puppy, Maria Schneider, Arturo Sandoval, Kenny Garrett, Billy Childs, Arturo O'Farrill, Fred Hersch, Cecile McLorin Salvant, Jon Batiste, Kneebody, Hiromi, Michel Camilo, Jon Faddis, James Carter, Christian McBride, Bill Frisell, Mike Stern/Bill Evans Band, Ambrose Akinmusire, Tom Harrell, Pat Martino, Matana Roberts, John Hollenbeck and the much-anticipated return of Dr. John, who had to bow out last year due to illness.

NEW RELEASES: JEAN-MICHEL PIC - WHAT IS THIS THING CALLED?; THE H2 BIG BAND - IT COULD HAPPEN; LAGE LUND - IDLEWILD

JEAN-MICHEL PIC - WHAT IS THIS THING CALLED?

Paris-born, New York City based pianist Jean-Michel Pilc explores this concept in depth on his new solo release, What Is This Thing Called? Under the most optimal conditions, Pilc recorded what amounts to unique themes and variations based on the much-revered Cole Porter chestnut, What Is This Thing Called Love? Instead of creating a tedious exercise in rehashing similar idea after similar idea, the recording presents a tremendous portrait of the vast musical language Pilc has developed over his three decades as a professional jazz musician.  Pilc has established himself as a respected composer, bandleader and sideman, as well as a formidable pianist, highly praised by his peers, and considered a major influence by many of his younger colleagues. His technique and taste have been heralded for many years. Pilc s gifts are strikingly apparent when they are heard in a solo performance. Listeners are lucky to have two previous examples of his solo work available, Follow Me (Dreyfus, 2004) and Essential (Motéma, 2011).  Pilc proposed a new solo release to Sunnyside, and contacted his friend and fellow pianist Dan Tepfer, who had recently released a solo recital that was recorded at Yamaha Artist Services in New York City. Pilc - already a Yamaha artist himself - reached out to Tepfer, who then helped to secure time for Pilc at the studio and the use of a wonderful Yamaha CFX piano for three days, and was in charge of recording and mastering the album. The studio provided a setting removed from distraction, as Pilc was able to come in when he wanted and record on his own. Initially, he recorded all sorts of pieces under no pressure. It was an ideal environment for an improviser. ~ Amazon

THE H2 BIG BAND - IT COULD HAPPEN

The H2 Big Band's latest recording is an exciting collection of originals and old and new standards, arranged by Dave Hanson and performed by an all-star Los Angeles studio band. Fronted by the Denver-based trumpeter Al Hood and pianist Dave Hanson, their featured guest on several numbers is the dynamic vocalist René Marie, along with her compositions, 'I Like You,' 'Autobiography,' and 'Black Lace Freudian Slip. ' This follow-up to the highly acclaimed 'You're It!' is another engaging musical encounter not to be missed! ~ Amazon

LAGE LUND - IDLEWILD

Along with label mates Mike Moreno and Adam Rogers, guitarist Lage Lund is one of the most distinctive guitarists on the current scene. His previous three Criss Cross dates have established his credentials as an up and coming talent of great promise. For his latest effort, he brings back to the fold his close associates Ben Street on bass and Bill Stewart on drums, both heard on Lund's previous sets, Foolhardy (CRC 1360) and Unlikely Stories (CRC 1321). The difference this time is that he forgoes the piano accompaniment for a bare bones trio approach that is quite refreshing and a further step forward. The mix includes a few originals and a nicely chosen selection of standards, including the iconic Bobby Hutcherson piece Isn't This My Sound Around Me. ~ Amazon

NEW RELEASES: HERBIE MANN – BIRD IN A CAGE; HORACE SILVER - 12 CLASSIC ALBUMS 1953 - 1962; EBERHARD WEBER - ENCORE

HERBIE MANN – BIRD IN A CAGE

Another example of Herbie Mann's quest for new playing environments leading him to follow another trend, in this case the disco music coming out of Germany in the mid-to-late seventies. Co-producer and arranger Sylvester Levay had been behind the dance-floor success of Silver Convention, including their big hit, "Fly, Robin, Fly," and was involved with the German electronic and techno genres. On Bird in a Silver Cage, he surrounds Mann with a string ensemble from the Munich Philharmonic Orchestra, provides an insistent disco beat, tacks on some inane background vocals and lets the flute master fly over top. This works fine on the title track and on "Birdwalk," a classic of the Mann repertoire of this era, but "Aria" is awful, and "The Piper" is a piece of generic disco in search of John Travolta and the spinning mirror ball. ~ Jim Newsom

HORACE SILVER - 12 CLASSIC ALBUMS 1953 - 1962

Horace Ward Martin Tavares Silva, born September 2, 1928, was an American jazz pianist and composer. Influenced by a wide range of musical styles, notably gospel, African music, and Latin American, Silver also ventured into the soul jazz genre.Silver's big break came in 1950 backing saxophonist Stan Getz at The Sundown Club in Hartford, Connecticut. It was with Getz that Silver made his recording debut, for the 1950 Stan Getz Quartet album. Silver moved to New York City in 1951, where he worked at the jazz club Birdland on Monday nights, when different musicians would come together and informally jam. During that year he met the executives of the Blue Note label while working as a sideman. He eventually signed with them, remaining there until 1980. In New York, he co-founded the Jazz Messengers, a cooperatively-run group with Art Blakey. In 1952 and 1953 Silver recorded three sessions with his own trio, featuring Blakey on drums and Gene Ramey, Curly Russell and Percy Heath on bass. Silver was also a member of the Miles Davis All Stars, recording the Walkin' album in 1954. The album Horace Silver and the Jazz Messengers was recorded on November 13, 1954 and issued in 1955. It was regarded as a milestone in the development of hard bop. It featured the mid-tempo blues "Doodlin'" and Silver's first hit "The Preacher". From 1956 onwards, Silver recorded exclusively for Blue Note, eventually becoming close to label boss Alfred Lion, who allowed him greater input on aspects of album production than was usual at the time. During his years with Blue Note, Silver helped to create the rhythmically forceful branch of jazz known as "hard bop", which combined elements of rhythm-and-blues and gospel music with jazz. This 6 CD compilation features all of Horace Silver's recorded output between the years of 1952 and 1962, the first, and many would say most productive and challenging, decade of this masterful composer, performer and musician's career. ~ Amazon

EBERHARD WEBER - ENCORE

Encore is a companion volume to Résumé, the widely-praised solo album issued in 2011. Eberhard Weber returns once more to the many live recordings of his tenure with the Jan Garbarek Group, isolating his bass solos and reworking them into new pieces with the addition of his own keyboard parts. I became what you might call a composer of New Music, says Weber, with the proviso that I make use of old things. This season s special guest is veteran Dutch flugelhorn player Ack van Rooyen. Van Rooyen, who played on Weber s ECM leader date, The Colours of Chloë more than 40 years ago now adds his own subtle colors to Weber s contemporary sound-montages. The bass solos were recorded between 1990 and 2007, in thirteen European cities, from Edinburgh to Seville, and the music was mixed and edited at Studios La Buissonne in the South of France in November 2014. ~ Amazon

NEW RELEASES: BETTYE LAVETTE – WORTHY; MATS GUSTAFSSON & PAAL NILSSEN - LOVE: I LOVE IT WHEN YOU SNORE; CURTIS FULLER - THE OPENER

BETTYE LAVETTE – WORTHY

Some of best work in years from resurgent soul legend Bettye Lavette – with a wise, gritty edge touched by classic southern soul and rawer, though still quite elegant bluesy influences – and giving a diverse range of material her distinct personal stamp! As wonderful as Bettye's voice is, she's also done a pretty wonderful job in her post millenium years of showing what a strong interpreter of a wide range of songwriters she is. On Worthy, she covers Dylan, Jagger/Richards, Lennon/McCartney and others, and makes each tune her own. She's working again with producer Joe Henry, who helmed the equally excellent I've Got My Own Hell To Raise nearly a decade earlier, and the titles include "Unbelievable", "When I Was A Young Girl", "Bless Us All" "Stop", "Undamned", "Just Between You And Me And The Wall, You're A Fool", "Where A Life Goes", "Step Away", "Wait", "Worthy" and more.  ~ Dusty Groove

MATS GUSTAFSSON & PAAL NILSSEN - LOVE: I LOVE IT WHEN YOU SNORE

Spacious sounds from reedman Mats Gustafsson and drummer Paal Nilssen Love – a record that still has the bursts of intensity you'd expect from Paal, but which also leaves more room for the creative sonic textures that we love so much from Mats! Gustafsson and Nilssen-Love can sometimes come on in this bombastic way – but here, they space things out a bit more – and go for this style that's often quite fast, almost frenetic – yet never totally full-on too, especially with the drums – which often sound like a single drum instead of the whole kit at once – which balances out the saxophone sounds perfectly! Titles include "I Love It", "Come Lie Closer", "Face Make", "Shake Off", and "When You Snore" – and the package also features a bonus 45 "And The Way It Moves Your Splatter (parts 1 & 2)". ~ Dusty Groove

CURTIS FULLER - THE OPENER

Curtis Fuller was one of the premier trombonists in 1960s and `70s global hard-bop. Before that, however, he was an import from Detroit--a promising musician rising in the New York scene. Recorded in 1957, THE OPENER was Fuller's debut, wherein he was backed by a mix of big names (Paul Chambers from Miles Davis's band, drummer Art Taylor) and fellow up-and-comers like soul pianist Bobby Timmons and saxophonist Hank Mobley. Fuller's fiery, brassy trombone mixes well with the tasty, soft-centered tenor of Hank Mobley and the brisk, earthy swing of Timmons, Chambers, and Taylor. ~ CD Universe