Internationally Renowned Pianist, Composer and Bandleader Lee Shaw Dies at 89

Shaw studied with Oscar Peterson, taught piano to John Medeski and worked with Dexter Gordon, Thad Jones, Chico Hamilton, Pepper Adams, Zoot Sims, Al Cohn and many others.

Internationally acclaimed pianist, composer, and bandleader Lee Shaw passed away on Sunday, October 25 in Albany, NY at the age of 89. Shaw — who studied with Oscar Peterson, taught piano to John Medeski, and worked with countless jazz luminaries including Dexter Gordon, Thad Jones, Chico Hamilton, Pepper Adams, Zoot Sims, Al Cohn, Richard Davis, Slam Stewart, Major Holly, and Eddie Jones — was one of jazz’s unsung heroines whose late-career resurgence began in 2001 when she began performing with drummer Jeff “Siege” Siegel and bassist Rich Syracuse. Scott Yanow of Jazziz described Shaw’s playing as “lyrical and sophisticated,” and stated of the trio: “Interplay between the musicians recalls the Bill Evans Trio in spots, but Shaw’s chord voicings are her own and she does not sound like any of her predecessors.”

Until the end of her life Lee continued to perform in clubs, nursing homes and for her fellow residents of the Eddy Memorial Geriatric Center where she lived for her final months. Shaw practiced on an almost daily schedule until there were no more notes left to play. A funeral observance later this week will be private. Siegel and Syracuse hope to organize a memorial concert and celebration in Shaw's honor in the coming months.

“Lee Shaw personified love and beauty in every way,” said Jeff “Siege” Siegel. “Her compositions and lyrical, swinging piano playing were direct reflections of the beautiful person that Lee was inside and out.  Lee was a role model not only for women, but for any person seeking the life worth living.  Her grace, humility, and concern for others will never be forgotten.”

“Lee Shaw was one of the true masters of improvised music,” says Rich Syracuse. “Her vast knowledge of the repertoire, the history, the soul of the music was inspiring and a lesson in what can be important to yourself if you are lucky to find yourself in the middle of it.”

Born in Ada, Oklahoma in 1926, Lee Shaw learned the now iconic “American Songbook” tunes when they were new. At college in Chicago she studied classical piano, but the lure of jazz was overwhelming, and soon she was playing in clubs throughout the city. It was there that she met drummer Stan Shaw, a New York native whom she later married. They formed a piano trio and eventually moved to NYC, where they played at Birdland and other top venues. Bandleaders such as Lionel Hampton asked her to join their groups, but she turned down these offers in order to focus on the trio with her husband. After moving to the Albany area, where she lived for the last five decades, they worked with all the first-call musicians who came through town. After Stan’s death in 2001, Shaw began working with Syracuse and Siegel. These two musicians have a singular devotion to Shaw, and it is partly through their efforts that the myriad talents of this jazz heroine began to earn the recognition she deserved.

The trio released seven highly acclaimed recordings including the 2008 CD+DVD Lee Shaw Trio: Live in Graz, 2009’s Blossom, 2010’s “Lee Shaw Trio Live at Art Gallery Reutlingen” and 2011’s John Medeski & Lee Shaw Together Again on the Artists Recording Collective label (ARC).  They performed internationally in Austria, Germany and Switzerland, and nationally at the Kennedy Center, Wall Street Jazz Festival, Albany Jazz Festival, Lake George Jazz Festival, SUNY Albany, Caspe Center in Des Moines, IA, Oklahoma Central University, East Central University, University of Arts and Sciences and Filene Center at Skidmore College, among others.

In 1993, Shaw was inducted into the Oklahoma Jazz Hall of Fame, joining Dizzy Gillespie, Chet Baker, Charlie Christian, Barney Kessel, Cecil McBee, Ruth Brown and a host of other jazz heavyweights. In 2008, Shaw was honored by her alma mater, the University of Art and Science in Chickasha, OK (formerly the Oklahoma College for Women), as one of the school’s Ten Highly Successful Women Graduates. In 1999 she was also inducted into the school’s Alumni Hall of Fame. In 2002 The College of St. Rose in Albany, NY, where she’s been on the faculty since 1983, awarded her an Honorary Doctorate. The success of the 2007 concert at the Art Gallery (World of Basses) in Reutlingen, Germany led the gallery to plan a week-long Lee Shaw Jazz Festival which took place in September 2008, and it was so successful that they asked her return in May 2009 to record and perform. 

Shaw appeared on Marian McPartland's Piano Jazz program, and NPR hailed her, along with McPartland and the late Mary Lou Williams, as “one of jazz's premier pianists.” Jeff Dayton-Johnson of All About Jazz states: “Bold and strong, her playing lavishes attention on the lower and middle ranges of the keyboard, and – metaphorically – on the architectural and emotional resources of the compositions. Let’s hope that Shaw’s second act is a long one: between the growing Shaw songbook and the hundreds of songs by others that the pianist has played hundreds of times, she quite clearly has a lot to communicate to a wider audience.” 

Tenor saxophonist Noah Preminger Releases his Fourth Album - Pivot: Live at the 55 Bar, Featuring a New Band and a Free-Minded, Hard-Swinging Vision of Age-Old Blues

When Noah Preminger self-releases his fourth album - Pivot: Live at the 55 Bar - on October 6, 2015, it won't be jazz business as usual. The tenor saxophonist is presenting a vision of music as he hears it now, without regard to pleasing a label or management, without considering someone's by-the-numbers notions of how things are done. Pivot: Live at the 55 Bar, recorded in the heat of the moment at the Greenwich Village nightspot by Jimmy Katz, finds Preminger exploring both his obsession with age-old Delta blues and his desire for a more fluid, intense way of playing jazz. Preminger and his new kindred-spirit quartet - with Jason Palmer (trumpet), Kim Cass (double-bass) and Ian Froman (drums) - were captured performing two thrilling half-hour rhapsodies based on songs by one of the saxophonist's favorite blues singers, Bukka White (1909-77). They re-imagine his soul-deep "Parchman Farm Blues" and "Fixin' to Die Blues" by way of Ornette Coleman's Free Jazz, Sonny Rollins' wide-open Our Man in Jazz and the John Coltrane Quartet's last, envelope-pushing flights, all the while transmuting past into present for a 21st-century vision of free-minded but hard-swinging jazz.

About interpreting pre-war material by a Mississippi bluesman, however abstractly, Preminger says: "Over the past few years, virtually the only music I've listened to has been Delta blues - I've been obsessed with it. I love all the honesty and emotion in the music, the soulfulness of the phrasing. Just the sound of Bukka White's voice moves me. Those guys like him, they really meant what they were saying - and that is rare in this worldŠ My goal for this band live is to be direct and hard-hitting in that spirit. I want us to be a force the second we hit the stage, that we're planting our feet and telling our story. At the 55 Bar, we were probably too loud for the people in the room, but I wanted this intense, overloaded sound on the record. And that's the way Jimmy Katz recorded it: When you put it on at home, it feels like the band is right in the room in front of you.

"Jason Palmer is unleashed on this record - the way he plays in this band is unlike anything else I've heard him do on record," Preminger adds. "He has the most amazing technique, along with a beautiful tone and an incredible sense of harmony and rhythmic freedom. He's really the complete improviser - a badass dude, as well as a sweetheart of a guy. Kim Cass and I went to NEC together. He has this warm, crisp sound. He's a great texturalist, but you can also hear each note he plays - rare among bass players. Ian Froman has this incredible energy and intensity, driving things. The band is devoted to a certain ideal of playing - swinging with harmonic freedom over long, extended, open forms, but with that blues phrasing in our minds."

About the live sessions, album engineer Jimmy Katz says: "I hope this is a breakthrough record for Noah. He is refining his artistic vision and playing better every time you hear him. You can feel him stretching out, really reaching. The band was high energy and intense throughout the nights we recorded, using Bukka White's blues songs as jumping off points for modern improvisation. The tracks wound up being 32 minutes apiece. Noah and Jason developed intense melodic improvisations without repeating themselves. They did this with no rehearsal, so it was completely spontaneous and fresh. With the fire of Ian and Kim as a rhythm section, Jason and Noah are able to take flight. Engineering in an intimate live environment when a band plays this hard presents technical challenges, but I aimed to capture the raw energy and feeling of the music."

Regarding the "Pivot" part of the album title, Preminger explains that it comes from the concept of "chordal pivoting," which enables the band to play extended improvisations without unduly repeating themselves. "With chordal pivoting and voice leading, it makes sure that the improvisation isn't random," he says. "There's an in-built tension, as well as fluidity of movement. The rhythm is linked to 4/4, but there's no real meter, even though it's swinging. The concept of chordal pivoting enables the music to unfurl as you create melodies off the root chords, giving you the room to improvise without repeating yourself harmonically. Vintage Ornette is obviously a huge influence on the sound of the band, but what we're doing is a bit different. The impetus for our concept really came from recent discussions I had with guitarist Joe Morris. He gave me some theoretical inspiration for finding a way as an improviser to tell your story however long you need to, while swinging intensely."

Pivot: Live at the 55 Bar will be available in various formats via CD Baby and other outlets, as well as www.noahpreminger.com. Preminger already has plans to record his quartet live again when they play at Small's in New York in October, even as the new album is just released. He says: "I really want to document this band and the way we play - I want to bottle the lightning when I can."

Pivot: Live at the 55 Bar is Noah Preminger's follow-up to Haymaker (Palmetto, 2013), which featured the saxophonist with guitarist Ben Monder, double-bassist Matt Pavolka and drummer Colin Stranahan in mostly original material (plus a Dave Matthews cover and a tune from Annie for good measure). With Haymaker and his previous albums as a leader - Before the Rain (Palmetto, 2011) and Dry Bridge Road (Nowt, 2008) - Preminger collected praise far and wide. Jazz Review lauded the saxophonist's "incisive musical instincts and distinctive, personal sound." In The New York Times, Ben Ratliff said: "Mr. Preminger designs a different kind of sound for each note, an individual destiny and story," while Nate Chinen chimed in, too, lauding his "darkly shadedŠ warmly expressive" tone and his "fluency, prudence and control." The Boston Globe called Preminger's music "impressive, challenging and beautiful," as JazzTimes extolled his "individual conception," DownBeat his "creativity and passion," and Jazzwise his "integrity, authority and gravitas." All heady words for a musician still just 29 years old.

Preminger grew up in Canton, Connecticut. While still in high school, he studied with sax luminary Dave Liebman. His debut album - Dry Bridge Road, released just after he graduated from the New England Conservatory of Music - is a sextet session named Debut of the Year in the Village Voice Critics Poll, along with making Top 10 Albums of the Year lists in JazzTimes, Stereophile and The Nation.  Preminger's second album as a leader, Before the Rain, is an essay in atmospheric romance that blends virtues both modern and old school. Reviewing that album, All About Jazz said: "Sensitivity and an ear for aural sophistication are the hallmarks of tenor saxophonist Noah Preminger." Along with playing in bands led by Fred Hersch and Cecil McBee, Preminger has recorded three albums for Brooklyn Jazz Underground Records as part of the Rob Garcia 4, the drummer-leader's quartet with pianist Dan Tepfer and various bassists. Recorded in 2010 but released in 2014, Background Music (Fresh Sound New Talent) featured Preminger as part of a cooperative trio with Garcia and bassist Masa Kamaguchi that ranged from Ornette Coleman to Keith Jarrett to Otis Redding. Earlier this year, Preminger recorded a ballads album for the vinyl-only label Newvelle Records, featuring Ben Monder, John Patitucci and Billy Hart, to be released in early 2016.

Preminger has performed on stages from North America to Europe and Australia, and he has played with the likes of Billy Hart, Dave Holland, Dave Douglas, Victor Lewis, John and Bucky Pizzarelli, Billy Drummond, George Cables, Roscoe Mitchell, Dr. Eddie Henderson and Dave Liebman. The Boston Globe said about Preminger: "He plays with not just chops and composure, but a distinct voice: His approach privileges mood and reflectiveness, favoring weaving lines that can be complex but are also concise, without a trace of over-playing or bravado." And the Boston Phoenix declared: "Preminger's sound is beholden to no one. That makes him continually unpredictable and continually satisfying."

www.noahpreminger.com

LINES OF COLOR: Gil Evans Project Live at Jazz Standard

LINES OF COLOR: Live at Jazz Standard, the sophomore album from composer and producer Ryan Truesdell's award-winning Gil Evans Project, will be released on March 17, 2015 on the newly-formed Blue Note/ArtistShare label.  This highly anticipated release follows Truesdell's debut CD CENTENNIAL: Newly Discovered Works of Gil Evans, which won a posthumous Grammy Award for Gil Evans and the New York Times called "an extraordinary album."  LINES OF COLOR - the next step in Truesdell's endeavor to reveal hidden layers of Gil Evans' musical legacy - features some of New York's finest musicians including Lewis Nash, Donny McCaslin, Steve Wilson, Ryan Keberle, Marshall Gilkes, and Scott Robinson. The CD was recorded by Grammy award-winning engineer James Farber with the live engineering team of Tyler McDiarmid and Geoff Countryman.

LINES OF COLOR was recorded during the Gil Evans Project's annual week-long engagement at Jazz Standard in New York City from May 13-18, 2014. It consists of six newly discovered, never before recorded works (including "Avalon Town," "Can't We Talk It Over," and "Just One Of Those Things"), two arrangements with previously unheard sections ("Davenport Blues" and "Sunday Drivin'"), and three of Evans' well-known charts from his classic albums ("Time of the Barracudas," "Concorde," and "Greensleeves"). Throughout the engagement, the Gil Evans Project presented nearly fifty of Evans' works, most of which were performed live for the first time. Truesdell decided to record live for the Gil Evans Project's second album to honor the essence of Evans' music that craves live performance. "It allows Gil's colors and the overtones of the music to sound and blend in the room in a way that you can't get from a close-mic studio recording," says Truesdell. "Live recording captures this intangible energy that's created when music is performed for an audience. It gives listeners a sense of the magic that happens when the notes are lifted off the page by these amazing musicians."

The eleven selections that make up LINES OF COLOR represent everything you hope for in a live recording: a beautiful sound, a lively, involved audience, and precise and inspired performances of remarkable music. Of this collection, six of the charts were originally written during Evans' tenure with the Claude Thornhill orchestra, including never-before-heard arrangements of "How High the Moon," "Avalon Town," and a rare Evans original composition, "Gypsy Jump," written in 1942. A fun tune with an unusual 36-bar form, "Gypsy Jump" seems to show a slight influence from the "Arabian Dance" from Tchaikovsky's Nutcracker, also arranged by Evans for Thornhill during this time. "Can't We Talk It Over," a gorgeous ballad from the Thornhill Orchestra's late 1940s repertoire, illustrates Evans' strong bebop influences as evidenced by a direct musical quote from a Charlie Parker solo. It is a wonderful feature for the Gil Evans Project's resident vocalist, Wendy Gilles. Bruce Lundvall, Chairman Emeritus of Blue Note Records said, "Wendy has an amazing voice which is a perfect fit for this music."

Two charts on the record represent the middle of Evans' career; one of which he and his band never recorded, and only performed once. In the spring of 1959, Evans and his orchestra played the famous Apollo Theater in Harlem, sharing the billing with Dinah Washington and Thelonious Monk. For this concert, Evans chose to revisit a few charts from his past, including Cole Porter's "Just One of Those Things," which was based on the arrangement Evans did for his first album as a leader in 1957, Gil Evans + 10. Ever the reviser, Evans took the opportunity to do a bit of rearranging as well as re-orchestrating the chart to fit the instrumentation for the concert. The Gil Evans Project's first-time recording of this great Evans arrangement features incredible solos from Steve Wilson on soprano, trombonist Ryan Keberle, and pianist Frank Kimbrough. The other tune from this era is Evans' great adaptation of Bix Beiderbecke's "Davenport Blues," originally recorded on the 1959 album, Great Jazz Standards. "I was ecstatic when I discovered Gil's score to "Davenport," says Truesdell. "There were four pages in the middle of the score that were omitted from the original version. I'm thrilled we were able to record the entire chart as Gil first conceived it." Rather than imitating trumpet soloist Johnny Coles' definitive performance on Evans' Great Jazz Standards album, Truesdell decided to take a slightly different approach. The slower tempo and Lewis Nash's heavy, slightly dirty swing feel emphasizes the bluesy elements and perfectly articulates Gil's hard-swinging rhythms. "I was blown away by Mat Jodrell's performance; he poured every bit of his soul and personality into the solo and really made it his own," says Truesdell.

Rounding out LINES OF COLOR is a collection of tunes from Evans' output in the mid-1960s, including the Gil Evans Project's dynamic renderings of "Time of the Barracudas," and "Concorde," which both first appeared on the Individualism of Gil Evans recording. "Greensleeves," originally arranged for guitarist Kenny Burrell, receives a fresh take from trombonist Marshall Gilkes, whose unparalleled tone and inventive melodicism uplift this familiar tune and Gil's singular writing.

With LINES OF COLOR, Truesdell has solidified his reputation as one of the foremost Gil Evans scholars, while leading a band of industry giants in an historic and invaluable undertaking. Picking up where the Gil Evans Project's 2013 Grammy award-nominated album CENTENNIAL: Newly Discovered Works of Gil Evans left off, LINES OF COLOR is an exciting glimpse into how Truesdell and his critically acclaimed band are fulfilling the most crucial aspect of his vision: to bring Evans' music to new ears, and to extend his legacy into the 21st century.

THE LEGENDARY COUNT BASIE ORCHESTRA CELEBRATES 80 YEARS WITH THEIR FIRST CHRISTMAS RECORDING

A Very Swingin’ Basie Christmas! includes 11 holiday tracks featuring special guests Johnny Mathis, Ledisi, Ellis Marsalis, and Carmen Bradford

Coinciding with celebrating its 80th anniversary, the legendary Count Basie Orchestra continues to make music history with the November 6th, 2015 release of A Very Swingin’ Basie Christmas! on Concord Jazz. The first full-length, yuletide album in the expansive Basie discography, the album boasts classic holiday songs, rendered in quintessential Basie style, under the masterful direction of longtime Basie trumpeter Scotty Barnhart and produced by seven-time Grammy winner and former Basie drummer Gregg Field.

The disc also showcases such guest artists as legendary singer Johnny Mathis, award-winning R&B singer Ledisi, veteran jazz pianist Ellis Marsalis, and iconic tenor saxophonist Plas Johnson (famous for being the soloist on Henry Mancini’s “The Pink Panther Theme”). The album also represents the return of the multi-Grammy winning Basie composer-arranger Sammy Nestico and the 2015 multi-Grammy winning arranger Gordon Goodwin. The results are blues-soaked, joy-filled holiday treats that will delight and warm the hearts of Basie die-hard fans and new fans alike!

“I think [Count Basie] would be proud if he heard this record,” says Barnhart, who conceived the idea of focusing on Christmas music. When asked how he and the orchestra were able to channel the essence of Basie into the repertoire, Barnhart explains, “We have 80 years of history on our side.”

A self-described Basie fanatic since the age of nine, Barnhart says that through vigorous study of Basie’s music and being a member of the orchestra for 22 years, he knows the ins and outs of the Count’s signature sound. “The Basie orchestra has always had a very distinct way of sounding and a way of playing based around the blues. It’s all about the feeling of the blues,” Barnhart says.

The orchestra brings Barnhart’s point home at the very beginning with the swaggering take of “Jingle Bells,” featuring a flinty trumpet solo from Bruce Harris and an arrangement from Nestico, who returns to the band after 35 years.

Ellis Marsalis initiates “Let It Snow,” in a winning rendition that slowly gains momentum thanks to the superb rhythm section of drummer Clayton Cameron, bassist Marcus McClaurine, and guitarist Will Matthews. The song’s arranger, Kris Johnson also delivers a jovial trumpet solo.

The treatment of “It’s the Holiday Season” becomes the perfect vehicle for Mathis’ lustrous tenor voice as it glides across Goodwin’s strutting chart. “When we had the first meeting to determine who would we wanted as special guests, I kept thinking Johnny Mathis,” Barnhart recalls, “As soon as the first day of the Christmas season starts, you hear his voice. I knew we had to get him.” Barnhart handles the arrangement for the classic, “Silent Night,” on which alto saxophonist Marshall McDonald articulates the hymnal melody, while the orchestra envelops him with dusky horn timbres. Another Nestico arrangement occurs on the transfixing reading of “Good ‘Swing’ Wenceslas,” which showcases Llew Matthews’ crisp, economical approach at the piano and Doug Lawrence’s sultry tenor saxophone solo.

Ledisi, the dynamic R&B singer and Billboard #1 Urban Contemporary Artist of 2014  –renowned for her performance on the Oscar and Grammy-awarding winning song “Glory” from the critically acclaimed movie, Selma – lights up Goodwin’s sumptuous arrangement of “The Christmas Song.”  The sensuous tone of Doug Lawrence’s tenor saxophone returns for yet another remarkable aside.

“Little Drummer Boy” stomps to a quintessential Kansas City swing via Barnhart’s vivacious arrangement, which becomes a platform for succinct solos from pianist Matthews, baritone saxophonist Jay Brandford, piccolo player Cleave Guyton, Jr., drummer Cameron, and trumpeters Endre Rice and the arranger. Next, the brass heavy Goodwin-arranged version of “Sleigh Ride” shimmers with sanguine solos from bass trombonist Wendell Kelly, baritone saxophonist Jay Brandford, and trumpeter Barnhart.

The Count Basie Orchestra’s long-time vocalist Carmen Bradford invigorates Frank Foster’s –another Basie alumni – magical arrangement of “Have Yourself a Merry Little Christmas.” To close the album admirably, Barnhart takes center stage on his sparkling arrangement of “Winter Wonderland,” on which he demonstrates his buttery tone and a knack for crafting melodically savvy improvisations.

As an encore, the orchestra sends heartfelt thoughts with the classic “I’ll Be Home for Christmas,” only this time in a joy filled and swinging arrangement by Barnhart, featuring Ellis Marsalis on piano and tenor saxophonist Plas Johnson, with Marsalis concluding the album with Basie’s signature “plink-plink-plink” piano ending.

Leading a formidable and preeminent jazz institution as the Count Basie Orchestra is no small feat. But when Barnhart describes his ascension from being a band member to music director, he describes it as destiny. “I’m supposed to be doing what I’m doing,” he enthuses before revealing that he first started listening to Basie’s music before he was even a teenager. When he was a student at Gordon High School in Decatur, Georgia, his band director encouraged him to see the Basie Orchestra in performance, which became a personal revelation for the impressionable music hopeful.

Barnhart continued his formal music studies at Florida A&M University. He also wrote The World of Jazz Trumpet – A Comprehensive History and Practical Philosophy and is a jazz professor at Florida State University.

When asked what it takes to be a member of the Basie Orchestra, Barnhart cites two essential qualities: intuitive musicianship and professional temperament.  “You have to listen and let the music tell you what to play. You can’t come in with any preconceived notions. You have to listen to what the band’s doing and figure out how to play from that,” he explains. “Secondly, you have to be a nice human being. No one’s perfect, but Count Basie was a very nice man. You have to be a very even-tempered person as much as you can, and someone who thinks before they talk or act. Basie always handled things in a very professional way, no matter what happened.”

SHAWN MULLINS’ NEW ALBUM, MY STUPID HEART, AVAILABLE OCTOBER 23

Grammy- nominated singer-songwriter Shawn Mullins is set to drop his new album, My Stupid Heart, October 23rd on Rounder Sugar Hill. Rolling Stone Country exclusively announced the release last week. My Stupid Heart is available for pre-order now.

Produced by Lari White (Toby Keith), and recorded at The Holler in Nashville, Tenn, My Stupid Heart features appearances by Michael Rhodes (bass), Gerry Hansen (drums, percussion), Jerry McPherson (electric guitar), Guthrie Trapp (mandolin, bazouki) and Dan Dugmore (steel guitar.) Mullins was also joined by Chuck Cannon (acoustic guitar, vocals) and Max Gomez (vocals), who helped to co-write several of the songs this release.

My Stupid Heart addresses some of the perceived relationship failures Mullins was experiencing when he wrote this album. The result is Mullins’ most revealing record yet. A collection of 10 deeply personal songs, it explores themes of love and loss. Mullins says, “This record came out of all that; all the feelings, all the heartache.”

Throughout the album, Mullins deftly balances songs of suffering — from the title tune and “Go and Fall,” to the powerful, yet subtle social commentary of “Ferguson” — with songs such as “Roll On By,” which strikes an upbeat note of hope.

There’s humor, too. “It All Comes Down to Love” targets preachers, politicians, the NRA, Wall Street, and street dealers; and “Pre-Apocalyptic Blues” hilariously lampoons the doom-mongers arming themselves against Armageddon. The Levon Helm-influenced “Never Gonna Let Her Go” reveals the thrills of riding that relationship roller-coaster, and even the sigh of resignation that is “The Great Unknown” contains lines so striking, you can’t help but smile at their brilliance and depth.

The theme of this record, he says, is summed up most succinctly by another song title: “It All Comes Down to Love.” In that respect, Mullins says, it’s not all that different from most of his discography, including his last release, 2010’s Light You Up. Mullins has garnered acclaim and amassed a devout fan base with his previous releases, including  1998’s Soul’s Core, the album that shot him to fame on the strength of its Grammy-nominated No. 1 hit, “Lullaby,” and 2006’s 9th Ward Pickin’ Parlor, which contained his AAA/Americana No. 1, “Beautiful Wreck.”  

A tour in support of My Stupid Heart will take place this fall, and will include stops in Nashville, Chicago and Atlanta.  Mullins has also confirmed appearances at the SOWE Music Festival and Red River Folk Festival in September.

Track listing:

1. The Great Unknown

2. It All Comes Down to Love

3. Ferguson

4. My Stupid Heart

5. Roll On By

6. Go and Fall

7. Gambler's Heart

8. Never Gonna Let Her Go

9. Sunshine

10. Pre-Apocalyptic Blues 

Tour Dates:

9/19/2015 / SOWE Music Festival  Mamaroneck, NY

9/25/2015 / Red River Folk Festival   Red River, NM

10/2/2015 / Icicle Creek Center for the Arts Leavenworth, WA

10/3/2015 / Revolution Hall  Portland, OR

10/4/2015 / The Triple Door   Seattle, WA

10/20/2015 / Duck Room at Blueberry Hill   St Louis, MO

10/21/2015 / City Winery  Chicago, IL

10/22/2015 / SPACE   Evanston, IL

10/23/2015 / Seven Steps Up  Spring Lake, MI

10/24/2015 / Indy Acoustic Cafe Series   Indianapolis, IN

10/25/2015 / The Listening Room  Port Clinton, OH

10/27/2015 / The Southgate House Revival   Newport, KY

10/28/2015 / Headliners Music Hall  Louisville, KY

10/29/2015 / The Grey Eagle  Asheville, NC

10/30/2015 / City Winery  Nashville, TN

11/28/2015 / Variety Playhouse   Atlanta, GA

 www.shawnmullins.com | www.facebook.com/ShawnMullinsMusic

NEW RELEASES: LEILA MARIA - CANTA BILLIE HOLIDAY IN RIO; GORAN KAJFES SUBTOPIC ARKESTRA - THE REASON WHY VOL. 2; SOIL & PIMP SESSIONS - A NIGHT IN SOUTH BLUE MOUNTAIN

LEILA MARIA - CANTA BILLIE HOLIDAY IN RIO

Not the usual Billie Holiday tribute set – given the fresh approach that Leila Maria brings to her vocals, and the way that the album's mix of arrangers really change things up! The album's definitely cast in Billie's legacy, but not slavishly so – and instead has this cool, contemporary vibe that mixes some Brazilian jazz currents in with Maria's soulful readings of the lyrics – amidst a shifting set of backdrops handled by keyboardists Cristovao Bastos, Delia Fischer, Paulo Midosi, Fernando Costa, and others. Definitely a jazz vocal album, but one with a spirit all its own – and titles that include "Easy Living", "Good Morning Heartache", "Comes Love", "Swing Brother Swing", "Same Old Story", "You Go To My Head", and "God Bless The Child".  ~ Dusty Groove

GORAN KAJFES SUBTOPIC ARKESTRA - THE REASON WHY VOL. 2

A stunner of a record from trumpeter Goran Kajfes – an artist we've loved for years, but who really blows us away even more with this set! The first album with his Subtropic Arkestra was a real revelation – a bold step into funkier, more globally-conscious territory – but this second effort is even more powerful and righteous, and this amazing album that ties together so many different strands of music! Kajfes' vision is broad enough to encompass roots from Africa, the Middle East, and even some of the 70s cross-cultural experiments on the European scene – as well as the collaborative efforts of larger ensembles like the Sun Ra Arkestra or Fela's Afrika 70s – both of whom would be a good comparison tot he lively energy of this great group. Players include Jonas Kullhammar and Per Rusktrask Johansson on reeds, Jesper Nordenstrom on organ and keyboards, and a number of other key underground players on the Scandinavian scene – and the record features versions of work by Milton Nascimento, Okay Temiz, Francis Bebey, and even Grizzly Bear – but all given a unique twist by the group. Tremendous stuff – with titles that include "Tamzara", "A Lua Girou", "New Track", "Dokuz Seki/Esmerim", and "Yet Again". ~ Dusty Groove

SOIL & PIMP SESSIONS - A NIGHT IN SOUTH BLUE MOUNTAIN

Storming sounds from this ultra-cool combo – and a record that's maybe even more jazz-based than some of their other recent efforts! The date's a live one, and has the group stepping out with tremendous dexterity right from the start – those cascading lines that make for a rock-solid rhythmic core, while the tenor and trumpet send searing solos over the top – solos that feel, to us, a lot more developed than in their earlier material – and we already even loved those records to death! The tenor gets some especially nice moments – and really opens up with solo passages that sometimes even start off a tune – with a soulful depth that's sure to win over anyone who's ever doubted their jazz chops. Soil & Pimp are a combo we've been loving for years – and this album makes us fall in love with them all over again! Includes great remakes of "Montara", "Una Mas", "Mr Clean", and "Spartacus Love Theme" – plus originals "Suffocation" and "First Lady". (SHM-CD pressing!)  ~ Dusty Groove

NEW RELEASES: BILLY DEE WILLIAMS - LET'S MISBEHAVE; BOSQ - CELESTIAL STRUT; GILSON PERANZZETTA / AMOY RIBAS - REPERCUTINDO

BILLY DEE WILLIAMS - LET'S MISBEHAVE

An unusual early vocal album from later film star Billy Dee Williams – recorded in the early 60s for Prestige Records, with top shelf help from pianist/arranger George Cory, who leads a small combo with Frank Socolow on tenor and Peter Ind on bass! The style is relatively laidback – never too hard-swinging, and more in an intimate small club sort of vibe – the sort of music that Billy might have sung uptown, when not working on the stage – with an easygoing performance that might hint at his strengths as an actor more than a singer. Titles include "House Of Flowers", "Red Sun Blues", "Taste Of Honey", "Life's A Holiday", "Don't Cry", and "Warm Tonight". ~ Dusty Groove

BOSQ - CELESTIAL STRUT

Bosq returns with even more brilliantly soulful sounds than on the debut – it's one of the most diverse dancefloor ready set of grooves on the Ubiquity label in years! Bosq's love for classic percussion heavy jams from across the globe is on full display – from Afro Soul, to Latin, to Brazilian and stateside styles – but the sound is ultimately very fresh, particularly in the way he blends so many influences into a distinctive whole. Bosq himself plays piano, Rhodes, organ, synth, bass and percussion – and the impressive guest roster of vocalists and instrumentalists includes funky soul diva Nicole Willis, Kaleta, Jimmy Riley, Angeline Morrison and more! Titles include "Cumbia En Bahia", "Bounce And Pull Up" with Evan Laflamme, ""Ella" feat Jesus Pagan, "Bad For Me" with Nicole Willis, "Change" feat Jimmy Riley, Take Over", "Pap The Price" and "Liars & Thieves Dub" with Kaleta, "Laughs On Me" with Angeline Morrison and the hard grooving title track. ~ Dusty Groove

GILSON PERANZZETTA / AMOY RIBAS - REPERCUTINDO

A hell of a wonderful record from legendary Brazilian pianist Gilson Peranzzetta – an artist we've loved since his crucial 70s MPB arrangements – working here with younger percussionist Amoy Ribas, who turns in some especially great work on vibes! The music just comes from the pair – Gilson on acoustic piano throughout – and Amoy on vibes and lots of percussion – both working together in these styles that are complicated, but constantly grooving too – that blend of infectious rhythms and melodic sophistication we love in so much Brazilian music from years back, like work by Hermeto Pascoal or Edu Lobo, distilled here down to an essence that's completely sublime! Many tracks have both vibes and percussion overdubbed – a perfect blend for the dynamic colors that seem to leap forward from Gilson's hands with an almost effortless quality – and the production is wonderful, with a core rootsy quality that makes the whole thing feel a lot more vintage than contemporary. Titles include "Luiz Eca E Pra Voce", "Fator RH", "Repercutindo", "Croa De Um Jongueiro", "Paz", "Entre Rios", and "La Vai O Cara". ~ Dusty Groove

NEW RELEASES: ANDRE MARQUES / JOHN PATITUCCI / BRIAN BLADE - VIVA HERMETO; MAIRA FREITAS - PIANO E BATUCADA; PER TEXAS JOHANSSON - DE LANGEN RULLTRAPPORNA FLEMINGEBERG

ANDRE MARQUES / JOHN PATITUCCI / BRIAN BLADE - VIVA HERMETO

The music of Brazilian genius Hermeto Pascoal, turned into a sweet set of jazzy trio numbers from Andrew Marques on piano, John Patitucci on bass, and Brian Blade on drums! The group really hit the right sort of essence for Hermeto's tunes – that open, fluid, yet highly rhythmic vibe that's always made us love his songs – delivered here in a setting that's a lot more stripped-down instrumentally than Pascoal's initial recordings, but with a vibe that's no less compelling! Blade and Patitucci have to do a hell of a lot of work on the set – moving around with dexterity and color that's got us appreciating their talents in whole new ways – and on a few cuts, the group's also joined by percussionist Rogerio Boccato. Titles include "Bebe", "Ferragens", "Boiada", "Chorinho Pra Ele", "Quaraquaua", "O Ovo", and "Ramos De Girassol". ~ Dusty Groove

MAIRA FREITAS - PIANO E BATUCADA

With a title like this, we had to check the record out – and alongside the piano and rhythms promised in its name, the set also offers up some especially wonderful vocals from Maira Freitas! Maira's the sister of Mart'Nalia, and daughter of Martinho Da Vila – and shares a similar soulful style with the rest of the family – but has a groove that's definitely all her own! Maira plays plenty of piano on the record – and a bit of Fender Rhodes too – and the strong use of that instrument in the lead gives the music a nicely jazzy current – one that makes Freitas sound quite different than her sister, with a very individual sense of phrasing and timing – which creates a very special vibe for the album. Titles include "Gargalhada", "Cuidado Moca", "Pousa", "Minha Festa", "Nao Sei Sei La", "Desavisado", "Danilo Dormindo", and a nice English language version of "Feeling Good".~ Dusty Groove

PER TEXAS JOHANSSON - DE LANGEN RULLTRAPPORNA FLEMINGEBERG

The first album we've ever heard from reedman Per Texas Johansson as a leader – and a wonderful set that draws on all of his great work with other groups over the years! Johansson's a real visionary here – working in a style that resonates both with the careful sounds he can bring from his own instrument, and in the modes of swinging modern that he's given us on other Moserobie sessions – balanced out nicely here from track to track, with some hard-edged numbers and more contemplative passages in the mix! The structure of the group is great – vibes from Mattias Stahl, steel guitar from Johan Lindstrom, and drums from Konrad Agnas – who plays with this snappingly tight groove at some of the best moments – and Johansson blows tenor, cor anglais, and a range of clarinets, often with a very moody sound. Fredrik Ljungkvist joins the group on tenor on two tracks – and titles include "Narkos", "Sormlandsleden", "Dar Du Gatt Forbi", "Bevakad Av Tusen Vakter", "Gang", "Bilblues", "Ljud Pa Gatan", and "Skuggan". ~ Dusty Groove

NEW RELEASES: CELSO FONSECA - LIKE NICE...; MILTON NASCHIMENTO & DUDU LIMA TRIO -TAMAREAR; TORBJORN ZETTERBERG & DEN STORA FRAGEN - OM LIV & DOD

CELSO FONSECA - LIKE NICE...

A really tremendous album from Celso Fonseca – a set that really takes the singer to a whole new level, and may even find him a wider global audience as well! The album begins with the sublime title cut – an original by Celso, with beautiful English lyrics – and throughout the record, songs mix English and Portuguese in this really lovely way – scored to these jazzy backings that are augmented by just the right, light use of strings – which almost gives the whole thing the feel of some sophisticated late 60s jazz vocal album, although one that's still got plenty of Brazilian touches, too! Acoustic guitar underscores some bossa elements in the music, but the set's hardly just a bossa record at all – and instead, really feels like Fonseca making a bid to become one of the best male jazz singers on the planet, which he might well do with a record like this. Titles include "Rio 56", "Like Nice", "Road To Paradise", "Cancao Que Vem", "Meu Silencio", "January In The Tropics", "Zum Zum", "Stormy", and "O Que Vai Sobrar".  ~ Dusty Groove

MILTON NASCHIMENTO & DUDU LIMA TRIO -TAMAREAR

One of the greatest settings in years for legendary Brazilian singer Milton Nascimento – a record that has the giant working with just a jazz trio for backing – led by bassist Dudu Lima, and with a sound that really takes Milton back to his roots! Nascimento's always had a very special style, but some albums of the past decade or two don't always bring it to the forefront – yet here, with just a piano, bass, and drums for accompaniment, Milton hits the kinds of soulful strides he initially made in the company of keyboardist Wagner Tiso on his 70s classics – this kind of spacious, almost heavenly mode that's filled with soul. The musicians move between acoustic and electric elements, but the sound is pretty stripped-down throughout – although guitarist Stanley Jordan joins the set on two numbers. The group really change up some Nascimento classics, too – and titles include "Clube Da Esquinha No 2", "Gran Circo", "Som Do Ceu/Nada Sera Como Antes", "Tamerar", "Belafante", "Fe Cega Faca Amolada", and "Nascimento/Travessia". ~ Dusty Groove

TORBJORN ZETTERBERG & DEN STORA FRAGEN - OM LIV & DOD

Bassist Torbjorn Zetterberg may well be one of our favorite contemporary talents on his instrument – able to play with a depth of soul when he wants, but break out into much more modern ideas as well – adding key energy to any smaller group he joins, but even more tremendous as a leader on records like this! In some way, Zetterberg may be the Charles Mingus of the 21st Century – leading with a very dynamic approach that allows plenty of bold improvisation from the musicians in his group, but always bringing a strong focus to the sound that never fails to delight – as new ideas explode from the efforts of the group, while its individual members express themselves freely. And while we've always loved Torbjorn's records, this one may well blow all the others away for its freshness and vitality – clearly the work of the leader, but also equally shared by the lineup that includes Susansa Santos Silva on trumpet, Mats Aleklint on trombone, Alberto Pinton on baritone and flute, Jon Falt on drums, and the mighty Jonas Kullhammar on tenor, flute, and Braithophone. Titles include "Vad Ar Det Som Dor", "Innan & Efter", "Springa Runt I Hjul", "Saker Overallt", "Sakra Tvivel", and "Knut Utan Slut".  ~ Dusty Groove

AUSTIN’S GRAMMY AWARD WINNING LATIN FUNK ORCHESTRA GRUPO FANTASMA ANNOUNCES NEW ALBUM - PROBLEMAS

A year in the making, the highly anticipated new album from the veteran Austin, Texas based band Grupo Fantasma transcends easy classification, blending international flavors from both far and wide. The sound is contemporary and edgy while also drawing on Latin roots music at its core. Interestingly, Problemas (Problems) manages to sound both familiar (integrating elements of heavy metal, indie rock, funk, hip-hop, jazz) and foreign (African, Eastern European, gypsy, South American, Cuban, Tex-Mex) at the same time, bearing repeated listens that slowly reveal nuances and deeper levels the more you hear it.

The best news is this is their most powerful record in their 15-year history to date, proving to be timeless and timely, as well as diverse and cohesive. It bristles with confidence, featuring a huge yet precise sound. Grupo Fantasma somehow manages to come off as heavy but sensitive, raw and accomplished, deep and fun all at once. This special hybrid quality is the essence and the identity of the band, reflecting their backgrounds and the environment in which they create their art, and as such, it makes them a constantly entertaining group that never disappoints.

For the first time ever, Grupo Fantasma decided not to self-produce. As bassist Greg González puts it, “We thought a new process would help us to find a unique voice and create a story. It would’ve been easier and cheaper to record everything ourselves and reuse the same techniques which successfully garnered us a Grammy and two nominations for successive albums (Sonidos Gold and El Existential) but the desire was to push ourselves in new directions.” While most rock bands rarely go beyond a quintet, maintaining equilibrium and staying creative with a big organization like Fantasma (9 official members and many guests) can be a daunting task when it comes to the studio. González elaborates: “Having a band this large with this many diverse approaches, opinions, and styles meant that having a producer on hand would be necessary to streamline the process.” After coming up with a list of people they admired, they settled on Steve Berlin (Los Lobos, The Blasters, et al), someone they knew would be a well-seasoned, sympathetic producer (as a horn and keyboard player with wide-ranging musical taste) who genuinely enjoyed the band’s oveur and was eager to work with them.

Berlin’s intent was to streamline the music as much as possible, to strip out the superfluous or busy elements so that the core of the band’s songwriting and unique approach would stand out, be accessible and clear. As González notes, “For our part, we felt that one of the challenges we frequently faced was the density of our sound and avoiding the urge to over complicate things, which can be easy to do with so many talented and inspired persons involved in the process.” The band also felt that it was important to keep the proceedings as raw and honest as possible so that the emotional intensity and the basic intent of the music wouldn’t get lost beneath untold layers of horn and percussion overdubs or weighed down by obtuse, overly academic arrangements. According to González, Berlin wanted Fantasma to make music that was uniquely theirs, to give voice to their experiences and influences, yet also not fall into being a merely Latin, Texas, or ‘World Music’ album that could easily be pigeonholed or written off as a calculated attempt at crossover.

The marvelous thing is this goal has been achieved, many times over. Grupo Fantasma walk a fine line: creating a unified, original sound that manages to be hip and current and yet in firm, proud control of their Latin and rock/funk roots. Problemas serves the listener a potent concoction that honors tradition with a contemporary twist, with music that is great to listen to but even better to dance to.

Song-by-song analysis:

Nada:

A cumbia with big band swing/mambo brass, sung by Kino Esparza. Esparza’s lyrics are a bluesy lament at start where the protagonist is suffering from poverty, his lady is leaving him because of it – life is bad; but that is not enough to stop him – it was just a chapter, now over, that prepares him for the next stage. He has to continue on with life, be tough and survive.

Solo Un Sueño: 

This is an Afro-Cuban-inspired jam in 6/8-time with elements of Eastern European gypsy/Middle Eastern accents, plus a little goth/heavy metal flavor on the side, sung (and rapped) by José Galeano. It also features Skerik (Eric Walton of Critters Buggin) on saxophone. Galeano’s lyrics are somewhat ironic in that they question the ideal of achieving “The American Dream” (and the sometimes false promise it entails). The song also suggests that civil involvement and participation are necessary to improve this situation. If you come to this country as an immigrant, be positive, and work hard, get an education and get involved in your community; if you’re not going to participate, don’t complain.

Porque: 

The Beatles reimagined as a stately bolero with elements of sadness as in the lamento, mariachi, and balada romántica genres. Creolized into a Spanish lyric, this rendition, beautifully sung in a Beach Boys choral style by Kino, shows that Lennon/McCartney are universal and cosmic in their poetry.

Esa Negra: 

A rolling cumbia infused with New Orleans funk and heavy metal guitar riffs sure to get the dance floor bumping. Features the Tex-Mex accordion hero Joel Guzmán of Los Super Seven fame. José Galeano’s lyrics celebrate the beauty of a black woman enjoying herself on the dance floor (‘la gozadera’), moving sexily to the band’s grooves. When Galeano sings of ‘frothing the chocolate’ (‘que bate ese chocolate’) he is referring to the making the lady dance (and by extension, making love to her through the music).

Descarga Dura y Pura: 

As far as genre, the title says it all, and showcases what Grupo does best: delivering a ‘hard and pure’ Cuban-style descarga (jam session) that can be danced salsa style (with breaks galore to make the ‘bailadores’ go crazy). The lyrics feature traditional boasting (in a good way) about how Grupo plays hot music that is in your face (‘en la cara’). But unlike most descargas, there is a nod to the band’s consciousness-raising mission because Kino Esparza says the music comes from a band that is about pride, unity, and roots, demonstrating their talent with intelligence and elegance. Let Fantasma be your guides to the future while teaching you about the past.

Mulato: 

An intriguing mix of Afro-Puerto Rican bomba and funk rhythms, with big band swing brass on top featuring a hot ‘bone solo from Mark “Speedy” González. Galeano’s Spanglish opening line of “Hey you, mulato!” points to this fusion of Latin and U.S. flavors at play here. The song is about a Nicaraguan immigrant  of mixed race who works by day and goes out at night in search of women to dance with and then make love to. The call-and-response refrain establishes a somewhat moral tone with the vibe of “Tell me who you hang with and I will tell you who are,” and at the bridge, the point of view changes to the band speaking to a lady dancing in the club, advising her to keep dancing (to avoid becoming the mulato’s next sexual conquest).

Otoño: 

A cumbia with a different disposition than the usual sunny, beach-themed spirit of the genre. This time it’s infused with a spooky psychedelic gothic flavor in the style of Peruvian chicha, courtesy of horror movie organ and spectral guitar lines. Yet behind this dark and pensive sound though there is also a section that is more upbeat, drawing inspiration from the happy tropical music of Climaco Sarmiento, Lucho Bermúdez, and Lito Barrientos from the Discos Fuentes era of the ‘golden age’ of Colombian cumbia. Fantasma has always had a fascination with this early jazz-meets-cumbia sound and emulates that with the inclusion of muted brass and bass clarinet (played by Brad Houser of Critters Buggin). José Galeano articulates the feeling of foreboding doom, nightmares, and dread, describing a person waiting by the phone, hearing the wind as it howls outside and eventually coming to the realization that they are alone, that the call isn’t coming and that they must move on. The autumn of a relationship just as the realization that a long cold winter is coming. The song foretells of impending heartbreak as hope fades for the time being.

Problemas: 

The title track of the album is classic New York hard salsa with a Cuban son flavor in the guitar and melody. But as often is the case with Grupo, this simplicity can be deceptive because mid-way through, there is a brilliant break featuring intricate interplay between the guitar, brass, and percussion, with the inclusion of the Afro-Cuban Yoruba batá drums and massive bass vamp spicing things up nicely. Kino sings convincingly of the “other woman” who is tempting the narrator with her coquettish ways – but the issue is he’s married (and does not want to do ‘anything cruel’) so he swears to resist her because he does not want problems (‘Ay mamá, no quiero problemas’).

Cayuco: 

A playful song in the 1960s style of Nuyorican boogaloo (aka Latin bugalú) with a funky Cubancha-cha-chá rhythm. Here Kino and José sing in unison like in the charanga orchestras of old. Lyrically, this track is about dishonest people, hangers on and ‘mooches’ that break their promises, someone who always wants to be a part of the good times but never wants to contribute to the cause, enjoying the scene without contributing to it. Literally, a ‘cayuco’ in Spanish is a Native American dugout canoe, but is slang for a country bumpkin or a stupid guy, loser, dummy.

Roto El Corazón: 

A deep cumbia with Perivian chicha-style guitar/organ, and featuring big mambo brass with the baritone sax out front and some electronic touches. Kino Esparza uses his expressive tenor voice to detail a romantic revenge story where the take-away is: a broken heart can go both ways. Now you will suffer as you have made me suffer!

That Night: 

A killer boogaloo/cha-cha-chá with a great funky drum break and spunky guitars. Also features a descending vocal chorus that brings to mind Los Lobos/ or the Latin Playboys. An interesting mix of upbeat and edgy/dark sounds. Originally with English lyrics that didn’t sound “quite right” to the band, so it was decided to change them to Spanish, and sung in unison by José and Kino. The protagonist is an incredibly jealous macho type, who, every time he goes out with his girl, loses his cool and goes crazy because someone talks to her or makes a pass. He’s tired of trying to defend his honor. Finally comes a time when he loses it totally at a club and kills a guy after she starts responding to him. The narrator follows him outside and knifes him in the alley. He gets caught and sent to jail, where he concludes she was not worth it after all. — Pablo “DJ Bongohead” Yglesias, 2015

  

Band Lineup:

Jose Galeano (timbales, vocals)

Kino Esparza (vocals, hand percussion)

Beto Martinez (guitar)

Greg Gonzalez (bass)

John Speice (drums)

Matthew “Sweet Lou” Holmes (congas)

Gilbert Elorreaga (trumpet)

Josh Levy (baritone saxophone)

Mark “Speedy” Gonzales (trombone)

Upcoming Shows:

10/30 @ Mohawk – Austin, TX

11/22 @ Whatever Fest – Houston, TX

*More dates announced soon

Virtuoso Flutist LORI BELL Returns With 9th Studio Album - 'Brooklyn Dreaming' Is An Homage To New York City

On January 15, 2016, virtuoso flutist, and world-renown composer, Lori Bell will release Brooklyn Dreaming, an homage to her familial roots with an extraordinary opus that extolls vivid memories of the vibrancy of New York City.

Her 9th album overall, Bell's Brooklyn excursion kickstarts with a freewheeling exposition on Mingus’ “Nostalgia in Times Square,” the Quartet's cohesiveness confidently takes the Monk classic “52nd Street Theme” to exhilarating peaks and soars to dizzying heights on “Times Squared,” “A Dog on Coney,” and “Streets of New York”. The visceral journey of the boroughs concludes with a sublime reading of "Harlem Nocturne.”

Co-pilots on her adventurous tour du force are pianist Tamir Hendelman, known for his work with the Clayton-Hamilton Jazz Orchestra and guest appearances on recordings by Barbra Streisand, Natalie Cole and Diana Krall, bassist Katie Thiroux, a rising star with her own quartet and drummer Matt Witek (John Pizzarelli Quartet, Larry Fuller, Trio, John Clayton).

A flutist and composer of admirable depth and broad musical sympathies, Bell is a Brooklyn native who has contributed to the development of higher standards of performance while earning acclaim from both peers and critics for her artistry on stage and in recordings. With a father that was a big band lead trumpet player for 30 years and a mother that played accordion with a great ear for both jazz and classical music, Bell was exposed to the transformative nature of improvisation by pillars of the golden era of jazz at places throughout Greenwich Village and lower Manhattan. It deeply influenced her and is the indelible thread that weaves throughout the fabric of the nine tracks.

Now in the third decade of her acclaimed career, Bell is revered for her innovative interpretations of Miles Davis, Charlie Parker, Thelonious Monk, Charles Mingus and Duke Ellington, among others.

Lori Bell Quartet

Brooklyn Dreaming

1. Nostalgia in Times Square (Charles Mingus)

2. Times Squared

3. 52nd Street Theme (Thelonious Monk)

4. Streets of New York

5. Brooklyn Dreaming

6. A Dog on Coney

7. Lower Manhattan

8. 3 Deuce Blues

9. Harlem Nocturne (Earle Hagen)

Lori Bell - C Flute & Alto Flute

Tamir Hendelman - Piano

Katie Thiroux - Bass

Matt Witek - Drums

Lori Bell Quartet “52nd Street Theme” (Thelonious Monk)

https://soundcloud.com/1888media/lori-bell-quartet-52nd-street-theme

http://loribellflute.com